Podcasts about Divine Comedy

A mix series that explores the dramatic and emotional depths of techno music. Inspired by Dante's Divine Comedy, the series navigates the darker, more aggressive aspects of techno while highlighting its capacity for emotional and mood-driven expression. Each installment focuses on a specific mood or theme, drawing parallels with Dante's epic poem. From the depths of Inferno to the heights of Paradiso, this series showcases techno's versatility and emotional range. ---------- Follow Gustav WAV. ◊ https://soundcloud.com/user-939650642 ◊ https://www.instagram.com/gustav_wav ◊ https://www.instagram.com/modernartappreciationclub ---------- Follow MSYH.FM » http://MSYH.FM » http://x.com/MSYHFM » http://instagram.com/MSYH.FM » http://facebook.com/MSYH.FM » http://patreon.com/MSYHFM ---------- Follow Make Sure You Have Fun™ ∞ http://MakeSureYouHaveFun.com ∞ http://x.com/MakeSureYouHave ∞ http://instagram.com/MakeSureYouHaveFun ∞ http://facebook.com/MakeSureYouHaveFun ∞ http://youtube.com/@MakeSureYouHaveFun ∞ http://twitch.tv/@MakeSureYouHaveFun

Matthew Shindell discusses the Islamic Renaissance, noting that scholars in Baghdad and Damascus conducted rigorous scientific observations while Western Europe possessed only fragmented ancient knowledge. This era's large-scale translation movement and original astronomical research eventually fueled the later European Renaissance. Shindellalso analyzes Dante Alighieri's reinterpretation of Mars in the Divine Comedy, where the planet represents a celestial sphere of virtue. Moving beyond traditional associations with war, Dante portrays Mars as a symbol of fortitude and holy martyrdom. This literary shift connected the red planet to the sacrifice of Christ and his followers. (2/4)1917 Burroughs

fWotD Episode 3294: Golden Bough (Aeneid) Welcome to featured Wiki of the Day, your daily dose of knowledge from Wikipedia's finest articles.The featured article for Tuesday, 12 May 2026, is Golden Bough (Aeneid).The Golden Bough is a fantastical object described in the Aeneid, an epic poem by the Roman poet Virgil composed between 29 and 19 BCE narrating the adventures of the Trojan hero Aeneas after the Trojan War. The episode of the Golden Bough is found in its sixth book and is part of Aeneas's journey into the Underworld. The bough itself acts as proof of Aeneas's divine favour, and allows him to pass into the Underworld. He is tasked to find it in an expansive forest, which he accomplishes with the aid of his mother, the goddess Venus, and to remove it from its host tree. Although Aeneas has been told that it would come easily, if his journey is ordained by fate, Virgil describes the bough as briefly hesitating before he takes it.Virgil's portrayal of the bough has no direct literary antecedents, though it draws on several precedents from literature, folklore and philosophy. Scholars have connected it with, among others, the Golden Fleece in the story of the Argonauts; symbolic objects associated with deities such as Hermes, Dionysus and Circe; and the branches carried by prospective initiates into the Eleusinian Mysteries, a Greek religious rite centred on a symbolic journey into the Underworld. Virgil associates it with both death and immortality, partly by way of symbolic associations in Graeco-Roman culture between gold and the gods. It also recalls ideas put forth by the Roman philosopher Lucretius as to the nature of the soul. The episode of the Golden Bough was parodied by authors including Virgil's contemporary Ovid, and drawn upon by later Roman poets including Lucan and Valerius Flaccus.Early interpretations of the Golden Bough tended to give it an allegorical function, particularly via Pythagorean and Neoplatonist philosophy, which viewed it as symbolic of the choice between virtue and vice. Medieval commentators often considered it a symbol of wisdom, and several Christian theologians interpreted it as representing Christian wisdom and virtue. In the sixteenth century, it became a heraldic symbol of the Florentine House of Medici. Early modern receptions of the bough, including those of François Rabelais and Jonathan Swift, were often parodic or obscene. In the twentieth century, scholars following the Harvard School interpretation of the Aeneid argued that Virgil's use of the bough reflected his ambivalence towards Aeneas and the latter's mission to set in motion the rise of the Roman Empire. Other critics have highlighted echoes between the episode of the Golden Bough and the morally charged deaths of two of Aeneas's antagonists, Dido and Turnus.In the fourth or fifth century CE, the commentator Servius connected the bough to rex Nemorensis, a priest of the goddess Diana at Lake Nemi whose office was passed on by the killing of its holder. This equation influenced the anthropologist James George Frazer, who used the bough for the title of his 1890 work on comparative religion. The bough is recalled in Dante Alighieri's Divine Comedy and was the subject of an 1834 painting by J. M. W. Turner, which was used as the frontispiece for the early editions of Frazer's book. It was an influential motif in the "Byzantium" poems of W. B. Yeats and in the poetry of Seamus Heaney, who made several translations of Virgil's account of the episode. Scholars have also drawn parallels between the Golden Bough and significant objects in the novels of J. R. R. Tolkien.This recording reflects the Wikipedia text as of 00:53 UTC on Tuesday, 12 May 2026.For the full current version of the article, see Golden Bough (Aeneid) on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Emma.

Mettez votre casque, des gants et un pantalon, c'est toujours mieux. Je vous emmène faire le tour de Téhéran sur une jolie Vespa rose. C'est ce que nous propose Divine Comedy, le nouveau film d'Ali Asgari. On suit un réalisateur Iranien, Bahram, qui voit son nouveau long-métrage interdit par le […] The post Divine Comedy : la résistance face à la censure first appeared on Radio Vostok.

Concluding our three-series on Dante, Fr. John and Fr. Jacob walk through the finale of Dante's Divine Comedy, the Paradiso. This "highlights reel" serves as an overview of the work for anyone every interested, but intimated by a poem of such stature. We hope it inspires a reading, as the poetry of Dante is truly inexhaustible. If you are interested in more, check out Fr. John's nine-part lecture series at Our Lady of Lourdes: https://www.youtube.com/@LourdesDenver/streams.

******Support the channel******Patreon: https://www.patreon.com/thedissenterPayPal: paypal.me/thedissenterPayPal Subscription 1 Dollar: https://tinyurl.com/yb3acuuyPayPal Subscription 3 Dollars: https://tinyurl.com/ybn6bg9lPayPal Subscription 5 Dollars: https://tinyurl.com/ycmr9gpzPayPal Subscription 10 Dollars: https://tinyurl.com/y9r3fc9mPayPal Subscription 20 Dollars: https://tinyurl.com/y95uvkao ******Follow me on******Website: https://www.thedissenter.net/The Dissenter Goodreads list: https://shorturl.at/7BMoBFacebook: https://www.facebook.com/thedissenteryt/Twitter: https://x.com/TheDissenterYT This show is sponsored by Enlites, Learning & Development done differently. Check the website here: http://enlites.com/ Dr. Zygmunt Baranski is Emeritus R. L. Canala Professor of Romance Languages and Literatures at the University of Notre Dame, and Serena Professor of Italian Emeritus at the University of Cambridge. Dr. Baranski has worked primarily on Dante, concentrating on Dante's relationship to medieval literary theory and criticism and on his intellectual formation. In addition, he has published extensively on Dante's reception in the fourteenth and twentieth centuries, on medieval Italian culture and literature (in particular, Cavalcanti, Petrarch, and Boccaccio), on modern Italian literature and culture, on Pasolini, on Italian cinema, and on Italo-Polish cultural relations. In this episode, we talk about Dante's Divine Comedy. We start by discussing the original title. We talk about the progression through hell, purgatory, and paradise. We discuss the roles of Virgil and Beatrice. We talk about the place of Dante in the history of Western literature. Finally, we discuss why an atheist would like The Divine Comedy.--A HUGE THANK YOU TO MY PATRONS/SUPPORTERS: PER HELGE LARSEN, BERNARDO SEIXAS, ADAM KESSEL, MATTHEW WHITINGBIRD, ARNAUD WOLFF, TIM HOLLOSY, HENRIK AHLENIUS, ROBERT WINDHAGER, RUI INACIO, ZOOP, MARCO NEVES, COLIN HOLBROOK, PHIL KAVANAGH, SAMUEL ANDREEFF, FRANCIS FORDE, TIAGO NUNES, FERGAL CUSSEN, HAL HERZOG, NUNO MACHADO, JONATHAN LEIBRANT, JOÃO LINHARES, STANTON T, SAMUEL CORREA, ERIK HAINES, MARK SMITH, JOÃO EIRA, TOM HUMMEL, SARDUS FRANCE, DAVID SLOAN WILSON, YACILA DEZA-ARAUJO, ROMAIN ROCH, YANICK PUNTER, CHARLOTTE BLEASE, NICOLE BARBARO, ADAM HUNT, PAWEL OSTASZEWSKI, NELLEKE BAK, GUY MADISON, GARY G HELLMANN, SAIMA AFZAL, ADRIAN JAEGGI, PAULO TOLENTINO, JOÃO BARBOSA, JULIAN PRICE, HEDIN BRØNNER, FRANCA BORTOLOTTI, GABRIEL PONS CORTÈS, URSULA LITZCKE, SCOTT, ZACHARY FISH, TIM DUFFY, SUNNY SMITH, JON WISMAN, WILLIAM BUCKNER, LUKE GLOWACKI, GEORGIOS THEOPHANOUS, CHRIS WILLIAMSON, PETER WOLOSZYN, DAVID WILLIAMS, DIOGO COSTA, ALEX CHAU, CORALIE CHEVALLIER, BANGALORE ATHEISTS, LARRY D. LEE JR., OLD HERRINGBONE, MICHAEL BAILEY, DAN SPERBER, ROBERT GRESSIS, JEFF MCMAHAN, JAKE ZUEHL, MARK CAMPBELL, TOMAS DAUBNER, LUKE NISSEN, KIMBERLY JOHNSON, JESSICA NOWICKI, LINDA BRANDIN, VALENTIN STEINMANN, ALEXANDER HUBBARD, BR, JONAS HERTNER, URSULA GOODENOUGH, DAVID PINSOF, SEAN NELSON, MIKE LAVIGNE, JOS KNECHT, LUCY, MANVIR SINGH, PETRA WEIMANN, CAROLA FEEST, MAURO JÚNIOR, TONY BARRETT, NIKOLAI VISHNEVSKY, STEVEN GANGESTAD, TED FARRIS, HUGO B., JORDAN MANSFIELD, CHARLOTTE ALLEN, PETER STOYKO, DAVID TONNER, LEE BECK, PATRICK DALTON-HOLMES, NICK KRASNEY, RACHEL ZAK, DENNIS XAVIER, CHINMAYA BHAT, RHYS, AND ALEX MACLEOD!A SPECIAL THANKS TO MY PRODUCERS, YZAR WEHBE, JIM FRANK, ŁUKASZ STAFINIAK, TOM VANEGDOM, BERNARD HUGUENEY, CURTIS DIXON, BENEDIKT MUELLER, THOMAS TRUMBLE, KATHRINE AND PATRICK TOBIN, JONCARLO MONTENEGRO, NICK GOLDEN, CHRISTINE GLASS, IGOR NIKIFOROVSKI, AND PER KRAULIS!AND TO MY EXECUTIVE PRODUCERS, MATTHEW LAVENDER,SERGIU CODREANU, AND GREGORY HASTINGS!

Par Rafael Wolf et Stéphane Gobbo "Le diable sʹhabille en Prada 2" de David Frankel "Vivaldi et moi" de Damiano Michieletto "Divine Comedy" dʹAli Asgari

Avec Bahman Ark et Sadaf Asgari Cinéaste azéro-iranien, Bahram Ark a passé sa carrière à tourner en Azerbaïdjan iranien, dans le nord-ouest du pays, où lʹon parle turc — aucun de ses films nʹayant jamais été projeté en Iran. Lorsque son dernier film se voit une nouvelle fois refuser lʹautorisation de diffusion par le ministère de la Culture, Bahram décide de monter sur sa Vespa avec sa productrice Sadaf pour tenter de trouver une salle à Téhéran qui accepterait de projeter clandestinement son long-métrage à un public. Bahram Ark joue son propre rôle, sa productrice est incarnée par la nièce du cinéaste qui, après " Chroniques de Téhéran ", signe une satire acide de la censure du régime des mollahs, de la bureaucratie locale et du cinéma commercial. Par Rafael Wolf et Stéphane Gobbo.

In this episode of The Classical Mind, Fr. Wesley Walker and Dr. Junius Johnson welcome back Heidi White to explore the middle canticle of Dante's Divine Comedy, the Purgatorio. Is Purgatory “cosmic extra innings” or a “cosmic decontamination chamber” for the saved? How do Inferno and Purgatorio differ? Give a listen as Heidi, Junius, and Wesley discuss the moral and structural architecture of Mount Purgatory, specifically the “Order of Love” (ordo amoris) that governs the seven terraces and how Dante organizes the capital vices. Endnotes: Heidi: The Great Divorce by C.S. LewisJunius: The Voyage of the Dawn Treader by C.S. LewisWesley: “Ash Wednesday” by T.S. EliotI Because I do not hope to turn again Because I do not hope Because I do not hope to turn Desiring this man's gift and that man's scope I no longer strive to strive towards such things (Why should the agèd eagle stretch its wings?) Why should I mourn The vanished power of the usual reign? Because I do not hope to know The infirm glory of the positive hour Because I do not think Because I know I shall not know The one veritable transitory power Because I cannot drink There, where trees flower, and springs flow, for there is nothing again Because I know that time is always time And place is always and only place And what is actual is actual only for one time And only for one place I rejoice that things are as they are and I renounce the blessèd face And renounce the voice Because I cannot hope to turn again Consequently I rejoice, having to construct something Upon which to rejoice And pray to God to have mercy upon us And pray that I may forget These matters that with myself I too much discuss Too much explain Because I do not hope to turn again Let these words answer For what is done, not to be done again May the judgement not be too heavy upon us Because these wings are no longer wings to fly But merely vans to beat the air The air which is now thoroughly small and dry Smaller and dryer than the will Teach us to care and not to care Teach us to sit still. Pray for us sinners now and at the hour of our death Pray for us now and at the hour of our death. II Lady, three white leopards sat under a juniper-tree In the cool of the day, having fed to sateity On my legs my heart my liver and that which had been contained In the hollow round of my skull. And God said Shall these bones live? shall these Bones live? And that which had been contained In the bones (which were already dry) said chirping: Because of the goodness of this Lady And because of her loveliness, and because She honours the Virgin in meditation, We shine with brightness. And I who am here dissembled Proffer my deeds to oblivion, and my love To the posterity of the desert and the fruit of the gourd. It is this which recovers My guts the strings of my eyes and the indigestible portions Which the leopards reject. The Lady is withdrawn In a white gown, to contemplation, in a white gown. Let the whiteness of bones atone to forgetfulness. There is no life in them. As I am forgotten And would be forgotten, so I would forget Thus devoted, concentrated in purpose. And God said Prophesy to the wind, to the wind only for only The wind will listen. And the bones sang chirping With the burden of the grasshopper, saying Lady of silences Calm and distressed Torn and most whole Rose of memory Rose of forgetfulness Exhausted and life-giving Worried reposeful The single Rose Is now the Garden Where all loves end Terminate torment Of love unsatisfied The greater torment Of love satisfied End of the endless Journey to no end Conclusion of all that Is inconclusible Speech without word and Word of no speech Grace to the Mother For the Garden Where all love ends. Under a juniper-tree the bones sang, scattered and shining We are glad to be scattered, we did little good to each other, Under a tree in the cool of day, with the blessing of sand, Forgetting themselves and each other, united In the quiet of the desert. This is the land which ye Shall divide by lot. And neither division nor unity Matters. This is the land. We have our inheritance. III At the first turning of the second stair I turned and saw below The same shape twisted on the banister Under the vapour in the fetid air Struggling with the devil of the stairs who wears The deceitul face of hope and of despair. At the second turning of the second stair I left them twisting, turning below; There were no more faces and the stair was dark, Damp, jaggèd, like an old man's mouth drivelling, beyond repair, Or the toothed gullet of an agèd shark. At the first turning of the third stair Was a slotted window bellied like the figs's fruit And beyond the hawthorn blossom and a pasture scene The broadbacked figure drest in blue and green Enchanted the maytime with an antique flute. Blown hair is sweet, brown hair over the mouth blown, Lilac and brown hair; Distraction, music of the flute, stops and steps of the mind over the third stair, Fading, fading; strength beyond hope and despair Climbing the third stair. Lord, I am not worthy Lord, I am not worthy but speak the word only. IV Who walked between the violet and the violet Whe walked between The various ranks of varied green Going in white and blue, in Mary's colour, Talking of trivial things In ignorance and knowledge of eternal dolour Who moved among the others as they walked, Who then made strong the fountains and made fresh the springs Made cool the dry rock and made firm the sand In blue of larkspur, blue of Mary's colour, Sovegna vos Here are the years that walk between, bearing Away the fiddles and the flutes, restoring One who moves in the time between sleep and waking, wearing White light folded, sheathing about her, folded. The new years walk, restoring Through a bright cloud of tears, the years, restoring With a new verse the ancient rhyme. Redeem The time. Redeem The unread vision in the higher dream While jewelled unicorns draw by the gilded hearse. The silent sister veiled in white and blue Between the yews, behind the garden god, Whose flute is breathless, bent her head and signed but spoke no word But the fountain sprang up and the bird sang down Redeem the time, redeem the dream The token of the word unheard, unspoken Till the wind shake a thousand whispers from the yew And after this our exile V If the lost word is lost, if the spent word is spent If the unheard, unspoken Word is unspoken, unheard; Still is the unspoken word, the Word unheard, The Word without a word, the Word within The world and for the world; And the light shone in darkness and Against the Word the unstilled world still whirled About the centre of the silent Word. O my people, what have I done unto thee. Where shall the word be found, where will the word Resound? Not here, there is not enough silence Not on the sea or on the islands, not On the mainland, in the desert or the rain land, For those who walk in darkness Both in the day time and in the night time The right time and the right place are not here No place of grace for those who avoid the face No time to rejoice for those who walk among noise and deny the voice Will the veiled sister pray for Those who walk in darkness, who chose thee and oppose thee, Those who are torn on the horn between season and season, time and time, between Hour and hour, word and word, power and power, those who wait In darkness? Will the veiled sister pray For children at the gate Who will not go away and cannot pray: Pray for those who chose and oppose O my people, what have I done unto thee. Will the veiled sister between the slender Yew trees pray for those who offend her And are terrified and cannot surrender And affirm before the world and deny between the rocks In the last desert before the last blue rocks The desert in the garden the garden in the desert Of drouth, spitting from the mouth the withered apple-seed. O my people. VI Although I do not hope to turn again Although I do not hope Although I do not hope to turn Wavering between the profit and the loss In this brief transit where the dreams cross The dreamcrossed twilight between birth and dying (Bless me father) though I do not wish to wish these things From the wide window towards the granite shore The white sails still fly seaward, seaward flying Unbroken wings And the lost heart stiffens and rejoices In the lost lilac and the lost sea voices And the weak spirit quickens to rebel For the bent golden-rod and the lost sea smell Quickens to recover The cry of quail and the whirling plover And the blind eye creates The empty forms between the ivory gates And smell renews the salt savour of the sandy earth This is the time of tension between dying and birth The place of solitude where three dreams cross Between blue rocks But when the voices shaken from the yew-tree drift away Let the other yew be shaken and reply. Blessèd sister, holy mother, spirit of the fountain, spirit of the garden, Suffer us not to mock ourselves with falsehood Teach us to care and not to care Teach us to sit still Even among these rocks, Our peace in His will And even among these rocks Sister, mother And spirit of the river, spirit of the sea, Suffer me not to be separated And let my cry come unto Thee. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.theclassicalmind.com/subscribe

While we are on a break, enjoy this episode from Season 2. Season 3 starts May 19!My son Jack is back as we discuss Paradiso, Jack's favorite part of Dante's Divine Comedy. I absolutely love getting to chat with him again (see a couple of earlier episodes linked below). We talk about why he loves Dante in general, and Paradiso in particular. Highlights include:Dante's bravery (or chutzpah!) in writing his poetry and scholarly works in Italian rather than Latin;Who Dante is for (spoiler--it's for YOU), and why (the title of this episode is a big hint!);How people of different ages see Dante in a different light;Why a map of Heaven is really hard to draw, especially compared to Hell and Purgatory.Jack wrote his thesis on part of the Divine Comedy, and he has a lot of experience in the classroom with Dante, so he brings a lot of his knowledge to expand on what we've been talking about for the last two weeks.This episode forms a kind of trilogy on Crack the Book: two weeks ago we discussed Inferno, and last week my friend Lisa and I covered Purgatorio. It's my hope that these three podcasts will inspire you to pick up your own copy of the Divine Comedy and jump in.Season 3 is coming May 19! LINKTed Gioia/The Honest Broker's 12-Month Immersive Humanities Course (paywalled!)Crack the Book, Inferno EpisodeCrack the Book, Purgatorio EpisodeJack's Episode About BoethiusJack's Episode About the OdysseyCONNECTThe complete list of Crack the Book Episodes (Amazon affiliate links): https://cheryldrury.substack.com/p/crack-the-book-start-here?r=u3t2rTo read more of my writing, visit my Substack - https://www.cheryldrury.substack.com.Follow me on Instagram - https://www.instagram.com/cldrury/ LISTENSpotify - https://open.spotify.com/show/5GpySInw1e8IqNQvXow7Lv?si=9ebd5508daa245bdApple Podcasts - https://podcasts.apple.com/us/podcast/crack-the-book/id1749793321 Captivate - https://crackthebook.captivate.fm

Do you have any thoughts or ideas about the show? Send us a text! Hello creators,You know that feeling when your body is tired but your mind keeps pacing the room? Tonight we try something different: a classic story read with enough calm to let your thoughts loosen their grip. For our April Guest Reader we're joined by voice actor Luke Jones, who brings a steady, intimate performance to the first three cantos of Dante's Inferno from The Divine Comedy.Luke starts by sharing what first pulled him towards Dante: the strange magnetism of hell as an idea, the human need to map fear and faith, and the craft of dramatic poetry beyond the usual Shakespeare canon. If you love sleep podcasts, bedtime stories, guided relaxation, or simply want a soothing way back into great literature, this one is designed to carry you until you drift off. Subscribe for more readings, share it with a fellow sleepless creative, and leave a review telling us what scene stayed with you.Sweet dreams,Florence xSupport the showOur Links:Subscribe to our Newsletter!www.sleeplesscreativespodcast.co.ukOur producerInstagramLinkedinDo you want to feature as one of our Guest Readers in your own special episode? If you work or study in the Performing Arts or Creative Industry in any capacity, we would love to have you.Applications open on 1st September every year, follow us on Instagram to keep up with the announcements!Sleepless Creatives is hosted by Florence St Leger, and produced by Canary Studios.The opening theme is Reflection by Birds of Norway.

Thanks to our producer Kenny Hill, we have a very special treat for ANZAC Day. Renouned Australian stage and international cinema actor Richard Roxburgh reads the poem; ‘The Fallen”. Richard Roxburgh is one of Australia's most accomplished and versatile actors, celebrated for his work across acclaimed international film, television and stage productions. His standout film credits include Baz Luhrmann's Moulin Rouge! and Elvis, Mel Gibson's Oscar-winning Hacksaw Ridge, James Cameron's Sanctum, and Force of Nature: The Dry 2, which earned him a Best Supporting Actor nomination at the 2025 AACTA Awards. Most recently, Richard portrayed journalist Robert Greste in The Correspondent, controversial political figure Joh Bjelke-Petersen in Joh: Last King of Queensland and is featured in the animated film Lesbian Space Princess, which won the Teddy Award for Best Feature Film at the 2025 Berlinale. On television, Richard is best known for his iconic portrayal of Cleaver Greene in the multi-award-winning ABC series Rake, a role that earned him a Silver Logie and AACTA Award for Best Actor. Other significant screen work includes Hawke, Blue Murder, Bali 2002 opposite Rachel Griffiths, Stan's drama series Prosper, and international series such as Netflix's The Crown and HBO's Catherine the Great alongside Helen Mirren. A highly respected stage performer, Richard headlined productions for the Sydney Theatre Company and Company B, including Uncle Vanya, The Present, Waiting for Godot, Hamlet, and The Seagull. *** We have included a brief biography of the English poet, Laurence Binyon, who wrote the famed poem, ‘The Fallen'. Because of the cultural importance Binyon has on ANZAC Day, and Armistice (Remembrance) Day and how War Memorials are commemorated in the West. Binyon was a prolific English poet and scholar of the late 19th and early 20th centuries, whose career spanned 50 years. During this time, he authored numerous poetry collections and plays, two historical biographies, and several art history volumes, including books on the works of Asian artists, English watercolourists, and William Blake's drawings and engravings. He is perhaps best remembered for his World War I poem, “For the Fallen”, and his translation of Dante Alighieri's Divine Comedy, which he translated in its original terza rima, Dante's original rhyming scheme, which was much lauded by Ezra Pound, T.S. Eliot and other poets of the time. Poetry and visual arts shaped his career, the majority of which was spent with the British Museum, where he began in the department of printed books in 1895 before moving to department of prints and drawings, from which he retired in 1933. His first book of poetry, Lyric Poems (1894), was quickly followed by two books on painting, Dutch Etchers of the Seventeenth Century (1895) and John Crone and John Sell Cotman (1897). Later books such as Painting in the Far East (1908) and The Flight of the Dragon (1911) reflect this interest in Chinese, Japanese, and Indian arts and cultures. Ezra Pound praised The Flight of the Dragon and thought of Binyon as a pioneer in the Western appreciation of Asian art. Binyon served as an orderly in the Red Cross during World War I, and his experiences would become an important part of his poetry. From 1915 to 1916 he worked in a military hospital in France, an experience reflected in his war poem “Fetching the Wounded.” His collections The Winnowing Fan (1914), The Anvil (1916), The Cause (1917), and The New World (1918) deal with the war as a noble cause. One reviewer from Literature Digest contended that WWI as a subject brought a new vitality to the poet's work: “Laurence Binyon's poetry once was somewhat coldly ‘literary'—aloof from common human experience, but the war has given him new vigor and new humanity.” His best-known war poem, “For the Fallen,” has been frequently anthologized was widely embraced by the British public. “As the casualty lists grew,” notes John Hatcher in the Oxford Dictionary of National Biography, “the poem became the focal expression of national grief, both alone and in Sir Edward Elgar’s choral work The Spirit of England (1916–17). Its central quatrain was carved on cenotaphs and tombstones worldwide and is still recited at annual Remembrance Day commemorations: “They shall grow not old, as we that are left grow old / Age shall not weary them, nor the years condemn / At the going down of the sun and in the morning / We will remember them.” Some of Binyon's greatest poetry was produced during the final decade of his life, “greater perhaps than that of any of his generation except [W.B.] Yeats,” according to John Hatcher. Among this exceptional later work are such volumes as The North Star and other Poems (1941), The Burning of the Leaves (1944), and the unfinished “The Madness of Merlin” (1947). During this time, Binyon was also at work on his much-admired and well-received terza rima translation of Dante's Inferno (1933), Purgatorio (1938), and Paradiso (1943). Mere days after completing final revisions on his Paradiso translation, Laurence Binyon died of bronchopneumonia on March 10, 1943. Upon Binyon's death, English author and literary critic Cyril Connolly honoured the poet in New Statesman and Nation as someone who understood “how to be both warm and detached, in fact, a sage.” Binyon biography and photo courtesy of: Poetryfoundation.org ‘The Last Post’ performed by the RAAF Band (Royal Australian Air Force) The post ANZAC Day 2026: Richard Roxburgh, Famed Australian Actor, Reads: ‘For The Fallen’. appeared first on Saturday Magazine.

(00:52) Der Film «Divine Comedy» von Ali Asgari: Ein iranischer Filmregisseur will sich der Zensur nicht beugen. Weitere Themen: (05:30) «Der Kampf in den Köpfen» von Nina Kolleck zeigt auf, warum wir uns als Gesellschaft intensiv mit Sozialen Medien auseinandersetzen sollen. (10:20) Zwischen Design und Kunst: Das Vitra Design Museum zeigt die erste Retrospektive zum Lebenswerk der niederländischen Gestalterin Hella Jongerius. (14:30) Den Ernst ihrer Graphic Novels und die Leichtigkeit ihrer Comics kombiniert Alison Bechdel in ihrem neuen Werk «Kaputt».

Lions, and wolves, and leopards...oh my! Dante the pilgrim is balanced on a knife-edge, tipping over into the start of a new century, a new period of life, a new world. It's creation and crucifixion all at once, a fever pitch of both hope and dread. How can he go on? How can he make sense of things? How can we? Those are the questions we'll deal with today as we continue our journey toward the mouth of hell. We'll talk about the zodiac, the significance of allegory, the three beasts of sin, and the reappearance of our boy, the GOAT, the man himself: Virgil! He's back! And so are we, with the next episode in our Divine Comedy series. Check out the NEW episode of Klavans on the Culture, my new podcast with Andrew Klavan (no relation): https://youtu.be/ZJpXAoIlbxI?si=3uzICi-kmeShxezu Sign up for Hebrew, Greek, or Latin courses at the Ancient Language Institute: https://ancientlanguage.com/heretics/ Get the Anthony Esolen translation: https://amzn.to/4sgKLTj  

Luke and Griffin discuss the 2022 action comedy film "Bullet Train" feat. guest Alli Hausman.

SummaryIn this conversation, Shannon Valenzuela and Jason Baxter explore the profound relationship between literature, beauty, and the human experience. Jason Baxter shares insights on how immersion in literary worlds fosters depth, prudence, and a sense of the divine, emphasizing the importance of literature and the arts in cultivating the soul and a deep sense of inwardness.Topics Covered:Art and literature and the communication of experienceThe importance of immersion and analysis for understanding literary textsThe relationship between experiencing landscapes and experiencing literary textsThe power of art and literature to close the gap between self and beautyWhy literature matters, especially in our world todayToday's Guest:Dr. Jason Baxter is the Director of the Center for Beauty and Culture at Benedictine College. He holds a Doctorate in Literature from the University of Notre Dame. Prior to joining Benedictine, he spent time as a visiting associate professor at Notre Dame preceded by twelve years at Wyoming Catholic College. His written works include The Medieval Mind of C.S. Lewis and A Beginner's Guide to Dante's Divine Comedy, among others, and he is currently working on an original translation of Dante's Divine Comedy. Baxter has written many academic and popular articles, and he frequently makes media appearances ranging from podcasts to EWTN.Timestamps:00:00 Introduction01:54 Why Literature Still Matters14:15 Inhabiting Worlds23:39 Experiencing Beauty Through Literature27:28 Finding Beauty in Sardinia30:51 The Communion of Beauty and Art40:28 Experiencing Dante's World47:15 The Pilgrim WayEpisode Links:More from Jason Baxter: https://www.jasonmbaxter.com/University of Dallas Links:The Donald and Louise Cowan Center: https://udallas.edu/faith-service/centers-institutes/cowan/index.phpClassical Education Master's Program at the University of Dallas: udallas.edu/classical-edSt. Ambrose Center Professional Development for Teachers and Administrators: https://k12classical.udallas.edu/The Quest: Seasons 1 and 2 now streaming on Relevant Radio+ and EWTN+ and at quest.udallas.edu.Support the showIf you enjoyed the show, please leave a rating and review — it helps others find us!

Welcome to Young Heretics, the classical education you didn't know you were missing. It's Good Friday...in the year 1300. And also now! Because Dante's Divine Comedy is a poem for all time and our time. Today we are (finally!) beginning our Young Heretics journey through this masterpiece, following Dante's pilgrim step by step as he wanders from the straight and true way into a dark and dangerous adventure that will lead him, ultimately, to the heights of heaven. We'll talk about gu(w)elphs, gh(w)ibellines, art, theology, and of course Studio Ghibli memes. Join me on this new adventure! Check out Klavans on the Culture, my new podcast with Andrew Klavan (no relation): https://youtu.be/ZJpXAoIlbxI?si=3uzICi-kmeShxezu Sign up for Hebrew, Greek, or Latin courses at the Ancient Language Institute: https://ancientlanguage.com/heretics/ Listen to Inferno read aloud on the Digital Dante site: https://digitaldante.columbia.edu/sound/bausi-readings/ Check out Jonathan Pageau on Dante: https://www.thesymbolicworld.com/courses/dantes-inferno-the-course Get the Durling and Martinez translation: https://amzn.to/47zWZPK Get the Anthony Esolen translation: https://amzn.to/4sgKLTj  

This week Fr. Sean and Fr. John do a deep-dive introduction to the first canticle of Dante's Divine Comedy, The Inferno. Following the lecture series of Fr. John at Our Lady of Lourdes, they provide a comprehensive overview, the first of a three-week program from the podcast. To view the lectures at Lourdes by Fr. John, visit https://www.youtube.com/@LourdesDenver/streams.

April is National Poetry Month, so Mary and Rachel discuss a wide variety of poems written by poets from all walks of life. Check out what we talked about: "Beautiful Chaos: On Motherhood, Finding Yourself and Overwhelming Love" by Jessica Urlichs with readalike "Paper Flowers: Poetry on the Mother Wound" by Jessica Jocelyn. "Dream Boogie: Variation" by Langston Hughes with readalike "We Real Cool" by Gwendolyn Brooks. "Night Sky with Exit Wounds" and "On Earth We're Briefly Gorgeous" by Ocean Vuong with readalikes "Bright Dead Things" by Ada Limón and "Crank" by Ellen Hopkins. "The Divine Comedy" including "Inferno," "Purgatory," and "Paradise" by Dante Alighieri with readalike "Paradise Lost" by John Milton. "Portrait of a Dog as an Older Guy" from "Cossacks and Bandits" by Katia Kapovich and "There are Birds Here" from "The Big Book of Exit Strategies" by Jamaal May. "In Memoriam A. H. H." by Alfred Lord Tennyson with readalike "Anacreon's Grave" by Johann Wolfgang von Goethe. Submit an original work of your own to the annual OCPL Poetry Contest and/or register for our Poetry Open Mic Night on May 29, 2026: oakcreeklibrary.org/events To access complete transcripts for all episodes of Not Your Mother's Library, please visit: oakcreeklibrary.org/podcast Check out books, movies, and other materials through the Milwaukee County Federated Library System: countycat.mcfls.org wplc.overdrive.com oakcreeklibrary.org

Why read a bunch of facts about something in a textbook when you can get a first-hand account of what happened from someone who was there in the room where it happened?That's pretty much the concept of using the Great Books as the textbooks of choice in classical Christian education.At Veritas, a distinctive feature of secondary education is the Omnibus program, a comprehensive curriculum that combines literature, history, theology, civics, and philosophy. And, for the most part, students don't use textbooks for these classes. Rather, their textbooks are the "original sources;" that is, influential works written by authors and leaders of the time period.Our teachers and students have experienced first hand why this is the best way to appreciate and understand history...and why that appreciation and understanding is so crucial to a person's formation of faith and ideas.In this entertaining and eye-opening episode, three of our Omnibus teachers - Graham Dennis, Starling Reid, and Darin Beachy - talk with Mr. Fischer about their experience teaching history through the lens of the Great Books, how they inspire teenagers to wrestle with these difficult texts, and why the study of history alongside theology and philosophy is so vital to their development as citizens of our culture and disciples of Christ.What does that look like at Veritas?Well, instead of reading about the Peloponnesian War of the 4th century B.C., students read Thucydides' actual account and Aristophanes' plays. Rather than learn facts about Church history, they read Eusebius, Athanasius, and Dante's Divine Comedy. To grasp our country's founding principles, they read Locke, Rousseau, and Hobbes. Great works of 19th century literature is enjoyed and discussed in conjunction with understanding modern movements.Think teenagers couldn't possibly be ready to digest this type of weighty material? Think again. A classical Christian education calls them to higher things, and year after year, our students rise to the occasion and thrive because of it! Find out how in this episode.This season of Cultivate is sponsored by Hershey Financial Advisers, a wealth management firm located on North Pointe Blvd in Lancaster, leading people to make better financial decisions and empowering them to fulfill a vision beyond themselves.

Anthony Locascio is a stand-up comedian, actor & podcaster. Since beginning stand-up in 2017, he has written and toured a new full-length show every year, with highlights including Don't Call Me a Wog! (2022), Heart of Darkness (2023), and the critically acclaimed Pappou (2024–25). Pappou toured twice around Australia and internationally to London, New Zealand, Canada, and New York, before being filmed at a sold-out Enmore Theatre and released on YouTube in 2025. His debut special Confirmation (2020) was distributed worldwide by Comedy Dynamics on Amazon Prime and Apple TV. Anthony has sold out seasons at Sydney Comedy Festival, Melbourne International Comedy Festival, Adelaide Fringe, Perth Comedy Festival, and Brisbane Comedy Festival, and was hand-picked for the prestigious Sydney and Perth Comedy Festival Gala showcases in 2021 and 2022. Alongside his live work, he has appeared on Triple J's Hack, SBS Sport, beIN Sports, Today EXTRA on Channel 9 and Sunrise on Channel 7, and performed or hosted major events including the Greek Festival of Sydney and the Italian National Ball. In 2025, he also curated and hosted the inaugural Greek Australian Comedy Gala and the Italian Australian Comedy Gala. Self-managed from the start of his career, Anthony has built a loyal following online and on stage, working across comedy clubs, community festivals, corporate events, and screen projects for brands such as Nando's, NexGard, and Pedestrian TV. His mission is to challenge clichés around "wog comedy," representing his Greek and Italian heritage with a modern, nuanced voice that resonates far beyond those communities. Divine Comedy is now out! Blurb below: World Tour. Sold-out Enmore Theatre. Dream wedding on the horizon. 2025 was set to be the best year of Anthony's life - then everything fell apart. With his heart in ruins, desperation (and destiny) pushed him into a Vipassana meditation retreat. The Divine Comedy is the story of ten gruelling days of silence, where Anthony journeyed to the depth of his mind and battled the hive of evil clowns behind his lifelong misery, and somehow returned with his soul intact. We chat about acting, 10 day silent retreats, radical honesty and accountability, love of musicals, integrity, pain, misery, honesty and suffering, acceptance, big mindset and mental shifts, love of musicals  + more! Check Anthony out on: Instagram: https://www.instagram.com/locash.comedian/ Website: https://www.anthonylocascio.me/ Melbourne Comedy Festival: https://www.comedyfestival.com.au/browse-shows/anthony-locascio-the-divine-comedy/ Facebook: https://www.facebook.com/locash.the.comedian/ ------------------------------------------- Follow @Funny in Failure on Instagram and Facebook https://www.instagram.com/funnyinfailure/ https://www.facebook.com/funnyinfailure/

Great works of literature are often regarded with admiration and even intimidation for their role as the lofty subject of scholarly analysis, but these books were not written for the halls of the university alone. These works were composed to be used: insofar as they are able to challenge, guide, and transform the lives of those who come into their possession. The redemptive power of philosophy and literature is something we focus on often at the college, but few people today model this power as well as Rod Dreher. In this lecture, we find a potent example of the enduring vitality that exists in Dante Alighieri's  Divine Comedy. The resulting expanse is an account of literature as something spiritually operative. Dante's poem becomes, in Dreher's telling, a work not only to be interpreted but to be inhabited, as a means by which grace can possess the imagination and heal what argument alone cannot.  Subscribe for updates at www.ralston.ac/subscribe  Authors and Works Mentioned in this Episode: Inferno Purgatorio Paradiso Augustine's Confessions Julian of Norwich Benedict XVI Thomas Aquinas Alasdair MacIntyre's After Virtue

849 Divine Comedy - A Short Album About Love

“We read so as not to feel alone.” — C.S. Lewis (possibly)Dan Turello is a cultural historian of medieval Italy, a much published photographer, and the author of the new Connection: How Technology Can Make Us Better Humans. I'm sceptical. Especially the promise (or illusion) of better humans. But Turello's definition of technology goes back further than most — all the way to the original fig leaf. When Adam and Eve were expelled from the Garden, the first thing they did, he reminds us, was cover their bodies. Technology, then, in Turello's framing, is everything that extends beyond the human body. Clothing is technology. Double-entry bookkeeping is technology. The iPhone is just the latest chapter of our technology story that began at the beginning.His most surprising argument is that our current tech anxiety has medieval roots. St. Francis of Assisi was what he calls a trust-fund kid “avant la lettre” — his father being a wealthy 13th century silk merchant at a time when northern Italy was Silicon Valley. Francis sold some of his dad's silk, gave the money away, stripped naked before a bishop, and founded a counterculture movement. The first tech backlash, Turello suggests, wasn't against AI. It was against double-entry bookkeeping. Dante, writing a generation later, idealised an earlier, simpler Florence — what scholars call “paleolithic chic.” No makeup, no ornate clothing, no fleeing to immoral cities. Sound familiar?On AI, Turello goes a bit Saint Francis on us. Large language models, he fears, generate material without lineage — you can't trace where the ideas came from, can't triangulate the sources, can't validate against reality. Technology is about power, Turello argues — about who controls the storyline. Making us better humans, then, requires recovering a sense of agency. Thus he argues that we should stop outsourcing our thinking, our writing, our photography to machines. Dante wrote the entire Divine Comedy without Claude. These days, we can barely write an email without a little help from our friends at ChatGPT. Machiavelli donned the robes of the past to think and write. We might try putting ours on too. But then isn't that a tech solution too? Five Takeaways•       St. Francis Was a Trust-Fund Kid Who Invented Counterculture: His father was a wealthy silk merchant in 13th-century Italy, at the dawn of Europe's commercial revolution. Francis sold his father's silk, gave the money away, stripped naked before a bishop, and founded an order that rejected the mechanisms of early capitalism. The first tech backlash wasn't against AI. It was against double-entry bookkeeping.•       Technology Is Everything Beyond the Naked Human Body: Turello's definition goes back to Genesis. When Adam and Eve were expelled from the Garden, the first thing they did was cover their bodies. Fig leaves are technology. Clothing is technology. The iPhone is just the latest iteration of a metaphysical problem that's been destabilising us since the Fall.•       Dante Wrote the Divine Comedy Without Being Able to Edit: He penned an entire macrocosm of the medieval world from memory, without the ability to rewrite in any meaningful way. Turello thinks Dante would be concerned that we're losing our memories, our ability to tell a coherent narrative for our lives, and that our existence has become too fragmented. We can barely write an email without ChatGPT.•       LLMs Generate Material Without Lineage: Technology is about power — about who controls the storyline. Large language models produce text without traceable sources, without verifiable origins, without lineage. You can't triangulate where the ideas came from. That's not intelligence. That's a crisis of provenance.•       Agency Still Matters: Turello's hope for humanity is that we recover a sense of agency — the belief that our choices, friendships, relationships, and communities are ours to shape. The alternative is technological determinism: the machine decides. Machiavelli donned the robes of the past to think and write. We might try putting ours on too. About the GuestDan Turello is a writer, cultural historian, and photographer. A Technology and Humanity Fellow at Florida Atlantic University's Center for Future of Mind, AI & Society, his work has appeared in the New Yorker, the Washington Post, and the Los Angeles Review of Books. Connection: How Technology Can Make Us Better Humans is published by Columbia University Press.References:•       Connection: How Technology Can Make Us Better Humans by Dan Turello (Columbia University Press, 2026) — the book under discussion.•       Episode 2840: What Came First: Stories or Language? — Kevin Ashton on storytelling preceding language, a natural companion.•       Episode 2839: Have Our iPhones Eaten Our Brains? — Nelson Dellis on memory, cognitive atrophy, and outsourcing our minds.•       Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction — referenced in the conversation on technology and power.About Keen On AmericaNobody asks more awkward questions than the Anglo-American writer and filmmaker Andrew Keen. In Keen On America, Andrew brings his pointed Transatlantic wit to making sense of the United States — hosting daily interviews about the history and future of this now venerable Republic. With nearly 2,800 episodes since the show launched on TechCrunch in 2010, Keen On America is the most prolific intellectual interview show in the history of podcasting.WebsiteSubstackYouTubeApple PodcastsSpotify Chapters:(00:00) - Introduction: has technology made you a better human? (03:22) - The iPhone vs. the decisive moment: Bresson and photography (05:39) - The orange cushion: an ode to imperfection (06:27) - St. Francis of Assisi: the first tech critic (07:22) - 800 years of tech anxiety: from double-entry bookkeeping to AI (11:27) - Žižek, capitalism, and the love-hate relationship with technology (13:50) - Fig leaves to iPhones: technology as everything beyond the naked body (15:00) - Marinetti, Svevo, and the mammoth: technology as relationship (17:54) - Walter Benjamin, The Matrix, and who controls the storyline (20:51) - Bresson's decisive moment vs. Nietzsche's blow it up (22:25) - Agency under attack: reclaiming embodied experience (25:47) - Machiavelli donning the robes of the past (28:44) - Nost...

David and Adam are back in the groove for Lent. They open with a timely conversation about Pope Leo's call for priests to stop using AI to write homilies, and why that warning matters far beyond the pulpit. The guys explore how AI threatens the muscles of human creativity, the irreplaceable nature of human-to-human proclamation of the Gospel, and where men should draw their own lines before the technology draws them for you.Then it's deep dive time into Dante's Divine Comedy — specifically the Dantinian ordering of sin, love, and the moral life across the Inferno and Purgatorio. David and Adam unpack:Why lust is the first (mildest) circle of Hell — and why that's actually a message of hope, not a free passWhy fraud and treason sit at the bottom — and what it means to so disfigure your soul that evil looks like goodThe mirror structure of Purgatory — pride at the base, lust at the summit, and why the climb starts nowMisdirected love, deficient love, and excessive love — how Dante's ladder maps directly onto your daily examination of conscienceWhy Hell is isolation and Purgatory is communion — and what that says about Christian hopeAcedia (sloth) redefined — it's not laziness, it's spiritual sluggishness, and it may be the most dangerous sin of the comfortableCato's charge at the gate of Purgatory: Run. Don't wait a second.The guys also taste a rare bottle of Angel's Envy Rye finished in Anejo Tequila barrels (104 proof, surprisingly mellow), give a shout-out to their upcoming 10-year anniversary, and share a sneak peek at the Catholic Man Show Campout short film dropping soon on Patreon.Resources mentioned:The Divine Comedy by Dante AlighieriAscend the Great Books podcast with Deacon GarlickPatreon.com/TheCatholicManShowSelectInternationalTours.com

In this episode of the XS Noize Podcast, Mark Millar sits down with Damon Minchella — founder of Ocean Colour Scene, longtime bass player for Paul Weller, and collaborator with Richard Ashcroft — to talk about his candid and often hilarious memoir You'd Look Good on a Donkey. Across a musical life that has ricocheted between some of the biggest names in music — from Paul McCartney and Jimmy Page to Diana Ross, Dr. John and The Who — Minchella has built a career full of extraordinary stories, unlikely encounters, and a deep love of music that runs through everything he does. During the conversation, Damon reflects on the creation of You'd Look Good on a Donkey, a memoir that captures the highs, chaos, humour and survival instincts required to navigate life in the music industry. In this wide-ranging conversation, Damon opens up about the early days of Ocean Colour Scene, the Birmingham music scene that shaped the band, and how their sound developed during the Britpop era. He also shares memories of working closely with Paul Weller — one of Britain's most influential songwriters — and what he learned from being inside Weller's musical world for so many years. The conversation explores the realities of band life, the strange rhythm of touring and recording, and the delicate balance between personal life and the pressures that come with a career in music. Along the way, Damon discusses the process of writing the book itself — revisiting decades of experiences that range from hilarious and absurd to deeply personal — and explains why honesty and self-reflection were essential to telling the story properly. Whether you're a fan of Ocean Colour Scene, interested in the behind-the-scenes realities of the music industry, or simply enjoy a great rock memoir, this conversation offers an entertaining and revealing look at a life spent in and around music. Related topics: Ocean Colour Scene, Paul Weller, Richard Ashcroft, Britpop, rock memoirs, British rock history, You'd Look Good on a Donkey About The XS Noize Podcast With more than 270 episodes, the XS Noize Podcast has become a trusted home for music's legends, innovators, and trailblazers — a place where real conversations meet real stories. Hosted by Mark Millar, the show has featured an extraordinary lineup including Steve Lillywhite, Paul Draper, Sleaford Mods, The Charlatans, Gary "Mani" Mounfield, Glen Matlock, Miles Kane, Matt Berninger, Saint Etienne, D:Ream, Gavin Rossdale, The Farm, Snow Patrol, John Lydon, Will Sergeant, Ocean Colour Scene, Gary Kemp, Doves, Gavin Friday, David Gray, Anton Newcombe, Peter Hook, Razorlight, Sananda Maitreya, James, Crowded House, Elbow, Cast, Kula Shaker, Shed Seven, Future Islands, Peter Frampton, Bernard Butler, Steven Wilson, Travis, New Order, The Killers, Tito Jackson, Simple Minds, The Divine Comedy, Shaun Ryder, Gary Numan, and Michael Head — among many more. Explore the complete XS Noize Podcast archive. New episodes drop weekly — subscribe for in-depth conversations with the artists who shape modern music.

Dante Aligheri was a copywriter kind of guy. Rather than write in the stuffy, formal Latin which is what everyone else was writing in the 14th century, he wrote in the home boy people's language of Tuscan.Dante's masterwork was The Divine Comedy, and his last line was“L'amor che move il sole e l'altre stelle”Translated into English, he's talking about Love–the kind of love that moves the sun and the other stars.Thus proving that even in medieval Italy, LOVE was recognized as the most powerful motivating force in the Universe.Yet, how do we tap into that in our copy and take advantage of this irresistible force.Today's extremely special guest, Nathan, is here to tell you. Of course you already know Nathan extremely well as the co-host and producer of Copywriters Podcast.But today he's going to step out of the virtual control room to tell you how to make your prospects fall in love and obsess over your offer, which is something you really need to know, once you think about it.Nathan's websitehttps://cultishcontent.com/

In this episode Nathan and Cameron explore the growing call for a “wilder” vision of Christianity, engaging ideas from thinkers like Martin Shaw and Paul Kingsnorth who argue that modern Western culture is spiritually exhausted and that the Church must rediscover a more primal, mythic faith. Responding to themes raised in Shaw's book Liturgies of the Wild, Nathan and Cameron examine the appeal of wilderness spirituality, pagan myth, and the cultural hunger for transcendence in an age of consumerism. Drawing on insights from figures like G. K. Chesterton and C. S. Lewis, they ask whether modern Christians are chasing romanticized nature and mythology because the Church has failed to communicate the depth of the gospel as the “true myth.” Along the way, they discuss why movements that promise escape from materialism often collapse into individualism, how stories like The Pilgrim's Progress and The Divine Comedy offer a richer vision of the Christian journey, and why the real adventure of faith is found not in retreating to the wilderness but in the messy, communal life of the Church under Christ. If you're interested in deep Christian theology, cultural analysis, and thoughtful discussion of faith in a post-Christian world, this conversation dives into why many believers feel the pull toward “wild Christianity”—and why the historic gospel may already offer the deeper story we're searching for.DONATE LINK: https://toltogether.com/donate BOOK A SPEAKER: https://toltogether.com/book-a-speakerJOIN TOL CONNECT: https://toltogether.com/tol-connect TOL Connect is an online forum where TOL listeners can continue the conversation begun on the podcast.

In this episode of the XS Noize Podcast, Mark Millar sits down with legendary U2 producer Steve Lillywhite to discuss his work on landmark albums including Boy, War, The Joshua Tree, Achtung Baby, All That You Can't Leave Behind, How to Dismantle an Atomic Bomb, and No Line on the Horizon. Across a career spanning more than four decades, Lillywhite has worked with some of the most influential artists in modern music. But his work with U2 — from their earliest recordings through some of their biggest albums — helped define the sound of one of the world's most important bands. During the conversation, Lillywhite reflects on the creative environment around Achtung Baby, one of the most influential records in U2's catalogue, and explains what a producer actually does in the studio — describing his role as the "captain of the ship" guiding a band through the creative process of making an album. He shares memories of first encountering U2 before the mythology existed, when four young musicians from Dublin were still discovering their identity — and explains why he immediately sensed something different about them. The conversation explores the band's creative evolution across landmark albums including Boy, War, The Joshua Tree, Achtung Baby, All That You Can't Leave Behind, How to Dismantle an Atomic Bomb, and No Line on the Horizon, and how U2's sound developed in the studio over the years. Lillywhite also offers insights into the craft of record production — from capturing the distinctive guitar sound of The Edge to shaping Bono's vocal performances and finding the emotional centre of a song. Along the way, he reflects on the collaborative nature of the studio, the controlled chaos of working alongside producers like Brian Eno, Daniel Lanois and Flood, and the moments when a record suddenly comes alive. Whether you're a U2 fan, a musician, or simply fascinated by the craft of record-making, this conversation offers a rare look inside the creative process behind some of the most iconic albums of the last forty years. About The XS Noize Podcast With more than 270 episodes, the XS Noize Podcast has become a trusted home for music's legends, innovators, and trailblazers — a place where real conversations meet real stories. Hosted by Mark Millar, the show has featured an extraordinary lineup including Paul Draper, Sleaford Mods, The Charlatans, Gary "Mani" Mounfield, Glen Matlock, Miles Kane, Matt Berninger, Saint Etienne, D:Ream, Gavin Rossdale, The Farm, Snow Patrol, John Lydon, Will Sergeant, Ocean Colour Scene, Gary Kemp, Doves, Gavin Friday, David Gray, Anton Newcombe, Peter Hook, Razorlight, Sananda Maitreya, James, Crowded House, Elbow, Cast, Kula Shaker, Shed Seven, Future Islands, Peter Frampton, Bernard Butler, Steven Wilson, Travis, New Order, The Killers, Tito Jackson, Simple Minds, The Divine Comedy, Shaun Ryder, Gary Numan, and Michael Head — among many more. Explore the complete XS Noize Podcast archive. New episodes drop weekly — subscribe for in-depth conversations with the artists who shape modern music.

Today on Ascend: The Great Books Podcast, Dcn. Harrison Garlick and Dr. Jessica Hooten Wilson of Pepperdine University discuss cantos 13-17 of Dante's Purgatorio--the purging of envy and wrath. Check out our 51 question and answer guide (35 pages!) to the Purgatorio. Check out our YOUTUBE page which has our episodes in playlists!Dr. Jessica Hooten Wilson joins Deacon Harrison Garlick to discuss Cantos 13–17, covering the terraces of envy (Canto 13) and wrath (Cantos 14–17), with a strong focus on the central discourses in the middle of the Comedy. In Canto 13, the envious have their eyelids sewn shut with iron wire, a contrapasso that forces them to rely on others and recognize interdependence. Wilson explains: “envy is to look cross-eyed on another's blessings... to look askance,” and the disembodied voices proclaim examples of generosity (Cana, “I am Orestes,” “Love them from whom you've suffered evil”), teaching a mindset of abundance over scarcity (Dr. Jessica Hooten Wilson). Sapia humbly confesses her envy and malice, contrasting with the divisive souls in Inferno.Cantos 14–15 transition to wrath, with visions of meekness (Mary and Joseph seeking Jesus, a tyrant sparing a youth, Stephen forgiving his stoners) and Virgil's discourse on goods: exhaustible earthly goods versus inexhaustible spiritual ones. Wilson notes: “envy stems from a mindset of scarcity versus Mary's mindset of abundance... able to supply where it looks like there's not enough in the world” (Dr. Jessica Hooten Wilson). The pivotal Canto 16 (the exact midpoint of the Comedy) features Marco Lombardo's sermon on free will: “If the present world has gone astray, the cause is in you, look at yourselves” (Marco via transcript). Wilson calls it “the clearest sermon that Dante has about what's wrong with the world,” emphasizing that sin arises from misused free will, not fate or stars, and critiques the separation of temporal and spiritual powers.Canto 17 concludes the wrath terrace with Virgil's discourse on love as the root of all action (“Neither Creator nor creature was ever without love... natural or of the mind” – Virgil via transcript), which can be misdirected, deficient, or excessive. Wilson highlights the shift from reason to grace: “reason can't do it alone... you need this other kind of intervention” (Dr. Jessica Hooten Wilson). The cantos underscore Purgatorio's hopeful pedagogy: purgation reorders love through grace, habituation, and contemplation, moving from misdirected to deficient love in preparation for the excessive attachments above. Wilson stresses the urgency: “the Purgatorio shows humanity in motion, dynamic humanity... it has the immediacy... that is an urgency to it” (Dr. Jessica Hooten Wilson).Chapters00:00 Introduction to the Great Books Podcast04:06 Exploring Dante's Purgatorio07:20 The Great Books Program at Pepperdine University10:18 The Significance of Purgatorio13:27 Understanding Envy in Purgatorio16:17 Contrary Virtues: Generosity and Kindness19:22 The Role of Sight and Blindness in Envy22:15 Dante's Moral Lessons on Envy25:14 Comparative Analysis with Inferno30:33 Dante's Poetic Structure and Contrapasso32:15 Comparative Analysis of Characters in Inferno and Purgatorio33:54 The Role of Good and Bad Examples in Moral Education34:14 The Shift from Temporal to Eternal Mindsets34:20 Understanding Canto 14: The Importance of Examples39:35 Canto 15: The Inquiry into Goods and Wrath49:58 Canto 16: The Purging of Wrath and Examples of Virtue51:35 Ecstatic Visions and Penitent Souls52:19 The Tyrant's Moment of Virtue53:28 Humanity in Purgatorio54:38 The Role of Mary in Purgatory56:02 Saint Stephen's Example of Forgiveness57:12 Virgil's Limitations as a Guide59:12 The Nature of Freedom in Purgatory01:03:07 The Importance of Canto 1601:04:37 Understanding Freedom in Dante's Context01:07:32 The Role of Law and Governance01:14:39 Self-Reflection and the State of the World01:23:48 Exploring Wrath in Purgatory01:30:57 Understanding the Structure of PurgatoryKeywords: Dante's Purgatorio, Cantos 13-17, spiritual growth, virtues and vices, education, great books, Dante analysis Dante's Divine Comedy, Purgatory, Virtues and Vices, Free Will, Theology, Morality, Literature, Catholic Teaching, Spiritual Journey

Dante Aligheri was a copywriter kind of guy. Rather than write in the stuffy, formal Latin which is what everyone else was writing in the 14th century, he wrote in the home boy people's language of Tuscan. Dante's masterwork was The Divine Comedy, and his last line was “L'amor che move il sole e l'altre stelle” Translated into English, he's talking about Love–the kind of love that moves the sun and the other stars. Thus proving that even in medieval Italy, LOVE was recognized as the most powerful motivating force in the Universe. Yet, how do we tap into that in our copy and take advantage of this irresistible force. Today's extremely special guest, Nathan, is here to tell you. Of course you already know Nathan extremely well as the co-host and producer of Copywriters Podcast. But today he's going to step out of the virtual control room to tell you how to make your prospects fall in love and obsess over your offer, which is something you really need to know, once you think about it. Nathan's website https://cultishcontent.com/Download.

In this episode of the XS Noize Podcast, Mark Millar sits down with Zak and Matty from The Dream Machine to talk about Fort Perch Rock — the band's third studio album and a record shaped by instinct, friendship and a deep connection to place. Formed in 2021, the band first emerged with their 2022 debut Thank God! It's The Dream Machine, followed by 2024's James Skelly-produced Small Time Monsters. With Fort Perch Rock, they move further into their own identity — self-produced and recorded between studios on the Wirral and in Liverpool. Built with a DIY spirit, Fort Perch Rock leans into creative freedom. Zak and Matty discuss embracing a hands-on production approach, allowing songs to evolve naturally rather than chasing polish for its own sake. The local environment plays a strong role in the record's atmosphere, grounding it in memory, shared experience and the energy of the Wirral and Liverpool music communities. In this conversation, they reflect on their songwriting process — how ideas often begin with a riff or a feeling before being shaped collaboratively. They also talk about balancing nostalgia with originality, making music primarily for themselves rather than trends, and why live performance remains central to how their songs continue to grow and connect with audiences. About The XS Noize Podcast With over 270 episodes, the XS Noize Podcast has become a trusted home for music's legends, innovators, and trailblazers — a place where real conversations meet real stories. Hosted by Mark Millar, the show has featured an extraordinary lineup including Paul Draper, Sleaford Mods, The Charlatans, Gary "Mani" Mounfield, Glen Matlock, Miles Kane, Matt Berninger, Saint Etienne, D:Ream, Gavin Rossdale, The Farm, Snow Patrol, John Lydon, Will Sergeant, Ocean Colour Scene, Gary Kemp, Doves, Gavin Friday, David Gray, Anton Newcombe, Peter Hook, Razorlight, Sananda Maitreya, James, Crowded House, Elbow, Cast, Kula Shaker, Shed Seven, Future Islands, Peter Frampton, Bernard Butler, Steven Wilson, Travis, New Order, The Killers, Tito Jackson, Simple Minds, The Divine Comedy, Shaun Ryder, Gary Numan, and Michael Head — among many more. Explore the complete XS Noize Podcast archive here.

A mix series that explores the dramatic and emotional depths of techno music. Inspired by Dante's Divine Comedy, the series navigates the darker, more aggressive aspects of techno while highlighting its capacity for emotional and mood-driven expression. Each installment focuses on a specific mood or theme, drawing parallels with Dante's epic poem. From the depths of Inferno to the heights of Paradiso, this series showcases techno's versatility and emotional range. ---------- Follow Gustav WAV. ◊ https://soundcloud.com/user-939650642 ◊ https://www.instagram.com/gustav_wav ◊ https://www.instagram.com/modernartappreciationclub ---------- Follow MSYH.FM » http://MSYH.FM » http://x.com/MSYHFM » http://instagram.com/MSYH.FM » http://facebook.com/MSYH.FM » http://patreon.com/MSYHFM ---------- Follow Make Sure You Have Fun™ ∞ http://MakeSureYouHaveFun.com ∞ http://x.com/MakeSureYouHave ∞ http://instagram.com/MakeSureYouHaveFun ∞ http://facebook.com/MakeSureYouHaveFun ∞ http://youtube.com/@MakeSureYouHaveFun ∞ http://twitch.tv/@MakeSureYouHaveFun

Memoir writing blurs the line between truth and imagination in this revealing conversation with Lily MacKenzie. We explore how creative writing techniques shape both fiction narrative and personal stories, as Lily explains her unique approach: "you lie in the service of the truth." The prolific author, with works published in over 170 venues, teaches writing dialogue, narrative structure, and storytelling techniques at the University of San Francisco's Fromm Institute for older adults. Discover why age matters, and doesn't matter, in the writing community, and what connects memoir to traditional storytelling. Hear an excerpt from Freefall: A Divine Comedy where Tilly, an installation artist approaching 60, confronts her anxieties about aging and finances in San Francisco.What You'll Learn in This Episode: How memoir writing employs storytelling techniques identical to fiction, including writing dialogue that reconstructs past conversations through imagination in writing and memory recreation.Why traditional narrative structure rules can be broken in favor of fragmented, non-chronological approaches that create compelling conversations between different life stages.The distinction, or lack thereof, between memoir writing and historical fiction, and how both genres recreate time periods through similar creative writing processes.How the writing community serves older adults by providing audience, connection, and purpose while preserving family legacies through literary arts.Subscribe to Reenita's Storytelling Den on Substack for free at https://substack.com/@reenitahora and to her YouTube channel to watch the video version of this episode! https://www.youtube.com/@reenymalCheck out her website to stay up-to-date on events, book releases and more! https://reenita.com/TIMESTAMPS:  00:00 Memoir writing and the concept of lying in the service of truth with creative writing techniques03:30 Does age affect readership and character development in novels featuring women over 6005:51 Why writing community and memoir writing appeal to older demographics seeking legacy preservation07:07 Exploring narrative structure and making a comparison to historical fiction10:58 Inspiration behind the Freefall: A Divine Comedy novel about four women writers reuniting in Whistler and Venice15:09 Reading excerpt from Freefall: A Divine Comedy featuring installation artist Tilly confronting aging and financial anxietyKEY TAKEAWAYS: Memoir writing succeeds by "lying in the service of truth," using creative writing techniques like scene construction, imagery, and writing dialogue to recreate authentic experiences from imperfect memory recreation.Narrative structure doesn't require chronological order or traditional story arcs; fragmented approaches can create powerful juxtapositions between life stages, allowing pieces to "talk to each other or clash."Writing community for older adults serves multiple purposes beyond skill development, creating audiences for each other's stories and fostering connections through shared memoir writing experiences.ABOUT THE GUEST: Lily Iona MacKenzie has published poetry, essays, and short stories in over 170 venues. She's also published four novels: Fling!, Curva Peligrosa, Free Fall: A Divine Comedy, and The Ripening: A Canadian Girl Grows Up, a sequel to Free Fall and two poetry collections: All This and California Dreaming. Shanti Arts Publishing released her hybrid memoir Dreaming Myself into Old Age: One Woman's Search for Meaning on 9/19/23. She blogs at http://lilyionamackenzie.com and teaches creative writing at the University of San Francisco's Fromm Institute for Lifelong Learning.RESOURCES MENTIONED: Lily MacKenzie - WebsiteLily MacKenzie - LinkedInLily MacKenzie - FacebookLily MacKenzie - Business FacebookLily MacKenzie - TwitterLily MacKenzie - InstagramFree Fall - A Divine Comedy - Website Support this podcast at — https://redcircle.com/true-fiction-project/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this episode of the XS Noize Podcast, Mark Millar sits down with Dave Pen of Archive to talk about Glass Minds — the band's 13th studio album and a bold new chapter in a 30-year journey defined by reinvention, collaboration and creative risk. Formed in Croydon, South London in 1994, Archive have evolved from trip-hop pioneers into one of Europe's most respected alternative collectives. Glass Minds, released Friday 27th February 2026 via Dangervisit through [PIAS], follows the ambitious 2022 triple-album Call to Arms & Angels, which charted Top 10 across Europe and culminated in their biggest headline show to date at Paris' Accor Arena. Produced by Archive alongside long-time collaborator Jerome Devoise, and recorded in Brighton, London and Paris, Glass Minds marks a shift toward a more minimal, down-tempo sound — built on space and emotional weight. New textures emerge through Essex rapper Jimmy Collins on "Heads Are Gonna Roll," while Lisa Mottram shines on the title track and "The Love The Light." At its core is the eight-minute "So Far From Losing You," one of the band's most personal and expansive pieces to date. In this conversation, Dave Pen reflects on joining Archive and becoming part of a true creative collective. He discusses the trust and experimentation that shape the band's process, the evolution of their sound over three decades, embracing AI in the album's visual identity, and why live performance remains the ultimate space where Archive's songs continue to grow and transform. About The XS Noize Podcast With over 250 episodes, the XS Noize Podcast has become a trusted home for music's legends, innovators, and trailblazers — a place where real conversations meet real stories. Hosted by Mark Millar, the show has featured an extraordinary lineup including Paul Draper, Sleaford Mods, The Charlatans, Gary "Mani" Mounfield, Glen Matlock, Miles Kane, Matt Berninger, Saint Etienne, D:Ream, Gavin Rossdale, The Farm, Snow Patrol, John Lydon, Will Sergeant, Ocean Colour Scene, Gary Kemp, Doves, Gavin Friday, David Gray, Anton Newcombe, Peter Hook, Razorlight, Sananda Maitreya, James, Crowded House, Elbow, Cast, Kula Shaker, Shed Seven, Future Islands, Peter Frampton, Bernard Butler, Steven Wilson, Travis, New Order, The Killers, Tito Jackson, Simple Minds, The Divine Comedy, Shaun Ryder, Gary Numan, and Michael Head — among many more. Explore the complete XS Noize Podcast archive here. New episodes drop weekly — subscribe for more in-depth conversations with the artists who shape our lives.

Black Rebel Motorcycle Club's third album Howl was a risk — one that nearly broke the band. In this episode of the XS Noize Podcast, Mark Millar sits down with Robert Levon Been to revisit the record that stripped away the noise and reshaped their identity. Originally released in 2005, Howl arrived as an unexpected curveball. The reverb-drenched guitars and white noise that defined the band's early records were stripped back, replaced with folk, blues and gospel-inspired arrangements built around space, restraint and raw emotion. It was a risk — one that confused some at the time, but has since come to feel essential within the band's catalogue. In this conversation, Robert Levon Been reflects on the creative decisions that shaped the album, the deliberate use of silence and atmosphere, and how stepping away from distortion opened up a deeper emotional register in the songwriting. He discusses the impact of critical reception, the perspective that comes with revisiting the record years later, and what it feels like to bring that material back to life on tour. Robert also shares insights into the band's current creative landscape, highlights key entry points for new listeners, and speaks about protecting the spirit of music in an era driven by speed and algorithms. A thoughtful and reflective conversation about evolution, instinct, and trusting your creative compass — even when it takes you somewhere unexpected. About The XS Noize Podcast With over 250 episodes, the XS Noize Podcast has become a trusted home for music's legends, innovators, and trailblazers — a place where real conversations meet real stories. Hosted by Mark Millar, the show has featured an extraordinary lineup including Paul Draper, Sleaford Mods, The Charlatans, Gary "Mani" Mounfield, Glen Matlock, Miles Kane, Matt Berninger, Saint Etienne, D:Ream, Gavin Rossdale, The Farm, Snow Patrol, John Lydon, Will Sergeant, Ocean Colour Scene, Gary Kemp, Doves, Gavin Friday, David Gray, Anton Newcombe, Peter Hook, Razorlight, Sananda Maitreya, James, Crowded House, Elbow, Cast, Kula Shaker, Shed Seven, Future Islands, Peter Frampton, Bernard Butler, Steven Wilson, Travis, New Order, The Killers, Tito Jackson, Simple Minds, The Divine Comedy, Shaun Ryder, Gary Numan, and Michael Head — among many more. Explore the complete XS Noize Podcast archive here. New episodes drop weekly — subscribe for more in-depth conversations with the artists who shape our lives.

Matthew Shindell contrasts Islamic scientific advancements with European views, highlighting how Dante Alighierireinterpreted Mars in the Divine Comedy as a symbol of fortitude and martyrdom.

Christianity doesn't do well with erotic love. The unease stems, in part, from the fact that the word “eros” doesn't appear in the New Testament. The lacuna means that points of reference for discussions about sex are typically inadequate and thin. Command stands in for clear thinking.Then, there is Saint Paul's remark: “marry if you must” (1 Cor 7:8-9). His ambivalence has resulted in sexual relationships being hidden in marriage, hoping that there, they do less harm than good. Lady Hillingdon's remark comes to mind, to lie back and think of England - the wit glossing oceans of suffering.That said, there are remarkable exceptions to the handwashing, of which, in the Christian West, the shining example is The Divine Comedy. Dante's understanding of the way romantic love can initiate a path to God is fearless, instructive and, because intrepid, transformative. We need it now for, as William Blake observed, “Our wars are wars of life & wounds of love.”For more on Mark and his book about Dante's Divine Comedy - www.markvernon.com

Co-hosts:Bo BonnerDr. Bud Marr Iowa Catholic Radio Network Shows:Be Not Afraid with Fr. PJ McManusBe Not Afraid in Spanish with Fr. Fabian MoncadaCatholic Women Now with Chris Magruder and Julie NelsonMaking It Personal with Bishop William JoensenMan Up! with Joe StopulusSunday Dive with Katie PatrizioThe Catholic Morning Show with Dr. Bo BonnerThe Daily Gospel Reflection with Fr. Nick SmithThe Uncommon Good with Bo Bonner and Dr. Bud MarrFaith and Family Finance with Gregory WaddleWant to support your favorite show? Click Here Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

A Reason For Hope with Pastor Scott Richards! Sharing the Word one question of the heart at a time. Tags: Joy, Heaven, and The Divine Comedy

This bonus episode of The Classical Mind serves as “front matter” to prepare listeners for a three-month reading marathon of Dante Alighieri's Divine Comedy. Join Wesley and Junius as they explain that the work is a “comedy” not because of humor, but because of its trajectory: it begins in the darkness of Inferno and ends with the “blessed life” and vision of God in Paradiso. The discussion explores the poem's intricate architecture, consisting of 100 cantos and an interlocking three-line rhyme scheme called terza rima. The hosts emphasize that Dante intentionally wrote the poem to be read using the medieval fourfold method—literal, allegorical, moral (tropological), and eschatological—allowing it to function as both a narrative journey and a transformative spiritual school for the reader.The episode also provides the vital historical and cosmological context required to navigate Dante's world, from the “funnel” of Hell beneath Jerusalem to the mountain of Purgatory on the opposite side of the globe. The hosts explain how the Earth was viewed as the “cosmic dump” at the absolute bottom of a sphere-shaped universe, putting Satan as far from God as possible. Additionally, they break down the 13th-century political strife between the Ghibellines and Guelphs, noting that Dante's own exile as a White Guelph deeply colors the text. By synthesizing the theology of Aquinas and Bonaventure with the classical poetry of Virgil, Dante created an “encyclopedia of medieval thought” that remains a high point of the Western canon. Get full access to The Classical Mind at www.theclassicalmind.com/subscribe

In this episode of the XS Noize Podcast, Mark Millar sits down with Mark Shaw of Then Jerico to talk about The Return — a moment that reconnects legacy, live energy, and purpose as the band bring their full show to Ireland for the first time. Watch the full XS Noize Podcast conversation below. Then Jerico are currently touring the UK and Europe, with debut full-band Irish headline shows at Belfast's Limelight 2 on Thursday 19 February and Dublin's Whelan's Main Room on Friday 20 February 2026. The tour features a 90-minute set spanning the band's classic first two albums — First (The Sound of Music) and The Big Area (Outside) — alongside material from Mark Shaw's 1990s solo releases. In this conversation, Mark Shaw reflects on a four-decade journey through success, setbacks, and survival. He talks about the importance of audience connection, shaping setlists that balance momentum with meaning, and the breakthrough impact of Big Area. Shaw also opens up about carrying the legacy of Then Jerico as the sole founder, revisiting early recordings and B-sides with fresh perspective, and why he's still driven to write songs that speak directly to the present moment. About The XS Noize Podcast With over 250 episodes, the XS Noize Podcast has become a trusted home for music's legends, innovators, and trailblazers — a place where real conversations meet real stories. Hosted by Mark Millar, the show has featured an extraordinary lineup including Paul Draper, Sleaford Mods, The Charlatans, Gary "Mani" Mounfield, Glen Matlock, Miles Kane, Matt Berninger, Saint Etienne, D:Ream, Gavin Rossdale, The Farm, Snow Patrol, John Lydon, Will Sergeant, Ocean Colour Scene, Gary Kemp, Doves, Gavin Friday, David Gray, Anton Newcombe, Peter Hook, Razorlight, Sananda Maitreya, James, Crowded House, Elbow, Cast, Kula Shaker, Shed Seven, Future Islands, Peter Frampton, Bernard Butler, Steven Wilson, Travis, New Order, The Killers, Tito Jackson, Simple Minds, The Divine Comedy, Shaun Ryder, Gary Numan, and Michael Head — among many more. Explore the complete XS Noize Podcast archive here. New episodes drop weekly — subscribe for more in-depth conversations with the artists who shape our lives.

In this episode of the XS Noize Podcast, Mark Millar sits down with Kula Shaker frontman Crispian Mills to talk about Wormslayer — a record that captures the band feeling revitalised, confident, and creatively fearless. Watch the full video conversation. Released on 30 January 2026, Wormslayer is Kula Shaker's eighth studio album and sees the original line-up distil their explosive live energy into something cinematic, playful, and expansive. Often described as a natural companion to Natural Magic, the album allows songs to stretch and evolve, blending tight pop instincts with longer, more exploratory moments. In this conversation, Crispian Mills reflects on trust, chemistry, and why the band feels more alive now than at any point in their history. He talks about symbolism and synchronicity, the meaning behind key tracks including Lucky Number, Charge of the Light Brigade, and Broke as Folk, and the idea of creativity as an ongoing quest rather than a destination. About The XS Noize Podcast With over 250 episodes, the XS Noize Podcast has become a trusted home for music's legends, innovators, and trailblazers — a place where real conversations meet real stories. Hosted by Mark Millar, the show has featured an extraordinary lineup including Paul Draper, Sleaford Mods, The Charlatans, Gary "Mani" Mounfield, Glen Matlock, Miles Kane, Matt Berninger, Saint Etienne, D:Ream, Gavin Rossdale, The Farm, Snow Patrol, John Lydon, Will Sergeant, Ocean Colour Scene, Gary Kemp, Doves, Gavin Friday, David Gray, Anton Newcombe, Peter Hook, Razorlight, Sananda Maitreya, James, Crowded House, Elbow, Cast, Kula Shaker, Shed Seven, Future Islands, Peter Frampton, Bernard Butler, Steven Wilson, Travis, New Order, The Killers, Tito Jackson, Simple Minds, The Divine Comedy, Shaun Ryder, Gary Numan, and Michael Head — among many more. Explore the complete XS Noize Podcast archive here. New episodes drop weekly — subscribe for more in-depth conversations with the artists who shape our lives.

In this episode of the XS Noize Podcast, Mark Millar sits down with Dani Larkin to talk about Next Of Kin — a deeply emotive record shaped by time, patience, and a renewed sense of creative clarity.  Released on 23 January 2026, Next Of Kin marks a bold progression in Larkin's sound and vision. Co-produced with Ruth O'Mahony Brady, the album expands her acclaimed storytelling into a cinematic, emotionally rich landscape that explores life's most universal milestones — from birth and coming of age to love, loss, and acceptance. Structured as a trilogy, the record moves through distinct phases. Part I traces a journey from darkness toward revelation and youth. Part II sits in the complexity of adulthood, weaving love, fear, doubt, courage, and hope through expansive orchestral arrangements and intimate songwriting. Part III closes with a sense of resolution and homecoming, culminating in the poignant farewell Danny Boy. In this conversation, Larkin reflects on how releasing her debut Notes For A Maiden Warrior during the COVID era shaped her outlook, and why Next Of Kin feels like a true arrival moment. She talks about patience, self-acceptance, and the importance of creating space — both personally and creatively — between records. She also discusses the album's lead single End Of It All, a striking and urgent track that blends industrial drum beats, raw guitar, and a haunting reimagining of Row, Row, Row Your Boat — capturing the contradictions, anxiety, and fragile hope of modern life. About The XS Noize Podcast With over 250 episodes, the XS Noize Podcast has become a trusted home for music's legends, innovators, and trailblazers — a place where real conversations meet real stories. Hosted by Mark Millar, the show has featured an extraordinary lineup including Sleaford Mods, The Charlatans, Gary "Mani" Mounfield, Glen Matlock, Miles Kane, Matt Berninger, Saint Etienne, D:Ream, Gavin Rossdale, The Farm, Snow Patrol, John Lydon, Will Sergeant, Ocean Colour Scene, Gary Kemp, Doves, Gavin Friday, David Gray, Anton Newcombe, Peter Hook, Razorlight, Sananda Maitreya, James, Crowded House, Elbow, Cast, Kula Shaker, Shed Seven, Future Islands, Peter Frampton, Bernard Butler, Steven Wilson, Travis, New Order, The Killers, Tito Jackson, Simple Minds, The Divine Comedy, Shaun Ryder, Gary Numan, and Michael Head — among many more. Explore the complete XS Noize Podcast archive here.  

In 1302 a devout lay Catholic was sentenced to death by a papal legate for refusing to surrender his city's freedom to foreign control. He spent his life in exile, wrote the Divine Comedy, placed popes in Hell for political corruption — and died in full communion, now praised by recent popes as a gift to the Church. Part 2 shows how Dante distinguished the divine office of Peter from fallible political decisions, defended patriotism as a Christian virtue, and gives today's Catholics clear permission — straight from Aquinas, Bellarmine, and the Catechism — to love the Church deeply while protecting their homeland when the two loyalties seem to collide. SUPPORT THIS SHOW Considering Catholicism is 100% listener-supported. If this podcast has helped you on your journey, please become a patron today! For as little as $5/month you get: • Every regular episode ad-free and organized into topical playlists • Exclusive bonus content (extra Q&As, Deep-Dive courses, live streams, and more) • My deepest gratitude and a growing community of like-minded listeners ➡️ Join now: https://patreon.com/consideringcatholicism (or tap the Patreon link in your podcast app) One-time gift: Donate with PayPal! CONNECT WITH US • Website & contact form: https://consideringcatholicism.com • Email: consideringcatholicism@gmail.com • Leave a comment on Patreon (I read every one!) RATE & REVIEW If you enjoy the show, please leave a rating (and even better, a review) on Apple Podcasts, Spotify, or wherever you listen — it really helps new listeners find us. SHARE THE SHOW Know someone who's curious about Catholicism? Send them a link or share an episode on social media. Thank you! Christus vincit, Christus regnat, Christus imperat.

We begin with a few recommendations on books and resources to use in understanding Dante's "Divine Comedy." Then we switch gears, and get into the meat of the podcast. It seems we become substantially different people every seven to ten years, more or less. We may feel self-conscious or uncomfortable about the things we said, wrote, or believed when we were younger. Is it normal to feel this way? And is it better to preserve a record of one's thought, or to renounce beliefs one no longer holds? We discuss.

What if the sound of heaven is laughter?Drawing on The Divine Comedy by Dante Alighieri, biblical wisdom, and surprising research, this episode explores joy not as a personality trait, but as a spiritual strength. Humor. Playfulness. Delight. These are not distractions from spiritual growth. They are often the pathway into it.From babies laughing at peekaboo to the story of Isaac, whose very name means laughter, we discover that joy is woven into the heart of God. Even more, joy is compatible with pain. Real joy does not deny suffering. It survives it.So today, laugh. Do something fun for no reason at all. You might just discover that God is closer than you thought.

In this episode, John welcomes Mark Vernon to discuss his two books, 'Dante's Divine Comedy: A Guide for the Spiritual Journey' and 'Awake: William Blake and the Imagination'. They explore the profound psychological, philosophical, and spiritual insights offered by Dante and Blake, touching upon topics like pilgrimage, the imaginal, and the role of the imagination in renewing perception. Mark shares his experiences and how these works resonate with contemporary cognitive science and spirituality. The conversation delves deep into understanding the connections between ancient wisdom and modern thought. Mark Vernon is a writer, psychotherapist, and philosopher whose work explores the meeting point of spirituality, psychology, and philosophy. Based in London, his background in physics, theology, and psychotherapy shapes a multidisciplinary approach that bridges ancient wisdom traditions with contemporary understandings of the mind and meaning.  

2. The Islamic World's Scientific Contributions and Mars in Medieval Thought. Matthew Shindell highlights an intellectual renaissance in the Islamic world—specifically Baghdad and Damascus—between the 10th and 16th centuries, which was vital while Europe was experiencing its "Dark Ages." Through translation and original work, Islamic scholars built upon ancient knowledge, fueling a great intellectual transformation. In the medieval period, Mars was widely associated with vices like war, violence, and disaster. However, the renowned poet Dante Alighieri, in The Divine Comedy, transformed this negative association into the virtue of fortitude. Since Dante was charting a path through the heavens, where all planets had to represent virtues, Mars was designated as the sphere housing martyrs and those who died in holy war, becoming a highly important symbol for Christian Europe. 1962

2. The Islamic World's Scientific Contributions and Mars in Medieval Thought. Matthew Shindell highlights an intellectual renaissance in the Islamic world—specifically Baghdad and Damascus—between the 10th and 16th centuries, which was vital while Europe was experiencing its "Dark Ages." Through translation and original work, Islamic scholars built upon ancient knowledge, fueling a great intellectual transformation. In the medieval period, Mars was widely associated with vices like war, violence, and disaster. However, the renowned poet Dante Alighieri, in The Divine Comedy, transformed this negative association into the virtue of fortitude. Since Dante was charting a path through the heavens, where all planets had to represent virtues, Mars was designated as the sphere housing martyrs and those who died in holy war, becoming a highly important symbol for Christian Europe. 1920 JOHN CARTER