Podcast appearances and mentions of john brannigan

Abstract: In this episode, Karin and Elizabeth discuss the last essay in the Nakan Journal: The Cultural Inheritance of Michael Jackson: reading the Performance of High-Status Blackness in Video and on Stage by Elizabeth Amisu. REFERENCE AS: Merx, Karin, and Elizabeth Amisu. “Episode 58 –His Beauteous Race” Podcast, Michael Jackson's Dream Lives On: An Academic Conversation 9, no. 1 (2022). Published electronically 21/07/2022. https://sya.rqu.mybluehost.me/website_94cbf058/episode-58 The Journal of Michael Jackson Academic Studies asks that you acknowledge The Journal of Michael Jackson Academic Studies as the source of our Content; if you use material from The Journal of Michael Jackson Academic Studies online, we request that you link directly to the stable URL provided. If you use our content offline, we ask that you credit the source as follows: “Courtesy of The Journal of Michael Jackson Academic Studies.” Episode 58– His Beauteous Race, Discussing 'The Cultural Inheritance of Michael Jackson: reading the Performance of High-Status Blackness in Video and on Stage'By Karin Merx & Elizabeth Amisu Karin Merx BMus, MA, is editor of The Journal of Michael Jackson Academic Studies, and author of  ‘A festive parade of highlights. La Grande Parade as evaluation of the museum policy of Edy De Wilde at the Stedelijk Museum Amsterdam'. Find out more about Karin here. Elizabeth Amisu, PGCE, MA, is editor of The Journal of Michael Jackson Academic Studies and author of The Dangerous Philosophies of Michael Jackson: His Music, His Persona, and His Artistic Afterlife. Find out more about Elizabeth here. References Elizabeth Amisu, The Dangerous Philosophies of Michael Jackson: His Music, His Persona, and His Artistic Afterlife (Santa Barbara, California, Praeger, 2016). Amazon “BAD (1987)”, The Journal of Michael Jackson Academic Studies, issue 1, no 2, 2014, published online 22 July 2014, accessed 9 November 2021. URL: https://sya.rqu.mybluehost.me/website_94cbf058/bad-1987-2/. John Brannigan, New Historicism and Cultural Materialism, (Basingstoke, Hampshire, and London, Macmillan, 1998). Jim Blashfield, Leave Me Alone, 1989. Colin Chilvers, Smooth Criminal, 1988. Nicholas Cullinan, Margo Jefferson, & Zadie Smith, Exhibit Cat. Michael Jackson: On the Wall (National Portrait Gallery, 2018). Nicolas Kluger, “The Michael Jackson and Winnie Harlow Effect: Impact on Vitiligo Awareness on the Internet”, Journal of Clinical and Aesthetic Dermatology (2019). John Landis, Black or White, 1991. Harriet J. Manning, Michael Jackson and the Blackface Mask (Ashgate Popular and Folk Music Series, London, Taylor and Francis, 2016). Toni Morrison, Playing in the Dark: Whiteness and the Literary Imagination (Cambridge, MA, Harvard University Press, 1992). Elena Oliete, “Michael, Are You Ok? You've Been Hit by a Smooth Criminal: Racism, Controversy, and Parody in the Video Clips Smooth Criminal and You Rock My World”, Studies in Popular Culture, 29 (2006), p. 57-76. Joseph Vogel, “‘I Ain't Scared of No Sheets': Re-Screening Black Masculinity in Michael Jackson's Black or White”, Journal of Popular Music Studies, 27, 2015, p. 112. Harvey Young, Theatre and Race, Palgrave Macmillan, 2013. Sherrow O. Pinder, Michael Jackson and the Quandary of Black Identity, New York, SUNY Press, 2021.

Abstract: In this episode, Karin and Elizabeth discuss the last essay in the Nakan Journal: The Cultural Inheritance of Michael Jackson: reading the Performance of High-Status Blackness in Video and on Stage by Elizabeth Amisu. REFERENCE AS: Merx, Karin, and Elizabeth Amisu. “Episode 58 –His Beauteous Race” Podcast, Michael Jackson's Dream Lives On: An Academic Conversation 9, no. 1 (2022). Published electronically 21/07/2022. https://michaeljacksonstudies.org/episode-58 The Journal of Michael Jackson Academic Studies asks that you acknowledge The Journal of Michael Jackson Academic Studies as the source of our Content; if you use material from The Journal of Michael Jackson Academic Studies online, we request that you link directly to the stable URL provided. If you use our content offline, we ask that you credit the source as follows: “Courtesy of The Journal of Michael Jackson Academic Studies.” Episode 58– His Beauteous Race, Discussing 'The Cultural Inheritance of Michael Jackson: reading the Performance of High-Status Blackness in Video and on Stage'By Karin Merx & Elizabeth Amisu Karin Merx BMus, MA, is editor of The Journal of Michael Jackson Academic Studies, and author of  ‘A festive parade of highlights. La Grande Parade as evaluation of the museum policy of Edy De Wilde at the Stedelijk Museum Amsterdam'. Find out more about Karin here. Elizabeth Amisu, PGCE, MA, is editor of The Journal of Michael Jackson Academic Studies and author of The Dangerous Philosophies of Michael Jackson: His Music, His Persona, and His Artistic Afterlife. Find out more about Elizabeth here. References Elizabeth Amisu, The Dangerous Philosophies of Michael Jackson: His Music, His Persona, and His Artistic Afterlife (Santa Barbara, California, Praeger, 2016). Amazon “BAD (1987)”, The Journal of Michael Jackson Academic Studies, issue 1, no 2, 2014, published online 22 July 2014, accessed 9 November 2021. URL: https://michaeljacksonstudies.org/bad-1987-2/. John Brannigan, New Historicism and Cultural Materialism, (Basingstoke, Hampshire, and London, Macmillan, 1998). Jim Blashfield, Leave Me Alone, 1989. Colin Chilvers, Smooth Criminal, 1988. Nicholas Cullinan, Margo Jefferson, & Zadie Smith, Exhibit Cat. Michael Jackson: On the Wall (National Portrait Gallery, 2018). Nicolas Kluger, “The Michael Jackson and Winnie Harlow Effect: Impact on Vitiligo Awareness on the Internet”, Journal of Clinical and Aesthetic Dermatology (2019). John Landis, Black or White, 1991. Harriet J. Manning, Michael Jackson and the Blackface Mask (Ashgate Popular and Folk Music Series, London, Taylor and Francis, 2016). Toni Morrison, Playing in the Dark: Whiteness and the Literary Imagination (Cambridge, MA, Harvard University Press, 1992). Elena Oliete, “Michael, Are You Ok? You've Been Hit by a Smooth Criminal: Racism, Controversy, and Parody in the Video Clips Smooth Criminal and You Rock My World”, Studies in Popular Culture, 29 (2006), p. 57-76. Joseph Vogel, “‘I Ain't Scared of No Sheets': Re-Screening Black Masculinity in Michael Jackson's Black or White”, Journal of Popular Music Studies, 27, 2015, p. 112. Harvey Young, Theatre and Race, Palgrave Macmillan, 2013. Sherrow O. Pinder, Michael Jackson and the Quandary of Black Identity, New York, SUNY Press, 2021.

'Down by the Docks: Late Modernist Fictions of Irish Sea Ports' by John Brannigan (UCD); recorded at the Dockland Encounters Symposium.

'Down by the Docks: Late Modernist Fictions of Irish Sea Ports' by John Brannigan (UCD); recorded at the Dockland Encounters Symposium.

Opening remarks by Tasman Crowe and John Brannigan at The Irish Sea Symposium (National Maritime Museum, September 2014)

Opening remarks by Tasman Crowe and John Brannigan at The Irish Sea Symposium (National Maritime Museum, September 2014)

Great to hear the voices of John Brannigan, a Scottish radio propagation specialist, who was the perfect interviewee. He really knew his field and could explain things in non-technical language. The other guest in this programme is BBC World Service Chief Engineer Keith Edwards. He was one of the first top managers to turn up at shortwave listener gathering and explain what they were trying to do at the transmitting end. He also anticipated home satellite radio and TV reception several years before it took off in hobby circles. Remember this is well before the launch of Sky Satellite Television. Feedback on this programme or the collection welcome to  

This edition has African Media News from Richard Ginbey. Mediumwave is expanding in Southern Africa. Parakou in Benin is being heard (later went to the transmitter site). We test a new automatic notch filter made by DATONG with a rather extensive demo. Grundig has announced the Yacht Boy 300.  The major part of the programme is an interview with propagation specialist John Brannigan based in Scotland. He was active in the amateur satellite sector. One of the few interviews I have ever conducted where there was virtually no editing. This is fascinating story about what we know and still don't know about the way the ionosphere works. Every heard of a equitorial aurora? Africa Number 1 in Gabon had problems with flutter fading which no-one expected. John explores what mother nature is teaching us. 

In 1722 an anonymous author styling himself with the degree 'A. M. in Hydrostat' published a proposal in Dublin with the title, Thoughts of a Project for Draining the Irish Channel, a satire on both the South-Sea Bubble and Anglo-Irish politics, as well as a comment on the craze for projects and speculation, scientific advances in hydraulics and circulation, resource management and political arithmetic, and improvement and reclamation. The conceptual leap made in Draining the Irish Channel is that the sea can and should be improved: in other words, done away with. The sea could become not only the medium but the very ground of British colonialism; land could be created from unproductive water; the Irish Sea could literally become a new territory. In practical terms, then, the sea is recast as a geography of natural resources that could potentially be pumped, mined, and diverted using locks and drains, all for the health of the British nation.

This lecture is concerned with the mid-twentieth-century Cumbrian poet Norman Nicholson. Far from being a late Lake District poet', Nicholson is chiefly a poet of northern England's Atlantic edge, the Cumbrian coastal strip. Yet his contemplative gaze almost never turns westward. He also refuses to produce a historical narrative of the area: here history is episodic, incoherent. Nor is Nicholson the poet of an `organic community'. He is rather a messianic poet for whom the coastal strip is an absolute boundary and spatial constraint. This forces the mind to think the impossible, vertical transaction, within which the idea of justice is crucial.

In 1722 an anonymous author styling himself with the degree 'A. M. in Hydrostat' published a proposal in Dublin with the title, Thoughts of a Project for Draining the Irish Channel, a satire on both the South-Sea Bubble and Anglo-Irish politics, as well as a comment on the craze for projects and speculation, scientific advances in hydraulics and circulation, resource management and political arithmetic, and improvement and reclamation. The conceptual leap made in Draining the Irish Channel is that the sea can and should be improved: in other words, done away with. The sea could become not only the medium but the very ground of British colonialism; land could be created from unproductive water; the Irish Sea could literally become a new territory. In practical terms, then, the sea is recast as a geography of natural resources that could potentially be pumped, mined, and diverted using locks and drains, all for the health of the British nation.

This lecture is concerned with the mid-twentieth-century Cumbrian poet Norman Nicholson. Far from being a late Lake District poet', Nicholson is chiefly a poet of northern England's Atlantic edge, the Cumbrian coastal strip. Yet his contemplative gaze almost never turns westward. He also refuses to produce a historical narrative of the area: here history is episodic, incoherent. Nor is Nicholson the poet of an `organic community'. He is rather a messianic poet for whom the coastal strip is an absolute boundary and spatial constraint. This forces the mind to think the impossible, vertical transaction, within which the idea of justice is crucial.

This lecture explores the Holyhead Road as a cultural corridor along which people, books, and ideas move, and is part of a larger project examining infrastructural links as sites of cultural exchange between Britain and Ireland from Swift to Joyce. The lecture begins by following Buck Mulligan's invitation in the opening of Ulysses to 'come and look' at the sea, and at the mailboat crossing from Kingstown to Holyhead. Looking at the sea takes us to questions of boundaries and connections, to the local, national, and global scales of identity and belonging, and to the contested and diverse meanings of routine journeys between Ireland and Britain. The representation of different aspects of this route by Katharine Tynan, W.B. Yeats, Sean O'Casey, Thomas Kinsella, Emyr Humphries and R.S. Thomas highlights the affective dimensions of the crossings and journeys made through Ireland, Wales and England, and suggests the lines of influence, connection, and contest that travel along these transport routes.

This lecture explores the Holyhead Road as a cultural corridor along which people, books, and ideas move, and is part of a larger project examining infrastructural links as sites of cultural exchange between Britain and Ireland from Swift to Joyce. The lecture begins by following Buck Mulligan's invitation in the opening of Ulysses to 'come and look' at the sea, and at the mailboat crossing from Kingstown to Holyhead. Looking at the sea takes us to questions of boundaries and connections, to the local, national, and global scales of identity and belonging, and to the contested and diverse meanings of routine journeys between Ireland and Britain. The representation of different aspects of this route by Katharine Tynan, W.B. Yeats, Sean O'Casey, Thomas Kinsella, Emyr Humphries and R.S. Thomas highlights the affective dimensions of the crossings and journeys made through Ireland, Wales and England, and suggests the lines of influence, connection, and contest that travel along these transport routes.

This lecture is an exploration of the archipelagic island imagination of artist, poet and writer Brenda Chamberlain (1912–71) under the rubric of literary cartography. Part of a wider study of the literary text's 'mapmindedness' – the ways in which imaginative writing accomplishes specifically cartographic 'work' – the paper examines Chamberlain's emotional geographies of the Irish Sea, focusing on her fabling autobiographical account of her residence on Bardsey Island (Ynys Enlli), off the Llyn Peninsula, north Wales: Tide-race (1962). Beginning with two suggestive examples of Chamberlain's composite graphic cartography, which plot an imaginative ethnography and gendered 'zoning' of Bardsey, the paper considers the Irish (specifically Syngian) alignments of her representations of the island self. The visual-verbal Tide-race is then brought into focus as a text powerfully invested in the process of mapping island space by means of layered (and knowing) folktale fantasies, troubled by thwarted desire and terror. The Syngian genetics of the work are revealed. At stake is the need Chamberlain felt, mid-century, to carve out her own space as a woman writer on a 'deluding scrap of rock and turf'. More generally, the paper seeks to accomplish a necessary reterritorialisation of Welsh Writing in English.

This lecture is an exploration of the archipelagic island imagination of artist, poet and writer Brenda Chamberlain (1912–71) under the rubric of literary cartography. Part of a wider study of the literary text's 'mapmindedness' – the ways in which imaginative writing accomplishes specifically cartographic 'work' – the paper examines Chamberlain's emotional geographies of the Irish Sea, focusing on her fabling autobiographical account of her residence on Bardsey Island (Ynys Enlli), off the Llyn Peninsula, north Wales: Tide-race (1962). Beginning with two suggestive examples of Chamberlain's composite graphic cartography, which plot an imaginative ethnography and gendered 'zoning' of Bardsey, the paper considers the Irish (specifically Syngian) alignments of her representations of the island self. The visual-verbal Tide-race is then brought into focus as a text powerfully invested in the process of mapping island space by means of layered (and knowing) folktale fantasies, troubled by thwarted desire and terror. The Syngian genetics of the work are revealed. At stake is the need Chamberlain felt, mid-century, to carve out her own space as a woman writer on a 'deluding scrap of rock and turf'. More generally, the paper seeks to accomplish a necessary reterritorialisation of Welsh Writing in English.

The Lecture explores the enduring fascination of the Irish Sea, focusing particularly on the Solway Firth, an area regarded by the nineteenth-century artist, art critic, writer and social reformer, John Ruskin, as second only to the Holy Land in its cultural importance. The ageing Ruskin wrote passionately about the Solway in his autobiography, Praeterita, which pays tribute to the beauty of the coast and its creative legacy, as evident in the work of Walter Scott, J. M. W. Turner and the local Scottish music. The lecture considers the connections between these works and the coast itself, with its changing history, before moving across the Irish Sea to Ciaran Carson's 1989 collection, Belfast Confetti, which includes a poem about Ruskin, Turner and the modern city, 'John Ruskin in Belfast'. Exploration of the dialogue between different writers on either side of the Irish Sea, and on either side of the Solway Firth allows the area to be viewed temporally as well as spatially. It thus offers a new model for reading landscapes and literature, in which geographical and historical aspects are mutually informing. What may appear to be fixed and unchanging is revealed as being subject to successions of developing technology and economic imperatives; but conversely, the longer view encouraged by returning to the same place over the centuries offers a different perspective on the contemporaneous impulse of contextualisation.

The Lecture explores the enduring fascination of the Irish Sea, focusing particularly on the Solway Firth, an area regarded by the nineteenth-century artist, art critic, writer and social reformer, John Ruskin, as second only to the Holy Land in its cultural importance. The ageing Ruskin wrote passionately about the Solway in his autobiography, Praeterita, which pays tribute to the beauty of the coast and its creative legacy, as evident in the work of Walter Scott, J. M. W. Turner and the local Scottish music. The lecture considers the connections between these works and the coast itself, with its changing history, before moving across the Irish Sea to Ciaran Carson's 1989 collection, Belfast Confetti, which includes a poem about Ruskin, Turner and the modern city, 'John Ruskin in Belfast'. Exploration of the dialogue between different writers on either side of the Irish Sea, and on either side of the Solway Firth allows the area to be viewed temporally as well as spatially. It thus offers a new model for reading landscapes and literature, in which geographical and historical aspects are mutually informing. What may appear to be fixed and unchanging is revealed as being subject to successions of developing technology and economic imperatives; but conversely, the longer view encouraged by returning to the same place over the centuries offers a different perspective on the contemporaneous impulse of contextualisation.

By 1916 the British Empire was at a point of crisis. The beginning of the First World War marked the end of a half-century of expansion in trade and speculation that made the empire a global network for the exchange of capital. Consequently, the foundations of Irish separatism were built in movements antagonistic to world trade. Self-help, folk culture and native language were conceived as late compensation for human losses incurred by the displacement of local resources into the global flow. Irish culture had its own recent and bitter evidence for the decimation of an imperial attachment. The memory of the famine inhabited the same cultural space as the increasing import of traded goods in the second half of the ninteenth century and beginning of the twentieth. So it is that James Joyce's short story ‘The Dead' pictures the legacy of hunger through the imagination of a meal. If this first wave of globalization came to an end in Britain with the declaration of war in 1914, it suffered fatal arrest in Ireland in 1916. Reaction to the global empire underpinned the cultural and political movements that fed the rebellion. The Easter Rising was a product of the old order and a siren of the revolutions still to come.

By 1916 the British Empire was at a point of crisis. The beginning of the First World War marked the end of a half-century of expansion in trade and speculation that made the empire a global network for the exchange of capital. Consequently, the foundations of Irish separatism were built in movements antagonistic to world trade. Self-help, folk culture and native language were conceived as late compensation for human losses incurred by the displacement of local resources into the global flow. Irish culture had its own recent and bitter evidence for the decimation of an imperial attachment. The memory of the famine inhabited the same cultural space as the increasing import of traded goods in the second half of the ninteenth century and beginning of the twentieth. So it is that James Joyce's short story 'The Dead' pictures the legacy of hunger through the imagination of a meal. If this first wave of globalization came to an end in Britain with the declaration of war in 1914, it suffered fatal arrest in Ireland in 1916. Reaction to the global empire underpinned the cultural and political movements that fed the rebellion. The Easter Rising was a product of the old order and a siren of the revolutions still to come.

This lecture examines poems which make reference to the Shipping Forecast, as broadcast by BBC Radio Four, including poems by Seamus Heaney, Carol Ann Duffy, Sean Street, Andrew McNeillie, and Andrew Waterman. The aim of the lecture is to consider how both the radio broadcast and the poems it inspired conceptualise the cultural geography of the British Isles. If culture is, as Wendy James has argued, 'adverbial' rather than 'nominal', what kind of cultural geography of the Isles is practised in the poems which draw upon the forecast's daily and nightly ritual of naming the sea areas around Britain and Ireland? How might this maritime and archipelagic imagination of the Isles be related to current post-devolutionary attempts to reconceive the British Isles, both politically and intellectually? All of the poems revel in the forecast's litany of names such as Dogger, Fastnet, Lundy, Heligoland and Finisterre, for example, which do not evoke places so much as they imply ideas of untapped spatial and cultural possibility within the British Isles. Might there be a utopian dimension to some of these poetic visions of the archipelago? On the other hand, some of the poems juxtapose domestic and maritime settings, and dramatise a tension between the safe and comfortable houses or beds in which listeners enjoy the broadcasts, and the exoticised coastal margins of the Isles in which the forecasts may be merely the 'cold poetry of information'.

This lecture examines poems which make reference to the Shipping Forecast, as broadcast by BBC Radio Four, including poems by Seamus Heaney, Carol Ann Duffy, Sean Street, Andrew McNeillie, and Andrew Waterman. The aim of the lecture is to consider how both the radio broadcast and the poems it inspired conceptualise the cultural geography of the British Isles. If culture is, as Wendy James has argued, 'adverbial' rather than 'nominal', what kind of cultural geography of the Isles is practised in the poems which draw upon the forecast's daily and nightly ritual of naming the sea areas around Britain and Ireland? How might this maritime and archipelagic imagination of the Isles be related to current post-devolutionary attempts to reconceive the British Isles, both politically and intellectually? All of the poems revel in the forecast's litany of names such as Dogger, Fastnet, Lundy, Heligoland and Finisterre, for example, which do not evoke places so much as they imply ideas of untapped spatial and cultural possibility within the British Isles. Might there be a utopian dimension to some of these poetic visions of the archipelago? On the other hand, some of the poems juxtapose domestic and maritime settings, and dramatise a tension between the safe and comfortable houses or beds in which listeners enjoy the broadcasts, and the exoticised coastal margins of the Isles in which the forecasts may be merely the 'cold poetry of information'.

T minus 5 days until Vincent and the Doctor.   Welcome to this, the 13th Hitchhiker's Guide to the Whoverse: Mostly Harmless Cutaway. Today Eric & returning special guest co-host Josh Zimon (@whomeJZ) break down the newest, latest, and greatest Doctor Who episode Cold Blood. Contrary to what John Branigan believes, Josh actually is a sentient human being & we're so glad he could join us on the podcast again today. WARNING:  This review/discussion contains tear jerking SPOILERS!  Special thanks to John Brannigan (@cybertesticle) from the Cyber Testicle Podcast for providing this episode's intro. We've said it once, we've said it a thousand times: His is the freshest of the new batch of Doctor Who podcasts out there. And by freshest we mean most putrid, but adoringly & most entertainingly so. Disclaimer: It wasn't our intention to make an episode in excess of 1hr, but what can you do, how much can you cut? If you liked this episode please let us know somehow. If you didn't, tell us how we can make it better. We can't gurantee we'll follow you're advice, but we'll certainly listen. Another query: What shall we do on this feed following the conclusion of series 5? If you have any suggestions we'd like to hear those as well. We have a few ideas & may experiment with different things, but in the meantime:    DON'T PANIC     Creator/Producer: Eric EscamillaEmail: bullitt33 ~at~ gmail ~dot~comSkype username: bullitt33Twitter: @Bullitt33Facebook: Bullitt33 HHG2W:Email: guidetothewhoverse ~at~ gmail ~dot~comWebsite: guidetothewhoverse.libsyn.com Twitter: @HHG2W Tumblr: guidetothewhoverse.tumblr.com The MHC theme was created by Eric Escamilla.The MHC coverart was created by Cat (@fancyfembot). [Subscribe via iTunes]

And now for something completely different... Welcome to this, the first Mostly Harmless Cutaway.  Like the rest of the universe it was created with more of a whimper than a bang really. What? This wasn't what you signed up for? This isn't your beloved Hitchhiker's Guide to the Whoverse? Firstly, DON'T PANIC. Secondly, note the title: "Mosty" - "Harmless" - "Cutaway." We thought it a very apt name as it's description is written right there on the outside of the box. No intended misdirection on our part. If you listen, (and we're sure you will) you'll hear it explained that this is simply a slight deviation from our traditional podcast format you may be accoustumed to by now. This is our producer (if you in fact believe that we have one) breaking down that 4th wall and speaking to you directly about whatever might be on his mind pertaining to the Whoverse et al. In this MHC Eric interviews a new friend he made at the Gallifrey One convention. Megan (@meganhibner) is a cosplayer and at Gally 21 she dressed up as Sarah Jane Smith from The Hand of Fear. Also check out Megan's The Channel of Rassilon on YouTube. Remember her name, this may not be the last we hear from her... Special thanks to John Brannigan from the Cyber Testicle Podcast for our 1st guest intro. And while you're at it, why not congradulate him on his new baby via twitter? (@cybertesticle) We've said it once, we've said it a thousand times: His is the freshest of the new batch of Doctor Who podcasts out there. And by freshest we mean most putrid, but adoringly & most entertainingly so. Expect more MHC's in the near future, but not only that. Perhaps next Friday (3/26) we shall re-release our condensed Minute Waters of Mars (review) from the Sci-Fi Party Line vault followed by our Too Minute End of Time the Friday after (4/2) in preparation for Matt Smith's opening story The Eleventh Hour premeireing on the BBC. And yes, somewhere in there, or after, or yesterday, we shall release HHG2W #5 Hiatus. Yes, we also thought that a very appropriate title as well. ;^)  Disclaimer: We, the makers of this fine audio program in no way take any responsibity for was has just transpired... unless you liked it. There was at least 1 faux paus committed during recording of this episode, some of you may or may not notice it. For those who do, we can conditionally promise that it is highly improbable that particular something will ever happen again. Unfortunately, due to the never ceasing recession we have been forced to cut 58% of our staff. Despite such losses we are still offering this podcast to you free of charge! Please repay us by leaving a kind comment on iTunes. Or lastly, if all else fails... DON'T PANIC      Creator/Producer: Eric EscamillaEmail: bullitt33 ~at~ gmail ~dot~comSkype username: bullitt33Twitter: @Bullitt33Facebook: Bullitt33HHG2W:Email: guidetothewhoverse ~at~ gmail ~dot~comWebsite: guidetothewhoverse.libsyn.comTwitter: @HHG2WTumblr: guidetothewhoverse.tumblr.comSFPL:Voicemail: 773-336-2686Website: scifipartyline.comTwitter: @SciFiPartyLineTumblr: scifipartyline.tumblr.comFacebook: Sci-Fi Party Line The MHC theme was created by Eric Escamilla. The MHC coverart was created by Cat (@fancyfembot). [Subscribe via iTunes]