Podcasts about achingly

Andy & Martin get their cock-er-nee on as they explore the London-set family saga Fox, executive-produced by Verity Lambert. Written by Trevor Preston (The Sweeney) and directed by Jim Goddard (Out) and boasting a stellar cast - Peter Vaughan, Elizabeth Spriggs, Bernard Hill, Rosemary Martin, Ray Winstone and many more - Fox was expected to be a big success but just did not catch the imagination of the ITV audience back in 1980. Fox is a curious beast, with its ambition to be a sprawling epic despite only covering a period of 8 months and its incredibly off-putting musical content which really has to be heard to be believed. Its also a difficult watch in places principally due to its casual depiction of domestic violence and terrible treatment of its female characters. Achingly toxic masculinity aside, Fox also has a proto-Eastenders obsession with family and loyalty and yet is populated by characters who are much less engaging than those in Albert Square. If you've never watched Fox we still invite you to hop in this televisual music-filled black cab to the East End of 1980 in order to muse in a pre-Brexit daydream why fings aint wot they used to be...

Achingly human, Flee uses its medium and varied film styles for maximum impact. Read more at: https://scottsself-indulgentmovieblog.blogspot.com/

All uploads on this channel are for promotional purposes only! The music has been converted before uploading to prevent ripping and to protect the artist(s) and label(s). If you don't want your content here (that goes for audio or images) please contact me immediately via email: unpluggedtube@outlook.it and I WILL REMOVE THE EPISODE OR ARTWORK IMMEDIATELY! ---------------------------------------------------------------------------------------------------- Daughter first popped up on our radar when we heard the London band's song "Landfill" while preparing for SXSW early last year: Achingly pretty and melancholy, the track builds to an absolute gut-punch of a line — "I want you so much, but I hate your guts" — that conjures a pitch-perfect mix of gloom, desire and hostility. The group has since released a full-length album, this year's lovely If You Leave, but Daughter was kind enough to resuscitate "Landfill" for this stripped-down performance at the Tiny Desk. As you'll see and hear, that aforementioned gut-punch is a recurring specialty for the band: In all three of these sad, searing songs, singer Elena Tonra showcases a remarkable gift for coolly but approachably dishing out weary words that resonate and devastate. --STEPHEN THOMPSON Set List "Youth" "Landfill" "Tomorrow" Credits Producers: Bob Boilen, Denise DeBelius, Stephen Thompson; Audio Engineer: Kevin Wait; Videographers: Parker Miles Blohm, Chloe Coleman, Denise DeBelius Team UNPLUGGED.

Wednesday, June 23rd: This week, Nick, Randy, and Dave talk about reboots of Blacua and TSR, Dark Ages from Tom Taylor, and the next Transformers movie! Then we talk comics for the week, including Wonder Woman: Black and Gold #1, Infinite Frontier #1, Batman Reptilian #1, Gamma Flight #1, Marvel Voices Pride #1, Good Luck... Read more » The post 337: Achingly Non-Anxiety Inducing appeared first on Rogues Gallery Comics + Games, Round Rock, TX.

To be a moffie is to be weak, effeminate, illegal. The year is 1981 and South Africa's white minority government is embroiled in a conflict on the southern Angolan border. Like all white boys over the age of 16, Nicholas Van der Swart (Kai Luke Brummer) must complete two years of compulsory military service. South African director Oliver Hermanus, fourth feature MOFFIE explores the life of a closeted young boy serving his mandatory military service during Apartheid in 1980s South Africa. MOFFIE is an adaptation of André-Carl van der Merwe's iconic memoir, the film serves as a brilliant period piece exposing the psychological violence of institutionalized homophobia. Achingly raw depictions of the brutality of military training recall scenes from Kubrick's FULL METAL JACKET while the beautifully acted love story provides a sharp contrast to the pervasive violence. Director and screenwriter Oliver Hermanus joins us for a conversation on how important it was to accurately capture to nexus of religion and the racist Apartheid regime and how the repressive culture it created made any relationship outside of it a treasonous act and how rewarding it was for him to be working with a gifted group of talented actors. For news and updates go to: ifcfilms.com/films/moffie IFC Films will release MOFFIE on Friday, April 9, 2021 in select theaters and on digital and VOD platforms. 

Vocalist Lezlie Harrison is my guest for a Deep Focus on Abbey Lincoln. Achingly beautiful recordings of Abbey that you have never heard and Lezlie lifts the veil on Abbey in a whole new way. Come thru!#WKCR #DeepFocus #MitchGoldman #AbbeyLincoln #LezlieHarrison #Jazz #JazzRadio #JazzInterview #jazzpodcastPhoto credit: Jac. de Nijs / Anefo; Restoration by User:Adam Cuerden, CC0, via Wikimedia Commons 

Vocalist Lezlie Harrison is my guest for a Deep Focus on Abbey Lincoln. Achingly beautiful recordings of Abbey that you have never heard and Lezlie lifts the veil on Abbey in a whole new way. Come thru!#WKCR #DeepFocus #MitchGoldman #AbbeyLincoln #LezlieHarrison #Jazz #JazzRadio #JazzInterview #jazzpodcastPhoto credit: Jac. de Nijs / Anefo; Restoration by User:Adam Cuerden, CC0, via Wikimedia Commons 

Vocalist Lezlie Harrison is my guest for a Deep Focus on Abbey Lincoln. Achingly beautiful recordings of Abbey that you have never heard and Lezlie lifts the veil on Abbey in a whole new way. Come thru!#WKCR #DeepFocus #MitchGoldman #AbbeyLincoln #LezlieHarrison #Jazz #JazzRadio #JazzInterview #jazzpodcastPhoto credit: Jac. de Nijs / Anefo; Restoration by User:Adam Cuerden, CC0, via Wikimedia Commons 

Vocalist Lezlie Harrison is my guest for a Deep Focus on Abbey Lincoln. Achingly beautiful recordings of Abbey that you have never heard and Lezlie lifts the veil on Abbey in a whole new way. Come thru!#WKCR #DeepFocus #MitchGoldman #AbbeyLincoln #LezlieHarrison #Jazz #JazzRadio #JazzInterview #jazzpodcastPhoto credit: Jac. de Nijs / Anefo; Restoration by User:Adam Cuerden, CC0, via Wikimedia Commons 

Vocalist Lezlie Harrison is my guest for a Deep Focus on Abbey Lincoln. Achingly beautiful recordings of Abbey that you have never heard and Lezlie lifts the veil on Abbey in a whole new way.   Come thru!#WKCR #DeepFocus #MitchGoldman #AbbeyLincoln #LezlieHarrison #Jazz #JazzRadio #JazzInterview #jazzpodcastPhoto credit: Jac. de Nijs / Anefo; Restoration by User:Adam Cuerden, CC0, via Wikimedia Commons 

Vocalist Lezlie Harrison is my guest for a Deep Focus on Abbey Lincoln. Achingly beautiful recordings of Abbey that you have never heard and Lezlie lifts the veil on Abbey in a whole new way.   Come thru!#WKCR #DeepFocus #MitchGoldman #AbbeyLincoln #LezlieHarrison #Jazz #JazzRadio #JazzInterview #jazzpodcastPhoto credit: Jac. de Nijs / Anefo; Restoration by User:Adam Cuerden, CC0, via Wikimedia Commons 

Ache

Six  talented and vibrant young musicians chat to the Sunday Magazine Arts team about their current classical recital programmes. Collide has curated a programme of French mid 19th century music to honour the beginnings of […] http://media.rawvoice.com/joy_sundayartsmagazine/p/joy.org.au/sundayarts/wp-content/uploads/sites/276/2020/03/Classical-Recitals-1.mp3 Podcast: Play in new window | Download (Duration: 14:23 — 4.9MB) Subscribe or Follow Us: Apple Podcasts | Android | Google Podcasts | Spotify | RSS The post Visions Collide – Homage to French Classical Music – Achingly Beautiful, Sometimes Frivolous appeared first on Sunday Arts Magazine.

Achingly visceral and rarely employed actress Anna Mann returns for a brand new season of her podcast. Here she bangs on about having too much money, really lays into the Tories and interviews the delightful star of The Inbetweeners and I’m A Celebrity, Emily Atack. See acast.com/privacy for privacy and opt-out information.

In this episode, I share a recent dating experience of mine where I went all-in with someone and what I learned from the process. I also share some ideas about how to make sure you fall for the right person. Get the free guide Copy And Paste Texts For When He Is Pulling Away Or Acting Flaky:https://www.ambergrubenmann.com/copy-and-paste-texts-for-when-he-is-pulling-away-or-acting-flakyInterested in sharing your dating question on the show? You can schedule a free call if you allow me to record it and possibly share it with the Women's Dating And Confidence Podcast audience. Message me on Instagram if you are interested! @ambergrubenmannTHANK YOU from the bottom of my heart for being here and showing up boldly. Please let me know how to improve your listening experience and serve you. Have a great day!

Achingly romantic and visually rapturous, If Beale Street Could Talk, Barry Jenkins' adaptation of James Baldwin's 1974 novel of the same name, utterly bowls Mike over, while José expresses some reservations about it, despite also finding it enormously impressive. A love story set in New York City in the late 60s/early 70s, the film follows Tish (KiKi Layne) and Fonny (Stephan James) as they fall in love, begin to build a life together, but are threatened with its destruction by a racist cop and a false accusation of rape. The title refers to a street in New Orleans that Baldwin, and subsequently Jenkins, use as a metaphor for the black experience across America, and arguably this is overambitious (if not simply impossible). The universality implied by the title is dissonant with what the film offers, which is much more personal and idiosyncratic. José points out the lack of anger in the film, anger that would be absolutely justified to express given both the general institutional racism the characters face in their place and time, and the specific instance of racist behaviour to which they are subjected: the rape accusation. Instead of fury, we see coping, survival, sadness, resistance and love, all communicated with an extraordinary depth of feeling and a camera that finds the beauty and subtlety in everyone's face. And ultimately this is wonderful, it's just that the title and opening intertitle that explains it somehow don't seem to quite understand their own story. There's a huge amount we discuss, including the narration; the film's excursion to Puerto Rico and how its depiction of the experience of Latinx people might or might not offer an interesting comparison to its central interest, the African-American community; how Brian Tyree Henry shows up for a scene and steals the entire film; how the film aims for visual poetry; how Jenkins conveys rich sense of different people's lives and environments with just a few shots; and how the film chokes you up with its incredibly tactile depth of feeling that is sustained more or less throughout. We also bring up comparisons to Green Book, Get Out, and in particular, Moonlight, Jenkins' previous film - José has issues with how he copped out of giving his story of a gay black boy's difficulties growing up an honest ending, and takes issue with how viscerally one feels Tish's desire for Fonny due to the way he's shot, finding it even more disappointing than before that Jenkins didn't do the same in Moonlight. It's a film we want to see again, infectious and emotionally rich, and if you don't see it in a cinema you're missing out. It's great. Recorded on 8th February 2019.

In which Piers and Erik find the perfect balance between irony and sincerity with two podcast pitches that are competing directly against each other.

A father searches for his addict son while grappling with his own choices as a parent (and as a user of sorts) Achingly funny and full of feeling, Eat Only When You’re Hungry follows fifty-eight-year-old Greg as he searches for his son, GJ, an addict who has been missing for three weeks. Greg is bored, demoralized, obese, and as dubious of GJ’s desire to be found as he is of his own motivation to go looking. Almost on a whim, Greg embarks on a road trip to central Florida—a noble search for his son, or so he tells himself. Greg takes us on a tour of highway and roadside, of Taco Bell, KFC, gas-station Slurpees, sticky strip-club floors, pooling sweat, candy wrappers and crumpled panes of cellophane and wrinkled plastic bags tumbling along the interstate. This is the America Greg knows, one he feels closer to than to his youthful idealism, closer even than to his younger second wife. As his journey continues, through drive-thru windows and into the living rooms of his alluring ex-wife and his distant, curmudgeonly father, Greg’s urgent search for GJ slowly recedes into the background, replaced with a painstaking, illuminating, and unavoidable look at Greg’s own mistakes—as a father, as a husband, and as a man. Brimming with the same visceral regret and joy that leak from the fast food Greg inhales, Eat Only When You’re Hungry is a wild and biting study of addiction, perseverance, and the insurmountable struggle to change. With America’s desolate underbelly serving as her guide, Lindsay Hunter elicits a singular type of sympathy for her characters, using them to challenge our preconceived notions about addiction and to explore the innumerable ways we fail ourselves. Praise for Eat Only When You're Hungry "[A] commanding narrative . . . A savage tale of parenthood and squandered hope from an author whose unsparing eye never ceases to subvert the mundane." —Kirkus "Hunter's absurd Floridian landscapes and darkly tender moments are keen and hilarious, exposing the complexities of addiction and an overweight man with a weak heart but unfailing love." —Booklist "The frailties of the human body and the human heart are laid bare in Lindsay Hunter’s utterly superb novel Eat Only When You’re Hungry. There is real delicacy, tenderness, and intelligence with which Hunter tackles this portrait of a broken family of people who don’t realize just how broken they are until they are forced to confront the fractures between them and within themselves. With this novel, Hunter establishes herself as an unforgettable voice in American letters. Her work here, as ever, is unparalleled." —Roxane Gay, author of Bad Feminist "This novel takes us on a road trip with an American Everyman into the heart of American hunger—for freedom, for connection, for junk food, for love. Hunter has a brilliant sense for the perfectly telling image, and her humor is so biting and smart it was almost a surprise, at the end of this engrossing book, to realize how thoroughly she had broken my heart.” —Garth Greenwell, author of What Belongs to You "Compassionate, claustrophobic, gut-wrenchingly observed, Eat Only When You’re Hungry probes the fine lines between hunger and addiction, addiction and desire. In perfectly nuanced prose, Lindsay Hunter observes the human ability to go on in the face of the unexpected, the unknown, the regretted, and, perhaps most important, the mundane." —Lori Ostlund, author of After the Parade Lindsay Hunter is the author of the story collections Don’t Kiss Me and Daddy’s and the novel Ugly Girls. Originally from Florida, she now lives in Chicago with her husband, sons, and dogs. Photo by Liliane Calfee Roxane Gay is the author of the novel An Untamed State, which was a finalist for the Dayton Literary Peace Prize for Fiction; the essay collection Bad Feminist; Ayiti, a multi-genre collection, the collection of stories Difficult Women and the memoir, Hunger. She is at work on a comic book in Marvel’s Black Panther series. Her writing has appeared in Best American Short Stories 2012, the New York Times, the Guardian, and many others. She is a recipient of the PEN Center USA Freedom to Write Award, among other honors. She splits her time between Indiana and Los Angeles. She can be found online at www.roxanegay.com and on Twitter @rgay. Event date:  Thursday, August 10, 2017 - 7:30pm

Eat Only When You're Hungry (Farrar, Straus, Giroux) A father searches for his addict son while grappling with his own choices as a parent (and as a user of sorts) Achingly funny and full of feeling, Eat Only When You’re Hungry follows fifty-eight-year-old Greg as he searches for his son, GJ, an addict who has been missing for three weeks. Greg is bored, demoralized, obese, and as dubious of GJ’s desire to be found as he is of his own motivation to go looking. Almost on a whim, Greg embarks on a road trip to central Florida—a noble search for his son, or so he tells himself. Greg takes us on a tour of highway and roadside, of Taco Bell, KFC, gas-station Slurpees, sticky strip-club floors, pooling sweat, candy wrappers and crumpled panes of cellophane and wrinkled plastic bags tumbling along the interstate. This is the America Greg knows, one he feels closer to than to his youthful idealism, closer even than to his younger second wife. As his journey continues, through drive-thru windows and into the living rooms of his alluring ex-wife and his distant, curmudgeonly father, Greg’s urgent search for GJ slowly recedes into the background, replaced with a painstaking, illuminating, and unavoidable look at Greg’s own mistakes—as a father, as a husband, and as a man. Brimming with the same visceral regret and joy that leak from the fast food Greg inhales, Eat Only When You’re Hungry is a wild and biting study of addiction, perseverance, and the insurmountable struggle to change. With America’s desolate underbelly serving as her guide, Lindsay Hunter elicits a singular type of sympathy for her characters, using them to challenge our preconceived notions about addiction and to explore the innumerable ways we fail ourselves. Praise for Eat Only When You're Hungry "[A] commanding narrative . . . A savage tale of parenthood and squandered hope from an author whose unsparing eye never ceases to subvert the mundane." —Kirkus "Hunter's absurd Floridian landscapes and darkly tender moments are keen and hilarious, exposing the complexities of addiction and an overweight man with a weak heart but unfailing love." —Booklist "The frailties of the human body and the human heart are laid bare in Lindsay Hunter’s utterly superb novel Eat Only When You’re Hungry. There is real delicacy, tenderness, and intelligence with which Hunter tackles this portrait of a broken family of people who don’t realize just how broken they are until they are forced to confront the fractures between them and within themselves. With this novel, Hunter establishes herself as an unforgettable voice in American letters. Her work here, as ever, is unparalleled." —Roxane Gay, author of Bad Feminist "This novel takes us on a road trip with an American Everyman into the heart of American hunger—for freedom, for connection, for junk food, for love. Hunter has a brilliant sense for the perfectly telling image, and her humor is so biting and smart it was almost a surprise, at the end of this engrossing book, to realize how thoroughly she had broken my heart.” —Garth Greenwell, author of What Belongs to You "Compassionate, claustrophobic, gut-wrenchingly observed, Eat Only When You’re Hungry probes the fine lines between hunger and addiction, addiction and desire. In perfectly nuanced prose, Lindsay Hunter observes the human ability to go on in the face of the unexpected, the unknown, the regretted, and, perhaps most important, the mundane." —Lori Ostlund, author of After the Parade Lindsay Hunter is the author of the story collections Don’t Kiss Me and Daddy’s and the novel Ugly Girls. Originally from Florida, she now lives in Chicago with her husband, sons, and dogs. Roxane Gay is the author of the novel An Untamed State, which was a finalist for the Dayton Literary Peace Prize for Fiction; the essay collection Bad Feminist; Ayiti, a multi-genre collection, the collection of stories Difficult Women and the memoir, Hunger. She is at work on a comic book in Marvel’s Black Panther series. Her writing has appeared in Best American Short Stories 2012, the New York Times, the Guardian, and many others. She is a recipient of the PEN Center USA Freedom to Write Award, among other honors. She splits her time between Indiana and Los Angeles. She can be found online at www.roxanegay.com and on Twitter @rgay.

Herb Sutter presents atomic Weapons, 1 of 2. This was filmed at C++ and Beyond 2012. As the title suggests, this is a two part series (given the depth of treatment and complexity of the subject matter).Part 1 -> Optimizations, races, and the memory model; acquire and release ordering; mutexes vs. atomics vs. fencesDownload the slides.Abstract:This session in one word: Deep.It's a session that includes topics I've publicly said for years is Stuff You Shouldn't Need To Know and I Just Won't Teach, but it's becoming achingly clear that people do need to know about it. Achingly, heartbreakingly clear, because some hardware incents you to pull out the big guns to achieve top performance, and C++ programmers just are so addicted to full performance that they'll reach for the big red levers with the flashing warning lights. Since we can't keep people from pulling the big red levers, we'd better document the A to Z of what the levers actually do, so that people don't SCRAM unless they really, really, really meant to.Topics Covered:The facts: The C++11 memory model and what it requires you to do to make sure your code is correct and stays correct. We'll include clear answers to several FAQs: "how do the compiler and hardware cooperate to remember how to respect these rules?", "what is a race condition?", and the ageless one-hand-clapping question "how is a race condition like a debugger?"The tools: The deep interrelationships and fundamental tradeoffs among mutexes, atomics, and fences/barriers. I'll try to convince you why standalone memory barriers are bad, and why barriers should always be associated with a specific load or store.The unspeakables: I'll grudgingly and reluctantly talk about the Thing I Said I'd Never Teach That Programmers Should Never Need To Now: relaxed atomics. Don't use them! If you can avoid it. But here's what you need to know, even though it would be nice if you didn't need to know it.The rapidly-changing hardware reality: How locks and atomics map to hardware instructions on ARM and x86/x64, and throw in POWER and Itanium for good measure – and I'll cover how and why the answers are actually different last year and this year, and how they will likely be different again a few years from now. We'll cover how the latest CPU and GPU hardware memory models are rapidly evolving, and how this directly affects C++ programmers.Part 2 -> Restrictions on compilers and hardware (incl. common bugs); code generation and performance on x86/x64, IA64, POWER, ARM, and more; relaxed atomics; volatile

Herb Sutter presents atomic Weapons, 2 of 2. This was filmed at C++ and Beyond 2012. As the title suggests, this is a two part series (given the depth of treatment and complexity of the subject matter). STOP! => Watch part 1 first!Download the slides.Abstract:This session in one word: Deep.It's a session that includes topics I've publicly said for years is Stuff You Shouldn't Need To Know and I Just Won't Teach, but it's becoming achingly clear that people do need to know about it. Achingly, heartbreakingly clear, because some hardware incents you to pull out the big guns to achieve top performance, and C++ programmers just are so addicted to full performance that they'll reach for the big red levers with the flashing warning lights. Since we can't keep people from pulling the big red levers, we'd better document the A to Z of what the levers actually do, so that people don't SCRAM unless they really, really, really meant to.Topics Covered:The facts: The C++11 memory model and what it requires you to do to make sure your code is correct and stays correct. We'll include clear answers to several FAQs: "how do the compiler and hardware cooperate to remember how to respect these rules?", "what is a race condition?", and the ageless one-hand-clapping question "how is a race condition like a debugger?"The tools: The deep interrelationships and fundamental tradeoffs among mutexes, atomics, and fences/barriers. I'll try to convince you why standalone memory barriers are bad, and why barriers should always be associated with a specific load or store.The unspeakables: I'll grudgingly and reluctantly talk about the Thing I Said I'd Never Teach That Programmers Should Never Need To Now: relaxed atomics. Don't use them! If you can avoid it. But here's what you need to know, even though it would be nice if you didn't need to know it.The rapidly-changing hardware reality: How locks and atomics map to hardware instructions on ARM and x86/x64, and throw in POWER and Itanium for good measure – and I'll cover how and why the answers are actually different last year and this year, and how they will likely be different again a few years from now. We'll cover how the latest CPU and GPU hardware memory models are rapidly evolving, and how this directly affects C++ programmers.