Since childhood, writers Annamika Konkola, a Senior Reporter with Youth Journalism International, pandas have caught her eye. On a visit to China, she saw them in real life, but also everywhere. This essay explores not only the adorable pandas of China, but how they are used to foster good will around the world. 

China's soft diplomacy - Pandas win hearts and minds without even trying, by Annamika Konkola

This first aired on Wednesday the 18th of June, 2025  on ONE FM 98.5 Shepparton.

One FM breakfast announcer Plemo reads the weekly livestock report from the Shepparton saleyards.

Listen to Plemo live on weekday mornings from 6am-9am.

Contact the station on admin@fm985.com.au or (+613) 58313131

The ONE FM 98.5 Community Radio podcast page operates under the license of Goulburn Valley Community Radio Inc. (ONE FM) Number 1385226/1.

PRA AMCOS (Australasian Performing Right Association Limited  and Australasian Mechanical Copyright Owners Society) that covers Simulcasting and Online content including podcasts with musical content, that we pay every year. This licence number is 1385226/1.

Plemo reads the weekly Livestock report - Wednesday the 11th of June, 2025

Listen to the complete requiem: https://keanesouthard.com/requiem-for-animals

Read how the requiem has impacted singers and audiences members: https://keanesouthard.com/requiem-for-animals-reflections

Performed by the Brattleboro Concert Choir, Jonathan Harvey-director, at Persons Auditorium, Marlboro, VT on May 17 and 18, 2025.

"Requiem for Animals" was commissioned by the Brattleboro Music Center (for performance by the Brattleboro Concert Choir, Jonathan Harvey, director) with additional support from the Culture and Animals Foundation and the Eric Stokes Fund, Earth’s Best in Tune.  I began composing the work in February 2024 and completed it in late October of the same year.  The idea to write a “Requiem for Animals” came in fall 2022 when I heard a story on NPR about a recent study which found that wildlife populations have declined by an average of 69% over the past 50 years, primarily driven by human actions contributing to climate change, including how we produce food, what we eat, and how much food we waste.  This huge decline struck me very hard emotionally, especially as I realized that our system of food production takes a nearly unfathomable amount of animal lives as well.  In essence, as a society we are killing billions of domesticated animals, which is then leading to the deaths of billions of wild animals.

This amount of suffering is so immense, yet many people aren’t even aware of it.  As a composer, the idea naturally came to me of expressing and conveying the magnitude of this suffering through music so that more people could be aware of and reconsider how we collectively treat and interact with all animals beyond just our pets.  Many composers have created requiems to commemorate the dead and lament the loss of life, but these have always been for human life.  I thought it was certainly time that animals were memorialized in a requiem as well.

This requiem combines texts from the traditional Latin requiem mass with texts from various sources and authors (the Bible, J. Howard Moore, Upton Sinclair, Ella Wheeler Wilcox, as well as some original texts of my own) that deal with how humans treat and interact with animals.  The opening "Introit (All Beings Are Ends)" highlights the commonalities between animals and humans, as we are, after all, animals too.  In the "Kyrie (600,000)", the choir sings a running estimated tally of how many land animals have been slaughtered for food worldwide since the movement began (based on Faunalytics estimate of 73,162,794,213 land animals slaughtered in 2020 https://faunalytics.org/fundamentals-farmed-animals/.  This comes out to about 23,200 every ten seconds.  I used a more conservative realization of this rate where the choir adds 20,000 to their tally roughly every ten seconds.)  The longest and most intense movement of the requiem, the "Sequence (Dies Irae)" explores how we have mistreated animals and the consequences of doing so.  It includes an extended scene from Upton Sinclair’s "The Jungle", set inside a slaughterhouse, at its heart.  The following "Agnus Dei (Lambs of God)" takes the metaphor of Christ as a sacrificial lamb and extends it to the myriad literal lambs that are killed each day, asking what is the meaning of their sacrifice.  The "Lux Aeterna (Those Who Are Gone Forever)" asks for eternal light to shine upon our extinct wildlife species, listing thirty-two which have gone extinct primarily due to the impact of human activities.  The "Libera Me (Which Shall It Be?)" asks us, as the undeniable “masters of the earth,” what kind of relationship will we have with the world and its creatures.  We have the power to choose: we can continue to dominate and exploit it, or we can be its caring and benevolent stewards.  The final movement, "In Paradisum (The Voice of the Voiceless)" answers this question, proclaiming that we will speak for and protect all the world’s creatures and that this may lead us all, one day, into paradise.


Excerpts from "Requiem for Animals" for Chorus and String Orchestra

More info (including full score preview): https://keanesouthard.com/requiem-for-animals

Read how the requiem has impacted singers and audiences members: https://keanesouthard.com/requiem-for-animals-reflections

Performed by the Brattleboro Concert Choir, Jonathan Harvey-director, at Persons Auditorium, Marlboro, VT on May 17 and 18, 2025.

"Requiem for Animals" was commissioned by the Brattleboro Music Center (for performance by the Brattleboro Concert Choir, Jonathan Harvey, director) with additional support from the Culture and Animals Foundation and the Eric Stokes Fund, Earth’s Best in Tune.  I began composing the work in February 2024 and completed it in late October of the same year.  The idea to write a “Requiem for Animals” came in fall 2022 when I heard a story on NPR about a recent study which found that wildlife populations have declined by an average of 69% over the past 50 years, primarily driven by human actions contributing to climate change, including how we produce food, what we eat, and how much food we waste.  This huge decline struck me very hard emotionally, especially as I realized that our system of food production takes a nearly unfathomable amount of animal lives as well.  In essence, as a society we are killing billions of domesticated animals, which is then leading to the deaths of billions of wild animals.

This amount of suffering is so immense, yet many people aren’t even aware of it.  As a composer, the idea naturally came to me of expressing and conveying the magnitude of this suffering through music so that more people could be aware of and reconsider how we collectively treat and interact with all animals beyond just our pets.  Many composers have created requiems to commemorate the dead and lament the loss of life, but these have always been for human life.  I thought it was certainly time that animals were memorialized in a requiem as well.

This requiem combines texts from the traditional Latin requiem mass with texts from various sources and authors (the Bible, J. Howard Moore, Upton Sinclair, Ella Wheeler Wilcox, as well as some original texts of my own) that deal with how humans treat and interact with animals.  The opening "Introit (All Beings Are Ends)" highlights the commonalities between animals and humans, as we are, after all, animals too.  In the "Kyrie (600,000)", the choir sings a running estimated tally of how many land animals have been slaughtered for food worldwide since the movement began (based on Faunalytics estimate of 73,162,794,213 land animals slaughtered in 2020 https://faunalytics.org/fundamentals-farmed-animals/.  This comes out to about 23,200 every ten seconds.  I used a more conservative realization of this rate where the choir adds 20,000 to their tally roughly every ten seconds.)  The longest and most intense movement of the requiem, the "Sequence (Dies Irae)" explores how we have mistreated animals and the consequences of doing so.  It includes an extended scene from Upton Sinclair’s "The Jungle", set inside a slaughterhouse, at its heart.  The following "Agnus Dei (Lambs of God)" takes the metaphor of Christ as a sacrificial lamb and extends it to the myriad literal lambs that are killed each day, asking what is the meaning of their sacrifice.  The "Lux Aeterna (Those Who Are Gone Forever)" asks for eternal light to shine upon our extinct wildlife species, listing thirty-two which have gone extinct primarily due to the impact of human activities.  The "Libera Me (Which Shall It Be?)" asks us, as the undeniable “masters of the earth,” what kind of relationship will we have with the world and its creatures.  We have the power to choose: we can continue to dominate and exploit it, or we can be its caring and benevolent stewards.  The final movement, "In Paradisum (The Voice of the Voiceless)" answers this question, proclaiming that we will speak for and protect all the world’s creatures and that this may lead us all, one day, into paradise.


"Requiem for Animals" for Chorus and String Orchestra by Keane Southard

Let’s not mince words here. Trump is the embodiment of corruption, greed, and incompetence. He’s a man who has spent his entire life looking out for himself, exploiting others, and leaving chaos in his wake. As De Niro so eloquently put it: *“He’s a dog. He’s a pig. He’s a con. He’s a bullsh*t artist. He’s a mutt who doesn’t know what he’s talking about.”* This isn’t just about politics—it’s about morality. It’s about standing up to a man who has no respect for the rule of law, no respect for the truth, and no respect for the American people.  

Trump’s presidency was a disaster. He divided the country, emboldened hate, and failed to deliver on his promises. He’s a man who thrives on chaos, who lies with every breath, and who cares only about his own ego. As De Niro said: *“He’s a punk, he’s a dog, he’s a mutt. He doesn’t know what he’s talking about. He’s an idiot. He’s a fool.”* And yet, here we are, facing the possibility of him returning to power. We cannot let that happen. We cannot allow this man to continue to poison our democracy.  

This is not just about Trump—it’s about the people who enable him. The sycophants, the cowards, and the opportunists who stand by his side and allow his corruption to flourish. They are just as guilty as he is. As De Niro said: *“They’re all scum. They’re all mutts. They don’t know what they’re talking about.”* We need to hold them accountable. We need to stand up and fight back.  

The stakes are too high to sit on the sidelines. This is about the soul of our nation. It’s about protecting our democracy, our values, and our future. We cannot afford to let Trump and his enablers win. We must vote, we must organize, and we must make our voices heard. As De Niro said: *“We’re gonna fight back. We’re gonna fight back with everything we’ve got.”*  

So let’s do this. Let’s come together and defeat Trump once and for all. Let’s show the world that we are better than this. That we will not tolerate corruption, lies, and hate. That we will stand up for what’s right. As De Niro said: *“We’re gonna win. We’re gonna win because we have to.”*  

This is our moment. This is our fight. Let’s get to work.  

#DefeatTrump #VoteHimOut #NotMyPresident #DeNiroWasRight

The ants are on Fire

Still Boozed

Ode to Violence

Il Grido della Terra

Плач Земли

Earth Cry (ger)

👋 Known as SportKI on TikTok, Insta, and YouTube.

 Here, I let my creativity run free using AI! I hope you enjoy the style of the music. 🎶 It's about various topics: love, people, society, life, and much more. I try to cover many music styles. I hope there's something for everyone.

Have fun!!! ✨

Impressum
shorturl.at/dWtyw

Social Media
📱 TikTok: https://www.tiktok.com/@sportki 
📸 Instagram: https://www.instagram.com/sportki_bet/ 
🎥 YouTube: https://www.youtube.com/@sportkiandme

_____________________________________________________

👋 Bekannt bin ich unter SportKI bei TikTok, Insta und YouTube.

Hier lasse ich meiner Kreativität unter Benutzung einer KI freien Lauf! Ich hoffe, euch gefällt der Stil der Musik. 🎶 Es geht hier um jegliche Themen: Liebe, Menschen, Gesellschaft, das Leben und vieles mehr. Ich versuche, viele Musikstile abzubilden. Ich hoffe, es ist für jeden etwas dabei.
Viel Spaß!!! ✨

Impressum
shorturl.at/dWtyw

Social Media
📱 TikTok: https://www.tiktok.com/@sportki 
📸 Instagram: https://www.instagram.com/sportki_bet/ 
🎥 YouTube: https://www.youtube.com/@sportkiandme

Songs for Social Change

Hello, and thank you for taking the time to listen.  
My name is Johnny, a lifelong musician and songwriter whose work is deeply rooted in the pursuit of justice, equality, and meaningful change. For as long as I can remember, music has been my voice, my weapon, and my sanctuary—a way to channel the frustrations, hopes, and dreams of a world in turmoil.  

My songs are a reflection of the turbulent times in which we live. They are anthems for the marginalized, the oppressed, and the forgotten—those who bear the weight of systemic inequality, poverty, and injustice. Through my music, I aim to amplify the voices of minorities, the poor, the sick, and the downtrodden, shining a light on the struggles they endure in a society that often turns a blind eye.  

At the heart of my work is a call to resist the oppressive grip of the billionaire class, whose unchecked power and greed have eroded the foundations of our democracy. My lyrics are a rallying cry, urging listeners to awaken to the realities of our world, to challenge the status quo, and to fight for a future where equity and justice are not just ideals, but realities.  

But my music is not just a critique of what is wrong—it is also a beacon of hope. I strive to inspire others to join the fight, to look in the mirror and confront the uncomfortable truths of our nation’s bloody history. Only by acknowledging the past can we begin to heal and move forward. My songs are a tribute to the dreamers and the activists who came before us, and a call to carry their torch into the future.  

Above all, I seek to honor the vision of John Lennon and countless others who dared to imagine a world of peace, love, and unity. Through my music, I hope to contribute to that vision.  

Thank you for listening, and thank you for being part of the movement for change. Together, we can create a world where justice, compassion, and humanity prevail.

Youth Journalism International connects student writers, artists and photographers with peers around the globe, teaches journalism, fosters cross-cultural understanding, and promotes and defends a free youth press.

One FM Community Radio Station airs a range of programs, including  "Ethnic Programs"  (in languages other than English), specialist interview programs such as "Shepplife" and health programs (So Much More)which are podcast here.  We also podcast a range of local sports programs as part of our Super Saturday Sports Show.  
Goulburn Valley Community Radio Station  Inc. (One FM 98.5) podcast site operates under APRA AMCOS (Australasian Performing Rights Association and Australasian Mechanical Copyright Owners Society) and ACMA (Australian Communications Media Authority) Licence Number  1385226/1.

The programs are recorded and first aired at One FM 98.5 Community Radio Station in Shepparton (Victoria, AUSTRALIA), and produced with the assistance of the Community Broadcasting Foundation or the National Ethnic and Multicultural Broadcasters' Council.

All intro and outro music for So Much More podcasts are taken from Beneplacito Boogaloo composed by Terry Barbossa and Matt Holland.

Described as “a hugely prolific musician with a wide variety of skill sets” (newmusicbuff.com), Keane Southard (b. 1987) is a composer and pianist who believes deeply in the power of music to change how people think, feel, and act, and that it can be a catalyst for positive change in the world.  His music has been described as “a terrific discovery” (Bandworld Magazine) and “highly-professional and well-orchestrated” (Portland Press Herald) and, taken as a whole, his works reflect his many diverse musical tastes, from medieval chant to 70's rock, Bach to the Blues, and 19th century romanticism to Latin dance forms.  Keane has been a recipient of many awards including the Lee Goldstein Composition Award from Baldwin-Wallace College, the Cecil Effinger Composition Award and George Lynn Prize from The University of Colorado-Boulder, First Prize in the Longfellow Chorus International Composers Cantata Competition, the Charles B. Olson Young Composer Award, and the Ars Nova Singers Colorado Composers Competition.  He has received commissions from the Colorado State Music Teachers Association, the Northeastern State University Wind Ensemble (OK), the Arrowhead Union High School Wind Ensemble (WI), the Sounds of Stow Chorus and Orchestra, pianist Christopher Janwong McKiggan, saxophonist Allison Dromgold Adams, and cellist Christine Thomas Tsen.  His works have been performed across the US and internationally in Germany, Brazil, Poland, the United Kingdom, Sweden, Romania, and Australia.  He has been awarded residency fellowships at Playa and the Kimmel-Harding-Nelson Center and summer fellowships at the Bowdoin International Music Festival and Northeastern University Fusion Arts Exchange.  In the summer of 2016, Keane hiked the New England portion of the Appalachian Trail, a distance of more than 700 miles, which inspired the creation of his first symphony, commissioned by a consortium of orchestras throughout New England with premieres in the 2017-18 season.  In 2016, Waltzing Dervish: The Wind Music of Keane Southard, recorded by the Northeastern State University Wind Ensemble, was released and hailed as a “major debut disc” (newmusicbuff.com).  Keane earned his M.M. in composition at the University of Colorado-Boulder where he served as a graduate assistant in music theory.  He graduated Summa Cum Laude with his B.M. from the Conservatory at Baldwin-Wallace College in Berea, OH, where he double majored in music composition and music theory with a minor in English literature.  His primary composition teachers include Kenneth Girard, Loris Chobanian, Daniel Kellogg, Jeffrey Nytch, Carter Pann, Richard Toensing, and Allen Shawn, plus additional studies with Samuel Adler, Derek Bermel, João Guilherme Ripper, Brian Robison, and Hillary Zipper.  An avid student of language and culture, Keane speaks Portuguese, Spanish, French, Italian, and German in addition to English.

New tracks tagged #animals