Podcasts about englishman

Triforce Mailbag Special 69! Nice. We're falling into classic subscription traps, questioning the thin ice of doing accents (and offensive comedians) and we're taking a wildly unbalanced test on English knowledge! Support your favourite podcast on Patreon: https://bit.ly/2SMnzk6 Music courtesy of Epidemic Sound. Learn more about your ad choices. Visit podcastchoices.com/adchoices

A Scottish ferryman refused to take travelers across the water after dark — and the ones who stayed the night were never seen again. | #WDRadio WEEK OF FEBRUARY 22, 2026==========HOUR ONE: A 178-year-old mystery comes to the surface in a Philadelphia suburb. (Grandfather's Ghost Story Leads to Mass Grave) *** Recently a wrecking crew began tearing down and old building in Rhode Island. But the big burly men on the crew got so frightened they refused to continue the work. Does reconstruction of a home or building anger the souls who once lived there? (Does Remodeling Your Home Disturb The Spirits Who Died There?) *** The way life has grown on our planet requires that all living things feed off each other and must kill others in order to survive.  That's the way of the world if you want to live for any more than a few days. But some people are now claiming they can live without food at all… indefinitely. (Life Without Food) *** Three men were in a shed selling gardening supplies when some strange powder suddenly hit the ceiling. Before they had time to react, a small jug on a shelf abruptly flew across the room. One man picked up the jug and placed it a covered box. Instantly, the jug was...somehow...back on the floor. And that was just the beginning of the strange haunting of a community's garden shed. (The Poltergeist In The Allotment Shed) *** In the movie Salt, Angelina Jolie plays a double-agent who is mind-controlled by scary remnants of the USSR secret service. And in real life, the 1940s bombshell Candy Jones was apparently brainwashed with drugs and used as a CIA covert operative.  (The Supermodel Who Was Brainwashed Into Becoming a Spy) *** No one knows exactly when she was born. Some think, maybe, she was a gypsy. Others say she was the seventh daughter of a seventh daughter. The life of Elizabeth Barnes is a mysterious one, filled with many loves, losses, and prognostications. (The Witch of Plum Hollow) *** Some travelers, arriving late at night to board Oliver's Ferry the next day, stayed at Oliver's house. But they were never seen making the ferry crossing the next morning. Is it possible that the rumors are true – that they never left the house alive? (The Frights of Oliver's Ferry)==========HOUR TWO: An eerie tombstone stands watch over one of Portland Oregon's oldest cemeteries. And the story behind that tombstone is a strange one. (The Guardians of Lone Fir Cemetery) *** Don't take a gift from Little Gracie's grave... or her life-like statue might cry tears of blood. (The Ghost of Gracie Watson) *** When it came to her daughter's Elsa doll, one mom was eager and ready to “Let It Go”. But the doll supernaturally refused to be let go! (Haunted Elsa Doll) *** An ancient stone cross is said by locals to be cursed, and the curse infects anyone who dares to disrespect it. (Curse of the Saxon Stone Cross) *** Christopher Slaughterford was seemingly a completely ordinary young Englishman – but he has earned an unenviable place in the legal books. (T
he Trials of Christopher Slaughterford) *** Two authors reported a very strange encounter with a mysterious entity they believed was not of this world. What did they see and why were they under the impression this being was not of this world? (An Author's Encounter With A Not-Of-This-World Entity)==========SUDDEN DEATH OVERTIME: For Allen Taylor, January 15, 1919 was just another day on his farm near Prescott, Iowa. That is, until his 15-year-old neighbor Irene Hoskins came stumbling down the lane with a gash in the side of her head.  (The Hoskins Family Murders) *** How did someone get the job of an executioner in medieval times? We'll find out! (To Become An Executioner) ==========SOURCES AND REFERENCES FROM TONIGHT'S SHOW:“Schoolhouse Demon Attack” from Paranormality Magazine“Grandfather's Ghost Story Leads to Mass Grave” by Meghan Rafferty for CNN: https://tinyurl.com/ravfceh“Does Remodeling Your Home Disturb The Spirits Who Died There?” by Kelly Roncace for NJ.com: https://tinyurl.com/sn7vpsg“Life Without Food” by Michael Grosso for Consciousness Abound: https://tinyurl.com/r38yxh6“The Poltergeist In The Allotment Shed” from Strange Company: https://tinyurl.com/vzlgcj9“The Supermodel Who Was Brainwashed Into Becoming a Spy” by Annalee Newitz for Gizmodo: https://tinyurl.com/sgh73da“The Witch of Plum Hollow” by James Morgan for North Country Public Radio: https://tinyurl.com/u3x3sxu“The Frights of Oliver's Ferry” by Ken Watson for Rideau-Info: https://tinyurl.com/vj96awj==========(Over time links seen above may become invalid, disappear, or have different content. I always make sure to give authors credit for material I use whenever possible. If I have overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it immediately. Some links may benefit me financially through qualifying purchases.)=========="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46==========WeirdDarkness®, WeirdDarkness© 2026==========To become a Weird Darkness Radio Show affiliate, contact Radio America at affiliates@radioamerica.com, or call 800-807-4703 (press 2 or dial ext 250).

"Roger Williams worked strenuously and at great personal expense to put his belief in freedom of conscience into practice. In his mind, liberty was not an Englishman's right only, but belonged to everyone, including the Indians."For more information, visit CBTSeminary.org

In Episode 191, Phil and Paul sat down with Jim Spence, founder of Sports Quest, to explore a 30-year journey of soccer ministry, leadership development, and faithful obedience. Jim shares how a young Englishman with dreams of professional cricket became a lifelong soccer missionary in Houston, Texas. Through stories of shattered athletic dreams, ministry pivots, and hard-earned leadership wisdom, Jim reveals how sport can be a powerful platform for sharing Christ and shaping lives. From apologizing to players to navigating burnout, this conversation is packed with practical leadership insights for coaches, parents, and ministry leaders alike. Resources and Links from this Episode ·                 Sports Quest Website ·                 Uncut Video of the Episode ·                 HSEL Facebook Group ·                 Warrior Way Soccer ·                 Paul's email address ·                 Nations United Website (World Cup Resources) ·                 Phil's email for DISC Training  

Last November Nick and John introduced Dimitra Fimi, the magnificent maven of Tolkien Studies and Professor of Fantasy and Children's Literature at the University of Glasgow, to students of J. K. Rowling's work. In that discussion, ‘Reading Rowling as Myth Maker and Myth Re-Writer: A Conversation with Dr Dimitra Fimi,' she shared her thoughts about Rowling's creative use of mythology in Harry Potter but especially in the Cormoran Strike series.The Hogwarts Professor team asked her to join us again because of Rowling's yuletide charm bracelet gift to Strike fandom and the recent announcement of the Strike 9 title, Sleep Tight, Evangeline. Her insights about the Longfellow poem as a possible even likely source of the next book's epigraphs are engaging, but it is her expertise in the arcane area of miniature books as well as mythology and the light each shines on the two items attached to the last link of the charm bracelet that open up exciting possibilities.Her idea is that the Psalter on the ninth link of the charm bracelet may actually be, unlike the other tokens on the bracelet's nine links, an object that will play a part in the story, a miniature book. It turns out that one inch high books were something of an industry as curios in the 19th and early 20th century, a means of demonstrating technological mastery.Dr Fimi discussed several projects she has been a part of in conjunctions with nano-technologists and the librarians at the University of Glasgow's special collections division. The one that has the most obvious link to English literature is the ‘Tiny Alice project,' a contemporary effort to minituarize Lewis Carroll's Alice stories to unfathomable minuteness:The Tiny Alice Project has produced one of the world's smallest books: a tiny reproduction of Lewis Carroll's children's classic Alice's Adventures in Wonderland (1865). All 78 pages and 26,764 words of the story have been transposed on to a tiny silicon chip, with each page just the width of a human hair (60 microns). Each individual letter is just two microns high, and made from pure gold!Click on the icons below to find out more about the project, the technology behind it, and Lewis Carroll and his interest in the minuscule. Via the tabs above you can also discover the long tradition of miniature books, and teaching resources.Clip: Twixter link to tweet aboveYou can read Dr Fimi's write-up of ‘Tiny Alice' and the Miniature Book exhibition she curated at the University of Glasgow to highlight their special collection of these treasures at her 2019 blog post about them. Pictures that include annotated miniature books — copies in which their owners made notes in the miniscule margins of the printed pages — can be seen here.Later this week, Nick will be sharing his thoughts on Robert Browning's The Ring and the Book as the Ironbridge Murder story's template within Hallmarked Man, John, Nick, Sandy Hope, and Ed Shardlow will be parsing the ring within Strike8's Part Seven, and more about Longfellow's Evangeline — stay tuned!The Ten Questions Guiding Today's Conversation with Dr Fimi with the Necessary Links for Fun Follow-Up:(Intro) So everything Serious Strikers are thinking and talking about this month made me think of you, Dimitra, and to write you hat-in-hand with an invitation for your return to HogwartsProfessor to share your perspective, knowledge, and first impressions. Thank you for making time to join us!1. (John) Jumping right in, then, two of the charms on the Strike9 or ‘Evangeline' bracelet are Fimi areas of unique expertise: the Psalter and the Head of Persephone. I had urged readers to read your Miniature Books in Children's Fantasy at A Kind of Elvish Craft: The Dimitra Fimi Substack Site in the links after our conversation here last November but I confess to being surprised still when you asked for the dimensions of the Psalter charm after Nick and I posted our thoughts on the subject. For those who haven't read your ‘Miniature Books' post, please share how one of the world authorities on the writing of J. R. R. Tolkien became interested in the smallest of texts, the ‘Little Books' of 19th century printing.2. (Nick) So you asked for the dimensions of the Psalter, you weren't thinking as we were that the Psalter charms would be a box holding a folded up paper with a psalm, maybe two, inside it. You're thinking it might actually be a complete Coverdale Psalter? Is that possible?3. (John) What Nick and I hope to contribute to the nascent field of Rowling Studies, as you know, is a refocusing of the scholarship and the serious reader attention about her work on to her Lake Springs -- the biographical part of story inspiration -- her Shed Tools or intentional artistry, and the Golden Threads, the plot points and themes that run throughout her work, i.e., to bring Rowling Studies more in line with all literary scholarship about notable authors, living and dead.One of the Golden Threads we talked about in our Kanreki series last summer was the ‘Embedded Text,' the books inside a book topos that is in almost every book Rowling writes (Kanreki Golden Thread posts one and two). Detective fiction is always about an embedded text, the narrative ‘written' by the criminal to prevent the detective from reading the real story of what happened and Rowling-Galbraith often makes this narrative an actual book (Dumbledore Chocolate Frog Card, Tales of Beedle the Bard, Bombyx Mori, Talbot's ‘True Book,' The Predictions of Tycho Dodonus, etc.). How do you think a Psalter miniaturized book would appear in a Strike novel?4. (Nick) Has an author used a miniaturized book before in this way? Were there 19th Century Psalters that people wore as talismans or carried as the original Pocket Books?5. (John) And what about the Head of Persephone charm on that bracelet? It's on the ninth and last link, paired with that Psalter. You shared your first thought about the Persephone charm, a hopeful note, on the comment thread here. As our go-to authority on Greek mythology, I'm dying to know more of your thinking about (a) the specific charm and its relation to the Cupid and Psyche myth-template to the Strike series, (b) its pairing with the Psalter, and (c) its position as the last charm on the bracelet. Do you still think it's a sign that Robin will survive Sleep Tight, Evangeline?6. (Nick) As someone immersed in mythological studies and more than familiar with Rowling's use of myth, do you think the Jungian interpretation of that myth as the ‘actualization of feminine identity' is a better lens through which to read that embedded text or is the Spenserian lens of Eros/Anteros, False Cupid and Cupid more helpful? Or is this not a case of Either/Or but Both/And? Valentines Day Special7. (John) Rowling is a close reader and admirer of J. R. R. Tolkien, though that is more evident in the clear pointers to his work in her own work than from her interviews. How does her use of myth contrast with that of Tolkien and Lewis? (See John's 2008 post about Rowling's debts to Tolkien and the two part podcast with Tolkien scholars and Rowling Readers Dr Amy H Sturgis and Dr Sara Brown here and here for more on that influence.)8. (Nick) In an in-person meeting with UK Serious Strikers last week, Rowling shared with them and later via X with everyone the title of the ninth Strike novel, Sleep Tight, Evangeline. We're pretty sure that title refers to a song by an American Blues group called ‘The Whiskey Shambles' (story of the hunt, why Whiskey Shambles is a good bet). There is a famous poem, though, by Henry Wadsworth Longfellow called ‘Evangeline,' one perhaps not as famous as ‘Aurora Leigh' or ‘The Ring and the Book,' other texts Rowling may have used as back-drops to her novels, but still another poem very famous in its own time akin to those epics. Is its subject matter as good a match-up with the possible direction of Sleep Tight as the Victorian poetry back-drop is with other Rowling models?9. (John) You're a native Greek speaker; what does ‘Evangeline' mean in Greek? Is it a common name in Greece or is it a ‘Virtue Name' in the Puritan tradition of grace-filled names (cf., Credence Barebone is probably a reference to an Englishman named “Praise-God Barebone, whose son Nicholas may have been given the name If-Jesus-Christ-had-not-died-for-thee-thou-hadst-been-damned[3]“).10. (Nick) Don't leave before trying to tie together the pieces of this conversation! Is there a thread joining the Psalter, the Head of Persephone, miniaturized books, and the title Sleep Tight, Evangeline?Dimitra Fimi is Professor of Fantasy and Children's Literature at the University of Glasgow and Co-Director of the Centre for Fantasy and the Fantastic. Her Tolkien, Race and Cultural History won the Mythopoeic Scholarship Award for Inklings Studies and she co-edited the critical edition of A Secret Vice: Tolkien on Invented Languages which won the Tolkien Society Award for Best Book. Her Celtic Myth in Contemporary Children's Fantasy won the Mythopoeic Scholarship Award in Myth and Fantasy Studies. Other work includes co-editing Sub-creating Arda: World-building in J.R.R. Tolkien's Work, its Precursors and its Legacies and Imagining the Celtic Past in Modern Fantasy. She has contributed articles for the TLS and The Conversation, and has appeared on numerous radio and TV programs.When the rightly famous and beloved ‘The Great Courses' series decided to offer a Lord of the Rings entry for their catalog of the very best in scholarship for adult-learners, they asked Dimitra Fimi to create ‘The World of J. R. R. Tolkien,' one of their most popular courses and one you can enjoy in an Audible edition.Links Promised in Conversation:A Kind of Elvish Craft: The Dimitra Fimi Substack Site* Miniature Books in Children's Fantasy* Parabasis: A Tribute to Dionysis Stavvopoulos* On Tolkien's Letter 131 (4): “Romance” vs. ScienceDimitra Fimi articles at ‘The Conversation'* After 150 years, we still haven't solved the puzzle of Alice in Wonderland (2015) This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit hogwartsprofessor.substack.com/subscribe

The first time I picked up a whiskey history book, I was introduced to the story of George Thorpe, an Englishman who came to Berkeley Plantation in 1620, to make "hooch," as the book stated. He was credited with making America's first corn whiskey and starting an industry. As I dove more and more into research on whiskey history and the evolution of distilling techniques, this American origin story seemed less and less likely. Still, I had to admit, I didn't know enough of the story to do any more than suggest, it was possibly lore. After diving deep into the historical record, I'll take a look at three popular theories as to why George is considered America's first distiller of corn whiskey. By the end, I'll give you my thoughts, but you too will be well versed enough in the story to make your own educated guess.  Enjoy this dive into early American distilling and watch for bonus coverage in Behind the Lore at patreon.com/whiskeylore .  Cheers and slainte mhath, Drew 

The latest talkSPORT Daily Podcast is out now, with Majestic and Alan Pardew reviewing the weekend's action. At the Emirates Stadium, Arsenal scored four goals inside the opening 30 minutes to crush Wigan Athletic 4-0. It's the manager merry-go-round again at Tottenham Hotspur. Who's in, who's out, and what does it mean for the rest of the season. And then, history made. Harry Kane entered the 500-goal club with a brace for Werder Bremen on Saturday. He's already the highest-scoring Englishman, surpassing Jimmy Greaves' 474 goals in December, and this season he's hit 26 in just 22 Bundesliga games. Unbelievable.Photo Credit: Getty Images Hosted on Acast. See acast.com/privacy for more information.

Send a textThis week on Greenfield's Finest, the crew recaps the Seahawks taking down the Patriots 29–13 in the Super Bowl and debates whether anyone is still watching the Winter Olympics. The Pittsburgh Scanner was quiet, so it basically turned into Gary's personal therapy session via voicemail — and the guys are begging for more callers to step up.Then it's time for Corndick of the Week, and somehow things escalate fast: a woman who liquefies her meals and snorts them, aggressive Wisconsin turkeys terrorizing a neighborhood, and a Maryland paramedic allegedly turning his workplace into a crime scene of bodily fluid.Brother in Arms brings some redemption with a die-hard NFL fan breaking two Guinness World Records, a long-lost class ring returned after 44 years, a guy making $32K a year scooping dog poop, and an 86-year-old Englishman fined for spitting out a leaf — who responded by calling an officer a “silly boy.”Plus: Gear Grinders and a round of “What Would Greenfield Do?” featuring gold bars, kidney-stone diamonds, public reading rules, and some wildly unfortunate anatomy hypotheticals.Upcoming Butler Street Derby Comedy Show:https://www.eventbrite.com/e/butler-st-derby-comedy-spectacular-5-tickets-1982559778667?aff=ebdssbdestsearchSpotify:https://open.spotify.com/show/7viuBywVXF4e52CHUgk1i5 Produced by Lane Media ⁠https://www.lanemediapgh.com/

Let me start today's episode with some outrageous national stereotypes. If an Englishman is disappointed with the way the affairs of state are conducted, he writes a letter to his member of Parliament. A Frenchman in that same situation rents a tractor and dumps manure outside the Palais d'Elysee. A German threatens to file a lawsuit with the constitutional court, the Bundesverfassungsgericht.Where did the Germans pick up the belief that courts and the law will protect them against government overreach? Sure, 19th and early 20th century judges had on occasion stood up to the Kaiser's administration and the Grundgesetz, the liberal constitution of 1949, had become a cornerstone of our national identity following the comprehensive loss of moral standing.But there is also a long strain that goes back to the Holy Roman Empire and the two imperial courts, the Reichskammergericht and the Reichshofrat. These courts have a bad reputation, not only because Johan Wolfgang von Goethe saw it fit to ridicule his former place of work. However, not everyone shared this negative perspective. Many social groups down to mere commoners relied on these independent judges to protect their life and property against rapacious princes.The music for the show is Flute Sonata in E-flat major, H.545 by Carl Phillip Emmanuel Bach (or some claim it as BWV 1031 Johann Sebastian Bach) performed and arranged by Michel Rondeau under Common Creative Licence 3.0.As always:Homepage with maps, photos, transcripts and blog: www.historyofthegermans.comIf you wish to support the show go to: Support • History of the Germans PodcastFacebook: @HOTGPod Threads: @history_of_the_germans_podcastBluesky: @hotgpod.bsky.socialInstagram: history_of_the_germansTwitter: @germanshistoryTo make it easier for you to share the podcast, I have created separate playlists for some of the seasons that are set up as individual podcasts. they have the exact same episodes as in the History of the Germans, but they may be a helpful device for those who want to concentrate on only one season. So far I have:The OttoniansSalian Emperors and Investiture ControversyFredrick Barbarossa and Early HohenstaufenFrederick II Stupor MundiSaxony and Eastward ExpansionThe Hanseatic League

This week on Kongkast, we have an Overview Music take over! We have recently been in touch with Energy from Overview Music, as he is passing through Asia to do around of touring, flying the Overview flag. We could not be more excited about this one! Overview began as a platform for deep, minimal drum and bass. Over the years, it has grown into a full-fledged movement that embraces a broader spectrum of sounds while staying true to its underground roots. A love story 7 years in the making, the Englishman in 2018, together with his co-founder Ollie (sub-antics) wagered there could be a platform and eventually an opening for more underground drum and bass sounds to thrive. If you're in and around Asia, make sure to check out the below dates to catch some of the Overview crew reppin' their sounds in you town! Forthcoming dates in Asia Shanghai – Exit Club – Fri 13 Feb Hong Kong – Secret Location – Sat 14 Feb Osaka – Rockstar Hotel – Sat 21 Feb Tokyo – Circus – Sun 22 Feb TRACKLIST// KONGKAST Season 2 – Episode 010 – Energy (Overview Music – Brighton, UK) 1. Creatures & Wingz – You (Miss) 2. Spektiv – Whiner 3. bogdvn – Chalina 4. ID – ID 5. ID – ID 6. ID – ID 7. Phase – Blood 8. YAANO & Wingz – Pattern (VISLA Remix) 9. ID – ID 10. Pythius – All You Need 11. gyrofield – Fallen In Deep (Trail Remix) 12. Molecular – Fair Warning VIP 13. ID – ID 14. ID – ID 15. skantia & SMG – Absent 16. PARA & SMG – Chimp 17. Particle – Hold Still 18. bogdvn & Azotix – Anserina 19. Molecular & SMG – Talon VIP 20. ID – ID 21. Creatures & Rizzle – Trento 22. ID – ID 23. ID – ID 24. Phase & LaMeduza – Never Be The Same 25. ID – ID 26. ID – ID 27. ID – ID 28. Skylark – Don't Worry VIP 29. ID – ID Kongkast Website → https://kongkretebass.com YouTube → https://www.youtube.com/@kongkast Apple → https://podcasts.apple.com/us/podcast/kongkast-drum-and-bass-bass-music-podcast/id200781955 Overview Music Patreon → https://patreon.com/overview Facebook → https://facebook.com/overviewuk Instagram → https://instagram.com/overviewuk Soundcloud → https://soundcloud.com/overviewuk YouTube → https://youtube.com/@OverviewMusic

Here's another song, written by Paul Kennerly and made famous by Emmylou Harris, called “Heaven Only Knows.” The song was released on Emmylou's 1989 album, “Bluebird.” The song reached #16 on the Hot Country Music Chart. Since I'm a newcomer to the Country Music Scene, I'd never heard of Paul Kennerly before. He's an Englishman who has written 30 published Country Music songs. (I guess there are stranger things that abound in our world). I don't recall Kennerly's name being mentioned in connection with any of the songs I've covered here. Be that as it may, he has written two powerful songs that Emmylou Harris has brought to my attention. I covered the other song, “Born to Run,” in my previous blog. “Heaven Only Knows,” as performed by Emmylou and her band, features a driving beat, compelling lyrics, and the recording artist's beautiful, singular voice. Digital Backup by Joaquin Masch Here's my cover. Chapters (00:00:08) - Why Loving You Should Make Me Cry

Here's another song, written by Paul Kennerly and made famous by Emmylou Harris, called “Heaven Only Knows.” The song was released on Emmylou's 1989 album, “Bluebird.” The song reached #16 on the Hot Country Music Chart. Since I'm a newcomer to the Country Music Scene, I'd never heard of Paul Kennerly before. He's an Englishman who has written 30 published Country Music songs. (I guess there are stranger things that abound in our world). I don't recall Kennerly's name being mentioned in connection with any of the songs I've covered here. Be that as it may, he has written two powerful songs that Emmylou Harris has brought to my attention. I covered the other song, “Born to Run,” in my previous blog. “Heaven Only Knows,” as performed by Emmylou and her band, features a driving beat, compelling lyrics, and the recording artist's beautiful, singular voice. Digital Backup by Joaquin Masch Here's my cover. Chapters (00:00:08) - Why Loving You Should Make Me Cry

Uur 1 1.         Are you lonesome tonight – Blue Barron Orchestra 2.         Rainy days and Mondays – The Carpenters 3.         Dat het nergens op leek – Ella & Her Man 4.         Al mercato di Porto Palazzo – Gianmaria Testa 5.         California dreamin' – Diana Krall 6.         The heart of America – Willie Nelson 7.         Wat mij betreft – Jenny Arean 8.         Des fleurs à ma mère – Taïou 9.         Andante – ABBA 10.       My love, my life – Cast Mamma Mia – Here we go again 11.       Regenmaker – Jonas Winterland 12.       Singin' in the rain – Jamie Cullum 13.       Rum & Coca-Cola – Izaline Calister   Uur 2 1.         Sunday morning sunshine – Harry Chapin 2.         Ouwe taaie – Eddy Christiani 3.         Vuela – City of the Sun & Gizmo Varillas 4.         Without words in the way – Beth Hart 5.         Long journey home – Elvis Costello 6.         Dans en dwaal – Liesbeth List & Micheline van Hautem 7.         Cachaca mechanica – Erasmo Carlos 8.         Until my last breath – NYVE 9.         Russians – Sting 10.       Passion flower – The Fraternity Brothers 11.       Verleiding – De Wachtkamer 12.       An Englishman in New York – Godley & Creme 13.       La vida es un carnaval – Celia Cruz

In this conversation, Adam Cox and Dale Turnbull explore the journey into hypnosis, the impact of NLP, and the significance of metaphors in personal development and therapy. They discuss how personal metaphors shape our understanding of life and the challenges of change. The dialogue delves into the concept of life as a game, the implications of simulation theory, and the metaphorical perspective on mental health. Dale shares insights from his experiences and upcoming workshops, emphasizing the importance of context in therapy and the power of metaphors in facilitating change.About Dale in his own wordsMetaphors of Movement operates within the realm of autogenic metaphor that is, metaphor generated naturally and internally by the client. All the metaphorical structures explored during the process arise organically from the client, with no content imposed by the therapist.Metaphors of Movement utilizes idiomatic communication to translate unconscious experience from the non-dominant hemisphere of the brain to conscious awareness (dominant hemisphere). This gives a fuller picture of the problem, creating harmonized understanding within the brain.Hi, I'm Dale Turnbull, an Englishman living in New York, and I help people create meaningful change through training, coaching, and mentoring in Metaphors of Movement. My aim is simple: to open up new possibilities for both clients and therapists by exploring how change really works.I got started in this field through Neuro-Linguistic Programming (NLP), learning directly from the creators John Grinder and Richard Bandler. That experience kicked off a fascination with what is the differnece that truly makes the difference when it comes to change work. Since then, I've added a few more tools to my kit including Hypnosis, Provocative Change Works (PCW), Integral Eye Movement Therapy (IEMT) and Metaphors of Movement (MoM).After more than 12 years working with individuals and organizations, I'm now focused on sharing this powerful, eye-opening approach with others. If you're curious about how this change works... let's talk.For more info visit: https://metaphorsofmovement.us/ Keywordshypnosis, NLP, metaphors, personal development, change, mental health, therapy, coaching, self-awareness, personal growthTakeawaysDale Turnbull's journey into hypnosis began with NLP.Effective communication is key to influencing change.Metaphors can open new perspectives in therapy.Personal metaphors shape our understanding of life.Change can be complex and may involve discomfort.Life as a game can be empowering or limiting.The infinite game concept encourages continuous growth.Simulation theory offers a unique perspective on reality.Mental health diagnoses can limit personal growth.Context is crucial in understanding and facilitating change.TitlesUnlocking the Power of HypnosisNLP: The Gateway to ChangeSound bites"I wanted to be a psychotherapist.""The map is not the territory.""Life is an adventure."Chapters00:00 The Journey into Hypnosis03:00 Exploring NLP and Its Impact06:00 Metaphors and Their Role in Change08:41 Understanding Personal Metaphors11:52 The Complexity of Change14:56 Life as a Game: Pros and Cons17:46 Simulation Theory and Its Implications30:44 The Power of Metaphors in Therapy33:42 Understanding Psychosomatic Issues37:36 Disempowering Metaphors and Their Impact44:13 The Mental Health Metaphor: A Double-Edged Sword48:06 Exploring Contexts in Mental Health50:09 Upcoming Events and Practical Applications

The fourth and last of the immeasurables of Buddhism is translated as "equanimity" — in Sanskrit, upekkha. Has the ring of authenticity, doesn't it? Equanimity, not so much. Too familiar, too ordinary. Besides, nobody really knows what it means. Note how much more authoritative it sounds when we use the Sanskrit. Brings to mind the Peter Sellers scene in The Naked Truth where, trying to pass for Irish in a pub in order to buy a bomb from the IRA says, “Well, we always have the Gaelic…” and after launching into a monologue, is immediately punched in the nose and thrown out of the bar. Fake accent of an Englishman — a dead giveaway. This tendency — to rely heavily on jargon-speak — has a similar deleterious effect in any category of discourse, and can be especially disingenuous in dharma dialog. For one thing, it sets up an “us and them” dichotomy, whether intended or not. It tends to imply that the speaker possesses greater knowledge, moreexpertise — at least in her or his own estimation — and therefore, presumably, the listener is rendered lesser inthat regard. It leverages the faux asymmetry of the relationship. Zen is, or should be, the great equalizer. Boldly brandishing the Zen vernacular implies that I must have mastered its deeper meaning. This is whywe have to keep reminding ourselves that we do not master Zen — in any language — it masters us. Far betterto de-mystify any discussion, eliminating jargon wherever possible, and to rely on our own, direct experience — and plain language — to explore the true meaning of these ancient teachings. We teach each other Buddhism, as Matsuoka Roshi often said. Equanimity brings to mind other terms derived from the same root, such as equipoise, and equilibrium. The good thing about these terms is that they imply something physical, rather than strictly emotional, or mental. The first two syllables derive from “equal,” and the dictionary definitions all refer to balance. So all three would have some connection to the Sanskrit samadhi, one of the more frequently mentioned jargon terms in Buddhism, which loosely means "centered" or "balance." In zazen, if we sit still enough for long enough — and straight enough — we begin to experience equipoise in our upright seated posture, coming into perfect alignment with gravity. All forces of mass and weight come to center around the spine, like the cables supporting a digital cell tower. When we hit that sweet spot in the middle of our stomach, it is as if we are floating off the cushion — free-falling. Equilibrium ensues, profoundly affecting our mental clarity and emotional composure; which leads to equanimity. Eventuallyequanimity manifests even in the social sphere, where relationships with others benefit from less friction and conflict, more harmony. If we regard equanimity — along with loving kindness, compassion, and empathy — as essentially immeasurable, they connect to Master Dogen's closing lines in Jijuyu Zammai (Self-fulfilling Samadhi): Hundreds of things all manifest original practice from the original faceIt is impossible to measureKnow that even if all the buddhas of the ten directionsAs innumerable as the sands of the GangesExert their strength and with the Buddha's wisdomTry to measure the merit of one person's zazenThey will not be able to fully comprehend it So what is truly immeasurable is the whole of the effect — the merit — of zazen. Zen claims to transmitBuddha's meditation, bringing about the very same process that took place that night under the Bodhi tree some two-and-a-half millennia ago. We all have the same equipment to work with that he had, after all — the toolkit comes with birth as a human being. We also enjoy relatively supportive causes and conditions — the circumstances of contemporary life —including exposure to the buddha-dharma, and access to training in meditation. As Hakuin Zenji asks toward the end of Zazen Wasan (Song of Zazen), “What is there outside us? What is there we lack?” He goes on to claim that “Nirvana is openly shown to our eyes. This earth where we stand is the pureLotus Land and this very body the body of buddha.” A bit hard to swallow, in the light of our self-effacingself-doubt, which at its worse becomes the life sentence of self-loathing. Nobody said this would be easy. Bringing our focus back to zazen, I think it is critical to recognize and accept that the immeasurablesof this excellent method are also the most important aspects. It matters less how regularly we sit inmeditation, how frequently, how long we sit, et cetera. Whatever measurable parameters we may put around it,the most important is that we simply never give up, as Matsuoka Roshi always reminded us. The downside to setting up strict regimens around zazen — as we are prone to do around working out, aerobics, and other activities that we expect to show results — is that the results of zazen are not so obvious. And, just as with any goal-oriented activity, if and when we do not live up to our own expectations, we are naturally disappointed, may become discouraged, and tend to reaffirm our own self-criticizing proclivity, proving that we are the failure we always suspected we were. Better to sit without expectations, but without abandoning our aspiration to something that cannot be sosimply expressed as a measurable goal. This does not mean that we do not set reasonable benchmarks to assure enough depth of experience that we give zazen a legitimate chance to work its magic. But the immeasurable of the qualitative dimension of the experience takes precedence and priority over any quantifiable dimension. Which brings us back to the old cliché, “Just sit.” This overworked expression is not a cavalier or flip comment meant to dismiss any consideration of the serious issues that we face, including actual mental disorders and chemical imbalances that we may be dealing with, but to suggest that when we do sit, we just sit,rather than engaging in daydreaming, planning, ruminating over the past, et cetera. If we turn up the intensity knob, sitting “more” in the qualitative sense — when we are actually sitting —then we begin to manifest the true meaning of “just sit.” Would it were so simple. But of course we find that "just sitting" includes the full panoply of monkey-mind machinations, the impertinent imprecations of negative thinking on steroids, as well as the more trivial but distracting push-you-pull-me of everyday tedium, those mundane but persistent weasels of samsara ripping our flesh. It is difficult to feel equanimous on the Titanic. The ship is definitely going down, and it doesn't matter that the lifeboats are made in Japan. Zen is American as apple pie. Just not as sweet. The gateway drug to equanimity is patience. If we can come to practice patience on the cushion — patience with our situation in this imperfect world, and patience with the monkey's inept attempts to cope with it — we may find our way clear to the equilibrium, the equipoise, the equanimity that is at the heart of all the clamor, clutter, and seeming chaos. It is all floating in samadhi. Time to release our grip on our imagined reality, so as to float in the equanimity of Zen. In the next segment, we are taking a new direction for 2026. Stay tuned.

Hermione Lee is the renowned biographer of Virginia Woolf, Edith Wharton, Penelope Fitzgerald, and, most recently, Tom Stoppard. Stoppard died at the end of last year, so Hermione and I talked about the influence of Shaw and Eliot and Coward on his work, the recent production of The Invention of Love, the role of ideas in Stoppard's writing, his writing process, rehearsals, revivals, movies. We also talked about John Carey, Brian Moore, Virginia Woolf as a critic. Hermione is Emeritus Professor of English Literature at the University of Oxford. Her life of Anita Brookner will be released in September.TranscriptHenry Oliver: Today I have the great pleasure of talking to Professor Dame Hermione Lee. Hermione was the first woman to be appointed Goldsmiths' Professor of English Literature at the University of Oxford, and she is the most renowned and admired living English biographer. She wrote a seminal life of Virginia Woolf. She's written splendid books about people like Willa Cather, Edith Wharton, and my own favorite, Penelope Fitzgerald. And most recently she has been the biographer of Tom Stoppard, and I believe this year she has a new book coming out about Anita Brookner. Hermione, welcome.Hermione Lee: Thank you very much.Oliver: We're mostly going to talk about Tom Stoppard because he, sadly, just died. But I might have a few questions about your broader career at the end. So tell me first how Shavian is Stoppard's work?Lee: He would reply “very close Shavian,” when asked that question. I think there are similarities. There are obviously similarities in the delighting forceful intellectual play, and you see that very much in Jumpers where after all the central character is a philosopher, a bit of a bonkers philosopher, but still a very rational one.And you see it in someone like Henry, the playwright in The Real Thing, who always has an answer to every argument. He may be quite wrong, but he is full of the sort of zest of argument, the passion for argument. And I think that kind of delight in making things intellectually clear and the pleasure in argument is very Shavian.Where I think they differ and where I think is really more like Chekov, or more like Beckett or more in his early work, the dialogues in T. S. Elliot, and less like Shaw is in a kind of underlying strangeness or melancholy or sense of fate or sense of mortality that rings through almost all the plays, even the very, very funny ones. And I don't think I find that in Shaw. My prime reading time for Shaw was between 15 and 19, when I thought that Shaw was the most brilliant grownup that one could possibly be listening to, and I think now I feel less impressed by him and a bit more impatient with him.And I also think that Shaw is much more in the business of resolving moral dilemmas. So in something like Arms and the Man or Man and Superman, you will get a kind of resolution, you will get a sort of sense of this is what we're meant to be agreeing with.Whereas I think quite often one of the fascinating things about Stoppard is the way that he will give all sides of the question; he will embody all sides of the question. And I think his alter ego there is not Shaw, but the character of Turgenev in The Coast of Utopia, who is constantly being nagged by his radical political friends to make his mind up and to have a point of view and come down on one side or the other. And Turgenev says, I take every point of view.Oliver: I must confess, I find The Coast of Utopia a little dull compared to Stoppard's other work.Lee: It's long. Yes. I don't find it dull. But I think it may be a play to read possibly more than a play to see now. And you're never going to get it put on again anyway because the cast is too big. And who's going to put on a nine-hour free play, 50 people cast about 19th-century Russian revolutionaries? Nobody, I would think.But I find it very absorbing actually. And partly because I'm so interested in Isaiah Berlin, who is a very strong presence in the anti-utopianism of those plays. But that's a matter of opinion.Oliver: No. I like Berlin. One thing about Stoppard that's un-Shavian is that he says his plays begin as a noise or an image or a scene, and then we think of him as this very thinking writer. But is he really more of an intuitive writer?Lee: I think it's a terribly good question. I think it gets right at the heart of the matter, and I think it's both. Sorry, I sound like Turgenev, not making my mind up. But yes, there is an image or there is an idea, or there are often two ideas, as it were, the birth of quantum physics and 18th-century landscape gardening. Who else but Stoppard would put those two things in one play, Arcadia, and have you think about both at once.But the image and the play may well have been a dance between two periods of time together in one room. So I think he never knew what the next play was going to be until it would come at him, as it were. He often resisted the idea that if he chose a topic and then researched it, a play would come out of it. That wasn't what happened. Something would come at him and then he would start doing a great deal of research usually for every play.Oliver: What sort of influence did T. S. Elliot have on him? Did it change the dialogue or, was it something else?Lee: When I was working with him on my biography, he gave me a number of things. I had extraordinary access, and we can perhaps come back to that interesting fact. And most of these things were loans he gave them to me to work on. Then I gave them back to him.But he gave me as a present one thing, which was a black notebook that he had been keeping at the time he was writing Rosencrantz and Guildenstern, and also his first and only novel Lord Malquist and Mr. Moon, which is little known, which he thought was going to make his career. The book was published in the same week that Rosencrantz came up. He thought the novel was going to make his career and the play was going to sink without trace. Not so. In the notebook there are many quotations from T. S. Elliot, and particularly from Prufrock and the Wasteland, and you can see him working them into the novel and into the play.“I am not Prince Hamlet nor was meant to be.” And that sense of being a disconsolate outsider. Ill at ease with and neurotic about the world that is charging along almost without you, and you are having to hang on to the edge of the world. The person who feels themself to be in internal exile, not at one with the universe. I think that point of view recurs over and over again, right through the work, but also a kind of epigrammatical, slightly mysterious crypticness that Elliot has, certainly in Prufrock and in the Wasteland and in the early poems. He loved that tone.Oliver: Yes. When I read your paper about that I thought about Rosencrantz and Guildenstern quite differently. I've always disliked the idea that it's a sort of Beckett imitation play. It seems very Elliotic having read what you described.Lee: There is Beckett in there. You can't get away from it.Oliver: Surface level.Lee: Beckett's there, but I think the sense of people waiting around—Stoppard's favorite description of Rosencrantz was: “It's two journalists on a story that doesn't add up, which is very clever and funny.”Yes. And that sense of, Vladimir going, “What are we supposed to be doing and how are we going to pass the time?” That's profoundly influential on Stoppard. So I don't think it's just a superficial resemblance myself, but I agree that Elliot just fills the tone of that play and other things too.Oliver: In the article you wrote about Stoppard and Elliot, the title is about biographical questing, and you also described Arcadia as a quest. How important is the idea of the quest to the way you work and also to the way you read Stoppard?Lee: I took as the epigraph for my biography of Stoppard a line from Arcadia: “It's wanting to know that makes us matter, otherwise we're going out the way we came in.” So I think that's right at the heart of Stoppard's work, and it's right at the heart of any biographical work, whether or not it's mine or someone else's. If you can't know, in the sense of knowing the person, knowing what the person is like, and also knowing as much as possible about them from different kinds of sources, then you might as well give up.You can't do it through impressions. You've got to do it through knowledge. Of course, a certain amount of intuition may also come into play, though I'm not the kind of biographer that feels you can make things up. Working on a living person, this is the only time I've done that.It was, of course, a very different thing from working on a safely dead author. And I knew Penelope Fitzgerald a little bit, but I had no idea I was going to write her biography when I had conversations with her and she wouldn't have told me anything anyway. She was so wicked and evasive. But it was a set up thing; he asked me to do it. And we had a proper contract and we worked together over several years, during which time he became a friend, which was a wonderful piece of luck for me.I was doing four things, really. One was reading all the material that he produced, everything, and getting to know it as well as I could. And that's obviously the basic task. One was talking to him and listening to him talk about his life. And he was very generous with those interviews. I'm sure there were things he didn't tell me, but that's fine. One was talking to other people about him, which is a very interesting process. And with someone like him who knew everyone in the literary, theatrical, cultural world, you have to draw a halt at some point. You can't talk to a thousand people, or I'd have still been doing it, so you talk to particularly fellow playwrights, directors, actors who've worked with him often, as well as family and friends. And then you start pitting the versions against each other and seeing what stands up and what keeps being said.Repetition's very important in that process because when several people say the same thing to you, then you know that's right. And that quest also involves some actual footsteps, as Richard Holmes would say. Footsteps. Traveling to places he'd lived in and going to Darjeeling where he had been to school before he came to England, that kind of travel.And then the fourth, and to me, in a way, almost the most exciting, was the opportunity to watch him at work in rehearsal. So with the director's permissions, I was allowed to sit in on two or three processes like that, the 50th anniversary production of Rosencrantz and Guildenstern at the Old Vic with David Lavoie. And Patrick Marber's wonderful production of Leopoldstadt and Nick Hytner's production of The Hard Problem at the National. So I was able to witness the very interesting negotiations going on between Tom and the director and the cast.And also the extraordinary fact that even with a play like Rosencrantz, which is on every school syllabus and has been for 50—however many years—he was still changing things in rehearsal. I can't get over that. And in his view, as he often said, theater is an event and not a text, and so one could see that actual process of things changing before one's very eyes, and that for a biographer, it's a pretty amazing privilege.Oliver: How much of the plays were written during rehearsal do you think?Lee: Oh, 99% of the plays were written with much labor, much precision, much correction alone at his desk. The text is there, the text is written, and everything changes when you go into the rehearsal room because you suddenly find that there isn't enough time with that speech for the person to get from the bed to the door. It's physics; you have to put another line in so that someone can make an entrance or an exit, that kind of thing.Or the actors will say quite often, because they were a bit in awe—by the time he became well known—the actors initially would be a bit in awe of the braininess and the brilliance. And quite often the actors will be saying, “I'm sorry, I don't understand. I don't understand this.” You'd often get, “I don't really understand.”And then he would never be dismissive. He would either say, “No, I think you've got to make it work.” I'm putting words into his mouth here. Or he would say, “Okay, let's put another sentence or something like that.”Oliver: Between what he wrote at his desk and the book that's available for purchase now, how much changed? Is it 10%, 50? You know what I mean?Lee: Yes. You should be talking to his editor at Faber, Dinah Wood. So Faber would print a relatively small number for the first edition before the rehearsal process and the final production. And then they would do a second edition, which would have some changes in it. So 2%. Okay. But crucial sometimes.Oliver: No, sure. Very important.Lee: And also some plays like Jumpers went through different additions with different endings, different solutions to plot problems. Travesties, he had a lot of trouble with the Lenins in Travesties because it's the play in which you've got Joyce and you've got Tristan Tzara and you've got the Lenins, and they're all these real people and he makes him talk.But he was a little bit nervous about the Lenin. So what he gave him to say were things that they had really said, that Lenin had really said. As opposed to the Tzara-Joyce stuff, which is all wonderfully made up. The bloody Lenins became a bit of a problem for him. And so that gets changed in later editions you'll find.Oliver: How closely do you think The Real Thing is based on Present Laughter by Noël Coward?Lee: Oh, I think there's a little bit of Coward in there. Yes, sure. I think he liked Coward, he liked Wilde, obviously. He likes brilliant, witty, playful entertainers. He wants to be an entertainer. But I think The Real Thing, he was proud of the fact that The Real Thing was one of the few examples of his plays at that time, which weren't based on something else. They weren't based on Hamlet. They weren't based on The Importance of Being Earnest. It's not based on a real person like Housman. I think The Real Thing came out of himself much more than out of literary models.Oliver: You don't think that Henry is a bit like the actor character in Present Laughter and it's all set in his flat and the couples moving around and the slight element of farce?The cricket bat speech is quite similar to when Gary Essendine—do you remember that very funny young man comes up on the train from Epping or somewhere and lectures him about the social value of art. And Gary Essendine says, “Get a job in a theater rep and write 20 plays. And if you can get one of them put on in a pub, you'll be damn lucky.” It's like a model for him, a loose model.Lee: Yes. Henry, I think you should write an article comparing these two plays.Oliver: Okay. Very good. What does Stoppardian mean?Lee: It means witty. It means brilliant with words. It means fizzing with verbal energy. It means intellectually dazzling. The word dazzling is the one that tends to get used. My own version of Stoppardian is a little bit different from, as it were, those standard received and perfectly acceptable accounts of Stoppardian.My own sense of Stoppardian has more to do with grief and mortality and a sense of not belonging and of puzzlement and bewilderment, within all that I said before, within the dazzling, playful astonishing zest and brio of language and the precision about language.Oliver: Because it's a funny word. It's hard to include Leopoldstadt under the typical use of Stoppardian, because it's an untypical Stoppard.Lee: One of the things about Leopoldstadt that I think is—let's get rid of that trope about Stoppardian—characteristic of him is the remarkable way it deals with time. Here's a play like Arcadia, all set in the same place, all set in the same room, in the same house, and it goes from a big hustling room, late 19th-century family play, just like the beginning of The Coast of Utopia, where you begin with a big family in Russia and then it moves through the '20s and then into the terrible appalling period of the Anschluss and the Holocaust.And then it ends up after the war with an empty room. This room, is like a different kind of theater, an empty room. Three characters, none of whom you know very well, speaking in three different kinds of English, reaching across vast spaces of incomprehension, and you've had these jumps through time.And then at the very end, the original family, all of whom have been destroyed, the original family reappears on the stage. I'm sorry to tell this for anyone who hasn't seen Leopoldstadt. Because when it happens on the stage, it's an absolutely astonishing moment. As if the time has gone round and as if the play, which I think it was for him, was an act of restitution to all those people.Oliver: How often did he use his charm to get his way with actors?Lee: A lot. And not just actors. People he worked with, film people, friends, companions. Charm is such an interesting thing, isn't it? Because we shouldn't deviate, but there's always a slightly sinister aspect to the word charm as in, a magic charm. And one tends to be a bit suspicious of charm. And he knew he had charm and he was physically very magnetic and good looking and very funny and very attentive to people.But I think the charm, in his case, he did use it to get the right results, and he did use it, as he would say, “to look after my plays.” He was always, “I want to look after my plays.” And that's why he went back to rehearsal when there were revivals and so on. But he wasn't always charming. Patrick Marber, who's a friend of his and who directed Leopoldstadt, is very good on how irritable Stoppard could be sometimes in rehearsal. And I've heard that from other directors too—Jack O'Brien, who did the American productions of things like The Invention of Love.If Stoppard felt it wasn't right, he could get quite cross. So this wasn't a sort of oleaginous character at all. It's not smooth, it's not a smooth charm at all. But yes, he knew his power and he used it, and I think in a good way. I think he was a benign character actually. And one of the things that was very fascinating to me, not only when he died and there was this great outpouring of tributes, very heartfelt tributes, I thought. But also when I was working on the biography, I was going around the world trying to find people to say bad things about him, because what I didn't want to do was write a hagiography. You don't want to do that; there would be no point. And it was genuinely quite hard.And I don't know the theater world; it's not my world. I got to know it a little bit then. But I have never necessarily thought of the theater world as being utterly loving and generous about everybody else. I'm sure there are lots of rivalries and spitefulness, as there is in academic life, all the rest of it. But it was very hard to find anyone with a bad word to say about him, even people who'd come up against the steeliness that there is in him.I had an interview with Steven Spielberg about him, with whom he worked a lot, and with whom he did Empire of the Sun. And I would ask my interviewees if they could come up with two or three adjectives or an adjective that would sum him up, that would sum Stoppard up to them. And when I asked Spielberg this question, he had a little think and then he said, intransigent. I thought, great. He must be the only person who ever stood up to him.Oliver: What was his best film script? Did he write a really great film.Lee: That one. I think partly the novel, I don't know if you know the Ballard novel, the Empire of the Sun, it's a marvelous novel. And Ballard was just a magical and amazing writer, a great hero of mine. But I think what Stoppard did with that was really clever and brilliant.I know people like Brazil, the Terry Gilliam sort of surrealist way. And there's some interesting early work. Most of his film work was not one script; it was little bits that he helped with. So there's famously the Indiana Jones and the Last Crusade, he did most of the dialogue for Harrison Ford.But there are others like the One Hundred and One Dalmatians, where I think there's one line, anonymously Stoppardian in there. One of the things about the obituaries that slightly narked me was that there, I felt there was a bit too much about the films. Truly, I don't think the film work was—he wanted it to be right and he wanted to get it right—but it wasn't as close to his heart as the theater work. And indeed the work for radio, which I thought was generally underwritten about when he died. There was some terrific work there.Oliver: Yes. And there aren't that many canonical writers who've been great on the radio.Lee: Absolutely. He did everything. He did film, he did radio. He wrote some opera librettos. He really did everything. And on top of that, there was the great work for the public good, which I think is a very important part of his legacy, his history.Oliver: How much crossover influence is there between the different bits of his career? Does the screenwriting influence the theater writing and the radio and so on? Or is he just compartmentalized and able to do a lot of different things?Lee: That's such an interesting question. I don't think I've thought about it enough. I think there are very cinematic aspects to some of the plays, like Night and Day, for instance, the play about journalism. That could easily have been a film.And perhaps Hapgood as well, although it could be a kind of John le Carré type film thriller, though it's such a set of complicated interlocking boxes that I don't know that it would work as a film. It's not one of my favorite players, I must say. I struggle a little bit with Hapgood. But, yes, I'm sure that they fed into each other. Because he was so busy, he was often doing several things at once. So he was keeping things in boxes and opening the lid of that box. But mentally things must have overlapped, I'm sure.Oliver: He once joked that rather than having read Wittgenstein from cover to cover, he had only read the covers. How true is that? Because I know some people who would say he's very clever in everything, but he's not as clever as he looks. It's obviously not true that he only read the covers.Lee: I think there was a phase, wasn't there, after the early plays when people felt that he was—it's that English phrase, isn't it—too clever by half. Which you would never hear anyone in France saying of someone that they were too clever by half. So he was this kind of jazzy intellectual who put all his ideas out there, and he was this sort of self-educated savant who hadn't been to Oxford.There was quite a lot of that about in the earlier years, I think. And a sense that he was getting away with it, to which I would countermand with the story of the writing of The Invention of Love. So what attracted him to the figure of Housman initially was not the painful, suppressed homosexual love story, but the fact that here was this person who was divided into a very pernickety, savagely critical classical editor of Latin and a romantic lyric poet. In order to work out how to turn this into a play, he probably spent about six years taking Latin lessons, reading everything he could read on the history of classical literature. Obviously reading about Housman, engaging in conversation with classical scholars about Housman's, finer points of editorial precision about certain phrases. And what he used from that was the tip of the iceberg. But the iceberg was real.He really did that work and he often used to say that it was his favorite play because he'd so much enjoyed the work that went into it. I think he took what he needed from someone like Wittgenstein. I know you don't like The Coast of Utopia very much, but if you read his background to Coast of Utopia, what went into it, and if you compare what's in the plays, those three plays, with what's in the writing about those revolutionaries, he read everything. He may have magpied it, but he's certainly knows what he's talking about. So I defend him a bit against that, I think.Oliver: Good, good. Did you see the recent production at the Hamstead Theatre of The Invention of Love?Lee: I did, yes.Oliver: What did you think?Lee: I liked it. I thought it was rather beautifully done. I liked those boats rowing around that clicked together. I thought Simon Russell Beale was extremely good, particularly very moving. And very good in Housman's vindictiveness as a critic. He is not a nice person in that sense. And his scornfulness about the women students in his class, that kind of thing. And so there was a wonderful vitriol and scorn in Russell Beale's performance.I think when you see it now, some of the Oxford context is a little bit clunky, those scenes with Jowett and Pater and so on, it's like a bit of a caricature of the context of cultural life at the time, intellectual life at the time. But I think that the trope of the old and the young Housman meeting each other and talking to each other, which I still think is very moving. I thought it worked tremendously well.Oliver: What are Tom Stoppard's poems like?Lee: You see them in Indian Ink where he invents a poet, Flora Crewe, who is a poet who was died young, turn of the century, bold feminist associated with Bloomsbury and gets picked up much later as a kind of Sylvia Plath-type, HD type heroine. And when you look at Stoppard's manuscripts in the Harry Ransom Center in the University of Austin, in Texas, there is more ink spent on writing and rewriting those poems of Flora Crewe than anything else I saw in the manuscript. He wrote them and rewrote them.Early on he wrote some Elliot—they're very like Elliot—little poems for himself. I think there are probably quite a lot of love poems out there, which I never saw because they belong to the people for whom he wrote them. So I wouldn't know about those.Oliver: How consistently did Stoppard hold to a kind of liberal individualism in his politics?Lee: He was accused of being very right wing in the 1980s really, 1970s, 1980s, when the preponderant tendency for British drama was radicalism, Royal Court, left wing, all of that. And Stoppard seemed an outlier then, because he approved of Thatcher. He was a friend of Thatcher. He didn't like the print union. It was particularly about newspapers because he'd been a newspaper man in his youth. That was his alternative university education, working in Bristol on the newspapers. He had a romance heroic feeling about the value of the journalist to uphold democracy, and he hated the pressure of the print unions to what he thought at the time was stifling that.He changed his mind. I think a lot about that. He had been very idealistic and in love with English liberal values. And I think towards the end of his life he felt that those were being eroded. He voted lots of different ways. He voted conservative, voted green. He voted lib dem. I don't if he ever voted Labour.Oliver: But even though his personal politics shifted and the way he voted shifted, there is something quite continuous from the early plays through to Rock ‘n' Roll. Is there a sort of basic foundation that doesn't change, even though the response to events and the idea about the times changes?Lee: Yes, I think that's right, and I think it can be summed up in what Henry says in The Real Thing about politics, which is a version of what's often said in his plays, which is public postures have the configuration of private derangement. So that there's a deep suspicion of political rhetoric, especially when it tends towards the final solution type, the utopian type, the sense that individual lives can be sacrificed in the interest of an ultimate rationalized greater good.And then, he's worked in the '70s for the victims of Soviet communism. His work alongside in support of Havel and Charter 77. And he wrote on those themes such as Every Good Boy Deserves Favour and Professional Foul. Those are absolutely at the heart of what he felt. And they come back again when he's very modest about this and kept it quiet. But he did an enormous amount of work for the Belarus exile, Belarus Free Theater collective, people in support of those trying to work against the regime in Belarus.And then the profound, heartfelt, intense feeling of horror about what happened to people in Leopoldstadt. That's all part of the same thing. I think he's a believer in individual freedom and in democracy and has a suspicion of political rhetoric.Oliver: How much were some of his great parts written for specific actors? Because I sometimes have a feeling when I watch one of his plays now, if I'd been here when Felicity Kendal was doing this, I would be getting the whole thing, but I'm getting most of it.Lee: I'm sure that's right. And he built up a team around him: Peter Wood, the director and John Wood who's such an extraordinary Henry Carr in in in Travesties. And Michael Hordern as George the philosopher in Jumpers. And he wrote a lot for Kendal, in the process of becoming life companions.But he'd obviously been writing and thinking of her very much, for instance, in Arcadia. And also I think very much, it's very touching now to see the production of Indian Ink that's running at Hampstead Theatre in which Felicity Kendal is playing the older woman, the surviving older sister of the poet Flora Crewe, where of course the part of Flora Crewe was written for her. And there's something very touching about seeing that now. And, in fact, the first night of that production was the day of Stoppard's funeral. And Kendal couldn't be at the funeral, of course, because she was in the first night of his play. That's a very touching thing.Oliver: Why did he think the revivals came too soon?Lee: I don't really know the answer to that. I think he thought a play had to hook up a lot of oxygen and attract a lot of attention. If you were lucky while it was on, people would remember the casting and the direction of that version of it, and it would have a kind of memory. You had to be there.But people who were there would remember it and talk about it. And if you had another production very soon after that, then maybe it would diminish or take away that effect. I think he had a sort of loyalty to first productions often. What do you think about that? I'm not quite sure of the answer to that.Oliver: I don't know. To me it seems to conflict a bit with his idea that it's a living thing and he's always rewriting it in the rehearsal room. But I think probably what you say is right, and he will have got it right in a certain way through all that rehearsing. You then need to wait for a new generation of people to make it fresh again, if you like.Lee: Or not a generation even, but give it five years.Oliver: Everyone new and this theater's working differently now. We can rework it in our own way. Can we have a few questions about your broader career before we finish?Lee: Depends what they are.Oliver: Your former colleague John Carey died at a similar time to Stoppard. What do you think was his best work?Lee: John Carey's best work? Oh. I thought the biography of Golding was pretty good. And I thought he wrote a very good book on Thackery. And I thought his work on Milton was good. I wasn't so keen on The Intellectuals and the Masses. He and I used to have vociferous arguments about that because he had cast Virginia Woolf with all the modernist fascists, as it were. He'd put her in a pile with Wyndham Lewis and Ezra Pound and so on. And actually, Virginia Woolf was a socialist feminist. And this didn't seem to have struck him because he was so keen to expose her frightful snobbery, which is what people in England reading Woolf, especially middle class blokes, were horrified by.And she is a snob, there's no doubt about it. But she knew that and she lacerated herself for it too. And I think he ignored all the other aspects of her. So I was angry about that. But he was the kind of person you could have a really good argument with. That was one of the really great things about John.Oliver: He seems to be someone else who was amenable and charming, but also very steely.Lee: Yes, I think he probably was I think he probably was. You can see that in his memoir, I think.Oliver: What was Carmen Callil like?Lee: Oh. She was a very important person in my life. It was she who got me involved in writing pieces for Virago. And it was she who asked me to write the life of Virginia Woolf for Chatto. And she was an enormous, inspiring encourager as she was to very many people. And I loved her.But I was also, as many people were, quite daunted by her. She was temperamental, she was angry. She was passionate. She was often quite difficult. Not a word I like to use about women because there's that trope of difficult women, but she could be. And she lost her temper in a very un-English way, which was quite a sight to behold. But I think of her as one of the most creative and influential publishers of the 20th century.Oliver: Will there be a biography of her?Lee: I don't know. Yes, it's a really interesting question, and I've been asking her executors whether they have any thoughts about that. Somebody said to me, oh, who wants a biography of a publisher? But, actually, publishers are really important people often, so I hope there would be. Yes. And it would need to be someone who understood the politics of feminism and who understood about coming from Australia and who understood about the Catholic background and who understood about her passion for France. And there are a whole lot of aspects to that life. It's a rich and complex life. Yes, I hope there will be someday.Oliver: Her papers are sitting there in the British Library.Lee: They are. And in fact—you kindly mentioned this to start with—I've just finished a biography of the art historian and novelist, Anita Brookner, who won the Booker prize in 1984 for a novel called Hotel du Lac.And Carmen and Anita were great buddies, surprisingly actually, because they were very different kinds of characters. And the year before she died, Carmen, who knew I was working on Anita, showed me all her diary entries and all the letters she'd kept from Anita. And that's the kind of generous person that she was.That material is now sitting in the British Library, along with huge reams of correspondence between Carmen and many other people. And it's an exciting archive.Oliver: She seems to have had a capacity to be friends with almost anyone.Lee: Yes, I think there were people she would not have wanted to be friends with. She was very disapproving of a lot of political figures and particularly right-wing figures, and there were people she would've simply spat at if she was in the room with them. But, yes, she an enormous range of friends, and she was, as I said, she was fantastically encouraging to younger women writers.And, also, another aspect of Carmen's life, which I greatly admired and was fascinated by: In Virago she would often be resuscitating the careers of elderly women writers who had been forgotten or neglected, including Antonia White and including Rosamund Lehmann. And part of Carmen's job at Virago, as she felt, was not just to republish these people, some of whom hadn't had a book published for decades, but also to look after them. And they were all quite elderly and often quite eccentric and often quite needy. And Carmen would be there, bringing them out and looking after them and going around to see them. And really marvelous, I think.Oliver: Yes, it is. Tell me about Brian Moore.Lee: Breean, as he called himself.Oliver: Oh, I'm sorry.Lee: No, it's all right. I think Brian became a friend because in the 1980s I had a book program on Channel 4, which was called Book Four. It had a very small audience, but had a wonderful time over several years interviewing lots and lots of writers who had new books out. We didn't have a budget; it was a table and two chairs and not the kind of book program you see on the television anymore. And I got to know Brian through that and through reviewing him a bit and doing interviews with him, and my husband and I would go out and visit him and his wife Jean.And I loved the work. I thought the work was such a brilliant mixture of popular cultural forms, like the thriller and historical novel and so on. And fascinating ideas about authority and religion and how to be free, how to break free of the bonds of what he'd grown up with in Ireland, in Northern Ireland, the bombs of religious autocracy, as it were. And very surreal in some ways as well. And he was also a very charming, funny, gregarious person who could be quite wicked about other writers.And, he was a wonderfully wicked and funny companion. What breaks my heart about Brian Moore is that while he was alive, he was writing a novel maybe every other year or every three years, and people would review them and they were talked about, and I don't think they were on academic syllabuses but they were really popular. And when he died and there were no more books, it just went. You can think of other writers like that who were tremendously well known in their time. And then when there weren't any more books, just went away. You ask people, now you go out and ask people, say, “What about The Temptation of Eileen Hughes or The Doctor's Wife or Black Robe? And they'll go, “Sorry?”Oliver: If anyone listening to this wants to try one of his novels, where do you say they should start?Lee: I think I would start with The Doctor's Wife and The Temptation of Eileen Hughes. And then if one liked those, one would get a taste for him. But there's plenty to choose from.Oliver: What about Catholics?Lee: Yes. Catholics is a wonderful book. Yes. Wonderful book. Bit like Muriel Spark's The Abbess of Crewe, I think.Oliver: How important is religion to Penelope Fitzgerald's work?Lee: She would say that she felt guilty about not having put her religious beliefs more explicitly into her fiction. I'm very glad that she didn't because I think it is deeply important and she believes in miracles and saints and angels and manifestations and providence, but she doesn't spell it out.And so when at the end of The Gate of Angels, for instance, there is a kind of miracle on the last page but it's much better not to have it spelt out as a miracle, in my view. And in The Blue Flower, which is not my favorite of her books, but it's the book of the greatest genius possibly. And I think she was a genius. There is a deep interest in Novalis's romantic philosophical ideas about a spiritual life, beyond the physical life, no more doctrinally than that. And she, of course, believes in that. I think she believed, in an almost Platonic way, that this life was a kind of cave of shadows and that there was something beyond that. And there are some very mysterious moments in her books, which, if they had been explained as religious experiences, I think would've been much less forceful and much less intense.Oliver: What is your favorite of her books?Lee: Oh, The Beginning of Spring. The Beginning of Spring is set in Moscow just before the revolution. And its concerns an Englishman who runs a print and publishing works. And it's based quite a lot on some factual narratives about people in Moscow at the time. And it's about the feeling of that place and that time, but it's also about being in love with two people at the same time.And, yes, and it's about cultural clashes and cultural misunderstanding, and it is an astonishingly evocative book. And when asked about this book, interviewers would say to Penelope, oh, she must have lived in Moscow for ages to know so much about it. And sometimes she would say, “Yes, I lived there for years.” And sometimes she would say, “No, I've never been there in my life.” And the fact was she'd had a week's book tour in Moscow with her daughter. And that was the only time she ever went to Russia, but she read. So it was a wonderful example of how she would be so wicked; she would lie.Oliver: Yes.Lee: Because she couldn't be bothered to tell the truth.Oliver: But wasn't she poking fun at their silly questions?Lee: Yes. It's not such a silly question. I would've asked her that question. It is an astonishing evocation of a place.Oliver: No, I would've asked it too, but I do feel like she had this sense of it's silly to be asked questions at all. It's silly to be interviewed.Lee: I interviewed her about three times—and it was fascinating. And she would deflect. She would deflect, deflect. When you asked her about her own work, she would deflect onto someone else's work or she would tell you a story. But she also got quite irritable.So for instance, there's a poltergeist in a novel called The Bookshop. And the poltergeist is a very frightening apparition and very strong chapter in the book. And I said to her in interview, “Look, lots of people think this is just superstition. There aren't poltergeists.” And she looked at me very crossly and said they just haven't been there. They don't know what they're talking about. Absolutely factual and matter of fact about the reality of a poltergeist.Oliver: What makes Virginia Woolf's literary criticism so good?Lee: Oh, I think it's a kind of empathy actually. That she has an extraordinary ability to try and inhabit the person that she's writing about. So she doesn't write from the point of view of, as it were, a dry, historical appreciation.She's got the facts and she's read the books, but she's trying to intimately evoke what it felt like to be that writer. I don't mean by dressing it up with personal anecdotes, but just she has an extraordinary way of describing what that person's writing is like, often in images by using images and metaphors, which makes you feel you are inside the story somehow.And she loves anecdotes. She's very good at telling anecdotes, I think. And also she's not soft, but she's not harshly judgmental. I think she will try and get the juice out of anything she's writing about. Most of these literary criticism pieces were written for money and against the clock and whilst doing other things.So if you read her on Dorothy Wordsworth or Mary Wollstonecraft or Henry James, there's a wonderful sense of, you feel your knowledge has been expanded. Knowledge in the sense of knowing the person; I don't mean in the sense of hard facts.Oliver: Sure. You've finished your Anita Brookner biography and that's coming this year.Lee: September the 10th this year, here and in the States.Oliver: What will you do next?Lee: Yes. That's a very good question, though a little soon, I feel.Oliver: Is there someone whose life you always wanted to write, but didn't?Lee: No. No, there isn't. Not at the moment. Who knows?Oliver: You are open to it. You are open.Lee: Who knows what will come up.Oliver: Yes. Hermione Lee, this was a real pleasure. Thank you very much.Lee: Thank you very much. It was a treat. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk

Marsh Moyle is an interesting man. He’s an Englishman but he grew up in Malta. He and his wife Tuula lived for 17 years in Vienna when the Iron Curtain divided Europe. There they organised book translation and distribution while researching the beliefs, practices, and problems of life under communism. In the post-communist period, they lived in Slovakia for 16 years, establishing publishing houses in seven countries. They also ran a learning community and held seminars with student groups in Central Europe, Russia, and Ukraine, committed to awakening the imagination, encouragng critical thinking, and fostering a deeper practical understanding of biblical ideas. Marsh is the author of Rumours of a Better Country: Searching for Trust and Community in a Time of Moral Outrage. In this episode, Marsh and Jonathan Rogers talk about utopianism, individualism, and the surprising truth that we can only be our true, distinct selves when our selves are shaped by the people around us.Support the show: https://therabbitroom.givingfuel.com/memberSee omnystudio.com/listener for privacy information.

Westerns on a SaturdayFirst, a look at the events of the day.Then, Have Gun Will Travel starring John Dehner, originally broadcast January 31, 1960, 66 years ago, Bad Bert.    The search for "Bad Bert," a road agent widely wanted by lawmen, is in reality, an English nobleman!Followed by Gunsmoke starring William Conrad, originally broadcast January 31, 1960, 66 years ago, Chesters Dilemma.  Chester's in love with pretty Edna Wallstrom, Edna's very much interested in Marshal Dillon's mail!Then, The Six Shooter starring Jimmy Stewart, originally broadcast January 31, 1954, 72 years ago, Trail to Sunset.  Britt shoots Ace Tressler when Ace tries to steal Britt's horse. Britt promises him that he'll get medical treatment for Ace and not let him get lynched. Followed by The Hallmark Playhouse, originally broadcast on January 31, 1952, 74 years ago,  Westward Ho!, starring Joseph Cotton.  A historical adventure novel that follows the coming-of-age of Amyas Leigh, an idealistic young Englishman who sails to the New World amid the Elizabethan era's conflicts between England and Spain.Finally, Fibber McGee and Molly, originally broadcast January 31, 1955, 71 years ago, the Mystery of the Missing Garbage Can. Fibber tries to solve "The Mystery Of The Missing Garbage Can."Thanks to Debbie B. for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamCheck out Professor Bees Digestive Aid at profbees.com and use my promo code WYATT to save 10% when you order! If you like what we do here, visit our friend Jay at http://radio.macinmind.com for great old-time radio shows 24 hours a day

"Roger Williams worked strenuously and at great personal expense to put his belief in freedom of conscience into practice. In his mind, liberty was not an Englishman's right only, but belonged to everyone, including the Indians." For more information, visit CBTSeminary.org

"Roger Williams worked strenuously and at great personal expense to put his belief in freedom of conscience into practice. In his mind, liberty was not an Englishman's right only, but belonged to everyone, including the Indians." For more information, visit CBTSeminary.org

Send us a textIn today's episode, we talk about the Smithsonian—how it was created and what they are really hiding. Who was James Smithson, and why did this Englishman want to give his fortune to the U.S., a country that England had just lost a war to?And don't worry, this does tie back to our people. We're looking at how the founders of this country decided our fate with a propaganda machine disguised as a scientific institute for higher learning for all men. It's about the "dictionary" they built to tell the world we were disappearing, and the struggle we face today trying to convince people we're still here after 200 years of being told we're gone.So sit back and enjoy this wild ride of Nightmares of the Americas: Indigenous Tales.Nightmares of the americas and the behill network are teaming up with the long hairs. These guys have amazing products and have spent the last 10 years building a strong positive community for men with long hair. Click on the link below and enter code "NIGHTMARES" at check out. https://thelonghairs.us/?dt_id=2267311&fbclid=PAZXh0bgNhZW0CMTEAAabJB5dlPL-NcZi-o-2tRQDtsTRO8llxYt4qZ8m4u7raitbHK_qUexYIrb0_aem_noz8FSXZP2Ij6250h4po_QMerch store- https://indigenoustales.threadless.com/Email us at info@behillnetwork.com Also check out our Instagram -https://www.instagram.com/indigenous_tales/And our TikTok -https://www.tiktok.com/@indigenous_talesAmanda Bland Dallas area Bakeryinstagram - https://www.instagram.com/cupidsweetsbakes/Cupid Sweets- https://www.facebook.com/cupidsweets

After an Englishman fell to his death at Uluru on Australia Day 1986, a search of the area would find the crucial evidence that proved Lindy Chamberlain was innocent of the murder of her baby daughter Azaria. But who was the tortured soul whose fate set her free?Also: the Space Shuttle Challenger disaster; Star Wars can't live up to the hype; President Reagan guns for Colonel Gadaffi; and Donald Trump explains his Russia-friendly plan for world peace as he talks up his awesome dome project and shows off his new mega-mansion Mar-A-Lago!*Parts 2 & 3 are available now ad-free to supporters*Use a seven-day free Apple or Patreon free trial with the links below. It's easy to cancel. If you keep supporting, it's about $6 per month. Cancel any time.www.apple.co/forgottenaustraliawww.patreon.com/forgottenaustraliaWant more original Australian history? Check out my books!They'll Never Hold Me:https://www.booktopia.com.au/they-ll-never-hold-me-michael-adams/book/9781923046474.htmlThe Murder Squad:https://www.booktopia.com.au/the-murder-squad-michael-adams/book/9781923046504.htmlHanging Ned Kelly:https://www.booktopia.com.au/hanging-ned-kelly-michael-adams/book/9781922992185.htmlAustralia's Sweetheart:https://www.booktopia.com.au/australia-s-sweetheart-michael-adams/book/9780733640292.htmlEmail: forgottenaustraliapodcast@gmail.com Hosted on Acast. See acast.com/privacy for more information.

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! En nuestro reciente especial sobre la historia de MTV hablamos de diferentes directores de videoclips que forjaron ese formato. Sin duda uno de los más grandes es David Fincher. Fincher, procedente de la ILM tiene una notable trayectoria realzando grandes momentos de grandes estrellas del pop y el rock. Desde sus inicios con varios videos de Rick Springfield a las grandes superproducciones con Madonna, Express yourself o Vogue, el icónico Sting de Englishman in NY, la dramática Janie's got a gun de Aerosmith o los recientes Suit & Tie de Justin Timberlake o el Only de NIN. Para que la experiencia sea más completa, os invitamos que sigáis el podcast con esta playlist: https://youtube.com/playlist?list=PLkAsBpHNntPOvqUJ6-phvncHr5Lx1YcP_&si=2jvcqa9gAe64tfkj Y os preguntamos, ¿hay realmente relación entre Fincher y los Gipsy Kings? Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

We're joined by our Welsh contingent, Bafta winning Comedian Dan Thomas, and prominent Neuroscientist Dean Burnett, as we journey up a Hill/Mountain to discuss 1995 period Rom-Com, The Englishman Who Went Up a Hill But Came Down a Mountain, starring Hugh Grant, Ian McNeice (NOT Richard Griffiths!), and our Star Trek connection, Colm Meaney.   As usual you can find SPOCKLIGHT on: X - @spocklightpod INSTAGRAM – @spocklightpod BLUESKY - @spocklightpod.bsky.social FACEBOOK – https://www.facebook.com/spocklightpod/ EMAIL - spocklightpod@gmail.com Please Follow, like, share and all that good stuff.   Dan can be found @itsdanthomas.bsky.social and Dean can be found @drdeanburnett.bsky.social  Credit for our wonderful theme music goes to the incredibly talented, Adam Johnston. Our beautiful artwork was created by Stephen Trumble, see more on Instagram @stephentrumbleanimation 

Monday of the Second Week in Ordinary Time Saint of the Day: St. Henry of Uppsala, 1100-1156; an Englishman who accompanied Cardinal Nicholas Breakspear to Sweden and Norway in 1151; there he was made the bishop of Uppsala, Sweden; he accompanied King St. Eric of Sweden on a military campaign to Finland, never leaving that land again; Henry was murdered in Finland in 1156 by an excommunicate named Lalli Office of Readings and Morning Prayer for 1/19/26 Gospel: Mark 2:18-22

This episode continues our conversation with a liberal Englishman, and friend of the show, Daniel Torridon of the Onion Unlimited podcast. If you missed part 1, go back and listen to S5E21 titled "The Crusades, Propaganda and Politics with Daniel Torridon." We began with a fiery discussion about Donald Trump, which evolved into a nuanced exchange on our differing values and a recognition of the 'groupthink' and propaganda that keep people occupied with infighting. In this episode we pick up where we left off, taking the topic of racism through the gauntlet of liberal, conservative and libertarian ideology. Did it devolve into name-calling? Did we come to better understand one-another? Or did we just spin our wheels and scream into the abyss? Find out here! Enjoy ;)  

A tiny roadside diner finds itself home to a variety of travelers forced off the road by a cataclysmic snowstorm. Families, drifters, truckers, and vacationers are joined by a legendary serial killer and a certain Englishman who has a knack for being in the wrong place at the right time.

durée : 00:05:12 - C'est une chanson - par : Frédéric Pommier - Il sera en concert 10 janvier au Duc des Lombards à Paris, où il jouera les titres de son nouvel album, "Requiem for a Nomad King". Au micro de Frédéric Pommier, le jazzman Benjamin Petit évoque le tube de Sting "Englishman in New-York", la chanson qui lui a donné envie de se mettre au saxophone. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

*Skip the Foreplay at 11:00 (this is a rough guesstimation due to ad placement by AI and not human beings) When a headless body is discovered near an English racecourse, investigators uncover a crime far more disturbing than anyone could imagine. Monika Zumsteg thought she had found a fairytale ending. an American woman swept into a whirlwind romance with a wealthy Englishman. Monika left California behind for a new life in England. But behind the grand country estates and polished charm, something was very wrong. Monika's haunting case is one of control, violence, and a justice system outcome that will leave all who knew her devastated.   Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

An English expat becomes enamored with Texas and the Alamo. After becoming a tour guide, his accent is a blessing and a curse. Short story with text and audio. The post Englishman in Texas appeared first on 500 Ironic Stories.

Today's show included a memorial to Peter Kane, who was a co-owner of the Houston Dynamos in the 80's, and was a huge part of Houston Soccer History! From Glenn: The passionate Englishman was a fantastic owner from the standpoint of the players. He was a knowledgeable owner about the sport, supported his players and we all knew he wanted to win as much as we did. Owning a professional soccer team at this time was about keeping the game alive and pioneering! Thank you and rest in peace Peter Kane. The show also included: Glenn talked about Arensal's big win over Aston Villa Game on for 90 on Arsène Wenger's proposed change to the offsides rule More amazing scoring from Christian Pulisic, but the emerging worry about his health heading into the World Cup next summer

Christopher Hill was one of the leading historians of his generation. His work across more than 15 books and dozens of articles fundamentally rewrote the way we understand the English Revolution and the development of the modern British state. While his career brought many of the trappings of establishment respectability – he was both a Fellow of the British Academy and the Master of Balliol College, Oxford - he was also seen as a threat to that very same establishment. Under surveillance by the security services for decades, in the 1980s Hill was publicly accused of having been a Soviet agent during the war. His was a Cold War life, as well as a scholarly one.In this brilliant work of biography Christopher Hill: The Life of a Radical Historian (Verso Books, 2025), Michael Braddick charts Hill's development from his abandonment of the respectable provincial Methodism of his youth, through his embrace of Marxism, his membership and eventual break with the Communist Party, as well as his celebrated intellectual career. While many of his books - not least the thrilling work of historical resurrection, The World Turned Upside Down, and God's Englishman, his classic biography of Oliver Cromwell - are still widely read and admired, his intellectual reputation was damaged by sustained academic criticism in the politically-charged atmosphere of the 1980s.Braddick's judicious biography not only situates Hill's life and work in their historical context but seeks to rescue Hill for a new generation of readers. Mike Braddick is a Senior Research Fellow at All Souls College, Oxford. Lucas Tse is an Examination Fellow at All Souls College, Oxford. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Christopher Hill was one of the leading historians of his generation. His work across more than 15 books and dozens of articles fundamentally rewrote the way we understand the English Revolution and the development of the modern British state. While his career brought many of the trappings of establishment respectability – he was both a Fellow of the British Academy and the Master of Balliol College, Oxford - he was also seen as a threat to that very same establishment. Under surveillance by the security services for decades, in the 1980s Hill was publicly accused of having been a Soviet agent during the war. His was a Cold War life, as well as a scholarly one.In this brilliant work of biography Christopher Hill: The Life of a Radical Historian (Verso Books, 2025), Michael Braddick charts Hill's development from his abandonment of the respectable provincial Methodism of his youth, through his embrace of Marxism, his membership and eventual break with the Communist Party, as well as his celebrated intellectual career. While many of his books - not least the thrilling work of historical resurrection, The World Turned Upside Down, and God's Englishman, his classic biography of Oliver Cromwell - are still widely read and admired, his intellectual reputation was damaged by sustained academic criticism in the politically-charged atmosphere of the 1980s.Braddick's judicious biography not only situates Hill's life and work in their historical context but seeks to rescue Hill for a new generation of readers. Mike Braddick is a Senior Research Fellow at All Souls College, Oxford. Lucas Tse is an Examination Fellow at All Souls College, Oxford. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Christopher Hill was one of the leading historians of his generation. His work across more than 15 books and dozens of articles fundamentally rewrote the way we understand the English Revolution and the development of the modern British state. While his career brought many of the trappings of establishment respectability – he was both a Fellow of the British Academy and the Master of Balliol College, Oxford - he was also seen as a threat to that very same establishment. Under surveillance by the security services for decades, in the 1980s Hill was publicly accused of having been a Soviet agent during the war. His was a Cold War life, as well as a scholarly one.In this brilliant work of biography Christopher Hill: The Life of a Radical Historian (Verso Books, 2025), Michael Braddick charts Hill's development from his abandonment of the respectable provincial Methodism of his youth, through his embrace of Marxism, his membership and eventual break with the Communist Party, as well as his celebrated intellectual career. While many of his books - not least the thrilling work of historical resurrection, The World Turned Upside Down, and God's Englishman, his classic biography of Oliver Cromwell - are still widely read and admired, his intellectual reputation was damaged by sustained academic criticism in the politically-charged atmosphere of the 1980s.Braddick's judicious biography not only situates Hill's life and work in their historical context but seeks to rescue Hill for a new generation of readers. Mike Braddick is a Senior Research Fellow at All Souls College, Oxford. Lucas Tse is an Examination Fellow at All Souls College, Oxford. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Sir Francis Drake was an English explorer and sea captain during the 1500s. He became the first Englishman to sail around the world, a journey that took nearly three years. Drake explored new lands, raided Spanish treasure ships, and helped make England a major sea power. He also played an important role in defeating the Spanish Armada in 1588. Learn about the exciting adventures of Drake's voyages and how he became one of the most famous explorers of the Age of Exploration. Try Cocomelon Sing & Play for Free on your smart TV Volley App

Episode 1857 - brought to you by our incredible sponsors: Lucy - Level up your nicotine routine with Lucy. Go to Lucy.co/HARDFACTOR and use promo code (HARDFACTOR) to get 20% off your first order. Lucy has a 30-day refund policy if you change your mind RIDGE - Take advantage of Ridge's Biggest Sale of the Year and GET UP TO 47% Off by going to ⁠https://www.Ridge.com/HARDFACTOR⁠ #Ridgepod DaftKings - Download the DraftKings Casino app, sign up with code HARDFACTOR, and spin your favorite slots! The Crown is Yours - Gambling problem? Call one eight hundred GAMBLER Timestamps: (00:02:30) - NYC will soon have Vegas-style casinos (00:05:30) - What happened in 1857 (00:06:45) - Update on the murder of Rob Reiner & his wife at the hands of their loser son, Nick (00:17:00) - Chinese condoms are hilarious and now even more expensive (00:30:45 - An Englishman was fined $300 for spitting out a leaf that blew into his mouth (00:37:20) - Man claims a Las Vegas casino drugged him, allowing him to rack up $75K worth of debt before detaining him in a holding tank Thank you for listening!! Go to Patreon.com/hardfactor to join our community, get access to bonus pods, discord chat and much more - but Most Importantly: HADFD!! Learn more about your ad choices. Visit megaphone.fm/adchoices

Anthony Joshua joins us ahead of a bout that will deliver him a fortune, but has raised uneasy questions. When he takes on YouTuber-turned-boxer Jake Paul, he will be among the biggest favourites in the history of the sport. How does the Englishman reconcile the industry's concerns for Paul's safety? Featured: Anthony Joshua, champion boxer. Subscribe to the ABC Sport Newsletter

It's time for the perspective of an Englishman. BBC commentator Henry Moeran chats to Sam and Lehmo live from the English team hotel, where players are arriving after their break in Noosa.

Chesterton mostly lost me after Arthur and Alfred, but I feel like I got his point in spite of that. A Short History of England By: G.K. Chesterton Published: 1917 107 Pages Briefly, what is this book about? The book is titled the "History of England", but it's really a book about the soul of England. Chesterton examines this soul chronologically from the "Age of Legends" down to the time the book was written, which happened to be the middle of World War I. What's the author's angle? It's Chesterton, so there's obviously a religious angle, and a traditional cultural angle. Even expecting this, I was surprised by how much he missed the old guild system, and other features of medieval life. There's a lot of anti-rich sentiment in the book, but he's also no socialist either.  Who should read this book? I don't think it's practical or even wise to read everything Chesterton wrote, but I have a vague goal to read most of what he's written. Even then I'm pretty sure that knowing then what I know now I would have advised myself to skip this book, or at least only read the first few chapters.  The big problem is that Chesterton is not dispensing English history (contra the title) he's interpreting it. He assumes you already know a ton of history, and he's just going to tie it together in a new way. I'm sure a highly educated Englishman in 1917 would have had no problem with Chesterton's references, but 100 years on, this poor American was frequently completely lost. Here's an example: It will be apparent, when I deal with that period, that I do not palliate the real unreason in divine right as Filmer and some of the pedantic cavaliers construed it. They professed the impossible ideal of "non-resistance" to any national and legitimate power; though I cannot see that even that was so servile and superstitious as the more modern ideal of "non-resistance" even to a foreign and lawless power. But the seventeenth century was an age of sects, that is of fads; and the Filmerites made a fad of divine right. Who or what is Filmer and the Filmerites? One could look it up (apparently it refers to a 17th century political theorist, Robert Filmer) but you're not going to get any information from the book. This selection, with its two references, is the first and last time the name shows up.  I'll tell you what I got out of the book and you can go from there, but as a general matter I wouldn't recommend reading this book. It has all the normal Chesterton witticisms and turns of phrase, but there are easier places to get those.

Oscar Piastri controls the sprint and takes pole position for the grand, but after Lando Norris qualifies alongside him on the front row, the Englishman needs to gain only one place to win the world title. This week's host is Chris Medland. You can find Chris on social media. Learn more about your ad choices. Visit megaphone.fm/adchoices

SHOW 11-28-25 CBS EYE ON THE WORLD WITH JOHN BATCHELOR 1963   The Genius of Early Photography: Nadar, Daguerre, and Dangerous Chemistry — Anika Burgess — Burgess details the risky and adventurous origins of photography as a practical medium. She examines Nadar, a visionary figure who deployed a giant balloon named Léon to fund experiments in heavier-than-air flight, having previously conducted innovative photographic expeditions into Paris's catacombs. Burgess also recounts Daguerre's 1839 presentation of the daguerreotype—a remarkably realistic, singular image created using hazardous chemicals including iodine and mercury, which posed significant occupational and health risks to early practitioners. Early Photography's Scientific Reach: Lunar and Underwater Photography — Anika Burgess — Burgessexplores early photography's critical scientific applications, noting that François Arago predicted the daguerreotype would enable detailed mapping of the lunar surface. Early astrophotographers encountered formidable technical challenges involving distance calculations, celestial motion, and insufficient ambient light. James Nasmyth controversially photographed plaster casts and molds of the lunar surface, which contemporary observers praised as scientifically truthful. Burgess also highlights Louis Boutan, who persistently developed practical underwater photography using pressurized hard-hat diving equipment, establishing a new scientific capability. Photography and Social Justice: Riis, Watkins, and the Question of Truth — Anika Burgess — Burgessdemonstrates how photography became a transformative tool for social advocacy and reform. Jacob Riis, a newspaper journalist documenting Manhattan's tenement poverty, employed flash powder ignited in cast-iron frying pans to photograph the grim, overcrowded interior conditions of slums for his landmark book How the Other Half Lives, frequently without obtaining subject consent. Burgess also discusses Carleton Watkins, who transported over 2,000 pounds of large-format photographic equipment to Yosemite Valley, producing images that proved instrumental in securing federal preservation and protection of the landscape. From X-Rays to Motion Pictures: Expanding the Photographic Medium — Anika Burgess — Burgess traces the expansion of photographic technology beyond conventional image capture. She examines Alice Austin'sintimate and playful photographs documenting her social circle with candid authenticity. The discovery of X-raysby Wilhelm Röntgen was rapidly branded as "the new photography" or "shadow photography," adopted swiftly for both entertainment and medical diagnostic applications despite practitioners possessing no understanding of severe radiation hazards. Burgess concludes with Paul Martin's candid street photography using concealed cameras hidden within top hats and Eadweard Muybridge's sequential motion studies, which directly enabled the invention of motion pictures. Angelica Schuyler: Albany, Elopement, and the Start of the Revolution — Molly Beer — Beer discusses her book Angelica, focusing on Angelica Schuyler Church, daughter of General Philip Schuyler. Her mother, Katherine, oversaw construction of their Albany residence, The Pastures, a substantial estate reflecting family prominence. Angelica received a rigorous education consistent with Dutch cultural traditions emphasizing women's financial and business literacy for family management. In 1777, during Burgoyne's invasion of New York, Angelica profoundly disappointed her mother by eloping with John Carter, an Englishman she found intellectually engaging and cosmopolitan. Angelica and the Founders: The Revolution and the Hamilton Connection — Molly Beer — Beer examines Angelica's pivotal role during the American Revolution, including her service alongside Rochambeau's army, traveling to Yorktown shortly after delivering her third child. Her sister Elizabeth ("Betsy") married Alexander Hamilton, who deliberately married into the prominent Schuyler family to elevate his social standing and political prospects. Following the war, Angelica's eldest son, Philip, founded the town of Angelica in western New York, the community where Beer herself was subsequently raised. Angelica in Europe: John Church, London Society, and Diplomacy — Molly Beer — Following ratification of the peace treaty, Angelica and her husband sailed to Paris to collect outstanding payments owed by the Frenchgovernment. John Carter leveraged the wartime amnesty to settle accumulated debts, reconcile with his estranged family, and legally adopt the name John Barker Church. Angelica relocated to London's elegant Mayfairneighborhood, where she established herself as a prominent American patriot. She strategically positioned herself at the intersection of cultural and diplomatic negotiations, entertaining influential figures including Lafayette and the Adamses, while exerting subtle influence over American diplomatic representatives toward negotiated peace. Angelica's Later Life: Return, Tragedy, and Founding Angelica, NY — Molly Beer — Angelica visited the United States for President Washington's 1789 inauguration but quickly returned to London, disappointed that the nascent republic fell short o Woke Capitalism: Origins, ESG, DEI, and the Power of BlackRock — Charles Gasparino — Gasparinotraces the origins of "woke capitalism," detailing how corporate America shareholder returns toward stakeholder capitalism models. L The Flashpoints of Woke Capitalism: Occupy Wall Street and the SEC — Charles Gasparino — Gasparinoidentifies the 2008 financial crisis and the ensuing progressive populist backlash, including the Occupy Wall Streetencampment at Zuccotti Park, as pivotal flashpoints accelerating corporate woke adoption.... Disney and ESPN: Running a Blue Company in a Red State — Charles Gasparino — Gasparino analyzes the radicalization of the Walt Disney Company, noting that CEO Bob Iger brought progressive cultural affinities while the company.... Go Woke, Go Broke: The Financial Backlash and Corporate Retreat — Charles Gasparino — Gasparinoreports that woke capitalism is experiencing significant financial retrenchment as corporations suffer bottom-line consequences... Freedom's Forge: FDR, WWII Mobilization, and Bill Knudsen — Arthur Herman — Herman discusses his book Freedom's Forge, detailing the extraordinary challenge FDR confronted in May 1940 to prepare America for modern industrial warfare. The preeminent industrialist summoned for this task was Bill Knudsen, CEO of General Motors. Knudsen, a Danish immigrant and former Ford executive, possessed unparalleled expertise in flexible mass production—the capacity to modify production line processes continuously while maintaining output. Knudsen applied these revolutionary manufacturing techniques to transform the American automobile industry into an "Arsenal of Democracy," producing critical war materiel including military trucks and armored tanks. Henry Kaiser: The Builder of Liberty Ships — Arthur Herman — Herman profiles Henry Kaiser, the second transformative figure in Freedom's Forge. Kaiser, a road construction entrepreneur who had previously coordinated monumental infrastructure projects including the Boulder Dam, demonstrated relentless commitment to ambitious thinking and delivery ahead of schedule and under budget constraints. In late 1940, Kaiser persuaded both Britishand American governments to contract him to construct "throwaway freighters"—Liberty ships—despite possessing no prior shipbuilding experience. Between 1941 and 1945, Kaiser successfully built 2,710 Liberty ships, fundamentally enabling Allied logistics and supply operations. The B-29 Superfortress and the Battle of Omaha — Arthur Herman — Herman recounts the genesis of the B-29 Superfortress bomber, conceived after General Hap Arnold consulted with Charles Lindbergh in 1939. The B-29 represented the ultimate expression of air supremacy doctrine, demanding revolutionary technologies including pressurized crew cabins and remote-controlled gun turrets that did not yet exist. Bill Knudsen directed the program, overcoming severe delays and persistent technical deficiencies. Knudsen won the "Battle of Omaha" by insisting that aircraft be extensively modified after assembly to achieve operational flight status, thereby integrating a massive female industrial workforce into B-29 production processes. Lessons from WWII: Unleashing Private Enterprise — Arthur Herman — Herman explores the strategic tension during WWII between New Deal administrators favoring centralized government command and industrialists prioritizing private sector innovation and operational flexibility. FDR and Knudsen learned from the disastrous centralized economic control failures of WWI, choosing instead to permit American private enterprise to "determine production methodologies and develop solutions for urgent national requirements." The fundamental secret to Allied victory was unleashing private sector dynamism, entrepreneurial expertise, and competitive energy. Herman draws contemporary parallels, arguing that modern defense strategy must replicate this model, contrasting bureaucratic NASA operations with innovative private enterprises including SpaceX.

Angelica Schuyler: Albany, Elopement, and the Start of the Revolution — Molly Beer — Beer discusses her book Angelica, focusing on Angelica Schuyler Church, daughter of General Philip Schuyler. Her mother, Katherine, oversaw construction of their Albany residence, The Pastures, a substantial estate reflecting family prominence. Angelica received a rigorous education consistent with Dutch cultural traditions emphasizing women's financial and business literacy for family management. In 1777, during Burgoyne's invasion of New York, Angelica profoundly disappointed her mother by eloping with John Carter, an Englishman she found intellectually engaging and cosmopolitan. 1758 FORT TICONDEROGA

The number one bucket list trip for Americans surveyed in 2025, according to Talker Research, is to road trip across the USA. In this episode, Alison and Stephanie put a spin on this bucket list item by interviewing an Englishman about his six-week road trip through 28 states. They will learn about road tripping through the USA and get a British perspective on America.

The anticipation is palpable with "Ashes Fever" at a perfect ten. What started as positive anticipation has transformed into terror for our lone Englishman, who suddenly feels "behind enemy lines" in Australia during this intense five test cricket battle. See omnystudio.com/listener for privacy information.

Everyone seems to know about Pocahontas and John Smith. It's hard not too. Between the Disney film and the famous painting that hangs in the U.S. Capitol Rotunda, their love story has become a founding American legend. But what if we were to tell you that it it's all a myth, that Pocahontas was never with John Smith at all? And that Pocahontas did marry an Englishman, but that his name was John Rolfe. Not Smith. In this episode of Significant Lovers, step four hundred years into the past to early America, and listen as we uncover the real story of Pocahontas and her second husband, John Rolfe. They were two star crossed lovers from warring nations, who spoke different languages, and believe different religions. How ever did they manage to fall in love? And was it happily ever after? Listen and find out. About Significant LoversSignificant Lovers is a true-love podcast exploring couples throughout history and pop culture, hosted by cousins Kelly, Melissa, and Kaitlyn. Follow us on Instagram and TikTok @significantlovers, listen on YouTube, and contact us at significantlovers@gmail.com.

Send us a textA quiet click in a digital archive set off a bigger question: how did a tidy tale about the  “Western Trail” in 1873 outrun the dusty, documented truth of 1874? We follow the breadcrumb trail from a glossy magazine headline to the rail-choked streets of Dodge City, where buffalo hides, not longhorns, drove the economy. From there, we trace John T. Lytle's government contract to feed the Sioux, the mapped river crossings, and the August 1, 1874 deadline that defined the first verified drive.Along the way, we meet J. Frank Dobie—ranch-born, campus-bound, and unapologetically devoted to story over footnote. Dobie prized living voices more than ledgers, and he found a perfect partner in Frank Collinson, an Englishman turned cowboy who wrote his memories decades after the fact. Collinson likely helped gather cattle in late 1873 and later fused that groundwork with the 1874 trailblazing into one clean narrative. It's a classic compression: a roundup becomes a “first drive,” and a modern brand name—“Great Western Trail”—is retrofitted to the past until it feels original.We don't stop at debunking. We explore why these stories endure, how civic branding amplified a legend, and what's at stake when heritage tourism, folklore, and archival history collide. The lesson isn't to toss out the campfire tale. It's to read it alongside the map: let the archive keep the dates straight while the storytellers keep the culture alive. By the end, you'll see how a name, a narrative, and a single year can redirect the memory of the West—and why holding fact and fable in tension gives us a richer, more honest past.If this journey changed how you think about Western history, follow the show, leave a review, and share it with a friend who loves a good trail story.Support the showIf you'd like to buy one or more of our fully illustrated dime novel publications, you can click the link I've included.

Prussia, 1809. An Englishman named Benjamin Bathurst vanishes without leaving a trace. Apart from his trousers. And his cloak. And possibly his skull. Who is behind this baffling disappearance? A local hoodlum, a French comte, or Napoleon Bonaparte himself? This cold case has remained unsolved for over two centuries. Until now! Because James has a theory NO ONE has considered before. (Maybe a horse ate him.) ⁠See Alasdair On Tour in 2026!⁠ Edited by ⁠⁠Laurence Hisee⁠⁠ Join the LoreFolk at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/loremenpod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ko-fi.com/loremen⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Check the sweet, sweet merch here... ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.teepublic.com/stores/loremen-podcast?ref_id=24631⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ @loremenpod ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠youtube.com/loremenpodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.instagram.com/loremenpod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.facebook.com/loremenpod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

The Mystery of Arthur Dudley   A secret heir to the English throne… or one of the cleverest impostors in Tudor history? In 1587, a young Englishman was captured by Spanish sailors off the coast of San Sebastián. He called himself Arthur Dudley, and claimed to be the illegitimate son of Queen Elizabeth I and Robert Dudley, Earl of Leicester. Was he the Virgin Queen's hidden child, smuggled away in infancy to protect a royal scandal? Or a spy sent by Walsingham's network on the eve of war with Spain? Join me as I uncover the astonishing story of Arthur Dudley - his confession, his captivity, and the enduring mystery that still haunts Elizabeth's legend. Listen until the end and decide for yourself: heir, hoax, or Tudor agent? #TudorHistory #ElizabethI #ArthurDudley #TudorMystery #HistoryTok #AnneBoleynFiles #RobertDudley #TheVirginQueen #HistoricalMystery

Pope Leo XIV has recently formally declared St. John Henry Newman—who was canonized only in 2019 by Pope Francis—a doctor of the Catholic Church, a recognition given only to 37 other saints in Catholicism's over 2000 year history. This places Newman among great figures like St. Augustine, St. Gregory the Great, St. Jerome, St. Thomas Aquinas, St. Theresa de Avila, St. Catherine of Sienna, and the Little Flower, St. Therese of Lisieux. What is the significance of giving St. John Henry Newman—an Englishman and Anglican convert to Catholicism who was born over 200 years ago—this title? What is it about Newman's approach to communicating the faith that earned him this great honor—and why now?  Equally important, how can contemporary evangelists draw inspiration from his work to proclaim the Gospel in a drastically different world, religiously and morally, from Newman's 19th century Victorian England? A listener asks for advice on how to give better homilies at Mass. 00:00 | Introduction 01:26 | Bishop Barron's recent domestic travels 03:20 | Defining "Doctor of the Church" 04:55 | Distinguishing doctors from saints 05:50 | John Henry Newman's brief biography 12:18 | Understanding the development of doctrine 17:41 | Safeguards against corruption 22:33 | The wholeness of the truth 25:34 | Newman: "To live is to change" 29:28 | The "illative sense" of the mind's assent to propositions 34:10 | Difficulties vs. doubt 35:54 | How Newman speaks to England now 37:55 | Listener question: How can priests improve preparation for homilies? 39:58 | Join the Word on Fire Institute   Links: Word on Fire Institute: https://institute.wordonfire.org/ NOTE: Do you like this podcast? Become a Word on Fire IGNITE member! Word on Fire is a non-profit ministry that depends on the support of our listeners . . . like you! So become a part of this mission and join IGNITE today to become a Word on Fire insider and receive some special donor gifts for your generosity.    

Welcome our special guest, Oli Pettigrew, also known as 'That Englishman in Texas.' In this episode, Oli shares his fascinating journey from being an English model in Singapore to becoming a Texas enthusiast. Dive into Oli's adventures in small-town Texas, his TikTok fame, and why Texans and newcomers alike can't get enough of his stories. Discover quirky Texas traditions, from getting baptized as a Texan to attending a red-carpet event at Texas A&M. Filled with laughter, intriguing history, and positive vibes, this episode is a must-watch! Don't forget to like, subscribe, and hit the bell icon for more fun and engaging content! Learn more about your ad choices. Visit megaphone.fm/adchoices