Podcasts about crack up

As part of a 3-part series on the divisions within political movements, we explore divisions within the conservative movement, through the lens of the Heritage Foundation, a think tank with a number of recent high-profile departures over issues like misogyny and anti-semitism.  On Today's Show:Andrew Hale, fellow for international relations, economics, and trade at Advancing American Freedom, talks about the ideological and generational fight inside the think tank behind Project 2025, and what the battle over its direction says about where the Republican Party is headed after Trump. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

A live recording from The Big Romance about a 2008 Sub Pop-released classic album of the 2000s. Listen on Apple | Android | Patreon | Pocketcasts | CastBox | Stitcher | Spotify | RSS Feed | Podlink Step into a world of misty melodies and cavernous echoes with Seattle band Fleet Foxes' landmark debut – a defining record of the late-2000s indie folk revival. Led by Robin Pecknold, the album blends the lush, pastoral harmonies of the 1960s with a haunting baroque-pop sensibility and lyrical themes rooted in nature, tradition, and introspection. Like the Bruegel painting on its cover, every track reveals a dense, beautiful world that evokes a timeless – almost mythic Americana sound. This podcast episode is a live recording from our listening party in The Big Romance in April, with guest journalist and Fleet Foxes fan Aoife Barry. Our next Listening Party is Smashing Pumpkins later this month and it's sold out. Listen Closely: Fleet Foxes – Fleet Foxes (2008) A Nialler9 listening party, hosted by Niall Byrne with guest Aoife Barry. Before the album Niall: Hello everyone, how are you? Welcome to the Listen Closely album listening party. I'm Niall, and this is Aoife Barry. Aoife: Hello. Niall: We're here tonight because Aoife picked this album, as she has before. You picked Jeff Buckley last year. Aoife: Yeah, and we ended up doing three of them. Niall: We did, we went to Cork. We did two here and then we went to Cork to talk about Jeff Buckley. And you were at the My Bloody Valentine listening party last year as well, back in October. Aoife: It must have been October, yeah. Niall: Well, obviously we're here for a very different album tonight: Fleet Foxes by Fleet Foxes, from 2008. As you heard there, we played a bit of the Sun Giant EP by the band, which came out a few months before this album, because we want to give the album its full due. They're a little different, and we'll talk about that. But yeah, you picked the record. Aoife: I did. I obviously must like it. And it's such an incredible record. Is there anybody here who hasn't heard it? That's really exciting, if so. I'm excited for you to hear it. You got a sneak peek there of what the vibe is going to be. I picked it because I love this record, but I also had a funny story about how I first heard them. Back in 2008, when this record came out, I'd read about this band called Fleet Foxes in a music magazine. I don't even think I'd heard a song yet, this is back in the day. And I was on holidays in Berlin, and in the tiny little hostel we were staying in, they had a sign up on the wall: "Who's playing tonight? Fleet Foxes, Café Zapata." I said to my boyfriend, "I think that's a band I read about in the magazine, will we go see them?" And he was like, "Grand." So we went, and they were unbelievable. It was so good. Beach House were supporting them. So it was 2008 smacking you in the face. Niall: Come on. Aoife: And I took photos, which I found. I have photos. Artifacts. One is terrible, the other one's not so terrible, taken on one of those little Canon digital cameras. And I still have the ticket, I kept the ticket, I'm one of those hoarders who keeps all their gig tickets. But it was so good: the venue they played in had a dragon that breathed fire out every fifteen minutes. Niall: So they'd be playing and this dragon… Aoife: I'm not even exaggerating. Fire would just shoot out of this mechanical dragon. It was so Berlin. And Fleet Foxes were so stunning, and Beach House were so stunning. I love Crosby, Stills, Nash & Young, I love all those harmony vibes, I wish I was born in the seventies, sadly I was not. So I fell in love with them immediately, and I've been a big fan ever since. Although I'll say I probably dipped a little bit around the Crack-Up era, their third album, but then I saw them when Shore came out, their most recent album, and fell right back in love with them. Niall: We're going to talk about all the albums that come afterwards, but we'll start with this one, because this is presumably your favourite, or one of them. Aoife: Shore is up there as well for me, but yeah. Niall: So what was it about Fleet Foxes at the time? For context: in 2008 there was quite a lot of this kind of music around. We previously did Bon Iver's For Emma, Forever Ago as a listening party, and the funny thing, which I only found out when we did this, is that they have the same origin story in a way. Both songwriters went to a cabin in the woods to pour their heart out and write the songs. Aoife: I think Justin Vernon just got there first in terms of the marketing. Niall: So they must have pulled back on talking about it too much, because it's basically the same thing. They never really talked about Robin Pecknold's writing process in those terms. Aoife: For Emma was such a massive moment, everybody was obsessed with this guy who broke up with a girl and went to a cabin and wrote a record about it. It was the ur indie-folk album. Niall: What was really appealing about Fleet Foxes is that they were so young, between about twenty-two and twenty-seven, and Robin Pecknold was twenty-one when he wrote the record. Which is frankly offensive, you shouldn't be allowed to be so talented at twenty-one. Aoife: I know. And they were clearly these people from Seattle, which we associate with grunge, and then it becomes this place where they're bringing out all the pastoral, outdoorsy, mountain-and-sea vibes of the Washington area. They're obviously really influenced by the seventies too, by Crosby, Stills, Nash & Young, by Laurel Canyon, but also by Appalachian folk. There's a real purity to what they're doing. The harmonies are unbelievable, there's even a bit of a gospel feeling. So these young guys made this album that was being called an iconic American record on release. The Guardian called it a landmark American album, something like that. And that's special, because you don't get that many records immediately being called landmark. Niall: It was a very exciting time for music around then. I actually brought some records. We mentioned Beach House and Teen Dream earlier, that's a bit later, 2010. I wanted to do a listening party for that at some point, that'd be good craic. Around that time you had Animal Collective and Panda Bear, Person Pitch was right there, that was the apex for that very experimental scene. A few years later we had Sufjan, our very first listening party. And Bon Iver, of course. There's also stuff like Neutral Milk Hotel very much of that vibe. Aoife: I've noticed people covering Neutral Milk Hotel more now. Niall: I think when we got to it, it was on its second go-round, and now it's getting a third, which is great. It's a great record. So, the band were from Seattle, they had a bit of the scruffy flannel-shirt look, but obviously didn't sound like that. The album was written in the woods, in the cabin, brought to the band, and recorded with Phil Ek. Aoife: Who did a lot of stuff with Built to Spill. Niall: Yeah, and he worked with The Shins, and Modest Mouse, a really long history. Aoife: Are The Shins from Seattle as well? Niall: I think they might be. Band of Horses is another one. So they recorded it themselves with Phil Ek, paid for it all themselves, and then the local major independent label Sub Pop came calling. Obviously known for a lot of grunge traditionally, but they'd clearly been releasing this kind of music around then too, The Shins had been on the label for a few years, Band of Horses. When it came to it, they signed to Sub Pop. Apparently there was a bidding war. Aoife: They'd become quite popular on MySpace. Anybody remember MySpace? Every time I do one of these I feel older and older, mentioning the top eight, the randomers you'd put in your top eight. Word could spread quite quickly once you got popular on MySpace. Niall: What I thought was really interesting, that I discovered when I was researching, is that recording the album was actually a total pain for them. They didn't have much money, so they ended up recording a lot of it in their houses, or in Robin Pecknold's family home. And he re-did all the vocals right before they mastered the record, because he'd been sick during the initial sessions and his voice wasn't in great shape. They recorded it all in one go, scrapped that, did another version, and kept moving the running order around. I'm always fascinated by albums where the creation was a total pain and they had no idea it would even work out. Robin Pecknold actually said, "I hope nobody cares about this album, because I just want to move on to the next one." And then it becomes this iconic record. Aoife: Isn't every artist sick of their album by the time it's done? You're like, "my paintings." Yeah. Niall: 2008 was an interesting time for it to land. The album draws on the Beach Boys and Brian Wilson, Crosby, Stills, Nash & Young, Nick Drake, Simon & Garfunkel, Fairport Convention, Judee Sill, very much old-timey or sixties folk and pastoral stuff. And in 2008 there's a financial crash. The album was worked on before that, but it was released into that environment, and a lot of this music seemed to catch. When things go bad, we retreat, we dream, we listen to music that's maybe the opposite of what we're feeling. There was a gentleness, an unhurriedness to it that resonated. Aoife: Grizzly Bear is another band from that time. When Jay-Z and Beyoncé went to see Grizzly Bear in Brooklyn, that was kind of where all the indie music peaked. Niall: And the other part of it, which I was involved in, was the MP3 blogs, that's where you'd hear this music. Especially the American and Canadian stuff, no one was promoting it over here yet, so you'd be months ahead. You'd hear Fleet Foxes in these MP3 formats. That was a mad period, it showed how the internet could collapse geography, a song could spread really quickly on the blogs. And in an American context, this came out post-Bush, with the Obama era coming in, a more hopeful tone. You had the Lehman Brothers crash, these global pressures, and then these hopeful times too. It's interesting to wonder whether these albums are a reaction to it, or whether they appeal to us because we want nice, happy things. I feel like Fleet Foxes have so much emotional depth: there's yearning, sadness, hope, nostalgia. Aoife: I loved Yellow House by Grizzly Bear, their first record, a complex, complicated, almost jazzy thing that sounded beautiful but had a lot going on. We weren't going for simplistic music, but we wanted music that gave us depth and beauty. Is art a solution to the world collapsing? Niall: We could be answering that in 2026. We live in a cursed timeline, as I keep saying. That's all I'm going to say. But what else happened in 2008 in the wider circle of music? Portishead returned with Third. TV on the Radio released Dear Science. MGMT released Oracular Spectacular, 'Kids' and all that. Cut Copy released In Ghost Colours, Indie Sleaze night on Saturday, folks, come on. Kanye put out 808s & Heartbreak, that was November that year. Rihanna was at the peak of her powers. Aoife: Katy Perry appeared that year. And 'American Boy'. Niall: 'American Boy', still one of the best pop songs, fire. Iron & Wine was the other one I forgot to mention. So it was a really vibrant, varied year. As you heard, there's the Sun Giant EP too. Aoife: The thing about that is it came out before the album, but was recorded after. The album was done, in the bag. Niall: They decided to go into the studio and record Sun Giant, a collection of songs intended to sell on tour. It ended up being quite popular, and for a lot of people it was their first time discovering Fleet Foxes. Aoife: It wasn't like The Coronas' 'San Diego Song', their summer-holiday anthem, or anything like that. But it came out before the album, and then the album arrives. Niall: So what was the reaction at the time? Was it immediate? Aoife: Things happened really quickly. In January that year they got all the MySpace attention, and by June the album was coming out. Really, really quick. There was so much chatter about them, which is partly why I'd seen the name, and a music blog like yours would have seen it too, and known they were one of the big bands. In a way that's harder now. Niall: These days you see bands like Geese getting a lot of attention because they use companies that help them go viral. You didn't really have that then. Now you'd dress yourself up in some gimmick, polka dots, whatever, and go viral all over the internet for it. I couldn't imagine these lads doing that. Aoife: No. But maybe in a way they were cosplaying living in the forest, on the Puget Sound. Niall: Anyway, when the album came out, people loved them, and it really hit it off. Because they sound so seventies, your parents would love the records and you'd love the records. There's almost a lullaby quality to the folk stuff too. The music is applicable to anybody of any generation, and there's something lovely about nostalgic music that reminds you of a better time. To finish on that point: I think there's something very mysterious about Fleet Foxes, they feel out of time. They're these young, scruffy lads with the beards, but there's a mystery to them. They didn't come across as the hipster end of things, they weren't leaning into anything. They were presented as the kind of band that wouldn't have had phones, would have lived off-grid, which is funny because they were a MySpace band. They're the most un-MySpace band you can imagine. Surprise people, do something a bit different, don't be exactly what people want you to be, and they'll love you for it. And then your songs are unbelievable too, soaring and stunning. Can we talk for a second about the cover? It's an original painting from 1559 by Pieter Bruegel the Elder, Netherlandish Proverbs. It depicts a densely populated Flemish village scene illustrating 126 folk proverbs. There's a lot there. Some on this side are cut off, but for example, this woman here, she's putting the blue cloak on her husband, meaning she deceives him. This guy is casting roses before swine, wasting effort on the unworthy. And right at the top there's a man running through a field with his arse on fire, chasing pigs, "he who eats fire craps sparks," do not be surprised at the outcome if you attempt a dangerous venture. There are 126 of those. Aoife: The interesting thing is that the band managed to get permission to use it. Really unusual to be allowed use it as commercial artwork. Niall: And apparently the museum that holds the artwork were delighted. A lot of stars aligned for them. It's an iconic cover because it's so different from what anybody else was doing, clearly of a particular period, and it has that Where's Wally quality. I have a quote about it. Robin said: "We were trying to figure out what we wanted to do, and my brother had been working some stuff out, when I saw this Bruegel painting in a book my girlfriend had. I liked that it had a really intriguing meaning, there's a story to each little scene, which felt fitting for the record. It was dense but unified, not a collage. It has a Where's Waldo quality, something you could look at for a long time on a vinyl sleeve and keep finding new little things. It was very easy to get the museum in Berlin that has it to say yes, they were super excited the band wanted to use it, and put it in their newsletter. When you open it up, on the inside there's a Paisley pattern traced from the back of a book that Skyler's mum got me. We wanted two very different feelings." So, what to look out for when we press play very shortly? Aoife: When I was going back to this, I had it in my head that every song was one of these big songs, because there are so many big moments. But actually there are two tracks that are pretty much acoustic, so it's interesting to notice how they go from the big sound to the small. And for me they're a real emotion-and-feeling band, so notice how you feel listening to it. I always feel this swell of emotion with Fleet Foxes, I was walking down the road listening to Shore and I was like, my God. So lean back and feel into the emotions they're bringing you. And listen to the lyrics if you can make them out, because they're so out of time, all about pack horses and this amazing imagery. Robin Pecknold said he didn't write about a lot of personal stuff because he didn't have enough life experience yet, so instead he wrote these beautifully poetic narratives about pastoral and rural life. So I'd say the lyrics and the feelings are the two things. Niall: Track two, 'White Winter Hymnal', is probably the biggest one, watch out for that. And a few other people thanked and cited as influences, for some extra context: Brian Wilson, Joanna Newsom, Bob Dylan, Noah Lennox and all the lads from Animal Collective, Levon Helm and Robbie Robertson of The Band, Blitzen Trapper, who they toured with at the time and who were bigger than them then. For some reason Joni Mitchell and Neil Young are listed together, which is fair enough. Marvin Gaye, Damien Jurado, Paul Simon and John Lennon listed together. Townes Van Zandt, a legend. Vashti Bunyan, and Van Morrison. There's a nice quote from Robin Pecknold I'll read afterwards. Let's just open it up and listen. I'll play it at full volume, it's about thirty-nine minutes, two sides. Close your eyes, whatever you want to do, vibe away in your own way. [The album plays: Fleet Foxes – Fleet Foxes, 39 minutes.] After the album Niall: It's quite an economical album, isn't it? It doesn't stick around long, thirty-nine minutes. Aoife: I like an economical album. It's also one of the first fairly short records we've done here. Niall: That's part of why I was thinking about Sun Giant in that context too. I'm going to read a bit from the liner notes, because for an album that's very much about feelings, with only a few direct songs, some of what's written here is interesting: "My first memory has always been of me and my mom on a cold grey day down at some beach in Washington, along the Puget Sound somewhere near Seattle. I would be around two or three years old, and we were with a friend of mine from the neighbourhood and his mom, walking among the driftwood looking for crabs. Even now I can remember the smell and temperature of the air, the feeling of the sand and the swaying tall grass. I can even remember looking over at my friend and how his face looked when he smiled back at me. Another memory I'll sometimes recall as my first is dressing up in the dead of summer as Jack London, with tennis rackets on my feet and wearing my dad's hiking pack, after seeing Disney's terrible version of White Fang. Or the memory of stealing my neighbour's Big Wheel and riding it halfway down the block before getting caught and having to turn around defeated. Or wearing a fireman's outfit while washing my parents' car, or eating an orange popsicle from the ice cream truck. These have always been some of my most distinct and persistent memories of childhood. So it came as a disappointment when, one day as a teenager, I opened up a photo album and found pictures of each and every one of these memories. I didn't have a single memory that didn't belong to, or somehow grow from, those pictures my parents had. I guess I've seen all these photographs at some point, forgotten they were just photographs, and over time made them into my most tangible memories. That's scary to me in a way. This leads me to something weird about the power music has: its transportability. Any time I hear a song or record that meant a lot to me at a certain moment, I'm instantly taken back to that place in full detail. Whenever I hear 'Feel Flows' by the Beach Boys, I'm taken straight to the back of my parents' car on the way to my grandparents' place, with Surf's Up in my Walkman and the Cascade Mountains going by in the window. Any song off Radiohead's Kid A brings back the airport near Seattle, from when we were on the way to Colorado for a wedding and Kid A was the only record I brought or wanted to bring. 'Crayon Angels' by Judee Sill is the whole winter of last year. And Brian Wilson's solo version of 'Surf's Up' takes me back to driving my parents' car around town alone at sixteen, windows down at night. I can't ascribe exact memories to songs by The Microphones, Joni Mitchell, Built to Spill, Dungen, Harry Nilsson and so many others, and it's a form of recall I can actually trust, there's no visual element to complicate things, no chance of a planted memory that wasn't actually supposed to be there. Maybe I should be concerned that I'm alone in almost all of these memories, but I guess I was just a private kid, and music was a private experience for me. Music activates a certain mental freedom in a way nothing else can, and that is so empowering. You can call it escapism if you like, but I see it as connecting to a deeper human feeling than the one found in the day-to-day world." Aoife: That's lovely. It's a nice addendum. And he was only twenty-one. Niall: For some reason it's signed "Warren Gamaliel Bancroft Winnipeg Harding," Warren G. Harding being the 29th president of the United States. I don't know why, he thought it was funny. Dated April 6th, 2008, Chicago, Illinois. So, any particular highlights, anything that stood out? Aoife: I was reminded how much I love 'Blue Ridge Mountains', the second-to-last song. I just love those four- and five-part harmonies so much. There's something that really gets me about beautiful harmonies stacked on each other that sound so natural. My dad was really into Neil Young and all of that era, my mum's really into Simon & Garfunkel, so I feel like I came out of the womb going, this is the music I love. Niall: There was another one I meant to mention. Aoife: I'm really bad at remembering song names, which isn't great for an arts journalist. They go in one ear and out the other. Niall: 'He Doesn't Know Why'. Aoife: That was it. I always forget the name of that one, and it's an absolute banger. It's quite a direct song, the last one on the first side. Niall: He mentions his brother Sean in 'Blue Ridge Mountains', which is interesting. And Oliver James is his younger brother, that's the last song. Aoife: His sister is Aja, after the Steely Dan album. The parents were really into them. Niall: It holds up so well. The harmonies and vocals sound incredible, there are those beautiful little flourishes, a flute on one of the tracks, the guitar is stunning, lovely little bass lines. I love the way Robin Pecknold and the band hear music. There's a really good Song Exploder episode with him talking about a song from Crack-Up, and the way he thinks about translating his thoughts and emotions into music is so illuminating. He has a beautiful melodic flow that's really similar to the flow of water and nature. There are so many nature references, it's almost parody there are so many. Aoife: You could do a Portlandia sketch about it. "Power of nature, man." "Come down from the mountain, you've been gone too long." Niall: In terms of the line-up: alongside Robin Pecknold on vocals there was Skyler Skjelset on lead guitar, his best friend from Nathan Hale High School, later joined by Casey Wescott, Christian Wargo on bass, and Nicholas Peterson on drums, who left after this album. Aoife: And who came in as the drummer? Niall: A man who's been a main character in one of these listening parties himself: Josh Tillman, Father John Misty, played drums with them. Aoife: For how long? Niall: Only a year or two, pretty short. As I said, main character, he was making his own record. Any Father John Misty fans? He writes really good songs and he's handsome, so we all love him, but he's also a bit of a pain, and he didn't get on very well with Robin Pecknold, which isn't surprising. When I was looking back at the Pitchfork interview they did in 2008, a few months after the album came out, it was a big joint interview with Robin and Josh Tillman, and Tillman is answering the questions at the start. That's confidence. Do you want to hear a quote from what Robin Pecknold said? I've written it in my little notebook, so old-school, that's the only way I remember these things. In a 2020 Reddit AMA, Pecknold said that on that tour, the Helplessness Blues tour, Tillman was supposed to bring out his own record, but his label said he could only release it after the tour. So he was on tour thinking, "I want to bring out my own record, I'm tired of Fleet Foxes." Pecknold said he "had to endure being around a lot of substance abuse, sabotaged shows, general ill treatment and shit-talking, all while paying him for songs he didn't have anything to do with. It sucked." And then Tillman left the band. Whereas in that Pitchfork interview he'd said, "I love playing in this band, these are all my friends, I'm having the best time, I'm sorry if that's a corny quote, but that's the best thing about this experience right now." Aoife: So he was lying through his teeth. I think he's the kind of person who really has to be a solo artist, too iconic a personality. You wouldn't want to wrangle him out of bed to get to the next show. Niall: Too big a price. You mentioned Pitchfork, the album was number one on their end-of-year list in 2008, and they listed Sun Giant alongside it, breaking the traditional conventions of end-of-year lists. What they said was: listing Fleet Foxes' debut album and EP together may be awkward, but it just feels right, they're two sides of a coin that equally express the band's mastery, "a catch-all Americana that takes a wide slice of our popular music spectrum and pulls it through a reverse prism to create a gorgeous and focused sound of the band's own. The threads of Brian Wilson's coastal pop, Appalachian folk, modern indie rock, Grateful Dead jams and other influences are masterfully synthesised in the band's harmonies." Robin Pecknold's sense of dynamics, they said, flows like a river, wild and free but logical, filling what needs to be filled and moving on. I swear I didn't rip that off Pitchfork, I came up with something similar on my own. Aoife: Very good. Niall: It was Uncut's album of the year too. But more than anything, and this is a strange accolade, the album was ranked number 36 on Rolling Stone's list of the greatest stoner albums. Aoife: I don't think Robin Pecknold was a stoner. It doesn't really fit. He's a reader. Niall: So what came after? Helplessness Blues, which is really difficult to say, in 2011, then Crack-Up in 2017, then Shore in 2020. Big long gaps, some personnel changes. And Robin Pecknold, as we've established, is a very literary guy, he went to Columbia to do an undergrad in English literature, because he'd left high school early and gone to a community college, and he really wanted that college experience. So that was part of the break. He's also had difficult times, he's spoken about mental health issues and suicidal ideation, many tough experiences that contributed to the gaps too. They haven't released anything since 2020, and he does a lot of cover events. There are two live records. He's actually playing a gig tonight, I think, where he covers Judee Sill. Any Judee Sill fans? Aoife: Oh my gosh, she's amazing. Nobody ever knows Judee Sill. If you listen to anything, listen to Heart Food, it's iconic. He loves her, mentions her on this record. She's the one who does 'The Kiss', people might have seen her perform it on the Old Grey Whistle Test, it's on YouTube. She had a really tragic life. Niall: One of those I've been meaning to listen to properly for years. She only has two records, so it's easy to get into. There's a documentary about her as well, which I haven't seen. Aoife: She's one of those ill-fated seventies musicians, really religious imagery, did a lot of drugs, really interesting. Niall: Did you get to see them again after your first foray in Berlin? Aoife: I saw them when they toured, though it's really bad when you can't remember what you were doing in the 2010s. Niall: Did anybody see them at that Dublin gig, the outdoor one in 2022? Wasn't it amazing. They've played here a fair bit: Vicar Street in 2008, Electric Picnic 2009, The Marquee in Cork 2011, the Iveagh Gardens in 2017. I don't know if I've missed any, maybe you can tell me. So if you were to pick, is there any further listening or reading you'd suggest to somebody, not necessarily Fleet Foxes? Aoife: Some of it is obvious. As I said, I'd definitely check out Judee Sill, because if you really like Fleet Foxes you'd really vibe with her. And he mentions Harry Nilsson, also unbelievable, more well known than Judee Sill, did the cover of 'Everybody's Talkin''. I'd also mention a guy people would have known at one point but isn't very well known now: Richard Swift. He sadly passed away a couple of years ago. He was friends with Robin Pecknold, a hugely talented musician who struggled with addiction. He has an amazing double album from around 2005 or 2006 that's brilliant, and a record called The Hex, which is referenced on 'Sunblind' on Shore, that's the song where Robin name-checks a lot of musicians he loves, like Elliott Smith, David Berman and Richard Swift. It's such a beautiful record for finding new people to listen to, and it's lovely to hear a musician pay tribute to musicians he loves. The imagery is him talking about this beautiful day where he'll go for a swim and listen to all these beautiful bands, an ecstatic kind of song. So check out all of those records, but Richard Swift deserves more fans, and The Hex is really, really good. Niall: Good shout. What we'll do now is play a tune, and then maybe give Sun Giant another go if you want to stick around. Our next listening party is on the 27th of May, and it's an indie-rock album very close to my heart: Broken Social Scene's You Forgot It in People. I've been wanting to do this one on record for a long time. They're playing here later in the year, but I want to give this record its flowers, it's incredible. My niece has just turned seventeen and I bought her a copy, because it's an anthemic record for a seventeen-year-old. I can't believe that band are still going, which is kind of mad, but it's hard to underline what Broken Social Scene meant to a certain segment of indie. Aoife: And there's four hundred of them on stage. They're from Canada, and we were all like, my God, these people are the best. Niall: For me it's the MP3 times again, we'll talk about this next month. I heard about them through the music blogs, and then I got to see them in the Button Factory, which was the Temple Bar Music Centre at the time. It was one of the first things I ever wrote about, back in 2005. A transcendental experience. Aoife: They're so good live. Niall: I once DJ'd in Galway after one of their gigs, and one of the members of the band, I'll leave him nameless, came over and turned off the decks while I was DJing. Aoife: On purpose? Niall: He was that drunk. I can't remember what I was playing, but I was like, great, DJing after Broken Social Scene and then a band member ruins it. I don't think he liked it. No, I think he was just really drunk and thought it was funny. Thumbs down to him. In a way it's surprising a man like that has managed to persist in a band with so many members. Anyway, I digress. We'll talk about it next month, May 27th. Aoife: I cannot wait. I've been listening to it a lot lately again, it's fantastic. Niall: Thank you for being here. Let's play a bit of this and see what happens. Thanks for being here, appreciate it.

The academy is hopeless, and Bruce Abramson knows why. It’s not what you think. Facebook Twitter LinkedIn Reddit Messenger Email SourceThe post “The Education Crackup” appeared first on The ColemanNation Podcast.

Lux Radio Theatre - Crack UpBecome a supporter of this podcast: https://www.spreaker.com/podcast/harold-s-old-time-radio--4206392/support.

Does CIA use genetic data to hunt human alien hybrids? Critter confronts The Exterminator! A man cracks up over a dilapidated crack house! [Ep 624]

Get my training and advanced episodes: https://www.patreon.com/listeningtimeUS Conversations: https://www.patreon.com/USConversationsTranscript: https://drive.google.com/file/d/1HUIkWxpL6W8T0gYWD28zXgnce8gZX9XN/view?usp=sharing

Author of "Joe Biden Unauthorized: And the 2020 Crackup of the Democratic Party", "The Case to Impeach & Imprison Joe Biden" & his latest book "An Almost Insurmountable Evil: How Obama's Deep State Defiled the Catholic Church and Executed the Wuhan Plandemic"Substack: Midnight in the Laptop of Good and EvilMike's webpage: https://www.joebidenunauthorized.com/@joeunauthorized - everywhere

Send us Fan MailMoviezyng is running a 10% OFF PRE-ORDERS SALE during the month of April. Blair Zykan of Allied Vaughn Entertainment provides all of the details PLUS how to get another 10% discount by using their REWARDS points.Link to Moviezyng 10% OFF PRE-ORDER Sale Warner Archive MAY pre-order links on Moviezyng:7 FACES OF DR. LAO (1964)FOLLOW ME QUIETLY (1949) POSSESSED (1931) IT'S A WISE CHILD (1931) THE LATE SHOW (1977)THE 5-MAN ARMY (1969) MONOGRAM MATINEE Vol. 3 Warner Archive April pre-order links on Moviezyng:PRIVATE BENJAMIN (1980) GEORGE STEVENS: A FILMMAKER'S JOURNEY (1984) 20,000 YEARS IN SING SING (1932) KING RICHARD AND THE CRUSADERS (1954) CAPTAINS COURAGEOUS (1937) ARROWSMITH (1931) CRACK-UP (1946) MONOGRAM MATINEE VOLUME 2 Looney Tunes Cartoons Blu-ray Watch on our YouTube ChannelThe Extras Facebook pageThe Extras TV YouTube ChannelThe Extras Twitter Warner Archive & Warner Bros Catalog GroupJoin our new public Facebook Group for Warner Archive Animation Fans and get the latest update on all the releases.As an Amazon Affiliate, The Extras may receive a commission for purchases through our purchase links.  There is no additional cost to you, and every little bit helps us in the production of the podcast.  Thanks in advance.Otaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers.  Contact us today to see how we can work together to achieve your goals.  tim@theextras.tv

Re-Air Date: 04-07-26 Original Air Date: 1-15-2025 Elon Musk is leading the way for his class of tech broligarchs anxious to take over the MAGA movement and shape it to their own ends of deregulation, tax cuts, and lucrative government contracts. The disappointment that is inevitable for the MAGA populists is coming even faster than expected. Be part of the show! Leave a voice message, message us on Signal at the handle bestoftheleft.01, or email Jay@BestOfTheLeft.com Full Show Notes Check out our new show, SOLVED! on YouTube! BestOfTheLeft.com/Support (Members Get Bonus Shows + No Ads!) Join our Discord community! KEY POINTS KP 1: The long con of America's ultra-wealthy elites - The ReidOut - Air Date 1-2-25 KP 2: Crack-Up Capitalism- How Billionaire Elon Musk's Extremism Is Shaping Trump Admin & Global Politics - Democracy Now! - Air Date 1-6-24 KP 3: GOP Already At Each Other's Throats While Musk Gloats - The Muckrake Political Podcast - Air Date 12-24-24 KP 4: MAGA civil war explodes between Elon & Trump faithful - No Lie with Brian Tyler Cohen - Air Date 12-29-24 KP 5: Elon & Vivek's H1-B Crash Out - Bad Faith - Air Date 1-2-25 KP 6: Our Moment is Approaching - The Muckrake Political Podcast - Air Date 12-31-24 KP 7: Weekly Roundup Jimmy Carter vs Elon Musk - Straight White American Jesus - Air Date 1-3-25 KP 8: The Oligarch Class - Left Anchor - Air Date 1-3-25 (55:36) NOTE FROM THE EDITOR On the rehashing of the anti-democratic argument for extreme wealth for the benefit of humanity DEEPER DIVES (1:07:48) SECTION A: OLIGARCHS (1:35:31) SECTION B: THE MAGA FRACTURE (1:51:12) SECTION C: GLOBAL INFLUENCE (2:21:52) SECTION D: ORGANIZING SHOW IMAGE Description: Composite image of a close-up of a MAGA hat with a tag attached that says "Made in China". The hat has cracks and the head of Elon Musk pokes out through a tear in the fabric. Trump's eyes are visible below the hat brim. Credit: Composite design by A. Hoffman | Images from Pixabay | License: Pixabay

GUEST: JONATHAN SCHANZER (8)HEADLINE: Jonathan Schanzer Evaluates Growing Dissonance within the NATOAlliance (9)SUMMARY: Jonathan Schanzerexamines whether NATO is beginning to "crack up" amid disagreements over state-sponsored terrorism. He warns that internal divisions threaten an alliance that has served as a crucial Russian bulwark for decades. (10)1911 BRITAINICA

Donald Trump's case for invading Iran took a big blow Tuesday when top counterterrorism official Joe Kent resigned. Though Kent is a crazed extremist with vile views, his letter directly undermined the core rationale Trump has offered for his war and made big news in doing so. This comes as MAGA figures are splitting badly over the conflict. Some (Megyn Kelly, Tucker Carlson) are raging that the United States is doing Israel's bidding, and others (Ben Shapiro) are denouncing them for blaming Israel for the war, and their battle has grown truly vicious. We talked to Emily Horne, a former National Security Council official under Joe Biden who also worked at the State Department and writes the Spin Class Substack. She explains what Kent might know about the weaknesses of Trump's case for war, why that case is collapsing, and how the deepening MAGA fractures suggest the bottom is falling out under Trump's adventure. Learn more about your ad choices. Visit megaphone.fm/adchoices

Donald Trump's case for invading Iran took a big blow Tuesday when top counterterrorism official Joe Kent resigned. Though Kent is a crazed extremist with vile views, his letter directly undermined the core rationale Trump has offered for his war and made big news in doing so. This comes as MAGA figures are splitting badly over the conflict. Some (Megyn Kelly, Tucker Carlson) are raging that the United States is doing Israel's bidding, and others (Ben Shapiro) are denouncing them for blaming Israel for the war, and their battle has grown truly vicious. We talked to Emily Horne, a former National Security Council official under Joe Biden who also worked at the State Department and writes the Spin Class Substack. She explains what Kent might know about the weaknesses of Trump's case for war, why that case is collapsing, and how the deepening MAGA fractures suggest the bottom is falling out under Trump's adventure. Looking for More from the DSR Network? Click Here: https://linktr.ee/deepstateradio Learn more about your ad choices. Visit megaphone.fm/adchoices

Donald Trump's case for invading Iran took a big blow Tuesday when top counterterrorism official Joe Kent resigned. Though Kent is a crazed extremist with vile views, his letter directly undermined the core rationale Trump has offered for his war and made big news in doing so. This comes as MAGA figures are splitting badly over the conflict. Some (Megyn Kelly, Tucker Carlson) are raging that the United States is doing Israel's bidding, and others (Ben Shapiro) are denouncing them for blaming Israel for the war, and their battle has grown truly vicious. We talked to Emily Horne, a former National Security Council official under Joe Biden who also worked at the State Department and writes the Spin Class Substack. She explains what Kent might know about the weaknesses of Trump's case for war, why that case is collapsing, and how the deepening MAGA fractures suggest the bottom is falling out under Trump's adventure. Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us Fan MailWe break down Warner Archive's packed April slate and explain what makes each Blu-ray worth owning, from new 4K scans and rescued film elements to the shorts, cartoons, and radio extras that turn discs into time capsules. We also tease a hard-won restoration update on Last Summer and why preservation work often takes years longer than anyone wants. • 20,000 Years In Sing Sing as a pre-Code prison drama with a new master and deep extras • Crack Up as a tight RKO noir upgraded from a rough DVD era transfer • King Richard And The Crusaders as a colorful CinemaScope remaster with Max Steiner score and bonus cartoons • Monogram Matinee Volume Two as a preservation win for Louisiana and Song Of The Range with high-quality 4K scans • Captain's Courageous as an MGM classic rebuilt from preservation elements with standout Spencer Tracy performance • Private Benjamin finally getting a proper widescreen HD presentation plus TV series episodes • George Stevens: A Filmmaker's Journey arriving as a 4K HDR Dolby Vision combo pack • Arrowsmith restored by the Library of Congress and The Film Foundation plus a Lux Radio Theater bonus • Last Summer restoration hurdles including missing reels, version mismatches, and plans for release For more details on the screening, visit the AMERICAN CINEMATHEQUE websitePre-order Links:PRIVATE BENJAMIN (1980) BLU-RAYCAPTAINS COURAGEOUS (1937) BLU-RAY20,000 YEARS IN SING SING (1932) BLU-RAYKING RICHARD AND THE CRUSADERS (1954) BLU-RAYMONOGRAM MATINEE VOLUME 2 Blu-rayARROWSMITH (1931) BLU-RAYCRACK-UP (1946) BLU-RAYGEORGE STEVENS: A FILMMAKER'S JOURNEY (1984) 4K+Blu-ray The Extras Facebook pageThe Extras TV YouTube ChannelThe Extras Twitter Warner Archive & Warner Bros Catalog GroupJoin our new public Facebook Group for Warner Archive Animation Fans and get the latest update on all the releases.As an Amazon Affiliate, The Extras may receive a commission for purchases through our purchase links.  There is no additional cost to you, and every little bit helps us in the production of the podcast.  Thanks in advance.Otaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers.  Contact us today to see how we can work together to achieve your goals.  tim@theextras.tv

Sam Roberts, Bitcoin treasury adviser at Cartwright, joins Jordan to unpack what's really happening behind the scenes of workplace pensions, and why more institutions are starting to think seriously about resilience.

See omnystudio.com/listener for privacy information.

There's never a good time for a law firm to see one of its most prominent partners leave and take several attorneys with him. But this is especially bad timing for Bernstein Litowitz Berger & Grossmann. The firm specializes in representing shareholders suing companies in Delaware, the incorporation capital of the world. But ever since Elon Musk reincorporated Tesla outside the state in response to a lawsuit over his pay package—a lawsuit Bernstein Litowitz led—the state has changed its laws to make it harder for shareholder plaintiffs to succeed. In this episode of our podcast, On The Merits, Bloomberg Law reporters Jennifer Kay and Tatyana Monnay talk about the unusual bitterness Bernstein Litowitz expressed to its departing colleague after he exited the firm. They also talk about why, after the seismic corporate law changes of 2025, it may no longer be as lucrative as it once was to represent shareholders in Delaware. Do you have feedback on this episode of On The Merits? Give us a call and leave a voicemail at 703-341-3690.

On today's show, Jiří Anger joins to discuss his book, Towards a Film Theory from Below: Archival Film and the Aesthetics of the Crack-Up. We also discuss Jiří's approach to videographic criticism and "The First Frames of Czech Cinema," a video essay created with Adéla Kudlová.[02:15] - Videographic origin story[10:30] - Intro to the book[24:30] - Hybridity & the moving image[29:00] -  Film artifacts and a "theory from below"[34:30] - Jan Kříženecký & "Digital Kříženecký" [42:00] - Beyond decay[49:00] - Is there a "best quality" version of a film? [55:30] - "The First Frames of Czech Cinema"[1:01:30] - "The Crack-Up"[1:19:00] - On Deformative Criticism Follow the show on ⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠. Learn more at the pod's ⁠⁠⁠⁠⁠⁠⁠⁠⁠website⁠⁠⁠⁠⁠⁠⁠⁠⁠. Get the ⁠⁠⁠⁠⁠⁠⁠⁠⁠free newsletter⁠⁠⁠⁠⁠⁠⁠⁠⁠. Music by Ketsa.

Stijn Schmitz welcomes Brett Rentmeester to the show. Brett is the Founder of WindRock Wealth Management. Their conversation centers on the current economic landscape, highlighting critical challenges facing the global financial system, particularly the United States. Rentmeester argues that the economy has fundamentally changed since the mid-1970s, when the dollar decoupled from gold. Since then, the economic system has relied increasingly on debt and money printing, creating an unsustainable financial structure. He points to several systemic issues, including declining real wages, skyrocketing costs in healthcare and education, and massive government debt that is increasingly difficult to service. Stijn explores potential scenarios for economic transformation, presenting two primary paths: proactive systemic change or a potential catastrophic reset. Brett suggests we are in a “fourth turning” moment—a generational shift where existing institutions are losing public trust and facing potential fundamental restructuring. A key theme is the potential return to “sound money,” potentially through tokenized gold, cryptocurrency, or a new monetary system backed by hard assets. Brett believes there’s a significant likelihood of monetary reimagination within the next five to ten years, driven by increasing public dissatisfaction with current economic structures. For individual investors, he recommends a diversified approach: maintaining investments in traditional assets while also acquiring hard assets like gold, silver, and real estate. The strategy involves having “one foot in the existing system and one foot out,” preparing for potential significant economic disruption. Regarding potential global conflict, Rentmeester hopes for a collaborative reset rather than a destructive war cycle, emphasizing the importance of proactive monetary reform. His overall message is one of cautious preparation, understanding that while the current system faces significant challenges, there are potential pathways to a more stable economic future. Timestamps: 00:00:00 – Introduction 00:01:03 – Times of Great Change 00:02:33 – Debt Saturation Discussion 00:04:33 – Cracks in Society 00:08:11 – Demographic Challenges 00:11:16 – Fiat Money Creation 00:12:31 – Gold Standard History 00:14:00 – Central Banks Gold Buying 00:15:38 – Crony Capitalism Critique 00:16:44 – US Debt Mathematics 00:20:50 – Why Now Inflection 00:24:56 – Future Paths Outlined 00:28:42 – Global Power Shifts 00:42:03 – Portfolio Construction Strategies Guest Links: Website: https://windrockwealth.com/ LinkedIn: https://www.linkedin.com/in/brettrentmeester/ Brett Rentmeester founded WindRock Wealth Management to bring tailored investment solutions to investors seeking an edge in an increasingly uncertain world. Mr. Rentmeester is a veteran and entrepreneur in the investment business. Through his career, including as a co-founder of Altair Advisers and manager at Arthur Andersen, he was a trusted confidant for business owners, entrepreneurs and family offices. His entrepreneurial spirit led him to create and build a number of successful companies in the financial services industry through partnership with the Jaggi Family Office, where he serves as the Chief Investment Officer. Throughout his career, he has focused on the importance of strong relationships, strategic thinking, and an expertise in alternative investments. Mr. Rentmeester's media appearances include appearances on the PBS Nightly Business Report program, the Chicago Tribune, and the World Presidents' Organization. He graduated magna cum laude from the University of Arizona with a degree in Finance and earned his MBA from Northwestern's Kellogg Graduate School of Management. He has been a multiple-year recipient of the Chicago Magazine Five Star Wealth Award, is a Chartered Financial Analyst charterholder (CFA®) and has the Chartered Alternative Investment Analyst designation (CAIA®).

Sam and Emma cover the day's news and politics headlines. Trump's Epstein release continues in scandal. TPUSA becomes a circular firing squad.  And on the fun half: More on the TPUSA/Candace Owens/Ben Shapiro/Steve Bannon imbroglio. Also Zohran talks about wealthy problems being addressed and an old Tea Party villain on the failing economy. The Congress switchboard number is (202) 224-3121. You can use this number to connect with either the US Senate or the House of Representatives. Watch/Listen to The Majority Report live Monday–Friday at 12pm EST on YouTube OR via daily podcast at http://www.Majority.fm Today's Sponsors: • JUST COFFEE: Go to https://JustCoffee.coop and use coupon code MAJORITY for 10% off your purchase! • ZBIOTICS: Go to https://zbiotics.com/MAJORITY and use MAJORITY at checkout for 15% off any first time orders of ZBiotics probiotics. • RITUAL: Get 25% off during your first month. Visit https://ritual.com/MAJORITY to start Ritual or add Essential For Men to your subscription today. • ZOCDOC: Go to https://Zocdoc.com/MAJORITY and download the Zocdoc app to sign-up for FREE and book a top-rated doctor. Follow the Majority Report crew on Twitter: @SamSeder @EmmaVigeland @MattLech On Instagram: @MrBryanVokey Check out Matt's show, Left Reckoning, on YouTube, and subscribe on Patreon! https://www.patreon.com/leftreckoning Check out Matt Binder's YouTube channel: https://www.youtube.com/mattbinder Subscribe to Brandon's show The Discourse on Patreon! https://www.patreon.com/ExpandTheDiscourse Check out Ava Raiza's music here! https://avaraiza.bandcamp.com

====Sign up for the Ron & Don Newsletter to get more information at⁠⁠www.ronanddonradio.com⁠⁠ (http://www.ronanddonradio.com/)====To schedule a Ron & Don Sit Down to talk about your Real Estate journey, go to⁠⁠www.ronanddonsitdown.com⁠⁠ (http://www.ronanddonsitdown.com/) ====Thanks to everyone that has become an Individual Sponsor of the Ron & Don Show. If you'd like to learn more about how that works:Just click the link and enter your amount at⁠⁠https://glow.fm/ronanddonradio/⁠⁠⁠⁠RonandDonRadio.com⁠⁠ (https://anchor.fm/dashboard/episode/ea5ecu/metadata/RonandDonRadio.com)Episodes are free and drop on Monday's , Wednesday's & Thursday's and a bonus Real Estate Only episode on Fridays.From Seattle's own radio personalities, Ron Upshaw and Don O'Neill.Connect with us on Facebook⁠⁠Ron's Facebook Page⁠⁠ (https://www.facebook.com/ron.upshaw/)⁠⁠Don's Facebook Page⁠⁠ (https://www.facebook.com/theronanddonshow

John welcomes Tim Miller, host of The Bulwark Podcast, back to the show to discuss the signs this week that Donald Trump's fabled base — and broader political coalition — may be starting to unravel. Tim dissects the two main stressors creating fissures within MAGA: Trump's efforts to deep six the Epstein files in the face of his coalition's concerns about pedophilia among the political and financial elite; and the normalization of anti-Semitism on the right as personified by Groyper godfather Nick Fuentes. Tim and John also wax lyrical about the band of this moment, Geese, and ponder the possibility of a previously unreported anatomical commonality between Trump and Epstein. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Subscribe now to skip ads, get bonus content, and enjoy access to the entire catalog of 500 episodes. Keep the narrative flow going! Tucker Carlson's lovey-dovey interview with a Holocaust-denying white supremacist named Nick Fuentes caused long-simmering tensions on the far right to boil over into a factional civil war. Is the conservative movement that once elected Ronald Reagan now overrun with charlatans, cranks, racists, grifters, and conspiracy theorists in the Age of Trump? In this episode, the political theorist Damon Linker and National Review senior writer Dan McLaughlin trace the history of the conservative movement from William F. Buckley to Ronald Reagan, to Pat Buchanan and Donald Trump. Book suggestions: Damon Linker recommends Furious Minds: The Making of the MAGA New Right by Laura Field Dan McLaughlin recommends The Right: The Hundred-Year War for American Conservatism by Matthew Continetti Martin Di Caro recommends The Age of Reagan by Sean Wilentz and Reagan: His Life and Legend by Max Boot Further reading: Trumpism Will Be With Us For a Very Long Time by Damon Linker (New York Times) Buckley's Hopes for Populism by Dan McLaughlin (National Review)

In this conversation, Sam Kahn, Mike Pesca, Christine Rosen, and Yascha Mounk discuss what the election results mean for the direction of the Democrats, what the Heritage Foundation scandal shows about anti-Semitism on the right, and Dick Cheney's mixed legacy. Sam Kahn is associate editor at Persuasion and writes the Substack Castalia. Mike is the host of The Gist, the longest-running daily news and analysis podcast in existence.  Christine Rosen is a senior fellow at the American Enterprise Institute. She is also a monthly columnist for Commentary magazine, one of the cohosts of The Commentary Magazine Daily Podcast, a fellow at the University of Virginia's Institute for Advanced Studies in Culture, and senior editor at The New Atlantis. If you have not yet signed up for our podcast, please do so now by following this link on your phone. Email: leonora.barclay@persuasion.community Podcast production by Mickey Freeland and Leonora Barclay. Connect with us! Spotify | Apple | Google X: @Yascha_Mounk & @JoinPersuasion YouTube: Yascha Mounk, Persuasion LinkedIn: Persuasion Community Learn more about your ad choices. Visit megaphone.fm/adchoices

If one thing can be said to characterize the first months of Donald Trump's second term, it is his expansive and often norm-breaking use of presidential power, both abroad and at home. There are the lethal strikes on boats alleged to be smuggling drugs; the range of tariffs he's imposed; the way he's gone after enemies, withheld funds, and restructured the federal workforce; the list could go on. Trump has disregarded constraint after constraint on the power of the executive, and many of the forces expected to check that power—in the courts, in Congress, in the private sector or media—have shown little ability or willingness to do so. In the early weeks of Trump's second term, Mariano-Florentino Cuéllar wrote an essay in Foreign Affairs called “How to Survive a Constitutional Crisis.” Cuéllar, a former justice on the California Supreme Court who now serves as president of the Carnegie Endowment for International Peace, looked at Trump's early moves and tried to lay out a framework for understanding which of them represented just radical shifts in policy, and which of them posed a threat to the very foundations of the American system. Cuéllar believes that the country's courts, its system of federalism, and its independent media can still provide meaningful checks on presidential power. But time is of the essence, he warns, before these pillars of American democracy could start to crack. You can find sources, transcripts, and more episodes of The Foreign Affairs Interview at https://www.foreignaffairs.com/podcasts/foreign-affairs-interview. 

Markets are melting up while the dollar melts down. But if everything is booming, why does it feel like we are on the edge of collapse? Is this the beginning of the end for our financial system? In this video, Taylor breaks down how government-engineered inflation and panic are driving us straight into a currency reset. Questions on Protecting Your Wealth with Gold & Silver? Schedule a Strategy Call Here ➡️ https://calendly.com/itmtrading/podcastor Call 866-349-3310

Does anyone do any work around here? Well, of course not — this is Slough House. And somehow Roddy's delusion has only grown since last week.Bankole returns with Chris and Angel for the second episode of 'Slow Horses' season 5 on Apple TV+, and miraculously they might be on the same wavelength with Lamb for once: they can't decide which character is the least competent.They start by providing some much needed recommendations for the current — and upcoming — season of TV (what a time to be alive). Then they get into this week's action and give props to Shirley for being the only agent who's actually awake in this episode (7:10). They also put out a notice that Claude's days are numbered, and take some educated guesses on what the assailants' true motives might be. Is it all connected?...You can support us here.Subscribe to our Newsletter.Also available on YouTube.Host: Bankole ImoukhuedeGuests: Chris and AngelProduction by: Ebube Ubochi

Ross Stevenson and Russel Howcroft have cracked up over an AI generated song related to the Virgin Airlines controversy where a woman was booted out of the airline lounge for breastfeeding.See omnystudio.com/listener for privacy information.

Join co-hosts Mark McNease and Rick Rose in this post-Provincetown recap. We talk drag, the Cracker Barrel uproar nobody cared about, and enoy another great review from Emma Zoe Lyons.

Jiří Anger is a scholar, archivist, and videographic critic devoted, as he says in this interview, to "making weird shapes shine." In this episode of New Books in Film, Anger sits down with Alix Beeston to discuss his award-winning book Towards a Film Theory from Below: Archival Film and the Aesthetics of the Crack-Up.  Anger's book is an experiment in theorizing film "from below," from the perspective of moving-image objects themselves. Its revelatory readings of single frames from the digitized first Czech films by Jan Kríženecký challenge what we think we know about film materials, histories, and spectatorship. These early film objects are defined and deformed by scratches, stains, tears, and shakes that Anger takes seriously as part of an "accidental aesthetics" which reveals the creative potential of material traces and processes — beyond their shaping through human intention. How does doing film theory from below complicate our understandings of creativity and agency? What forms of scholarly or artistic interventions into film materials does it prompt? What are the ethics of "touching" or manipulating archival objects for the sake of restoration, dissemination, or interpretation? Reflecting on both his written scholarship and videographic practice, Jiří offers thoughtful answers to these and other vexing questions for all who seek to reimagine film history and theory through the archive's preponderance of idiosyncratic forms, disruptive materials, and weird shapes. Towards a Film Theory from Below is out now with Bloomsbury Academic. Anger builds on the work of the book in A Tale of Two Desktops: The First Czech Films in Parallel Worlds, a new videographic essay coproduced with Veronika Hanáková and Jiří Žák. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Jiří Anger is a scholar, archivist, and videographic critic devoted, as he says in this interview, to "making weird shapes shine." In this episode of New Books in Film, Anger sits down with Alix Beeston to discuss his award-winning book Towards a Film Theory from Below: Archival Film and the Aesthetics of the Crack-Up.  Anger's book is an experiment in theorizing film "from below," from the perspective of moving-image objects themselves. Its revelatory readings of single frames from the digitized first Czech films by Jan Kríženecký challenge what we think we know about film materials, histories, and spectatorship. These early film objects are defined and deformed by scratches, stains, tears, and shakes that Anger takes seriously as part of an "accidental aesthetics" which reveals the creative potential of material traces and processes — beyond their shaping through human intention. How does doing film theory from below complicate our understandings of creativity and agency? What forms of scholarly or artistic interventions into film materials does it prompt? What are the ethics of "touching" or manipulating archival objects for the sake of restoration, dissemination, or interpretation? Reflecting on both his written scholarship and videographic practice, Jiří offers thoughtful answers to these and other vexing questions for all who seek to reimagine film history and theory through the archive's preponderance of idiosyncratic forms, disruptive materials, and weird shapes. Towards a Film Theory from Below is out now with Bloomsbury Academic. Anger builds on the work of the book in A Tale of Two Desktops: The First Czech Films in Parallel Worlds, a new videographic essay coproduced with Veronika Hanáková and Jiří Žák. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Jiří Anger is a scholar, archivist, and videographic critic devoted, as he says in this interview, to "making weird shapes shine." In this episode of New Books in Film, Anger sits down with Alix Beeston to discuss his award-winning book Towards a Film Theory from Below: Archival Film and the Aesthetics of the Crack-Up.  Anger's book is an experiment in theorizing film "from below," from the perspective of moving-image objects themselves. Its revelatory readings of single frames from the digitized first Czech films by Jan Kríženecký challenge what we think we know about film materials, histories, and spectatorship. These early film objects are defined and deformed by scratches, stains, tears, and shakes that Anger takes seriously as part of an "accidental aesthetics" which reveals the creative potential of material traces and processes — beyond their shaping through human intention. How does doing film theory from below complicate our understandings of creativity and agency? What forms of scholarly or artistic interventions into film materials does it prompt? What are the ethics of "touching" or manipulating archival objects for the sake of restoration, dissemination, or interpretation? Reflecting on both his written scholarship and videographic practice, Jiří offers thoughtful answers to these and other vexing questions for all who seek to reimagine film history and theory through the archive's preponderance of idiosyncratic forms, disruptive materials, and weird shapes. Towards a Film Theory from Below is out now with Bloomsbury Academic. Anger builds on the work of the book in A Tale of Two Desktops: The First Czech Films in Parallel Worlds, a new videographic essay coproduced with Veronika Hanáková and Jiří Žák. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Jiří Anger is a scholar, archivist, and videographic critic devoted, as he says in this interview, to "making weird shapes shine." In this episode of New Books in Film, Anger sits down with Alix Beeston to discuss his award-winning book Towards a Film Theory from Below: Archival Film and the Aesthetics of the Crack-Up.  Anger's book is an experiment in theorizing film "from below," from the perspective of moving-image objects themselves. Its revelatory readings of single frames from the digitized first Czech films by Jan Kríženecký challenge what we think we know about film materials, histories, and spectatorship. These early film objects are defined and deformed by scratches, stains, tears, and shakes that Anger takes seriously as part of an "accidental aesthetics" which reveals the creative potential of material traces and processes — beyond their shaping through human intention. How does doing film theory from below complicate our understandings of creativity and agency? What forms of scholarly or artistic interventions into film materials does it prompt? What are the ethics of "touching" or manipulating archival objects for the sake of restoration, dissemination, or interpretation? Reflecting on both his written scholarship and videographic practice, Jiří offers thoughtful answers to these and other vexing questions for all who seek to reimagine film history and theory through the archive's preponderance of idiosyncratic forms, disruptive materials, and weird shapes. Towards a Film Theory from Below is out now with Bloomsbury Academic. Anger builds on the work of the book in A Tale of Two Desktops: The First Czech Films in Parallel Worlds, a new videographic essay coproduced with Veronika Hanáková and Jiří Žák. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Jiří Anger is a scholar, archivist, and videographic critic devoted, as he says in this interview, to "making weird shapes shine." In this episode of New Books in Film, Anger sits down with Alix Beeston to discuss his award-winning book Towards a Film Theory from Below: Archival Film and the Aesthetics of the Crack-Up.  Anger's book is an experiment in theorizing film "from below," from the perspective of moving-image objects themselves. Its revelatory readings of single frames from the digitized first Czech films by Jan Kríženecký challenge what we think we know about film materials, histories, and spectatorship. These early film objects are defined and deformed by scratches, stains, tears, and shakes that Anger takes seriously as part of an "accidental aesthetics" which reveals the creative potential of material traces and processes — beyond their shaping through human intention. How does doing film theory from below complicate our understandings of creativity and agency? What forms of scholarly or artistic interventions into film materials does it prompt? What are the ethics of "touching" or manipulating archival objects for the sake of restoration, dissemination, or interpretation? Reflecting on both his written scholarship and videographic practice, Jiří offers thoughtful answers to these and other vexing questions for all who seek to reimagine film history and theory through the archive's preponderance of idiosyncratic forms, disruptive materials, and weird shapes. Towards a Film Theory from Below is out now with Bloomsbury Academic. Anger builds on the work of the book in A Tale of Two Desktops: The First Czech Films in Parallel Worlds, a new videographic essay coproduced with Veronika Hanáková and Jiří Žák. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/eastern-european-studies

Jiří Anger is a scholar, archivist, and videographic critic devoted, as he says in this interview, to "making weird shapes shine." In this episode of New Books in Film, Anger sits down with Alix Beeston to discuss his award-winning book Towards a Film Theory from Below: Archival Film and the Aesthetics of the Crack-Up.  Anger's book is an experiment in theorizing film "from below," from the perspective of moving-image objects themselves. Its revelatory readings of single frames from the digitized first Czech films by Jan Kríženecký challenge what we think we know about film materials, histories, and spectatorship. These early film objects are defined and deformed by scratches, stains, tears, and shakes that Anger takes seriously as part of an "accidental aesthetics" which reveals the creative potential of material traces and processes — beyond their shaping through human intention. How does doing film theory from below complicate our understandings of creativity and agency? What forms of scholarly or artistic interventions into film materials does it prompt? What are the ethics of "touching" or manipulating archival objects for the sake of restoration, dissemination, or interpretation? Reflecting on both his written scholarship and videographic practice, Jiří offers thoughtful answers to these and other vexing questions for all who seek to reimagine film history and theory through the archive's preponderance of idiosyncratic forms, disruptive materials, and weird shapes. Towards a Film Theory from Below is out now with Bloomsbury Academic. Anger builds on the work of the book in A Tale of Two Desktops: The First Czech Films in Parallel Worlds, a new videographic essay coproduced with Veronika Hanáková and Jiří Žák. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Tariffs on Gold, Gambling in 401(k)'s — Signs of A Crack-Up Boom by Ron Paul Liberty Report

David Harsanyi is that incredibly insightful and reasonable guy who should write books explaining what's going on out there. Which he does quite, and quite well. The post “The Crackup of Blue Anon” appeared first on ColemanNation.

Original Air Date: October 16, 1960Host: Andrew RhynesShow: GunsmokePhone: (707) 98 OTRDW (6-8739) Stars:• William Conrad (Matt Dillion)• Parley Baer (Chester)• Georgia Ellis (Kitty)• Howard McNear (Doc)Special Guests:• John Forkum• Jess KirkpatrickEditorial Supervisor:• John MestonProducer:• Norman MacdonnellMusic:• Rex Koury Exit music from: Roundup on the Prairie by Aaron Kenny https://bit.ly/3kTj0kK

On this episode of Minor Issues, Mark Thornton unpacks the unfolding economic crisis through the lens of Ludwig von Mises's “crack-up boom.” With inflation accelerating, deficits ballooning, and the Fed's credibility fading, Mark outlines how reckless monetary policy and unsustainable government spending are setting the stage for stagflation—or worse. From gold's surge to the dollar's decline, he connects today's market signals to Mises's dire warnings about monetary collapse, offering a sobering look at what may lie ahead for the US economy.Additional Resources"Trump (Again) Demands More Easy Money To Help Fund Even Bigger Deficits" by Ryan McMaken: https://mises.org/MI_125_A"Interest Rates Rise Again as Treasury Auction Comes Up Short" by Ryan McMaken: https://mises.org/MI_125_B"Powell, Trump, and the Austrian Business Cycle Time Bomb" (Minor Issues, Ep. 118): https://mises.org/MI_118 "Prospects for Hyperinflation" (Minor Issues, Ep. 116): https://mises.org/MI_116"Are Economic Crises and Crashes Inevitable?" (Minor Issues, Ep. 112): https://mises.org/MI_112"The Precarious State of the American Economy" (Minor Issues, Ep. 111, with Scott Horton): https://mises.org/MI_111How Inflation Destroys Civilization by Guido Hülsmann: https://mises.org/InflationDestroysLudwig von Mises on Money and Inflation, edited by Bettina Bien Greaves: https://mises.org/MI_125_CThe Inflation Crisis and How to Resolve It by Henry Hazlitt: https://mises.org/MI_125_DRegister for the 2025 Mises Institute Supporters Summit in Delray Beach, Florida, October 16–18: https://mises.org/ss25

David does The News.

Kerry Lutz and Bob Hoye discuss Canada's shifting political and economic landscape under the new prime minister's globalist policies, with a focus on impacts to Alberta's oil industry and rising tariffs. They explore market-driven solutions for education and culture, the risks of the current “everything bubble,” and the potential for gold mining success amid economic downturns. The conversation covers junior gold stocks, AI skepticism, climate intervention, and political tensions in Alberta and Saskatchewan. They close with support for Pierre Polyev and investment tips for the gold sector. Find Bob's charts here:  https://chartsandmarkets.com/junior-golds Find Kerry here: https://www.financialsurvivalnetwork.com/ and here: https://inflation.cafe/

Listen, I'm not trying to butter you up, but I do want to say that I appreciate you listening to this podcast each week. Maybe you can learn something or just crack up from what I'm saying. In any case, buckle up because here comes another podcast English lesson, just for you!Thanks for joining me for another episode of the Happy English Podcast. I'm your English teacher Michael and i'm so glad you've decided to tune in. Today, we're looking at some casual phrasal verbs that use the word up. Join my Podcast Learner's Study Group here: https://learn.myhappyenglish.com/transcriptVisit my website for over 3,000 free English lessons: https://www.myhappyenglish.com/

Air Date 1/15/2025 Elon Musk is leading the way for his class of tech broligarchs anxious to take over the MAGA movement and shape it to their own ends of deregulation, tax cuts, and lucrative government contracts. The disappointment that is inevitable for the MAGA populists is coming even faster than expected. Be part of the show! Leave us a message or text at 202-999-3991 or email Jay@BestOfTheLeft.com Full Show Notes | Transcript BestOfTheLeft.com/Support (Membership, Get Bonus Shows + No Ads!) Use our links to shop Bookshop.org and Libro.fm for a non-evil book and audiobook purchasing experience! Join our Discord community! KEY POINTS KP 1: The long con of America's ultra-wealthy elites - The ReidOut - Air Date 1-2-25 KP 2: Crack-Up Capitalism- How Billionaire Elon Musk's Extremism Is Shaping Trump Admin & Global Politics - Democracy Now! - Air Date 1-6-24 KP 3: GOP Already At Each Other's Throats While Musk Gloats - The Muckrake Political Podcast - Air Date 12-24-24 KP 4: MAGA civil war explodes between Elon & Trump faithful - No Lie with Brian Tyler Cohen - Air Date 12-29-24 KP 5: Elon & Vivek's H1-B Crash Out - Bad Faith - Air Date 1-2-25 KP 6: Our Moment is Approaching - The Muckrake Political Podcast - Air Date 12-31-24 KP 7: Weekly Roundup Jimmy Carter vs Elon Musk - Straight White American Jesus - Air Date 1-3-25 KP 8: The Oligarch Class - Left Anchor - Air Date 1-3-25 (55:27) NOTE FROM THE EDITOR On the rehashing of the anti-democratic argument for extreme wealth for the benefit of humanity DEEPER DIVES (1:07:40) SECTION A: OLIGARCHS (1:35:23) SECTION B: THE MAGA FRACTURE (1:51:04) SECTION C: GLOBAL INFLUENCE (2:21:44) SECTION D: ORGANIZING

Moses: A Man of Selfless Dedication

Exodus 18 / December 10-11, 2024 Pastor Chuck Swindoll applies practical lessons from Exodus 18 for anyone in a leadership capacity. With biblical wisdom, take stock of the essentials God has called you to and determine to delegate the rest! From the Series: Moses: A Man of Selfless Dedication read more

Moses: A Man of Selfless Dedication

Exodus 18 / December 10-11, 2024 Pastor Chuck Swindoll applies practical lessons from Exodus 18 for anyone in a leadership capacity. With biblical wisdom, take stock of the essentials God has called you to and determine to delegate the rest! From the Series: Moses: A Man of Selfless Dedication read more

Exodus 18 / December 10-11, 2024 Pastor Chuck Swindoll applies practical lessons from Exodus 18 for anyone in a leadership capacity. With biblical wisdom, take stock of the essentials God has called you to and determine to delegate the rest! From the Series: Moses: A Man of Selfless Dedication read more