Podcasts about Churchyard

Send us a textIn this month's delayed episode, Col Andy Taylor and Rev Paul Roberts take a walk out to Hoarwithy, between Hereford and Ross-on-Wye on the banks of the river Wye.  The impressive Byzantine / Romanesque / Tuscan beauty of St Catherine's Church catches their eye and they explore then local men commemorated on the War Memorial there.The great great uncle of regular listener Steve Parkes was one on those commemorated here.  George Edwards of the Herefordshire Regiment is buried in St Catherine's Churchyard and in 2018 a service was held to rededicate his repaired headstone.  George was wounded at Gallipoli and in Palestine and died of wounds in Bristol.  Other men Andy and Paul look into include 61 year old Royal Naval Reserve officer Ernest Baker, who died in September 1945.The next port of call is the New Harp Inn below the church in the centre of the village.  In 1908 the newly formed Herefordshire Regiment of the Territorial Force camped behind the pub as part of a recruiting drive.  The men repaired to the New Harp and managed to drink the pub dry.  A contemporary newspaper account reports that a fracas ensued and several windows were broken, which had to be paid for by the Regiment.    Despite their best efforts Paul and Andy weren't able to repeat this feat!Support the showIf you like what you hear, don't forget to like and subscribe to help us reach a wider audience. Visit our website - Herefordshire Light Infantry Museum; follow us on Facebook Herefordshire Regimental Museum | Facebook or visit our Youtube channel Herefordshire Regimental Museum - YouTube.Support the Museum? Become a Patreon supporter or a Become a FriendTheme Tune - The Lincolnshire Poacher, performed by the outstanding Haverhill Silver Band. This podcast generously supported by the Army Museums Ogilby Trust.

Situated on the cusp of the Romantic era, Thomas Gray's work is a mixture of impersonal Augustan abstraction and intense subjectivity. ‘Elegy Written in a Country Churchyard' is one of the most famous poems in the English language, and continues to exert its influence on contemporary poetry. Mark and Seamus explore three of Gray's elegiac poems and their peculiar emotional power. They discuss Gray's ambiguous sexuality, his procrastination and class anxieties, and where his humour shines through – as in his elegy for Horace Walpole's cat.Non-subscribers will only hear an extract from this episode. To listen to the full episode, and all our other Close Readings series, subscribe:Directly in Apple Podcasts: https://lrb.me/applecrldIn other podcast apps: https://lrb.me/closereadingsldFurther reading in the LRB:John Mullan: Unpranked Lyrehttps://www.lrb.co.uk/the-paper/v23/n24/john-mullan/unpranked-lyreTony Harrison: ‘V.'https://www.lrb.co.uk/the-paper/v07/n01/tony-harrison/vGet the books: https://lrb.me/crbooklistRead the texts online:https://www.thomasgray.org/texts/poems/sorwhttps://www.thomasgray.org/texts/poems/elcchttps://www.thomasgray.org/texts/poems/odfcNext episode: Mid-20th century elegies: Betjeman, Lowell, Bishop Hosted on Acast. See acast.com/privacy for more information.

We have now established the tradition of beginning each series with a walking episode. The first was around the city of Sheffield and our second is around Grasmere in the Lake District. Made famous by the Lakeland poets and especially William Wordsworth and his sister Dorothy who lived in Dove Cottage, Grasmere town sits next to the lake of the same name. We began at the cottage and the wonderful museum dedicated to the Wordsworths and then walked right around the lake. We encountered other walkers and then finished off in the Churchyard where the Wordsworth's are buried. We stayed the night in the wonderful Traveler's Rest on the edge of the town. The next morning we headed up towards Easdale and the path up to the Tarn looking over Sour Milk Gill. Thanks to all the people we encountered on the walk for their time and obvious love of the Lakes. We would recommend Dorothy Wordsworth's Grasmere Journal, any version of the Prelude by William Wordsworth and Jonathan Bates excellent biography Radical Wordsworth. For Coleridge's Frost At Midnight click https://www.poetryfoundation.org/poems/43986/frost-at-midnight 

A daring conspiracy. A near-catastrophic explosion. A brutal punishment.   The Gunpowder Plot of 1605 is one of history's most infamous assassination attempts—but it wasn't just Guy Fawkes who paid the price. On this day in 1606, four of his fellow conspirators met a gruesome end at St Paul's Churchyard. Their execution was a chilling warning to all who dared to defy the crown.   What really led them to this fate? How close did they come to changing history forever? And why does this plot still capture our imagination today?   Join me as I uncover the full story behind the Gunpowder Plot and the men who risked everything for their cause.   #GunpowderPlot #HistoryMystery #GuyFawkes #TudorHistory #StuartHistory #OnThisDay #RememberRemember

This barmy afternoon in Holme-Next-The-Sea has gained a stiff undulating wind. It hurries past the sheep in the paddock next to St Mary's church. Whisps through banks of unmown grasses, sifting up their scent. Shakes dry-leaved hedgerows so they sound as summer dry as the baked mud looks by the lane. Yes, today certainly feels like it's the first day of late summer.  Sit then on the bench underneath the fir tree. Rest back from the deep blue sky. Feel the sun's heat radiating off the parapet wall of the church. Hear the changing wind. How it hushes in the fir's needles. Rustles in the broad leaves of the deciduous trees. Rises, then calms. Causes the landscape to shift between near, and far. Surely this is how to best enjoy such a day as this. With sheep, grazing in the field nearby. And wood pigeons, roosting along the church roof and above, in the trees.  Spending time on this bench, taking in the day and the various kinds of warmth that it seems to be made of, might lull you into a daydream, and a thought. How are the animals around considering this first day of late summer? Are they enjoying the scents of the grass too? The hushing of the wind in the fir tree? The yellow orange heat rising from the sun warmed ground? Maybe they too have let go their plans, and are just basking in the sensations of what it is to be conscious of everything that's presently, and pleasantly around. * We made this recording in late July 2024. It was the way the wind sounded in the fir tree that caught our interest. Finding somewhere to locate the Lento box wasn't easy but we eventually managed to find a fence post that let the box capture the fir tree as it is in the wider landscape, beside the church. Sometimes the presence of the church can be felt as it reflects bird calls and other nearby sounds. At around 26 minutes the low rumble of a distant military jet plane can be heard for a short time. This part of England hosts various very active military airbases. We were in fact lucky to capture as long as we did before more and much louder jets flew over, producing intense low frequency rumbling.

In this History of Prints (HoP) episode, Tru and I finish talking about the life and work of William Hogarth, the father of Western sequential art.  We look at and pick apart three series: Industry and Idleness, The Four Stages of Cruelty, and Humours of an Election. Timely, no? Hogarth continues to point out society's faults and baser instincts. He never stopped trying to teach the masses about comportment and judgment. Episode image: William Hogarth (British, 1697–1764). Gin Lane, 1751. Etching and engraving. Sheet: 15 1/16 x 12 1/2 in. (38.3 x 31.7 cm.). Metropolitan Museum of Art, New York. Useful Links Harlot's Progress video from Paul Mellon Centre for Studies in British Art. https://youtu.be/VPQze0EbpdQ Harlot's Progress video from Reading the Past. https://youtu.be/u1rtBD0qvPY?si=DkVatOJ5-vEyrIqF Beer Street and Gin Lane from Reading the Past. https://youtu.be/A3-Je-lSKrE?si=C9igJSDSvYVyRabY After Allan Ramsay (British, 1713–1784). Portrait of William Hunter, 1760. Engraving. Wellcome Collection. Jean-Baptiste-Siméon Chardin (French, 1699–1779). Saying Grace, c. 1740. Oil on canvas. 49.5 x 38.5 cm. (19 ½ x 15 ¼ in.). Musée du Louvre. Paris. Jean-Baptiste Greuze (French, 1725–1805). The Village Bride, 1761. Oil on canvas. 92 x 117 cm. (36 x 46 in.). Musée du Louvre. Paris. Inigo Jones (British, 1573–1652). Banqueting House, 1622. London. William Hogarth (British, 1697–1764). The South Sea Scheme, 1722. Etching and engraving. Sheet: 10 ¼ x 12 15/16 in. (26.1 x 32.8 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot's Progress, 1732 or before. Series of 6 etchings with engraving. Sheet (each): 12 5/16 x 15 1/8 in. (31.3 x 38.4 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, 1735. Series of 8 paintings. Sir John Soane's Museum, London. William Hogarth (British, 1697–1764). A Rake's Progress, 1735. Series of 8 etchings with engraving. Sheet (each): 13 7/8 x 15 7/8 in. (35.2 x 40.4 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Marriage A-la-Mode, c. 1743. Series of 6 paintings. Each: 66.9 x 90.8 cm. The National Gallery, London. After William Hogarth (British, 1697–1764). Marriage A-la-Mode, 1745. Series of 6 etchings with engraving. Plate (each): 15 1/4 x 18 1/2 in. (38.7 x 47 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Mr. Garrick in the Character of Richard III, 1746. Etching and engraving. Sheet: 16 3/8 x 20 1/2 in. (41.6 x 52 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743. S curves from The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743. William Hogarth (British, 1697–1764). Plate I from The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743. William Hogarth (British, 1697–1764). Plate II from The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743. William Hogarth (British, 1697–1764). The Fellow ‘Prentices at their Looms, plate 1 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 3/8 x 13 7/16 in. (26.4 x 34.2 cm.); sheet: 10 5/8 x 14 in. (27 x 35.5 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice Performing the Duty of a Christian, plate 2 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/8 x 13 3/4 in. (26.4 x 34.9 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Idle ‘Prentices at Play in the Churchyard, plate 3 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 1/4 x 13 9/16 in. (26 x 34.5 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice a Favourite and Entrusted by his Master, plate 4 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 3/8 x 13 1/2 in. (26.3 x 34.3 cm.); sheet: 10 11/16 x 13 7/8 in. (27.1 x 35.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Idle ‘Prentice Turned Away and Sent to Sea, plate 5 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/8 x 13 11/16 in. (26.4 x 34.8 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice Out of his Time and Married to his Master's Daughter, plate 6 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 3/8 x 13 9/16 in. (26.4 x 34.4 cm.); sheet: 10 9/16 x 13 7/8 in. (26.8 x 35.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Idle ‘Prentice Returned from Sea and in a Garret with a Common Prostitute, plate 7 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 5/16 x 13 5/8 in. (26.2 x 34.6 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice Grown Rich and Sheriff of London, plate 8 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 1/4 x 13 1/2 in. (26 x 34.3 cm.); sheet: 10 3/8 x 13 3/4 in. (26.3 x 35 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Idle ‘Prentice Betrayed by his Whore and Taken in a Night Cellar with his Accomplices, plate 9 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 5/16 x 13 9/16 in. (26.2 x 34.4 cm.); sheet: 10 9/16 x 13 3/4 in. (26.9 x 35 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice Alderman of London, The Idle One Brought Before Him and Impeached by his Accomplices, plate 10 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/16 x 13 11/16 in. (25.8 x 34.8 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Idle ‘Prentice Executed at Tyburn, plate 11 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/8 x 15 3/4 in. (26.4 x 40 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice Lord Mayor of London, plate 12 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 9/16 x 15 13/16 in. (26.9 x 40.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Gin Lane, 1751. Etching and engraving. Sheet: 15 1/16 x 12 1/2 in. (38.3 x 31.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Beer Street, 1751. Engraving. Sheet: 15 1/8 x 12 11/16 in. (38.4 x 32.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The First Stage of Cruelty, 1751. Etching and engraving. Sheet: 14 3/4 x 12 1/2 in. (37.5 x 31.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Second Stage of Cruelty, 1751. Etching and engraving. Plate: 15 1/4 x 12 9/16 in. (38.8 x 31.9 cm.); sheet: 16 1/16 x 13 1/4 in. (40.8 x 33.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Cruelty in Perfection, 1751. Etching and engraving. Plate: 15 1/4 x 12 11/16 in. (38.8 x 32.2 cm.); sheet: 15 13/16 x 13 3/16 in. (40.2 x 33.5 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Reward of Cruelty, 1751. Etching and engraving. Plate: 15 1/4 x 12 5/8 in. (38.8 x 32 cm.); sheet: 15 3/4 x 13 1/16 in. (40 x 33.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Humours of an Election I: An Election Entertainment, 1754–55. Oil on canvas. 101 x 128 cm. Sir John Soane's Museum, London. William Hogarth (British, 1697–1764). The Humours of an Election II: Canvassing for Votes, 1754–55. Oil on canvas. 102.3 x 131.4 cm. Sir John Soane's Museum, London. William Hogarth (British, 1697–1764). The Humours of an Election III: The Polling, 1754–55. Oil on canvas. 102.2 x 131.1 cm. Sir John Soane's Museum, London. William Hogarth (British, 1697–1764). The Humours of an Election IV: Chairing the Member, 1754–55. Oil on canvas. 103 x 131.8 cm. Sir John Soane's Museum, London. William Hogarth (British, 1697–1764). The Humours of an Election I: An Election Entertainment, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London. William Hogarth (British, 1697–1764). The Humours of an Election II: Canvassing for Votes, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London. William Hogarth (British, 1697–1764). The Humours of an Election III: The Polling, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London. William Hogarth (British, 1697–1764). The Humours of an Election IV: Chairing the Member, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London. George Caleb Bingham (American, 1811–1879). The Verdict of the People, 1854–55. Oil on canvas. 46 x 55 in. (116.8 x 139.7 cm.). Saint Louis Art Museum, St. Louis. George Caleb Bingham (American, 1811–1879). Stump Speaking, 1853–54. Oil on canvas. 42 1/2 x 58 in. (108 x 147.3 cm.). Saint Louis Art Museum, St. Louis. George Caleb Bingham (American, 1811–1879). The County Election, 1852. Oil on canvas. 38 x 52 in. (96.5 x 132.1 cm.). Saint Louis Art Museum, St. Louis. William Hogarth (British, 1697–1764). Tailpiece, or the Bathos, 1764. Engraving. 261 x 323 mm. Royal Academy of Arts, London.

A run down and overgrown medieval churchyard in Sandwich has been restored to a beautiful wildlife haven by a group of local volunteers. In this amazing story, you'll hear from the people who brought this churchyard back to life and find out what they discovered when they peeled the ivy back from the tombstones.It takes a community of passionate people to make a difference and you can really tell that has happened here in Sandwich. With a bit of organising and hard work, each person has found a role, whether that be to document the history of the place and the people buried here or clearing overgrown vegetation, they all work so hard to make this place a special site for anyone who wants to visit.Visit the project site here: https://stclementsandwich.org.uk/churchyard/Watch a shortened version of this podcast on YouTube: https://youtu.be/tmD5vOYhqOURead the transcript here: https://www.kentwildlifetrust.org.uk/blog/rewilding-churchyard-sandwich-podcast Hosted on Acast. See acast.com/privacy for more information.

Daily Quote“Why did you do all this for me?” he asked. “I don't deserve it. I've never done anything for you.” “You have been my friend,” replied Charlotte. “That in itself is a tremendous thing.” (Charlotte's Web by E.B. White)Poem of the DayA Summer Evening ChurchyardPoem of the DayA Summer Evening ChurchyardBy Percy Bysshe ShelleyBeauty of WordsThe Delights of BooksSir John Lubbock

It's evening, just after midsummer's day, and a walk has taken you down a winding lane to a tiny medieval church. In the churchyard, lichen-crusted gravestones emerge from what has been left to become a flower-filled meadow. Only a few goldfinches break the mellow stillness. BBC Countryfile Magazine's Sound Escapes are a weekly audio postcard from the countryside to help you relax and transport you somewhere beautiful, wherever you happen to be. Recorded by Fergus Collins, introduced by Hannah Tribe. Email the Plodcast team – and send your sound recordings of the countryside – to: theplodcast@countryfile.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

Robert is in rural Kent, just down the road from Canterbury Cathedral, chatting with back row singers from three cathedrals including WINCHESTER. He also remembers the Nigel Perrin, top line of the original Kings Singers, with Nigel's colleague Alastair Hume.TRACKS : (1) Gabrieli Jackson - Sancte Deus; Canterbury Cathedral Choir / David Newsholme / Sam Corkin - Saxophone (2) Leonel Power - Credo; The Orlando Consort (3) Haydn - Harmoniemesse Credo; RIAS Kammerchor / Freiburg Baroque Orchestra / Jakobs (4) Albert Hammond - I'm a train; The King's SIngers (5) Weelkes - Since Robin Hood; The King's SingersSupport this show http://supporter.acast.com/choral-chihuahua. Hosted on Acast. See acast.com/privacy for more information.

Join co-hosts Jennifer Baskerville-Burrows and Brian Sellers-Petersen for a conversation with Derek Miller, Rector of St Peter's in Ellicott City MD and Dina van Klaveren, Canon for Development in the Diocese of Maryland. Conversation centers around St Peter's “killing their churchyard” with the help of Kill Your Lawn on EarthxTV and Howard Ecoworks. 

Imagine settling into a new home, only to find yourself tormented by a ghostly presence that manifests as a single, sinister hand. In "The Ghost of a Hand," a tale from Joseph Sheridan Le Fanu's The House by the Churchyard, the Prosser family faces a haunting that defies explanation and grows ever more terrifying with each passing night. Join me as I narrate this chilling story of suspense and supernatural horror, where the unseen and the unknown create an atmosphere of palpable dread. Prepare to be captivated by a narrative that keeps you on the edge of your seat, yearning to uncover the mystery behind the spectral hand that haunts the Tiled House. 00:00:00 Begins 00:00:22 The Ghost of A Hand by J. S. Le Fanu 00:20:04 Commentary 00:39:50 End Please consider becoming a Patreon for ad-free stories Learn more about your ad choices. Visit megaphone.fm/adchoices

On Episode 37, host Rachael Fowler explores the remarkable impact of therapeutic gardening for individuals with dementia alongside guest Rebekah Churchyard, MSW, RSW, PMP.  Join us as we delve into Green Care Farms Inc.'s mission to foster purpose, belonging, and vitality through sustainable, organic practices. Our guest, Rebekah Churchyard, shares her journey spearheading this initiative, which is driven by her extensive experience in social work and geriatric services. Rebekah's commitment to bringing Green Care Farms to every community in Canada reflects her passion for enhancing the well-being of individuals living with dementia. After spending more than 10 years in healthcare, policy, and social work, Rebekah's personal journey led her to realize the need for more creative solutions for older adults navigating cognitive decline outside of the public sector. This realization gave birth to Green Care Farms Inc. in Milton, Ontario, a social enterprise supporting community connection for people with dementia and their caregivers, providing a day program for people with dementia on a farm. Rebekah Churchyard holds a Master of Social Work in Gerontology and works in Specialized Geriatric Services. As a Project Management Professional (PMP) and Psychotherapist, Rebekah combines her expertise to advocate for the well-being of older adults everywhere! Rebekah's history of leadership, including her role as Vice President of the Toronto Council on Aging Board of Directors and her role as an Accountability Table member with the City of Toronto's Seniors Strategy, reflects her dedication to improving care for older adults and community services.Join us in our exploration of resilience and innovation in healthcare and wellness. Discover how the therapeutic gardening program at Green Care Farms Inc. is not just reshaping, but blooming the landscape of dementia care in Canada, providing a vibrant and nurturing environment for individuals with dementia. On this episode we discuss: Progressive models and approaches for dementia careRebekah's journey in creating Green Care Farms Inc.Respite, programming and opportunities for caregivers and people with dementiaInnovative healthcare practicesSocial Work & Gerontology Bridging nature, gardening, horticulture & outdoor spaces into Social Work practicesCommunity based initiatives and the importance of volunteeringTips for new social workersCheck out Green Care Farms in Milton, Ontario website HERE and follow on Instagram  for updates on events and how to get involved.If you like the show- let us know, subscribe, give us a rating and check us out on INSTAGRAM

www.taletellerclub.comThe home of awesome lyrics you can use#taletellerlyrics

Through therapeutic gardening programs, the social enterprise promotes purpose and belonging The post Nurturing Purpose for People with Dementia: Rebekah Churchyard of Green Care Farms appeared first on SEE Change Magazine.

‘A man walks down the path. The sun is catching his bald head and it's shining.' Please note before you start listening: this podcast is recorded in 3D sound! So make sure that you're wearing headphones for the very best experience. The small details in life can pass you by. Unless you take the time to stop to notice them. Which is exactly what author, actor and social media personality Miranda Keeling does in this podcast series. Expanding on the observations she shares on her popular Twitter account, she invites you to join her out and about as she captures those small, magical moments of everyday life, in sound. Thanks to 3D recordings, you'll hear everything she does as if you were right there with her. There are new episodes every Tuesday and Thursday. These short but lovingly crafted episodes are an invitation to escape from life's hustle, immersing you in Miranda's world for a few minutes.See omnystudio.com/listener for privacy information.

This week's guest is Nick Spencer, senior fellow at the faith thinktank Theos, and recent author of Magisteria: The entangled histories of science and religion. Nick joins us to discuss the complicated backstory to how we all came to believe science and faith were inevitably at odds with each other. Where did this myth come from, and what is a more nuanced and truthful account of how religion reacted to the emergence of contemporary science in the last 300 years? Should Christians actually welcome a bright dividing line between our world of faith and spirituality, and the hard-nosed world of science, focused solely on a measurable reality of atoms and molecules? And what might we learn from the surprisingly interesting personal religious lives of some of history's greatest scientists? - Find out more about Nick's book and how to order it here: https://www.simonandschuster.com/books/Magisteria/Nicholas-Spencer/9780861544615 - Subscribe to the Matters of Life and Death podcast: https://pod.link/1509923173 - If you want to go deeper into some of the topics we discuss, visit John's website: http://www.johnwyatt.com - For more resources to help you explore faith and the big questions, visit: http://www.premierunbelievable.com

Our heroes are pinned down by the onslaught of the Headless Horseman. Kim investigates a mysterious cowboy. Rev learns more about Rickets. Tass channels his religious childhood. Megan attempts to make contact with the gods of this world. As their protection of the churchyard begins to fail, the team must find a way to deal with the Horseman quickly, or risk learning what he can do at close quarters. ------ Content Warning: Language, Fantasy Violence ------ You can support The Critshow through our Patreon to get more weekly TTRPG Actual Play content, access to our discord community, and much more! Follow The Critshow on twitter, join our subreddit, and follow us on Instagram.  Get two free MotW mysteries and some Keeper tips from Rev by signing up on our website!  Check out what's coming up on our monthly publication calendar. And don't forget to check out our wonderful sponsors! This episode of The Critshow featured Kim as The Artist, Megan as The Maverick, Rev as The Arcanist, Tass as The Gunslinger, and Jake as The GM. This episode was edited and produced by Brandon (Rev) Wentz with music by Jake Pierle. Learn more about your ad choices. Visit megaphone.fm/adchoices

Title by Genevieve Kingsford The seventh deadly sin is: Revenge. Young David is on a dark path, committing greater and greater sins. The Father of the church also begins to indulge in sacriligeous activities. And a mysterious stranger named Lucy Fur has arrived in town. With so many evil-doers, who will be the one to take out their.... revenge in the courtyard! Song List: "I Hope He Can Forgive Me", "I Want to Be...", "David, Be My Friend", "When Jesus Touches a Woman", "Cool Down", "I'm Gonna Get My Revenge / I'm Gonna Repent" Wanna show Impromptunes some financial love? Check out our Patreon here: https://www.patreon.com/impromptunes Cast: Jaron Why, Brenna Glazebrook, Alexia Brinsley and Tristan Davie on keys Teched by Ryan Smedley Edited by Morgan Phillips

If you are looking for a tale to read aloud at Hallowe'en, we have another short sharp shocker for you here, this time from the master of the ghost story MR James! --- Send in a voice message: https://podcasters.spotify.com/pod/show/hypnogoria/message

Música Original de Alejandro Morales Music Había un hombre que vivía junto a un cementerio (There Was a Man Dwelt by a Churchyard)es un relato de fantasmas del escritor inglés M.R. James (1862-1936), publicado originalmente en la edición del 6 de diciembre de 1924 de la revista Snapdragon, y luego reeditado en la antología de 1931: Las historias de fantasmas de M.R. James (The Collected Ghost Stories of M.R. James).Había un hombre que vivía junto a un cementerio, sin dudas uno de los cuentos de fantasmas de M.R. James más importantes, nos sitúa durante el período isabelino, y narra la historia de un fantasma vengativo que acecha a un hombre luego de que este saqueara la tumba de una mujer.El título de este gran relato de M.R. James proviene del segundo acto de Un cuento de invierno (A Winter's Tale), de William Shakespeare. Había un hombre que vivía junto a un cementerio es como el joven Mamillius comienza a relatarle a su madre, la reina Hermione, una escalofriante historia de espíritus.

On this episode of Talking History: how the Jazz Age affected Ireland; why Irish ringforts were built; and how St Paul's Churchyard in London became the centre of the English literary world.

Our journey begins in the foggy night of January 3, 1804, when a terrified woman reported a haunting encounter with an apparition dressed in white near the St. Paul's Churchyard in Hammersmith. News of the ghost's malevolence quickly spread, and fear gripped the local community, prompting them to seek protection from the ghastly entity. As the Hammersmith Ghost's notoriety grew, more sightings of the spectral figure were reported. Panic swept through the neighborhood, and tales of hair-raising encounters circulated, leaving residents sleepless and paranoid. The ghost's eerie presence seemed to be spreading unrest and fear throughout Hammersmith. Amidst the growing hysteria, tragedy struck on February 3, 1804, when a local bricklayer named Thomas Millwood was mistaken for the Hammersmith Ghost and fatally shot by a nervous vigilante. This tragic incident heightened the tensions, raising questions about the identity of the apparition and the appropriateness of vigilante justice. As the authorities investigated the circumstances surrounding Thomas Millwood's death, startling revelations emerged. The true identity of the Hammersmith Ghost was unveiled as a deceased shoemaker named John Graham, who had been buried in the local churchyard. But how had he come to be seen wandering the streets, and why did his specter appear so menacing? As the Hammersmith Ghost's true identity came to light, debate raged over whether the sightings were part of a sinister hoax or something truly supernatural. Skeptics argued that it was merely a cruel prank played by mischievous individuals seeking to terrorize the community. Meanwhile, believers clung to the idea of a vengeful spirit haunting the living. The killing of Thomas Millwood led to the arrest of the shooter, Francis Smith. The landmark trial that followed captured the public's attention and raised complex legal questions about the nature of apparitions and the consequences of acting on fear. The court's decision would set a precedent for future cases involving self-defense and mistaken identity. As the Hammersmith Ghost hysteria eventually subsided, its legacy endured. The case offered valuable insights into human psychology, mob mentality, and the power of fear over reason. Furthermore, it prompted important discussions about the reliability of eyewitness accounts and the responsibility of the legal system in handling cases involving the supernatural. The legend of the Hammersmith Ghost remains an enduring mystery, a curious blend of the supernatural and human psychology. As we delve into the chilling tale of this infamous specter, we are reminded of the impact that fear and superstition can have on a community and the importance of seeking justice with a clear and rational mind. The Hammersmith Ghost will forever haunt the pages of history, leaving behind a cautionary tale of how the unknown can drive us to extremes. --- Send in a voice message: https://podcasters.spotify.com/pod/show/shaychapman/message

For July Chris and I interviewed indie horror director Alex Churchyard, best known for his award-winning summer slasher "I Scream On the Beach". We talk about everything we can, his recent appearance on the BBC, the best upcoming indie horrors, how to terrify your neighbors, and his amazing array of films including "Videoshop Tales of Terror" with Dani Thompson and "Mosaic" with Simon Bamford.

Había un hombre que vivía junto a un cementerio (There Was a Man Dwelt by a Churchyard)es un relato de fantasmas del escritor inglés M.R. James (1862-1936), publicado originalmente en la edición del 6 de diciembre de 1924 de la revista Snapdragon, y luego reeditado en la antología de 1931: Las historias de fantasmas de M.R. James (The Collected Ghost Stories of M.R. James).Había un hombre que vivía junto a un cementerio, sin dudas uno de los cuentos de fantasmas de M.R. James más importantes, nos sitúa durante el período isabelino, y narra la historia de un fantasma vengativo que acecha a un hombre luego de que este saqueara la tumba de una mujer.El título de este gran relato de M.R. James proviene del segundo acto de Un cuento de invierno (A Winter's Tale), de William Shakespeare. Había un hombre que vivía junto a un cementerio es como el joven Mamillius comienza a relatarle a su madre, la reina Hermione, una escalofriante historia de espíritus.

"Sticky", that was the nickname for tennis in its early days

This week on the Ordinary Extraordinary Cemetery podcast...Nestled in the Bitterroot Valley beneath St. Mary's Peak, a mountain in the northern portion of the Rocky Mountain range that runs through the state of Montana, is a small, simple churchyard where rests the body of Father Antonio Ravalli alongside approximately 329 other souls whose resting place is part of historic St. Mary's Mission. Jennie and Dianne learn the fascinating history of this mission; how  a Salish prophet had a vision of "Black Robes" coming to live among their people; this was later interpreted as the Jesuit priests who established the first St. Mary's Mission in 1841. One priest in particular, Father Antonio Ravalli, had a huge impact on the settlement and his story is interwoven with that of the Salish people and the trials they endured as westward expansion took over their homeland and begin to erase their culture and heritage. Also, shared is the Ordinary Extraordinary story of Mary Ann Pierre Topsseh Coombs, a Salish woman who was forced, along with her family, to leave the Bitterroot Valley at the age of 10 only to return to it as an old woman in 1975 with two other elders to share the traditions and burial sites of generations of Salish people with their young descendants determined that their culture should not disappear, but remain proud and steadfast.Resources used to research this episode include:Forest Service, USDA. "Bitterroot National Forest." https://www.fs.usda.gov. www.fs.usda.gov/main/bitterroot/learning/history-culture. Accessed 25 June 2023.Weiser-Alexander, Kathy . "The Salish Tribe of Montana ." https://www.legendsofamerica.com. 1 June 2021. www.legendsofamerica.com/salish-tribe/. Accessed 25 June 2023., Historic St. Mary's Mission & Museum . "St. Mary Peak Stevensville, Montana ." https://saintmarysmission1.homesteadcloud.com. saintmarysmission1.homesteadcloud.com/st-mary-s-peak. Accessed 25 June 2023. "St. Mary's Mission Cemetery - St. Mary's Mission - ." https://www.waymarking.com. 19 Jan. 2018. www.waymarking.com/waymarks/WMXJD9_St_Marys_Mission_Cemetery_St_Marys_Mission_Stevensville_MT. Accessed 25 June 2023. "History ." https://saintmarysmission.org. saintmarysmission.org/history/. Accessed 25 June 2023., Montana.gov. "BRIEF HISTORY OF MONTANA ." https://mt.gov. mt.gov/discover/brief_history.aspx. Accessed 25 June 2023.Mussulman, Joseph A. "Meeting the Salish." https://lewis-clark.org. lewis-clark.org/native-nations/salishan-peoples/salish/meeting-the-salish/. Accessed 25 June 2023. "Pierre-Jean De Smet, SJ (1801-1873) ." https://www.ignatianspirituality.com. www.ignatianspirituality.com/ignatian-voices/18th-and-19th-century-ignatian-voices/pierre-jean-de-smet-sj/. Accessed 25 June 2023.Emmons, D.D. "Father Pierre-Jean De Smet ." https://www.simplycatholic.com. www.simplycatholic.com/father-pierre-jean-de-smet/. Accessed 25 June 2023.Evans, Lucylle. "Father Antonio “Anthony” Ravalli, S.J. (1812-1884) ." https://montanacowboyfame.org. montanacowboyfame.org/inductees/2017/11/father-antonio-anthony-ravalli-sj. Accessed 25 June 2023. "Mary Ann Pierre Topsseh Coombs and the Bitterroot Salish ." https://montanawomenshistory.org. 14 Oct. 2014. montanawomenshistory.org/mary-ann-pierre-topsseh-coombs-and-the-bitterroot-salish/. Accessed 25 June 2023.Todd, Tom. "Fr Anthony J Ravalli ." https://www.findagrave.com. 1 July 2007. www.findagrave.com/memorial/20210714/anthony-j-ravalli. Accessed 25 June 2023.

Gavin McIlvenna joins Tim on the Centennial of the Tomb of the Unknown Soldier. Gavin is president of the Society of the Honor Guard, Tomb of the Unknown Soldier. He had a long and distinguished career in the U.S. Army, but one of the more unique experiences he's had is the time he spent guarding the Tomb of the Unknown Soldier in Arlington Cemetery. In this episode, Gavin tells the story behind the Tomb of the Unknown Soldier, and the symbolic and real significance of one of the most hallowed places on American soil. This episode was originally released on June 14th, 2021. https://traffic.libsyn.com/forcedn/shapingopinion/Encore_-_Story_Behind_the_Tomb_of_the_Unknown_Soldier.mp3 There are places throughout the United States where those who've died for their country are remembered with honor and where they remain. Churchyard cemeteries in places like Boston and Philadelphia to honor the Revolutionary War dead. Or battlefield cemeteries like the one in Gettysburg to honor the fallen during the American Civil War. But in America's history, there hadn't been a single place. A dedicated place to pay tribute to those who gave their lives for our freedoms and for the nation. That changed after World War One. After the Great War, France and Great Britain decided to select one of their fallen soldiers to represent all of the dead from World War One. They laid an unknown soldier to rest in an honored place on November 11, 1920, just over 100 years ago. Other nations followed in similar fashion. Portugal, Italy, Belgium. All selected an unknown soldier to receive full military honors and burial at an honored place in those countries. The commanding general of American forces in France at the time was Brigadier General William Connor. He first heard about the French plans to honor their Unknown Solider during the planning phases. He liked the idea and ran it up the chain, only to be rejected by the U.S. Army Chief of Staff, General Payton March. That was in 1919. General March felt the Americans would be able to identify all of their own dead, so there wouldn't be any “unknown soldiers,” and he felt the U.S. had no comparable burial place for a fallen hero that was similar to Westminster Abbey in Great Britain. But on December 20, 1921, U.S. Congressman Hamilton Fish of New York introduced a resolution that called for the return to the country of an unknown American who was killed during World War One. He wanted to bury a soldier who was killed in France, and then make plans for his burial with full military honors in a tomb that would be constructed at Arlington National Cemetery. The tomb was built and is now located at the Memorial Amphitheater in Arlington Cemetery. On November 11, 1921, the body of an unidentified soldier who was killed in France, was laid to rest. He represents all of the unidentified and missing from World War One. Since that time, an unidentified American service member has been laid to rest at that tomb, with the highest honors, representing World War Two, the Korean War, and the Vietnam War. One crypt sits empty to represent all those who remain missing. This year marks the Centennial of the Tomb of the Unknown Soldier. Please Thank Our Sponsors Please remember to thank our sponsors, without whom the Shaping Opinion podcast would not exist.  If you have the need, please support these organizations that have the same taste in podcasts that you do: BlueHost Premium Web Hosting Dell Outlet Overstock Computer Center Philips Hue Smart Home Lighting Links Arlington National Cemetery Society of the Honor Guard, Tomb of the Unknown Soldier National Commemoration of the Centennial, Tomb of the Unknown Soldier The 3rd U.S. Infantry Regiment, The Old Guard About this Episode's Guest Gavin McIlvenna Sergeant Major (Retired) Gavin L. McIlvenna is the 11th President of the Society of the Honor Guard,

"A man in hi-vis walks past the end of the churchyard. In the sunlight he is an orange beacon." Please note before you start listening: this podcast is recorded in 3D sound! So make sure that you're wearing headphones for the very best experience. The small details in life can pass you by. Unless you take the time to stop to notice them. Which is exactly what author, actor and social media personality Miranda Keeling does in this podcast series. Expanding on the observations she shares on her popular Twitter account, she invites you to join her out and about as she captures those small, magical moments of everyday life, in sound. Thanks to 3D recordings, you'll hear everything she does as if you were right there with her. There are new episodes every Tuesday and Thursday. These short but lovingly crafted episodes are an invitation to escape from life's hustle, immersing you in Miranda's world for a few minutes. Miranda's daily walks are an opportunity for gratitude, reflection and mindfulness, and she encourages listeners to join her in taking a moment to appreciate the beauty that surrounds us. Whether you're looking for inspiration or simply need a break from the chaos, "Stopping to Notice" is the perfect podcast for you. If you like what you hear, then please follow Stopping To Notice for free, wherever you get your podcasts. Follow us on your favorite podcast platform and connect with Miranda on Twitter @MirandaKeeling and don't forget to check out her book, "The Year I Stopped To Notice," for even more insight into living a mindful life. Her book, The Year I Stopped To Notice, is available now: https://uk.bookshop.org/books/the-year-i-stopped-to-notice/9781785787966 The podcast was produced by Oli Seymour for Fresh Air Production. The artwork is designed by Kim Elson and Gemma Rhead.See omnystudio.com/listener for privacy information.

A Green Care farm is a combination of agricultural activities and a population that could benefit from time in the outdoors. Green Care Farms CEO and Founder Rebekah Churchyard provides outdoor day programs for people with dementia, connecting them with nature on a farm in Milton, Ontario. The program includes planning and planting sensory gardens, and growing food for the local food. She says that research shows that these types of programs can result in a delay in admission to long-term care, while building psycho-social wellbeing.Rebekah holds a Master of Social Work in Gerontology, and works in Specialized Geriatric Services. Rebekah is also a Project Management Professional (PMP) and Psychotherapist. She relocated from Toronto back to Kitchener-Waterloo in 2020 on a mission to start Green Care Farms Inc.! In Toronto she gained extensive volunteer experience in charitable board governance and in municipal policy. Rebekah served as President and Vice-President with the Toronto Council on Aging Board of Directors and as an Accountability Table member with the City of Toronto's Seniors Strategy. Learn more about the Strengthening a Palliative Approach to Long-Term Care project at: https://spaltc.ca/

"Yellow and white lichen reminds me of my grandmother's hands as they got older, covered with age spots. I remember thinking they were beautiful." Please note before you start listening: this podcast is recorded in 3D sound! So make sure that you're wearing headphones for the very best experience. The small details in life can pass you by. Unless you take the time to stop to notice them. Which is exactly what author, actor and social media personality Miranda Keeling does in this podcast series. Expanding on the observations she shares on her popular Twitter account, she invites you to join her out and about as she captures those small, magical moments of everyday life, in sound. Thanks to 3D recordings, you'll hear everything she does as if you were right there with her. There are new episodes every Tuesday and Thursday. These short but lovingly crafted episodes are an invitation to escape from life's hustle, immersing you in Miranda's world for a few minutes. Miranda's daily walks are an opportunity for gratitude, reflection and mindfulness, and she encourages listeners to join her in taking a moment to appreciate the beauty that surrounds us. Whether you're looking for inspiration or simply need a break from the chaos, "Stopping to Notice" is the perfect podcast for you. If you like what you hear, then please follow Stopping To Notice for free, wherever you get your podcasts. Follow us on your favorite podcast platform and connect with Miranda on Twitter @MirandaKeeling and don't forget to check out her book, "The Year I Stopped To Notice," for even more insight into living a mindful life. Her book, The Year I Stopped To Notice, is available now: https://uk.bookshop.org/books/the-year-i-stopped-to-notice/9781785787966 The podcast was produced by Oli Seymour for Fresh Air Production. The artwork is designed by Kim Elson and Gemma Rhead.See omnystudio.com/listener for privacy information.

Just as The MINagerie was getting ready to head out from Stathford, Erhart arrived for the bounty on Zeechi's head! With no real choice other than to fight Erhart off, we find out if the self-given title "Champion of All Fighting Rings" is accurate. Featuring multiple tracks by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/ Celtic Impulse, Holiday Weasel, & Midnight Tale Featuring River Town by Tabletop Audio (tabletopaudio.com) Licensed under Creative Commons: By Attribution 4.0 https://creativecommons.org/licenses/by-nc-nd/4.0/ Support Death Saves With Advantage by contributing to their tip jar: https://tips.pinecast.com/jar/deathsaveswithadvantage This podcast is powered by Pinecast.

Prior to Henry VIII's dissolution of the monasteries in 1538, the section of London known as Blackfriars was as major religious institution extending along the bank of the Thames River. In its' entirety, Blackfriars was second in size only to St. Paul's Churchyard. After the Reformation, Blackfriars was located in what's known as a Liberty, which meant it was just outside the reach of the mayoral law. Being outside the mayor's jurisdiction made Blackfriars especially attractive to entrepreneurs like The Burbages and their star writer, William Shakespeare, who wanted to open a theater that wasn't subject to the tighter restrictions of London proper. Blackfriars wasn't only attractive to innovative theater professionals, however, it was also attractive to immigrants and the highly religious who were seeking freedom from the regulation of guilds. At the time that Shakespeare and the Burbages were looking at Blackfriars as a home for their theater, the parish of St Anne, Blackfriars, was dominated by godly clergy and parishioners, the people we usually think of as the enemies of theater. Here today to explain to us how Blackfriars theater was able to survive and thrive in this section of London is our guest, Chris Highley.   Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

Gavin McIlvenna joins Tim on the Centennial of the Tomb of the Unknown Soldier. Gavin is president of the Society of the Honor Guard, Tomb of the Unknown Soldier. He had a long and distinguished career in the U.S. Army, but one of the more unique experiences he's had is the time he spent guarding the Tomb of the Unknown Soldier in Arlington Cemetery. In this episode, Gavin tells the story behind the Tomb of the Unknown Soldier, and the symbolic and real significance of one of the most hallowed places on American soil. This episode was first releases on June 14, 2021. https://traffic.libsyn.com/secure/shapingopinion/Encore_-_Tomb_of_the_Unknowns.mp3 There are places throughout the United States where those who've died for their country are remembered with honor and where they remain. Churchyard cemeteries in places like Boston and Philadelphia to honor the Revolutionary War dead. Or battlefield cemeteries like the one in Gettysburg to honor the fallen during the American Civil War. But in America's history, there hadn't been a single place. A dedicated place to pay tribute to those who gave their lives for our freedoms and for the nation. That changed after World War One. After the Great War, France and Great Britain decided to select one of their fallen soldiers to represent all of the dead from World War One. They laid an unknown soldier to rest in an honored place on November 11, 1920, just over 100 years ago. Other nations followed in similar fashion. Portugal, Italy, Belgium. All selected an unknown soldier to receive full military honors and burial at an honored place in those countries. The commanding general of American forces in France at the time was Brigadier General William Connor. He first heard about the French plans to honor their Unknown Solider during the planning phases. He liked the idea and ran it up the chain, only to be rejected by the U.S. Army Chief of Staff, General Payton March. That was in 1919. General March felt the Americans would be able to identify all of their own dead, so there wouldn't be any “unknown soldiers,” and he felt the U.S. had no comparable burial place for a fallen hero that was similar to Westminster Abbey in Great Britain. But on December 20, 1921, U.S. Congressman Hamilton Fish of New York introduced a resolution that called for the return to the country of an unknown American who was killed during World War One. He wanted to bury a soldier who was killed in France, and then make plans for his burial with full military honors in a tomb that would be constructed at Arlington National Cemetery. The tomb was built and is now located at the Memorial Amphitheater in Arlington Cemetery. On November 11, 1921, the body of an unidentified soldier who was killed in France, was laid to rest. He represents all of the unidentified and missing from World War One. Since that time, an unidentified American service member has been laid to rest at that tomb, with the highest honors, representing World War Two, the Korean War, and the Vietnam War. One crypt sits empty to represent all those who remain missing. This year marks the Centennial of the Tomb of the Unknown Soldier. Please Thank Our Sponsors Please remember to thank our sponsors, without whom the Shaping Opinion podcast would not exist.  If you have the need, please support these organizations that have the same taste in podcasts that you do: BlueHost Premium Web Hosting Dell Outlet Overstock Computer Center Philips Hue Smart Home Lighting Links Arlington National Cemetery Society of the Honor Guard, Tomb of the Unknown Soldier National Commemoration of the Centennial, Tomb of the Unknown Soldier The 3rd U.S. Infantry Regiment, The Old Guard About this Episode's Guest Gavin McIlvenna Sergeant Major (Retired) Gavin L. McIlvenna is the 11th President of the Society of the Honor Guard, Tomb of the Unknown Soldier (SHGTUS) SGM (Ret) McIlvenna retired from the US ...

Red Sky at Night, Sailor's Delight. A Green Christmas makes a fat Churchyard. If it be clear, a happy year. These are some of the common sayings in Irish folklore about the weather, but were they really trying to, or able to, predict the weather? Dr Marion McGarry is a Lecturer in ATU in Galway and author of 'Irish Customs and Rituals: How our ancestors celebrated life and the seasons' and she joined Sean on the show to discuss...

Family Theater was a dramatic anthology radio show which aired on the Mutual Broadcasting System in the United States from February 13, 1947, to September 11, 1957. The show was produced by Family Theater Productions, a film and radio studio extension of the Family Rosary Crusade founded by the Holy Cross Priest, Father Patrick Peyton, CSC, to promote family prayer. The motto of these Holy Cross Family Ministries is, "The family that prays together, stays together." The program had no commercial sponsor, yet Father Peyton, CSC arranged for many of Hollywood's stars in film and radio at the time to appear. In its ten-year run, well-known actors, and actresses, including James Stewart, Bob Hope, Lucille Ball, Raymond Burr, Jane Wyatt, Charlton Heston, Bing Crosby, Jack Benny, Gene Kelly, William Shatner, and Chuck Connors, appeared as announcers, narrators, or stars. A total of 540 episodes were produced. The program featured not only religious stories but half-hour adaptations of literary works such as A Tale of Two Cities, Moby-Dick and Don Quixote Listen to our radio station Old Time Radio https://link.radioking.com/otradio Listen to other Shows at My Classic Radio https://www.myclassicradio.net/ Podcast Service I Recommend https://redcircleinc.grsm.io/entertainmentradio7148 Remember that times have changed, and some shows might not reflect the standards of today's politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio

Bookseller, publisher, Dissenter and dinner-party host, Joseph Johnson was a great enabler in the late 18th-century literary landscape . . . Daisy Hay is the author of Dinner with Joseph Johnson: Books and Friendship in a Revolutionary Age and Associate Professor of English Literature at the University of Exeter, and Kathryn Sutherland is the author of Why Modern Manuscript Matters and Senior Research Fellow in English at the University of Oxford. Together they join the Slightly Foxed editors to discuss Joseph Johnson's life and work at St Paul's Churchyard, the heart of England's book trade since medieval times.   We listen to the conversation around Johnson's dining-table as Coleridge and Wordsworth, Joseph Priestley and Benjamin Franklin, Mary Wollstonecraft and William Blake debate the great issues of the day. And we watch as Johnson embarks on a career that will become the foundation stone of modern publishing. We hear how he takes on Olaudah Equiano's memoir of enslavement and champions Anna Barbauld's books for children, how he argues with William Cowper over copyright and how he falls foul of bookshop spies and is sent to prison. From Johnson's St Paul's we then travel to Mayfair, where John Murray II is hosting literary salons with Lord Byron and Sir Walter Scott, and taking a chance on Jane Austen. To complete our tour, we glimpse the anatomy experiments in the basement of Benjamin Franklin's house by the Strand. Our round-up of book recommendations includes Konstantin Paustovsky's The Story of a Life which begins in Ukraine, Winifred Holtby's conversations with Wollstonecraft and Woolf, a fresh look at Jane Austen's Emma and an evocation of the Aldeburgh coast as we visit Ronald Blythe for tea. Books Mentioned We may be able to get hold of second-hand copies of the out-of-print titles listed below. Please get in touch with Jess in the Slightly Foxed office for more information. Colin Clark, The Prince, the Showgirl and Me, Slightly Foxed Edition No. 61 (1:23) Edward Ardizzone, The Young Ardizzone, Plain Foxed Edition (2:01) Daisy Hay, Dinner with Joseph Johnson: Books and Friendship in a Revolutionary Age (2:52) Kathryn Sutherland, Why Modern Manuscripts Matter William Cowper, The Task (15:46) William Godwin, Memoirs of the Author of A Vindication of the Rights of Woman is out of print (24:09) John Knowles, The Life and Writing of Henry Fuseli is out of print (24:12) Mary Scott, The Female Advocate; a poem occasioned by reading Mr. Duncombe's Feminead is out of print (27:36) Slightly Foxed Cubs series of children's books (31:52) Olaudah Equiano, The Interesting Narrative of the Life of Olaudah Equiano (35:53) Maria Rundell, Mrs Rundell's Domestic Cookery is out of print (46:01) Konstantin Paustovsky, The Story of a Life, translated by Douglas Smith (50:52) Joanna Quinn, The Whalebone Theatre (52:40) Jane Austen, Emma (53:16) Winifred Holtby, Women and a Changing Civilisation is out of print (54:07) Winifred Holtby, Virginia Woolf: A Critical Memoir is out of print (54:44) Winifred Holtby, South Riding (55:46) Ronald Blythe, The Time by the Sea (56:46) Related Slightly Foxed Articles Letters from the Heart, Daisy Hay on Mary Wollstonecraft, Letters Written in Sweden, Norway and Denmark, Issue 51 Just Getting on with It, A. F. Harrold on William Cowper, Selected Poems, Issue 23 The Abyss Beyond the Orchard, Alexandra Harris on William Cowper, The Centenary Letters, Issue 53 ‘By God, I'm going to spin', Paul Routledge on the novels of Winifred Holtby, Issue 32 Other Links Henry Fuseli's The Nightmare (11:42) Dr Johnson's House, City of London (49:52) Benjamin Franklin House, Charing Cross, London (49:56) Opening music: Preludio from Violin Partita No.3 in E Major by Bach The Slightly Foxed Podcast is hosted by Philippa Lamb and produced by Podcastable

In this week's installment of Campfire Classics Collection, we have the pleasure of presenting a lesser known title from the undisputed master of the Victorian ghost story, Haunted by Joseph Sheridan Le Fanu. A story of deceit, redemption, and vengeance; this tale will without a doubt chill you to the bone.Campfire: Tales of the Strange and Unsettling is created for adult audiences only. The content and discussion in this show will necessarily engage with various accounts that include violence, anxiety, fear, and occasional body horror. Much of it will be emotionally and intellectually challenging to engage with. We will flag especially graphic or intense content so as to never put you in an uninformed or unprepared position. We will do our best to make this a space where we can engage bravely, empathetically, and thoughtfully with difficult content every week. This week's episode includes descriptions/sound related the following sensitive content:High Anxiety SituationsEnslaved PersonsCheck it Out!J.S. Le Fanu was an Irish writer best known for the locked-room mystery Uncle Silas (1864), the lesbian vampire novella Carmella (1872), and the historical masterpiece The House by the Churchyard (1863). Support Campfire on Patreon:https://www.patreon.com/campfiretalesofthestrangeandunsettlingSatisfy All of Your Merch Needs:https://www.teepublic.com/stores/campfire-tales-of-the-strange-and-unsettling?ref_id=25702Join the conversation on social media atwww.campfirepodcastnetwork.com Discord: https://discord.gg/43CPN3rzInstagram:instagram.com/campfire.tales.podcastGoodPods:https://goodpods.app.link/T0qvGnXnplbTwitter:www.twitter.com/campfiretotsau Facebook:www.facebook.com/campfire.tales.podcastVisit Our Linktree for Any and All Campfire Info:https://linktr.ee/CampfirepodcastSpecial Thanks:Gregg Martin for music contributions! Go follow him on Instagram at Instagram.com/reverentmusic , on Bandcamp at https://reverentmusic.bandcamp.com/releases or on Spotify at https://open.spotify.com/album/6QVhQsYQeeBVOtxrelehTI?si=V5CAxS8sSXyVFn14G7j-GAElias Armao for graphic design! Go follow him on Instagram at instagram.com/doggedlinedesignsupply Jonathan Dodd for merch design! Show him some love at https://linktr.ee/jonathandoddEaston Chandler Hawk! Support his work at https://linktr.ee/eastonhawkartChristina at The Crescent Hare! Support everything she does at https://thecrescenthare.bigcartel.com/productsTodd Purse at Create Magic Studios! Support his work at https://linktr.ee/Createmagicstudios

So, you've seen his face on t-shirts and posters and on the covers of anthology books all over Providence, but who exactly is H. P. Lovecraft? Tune in to the first episode of Season 2 to find out! I cover a number of Providence locations in this episode, and you're welcome to visit them while listening. Many are pretty close to one another. Here's my recommended mini tour:  Lovecraft's Birthplace Memorial (home demolished): 454 Angell Street, Providence, RILovecraft's 2nd Home: 598 Angell Street, Providence, RISt. John's Churchyard: 271 N. Main Street, Providence, RILovecraft's 3rd Home: 10 Barnes Street, Providence, RILovecraft's Final Home: 65 Prospect StreetLovecraft's Grave: Swan Point Cemetery Episode Source MaterialH. P. Lovecraft: Nightmare Countries (The Master of Cosmic Horror) by S. T. Joshi (2012) HardcoverToday We Celebrate the Short, Unhappy Life of H.P. Lovecraft | Smart News| Smithsonian Magazine  H. P. Lovecraft - WikipediaThe Fantasy Author H.P. Lovecraft at 125: Genius, Cult Icon, Racist - The AtlanticHer Letters To Lovecraft: Sarah Susan Phillips Lovecraft – Deep Cuts in a Lovecraftian VeinLovecraftian horror — and the racism at its core — explainedHoward Phillips Lovecraft: The Life of a Gentleman of ProvidenceGuide to Lovecraftian Sites in Rhode IslandH.P. Lovecraft Birthplace - Providence, Rhode Island USA - Childhood Homes on Waymarking.comHow to Find the Spirit of H.P. Lovecraft in Providence - The New York TimesReanimating Providence | The Haunts and Hauntings of H. P. LovecraftI Am Providence”: The Life and Times of H. P. Lovecraft – Chris Thayer - IssuuA Literary History of Weird Fiction: An Interview with S. T. JoshiThe Case of Charles Dexter Ward by H. P. Lovecraft 

My sister, Mrs. Joe Gargery, was more than twenty years older than I, and had established a great reputation with herself and the neighbors because she had brought me up “by hand.” Having at that time to find out for myself what the expression meant, and knowing her to have a hard and heavy hand, and to be much in the habit of laying it upon her husband as well as upon me, I supposed that Joe Gargery and I were both brought up by hand.She was not a good-looking woman, my sister; and I had a general impression that she must have made Joe Gargery marry her by hand. Joe was a fair man, with curls of flaxen hair on each side of his smooth face, and with eyes of such a very undecided blue that they seemed to have somehow got mixed with their own whites. He was a mild, good-natured, sweet-tempered, easygoing, foolish, dear fellow⁠—a sort of Hercules in strength, and also in weakness.My sister, Mrs. Joe, with black hair and eyes, had such a prevailing redness of skin that I sometimes used to wonder whether it was possible she washed herself with a nutmeg grater instead of soap. She was tall and bony, and almost always wore a coarse apron, fastened over her figure behind with two loops, and having a square impregnable bib in front, that was stuck full of pins and needles. She made it a powerful merit in herself, and a strong reproach against Joe, that she wore this apron so much. Though I really see no reason why she should have worn it at all; or why, if she did wear it at all, she should not have taken it off, every day of her life.Joe's forge adjoined our house, which was a wooden house, as many of the dwellings in our country were⁠—most of them, at that time. When I ran home from the churchyard, the forge was shut up, and Joe was sitting alone in the kitchen. Joe and I being fellow-sufferers, and having confidences as such, Joe imparted a confidence to me, the moment I raised the latch of the door and peeped in at him opposite to it, sitting in the chimney corner.“Mrs. Joe has been out a dozen times, looking for you, Pip. And she's out now, making it a baker's dozen.”“Is she?”“Yes, Pip,” said Joe; “and what's worse, she's got Tickler with her.”At this dismal intelligence, I twisted the only button on my waistcoat round and round, and looked in great depression at the fire. Tickler was a wax-ended piece of cane, worn smooth by collision with my tickled frame.“She sot down,” said Joe, “and she got up, and she made a grab at Tickler, and she rampaged out. That's what she did,” said Joe, slowly clearing the fire between the lower bars with the poker, and looking at it; “she rampaged out, Pip.”“Has she been gone long, Joe?” I always treated him as a larger species of child, and as no more than my equal.“Well,” said Joe, glancing up at the Dutch clock, “she's been on the rampage, this last spell, about five minutes, Pip. She's a coming! Get behind the door, old chap, and have the jack-towel betwixt you.”I took the advice. My sister, Mrs. Joe, throwing the door wide open, and finding an obstruction behind it, immediately divined the cause, and applied Tickler to its further investigation. She concluded by throwing me⁠—I often served as a connubial missile⁠—at Joe, who, glad to get hold of me on any terms, passed me on into the chimney and quietly fenced me up there with his great leg.“Where have you been, you young monkey?” said Mrs. Joe, stamping her foot. “Tell me directly what you've been doing to wear me away with fret and fright and worrit, or I'd have you out of that corner if you was fifty Pips, and he was five hundred Gargerys.”“I have only been to the churchyard,” said I, from my stool, crying and rubbing myself.“Churchyard!” repeated my sister. “If it warn't for me you'd have been to the churchyard long ago, and stayed there. Who brought you up by hand?”“You did,” said I.“And why did I do it, I should like to know?” exclaimed my sister.I whimpered, “I don't know.”“I don't!” said my sister. “I'd never do it again! I know that. I may truly say I've never had this apron of mine off since born you were. It's bad enough to be a blacksmith's wife (and him a Gargery) without being your mother.”My thoughts strayed from that question as I looked disconsolately at the fire. For the fugitive out on the marshes with the ironed leg, the mysterious young man, the file, the food, and the dreadful pledge I was under to commit a larceny on those sheltering premises, rose before me in the avenging coals.“Hah!” said Mrs. Joe, restoring Tickler to his station. “Churchyard, indeed! You may well say churchyard, you two.” One of us, by the by, had not said it at all. “You'll drive me to the churchyard betwixt you, one of these days, and O, a pr-r-recious pair you'd be without me!”As she applied herself to set the tea things, Joe peeped down at me over his leg, as if he were mentally casting me and himself up, and calculating what kind of pair we practically should make, under the grievous circumstances foreshadowed. After that, he sat feeling his right-side flaxen curls and whisker, and following Mrs. Joe about with his blue eyes, as his manner always was at squally times.My sister had a trenchant way of cutting our bread and butter for us, that never varied. First, with her left hand she jammed the loaf hard and fast against her bib⁠—where it sometimes got a pin into it, and sometimes a needle, which we afterwards got into our mouths. Then she took some butter (not too much) on a knife and spread it on the loaf, in an apothecary kind of way, as if she were making a plaster⁠—using both sides of the knife with a slapping dexterity, and trimming and moulding the butter off round the crust. Then, she gave the knife a final smart wipe on the edge of the plaster, and then sawed a very thick round off the loaf: which she finally, before separating from the loaf, hewed into two halves, of which Joe got one, and I the other.On the present occasion, though I was hungry, I dared not eat my slice. I felt that I must have something in reserve for my dreadful acquaintance, and his ally the still more dreadful young man. I knew Mrs. Joe's housekeeping to be of the strictest kind, and that my larcenous researches might find nothing available in the safe. Therefore I resolved to put my hunk of bread and butter down the leg of my trousers.The effort of resolution necessary to the achievement of this purpose I found to be quite awful. It was as if I had to make up my mind to leap from the top of a high house, or plunge into a great depth of water. And it was made the more difficult by the unconscious Joe. In our already-mentioned freemasonry as fellow-sufferers, and in his good-natured companionship with me, it was our evening habit to compare the way we bit through our slices, by silently holding them up to each other's admiration now and then⁠—which stimulated us to new exertions. Tonight, Joe several times invited me, by the display of his fast diminishing slice, to enter upon our usual friendly competition; but he found me, each time, with my yellow mug of tea on one knee, and my untouched bread and butter on the other. At last, I desperately considered that the thing I contemplated must be done, and that it had best be done in the least improbable manner consistent with the circumstances. I took advantage of a moment when Joe had just looked at me, and got my bread and butter down my leg.Joe was evidently made uncomfortable by what he supposed to be my loss of appetite, and took a thoughtful bite out of his slice, which he didn't seem to enjoy. He turned it about in his mouth much longer than usual, pondering over it a good deal, and after all gulped it down like a pill. He was about to take another bite, and had just got his head on one side for a good purchase on it, when his eye fell on me, and he saw that my bread and butter was gone.The wonder and consternation with which Joe stopped on the threshold of his bite and stared at me, were too evident to escape my sister's observation.“What's the matter now?” said she, smartly, as she put down her cup.“I say, you know!” muttered Joe, shaking his head at me in very serious remonstrance. “Pip, old chap! You'll do yourself a mischief. It'll stick somewhere. You can't have chawed it, Pip.”“What's the matter now?” repeated my sister, more sharply than before.“If you can cough any trifle on it up, Pip, I'd recommend you to do it,” said Joe, all aghast. “Manners is manners, but still your elth's your elth.”By this time, my sister was quite desperate, so she pounced on Joe, and, taking him by the two whiskers, knocked his head for a little while against the wall behind him, while I sat in the corner, looking guiltily on.“Now, perhaps you'll mention what's the matter,” said my sister, out of breath, “you staring great stuck pig.”Joe looked at her in a helpless way, then took a helpless bite, and looked at me again.“You know, Pip,” said Joe, solemnly, with his last bite in his cheek, and speaking in a confidential voice, as if we two were quite alone, “you and me is always friends, and I'd be the last to tell upon you, any time. But such a⁠—” he moved his chair and looked about the floor between us, and then again at me⁠—“such a most oncommon bolt as that!”“Been bolting his food, has he?” cried my sister.“You know, old chap,” said Joe, looking at me, and not at Mrs. Joe, with his bite still in his cheek, “I bolted, myself, when I was your age⁠—frequent⁠—and as a boy I've been among a many bolters; but I never see your bolting equal yet, Pip, and it's a mercy you ain't bolted dead.”My sister made a dive at me, and fished me up by the hair, saying nothing more than the awful words, “You come along and be dosed.”Some medical beast had revived tar water in those days as a fine medicine, and Mrs. Joe always kept a supply of it in the cupboard; having a belief in its virtues correspondent to its nastiness. At the best of times, so much of this elixir was administered to me as a choice restorative, that I was conscious of going about, smelling like a new fence. On this particular evening the urgency of my case demanded a pint of this mixture, which was poured down my throat, for my greater comfort, while Mrs. Joe held my head under her arm, as a boot would be held in a bootjack. Joe got off with half a pint; but was made to swallow that (much to his disturbance, as he sat slowly munching and meditating before the fire), “because he had had a turn.” Judging from myself, I should say he certainly had a turn afterwards, if he had had none before.Conscience is a dreadful thing when it accuses man or boy; but when, in the case of a boy, that secret burden cooperates with another secret burden down the leg of his trousers, it is (as I can testify) a great punishment. The guilty knowledge that I was going to rob Mrs. Joe⁠—I never thought I was going to rob Joe, for I never thought of any of the housekeeping property as his⁠—united to the necessity of always keeping one hand on my bread and butter as I sat, or when I was ordered about the kitchen on any small errand, almost drove me out of my mind. Then, as the marsh winds made the fire glow and flare, I thought I heard the voice outside, of the man with the iron on his leg who had sworn me to secrecy, declaring that he couldn't and wouldn't starve until tomorrow, but must be fed now. At other times, I thought, What if the young man who was with so much difficulty restrained from imbruing his hands in me should yield to a constitutional impatience, or should mistake the time, and should think himself accredited to my heart and liver tonight, instead of tomorrow! If ever anybody's hair stood on end with terror, mine must have done so then. But, perhaps, nobody's ever did?It was Christmas Eve, and I had to stir the pudding for next day, with a copper stick, from seven to eight by the Dutch clock. I tried it with the load upon my leg (and that made me think afresh of the man with the load on his leg), and found the tendency of exercise to bring the bread and butter out at my ankle, quite unmanageable. Happily I slipped away, and deposited that part of my conscience in my garret bedroom.“Hark!” said I, when I had done my stirring, and was taking a final warm in the chimney corner before being sent up to bed; “was that great guns, Joe?”“Ah!” said Joe. “There's another conwict off.”“What does that mean, Joe?” said I.Mrs. Joe, who always took explanations upon herself, said, snappishly, “Escaped. Escaped.” Administering the definition like tar water.While Mrs. Joe sat with her head bending over her needlework, I put my mouth into the forms of saying to Joe, “What's a convict?” Joe put his mouth into the forms of returning such a highly elaborate answer, that I could make out nothing of it but the single word “Pip.”“There was a conwict off last night,” said Joe, aloud, “after sunset-gun. And they fired warning of him. And now it appears they're firing warning of another.”“Who's firing?” said I.“Drat that boy,” interposed my sister, frowning at me over her work, “what a questioner he is. Ask no questions, and you'll be told no lies.”It was not very polite to herself, I thought, to imply that I should be told lies by her even if I did ask questions. But she never was polite unless there was company.At this point Joe greatly augmented my curiosity by taking the utmost pains to open his mouth very wide, and to put it into the form of a word that looked to me like “sulks.” Therefore, I naturally pointed to Mrs. Joe, and put my mouth into the form of saying, “her?” But Joe wouldn't hear of that, at all, and again opened his mouth very wide, and shook the form of a most emphatic word out of it. But I could make nothing of the word.“Mrs. Joe,” said I, as a last resort, “I should like to know⁠—if you wouldn't much mind⁠—where the firing comes from?”“Lord bless the boy!” exclaimed my sister, as if she didn't quite mean that but rather the contrary. “From the hulks!”“Oh‑h!” said I, looking at Joe. “Hulks!”Joe gave a reproachful cough, as much as to say, “Well, I told you so.”“And please, what's hulks?” said I.“That's the way with this boy!” exclaimed my sister, pointing me out with her needle and thread, and shaking her head at me. “Answer him one question, and he'll ask you a dozen directly. Hulks are prison ships, right 'cross th' meshes.” We always used that name for marshes, in our country.“I wonder who's put into prison ships, and why they're put there?” said I, in a general way, and with quiet desperation.It was too much for Mrs. Joe, who immediately rose. “I tell you what, young fellow,” said she, “I didn't bring you up by hand to badger people's lives out. It would be blame to me and not praise, if I had. People are put in the hulks because they murder, and because they rob, and forge, and do all sorts of bad; and they always begin by asking questions. Now, you get along to bed!”I was never allowed a candle to light me to bed, and, as I went upstairs in the dark, with my head tingling⁠—from Mrs. Joe's thimble having played the tambourine upon it, to accompany her last words⁠—I felt fearfully sensible of the great convenience that the hulks were handy for me. I was clearly on my way there. I had begun by asking questions, and I was going to rob Mrs. Joe.Since that time, which is far enough away now, I have often thought that few people know what secrecy there is in the young under terror. No matter how unreasonable the terror, so that it be terror. I was in mortal terror of the young man who wanted my heart and liver; I was in mortal terror of my interlocutor with the iron leg; I was in mortal terror of myself, from whom an awful promise had been extracted; I had no hope of deliverance through my all-powerful sister, who repulsed me at every turn; I am afraid to think of what I might have done on requirement, in the secrecy of my terror.If I slept at all that night, it was only to imagine myself drifting down the river on a strong spring tide, to the hulks; a ghostly pirate calling out to me through a speaking-trumpet, as I passed the gibbet station, that I had better come ashore and be hanged there at once, and not put it off. I was afraid to sleep, even if I had been inclined, for I knew that at the first faint dawn of morning I must rob the pantry. There was no doing it in the night, for there was no getting a light by easy friction then; to have got one I must have struck it out of flint and steel, and have made a noise like the very pirate himself rattling his chains.As soon as the great black velvet pall outside my little window was shot with gray, I got up and went downstairs; every board upon the way, and every crack in every board calling after me, “Stop thief!” and “Get up, Mrs. Joe!” In the pantry, which was far more abundantly supplied than usual, owing to the season, I was very much alarmed by a hare hanging up by the heels, whom I rather thought I caught, when my back was half turned, winking. I had no time for verification, no time for selection, no time for anything, for I had no time to spare. I stole some bread, some rind of cheese, about half a jar of mincemeat (which I tied up in my pocket handkerchief with my last night's slice), some brandy from a stone bottle (which I decanted into a glass bottle I had secretly used for making that intoxicating fluid, Spanish-liquorice-water, up in my room: diluting the stone bottle from a jug in the kitchen cupboard), a meat bone with very little on it, and a beautiful round compact pork pie. I was nearly going away without the pie, but I was tempted to mount upon a shelf, to look what it was that was put away so carefully in a covered earthenware dish in a corner, and I found it was the pie, and I took it in the hope that it was not intended for early use, and would not be missed for some time.There was a door in the kitchen, communicating with the forge; I unlocked and unbolted that door, and got a file from among Joe's tools. Then I put the fastenings as I had found them, opened the door at which I had entered when I ran home last night, shut it, and ran for the misty marshes. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit greatexpectations.substack.com

“The Woman in the Churchyard” by Amanda Cecelia Lang Manawaker Studio’s Flash Fiction Podcast is supported by patrons on Patreon: http://patreon.com/manawaker/ Contributor Bios: http://www.manawaker.com/flash-fiction-podcast-contributors/ Please consider supporting Manawaker Studio with a purchase of one of our books or games: http://www.manawaker.com Have a piece of fiction to submit to FFP? Check guidelines here: http://www.manawaker.com/ffp-submissions/

"this is the real corpse"

"the letter offered a kind of prisoner exchange"

This week we revisit one of the most dangerous and dramatic moments in London's history through the prism of one of its most iconic buildings: St. Paul's Cathedral.  When we think of modern London, the places that spring to mind are Buckingham Palace, the Houses of Parliament and Piccadilly Circus, but the true heart of the city lies far to the east, on Ludgate Hill. St Paul's Cathedral has been at the centre of London for over a millennium, a hub of religion, politics, news, education, publishing, and of course, shopping. In her beautiful new book, In the Shadow of St Paul's Cathedral, Margaret Willes looks back on the long and lively history of this extraordinary corner of our capital. As we discover in this episode, Old St Paul's, as it came to be known, was a major casualty of the great fire that destroyed most of the city in 1666, paving the way for Christopher Wren's redevelopment and the magnificent building we know today. Margaret Willes, formerly publisher at the National Trust, is author of several books, including The Curious World of Samuel Pepys and John Evelyn, Reading Matters, and The Gardens of the British Working Class. She lives in London. Show Notes Scene One: 7 January. The shops are at last opening following the pandemic of the Great Plague, which had died down with the cold weather, unlike the current Covid pandemic. Pepys visits a draper's shop in Paternoster Row and buys himself velvet for a coat and camelot for a cloak. He also looks at fabrics to furnish his wife Elizabeth's closet. Scene Two: 2 September. Pepys' maid, rising early to prepare the Sabbath dinner, wakes him to tell him a fire had broken out in a bakery on Pudding Lane, just at the north end of London Bridge. What seemed at first a small fire, took hold with very strong winds and spread fast. Pepys crosses the river to an alehouse in Southwark and watches with horror the fire taking hold of the whole of the City.  Scene Three: 12 November. The aftermath of the Great Fire has become a source of fascination to Londoners. Pepys visits the Churchyard to view the corpse of a medieval bishop which had fallen out of his tomb in the Cathedral.  Memento: Pepys' parmesan cheese which he buried in his garden to ensure its survival during the great fire. People/Social Presenter: Violet Moller Guest: Margaret Willes Production: Maria Nolan Podcast partner: Unseen Histories Follow us on Twitter: @tttpodcast_ Or on Facebook See where 1666 fits on our Timeline     

“I think gender and identity are different things. My identity is not related to my gender.” CHARLOTTE HARKER is an artist, writer and performer. She wrote A Species of Trees; collaborated with Tamar Yoseloff with Nowheres; has written The Wear and Tear of Conversation; The Poetry of Lost Landscapes. She is currently completing The Novel and Other Incidents this will be published in the autumn. Charlotte's style of artwork is wide ranging and includes giclee and dry point, to studies of both trees and buildings. She has recently been experimenting with collage. Charlotte has been involved in a number of art residencies across London, the most recent being at the Heath Robinson Museum in Pinner. She will also be involved in an exhibition at St Pancras' Churchyard in central London in the Autumn - the result of a creative collaboration – she will be posting more information on her social media sites check these out below. To learn more about Charlotte Harker go to: charlotteharker.wordpress.com Email Charlotte at: charker2001@hotmail.com Charlotte is on Instagram @charker2001 Charlotte is on Facebook @CharlotteHarker Charlote is also on www.charlotteharker.net “Writing and making art, That's the most important thing. The question of my identity is not, That comes deeply from within me." To find out about your podcast host EMMA you can go to https://www.travellingthrough.co.uk/ A big thanks to MARISKA Martina at https://www.mariskamartina.com/ for creating our wonderful podcast jingle!

My guest for this episode is Mike Churchyard. Mike is an ex-police offer turned sports massage therapist. Mike had always wanted to run his own business, so facing retirement after a 30 year career in Sussex Police, he trained in sports massage therapy and in early 2020 was set to open the doors to his new clinic. One global pandemic and two years later, Mike is now able to reflect and appreciate how such a tough and challenging time was actually a blessing in disguise – and how it enabled him to grow his business at a pace that suited him. One of Mike's motivation to set up his own business in retirement was to create a lifestyle of freedom and adventure and he's done just that – splitting his time between Sussex and the Lake District – travelling between the two in his camper van, Tigger. Mike is a real advocate for trusting his intuition, going against the grain and creating a life and business that works for him. I really hope you love this episode. If you need a hand with creating your Rebel Career, I've got a free PDF Action Plan Workbook to help you work through this process step by step. CLICK HERE TO DOWNLOAD FOR FREE REBEL CAREERS INSTAGRAM Get in touch with me (Sarah) at rebelcareers@outlook.com - I'd love to hear from you!

Churchyard grims, stacked graves and Judgement Day. How did English graveyards changed in England between the medieval and Victorian eras?   Patreon: https://www.patreon.com/historyandfolklorepodcast Instagram: www.instagram.com/historyandfolklore Twitter: @HistoryFolklore Facebook: www.facebook.com/historyandfolklorepodcast Transcript There pass, with melancholy state, By all the solemn heaps of fate, And think, as softly-sad you tread Above the venerable dead, “Time was, like thee they life possessed, And time shall be, that thou shalt rest.” Hello, welcome to the History and Folklore podcast, where we look at different folk beliefs through history and how these beliefs shape people's perceptions of nature. In this episode we will be looking at graveyards. As this is a huge topic, I will be focussing predominantly on Christian graveyards in England as that is what I have the most experience and knowledge on, and looking at their development, uses and folklore surrounding them. Graveyards are interesting as hanges that have occurred in them over time often reflect a lot about the society that uses them including such wide ranging things as demographics, life expectancy, religious beliefs, attitudes to death, burial and remembrance, use of symbology, aesthetic design preferences and attitudes to the natural elements within the cemetery. The establishment of new graveyards can tell us about practical, political and religious considerations at the time regarding burial. Many graveyards that currently exist in England date from the medieval period, and rural graveyards would often have been the first enclosed space to have existed within a parish. Some of these graveyards were established even earlier as burial grounds dating as far back as the Iron Age, and were later adopted and sanctified to be used for Christian burials. A graveyard would usually be established in the grounds of the parish church, and would be consecrated before being used by the people in the parish. This sometimes caused issues for those living in distant, rural villages as the journey to the parish church could be long and dangerous. In these instances, the people living in these villages could apply to the parish church for their nearby chapel to be granted burial rights. However, as burial services provided a large income for the church or chapel at which the burial took place, these rights were hard won as the parish church would not want to lose the income from these burials. In the cases of burial grounds attached to hospitals often an agreement was made for the hospital to pay the parish church for every burial they conducted. However, disputes over burial rights were common, especially when a new monastery became established  in an area. These religious institutions often wanted to be perceived to be the preferred place for burial, especially by the elite, as this would bring the monastery both prestige and continued wealth from the families of the interred, who would pay for services and prayers for the soul of their deceased relative. These families would then be more likely to choose the same monastery for future burials, as family tradition often dictated where a person chose to be buried. In some cases these disputes got pretty intense and example being in 1392 when the monks of Abingdon actually hijacked a funeral procession and disinterred 67 people from the parish's burial grounds with the aim of reburying them at the monastery. Because of the loss of income and potential prestige, a compelling argument had to be put forward to justify the creation of a new graveyard and the giving away of burial rights. The most common reason given was that the journey was long and dangerous. In 1427 the people of Highweek complained of having to bury their dead at the parish church, despite being able to perform the burial rituals at their local chapel, meaning they had to undertake a long and dangerous journey for the sole purpose of burying the body. However, complaints could also be financial. Two years later the parish of St Ives applied for burial rights as people had to put their occupations on hold for so long that they lost a substantial amount of revenue when taking part in funeral processions. On top of this, as so many people would leave their homes to  undertake the journey their deserted homes and belonging would be seen as easy prey for pirates, causing more financial hardship and distress. In some places funerals were even delayed as the local economy could not sustain lengthy absences caused by people attending funerals. Whether a graveyard was being adapted from an existing burial ground or created from scratch, the land had to be sanctified before any Christian burials took place. In order to do this, the land would be cleared and a ceremony would be conducted by a bishop who would place a cross in each corner of the graveyard and another in the centre. Three lit candles would be placed in front of each cross and the bishop would walk around the churchyard, making sure to waft incense and sprinkle holy water at each cross. If a mortal sin was committed within the bounds of a graveyard then it would need to be spiritually cleansed before it could be used for burials. This would usually include some form of public penance by the perpetrator, the payment of reconciliation fees and a ceremony conducted by an archbishop that involved blessing and sprinkling water at specific sites on the grave yard. Until these processes and ceremonies were completed then the graveyard could not be used for burials. This period of disuse could last for a significant amount of time, an example being the Minster Yard at Beverley in Yorkshire, which was considered polluted for two years between 1301 and 1303 following the murder of Peter of Cranswick. Unsurprisingly, being unable to bury people in the local churchyard had a significant impact on both the income of the church and the life of the community. Interestingly another ceremony that seems very unchristian to modern eyes was often conducted by the parishioners once the graveyard was consecrated. This tradition stated that the first soul to be buried in the graveyard becomes the churchyard's grim and must watch over and protect the inhabitants inside it. This would mean that the deceased soul was doomed to remain on earth, and would never have the opportunity to pass on to the afterlife. For this reason an animal, most commonly a dog, would be buried in a graveyard before any funerals had taken place. In other parts of England it was maintained that the last person to be buried in a graveyard must watch over and protect it until the next funeral occured, when the watch would be taken over by the more recently deceased. In these areas, if two burials were scheduled on the same day, it was known for the funeral parties to race and fight to get their loved one buried first to spare them the burden on acting as the graveyard's protector. A medieval graveyard would have looked very different to how it would today. Burials tended not to be marked with permanent memorials like they would in later periods, with people using temporary markers such as flowers, pieces of cloth and mounds of earth for recent graves. It was not until the eighteenth century that longer-lasting gravestones made of local stone and decorated with symbols of the deceased's profession and personality started to become fashionable. Partly due to this early the lack of permanent memorials, the graveyard was seen as a useful open space and was often used as a hub for the community where archery practice, markets, games, fairs and festivals would be held. The only permanent structure would be the wall, and often a stone preaching cross that would be used as the focal point for outdoor services such as palm sunday. The way that graves were organised in burial sites also differed compared today.  Although there was nothing to mark the grave, people were generally buried with care, usually on the south side of the church, with their feet pointing towards the east and their heads pointing towards the west. The primary reason given for this in medieval texts was that the dead would be facing Christ on the Day of Judgement, as he would appear from the east, which was the region of goodness and light. However, this explanation was not given until after the ninth century, and is likely to be a later attempt to explain an older tradition. There are instances of people not being buried according to this tradition. Often this appears to be due to a fear of the dead person rising from the grave, for example criminals and those who had died violent deaths. In St Andrews in York, the only body buried in the opposite direction had also been beheaded, a common deterrent against the wandering dead. Other less sinister explanations coud be that the orientation of the body got confused before burial, an issue that would be more likely when simple coffins were in use or when burials were conducted hastily, such as during times of plague. A particularly strange example of an otherwise normal, and even high status, burial was of a priest who was buried with his head facing the wrong way. It has been suggested that the east to west orientation was chosen in this case so that the priest could face his congregation on Judgement Day. As time went on, graveyards became more crowded, and with no markers to indicate where existing graves lay, bodies were often disturbed when new graves were dug. The most well known example of this is the famous scene in Hamlet, when Ophelia is being buried. In this scene Hamlet realises that the skull of his old friend, Yorick, has been dug up and, while he shows curiosity at the state of the skull and then sorrow at Yorick's passing, he is not upset that Yorick's grave has been desecrated as modern audiences might expect. The lack of available burial space meant that graveyards soon became overcrowded and the dead were often moved, buried on top of each other and even removed completely to maximise space. It has been estimated that most graveyards contain around 10,000 burials, making the ground within the graveyard much higher compared to the ground outside the cemetery walls. The point at which burials moved from carefully laid out rows laid shoulder to shoulder to a jumbled mess of layered bodies occurred at different times in different cemeteries. In some places this change occurred very early on, prior to the 1066 conquest. However, in others the change occurred much later, around the twelfth century, and it has been suggested that, as well as for practical reasons, this change in attitude may have been at least partially guided in the shift in belief from away from a Judgement Day where the dead would return in their physical bodies and towards purgatory, where the soul of the dead person would go almost immediately after death. The dead no longer needed their bodies in the afterlife, and so their physical remains could be treated with less care. Despite the constant rearranging of burials to maximise space, the overcrowding soon became an issue and eventually reached emergency levels, especially in urban areas. At the beginning of the nineteenth century, London had only 218 acres of burial ground. This led to some of the graveyards of the oldest churches being densely packed. St Marylebones, for example, had more than 100,000 bodies buried into a cemetery that measured about an acre in size. When the poet William Blake died in 1827 he was buried in Bunhill Fields on top of three other bodies, and four more were later buried on top of him. By the mid-nineteenth century graves became so shallow that scavenging animals could access the bodies, dragging the rotting corpses to the surface, a problem exacerbated by the fact that London lies on heavy clay soil that impedes decomposition, and causing the smell of decaying flesh to overwhelm the few visitors that might have ventured to visit a graveside. This issue could also be true of newer burial grounds. Enon Chapel, near the Strand in London, was licenced for burials between 1823 and 1842, a period of just nineteen years. The vaults were turned into a cemetery and the chapel's reverend charged a low fee of just fifteen shillings for burial, making it a popular choice for interment. It was reported that over nineteen years at least twenty bodies per week were placed in a space measuring just 18 metres by 12 metres and speculated both that quicklime was used to speed decay and that a sewer ran through the vaults, allowing the bodies to be washed away to the Thames. Even if these suppositions were true, the smell became so overwhelming that worshippers in the church above were known to regularly faint due to the fumes. It was accounts of these types of events that led to the reform laid out in the burial act of 1852, which closed burial grounds within metropolitan Lonson and allowed the opening of large cemeteries in the countryside surrounding the city, with more available space and located on sandier, better draining soils. These graveyards were beautifully decorated, with ornate headstones and sculptures to commemorate the deceased. The fertile soil was planted with shrubs and trees and people would make trips on the recently built railways to go and enjoy the fresh country air, meet friends for walks and visits and visit the graves of the famous people buried there. In this way, despite changing religious attitudes concerning the need for the body in the afterlife, different ways of commemorating the dead and practical considerations regarding their burial, graveyards went full circle from open, community spaces with ordered  burials in the early medieval period to crowded, often unsanitary spaces reserved primarily for the dead, and back again in the Victorian era to enjoyable community spaces were designed to be shared by both the living and the dead. Thank you for listening to this episode of the History and Folklore podcast. I hope you enjoyed it and found it interesting. Special thanks goes to my patreons Jeremiah, Jill, Cat, Ryan, Andrew, Morganu, Joseph, Becky, Eugenia, Robin, David, John, Ben and the Fairy Folk Podcast. Patrons help pay towards the cost of running the podcast and are hugely appreciated. If you would like to support the History and Folklore Podcast by becoming a patron tiers range from £1 -£3 and gets you early access to episodes, voting rights for episode topics and a monthly zine. You can also follow the podcast on Instagram at history and folklore, twitter at HistoryFolklore and Facebook at the History and Folklore podcast where I post hopefully interesting history and folklore facts and answer any questions or feedback. Thank you so much for listening, and I hope to see you next time.

A small stone crypt stands abandoned in a centuries-old churchyard on the Caribbean island of Barbados.  It was once the tomb of the wealthy Chase family, and today is the site of one of the most famous paranormal mysteries in history.  Between 1812 ad 1820, the burial vault was opened 4 times to receive the dead, and each time the crypt was unsealed onlookers found the coffins in the tomb tossed about wildly.  Was is earthquakes, floods, voodoo or something even more sister that moved the caskets about in the tomb?  Join us as we explore the tantalizing mystery of the Dancing Coffins of Barbados on this episode of Beyond the Fringe.

The Crusaders continue their battle through the desecrated chapel. Moving room by room hoping to find their lost comrades in arms. As they uncover more and more secrets, it seems that there are far more insidious forces at work behind the curtain in this long-abandoned monastery.

Glistening, eruptive, and immense, Aurora's electronic-tinged pop is a gale of infectious melodies and propulsive rhythms. In this session, Aurora and her backing band perform five songs from her EP Infections of a Different Kind – Step 1 and an old favorite live from KEX Hostel as part of KEXP's broadcast from Iceland Airwaves 2018. Recorded 11/08/2018. 4 songs - Churchyard, Gentle Earthquakes, All Is Soft Inside, Runaway, Forgotten Love, QueendomSupport the show: https://www.kexp.org/donateSee omnystudio.com/listener for privacy information.