Podcast appearances and mentions of paul malone

First on Scene, Last to Heal: Emergency Workers and Fatal Collisions goes behind the scenes with the men and women of An Garda Síochána, the National Ambulance Service and the fire service as they share stories about fatal collisions on Ireland's roads, and how that impacts their way of thinking. Produced and presented by Alex Rowley, a young journalism student from Wicklow and IMRO-nominated broadcaster, it's inspired by the contrasting ways different members of the emergency services deal with their trauma. Some choose to open up to friends, while for others, it's as if nothing bothers them.Due to a spike in road deaths in recent years, the topic has been high up in the news agenda, and rightly so, but every bank holiday we hear appeals from high-ranking Gardaí, Government Ministers and the RSA. Rarely, do we hear from those who actually deal with these collisions and see the devastation firsthand.In the documentary, Paramedics Clodagh Murphy and Paul Malone, based in Waterford, tell us about the trends they see in responding to collisions and why they're always keeping their own family members in the back of their mind. The documentary also goes on patrol with Gardaí Leanne McCarthy and Ken Driscoll of the Roads Policing Unit in Abbeyfeale, Co. Limerick. Ken bravely opens up about how it feels to break the news of a death to a family, comparing it to handing someone an “explosive device”.We also speak with Sub-Officer Stephen Connolly from Monasterevin Fire Brigade in Co. Kildare, who speaks of the challenges faced by on-call emergency workers, who service their local community first and foremost. All emergency workers in the documentary have pleaded with people to put down their mobile phones, put on their seatbelts, follow speed limits, and not take drugs or alcohol when using the roads this Bank Holiday Weekend.Analysis from Clinical Psychologist, Dr. Malie Coyne, contextualises the issue, and further hammers home the importance of looking out for our frontline workers.

When it comes to advanced optics, EOTECH stands out as a game-changer for nearly 30 years. Known for their cutting-edge holographic sights, they've redefined precision shooting, making them a favorite among military, law enforcement, and civilian firearm enthusiasts alike. This week we sit down with Paul to discuss all things EOTECH. From their products and company backstory to their standards and future goals, EOTECH charges forward without compromise delivering quality, reliability, repeatability and cutting edge technology in every way possible. --- Support this podcast: https://podcasters.spotify.com/pod/show/whiskeyandwindage/support

Encore with. Paul Malone of Grassroots North Carolina.Lock N Load is presented by;Aero Precisionhttps://aeroprecisionusa.comModern Gun Schoolhttps://mgs.edu Ace Firearmshttp://www.acefirearms.comDeSantis Holstershttps://www.desantisholster.comStaccatohttp://staccato2011.comTaran Tactical Innovationshttps://tarantacticalinnovations.comSpikes Tacticalhttps://www.spikestactical.comChambers Customhttps://chamberscustom.com/

Encore with. Paul Malone of Grassroots North Carolina.Lock N Load is presented by;Aero Precisionhttps://aeroprecisionusa.comModern Gun Schoolhttps://mgs.edu Ace Firearmshttp://www.acefirearms.comDeSantis Holstershttps://www.desantisholster.comStaccatohttp://staccato2011.comTaran Tactical Innovationshttps://tarantacticalinnovations.comSpikes Tacticalhttps://www.spikestactical.comChambers Customhttps://chamberscustom.com/

Check us out at https://usmsupplychain.com/podcast/ where you can watch all the episodes of the series. Adventures in Supply Chain podcast is pleased to announce the "Coronavirus and Supply Chain Series" to help our communities with the insights of outstanding leaders in Supply Chain and in other critical functions. These challenging times are also for transformations and opportunities. We will get through this together and we will make it happen. It’s our pleasure to introduce Paul Malone – Director, Purchasing Functional Excellence at Allison Transmission, the world’s largest manufacturer of fully automatic transmissions for medium- and heavy-duty commercial vehicles and a leader in hybrid-propulsion systems for city buses. Paul is a strategic, results-driven attorney with progressive experience leveraging legal skills and business acumen to identify and mitigate supply chain risk. With his expertise in legal, commercial, and operational issues associated with technology development from product preceding technology through full production, Paul successfully leads cross-functional teams to solve complex business problems and operationalize business strategies by implementing repeatable and reproducible processes.  

Major Tom Harrison led 42 Australian, New Zealand and British guerrillas in the jungles of Borneo in WWII, but while they successfully fended off Japanese troops not all was well between the major and his men.

When Candy Opera release 45 Revolutions Per Minute on February 23rd 2018, it will be a belated introduction to a very special band sired during Liverpool's 1980s golden age which has taken almost thirty years to happen. Lovingly unearthed and compiled by Firestation Records of Berlin and available on limited edition CD and deluxe vinyl, the result is a lost gem that points to a million what-might-have-beens. When Candy Opera first appeared on the kaleidoscopic early 1980s Liverpool music scene, by rights they should have changed the world. Here was a classic four-piece, after all, steeped in the symphonic pop of Love's Forever Changes and the Beach Boys' Surf's Up. Taking such influences as a template, alongside contemporaries such as Aztec Camera, The Pale Fountains and Prefab Sprout, Candy Opera were in the throes of crafting a 1980s song-book in their own image, and the band's 1983 Honeysuckle Rose demo has become something of a holy grail. By 1985 the band had played alongside the likes of The Pogues, The Go-Betweens and The Redskins, as well as appearing on Granada TV. Reviews in NME, Sounds and Jamming magazine followed. Forming on the tough Phythian Estate in Liverpool's Kensington district in 1982 and based around the song-writing of Paul Malone, Candy Opera offered up a nouveau classicist sensibility which had seen the band listen without prejudice to The Monkees and Karen Carpenter. With assorted Candy Opera line-ups augmented at various points by baroque flourishes of clarinet, flute or violin, such a sophisticated musical palette went way beyond notions of indie-band purism to create something grander, none of which remotely fitted in with the voguish scene-setters behind shoe-gaze, baggy and brit-pop. After a decade ploughing their own stubborn furrow in various guises, despite interest from EMI and Go! Discs, Candy Opera called it a day in 1993 with only a fistful of demos to their name.

This week has a theme - shows in bars! We speak with Women's Theatre Festival's Rachel Kasken about the "WTF Karaoke Musical" event and Paul Malone about the 4th annual bar themed playwright showcase, "Bar Plays 4.0.".

All Blacks and Broncos legend Brad Thorn scoffs at Michael Cheika’s claim that the world champions “disrespected” the Wallabies, The Courier-Mail chief league writer Peter Badel urges the NRL to close the door on Todd Carney, tennis expert Paul Malone strips away the hysteria over Nick Kyrgios, and Australia’s top boxing writer Grantlee Kieza recalls the time Anthony Mundine poked his tongue out at him during a fight.  See acast.com/privacy for privacy and opt-out information.

The summer box office is closing up shop, but that just won’t stop the likes of Jesse Whitehead and Paul Malone! Music Credits for this week’s episode: When You’re Older – Jenny Mayhem Factory Boy – Cleaners From Venus Help You – Trampled By Turtles Gold And Steel – Isaac Graham Remember that you can email questions and comments to whatdoyouthinkpaul@chaingangmedia.com and probably get your comments read aloud…on the air…by Jesse and Paul…wink. Stream or Download here at Chain Gang Media, or iTunes!

Growing up in the suburbs of Indianapolis, Indy-car racing offered my friends and me some very exciting heroes. As children, we played “Indy 500” on our bikes in the cul-de-sac. As we became teenagers, the Indy-car drivers who descended on our city in April and May became some of our most tangible idols. Not surprisingly, this proximity to Indy racing also fueled a fascination with the cartoon series “Speed Racer.” “Speed Racer” always managed to pull out the victory after he learned his lesson. What I didn’t really understand (in addition to why their lip movements never quite matched what they said) was that this program was a Japanese production and that this was one of the first American glimpses of what has become the international phenomenon that we call “anime.” I also did not know that this particular series grew out of a graphic tradition known to us now as “manga.” Even more interesting, manga specifically designed for boys, often based on robots, warriors, or battling creatures, is different from manga designed for girls, featuring themes of school and amorous relationships. Further, many fans of the genre engage in producing and sharing their own work. While my friends and I never engaged in drawing our own “Speed Racer” stories, we did discuss plots and think up new twists and turns for him to navigate. Some of us wanted to replace his girlfriend, Trixie; others preferred Speed’s mysterious big brother, Racer X, who was conveniently unattached. Other story lines put us in the driver’s seat competing against Speed! Boy’s Love Manga, like our own teenaged fantasies, derives from fans’ responses to commercial examples of manga created specifically for female audiences. This fantasy genre has become an international, fan-driven form of expression where readers create their own fantasy fiction and share it at conventions and on the internet. In Germany, this form of artistic exchange represents a substantial portion of the entire comic market. What is even more fascinating is that, although much of this work is created by women for other women, Boy’s Love Manga texts portray male-male romantic encounters. Co-editor Mark McHarry and one of the contributors, Paul Malone, talked with me about the collection of essays Boys’ Love Manga: Essays on the Sexual Ambiguity and Cross-Cultural Fandom of the Genre (McFarland, 2010). This collection of essays represents one of the first critical explorations of this wildly popular, wide-reaching, and incredibly profitable phenomenon. Learn more about your ad choices. Visit megaphone.fm/adchoices

Growing up in the suburbs of Indianapolis, Indy-car racing offered my friends and me some very exciting heroes. As children, we played “Indy 500” on our bikes in the cul-de-sac. As we became teenagers, the Indy-car drivers who descended on our city in April and May became some of our most tangible idols. Not surprisingly, this proximity to Indy racing also fueled a fascination with the cartoon series “Speed Racer.” “Speed Racer” always managed to pull out the victory after he learned his lesson. What I didn’t really understand (in addition to why their lip movements never quite matched what they said) was that this program was a Japanese production and that this was one of the first American glimpses of what has become the international phenomenon that we call “anime.” I also did not know that this particular series grew out of a graphic tradition known to us now as “manga.” Even more interesting, manga specifically designed for boys, often based on robots, warriors, or battling creatures, is different from manga designed for girls, featuring themes of school and amorous relationships. Further, many fans of the genre engage in producing and sharing their own work. While my friends and I never engaged in drawing our own “Speed Racer” stories, we did discuss plots and think up new twists and turns for him to navigate. Some of us wanted to replace his girlfriend, Trixie; others preferred Speed’s mysterious big brother, Racer X, who was conveniently unattached. Other story lines put us in the driver’s seat competing against Speed! Boy’s Love Manga, like our own teenaged fantasies, derives from fans’ responses to commercial examples of manga created specifically for female audiences. This fantasy genre has become an international, fan-driven form of expression where readers create their own fantasy fiction and share it at conventions and on the internet. In Germany, this form of artistic exchange represents a substantial portion of the entire comic market. What is even more fascinating is that, although much of this work is created by women for other women, Boy’s Love Manga texts portray male-male romantic encounters. Co-editor Mark McHarry and one of the contributors, Paul Malone, talked with me about the collection of essays Boys’ Love Manga: Essays on the Sexual Ambiguity and Cross-Cultural Fandom of the Genre (McFarland, 2010). This collection of essays represents one of the first critical explorations of this wildly popular, wide-reaching, and incredibly profitable phenomenon. Learn more about your ad choices. Visit megaphone.fm/adchoices

Growing up in the suburbs of Indianapolis, Indy-car racing offered my friends and me some very exciting heroes. As children, we played “Indy 500” on our bikes in the cul-de-sac. As we became teenagers, the Indy-car drivers who descended on our city in April and May became some of our most tangible idols. Not surprisingly, this proximity to Indy racing also fueled a fascination with the cartoon series “Speed Racer.” “Speed Racer” always managed to pull out the victory after he learned his lesson. What I didn’t really understand (in addition to why their lip movements never quite matched what they said) was that this program was a Japanese production and that this was one of the first American glimpses of what has become the international phenomenon that we call “anime.” I also did not know that this particular series grew out of a graphic tradition known to us now as “manga.” Even more interesting, manga specifically designed for boys, often based on robots, warriors, or battling creatures, is different from manga designed for girls, featuring themes of school and amorous relationships. Further, many fans of the genre engage in producing and sharing their own work. While my friends and I never engaged in drawing our own “Speed Racer” stories, we did discuss plots and think up new twists and turns for him to navigate. Some of us wanted to replace his girlfriend, Trixie; others preferred Speed’s mysterious big brother, Racer X, who was conveniently unattached. Other story lines put us in the driver’s seat competing against Speed! Boy’s Love Manga, like our own teenaged fantasies, derives from fans’ responses to commercial examples of manga created specifically for female audiences. This fantasy genre has become an international, fan-driven form of expression where readers create their own fantasy fiction and share it at conventions and on the internet. In Germany, this form of artistic exchange represents a substantial portion of the entire comic market. What is even more fascinating is that, although much of this work is created by women for other women, Boy’s Love Manga texts portray male-male romantic encounters. Co-editor Mark McHarry and one of the contributors, Paul Malone, talked with me about the collection of essays Boys’ Love Manga: Essays on the Sexual Ambiguity and Cross-Cultural Fandom of the Genre (McFarland, 2010). This collection of essays represents one of the first critical explorations of this wildly popular, wide-reaching, and incredibly profitable phenomenon. Learn more about your ad choices. Visit megaphone.fm/adchoices

Growing up in the suburbs of Indianapolis, Indy-car racing offered my friends and me some very exciting heroes. As children, we played “Indy 500” on our bikes in the cul-de-sac. As we became teenagers, the Indy-car drivers who descended on our city in April and May became some of our most tangible idols. Not surprisingly, this proximity to Indy racing also fueled a fascination with the cartoon series “Speed Racer.” “Speed Racer” always managed to pull out the victory after he learned his lesson. What I didn’t really understand (in addition to why their lip movements never quite matched what they said) was that this program was a Japanese production and that this was one of the first American glimpses of what has become the international phenomenon that we call “anime.” I also did not know that this particular series grew out of a graphic tradition known to us now as “manga.” Even more interesting, manga specifically designed for boys, often based on robots, warriors, or battling creatures, is different from manga designed for girls, featuring themes of school and amorous relationships. Further, many fans of the genre engage in producing and sharing their own work. While my friends and I never engaged in drawing our own “Speed Racer” stories, we did discuss plots and think up new twists and turns for him to navigate. Some of us wanted to replace his girlfriend, Trixie; others preferred Speed’s mysterious big brother, Racer X, who was conveniently unattached. Other story lines put us in the driver’s seat competing against Speed! Boy’s Love Manga, like our own teenaged fantasies, derives from fans’ responses to commercial examples of manga created specifically for female audiences. This fantasy genre has become an international, fan-driven form of expression where readers create their own fantasy fiction and share it at conventions and on the internet. In Germany, this form of artistic exchange represents a substantial portion of the entire comic market. What is even more fascinating is that, although much of this work is created by women for other women, Boy’s Love Manga texts portray male-male romantic encounters. Co-editor Mark McHarry and one of the contributors, Paul Malone, talked with me about the collection of essays Boys’ Love Manga: Essays on the Sexual Ambiguity and Cross-Cultural Fandom of the Genre (McFarland, 2010). This collection of essays represents one of the first critical explorations of this wildly popular, wide-reaching, and incredibly profitable phenomenon. Learn more about your ad choices. Visit megaphone.fm/adchoices

Growing up in the suburbs of Indianapolis, Indy-car racing offered my friends and me some very exciting heroes. As children, we played “Indy 500” on our bikes in the cul-de-sac. As we became teenagers, the Indy-car drivers who descended on our city in April and May became some of our most tangible idols. Not surprisingly, this proximity to Indy racing also fueled a fascination with the cartoon series “Speed Racer.” “Speed Racer” always managed to pull out the victory after he learned his lesson. What I didn’t really understand (in addition to why their lip movements never quite matched what they said) was that this program was a Japanese production and that this was one of the first American glimpses of what has become the international phenomenon that we call “anime.” I also did not know that this particular series grew out of a graphic tradition known to us now as “manga.” Even more interesting, manga specifically designed for boys, often based on robots, warriors, or battling creatures, is different from manga designed for girls, featuring themes of school and amorous relationships. Further, many fans of the genre engage in producing and sharing their own work. While my friends and I never engaged in drawing our own “Speed Racer” stories, we did discuss plots and think up new twists and turns for him to navigate. Some of us wanted to replace his girlfriend, Trixie; others preferred Speed’s mysterious big brother, Racer X, who was conveniently unattached. Other story lines put us in the driver’s seat competing against Speed! Boy’s Love Manga, like our own teenaged fantasies, derives from fans’ responses to commercial examples of manga created specifically for female audiences. This fantasy genre has become an international, fan-driven form of expression where readers create their own fantasy fiction and share it at conventions and on the internet. In Germany, this form of artistic exchange represents a substantial portion of the entire comic market. What is even more fascinating is that, although much of this work is created by women for other women, Boy’s Love Manga texts portray male-male romantic encounters. Co-editor Mark McHarry and one of the contributors, Paul Malone, talked with me about the collection of essays Boys’ Love Manga: Essays on the Sexual Ambiguity and Cross-Cultural Fandom of the Genre (McFarland, 2010). This collection of essays represents one of the first critical explorations of this wildly popular, wide-reaching, and incredibly profitable phenomenon. Learn more about your ad choices. Visit megaphone.fm/adchoices