Podcast appearances and mentions of Billy Budd

Goðsagan um Orfeus hefur fylgt okkur frá því að tímatalið hófst og óteljandi lístamenn nýtt hana sem efnivið. Og nú gefst okkur tækifæri til að sjá glænýja útgáfu Ernu Ómarsdóttur og Íslenska dansflokksins. Í verkinu Hringir Orfeusar og annað slúður er gerð tilraun til þess að túlka þessa söguna á nýjan leik, en verkið byggir á uppfærslu sem Erna samdi ásamt Gabríelu Friðriksdóttur og Bjarna Jónssyni fyrir Borgarleikhúsið í Freiburg árið 2022. Við ræðum við Ernu í þætti dagsins. Við heyrum einnig rýni Kötlu Ársælsdóttur í einleikinn Kafteinn Frábær eftir Alistar McDowall og Gauti Kristmannson rýnir í Billy Budd eftir Hermann Melville, sem kom nýverið út í íslenskri þýðingu Baldurs Gunnarssonar.

In this episode we discuss the lesser known works of Melville, what they say about his style outside of Moby Dick, and how we define greatness. 

Billy Budd es una ópera en cuatro actos (en la versión revisada, dos actos, un prólogo y un epílogo) con música de Benjamin Britten y libreto en inglés de E. M. Forster y Eric Crozier basado en la novela homónima, de Herman Melville.

Toby Spence is an award-winning tenor, who has played the lead roles across the world in every major opera theatre from The Royal Opera House in Covent Garden to The Met in New York to La Scala in Milan. A frequent performer at The Proms and on acclaimed recordings, he has also brought classical music to popular audiences through shows like The Rob and Romesh Show. In this episode, Toby shares his journey to becoming one of the most sought-after tenors of his generation, his battle with thyroid cancer and the remarkable process of relearning to sing after surgery. Humble, witty and candid, this is a rich, touching and inspiring conversation. Related Links Toby the Tenor Toby's performance of Britten's ‘Serenade for Tenor, Horn and Strings' Prince Albert Gruss an der Bruder Toby Spence as Captain Vere in Billy Budd

For the next two weeks we're celebrating the guitarists that make Morrissey the artist he was. First up is the great Alain Whyte! Alain was brought on in 91 to simply mime behind Moz in a video, but once they realized how much they had in common musically, he stuck around for the next several years, not to mention he co-wrote many of his best songs like "Alma Matters", "Glamorous Glue" and "Billy Budd" to name only a few. Though he's been out of the Moz orbit for a while, his impact is still felt today and he's taking this on the road. In addition to focusing more on a solo career now, he's also opening some shows for Modern English starting this week! Alain chooses to keep it positive, but you'll learn a lot about the writing process and his love for music is infectious (there are many tangents). Enjoy! www.alainwhytemusic.com www.patreon.com/thehustlepod

Out on the open seas just about anything can happen, ask Billy Budd, the local sailor! On this episode of Semi-Bookish we take a step into the classics as we discuss Billy Budd by Herman Melville.

Billy Budd by Herman Melville audiobook. Young naive sailor Billy Budd is impressed into military service with the British navy in the 1790s, framed for conspiracy to mutiny, summarily convicted in a drum-head court martial, and hanged. Billy Budd is the final published work by Herman Melville, discovered in his personal papers three decades after his death. --- Recommended Products --- Fruit Fly Trap - Blue Light: Zevo Flying Insect Trap Wake up to a sunrise and birds chirping with this alarm clock: PHILIPS SmartSleep Great dog treat that cleans teeth: Greenies Dog treat Best spray for cleaning up after pet: Nature's Miracle Dog stain and Odor Remover Favorite spiritual guidance book: The Power of Now by Eckhart Tolle Prime shipping is awesome: Amazon Prime Fantastic aviator sunglasses: Serengeti Carrara Our favorite bluetooth speaker: Harman Kardon Studio 8 Our favorite streaming device for tv: NVIDIA Shield Pro For the hammock fans, the skyloft is worth it: ENO Skyloft Hammock *The above affiliate links are from our partners - - - - - - - - - - - - - - - - - - - - Learn more about your ad choices. Visit megaphone.fm/adchoices

Today I revisit the life and legacy of lyric baritone William Parker (05 August 1943 – 29 March 1993), to whom I devoted an episode exactly a year ago. To further explore his unmatched contribution to the art of song, I present a second episode which was originally published as a bonus episode at the same time, featuring Will in four contrasting song cycles by Charles Wakefield Cadman, Claude Debussy, Aaron Copland, and Francis Poulenc, recorded between 1975 and 1987, when he was in his absolute prime. He is accompanied by William Huckaby, Gérard van Blerk, and the late Rudolf Jansen. Also included are two haunting settings of Herman Melville's “Billy in the Darbies,” a segment added posthumously to his Billy Budd novella; in two settings by Robert Evett and Ernst Bacon. The episode is prefaced by a brief tribute to the pianist Norman Shetler, who died yesterday in Austria nine days after observing his 93rd birthday; as well as a brief introduction by Will Parker's nephew, Mark Doty. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.  

In the second of three (or maybe even four!) episodes on Queer Cinema this month, Dhruv and Cris rhapsodize about Claire Denis' formally groundbreaking masterwork of queer and post-colonial cinema, "Beau Travail" (1999). Initially, we planned to make this a 25-30 minute "extra" episode because Cris' recent obsession with the film matched Dhruv's unwavering love for it. But the film, loosely based on Herman Melville's unfinished 1888 novella, "Billy Budd, Sailor," about male camaraderie that gives way to envy and jealousy, inspires a much longer discussion. Everything from the film's Godardian influences to Denis Lavant's staggering central performance to Agnès Godard's unforgettably haunting cinematography is discussed in detail here, with Dhruv and Cris recounting numerous instances from the film that continue to prove elusive even after three or four viewings. Listen to the full episode to hear us wax lyrical about Denis' subtle lyricism and her whole-hearted embrace of fragmented, elliptical storytelling. These formal and narrative transgressions, we argue, are what make "Beau Travail" an unforgettable, radical queer text. TIME CODES Introduction - [00:00 - 02:56] Claire Denis - [02:57 - 08:06] Herman Melville's "Billy Budd, Sailor" & Jean-Luc Godard's "Le Petit Soldat" - [08:06 - 12:20] "Beau Travail" - [12:20 - 01:34:55] Do hit 'Follow' on Spotify if you haven't already to help the podcast reach more people! Follow our Instagram page: https://instagram.com/queenisdead.filmpodcast YOU CAN (& SHOULD!) FOLLOW CRIS IN ALL THESE PLACES - Twitter - https://twitter.com/limjaeseven Letterboxd - https://letterboxd.com/crislim/ Instagram - https://www.instagram.com/prdscris/ Audio Excerpts - 1. "Beau Travail Re-Release" Trailer 2. Tarkan's "Kiss Kiss" (1997) 3. Franky Vincent's "Tourment D'Amour" (1991) 4. Corona's "The Rhythm of the Night" (1993)

This week we join the French Foreign Legion in Claire Denis' 1999 masterpiece, "Beau Travail." We discuss the film's influences including "Le Petit Soldat" and "Billy Budd, Sailor" as well as the film's beginnings as a TV movie. We then dive into the plot, interpreting and providing context to the story and imagery. Finally, we each pair the film with another for a pair of double bills!Thank you so much for listening!Created by Spike Alkire & Jake KelleyTheme Song by Breck McGoughFollow us on Instagram: @DoubleBillChillLetterboxd: FartsDomino44

[@ 4 min] We go ‘Inside the Huddle' with the newly-minted general director of Opera Philadelphia: it's the return of Friend of the Show Anthony Roth Costanzo, reaping the benefits of the OBS bump... [@ 27 min] We dip into the ‘Listener Mailbag' on your reactions to our recent interview with Extinction Rebellion and the results of our Sweet Sixteen Schools of Singing showdown... [@ 32 min] In the ‘Two Minute Drill', Friend of the Show Huw Montague Rendall will sing Billy Budd in Vienna. If you've ever wanted to meet Oliver Camacho in person, he will be sleeping outside the Staatsoper for the entire run... GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore

The Caine Mutiny (1954) is based on Herman Wouk's bestselling Pulitzer Prize winning novel of the same name. The film, directed by Edward Dmytryk and produced by Stanley Kramer, portrays the fictitious events on board the U.S.S. Caine, a Navy destroyer-minesweeper in the Pacific during World War II. Executive officer, Lt. Stephen Maryk (Van Johnson), relieves the seemingly unstable Lt. Commander Philip Francis Queeg, Captain of the USS Caine, of his command after Queeg (Humphrey Bogart) endangers the ship and its crew during a cyclone. The ship returns to the U.S. and Maryk is court-martialed for mutiny. He is represented by Navy lawyer, Lt. Barney Greenwald (José Ferrer), who despite disapproving of Maryk's actions, believes Maryk was misled by the ship's communications officer, Lt. Tom Keefer (Fred MacMurray), into believing Queeg was mentally unfit for command. Maryk is acquitted after Greenwald effectively places Queeg on trial by his exposing Queeg's erratic and paranoid behavior. The Caine Mutiny Court-Martial (2023), directed by the late William Friedkin, is based on Wouk's adaption of his own 1951 novel for the stage. In contrast to the 1954 film, The Caine Mutiny Court-Martial covers only the court-martial. The cast includes Jake Lacy as Maryk, Jason Clarke as defense attorney Greenwald, Monica Raymund as prosecutor Lt. Commander Katherine Challee, the late Lance Reddick as the presiding judge Captain Luther Blakley, and Kiefer Sutherland in a phenomenal performance as Queeg. The films are not only gripping courtroom dramas, but also explore larger themes around military justice, ethics, and morality.  With me to discuss these films is Eugene (Gene) Fidell, a visiting Lecturer in Law at Yale Law School and co-founder of the National Institute of Military Justice.Timestamps:0:00     Introduction3:58     What's a court-martial?9:14     The crime of mutiny17:48   Relieving Queeg of his command27:36   Putting Queeg on trial29:33   Taking some poetic license with a court-martial34:44   The defense lawyer's post-trial critique of the mutiny41:21   The dramatic changes in the Navy and armed forces since the original movie 47:12   More context for the two Caine Mutiny movies50:21   Other great movies about military justice    Further reading:“The Humphrey Bogart Blogathon: ‘The Caine Mutiny' (1954),” Dec. 23, 2016, https://back-to-golden-days.blogspot.com/2016/12/the-humphrey-bogart-blogathon-caine.htmlKelly, Kevin M., “You Murdered Queeg: Lawyers, Ethics, Military Justice, and ‘The Caine Mutiny,'” 1991 Wis. L. Rev. 543 (1991)Melville, Herman, Billy Budd (1924)Rosenberg, Norman L., “‘The Caine Mutiny': Not Just One But Many Legal Dramas,” 31 J. Mar. L. & Com. 623 (2000)Wouk, Herman, The Caine Mutiny (1951)Law on Film is created and produced by Jonathan Hafetz. Jonathan is a professor at Seton Hall Law School. He has written many books and articles about the law. He has litigated important cases to protect civil liberties and human rights while working at the ACLU and other organizations. Jonathan is a huge film buff and has been watching, studying, and talking about movies for as long as he can remember. For more information about Jonathan, here's a link to his bio: https://law.shu.edu/faculty/full-time/jonathan-hafetz.cfmYou can contact him at jonathanhafetz@gmail.comYou can follow him on X (Twitter) @jonathanhafetz You can follow the podcast on X (Twitter) @LawOnFilmYou can follow the podcast on Instagram @lawonfilmpodcast

Welcome to the Instant Trivia podcast episode 1157, where we ask the best trivia on the Internet. Round 1. Category: Name The Work 1: Melville:"Captain Vere was an exceptional character". Billy Budd. 2: Cervantes:"At a village of La Mancha, whose name I do not wish to remember". Don Quixote. 3: Verne:"Certainly an Englishman, it was more doubtful whether Phileas Fogg was a Londoner". Around the World in Eighty Days. 4: Jack London:"'The Ghost' was rolling slightly on a calm sea without a breath of wind". The Sea Wolf. 5: O. Henry:"Tomorrow would be Christmas Day, and she had only $1.87 with which to buy Jim a present". "The Gift of the Magi". Round 2. Category: Earth, Wind And Fire 1: On the Beaufort scale, winds range from 0 for calm to 12 to 17 for these powerful storms. hurricanes. 2: About 80% of energy released by quakes comes from events with epicenters in the Circum-Pacific belt, AKA this, AKA a Johnny Cash tune. Ring of Fire. 3: In the '90s home fires caused by these nearly doubled, with almost half of them starting in the bedroom. candles. 4: A devastating forest fire swept through Peshtigo, Wisconsin on the very same day in 1871 as this city's "Great" fire. Chicago. 5: Oh, "Boy"! This warming of the Pacific that causes unusual weather patterns occurs about every 2 to 7 years. El Nino. Round 3. Category: Remember Reruns? 1: In reruns and syndication, "Mystery Science Theater" was followed by "Hour", replacing this number. 3000. 2: "The Andy Griffith Show" came back around as "Andy of" here. Mayberry. 3: Her "and Friends"--Harvey Korman, Vicki Lawrence and others--was a half-hour rerun of her "Show". Carol Burnett. 4: Ponderosa was a ranch on and a rerun title of this show. Bonanza. 5: "The Best of Groucho" was a rerun title of this game show. You Bet Your Life. Round 4. Category: Gay Blades 1: The mark left by George Hamilton's "gay blade". a Z. 2: Its use was abolished in France in 1981, 188 years too late for Marie Antoinette. the guillotine. 3: The sword in the stone from the Lady of the Lake. Excalibur. 4: You'd need an undertaker, not a styptic pencil after this was used by Sweeney Todd. a straight razor. 5: Ridley Scott's dim futuristic film view of Los Angeles. Blade Runner. Round 5. Category: Women Of Myth 1: Courtesy of Perseus, her snaky severed head was placed on the shield of Athena. Medusa. 2: This daughter of Zeus and Leda was considered to be the most beautiful woman in the world. Helen of Troy. 3: After she died of a snakebite, her husband Orpheus tried to rescue her from Hades. Eurydice. 4: According to Ovid, this jealous goddess turned the nymph Callisto into a bear for being Jupiter's lover. Juno. 5: After she spurned Apollo, he made sure no one would believe her prophecies. Cassandra. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

Billy Budd - Intro Remarks and Prayers - SEAS by Literature as Prophecy

Hemingway - Billy Budd continued - SEAS by Literature as Prophecy

In the thirty-fifth year of his career, Daniel Sumegi has sung over one hundred operatic roles on many of the world's major stages – including the Metropolitan Opera, San Francisco Opera, Los Angeles Opera, Washington National Opera, Seattle Opera, as well as at Opera Australia.  He has also appeared in the opera houses of Bonn, Cologne, Frankfurt and Hamburg, as well as Paris, Barcelona, Tokyo, Hong Kong, Los Angeles and Houston among many others. Regarded also for his dynamic acting, his broad repertoire encompasses all periods of music – from Monteverdi and Mozart to Britten, Tippett and Puts.  Equally comfortable as Strauss' Baron Ochs, Mozart's Sarastro and Commendatore, Verdi's Grand Inquisitor and Sparafucile, Offenbach's Four Villains or Puccini's Scarpia, he has participated in Ring Cycles in New York, Los Angeles, San Francisco, Strasbourg, Cologne, Tokyo, Buenos Aires, Seattle, Melbourne and Adelaide, most notably as Hagen.  He has additionally performed Hunding in concert for the Hong Kong, Atlanta, Stuttgart and Melbourne Symphony Orchestras. Daniel's 2021/2022 engagements included Die Walküre (Singapore), Salome (Victorian Opera), Fidelio (Dublin) and Bluebeard's Castle, Aida and Lohengrin (Opera Australia). Among other roles, he has sung Die Meistersinger von Nürnberg (Pogner) for Opera Australia, Salome (Jochanaan) for New Israeli Opera, Der fliegende Holländer (title role) for Malmö Opera in Sweden and Carmen (Zuniga) for Seattle Opera.  He also undertook his music theatre debut, as Judge Turpin in Sondheim's Sweeney Todd, seen in Sydney and Melbourne.   Past highlights include Don Carlo and Madama Butterfly (Metropolitan Opera), Der Rosenkavalier (Scottish and Welsh National Opera), Luisa Miller (San Francisco), Billy Budd and Rigoletto (Los Angeles), Parsifal (Hamburg, Barcelona, Adelaide), Salome (Washington, Hamburg, Leeds, Hong Kong), Der fliegende Holländer, Aida, Beatrice and Benedict and Barbiere (Seattle), Manchurian Candidate (Minnesota, Austin), and more than 25 principal roles for Opera Australia. He has collaborated with noted conductors such as James Conlon, Sir Andrew Davis, Charles Dutoit, Dan Ettinger, Asher Fisch, Valery Gergiev, Nicola Luisotti, Sir Charles Mackerras, Yannick Nézet-Séguin, Renato Palumbo, Sir Simon Rattle, Carlo Rizzi, Donald Runnicles, Nello Santi, Sir Jeffrey Tate, Edo de Waart, Sebastian Weigle, and Simone Young. Daniel Sumegi appears on CD in Beatrice di Tenda and Seattle Opera's acclaimed Ring Cycle, and on DVD in the San Francisco Opera Production of Capriccio, Opera Australia's Don Giovanni, and the historic condensed Ring Cycle from Teatro Colón, Buenos Aires. In December, he makes his role début as Wotan/The Wanderer in OA's new production of Der Ring des Nibelungen. The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Garrett Chaffin-Quiray and Ed Rosa consider how Herman Melville's novella, “Billy Budd”, was translated into a movie that the 2022 “Sight and Sound” poll of the greatest films of all time maintains is the seventh greatest ever.***Referenced media:“Dune: Part One” (Denis Villeneuve, 2021)“Blade Runner 2049” (Denis Villeneuve, 2017)“Chocolat” (Claire Denis, 1988)“High Fidelity” (Stephen Frears, 2000)“American Psycho” (Mary Harron, 2000)“Gladiator” (Ridley Scott, 2000)“Trouble Every Day” (Claire Denis, 2001)“Blood for Dracula” (Paul Morrissey, 1974)“Olympia 1: Festival of Nations” (Leni Riefenstahl, 1938)“Olympia 2: Festival of Beauty” (Leni Riefenstahl, 1938)“Reflections on a Golden Eye” (John Huston, 1967)“Blue Lagoon” (Randal Kleiser, 1980)“Paw Patrol: The Mighty Movie” (Cal Bunker, 2023)Audio quotation:“Dune: Part One” (Denis Villeneuve, 2021), “Paul's Dream” composed by Hans Zimmer“PAW Patrol: The Mighty Movie” (Cal Bunker, 2023), “PAW Patrol: The Might Movie” composed by Pinar Toprak

To get access to the full episode, become a paid subscriber of our substack https://rarecandy.substack.com/p/gain-of-fiction-vol-15-billy-budd#details

Indubtablement, l'ombra del compositor angl

Indubtablement, l'ombra del compositor angl

Please join our host Curnaya, Romi, and Joseph as we dive into the illusion of reality and how it relates to the movie “Billy Budd”. We will also discuss Peter Ustinov, Ivor Montagu, and his comment on why he believed black and white movies “seeming real” was strange. Music Credits: Martin Landström - Passion Pit

This podcast episode dives into a deeper understanding of who Sir Peter Ustinov was and his background. We also looked deeper into his movie “Billy Budd” and deciphered his intentions of making his film black and white. Ivor Montagu raised multiple questions about the film, allowing plenty of discussions. We dove into the history of color film and photography. We discussed different methods and why Sir Peter Ustinov decided to make certain choices involving the absence of color In his film.   Soundtrack: found from epidemicsound.com Artist: Czar Donic Title: Res Red Shoes

Please join our host Curnaya, Romi, and Joseph as we dive into the illusion of reality and how it relates to the movie “Billy Budd”. We will also discuss Peter Ustinov, Ivor Montagu, and his comment on why he believed black and white movies “seeming real” was strange. Music Credits: Martin Landström - Passion Pit

In a world where most of us associate reality with vibrant colors, Ustinov's choice to present "Billy Budd" in black and white raises intriguing questions. Ivor Montagu, being one who questioned it, found Ustinov's response peculiar, realizing that the audience lacked disbelief. Should they have found it strange? Can a film rid of color actually appear more real to us? In this episode, we'll explore the complexities of perception, the power of artistic illusions, and how these forms of art have developed over time.Credits: Short clips from the movie "Billy Budd", directed by Peter UstinovWebsites mentioned in podcastIntro/outro soundtracks: https://stock.adobe.com/audio?as_channel=sem&as_campclass=nonbrand&as_campaign=US%7CCPRO%7CStock%7CAWAR%7CAudio_Exact%7CGG%7C%7C&as_source=google&as_camptype=acquisition&sdid=YXPZG2JH&mv=search&ef_id=CjwKCAiApNSABhAlEiwANuR9YOyXszTQRWlMS39UOcCzzSPVca-eOLJOpRw76Z1vbSvrEmEBp423wxoCyYcQAvD_BwE:G:s&s_kwcid=AL!3085!3!450951804139!e!!g!!royalty%20free%20music!10630983778!104620769186&gclid=CjwKCAiApNSABhAlEiwANuR9YOyXszTQRWlMS39UOcCzzSPVca-eOLJOpRw76Z1vbSvrEmEBp423wxoCyYcQAvD_BwE

Join us today as we go into the uses and ideas of black and white through the film “Billy Budd” as well as analyze the historical context of black and white and its effects on how realistic a film could come off as.

This episode of Exploring Art Podcast delves into the Illusion of Reality with a focus on Peter Ustinov's Billy Budd. The discussion is based on Ustinov's deliberate use of black and white and how it has affected the Aesthetic Experience of its viewers and reality. Peter was asked by Ivor Montagu why he had used black and white to which he replied, “so it would seem real.” Montagu was taken aback and thought it was a strange reply. Was it really that strange though? Find out on this week's episode! Music in intro info - Casa Bossa Nova https://goo.gl/snon8UCasa Bossa Nova by Kevin MacLeod https://incompetech.com/

Join us today as we go into the uses and ideas of black and white through the film “Billy Budd” as well as analyze the historical context of black and white and its effects on how realistic a film could come off as.

Explore the details behind the film making world of black and white, where we discuss the effects of values and lighting in the film “Billy Budd''. Understand the decisions made by Peter Ustinov when creating the film and how the grayscale movie contributes to the human psyche. Can you distinguish reality without color?

Today's episode explores the lives and loves of two of the most significant figures in twentieth century music: Benjamin Britten, the dean of British composers and the tenor Peter Pears, his partner, lover, inspiration and muse for nearly forty years. When as a lost young gay boy I first encountered their music-making I intuited that these two men were lovers, that they represented a way forward for me out of a lonely and forlorn childhood. Whether in the many songs and cycles that Britten fashioned for him or the operatic roles, beginning with the title role of Peter Grimes, that were tailor-made for him, Pears remains the ideal interpreter of his partner's music, possessed as he was of a distinctive (some would say peculiar) voice, supple, reedy yet surprisingly powerful, along with pinpoint musical precision, plangent expressivity and dramatic aptitude. The episode features excerpts from many of Britten's most explicitly gay compositions, surprising for a man living in Britain while sex between men was still illegal, including the operas Peter Grimes, Curlew River, Billy Budd, and Death in Venice and his settings of poetry by Michelangelo, Shakespeare, Auden, and Francis Quarles. We also hear Pears and Britten in live and recorded performance of songs and arias by other composers, including composers Britten revered (Schumann, Schubert, Tchaikovsky, and Frank Bridge), and those of whose music he was much less fond (including Vaughan Williams and Brahms). The episode contains more biographical information than your typical Countermelody episode, and does not shy away from some of the thorniest questions that one must confront when discussing these two controversial figures. But in the end it is first and foremost a celebration of the music Britten and Pears made together and the love they shared for 40 years. The episode begins with a heartfelt (and heartbroken) tribute to the great Glenda Jackson, who died this week at the age of 87. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

In college, I wasn't aware for some time that various dogmas of the academic world were steering me. Wanting mostly to party and pass classes, I was easily walked into the secular dogma, to the point that I was converted to the progressive worldview. I recall English and History classes being full of new interpretations that turned nearly every literary or historical person into either an oppressed or oppressor class, (or queer/not queer). Groupings of people were very, very important, which flew in the face of my childhood clubbing of the idea that stereotyping by group was evil. Now it was good to group people. Of course, these were the correct interpretations, at long last! One professor insisted that Abraham Lincoln, King David, Jesus, Billy Budd, and Queequeg the harpooner were all gay. We spent considerable time on that topic, despite it having little or nothing to do with the class I thought I had signed up for. How did we know their sexual preference? Well, the evidence was right there in the text: these folks all had close friendships with other men, therefore, gay. Friendship between men, I learned, always implies sodomy is happening. This was the secret knowledge, the Gnostic gospel, of a professor. We just weren't mining what was being told between the lines, but with her magic reading goggles, we would be set free from the shackles of the Western Canon and sexual oppression. This professor, and other professors, gently nudged me toward ideas that undermined the worldview I thought I held. Critical Theory and Queer Theory were the latest things, so those worldviews were being evangelized to us students with nearly the same vigor as St. Paul telling about Christ in Ephesus. As a paying student, I provided a captive audience to the message. As I was receiving this instruction and the evidence was presented for these interpretations, I recalled that quote from Nietzsche, where he mocked Christian apologists and theologians for using the approach of “when you are a hammer, everything looks like a nail.” He mocked Christians who found any stick of wood or twig in the Old Testament as a reference to the Cross. I know what Nietzsche meant, as the typology of linking Old Testament to New Testament does sometimes feel like a reach. But Christians are not alone in doing this. My professor obsessed with sexual preference was doing the same thing. From Sigmund Freud onwards, an obsession of finding sexual references in every possible shape, led to our modern priesthood of professors to seeing everything like a ten year old boy who had just discovered a Playboy magazine. Then there was Nietzsche himself, constantly finding his own thought as evidence for his own genius (his last published book was titled, Why I am So Wise). While I was taking these classes and receiving the transmissions of modern secular dogma, I began to realize that the close readings of texts were as strange and stretched as anything a Christian interpreter ever came up with. Actually, they are more than stretched, they are now completely broken. If Christians were finding the Cross in every stick of wood of the Old Testament, then the modern theorists were doing the same for sex and oppression. The problem is that there definitely are signals and references that exist regarding the Cross, but taken to the extreme they fall into a level of absurdity. But for my instructor that was looking for disordered sex in literature, any friendship, any handshake, any nod, squeeze of the hand, or look, or glance, any wink became undeniable evidence of a character's sexual intentions. The idea of friendship disappeared. There was only one type of love and that was the kind where people must sleep with one another. There was not a separation of types of love, which anyone in the real world understands. There is physical love (eros). There is friendship (philos). And there is the highest kind of love, which is sacrificial, unconditional love (agape). But in modern lit crit circles, there appears to be only the erotic. These interpretations are a one-trick pony and after a while, the trick gets to be routine and dull. A never-ending obsession with sex as our identity becomes as pathetic as the pursuit of crystal meth, because it's just one small part of life. In fact, the way we understand sex as an identity makes our bodies and lives so cheap, that it reminds me of the great quote from C.S. Lewis in The Weight of Glory.“It would seem that Our Lord finds our desires not too strong, but too weak. We are half-hearted creatures, fooling about with drink and sex and ambition when infinite joy is offered us, like an ignorant child who wants to go on making mud pies in a slum because he cannot imagine what is meant by the offer of a holiday at the sea. We are far too easily pleased.”Mud pies in the alley are fun as a child. But they lose their appeal, when the totality of life is so wonderful and awe-inspiring that to focus on one small aspect of existence is to miss the forest for a tree. The obsession with sex and oppression came off like a brain fever for two of my professors, because they could not speak for long without beginning to sound just like the overreaching Christian who grasped to link any wood object in the Old Testament to the Cross. The further the obsession became clear, the more thin the argument became. The linkages began to look like a crazy person's conspiracy wall, where every bit of art, literature, and history was connected by red yarn, to prove that Western Civilization was just a grand scheme to oppress and to stop people from the false heaven of “sexual freedom”. Instead, what I became convinced of is that the modern dogma is all one huge, ongoing protest to deny that sexual sin exists at all. The professors were doing exactly what every individual or group has done who doesn't like the existing rules against sin; they break the rule and form a new group that allows and argues for the sin. People really, really think they hate the Catholic church because it consistently sticks to a well-defined list of sins, and doesn't budge. But that is it's job, to preach and defend the faith and morals set forth by Christ, and carried forward by the Apostles, and by the Bishops ever after. Thus, they see the church as just a set of rules that is hateful. But the church doesn't hate anyone - they just won't affirm your sins. If you see the Church as a list of rules, you don't understand your sin. If you don't know your sin, you are still in darkness, because you don't know why you need a savior. And if you don't know your weakness and need for a savior, you will never know Christ. Period. When Jesus asks the apostles after washing their feet, “Do you understand what I have done for you?”, he is talking to you and I. To each of us, God asks, “Do you understand what I have done for you?” If you do, then you're life will radically change. Until you understand what the Creator has done for you, by coming here incarnate as a man - to forgive our sins, to transform our suffering, to defeat the devil, to regenerate our lives in water and spirit, and to raise us to eternal life - you won't understand who he is or what he has done for you. The main job of the Catholic Church is actually pretty simple: to speak truth, and speaking truth in love means saying no to sin. But even more so, it's job is to ask you, “Do you understand what Jesus has done for you?” And if you understand what he has done, your sin and need for a savior will be blindingly clear. Remember, Jesus wasn't killed for affirming the sins of others, he was killed for calling out their sins. Anyone who considers their sin to be a virtue, is on the wrong side of history, because God is outside of time and space - all of this time that we live in has happened for God. It's all done already. Thus, rejecting God and denying sin are the same thing. History is already done for God, and we have this glorious opportunity to cooperate or reject his grace right now. Accepting his grace doesn't just mean you go straight to euphoria, if means you recognize what he has done for you, and then you begin to see your flaws. You must go through the purgative way before you get to the illuminative and unitive way. Today, people want to jump straight to the unitive, but there is no pill or magic spell or transporter to skip the journey, as Dante showed us so well in the Divine Comedy. Five hundred years ago, protests against the rules formed new denominations, where our brothers in faith splintered into many groups that tweaked the rules to fit their desires for control and to allow some sins to be vindicated. But today, academics go to great lengths to go deeper to find that sin itself does not exist, that what we call sin is actually a feature of our DNA. Today, we don't go by “faith alone” but much of our non-spiritual direction uses “reason alone,” and reason alone in the wrong hands is a slippery as faith alone.A tendency toward alcoholism and same-sex attraction or gambling addiction are seen as genetic outcomes. But even if that's true (and it's very likely not true) the choice to drink to drunkenness or to have sex outside of marriage or gamble away the mortgage is still a choice. These are still actions beyond the temptation. “Lead us not into temptation,” is a prayer to ask for help in battling our concupiscence, also known as our urges to choose poorly. We all have our cross to bear. What we are tempted by does not require follow through in performance. We really want to deny something is a sin because we like the sin, and we go to great lengths to find cheerleaders that will confirm our desire. Interestingly, the sins that we want to deny, those related to alcohol or sex, we can pin to DNA, but no one does this for racism, which is also a sin. There is a sense that we can deny sin that “doesn't harm anyone but myself” but that's the problem. Sin always harms other people, even if the action happens alone or with another consenting person. There is no other result of sin but harm to oneself and to others, which is why Jesus and all of sacred scripture prohibits these actions. For fans of the show Breaking Bad, Walter White lives by “reason alone” and he always has reasons that make perfect sense to him and he portrays his actions externally as “doing it for the family,” while he destroys lives around him like a human volcano throwing lava everywhere. Chapter 7 of Mark shows a nice, short list that will save a lot of time, since people like to argue over what Jesus accepted and what he prohibited. He lists 13 things. It's not like he hid this list. It's right there. “From within people, from their hearts, come evil thoughts, unchastity, theft, murder, adultery, greed, malice, deceit, licentiousness, envy, blasphemy, arrogance, folly.” (Mk 7:18-23)Drunkenness (licentiousness and folly), sex outside marriage between a man and a woman (adultery and unchastity), and racism (evil thoughts and malice and deceit and arrogance) are all covered here. It's all very simple really. Jesus says, “Here's the list: don't do these.” In fact, evil thoughts and unchastity are the very first two things he mentions, which apply directly to racism and sex outside of a valid marriage between a man and a woman. So cheer up, there's a little something in Mark 7 for both of our American political parties and foes to soak up. Every human being is guilty of one or more of these thirteen things. The only person who is not guilty is Jesus. The greatest sin of all is to forget this. As always, pride is the gateway to sin, since it infects the heart, and the heart is where all the rest of these thirteen things take root.But I have not come this far to merely complain about professors or excessive allegory in Christian thought. I get what is happening today. We don't want to admit our sin any more than Adam or Cain wanted to. We want to divert the blame. We are all arguing for our favored worldview and trying to recruit others to our side. We want to win. We want to feel righteous. No one wants to be wrong. This is all expected. This is what we like to do. This is not new. My point is not to mock German philosophers or Critical theorists or Christian interpreters. The whole game of the tree of knowledge is “reason alone.” It is to argue your case against the will of God. Sports team plan strategy and tactics to win games. So do intellectuals with arguments. This is also why so much ink is spilled in making the case for each side. We require reason to make arguments, and ideally the argument aligns with our experience and feelings, but this doesn't always happen. This is why people switch sides as the phases of life unfold. Given enough time and grace, the rebellious teenager becomes a gentle grandparent. Even in our own lives, the lion lays down with the lamb, but it may take about eighty years to find a comfortable place to settle. Life experience and age carry great weight in determining what we believe is true, and in each phase of life we consider our experience to be the right one, the truth, the accurate assessment. Based on our experiences, we can use reason to determine what is true and good. But there is a problem in relying solely on pure reason. The problem is that pure reason ignores that a spiritual side exists at all. As soon as we do this, we can reason sin right out of the picture, as if it was White-Out. But just like using White-Out, it doesn't remove the ink or pencil mark beneath it, it's only covered up. It's still there. We know it's still there, and the paper is sullied beyond repair, unless some supernatural favor can clean it up. Reason can argue and twist anything into what we want it to be. For Luther, he recognized that sin was still there, and like the White-Out metaphor, he said that Jesus' redemption made us like a “dung hill covered in snow.” So he reasoned that we were still a piece of crap, but had some White-Out on us. He also pretty much tossed out free-will, and whatever he didn't toss out, Calvin heaved out the window shortly thereafter. Both of these men were trained as lawyers and you can see how their “faith alone” argument stemmed very much from an underlying line of reasoning that laid the pavement for the truck of unbelief and bad interpretations of scripture to ram its way through Christendom for the past 500 years. Today, we have everyone arguing for “reason alone,” but this devolves quickly into a pursuit of power, because unless you are using reason like Socrates, subjective bias creeps in quickly. Thus, in my university classes, the “reasoned arguments” of my Critical Theory evangelist professor was unmoored from objectivity entirely so that every character with a friend in every book could be sniffed out and spoken of solely in terms of sexual identity. With reason alone, or faith alone, when you are a hammer, everything looks like a nail. This is the problem with ideology, and Catholicism is the antidote and counter-culture that cures this hammer/nail problem. Reason alone assumes certainty can be had in everything, while living with “faith and reason” allows for the mystery and nuance, which is exactly what makes life with this body and soul interesting. If we only use argument to test our world, we cannot have a full game of life, because there is more to our body and soul than reason alone. There is a spiritual life. It's like playing tennis against a wall instead of against a real person. Eventually it becomes boring, because there are no surprises. The ball volleys back at the exact angle you expect. It's a game of Pong…forever. There is no spirit or life in the game. Also, you can never beat the wall, because it cannot fail to return the ball. You can never finish and shake hands with your opponent. When the spirit enters your life, then you can play a full game. Like Jacob: you can wrestle with God, but you can't wrestle with him unless you first admit he's there. Wrestling with yourself is even worse than playing tennis against a wall. In the end, to my surprise, the root problem that I was trying to solve wasn't an intellectual problem at all. There was a larger problem to solve. The problem I was trying to solve was spiritual, not material. It was not a mind problem, it was a soul problem. The soul surpasses the mind. For non-believers, soul and mind may seem like the same thing, but the soul transcends the mind. Collapsing the mind and soul into one thing kills the spiritual life. If you think of mind and soul as one and the same, then you have walled body away from soul. You have placed the mind solely on the body, in the material world. But the mind doesn't belong only with the body, nor does the soul disappear just because you built a wall. Souls can pass through walls. If you must wall off the concept of mind, better to place it with the soul rather than the body, since the mind is where prayer happens. If the mind can only serve the body, then your thoughts can never leave the ground, and you will be stuck with the pursuits that end in the Big Empty - wealth, pleasure, power, and honor. If there is only Mother Earth, then nature with all it's beauty is also the same nature that is red in tooth and claw. There is only competition. Better yet, tear down the wall, admit the soul, and embrace the mind as the intermediary. The mind links body into the soul. The denial of an immortal soul puts a limit on life, and a soulless mind makes the body a robot. The connection to God is in the soul. A mind that doubts the soul must invent meaning. Then come the strange gods, because they must. The gaping hole where the soul sits invites the odd gods to move in and take up space. They makes themselves at home and eventually will evict you if you don't evict them first. We can pretend the soul isn't in the room, but the elephant is still there. No matter how many blankets or tarps we use in trying to cover the elephant, it remains. Also, the elephant is too large to remove from the room, so it's there to stay. You may evict the unwanted housemates, but not the soul. The mind requires arguments as food for thought, but argument does not give life. Argument brings strife, not peace. To have peace, the mind needs certainty. To have life, the mind needs joy. This certainty and joy must come through the spirit, not from argument. The spirit is what animates and gives our body life. We think we need all the answers, but accepting that there is mystery beyond our knowledge can settle the unsettled mind. In the end, it wasn't an argument that won me over, just like it wasn't an argument that convinced the illiterate masses of people who followed Jesus before the Gospels were even written. Yes, the story of Jesus provides an argument, but it is more than merely an argument. As any doubting middle-school child knows, there are flaws in the argument. The resurrection stories alone sow doubt with the inconsistencies and contradictions, so clearly the argument of Jesus' story alone is not the only force in play. Something beyond argument changed the early Christians. Something beyond explanation changes people today. There was no book or argument that clinched the deal for the converted. There were no books at all to begin with. There was the story that people heard, of the victory of Jesus over death, but even that alone was not enough. We know that the story alone is not enough, because scholars who study for a lifetime struggle to reconcile the story of Jesus with the evidence. Doubt over the resurrection and his life in general makes writers and preachers talk about Jesus as much now as they did in the first century. Yet a person who cannot read at all can completely understand. People make radical life changes, as they are impacted so profoundly that it was clearly more than an argument that reached them. A poor person or a rich person can be equally affected. People from different nations and backgrounds can kneel beside one another as brothers and sisters, in complete unity on the basic facts laid out in the Apostles' Creed. The contradictions in the resurrection stories do not bother them one bit, to the great irritation of unbelievers. How is this possible? A touch of the spirit goes beyond reason. Something reaches down and turns the heart, sets it on fire. This cannot be explained except by the supernatural. I realize this sounds like UFO conspiracy theorists who seem to say, “When in doubt, it must be aliens.” This is bigger than aliens. The truth is that aliens would also be creatures of this universe, meaning they were created. This is bigger than any created creature and more strange as well. The difference between unbelievers and believers is where reason is placed in the order of things. For many people today, reason exceeds faith. If reason is the highest good, the world of spirits dies. Reason alone cannot tolerate mysteries. But for those who place faith higher than reason, there are mysteries and they are glorious mysteries. The odd thing about placing faith higher than reason is this: when we live purely in reason, we want certainty and no hocus pocus. But when we live in faith, we get certainty but can also keep reason. The Christian biologist can believe in the certainty of the resurrection while exploring the depths of the physical world. The Christian astronomer can believe in an immortal soul while studying the pillars of creation in the night sky. The atheist biologist or astronomer must find all the answers in the cells, atoms, and universe. For the believer, reason is still maintained, but it submits to faith. Something strange happened when I came to understand this hierarchy. I realized that there are different types of “knowing.” Those who have little worldly wisdom or factual knowledge can hear the name Jesus Christ and come to understand that he is God, while the wisest and wealthiest people cannot understand. Where the light of Christ shines, the problem is solved. This awakening changes lives, to the point that all prior experience becomes illuminated in a new way. All the problems are solved through the mystery of the Cross and the Resurrection. This world of chaos and order, of suffering, of pain, of joy, of peace, all suddenly make sense. The puzzle is solved. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.whydidpetersink.com

This month we start with Mike Burns' choice for the high school book he hated, the not subtly homoerotic Billy Budd by Herman Melville.  "Billy Budd, Sailor has been called the best short novel ever written. In his brilliantly condensed prose, Herman Melville fashions a legal parable in which reason and intellect prove incapable of preserving innocence in the face of evil. For all those who feel themselves threatened by a hostile and inflexible environment, there is special significance in this haunting story of a handsome sailor who becomes a victim of man's intransigence." From the back cover of the Enriched Classics Edition.  How will Billy Budd hold up? Host: Dr. Nic Hoffmann Co-Host: Mike Burns and Mike Carroll    

We're a happy family this week on The Sopranos Podcast, because we get to cover this awesome hour of storytelling! Season five is on fire with no threat of cooling down anytime soon. In "All Happy Families..." we bear witness to AJ's disrespect of Carmela, Carmela's loneliness, and a hell of a swerve in the Feech LaManna storyline! All sorts of fun discussion to be had here about literature, finally meeting Mr. Wegler (of season 4 Billy Budd fame), some really hilarious celebrity cameos, a wedding robbery, a laugh out loud Melfi scene, all while telling a profoundly sad story of a disintegrating family, leaving it's nurturing matriarch to wander an immaculate mansion by her lonesome. All this and so much more, right after we unglue our faces from the rug...   TheSopranosPodcast@Gmail.com @TheSopranosPodcast - Facebook & Instagram @SopranosPodcast - Twitter

Ladies and gentlemen...we got 'im. A guest, that is! Today the lovely and talented Forrest Tiffany (@forresttiffany) joins us to talk Michael Cimino's 1974 road trip bank heist film THUNDERBOLT AND LIGHTFOOT. We welcome Geoffrey Lewis and George Kennedy to the Pod Casty cast of guys and investigate what this film has to say about American masculinity halfway through the 70s. There is also a quiz at the end. Topics include: the real-life highwaymen who inspired the book that inspired the movie that inspired this movie, convertibles, what's in Montana, Jeff Bridges in drag, exactly who pistachio ice cream is for, how easy it seems like getting a (lousy) job used to be, Ian's reading of the film with respect to Melville's Billy Budd, and the photo on the Wikipedia page for Michael Cimino. Follow Pod Casty For Me: https://twitter.com/podcastyforme https://www.instagram.com/podcastyforme/ https://www.youtube.com/@podcastyforme Artwork by Jeremy Allison: https://www.instagram.com/jeremyallisonart  

Tahu Matheson has worked for Opera Australia since 2007. He became Head of Music for the company in 2017. He studied piano with Kalle Randalu in Germany, and with Oleg Stepanov and Natasha Vlassenko at the Queensland Conservatorium, where he completed his Master of Music. He is a frequent accompanist for international artists including Teddy Tahu Rhodes, Anthony Dean Griffey, Yvonne Kenny and Emma Matthews. His Opera Australia repertoire includes - Conductor of Tosca, L'elisir d'amore, The Magic Flute and The Pearlfishers at Sydney Opera House; Aida on the Beach and tours of Don Giovanni. Tahu was Assistant Conductor of the Ring Cycle, Bliss, Falstaff, Otello, Rigoletto, Carmen, Capriccio, Of Mice and Men, The Barber of Seville, Lucia di Lammermoor, Werther, The Magic Flute, La Bohème, La Traviata, Madama Butterfly, La sonnambula, Orpheus in the Underworld, A Streetcar Named Desire, Billy Budd and Don Giovanni. For other companies Tahu has conducted Kurt Weill's The Seven Deadly Sins for Victorian Opera. This work was paired with the premiere of a new work by four Australian Composers, of the same name, but with updated subject matter and music. Tahu has conducted many concerts including a concert performance of a new opera, Nelson, by Stuart Greenbaum in London, and a performance of Beethoven's Ninth Symphony for 4MBS Radio in Brisbane. He recently made his debut with the Queensland Symphony Orchestra. Tahu performed the Rachmaninov Preludes Op 23 and the world premiere of Ten Concert Studies for Piano, written for him by Edwin Carr (New Zealand International Festival of the Arts – recorded on CD for international release by Kiwi Pacific Records). Tahu has been a soloist in the major concert venues throughout Australia and New Zealand, toured for Musica Viva and Chamber Music New Zealand, and been broadcast on New Zealand and Australian radio and television. Through November and December Tahu Matheson conducts Opera Australia's brand new, Sydney-exclusive open-air event, Opera on Cockatoo Island, with a gritty new production of Bizet's much-loved Carmen, giving visitors a thrilling opportunity to experience world-class opera under the stars with stunning harbour views. STAGES caught up with Tahu at his place of work - Opera Australia - to discover what's in store for audiences attending Carmen, and the gateway through which he discovered his passion for telling big stories on the Operatic stage. The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages). www.stagespodcast.com.au

It is perhaps the greatest scandal and sea-story of the first half of 19th Century America that nearly everyone has forgotten. It led to a court martial, endless headlines, a fistfight in a meeting of the President's cabinet, and quite possibly to the foundation of the United States Naval Academy. And given that nearly everyone who went to see in the early American republic seemed to know one another, there was one degree of separation between this story and James Fenimore Cooper, Herman Melville, Richard Henry Dana, Jr., Commodore Matthew Calbraith Perry, and future Confederate naval captain Raphael Semmes. It was nothing less than an attempted mutiny aboard the USS Somers in November 1842, led by–of all the people in the United States of America—the son of the United States Secretary of War who supposedly wanted to become a pirate. With me to discuss this incredible story is James Delgado, historian and underwater archaeologist, whose new book is The Curse of the Somers: The Secret History Behind the US Navy's Most Infamous Mutiny   For Further Investigation James Fenimore Cooper: proud of his four years a merchant sailor and then a midshipman in the United States Navy, Cooper's fourth novel was The Pilot: A Tale of the Sea, probably the first American nautical novel. Richard Henry Dana, Jr.: now curiously forgotten, Dana was a Harvard dropout who enrolled as a merchant seaman, sailed to California and back, wrote about it in a bestseller titled Two Years Before the Mast, and then went on to become a prominent lawyer. Commodore Matthew Calbraith Perry: young brother of naval hero Oliver Hazard Perry, "Old Bruin" became one of the most prominent officers of the US Navy between 1814 and 1861, most famously leading the expedition that forced Japan open to trade and international interaction Raphael Semmes: once commander of the USS Somers, he became an officer in the Confederate Navy, and most famously commanded the CSS Alabama Herman Melville: elements of the Somers mutiny can be found in both White Jacket and Billy Budd

The penultimate episode "Eloise" baffled Chris, Paul, and Jordan in the best possible way. For three seasons, The Sopranos have given us wild and explosive penultimate episodes. They completely change it up this year though! Even the gangsters are being passive-aggressive. The rich action is all happening underneath the surface for our characters as Furio leaves town, New Jersey and New York's problems come to a head, Junior's trial takes a dark turn, and Paulie realizes he's been played. It's a contemplative, unnerving, and deep episode, driven by an absolutely elegant script, themes of parental jealousy, a white glove motif, and a monumental performance by Edie Falco. Plus! Paul spits fire for all of us as he breaks down Billy Budd. All this and more, right after we disappear to Naples for Christ's sake...   TheSopranosPodcast@Gmail.com @TheSopranosPodcast - Facebook & Instagram @SopranosPodcast - Twitter

Herman Melville (1819-1891)   Most famously the author of Moby Dick but his best work is Bartleby the Scrivener (1853) - “I would prefer not to.”   Billy Budd (1891) - left unfinished at this death Our preferred adaptation is a loose one - Beau Travail directed by Claire Denis (1999) As adapted into an opera by Benjamin Britten - Billy Budd (1951) https://www.youtube.com/watch?v=q6cdCuKhjKM   Thank you to Powerbleeder for the theme song "Future Mind" listen here! Other Music: "Farewell to thee, old Rights o' Man" from the Billy Budd opera by Bitten

For this episode in our Patreon-exclusive series on Franz Kafka's The Trial, we're joined by Martin Kessler to discuss unfinished masterpieces, over-finished masterpieces, post-humous puzzles, re-edits, rejiggerings, and all manner of ways in which the “completeness” of a masterpiece can remain unresolved. Naturally, Kafka's work leads the way in the discussion, but quickly turns to artworks ranging from the various film versions of Don Quixote to Bizet's Carmen to Blade Runner, The Confessions of Felix Krull, Zulawski's On the Silver Globe, German's It's Hard to be a God, Billy Budd and The Good Soldier Schweik. Support our Patreon:
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twitter.com/TheLastMachine Intro music: Unleash the Bastards / “Tea for Two”
 Outro music: Marcus Pinn / “Vegas"

The Piazza Tales by Herman Melville audiobook. A collection of six short stories by American writer Herman Melville, published in May 1856. Except for the newly written title story, "The Piazza," all of the stories had appeared in Putnam's Monthly between 1853 and 1855. The collection includes what has long been regarded as three of Melville's most important achievements in the genre of short fiction, "Bartleby, the Scrivener", "Benito Cereno", and "The Encantadas", his sketches of the Galápagos Islands. (Billy Budd, arguably his greatest piece of short fiction, would remain unpublished in his lifetime.) One should note that the era's prevalent racism occasionally surfaces, as in describing blacks as "indisputable inferiors", to be found in "Benito Cereno".

Join us in Vegas for our CSR Live From LVG! - Friday, Saturday & Sunday, October 21 – 23, 2022 | 5:00 pm to 7:oo pm Country Squire Radio – Jon David Cole & Beau York - Saturday, October 22nd! Details: Las Vegas International Pipe Show - The Premiere Show for Pipe Enthusiasts (vegaspipeshow.com) Pipe Question: (From Taylor) Love the show and love the Squire for all of its amazing blends. I'm a big Tolkien nerd, so when I first saw you guys had a Middle Earth series I lost my mind. I mention the ME series because I have started doing some home blending myself to create Southern Star, the third and mostly forgotten of the pipeweed of the South Farthing. My question is, do you have any good tips for a home blender? I note down everything I taste in a notebook, but if you have any other advice I would love to hear it. Warm regards, Taylor Freet Quick Fire Questions: John Coatney Confirmed Pipe SMokers of Fiction & Literature Edition Sherlock Holmes or Gandalf Haunted Bookshop (the book) or Billy Budd (the book) Trumpkin the dwarf or Puddleglum the Marshwiggle (Chronicles of Narnia) Listener Feedback: (From Davey J) hey fellas, hope you both had a good recharge in FL. sounds like you boys needed some much needed bro time. really hope you found it, take care and peace be with you both. (From Dragon Faerie) Super excited to try Rivendell and Second breakfast for the first time! As a female piper, I can't help but feel like I'm in Victorian times!

Along with special guest Longinus, the boys drink and review Pigweed's homebrew clone of Steady Eddy IPA, then discuss Melville's last major work. The story of Billy Budd is carefully crafted to create a tale of moral confusion and conflict. Set after the French revolution, and very shortly after two significant mutinies in the British fleet, the innocent Billy has run afoul of the law on a British warship. His case cries out for leniency, but it's not a time for leniency. The story makes you believe Melville was struggling with the conflict between justice and mercy. This is a short, dense work, that's well worth your attention.

Where we talk about: Herman Melville;  Moby Dick;  Bartleby the Scrivener; Billy Budd;  Herman Melville at Home by Jill Lepore: https://www.newyorker.com/magazine/2019/07/29/herman-melville-at-home ;  The Beige Moth blog: https://beigemoth.blog/moby-dick/ ;  In the Heart of the Sea;  Drifting Dragons;  and more!

Welcome to our finale of Herman Melville folks.  The end of his depressing, destructive life, and yet the birth of Billy Budd, the "Handsome Sailor", a man so thicc with love, that he climaxes our hearts.  Anyway, we'll be covering some of his most memorable stories here as well, including "Bartleby" and "Benito Cereno" as well.  High school English course, here we come!

Follow the show!Twitter - @loneactingnomsLetterboxd - @loneactingnomsInstagram - @theloneactingnominees Music Licensing:Bad Ideas - Silent Film Dark by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/Source: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100489Artist: http://incompetech.com/

durée : 00:28:46 - Personnages en personne - par : Charles Dantzig - Qui est Billy Budd? Le beau marin, que l'on appelle parfois "Bébé Budd". Le héros de Melville engendre l'amour et la haine. Sa beauté est une malédiction. - invités : Marc Amfreville Professeur de littérature américaine du XIXe siècle à l'université Paris-Sorbonne

Along with special guest Longinus, the boys drink and review Pigweed's homebrew clone of Steady Eddy IPA, then discuss Melville's last major work. The story of Billy Budd is carefully crafted to create a tale of moral confusion and conflict. Set after the French revolution, and very shortly after two significant mutinies in the British fleet, the innocent Billy has run afoul of the law on a British warship. His case cries out for leniency, but it's not a time for leniency. The story makes you believe Melville was struggling with the conflict between justice and mercy. This is a short, dense work, that's well worth your attention.

Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!Herman Melville, orig. Herman Melvill, (born Aug. 1, 1819, New York, N.Y., U.S.—died Sept. 28, 1891, New York City), was a U.S. writer. Born to a wealthy New York family that suffered great financial losses, Melville had little formal schooling and began a period of wanderings at sea in 1839. In 1841 he sailed on a whaler bound for the South Seas; the next year he jumped ship in the Marquesas Islands. His adventures in Polynesia were the basis of his successful first novels, Typee (1846) and Omoo (1847). After his allegorical fantasy Mardi (1849) failed, he quickly wrote Redburn (1849) and White-Jacket (1850), about the rough life of sailors. Moby-Dick (1851), his masterpiece, is both an intense whaling narrative and a symbolic examination of the problems and possibilities of American democracy; it brought him neither acclaim nor reward when published. Increasingly reclusive and despairing, he wrote Pierre(1852), which, intended as a piece of domestic “ladies” fiction, became a parody of that popular genre, Israel Potter (1855), The Confidence-Man (1857), and magazine stories, including “Bartleby the Scrivener” (1853) and “Benito Cereno” (1855). After 1857 he wrote verse. In 1866 a customs-inspector position finally brought him a secure income. He returned to prose for his last work, the novel Billy Budd, Foretopman, which remained unpublished until 1924. Neglected for much of his career, Melville came to be regarded by modern critics as one of the greatest American writers.From https://www.britannica.com/summary/Herman-Melville. For more information about Herman Melville:Previously on The Quarantine Tapes:Greg Grandin about Melville, at 01:55: https://quarantine-tapes.simplecast.com/episodes/the-quarantine-tapes-054-greg-grandinMoby Dick: https://www.simonandschuster.com/books/Moby-Dick/Herman-Melville/Folger-Shakespeare-Library/9780671028350“The Life of Herman Melville”: https://www.pbs.org/wgbh/americanexperience/features/whaling-biography-herman-melville/“Herman Melville at Home”: https://www.newyorker.com/magazine/2019/07/29/herman-melville-at-home

Simon Phillips began his career in New Zealand before emigrating to Australia in 1984 to take up a position as lecturer and director at the West Australian Academy for Performing Arts. In 1987 he joined the Melbourne Theatre Company as Associate Director and in 1990 he was appointed Artistic Director of the State Theatre Company of South Australia. After freelancing nationally and internationally between 1994 and 1999, he returned to MTC as Artistic Director from 2000 to 2011, overseeing the design and construction of the company's new headquarters and the Southbank Theatre.His directing credits range from new works to contemporary and Shakespearean classics, to musicals, to opera. He has directed works by most of the great contemporary writers: Albee (A Delicate Balance), Beckett (Happy Days), Brecht (Arturo Ui), Churchill (Cloud Nine/Serious Money), Hare (The Blue Room), McDonagh (The Pillowman), Orton (What the Butler Saw/Entertaining Mr Sloane), Shepherd (Buried Child, A Lie of the Mind), and Stoppard (Arcadia, Rock'n'Roll).He has also directed the premieres of many new works by leading Australian writers, including David Williamson, Matt Cameron, Hannie Rayson, Stephen Sewell and Joanna Murray-Smith.Simon's musical credits in Australia include Love Never Dies, Priscilla, Queen of the Desert (which has had numerous international seasons including The West End and Broadway), The Twenty-Fifth Annual Putnam County Spelling Bee, Urinetown the Musical, Company, The Threepenny Opera, Cabaret, Muriel's Wedding - the musical, Ladies in Black, Dream Lover, An Officer and a Gentleman and High Society. In New Zealand he directed Oliver!, Chicago, Jesus Christ Superstar and The Pirates of Penzance.Among his many classical productions, The Tempest, Julius Caesar, A Comedy of Errors and The Importance of Being Earnest all toured nationally in Australia. Simon's opera credits include: La Bohème, Falstaff, L'Elisir d'Amore and Lulu for Opera Australia, The Magic Flute and Don Giovanni for Opera New Zealand and A Midsummer Night's Dream and Billy Budd for Hamburg State Opera.Simon is the recipient of many Australian Theatre awards and has an Honorary Doctorate from the University of Melbourne. He recently directed As You Like It for the Melbourne Theatre Company and has now turned his focus to Sydney with an adaptation of North By Northwest, and a thrilling new production of The Phantom of the Opera for Opera Australia; they take to the stages of the Lyric Theatre and Sydney Harbour. He discusses these exciting theatrical ventures, as well as his illustrious career, in this compelling episode of STAGES.The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

The Lightning Rod Man is a short audio play based on the story by Herman Melville. Melville is best known to us as the author of such classic novels as Moby Dick and Billy Budd. But Melville also had a lighter side. In The Lightning Rod Man he has fun contrasting the person who appreciates and embraces life, despite all of its hazards, with the person who fears it. The short play opens during a thunder storm, when a man selling lightning rods shows up at the door of a man who is in awe at the majesty of thunder and lightning.

Inspired by the Herman Melville novella Billy Budd, and shot on a small budget and in defiance of the French Military, the production of this movie saw more combat than actually ended up on the screen. But this tale of bitter obsession in a unit of the French Foreign Legion is as beautiful as it is confounding. Directed by Claire Denis with Cinematographer Agnes Goddard behind the camera, next week we try our hand at our first bona fide Art Film. Available as a Criterion disk or on their streaming service (free 14-day trial). Next Episode: Argo (2012) Feel free to contact us with any questions or comments! Our website: www.dangerclosepod.com Or join our Facebook group at: Danger Close - Podcast Discussion Group (https://www.facebook.com/groups/1442264899493646/) If you like the show, please leave us a review on Apple Podcasts or Spotify If you would like to support the show and get extra episodes where we discuss sci-fi, fantasy, and comedy war movies, go to our Patreon page at: www.dangerclosepod.com/support warmovies #warfilms #war #film #films #movies #history #cinema #frenchforeignlegion #africa