Podcasts about Islander

We all fell for JaNa Craig on Love Island USA last season, and today, she's revealing what really goes down in the Villa. From swerving producers' “suggestions” to run-ins with HR and how those Islander cliques actually form, JaNa is spilling all the behind-the-scenes secrets. And trust—she is NOT holding back. As if that ain't enough, she's dishing on the new spinoff Beyond the Villa, including lasting love with Kenny, which castmate she's actively dodging, and why Keke just might be the next PPG recruit.Be the first to know about Wondery's newest podcasts, curated recommendations, and more! Sign up now at https://wondery.fm/wonderynewsletterListen to Baby, This is Keke Palmer on the Wondery App or wherever you get your podcasts. Experience all episodes ad-free and be the first to binge the newest season. Unlock exclusive early access by joining Wondery+ in the Wondery App, Apple Podcasts or Spotify. Start your free trial today by visiting https://wondery.com/links/baby-this-is-keke-palmer/ now.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Islanders! Are these lovers trying to just win the game? Or are they there for the right reasons? Amy Phillips is joined by cohosts Emily Dorezas (@emdorezas) and Jaime Moyer (@jamdetroit) to thoroughly discuss every Islander on Love Island from episodes 14 to 20. From the villa to casa amore and purgatory island with Olandria and Nic. No thong is left unturned and no twerk is left undiscussed. FOR SOLAR/RENEWABLE ENERGY/BATTERIES CONTACT MY HUZZBAND BRRRREEEHHHTTT:brett.guennel@sunrun.comFor more Drama, Darling, and exclusive content, subscribe to:http://Patreon.com/dramadarling Follow Drama, Darling on Instagram:https://www.instagram.com/dramadarlingshow/  Follow Amy Phillips on Instagram:https://www.instagram.com/meetamyphillips/Email Drama, Darling with comments, questions and drama:DramaDarlingz@gmail.com

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

The Isle of Wight Biosphere Festival returns in 2025 even bigger and better. Nine days of free or low cost events all over the Island to celebrate our UNESCO Biosphere Reserve , 28th June to 6th July , at countless places across the island. There is something for everyone: wildlife, landscape, art, walks, talks, storytelling, film, music, craft, history, dance, gardening, fashion, science and more. It will be a thought-provoking, moving, inspirational celebration of what makes our Island great, showcasing over 50 local organisations each running their own events.  Whether you're an Islander or a visitor, take this opportunity to find hidden gems, unearth expert local knowledge and enjoy our beautiful and vibrant island nature. Biosphere Festival — Isle of Wight UNESCO World Biosphere Reserve

We're going FULL VILLA MODE in this live stream episode of This is Kimberly A Bryant with special guest Danielle Peterson, aka DaniGossipGirl, one of TikTok's top Love Island commentators!

Connecting to God can start to feel like the same repetitive journey of simply reading and listening,but lacking in interaction. Enhancing our spiritual lives, though, can be as easy as picking up a pencil and putting it to paper. Southeast EMMY Award winner Anthony Thaxton's Doodle Devotional of-fers everyone, artist or not, the exciting new opportunity to draw closer to God through art. This beautifully laid out eight-week devotional study, complete with prompts and paintings to in-spire, will help doodlers tap into their creative sides while they engage with Scripture and experience God and His Word with fresh eyes.The Doodle Devotional includes:• Daily devotionals with accompanying artistic exercises• Self-guided, easy prompts• New themes each week• Inspiring artwork from an award-winning artist to get your own creative juices flowing!From the serious artist to the amateur doodler, there is space for everyone within these pages. Youdon't have to be a great artist to get started. Doodle time is for exploring, interacting with Scripture, and drawing from the heart. Transform your time with God by picking up a pencil or pen and allow-ing yourself to get creative! Anthony Thaxton ANTHONY THAXTON has won awards as a painter, an educator, and a television producer and film-maker. He directed the acclaimed documentary Walter Anderson: The Extraordinary Life and Art of The Islander (nominated for 4 Southeast Emmy Awards—winner: Best Documentary and Best Musical Score) and produced Palate to Palette for five seasons on Mississippi Public Broadcasting. Anthony's photos and videography have been featured on Good Morning America, Fox and Friends, and CNN.com. He recently directed a major documentary on the life of famed writer Eudora Welty that released in 2024. Anthony lives in Raymond, Mississippi, where he owns his own production company, Thaxton Studio.Thaxton StudiosFace BookInstagramWhitaker House

In this episode of the Where We Roam Podcast, John and Dayna spill the (salt-rimmed) tea on the newly renovated Margaritaville at Sea Islander. After a $150 million refresh and a wave of influencer hype, does this tropical-themed cruise deliver paradise—or disappointment? Dayna breaks down her 5-night cruise from Tampa to Key West and Cozumel, covering everything from refurbished rooms and Jimmy Buffett-themed decor to murky pool water, drink package surprises, and sushi served... during karaoke?

BachelorClues and PaceCase dive into the upcoming Love Island USA Season 7, analyzing the newly announced cast and breaking down why this lineup may outshine even the best of Bachelor Nation. The hosts examine each Islander's Instagram to assess parasocial strength and predict early frontrunners. They also discuss Joey Graziadei completing his “30 Before 30” bucket list, a breakup from Love Is Blind Season 3, the cast announcement for House of Villains Season 3, and the first details about Survivor 50's all-star lineup—including returning stars from Survivor 48. Plus, big changes are coming to Bachelor in Paradise with a new location and upgraded accommodations.__Join the Pit on Patreon for more exclusive content and shows! : / gameofroses__Want coaching tips? email gameofrozes@gmail.com__Follow us on TikTok: @gameofrosesFollow us on Instagram-Game of Roses: @gameofrosespodPacecase: @pacecaseBachelor Clues: @bachelorclues Hosted on Acast. See acast.com/privacy for more information.

Discover what your Pacific Islander Legend is. Go to our website, or www.WhatsMyLegend.com and take our quiz today! www.LegendsFromThePacific.com

Un épisode presque thématique, entre littérature et poésie, entre sordide et beauté, mais toujours en BD. Bonne écoute ! Télécharger l'émission (52 Mo) – Regarder sur YoutubeS'abonner au One Eye Club – S'abonner à toutes nos émissionsChroniques [03:30] Les Petits Métiers Méconnus Vincent Zabus Alfred, Christian Durieuxn Charles Berberian, Jean-Denis Pendanx, Christian Cailleaux, Hyppolyte, Efa, Pierre Maurel, Valérie Vernay, Piero Macola, Alexandre Clérisse, Thomas Campi, Antoine Carrion[10:40] Islander n°1 Caryl Férey Corentin Rouge Céline Labriet, Corentin Rouge[19:41] Celeste n°1 Chloé Cruchaudet[29:32] Crénom, Baudelaire ! n°2 Dominique Gelli Dominique Gelli, Tino GelliUn Œil sur …[44:36] Festival du Livre de Paris 2025Légende : Scénario – Dessin – Couleur – Coup de cœur – Service de Presse – Le Vote des TipeursGénérique et jingles : Spanish Samba (Oursvince) / Dialup (Jlew) / backstraight (Heigh-hoo)

Un épisode presque thématique, entre littérature et poésie, entre sordide et beauté, mais toujours en BD. Bonne écoute ! Télécharger l'émission (52 Mo) – Regarder sur YoutubeS'abonner au One Eye Club – S'abonner à toutes nos émissionsChroniques [03:30] Les Petits Métiers Méconnus Vincent Zabus Alfred, Christian Durieuxn Charles Berberian, Jean-Denis Pendanx, Christian Cailleaux, Hyppolyte, Efa, Pierre Maurel, Valérie Vernay, Piero Macola, Alexandre Clérisse, Thomas Campi, Antoine Carrion[10:40] Islander n°1 Caryl Férey Corentin Rouge Céline Labriet, Corentin Rouge[19:41] Celeste n°1 Chloé Cruchaudet[29:32] Crénom, Baudelaire ! n°2 Dominique Gelli Dominique Gelli, Tino GelliUn Œil sur …[44:36] Festival du Livre de Paris 2025Légende : Scénario – Dessin – Couleur – Coup de cœur – Service de Presse – Le Vote des TipeursGénérique et jingles : Spanish Samba (Oursvince) / Dialup (Jlew) / backstraight (Heigh-hoo)

Et si les Européens à leur tour étaient obligés de partir pour survivre. Et s'ils se retrouvaient par milliers parqués dans des camps, sous la surveillance de soldats, en attendant un hypothétique embarquement, l'Islande. Pourquoi cet exil ? Parce que de multiples catastrophes, dont on ne sait presque rien, se sont abattues sur le continent. C'est le point de départ d'Islander, une trilogie en bande dessinée dont le premier volume L'exil vient de paraître chez Glénat.  Au scénario, Caryl Ferey que l'on connait surtout comme un grand auteur de polar, un écrivain voyageur et dont ce n'est pas la première incursion dans le 9e art. Et pour le dessin Corentin Rouge qui restitue à merveille cette atmosphère de fin du monde. Une BD d'anticipation, captivante et très réaliste.Au programme de l'émission :ReportageKinshasa a vu naitre en 2014 le groupe phénomène Fulu Miziki. Et il s'apprête à faire danser le vieux continent contre la dégradation environnementale, José Marinho les a rencontrés.Chronique Histoire de rireDamien Roucou nous brosse le portrait des Zinzins de l'art. Entre stand-up, mime et jeu de bruitage, pour ce duo comique ivoirien, tout est affaire de complémentarité.► Playlist du jourFlorence Adooni – Mam Pe'ela Su'ureEmiliana Torrini – Black Lion Lane

Et si les Européens à leur tour étaient obligés de partir pour survivre. Et s'ils se retrouvaient par milliers parqués dans des camps, sous la surveillance de soldats, en attendant un hypothétique embarquement, l'Islande. Pourquoi cet exil ? Parce que de multiples catastrophes, dont on ne sait presque rien, se sont abattues sur le continent. C'est le point de départ d'Islander, une trilogie en bande dessinée dont le premier volume L'exil vient de paraître chez Glénat.  Au scénario, Caryl Ferey que l'on connait surtout comme un grand auteur de polar, un écrivain voyageur et dont ce n'est pas la première incursion dans le 9e art. Et pour le dessin Corentin Rouge qui restitue à merveille cette atmosphère de fin du monde. Une BD d'anticipation, captivante et très réaliste.Au programme de l'émission :ReportageKinshasa a vu naitre en 2014 le groupe phénomène Fulu Miziki. Et il s'apprête à faire danser le vieux continent contre la dégradation environnementale, José Marinho les a rencontrés.Chronique Histoire de rireDamien Roucou nous brosse le portrait des Zinzins de l'art. Entre stand-up, mime et jeu de bruitage, pour ce duo comique ivoirien, tout est affaire de complémentarité.► Playlist du jourFlorence Adooni – Mam Pe'ela Su'ureEmiliana Torrini – Black Lion Lane

We announced a couple of weeks ago that we are launching THEjoeSHOW's 'Inaugural Cruise' with our friends at Margaritaville at Sea. We are going to be taking the Islander out of Port Tampa to Cozumel, Mexico. Jed's parents plan on going! But will Joe's mom join the action?!

The Sign of Four by Arthur Conan Doyle chapter 10 The End of the Islander, narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :Dhttps://ko-fi.com/theessentialreadshttps://www.patreon.com/theessentialreadshttps://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/joinSUMMARY: Holmes, Watson, and Officer Athelney Jones head to the Thames and board a police boat. Holmes instructs the men to remove anything that indicates that the boat could be the police, and they make their way down the river to the shipyard. Holmes explains that the previous day, he went down to the shipyard and talked with the men who worked there, and suddenly, the man Smith, walked in shouting that he needed his ship ready for that evening. Holmes followed the man for a little, and when that proved unsuccessful, he went back to the shipyard where he found one of his street men hovering around. He informed the child to wave a white flag if the boat leaves the yard. The men lie in wait for a little bit, and then see the white flag waving and the Aurora leaving the shipyard. Holmes directs the ship to go as fast as they can get her to go, and they race after the Aurora. They very slowly gain on the Aurora, and little by little they make out the bodies and then faces of the men on board. A Tug separates the ships again, but Holmes and the police are on the chase and slowly gain on the Aurora again. Suddenly, the little Pigmy man jumps out and raises his blowpipe and Holmes and Watson. They pull out their pistols and fire at the man, felling him into the river. As they pull alongside the Aurora, Smith forces the boat into the marshes, and Small jumps off, getting his leg stuck in the mud, allowing the police to capture him, and get the treasure chest.

Jake is back with several mission critical baby Islander and future baby Islander updates.

Qween V is a Hip-Hop Artist and an Evangelist with a powerful testimony! She has that fiery Islander zeal, and she loves to share her faith on the streets wherever she goes. Listen in to her story!

This week, we sat down with Jason and Terry to discuss their recent Margaritaville At Sea Islander sailing. Hear about their four-day cruise to Cozumel, Mexico, and what they thought of the ship! Ready to book a cruise with Cruise Conversations?⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Fill out our form or send us a text at (704) 313-8556 for latest pricing!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Have a question or topic suggestions for a future episode? DM us on Instagram ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@CruiseConversations⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or send us an email at cruiseconversations@gmail.com.Follow along on social media!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Tik Tok⁠⁠⁠⁠⁠⁠⁠

After years of watching people leave Nantucket during the winter, I decided I wanted to be one of them. Not for the whole winter, just for a week

Bring Islander Day alive with province-specific songs from Fiddlers' Sons, Chuck & Albert, Tommy Banks, Karen Pyra, and more - plus Scott Parsons teaches us something about Black Islanders for Black History Month. isletunes is all genres. All decades. All-inclusive. And all PEI!Grab isletunes T-shirts, hoodies, mugs, and a 2025 calendar on Spring at https://isletunes.creator-spring.com.Donate to the podcast through PayPal at https://tinyurl.com/isletunespaypal - thank you!!Subscribe on Patreon for exclusive videos: https://www.patreon.com/isletunes.Become an isletuner on Facebook, Instagram, TikTok, and Bluesky!

Send us a textHello, passionate cruisers! This is Paul. I am delighted to welcome back this week on The Joy of Cruising Podcast, Stefanie Mullen, co-creator of the Sean and Stef blog and YouTube Channel. From the Sean and Stef website: ‘We are Sean & Stef, your favorite cruise travelers! We are professional filmmakers and have won 3 Emmy awards for our video work. We are positive filmmakers who focus on the joys of travel and all the fun that goes along with the journey. We travel the world exploring destinations, all while making video memories that last a lifetime. Our mission is to inspire and connect with people all around the world and show them the joys of traveling. We are personally and emotionally fulfilled by the amazing people we meet and hope to continue this great journey as far as the road will take us.' Sean & Stef is an iconic cruise brand. Sean was a talented artist, visual effects guru, and magical storyteller. Stef and I shared the sad, tragic story of Sean's passing in Sean & Stef Ep 76, and Stef covers it comprehensively on the Sean and Stef YouTube Channel. We also discussed our experience sailing the same cruise, along with friends of the show, Ben & David—a bucket list journey from Hawaii to Alaska. Great videos on Stef's channel. Today I welcome Stef back to catch up with her and also get the scoop on her recent cruise on Margaritaville at Sea Islander coming off its surprise win in the recent Cruise Critic 2024 Best in Cruise Awards for Cruisers' Choice Best Ocean Cruise LineRelying on ship wifi is slow, unsecure, sometimes not available & at foreign ports travelers don't want to pay their carriers' high fees. Save $ with GigSky! Get a data package usable on the ship & in ports. Link to GigSky: https://gigsky.pxf.io/nloxor. For a 10% discount use code: joyofcruisingSupport the showSupport thejoyofcruisingpodcast https://www.buzzsprout.com/2113608/supporters/newSupport Me https://www.buymeacoffee.com/drpaulthContact Me https://www.thejoyofcruising.net/contact-me.htmlBook Cruises http://www.thejoyofvacation.com/US Orders (coupon code joyofcruisingpodcast)The Joy of Cruising https://bit.ly/TheJoyOfCruisingCruising Interrupted https://bit.ly/CruisingInterruptedThe Joy of Cruising Again https://bit.ly/TheJoyOfCruisingAgainIntl Orders via Amazon

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Tonight join Host Miko Lee as we focus on the APSC4. We will be doing a short series on the members of the Asian Prisoner Support Committee's campaign for justice. In this first episode we speak with all four leaders, advocates from APSC4 including: Peejay Ai, Maria Lagarda, Kee Lam, and Chanthon Bun. They are staff at Asian Prisoner Support Committee who work with formerly incarcerated folks and their families. They provide support like jobs, healthcare, education, community. And yet, despite their work and their personal transformations and community transformations, they remain in immigration limbo and are at risk of being detained by ICE and potentially deported. Tonight, we hear their personal stories. We learn about movement building and talk about how you can get involved. And just a note for listeners that we will be talking about experiences with war. trauma, sexual assault, and violence.   How to support the APSC4 APSC 4: https://action.18mr.org/pardonapsc3/ APSC Website: https://www.asianprisonersupport.com/ APSC Donation Page: https://donate.givedirect.org/?cid=13… APSC Get Involved Page: https://www.asianprisonersupport.com/apsc-4 Twitter:   / asianprisonersc   Facebook:   / asianprisonersupportcommittee   Instagram:   / asianprisonersc     Arriving: APSC4 Part 1 Transcript Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the Apex Express.   Ayame Keane-Lee: [00:00:34] Welcome to our multiple part series about the members of the Asian Prisoner Support Committee, APSC4, and their campaign for justice. First up is an interview with all four. In the next episodes, we'll be diving into their individual stories. Special thanks to the HHREC podcast for allowing us to re-air their shows, which will be linked in our show notes.   Miko Lee: [00:00:56] Tonight on Apex Express, we have members of the APSC4, Asian Prisoner Support Committee's formerly incarcerated leaders, advocates, and healers. We are talking with Peejay Ai, Maria Lagarda, Kee Lam, and Chanthon Bun. They are staff at Asian Prisoner Support Committee who work with formerly incarcerated folks and their families. They provide support like jobs, healthcare, education, community. And yet, despite their work and their personal transformations and community transformations, they remain in immigration limbo and are at risk of being detained by ICE and potentially deported. Tonight, we hear their personal stories. We learn about movement building and talk about how you can get involved. And just a note for listeners that we will be talking about experiences with war. trauma, sexual assault, and violence. Thank you so much for joining us on Apex Express. Welcome APSC4 to Apex Express. I am so happy to have you here. I want to start with a question that I love to ask of everyone, which is from the amazing poet Chinaka Hodges. And the question is, who are your people and what legacy do you carry with you? Let's start with Peejay.   Peejay Ai: [00:02:12] So I am Peejay. I am Cambodian of origin. My mom and dad are Cambodian. We have part Chinese somewhere in our genes. When I think about legacy, I think about my culture, my upbringings, you know, my, my parents cares with them. I Also have experiences in incarceration, and obviously through my journey in life, I have this legacy as well, where I've learned some stuff and I have met people through the prison system. When I think about my people, I think about the people I've come across with who helped me grow in life, you know, and the foundation that my parents taught me when I was a kid. That's kind of my legacy. I think about the people I've come in contact with, my community, my parents, what they teach me about my ancestor. And now that I'm working heavily with the CERI community, Center for Empowering Refugees and Immigrants here in Oakland, you know, I'm co facilitate the Men's Elders group. So, with them, they teach me a lot about culture, a lot about my roots and where I came from. And so I'm relearning who I am as a person and redefining myself. And also reminded that, you know, beyond my experience, there's a foundation of Cambodian cultural, right. and heritage, you know, behind me. So that's kind of what I think about when I think about my people and I think about my legacy.   Miko Lee: [00:03:29] Thank you so much, Peejay. Bun, what about you? Who are your people and what legacy do you carry with you?    Chanthon Bun: [00:03:36] I'm Cambodian. My people are Khmer people. The legacy that I have is resilient. My family have lived through, through a lot of systems even my grandparents being Khmer from colonization to the genocide to, coming to America. My family have endured a lot. so the resilient in us still live and that's the legacy I carry.    Miko Lee: [00:03:58] Thank you so much. Bun, I'm going to ask you about resilience later, because that is a key thing I get from y'all. Maria, what about you? Tell me about your people and what legacy you carry with you.   Maria Legarde: [00:04:09] Who are my people? I'm a Filipina immigrant, so my people are the survivors. You know, those that dealt with a lot of that, that had a lot of challenges growing up, right? And didn't have a voice. So those are my people. My faith community are my people, my elders, my Lolas, and my mylas, my mentors, those that shaped me and who I'm becoming today. Those are my people. The legacy that I feel that what I'm leaving an imprint here on earth is being the voice for those that cannot express themselves. For those that do not have a voice right now and are scared. And I want to be that voice to let them know that they're not alone.   Miko Lee: [00:04:54] Ke Lam, who are your people and what legacy do you carry with you?    Ke Lam: [00:04:58] My people are my incarcerated. Those are incarcerated. Those that got deported, and those that are living in fear are my people. Because I understand the struggle, I understand the fear, I understand the trauma. The legacy I carry with me is all the advocates before me that have done this work that, you know, that put their life on the line. As well as my grandfather who came to this country, you know, struggling to raise a whole family, whole generation. I think the other part of my legacy is. breaking the, the, the cultural cycle. Like my grandfather never hugged my dad, but I hugged my dad, gave my dad that hug. And so, and, and that progression is going towards my, my siblings, as well as even to other men that was incarcerated. That never got a hug from their father.    Miko Lee: [00:05:50] Thank you all for sharing your stories of who you are and your sense of resilience and giving voice and incorporating your culture. I know that each of you have had incredibly deep and profound experiences and thank you so much to the HHREC podcast, which is allowing us to air interviews that you did already sharing your stories. I have heard your stories also and I'm just wondering what is that like for you to continue to tell your stories again and again? How do you sustain reliving that type of trauma by sharing your stories?   Chanthon Bun: [00:06:25] You know telling our stories is really traumatic. But we've learned how to heal from a lot of our traumas without healing from your trauma, it's hard to tell that story. And when you tell that story, it comes alive again. With that, I believe it's so important for our elders and our youth, especially like Peejay, myself and Maria. We are the 1.5 generation. I truly believe that we bridge these generation, you know, where we could relate to our younger folks. And then our elders, we still hold the tradition that they're used to. Telling our stories is bridging the experience, you know, bridging the past and the future with the present of our stories. For me, a lot of it is because when I grew up, I didn't have stories like this. I had to live it and made mistakes as I went. I didn't have somebody telling a story of how an immigrant could learn this culture. I did it all with mistakes that I've made and lessons that I've learned. And then passing it down. I mean, there's a lot of folks that are in my shoe. There's a lot of folks living the life that I live that still don't understand and still can't heal. And, you know, I'm just hoping that the shared experience could start a conversation of healing.   Peejay Ai: [00:07:44] Yeah, I think for me, sharing my story over and over again it is healing in some instances, and sometimes, you know, living, reliving trauma is very difficult. And I'm learning to like, do my work, you know, as an advocacy with APSE, and through my own experience through restorative justice practices that, sharing my story, it could be empowering for other people to share, right. I think I grew up. In this API community or silence, you know, and it's a shame to talk about, your experience, right, airing out your laundry, pretty much, you know, your personal experience could be very shameful but what that does, and I'm learning, like, you know, like, when you have trauma. and you don't talk about it, you know, you become silent. It's affects you, you know what I mean? It affects your life. It's affects your health. It affects your community and your family. So now as I'm reframing the way I look at my story is that I'm using as a tool and to share, so that other people could, could learn and know, but also feel empowered to share their story. You know, I think storytelling could be a very powerful thing for a community, right? Not just Bun have said, like provide healing, right. But. Also, I think like it provide teaching, you know, like when I hear my elder share their story, it teaches me  about my history, my culture, what they've been through, but also it also like reaffirmed that, I'm on the right track, you know, that healing could happen by watching, you know, my elder shed tears from their story by hearing their emotion and feeling their emotion and seeing it with my own eyes, you know? I think like storytelling is a very powerful tool for us and I think more people should tell their story because they have something to offer, you know, and I think we should always tell our stories. So, what's once was like a very difficult thing to do now become something that I know is very purposeful and empowering.   Miko Lee: [00:09:19] Thanks Peejay Maria. What about for you? How is it for you telling your story again and again?    Maria Legarde: [00:09:24] Sharing my story like I always get emotional. So, it's very hard for me, because I relive it, but I use it as a tool now, as it's a powerful tool, you know, going through it, sharing it, like it just happened yesterday. Because when I share my story, especially with the young women, it makes it real for them. To know that I've been there, like, I've been there too, I know it, I know what she's feeling. And, sharing it, what did I do, how did I do it. Painting the picture for them, not to traumatize them, but to show them how I got from not being able to speak about it. To talking about it to healing and then taking control over my life, and then becoming empowered by the struggles that I gone through all those years. It just didn't take me one year, took me 15, 20 years, even today, you know, so to share that I know that when I plant that seed, it's not because to traumatize them or to make them relive it. There's that collective power in it, the collective healing in it, that that's what got me to share my story in the first place. When I heard all the other women share it, I'm not alone. For the first time in my life when I heard it, I didn't feel alone. Because I knew somebody believed me. When the people that were supposed to believe me didn't believe me, they believed me. You know, so I, that's the gift that telling that story gives another, individual. That life, it's, pass it forward, you know, that's why I was so happy with the Me Too movement because it's a collective power within us. So like with Bun and with Peejay, the intergenerational healing from our, you know, the trauma within our family. Because of that, I know I can share it with my family and we start talking about it because they've seen me do it. Like how is that that young girl was able to talk to you like that? I was like, because she knew that I believed her. The moment she told me, she knew I believed her. it opens the door for healing in my family, in my community. So that's why I, today, I use that as a tool to bring people together, collective healing.    Miko Lee: [00:11:42] Storytelling as collective healing and being able to, be heard and open the door for other people to share their stories as well. Thank you so much for sharing about that. Kee Lam, I'm wondering if you could talk about the resilience it takes to tell your story again and again, what is that like for you   Ke Lam: [00:12:02] Each time I tell my story is almost like an awakening. It, is reliving a lot of that trauma, but it's also like reminding me of what I've been through and, and I'm still here. it's also for me is, Self love, being able to share it because I'm hoping that I can be an encourager to those who don't know how to share a story or who are afraid to share a story. And so when I, the reason I put myself out there all the time is like, who better to, Encourage somebody and somebody that's been through it all as well. when I help, you know, restore your justice circles, people told me the way through is through the fire. and it's not easy to share a story sometimes because it's so traumatic. But one thing that encouraged me all the time is when I see other people. And I see them when they share the story that there's like a burden that was taken off shoulders. I see the difference when somebody able to feel like they could release some of that harm that was put on them and find healing and then find, strength in a community that support them through their struggle. And so that's why I keep sharing my story because I believe that. it takes all of us to bring voice to the hurt and pain that we, we had throughout so much generations.    Miko Lee: [00:13:14] Thank you for sharing angela Davis talks about how prisons are meant to break human beings. I'm wondering how each of you. what tool you drawed on to stay strong while you are incarcerated and how different that is, like, what mental health support do you do now? Do you have a daily practice to stay resilient now? And did you have something different when you were locked up?   Chanthon Bun: [00:13:38] Yeah, that is so true. Prison is meant to break you. And there's many times while I was incarcerated for my 23 years that, I was fighting that, that don't break me. You know, I still had the fight in me. You're not going to break me. even during my long years in solitary, I just, there was something in me, like I say, there's some resilience in me that, innately told me, like, do not let them break you, you know, mentally, physically. but yeah, during my, the hardest time where I felt like, you know what, this, this is getting too hard for me, being isolated, not having human contact. And, you know, the only thing on my skin is concrete and, and metal. I often look back to. My grandparents, I often look back to their teachings, their lessons that they've shown me through the years when I was young. and sometime, I use my trauma, you know, I, grew up in the refugee camp. It was hard. I was starving there. and it's weird how like you use a bigger trauma. To cope with this trauma, you know, it's like, man, I, when I, when I was a kid, I had nothing to eat. So I lick salt, you know, . They gave me three meals a day. I think I'm doing better than I used to be. So it's like, it's it was kind of crazy way to, think about it. And, and I think because I had so much trauma as a child. It really helped me to be resilient when I was incarcerated. And like, it really helped me to empower myself. And then, and then it really helped me to think about what is resilient? at first I didn't even know what it meant. People tell me, I was like, yeah, whatever. It was just, Something I do, like when folks like, damn, you're so resilient, like, I've been like this all my life. I don't know. I don't know what the gauge of resilience you're giving me. I've always been a person like, I'll figure this out, you know, as long as I survive, I'll figure it out. So, if you let them, it will break you. You look deep inside you, and you look at your life, and just like me, a crazy way was, I've been through worse and I could do this too.    Miko Lee: [00:15:32] Before you get to you stay resilient now, Maria, I see you smiling a lot. I wonder if you want to respond to that. About prison breaking, meant to break human beings.   Maria Legarde: [00:15:43] I, I, because I agree with what Bun was saying, you know, it's like trauma on top of trauma on top of trauma. Which one's worse? There's really, like, is, this trauma is really worse than this trauma? Because I both came out of it, you know, so give me more. Is there anything more that you can give me, right? So it becomes a defensive mechanism for us. And Bun said, I didn't know what resilient means. too, when I was in prison, what does resilient mean? I said, I know English is my second language, but, , you know, I don't know what that meant for a human being to be resilient and what it embodies. So that's why I agreed. And I smile because, yep, we didn't know we were resilient because we've been fighting to survive. We've been fighting to just to live another day.   Miko Lee: [00:16:28] Peejay, what about you? How did you stay strong when you were locked up?    Peejay Ai: [00:16:32] There's many factors, right. But I think like one factor I share with Bun, like I grew up on the street. It was hard, you know, I grew up poor. I grew up on welfare. I grew up, you know, as a refugees, you know, coming to America, doesn't speak the language, was bullied, you know, was victim of school shooting to the point. Right. And like, there's. Certain things in my life that really, like, shaped me and, like, pushed me really hard. And so I knew I was different. I knew I was, like, you know, like, the deck is stacked against me. And so I think, like, experiencing it as a young person, I become numb to it. And so when I hit prison, and I went, you know, I went to Juvenile Hall, right? I went to Juvenile Hall. I went to the CYA. I went to prison. So as young person going through the prison system, I started to the lower level first and I can build resilience, you know, like teaching myself how to read, like learning, to accept hardship, right. Not being able to be isolated, not to be like in a cell locked up for many, you know, for many days, sometime many years or two, right. I think the one thing that really shaped my life the most is when I was in Solano State Prison. And I was just like, this was like new. I turned 18, they sent me from CYA. To Solano, and one night my mom came to visit me and, she was just so dumbfounded by like, what she hear about prison. And then she asked me, how am I doing with everything? And then I explained to her, like what the environment is like, and I didn't candy coat it for her, but I just explained it to her and she couldn't understand why people would continue to harm each other in prison. We're all in the same boat, you know, like we're all in the same boat, we're locked up away from our family, like, why are we not together helping each other out? Right? And then there's one thing she said was I stuck with me today. She said life is hard, you know what I mean? Like, and it could be harder, you know what you make of it, right? Like, you've got the choice to make it easier if you want to, like, Your circumstance were always going to be the same, right? But you have a choice to make it worse. And I'm sitting there like, man, that's just makes so much sense to me. You know, like, why are we making much harder on ourself? Right. so then I started looking at life much differently. I think her statement for me was at the moment I had, it's like, you know, things are hard, right, but I can always make it harder for myself and things could always be harder too, right? So why not enjoy You know, things that is around me and try to make a difference in my own self. Right.    So from that concept, I started developing resiliency. You know, I started, I looked at it, I started reframing life differently. Right. I started thinking about like, well, I don't have nothing to eat, you know, like doing lockdowns, I think about, yeah, well, people starving all over the world too, you know, like, you know, So it just kind of gave me strength, you know, as I learned to reframe my environment over and over again. And then I started to develop, like, start to like find opportunity to create better opportunity for myself. I went and got a job, you know, I worked in a kitchen and I fed myself and I, went to school and I got a, education and I started getting in the program. And so, you know, I started really thinking about like, How do I make my life better? You know, I call it my life, despite what I, you know, very little I have, I make the best of it. Right. So I think like that kind of echo out in my whole life until I got to the ICE detention center, you know, I'm reminded like, Oh, it's pretty bad down here. at that point, I'm like, I'm used to this already, you know, I'm used to reframing things to become positive, right? No matter how negative it is, you know, I try to find the best of it. Right. Conditioning through like hardship, hard time when I was a kid, all the way to my adulthood, even now, you know, like things get hard, with this new immigration policy and stuff, there's a lot of fear. I mean, I'm constantly reminded that I'm not alone, you know, I've built community throughout my life, I'm creating opportunity, for healing. And so I should focus on what I have that is positive versus what I don't have that is negative, you know, let's cherish the moment, you know, cherish my friendship, you know, cherish my opportunity, right. And my freedom and soul. So that grounds me, that reminded me that, can get better and it will get better. I just got to keep that faith alive and just keep hope alive and just keep moving, you know. When I go through prison and I survive all the hardship, it's grounded myself on knowing that, you know, like, people in the world have it so much worse, you know, and sometimes we have a choice to make things better for ourselves, but we have to choose to make it better, right? You can't focus on the bad things. Problem solving, you know, don't focus on a problem, like, let's focus on a solution. What can you do different right now to make it better?    Miko Lee: [00:20:11] Thanks Peejay key. I'm wondering how you were able to stay strong when you were incarcerated.   Ke Lam: [00:20:17] Wow. , at first when I first started, on my. Committed offense. I went through the whole system. I went to all one time. I went to juvenile hall, youth authority, county jail, prison and immigration all on one case. It took a while. living straight strictly on survival mode. It's almost no different than when I was growing up. My family moved around constantly and it was just either you survive or you become a victim. And I started off my early life being a victim and then I learned, how to normalize violence, growing up in a predominantly African American community. And that actually, sadly prepared me for my committed offense, be doing time inside. It wasn't easy. one thing I learned was not to be, you know, to be a tough guy. just go there, mind your business, do your time, be very observant. That's one thing that did help me a lot in life is being observant of what's going on around me, being conscious of what's going on around me. And the other thing is. Try not to take too much stuff personal, but it wasn't until I started going through self help classes that I became more in tune with learning about empathy, compassion, forgiveness, not just forgiving others and receiving forgiveness from others, but also learning how to forgive myself for a lot of the stuff that I allow myself to go through and the things that I've done to others. I think the other part of me was becoming really spiritually grounded was another big part of me was, I started out practicing Buddhism. My first, you know, my first stay for, like, 10 years of incarceration. then I converted to Christianity. no denomination because I don't believe in being a religious person. I believe in being spiritual. So a lot of people are like, what's your religion? I say, I don't have one, but I do believe in a higher power. I believe that, you know, we are spiritual being experiencing a human experience. so it's a mixture of what I learned in Buddhism and Christianity is learn to have compassion for everything around me, including myself, and part of that compassion the biggest part that actually helped me to prison was. one thing that I never got from my father and he never got from his father was a hug. So I start hugging guys, giving people hugs, guys, on a yard, you know, so nationality did not matter to me. you know, I didn't grow up. biased against a lot of different people. I learned to embrace a lot of different cultures. and then one thing by going through the self help classes, learning to connect with people on a human level, besides what t they believe in or what they look like. And so once I was able to do that, I started experiencing a lot of healing for myself and for them.    Ayame Keane-Lee: [00:22:50] You are listening to 94.1 KPFA and 89.3 KPFB in Berkeley, 88.1 KFCF in Fresno, 97.5 K248BR in Santa Cruz, 94.3 K232FZ in Monterey, and online worldwide at kpfa.org.   Miko Lee: [00:23:10] I'm wondering what each of you do, what is your personal, like mental health support that you do now to be able to stay, stay resilient, stay in there. Maybe you all have touched or feel like you've answered this already, or is there anything that you're doing differently now in your daily practice?   Maria Legarde: [00:23:26] Do want to share something real quick, Miko, going back the quote, right? That prison is meant to break us. I was already broken when I went to prison. There's nothing more that they can break me. That's why I said it, like, give it to me more. What else can you give me? Because I'm already broken. You took everything from me. You know, everything was taken from me. What more can you do to break me? But then, you know, with my journey, faith as being my foundation, right, I believe that once, God gives you that second chance, right, for me. What do I want to make? With this chance, who do I want to be? So like a phoenix, you know, rise from the ashes, right? And so I utilized that and it didn't take just one year, right? Took me in that journey. That throughout that 14 years to be who I am today. So I took that broken pieces of me and put it in a puzzle and made it into this beautiful product today, right? So my mental health, my wellbeing, emotionally, mentally, I always go back to my faith. Because it's what saved me from when I got to prison. So when everything else is in chaos, I go back into that place. Go to my place within me that I can just be at peace. And meditate, listen to my music, be one in nature, so that's my go to. And it helps when I know I have people, like my beautiful family here. it helps when I know that I don't have to tell them. They can hear it from my voice and say, it's gonna be okay, Maria. So that's the kind of care. Without even having to say it, they just know. And that's more effective than anything else.    Miko Lee: [00:25:16] Thanks, Maria. Peejay, you were going to add?    Peejay Ai: [00:25:19] Yeah, so one of the things that I adopted for myself when I was in prison is that I was heavily involved with the Native American spiritual circle, you know, because of my kind of Cambodian Background before Buddhism came through, we were indigenous, right? And so through my indigenous side of sharing with the Native American cultural there, they found a lot of similarity to us people, right? And so I was fortunate to be invited to join the spiritual circle, did ceremony with them. And so a lot of the spiritual practices that I have done with them, like, for example, like this sweat lodge ceremony, which are often used for healing or prayers. stay connected with the earth, stay connected with your creators, stay connected with the higher power and also like have an opportunity to pray for your family and do some healing and cleansing for yourself. So I still practice that today and sometime when I feel out of balance, when I feel like, you know, a lot's going on and things are heavy and just stuff out of control and I need to find that balance again. You know, I go to ceremony, I go to ceremony here, here when I'm in the lodge. you know, it's pitch black, the sweat leader brings in the stone that just represent grandfather, and your elders and when he poured a water on top of the stone and it's pitch black, the steam comes out, you know, reminding me of like grandfather's breath, right. The creator's breath. And, you know, like that. And like being a sauna, people think about it being a sauna, like it washes away a lot of like toxins out of my body. It just, it washes away a lot of the hardship I've experienced as I leave it into the fire, you know, leave it into the steam and allow myself some time to like disconnect from the world around me and just reconnect with myself, you know, what am I experiencing at that moment, my breath, my pores opening, my heartbeat, you know, and, sometime, you know, people who are in the sweat lodge sing traditional songs and the sound of the drum. , And it wakes up my spirit, and it reminds me of who I am, where I came from, where I'm going. Yeah, and when I come out of the sweat lodge, I always feel like renewed, I feel energetic. I feel like I've been reborn again, right? And that helped me stay grounded on a very physical, spiritual, and emotional level. I think the other piece is that as I'm going through life, I'm celebrating it by, like, with family members, with a long walk with my family. Well, my, my dog, also help, just kind of like putting things in perspective, right. I found moments to do like me time, sometime yoga, even, you know, I, you know, the other day I did silver sneaker, because some of my elders like to do silver sneaker. . And that was like, very, powerful moment, right. And I feel like I guess it's like what I'm learning is that, Those moments help me connect with myself. And sometimes that's the thing that I need to do most when things are hard. sometimes working and responding to crisis disconnect me from myself and then when I start to refocus on myself, I realize where I need to be. then I feel empowered take the next step. That's what keeps me going. Be aware of connecting with myself more often, right? You know, I because sometimes it's easy to forget that I matters and forget myself.    Miko Lee: [00:27:59] Thank you for sharing. It's really easy to get disconnect, disconnected in our world right now. So many things are hitting at us constantly. Ke. What about you? What are ways that you stay resilient?   Ke Lam: [00:28:10] I think for one is definitely take a lot of deep breath is grounding myself is definitely one thing. It's so easy to get caught up in all the chaos around us, you know, hearing all the raids and pick up and who works, who works with ice. It is, it's really, it's depressing and it causes a lot of anxiety. One of the things I do besides breathing is I have wind therapy, wind therapy. I just learned what wind therapy is actually just riding my motorcycle, just going out there and just, you know, pick a location, just go, right? no plan. Just, just go. And most of the time I just go by myself. so I ride my ride. I zone out, play my music and I go, other things. I really, I actually been doing a lot lately is sitting with my dog and Just sitting there in peace and just quiet, just hanging out with my dog. Cause I lost my other one in October. And so the one I have now, I just meet her, just chill at the, on the sofa. I mean, on the ground, sofa on the floor, and sometimes we just go for long walks and just, don't have to talk. you know, just being present and grounded with earth and with the environment around me. and then other thing is, you Just stay connected with family and community. you know, being able to slowly share like what's going on while I'm feeling inside and outside. It's been helpful.   Miko Lee: [00:29:22] Thank you. I think we all need as many resources as we can to find ways to stay connected to ourselves and our community right now. , I'm wondering both. Peejay and Ke, , touched on the fact that you have been involved in the like bad education to incarceration as a youth into adult incarceration and now potential deportation. Can you all give a breakdown about what crimmigration is and why it is important for people to know about it?   Chanthon Bun: [00:29:50] Crimmigration is, my simplest definition of crimmigration is double punishment. crimmigration is for folks that come here legally with papers, but then because of the IIRA IRA law of 1996 that states that any crime of moral sopropo you could be deported after you serve your time so you have to serve your whole sentence pay back to society what they say you got to pay back to society serve your sentence and after that deal with deportation consequences and that's another question that we're going through today Right with this new administration is who deserve to stay in who doesn't and right now it's so Convoluted where where you know, every day we're getting new explanation who stays who goes who stays who goes and everybody talk about the law, it's the law this, it's the law that, the law says this, and they interpret the way they want to interpret it. But nobody that's in power is talking about the family, nobody's talking about the person, nobody's looking into the person like, you know, a country of second chances, nobody talks about that, like yeah, there are criminals. send them out But we have folks that have served long term, like all four of us and we healed ourselves. we went to a parole board, the state of California, the governor approved that. We are no longer a threat to our community, our society, and also an asset to our community and society, right? But after that, immigration comes in like, we don't even care. We just know you were arrested for this and this. And it's time for you to go. And for a lot of our Southeast Asian families, that's a hard thing to wait for your family member for 20, 30 years, and then get deported for life. And I only say that is because We suffer a lot of displacement. We suffer a lot of family separation. a lot of us are the ones that were saved during the genocide, during the war, the ones that survived. and then, this country doesn't look at our history. Right. and our history is sold like you are blessed to have a second chance to come to this country and make something of yourself. Right. And that's a totally blank statement. But then reality was, we came here with nothing. We came here with a lot of trauma, and we were just placed here with no explanation, no nothing. struggling to survive, struggling to understand this country. a lot of us like myself, fall into the criminal system. And we had, paid for what we've done. we've served our time and now to turn around our parents that are elderly now saying goodbye to them again. And, oh, that's a misstatement saying goodbye. They don't even let us say goodbye. You know, it's not like, oh yeah, say goodbye to, no, you got to go. And the way it's done is so cruelly done that, nobody ever think of the human. Nobody ever thinks of the heartbreaks, nothing. And right now, all I hear is the law says so. So we are a country of law, right? But we are human too.   Miko Lee: [00:32:56] Thanks for that rundown on criminalization. Peejay, do you want to add.   Peejay Ai: [00:32:59] Yeah, I think about, like, when I hear crimmigration, I think of, like, my own experience, you know, like, going through the pipeline list. I'm learning, like, there's a pipeline. You know, between the criminal justice system to the immigration system in the criminal justice system, a legal system, you know, like for me, when I came to United States, we settled in a very poverish, violent, crazy community. Right. there was not a lot of resources, you know, and then there's like a lot of gangs, a lot of like bias, racism was happening at the time. This is the time, like the war on drugs, tough on crime policy, it was out, and the prison boom. Right. Right. And so for me, I think like the lack of education, the lack of support was already like a prelude to my incarceration. Like there was a pipeline or established that one, one of these days, I'm going to be in prison because of all those X, Y, Z reason. And I'm not the only one. I think like that's pipeline created, you know, hardship for a lot of people, and then, for many Southeast Asian community end up in prison because of like, Dealing with trauma, you know, like we didn't have the resources to deal with a trauma, you know, it comes out in crimes comes out in gangs, it comes out and, you know, like adapting to environment by, being part of all this negative stuff. Right. And, you know, in a prison system. And, you know, unfortunately, a lot of us in being raised in prison, you know, learning about the prison system, through our lived experience, I have to suffer through it. Right.    And I think like what Bun said, you know, like, for Southeast Asian community. You know, being in prison system is just the first step, like surviving your environment, your resettlement is one thing, right? And then end up in a prison system is another step, right? And then the other step is that you end up in an ICE dentention center, simply not because of like what you did, it is who you are, like you were born with, you were born Asian or you were born an Islander, you were born, you know, API, right? And you have the immigration hole on you. And so they try to punish you again because of that very reason, you know, like if I was an American citizen. And I served my time, changed my life. I will be home. Right. I can give back to my community. I reconnect with my family. But for, you know, for API community, that's not always the case. You know, like where are you pre preset that, you know, like after prison, you're going to go into the immigration system and that's where you're going to take your next step, your journey. Right. And then after you, if you were to survive the immigration system, we will deport you, you know, and we'll separate you from your family again. And often like stuff that makes sense, like Cambodian, for example, and this is true for Laos, Vietnamese, Hmong, and a lot of other Southeast Asian communities, right? Like we were refugees, you know, we came to this country, you know, as kids. So we're not even born in the country that we left, you know, like I, I was never born in Cambodia. My mom left Cambodia during a genocide and I was born in Thai. So then I was in, they were trying to deport me to Cambodia to a country I'd never been to. I wasn't even born there, you know, so it didn't make no sense, right? But I feel like this, when I think about like crimmigration it's a pipeline, you know, it's a pipeline that it's very biased, it treats us very differently. if you're API, then you're out of luck, if you're API, you will be out of luck, you know, like you'd be treated differently. Right. and I, and I don't think that's a right system because it's the exact opposite of what the American society is supposed to stand for. Right. You know, especially like California, and you're like, we're a very liberal community, right? Like, we're a state that just, support, ideally, immigrants and all ethnic background. But then we treat people so differently, And not because of what I did, just simply because who I am.   Miko Lee: [00:35:54] Ke can you talk about the APSC4? What your campaign is about.   Ke Lam: [00:35:58] APSC4 is a campaign to save half of the staff from deportation back to a country that they have no ties to, , for me is Vietnam for Peejay and Bun it's Cambodia and Maria to the Philippines. It's basically trying to say, you know, we're not the same, like people that served time and got released are considered, I consider is redeemed, we changed our lives, we made restoration for the harms that we've done, and we're giving back to the community, and we're showing that people with a second chance can make society greater. And by deporting APSC4, deporting people like us, you're taking valuable resources from the community. People that understand the struggle and, the hardship that's going on in our community. So we're bringing voice to the voiceless. We're bringing, light to those that are still in the dark. And the other thing, the biggest part of APSC4 is we're hopeful for a lot of folks that are, not just impacted people, but for families. If APSC4 is able to get a part in, we're showing the community that when we fight, we win. That together, we can not just save APSC4, but we can actually save our community. I think that's one of the biggest mission of why we urge Gavin Newsom to pardon APSC4 is that way that we can show that not only are people that committed crime, not their crime, because so easy to label somebody that committed crime. You know, as that thing, right? , but we're not, I think that's the biggest part for me for APSC4 and I'd like to hear what Maria had to say on   Maria Legarde: [00:37:24] So much going through my head. APSC4 you know, we make up half of the staff for APSC, right? We represent the community that APSC serves. We're directly impacted. We've been through immigration. We, you know, with our family reunification. APSC4 is the bridge between the people that are inside fighting for their freedom, what freedom looks like out here, how, when they're out here, how they can bridge that gap in their community, how they can bridge that gap with their family, how can they start over by, you know, having a solid reintegration into a community that's gonna be supportive of their success. Because they were given second chances, who they were when they were 20 years ago are different people today. And I think, you know, with Nia, with Danny, right, they received pardons from Governor Newsom, you know, and it was during that time, too, when all the immigrants were at risk. And so for us, APSC4, It would really be, a loss in the community because we bridged that gap, Miko. Like, when I first came home, Ke was my bridge. I was in LA, right? People didn't know it, what to do for folks. immigrants coming home on parole. But we bridged it. Now LA knows what to do. LA knows where to start because Ke bridged that gap between local DMV, and head, Sacramento DMV. You know, that's what community work and that's what APSC4 is. We were the bridge, literally the bridge from our folks inside, to our community out here, to our elected officials that you invested in programs to rehabilitate us, to spend money on those rehabilitation, those fundings, and now that we're here, you're allowing you know, allowing an administration, like for your investment to just, what, go down the drain, because really that's what it is. Only because we weren't born here, only because of what we were dealt with at the time when we were facing challenges we didn't know how to, but now we have all the tools and we've proven that we've held our community, because our community has spoken for us. You know, ask Governor Newsom to please pardon the community members that are coming home that are all at risk of deportation and it's not just APSC4. very much. But we are being the voice for those that don't know how to advocate for themselves. We're showing them, look, we're putting ourselves out here. Because we know the value that we hold today. And our community believes in us. And with their support, hopefully, Newsome hears that, you know, changes his mind, I don't know. Do within his executive authority to save those people that are working in his vulnerable communities, in his marginalized communities, that are thriving, helping those communities thrive. And we are part of that. And we're hoping that he does it in a manner where, because it's imminent, we don't know when we get to talk to our community members again, to you, to have this discussion again, and so that's what APSC4 campaign is about.   Miko Lee: [00:40:50] And folks can find out more about the APSC campaign on their website, Asian Prisoner Support Committee, and we'll also post it on the Apex Express website. And folks can meet all of these amazing guests in person at an event that's happening February 28th from 6 to 8PM at Edge on the Square in San Francisco, Chinatown, where we will be hosting the reading from the book arriving. Can one of you talk about and and the other exciting thing about that is at that event, there's actually a zine. That's based on Maria's life story called when we were girls, that they'll be able to meet Maria and actually walk away with the zine. That's for people to take people can make a donation to actually receive the book. Can one of you talk about the book and what that experience was like working on the book and about what this event is coming up at the end of February.    Chanthon Bun: [00:41:40] Arriving is our second anthology. the first anthology was called The Others. So, Arriving is a collaboration of incarcerated writers. I'm an artist in that book also. it was, it's just stories. of folks that are incarcerated, API folks that are incarcerated, expressing, poems, expressing their trauma, expressing their live experience, expressing what it felt like to be API at a certain moment. in time with, immigration, with, coming to, uh, this country, acculturation, you know, we have, many different writers that, that collaborated with us. when I read certain, certain, writers, And they're telling my story. They're telling all our stories. So, if you guys can, check out, check out the second anthology, Arrival.   Miko Lee: [00:42:30] So we are recording this on the last day of January, 2025. And already in just a couple of weeks, our political system is in tumult based on Trump 2.0 policy. Can you talk a little bit about how, and I know the policy is changing daily. I mean, every day it's this onslaught, but from what you know right now, how has this impacted your community?   Chanthon Bun: [00:42:54] The community is in fear. All day today I was driving around going to meetings, but getting phone calls right in the middle. What's happening? What's going on? I heard and there's a lot of rumors. There's a lot of fear out there and folks are catching up to rumors and, you know, our folks like, hey, they're deporting us. Should I run? Should I stay? Should I check in? Should I check in with my family? Should I move out for a while? And it's just a lot of fear. The sad thing is they're calling me and they're probably calling everybody from APSC. because we have a wide connection with our former incarcerated folks and folks that are under, final removal order. The hard thing is, Like what you said, I tell him the same thing. Like I know it's fear. We have a lot of fear in our community. I know we're all worried. for the kids, for the family. And I can't give you no answers because it's changing every day. I wake up, I look at the news is something else new. There's something there. There's something there. And every day since the inauguration, it's just. hits our community and living with fear is such a mental breakdown. I had one guy, call me a friend of mine. He says, I do a door dash and I see them everywhere. What do I do? Like, I see them everywhere I'm living at. I see them in the corners. I see them eating in the restaurant. And, you know, I have to go pick up food there to drop off. and you know, the only thing I could really say, and it's not even something that, could calm them. It was like, be careful, you know, be aware. I mean, it's hard. I know it's hard, a heart advice but I myself is living in that same fear. being aware, but still trying to uplift our community in times like this. I mean, this is not going to be the first or last time that our community are in fear. It's happened before and we'll get through it. You know, with our community strength, we'll get through it. And the hard thing is, some of us won't get through it. Some of us will be deported. But somehow, as a community, we have to stand strong together. We have to just brace this. And, hopefully, it'll end soon.    Ke Lam: [00:44:57] Yeah, my biggest concern with what's going on right now is when community, fight each other like good immigrant versus bad immigrants. you know, how to stay away from that narrative, right? how not to pit each other against each other. So I think that's one of the things we seen on the first administration. and now with the second administration, especially when he's talking about going a little harder on it. I worry that, you know, family will. Start separating within each other. And, you know, with the, political views, certain family members who support Trump, who doesn't support Trump other part of the population I'm afraid of is those that are remaining silence. Those are that are hiding in the shadows. Right. Because they think by being invisible, they're that, that they'd be safe when in reality they're not. And so like, that's what caused, that's what's going on with this new mission. It causes people to hide and by hiding, by being siloed, that they become more vulnerable. And then I asked that community don't become like that. It's like the shame culture in our, you know, in our generation, the Southeast Asian, where we don't talk about nothing. Right. And that's actually not really productive for healing at all. That's actually the perpetuation of trauma. And so like we need to talk about crimmigration, criminal justice, we need to talk about social reform. Even something as simple as like, did you vote. That are who are able to vote like you need to vote. And don't complain about what's going on if you didn't vote. And so that's a hard conversation with our families, that I have with my family. You know, when they complain, I say, did you vote? No? Well, you got nothing to complain about. Right? But the other thing is, I think the other word that popped in my mind is proximity. How do we get our, people. To come close to the problem and to talk about it. We're all close to the problem, but we don't talk about it. And so like, you know, hopefully people like formerly incarcerated people, like APSC4, we're making that difference. We're bringing voice to our community that don't want to talk about it. Even our community that fight against us and tell us not to remain silent. Like we're like, no, like my family tell me, don't talk about it. Like, I'm like, I'm going to talk about it. You know, either you're with me or not, regardless, I'm gonna talk about it because we need to talk about we need to, we need to heal from all this trauma.   Miko Lee: [00:46:58] Thanks, Ke. Maria, what are your thoughts on how this new administration is impacting your population?    Maria Legarde: [00:47:05] Well, he succeeded in creating that climate of fear. That he wanted to, you know, that's the one thing that he did, but like yesterday I was with a group of community members up here in the Central Valley, and, we were talking about how, you know, when I was growing up, 1986, it's a revolution in the Philippines, when the church and the state, you know, it's always separated, right? But it was that one time. That the church and the state stood together to overthrow a dictator. And if it happened in history once, right, I, there's that hope. And so for my Filipino community that are in fear of what's going on in Trump 0, especially the ones in SoCal, know, knowing their rights and everything that we've talked about for the last week already, right? It's good to know those things, creating that space for them to talk is what my family is helping with others too. So here, my husband and my mom at work, like this is what needs to be done. You know, this is what needs to be done. There's a lot of our Hispanic over there, in the community, and this is what you need to tell them, translate it, so we know what we need to do, so it's our job to, disseminate the information and show them how it's done, so for our Filipino folks, It was actually, you know, my family, some of my family members that gave me a call. It's like, okay, so what do we do again? You know, I said, I'm going to send you some red cards in the mail if not printed. Like, well, I don't have a printer. So just doing my part to make sure that my family is well equipped, their family, their community, wherever they're at. It helps alleviate that fear. And I always tell them like, Yeah, sometimes it would creep in. And when it does happen to me, Bun knows, I go to Bun, I go to my mom, I go to my brother, I cry if I have to, because I just need to release it. And I tell them, just do it! If you need to yell, yell! But, you already succeeded. Then what? But like you said, you know, the laws are changing every day. And so, you earned it. Then fight for it. And when you fight for it, did things happen because you're in this fight and you don't give up and that's what resilient people are. Immigrants are resilient. We're the backbone of the economy. I mean, if they don't know that by now, I don't know what world they're living in or what planet they're living in, because we're showing them that we are the backbone of the economy. You know, and without the hardworking immigrants, would America be really that great? Because we add to that greatness.    Miko Lee: [00:49:26] Thanks, Maria. Peejay, what are your thoughts on Trump 2.0 and the impact on the community?   Peejay Ai: [00:49:31] I think it's terrorism, right? For me, I think, like, when I think about Trump 2.0, I mean, like, there's a lot of stuff on the news about, Trump using anti terrorism, sentiment, to try to scare people into passing all these bills and justifying, treating other people as terrorism, but I think, like, we live here, like, we are being terrorized right now, by the whole Trump 2. 0 process, by, like, separating people from their family, creating fear, attacking people at their home, like, all those are, like, Formal terrorism, you know, I think to me is like, how do you treat human being that way? You know, and, I can't believe that's the best option that you could think of. Of how to solve whatever immigration problem that they feel like they're having, but yeah, I think this is a way to like create separation between community, right? You're pitting people against each other. Like you said, you know, like when people live.   Miko Lee: [00:50:11] in a classic divide and conquer mode.   Peejay Ai: [00:50:14] divide and conquer. Yeah. And I don't think it's fair, you know, I don't think anyone have a right to treat human being that way, you know? create more trauma and justify it as the right thing to do. Cause I don't think, creating that kind of pain. I mean, it's human right. You know, but you're violating, human right. And even the constitution of being violated and that, and people think it's okay that is happening, you know, so if, if, and the constitution are created to safeguard people, right. Safeguard United States the citizen. Right. So if you can't even honor your own constitution, how do you know anyone here is safe? I think we're creating. A lot of damage, right? I think this administration is creating a lot of damage in this policy. And I think, I don't think we're going to recover from it. And people is going to wake up one day and realize that the people they care about is no longer there. And it's going to be too late to be sad because, you know, they're gone, right? and I think people should do something about it. You know, now we have a chance to come together as a community and fight back, you know, and keep each other safe and show the world like what community can do for each other, what it means to each other, right? And I'm, I'm sad, you know, I'm really sad. I have a lot of fear for myself, for my, brothers and sisters, APSE four, and I'm very sad for my community around me and the client that I serve, you know, I think it's tragic. And we're now, At this stage, you know, being in America, I mean, like, that's just insane to me. yeah, I think terrorism has a very crazy definition and I think, you know, if you unpack it, you can see it happening in this, with the way people are being treated right now, from this whole process.   Miko Lee: [00:51:28] Feel like we all need what Ke's saying, take a breath and, lean into the resilience we were talking about earlier. This is why I was asking you questions. You all are some of the strongest people I know, like how do we keep the strength? How do we continue on? I want to move us toward my last question for all of you, which is around a liberatory future and what does it look like? Dr. Bettina Love, who, as you all know, is an amazing teacher around abolitionism, talks about how abolitionist teaching is not just about tearing down and building up, but also about the joy necessary to be in solidarity with others. Knowing that your struggle for freedom is constant, but that there is beauty in the camaraderie of creating a just world. So my question for us to leave in a dreamy note, is what is your dream of a liberatory future? What does that look like for you?   Chanthon Bun: [00:52:22] I'm a father, grandfather. For me, a liberatory future is folks could just live with their family happy. Thank you. You know, we have the worries of, making money and all that, but beside all that, just having the breath to share with your, your family, you know, the feeling of true freedom, right? Like, I don't even know how that looks like or how it feels. Cause haven't got there yet, but there's moments when I spend with my kids and my grandkids. So I want that moment to be longer.   Miko Lee: [00:52:52] Thanks, Bun. Anybody else have their dream of a liberatory future?   Ke Lam: [00:52:57] For me, a future is where there is no us versus them. There is a place where community could come together, break bread, despite different languages. and then part of that is, where members of community that has been a silo for so long can actually come to, to ask for help. You know, there's no fear to, right now I have a friend who's so afraid to ask for help and in the shadow, because a part of it is also a liberatory future. It's like, Not carrying on the shame of the past, breaking a lot of those intergenerational trauma. All right, where it's, you know, it doesn't matter if you've been convicted of a crime, if you're a refugee, if you're darks complected, or you're like completed, there's like no biases in a laboratory future where we share in each other's wealth and happiness. your happiness is my happiness. And there's no need to like, I need to have what you have to be on the same status like it's like no social class, like, there is none. We're all equal. You know, we all have universal health care and, and education, and it's just, and universal childcare as well. We definitely need that because it's so expensive, but it just, it just, for me, it's a place where it's like a utopia, a liberatory future. It's like a dream. Right. And I think, A liberatory future is like one win at a time, but not just one small one, but big wins.   Miko Lee: [00:54:20] Thanks, Key. Peejay, what are your thoughts?   Peejay Ai: [00:54:23] I just want to not live in fear. you know I've Live in fear since the day I was born, and I continue to live in fear to today. And I feel that journey has not ended for me and my family. You know, fear from being murdered and fear from genocide, fear of incarceration, fear of family separation. You know, I haven't had, I have not had a stable life. You know, until today, I'm still living in limbo, right? I was born into it. And so for me, it's just not simple, you know, like I just want what any kid wants, you know, in a family, you know, to be loved, to feel safe, to be accepted. And to be with my family, that's really all I want, you know, just to be a normal kid, to be a normal person with a normal life without having to be afraid all the time.   Miko Lee: [00:55:01] Thanks, Peejay. Maria, what are your thoughts on what does a liberatory future look like?    Maria Legarde: [00:55:06] Think for me, like, everyone shared, you know, what the future looks like. one thing is that not have, not looking behind me or, you know, just walking, enjoying a walk out there without having to fear that is somebody going to come out of that corner. want a future where, you know, finally I'm at a place in my life where I'm able to make Decisions, good rational decisions I'm able to take care of myself, my family, my loved ones, my community, I'm able to give back more than I thought I could, you know, and I'm living that life where I can actually make a difference. You know, who would have thought little old me? Is going to be able to make a difference in people's lives. I just want to be able to continue that and love, you know, and share that love and joy and with everybody. And that's the kind of future like what he said, you know, the kind of future where everybody would have the help that they need. If they need someone, they can go to the next person without having to fear if they're going to get be judged or treated differently because of the color of their skin. Or because of the way they talk or because of the way they look, you know, I just want that kind of future where we can all be happy, and life is full of challenges, but I want that future that we, I know that we can all depend on each other and grow together. That's the kind of future that I want.    Miko Lee: [00:56:27] Thank you so much to the APSC4 Peejay, Maria, Bun, and Ke for sharing your stories, your fight, your leadership, your advocacy, and also what does a liberatory future look like, which is just living without fear, being able to be with our families, being able to celebrate and take joy in beloved community, and not to have to worry, but just breathe and be with each other. I really appreciate y'all and all the work that you're doing and encouraging our big community to come out and celebrate February 28th at Edge on the Square in San Francisco, Chinatown. Thanks, y'all. Please check out our website, kpfa.org. To find out more about our show tonight. We think all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world because your voices are important. APEX Express is created by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, Aisa Villarosa, Estella Owoimaha-Church, Gabriel Tangloao, Cheryl Truong and Ayame Keane-Lee.    The post APEX Express – 2.6.25 – Arriving: APSC4 Part I appeared first on KPFA.

Seether, Islander, Lord Nelson - Music, Memories!

Join me for a festive episode of Good Company with Bowling featuring Mikey from Islander, John Humphrey from Seether, and Lord Nelson from Live and Loud with The Lord. We dive into what's new with Seether and Islander, catch up on Lord Nelson's latest projects, and share our favorite Christmas moments. Plus, we look ahead to exciting plans for 2025. Don't miss this holiday special filled with music, memories, and more!

It's a Quick Fix featuring Joe Buono (@IslesFix) and former VP of Communications for the Islanders, Chris Botta (@ChrisBottaNHL).In this edition, we take a holiday stroll down memory lane and reminisce about the infamous 2003 Santa “Brawl” at the Coliseum with one of the playful perpetrators of the tomfoolery, lifelong Islander fan turned NHL betting savant and sniffer Andy Francess. But first, the trio each took turns pointing podcast fingers at what's most responsible for the Islanders' overall stale on-the-ice product that's producing more of the mediocre same. As a bonus, Joe offers listeners an alternative stocking stuffer option at the top of the show. Get full access to Isles Fix at islesfix.substack.com/subscribe

It's been a couple weeks, but Ryan, Brian, and Staniel return to talk all things New York Metro hockey in the Three Rails Metro Hockey Podcast! Staniel holds his emotional support shark talking about the schizophrenic nature of Islander fans, Brian talks about the Jacob Trouba trade that led to a major signing for the Rangers, and Ryan wonders if the top six forward group of the Devils might need some help despite the Devils' great start. Plus, a coaching dismissal, the Four Nations Face-Off teams release their rosters, and next season's Winter Classic might be headed to... Miami? The Three Rails Metro Hockey Podcast is a produced by No Credentials Required, a part of Belly Up Sports Media Network. Time to BS With Staniel Smooth: www.youtube.com/ @timetobspodcast Belly Up Sports: www.bellyupsports.com | www.youtube.com/@bellyupsports Righteous Felon: This episode's affiliate sponsor is Righteous Felon Craft Jerky: Save 15% off your order with promo code BELLYUP at checkout! Plus, free shipping for every order of $50 or more! | www.righteousfelon.com Follow us on social media: Twitter/Instagram/TikTok: @nocredsreq Facebook: www.fb.com/nocredsreq YouTube: www.youtube.com/@nocredsreq Join our Discord server for more sports conversation: https://discord.gg/WknBEUQY Learn more about your ad choices. Visit megaphone.fm/adchoices

Today, the small island roughly 13 kilometers off the coast of Pingtung County is called Xiaoliuqiu 琉球嶼. Some 400 years ago, however, many called it Lamay Island. Shipwrecks in the seas around Formosa were common, and survivors who made it ashore often found the native peoples tolerated no incursions. After a few such incidents involving the killing of people from Dutch ships by Lamay Islanders, the Dutch East India Company (VOC) HQ in Batavia (Jakarta) gave the Dutch colonists in Taiwan an order: Completely depopulate Lamay Island. The Dutch in Taiwan - not without reservations - followed this order, and committed the worst atrocity against the indigenous people during the Dutch colonial period in Formosa.  Note: This episode was originally published on 22 March, 2022 

Luke Gazdic got things started at the top of the second hour. He shed some light on the Oilers most recent game against the Islander, Jeff Skinners recent struggles and finished with this thoughts on Vasily Podkolzin and Evander Kane potentially being on a line with Draisaitl when the times comes…   In the middle of the hour, the boys gave their Coolbet 'Hotline of The Day' right before we qualified another lucky listener for a chance to Fly Away To L.A. presented by The Seven Eighty!   And to finish off the hour, the boys discussed their most recent examples of beef for 'I Got Beef' presented by Acme Meat Market! 

New Jersey Devils GM and President of Hockey Operations Tom Fitzgerald joins the show which salutes the best start in NHL history, the soon-to-be greatest goal scorer, plenty of league and college news and a player who took the NHL by storm three years ago whose production has fizzled. The Human Side of the Story concludes the show with the newest Hockey Hall of Fame inductees...and two who should be.IN THIS EPISODE:[02:40] - In "Three Things You Need to Pay Attention To," Vic and Neil simply can't ignore the historic start by the Washington Capitals, the energized Alex Ovechkin or the N.Y. Islanders continued negative trend of losing leads late.[10:15] - Tom Fitzgerald joins the show with a little reminiscing of being on either side of Manhattan as an Islander player and Devil GM.[12:40] - Fitzgerald shares the challenge of re-building his team after a disappointing 2023-24 season.[14:30] - The process involved in securing Sheldon Keefe to come to New Jersey as the head coach.[16:13] - Fitzgerald speaks about the addition of new players, healthy returnees and the fit with the new head coach.[20:30] - Neil and Tom share more stories from the early 80's about hockey camps, college and the connection with Jack and Luke Hughes dad, Jimmy.[22:00] - The transformation of Dougie Hamilton since coming to New Jersey as well as the accelerated growth of Simon Nemec when Hamilton went down for the season in November 2023.[27:10] - The maturity and growth of captain Nico Hischier[29:30] - Fitzgerald speaks on topics of discussion for the upcoming GM meetings with goaltender interference at the top of Tom's list. Fitzgerald also talks about an equal playing field for teams which don't have a state tax.[32:46] - Vic invites Tom to share his memories of the first Panthers team to make the Stanley Cup Final, thanks to his game winning goal in Pittsburgh in Game 7 in 1996.[36:15] - In the league notes section, significant goalie news as the Ducks John Gibson returns from an appendectomy, Jeremy Swayman and Linus Ullmark face each for the first time since the latter was traded to Ottawa and Tristan Jarry is recalled by the Penguins. [38:11] - Injury and other player updates[40:20] - The Edmonton Oilers knock Kevin Lankinen from the Canucks net Saturday while the Colorado Avalanche end the Carolina Hurricanes eight-game winning streak with the help of a five goal-second period.[42:41] - The man known for "The Michigan" goals three seasons ago, Trevor Zegras, has become borderline irrelevant in Anaheim.[47:17] - With the NCAA lifting the eligibility ban on CHL players to join U.S. College teams, what does that mean for the future of Canadian Major Junior leagues?[50:30] - The Human Side of the Story notes five players and two builders as the newest inductees. However, for every inductee class, there are those who manage to be overlooked year after year.Youtube: https://www.youtube.com/channel/UCgBj1LV0-DMfBhcRPSJZLjAX: https://twitter.com/NHLWraparoundNeil Smith: https://twitter.com/NYCNeilVic Morren: https://www.linkedin.com/in/vic-morren-7038737/NHL Wraparound Instagram:https://www.instagram.com/nhlwraparound/#NHLWraparound #ShortShifts #NeilSmith #VicMorren #NHL #AnaheimDucks # #BostonBruins #BuffaloSabres #CalgaryFlames #CarolinaHurricanes #ChicagoBlackHawks #ColoradoAvalanche #ColumbusBlueJackets #DallasStars #DetroitRedWings #EdmontonOilers #FloridaPanthers #LosAngelesKings #MinnesotaWild #MontrealCanadiens #NashvillePredators #NewJerseyDevils #NewYorkIslanders #NewYorkRangers #OttawaSenators #PhiladelphiaFlyers #PittsburghPenguins #StLouisBlues #SanJoseSharks #SeattleKraken #TampaBayLightning #TorontoMapleLeafs #UtahHockeyClub #VancouverCanucks #VegasGoldenKnights #WashingtonCapitals #WinnipegJets #VeteransDay...

Former Islanders defenseman and media member Thomas Hickey will stop by for an interview, as we take a deeper look into the New York Islanders and the start to their season.

→ Join our mission of spreading Asian & Pacific Islander cultural awareness by signing up for our mailing list. Please support our show by purchasing our merch: → Legends from the Pacific: Book 1 is available on Amazon. https://amzn.to/3CIYo6m (Amazon Affiliate link) → Shirts and more are at our store! → Join our Patreon for exclusive stories. ***** Special Hawaiian Epic Conclusion After much research, Kamu shares the final segment of our sprawling Hawaiian epic about Hawaii's family of Wind Guardians.  Featured Song: "Kuini (Ku'u Lei Aloha)", by Kalani Pe'a, courtesy of HI*Sessions → Join our email list https://legendsfromthepacific.ck.page/32ca50bd23 *We respect your privacy. We will not share your email. You can unsubscribe at any time. Theme Song: "Mystery" by Tavana, courtesy of HI*Sessions Sound Effects: Sound Effects Factory Music Coordinator: Matt Duffy AKA DJ TripleBypass Link to this episode on our website: https://legendsfromthepacific.com/162-paakaa-7 Please give us a rating, write a review, subscribe, follow us, and share us with your friends and family. ***** Join our email list and claim your exclusive unaired episode today: "Hawaii's Faceless Ghost - Mujina" (Unaired Episode) https://legendsfromthepacific.ck.page/32ca50bd23 *We respect your privacy. We will not share your email. You can unsubscribe at any time. Listen to unaired Hawaiian stories, and Kamu's paranormal experiences by becoming a Patreon supporter today: https://www.patreon.com/legendsfromthepacific Send your unusual Pacific experience to be shared on a future episode. https://legendsfromthepacific.com/feedback  Visit our Fan Art Section: https://legendsfromthepacific.com/fan-artwork Instagram: legendsfromthepacific X: LegendsPacific Follow Legends from the Pacific wherever you listen to audio. → Follow via Apple Podcasts: https://podcasts.apple.com/us/podcast/legends-from-the-pacific/id1501091122 → Follow via Google Podcasts: https://podcasts.google.com/search/legends%20from%20the%20pacific → Follow via Spotify: https://open.spotify.com/show/5qhdkYUl8R7hSw6OZYJLye → Here's our RSS feed: https://legendsfromthepacific.libsyn.com/rss www.LegendsFromThePacific.com

A fan-fave Islander is tipped to be returning to Love Island Australia! Samantha Armytage confirms HUGE hosting role after leaving Farmer Wants a Wife! Married at First Sight's Olivia Frazer slams Domenica Calarco for ‘COMMODIFYING' mental illness with new project! PLUS LOTS MORE! Want more of the latest gossip? Get EXTRA hot tea on SO DRAMATIC! EXTRA via PATREON and APPLE! Visit SO DRAMATIC! ONLINE and sign up for our VIP list! Keep up to date with the latest on INSTAGRAM, FACEBOOK, TIKTOK, TWITTER and the FACEBOOK GROUP! Got a tip? Contact: tips@sodramaticmedia.com! Want to partner with us? Contact: hello@sodramaticmedia.com!See omnystudio.com/listener for privacy information.

The Australian South Sea Islander community has come together to celebrate the 30th anniversary of Commonwealth Recognition. Despite that recognition, Australian South Sea Islander communities continue to experience social and economic disadvantage.

What's the difference between a car and a truck? It's hundreds of dollars if you're taking the Waiheke vehicle ferry. The definition is central to a dispute over fares on the Sealink ferry, the only car ferry to the Hauraki Gulf island. Islander, John Stansfield said he booked his car on a crossing today and paid the car rate of $195 return. He drives a 660 cc Suzuki Jimny flat-deck, the makers describe it as a 4 wheel drive off roader. It's smaller than your average SUV or van, weighs less and is registered as a car. However, when he went to board, John said Sealink refused to carry him unless he paid an additional $230 for a commercial truck; total return ticket price about $433. John Stansfield said he needed to get to Auckland so paid, but said it's greedy behaviour and he's demanding a refund from Sealink. Stansfield spoke to Lisa Owen.

→ Join our mission of spreading Asian & Pacific Islander cultural awareness by signing up for our mailing list. Please support our show by purchasing our merch: → Legends from the Pacific: Book 1 is available on Amazon. https://amzn.to/3CIYo6m (Amazon Affiliate link) → Shirts and more are at our store! → Join our Patreon for exclusive stories. ***** Special Hawaiian Epic After much research, Kamu shares a sprawling Hawaiian epic about Hawaii's family of Wind Guardians.  → Join our email list https://legendsfromthepacific.ck.page/32ca50bd23 *We respect your privacy. We will not share your email. You can unsubscribe at any time. Theme Song: "Mystery" by Tavana, courtesy of HI*Sessions Sound Effects: Sound Effects Factory Music Coordinator: Matt Duffy AKA DJ TripleBypass Link to this episode on our website: https://legendsfromthepacific.com/161-paakaa-6 Please give us a rating, write a review, subscribe, follow us, and share us with your friends and family. ***** Join our email list and claim your exclusive unaired episode today: "Hawaii's Faceless Ghost - Mujina" (Unaired Episode) https://legendsfromthepacific.ck.page/32ca50bd23 *We respect your privacy. We will not share your email. You can unsubscribe at any time. Listen to unaired Hawaiian stories, and Kamu's paranormal experiences by becoming a Patreon supporter today: https://www.patreon.com/legendsfromthepacific Send your unusual Pacific experience to be shared on a future episode. https://legendsfromthepacific.com/feedback  Visit our Fan Art Section: https://legendsfromthepacific.com/fan-artwork Instagram: legendsfromthepacific X: LegendsPacific Follow Legends from the Pacific wherever you listen to audio. → Follow via Apple Podcasts: https://podcasts.apple.com/us/podcast/legends-from-the-pacific/id1501091122 → Follow via Google Podcasts: https://podcasts.google.com/search/legends%20from%20the%20pacific → Follow via Spotify: https://open.spotify.com/show/5qhdkYUl8R7hSw6OZYJLye → Here's our RSS feed: https://legendsfromthepacific.libsyn.com/rss www.LegendsFromThePacific.com

→ Join our mission of spreading Asian & Pacific Islander cultural awareness by signing up for our mailing list. Please support our show by purchasing our merch: → Legends from the Pacific: Book 1 is available on Amazon. https://amzn.to/3CIYo6m (Amazon Affiliate link) → Shirts and more are at our store! → Join our Patreon for exclusive stories. ***** Did Hawaiians have sweet potatoes? Yes, Hawaiians enjoyed 'uala, or sweet potatoes. 'uala was believed to have been obtained from Asia. But new theories claim it may have come from South America.  Special Hawaiian Epic After much research, Kamu shares a sprawling Hawaiian epic about Hawaii's family of Wind Guardians.  → Join our email list https://legendsfromthepacific.ck.page/32ca50bd23 *We respect your privacy. We will not share your email. You can unsubscribe at any time. Theme Song: "Mystery" by Tavana, courtesy of HI*Sessions Sound Effects: Sound Effects Factory Music Coordinator: Matt Duffy AKA DJ TripleBypass Link to this episode on our website: https://legendsfromthepacific.com/160-paakaa-5 Please give us a rating, write a review, subscribe, follow us, and share us with your friends and family. ***** Join our email list and claim your exclusive unaired episode today: "Hawaii's Faceless Ghost - Mujina" (Unaired Episode) https://legendsfromthepacific.ck.page/32ca50bd23 *We respect your privacy. We will not share your email. You can unsubscribe at any time. Listen to unaired Hawaiian stories, and Kamu's paranormal experiences by becoming a Patreon supporter today: https://www.patreon.com/legendsfromthepacific Send your unusual Pacific experience to be shared on a future episode. https://legendsfromthepacific.com/feedback  Visit our Fan Art Section: https://legendsfromthepacific.com/fan-artwork Instagram: legendsfromthepacific X: LegendsPacific Follow Legends from the Pacific wherever you listen to audio. → Follow via Apple Podcasts: https://podcasts.apple.com/us/podcast/legends-from-the-pacific/id1501091122 → Follow via Google Podcasts: https://podcasts.google.com/search/legends%20from%20the%20pacific → Follow via Spotify: https://open.spotify.com/show/5qhdkYUl8R7hSw6OZYJLye → Here's our RSS feed: https://legendsfromthepacific.libsyn.com/rss www.LegendsFromThePacific.com

→ Join our mission of spreading Asian & Pacific Islander cultural awareness by signing up for our mailing list. Please support our show by purchasing our merch: → Legends from the Pacific: Book 1 is available on Amazon. https://amzn.to/3CIYo6m (Amazon Affiliate link) → Shirts and more are at our store! → Join our Patreon for exclusive stories. ***** Did Hawaiians drink kava? Yes, the Hawaiians enjoyed kava. Special Hawaiian Epic After much research, Kamu shares a sprawling Hawaiian epic about Hawaii's family of Wind Guardians.  → Join our email list https://legendsfromthepacific.ck.page/32ca50bd23 *We respect your privacy. We will not share your email. You can unsubscribe at any time. Theme Song: "Mystery" by Tavana, courtesy of HI*Sessions Sound Effects: Sound Effects Factory Music Coordinator: Matt Duffy AKA DJ TripleBypass Link to this episode on our website: https://legendsfromthepacific.com/159-paakaa-4 Please give us a rating, write a review, subscribe, follow us, and share us with your friends and family. ***** Join our email list and claim your exclusive unaired episode today: "Hawaii's Faceless Ghost - Mujina" (Unaired Episode) https://legendsfromthepacific.ck.page/32ca50bd23 *We respect your privacy. We will not share your email. You can unsubscribe at any time. Listen to unaired Hawaiian stories, and Kamu's paranormal experiences by becoming a Patreon supporter today: https://www.patreon.com/legendsfromthepacific Send your unusual Pacific experience to be shared on a future episode. https://legendsfromthepacific.com/feedback  Visit our Fan Art Section: https://legendsfromthepacific.com/fan-artwork Instagram: legendsfromthepacific X: LegendsPacific Follow Legends from the Pacific wherever you listen to audio. → Follow via Apple Podcasts: https://podcasts.apple.com/us/podcast/legends-from-the-pacific/id1501091122 → Follow via Google Podcasts: https://podcasts.google.com/search/legends%20from%20the%20pacific → Follow via Spotify: https://open.spotify.com/show/5qhdkYUl8R7hSw6OZYJLye → Here's our RSS feed: https://legendsfromthepacific.libsyn.com/rss www.LegendsFromThePacific.com

NHP returns to kick off the 2024-25 NHL season with the first of many guests. Jon makes the transition from James Nichols to Brett Nicholas, his long-time friend and life-long Islander fan. The guys go over the Islanders lineup as the preseason comes to a close, and dives into what issues the team could have to start the year. They also go over what they want to leave behind after a tough 2023-24 campaign. All that and more in this week's episode. Subscribe to the NHP Patreon for free for weekly blog posts: https://nassaumen.substack.com/ NHP is sponsored by Draft Kings Promo code THPN: http://tinyurl.com/DKAMAZE Gambling problem? Call 1-800-Gambler. In Massachusetts, call (800) 327-5050 or visit gambling helpline m a dot org, In New York, call 877-8-HOPENY or text HOPENY (467369). In Kansas, call 1-800-522-4700. On behalf of Boot Hill Casino & Resort (KS). 21+ in most eligible states but age varies by jurisdiction. Eligibility restrictions apply. See draftkings dot com slash sportsbook for details and state specific responsible gambling resources. Bonus bets expire seven days after issuance. Eligibility and deposit restrictions apply. Terms at sportsbook dot draftkings dot com slashhockey terms. NHP is also sponsored by BetterHelp. Learn more about online therapy and how you can give it a try by visiting betterhelp.com/thpn and get 10% off your first month. Get on your way to being your best self. Learn more about your ad choices. Visit megaphone.fm/adchoices

→ Join our mission of spreading Asian & Pacific Islander cultural awareness by signing up for our mailing list. Please support our show by purchasing our merch: → Legends from the Pacific: Book 1 is available on Amazon. https://amzn.to/3CIYo6m (Amazon Affiliate link) → Shirts and more are at our store! → Join our Patreon for exclusive stories. ***** Who advised ali'i? The ali'i had advisors, including a chamberlain, which were called Kahu. Special Hawaiian Epic After much research, Kamu shares a sprawling Hawaiian epic about Hawaii's family of Wind Guardians.  → Join our email list https://legendsfromthepacific.ck.page/32ca50bd23 *We respect your privacy. We will not share your email. You can unsubscribe at any time. Theme Song: "Mystery" by Tavana, courtesy of HI*Sessions Sound Effects: Sound Effects Factory Music Coordinator: Matt Duffy AKA DJ TripleBypass Link to this episode on our website: https://legendsfromthepacific.com/158-paakaa-3 Please give us a rating, write a review, subscribe, follow us, and share us with your friends and family. ***** Join our email list and claim your exclusive unaired episode today: "Hawaii's Faceless Ghost - Mujina" (Unaired Episode) https://legendsfromthepacific.ck.page/32ca50bd23 *We respect your privacy. We will not share your email. You can unsubscribe at any time. Listen to unaired Hawaiian stories, and Kamu's paranormal experiences by becoming a Patreon supporter today: https://www.patreon.com/legendsfromthepacific Send your unusual Pacific experience to be shared on a future episode. https://legendsfromthepacific.com/feedback  Visit our Fan Art Section: https://legendsfromthepacific.com/fan-artwork Instagram: legendsfromthepacific X: LegendsPacific Follow Legends from the Pacific wherever you listen to audio. → Follow via Apple Podcasts: https://podcasts.apple.com/us/podcast/legends-from-the-pacific/id1501091122 → Follow via Google Podcasts: https://podcasts.google.com/search/legends%20from%20the%20pacific → Follow via Spotify: https://open.spotify.com/show/5qhdkYUl8R7hSw6OZYJLye → Here's our RSS feed: https://legendsfromthepacific.libsyn.com/rss www.LegendsFromThePacific.com

NHP returns to kick off the 2024-25 NHL season with the first of many guests. Jon makes the transition from James Nichols to Brett Nicholas, his long-time friend and life-long Islander fan. The guys go over the Islanders lineup as the preseason comes to a close, and dives into what issues the team could have to start the year. They also go over what they want to leave behind after a tough 2023-24 campaign. All that and more in this week's episode. Subscribe to the NHP Patreon for free for weekly blog posts: https://nassaumen.substack.com/ NHP is sponsored by Draft Kings Promo code THPN: http://tinyurl.com/DKAMAZE Gambling problem? Call 1-800-Gambler. In Massachusetts, call (800) 327-5050 or visit gambling helpline m a dot org, In New York, call 877-8-HOPENY or text HOPENY (467369). In Kansas, call 1-800-522-4700. On behalf of Boot Hill Casino & Resort (KS). 21+ in most eligible states but age varies by jurisdiction. Eligibility restrictions apply. See draftkings dot com slash sportsbook for details and state specific responsible gambling resources. Bonus bets expire seven days after issuance. Eligibility and deposit restrictions apply. Terms at sportsbook dot draftkings dot com slashhockey terms. NHP is also sponsored by BetterHelp. Learn more about online therapy and how you can give it a try by visiting betterhelp.com/thpn and get 10% off your first month. Get on your way to being your best self. Learn more about your ad choices. Visit megaphone.fm/adchoices

→ Join our mission of spreading Asian & Pacific Islander cultural awareness by signing up for our mailing list. Please support our show by purchasing our merch: → Legends from the Pacific: Book 1 is available on Amazon. https://amzn.to/3CIYo6m (Amazon Affiliate link) → Shirts and more are at our store! → Join our Patreon for exclusive stories. ***** Was there an ali'i on each Hawaiian Island? Yes. Islands were populated by villages, run by an ali'i, or chief. While an ali'i nui, oversaw the island. This dynamic changed over time until King Kamehameha ruled all the islands. Special Hawaiian Epic After much research, Kamu shares a sprawling Hawaiian epic about Hawaii's family of Wind Guardians.  → Join our email list https://legendsfromthepacific.ck.page/32ca50bd23 *We respect your privacy. We will not share your email. You can unsubscribe at any time. Theme Song: "Mystery" by Tavana, courtesy of HI*Sessions Sound Effects: Sound Effects Factory Music Coordinator: Matt Duffy AKA DJ TripleBypass Link to this episode on our website: https://legendsfromthepacific.com/157-paakaa-2 Please give us a rating, write a review, subscribe, follow us, and share us with your friends and family. ***** Join our email list and claim your exclusive unaired episode today: "Hawaii's Faceless Ghost - Mujina" (Unaired Episode) https://legendsfromthepacific.ck.page/32ca50bd23 *We respect your privacy. We will not share your email. You can unsubscribe at any time. Listen to unaired Hawaiian stories, and Kamu's paranormal experiences by becoming a Patreon supporter today: https://www.patreon.com/legendsfromthepacific Send your unusual Pacific experience to be shared on a future episode. https://legendsfromthepacific.com/feedback  Visit our Fan Art Section: https://legendsfromthepacific.com/fan-artwork Instagram: legendsfromthepacific X: LegendsPacific Follow Legends from the Pacific wherever you listen to audio. → Follow via Apple Podcasts: https://podcasts.apple.com/us/podcast/legends-from-the-pacific/id1501091122 → Follow via Google Podcasts: https://podcasts.google.com/search/legends%20from%20the%20pacific → Follow via Spotify: https://open.spotify.com/show/5qhdkYUl8R7hSw6OZYJLye → Here's our RSS feed: https://legendsfromthepacific.libsyn.com/rss www.LegendsFromThePacific.com

On today's show: 1. ‘Like a bomb going off': Train crashes into semitruck hauling military vehicle - https://www.live5news.com/2024/09/12/like-bomb-going-off-train-crashes-into-semitruck-hauling-military-vehicle/ 2. Part of Joint Base Charleston C-17 falls off during flight, lands in parking lot - https://www.live5news.com/2024/09/13/piece-joint-base-charleston-c-17-falls-off-during-flight-lands-parking-lot/ 3. Islander 71 Bartender Rescues Couple After Car Plunges into Water at Isle of Palms Marina - https://luckydognews.com/isle-of-palms/couple-rescued-after-accidentally-driving-into-water-at-isle/ 4. South Carolina justices refuse to stop state's first execution in 13 years - https://apnews.com/article/south-carolina-execution-freddie-owens-32d17375936656abba54b03d8902e9e8 This episode's music is by Tyler Boone (tylerboonemusic.com). The episode was produced by LMC Soundsystem.

I have written my first article in years for the amazing new Islander magazine. It's called "Losing the Language of Freedom," and it is a must-read!You can get the magazine here:https://lotuseaters.com/islander-2-11-09-24QUESTIONS"Related to your post of death by heroism."Is creating and nurturing life a superpower, e.g. creating families?"I can scarcely imagine the amount of joy there is in been involved as a parent, and seeing the progression in your daughter for example."Why do the man-children avoid it? What is the fear?""Hi Stef, I'm a couple of weeks behind on your show and working on catching up! If this has been mentioned before then please skip over my question :) I heard on the lotus eaters podcast that you have contributed an article in their latest issue of the islander magazine, which had me immediately purchase it. As a UK citizen I find their podcast to be very useful in navigating the maelstrom that my country has become over the past 2 months, so I am excited to hear that my favourite guide in moral reasoning (you) is collaborating with them again. It will be a few weeks before it is printed/posted out so I was wondering if you could drop any hints about the subject of your article? If you think that it's best that I wait to find out for myself then I fully understand!""Apologies if it has been asked before, but I read implicit in your philosophy that God (if such an omnipotent, omniscient, omnibenevolent being exists) has not made his approval known of any particular religion. Is the question of God and any potential source of divine revelation outside of the scope of your interest, does it seem like God has not approved of any religion or that any and all miracles are not credible, or something else entirely?"I ask this because as a Catholic I glean divine approval of Traditional Catholicism (such as it was before John XXIII) from the miracles of Catholic saints and the eucharist (and besides that the truth of the testimony of many Catholic martyrs).""How can you tell the difference between a legitimate desire or need and a narcissistic impulse that demands to be satisfied? Sometimes I feel like the boundary between self-care and self-indulgence is blurry.""I posted a lengthy question in this thread a few hours ago on my relationship struggles. But then I remembered the RTR AI and pasted my question to it and received a thorough and amazingly helpful response. I've deleted my question here to give others more opportunity to get theirs answered, and want to call out the RTR AI and its benefits.""What do you think of the new YouTube policy where they will restrict/hide fitness & exercise content for teenagers because 'it can lead to negative self beliefs and body image disorders'""Hi Stef, I'm noticing recently on Gab and other right majority platforms a marked rise in hatred for capitalism, ultimately basing their criticisms on things that are the direct results of state action. Why is it that many right-leaning people clearly understand the social consequences of government action, but appear to dismiss it entirely when it comes to economics?"GET MY NEW BOOK 'PEACEFUL PARENTING', THE INTERACTIVE PEACEFUL PARENTING AI, AND AUDIOBOOK!https://peacefulparenting.com/Join the PREMIUM philosophy community on the web for free!Also get the Truth About the French Revolution, the interactive multi-lingual philosophy AI trained on thousands of hours of my material, private livestreams, premium call in shows, the 22 Part History of Philosophers series and much more!See you soon!https://freedomain.locals.com/support/promo/UPB2022

Cruise news this week includes a landslide at the Alaska cruise port, Carnival Vista experiencing another round of propulsion issues, Royal Caribbean ordering more Icon Class mega-ships, a cyber attack at the Port of Seattle, four passengers arrested on a cruise for credit card fraud, and an update on the Villa Vie Odyssey world cruise.  We get an updated review of Margaritaville at Sea Islander, the latest launch from the Margaritaville brand. The ship sails four and five night voyages out of Tampa, Florida to the Western Caribbean and Key West.  Follow Cruise Radio's Socials: LinkedIn  | Instagram | Facebook | YouTube  | Twitter | Patreon

In Episode 216 I sit down with Wil Ngotel for round two! Wil is my right-hand man at Electric Jiu Jitsu and has brought so much positive energy to our mats over the last 4 years that he's been a part of our academy. He has started his own podcast “The Patriotic Islander” where he hopes to inspire his community to seek personal excellence and live a life filled with purpose and passion. Wil has broken some of the cultural norms in his journey to become the best version of himself and he's striving to show his friends and family that there's no shortage of room at the top and if we all strive collectively, we will all win collectively. This episode is a collaboration going out on both of our platforms with hopes his messages reaches the people that need it most! Please enjoy episode 216 of the Endless Endeavor Podcast. — Connect with Wil Ngotel: Instagram: @the_ngotelwilly_project Podcast: Patriotic Islander Connect with Greg: Instagram: @granderson33 Website:theelectricnorth.com for podcast apparel and gear Email: gregandersonpodcast@gmail.com Linktr.ee: https://linktr.ee/Granderson33 Episode resources: Timeline Nutrition https://www.timelinenutrition.com/partners/endless-endeavor Coupon Code ENDLESSENDEAVOR for 10% off first purchase LMNT https://drinklmnt.com/endlessendeavor for a free variety sample pack with any purchase Bio Pro + https://bioproteintech.com/bioidentical-alternative-to-human-growth-hormone coupon code ENDLESS saves 10% If you enjoy the show, make sure to give the Endless Endeavor Podcast a rating via your favorite audio platform OR on YouTube here: https://www.youtube.com/channel/UCieFsr26t9cyPDKMbLQJzXw/featured!

Indiyah Polack, Christopher Taylor and  Anastasia Kingsnorth are joined by Emma Milton this morning as she shares her icks, friendships and speaks about her missed connection in the villa. The ice game has made things a little frosty so ex-Islanders Christopher and Indiyah share their advice on how to keep out of the cold!  'Love Island: The Morning After' is produced by Amy Elizabeth and edited by Phill Deacon for Lifted Entertainment.

Indiyah Polack (Indy-boo), Chris Taylor (Chris-T) and Podcaster & Content Creator Anastasia Kingsnorth (Stasy-baby) are joined by Wil Anderson and Uma Jammeh. All loved up, they tell us about their first date, when they realised they loved each other and which Islander they won't be staying in touch with.... 'Love Island: The Morning After' is produced by Amy Elizabeth and edited by Phill Deacon for Lifted Entertainment.

Casa Amor is Casa Among and there is SO MUCH tea this week that Nikki & Brie Love Island USA Social Ambassador to called up Cely Vazquez for a little help spilling it all! Cely is the perfect guest for Spill the Tea this week. She was on season 2 of Love Island USA so she has incredible insight into all things Love Island and she's been catching up with this season's Islanders in Fiji all summer.  Nikki, Brie, and Cely all have a lot to say about the behavior of the men in Casa Amor this week. Especially Aaron, Rob, and Kordell. Cely is especially disappointed in how things wend down with Kordell and connects some dots with Daia when some old Twitter activity resurfaced.  The scandalous breakdown of Aaron and Kaylor shocked the entire world and all three women have a lot to say about the way things played out for everyone and the jaw-dropping moment when Rob brought Daniella back to the Villa.  The Recoupling Ceremony was intense and what Kenny did surprised Brie, while Josiah's breakfast move was a huge Love Island no-no for Nikki.  All of this is leading up to a highly anticipated Movie Night that will be a must-watch on television.   Because she's the Love Island USA Social Media Ambassador, Nikki & Brie play Social Strategy with Cely, a game where she has to pick who she'd Follow, DM, and Mute and there are some TOUGH choices that she has to make.  Spill the Tea with Nikki & Brie closes out with a few calls to the voicemail line at 833-GARCIA2! Michelle from California cried when seeing what happened between Aaron and Kaylor at Casa Amor, and Gary from New York wants to see one Islander off the show, but all three ladies are big fans of this OG Islander and don't want to see her go anywhere. Leave Nikki & Brie a message at 833-Garcia2!Be sure to look for Nikki & Brie joining Maura on Aftersun and catch up on this season of Love Island USA streaming now on Peacock! Follow Love Island USA on InstagramFollow Cely on Instagram In partnership with ITV Call Nikki & Brie at 833-GARCIA2 and leave a voicemail! Follow Nikki & Brie on Instagram and send Nikki & Brie a message on Threads! To watch exclusive videos of this week's episode, follow The Nikki & Brie Show on YouTube, Facebook, and TikTok! You can also catch The Nikki & Brie Show on SiriusXM Stars 109!

CONNOR NEWSUM FROM THE CURRENT SEASON OF LOVE ISLAND USA IS HERE! AND WE DISCUSS IT ALL! I'm finally back from the West Coast, but you'd think I was just getting back from Fiji with all this Love Island chattin' I'm doing! I kick the episode off briefly telling you about my time in California before giving you my thoughts about the last few episodes of Love Island USA (especially that UBER MESSY dumping where the Islander had to stand behind the person they wanted to save). Then, HE'S HERE! I talk to Connor Newsum about his time on Love Island USA season 6! We talk: JaNa, Leah, Rob jumping in the pool, Casa Amor, AND SO MUCH MORE! GET INTO IT! Follow Connor on Instagram!   *** HEY! Some of you have asked how you can show your appreciation for all the content provided by your mama's favorite Black geek. How about you buy me a beer/coffee? CLICK HERE TO SUPPORT! ***   New episodes of “I Ken Not with Kendrick Tucker” are released weekly!   DON'T FORGET TO SUBSCRIBE, RATE, AND REVIEW! I LOVE 5 STARS! EMAIL ME AT IKENNOTPODCAST@GMAIL.COM! FOLLOW ME ON INSTAGRAM! Learn more about your ad choices. Visit megaphone.fm/adchoices

A review of Margaritaville at Sea Islander. This is the new cruise ship from the late Jimmy Buffett's successful Margaritaville brand. Doug Parker and staff writer Richard Simms discuss the week's top news stories, including a woman who got an expensive bill from the infirmary after she got seasick, a cruise ship getting seized in Italy for being too dirty, a world cruise delayed for the fourth time, Greece looking to cap cruise passengers, and the SS United States getting evicted from its pier in Philadelphia. Follow Cruise Radio's Socials: LinkedIn  | Instagram | Facebook | YouTube  | Twitter | Patreon