na just £4.75. Now, their offer is worth repeating. School days cost less at Lidl. More for you. Places are now available to help you realize your ambitions. It's time to say hello future. Apply now for September 2022 at ulster.ac.uk. Visit Savour the Flavour in Donegal Town this weekend for delicious food and drink experiences, including outdoor cookery demos by celebrity chefs. Also a food and drinks market, food tours, the Donegal Railway Car unique dining experience and entertainment. All in Donegal Town from this Friday the 26th to Sunday the 28th of August. See the full event details and offers at Savour the Flavour at DonegalTown.com. Radio 08 660 25000, that's the text and WhatsApp line, which we always like to see busy. It's a busy again today. Thank you so much. When I worked for a bin company back in the early 90s, we dumped lots of rubbish in an area in Falkara. Huge trenches filled with rubbish and later covered with muck by digger. I was 17. I thought this was a landfill and that rubbish pits still lurks beneath that soil. Is that something that really should be notified to the council, even on the QT? Because maybe it still needs to be removed. Maybe that is still seeping into the local waterways. Greg, I know there's a lack of school bus drivers at the minute, but this attitude that our army is sitting around doing nothing and should be hauled in to drive them is insulting. First, they wanted them to act as security at Dublin Airport. Now it's drive school buses. A little more respect for our army, please. I was waiting for it. Tell me did it happen? Is someone saying get the army in to drive school buses? My word. Listen, I'm sure there's plenty of school bus drivers out there with bosses and drivers. If they could sort out how they give out the contracts and do it in a timely way and doing it in a fairer way, I'm sure the problem would be fixed. The army aren't there to fix all the problems, of course not. A few years ago, my son was in Dublin College and he was actually looking for the five day rent. It was 550 euros for one room and a shared bathroom in Dublin because of the cost many students actively seek out the five day rents. If he needed, say, seven days, then he paid extra, but you see that is the problem. You're coming at it from a different angle, but it's the exact same problem we were talking about. It's the fact that they charge a five day in a seven day rate. That's what Connell was saying should be done away with. So your son really should not have had to contend with paying extra for seven days. The whole purpose of the point was is that it should be a seven day rent, not a choice between five and seven or not at the discretion of the landlord. That's the point. Every rental, if you're renting it, it should be seven days. Right. Okay. Now, good morning. Will you please pay a birthday request for a friend? Jenny McOsker in Lifford. Jenny, I'm not going to say the age they've written down here because you might give out to me. So you can blame Tony. Tony gave me your age out of respect because I don't know whether you want your age broadcast or not. I'm not saying it. It's not a big age. But Jenny McOsker in Lifford, happy birthday to you. Tony sent in the request. Tony, well done. Thanks very much for that. Congratulations to Holy Cross student, Shaw Monaghan, who passed his GCSEs. He got one star six A's and one B from granny, Josie and uncle Jason clearly very, very proud. Okay. Let's take a musical break. Don't go anywhere though. Still loads to talk about between now and midday. Okay.  Well, don't forget that it has to be dumped. And there is what was it, 28 tons. And you pay per ton to dump it. You have to get diggers in. You have to get lorries in. Has to be sorted. So I can see where the 12,000 euro went. We saved up hard to buy a new bed mattress 700 euro and it cost 25 euro to dispose of it at a recycle center. There are once or twice a year, by the way, opportunities for you to dump your mattress for free at the civic community centers. So if you have a place to store, it's worth holding out for that. Okay. Now, Matt McGrannahan is spokesperson for the Music and Entertainment Association. Matt, great to see you again. Great to speak to you. How are you keeping? Good, Greg. Good morning. Thanks very much for having us on again. Yeah, gigging flat out? Not really, no. Why not? Unfortunately. Is it quite still or? Yeah, it has quite. I mean, this time before COVID couple of years ago, I was out, you know, four or five nights a week at this time of the year. What's changed to think about? I mean, obviously, your skill set still there. Is it that pubs and clubs have moved to a different form of entertainment? They're trying to save money or? I suppose there's not a lot of different factors and we're actually currently doing a survey, just finishing the survey and able to give some results of that. We're hearing this across the board as well for a lot of people that, you know, nearly just over half, sorry, just less than half of people are experiencing less than three quarters of the work. Almost a fifth of them are experiencing less than half of the amount of work at the moment. So we're hearing this across. There's just an uncertainty there and even, you know, a couple of months ago, well, there was when the restrictions ended at the end of January, there was a huge amount of activity for the first few months. And then really from around June onwards, we were hearing from a lot of people, a lot of different people in the business side of workers or promoters, agents and so on, that cancellations were starting to flood in from like, let's say the end of August, September. So there's a lot of concern. And it's what was driving us the moment is the cost of living crisis. Yeah. And it's the cost of doing business crisis that we have. And sometimes, depending on the venue, of course, because we're talking multiple venues, but I just wonder sometimes if pubs are looking at their bills and going, right, well, I can have live music twice a week, or I can get BT sports in. Sure. There's a lot of that going on. You know, people are just having to be really mind the pennies and the pounds at the moment. And then of course, you know, we talked to some people, some musicians and they're saying they've never been busier. Absolutely. But that's kind of the exception other than the norm for most people that we're talking. It's a wee bit worrying coming out of, I was going to say the recession, that's what we're probably heading into, but coming out of the lockdown, if people aren't booked out at the moment, you know, not a spare date, you'd worry, wouldn't you Matt? Because, you know, I think a lot of it's about sentiment too, as you say. It's worrying. It's worrying as to what 2023 might have in store, because these partners change, you know, you take big events and then people change the way they do business or what have you. And sometimes it changes forever. And sometimes it takes years to bounce back as to where it was. It will take a bit of time to bounce back. But I think it will, because at the end of the day, you know, we are kind of social animals, humans, we do enjoy coming together, we do enjoy that element of fun. And the only concern I would have, and there's no logic to this as well, is I think because there was a bit of pent-up demand there that maybe the pubs are very busy anyway without the extra expensive music, and it might take the businesses a while to realise that it is often the good acts, the great acts that we have, that are getting people in through the door. Well, there is an element of that. I think the biggest thing affecting people here at the moment is the cost of actually going out and socialising. And if we look at actually where people are gathering together, festivals and outdoor festivals, and large concerts, huge, that has been massive over the summer. So people are really down to return back to that. Then that just has a knock-on effect of what are they going to afford to go out in their locality, maybe at the weekend or different things. So we're seeing that from the likes of MCD and Egg and the International acts coming to Ireland are doing huge. Then we're seeing a kind of getting feedback across the board from a lot of theatres where you'd have mostly the funded sector and local theatres. The likes of England, I'm not quoting them because I don't know what their numbers are, but we're hearing that there's a kind of a trend there of about 50% to 60% capacity across the board. So is it like then maybe people are tightly in the belt through August because they're going down to see Garth Brooks at the start of September sort of a thing? There may be a bit of that. It's something that needs, I know you're saying a survey is out there, something needs studying, isn't it? Because we need to know what the reasons, what the cause and effect is. This was being talked about in the dialogue a couple of months ago, where people could buy tickets to see an act in Dublin, but then by the time they put in the car to the hotel for the night, they could go to London for two nights cheaper. So that was having a huge effect on, we spoke to Aslan about it and they were saying they were getting a lot of calls from people who would be buying tickets, but we're selling them on them because they just couldn't afford to stay up for the night in Dublin and they were going to wait for Aslan to come on tour to their part of the country and stuff. The system is different from what we knew a couple of years ago. I suppose we have to try and find ways and entertainment industry has to try and find ways to make it work for itself as well. Yeah, for sure. The state has to do its bit as well. People would have heard of the announcement much lauded of the basic income for artists. It was a new scheme. Tell us what the idea behind the scheme was, Matt. The scheme was to acknowledge, I suppose they often, as they said, unpaid and unseen work that goes on behind the scenes, you know. People always say, the musicians are very well paid and indeed, you know, we kind of are. People think it's only that you turn up and you do a couple of hours work. They don't see the work, the preparation, the rehearsals during the week and stuff that got going on and all the work that goes on to it. So the basic income for art was going to be in fairness, one of the most sort of interesting schemes in the world. One of the first schemes on such a scale of 2,000 artists, getting a basic time of 325 year a week for the next three years, is going to feed into a massive research project for arts worldwide, but also for the idea of a universal basic income right across society. It was, you know, it had been talked about since October 2020. It was going to be the panacea, the solution for getting struggling musicians and entertainers and artists through COVID. Strangely enough, the scheme didn't open until the restrictions had all lifted. This was supposed to be open in quarter one this year. The minister was expecting to see first payments in April. The scheme didn't open until April. It's been posh back and posh back and still no one knows who's eligible or not yet. They're walking through 9,000 candidates trying to figure it out. And at this rate, it could be October, November, is anyone's guess? As best as you can understand, because as you say, they're trying to perhaps work out who's entitled to it. It was a weekly payment of 325 euro for three years through 22, 24 and 25 for artists and creative workers. Who, as best as you can determine who's, from your understanding, who would qualify for it? Well, there's a certain amount of, there's two streams in it. So stream A and stream B, stream A is for professionals. So if you can show that you're professional, so I mean, you know, the revenue certificate will do that, your registration with revenue is one of the most probably the only way we have identified that in this country. So that's one thing. And then the other stream is for 200 people. And it's for, I suppose, those artists who may be doing it part-time, those ones who have other jobs and who are just looking to try and get that next step and be able to focus their time and energy on writing, more creative, more painting, more doing whatever. So there's 210% of the overall allocation is for those people. But as I say, the 90% allocation is for professionals already within the industry. So really it's kind of just given a small percentage of people really in reality. It's recouping money, maybe they lost through COVID, but using it in a constructive way for the next three years to sort of support and enhance the arts. Is that kind of it in layman's terms? Yeah, I suppose that's really it. I mean, they have an amazing, fantastic scheme in France, which personally I'd be more in favour of something like that. Because I think it's very easy to criticise the scheme and say, I was just artist, getting money for doing nothing. And so whereas in France, they have a scheme where people in the arts pay a higher percentage of tax than other sectors. But what that entitles them to is once they hit a certain amount of targets, they will then get a percentage of their weekly income, whatever their earnings are or their turnover is, to help them in those weeks or periods whenever they have little work. Because that's a huge factor of walking in arts and entertainment is the precariousness of the walk. Yeah, okay. And I mean, will this be backdated at least to the start of April? No, no, it won't. So I mean, effectively, what we have here is because of the delay in this, is that the industry has seen, you know, has been deprived of 60 million euros. Do you think they're wobbling on it, Matt? Or is it just a drag? No, no, there's a firm commitment here. It's the fact that they're just not putting, well, I'm not sure what the story is, that they're not really estimate the amount of interest that's going to be in us. You see, one of the problems, Greg, we don't know how many people actually walk in this industry. We've estimated everywhere from 700 to 55,000. There were kind of expecting 20,000 people to apply, 9,000 applied. And now we're running six months late. 20,000 people that applied would be, I don't know what crisis would be here next. It'd be interesting to see how many staff are working on this. Do you think we've moved past the point now, whereby, or to the point where there's a recognition that the importance the arts music has to this country in terms of even just the obvious one, in terms of our tourism product, to what people expect when they come here, and that it's not just people who love doing something, I know musicians do love doing it, but it's like a passion, and they should be grateful for the odd gig here and there. Have we, do you think we've moved past it where it's recognized as being an important industry?  Go on, tell me where I'm wrong. No, no, we haven't. I would love it if we had Greg, and I think maybe people have, I think the general public, do understand that. But I don't think we do, from the point of view where you mentioned tourism there. For example, I did have a meeting with representative of Faulty Ireland last year who said it's not even in the top 10, and that they wouldn't, but then the same individual went on to tell us that they're more interested in huge international festivals that attract people, and they named the Rory Gallagher International Festival, the Galway Arts Festival, Flak Hull and the Heron and the Wexford Opera Festival, and I said, do you not see the connection? I said, they're all named after artists or to do with music or entertainment. So they just failed to see this. Yeah, what I'd love to have seen more through the summer was local artists getting a platform. I'd have been far more inclined to see that. I mean, I don't want to speak about specific stuff, right? But there was, I was at a couple of things where there were hours and then where no one was up on the stage, where young artists could have got up and performed to a crowd, where national artists were paid multiples of tens of thousands of euro for an hour and a half gig, for example, not to mention sand and stage, whereas local bands could have got up there and been supported by the local community. I think a lot of the attention is focused on a small cohort of people and there's so many. And when I say young, by the way, I mean young in age, I mean young in career, that we could have given them a platform. I think people aren't prepared to take a risk. They're afraid of failure. I just think, you know, whether it's a small festival or one off events that we should be really supporting and spotlighting and highlighting the amazing talent that we have here, where people just play it safe, they go for the same five or six big names or seven or eight big names or whatever it might be. And I just wonder, are we losing our bottle a little bit in terms of, you know, as I say, platforming, supporting young artists, young in their careers is what I mean. Yeah, look, I agree with you not to take away from those people who have, you know, walked very hard to get where they are, to be at that position, to command, you know, high fees and things like that. I mean, there are a lot of those people have huge overheads, they're keeping people in employment and different things like that. But they started at a local gig somewhere. On that point, if you interview them, they say, well, I wouldn't be here now if it wasn't for such and such doing this, doing that and doing the other, right, all of them without, almost without exception, I just don't see that happening now that I just are the new, where are the new artists getting the opportunity or the step up or that bit of a profile that triggered this, this long career. I just think there's a gap there at the moment. That's kind of what I'm trying to reference, because they all say, if it wasn't for such and such, I wouldn't be here today. But I just don't see that passing of the baton as much anymore. No, I understand what you're saying, but what I would just go back to when we're talking about sort of government funding on this is that there never has been a time when there has been so much government funding for independent sector of music and entertainment. We're the only group actually campaigning and lobbying the department for that funding this year, because there is no more, the funding that was delivered through COVID, there is no more of that for the independent sector. We're campaigning to have that, and we're campaigning to have it pushed into schemes through the local authorities, who can identify exactly what you're talking about, Greg, to get artists at different stages of their career. But we have to focus on getting new artists and paying them for that opportunity. But not just trying to country either. No, no, no, God, no, I'm saying that. I'm saying that. There's more. There's so much. We have an incredible talent in this country. The young people of this country and young musicians and entertainers and actors or whatever, that we have unbelievable talent. We punch way above our weight on the world stage. We have a history behind us of an incredible culture that's recognized worldwide. And it is, it can fill us with so much pride as an identity, but more than that, it's huge for our economy, absolutely huge for our economy. And the little investment that we need the government to push into this now will yield back tenfold or more. What it'll do for this country, just for the for an economical point of view, but it'll do way more than that. So and we need the next crop of talent to come through as people step away from the industry, they have different interests or the retire or whatever. We need a new wave of talent coming through. And Greg, musicians don't retire. Can I just say retire was the word I replaced another word in my head with. But you're right, we do need, we absolutely need more ways of encouraging people to come into this business and also be rewarded for the work that they do so that they're not just given an opportunity to get on a stage for exposure, that there is some reward and a financial reward because, you know, they have to be recognized for the work that they're put them in. But yeah, we do need that. And, you know, it shows like the Monday night show with Jimmy Stafford on Highland and that are huge for doing the like of that. And I just see it's 20, 22 years since Brandon Maxwell passed away. He was, you know, one of the greatest guys in the Northwest for promoting new local young talent. I think I was nine or 10 when I first appeared in Highland Radio play in a fiddle, but he did that for everyone that he could, you know, and so that's really important. There's a huge ecosystem we need to protect and build up again. 100% because I can think of, and I'm not big into music, not like yourself and Jimmy and Paul, you know, but I can think of 10 acts who produce music like that's chartable music, for instance, but you can see them banging the top of their head off a glass ceiling consistently. And I don't mean that in any way negatively. It's just how do you, how do you break through? I mean, we've got in Donegal, I'm not going to mention any names, we've got international quality artists that just whatever it is to get that break, they just haven't got it, whatever it's the ecosystem, it's radio stations have a big role to play in it. I hope that we do as much as we can. But you know, when you look at what we send out, say for something stupid is the Eurovision, you know, now the Dairy Girl did well for us, Brock did well for us, don't get me wrong, but prior to that, or in terms of like, a national station having a bank holiday Monday is the let's play Irish music all day on one specific day. Do you know what I mean? There's a, you know, there's an awful lot needs to be tweaked at to get to where we need to be that playing Irish music is not a novelty act or a novelty attraction. No, it's not a charity case. It's not something that we need to do. It's more than that. We are currently walking along with the IBA and the broadcast authority of Ireland, Emeril and Rap. We've had meetings a few different occasions this year to actually work together and find ways of how we can bring the music industry and the radio industry together. But the problem is you see the radio industry panics and then what you have is they say, all right, we've got to play some Irish music and they start playing, which is fine drill, you know, or, or hip hop. And that is fine. And we have some fantastic Irish artists, but you can see there's almost a panic. All right, what do we do? We have to get something new and fresh. You know, no, just all different types of music on its merit. Just play it. You don't panic and feel you have to start playing drill. You know what I'm on about? Just play quality Irish music that's out there. H station, I think, has to meet the demands of their own demographic and their own listeners because, you know, it's not, nobody can force any particular business, whether that's radio or music or whatever, to be doing something that isn't going to be fruitful for their own business. At the bottom line, as we are in a music business, radio industry is an industry as well. But there are ways we can do this to work together, which will, you know, the rising tide will lift all boats type of ideas. So, I mean, we have a proposal that we're going working on next year with Broadcast Authority and those other partners to try and do a pilot scheme. I know that the IBI and I'm wrong that the radio stations will be doing Irish Music Month later this year, which again, great platform, great to get local artists out there. The Department of Arts and Culture this year have done a scheme. See, I think, I get that right, the Irish Music Month, but that is the problem I was trying to refer. Why would you have an Irish Music Month? Why would you have to focus Irish Music into a particular month? That talks to the problem and how bad things are, because you should be, well, we're playing all the time. Why would it have to be a month? Do you know what I mean? Now, I know it's a step in the right direction, and it's where we need to go, but the fact that it has to be, it's like celebrating, it's like celebrating a representative of a minority group being elevated to a high position. It should be the norm. It should not be celebrated. Do you know what I mean? It shouldn't have to be, because this society, it should be normalized. So, it's just another person being elevated to another position. And the same with the likes of music. And I hope it's not a crude analogy, but we shouldn't have to have a specific month to be playing Irish Music. It should be the norm. So, we should have other groups go, well, sure, Irish Police is played all the time. Why do you have a specific month? That's the way it should be, almost. But the fact is that if you didn't have Irish Music Month makes you realise that argument. And it gives way to that. And it's the first step. And so anything that we're trying to do as well with a pilot project is to just show and give, I suppose, comfort to the business out there. This can be done in a way that is actually going to increase profits, increase business, and it's not going to have people switching off, you know? Yeah, we've had like three or four young bands, and this time it was young in age in on this show over the last wee while. And they're just amazing, the sound that they're producing. Generally, they are right in their own music, brilliant, meaningful stuff, you know, struggling for a platform.  But we need to do everything we can to encourage and support it. Matt, listen, thanks for your time. Sorry, I took up so much of your time. I know you had to talk about this scheme, but I think it all is, it's all interlinked. The whole thing is all interlinked. It's not one issue separate to the next. No, there's a huge amount. There's a huge system of issues here that all work. But look, the conversation that you had, Greg, I think it's really important. We kind of veered off. But what I would say to any young people that are listening, or anyone at the early age of their career, is that you do need to persevere and have great determination in this industry to keep moving forward. And just, you know, don't give up hope, just keep the faith and keep pushing ahead with it. And what I'll say too to radio, okay, which is in some cases struggling for survival, is what is going to happen here if they're not careful. And it's already happening. They will be bypassed. You know, obviously, you've got the streaming platforms and what have you, but young artists are reaching their audience now via TikTok and other platforms. And actually, this is very much in radio's interest to get on this bandwagon because they will be sidelined in this. And I hope the people that you meet in the BAI and IMRO and all of those people and radio station representatives understand that because it's their future that they're fighting for as well. And they can do it with the fantastic, crap I was going to say, crop of young artists coming through, or they can be left behind. And that's what I think radio needs to wake up and realise. They do great because if young artists are now getting found on TikTok, they don't owe the radio industry anything.  Whereas, you know, if radio stations are all helping try and find that next big act, you know, those people on the way up will remember that and they will help. All right, that was proved for years with the likes of Larry Gogan and so on, you know. Yeah. I do great. Thanks. All right, take care of yourself. Lovely chat. Thanks very much indeed. Matt McGranahan, our spokesperson for the Music and Entertainment Association. If you have a view on that, get in touch. The Nine Till Noon Show brought you by the Northwest Truck Fest, taking place this Saturday and Sunday in the grounds of Milford Mart with proceeds to Ellie's Wish to Walk and MS Ireland, Donegal Branch. Back to School is just around the corner and at Larry Kenny Shopping Centre, you'll find all your Back to School essentials under one roof. Get everything you need to kit them out for the new school term from shoes and stationery to backpacks and lunchboxes. Back to School Shopping made easy at Larry Kenny Shopping Centre. Ineshaun Credit Union has recently launched Cultivate, an agricultural loan at only 6.55% APR 6.75%. Call any of their four officers for more information or to make an appointment. Ineshaun Credit Union, Bonkrana, Cardona, Movil and Moff supporting local farmers. Ineshaun Credit Union is regulated by the Central Bank of Ireland. Oak Fest 2022 returns this September the 10th and 11th at Oakfield Park, the two-day family-friendly music event runs across two full days with loads of amazing acts headlined by Ryan Sheridan on Saturday and The Undertones on Sunday. Tickets are only 30 Euro for the entire weekend with limited tickets remaining. Get yours today at oakfieldpark.com forward slash oakfest or ticketmaster.ie. An exciting weekend not to be missed. Oak Fest 22 at Oakfield Park. It's the Northwest Truck Fest at Milford Mart this Saturday and Sunday. Highlights include truck lights display on Saturday at 9 and on Sunday afternoon, it's a convoy of trucks through Milford at 5. This ad is sponsored by Brown's Cars Milford, me and Suzuki dealer. Okay, you're very welcome back to the program 08 660 25000, that is the WhatsApp and text number. Got a message in here. Where is it? Yeah, from Paul. Hi Greg, could you mention a serious problem on the roads? I've noticed people out walking or jogging seem to do so right along the broken yellow line, where there's a perfectly good hard shoulder. It would be a lot safer than having traffic go to come to a near stop to go around them, plus most are wearing earphones, which makes them oblivious to what's going on around them. It's an accident waiting to happen. Unfortunately, Paul, it's an accident that actually regularly does happen and the word accident would imply that it is an accident, often there is cause and effect. I just read that and now we're going to speak to Brian O'Donnell, who's the road safety officer with Donegal County Council. Good morning to Brian, Magine Why, how are you keeping? Morning Greg, good, I get along good. Just before we start this conversation again, Brian, it's an important one. There's always an element of them and us on our roads. Okay, and I think it's come to the point and we're far past it that agricultural vehicle users, users, lorry drivers, car drivers, electric bike riders, push bike riders, motorbike riders, caravan pullers, walkers, joggers, we all have a responsibility on the roads. It's a shared space, Brian. Almost certainly it's a shared space and I can't, we have to find it away from just them and us. Everybody has a responsibility for their own safety when they're using the road. It's as a question as a cyclist or any other road user, you have to look after yourself. And then on the other hand, a motorist has to be aware that other people are using the road and there is a responsibility on both sides to look after everyone. But in relation to walkers and joggers, some of them do jog along the yellow line. We also know that we've spent millions of euro providing cycle lanes up alongside some of the new road routes, but some cyclists prefer to cycle on on the main road even when there is a lane available to them. So you can see how motorists then can start getting wound up a little bit, but at the same time where there's no alternative, cars and lorries overtake people and they're right up next to them and you can see why pedestrians and cyclists might start getting annoyed. That's right. And double-edged road here because everybody thinks that they have the responsibility, they have the right of way, but the paramount point here is the safety of everyone and we have to have patience. We have to look out for everyone that actually uses the road. I know motorists will get frustrated because people, cyclists, even pedestrians, even runners, think that they have a right of way in the road, but it can't get down to that. We have to be. We're coming on to a time of year now. Obviously the schools have gone back to, everybody's gone back to school after a fine summer. We're going to have extra traffic on the road. We're going to have kids using the road for the first time. We're going to have buses back in the road. Frustration is going to be permanent. We have a lot of road works out there. We're trying to promote the awareness of safety on the roads for all road users and it's becoming more and more difficult because people do get frustrated and they think, going back to what I said, they think they have the right, but they don't. They have everybody has a responsibility to look out for themselves. That includes safety gear and it can be hard to get people to wear safety gear. Some of them perceive it as being uncool or whatever, but the likes of your helmets when you're cycling, most not professional cycles, but most active cyclists I think do wear helmets, but it can be tough to get young ones to wear a helmet and the fluorescent throws as well because I think what we get caught out, Brian, as the evenings draw in, people start going out for their evening walk, not wearing their safety gear and then on the return leg of their journey, it's dusky time. They're harder to see. That's something we have to be very aware of, I suppose, as we head in towards, dare I say, autumn and winter. Well, very much so. Wearing reflective gear, high valve vests and so on. You said it there earlier, it looks to be uncool, but it keeps people safe. It keeps people visible on the roads and as you say, you're going out when it's not dark, you're coming back and you're returned early, it's getting dark and we need to be seen and this material will let you be seen by motors. Now, if you look at the facts this year, we nearly have as many vulnerable road users killed on a road this year as drivers and that's motorcyclists, cyclists and pedestrians. They're nearly on a par. Far too many people are still losing their lives on a road and we're moving, we thought that we're moving in the right direction, we're stepping back again.  And also too, I think there is this feeling that it's not going to happen to you, be it you being involved, the person that struck someone or the person who was struck and I think both people, obviously the person who struck could lose their life, but I think it has a great impact on the person, anyone involved in it. But it's one of those things that I think a lot of people would think because driving, whether people who admit it or not, a certain development of driving is done by routine, it's almost like muscle memory brain, do you know what I mean? And I think sometimes people don't think something like this can happen to them until it does happen. It's very true, you step in the car in the morning, you're driving a machine that'll actually kill.  And the people that are actually using the road, again, go back to what you said, they think it's not going to happen to them, but unfortunately it does and all too often. Okay, maybe that has encouraged someone to change their behaviors and maybe we've saved life. You just hope that's the reason we do conversations like this, Brian, thanks for your time this morning. Thank you. All right, Brian O'Donnell, who's the Road Safety Officer with Donegal County Council. It's the Northwest Truck Fest at Milford Mart this Saturday and Sunday with trucks from all over Ireland. Also, Bricka Brack and Home Baking Stalls Plus Live Music proceeds to Ellie's Wish to Walk and MS Ireland Donegal Branch. This ad is sponsored by Donegal on. It's the right price tiles and wood flooring 70% off sale. Get up to 70% off on all your purchases. Up to 70% off all tiles, all wood flooring, all bathware. Everything's reduced in store. The 70% off sale at right price tiles and wood flooring stores nationwide. Sale now on. Western farmers to benefit most from acres. In this week's Irish Farmers Journal, we analyze how much money acres will put in your back pocket after costs. While selling your farm's carbon credits is high risk, what beef farmers need to do to guarantee their BP-S payment? Top labor-saving tips from Tullamore Farm. We've essential advice on switching bank accounts and it's your last chance to enter our competition with Zürich Farm Insurance to win 10,000 euro. Pick up an entry form inside today's Irish Farmers Journal. At AIB, we know how difficult finding the right home can be. The patience, resilience and belief you hold onto at every house viewing. But when you finally do find the right home, AIB can make the mortgage part easier. Our green mortgage is available when you buy an energy-efficient home. Find out more at AIB.ie. AIB, we back belief. Lending criteria, terms and conditions apply. Valid birth certificate of B3 or higher required. Allad Irish Banks PLC is an authorized agent and servicer of AIB mortgage bank you see in relation to the origination and servicing of mortgage loans and mortgages. Allad Irish Banks PLC and AIB mortgage bank you see are regulated by the Central Bank of Ireland. Also, Bricka Brack and home baking stalls plus live music proceeds to Ellie's Wish to Walk and MS Ireland, Donegal Branch. This ad is sponsored by Donegal on. Okay, David James, there's two and a half thousand euro to give away. It's part of the summer mega cash draw on his show tomorrow afternoon. The lines close tomorrow morning. If you want to get your ticket, get on to our website, highlandradio.com and you could be in line to win that money. And also you'll also be in the draw for two and a half thousand following Friday and 10,000 later that day. So if you want to get on to our website right now, get your ticket 08662. No, that's our text line. Just go on to our website, highlandradio.com. Or you can call us here if you prefer to buy your ticket over the phone 07491 25,000. Right. A caller says there's enough for the army to be doing and there's plenty of school bus drivers or to organize the parents to do a car pool. I think a lot of this get the army to do. It comes from Dublin. To be honest with you, I don't think anyone in Donegal thinks we should fix problems with the army. I think that's a city thing. I don't know where it comes from. But thanks for that comment. All right, listen, that's where we have to leave it. We're out of time. We're back with you tomorrow for our Friday show. Our Friday panel lined up ready to go and the rest of what you might expect on a Friday. So please rejoin us tomorrow at nine, but don't go anywhere because John Breslin is coming up around the Northwest after the news at 12. For me, Greg Hughes and the production and research and online team of Caroline Orr and Emma Ryan have a lovely Thursday. See you tomorrow morning at nine.


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Good evening, Creep, and welcome to the Mystery Playhouse. As a return engagement, your Mystery Playhouse brings you tonight a story by one of the great authors of crime fiction, Agatha Christie. This ingenious drama entitled, Witness for the Prosecution, is one of the prolific mysteries very best. If Leslie Wood, star of the recent Broadway play The Assassin, will play the leading role. Witness for the Prosecution is a brilliantly original narrative of the fight for a man's life, with a double surprise at the end. So stand by, Creep, for Agatha Christie's fast-moving yon of sudden twists and turns. Witness for the Prosecution. The story begins in a little house in the pub of the great city. Break the eccentric old Miss Emily Frank, who passed through him in the rocking chair. And then, someone enters her room, walks up the rocking chair, looks down on Miss Frank. And then... Get all the pictures you can. The murder weapon, the rocking chair, the corpse. Miss Frank wouldn't listen to me, Inspector Einstein. I used to be more than the maid to her. I was her best friend until he came, and now see what happens. All right, Miss Mackenzie, relax. Who are you talking about? Mr. Vole, Leonard Vole. I told Miss Frank no good would come of it, but you wouldn't listen to me. He entrusted all of his business to her. He's even made out a new will, leaving him all her money. Was he here tonight? He was here every night since he met her three months ago. He must have been here tonight. You remember as anyone else came to see Miss Frank tonight? Not that I know of. Oh, I wonder no good would come of it. He's 33 and he's at least 70, and he killed her. Leonard Vole killed her. I'm no easy. Leonard Vole. That's right. Inspector Einstein, how much that's worth? Well, I could talk with you down at headquarters. What about? Emily Frank has been murdered. Murdered? For who? What do you want with me? We're bugging you on suspicion. But, Mr. Mayhem, you're my attorney. You've got to believe me. I didn't do it. Take it easy, Vole. Take it easy. I'm going crazy cooked up in this jail. Listen, why would I kill her? I tell you frankly, I was broke. I hope to borrow some money from Miss Frank. So why would I kill her? Don't you know that Miss Frank left her will, leaving all her money to you? What? What are you trying to say? Didn't you know about that? No. Oh, this gets worse every minute. They'll say I got Miss Frank to make out a will, leaving her money to me, and that I killed her. Sure, I admit I was there that night, but... As it may, Janet McKenzie said you were there until half past nine. She said she heard voices in the sitting room when Miss Frank sees me out of a man. Half past nine? Yes. Half past nine? Then I'm safe. What do you mean, safe? By half past nine, I was at home again. My wife, Romaine, can prove that. The voice the maid heard must have been someone else's. I left Miss Frank about five minutes to nine. I arrived home about 20 past nine. My wife was there waiting for me. That proves I'm innocent, doesn't it? Yes, it does, my boy. The first thing I'm going to do is see your wife and have a talk with her. And that's the whole story, Mrs. Rolls. No one else saw Leonard return at 9.20. There'll be no one else to confirm your testimony. I see. Leonard wants me to say that he came in at 20 minutes past nine that night. Is that right? Yes. He did come in at that time, didn't he? That's not the point. Well, my saying fellow couldn't. Will they believe you? Well, there's a great deal of evidence against him. And the testimony of a devoted wife sometimes... Well, I can't promise your testimony will stay then. Now, I know what you must feel, but... Do you? I wonder. Well, I mean, all this must be difficult. You being so devoted to your husband... Devoted! Devoted!  What?  I hope he drops dead if I don't convict him. What's the dead?  What? You say that Leonard claims he doesn't know anything about the money coming to him. Yeah? Well, supposing I tell you that he knew all about it and counted on it and committed murder together.  That there was blood on his coat. What's this? Suppose I stand up in court and say all these things. You mean you testify against your husband? Why not? I detest him? He hasn't a chance. Not a chance. Of course not. Did you honestly think he was innocent when you came here to see me today? Yes, I did. I see. And what do you think now? I still think he's innocent. And I think you're lying. Good evening, Mr. King. May I, I'm speaking. Mr. Mayer. Yes? Now you don't know me, but if you want that tainted brazen woman torn up for what she is.  You come to 1122 Hutton Street tonight. What? You mean Mrs. Volk? Come and find out. No, no, wait a minute. Mrs. Markson. Hello. Hello. I can see Mrs. Volk is lying. And I still have a chance. Mrs. Markson. I'm Mr. Mayer. Oh, so you decided to come in? Well, come on in. Come on in. I see you're looking at the stars around my face. Are you wondering why I hide my beauty here? What you like to see? Oh, I wasn't. Your utility. Here. Never mind me. Never mind.  But you don't feel like this in me, do you? And I don't blame you. And yes, I was a pretty girl once. And not so long ago did you think either. This trio, my dear, this trio. That's what is better, my face. But I'll be even with her. I can give you a proof. That Romaine Volk has lied about the husband. Proof? What kind of proof? What would you say to a better? A better from her? Well, how did you get hold of her? Never mind how I got hold of her. That's my business. Let's just do the tricks, all right? Now. $300. All right. But first, the letter, please. It's right here in this desk. Here they are. A whole bundle of them. But it's the top one you want. Thank you. Now go on. Go on and read it. These are love letters written by Romaine Volk. But they're not written to Lennon's. This one is dated the day of Lennon's arrest. How did you get hold of this correspondence? That's what they're telling. These letters are addressed to Max. Max, who, who is he? He's a letter to Lennon's kid. And I know something more, too. You'll find out where she was at 20 past 10 the time she said she was at home. Ask at the Pingelbaum dancing school. You ask Mr. Pingelbaum. Mr. Pingelbaum, all right? So wait a minute. Wait a minute. Don't go yet. Where's my money? Here you are. $300. All right. Thank you. Thank you. Good night. Now, one, two, one, two. Pull in your stomach. Kick. That's it. Mrs. Ferris-Cann, please. Pull in your stomach. Oh, that woman will never learn. Follow the class. One, two, one, two. Gracefully now, left arm coming over your head and touching the floor so gracefully. So come in gracefully now rhythmically. Mr. Pingelbaum. Oh, please. Mr. Pingelbaum, I'm sorry to intrude, but it's about the Lennonville murder case. Oh. Patrick, stop the piano. Well, what can I do for you? I have a photograph here. Could you identify this woman? Let me see. Why, uh, why, yes, that's Romaine Bowles. Oh, she's one of my advanced students. Very artistic. In fact, she used to be an actress. Never mind all that. Was she here the night of the murder? Why, yes. I remember we all discussed it the next day. What time did she leave? Well, I think the class broke up at 10.30 or so that night. Oh, class, please. Mrs. Ferris-Cann, pull in your stomach. How many times have I told you, posture, posture? Mr. Pingelbaum, you may be called upon at the trial tomorrow to testify that Mrs. Bowles was here at 10.30 that night. Me? Outness in a murder trial? Yes. Oh, I'd love it. Call the next witness for it. Did you take me to the stands? You're trying to tell the truth, the whole truth, and nothing but the truth to help your garden? I do. Sit down. You may proceed, Mr. Rothschilder. Thank you, Your Honor. Oh, Mr. Janet Mackenzie. What was your relationship to the prince? I was her maid. Then you were in her confidence? Oh, yes. We kept no secrets from each other. Did she tell you that she had made out a will, leaving all her money to Leonard Bowles? Yes. Now, think carefully, Mr. Mackenzie. Did Mr. Bowles know that such a will had been drawn up? Yes, he did. Ah, Mr. Mackenzie, will you please tell this talk in your own words what Prince fired in the home of Miss French on the night of your mistress' death? Well, I-I wish to go out for the evening. I did go out, but about half past nine I returned. I heard voices in the parlor. One was Miss Spencer, and the other was a man. Did you recognize that man's voice? Yes. It was Mr. Bowles. That's all? Thank you. Ah, yes, your warmest, Mr. Mackenzie. Yes?  Did you see that man? No, I didn't. Then how can you be sure that it was Mr. Bowles who was there? Well, I think it was Mr. Bowles. You think it was. That's all, Mr. Mackenzie. Mr. Bowles, you want us to believe that you visited this rich old lady, Miss French, out of pure kindness of heart. A woman 40 years your senior. You want us to believe that, Mr. Bowles? I only want to- You look pale, Mr. Bowles. Would you like a glass of water? No. It's my heart. Will you please tell this fort where you were at 9.30 on the night of the murder? But I told you. I left Miss French in post about five minutes to nine. I arrived home about 20 past nine. My wife was there waiting for me. Ask her if she'll tell you the truth. I swear to you, I'm telling the truth. I'm innocent, I tell you. As God is my witness, I'm innocent. The prosecution follows as it's next witness, Mrs. Romaine Bowles. Romaine Bowles, to the stand, please. You swear to tell the truth, the whole truth is a healthy garden. I do. Sit down. Romaine Bowles? Yes. Did your husband ever tell you that he knew that the money was coming to him? He knew about the will? Yes. He knew about the will. Now, Mrs. Bowles, you had sworn to tell the truth. Mr. Bowles says that he was home by 9.30 that night. Is that true? No, it is not true. Will you tell the court what you know about the night in question? Yes. Leonard was with me early in the evening. About 8 o'clock, he put on his hat and coat, and left the house. He returned at 20 minutes past 10. And when he came in, I knew something terrible had happened. He wouldn't look at me. He just walked into the kitchen. His coat was stained with blood. I realized then that he had murdered Mr. Bowles. No, no! No, Romaine! Why are you lying? Order, order! That will be all, Mrs. Bowles. One moment. I have a few questions for the witness of the prosecution. Mrs.  Are you? I am not lying. You are. I'll tell you why, and I'll prove it. Ladies and gentlemen of the jury, I want you to understand that this woman's story is a malicious fabrication from start to finish. I want you to know that she wasn't even in her own house at the time in question. I want you to know that she is in love with another man and has been deliberately seeking to send Bowles to his death for a crime he did not commit. First of all, Mrs. Bowles, do you still claim that you were at home in class 10? Yes, that's when I came home. I want you to look at the witnesses sitting at that end table. I am Mr. Pinguban, will you stand up please? Gladly. Mrs. Bowles, do you recognize this man? Yes. Mr. Pinguban runs a dancing school. Were you denied that you were at one of his classes until 10.30 on the night in question, or shall I take this short time to call Mr. Pinguban and his class to the stand to prove that you were with them? No. No, I was not denied. Then you were not at your home at 10.30. I... You were home at 9.30 when Leonard came home, but you hurried away to your class and you were there until after 10.30. Is that right? Well, I'm afraid to miss Mr. Pinguban and his class and prove that. Exactly. And, Val, now I should like to place an evidence, this letter, written by Romain Vaughan, to another man. Clerk, you may read the letter. Here you are. Mac's beloved. The fates have delivered him into our hands. He has been arrested for murder, the murder of an old lady, Leonard who would not hurt a flower. At last I shall have my revenge. I shall say that he came in that night with blood upon him, that he confessed to me. I shall hang him, Mac, and when he hangs, he will know and realize that it was Romain who sent him to his death. And then, happiness, beloved, happiness at last. Mrs. Vaughan, look at this letter. Yes. You deny having written this letter? Will you admit it, or shall I be expert to a present proof that this letter is in your handwriting? Mrs. Vaughan, did you write this letter? I... yes, I wrote it. This was my chance to get rid of it. That's why I made up the whole story. I'll tell you, he did return to the house 20 minutes past nine, but... but when I realized that only my testimony could prove his innocence, I... I decided to invent a story out of whole source to ruin it. And now everyone, everything has ruined it. And so, ladies and gentlemen of the jury, we have proven that Romain Vaughan's evidence was a tissue of lies from beginning to end. We have shown that she evolved it out of her passionate hatred for the defendant. And since the chief witness for the prosecution has confessed to her false story, confirming Mr. Vaughan's statement that he was not at Miss French's house at 9.30, I asked that you bring in the only possible verdict. Not guilty. See the jury? Find the defendant. Not guilty. Congratulations, Vaughan. Did you hear that?  Free? That's the most exciting... What is it, man? I can't... I can't breathe, Mr. Vaughan. It's not guilty. Vaughan! Stand back! Stand back! Give him air, please! Will you all stand back and be quiet, please? I think... Yes, he's dead. He's up there. The park's over there. Probably sorry, Mr. Vaughan. I know you loved him very much. You know him? Yes. I know you didn't hate him. But how did you know? We're all creatures of habit. And you have a habit, a gesture of your hand that you use when you're excited. Gesture of my hand? Yes. Mrs. Marston and Hudson Smith had the same gesture. Oh, are you there? Yes. And you were formerly an actor. I learned that from Mr. Trinidad. I can see now how you did it. Well, it was easy enough. Make-up for my fate. The night of that death jet was too bad for you to see the makeup. But why, Mrs. Vaughan? Why? Mr. Vaughan. I had to say to him. The evidence of a wife devoted to him would not have been enough. He said it must have self. That's right. But I know a little something of psychology. And I thought, let me his wife testify against him and then let it be proven that I had delivered the lie. Well, I was the star witness for the prosecution. When you destroyed my testimony, you destroyed the prosecution's entire case. And the bundle of letters? Oh, one alone, the vital one. Might have seemed like a put-up job for a while. Just don't remember. Then the man called Max. Please. He never... I still think that we could have gotten him off by the normal procedure. I didn't dare to. You see, you thought he was innocent. And you knew it. I see. My dear Mr. Mayhem, you do not feel atrocious. I knew he was guilty. Well, creeps, that rings down the curtain now and witness for the prosecution of the night's performance in the mystery playhouse. This Leslie Wood was started tonight's play by Agatha Christie. Until next time, peace. Good night. Sleep tight. This is the Armed Forces Radio Service.


The Spanish flu pandemic of 1918 was one of the most devastating pandemics in history, resulting in the deaths of over 50 million people worldwide. Despite advances in medical technology and knowledge since then, there are still many unknowns regarding the origin, pathology, and transmission of this virus. Recent research has revealed more details about the virus, such as its complete genetic sequence, but further investigation is needed to fully understand the pandemic's implications for future outbreaks. This article was authored by Jeffrey K. Taubenberger and David M. Morins.