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In this gripping new series, Tony Brueski, the acclaimed host of the Hidden Killers Podcast and True Crime Today, delves deep into the harrowing and complex case of Maddie Soto's murder. This investigative series sheds light on the tragic loss of a young girl whose life was cut short under mysterious and sinister circumstances. With each episode, Brueski takes listeners on a detailed journey through the layers of the case, focusing on the primary suspect, Stephan Sterns, whose actions and motives come under intense scrutiny.
The podcast also explores the ambiguous role of Jennifer Soto, Maddie's mother, whose connection to the case raises more questions than answers. Was she merely an unsuspecting guardian, or is there more to her story than meets the eye? Through exclusive interviews, meticulous research, and engaging narrative, Brueski aims to unravel the complexities surrounding Maddie's death, the legal battles that followed, and the community's quest for justice.
Listeners will be taken behind the headlines to understand the implications of the evidence, the psychological profiles of those involved, and the legal intricacies that have made this case both fascinating and heart-wrenching. "The Murder of Maddie Soto" is more than just a true crime podcast; it's an in-depth exploration of a small community shattered by tragedy, the enduring fight for justice, and the haunting memory of a life lost too soon.
Join Tony Brueski as he seeks answers and accountability in one of the most perplexing and tragic cases in recent memory. "The Murder of Maddie Soto" is a must-listen for true crime aficionados and anyone who believes in the pursuit of truth and justice. -
This is the podcast by dunkers, for dunkers. We talk anything and everything dunking and love to review YOUR dunks! We are for the community and want to have everyone involved, not only to grow the podcast but to grow the DUNK COMMUNITY!
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Sure, here's a 2000-word celebration of The Rolling Stones' "Some Girls" album in the style of Kurt Loder:
Alright, let's talk about "Some Girls," the album that proved The Rolling Stones weren't just your dad's rock band anymore. It's 1978, disco's doing its thing, punk's screaming in the corners, and here come Mick and the boys with a record that says, "Hey, we can do that too, and we'll do it better."
Now, I've seen my fair share of Stones gigs, watched Mick strut his stuff from New York to L.A., but "Some Girls" hit different. This wasn't just another Stones record; this was a fucking statement. It was like they looked at the musical landscape, sneered that patented Jagger sneer, and said, "Watch this."
Let's break it down, track by track, because each one's got a story, each one's got that Stones magic that makes you wonder how these English boys got so damn good at American music.
We kick off with "Miss You," and holy shit, is this disco? From the Stones? You bet your platforms it is. But this ain't no "Saturday Night Fever" knock-off. This is disco with balls, disco that struts down a dark alley at 3 AM looking for trouble. Mick's harmonica wails like a lonely cat on a hot tin roof, and that bassline? It doesn't just groove; it prowls.
Then we slam into "When the Whip Comes Down," and it's like the Stones are saying, "You want punk? We'll give you punk." This track's got more attitude than a CBGB's bathroom stall. It's New York grit under Mick's nails as he spits out lyrics about the Big Apple's underbelly. Keith and Ronnie's guitars don't just play; they snarl and bite.
Now, you might think covering The Temptations is a risky move for a bunch of white boys from across the pond, but "Just My Imagination" proves the Stones can do soul with the best of them. They take that Motown classic and run it through their rock 'n' roll filter, coming out the other side with something that's both reverent and rebellious.
The title track, "Some Girls," is where things get interesting, and by interesting, I mean controversial as hell. Mick's lyrics are like a hand grenade rolled into a politically correct dinner party. It's provocative, it's outrageous, and it's quintessentially Stones. They're pushing buttons and loving every minute of it.
"Lies" comes at you fast and furious, a punk-inspired rocker that doesn't let up for a second. It's like being strapped to the front of a runaway train, with Mick as the maniacal conductor. This is the Stones showing the young punks that the old guard can still throw down with the best of them.
Then we get "Far Away Eyes," and it's like the band decided to take a drunken detour through Nashville. Mick's faux-Southern drawl is so over the top it loops back around to brilliant. It's the Stones taking the piss out of country music while simultaneously showing they can play it better than most.
"Respectable" is anything but. This is the Stones at their most defiant, thumbing their noses at anyone who thought they'd gone soft. It's a middle finger set to a Chuck Berry riff, with Mick sneering about high society and low morals. It's the sound of a band that knows its reputation and is having a blast playing with it.
Keith takes the mic for "Before They Make Me Run," and it's like listening to a jailbreak in progress. This is Keith's outlaw anthem, a big "fuck you" to the forces that tried to bring him down. When he sings "Gonna find my way to heaven, 'cause I did my time in hell," you believe every gravelly word.
"Beast of Burden" is the Stones showing their softer side, but don't mistake soft for weak. This is a love song with teeth, a ballad that can still throw a punch if it needs to. Mick and Keith's vocals weave around each other like smoke, while the guitars create a tapestry of sound that's both intricate and effortless.
The album closes with "Shattered," a frenzied ode to New York City that captures the chaos, the energy, and the madness of the Big Apple in the late '70s. Mick's rapid-fire delivery is like a beat poet on amphetamines, painting a picture of a city that's falling apart and pulling itself together at the same time.
But "Some Girls" isn't just about the individual tracks; it's about the whole goddamn package. This is the sound of a band that's been counted out coming back swinging. It's the Stones looking at punk, looking at disco, and saying, "Anything you can do, we can do better."
Let's talk about the context for a minute. By '78, a lot of people were ready to write off the Stones. They were thinking, "Sure, they were great in the '60s, but can they still bring it?" "Some Girls" was the answer, and that answer was a resounding "Fuck yes."
This album didn't just put them back on top; it redefined what it meant to be on top. They weren't competing with the new kids on the block; they were showing those kids how it's done. They took the energy of punk, the groove of disco, threw in some country twang for good measure, and wrapped it all up in that unmistakable Stones swagger.
And let's not forget, this was all happening while Keith was facing serious drug charges in Canada. Most bands would've crumbled under that kind of pressure. The Stones? They turned it into fuel for one of the best albums of their career.
The production on this record is something else, too. It's polished enough to compete with the slick disco hits of the day, but it's got enough grit and grime to remind you that this is a rock 'n' roll record, goddammit. You can almost feel the sweat and cigarette smoke coming off the vinyl.
Now, 46 years later, "Some Girls" still stands as a testament to the Stones' enduring relevance. It's a blueprint for how to age gracefully in rock 'n' roll without losing your edge. It's proof that you can change with the times without changing who you are.
The influence of this album can't be overstated. You can hear echoes of "Some Girls" in everything from the dance-rock of the 2000s to the garage revival of the 2010s. It's like the Stones threw a rock into the pond of popular music, and we're still feeling the ripples.
But beyond its influence, "Some Girls" is just a damn good time. It's the kind of album that makes you want to strut down the street like Mick Jagger, even if you've got the moves of Keith Richards after a long night. It's music that makes you feel alive, makes you feel dangerous, makes you feel like anything's possible.
And isn't that what rock 'n' roll is all about? It's not about being safe or comfortable. It's about taking risks, pushing boundaries, and maybe pissing a few people off along the way. "Some Girls" does all of that and more.
It's an album that captures a moment in time – the gritty glamour of late '70s New York, the collision of punk and disco, the last gasp of rock 'n' roll's golden age – but it also transcends that moment. It's both a time capsule and a timeless classic.
Each listen reveals new layers, new details you might have missed before. Maybe it's the way Charlie's drums punch through on "When the Whip Comes Down," or the subtle interplay between Keith and Ronnie's guitars on "Beast of Burden." It's an album that rewards repeated listens, that grows with you over time.
And let's talk about those lyrics for a minute. Mick's always been a master wordsmith, but on "Some Girls," he's operating on another level. He's spinning tales of urban decay and decadence, of love and lust in the big city. It's like a pulp novel set to music, full of colorful characters and seedy situations.
But it's not all grit and grime. There's humor here too, a wicked wit that cuts through the swagger. Listen to "Far Away Eyes" and try not to crack a smile at Mick's overblown Southern preacher routine. It's the Stones reminding us that rock 'n' roll should be fun, dammit.
And then there's the controversy. The title track ruffled more than a few feathers with its provocative lyrics. But isn't that what the Stones have always done? They've never been afraid to push buttons, to say the unsayable. "Some Girls" is them doubling down on that reputation, daring anyone to call them out.
But here's the thing – beneath the swagger, beneath the controversy, beneath the genre-hopping experimentation, "Some Girls" is just a killer rock 'n' roll record. It's the sound of a band firing on all cylinders, making music not because they have to, but because they can't imagine doing anything else.
It's the sound of the Stones proving that they're not just survivors, but innovators. They're not content to rest on their laurels or rehash past glories. They're pushing forward, evolving, adapting, but always remaining unmistakably themselves.
And that, perhaps, is the true legacy of "Some Girls." It's not just a great album (although it is that). It's a blueprint for longevity in rock 'n' roll. It's proof that getting older doesn't have to mean getting softer or safer. It's a middle finger to anyone who thinks rock 'n' roll has an expiration date.
Listening to "Some Girls" in 2024, it's remarkable how fresh it still sounds. Sure, some of the references might be dated, but the energy, the attitude, the sheer joy of making music – that's timeless. It's an album that could only have been made by the Stones, but it's also an album that redefined what the Stones could be.
So here's to "Some Girls," to Mick and Keith and Charlie and Ronnie and Bill. Here's to an album that proved the Stones weren't just still in the game, but that they were changing the rules. Here's to disco and punk and country and rock 'n' roll all smashed together into one glorious mess. Here's to taking risks, to pushing boundaries, to never playing it safe.
Because in the end, that's what "Some Girls" is all about. It's about a band looking at a changing world and saying, "We're not done yet. Not by a long shot." And -
Kevin O'Sullivan wraps up another mad, mad week in the world of news. Expect bold opinions from TV's most outspoken host.
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Inlästa texter från Det fria Sverige, det svenska folkets intresseförening. Återkommande ämnen är politik, kultur, identitet och tradition.
Besök https://www.detfriasverige.se för dagliga uppdateringar. -
I “Kniv - ofret, gerningsmanden og de pårørende” undersøger den mangeårig kriminalreporter, Carsten Norton, hvad der får unge mennesker til at gå med kniv. Hvorfor kommer kniven med i lommen, når de går ud af døren? Og hvilke konsekvenser har kniven - både for den der bærer kniven, den der rammes af kniven - og de pårørende omkring dem.
Seriens første to afsnit udkommer fredag den 6. december. De efterfølgende to afsnit kan du høre onsdag d. 11. december.
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We will have interesting, inspiring and intelligent conversation about life, health & fitness and the things that fire us up. Our stories connect us.
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Altinget Jobsamtale er en ugentlig podcast, der udforsker de udfordringer og muligheder, der følger med karriereudvikling – både i nuværende stillinger og ved overvejelse af jobskifte. Værten Sofie Borbiconi tager dig hver uge igennem interviews med repræsentanter fra udvalgte arbejdspladser, der deler indsigter og erfaringer.
Podcasten er annoncørbetalt, hvilket betyder at de medvirkende har haft indflydelse på indholdet.
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Det' Spiller - din nye fodboldpodcast med Mathias Hebo, Sandro Spasojevic og Kenneth Hansen.
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Hvordan ender truede aber ulovligt som forsøgsdyr for medicinalfirmaer som Novo Nordisk? Det ville en dansk forsker undersøge, men så blev hun truet. ”Du kan fortsætte,” sagde hun til Jyllands-Postens Magnus Boding. Og det beslutter han sig for at gøre.
Han starter hos den danske kæmpe Novo Nordisk, der direkte adspurgt er hemmelighedsfulde om, hvor deres aber kommer fra. Derfor rejser han til Vietnam for at undersøge sagen selv.
Gennem tre episoder tager Magnus Boding på en journalistisk opdagelsesrejse ind i en eksotisk verden af lyssky abehandlere, paranoia og big business.
Lyt og tag med Magnus Boding på sporet af Novos hemmelige aber.
Fra 21.november 2024.
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Hvad er egentlig op og ned i den aktuelle debat om arbejdskraftsmangel? Mangler vi reelt flere hænder i Danmark, eller er det bare arbejdsgiverne, der gerne vil slippe med billigere arbejdskraft? En ny podcastserie tager vilde myter og påstande under kærlig behandling i små mundrette bidder.
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Greetings and welcome to my podcast series! Join me bi-weekly as we explore diverse facets of global socio-political issues, aiming to foster a deeper understanding of the world we inhabit. Together, let us embark on a journey of critical analysis, seeking clarity amid the intricacies of our shared reality. Support The Fire Next Time by becoming a patron and help me grow and stay independent and editorially free for only €5 a month. https://patreon.com/firenexttime
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I denne podcastserie dykker vi ned i Gambias kamp for demokratiet.
For hvordan gik det egentlig til, at civilsamfundet i fællesskab væltede en diktator efter 22 år på magten?
Hvad er mediernes rolle i opbygningen af et demokrati, og hvordan bliver borgerne en aktiv del af samfundet efter flere årtiers statslig undertrykkelse?
Den er produceret af Gambia Media Support, en dansk organisation, der støtter journalister og medier i det lille vestafrikanske land, Gambia.
Illustration: Oskar Hyttel Reddersen -
En podcast om menneskene bag politikken.
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Hvor godt kender du vores nabo? I Tyskland indefra stilles der skarpt på de vigtige begivenheder inden for politik, samtid, historie og kultur. Du møder spændende personer, der har kender landet og menneskene. Frem mod Tysklands valg d. 23. februar, stiller vi alle de oplagte spørgsmål og kommer bag om det der optager tyskerne - samt hvad der er vigtigt for os andre europæere.
Vært & producent: Lasse Soll Sunde, https://lassesollsunde.dk/ -
Daily Disney is a podcast where we celebrate the fandoms and culture of the Disney universe. Each day (in less than two minutes) we highlight a character from the plethora of franchises across the Disney library, provide a snippet from the history of Disney, and give a quote from the movers and shakers that helped create the universe of Disney as we know it. Our short entries will help satisfy your hunger for Disney on a daily basis.
[email protected] -
Shelley Duvall: A Journey Through Stardom and Silence Early Life and Career Beginnings Shelley Alexis Duvall was born on July 7, 1949, in Fort Worth, Texas. She was the first child of Bobbie Ruth Crawford, a real estate broker, and Robert Richardson Duvall, a cattle auctioneer turned lawyer. Her early years were spent in various parts of Texas before settling in Houston at the age of five. An artistic and energetic child, Duvall earned the nickname "Manic Mouse" from her mother. Initially aspiring to be a scientist, she graduated from Waltrip High School in 1967 and attended South Texas Junior College, majoring in nutrition and diet therapy. Duvall's entry into acting was serendipitous. In 1970, she was discovered by director Robert Altman at a party. Captivated by her unique presence, Altman cast her in "Brewster McCloud" (1970). This marked the beginning of a fruitful collaboration with Altman, leading to roles in films such as "McCabe & Mrs. Miller" (1971), "Thieves Like Us" (1974), and the critically acclaimed "Nashville" (1975). Rise to Stardom Duvall's breakthrough came with Altman's "3 Women" (1977), where her performance earned her the Best Actress award at the Cannes Film Festival. Her distinct look and quirky charm made her a standout in Hollywood. She became widely recognized for her role as Wendy Torrance in Stanley Kubrick's horror classic "The Shining" (1980), where her portrayal of a terrorized wife opposite Jack Nicholson cemented her place in cinematic history. In addition to "The Shining," Duvall starred in "Popeye" (1980) alongside Robin Williams, playing Olive Oyl. Her collaboration with Altman continued with roles in "Buffalo Bill and the Indians, or Sitting Bull's History Lesson" (1976) and "3 Women" (1977). Producing and Later Work Duvall's creative talents extended beyond acting. In the 1980s, she produced and hosted the children's television series "Faerie Tale Theatre," which featured adaptations of classic fairy tales. The series was a success and showcased her ability to blend whimsy with serious production work. Despite her success, Duvall's career faced challenges. She sporadically worked in acting throughout the 1990s, with notable roles in Steven Soderbergh's "The Underneath" (1995) and Jane Campion's "The Portrait of a Lady" (1996). Her last performance before a long hiatus was in "Manna from Heaven" (2002). Hiatus and Return In the early 2000s, Duvall retreated from Hollywood and lived a reclusive life in Texas. Her absence from the public eye sparked rumors and concerns about her mental health. In a candid interview in 2023, Duvall shared insights into her life away from the spotlight and her struggles with mental health issues. She expressed a desire to return to acting, which culminated in her role in the indie horror film "The Forest Hills" (2022), marking her first appearance in over two decades. Legacy and Death Shelley Duvall's unique career is a testament to her versatility and talent. She was an icon of 1970s and 1980s cinema, known for her distinctive roles and collaborations with some of the most influential directors of the time. Her return to film in "The Forest Hills" was a reminder of her enduring talent and passion for acting. On July 11, 2024, Shelley Duvall passed away at the age of 75. Her death marks the end of an era, but her legacy lives on through her memorable performances and contributions to film and television. Shelley Duvall's journey through stardom and silence is a poignant reminder of the complexities of fame and the resilience required to navigate it. From her serendipitous discovery to her iconic roles and eventual retreat from Hollywood, Duvall's life was as eclectic and compelling as the characters she portrayed. Her recent return to acting and her reflections on her career offer a fitting coda to a life dedicated to the arts. Thanks for listening and remember to like and share wherever you get your podcasts.
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Hver fredag vil vi kort og koncentreret fortælle dig om ugens samtaleemne.
Om den historie, som i særlig grad optog folk - eller som burde gøre det. Viborg Stifts Folkeblads redaktør og journalister klæder dig på til at møde vennerne og familien, selvom du måske ikke lige nåede at følge med i nyhedsbilledet i ugen, der gik.
Credits:
Chefredaktør Andreas Søndergaard, journalister fra Viborg Stifts Folkeblad og skiftende gæster -
Hvordan ser medier ud for børn og unge i fremtiden? Hvordan skaber vi indhold, der tager målgruppen seriøst og får dem engageret i samfundsdebatten? Og hvad er et medie overhovedet nu og i fremtiden? De spørgsmål søger vi svar på her i Podcast for Nye Medier.
Podcasten er produceret med hjælp fra Google News Initiative.
Vært: Maria Månson
Producer/tilrettelægger: Mathias Stilling
Lyddesign: Mathias Stilling
Husk at trykke “Abonnér” på podcasten for altid at blive opdateret på, hvornår der er nye afsnit fra Nye Medier. -
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