Podcasts about Canto

KEXP and BIME present Live on KEXP in Bilbao with Roy Borland performing at Iglesia de la Encarnación. Recorded October 28, 2025. Considérame Mundo Azul Ramblin' Rose Aleluya Soldados Subacuáticos Canto a la Luna Roy Borland - Guitar, VocalsCarlos Clerencia - CelloDavid Sanz - SaxophoneNuria Martinez - KeysPatricia Colado - Cello Live on KEXP in Bilbao is a partnership with BIME. Recorded at Iglesia de la Encarnación in Bilbao, Spain. Host: Albina CabreraAudio Engineer: Kevin SuggsGuest Audio Engineer: BIME Audio Team & Mario CaballeroAudio Mixer: Roy BorlandMastering Engineer: Matt OgazSupport the show: https://www.kexp.org/donateSee omnystudio.com/listener for privacy information.

Beatrice continues to lead Dante toward contrition, pointing out both the purposes of her body (or corpse) and the ways he has failed to followed her lofty beauty.She finishes her second salvo at the pilgrim with a rhetorical flourish, showing the reader (and Dante) that she is a master of rhetoric, someone who commands a high, elevated style of poetry--that is, a fusion of the literal and the metaphoric that will become increasingly necessary to describe the PARADISO experience.Join me, Mark Scarbrough, as we look at the conclusion of Beatrice's second run at the pilgrim Dante and find the ways that she is directing both him and his poetry.To support the work of this podcast with a small monthly stipend or a one-time gift, please visit this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:09] My English translation of PURGATORIO, Canto XXXI, Lines 49 - 63. If you'd like to read along or continue the conversation with me, please find the entry for this episode on my website, markscarbrough.com.[03:19] Glossing the full passage: "beauty" three times, high rhetorical style, low vulgar vocabulary, and an aphoristic ending.[13:15] Rereading Beatrice's second salvo at Dante: PURGATORIO, Canto XXXI, lines 22 - 63.[15:22] The uneasy but crucial balance between allegorical/metaphorical language and literal/realistic language.[18:57] Beatrice: negative space made flesh.[23:38] Renegotiating COMEDY v. intending these revelations all along.[28:06] High rhetorical style in Dante's vernacular mouth.

In the 11th Canto of the Śrīmad-Bhāgavatam (11.5.36), Karabhājana Muni gives us the essence of advice about yajña. He says: kalim sabhājayanty āryā guṇa-jñā sāra-bhāginaḥ yatra saṅkīrtanenaiva sarva-svārtho 'bhilapyate He says, in the Kali-yuga age, people who are intelligent understand the purpose of life. Kalim—in Kali (check your watch and see if it's Kali-yuga; they have that on the new Apple Watch, you can push a button and see what yuga it is!). Kalim sabhājayanti āryāḥ—the āryas, those who are high thinkers, they understand a principle that you can apply today. They are sāra-bhāginaḥ. They know what the nectar, or the essence of life, is; they know how to extract the value of this life. Don't be tricked by false promises in the material world. We cannot be successful by material adjustment; it only creates more anxiety. But we can be successful through spiritual knowledge and technology. So, in Kali-yuga—check and see—kalim sabhājayanti sāra-bhāginaḥ yatra saṅkīrtanena sarva-svārtho 'bhilapyate. Sarva means "all" and artha means "all your necessities, all your desires." Abhilapyate—they can all be perfectly fulfilled. Lord Caitanya Mahāprabhu showed by example how to have a successful life. And He was here recently in geological time; He was here only "five seconds" ago. "Here" means right here in Madurai. He came here twice, and He showed how to be a successful human being, a sukhi nara. Everyone say: sukhi nara. It sounds Japanese, but actually it is sanskrit! Sukhi nara means "happy human." Who wants to be a sukhi nara? Okay, only half said yes! Then Karabhājana Muni reveals Lord Caitanya's purpose in the Śrīmad-Bhāgavatam even before Lord Caitanya appeared, and that is to use this life for sacrifice (yajña). Someone may say, "Well, how should I perform the sacrifice? Should I get lots of ghee and grains and build a yajña-śālā that will light up the sky and pour all the ghee and grains into the fire? Shall I go to the Himalayas and find a cave in which I can meditate? Shall I build a gigantic temple made of stone with 400 spires on top?" Karabhājana Muni says, "Perform this sacrifice." Check and see: is it still Kali-yuga? If it is Kali-yuga, then he says: perform saṅkīrtana. It means to congregationally chant the names of God. Caitanya Mahāprabhu learned this from His spiritual master: harer nāma harer nāma harer nāmaiva kevalam kalau nāsty eva nāsty eva nāsty eva gatir anyathā Just take shelter of the process of saṅkīrtana, and give everyone else an opportunity to take this process. Chant Hare Kṛṣṇa and teach it to everybody. By way of spreading the saṅkīrtana, we should also distribute transcendental literature, because it is "written kīrtana" that will transform the world. When we are engaged in the yajña for the age fully, we can overcome the inconveniences and the troubles of the Kali-yuga age. We can also attain the goal of life .------------------------------------------------------------ To connect with His Grace Vaiśeṣika Dāsa, please visit https://www.fanthespark.com/next-steps/ask-vaisesika-dasa/?utm_source=youtube&utm_medium=video&utm_campaign=launch2025 ------------------------------------------------------------ Add to your wisdom literature collection: https://iskconsv.com/book-store/?utm_source=youtube&utm_medium=video&utm_campaign=launch2025 https://www.bbtacademic.com/books/?utm_source=youtube&utm_medium=video&utm_campaign=launch2025 https://thefourquestionsbook.com/?utm_source=youtube&utm_medium=video&utm_campaign=launch2025 ------------------------------------------------------------ Join us live on Facebook: https://www.facebook.com/FanTheSpark/ Podcasts: https://podcasts.apple.com/us/podcast/sound-bhakti/id1132423868 For the latest videos, subscribe https://www.youtube.com/@FanTheSpark For the latest in SoundCloud: https://soundcloud.com/fan-the-spark ------------------------------------------------------------ #spiritualawakening #soul #

Ever since INFERNO, Canto I, we've never fully understood why Dante woke up lost in that dark wood.Now, in the Garden of Eden, Beatrice brings him to the point where he can voice what he did wrong. He can finally offer his confession.It was all about her all along. And maybe about what he wrote. And maybe about another woman who caught his eye. Or maybe all of it at once.Join me, Mark Scarbrough, as we explore the moment in PURGATORIO in which Beatrice finally brings the pilgrim to his full confession.If you'd like to support this podcast, consider a small monthly stipend or a one-time donation, using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:12] My English translation of PURGATORIO, Canto XXXI, Lines 22 - 48. If you'd like to read along or continue the conversation with me, please find this episode's entry on my website, markscarbrough.com.[03:16] An easy outline of this passage.[04:27] Recasting Dante's faults into metaphoric language.[09:18] Dante's confession.[12:40] Beatrice and the formal form of "you."[14:34] Her acceptance of Dante's confession, leading him to contrition.[18:15] Beatrice: allegory v. realism.[23:15] Rereading the passage: PURGATORIO, Canto XXXI, lines 22 - 48.

Wailing, Dante comes in for Beatrice's impatience. He hasn't responded yet to her charges, so she turns the spear point of her words on him.He cracks . . . and in doing so, loses language, words, the very things that are the heart of his craft.Canto XXXI opens with an intensely emotional scene, meant to bring the pilgrim right to the brink of his ability to handle things . . . about like what happened with Francesca in INFERNO, Canto V.Join me, Mark Scarbrough, as we explore the second canto of PURGATORIO that is centered on the pilgim Dante's interiority . . . and his craft as a poet.Here are the segments for this episode of WALKING WITH DANTE:[01:49] My English translation of PURGATORIO, Canto XXX, Lines 1 - 21. If you'd like to read along or continue the conversation with me, please find the entry for this episode on my website, markscarbrough.com.[03:36] Prefatory remarks on PURGATORIO, Canto XXXI.[07:02] A node of Dantean irony in a very serious canto.[10:14] Confession, the first step to forgiveness for Dante (but not for the church).[15:49] The master poet and the failure of his language.[24:29] Dante, the cracked crossbow.[28:15] The return of Francesca.[30:34] Rereading PURGATORIO, Canto XXXI, lines 1 - 21.

Summary: "Mystery" — Tim's Ra Contact Night Opening Doug offered an invocation acknowledging the group as the One Infinite Creator experiencing itself, emphasizing that living life through intention becomes the gift returned to the Creator—"giving back the glory." Core Teaching: The Nature of Mystery Tim structured his presentation around Ra's statement that "all begins and ends in mystery" (28.1), weaving together personal testimonies, Ra quotations, and contemplative reflection. The Paradox of Third Density Tim opened with a central paradox: Third density is explicitly not the density of understanding, yet we are compelled to seek understanding. Ra states: "We are those who are of the Law of One. In our vibration the polarities are harmonized, the complexities are simplified, the paradoxes have a solution. We are one. That is our nature and our purpose." (Ra, 1.1) Yet for third-density beings, paradox remains unresolved—and this is by design. As Tim noted, "Seeking for understanding while we do not pass go, collect $200... somehow, we have to find mystery and flow with it while living life." Personal Encounters with Mystery Members shared formative experiences of touching mystery: Tim — At age 11, watching snow fall through a lamplight window in Utah. "What I felt was not conceptual... just pure experience. Almost just experiencing mystery or the stillness." Russell — A canoe trip in the Boundary Waters under starlight, feeling something supernatural was about to happen. "Was I about to be revealed in mystery, and I said no?" Troy — Age 5–7, experiencing the strangeness of being: "It's so strange to be me." He had to reassure himself: "You are you, and that's all there is to it." He identified this as touching "the infinite mystery of beingness." Doug — His UFO encounter in first grade. Ra speaks of the Confederation using sightings "to evoke mystery" and call the viewer "into a deeper mystery" (53.3). Beyond this, Doug noted a chronic existential mystery: "Who am I in this situation?" Nathan — A precognitive dream of a green-painted iron stake that manifested the same morning—an impossible puzzle piece that "rattled around my whole life until I found the Law of One." Clara — As a child running to her parents' room during storms, she would see a picture of an angel with two children on a bridge. Years later, her mother insisted no such picture ever existed. "Somewhere I knew I was protected." Ra's Teaching on Mystery and the Archetypical Mind (Sessions 96–97) Tim traced Don Elkins's attempts to "purify" the tarot by removing corrupted additions. Ra cooperated but then offered this correction: "It is not possible to offer what you may call a pure deck... The removal of all distortion is unlikely, and to a great extent, unimportant." (96.4) Tim identified this as one of the most liberating teachings in the material. Don's desire to "figure things out" mirrors our own seeking—yet Ra gently redirects: "May we ask the student to look up from inward working and behold the glory, the might, the majesty, mystery, and the peace of oneness." (97.9) The archetypical mind, Ra explains, "does not resolve any paradox or bring all into unity. This is not the property of any resource which is of the third density" (97.9). The tarot, the mind complex, conceptual frameworks—none can deliver final resolution. What they can do is develop "the faculty of faith and of the will." Mystery as Self-Recognition Troy's childhood experience became the interpretive key. Tim observed: "Ra makes it very clear that the mystery is our encounter with our true nature. It's us learning and turning to see ourselves and kind of surprising ourselves." The One Infinite Creator knows itself through infinite perspectives. What we touch externally as "mystery"—snowfall, starlight, a strange dream—is actually recognition of something within. We are the mystery. Ra states: "The rhythms are clothed in mystery, for they are being itself" (97.9). Doug's earlier writing captured this: "We ARE the mystery... the wholeness of the sacred universe whose form is structured by sacred geometry exists inside of you and me." Mystery and the Limits of Understanding Tim quoted a Talmudic saying: "Ain mazal l'Yisrael" — "For Israel, there is no fate." Despite all astrological and karmic factors, we possess agency. The stars do not control our destiny; we can "play with the mystery however we want to manifest it." Ra's teaching reinforces this. While the veil creates conditions of not-knowing, we retain the capacity for choice. The mystery is not obstacle but invitation. Integration: Love, Light, and the Mystery Doug offered a framework for understanding mystery's relationship to love and light: Mystery — Not something we cannot know, but something we can know infinitely without ever exhausting. Each new route to truth "enlightens and enlivens the core." Love — The energy to explore mystery. "The seeking, the luring... the hounds of heaven constantly barking to keep going further." Light — The consciousness, the gnosis, the "Eureka" of a moment where mystery unfolds. Then it "collapses back down into the next rung of the ladder, where we are now beckoned to explore the mystery in more complex ways." DeMarcus's Synthesis DeMarcus connected Hindu cosmology to Ra's teaching: "There's an ancient Vedic scripture that says not even the gods and goddesses are able to understand the nature of Brahman." He noted that even sixth-density entities experience mystery, and eighth-density remains incomprehensible to those in fifth. "Mystery seems to be the great attractor... almost the reason for experience. It all begins in mystery, it's what starts the creation, it all ends in mystery." Closing Reflection: Sri Aurobindo's Savitri Tim concluded with verses from Sri Aurobindo's epic poem (Book 9, Canto 1): Because thou hast chosen to share earth's struggle and fate, And leaned in pity over earthbound men, And turned aside to help and yearned to save, I bind by thy heart's passion thy heart to mine. Now will I do in thee my marvelous works. When all thy work in human time is done, In the heart of my creation's mystery, I will enact the drama of thy soul, Inscribe the long romance of thee and me. Troy responded: "One of the most beautiful bits of interaction with God and soul that I've ever heard." Closing Prayer (Troy) "Holy One, Beyond all knowing, You stir the depths where words cannot reach. In stillness, we bow before your mystery—not to solve, but to adore. Open our hearts to wonder, that in all we cannot grasp, we may find you waiting. Amen." Community Notes Doug proposed that next week's gathering include personal introductions—each member sharing who they are and what brings them to Building 4th. Tim emphasized that mystery unites us across time and culture, citing a 700-year-old Zen poem by Musō Soseki describing the same bone-chilling stillness he experienced as a child in Utah. The evening modeled the community's practice: weaving Ra Material, contemplative poetry, and lived experience into collective seeking.

Beatrice finishes her first indictment of Dante by showing him the fit subject matter for his abundant talent: her and the damned.She accuses him of chasing after false images, then of discounting her own inspiration in dreams. She ends with her final hope: to descend to the doorway of the dead and get the pilgrim started across the known universe.Join me, Mark Scarbrough, as we explore the final lines of PURGATORIO, Canto XXX: Beatrice's first indictment of Dante.Here are the segments for this episode of WALKING WITH DANTE:[01:25] My English translation of the passage: PURGATORIO, Canto XXX, Lines 127 - 145. If you'd like to read along or continue the discussion with me, please find the entry for this episode on my website, markscarbrough.com.[03:16] In praise of Beatrice's elevated rhetoric.[05:20] The erotic tension between Beatrice and Dante.[07:59] First callback in the passage: to either the Siren in PURGATORIO XIX or to the second woman in the VITA NUOVA.[10:22] Second callback: to either Beatrice's eyes or her appearance in a dream toward the end of the VITA NUOVA.[13:43] Third callback: to Limbo (and Virgil).[15:37] Dante's search for the subject matter that will fit his talent.[16:47] Four levels of interpretation for Beatrice's first indictment: literal, moral, allegorical, and anagogical.[21:31] When was Dante supposed to purse these failings on the mountain?[23:27] Rereading the passage: PURGATORIO, Canto XXX, lines 127 - 145.

https://sastrajam.com/campaigns ------------------------------------------------------------ To connect with His Grace Vaiśeṣika Dāsa, please visit https://www.fanthespark.com/next-steps/ask-vaisesika-dasa/?utm_source=youtube&utm_medium=video&utm_campaign=launch2025 ------------------------------------------------------------ Add to your wisdom literature collection: https://iskconsv.com/book-store/?utm_source=youtube&utm_medium=video&utm_campaign=launch2025 https://www.bbtacademic.com/books/?utm_source=youtube&utm_medium=video&utm_campaign=launch2025 https://thefourquestionsbook.com/?utm_source=youtube&utm_medium=video&utm_campaign=launch2025 ------------------------------------------------------------ Join us live on Facebook: https://www.facebook.com/FanTheSpark/ Podcasts: https://podcasts.apple.com/us/podcast/sound-bhakti/id1132423868 For the latest videos, subscribe https://www.youtube.com/@FanTheSpark For the latest in SoundCloud: https://soundcloud.com/fan-the-spark ------------------------------------------------------------ #spiritualawakening #soul #spiritualexperience #spiritualpurposeoflife #spiritualgrowthlessons #secretsofspirituality #vaisesikaprabhu #vaisesikadasa #vaisesikaprabhulectures #spirituality #bhaktiyoga #krishna #spiritualpurposeoflife #krishnaspirituality #spiritualusachannel #whybhaktiisimportant #whyspiritualityisimportant #vaisesika #spiritualconnection #thepowerofspiritualstudy #selfrealization #spirituallectures #spiritualstudy #spiritualquestions #spiritualquestionsanswered #trendingspiritualtopics #fanthespark #spiritualpowerofmeditation #spiritualteachersonyoutube #spiritualhabits #spiritualclarity #bhagavadgita #srimadbhagavatam #spiritualbeings #kttvg #keepthetranscendentalvibrationgoing #spiritualpurpose

Beatrice is now fully in charge . . . so much so that she can even tell the angels in the chariot with her what they can't understand.She launches into her first indictment of the pilgrim, Dante. Here, she claims that he hasn't fulfilled his talent.He hasn't? With so much of COMEDY behind us?And what if then the point of this journey? Is it poetic craft or personal redemption?Join me, Mark Scarbrough, as we comb through the first of Beatrice's condemnations of Dante's many failings that have led him to the top of Mount Purgatory.If you'd like to help support this podcast with a one-time donation or a small monthly stipend, please consider donating what you can through this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:41] My English translation of PURGATORIO, Canto XXX, Lines 100 - 126. If you'd like to read along or continue the conversation with me, please find its entry on my website, markscarbrough.com.[04:23] What can the angels in the chariot not know?[08:13] What germinates from heaven, far above the seeds that blow out of the Garden of Eden?[11:15] What was Dante supposed to have done?[15:19] What good was this journey across the known universe?[18:40] How do you stay open to the grace you get but perhaps don't expect?[20:02] Rereading the passage: PURGATORIO, Canto XXX, lines 100 - 126.

Beatrice has offered her first condemnation of Dante, just as his salve and mentor, Virgil, has left the scene. He's stuck across Lethe with the ice sheet encasing his heart. Even the angels surrounding Beatrice in the chariot seem dumbfounded by her vitriol and offer the pilgrim a psalm of consolation . . . which finally makes the ice that has surrounded his heart melt. He ends up wailing.Join me, Mark Scarbrough, as we explore this brilliant passage about interiority from the very top of Mount Purgatorio in the Garden of Eden.Here are the segments for this episode of WALKING WITH DANTE:[01:34] My English translation of PURGATORIO, Canto XXX, Lines 79 - 99. If you'd like to read along or drop a comment on this episode, please find its entry on my website: markscarbrough.com.[03:53] One textual reference in the passage: Psalm 30/31: 1 - 8.[07:46] A second textual reference in the passage: Augustine's CONFESSIONS, Book VIII.[09:07] One metaphoric rearrangement in the passage: Beatrice as mother and Dante as son.[11:55] A second metaphoric rearrangement: the melting ice inside of Dante.[19:28] Allegory as art.[22:30] Rereading the passage: PURGATORIO, Canto XXX, lines 79 - 99.

We finally hear the first words from Beatrice's mouth. (We've heard her before but as told by Virgil in INFERNO, Canto II.) She is certainly not person we expected. She's the admiral controlling her ship.She names the pilgrim, names herself, and gets very close to blasphemy in a passage that defies our expectations, about as revelation should.Join me, Mark Scarbrough, for the moment that Beatrice takes center stage in Dante's masterwork, COMEDY.If you'd like to help underwrite this podcast, please consider a one-time donation or a very small monthly stipend, using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:33] My English translation of PURGATORIO, Canto XXX, Lines 55 - 78. If you'd like to read along or drop a comment about this episode, please find its entry on my website: markscarbrough.com.[04:41] The pilgrim finally named: Dante.[09:03] The crux dilemma of orthodoxy: purity versus human feeling.[13:44] Beatrice's ship, plus other ships in COMEDY.[15:29] Beatrice, the admiral.[17:34] Dante's difficulty in naming himself.[20:20] Beatrice, Minerva, and our (or the pilgrim's?) expectations.[23:42] Beatrice's curious blasphemy and questions.[27:09] Dante as a rejuvenated Narcissus.[30:32] Rereading the passage: PURGATORIO, Canto XXX, lines 55 - 78.

The parade of revelation has stopped and everything holds its breath for what comes next.She's veiled, behind scattered flowers. But Beatrice arrives, in the place of Jesus Christ, her second coming, her advent in the victory chariot.And as she arrives, Virgil disappears from COMEDY. (Statius, too, even if he's still standing next to the pilgrim.) This moment is perhaps the climax of the poem as we have understood it up until now. From here on, everything changes. We have moved out of time and into a world beyond human reason. It's a cause for rejoicing but also for great sadness.Here are the segments for this episode of WALKING WITH DANTE:[01:13] My English translation of PURGATORIO, Canto XXX, Lines 22 - 54. If you'd like to read along or drop a comment about this episode, please find its entry on my website, markscarbrough.com.[04:14] Word choices in the passage that reflect its thematic and emotional space.[07:04] The Vita Nuova as foundational to Beatrice's appearance.[12:00] Beatrice's colors and the parade of revelation.[13:39] Christological confusions with Beatrice.[16:48] Gender confusions during her arrival.[19:10] The pilgrim's imagined dialogue with a (mis)quote from The Aeneid.[23:03] The sad, quiet disappearance of Virgil and the pilgrim's pronounced, loud interiority.[29:02] The silent, almost unnoticed departure of Statius from the poem.[31:06] The cleansing of the pilgrim as a bookend for the work of PURGATORIO.[32:39] Rereading the passage: PURGATORIO, Canto XXX, lines 22 - 54

To start the year off right, Moira and Adrian were joined by Michael Hobbes to discuss Olivia Nuzzi's American Canto, the media hubbub about it, and what both artifacts say about our media environment, our elites, and about gender.Pieces we cite in the episode:Becca Rothfeld's review of the book in the Washington PostAlexandra Jacobs' review of the book in The New York Times

The grand parade of revelation has come to a stop across Lethe from our pilgrim, Virgil, and Statius. Everything seems to hold its breath: the constellations stop moving, the crowd goes quiet, one voice calls out for the bride, then a hundred angels appear, calling out for the groom . . . which is surely Jesus, right?We seem to be on the verge of a celestial marriage ceremony, the mystic union of Jesus and his church . . . except Virgil's AENEID gets the last word and darkens the scene considerably.Join me, Mark Scarbrough, as we stand in expectation at the top of Mount Purgatory for the arrival of . . . somebody.Here are the segments for this episode of WALKING WITH DANTE:[01:24] My English translation of PURGATORIO, Canto XXX, Lines 1 - 21. If you'd like to read along or continue the conversation with me by dropping a comment on this episode, please find its entry on my website: markscarbrough.com.[04:33] The Little Dipper, the North Star, the chariot, a griffin, and the Bible, all bound up in the longest sentence in COMEDY.[13:59] The resurrection with a reclothed voice (that is, the stuff of poetry).[16:38] Many angels in a very small cart.[19:32] Quoting the triumphal entry of Jesus into Jerusalem (here and in The Vita Nuova).[21:44] Quoting the tragic prophecy about Marcellus from THE AENEID.[24:43] Inserting Dante and Virgil into Biblical citations.[26:59] Rereading the passage: PURGATORIO, Canto XXX, lines 1 - 21.

Dos formaciones del pianista brasileño Benjamim Taubkin en su sello Núcleo Contemporáneo: Moderna Tradição ('Lamentos' de Pixinguinha y 'Lamentos do morro' de Garoto) y Orquestra Popular de Câmara ('Bayati' y 'Correnteza' -ambas con la voz de Mònica Salmaso- y 'Choro moreno'). Del disco que Mônica grabó con su nombre en 1999, 'Voadeira', las canciones 'Dançapé', 'Valsinha' de Vinicius de Moraes y Chico Buarque y 'Ave Maria no morro' de Herivelto Martins y, de 'Canto sedutor', que firmó en 2022 con Dori Caymmi, 'Desenredo'. Escuchar audio

Esta semana falamos da história dos Reis Magos e da suposta cirurgia mais mortífera da História, no séc. XIX.O podcast vai de férias, e regressamos no final de Janeiro!----Obrigado aos patronos do podcast:André Silva, Bruno Figueira, Cláudio Batista, Gustavo Fonseca, Isabel Yglesias de Oliveira, Joana Figueira, Miguel Vidal, NBisme, Oliver Doerfler;Alessandro Averchi, Alexandre Carvalho, Andre Oliveira, Carlos Castro, Civiforum, Lda., Cláudia Conceição, Daniel Murta, Domingos Ferreira, Hugo Picciochi, João Cancela, João Carreiro, João Pedro Tuna Moura Guedes, Jorge Filipe, José Beleza, Luís André Agostinho, Patrícia Gomes, Pedro Almada, Pedro Alves, Pedro Ferreira, Rui Roque, Tiago Pereira, Vera Costa;Adriana Vazão, Ana Gonçalves, Ana Sofia Agostinho, André Abrantes, Andre de Oliveira, André Silva, António Farelo, António J. R. Neto, António Silva , Bruno Luis, Carlos Afonso, Carlos Ribeiro, Carlos Ribeiro, Catarina Ferreira, Diogo Freitas, Fábio Videira Santos, Francisco Fernandes, Gn, Gonçalo Pedro, Hugo Palma, Hugo Vieira, Igor Silva, João Barbosa, João Canto, João Carlos Braga Simões, João Diamantino, João Félix, João Ferreira, Joao Godinho, João Mendes, João Pedro, Joel José Ginga, Johnniedee, José Santos, Luis Colaço, Mafalda Trindade, Miguel Brito, Miguel Gama, Miguel Gonçalves Tomé, Miguel Oliveira, Miguel Salgado, Nuno Carvalho, Nuno Esteves, Nuno Moreira, Nuno Silva, Orlando Silva, Parte Cóccix, Paulo Ruivo, Paulo Silva, Pedro, Pedro Cardoso, Pedro Oliveira, Pedro Simões, Ricardo Pinho, Ricardo Santos, Rodrigo Candeias, Rui Curado Silva, Rui Magalhães, Rui Rodrigues, Simão, Simão Ribeiro, Sofia Silva, Thomas Ferreira, Tiago Matias, Tiago Sequeira, Tomás Matos Pires, Vitor Couto.-----Ouve e gosta do podcast?Se quiser apoiar o Falando de História, contribuindo para a sua manutenção, pode fazê-lo via Patreon: https://patreon.com/falandodehistoria-----Música: "Hidden Agenda” de Kevin MacLeod (incompetech.com); Licensed under Creative Commons: By Attribution 4.0 License, http://creativecommons.org/licenses/by/4.0Edição de Marco António.

Se un motivo de bendición para otros y comparte esta programación con tus amigos y familiares.Puedes seguirnos en nuestras plataforma de redes socialesYoutube: https://www.youtube.com/@IglesiaAdventistaDeGazcueInstagram: https://www.instagram.com/adventistasgazcueFacebook: https://www.facebook.com/adventistasgazcueX: https://www.x.com/IglesiadeGazcueTambién puedes escuchar los matinales y predicas cada día en la plataforma de tu preferenciaBuzzprout: https://www.buzzsprout.com/255902Spotify: https://open.spotify.com/show/5RLxxpOGn9A8hQF5UPvA4x?si=cbvfA7tER7-UyyHDaOYUuA&utmApple podcast: https://podcasts.apple.com/us/podcast/iglesia-adventista-de-gazcue/id1452114943?uo=4Entra a nuestra página web y mantente al día con nuestras programaciones regulares y especiales. Podrás entrar a otras plataformas digitales donde tenemos presencia digital, ver fotos de nuestras programaciones, descargar materiales digitales entre otros....

Con Jorge del Canto, asesor financiero en delcanto.es.

Con Jorge del Canto, asesor financiero en delcanto.es.

Con Jorge del Canto

The pilgrim has found the perfect perch to see the full scope and length of the parade of allegories at the top of the Mount Purgatory in the garden of Eden.After the griffin and its chariot come seven merry women and seven more somber men. They are complex allegories that have inspired much debate.More than that, they are also an atemporal moment, something outside of chronological time, the way revelation most often happens.Join me, Mark Scarbrough, as we look more closely at the end of the (first half of the) apocalyptic parade our pilgrim witnesses from across the river Lethe.If you'd like to help with the many costs of this podcast, please consider a very small monthly stipend or a one-time gift, using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:13] My English translation of PURGATORIO, Canto XXIX, Lines 121 - 154. If you'd like to read along or continue the conversation with me, please find the entry for this episode on my website: markscarbrough.com.[04:34] The three theological virtues (or colors)--which cause a rereading of previous moments in the great parade.[09:02] The four cardinal or philosophical virtues, clothed in purple, a deep, imperial red.[12:00] The seven men who end the parade as seen through the now standard (or consensus) interpretation: the latter books of the New Testament.[16:06] Alternate interpretations: the allegories as a parade of revelation, rather than strictly the books of the Bible.[20:38] The metapoetics of living, walking books.[21:24] The temporal anomaly of the grand parade.[24:11] Rereading the entire parade: PURGATORIO, Canto XXIX, lines 43 - 154.

¿Qué lugar ocupa la tradición en la vida de un pueblo? Termino el año en El Libro Rojo con un divertido capítulo grabado en directo en la localidad burgalesa de Hacinas y rodeado de sus vecinos que son ya amigos. Me acompañan Andrés Rey, David Gómez y Pedro Rey para hablar sobre pertenencia, identidad y legado. Recorremos el Carnaval de la Tarasca y la Curra y tradiciones como el Canto a los Novios, El Reinado o El Rastrón. El alma de un pueblo que sigue celebrando lo que fue para seguir siendo. El episodio más especial para mí, que ya necesitaba hacer. ¡Gracias, Hacinas!

Dai progressi nelle terapie geniche al successo senza precedenti delle energie rinnovabili, passando per gli sviluppi nei sistemi delle intelligenze artificiali, è stato un anno di scienza ricco di novità e scoperte. E molte ci faranno compagnia anche nell'anno che sta per iniziare, seppure tra grandi incertezze negli Stati Uniti a causa dell'amministrazione Trump e dei suoi tagli alla ricerca. Per capire che cosa ci aspetta nel prossimo anno, ripercorriamo quello appena passato. Ma ci occupiamo anche di postumi da sbornia, dopo i pasti natalizi. Ci sono anche altri podcast del Post: la rassegna stampa Morning, le Altre Indagini di Stefano Nazzi, gli approfondimenti di Francesco Costa su Wilson, e molti altri che parlano di scienza, esteri, linguaggio. E poi c'è quello su Sanremo. Sono i podcast dedicati a chi ha un abbonamento al Post, che a Natale ⁠puoi regalare, o farti regalare. Leggi anche: – Canto di Natale – Lost Science, New York Times – Come una persona può smantellare la sanità di mezzo mondo – Sette storie scientifiche positive per ritrovare la fiducia nel 2025 – Dieci persone che hanno contribuito a plasmare la scienza nel 2025– La storia del buco nell'ozono– La crescita apparentemente inarrestabile delle energie rinnovabili è la svolta scientifica dell'anno 2025 – La grande espansione del solare – La scienza nel 2026: gli eventi da tenere d'occhio nel prossimo anno– Come mai bere alcol di giorno sembra dare un effetto diverso   Learn more about your ad choices. Visit megaphone.fm/adchoices

Naviga in totale sicurezza con ⁠⁠⁠⁠NordVPN⁠⁠⁠⁠ #adv In questo episodio speciale di Natale, The Bull cambia tono e formato per raccontare una storia. “Il Canto dei Mercati” è una fiaba finanziaria ispirata a Dickens, pensata per chi ha sempre rimandato l'idea di investire. Attraverso il viaggio di Massimo Sul Conto e l'incontro con i fantasmi dei mercati passati, presenti e futuri, l'episodio affronta in modo narrativo e accessibile i grandi temi della finanza personale: inflazione, rischio, investimento, immobiliare, ETF, tempo e rimpianto. È una storia che parla di paura, immobilismo e illusioni di sicurezza, ma anche di consapevolezza, pianificazione e libertà. Perché non investire non è una scelta neutrale: è una decisione che ha un costo, spesso invisibile per anni, ma enorme nel lungo periodo. Un episodio da ascoltare (o far ascoltare) a chi pensa che “la finanza non faccia per lui”, ma vuole capire davvero cosa significa costruire il proprio futuro. Prodotto e distribuito da Corax.

The parade goes on to include a Roman, two-wheeled, victory chariot between the four animals. It's a brilliant moment, a chariot better than even famous Roman conquerors got, pulled by a griffin, a legendary two-natured creature . . . yet with a curious moment of emptiness right in all of the victory.Join me, Mark Scarbrough, as we continue deeper into the allegory of the parade of revelation at the top of Mount Purgatory.Here are the segments for this episode of WALKING WITH DANTE:[01:32] My English translation of PURGATORIO, Canto XXIX, lines 106 - 120. If you'd like to read along or continue the conversation about this passage with me, please find its entry on my website, markscarbrough.com.[03:13] The changing nature of allegory at the top of Mount Purgatory.[09:38] The poetics of the passage: extreme concision and more of Guido Cavalcanti's pastoral poetry.[13:26] Roman military history in the passage: Scipio the Younger and Caesar Augustus.[17:41] Roman (or Ovidian) mythology in the passage: Phaëthon and the sun's chariot.[21:39] The griffin: ancient, medieval, and allegorical (but of what?).[27:20] The great aporia: the chariot is empty![28:51] Rereading the passage: PURGATORIO, Canto XXIX, lines 106 - 120.

Neste episódio falamos da história do Pai Natal. Procuramos explicar como e quando surgiu, e como se desenvolveu até aos nossos dias como grande símbolo da época do Natal.Sugestões de leitura1. Timothy Larsen (ed) - The Oxford Handbook of Christmas. Oxford, 2020.2. J.R.R. Tolkien - Cartas do Pai Natal. Publicações Europa-América, 2006.-----Obrigado aos patronos do podcast:André Silva, Bruno Figueira, Cláudio Batista, Gustavo Fonseca, Isabel Yglesias de Oliveira, Joana Figueira, Miguel Vidal, NBisme, Oliver Doerfler;Alessandro Averchi, Alexandre Carvalho, Andre Oliveira, Carlos Castro, Civiforum, Lda., Cláudia Conceição, Daniel Murta, Domingos Ferreira, Francisco, Hugo Picciochi, João Cancela, João Carreiro, João Pedro Tuna Moura Guedes, Jorge Filipe, José Beleza, Luís André Agostinho, Patrícia Gomes, Pedro Almada, Pedro Alves, Pedro Ferreira, Rui Roque, Tiago Pereira, Vera Costa;Adriana Vazão, Ana Gonçalves, Ana Sofia Agostinho, André Abrantes, Andre de Oliveira, André Silva, António Farelo, António J. R. Neto, António Silva , Bruno Luis, Carlos Afonso, Carlos Ribeiro, Carlos Ribeiro, Catarina Ferreira, Diogo Freitas, Fábio Videira Santos, Francisco Fernandes, Gn, Gonçalo Pedro, Hugo Palma, Hugo Vieira, Igor Silva, João Barbosa, João Canto, João Carlos Braga Simões, João Diamantino, João Félix, João Ferreira, Joao Godinho, João Mendes, Joel José Ginga, Johnniedee, José Santos, Luis Colaço, Mafalda Trindade, Miguel Brito, Miguel Gama, Miguel Gonçalves Tomé, Miguel Oliveira, Miguel Salgado, Nuno Carvalho, Nuno Esteves, Nuno Moreira, Nuno Silva, Orlando Silva, Parte Cóccix, Paulo Ruivo, Paulo Silva, Pedro, Pedro Cardoso, Pedro Oliveira, Pedro Simões, Ricardo Pinho, Ricardo Santos, Rodrigo Candeias, Rui Curado Silva, Rui Magalhães, Rui Rodrigues, Simão, Simão Ribeiro, Sofia Silva, Thomas Ferreira, Tiago Matias, Tiago Sequeira, Tomás Matos Pires, Vitor Couto.-----Ouve e gosta do podcast?Se quiser apoiar o Falando de História, contribuindo para a sua manutenção, pode fazê-lo via Patreon: https://patreon.com/falandodehistoria-----Música: “Five Armies” e “Magic Escape Room” de Kevin MacLeod (incompetech.com); Licensed under Creative Commons: By Attribution 4.0 License, ⁠http://creativecommons.org/licenses/by/4.0⁠Edição de Marco António.

The parade goes on, now that the pilgrim, Dante, is in a good spot to see it.After the twenty-four lords in white come four animals with green fronds as crowns. They are like the Cherubim in both the prophecies of Ezekiel and in the Apocalypse of St. John (or the book of Revelation).Except not really. Or sort of. Well, the poet doesn't have time to explain. Go read the text yourself. And especially the one that doesn't quite agree with what I saw.Join me, Mark Scarbrough, as we find Dante's irony alive and well, even during the grand parade of divine revelation.Here are the segments for this episode of WALKING WITH DANTE:[01:20] My English translation of PURGATORIO, Canto XXIX, Lines 88 - 105. If you'd like to read along or continue the conversation with me, please find the entry for this episode on my website, markscarbrough.com.[02:56] The naturalistic, lush landscape à la Guido Cavalcanti's pastoral poem.[04:49] The constellations, Argus, and the peacock.[06:35] The four "animals" from Ezekiel and the Apocalypse of St. John (or the New Testament book of Revelation).[09:19] Allegorical interpretations of the four animals.[11:19] "Unmoored" allegories in COMEDY: here and with the three beasts in INFERNO, Canto I.[14:02] Dante, the Biblical text, and questions of its inerrancy.[16:25] The direct address tot he reader, perhaps a wild bit of Dantean irony even here in the divine parade.[21:34] Rereading the passage: PURGATORIO, Canto XXIX, lines 88 - 105.

Recordamos en esta programación especial de navidad algunos momentos destacados del año 2025 como la conversación con la cantaora María Terremoto y con el guitarrista Alejandro Hurtado. Terminamos con lo nuevo de Tomás de Perrate que ha grabado su versión del Canto de la Sibila.Escuchar audio

See Adam on tour https://theadamfriedland.show/pages/tour -- JOIN THE FRIEDLAND FAMILY FOUNDATION / PREMIUM SUBSCRIPTION: https://www.youtube.com/@TheAdamFriedlandShow/join -- Patreon: https://www.patreon.com/cw/TheAdamFriedlandShow -- Buy our merch!: https://theadamfriedland.show/collections/new -- The Adam Friedland Show - Season Two Episode 26 | Olivia Nuzzi X: https://x.com/adam_talkshow Instagram: https://www.instagram.com/theadamfriedlandshow TikTok: https://www.tiktok.com/@adamfriedlandshowclips YouTube: Subscribe to @TheAdamFriedlandShow here: https://www.youtube.com/c/TheAdamFriedlandShow Subscribe to @TAFSClips here: https://www.youtube.com/@tafsclips -- Exclusive $35 off Carver Mat at https://on.auraframes.com/TAFS. Promo Code TAFS Chime: Head to Chime.com/TAFS Use code tafs at https://incogni.com/tafs to get an exclusive 60% off — #adamfriedland #theadamfriedlandshow #OliviaNuzzi

The parade goes on! Our pilgrim, Dante, turns back from Virgil's amazement and finds more of the parade coming toward him . . . at least, he does so after he's reprimanded by the lady who stands across Lethe.In this passage, the poet's craft heightens to reveal gorgeous poetry that comes from the apocalyptic tradition but far exceeds its beauty with both the Easter eggs Dante puts in the text and the ways the poetry itself enhances the wonder of the parade at hand.Join me, Mark Scarbrough, as we work through our second passage on the parade of revelation in the Garden of Eden at the top of Mount Purgatory.Here are the segments for this episode of WALKING WITH DANTE:[01:19] My English translation of PURGATORIO, Canto XXIX, lines 58 - 87. If you'd like to read along or continue the conversation with me, please find the entry for this podcast episode on my website, markscarbrough.com.[04:09] The tradition of apocalyptic literature and Dante's use of it.[08:44] Biblical references in this part of the apocalyptic parade.[13:54] Contemporary cultural references in the parade.[16:01] Surprises: Dante's changes to Biblical imagery, his Easter eggs to his own text, and his idiosyncratic word choices.[20:07] Possible allegorical interpretations for the twenty-four lords (or elders) and the distance of ten paces between the lights.[25:20] The poetry of the parade: colorful brushwork and gorgeous (if incomplete) reflections in Lethe.[28:43] More on emergent revelation.[31:47] Rereading PURGATORIO, Canto XXIX, lines 58 - 87.

Messa in voce di Gaetano Marino Continue reading

Netflix has a price, but what's the cost of what it does to you? Raghunath and Kaustubha riff on Oscar Wilde's brutal truth—people know the price of everything and the value of nothing—and trace how modern consumption can quietly make the mind coarse, restless, and spiritually numb. They then turn to the 10th Canto of the Śrīmad Bhāgavatam, reading radiant verses of Kṛṣṇa's Vṛndāvan pastimes—scripture meant to purify the heart and elevate consciousness from crude appetite to the highest spiritual taste. Drawing from Bhagavad-gītā 2.57 and Bhaktivinoda Ṭhākura's explanation of Dhenukāsura as the ass-like mentality of gross sensuality—overcome by Balarāma as guru-tattva—they show why the greatest wealth in life is finding guidance that reveals the true value of spiritual life, and seeking it with real intensity. ******************************************************************** LOVE THE PODCAST? WE ARE COMMUNITY SUPPORTED AND WOULD LOVE FOR YOU TO JOIN! Go to https://www.wisdomofthesages.com WATCH ON YOUTUBE: https://youtube.com/@WisdomoftheSages LISTEN ON ITUNES: https://podcasts/apple.com/us/podcast/wisdom-of-the-sages/id1493055485 CONNECT ON FACEBOOK: https://facebook.com/wisdomofthesages108 *********************************************************************

Netflix has a price, but what's the cost of what it does to you? Raghunath and Kaustubha riff on Oscar Wilde's brutal truth—people know the price of everything and the value of nothing—and trace how modern consumption can quietly make the mind coarse, restless, and spiritually numb. They then turn to the 10th Canto of the Śrīmad Bhāgavatam, reading radiant verses of Kṛṣṇa's Vṛndāvan pastimes—scripture meant to purify the heart and elevate consciousness from crude appetite to the highest spiritual taste. Drawing from Bhagavad-gītā 2.57 and Bhaktivinoda Ṭhākura's explanation of Dhenukāsura as the ass-like mentality of gross sensuality—overcome by Balarāma as guru-tattva—they show why the greatest wealth in life is finding guidance that reveals the true value of spiritual life, and seeking it with real intensity. ******************************************************************** LOVE THE PODCAST? WE ARE COMMUNITY SUPPORTED AND WOULD LOVE FOR YOU TO JOIN! Go to https://www.wisdomofthesages.com WATCH ON YOUTUBE: https://youtube.com/@WisdomoftheSages LISTEN ON ITUNES: https://podcasts/apple.com/us/podcast/wisdom-of-the-sages/id1493055485 CONNECT ON FACEBOOK: https://facebook.com/wisdomofthesages108 *********************************************************************

Esta semana falamos dos 210 anos da morte do Marechal Michel Ney, a 7 de Dezembro de 1815, e da origem da árvore de Natal.Sugestões da semana1. Maria Inácia Rezola - Revolução. A Construção da Democracia Portuguesa. Dom Quixote, 2025.2. José Pedro Castanheira - Histórias da Pide, vol. I: Quando Salazar mandava. Tinta da China, 2025.----Obrigado aos patronos do podcast:André Silva, Bruno Figueira, Cláudio Batista, Gustavo Fonseca, Isabel Yglesias de Oliveira, Joana Figueira, Miguel Vidal, NBisme, Oliver Doerfler;Alessandro Averchi, Alexandre Carvalho, Andre Oliveira, Carlos Castro, Civiforum, Lda., Cláudia Conceição, Daniel Murta, Domingos Ferreira, É Manel, Francisco, Hugo Picciochi, João Cancela, João Carreiro, João Pedro Tuna Moura Guedes, Jorge Filipe, José Beleza, Luís André Agostinho, Patrícia Gomes, Pedro Almada, Pedro Alves, Pedro Ferreira, Rui Roque, Tiago Pereira, Vera Costa;Adriana Vazão, Ana Gonçalves, Ana Sofia Agostinho, André Abrantes, Andre de Oliveira, André Silva, António Farelo, António J. R. Neto, António Silva , Bruno Luis, Carlos Afonso, Carlos Ribeiro, Carlos Ribeiro, Catarina Ferreira, Diogo Freitas, Fábio Videira Santos, Francisco Fernandes, Gn, Gonçalo Pedro, Hugo Palma, Hugo Vieira, Igor Silva, João Barbosa, João Canto, João Carlos Braga Simões, João Diamantino, João Félix, João Ferreira, Joao Godinho, João Mendes, João Pedro Mourão, Joel José Ginga, Johnniedee, José Santos, Luis Colaço, Mafalda Trindade, Miguel Brito, Miguel Gama, Miguel Gonçalves Tomé, Miguel Oliveira, Miguel Salgado, Nuno Carvalho, Nuno Esteves, Nuno Moreira, Nuno Silva, Orlando Silva, Parte Cóccix, Paulo Ruivo, Paulo Silva, Pedro, Pedro Cardoso, Pedro Oliveira, Pedro Simões, Ricardo Pinho, Ricardo Santos, Rodrigo Candeias, Rui Curado Silva, Rui Rodrigues, Simão, Simão Ribeiro, Sofia Silva, Thomas Ferreira, Tiago Matias, Tiago Sequeira, Tomás Matos Pires, Vitor Couto.-----Ouve e gosta do podcast? Se quiser apoiar o Falando de História, contribuindo para a sua manutenção, pode fazê-lo via Patreon: https://patreon.com/falandodehistoria-----Música: "Hidden Agenda” de Kevin MacLeod (incompetech.com); Licensed under Creative Commons: By Attribution 4.0 License, http://creativecommons.org/licenses/by/4.0Edição de Marco António.

As the pilgrim, his poets, and the beautiful lady continue to stand beside Lethe, they see the approaching parade of the apocalypse, which is an example of emergent revelation, the truth coming in slowly and even deceptively.Our poet has set up a poetic space that leaves even Virgil speechless as we witness the first of the parade of multiple, open-ended meanings proliferate in the Garden of Eden.Join me, Mark Scarbrough, as we catch our first glimpse of Dante's answer to St. John's Apocalypse.If you'd like to help underwrite the many fees associated with this podcast, please consider a one-time donation or a very small monthly stipend, using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:16] My English translation of PURGATORIO, Canto XXIX, Lines 31 - 57. If you'd like to read along or continue the conversation with me, please find the entry for this episode on my website, markscarbrough.com.[04:00] The emergent revelation of the images and sounds.[09:00] The process of perception (and understanding).[14:12] Multiplying meanings in the apocalyptic parade.[20:27] The creation of space for the poetic imagery.[23:11] The second invocation of PURGATORIO.[26:50] The questions of poetic craft in this vision.[28:23] Virgil in the apocalypse.[31:10] Rereading the passage: PURGATORIO, Canto XXIX, lines 31 - 57.

durée : 00:55:02 - Le Masque et la Plume - par : Rebecca Manzoni - "Mektoub my love, canto due" d'Abdellatif Kechiche, "Résurrection" de Bi Gan, "Dites-lui que je l'aime" de Romane Bohringer, "La Condition" de Jérôme Bonnell, "Gérald Le Conquérant" de Fabrice Eboué, quels sont les films à voir cette semaine selon les critiques du Masque ? - invités : Marie SAUVION, Nicolas SCHALLER, Ariane Allard, Christophe Bourseiller - Marie Sauvion : Journaliste à Télérama, Nicolas Schaller : Journaliste pour L'Obs, Ariane Allard : Critique française de cinéma, Christophe Bourseiller : Journaliste France Inter et Transfuge - réalisé par : Stéphane LE GUENNEC Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

This week's episode is a special one. A year-end music circle, a heart-on-sleeve catch-up, and a soft landing place after a whirlwind 2025.Dan is joined by two of his favourite humans — "Dajie" (Joanna) and Kenji — for a cosy, nostalgic, reflective episode layered with laughter, stories, and honest conversation… all woven between original songs and brand-new arrangements of classic Canto, Mando, and J-pop tracks.It's part radio show, part campfire chat, part emotional debrief of a year that stretched, shaped, softened, and strengthened us.Together, we talk about:• the things we survived• the things we loved• the people who held us• the lessons that kept repeating• and the versions of ourselves we're slowly becomingThis episode feels like sitting with friends in a warm living room with music playing, hearts open, nothing to prove, everything to feel.If you've had a bridge year… a healing year… a messy, magical, surprising year… this one's for you.Press play, pour a drink, and come hang out with us.-------Come say hi!

In the grand finale of this two-part series, Chelsea welcomes back Becca Platsky (Corporate Gossip) to break down Olivia Nuzzi's dizzying memoir "American Canto." Marilyn Monroe, Britney Spears, Holly Madison, and Jerry Garcia??? Oh my! From conservative deadheads to Trump's hidden talent to big, hot, sexy, tall older brothers, we hope you're ready for the harvest (sorry).  A content warning: This episode contains discussions of sensitive topics, including references to suicide and sexual assault. Take care while listening and find helpful resources here. Follow Chelsea: Instagram @chelseadevantez Join the cookie community: Become a member of the Patreon Show Notes: Olivia Nuzzi Memoir Episode Part 1 Chelsea and Becca's Research Doc Cheryl Hines Memoir Episode Olivia Nuzzi's “Jailbait” song Ryan Lizza's First Substack Post Ryan Lizza's Second Substack Post Ryan Lizza's Third Substack Post Ryan Lizza's Fourth Substack Post Ryan Lizza's Fifth Substack Post Keith Olbermann's Tweet about Olivia Olivia Nuzzi's article on Trump from 2018 Olivia Nuzzi Did It All for Love (New York Times) House in Habit's posts on Olivia Nuzzi (Reddit) Anne Helen Petersen's Substack mentioning Olivia Nuzzi Where to find our guest Becca Platsky: Corporate Gossip Podcast Tik Tok Instagram *** Glamorous Trash is all about going high and low at the same time— Glam and Trash. We recap and book club celebrity memoirs, deconstruct pop culture, and sometimes, we cry! If you've ever referenced Mariah Carey in therapy... then this is the podcast for you. Thank you to our sponsors: Quince  - Go to quince.com/glamorous for free shipping on your order and 365-day returns.  Libro.fm - Click here to get 2 audiobooks for the price of 1 with your first month of membership using code TRASH. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Our pilgrim, Dante, and the beautiful lady across Lethe walk on for a bit before the stream bends and the pilgrim ends up facing the right way to see the first flash of light that will signal the great apocalyptic parade in Eden.The opening of PURGATORIO, Canto XXIX, brings us back to the pastoral world of Guido Cavalcanti's poem before launching us into allegory, theology, morality, and even misogyny.If you'd like to help underwrite the many fees for this podcast, please consider a one-time donation or a small monthly stipend using this PayPal link right here.Join me, Mark Scarbrough, as we find ourselves at the front of the great parade in Eden.Here are the segments for this episode of WALKING WITH DANTE:[01:27] My English translation of PURGATORIO, Canto XXIX, Lines 1 - 30. If you'd like to read along or continue the conversation by dropping a comment, please find the entry for this episode on my website, markscarbrough.com.[04:07] An introduction to PURGATORIO, Canto XXIX.[06:59] The only canto in COMEDY that begins with a derivative of the word "canto."[08:24] More references to Guido Calvalcanti's pastoral poem.[11:44] A psalm retrofitted to become a beatitude, moving us from the classical world to divine revelation.[14:31] The symbolism (and allegory?) of their paces and the stream's bend.[18:00] Sight and hearing as the basis but not nearly enough, as with Guido Cavalcanti's poem.[19:02] The lady's reaction ("brother") and the pilgrim's reaction (a lack of fear).[21:45] The misogyny from the initial flash of light.[28:59] Rereading the passage: PURGATORIO, Canto XXIX, lines 1 - 30.

The beautiful lady winds up her discourse with a corollary that combines both revelation and reason to offer a fulcrum to COMEDY as a whole: The classical world dreamed of Eden.Redemption is a cul-de-sac, returning us to our primal state while also offering us a way to remain readers of the classical world's poetry.Join me, Mark Scarbrough, as we explore the end of the lady's discourse, the longest speech by a woman yet in COMEDY.Here are the segments for this episode of WALKING WITH DANTE:[01:15] My English translation of PURGATORIO, Canto XXVIII, lines 134 - 148. If you'd like to read along or drop a comment on this episode to continue the conversation, please find the entry for this episode on my website: markscarbrough.com.[02:55] Revelation and reason as coequals in scholastic theology.[06:52] The Golden Age and the Garden of Eden as overlapping spaces and the cul-de-sac of revelation.[09:14] The pilgrim (and indeed, the poem) in the cul-de-sac with the classical poets on one side and the beautiful lady on the other.[12:27] The longest speech by a woman yet in COMEDY.[16:57] Rereading this passage: PURGATORIO, Canto XXVIII, lines 134 - 148.

Hello, media consumers! Bryan and Joel start the show with their thoughts on Olivia Nuzzi's newly released book, 'American Canto,' including what they did and did not like about it. Bryan gives a short summary of the book before asking Joel questions not only about 'American Canto', but about what the future holds for Nuzzi now that the book is out. Next, Bryan and Joel dive into the Lane Kiffin—Ole Miss situation(53:45), and whether Jimmy Sexton and CAA had involvement in a certain 'College GameDay' segment this week (1:02:40). Lastly, the show rounds out with the guys' thoughts on Paul Finebaum deciding to not run for U.S. Senate, and their takeaways from Erin Andrews's message to sports media hopefuls (01:08:19). All that and so much more, here on the Press Box. Hosts: Bryan Curtis and Joel Anderson Producer: Bruce Baldwin Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this Fanbase Feature, The Fanbase Weekly co-host Bryant Dillon is joined by special guests David M. Booher (Eisner Award and GLAAD-nominated writer - All New Firefly, Canto, Killer Queens), Art Ebuen (Emmy Award-winning animator, writer – California, Inc.), and Ian Mondrick (writer – Stash Box, Tomb) to participate in a thorough discussion regarding Serenity (2005) in light of the feature film's 20th anniversary, with topics including how its political and social messages have become even more relevant over the past decade, the importance of bleak stories in our lives, how the film touches on the theme of community, and more. (Beware: SPOILERS for Serenity abound in this panel discussion!)

The lady across the stream continues her answer to the pilgrim Dante's question about the breeze and the water. In this case, she explains the ecology of Eden, offers an understanding of global botany, and finally layers the meaning thick over the rivers of Eden, one of which is the poet's utter invention.The landscape itself is becoming allegorical, moral, theological, even anagogical, all while remaining true to its pastoral form (and roots).Join me, Mark Scarbrough, as we delve deeper into the lady's capacious answers and the poet's ever-widening imagination.If you'd like the help defray the many costs and fees associated with this website, please consider a one-time donation or a small monthly stipend through this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:31] My English translation of PURGATORIO, Canto XXVIII, lines 109 - 133. If you'd like to read along or continue the conversation with me, please find the entry for this episode on my website, markscarbrough.com.[04:09] The botany of both Eden and our own world.[07:28] The ecology of Eden: abundance.[11:05] The hydrology of Eden.[14:03] The strange placement of Lethe in Dante's afterlife.[17:15] The poet's reimagination of Eden, including an unprecedented river.[20:23] The vertical layering of meaning onto the pastoral form.[23:09] The inevitable logical faults of an imagined landscape.[25:48] Rereading the passage: PURGATORIO, Canto XXVIII, lines 109 - 133.

The inflated media controversy surrounding Secretary of Defense Pete Hegseth’s decision to strike a drug-smuggling boat new Venezuela in September. Reporter Olivia Nuzzi’s new memoir American Canto tells a story of an extramarital affair with Secretary of Health and Human Services (HHS) Robert F. Kennedy, amongst many other political figures. The U.S. Treasury is investigating allegations that Minnesotans’ tax dollars may have been diverted to the terrorist group Al-Shabaab under the watch of Democratic Governor Tim Walz.See omnystudio.com/listener for privacy information.

The lady in Eden says she's come to answer the pilgrim's questions. And he's got one. It just might not be the first question on our minds.But it's one that reveals the hall of mirrors that the poet has created in COMEDY, in which the poem itself justifies its own fictional if scientific answers to questions that lead the fictional pilgrim (and the very real reader) to a position of faith, based on the imagined landscape.Join me, Mark Scarbrough, as we work through the first of the lady's speech with our pilgrim (as well as Virgil and Statius) in the Garden of Eden at the top of Mount Purgatory.Here are the segments for this episode of WALKING WITH DANTE:[01:27] My English translation of PURGATORIO, Canto XXVIII, lines 85 - 108. If you'd like to read along or continue the conversation with me, please find the entry for this episode on my website, markscarbrough.com.[04:06] The lady's six-line theological explanation for the Garden of Eden and the fall of mankind.[07:31] The lady's six-line scientific explanation for the breeze on the top of Mount Purgatory.[11:04] The lady's six-line glimpse of Paradise above.[12:54] The pilgrim's question of faith is built off the fictional landscape and its "scientific" answers found in the poem itself.[21:39] Rereading the passage: PURGATORIO, Canto XXVIII, lines 85 - 108.

The lady in the forest has come to face the pilgrim and his poets across the stream in the forest.The pilgrim clearly feels a sexual attraction toward her, one that might even make us think of his reactions to Beatrice.She, however, has other ideas, like answering their many questions. Except in so doing, she raises even more questions than she has time to answer.Join me, Mark Scarbrough, as we work through this passage in PURGATORIO in which we first learn we're wandering around in the Garden of Eden.Here are the segments for this episode of WALKING WITH DANTE:[01:37] My English translation of PURGATORIO, Canto XXVIII, lines 67 - 84. If you'd like to read along or continue the conversation with me by dropping a comment on this episode, please find it on my website, markscarbrough.com.[03:38] Upright and flirty: the many contradictions of the lady in the forest.[07:04] A rare misstep in COMEDY.[08:06] A tough tangle of references from Ovid and the Bible: from pride to sexual attraction to (thwarted) redemption.[15:28] The tenuous connections between the lady's laugh and their doubts, as well as her words and Virgil's presence.[21:17] Her purpose: to offer answers (but not to remove sexual tension).[23:39] The Garden of Eden, utterly reimagined by Dante.[28:23] Rereading the passage: PURGATORIO, Canto XXVIII, lines 67 - 84.

Our pilgrim, Dante, calls the solitary lady over to him. She can't cross the stream that divides them, but she can dance in place before coming closer to him.All the while, the poet keeps darkening the poetry around her with threatening references in the pilgrim's mouth--that is, classical examples of profane love that end up in tragic circumstances.And all this, despite our poet quoting repeatedly from his rival poet's poem.Join me, Mark Scarbrough, as we watch meaning get thicker and thicker at the top of Mount Purgatory.If you'd like to help support this podcast by underwriting its many fees, please consider a one-time donation or a small monthly stipend, using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:30] My English translation of PURGATORIO, Canto XXVIII, lines 43 - 66. If you'd like to read along or drop a comment about this episode to continue the conversation, please find its spot on my website, markscarbrough.com.[03:53] What if wandering is the start of some of the most significant journeys?[08:22] My interpretive thesis: The solitary lady is the only fully fictional character in COMEDY.[12:30] The poet Dante is cribbing a pastoral poem by his literary rival, Guido Cavalcanti.[18:14] Two reasons Dante may have cribbed Cavalcanti's pastoral poem: 1) to assuage Dante's own guilt in Cavalcanti's death or 2) to show the limits of Cavalcanti's (and others') poetry.[22:59] Two classical exemplars from Ovid--Proserpina and Venus--darken the passage considerably.[27:48] Rereading the passage: PURGATORIO, Canto XXVIII, lines 43 - 66.

Hello, media consumers! Bryan and David dive into everything Olivia Nuzzi, starting with Jacob Bernstein's New York Times piece, including what was said in his profile of Nuzzi and whether this is the right kind of profile for her. Next, they discuss the excerpt of Nuzzi's book, 'American Canto,' released in Vanity Fair and whether the writing in this excerpt is “good” (25:44). Afterward, Bryan and David react to the bombshell claim by Ryan Lizza (Nuzzi's ex- fiancé) that RFK Jr. isn't the only presidential candidate she has had a relationship with (40:40). Lastly, the show ends with the guys giving their thoughts on Marjorie Taylor Greene's about-face on Trump (59:46). Plus, the Overworked Twitter Joke of the Week, and David Shoemaker Guesses the Strained-Pun Headline! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Our pilgrim continues walking through the old-growth forest, so dark that very little light can get into its cooling shade.He is eventually blocked by two seemingly small things: a little brook flowing to the left and a solitary lady across the way, singing and picking flowers.But the poet Dante gives us hints that all is already not what it seems.Join me, Mark Scarbrough, as we continue our journey across the top of Mount Purgatory . . . and notice that meaning is becoming layered over the naturalist details our pilgrim innocently notices.If you'd like to help cover the fees for this podcast with a one-time donation or a small monthly stipend, you can do so at this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:07] My English translation of PURGATORIO, Canto XXVIII, lines 22 - 42. If you'd like to read along or continue the conversation with me by dropping a comment about this episode, please do so on my website: markscarbrough.com.[03:03] A glance back to the start of the canto . . . and a glance back to the start of INFERNO.[05:59] More repeated words in the poetry.[07:31] Naturalistic details and the initial layering of metaphysical, moral, or allegorical meaning.[16:30] No geographical understanding of this place (yet) . . . but a literary understanding of it: pastoral poetry.[22:48] The unnamed, solitary lady as an interpretive trap.[24:57] Rereading the passage: PURGATORIO, Canto XXVIII, lines 22 - 42.

Our pilgrim has been set free--crowned and mitered, in fact--and can wander at will through the dense, thick wood that tops Mount Purgatory.The opening lines of Canto XXVIII are fully from the pilgrim's point of view. They offer us a wealth of naturalistic detail that looks simple on first blush but that will get layered with sedimentary meaning over the next five and a half cantos.This place is unprecedented in all of COMEDY. Let's see it for what it is, without delving into the exact answers to the questions of where we are. Join me, Mark Scarbrough, for the opening lines of the third "chapter" of PURGATORIO.Here are the segments for this episode of WALKING WITH DANTE:[01:17] My English translation of the passage: PURGATORIO, Canto XXVIII, lines 1 - 21. If you'd like to read along or continue the conversation with me, please find the entry for this episode on my website, markscarbrough.com.[04:11] First detail: eagerness as the prime motivation.[06:08] Second detail: first hints about the prominent poetics in the passage.[08:42] Third detail: naturalistic imagery that isn't.[11:04] Fourth detail: the beginnings of polyphony (and dissonance).[13:09] Fifth detail: the pine forest at Classe.[14:47] First nuanced point: wandering away and perhaps a resonance with Geryon.[17:50] Second nuanced point: a Saharan wind in this verdant place (and perhaps an echo of Juno's storm that drives Aeneas into Dido's arms).[20:31] First major interpretive node: constancy as the changed strategy for the poem.[23:08] Second major interpretive node: the four verdant or forested landscapes of COMEDY before this one.[31:57] Rereading the passage: PURGATORIO, Canto XXVIII, lines 1 - 21.