Podcasts about Waterhole

"Misplaced Childhood" erschien im Juni 1985 als drittes Studioalbum der britischen Band Marillion und gilt als Meilenstein des Prog-Rocks. Mit dabei ist auch der Hit "Kayleigh". Prog-Rock ist eine Stilrichtung, die klassische Rockelemente mit experimentellen Strukturen und Einflüssen aus anderen Genres verbindet. "Misplaced Childhood" gilt bis heute als Paradebeispiel dieses Genres. Konzept und Texte des Albums wurden vom damaligen Sänger Fish (bürgerlich Derek William Dick) entwickelt, der die Band zwischen 1979 und 1988 entscheidend mitprägte. 1989 trat Steve Hogarth seine Nachfolge als Frontmann an. Auf "Misplaced Childhood" erzählt uns die Band eine berührende Geschichte über das Erwachsenwerden und das innere Kind, das uns nie ganz verlässt. Es geht um Heimat, Identität und die Erinnerungen, die unseren Weg und unser Sein prägen. Die fünfteilige Song-Suite "Bitter Suite"erzählt die Lebensreise vom Ursprung des Ichs über das Erwachsenwerden bis hin zur Wiederentdeckung und Akzeptanz des inneren Kindes. Die zentrale Botschaft: Akzeptiere, dass dein inneres Kind dich ein Leben lang begleitet. Fish arbeitete in seinen Texten häufig mit poetischen Metaphern – besonders das Motiv des Wassers taucht in vielen Facetten auf: als Regen, Wasserloch, Regenbogen oder sogar als Sprinkleranlage. Auch das Herz als Symbol spielt immer wieder eine zentrale Rolle. Die Musik auf dem Album ist so kraftvoll, dass sie auch ganz ohne Worte die gewünschten Gefühle beim Hörer wecken könnte. Beim Hit "Kayleigh" hört man beispielsweise, wie jedes einzelne Instrument auf seine Art eine Atmosphäre der Sehnsucht nach Liebe vermittelt. Ein weiteres Beispiel ist der vorletzte Song "Childhood's End?". Er bricht musikalisch mit der düsteren und melancholischen Stimmung der vorherigen Stücke und strahlt mit seiner positiven Energie die Hoffnung aus, dass die Kindheit nie ganz vorbei ist. __________ Über diese Songs vom Album "Misplaced Childhood" sprechen wir im Podcast (15:02) – "Pseudo Silk Kimono"(19:50) – "Lavender"(22:07) – "Bitter Suite"(26:03) – "Waterhole"(26:50) – "Lord Of The Backstage"(27:10) – "Blind Curve"(29:48) – "Childhood's End?"(40:08) – "Kayleigh"(48:15) – "Lavender"(52:16) – "Heart Of Lothian"(58:54) – "Childhood's End?"(01:03:02) – "White Feather"__________ Alle Shownotes und weiterführenden Links zur Folge: https://1.ard.de/swr1-meilenstein-marillion?p=wa __________ Ihr wollt mehr Podcasts wie diesen? Abonniert "Meilensteine – Alben, die Geschichte machten"! Fragen, Kritik, Anregungen? Meldet euch gerne per WhatsApp-Sprachnachricht an die (06131) 92 93 94 95 oder schreibt uns an meilensteine@swr.de

Send us a textGary brings you more great music of the bagpipe family, including trips to France, Asturias, Ireland and the USA.PlaylistOld Blind Dogs with Jan Alexander's Fancy, The Harris Dance and  Miss Girdle from Four on the Floor  Iain MacHarg with Blind Billy, Failte do'n Phiobaire, Drink the Wort and  Spill the Beer, Elizabeth Kelly's Delight and Piper's Maggot from Ceol na Beinne Shotts and Dkyehead Caledonia Pipe Band with Donald Cameron, Cameronian Rant and Pretty Marion from The Pipe Major's Choice: Shotts and Dkyehead Caledonia Pipe Band Seudan with the Cameronian Rant and Cabar Feidh from Seudan Philippe Eidel feat. Eric Montbel with Pimbou from Les Agricoles Jose Manuel Tejedor with Aviles to Cork from Lluz Gordon McCready with The Waterhole, The Seagull, Fennyside Lassies, I Have it Somewhere, Sine Bhan, Innes and Fraser's Reel, Concertina Reel and The Fourth Floor from Wheel of Fortune 2025, EYP RecordingCillian Vallely with Cottage in the Grove, Kiss the Maid Behind the Barrel and Master Crowley's from The Raven's Rock LinksOld Blind Dog Tour Dates and DetailsVermont Institute of Celtic ArtsSupport the show

  Our adventures through the old west continue, with our look at Sam Peckinpah's 1973 classic Pat Garrett and Billy the Kid, starring James Coburn (from Waterhole #3). Plus, just about every other actor to ever ride a horse! (Katy Jurado, Chill Wills, Jason Robards, Slim Pickens, Jack Elam, Elisha Cook Jr, Bruce Dern, Harry Dean Stanton, Bob Dylan, and more) Also! We chat about our other favorite western movies. So #DonloydNow and enjoy this bite-sized Junk Food Supper. We got all this plus Parker's adventures in professional wrestling (in videogame form), sweat-filled hat-brims, dusty old bottles of sarsparilla, spike-filled cactus groves, tuneful ditties, sneezes, blank stares, gleeks and so much more!! Direct Donloyd Here Got a movie suggestion for the show, or better yet an opinion on next week's movies? Drop us a line at JFDPodcast@gmail.com. Or leave us a voicemail: 347-746-JUNK (5865). Add it to your telephone now! JOIN THE CONVERSATION! Also, if you like the show, please take a minute and subscribe and/or comment on us on iTunes, Stitcher, Blubrry or Podfeed.net. Check us out on Facebook and Twitter! We'd love to see some of your love on Patreon - it's super easy and fun to sign up for the extra bonus content. We'll unload shotguns at random mirrors for your love and support. With picks like these, you GOTTA #DonloydNow and listen in!

  Well, we've finally done it. We've found a cowboy picture that is "shockingly offensive" according to at least 100% of your Junk Food Supper hosts. But can it also have some charms? Listen to our review of the potentially very misguided but perhaps still entertaining Waterhole #3, starring James Coburn (from 1967). Also! We chat about wrestling and get wistful about the guest host who could have been. So #DonloydNow and enjoy this bite-sized Junk Food Supper. We got all this plus a music league update, Parker Bowman's union-busting ways, dipping your hands into hot caramel, the AEW Revolution 2025 rundown, secret downtown Los Angeles parking tips, someone looks like a gastropub-man, the french fry wars, tuneful ditties, sneezes, blank stares, gleeks and so much more!! Direct Donloyd Here Got a movie suggestion for the show, or better yet an opinion on next week's movies? Drop us a line at JFDPodcast@gmail.com. Or leave us a voicemail: 347-746-JUNK (5865). Add it to your telephone now! JOIN THE CONVERSATION! Also, if you like the show, please take a minute and subscribe and/or comment on us on iTunes, Stitcher, Blubrry or Podfeed.net. Check us out on Facebook and Twitter! We'd love to see some of your love on Patreon - it's super easy and fun to sign up for the extra bonus content. We'll ride a mule across Death Valley for your love and support. With picks like these, you GOTTA #DonloydNow and listen in!

From the waterhole of life ,a Xmas wish, a quite talk about the stark contrast between joy and loss   Would you like to sleep well, relax and change your body? **Join Me on My Journey to Wellness!** https://www.youtube.com/@barossabodybylauren And https://www.youtube.com/channel/UC8iR8NUZtQ1CLzWn5U0BoSQ Welcome to my new channel, [Barossa Body by Lauren](https://www.youtube.com/@barossabodybylauren), where I focus on gaining strength, improving health, and enhancing nutrition as we age. This channel empowers you with the tools to live a vibrant and healthy life. Here, I offer a number of twenty-minute user-friendly weight classes. Additionally, I invite you to subscribe to my original channel, [Lauren Ostrowski Fenton](https://www.youtube.com/channel/UC8iR8NUZtQ1CLzWn5U0BoSQ), which is centred around meditation, reducing anxiety, and coping with grief. Here, I specialize in helping individuals navigate the challenges of anxiety and loneliness, guiding you on a transformative journey toward restful sleep and rejuvenating mornings. Through the power of Cognitive Behavioral Therapy (CBT) and sleep meditation techniques, I share insights on mindfulness that can significantly enhance your sleep quality. Explore strategies designed to address common sleep troubles and discover how CBT can be a powerful tool for managing and overcoming sleep disorders. Join me for guided sleep meditations, where I combine relaxation techniques with my soothing voice to create a tranquil atmosphere conducive to deep rest. You'll learn how to manage anxiety for better sleep and harness the power of positive thinking to promote peaceful nights.

Bright lights, big hikes, the worst move ever, union cheers & jeers, Arlington disrespect, a losing team, media responsibility when entering the political sphere, and what could possible define the Dems?! Enjoy! --- Support this podcast: https://podcasters.spotify.com/pod/show/saywhatyoumeanpodcast/support

Poisoned_Waterhole

In this episode of the RepcoLite Home Improvement Show, host Dan Hansen shares his near-mistake during a family trip, talks about an electric power washer he recently purchased, and gives helpful tips on cleaning siding and translating online inspiration into home projects. RESOURCES:PowRyte Pressure Washer00:00 Introduction and Personal Anecdote00:34 The Nearly Dumb Decision03:20 Show Overview and Electric Power Washer Review03:57 The Paint Point: Avoiding Contamination11:40 Turning Inspiration into Reality19:00 George Jobs: Small Projects with Big Payoffs19:31 Finding Value in Small Projects19:40 The George Washington Approach20:52 This Week's Project: Cleaning Your Siding22:18 A Surprising Transformation22:56 The Folding Chair and Coffee Project25:32 Step-by-Step Guide to Cleaning Siding28:26 Reviewing the Power Washer35:51 Pros and Cons of the Electric Power Washer36:48 Final Thoughts and Recommendations39:14 Wrapping Up

In this episode of Exploit Brokers, we delve into two major cyber stories making headlines. First, we uncover the details behind the recent breach of water facilities by Russian hacktivists and the subsequent U.S. sanctions. Discover the risks posed by SCADA system vulnerabilities and the potential for catastrophic damage to critical infrastructure. Next, we explore the chaos caused by a CrowdStrike update glitch, leading to blue screens of death and widespread disruption. Learn how cybercriminals are exploiting the situation with fake fixes, phishing emails, and malware attacks. Stay informed about the latest threats and gain valuable insights into the world of cybersecurity. Don't forget to like, subscribe, and share to help us spread the word. Also, check out our podcast on Spotify and Apple Podcasts for more in-depth discussions. #CyberSecurity #HackingNews #SCADA #CrowdStrike #Malware #DataBreach #Phishing #CyberThreats #WaterSupply #CriticalInfrastructure #ExploitBrokers #TechNews #CyberAwareness #AI #CyberCrime #DigitalSecurity #ExploitBrokers #TechNews #CyberSecurity #DataBreach #Malware #Hackers #TechEducation #InformationSecurity #CyberSecurity #CyberEspionage #APTGroups #DigitalWarfare #ChineseHackers #CyberCrime #Hacking #Malware #Phishing #ZeroDay #CyberThreats #InformationSecurity #InfoSec #NetworkSecurity #DigitalDefense #CyberAttack #DataBreach #CyberIntelligence #InternetSafety #TechNews #CyberAware #OnlineSecurity #PrivacyProtection #CyberSafety #CyberWar #NationalSecurity #ThreatIntelligence #CyberSovereignty #TechCrimes #CyberAttack #OnlineSafety #EthicalHacking #InternetSecurity #DigitalFraud #Phishing #Ransomware #AIinSecurity #DataProtection #IdentityTheft #CyberDefense #TechTrends #InnovationInTech #DigitalForensics #TechTalk #SecurityBreach #CyberAwareness Sources: * Russia Sanctions due to water facilities hack     * https://www.bleepingcomputer.com/news/security/us-sanctions-russian-hacktivists-who-breached-water-facilities/ * Crowdstrike Phisphing     * https://www.bleepingcomputer.com/news/security/fake-crowdstrike-fixes-target-companies-with-malware-data-wipers/ * Waterhole clip: https://yarn.co/yarn-clip/fa5ea940-7ab9-4b37-b486-5ae8a580061c

James Marck was a journalist, author, artist and musician.  He was a devoted husband, brother, uncle and friend to many.  James was a kind and gentle person with a huge heart.  James grew up in Burlington, Ontario and moved to Toronto to pursue his career as author and editor with Now Magazine.  James interviewed many interesting authors, politicians, actors and musicians incuding Harry Belafonte, Garth Brooks, Kate Bush and The Tragically Hip to name a few.   While James had immense respect for the famous people he met, he never appeared starstruck.   James put people at ease by being approachable and down to earth.   He was known for getting the most interesting, unique and authentic interviews. The following people were instrumental in publishing"A Day at the Waterhole": Carol Perdic came across James' original hand-written story in her archives and after re-reading it nearly 30 years later, felt the message of friendship, collaboration, and harmony was even more relevant today and worthy of getting into the hands of young readers. Carol had a vision of getting this story told and had the good fortune of meeting a new friend, Chris White. Chris White is a talented illustrator and artist who has a passion for drawing, sketching, writing, and creating. Chris said he always wanted to illustrate a children's story. After reading A Day at The Waterhole, his dream came true. Chris' hand drawn, colourful, vibrant works of art will surprise and delight readers of any age. Chris guarantees that no animals were harmed during the creation of this book, except for the frogs, and they were delicious! With special thanks to editor, Sandy White, who has been involved with book publishing, selling and marketing for over 50 years. Sandy generously devoted her time, energy and expertise editing this book. Learn more about A Day at the Waterhole at https://adayatthewaterhole.com/  TOPICS OF CONVERSATION: About "A Day at the Waterhole" A decades old discovery prompts the publishing of a book with timeless relevance Delightful humor, amazing characters, important lessons. About the illustrations! Interactive activities for all ages Continuing the author's legacy. What's next for the jungle animals in "A Day at the Waterhole"? A DAY AT THE WATERHOLE The jungle is full of adventure and there is a big fight about to take place between two big bull elephants. Can these two elephants learn to get along? Can peace and harmony be restored in the jungle community? Professor Sticky Feet and her friends will take you through this whimsical book full of adventure and surprises. Follow the captivating cast of colourful characters and find out what happens one day at the waterhole.  

Down at the waterhole, the animals of the grasslands come to drink. Written especially for this podcast by Simon. If you enjoyed this story, please do leave us a review. And, if you'd like to suggest an animal for a future Animal Tales story, you can do so by emailing podcast@animaltales.uk. We would love to hear from you. Animal Tales Books!Collections of Animal Tales stories are available to buy exclusively at Amazon. Simply search for Animal Tales Short Stories or follow this link: https://www.amazon.co.uk/dp/B0CLJQZ9C9?binding=paperback&ref=dbs_dp_sirpi Become a PREMIUM SubscriberYou can now enjoy Animal Tales by becoming a Premium Subscriber. This gets you:All episodes in our catalogue advert freeBonus Premium-only episodes (minimum of one per month) which will never be used on the main podcastWe guarantee to use one of your animal suggestions in a storyYou can sign up through Apple Podcasts or through Supercast and there are both monthly and yearly plans available.  Discover a brand new story every Monday, Wednesday and Friday – just for you! You can find more Animal Tales at https://www.spreaker.com/show/animal-tales-the-kids-story-podcast A Note About The AdvertsIn order to allow us to make these stories we offer a premium subscription and run adverts. The adverts are not chosen by us, but played automatically by our podcast host, Spreaker. These adverts will be different depending on what part of the world you listen in, and may even be different if you listen to the story twice. We have had a handful of instances where an advert has played that is not suitable for a family audience, despite Spreaker knowing who this podcast is aimed at. If you're concerned about an advert you hear, please let Spreaker know directly at https://help.spreaker.com/en/articles/3803834-how-to-get-in-contact-with-spreaker-s-support-team# As creators, we want your child's experience to be a pleasurable one. Running adverts is necessary to allow us to operate, but please do consider the premium subscription service as an alternative – it's advert free.

This week on Critical Arcade, Nick and Dave are gearing up for a spine-chilling adventure as they journey back to the eerie world of survival horror with Alone in the Dark 3. This installment of the classic franchise plunges players into a Wild West setting filled with supernatural terrors. They are tasked with unraveling the mysteries of Slaughter Gulch. Will Dave ever find out why the cuckoo clock needs meat? And can Nick find a keyboard old enough to play the game? Tune in to find out if they have what it takes to survive the horrors of Alone in the Dark 3.Support the show at patreon.com/criticalarcade or criticalarcade.comEmail us at nick@criticalarcade.com and dave@criticalarcade.comThanks for listening and keep on gaming! Hosted on Acast. See acast.com/privacy for more information.

En este podcast os quiero hablar de los pozos de agua, cuando las lluvias dan paso a la sequía, en la vasta y árida extensión de la sabana africana, donde el sol abrasador parece desafiar toda forma de vida, se encuentra un oasis de vitalidad. Estos pequeños bebederos, rodeados por la sedienta tierra rojiza, son un refugio crucial para una diversidad asombrosa de vida animal. Es un microcosmos de vida y actividad, un refugio vital en medio de un entorno desafiante, donde cada ser vivo lucha por su lugar en el delicado equilibrio de la naturaleza.

All week long, Ryan and Shannon, have discussed topics spanning: Monday - Terrifying Infrastructure Hacks Tuesday - U.S. Nuclear Research Lab Data Breach Wednesday - Celebrating The ABCs of Cybersecurity Thursday - Throw Back | Somebody's Poisoned the Waterhole! (S1, Ep13) Friday - Everything else (the Netflix movie Leave The World Behind, games, movies, books, etc.) Now you can listen to us discuss what we've been watching, playing, and reading. Caution, there may be some hot takes on all things pop culture! Please LISTEN

What's up, everyone! In this episode Ryan, Shannon, and LeVon we will discuss in the BLUF (Bottom Line Upfront) the FBI's ability to read your private Signal app messages and Cyberpunk 2077's source code being stolen and sold to the highest bidder. In Topic 1 LeVon will break down the concept of virtual CISOs. In Topic 2 Shannon will go into the details concerning the hacking of a FL water plant. Last but certainly not least we'll end on our most important topic, “What have we been playing”? Please enjoy this jam packed show and leave us your questions, comments, and concerns via the Patreon, Instagram, FB page, new FB group, Twitter and email. Remember you can also leave us voice messages that we can listen to and answer on the show. Thanks! Articles: Can the FBI Hack Into Private Signal Messages On a Locked iPhone? Evidence Indicates Yes Hackers claim to have sold Cyberpunk 2077, Witcher 3 source code Considering the value of leveraging a virtual chief information security officer (vCISO) Hacked Florida water plant used shared passwords and Windows 7 PCs Hacker tries to poison water supply of Florida city Socials: Website - https://www.heroesmediagroup.com/shows/the-other-side-of-the-firewall/ Audio - https://podcasts.apple.com/us/podcast/the-other-side-of-the-firewall/id1542479181 YouTube - https://www.youtube.com/channel/UCXZgdDvlcQ8bP_V4dEF02Yw Ryan on Twitter, LinkedIn, Clubhouse, and Threads - @ryrysecurityguy

(Genesis 29:13-20) Imagine getting to be included in the Bible, one of only a handful of individuals who are mentioned by name. Now imagine that you are introduced into the story with a description that just says that you are not a pretty as your sister. Well, if you're Leah you do not have to imagine.

On October 7th, I hosted a webinar called "How Professional Screenwriters Create Great Characters", where I talked about how to come up with interesting and unique characters, as well as how tapping into your everyday life interactions with people can help with this. This episode addresses questions you asked in our Q&A session that we didn't have time to answer. There's lots of great info here, make sure you watch.Show NotesFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Newsletter - https://michaeljamin.com/newsletterAutogenerated TranscriptMichael Jamin:I feel like we're overthinking this a little bit. I feel like maybe we're giving labels that don't need to be labeled. We have a hero. We're going to put this hero on a journey. And who are the people? Or if it's a like a buddy comedy or whatever we're talking about, or if it's a husband and wife or whatever, what's the story? What's the journey we're putting them on and who are the characters we're going to get in their way? You're listening to What the Hell is Michael Jamin talking about? I'll tell you what I'm talking about. I'm talking about creativity, I'm talking about writing, and I'm talking about reinventing yourself through the arts.Hey everyone, it's Michael Jamin, and today we're going to answer the question, what the hell is Michael Jamin talking about? Well, today I'm talking about questions from my previous webinar. As many of you know, I do a webinar every three weeks or so where I talk about screenwriting and it's about an hour long and you're all invited and it's free. And I don't always have time to answer all these questions, but Phil is here with us visiting again. Hello, Phil. Hello and happy to be here. He's going to hit me with some of these questions we're going to answer.Phil Hudson:Lemme hit you baby one more time. Let's do it. All right. So again, kind of group questions, context for everyone. This was from a webinar talking about how professional screenwriters create great characters. You've got another really good webinar that a lot of people really like, which is how to write a great story. And so contextually, these are really more character based. There's some miscellaneous stuff, there's some break in questions. We've kind of grouped them together. So as I go through these, we'll just try to keep 'em on theme and let's get into it. Let's talk craft. Think Craft is always a good place to start. Anna Renee Chavez wants to know what big differences are there between writing for animation versus live action?Michael Jamin:Great question. Oh, and I just want to clarify everybody by webinars, you are free. Go to michaeljamin.com/webinar to sign up. I changed the topics, but whatever. So this woman wants to know what's the difference between writing for animation and live action? Not that much in terms of, and I teach 'em both in my course. The differences really are not that different. The only thing you want to think about is well ask yourself why is this show animated? What's the advantages to making this show animated? So in BoJack Horseman, it's a very real and grounded show, but you have horses talking and fish talking, or Whitney, you couldn't do that in live action. So you're taking advantage of the medium. If you have it animated, take advantage of it. When my partner and I did Glen Martin DDS, which is the show there a stop motion animation, we would ask ourselves, what's Clay tastic about this? We'd call it, because it wasn't claymation, but we pretended it was claymation. So what's Clay tastic about this scene? Is someone's head going to come off? So for example, we did an episode where the character, the boy got his head stuck in an elephant's ass. You can't do that in live action. So you can do that in animation, but the story itself, it's very similar. The stories are very similar. It's just that you just take advantage of the medium.Phil Hudson:Yeah, awesome. And I think another good example of this, where a choice was made to do live action RET link's buddy system, you had mentioned to me that one point that it's basically just a cartoon. It's like a live action cartoon with silly It is, but they can't be as silly as they could if it was animated and they could do whatever they wanted. So it still kind of grounds it in this reality, but it's still a bit silly.Michael Jamin:Yeah, it could have been a cartoon, but we would've gone even we did one episode where we turned Lincoln into a robot because the character was like, my life would be easier if I was a robot. So that probably would've been even better if it was animated. But in real life we just started putting 'em in crappy robot costumes.Phil Hudson:Yeah,Michael Jamin:But it was funny. We turned him into a robot, so it was kind of broad.Phil Hudson:Love it. Julia Wells considering extraordinary and ordinary pairing. What would you say about friends, how I Met Your Mother, or shows that are more grounded? I think this is in reference in your webinar when you're talking about your characters and putting your characters together or how you write your characters for a specific story, and there's a difference between extraordinary and ordinary if you want something extraordinary when you're pairing your characters together.Michael Jamin:Well, yeah, most shows are like that. Most sitcoms, the characters are just normal people. And yeah, it was kind of like ordinary characters, kind of an extraordinary situations where it would've been unusual. I'm trying to think of an example from friends, but alright, so they did an episode where Joey and Joey and what's his name, not Kramer Chandler, the guy Chandler are going to sit in their chairs all episode, all ordinary guys doing something extraordinary. They're not going to move from their chairs and they're going to see if they get everything delivered and they're going to eat and drink and they're not going to get up, stuff like that. So I don't think it's any different from any other sitcom I've worked on other than the characters.Phil Hudson:I just started re-watching How I Met Your Mother, which I've seen who knows how many times. But it's a good background show while I'm working on stuff that's not necessarily logical, analytical stuff. And there's an episode where it's the Halloween party and he's the hanging Chad because he met the sexy pumpkin in 2001 during the election or 1999 or whatever. And so Barney's got tickets to the Victoria's Secret model, Christmas Halloween costume party, and he's trying to get his friend to this extraordinary thing and his friend won't leave. He wants to be at this party to potentially meet this girl on this rooftop again. And it's the push and pull of Come be amazing, stop looking for love, you're losing. So it plays really well in that situation. Alright, cool. AIA Saunders or AIA Sanders, I apologize for ruining that. How do you feel about basing a character on them knowing themselves or basing a character on yourself and your own doubts?Michael Jamin:Yeah, do it all. I mean, you should do it. You should totally mind your own life For stories, and I have a whole module on this in the course, and you can disguise it too, so people don't have to know it's you, but you're just stealing parts of yourself or parts of people as other characters, but you change it enough and change the name, but also change professions and change. You're just stealing attributes from people so they wouldn't know it. But that's what your life is for your life is to steal things fromPhil Hudson:Perfect. Charles Shin, do you have any tips or advice with coming up with great names for your characters?Michael Jamin:I spoke a little bit about this in the old days. We used to have a baby naming book, my partner and I, and then now it's kind of easy to go on the internet or just in life. You'll come across a street name and you go, oh, that's a good last name for a character. I just kind of keep a list. What was one? I had one the other day I added to my list, I can't remember, but it was like a street sign I go that I passed. I go, that's a good character's name.Phil Hudson:Yeah. I've also seen our showrunners on Tacoma fd. There's a random character as Chief Phil Dylan. Well, I'm Phil. It was the writer's pa and I replaced Dylan, the writer's pa.Michael Jamin:Yeah, it's funny. I know they took that for you. I mean, they tend to do that a lot where at least Steve Lemi does. He'll just name characters after people he knows.Phil Hudson:Yeah. There's one line from Ike in an episode that I think you guys wrote. It's like Benjamin Duff or Benjamin CrumpMichael Jamin:AndPhil Hudson:Ben Crump was our DIT set. Right. So just throw people's names and give 'em fun stuff. Awesome. You also talked, I think you talked about funny names that go together too. At one point that was something you do.Michael Jamin:I talked about, I had a character named, what was his name? SomethingPhil Hudson:The third? It was something the fourth. The fourth, yeah. What was hisMichael Jamin:Name? God, I can't remember.Phil Hudson:It was like, but it was a bunch of things together that rhymed almost or had similar names.Michael Jamin:I'd have to look it up. I can't. Oh, Dan Danforth iv. That's what it was. Dan Dan. I had a character named Dan Danforth iv, and I just thought that was a good name because Dan Danforth is weird enough. But why did his parents have to saddle in with the fourth? Because, well, they felt like they had to because the father's the third is a generational thing. They can't, so they stuck this guy with his shitty name and what's that going to, having a name like that, you're going to be teased as a child. And I thought the character is kind of a feckless type and he became a sheriff of a small town as a way of demanding respect because he'd been teased all his life to be named Dan Danforth iv. And so now he has a badge, but people still think he's a dipshit. And so I just thought it was kind of a good name for a character like that, who's kind of feckless.Phil Hudson:Alright, jumping into the course and character related topics, these are a bit intermingled because a lot of what you talked about, and we even brought this up with Mike Repp and Kevin Lewandowski about how valuable that course, that character worksheet is. But because this webinar is about character, there are a lot of questions about character. So number one, pat Nava. How do you make characters that the audience wants to know more about?Michael Jamin:Well, it's not so much the characters, it's just the story you give them. So that's not so much the character. That's the story.Phil Hudson:There we go. Cookies and sugar. How do we make characters diverse and not self projectMichael Jamin:Diverse and not self project? They seem very different questions toPhil Hudson:Me. So this is, I think a really good question and from context for this, this person is a minor and they want to be a writer and they've been told by their well meaning adults in their life and mentors not to do that because it's a waste of time because you'll never make it as a writer. And that was a question she'd asked another point. So this question really speaks to me of something I heard really early on when I was studying, which is you are not your characters. Don't write yourself into your characters, which is kind of contradictory to the advice you give, which is writing your life for stories.Michael Jamin:Why not? I dunno why they would give you that advice. Why not? Yeah, it might've been because people were just writing self-indulgent material that could have been,Phil Hudson:I know on writing by Stephen King, he says that you are not your characters and it is a mistake to think that your characters will behave the way you would. So if you find your character doing something you wouldn't do, it is your job to allow them to do that. And I find that a lot with my writing. There are many things I write where I would never do as someone from a more conservative background who is religiously inclined, like my characters say and do things all the time. I'm like, oh, where did that come from? Not who I am, but that's what it felt like needed to happen as that character was coming through me. And I feel it's my responsibility to just let that happen. But the difference is to me is don't make your characters do and make the actions you would do. And if you're a more passive person, that's not a good thing for your character to be because your character needs to make choices. And that's the conflict of it all.Michael Jamin:But Larry David on Kirby Enthusiasm, he's playing himself, but Larry David is not that person in real life. These are just, it's a heightened version of himself. Larry David knows when to hold his tongue. His character doesn't, his character can't let it go. Larry David just playing. It's a heightened version of himself. It's the worst version of himself, which is why it's so funny he wouldn't do that in real life. I mean, Larry, he wouldn't do that,Phil Hudson:Right? But if you look at yourself, or even friends you have or people that you know and you say, I've got this buddy who is super quiet, but then when he talks it is just cuts with a thousand lashes because he is so sharp, it'll just take the wind out of your sails in a second. So if you have someone and you take that element and you say, I wonder how I can make that funnier. How could I take this tick that I have or that my wife has and just make it, turn it up to 11. That's where the comedy comes from and that's where the conflict comes from. So that's what you're saying by mind your life for stories and put your characters in situations you've been in, but don't do what you did necessarily.Michael Jamin:You could turn it up. Yeah, turn it up a notch. That's it. It makes it fun and interesting.Phil Hudson:Yeah. Cool. Matthew? I think he likes lasagna. Many people begin with an idea for a character. I've always been led by the concept and the plot, then I tailored the characters to fit within it. What are your thoughts on that method?Michael Jamin:Sure. I mean that works fine. I mean, if you can create someone who still feels real, like I said, even though Larry David is a heightened version of himself, it still feels real. It feels like he almost, it's not crazy. It's not beyond the realm of possibility that he would do that. So as your characters don't, as long as it doesn't feel like you're contorting the character to do something that your story requires, which would not be human behavior, at the end of the day, these characters have to be humanPhil Hudson:Like jumping the sharkMichael Jamin:Or jumping the shark. But also often my partner and I will write a scene and Seaver will say something like a character that's not human behavior. We're just making the character do this because two writers in Hollywood need him to say that, which is, I mean, sometimes we'll laugh, we'll say, why would a character say that? And then I'll say that we have four cameras on him and we have to shoot something tonight. But that's not the right answer. The right answer is it has to be human behavior.Phil Hudson:So tangentially related would be DSX, Mina, right? Which is circumstance or coincidence, getting your character out of trouble or solving your problem. So it's not the same, but very similar as it's aMichael Jamin:Lazy writing dem and I believe is Latin for God,Phil Hudson:God in the machine,Michael Jamin:A God or God can get you into trouble or a coincidence can get you into trouble but can't get you out of trouble. So if God comes to the rescue and saves the day, that's considered bad writing. So an example for this that people like to harp on is somehow Palpatine returned. Isn't that his name? Palpatine?Phil Hudson:Yeah, Palpatine.Michael Jamin:Palpatine. I didn't even watch it. I didn't watch it, so I'm not going to badmouth that movie, but that's what people say somehow God came in and everyone seems to roll their eyes at it. And again, I haven't seen it so I really shouldn't say, but that's what I've heard. That would be an example of maybe something that people don't, they went too far.Phil Hudson:Yeah, yeah. How do you introduce characters? I normally have their name, age in a short sentence, which sums up their personality. I then allow them to show their character through their actions.Michael Jamin:Yeah, those are stage direction and no one wants reading stage direct wants to read stage direction. So I usually say what the character's name is exactly a few, maybe a physical attribute or two their age and something about their personality that gets it real fast. Here's a bad description. You see this a lot, Lucy, cute, but doesn't know a girl next door. Cute, but doesn't realize it or sexy, but doesn't know it. How many times have I got to see that and you just roll your eyes. So it's got to be better than that.Phil Hudson:Yeah,Michael Jamin:That's cliche.Phil Hudson:Do you ever put anything related? I've heard other writers recommend putting in cues for clothing to help wardrobe understand how this person dresses or informed character. Is that something you ever consider?Michael Jamin:Only if it's absolutely necessary. If the character wears loose fitting clothing to hide their body, that makes sense. But unless it's absolutely necessary, we can have these discussions at the production meeting. We don't need to know it now in the script unless it absolutely necessary.Phil Hudson:Great. Tom Merrim, when you write characters, do you focus more on the personalities you want added to the mix or focus more on the role each plays or what they need to do in the story?Michael Jamin:And that's what I teach in the course. Every character has to be there for a reason and they have to help elucidate the story or else it's just, you don't want to just mash these. Even if you have 10 great characters, like oh, they're all interesting, but maybe they don't fit together. They have to fit together to tell a story. The story is the look. We all work for the story, the writers, the directors, the actors, we all serve the story and that includes the characters. The story comes first. That's why it's so important to learn what story is.Phil Hudson:Yeah. Great. Justin Kaiser, to develop your characters, do you focus on relationships more than the characters themselves?Michael Jamin:Well, more, I mean, I always think what's the relationship between this character and the other character? I mean, you may need to know that if you have a father and a son and you want to know how they interact and maybe the kid's under the father's thumb and at the end of the show or movie, he's going to stand on his own two feet and defy his father. That's important that you might need to know that. But I don't need, if that's what the story is about, then yeah, I need to know the relationship, but I don't need to have all the answers, just the ones that are pertinent for the story.Phil Hudson:And when you get into the course, you'll learn that there's this awesome sheet that you have that you were provided that was given to you. Was it Steve Levitan gave it to you. And it's basically defining all of these nuances of your character so that you can build them out to be someone unique. And you clearly see a pattern. And this kind of relates back, I think to cookies and sugars question. I'm assuming this is universal, not just to me thing, but definitely a Phil Hudson thing. When I create my characters and I start using that spreadsheet, I start noticing like, oh, they're all very similar. We got to mix that up, so let's fix this, let's fix this. And so those are like, I have specific things I go to or lean towards and it's like I need to fix that. And that allows me to create conflict creates differences in the way people see things. It also empowers me when I'm writing these characters to know how they would talk about this specific thing or react in this situation in a way that empowers the story to be better and serve their role that they've been given.Michael Jamin:Here's an extreme example of that. Let's say you're writing Oceans 11 and you have, I dunno, I guess, or have loving characters or whatever. You got the brainiac, you got the suave guy, you got the bomb cutter, who's a loose cannon, you got the thug, you got the nerd or whatever. Every character in that group has their own distinct, not only personality, but almost archetype of personality. There shouldn't be overlap. And then that's an extreme example, but even if you're writing something more grounded and real or intimate, rather, you'll ask, you'll have the same conversations with yourself. So why do I have two heart throb characters? I only need one. You want to have different viewpoints. In the episode, we talked a little bit about love. Actually in the last podcast we talked about, we did a q and a and I mentioned love actually is about looking at love on Christmas time from whatever, 15, how many storylines, whatever, eight storylines. And each character has a very specific kind of role. And there's no, and there shouldn't be. If there is, we don't need two characters for that same point of view. This is a work of art. You don't need two, just one.Phil Hudson:Yeah. And going back to how I met your mother, there's really three kind of four different characters there in this group. There's a couple, Marshall and Lily, there's Ted, our protagonist, and there's Barney, and then there's Robin. And they all reflect this different opinion about relationships and dating in New York City. You've got the couple that have been together since college and they're together and they just love each other all the time. The ones seeking true love, the player who just wants to hook up with as many women as he can. Ironically played by Neil Patrick Harris, who's gay, and he does a great job of playing that person. And then you have Robin who is afraid of love and kind of withdraws from love and that creates that ecosystem where they're all playing off of eachMichael Jamin:Other. They all have different viewpoints. Yeah.Phil Hudson:I'll also say I'm working on this feature that I haven't written a feature in a long time and I got the story that I really like and it centers around a family situation. And I'm thinking about my family and my brothers and my relationship with my siblings. And it's like we were all raised the same. We are all very different people. We have fights because there are things we absolutely disagree on, but then there's always this layer of relationship. And we had understanding that even when we get really mad at each other to a certain degree, we know we're always going to come back together. Except there's always that thing dangling out there that maybe we won't. And I have one sibling who's like that. I don't know that I could have a same conversation with her that I could with my older brother the same way I would. She may never want to talk to me again because he's just a bit more sensitive. So it's like, okay, how do I look at all of these relationships here? And just because we all come from the same place and we had almost the same experiences. We are all very different.So Cameron Barnes, he said, Michael said, a cast of characters should be in constant conflict, but does that actually just mean constant conflict throughout the story?Michael Jamin:What else would it mean? I mean,Phil Hudson:Yeah, I dunno.Michael Jamin:I don't know. I mean, yeah, conflictPhil Hudson:Doesn't, lemme talk about the constant conflict. Maybe just address that.Michael Jamin:Well, conflict doesn't have to be people fighting. It could be passive aggressive. It could be people caring very much for each other, the mother, and you've seen this trope before, the mother, the overbearing mother, trying to get the daughter to be happy and settle down and find a man, whatever. She's just in her life that's conflict. A mother who's constantly meddling and she means well and the daughter knows she means well, but she keeps stepping on her toes. You've seen that story a million times. We've seen it because it works. So that's conflict. But if it was, what about a show where everyone was always getting along? Well, that's boring, unfortunately that's just boring. That's the scene right? Before everything goes south, that's what that is. You have one scene like that and then it goesPhil Hudson:South. And it's not that it's all okay that people are just kind of egg shelling, walking on eggshells around each other to maintain the peace in this moment, right? Yeah, because it's going to go nuts at any moment. Yeah.Michael Jamin:Drama is conflict, guys. So that's it. Drama is conflict,Phil Hudson:But that's also just life. And I think that's why we watch it. Life is not perfect harmony at all times with everybody. There's things,Michael Jamin:But even if you had a scene where young couple's in love and everything's great. Okay, great. What's one scene they met boy meets girl, they fall in love. Great. How many,Phil Hudson:Why do you leave the towels on the floor? He leaves theMichael Jamin:Towel. Yeah, something's going to have to happen wherePhil Hudson:When you take your toothbrush out of your mouth, it flicks toothpaste on the mirror and you never clean it. Right? That's the stuff that eats at couples.Michael Jamin:Yeah. So you need stuff like that. Everyone loves Raymond. They were a happy couple, they had a happy marriage, but you still have to fight Rose, what are we watching?Phil Hudson:But that's also fighting in a relationship is what makes your relationship better. If you can get through those things. And fighting doesn't mean screaming and yelling and throwing stuff at each other. It could just be disagreements or heated conversations is like you got to get through the conflict, come to a resolution,Michael Jamin:Right?Phil Hudson:This thing bothers me. This thing bothers you. How are we going to fix this? We live together and we're going to be together forever. So let's figure this out. It's going to bother me every day forever.Michael Jamin:Yeah.Phil Hudson:Matthew Lavania back. What's the difference between a villain and an antagonist?Michael Jamin:I don't know. I mean a villain I guess is an arch formative, a villain sounds like it's something that's a heightened antagonist. That's what it sounds like. An antagonist doesn't have to be a villain. It could just, if you have, like I said, a daughter and a mother and the mother's overbearing, then the mother's an antagonist. Doesn't mean she's a villain. The stepmother's the villain in Cinderella. So it's just a heightened antagonist I suppose. But we're splitting hair. I don't think we have to worry about that really. I mean it's like an academic question. I could thinkPhil Hudson:You might say Thanos in the Marvel universe is the villain because he's got this big existential threat. But I think one of the things you highlight definitely in my writing is your antagonist still needs to be likable. Not likable in the sense, but we need to understand that they think they're the hero. And in this case, Thanos wants to prevent genocide because his world went through this. And so his way of doing, it's by killing half the people in existence to prevent this thing from happening.Michael Jamin:Think about land from Quentin Tarantino's,Phil Hudson:GloriousMichael Jamin:Bastards and glorious bastards. What a great villain. I mean, he was a great villain. He was the Jew hunter, the Nazi man that was a badass guy. But he was complex and there was something so about him, even though what he was doing was so incredibly vile and offensive. And so that's when you humanize your villain, you make it. It makes your writing so much richer. I mean the fact that he spoke so many languages and he was educated. He'sPhil Hudson:Charismatic. Yeah,Michael Jamin:He was charismatic and yet stillPhil Hudson:And very polite. Thank you so much for inviting. Yeah,Michael Jamin:VeryPhil Hudson:Inviting, inviting. May I ask you for some milk?Michael Jamin:Yeah.Phil Hudson:The Jews are underneath me right now, aren't they? Yeah.Michael Jamin:And you just didn't know where you stood with the guy. So he was just a very nice guy doing awful, awful things. So that's great writingPhil Hudson:That scene when he's sitting down with Ana, I'd like to go over the theater and he's vetting her and he's putting cream down for her and he's like, he knows who she is. It is unspoken subtext. He is aware that this is the girl that got away. You see it in her reaction when she leaves and she's hyperventilating and she just kept it togetherMichael Jamin:And he was like a mercenary.Phil Hudson:Then you find out later that that's all part of his plan. This is how he's going to get out.Michael Jamin:Great writing. That's all that is. That's all that movie is great writing,Phil Hudson:Which is followed up byMichael Jamin:Great actingPhil Hudson:And great production and great editing and great everything. That'sMichael Jamin:All that was though.Phil Hudson:Alright. Luke felt. How do you ensure that the story around the character matches the lesson that they need to learn?Michael Jamin:Can you say that again? How do I ensure?Phil Hudson:So this is a presupposition that your character needs to learn something by the end of your script. So how do you ensure that the story around that character gets them to the point that they learn something?Michael Jamin:Well, okay, I don't believe characters have to learn anything. I do think they have to grow or else why did you put 'em on a journey? If not to them it has to be you're changed in some way. If you take a character and you take 'em to the top of Mount Everest, they have to be changed in some way or else why did you take 'em there? So it doesn't mean they have to learn a lesson, they could be worse off. But if your why stories is a journey and why go on the journey if we're not going to get a view and the view better be something interesting, why did you take me on this long trip? And if the character didn't in some way change or grow, it doesn't mean learn a lesson, just change in some small way. Why didn't we take 'em on that trip? Why did we go there? Why did you waste our time? And by the way, there are bad movies where this doesn't happen and I always feel like, well, why did you just waste my time? And so just because there's bad writing out there doesn't mean we have to participate in it. It doesn't mean we have to add to it.Phil Hudson:I think there's an inclination, and I've seen this in myself and many other writers in film school and definitely here in Los Angeles, that you want to buck the trend and buck the system and you don't want to follow story structure and you want to do your own thing. It's almost like you want to reinvent the world of writing and you also want to play into tragedy and disappoint, defeat audience expectations and all these things. And that's artful writing. And I think what I've learned from you in the course and being in the writer's room is that those things serve a purpose and you can still do those things, but you do it in a surprising way and it works because there's a structure to it.Michael Jamin:Yeah. I mean, everyone wants to reinvent writing, reinvent the story. Look, the story works. It's been working for thousands of years. You can make a good living writing compelling story. And when I watch a story that's compelling and that works, I don't think, wow, they just reinvented the story. I don't think that, I just think they told a really good story. I feel like they're doing what I'm doing, but maybe better or on a higher level. I don't think they just completely change with some small exceptions sometimes. I'll watch, for example, inception, Christopher Nolan, I, I've watched it four times. I still don't know what it's about. I still can't follow it. It's obviously a great movie, but I don't think we have to all write like that in order to tell a great story.Phil Hudson:And I think he just announced what is happening. He just revealed that during the Oppenheimer interviews. You can go look that up on the Google if anybody's in. But yeah, I mean that's his style and it's very much his cscope, I think is what it is. Or Cscope, his logo is a maze. It's elaborate. He's kind of telling you this is his way of tellingMichael Jamin:Stories. That's how he does it and that's how he thinks.Phil Hudson:It started with Memento and it started with even other stuff he directed but didn't write, which I'm blanking on it, but it's like one in Alaska and it's psychological thriller. But yeah, all of his stuff is that, and that's his motif and his style.Michael Jamin:I'd go so far as to say that the guy's kind of a genius. And so unless you think you're a genius too, maybe don't try to reinvent. I don't think I'm a genius. But that said, I couldn't write anything like Memento. It hurts my head to think about it. And I enjoyed a memento and Inception really loved it. I couldn't come close to it. I write, what I do is I write comedy and I'm very good at that. My one little thing, and that's okay. We all have our one little thing that we're good at and you have to just lean into it. Christopher Nolan doesn't write comedy, which is good. He has a sing that he does and we love what he does. We don't all have to be experts at everything.Phil Hudson:Right? Yeah. Justin Kaiser, how do you decide that another character is needed to advance the story or if that attribute moral personality can be added to another existing character?Michael Jamin:IPhil Hudson:Guess kind of the question is how do you know when you have enough characters in your story?Michael Jamin:Well, it's a little different. If you're writing a TV show, if a TV show you need to write, you have to have a cast and it has to be conflict. You want to have, let's say five or six characters that always are going to always be in conflict with each other week in and week out as you tell different stories. If you're writing a movie, you really want to think about who's the star of this movie, or if it's a two hander, who are the stars, if it's a buddy cop movie or whatever, you have two cops or it's a buddy movie or a road trip movie. You have these two characters and you only have the other characters as needed to help tell the story, the journey you're putting those two characters on. So if you take a good example, because we're mentioning Buddy comedies, midnight Run, so Charles Groden and Robert De Niro. It's a buddy comedy you're putting and a road trip, comedy, whatever, not so much a comedy but drama and you're putting them on an adventure, so you just need obstacles to throw in their ways. So you have Dennis Farinas character who's the mobster, but we're not following Dennis Farinas story. We're following Robert De Niro's relationship with Charles. That's it. Everyone else is there to help. Tell Robert De Niro's story and Charles Groton's story.Phil Hudson:Yeah, easy Rider, very similar, right? You've got these two bikers and you've got their lawyer Jack, Jack nickles, and then it, it's about them. And that's experience of going across America right in the seventies. It's not about the hippies they meet at the Waterhole in Santa Fe. It's about those and what happens to them as they go through America, Julia Wells, and how do you prevent the worst characters from being so far outside their wheelhouse that they can't possibly succeed or it becomes unbelievable. And this is in reference to this kind of golden nugget you've been talking about recently in your Yeah,Michael Jamin:Everyone please come to my webinars about this one's about character. She's talking about character, but I do another one on story and they're free. You go to michael tamer.comPhil Hudson:And you're going to get a lot of these questions for people. A lot of this is coming out of, it's in context in the webinar. So you're hearing this lesson and these very important principles for writers, and these are questions coming out of that. And this is one of those questions referring to a tip you give in the webinar about how to write characters that a professional writer would use.Michael Jamin:So she wants to know how do you make sure that your character is not so off the map that people don't like it or something?Phil Hudson:Yeah, because the point you're making here is you don't want a perfect character. You want the worst character for a situation. Yeah. So how do you not make the situation so bad that per character can't navigate it?Michael Jamin:Yeah. Well, I think what you do is you have your character and get better, so improve on it. So like I talked about, one of the examples I gave in the webinar was Aria Stark from Game of Thrones, and we gave her one of the hardest storylines, which was she was a little girl, her family was murdered, and now she decides she's going to avenge the death of her family. And I talk more about this in the webinar, so I'm not going to go too much detail, but Aria Stark is the worst character to give this journey to avenge the death. She's like an 8-year-old and she's tiny. And so we give her skills. So we slowly take her down this path where she learns skills and becomes a great fighter. Little by little, she learns from this, the dance.Phil Hudson:You learn those attributes, but it's there, the seeds are there. She's interested in sword play. She's a bit of a tomboy. She wants to know these things that her sisters the opposite, wants to be the queen, wants to marry the king, that wholeMichael Jamin:Thing. So we put her, she's the worst person to put on this journey, but we slowly give her the skills on these little storylines that we give her to become the one who kills the night King. No one can kill this guy. He's made of ice and somehow she, but had we not put her on this journey, she would've been the first one to die. Hey, it's Michael Jamin. If you like my content and I know you do because you're listening to me, I will email it to you for free. Just join my watch list. Every Friday I send out my top three videos of the week. These are for writers, actors, creative types, people like you can unsubscribe whenever you want. I'm not going to spam you, and the price is free. You got no excuse to join. Go to michaeljamin.com. And now back to what the hell is Michael Jamin talking about?Phil Hudson:Yeah, it's all great. It's such a good show.Michael Jamin:Yeah.Phil Hudson:Darlene Smith, can you ever overc create a character?Michael Jamin:I dunno what that means. OvercPhil Hudson:Create overriding is a thing. I don't think this is, can you think too much about your character? And I know a lot of people spend times writing full biographies about theirMichael Jamin:CharactersPhil Hudson:And all that kind of stuff.Michael Jamin:Yeah. As you write, you learn more about the character. It's so weird when people say, I wrote, they say, I have the pilot, the Bible, and the first three seasons of my show mapped out really? In other words, you're saying you're not willing to discover any of this as you go because they just haven't mapped out on a piece of paper. It's like in a real writer's room. We got a team of writers working on this, and over the course of eight seasons, we were learning more and more about the characters as we go. It's not Breaking Bad wasn't fleshed out in the pitch. Jesse Pinkman wasn't even going to be a main character in it. You learn about your characters as you're writing. You see what works and what doesn't work. I think there's a temptation to spend all this time overthinking your characters without even putting a word on the page.Phil Hudson:Look, it looks like writing and I think that might be, this is procrastination.Michael Jamin:Yes,Phil Hudson:It's world creating. I think I told you maybe eight months ago, nine months ago, there was a kid who was in film school, he messaged me and he's like, Hey, I'm really interested in this and writing, and I just love creating worlds. I love world building. I love doing all this stuff. And that's my favorite part of this. And it's like, cool. None of that matters if you don't have a character we want to watch because that is all that matters is what is this character? What is the journey they're going on? It's procrastination. It feels like it. And look, this might be a bit of a gross word to use to describe this, but it is masturbation. It is just you are doing this for self-indulgent reasons to make you feel like you're writing and it's literally not moving the chain, which is pages, words on the page, words on the page, words on theMichael Jamin:Page. My partner and I, we've gotten called out on this more than once, where the executives will look at an outline or a beat sheet and they go, I don't understand this character. And we're like, well, we don't really understand the character yet either. We plan on finding it as we write, but they get mad. We need to know now. All right, well, we are just kind of pulling the wool of your eyes. We'll figure it out. We're going to find it when we write it. I don't know what to tell you. I don't know what to tell you. We thought about it. We're not there yet. We have to discover it as we write. Sorry, but this is how it goes.Phil Hudson:I want to highlight here, Michael, too, that this is for a lot of people who might hear what you say about story structure matters and there's a structure that you need to stick to and you talk very in your free lesson, michaeljamin.com/free. There's a whole bunch of free resources on that page. One of those is this free lesson about story, and you talk in there about Picasso. And Picasso was a master at 14, and then he learned and created his own version of art that's worth millions and hundreds of millions of dollars. Now, by the time he was 80, so he had like 65 years if I'm asked of figuring out how to make his own thing and reinventing this. But it's grounded in the rules of art and painting, and you talk about structure and how it matters, but in the same breath you're saying like find it as you go. Find it as you go. And there's a balance there. And I think very often, definitely myself, very black and white, and there's a lot of this, you need to understand the principles so that you can break the rules, but you also need to understand when to focus your time and when to shift. And that I would venture to say just comes with time. You got to get in and do itMichael Jamin:A lot and over and over and over again and you'll learn. And then that's how a lot of times we will have the perfect character, all the perfect characters, and we'll start writing and we go, none of this is working. So what we thought was perfect is not working. How do I know it's not working? Because the words are not coming out on the page. It's just not working.Phil Hudson:Yeah. Don't be so damn precious about your story and your characters and your idea. Just get it out and move on. It's reps. You got to get your reps in. All right, cookies and sugar. How do you keep a romance novel? Interesting. How do you create conflict between the two characters while still having them come together in the end to date? How do you write villains in? And part of me is, I think we just answered this with the toothpaste and all that stuff we're talking about. You can get there, but Hitch comes to mind for me, right? It's the right characters. Remember? Yeah. Will Smith is the dating expert, and he helps guys who kind of suck at dating, get girls that they like. And Eon Goya's character is like a gossip writer, and she finds out about this guy and she's going to go find him and hunt him down. But at the same time, she falls in love with Hitch the Guy. And then it kind of comes out later that she feels like he played her and it's because her friend got some douche bag who he wouldn't help made some reference. And so it all kind of boils over at the end. And it's about helping a guy fall in love who's in love with this airs getting her to fall in love with him. He's a klutz and he can't do it himself. And all the things she fell in love with were him. His mistakes, not the stuff Hitch taught him how to do, right? It's all the sincere him stuff. But that is a great example of this is a romcom, this is a romance story. This isMichael Jamin:Go watch when Harry Met Sally, which is the best romcom ever. And so when you keep your, it is boy meets girl, boy gets girl, boy loses girl. That's the middle, right? Then boy gets girl in the end again. Or not. Or not, but getting together at the end, you need to get your characters, they usually get together earlier and then something goes south. And that would be probably be your second act break when they break up for whatever reason. So go watch Harry. I met Sally. That's a brilliant, brilliant romcom.Phil Hudson:Awesome. EG wants to know how do you overcome difficulties with writing dialogue? Acts broken down, but having a hard time with dialogue?Michael Jamin:Well, yeah. I mean, there's a couple of things going on. One, you can record your dialogue into a tape recorder or whatever, digital recorder and play it back. And it should sound natural. It should sound the way people talk. You can go to a coffee shop and listen to people how they talk to me. That's the fun part. If you're having problem writing it, it could easily be because you don't know what your characters should say. And if you don't know what your characters are saying, you don't have a dialogue problem. You have a story structure problem if you don't know what your characters should say. So I suspect that's what's going on. I suspect this person doesn't have a dialogue problem. They have a story structured problem.Phil Hudson:That was my thought too, because it's pretty easy to know what you need to get. You shouldn't have a scene where people are just showing up to talk that does nothing for us. Yeah,Michael Jamin:Yeah.Phil Hudson:It's that critique I have. And I've noticed even in my own writing early on, which is there's a lot of people doing things and nothing's happening.Michael Jamin:Yeah,Phil Hudson:That's a bad note to get by the way, guys, you don't want that. Doc B, is there a method by which to place arc points, the character will learn something or experience that helps them grow? Or do you let the story find the right moment for a character evolution?Michael Jamin:Can you repeat it?Phil Hudson:It kind of was tough to get through. So is there a process or method that you use to put in plot points or story points that require your character to grow or evolve?Michael Jamin:Well, again, we're talking story structure. That's what they need to, that's what I teach in the course. There is a process. Yeah. Yeah.Phil Hudson:I recently, go ahead.Michael Jamin:Characters don't have to grow. They have to change, but they don't have to learn a lesson, but go on.Phil Hudson:Yeah. And again, that's that advice. It just hangs out. There is your character needs to learn something, your character needs to learn something. And just kind of hanging myself out here. Again, the first question you asked me when you're giving me screenwriting advice is you asked me the question, what is the definition of a story? Hint. Hint. That's go get the free lesson on michaeljamin.com/free because it's the same question and you teach this principle, and I said, it's a hero who goes through trials and ends up better in the end. And your response was, what about King Lear?Michael Jamin:Yeah. Here's another example that go watch a movie called Manchester by the Sea with Casey Affleck. And in it he plays a guy who's responsible for the death. There's an accident. He's responsible for the death of his wife and his child, and he's living with his horrible guilt. HePhil Hudson:Won an Oscar for that, right? That's the one got the Oscar for,Michael Jamin:I don't know. But it was a great performance. And so he feels responsible for the death of his family, and I think he may have been an alcoholic or not, I don't remember. And then he forges a relationship with his nephew, and you think maybe this relationship's going to save him. And you get to the end and you think we've taken Casey Affleck's character on this journey where maybe he's not going to be depressed anymore. Maybe he's going to allow himself to change and grow and he can't. And so that character goes on a whole journey, but really doesn't change and is a beautiful, beautiful movie. But again, the emotional journey is there. But he decides at the end, I can't grow. I can't ChangePhil Hudson:Without A Trace is another great film with Ben Foster and he's living in, he's a vet with PTSD and he's living kind in the wilderness outside of Portland with his daughter. And then Child Protective Services kind of gets involved and he kind goes on the run with her and they escape. And then at the end they end up in this town and there are these kind people who want to take her in and they're offering to give them a place to stay and take care of him. And then one night he is packing his stuff and he has to kind of leave his daughter behind because he can't deal and she can't deal with living in the woods. And she shouldn't because a teenage girl and should have a life. And they have this beautiful, I don't want to spoil it for anyone else, watch, but there's this beautiful moment where at the end you just know they're both okay and they've both got what they need, but it's not what you want for them. You want these two to figure it out. You want him to get better and he just can't cope with civilization Society. Yeah, good stuff. Matthew Lavania, what are your thoughts on withholding information from the audience to allow them to work things out for themselves rather than spoonfeed them everything?Michael Jamin:Good question, Matthew. That is something I struggle with, that it's not an easy task. That's kind of the difference between writing, in my opinion, writing smart writing, and maybe not so smart writing. So if I were to tell a children's a show, like a family show, middle of the Road, family Show, kind of a hokey, I would break that story the same exact way I would break an episode, let's say, of Marin, which was a very sophisticated dark comedy for adults. I would break it the same exact way. The differences for the family show, which kids are supposed to watch with their parents, I would spell it out a little more. I'd do a little more spoonfeeding. And for the adult show for Marin, I would make the, I just wouldn't say it as much, and the audience would have to figure it out on their own. And people would think, oh, Marin is smart because I'm making them do the work. Whereas it's literally the same steps, the same beat board, it's all the same except I'm making, I'm spoonfeeding the family show, but I'm making on Marin. I'm letting the audience do little work. And when you make the audience do more work, they feel it's a smarter show because they have to be smarter. They have to pay attention more. And so that in my opinion, is the difference between a smart show and let's say a not smart show.Phil Hudson:For the newer writers, there are two terms that come to mind. One is subtext, which I could not wrap my head around when I was first figuring learning writing, but it's absolutely critical to writing professionally. You need to understand it's like what's not being said, it's being said, but not said that subtext. And then the other is this principle of audience inferior and audience superior, meaning your audience doesn't know what's going on versus your audience knows more than your characters know what's going on. And there are tools you use. So in a horror film, you might use Audience Superior to say, oh no, don't go in there. Don't go in there that the killer's in there. But then you might use audience inferior and a horror film for the jump scare where leather face pops out in the woods and gets your kids. So they're just tools of the craft and you use 'em. Applicably.On this note, I've talked about the show when Bluey is very popular right now on Disney Plus. It's a kid's show about their dogs and even at shows from Australia. And they're fascinating. And I love watching them probably more than my kids love watching them because they are very smart, very, this was something I just saw on TikTok yesterday. It's a new term I learned called a Rainbow Baby. Have you ever heard that term Rainbow Baby? Is the baby born immediately after a miscarriage or a stillbirth or something like that? And it's a very emotional thing for parents. And there's an episode where Blue's kind of acting out how her mom and her dad fell in love and kind of how Bluey got there and her sister Bingo's helping her act it out. And Bingo's got this balloon underneath her belly to pretend like she's pregnant and she's playing the mom.And they don't tell you this. And I've watched this episode probably five times, and until someone pointed this out, there's this moment where the balloon pops and you see Blue's Dad grab his wife's hand and they hold hands. And I get emotional as a husband with kids. It's like, oh, they went through a miscarriage. And they don't tell you. Kids will never know. But as an adult it's like, wow, there's a level to this that is just beautiful. So that's subtext and it's audience inferior. It's all those things that we're talking about. So I'm going to wipe my tears now into my microphone. A couple of questions left, and I know we're going to be a little bit long here guys. So apologize. You're getting a bunch of questions answered. The Lovely Bone 0 5 2. How do you make character's voice different than your own? Which I think is kind of the projecting question we talked about earlier, but do you have any about voice?Michael Jamin:That's the fun part. If you're writing for Frazier Crane, you speak like Frazier Crane, you look up words in the thesaurus. So he uses smart language instead of good and bad, it'll say delicious and magnificent. How do you do that? That's the fun. That's the imitation part where we get to imitate people. So you listen, you use your ears and you mock peoplePhil Hudson:And you have experiences you've talked about before.Michael Jamin:Yeah.Phil Hudson:Joshua and Ashley Earls Bennett want to know, this is about miscellaneous questions, by the way. Is there a character sheet for stories that have taken place in the past? And I think this is a reference to a story Bible and not the one you do for pitching, but the one in the writer's room.Michael Jamin:Yeah. I mean, I don't look at it. I mean, most shows keep a Bible for whatever purposes. I don't even know why. But they keep a record of all these characters and stories that have been told. So if someone needs to know for at some point in the future, it's there, but I don't reference them.Phil Hudson:Here's an Easter egg on why you might have this, because we didn't have this on Tacoma fd. And then there was a point where in this season of Tacoma fd, they're going to rename the street pan easy way. And so we need to know what is the street of the firehouse. And so I had to go dig through every last episode of the script, every script from season one through, and you find out, well, we've had two addresses because someone wrote it down, or I know we ran into a plot point where it's like we need to pick a specific game that was missed as a plot point for this episode, and why Terry's mad at his daughter because that's the night she was born. But in the timeline, we might say she was this age, and then now you're stuck trying to find an important event in this specific year because you have to maintain the continuity of the story.Michael Jamin:And that's a good example. So if we have an episode and we want to like, okay, we want to bring back Eddie'sPhil Hudson:Spatchcock.Michael Jamin:Yeah, whatever. A girlfriend that he had in the first season one, what was her name again? I can't remember. We want to bring this character back. We'd asked the writer's assistant, the writer would check the Bible that they kept a record of because we as the writers might not remember because it's like a trivia. It's trivia from four seasons ago.Phil Hudson:Awesome. Jenny Harper. Are there any character sheets that list how each character changes by beat? Beat byMichael Jamin:Beat? No, we wouldn't keep a record of that. That'd be crazy. That'd be too much work.Phil Hudson:Is there a reason for a character or a writer to keep that?Michael Jamin:I mean, I often would wonder when I watched Lost or even Game of Thrones, I'm like, wait, who knows what here? It's hard to remember. That's the challenge. One of the challenges of shows like that, wait, who knows what's going on here? I'm terrible at that. I don't like that aspect of writing, but certainly What is that?Phil Hudson:So this is a book by Javier gr Marks watch, which we've talked about before. He was a writer on Lost and he's got a blog where he talks about that first season of Lost, which he was on, and this is his book, shoot This one again, which is kind of stories, essays on being a writer and a showrunner. And this book is really good and he talks a lot about Bibles and what it was like to come up with stories and things like that. And they've got a really great podcast too on TV writing that's not very active, but it was really good resource called Children of Tendu. So if you're interested in more of that stuff, I think they're a very good resource for that. And that book's great. Check it out. But shout out to Javi. You know Javi, right? You've met him. Is that right?Michael Jamin:No, I never met him. I know who he isPhil Hudson:Though. You know of him.Michael Jamin:I think maybe we tweeted each other once or twice or something.Phil Hudson:Yeah, they're cool guys. I've reached out to them as well to help them with their podcast back in the day. They did not take me up on it, Michael, but you did.Michael Jamin:Oh well, I did. Yeah.Phil Hudson:They missed out. Yeah. Chris, who wants to know, what are some examples of compelling character development in television characters who really stand out from a professional writer's perspective?Michael Jamin:Well, I mean, Walter White fantastic, but anybody on Breaking Bed? Is it fantastic? YouPhil Hudson:Talked about Aria Stark already. That's another great one. JohnMichael Jamin:Star. There's so many great characters. I mean, when people think there's nothing good on, it's like, well change a channel, man. There's plenty of good TV on. I dunno what you're talking about. Stop watching your terrible shows. It's your fault. I'm loving severance. I'm loving severance,Phil Hudson:Severance.Michael Jamin:It's so interesting to me. Yeah, lovePhil Hudson:It. Alex r how in depth do rooms of writers deconstruct characters?Michael Jamin:Well, we have an idea when we start writing and then the characters, it's not like we deconstruct. They actually become, it's almost like they're real people to us. And so are you deconstructing your mother or do you just know your mother? You know who mother is and so they're real people. It's not like we're not taking 'em apart and laying 'em on a table.Phil Hudson:Do you want to talk about the doctor? No. In the writer's room that came up recently this week in a conversation with somebody. But it's also like this might be that someone, it's almost like you're nitpicking your character a bit.Michael Jamin:Yeah, but I don't watch Dr. No, so I don't really keep,Phil Hudson:No Dr. Noah as in the doctor Noah in the room. Maybe that's not you. That's them. Dr. Noah is the naysayer, the guy who says tears things down and doesn't like.Michael Jamin:Yeah, I mean that's not a helpful, you can find a reason to say no to every pitch in a writer's room. It is just not helpful. So find a reason to build it up to be positive and to say something helpful.Phil Hudson:How do you make sticky or awesome characters that get stuck in people's heads and hearts and how can you have a character that you expand over more than one season? How do you develop a character?Michael Jamin:This is the journey we all put ourselves on, but again, I don't even think it's so much the character as it is the journey we put them on. You could take anyone, make them interesting. I feel you could make anyone interesting as long as you put 'em on the right journey.Phil Hudson:Dave Campbell, how do we get away with using characters based on real life when there's always that stupid boilerplate saying exactly the opposite. The characters and events are not based on real events orMichael Jamin:How do we, I guess what's the question? DoPhil Hudson:Do we get away with using a character that's based on somebody in real life when there's always that stupid boilerplate? The disclaimer about this is not based on real people.Michael Jamin:Well, I mean change 'em a little. You're basing it on them and you're changing their name and their identity. And so if you're going to make a character against model it against your best friend, change it enough so that your best friend doesn't find out, it won't know. So that's how you do it.Phil Hudson:I wrote a script once and gave it to my friend who's an actor that was on the bridge and he was a little on the nose, but I appreciate it. He felt like I wrote him, which I did. I wrote him. He was just such a character and it was not interesting to him as an actor who has been on a major show, he's just like, this is just me.Michael Jamin:Right, right.Phil Hudson:Mishu Pizza. Can character foils also be considered a side character or a supporting character or the main character's best friend? I feel like foils don't always have to be the antagonist. Is that true?Michael Jamin:I feel like we're overthinking this a little bit. I feel like maybe we're giving labels that don't need to be labeled. We have a hero. We're going to put this hero on a journey and who are the people? Or if it's a like a buddy comedy or whatever we're talking about, or if it's a husband and wife or whatever the story, what's the journey we're putting them on and who are the characters who are going to get in their way? And often if it's a husband and wife, they're going to be fighting each other, so Okay, good. And who are the characters that we need to create to help foment this argument that they&#

In Part 2, on trial for premeditated murder, Velma Barfield's attorney, Bob Jacobson has an uphill battle—she confessed to poisoning Stuart Taylor- and 3 other people. With the defense team facing the “World's most deadly prosecutor” Joe Freeman Britt, only Velma could explain herself. Was she too impaired from her drug abuse to understand what she was doing?  Would she sway the jurors? Could this risky decision save her life? Or was she a cold-calculating serial killer as the Prosecution presents?    Sources, photographs, recipes and wine pairings are found on Jill's blog at www.murdershelfbookclub.com Email Jill:    jill@murdershelfbookclub.com and leave a 5 star review wherever you listen! AND- Jill is on PATREON! Now you can support the podcast, AND zoom with Jill zoom, getting her take on new developments in true crime! Help her choose the next book too! Check out Jill's merch store on SpreadShop with new Spring designs!   By Jill, All Rights Reserved.

En Música de Contrabando, revista diaria de música en Onda Regional de Murcia (orm.es De 23,00h a 01,00h) . Si Shakeitmila dice que te va a escribir la canción más bonita del mundo, es que realmente se dispone a hacerlo. Como si THE BREEDERS o BIKINI KILL hubieran querido hacer una canción radicalmente pop, con una estructura más dinámica, y con más juegos de armonías. “Mochi” , nuevo single de LISASINSON, es pop con mayúsculas, el que hizo grande a LOS PLANETAS o a JUNIPER MOON, e incluso a CARIÑO o NOSOTRÄSH. La banda sevillana Victorias ,después de lanzar su segundo LP 'Un puño amable' (nov 2022), continua su progresión imparable, y van consiguiendo nuevas ‘victorias' y nuevas metas que les acabará llevando a los escenarios de los mejores festivales del país.Hannah Jadagu celebra que este viernes publica Aperture, su disco de debut, con el ensoñador indie-pop de "lose"Girl ray se entregan al aterciopelado disco pop en "up", nuevo single de Prestige, su nuevo disco. “Virgencica”, el nuevo single digital de ALEXANDERPLATZ , primer adelanto del LP “Noches blancas, mañana negras” que verá la luz el próximo mes de septiembre. “Que nadie sepa” es el primer single que la artista donostarria , Andrea Buenavista, estrena una canción en la que confirma que las modas y excentricidades no son para ella. Pasa de artificios y de los empoderamientos fingidos del mainstream. Seis años después de Crashpad (Subterfuge 2017) Neuman publica su mejor disco, Waterhole, y devuelve a los escenarios uno de los directos más apabullante. Claim abrirán el concierto de Arde Bogotá en Murcia, y presentan nuevo single, "Bengala". “Time” es el nuevo álbum de la banda británica Simply Red, que supone su regreso a sonidos soul y funk con el tema “It Wouldn't Be Me” como tema foco. Lorena Álvarez continúa experimentando con sus canciones favoritas, acompañada siempre por sus Rondadores y, en esta ocasión, por el propio autor al que revisita: Julio Bustamante. La popular banda de músicas del mundo Jenny And The Mexicats regresa a lo grande con un nuevo single, titulado Call Me, en el que supone su regreso tras tres años sin estrenar nueva música. Wild Bird es el tema principal de la banda Sonora de un western imaginario. Con inspiración de los universos de Ennio Morricone y Sergio Leone, el nuevo tema de The Coral sorprende con su tono cinemático e irresistible. El arreglo de cuerdas viene de la mano de Sean O'Hagan de los High Llamas. 'Sometimes' es el tercer adelanto de 'Be Opened By The Wonderful' en el que la mítica banda reimagina algunos de sus temas en versión orquestal. ‘Carolina Durante lanza Marta Sebas Guille y los demás', uno de los éxitos indiscutibles de Amaral. Grupo de Expertos Solynieve tienen nuevo disco, el epé de cuatro canciones Primera necesidad. Teleclub adelantan la segunda canción del nuevo EP “Recordarás Mi Nombre”. En este caso, “Al Final Del Verano” vuelve a ser una gran muestra de tecno-pop fresco, saltarín, colorido y directo.El primer álbum de Portero Delantero (proyecto de IVán Marcos) se publicará entre 2023, 2024 y estará compuesto de 7 canciones. Ya se pueden disfrutar los tres primeros adelantos. Interpol comparten la nueva ‘Passenger' reelaborada por Jeff Parker Bajo el lema «I'll be your mirror», ¡llega una nueva edición del Primavera Sound! (Pet Shop Boys, Depeche Mode). Con Second descubrimos, con detalle, aquello que iban a contar hoy y anunciaban en sus redes sociales

Después de lanzar Endless Arcade en 2021, Teenage Fanclub han anunciado su próximo trabajo, titulado Nothing Last Forever, que verá la luz el 22 de septiembre.Nothing Lasts Forever será el duodécimo álbum de estudio de Teenage Fanclub, y contendrá diez canciones, entre las que se encuentra el primer sencillo Foreign Land, que también abre el discoLa banda neoyorquina Luna anuncian gira española para octubreSpoon anuncian Memory dust, su nuevo ep, con el deje flamenco de "sugar babies", que tal vez interpreten en Mad Cool, “Virgencica" es el primer adelanto del próximo álbum de Alexanderplatz, que llevará por título “Noches blancas, mañanas negras" y se publicará el próximo mes de septiembre. Lady Banana regresan con nuevo sencillo, La Jaula, cantado en castellano e inglés y cargado de potencia distorsionada en poderosos riffs de guitarra. Se ha perdido un niño presenta dos temas.sin barroquismos en sus letras pero también con profundidad, en un directo que concibe música y show. El Ep CXMA (Son buenos 2023) contiene dos ejemplos de ello, Calzonazos y Morreo, dos temas como parte del mismo todo. Sara Zamora ofrece este jueves en Mr Witt el último concierto de esta primera etapa del Brave Tour.Seis años después de Crashpad Neuman publica uno de sus mejores discos, Waterhole, y lo presenta en directo. Entrevistanos a Paco Neuman, cuyo principal motor es la creación artística, a propósito de su próxima visita a Cartagena. Más allá de consideraciones estilísticas, Josh Rouse parece tener una habilidad innata para dar melodías delicadas y taciturnas a sus canciones de suave pop-folk, sin renunciar a elementos de otros estilos. Su último álbum, “Going Places“ (2022), se aleja de apuestas ambiciosas . Con él regresa a la melancólica ‘Americana'; transmite paz. Nos lo cuenta esta noche, a pocas horas de venir nuevamente para actuar,

ARDE BOGOTÁ directos al #3 en la lista oficial de ventas con `COWBOYS DE LA A3. Se consagran como la banda rock del momento alcanzando el #3 en la lista oficial de ventas con su segundo álbum. The Spanish Wave ha tenido un mes muy activo en el Reino Unido, al participar en el festival de nuevos talentos The Great Escape, que se celebra cada año en Brighton, y en el Focus Wales en Wrexham. Además de presentar a un total de ocho nombres, organizó fiestas especiales para dar a conocer a nuestros artistas (Nuria Gtaham). Triángulo de Amor Bizarro acaba de poner fecha a la publicación de SED, su nuevo álbum de estudio.Post Malone ha lanzado su nuevo single, "Mourning". Esta semana reveló que su ansiosamente esperado quinto trabajo y uno de los álbumes más esperados de 2023, "Austin", llegará el 28 de julio."Farándula" es el tercer single con el que Evve continúa desvelando el contenido de su primer EP, "Safari", que llegará en octubre. Bang" es el primer single del nuevo álbum de Melenas, que se publicará en septiembre de este año. Desde La Coruña, llega el joven y prometedor grupo de rock n'roll SUPERFUZZ, que el próximo 16 de junio publican su esperado segundo álbum, "Ruido".Queens of the stone age anuncian I"n times new roman...", su esperadísimo nuevo disco, con su característica energía y la irresistible vena melódica de "emotion sickness".El pasado 14 de abril vio la luz "El Carmen 13:7", el nuevo trabajo de Crudo Pimento. "Hueso Ardiendo" es una canción reptante en la que alcanzan elevadas cotas de asfixiante densidad. Nepal Napalm es el nuevo proyecto de Raúl Frutos, junto a Alfonso Alfonso (Schwarz y otros) y Pepelu López (Built in The Burnt) , que se estrena con el sorprendente y avasallador “A Hate Supreme”.Después de tres EPs, dieciséis singles e innumerables canciones de 30 segundos en TikTok, Alien Tango publica su esperado disco de debut de la mano del sello británico Republic of Music. Vintage Trouble lanzan un nuevo sencillo, "The Love That Once Lingered", con la voz de la también cantante angelina de jazz, blues y soul Lady Blackbird.Corizonas publican "La esencia del mal”, otra poderosa muestra de americana con frontera, esperanza y deliciosas guitarras.Nancys Rubias preparan su nuevo álbum, “Orquesta Nancy”, repleto de versiones de canciones que han influido en sus vidas. “Llámame” es el tema elegido como avance de este nuevo disco. Se trata de la versión en español de “Call Me” de la banda americana Blondie. La Trinidad presenta Aprende a gestionar tu fracaso con nosotros. Seis años después de "Crashpad" (Subterfuge 2017), Paco Neuman publica "Waterhole", su mejor disco , y devuelve a los escenarios uno de los directos más apabullantes.Vanesa Martín se entrega a la pasión sin culpa en 'Placeres y pecados', su nuevo disco, que presenta en Murcia, Y hablamos con la cantautora malagueña.Burning siguen haciéndonos mover las caderas. El grupo madrileño ha sobrevivido a tragedias personales forjando su propia leyenda. Paco Urbano, con el que charlamos, ha vuelto a reunir un puñado de músicos para recordar el gran Pepe Risi. Él mató el silencio en las calles de Madrid, como nos recordó Loquillo

Original Air Date: 1949Host: Andrew RhynesShow: Frontier TownPhone: (707) 98 OTRDW (6-8739) Stars:• Jeff Chandler (Chad Remington)• Wade Crosby (Cherokee O'Bannon) Writer:• Joel Murcott Producer:• Paul Franklin Music:• Bob Mitchell• Ivan Ditmars Exit music from: Roundup on the Prairie by Aaron Kenny https://bit.ly/3kTj0kK

En Música de Contrabando, revista diaria de música en Onda Regional de Murcia (orm.es; 23,05h a 01,00h).Visor Fest cierra su ya fabuloso cartel con un trío de artistas de primera: The Church, Echo & The Bunnymen y Inspiral Carpets. Dianne Reeves, Paolo Fresu, Niels Lan Doky, The Waterboys y The Anthony Paule Soul Orchestra, se suman al programa del Jazz San Javier 2023, que se celebra del 30 de junio al 23 de julio. El quinto disco de Crudo Pimento, “El Carmen 13:7” , es un trabajo gigantesco, hercúleo y sorprendente, que gana con cada escucha. El dúo Wild Child publica End of the world, su disco de íntimo y expansivo folk. Girl Ray anuncian Prestige, su nuevo disco, con el fulgor pop de "hold tight". Hacía demasiado que no sabíamos de Giorgio Tuma. Desde “This Life Denied Me Your Love” no teníamos nuevas composiciones del autor italiano, aunque eso no quiere decir que no estuviera activo. Previamente a que el mundo se hundiera en la pandemia, Giorgio había montado una banda de homenaje a la bossa nova y la música brasileña llamada WE LOVE GILBERTO, con el significativo protagonismo de la vocalista Clarissa Rustico. Esto ha acabado desembocando en que Giorgio haya vuelto al estudio para un último EP, que nos avanza esta “Creation Of My Ghosts”, en la que se nos vuelve a emocionar recordando la delicadeza de sus armonías. Vosotras Veréis se adelantan a las altas temperaturas del verano con urgencia y velocidad con una canción que anticipa pequeños problemas sufridos por todas.Facs celebran la publicaciób de Still life i decay, su nuevo disco, con el pantanoso art rock de "constellation". En “Daño” hay vértigo y riesgo; sutileza y experimentación sonora. María Blaya nos hace partícipes de su fragilidad desarmante en este anticipo del que será su primer álbum en Sonido Muchacho. Waterhole , nuevo disco de Neuman, incluye canciones especialmente extensas , lo que propicia la vena épica de las propias canciones, dándoles tiempo para crecer y argumentarse con grandiosidad. Lankum hacen arqueología musical y recuperan "newcastle", tema de triste historia que se publicó por primera vez en 1651 y que está incluido en False lankum. "Esperanzas Que NuncaTuve" es el nuevo single de Rothrigo. Una diana pop con toques postpunk en la que Rothrigo utiliza por primera vez el castellano.Charlotte Gainsbourg colabora con SQÜRL (Jim Jarmusch y Carter Logan) recitando dos poemas del propio aAhbery sobre un colchón de melódicos acoples de guitarra en en "john ashbery takes a walk", nuevo adelanto de Silver haze. Phil Murphy, gobernador de Nueva Jersey, ha proclamado el 23 de septiembre como el Día de Bruce Springsteen, coincidiendo con el cumpleaños del icónico artista.Dexys –anteriormente conocidos como Dexys Midnight Runners– llevan cuatro décadas combinando pop y soul de forma muy personal. Ahora vuelven a la carretera anunciando una nueva gira con motivo de su nuevo trabajo "The Feminine Divine". Y lo mejor es que habrá una fecha española que se llevará a cabo en Madrid.María de Juan, la reina del drama, nos visita para dejarnos su arte, su tronío, en las Sesiones de Contrabando. Con la asistencia de la pianista Cristina Sánchez interpreta temas de su recién estrenado disco, "Dramática", y alguna sorpresa. María de Juan está llamada a ser una de las grandes sensaciones del año apostando por un giro absoluto en su sonido, revitalizando la copla con los ritmos de actualidad. , desprendiendo un sentimiento sincero con un punto de arrebatamiento controlado. Ha llegado un ángel. Vengan a ver a la niña que baila y canta. Por sus venas corre sangre de ARTISTA.

The eccentric Lady Munro cut a swathe through late colonial and early Federation Australia with her drunken antics, defiant unconventionality and mysterious claim to be from one of England's most famous aristocratic families. The ‘Notorious Lady Munro', who confessed to having been been ‘drunk around the universe', was celebrated as ‘one of the most remarkable women alive' – and stayed alive long enough to read of her own death in the newspapers more than once. Join me for a strange, funny, sad and always surprising deep dive into the utterly forgotten life of our very own blue-blooded lady larrikin. Parts 2 & 3 available now early and ad-free for Apple Subscribers and Patreon Supporters. **Take advantage of the Apple three-day free trial to hear them and all bonus episodes. Cancel before it expires and you won't pay anything**Apple - http://apple.co/forgottenaustraliaPatreon - https://www.patreon.com/ForgottenAustraliaTo submit questions for the Peter Doyle Book Club episode:https://www.speakpipe.com/forgottenaustraliaor: forgottenaustraliapodcast@gmail.com Hosted on Acast. See acast.com/privacy for more information.

En Música de Contrabando revista diaria de música en Onda Regional de Murcia (orm.es; 23,05h a 01,00h). O Son do Camiño 2023 contará con artistas como Alt-J, Vetusta Morla, The Kooks, Xoel López, Royal Blood o Ginebras, entre otros. Por otro lado, el tema de acuñar al cartel como popurri viene dado por la integración de bandas van a otro tipo de estilos musicales, totalmente diferentes a los de los artistas anteriores, como Bizarrap, Aitana o Maluma. Waterhole , el nuevo disco de Neuman, está grabado en cinta analógica.. ¡A válvulas!. Off! destilan energía punk rock en "keep your mouth shut", primer adelanto de su nuevo ep de 8 temas FLSD.Jungle anuncian VOLCANO, con el falsete imposible y la contagiosa felicidad disco funk de "candle flame", primer single en el que colabora Erick the architect. “Migajas” es el segundo adelanto del nuevo álbum de Apartamentos Acapulco. ‘El Truco' es el nuevo single de Los Inocentes, último antes de la publicación de nuevo trabajo en forma de EP, cuatro canciones que se publicará esta primavera. Con un ritmo inspirado en los años 60 y un groove contagioso, Zuco 103 rinden homenaje a la samba al tiempo que amplían los límites de lo que es posible hacer con ella.b"Nao Tem Jeito" es el segundo avance del que será su noveno disco, Telenova,.Mireya Caray se estrenará en directo este sábado 1 de abril en Cooperativa Itaca dentro del concierto 'Músicos Nuevos, Músicos Salvajes',Cowboy Junkies anuncian Such ferocious beauty, su nuevo disco, con la sobrecogedora lucha por conservar los recuerdos de "what i lost". Reconvertidos en quinteto, Tigre y Diamante se encerraron entre enero y febrero de 2023 en los Estudios OVNI, con Pablo González a los mandos (cantante y guitarra de Desakato)De esta nueva cosecha, "No podemos ser amigos" es un primer single, que muestra cómo el grupo ha evolucionado hacia un sonido mucho más nítido, pero sin renunciar a su esencia ruidista. FUTURACHICAPOP y Dianka se unen para lanzar Triángulo nefasto del amor, una colaboración que fusiona el disco pop con el melodrama y la nostalgia de los 80. Guadalupe Plata convierten el folclor castellano de "la cigüeña" en un cinematográfico western de blues andalusí que está incluido en su homónimo nuevo disco.Surfin´ Bichos presenta su segundo single El Caballo del Mar. Ni alegre ni triste, así te lo dice Carlangas en "Los Dineros", último adelanto de su inminente álbum de debut en solitario. Triángulo de Amor Bizarro avanzan el primer tema del que será su nuevo trabajo, continuación de su disco homónimo, en el que reinventaban modos de expresión para seguir sumando a su catálogo una nueva colección de memorables canciones pop envueltas en su habitual colchón de guitarras y distorsión.. Menudo EP nos está preparando Celia Spellman para su debut con NENAS en Elefant. Si “Fuckboys” y “xfa” ya pusieron sobre la mesa su capacidad para construir un lenguaje actual tanto en lo musical y lo lírico, sin perder en ningún momento la vista de la pista de baile, nos adelanta otra pieza del EP con “Nuevos Heteros”, un trallazo inconmensurable de pop electrónico y europop.Revisamos la agende del finde con Airbag, Bigote Chino, Los Astrónomos, Los Brazos, Tangerine Flavour, Chema Saiz, Iberia Sumergida, Azul Klein, Alec López, La Ganga Calé, Una noche Fuera, Ana Cano, W.A.S.P.

En Música de Contrabando revista diaria de música en Onda Regional de Murcia (orm.es; 23,05h a 01,00h). Pete Townshend publica "Can't Outrun The Truth", su primer single en solitario en 29 años, El tema ha sido compuesto y producido por Rachel Fuller bajo su seudónimo, Charlie Pepper, y la canción se inspiró en las dificultades que todos habían experimentado por la falta de interacción durante la pandemia. James como nunca los has escuchado!. She's a Star marca el arranque de Be Opened By The Wonderful. Un disco muy especial en el que James reinterpretan sus grandes éxitos y canciones favoritas de los fans en clave sinfónica con motivo del 40 aniversario de la banda. Noel Gallagher ha completado la semana compartiendo Dead To The World, el tercer adelando de su mencionado nuevo álbum, que suma a las ya conocidas Pretty Boy (recientemente remezclada por The Cure) y Easy Now. Liam Gallagher, por su parte, estará actuando en Madrid el próximo 8 de julio, con motivo de la celebración del Mad Cool Festival 2023.“Por tu corriente”, nuevo single de Muerdo, expresa la necesidad de entregarse al fluir de las cosas soltando miedos e inseguridades, aprender a bailar en la incertidumbre de mano de un ska alegre y festivo al que la banda Argentina Caligaris aporta frescura . Tommy Roch, cantante de Glas, muestra adelanto de su primer trabajo en solitario, un EP de 5 temas titulado Diamante, que se irá publicando por singles a lo largo de este año 2023. mt Desolation sacan la artillería rock en "too hard a stone", rítmico y eléctrico nuevo adelanto de Through crooked aim, su nuevo disco. Lael Neale estrena "faster than the medicine", nuevo adelanto de melódico dream surf pop incluido en Star eaters delight.El Hermosa Fest, que se celebrará en Cartagena en octubre, ha revelado los primeros tres artistas que actuarán en el evento: Zahara Rave, La Casa Azul y Nunatak. Llega Somos Murcia, programación gratuita complementaria a WARM UP Estrella de Levante (Apartamentos Acapulco, Perdón). Mañana se publica 'Moho', el single de adelanto del nuevo EP del dúo francés de pop electrónico experimental O'o. En “Daño” hay vértigo y riesgo; sutileza y experimentación sonora. María Blaya nos hace partícipes de su fragilidad desarmante en este anticipo del que será su primer álbum en Sonido Muchacho. “Waterhole" es un disco dotado con la más pura esencia de Neuman, esa que tanto se ha echado de menos, con esa brutal capacidad emotiva luciendo como argumento principal. Viva Suecia estrena la canción original de la película "ÚLTIMAS VOLUNTADES". Ya disponible 'Nunatak y la isla invisible': la sencillez madura de Nunatak. El nuevo disco de la banda cartagenera alcanza bajo la producción de Paco Loco una frescura y una evolución sonora excelente. Caries, proyecto personal de Arturo Casabuena (Perdón, Mireya, Caray!), presenta “Fantasía 2000”, primer lanzamiento tras el que fuera su primer EP, Cuánto tiempo más, publicado en 2022. María de Juan presenta DRAMÁTICA, una revisión a la copla española, envuelta en un imaginario cinematográfico, con la sorprendente producción de Lalo GV, y la participación de Antonio García (Arde Bogotá).Querido Diablo, joven cuarteto murciano, se estrena con dos canciones producidas por Miguel Bañón. Doce son las canciones que componen el nuevo álbum de Jacobo Serra, una por cada mes del año y cada una de ellas refleja un estado vital relacionado con la estación del año de la que se nutre. 'Nunca vuelvas a pisar Madrid', nuevo single de ERROR 97. Airbag estará en Microsonidos este fin de semana presentando "Siempre tropical".

En Música de Contrabando revista diaria de música en Onda Regional de Murcia (orm.es; 23,05h a 01,00h).50 años de "The Dark Side Of The Moon", el disco de Pink Floyd que cambió la música. UMR anuncia el lanzamiento de la edición de To our children's children's children / The Royal Albert Hall concert December 1969, de The Moody Blues. Azkena Rock Festival completa cartel y lanza horarios (The Pretenders). otro de los grandes nombres que participan en este álbum de versiones en homenaje a Drake nos vuelve a refrescar la memoria con otro de los temas del legendario cantautor; en esta ocasión, el turno es para las británicas Let's Eat Grandma, quienes se ponen a disposición del proyecto para versionar From The Morning. La banda estadounidense Wednesday, liderada por Karly Hartzman, acaba de compartir una última bocanada de lo que nos espera en su prometedor segundo disco, Rat Saw God.Viva Suecia estrena la canción original de la película "ÚLTIMAS VOLUNTADES". Neuman estrena nuevo elepé´s, Waterhole. Guille Solano publica “25 euros”, una reinterpretación de uno de los clásicos en la discografía del joven cantautor murciano.. Ya disponible 'Nunatak y la isla invisible': la sencillez madura de Nunatak. The National siguen bordando la power ballad en "eucaliptus", nuevo adelanto de First two pages of Frankenstein su nuevo disco que estarán presentando en Madrid,Caries, proyecto personal de Arturo Casabuena (Perdón, Mireya, Caray!), presenta “Fantasía 2000”, primer lanzamiento tras el que fuera su primer EP, Cuánto tiempo más, publicado en 2022..Murcia Jazz festival apunta a la recta final con la leyenda de New Orleans DONALD HARRISON. Repsamos la agenda de conciertos: Perro, Los Mendrugos, Los Marañones, La Plazuela, MIguel Campello, Lucas Colman. Fermi, Las Wonder, Los Deltonos, Pol 3.14.Entrevista a Clara Plath, que reaparece en los aperitivos Loco Loco Vintage, y nos deja su participación en las sesiones de Contrabando.

'Three Os Us' es el último adelanto que estrenamos de 'Waterhole', el disco que publica mañana y que presenta canciones que son como óperas rock, que emocionan y tambalean. Hablando de emociones, Viva Suecia publican 'Últimas Voluntades' para la banda sonora de una película del mismo título, que protagoniza Fernando Tejero.Escuchamos la primera canción de Celia Becks, ex La La Love You, 'Deberes de Terapia', una historia honesta y bonita sobre la salud mental y a Rina Sawayama con 'Eye For An Eye'.CHICA SOBRESALTO ft DIEGO ARROYO  – Poquita Cosa GINEBRAS ft KARAVANA – Lunes Negro KARAVANA – Fiesta With U SHEGO – Peggy Lee VIVA SUECIA – Últimas Voluntades IZAL (ADELANTAR 05”) - Autoterapia  Jorge Drexler ft Noga Erez  - ¡Oh, algoritmo!  HOZIER - Eat Your Young KUVE – Xena DORIAN – Cualquier Otra Parte (Dj Nano Remix) CELIA BECKS – Deberes de Terapia RINA SAWAYAMA - Eye For An Eye NOTHING BUT THIEVES - Welcome To The DCC  NEUMAN - Three Of Us FRUIT BATS - We Used to Live Here HOLA CHICA – Berlín NATION OF LANGUAGE - Sole Obsession Escuchar audio

En Música de Contrabando, revista diaria de música en Onda Regional de Murcia (orm.es; 23,00h a 01,00h). U2 lanza hoy un nuevo single de su próximo álbum, Songs Of Surrender. La reinterpretación de su clásica Beautiful Day. Universal Music Festival 2023 anuncia la presencia de los históricos Kraftwerk el próximo 27 de julio en el Teatro Real de Madrid. Se reedita HONKY CHÂTEAU , de Elton John en varios formatos exclusivos por su 50 aniversario. El 2 de marzo de 2024 —proclamado ya como Día Internacional de la Familia Sueca— es la fecha elegida por Viva Suecia para cerrar en el Wizink Center su éxitosa gira. Trashi y Chill Chicos protagonistas de la fiesta de presentación del Warm Up.Con “Vuelve a empezar sin mí", La Habitación Roja cierra una etapa que ha estado marcada por la pandemia. Esta canción quedó en el tintero de las sesiones de Años Luz II.. Perry Farrell destaca como mc en "so trendy", de Sleaford Mods, otra lección magistral de que menos es más incluido en UK GRIM, su palpitante nuevo disco que vendrán a presentar a España. "Dummy" es el single principal y primer lanzamiento oficial de “Chris Black Changed My Life” de Portugal The Man. Esto marca su regreso oficial y es el primer single de la banda desde 2017.New Year es el 4º single de Waterhole, el esperado nuevo álbum de Neuman que se publica el 24 de marzo. Madison Mcferrin anuncia I hope you can forgive me, su disco de debut -en el que colabora su padre, Bobby-, fusionando jazz, soul y pop en la hipnótica y nocturna "(please don't) leave me now". Kurt Baker vuelve a los escenarios murcianos en Microsonidos.La Cafetería Librería Cooperativa Ítaca celebra 30 años de actividad crítica y alternativa en Murcia. Hacemos balance y conocemos de los fastos conversando con José Grau y Manu Romero.Stahl GrupoStahl Inc. es uno de los dúos más importantes y activos del Hip Hop. WTF#%*?! (What The Fuck) es la sexta entrega, a razón de single por mes, de Stahl Inc. “estábamos hartos de portarnos bien y hemos decidido portarnos mal” , nos confiesan Tere Stahldean y Zerry con los que charlamos.

En Música de Contrabando, revista diaria de música en Onda Regional de Murcia (orm.es; 23,00h a 01,00h).Noches del Botánico anuncia los primeros nombres para 2023. La programación contará con 45 citas musicales que seguirán apostando por la identidad y los valores que han convertido al ciclo de conciertos en uno de los principales referentes del país (Siouxsie, Father John Misty). David Byrne, Stephanie Hsu y Son Lux actuarán juntos en los Oscar 2023 cantando el tema “This Is A Life” nominada a la categoría Mejor Canción Original. Será el próximo 12 de marzo. Metallica ha revelado un tercer adelanto de su nuevo álbum, 72 Seasons, que verá la luz el próximo 14 de abril. El nuevo tema, "If Darkness Had A Son", añade un nuevo peldaño a la intensidad y la extensión de su próximo 12º álbum de estudio. El Vida Festival cierra su cartel con nuevos nombres (Jungle).La joven estrella del soul-pop Arlo Parks está a punto de lanzar su segundo álbum, My Soft Machine. Pinpilinpussies vuelve a la carga con su primer single en castellano, «Todo saldrá mal», un año después de la edición de su segundo LP HIPOCONDRÍA. Nunatak apuesta por el minimalismo en 'Sigo corriendo', un tema donde la banda nos invita a reflexionar sobre cómo la nostalgia, el trauma o el paso del tiempo moldean nuestro presente. Fontaines d.c. y su personal versión de "cello song" anuncian The endless coloured ways recopilatorio de versiones de Nick Drake a cargo de artistas como John Parish & Aldous Harding, Let's eat gradma, David Gray o Emeli Sandé.“Tomorrow Is a Monster” es el segundo single de adelanto de “El Carmen 13:7”, que se editará en abril de 2023. Crudo Pimento actuarán el 13 de abril en el Teatro Circo de Murcia junto a Kiko Veneno y Vera Fauna. New Year es el 4º single de Waterhole, el esperado nuevo álbum de Neuman que se publica el 24 de marzo.Déjame un rato es el último single que recoge la estética del segundo disco de Colectivo Da Silva “Casa Vargas”. Con esta canción el grupo cierra una etapa sinestésica centrada en los sonidos vistosos y el colorido bailable. Cartagena lleva la música de sus artistas locales este sábado a los balcones del casco antiguo. Karmacadabra, Lydia Martín, Adrián Ruiz y Noa Caleo protagonizan la primera edición de ‘Cartagena suena... en los balcones'. Ángel Calvo lanza “Triste I”, primer adelanto de su próximo disco, “La teoría unificada del todo”.Syd dePalma presenta 'Amargor'. 'Amargor' es una de esas composiciones que embaucan a primera escucha gracias una atmósfera distorsionada y melancólica, mezclada con aires y recuerdos de Andalucía. Un viaje por las carreteras de Almería y los paisajes áridos que las rodean, una estética musical viaja entre la Electrónica y el Post Punk, creando un magnetismo sacro.El dúo Wild Child hacen vibrar cuerpo y mente con "cheap champagne", nuevo adelanto que mezcla suavidad folk y emocionante soul de End of the world, Hardly Art ficha al dúo angelino Ill peach que lo celebran con el etéreo r&b de pulsión indie rock de "HEAVYWEIGHT". Water from your eyes -que fascinaron al público en sus conciertos como teloneros de Interpol- anuncian Everyone's crushed, su nuevo disco, con la rítmica y melódica disonancia art-rock de "barley". Neil Gaiman & Fourplay String Quartet te cuentan la musicada historia in crescendo de sir Arthur Stanley Eddington, el astrónomo que comprobó con sus propios ojos la teoría de la relatividad de Einstein en "in transit", nuevo adelanto de Signs of life.En la agenda de conciertos reseñamos. José James, Elena Sáenz y su cuarteto Las Causas, El Kanka, Sho-Hai, Daniel Sabater, Bisagra, Vosotras veréis, Pedriñanes 77, Flores, Guaraná, Flavio, Edición número 15 del Festival Internacional organizado por el Heavy Metal Club Espectros (Holy Moses), SOMAS CURE…

En Música de Contrabando, revista diaria de música en Onda Regional de Murcia (orm.es; 23,00h a 01,00h). The Dark Side Of The Moon”, el octavo disco de estudio de la carrera de Pink Floyd, celebra su 50 aniversario. Uno de los discos más icónicos, influyentes y emblemáticos de la historia. Tomavistas, que vuelve a celebrarse en el parque Enrique Tierno Galván los días 22, 23 y 24 de junio, en este caso coincidiendo con las celebraciones del Día Europeo de la Música, tiene nuevos confirmados (The Vaccines). Pavement encabeza la última tanda de nombres del Bilbao BBK Live. Llega la gira de The Mission, con Sigmund Wilder de teloneros. Consolidado como uno de los referentes del folk de cantautor irlandés, Damien Rice visitará de nuevo España este verano.Ocho años después de concedernos un vistazo a su imaginario estrafalario e inclasificable a través de Savage Hills Ballroom , el cantante y productor estadounidense Trevor Powers decide retomar su alias de Youth Lagoon. Volar es el primer sencillo que La Plata adelanta de su próximo EP, titulado Sueños. Mudhoney muestra otro anticipo, “Move Under,”, de su nuevo album, Plastic Eternity, que verá la luz en abril. New Year es el nuevo adelanto de “Waterhole”, el próximo álbum de NeumanNeuman que se publica el 24 de Marzo. Y anuncian gira. .Guadalupe Plata regresan semitono a semitono con el irresistible psychobilly de "En mi tumba", dislocante primer adelanto de su nuevo disco. Ángel Calvo Botella Ángel Calvo lanza “Triste I”, primer adelanto de su próximo disco, “La teoría unificada del todo”, con la colaboración de Marcelo Criminal. Bajo influencias del pop-punk y el rock británicos, Alec LopezAlec López apuesta por un acercamiento de ambos géneros a la música comercial actual. El 3 de marzo lanza en las principales plataformas musicales su primer single “Take You Home”. Big Up! Lanzadera presenta los tres seleccionados en Madrid con showcases en directo para la industria musical y prensa especializada (Se Ha Perdido Un Niño).Eileen Jewell anuncia -con un guiño al clásico "be my baby" de las Ronettes- Get behind the wheel, su nuevo disco, con el espacioso y catártico country de "crooked river. Crudo Pimento estrena segundo single, Tomorrow is monster, de El Carmen 13:7. Dead Beens son cuatro veteranos músicos procedentes de grupos históricos de la escena murciana como Ross, Unidad Psiquiátrica, Los Fanáticos y La Postura, que acaban de publicar su segundo album, Beens no beans. Alice & The Wonders., la banda barcelonesa capitaneada por la voz firme y cautivadora de Alejandra Rueda tiene nuevo álbum, "I am". Yavy comienza a presentar las canciones que formarán parte de su álbum de debut.Corizonas editan nuevo single: “Deseando ver la luz”, una introspección vital donde el quinteto enarbola su vertiente mas reflexiva. THE NUDE PARTY, la banda de Carolina del Norte presenta dos nuevos singles. Algiers también publican Shook, su nuevo disco con sorprendentes colaboraciones y su abrasadora visión del blues. Daughter imprimen ritmo y una etérea cadencia pop en "swim back", nuevo adelanto de Stereo mind game.Bloody Black Soul , como su título indica, tiene un toque a soul y música negra. y es el nombre adoptado por un grupo por Paco Del Cerro a la batería, Román García al bajo, Carlos Campoy al teclado y Fernando Rubio a la guitarra, con el que hablamos a propósito de su presentación en Mr Witt Café.Música intensa, jugosa y profunda para sentir, bailar y disfrutar, por parte de estos negros de corazón.

'New Year' es la nueva canción de Neuman que hoy estrenamos y que, de nuevo, vuelve a emocionar. Paco Román, una vez más, comparte dos canciones en una, la primera parte, a piano, la segunda, muy a lo Roy Orbison y es el segundo adelanto de 'Waterhole', el disco que publica el 24 de marzo. Escuchamos a Gorillaz con Bad Bunny en 'Tormenta', 'Moonlight', de Kali Uchis y a Alex Ferreira con la carta de presentación de su próximo trabajo, 'De Verdad'. CHVRCHES – Over LA CASA AZUL – El Momento SPRINTS - Literary Mind ALEX FERREIRA - De Verdad GORILLAZ - Tormenta (feat. Bad Bunny) KALI UCHIS - Moonlight GINEBRAS – Muchas Gracias Por Venir THE BEATLES – Here Comes The Sun L.A. – Evening Love ALGIERS - Everybody Shatter ARDE BOGOTÁ – Los Perros HERMANA FURIA – Noche en Vela THE STROKES - Modern Girls & Old Fashion Men (Reptilia B-Side) NEUMAN – New Year THE REVIVALISTS – Kid MASTER PEACE - Groundhog Day Escuchar audio

En Música de Contrabando, revista diaria de música en Onda Regional de Murcia (orm.es; 23,00h a 01,00h) . Paco Neuman Paco Román es el alma mater de Neuman, este jueves regresa con la canción "Recovered Files". Con este single nuevo Neuman quiere dar dos grandes noticias : la fecha y el título de su nuevo álbum, "Waterhole”, lo que nos brinda una nueva ocasión para charlar con él, Ya ha salido a la luz el cartel del Coachella 2023. Para esta ocasión, Bad Bunny, BLACKPINK y Frank Ocean ejercerán como máximos cabezas de cartel en una programación donde no falta la presencia de Rosalía en letras grandes. Foo Fighters acaban de confirmar sus primeros conciertos para 2023, tras desvelar hace unos días que la vida tenía que seguir tras el trágico fallecimiento de su batería Taylor Hawkins. La banda sonora de Avatar incluye la canción original "Nothing is Lost (You Give Me Strength)" escrita e interpretada por The Weeknd, y producida por Swedish House Mafia. Se acaba de publicar el título de la canción más escuchada de la historia. El protagonista de esta proeza, con 3.337 millones de reproducciones en Spotify, es el compositor canadiense The Weeknd y su Blinding Lights. Paul Weller publicará el 21 de febrero el libro Magic: A journak of song (Genesis Publications), en el que el que explora su carrera como compositor de canciones. En su próximo disco, Songs of surrender, U2 versionan 40 de sus viejas canciones. La edición está programada para el 17 de marzo. CanelaParty anuncia un cambio en su cartel. Tropical Fuck Storm se caen por enfermedad de su bajista a los que sustituirán Dry Cleaning quienes presentarán su último y recomendable disco, Stumpwork.Venturi ponen fin a su gira en Madrid, pero antes pasarán por La Yesería. "A tiempo de saltar", nuevo single de Los Pilotos, la banda formada por Banin y Florent de Los Planetas y la artista peruana Pamela Rodríguez. Shame adelantan otra canción de su nuevo álbum Food for Worms. Tennis están de vuelta con Pollen, que estará disponible el viernes 10 de febrero a través de su propio sello Mutually Detrimental. El sexto disco del proyecto de Patrick Riley y Alaina Moore fue escrito durante un viaje de navegación de cuatro meses en el Mar de Cortés, México, producido y grabado por Riley y Moore en su estudio en casa en Denver, Colorado. Un álbum que ve a la pareja elevar su enfoque pop distintivo a nuevas alturas desconocidas.Los Marcianos estrenan «Adiós al Miedo», su nuevo single. Una canción con espíritu pop, adictiva, para evadirte de los dramas diarios. M83, alter ego creative del francés Anthony Gonzalez presenta su estratosférico nuevo single, titulado “Oceans Niagara”. Tindersticks llegan este jueves a la Fundación Mediterráneo para participar en el ciclo Sonidos Globales. Maria de Juan revisa la copla española, envuelta en un imaginario cinematográfico, con la sorprendente producción de Lalo GV, en la que las bases electrónicas de pop, los sintetizadores y el sample, sustituyen las líneas orquestales tradicionales. Doktor Franz es una banda de Rock Indie austro-hispana que en 2018 debutaron con su prime EP homónimo.Tras un buen puñado de conciertos, la banda se vio obligada a tomar una pausa debido a la pandemia y se animó a producir su segunda grabación: How many Times Hank? . En algún lugar de Austria está Guillermo Delis ex-Yer Soul, que dirige la banda, con el que hablamos.

Hoy se cumplen siete años de la muerte de David Bowie y recordamos su legado con la próxima reedición de 'Aladdin Sane', con motivo de su 50º aniversario y con 'Starman', en la versión de 'Top Of The Pops'. Escuchamos el regreso de Daughter después de siete años, lo nuevo de Alberta Cross, de Belle & Sebastian, que anuncian disco por sorpresa, y de The New Pornographers. Y estrenamos 'X Tu Culpa' de Colet y 'Recovered Files' de Neuman, una canción que vale por dos, que nos tambalea y que formará parte de 'Waterhole', su nuevo disco, que se publica el 24 de marzo. DAVID BOWIE – The Jean Genie DAVID BOWIE - Cracked Actor (2013 Remaster) DAVID BOWIE - Let's Spend the Night Together (2013 Remaster) DAVID BOWIE - Starman (Top Of The Pops version - 2022 mix) DAUGHTER - Be On Your Way ALBERTA CROSS - Glow In The Dark THE HAUNT & DYLYN - You Know I'm No Good BELLE & SEBASTIAN - I Don't Know What You See In Me COLET - X Tu Culpa WHITE REAPER - Pink Slip RHODES - Good to You NEUMAN - Recovered Files YOUNG FATHERS – Rice THE LEMON TWIGS – Corner Of My Eye THE NEW PORNOGRAPHERS -Really Really Light IGGY POP - Comments Escuchar audio

Christmas Eve 1926 a deliriously intoxicated man stumbled into a New York City hospital, he died within hours. Shockingly many more people would share his fate. This episode we discuss how the US government went to deadly lengths in an attempt to stop citizens from drinking.Sipping mock-tails in observance of dry January. Cheers! Drink recipes along with pictures and other fun stuff on our InstagramThank you for listening! You can support the show by subscribing, rating and reviewing on podcast platforms. Thank you for all your support!Happyhourgetsweird@gmail.comInstagramTwitterTikTokOther ways to support the show:Buy us a coffee/cocktailSources:https://slate.com/technology/2010/02/the-little-told-story-of-how-the-u-s-government-poisoned-alcohol-during-prohibition.htmlhttps://en.m.wikipedia.org/wiki/Prohibition_in_the_United_States

In the 119th episode of The Strength Connection Podcast, Mike and our special guest, the Founder of The Waterhole Leadership Program, Mark Ashby, will talk about what makes a great leader overcoming toxic cultures, how leadership has changed over recent times, individual brilliance, and more.Join us in this insightful and captivating talk! In this chapter, you will discover:(0:50) Introducing our special guest Founder of The Waterhole Leadership Program(2:35) Why was Michael chosen for the manager position?(4:30) Contracting in Iraq(6:40) What actually matters?(7:05) Working for great leaders(8:15) “Good leaders will create good employees or good team members, but the great leaders will create other great leaders.” - Michael Kurkowski @mike_strength_connection(8:50) Mark's origin story(9:00) Relation with surfing(9:50) Fascination for military(10:20) Finally joining the army(10:30) Connection with fitness training(11:15) The twin towers incident(12:00) More about the contract to Iraq(13:30) The mindset during a war(14:55) The wakeup call(15:50) What made Mark a controlling person during the war?(16:55) Taking on a new team(20:20) Individual Brilliance(22:10) The cons of lack of communication(22:45) “Not everybody's gonna be perfect in any role, but at least give it that chance.” - Mark Ashby LinkedIn: Mark Ashby M.A(24:55) “The communication process needs to be a constant, rather than just an activity that you do.” - Michael Kurkowski @mike_strength_connection(25:00) The habitual creatures (28:35) Mark's coaching style(30:45) Good, great, or extraordinary(31:30) The human connection(33:00) Result driven process(33:50) Do the clients always know what they want?(35:25) Sharing your own story(40:20) Optimal performance and fitness(40:30) Shout out to Michael Jordan(43:05) Burning out your potential(44:15) Leadership; talent or learned skill(47:35) What's it's all about?(48:20) Masculine vs. feminine work energy(49:55) Middle road; the warzone(55:35) The evolution in the concept of leadership(59:20) “People need the work, but the work needs the people.” - Mark Ashby LinkedIn: Mark Ashby M.A(1:00:40) Where to find Mark Ashby? LinkedIn: Mark Ashby M.AWebsite: https://markashbyconsulting.com Email: mark@markashbyconsulting.com 

Wagon's West- Frontier Town-521024-Poisoned Waterhole http://oldtimeradiodvd.com  or Nostalgia USA PRIME Roku Channel

Frontier Town starring Jeff “Tex” Chandler, originally broadcast October 24, 1952, The Poisoned Waterhole. Lefty Slaughter is trying to take over the town by killing the storekeeper and calling all debts. Also Part 8 of a 9 part Yours Truly Johnny Dollar story, The Phantom Chase Matter, originally broadcast October 24, 1956. A friend to the rescue, and an unfriendly phone call from a killer! Visit my web page - http://www.classicradio.streamWe receive no revenue from YouTube. If you enjoy our shows, listen via the links on our web page or if you're so inclined, Buy me a coffee! https://www.buymeacoffee.com/wyattcoxelAHeard on almost 100 radio stations from coast to coast. Classic Radio Theater features great radio programs that warmed the hearts of millions for the better part of the 20th century. Host Wyatt Cox brings the best of radio classics back to life with both the passion of a long-time (as in more than half a century) fan and the heart of a forty-year newsman. But more than just “playing the hits”, Wyatt supplements the first hour of each day's show with historical information on the day and date in history including audio that takes you back to World War II, Korea, and Vietnam. FDR, Eisenhower, JFK, Reagan, Carter, Nixon, LBJ. It's a true slice of life from not just radio's past, but America's past.Wyatt produces 21 hours a week of freshly minted Classic Radio Theater presentations each week, and each day's broadcast is timely and entertaining!

"A Life and a Death in Haiku," by J. Russell Hoverman: a brother shares haikus and photos dear to his family around his brother's end-of-life care.   TRANSCRIPT A Life and a Death in Haiku, by John John Russell Hoverman, MD, PhD (10.1200/JCO.21.02835)   My brother, Jim, was diagnosed at age 73 years with colon cancer metastatic to the liver, lymph nodes, and lungs. He and his wife were avid hikers and after retirement had hoped to visit as many national parks as possible. Big Bend National Park in Texas, along the Rio Grande River bordering Mexico, at over 800,000 acres, is one of the largest and least-visited parks in the country. The park has vast expanses of desert and high mountain islands, with some peaks over 6,000 feet. We had hoped to have Jim visit us in 2020, but both cancer and COVID-19 interfered until this past spring when we were finally able to arrange a trip to the park. It had been a few years since I had last seen Jim at our most recent family wedding. When he arrived in Austin, he appeared gaunt and frail. He had lost his taste, and many foods burned his mouth. He had lost weight and was weaker. He barely felt his feet. He struggled to just get through the day. Even so, he hiked up to a promontory overlooking the Rio Grande one day and into a canyon the next and seemed to get stronger as the week went on (Figs 1 and 2).   While in Big Bend, we talked about how he wanted to be remembered. Neither of our parents left tangible markers of their deaths. There were no gravesites, only scattered ashes in places without names. We discussed having a marker, a plaque, a touchstone, or maybe a bench at a favorite park, a place that could be visited by family and friends. This loss of continuity is likely a result of our culture—urbanization and the fragmentation of families. This is in contrast to The Day of the Dead (Dia de los Muertos) celebrated in Mexico and much of the American Southwest, where families decorate cemeteries and have annual gatherings to remember deceased relatives and friends. We forget, or perhaps never knew, how important this can be.   As an oncologist, I saw the wide variety of ways in which people died. A few years after I finished training, I joined a practice in a small town in Oregon with a large Mennonite community. One of my first patients was a church member with metastatic ovarian cancer that was no longer responsive to treatment. She required near constant attention for pain control, and the nursing facility associated with the Mennonite Church, primarily staffed by fellow church members, was her best option. My patient knew all her caregivers, and they knew her. It was as if she was receiving terminal care for her cancer by her sisters. This may have been the first time I attended the death of a patient outside of a hospital. Given that experience, I became an ardent supporter of hospice organizations, many of which were just starting. I knew that Jim was not far from the end of his life and that he wanted to be able to make his own choices, even to the point of getting it over with. We both also knew the impact of sudden, unforeseen, untimely deaths in our own family. I had hoped that Jim could be comfortable and able to participate with us until the very end. This most likely meant involving hospice care.   By summer, less than a year after his diagnosis, chemotherapy no longer controlled his disease, and there were no treatment options available. His oncologist offered a menu of possible treatments including radionuclide embolization of two liver lesions and radiation treatment of lung lesions. As Jim's discomfort was primarily in the region of his largest liver lesion, he and his wife decided to pursue the liver embolization for pain relief, but while recovering from his chemotherapy, Jim lost more weight and became weaker. At the time of the scheduled procedure, the interventional radiologist discussed his concern that Jim's change in status would make the procedure highly risky and could result in hospitalization and death. He allowed that if Jim wanted to swing for the fences, they could proceed but he did not recommend it. More than anything, Jim wanted to be in control of his faculties, and the risks were too great. He and his family decided to return home and enroll in hospice care.   Jim was an English major in college, writing his senior thesis on the poet Wordsworth and taught high school English for 17 years. Throughout his career, he wrote poetry and was especially fond of the haiku. Haiku is a centuries old Japanese poetry format composed of 17 syllables in three unrhymed lines with the first line of five syllables, seven in the second, and five in the third. The subject is often an observation (usually of nature) or an event that is tied to or elicits an emotion. Over the years, a haiku would come to Jim, often unbidden, stimulated by a perception or an event.   While in Big Bend, we discussed adding a haiku to whatever memorial he considered. Once the decision was made to enroll in hospice care, Jim chose, from his life experiences, 17 haikus to post on social media, one daily beginning August 1. A few are included here:   Day 1: The Waterhole   Like the circumspect Gazelle, I have waited long before drinking deep.   Day 2: At Field's Pond   At Field's Pond today a rude clique of frogs gave me the silent treatment.   Day 7: Mt. Sugarloaf   On Mount Sugarloaf, we met a youthful choir of pines dressed in white robes.   By day 9, Jim was too weak to post his work. Jim's wife continued his mission and reported the responses to him each day.   Day 11: Ripples   From shore a teacher casts a stone. Endless ripples roll and roll away.     Day 13: The Chase   Like a leaf that runs from an October wind, the cat escapes my son.   Jim died on the morning of day 16, shortly after this haiku was posted.   New Year's Eve   Tonight, New Year's Eve, is so still and cold, the trees crack like popping corks.   At the end of life, it may not be clear who is providing the narrative for care. It may be the physician offering treatment choices, another line of therapy, a new drug, a different modality of therapy, palliative care, or hospice care. The patient may never gain control of the narrative. Aggressive treatment may lead to hospitalization and a lonely death in the Intensive Care Unit.   Jim was empowered to take control of the narrative by opting for hospice care and posting his haikus. He no longer posted details to his social network about his doctor visits, daily physical challenges, and symptoms; it was about sharing his life and the wonder he found in it. The changes in responses on his social network were profound as it became less about expressing empathy and more about remembering the person he was. Just as Jim's visit to Big Bend and the surrounding wildness and beauty of the park energized him, Jim's satisfaction with the responses made him more comfortable, looking forward to each day's reaction and, perhaps, making it easier for him to go.   A patient's journey with cancer is a story told by family and friends. The satisfaction with the story depends on how the story ends. The physician's role in the story begins when the cancer is evaluated and a treatment strategy proposed and provided. At a point in the care of everyone with incurable disease, the cancer is no longer the main issue and the patient and family take center stage. When the physician is unable to cure or prolong life, his or her role becomes that of a guide attempting to lead the patient and family to an ending that comforts all. This requires an understanding of the patient's narrative and depends on accurate information about how the narrative will be affected by treatment choices.   The combination of hospice care with the assurance of dying at home surrounded by family coupled with the ability to connect with his extended family and friends through social media was truly transformative for Jim and for me. Jim's control over the narrative and the direction that action gave to the care team made it easier to allow his death. Our role was to comfort and support and be present. There was no regret and no guilt with how things went. I could not have hoped for more.   A few months after Jim's death, his family and friends gathered to celebrate his life. We met in a grove of trees in a protected forested area where he often hiked. The centerpiece of the gathering was a bench marked by a plaque with his name on it. There was also a plaque with his favorite haiku.   Dawn on the Appalachian Trail   Light slips in along the eastern edge. I am still, startled by beauty.   Jim's ashes were scatted nearby.   Always the teacher, the ripples roll and roll …. Dr. Lidia Schapira: Welcome to JCO's Cancer Stories: The Art of Oncology brought to you by ASCO podcasts, which offers a range of educational and scientific content and enriching insight into the world of cancer care. You can find all of the shows, including this one, at podcast.asco.org. I'm your host Lidia Schapira, Associate Editor for Art of Oncology and Professor of Medicine at Stanford. With me today is Dr. John Russell Hoverman, now retired, formerly responsible for the development of value-based delivery programs for Texas Oncology and US oncology. Dr. Hoverman also has a PhD in philosophy. We'll be discussing his Art of Oncology article, 'A Life and a Death in Haiku'. At the time of this recording, our guest has no disclosures. Russ, welcome to our podcast. Dr. John Russell Hoverman: Thanks for asking me. Dr. Lidia Schapira: So let me start by asking a personal question. How did philosophy lead you to medicine and cancer care? Dr. John Russell Hoverman: I always thought I wanted to be a doctor. I had a family practitioner who was an inspiration. I think from sophomore in high school, I knew I wanted to be a doctor. But I always asked other questions. So when I got to college, I had a chance to broaden my horizons, I guess. And when it came time to choose a major, because I took some elective courses as a freshman that were required, when it became time to choose a major, I chose philosophy. My family doctor said, 'You know, that's great. You should have some other discipline. Some of the humanities is probably as good as anything. And it won't hurt you if you're going to be a physician.' So I majored in philosophy and minored in biology. Dr. Lidia Schapira: It's interesting. I had a different experience. I, too, wanted to study philosophy, and the advice I received was, well, study medicine first and philosophize later. So I'm so glad that you actually studied philosophy formally. And tell us a little bit about how you have incorporated some of the thought processes and frameworks for approaching important topics that you learned as a philosopher into your medical practice and all of the amazing work that you've done. Dr. John Russell Hoverman: Medicine is a humanistic enterprise. So you are interested in people or you're interested in what they think. But it's also an evidence-based enterprise. And philosophy is all about evidence, especially logic. That's been one of my favorite topics. I've written about that more than once about clinical trials. And actually, that may be a paper I'll do shortly is about the logic behind the mRNA vaccines. The science is spectacular, but it wouldn't be anything without the logic of clinical trials so that when we look at providing value, which should be an ethical obligation for physicians, logic comes in handy to determine whether a structure of a clinical trial actually gets you the answer that you want. And what you want is to know what is the highest value for your patients and to be able to measure that and be able to talk about it. And then the other part of that is end of life care, which, again, is an ethical enterprise. And it has to do with getting information and giving the right information to your patients in what you're obligated to give. As you search for that, there's more and more information that probably is needed. So that's enough. And I still love the science. The science is wonderful, but it has to be translated. Dr. Lidia Schapira: So help me think through how we incorporate storytelling and narrative into your argument that this too has value as we think about our roles as physicians, especially when we're thinking about end of life care. Dr. John Russell Hoverman: I think you've had the same experience, I think, that we all in our practices have stories. My brother's story is just one of them. And you think about how your view towards having conversations with patients is colored by the patients that you've had and the stories that they told. I had a patient who had lung cancer in the rural area in Oregon and wanted to send them to the medical center. They said, 'No, I lived on a farm all my life. I know exactly what life and death is, and I want to be with my family.' So we've been impressed by the interactions patients have with their families and with their physicians as to how things could end up well. Dr. Lidia Schapira: In your essay, you used an expression that I found very powerful. And that is that your brother Jim, whose story you tell, ultimately had control of his narrative. Tell us a little bit about how that locus of control is negotiated in the relationship between the patient and the cancer clinicians. Dr. John Russell Hoverman: Again, there are other stories to tell. So we've had patients who wanted to be in control but didn't know how to do it and actually weren't sure what they wanted. One elderly woman talked to her family practitioner, her family physician about assisted suicide. So she was dying, I think of metastatic colon cancer. She had two daughters, and one was halfway around the world, and she didn't want to bother that daughter. So she wanted to slip off quietly. And when we've talked to her about it, we knew that her daughter would be honored to be there. And in fact, that was the case. So we learn from stories to maybe probe a little bit more than we ordinarily would. If something doesn't seem to be going right, maybe there's something we can address. I think we all have instances when that's happened. Dr. Lidia Schapira: In your essay, you also talk about the importance of storytelling and the control of narrative as a way of helping those who love the person who's dying and how that can ease the pain of bereavement. And in your particular case, when you tell Jim's story, you say there was no regret, no guilt, which is a beautiful sentiment. As physicians, we often see that there is regret and there is guilt with how families approach the last few weeks of life of a loved one. Can you tell us a little bit more about this, no regret, no guilt concept? Dr. John Russell Hoverman: We see guilt often when things don't turn out the way families think they should. And probably the thing that we see most often is the patient dies in the hospital, and they're not at home. And what we do see with hospice care is that they don't feel as much guilt. And I think what happened with Jim, maybe taking that to another level, by being proactive about the message. And the question is, not everybody can write haikus. But what else can you do? Can you have somebody give a piece of a story? Or can you publish a photograph? Or what else can you do to mark that life as something that was worthwhile, and then everybody gets on board with that. That becomes more important than pain control or being awake again. I think we're just exploring that. For me, it was a revelation to see that. Dr. Lidia Schapira: Now, let's turn to your essay. In the final moments of this interview, you bring life's experience as a cancer clinician, as a deep thinker. And you chose to tell the story to your colleagues through publication and JCO. What is the message in your essay for listeners and readers. Dr. John Russell Hoverman: The message, I think, is the message that I got. To my mind, the story wrote itself. It was there just to record. Then the message to me was that this is how things could be, understanding the patient's, and I'll use that word 'mindset', so that we can tailor his care to that mindset, and in fact allow him to have as much say about how that care is tailored as possible. Dr. Lidia Schapira: Tell us a little bit about Jim, your brother. Dr. John Russell Hoverman: Well, he's a middle child. So we had three boys. And of course, you always think that the older one always beats up on the younger ones. Jim started to wrestle when he was in junior high school. That changed our relationship. So it was no longer a power relationship. But when he went to college, he majored in English, and I majored in philosophy. And we both were interested in the same things. Interested in how the world works, how the world got to be where it was, but Jim interrogated nature with poetry and literature, and I interrogated nature with science and philosophy. And we've had some interesting discussions, but we were not far off from the ultimate picture. But I would talk about something about ethics, and he would have a literature reference and probably would sum up what I would do in five pages in four sentences. So it continued to be that way. We were both always interested in the outside, interested in hiking. As you can tell, I'm interested in taking photographs. So there's always a sense of being in the world that we both had. And Jim did it in his way, and I did my way. But we were never really that different, I think, in how we looked at things. Dr. Lidia Schapira: If I may, I'd like to ask a personal question. And, of course, you don't have to answer, and that is, how are you doing in your grief over Jim's loss? Dr. John Russell Hoverman: Well, it was good that it ended the way it was. It was bracing to watch your brother die. I'm not sure that's the best word. But it was clearly emotional. But it helps if it happened the best way it could. And he was in control. It's not something that got away from us. And again, we've talked about sudden deaths and how those are so unsatisfying because you can never really say anything. And it wasn't that, which I know was good for him and his family. So it's not just me; his sons and his wife also appreciated the chance to have Jim towards the end of his life. Dr. Lidia Schapira: Well, the essay is really moving. It's instructive. It's personal. And on behalf of the readers of JCO, I thank you for sending it to us. It's been a real pleasure chatting with you today, Russ, and I want to express on behalf of all of us, our condolences for your loss, and our admiration for your work. Thank you. Dr. John Russell Hoverman: Thanks, and I appreciate working with you. I think it's much better than it might have been otherwise. Dr. Lidia Schapira: Before we conclude this interview, Russ, I wonder if you can read one of your favorite haikus for us. Dr. John Russell Hoverman: Sure. It's called 'The Hospital Bed', and it relates to a story that Jim's wife told me and I imagined:   Restless and moaning His wife lies down beside him He quiets and sleeps That's it. Dr. Lidia Schapira: Thank you so much. So until next time, thank you for listening to JCO's Cancer Stories: Art of Oncology. Don't forget to give us a rating or review wherever you listen. Be sure to subscribe so you never miss an episode. JCO's Cancer Stories: The Art of Oncology, is just one of ASCO's many podcasts. You can find all of the shows at podcast.asco.org. The purpose of this podcast is to educate and to inform. This is not a substitute for professional medical care and is not intended for use in the diagnosis or treatment of individual conditions. Guests on this podcast express their own opinions, experience, and conclusions. Guest statements on the podcast do not express the opinions of ASCO. The mention of any product, service, organization, activity, or therapy should not be construed as an ASCO endorsement.  

Chris Packham is one the world's most famous environmentalists.In the 1980s he joined the BBC as a camera assistant on its nature show A Toad's Tale.Ever since then he's been passionate over the environment, hosting many documentaries and launching many campaigns to protect wildlife.Now - his new show Waterhole: Africa's Animal Oasis is coming to sky's BBC earth next Sunday.Chris Packham joined Tim Dower.LISTEN ABOVESee omnystudio.com/listener for privacy information.

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