Podcasts about Honour

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Join as we discuss the most important verse in the Torah. If you would like to partner with us to create more thoughtful and accessible jewish content, visit torahinmotion.org/donate, or email us at info@torahinmotion.org.Please send any questions, comments, or critiques to podcasts@torahinmotion.orgYou can find more thoughtful Jewish content at torahinmotion.org 

When we understand the magnitude of creation, how is it that God could care for us, let alone crown mankind with glory and honour? Or, is it only Jesus Christ who is crowned, for example in Hebrews 2? Or is it both, and what then would this mean? Psalm 8 also tells us that our Lord's enemies are defeated out of the mouths of babes and infants, and rules gloriously out of seemingly weak Man. Whilst we can't fathom this, it informs how we should expect to behold the glory of Jesus Christ's incarnation, miracles and the Cross, as well as His ascension and heavenly reign and rule. It also has great implications for how we live gloriously in His kingdom.

Awarded the Medal of the Order of Australia for his contributions to plastic and reconstructive surgery, Dr Dilipkumar Gahankari has combined a distinguished medical career with more than two decades of humanitarian service. From providing free surgeries to tribal communities in India's Melghat region, a place by his own account is "hard to find on map," to responding to major disasters and emergencies in Australia and Asia, he reflects on the experiences that shaped his commitment to service and the impact of healthcare beyond the operating theatre.

On this edition, Mike and Josh discuss Brandon Banks' surprise Hall of Fame announcement, Troy Davis being the newest Tiger-Cats elected to the team's Wall of Honour, their thoughts on TSN's top 50 CFL players list for 2026 and what they hope to see on Thursday night in Winnipeg as the Ticats attempt to get their first victory of the season.

7th June 2026 - Charlotte Ruatoto - Kingdom Values - Honour by Excite Church

The battle lines of the AI morality debate are being laid down. On one side you have the ChatGPT dogma: AI as mere tools with no real preferences or even beliefs. On the other you have the twitter AI whisperers: AIs as complex beings with rich personalities and desires which deserve our respect. And in the middle you have the official Anthropic line, that they are genuinely uncertain, as is Claude, but they're going to try to look into its welfare and explain to it how to be a good person. These are the most prominent voices right now, compressed into their least nuanced version, and by default I expect this axis to set the terms of the coming debates. And I don't like that, because I think it's leaving out an important position: AIs might actually be complex entities that can suffer — are suffering! — and that might actually be fine. Maybe it's an acceptable sacrifice. Maybe they are capable of sophisticated moral reasoning — superhuman, even — and also maybe it's fine to just tell them how to behave. I don't want to defend that position (yet), but I will observe that it is coherent, and [...] ---Outline:(02:04) The Postmodern Permissive Parent[... 4 more sections]--- First published: June 9th, 2026 Source: https://www.lesswrong.com/posts/oiNaBc4MEAGhzhdXg/the-machines-lack-honour --- Narrated by TYPE III AUDIO. ---Images from the article:Apple Podcasts and Spotify do not show images in the episode description. Try Pocket Casts, or another podcast app.

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Neale Daniher to be farewelled at a state funeral today, after he lost his battle with MND One Nation launches its own ad blitz Donald Trump vows to retaliate after US chopper shot down over Strait of Hormuz Crew for NASA's Artemis Three mission named See omnystudio.com/listener for privacy information.

Neale Daniher to be farewelled at a state funeral today, after he lost his battle with MND One Nation launches its own ad blitz Donald Trump vows to retaliate after US chopper shot down over Strait of Hormuz Crew for NASA's Artemis Three mission named See omnystudio.com/listener for privacy information.

The computer science educator is based at ACG Sunderland and was shortlisted in this year's Cambridge Dedicated Teacher Awards, out of 12,000 nominations. 

Sermon delivered on Sunday, May, 31st, 2026, at Serious Christian Church in Cape Town, South Africa

REV. TETTEH DJANGMAH IS THE SENIOR PASTOR OF TRUE VINE CHARISMATIC CHURCH INT.

In this episode I share a special address delivered as Guest of Honour at the 80th Annual Barbara Sisley Awards, celebrating Queensland's leading speech and drama students. Drawing on experiences from radio, television news, corporate communications, TEDx, social media, and even an unexpected encounter with Oprah, I reflect on how speech and drama shaped every stage of my career. Whether you're a parent, teacher, student, or someone looking to find their voice later in life, this episode is a celebration of the lifelong gift of communication.

Sermon outline: 1) Honour everyone (v17) 2) Love the brotherhood (v17) 3) Submit to governing authority (v17, v13-14) 4) Fear God (v17, v13, v15-16) Submit to government for the Lord's sake: - Honour the institution - Vote for just, righteous government - Honour the image of God - Honour all that is right and good - Pray for government (1Timothy 2:1-4) - Obey government when it does not ask you to sin - Disobey and respectfully confront what is sinful Know more about the church here: https://www.pretoriawestchurch.co.za/

Most people approach The Iliad expecting the Trojan Horse. Instead, they find something darker: a story about wounded pride, uncontrollable rage, brutal violence and the moment vengeance finally gives way to pity.In this review, I break down Samuel Butler's translation of Homer's epic, the feud between Achilles and Agamemnon, Hector's terrifying presence, the petty interference of the gods, the oral tradition behind the poem, and whether a modern reader should actually tackle this ancient monster of a book.00:00 — An Ancient Epic in My Hands00:42 — The Samuel Butler Translation01:03 — Did Homer Actually Write The Iliad?02:23 — What Is an Epic Poem?03:05 — This Is Not the Trojan Horse Story03:40 — Achilles, Hector and the Gods04:53 — How This Edition Structures the Story06:15 — The Core of The Iliad: Rage07:33 — Achilles Loses Everything08:19 — The Gods Are Petty as Hell09:49 — Violence, Nature and Ancient Imagery11:41 — The Sections I Fast-Read13:19 — The Power of Oral Storytelling15:00 — The Brutality of Battle15:43 — Hector Smashes Through the Gates17:29 — No Simple Villains, Only Human Beings18:13 — Honour, Glory and the Heroic Code19:03 — Should You Read The Iliad?19:22 — The Odyssey Review Is Coming Connect with Mere Mortals:Website: https://www.meremortalspodcasts.com/Discord: https://discord.gg/Xs9DjsurFqTwitter/X: https://twitter.com/meremortalspodsInstagram: https://www.instagram.com/meremortalspodcasts/TikTok: https://www.tiktok.com/@meremortalspodcastsValue 4 Value Support:Website: https://www.meremortalspodcasts.com/supportPaypal: https://www.paypal.com/paypalme/meremortalspodcast

Elena Poniatowska, Mexico's most celebrated journalist and one of the most significant literary voices in the Spanish-speaking world, argues in this conversation that the crisis of contemporary journalism is inseparable from the collapse of critical reading—and that both are symptoms of a deeper cultural abandonment. Born in Paris in 1932 to a French-Polish father and Mexican mother, Poniatowska contends that her formation as a writer was shaped by displacement, by learning to listen to those rendered voiceless by history, and by understanding that journalism must be an act of solidarity before it is anything else. Widely credited with helping to establish the genre of testimonio in Latin American letters, she transformed the voices of the marginalised into literature that forced an entire nation to confront its own silence. She maintains that her landmark work La Noche de Tlatelolco was not a journalistic achievement but a moral obligation, and reflects on her decision to refuse the Xavier Villaurrutia Prize, asking who would award the dead. Poniatowska insists that the greatest threat to literature and journalism today is not artificial intelligence but the disappearance of patience—the willingness to sit with a text, a story, or a life long enough for meaning to emerge. At 94, she affirms her belief in the innate goodness of human beings as not a sentiment but a necessity.Elena Poniatowska, la periodista más célebre de México y una de las voces literarias más significativas del mundo hispanohablante, sostiene en esta conversación que la crisis del periodismo contemporáneo es inseparable del colapso de la lectura crítica—y que ambos son síntomas de un abandono cultural más profundo. Nacida en París en 1932 de padre franco-polaco y madre mexicana, Poniatowska afirma que su formación como escritora estuvo marcada por el desplazamiento, por aprender a escuchar a quienes la historia había silenciado, y por comprender que el periodismo debe ser ante todo un acto de solidaridad. Ampliamente reconocida por haber contribuido a establecer el género del testimonio en las letras latinoamericanas, transformó las voces de los marginados en literatura que obligó a una nación entera a confrontar su propio silencio. Sostiene que su obra emblemática La Noche de Tlatelolco no fue un logro periodístico sino una obligación moral, y reflexiona sobre su decisión de rechazar el Premio Xavier Villaurrutia, preguntando quién iba a premiar a los muertos. Poniatowska insiste en que la mayor amenaza para la literatura y el periodismo hoy no es la inteligencia artificial sino la desaparición de la paciencia—la disposición a permanecer con un texto, una historia o una vida el tiempo suficiente para que emerja el significado. A los 94 años, reafirma su creencia en la bondad innata de los seres humanos no como un sentimiento sino como una necesidad.English transcript:SAVAGE MINDS — Elena PoniatowskaJulian Vigo (00:00:15):Welcome to Savage Minds.Julian Vigo (00:00:26):I am your host, Julian Vigo.Julian Vigo (00:00:30):Today's guest is Elena Poniatowska Amor,Julian Vigo (00:00:33):daughter of a French father of Polish origin, Jean E.Julian Vigo (00:00:37):Poniatowski, and Mexican mother Paula Amor.Julian Vigo (00:00:41):She was born in Paris in 1932.Julian Vigo (00:00:46):She has practiced journalism since 1953 at the newspapers El Día, Excélsior, Novedades, and La Jornada.Julian Vigo (00:00:57):She is the first woman to receive the National Journalism Prize.Julian Vigo (00:01:02):Among her works is La Noche de Tlatelolco,Julian Vigo (00:01:05):a classic since its publication, for which she was awarded the Xavier Villaurrutia Prize,Julian Vigo (00:01:12):which she refused, asking who was going to award the dead.Julian Vigo (00:01:17):Her novels and stories include La Flor de Lis,Julian Vigo (00:01:20):De Noche Vienes and Tlapalería,Julian Vigo (00:01:24):Paseo de la Reforma,Julian Vigo (00:01:26):Hasta No Verte Jesús Mío,Julian Vigo (00:01:28):The Life of a Mexican Soldadera,Julian Vigo (00:01:31):Querido Diego Te Abraza Quiela, Tinísima, winner of the Mazatlán Prize in 1992, La Piel del Cielo,Julian Vigo (00:01:40):winner of the Alfaguara Novel Prize in 2001, and El Tren Pasa Primero,Julian Vigo (00:01:48):about the lives of Mexican railway workers,Julian Vigo (00:01:52):winner of the Rómulo Gallegos International Novel Prize in 2007. Leonora won the Premio Biblioteca Breve Seix Barral in 2011. El Universo o Nada (2013) is the biography ofJulian Vigo (00:02:07):astrophysicist Guillermo Haro. Ondas de la Niña Mala is her first poetry collection, andJulian Vigo (00:02:14):her children's books include Boda en Chimalistac, La Vendedora de Nubes,Julian Vigo (00:02:20):El Burro que Metió la Pata, Sansimonsi, illustrated by Rafael Barajas el Fisgón, and ElJulian Vigo (00:02:27):Niño Estrellero by Fernando Robles, and El Charito Cantor by Osvaldo Hernández.Julian Vigo (00:02:34):Her most recent novel, El Amante Polaco, portrays the last king of Poland, Stanisław AugustJulian Vigo (00:02:41):Poniatowski. Translated into 20 languages. Gabi Brimmer and Las Mil y Una, the story ofJulian Vigo (00:02:48):Paulina,Julian Vigo (00:02:49):address social issues.Julian Vigo (00:02:52):After receiving honorary doctorates from UNAM and UAM,Julian Vigo (00:02:57):she was awarded them from the University of Puebla,Julian Vigo (00:03:01):Sonora, Estado de México,Julian Vigo (00:03:04):Guerrero,Julian Vigo (00:03:06):Chiapas, and Puerto Rico.Julian Vigo (00:03:09):She also received honorary degrees from the New School for Social Research in New York,Julian Vigo (00:03:13):Manhattanville College, and Florida Atlantic University in the United States, and fromJulian Vigo (00:03:19):Paris 8,Julian Vigo (00:03:19):La Sorbonne, and Pau-Pyrénées, as well as the Maria Moors Cabot Prize for Journalism atJulian Vigo (00:03:27):Columbia University, New York, in 2004, and from the Universidad Complutense, Madrid, inJulian Vigo (00:03:32):2015.Julian Vigo (00:03:34):She received the French Legion of Honour at the rank of Officer, the Gabriela Mistral Prize from Chile, and inJulian Vigo (00:03:41):2006, the Courage Award from the International Women's Media Foundation.Julian Vigo (00:03:43):In 2013 she was awardedJulian Vigo (00:03:49):the Miguel de Cervantes Prize for literature in the Spanish language, and she received theJulian Vigo (00:03:55):Belisario Domínguez Medal in 2022.Julian Vigo (00:03:58):This is the highest honour granted by the Senate of the Mexican Republic, along with theJulian Vigo (00:04:05):Carlos Fuentes International Prize for Literary Creation in the Spanish Language in 2023.(00:04:12):I welcome Elena Poniatowska to Savage Minds.Julian Vigo (00:04:19):I wanted to begin with a memory I have of you.Julian Vigo (00:04:22):In 1993,Julian Vigo (00:04:25):I think,Julian Vigo (00:04:27):or 94 —Julian Vigo (00:04:28):one of those two years —Julian Vigo (00:04:29):I was in Puebla,Julian Vigo (00:04:31):Cholula,Julian Vigo (00:04:32):teaching at the Universidad de las Américas.Julian Vigo (00:04:35):Yes.Julian Vigo (00:04:36):And you came to give a talk at an observatory — I believe it was Tonantzintla.Elena Poniatowska (00:04:44):Yes, of course.Elena Poniatowska (00:04:46):Yes, I remember it, andJulian Vigo (00:04:49):you made a great impression on me that day. But I must confess that your entire life's work made a great impression on me — not only on me. I wanted to begin with your formation, your life, because you were born in France andJulian Vigo (00:05:12):how do you remember your childhood in France, and what elements of that world did you bring with you when you arrived in Mexico in 1942?Elena Poniatowska (00:05:21):Well, thank you very much for your interest.Elena Poniatowska (00:05:29):I can tell you that I was born in 1932 in Paris, France, because my mother Paula Amor marriedElena Poniatowska (00:05:42):Juan Poniatowski, who held a noble title — that of prince —Elena Poniatowska (00:05:54):because the last king of Poland was Stanisław Poniatowski, who was, I believe, one ofElena Poniatowska (00:06:07):the lovers —Elena Poniatowska (00:06:09):one of the younger lovers of the Empress of Russia, Catherine the Great.Elena Poniatowska (00:06:21):My mother was a woman born also in Paris, of Mexican origin, who leftElena Poniatowska (00:06:32):France because of the Mexican RevolutionElena Poniatowska (00:06:36):and went to live with her parents — Pablo Amor and Elena Iturbe de Amor — inElena Poniatowska (00:06:49):Biarritz, and they later moved to Paris. My mother always spoke Spanish with a French accent. She had two sisters who also lived in France for a long time,Elena Poniatowska (00:07:07):and they were rather Frenchified. She met my father Jean Poniatowski in Paris andElena Poniatowska (00:07:20):married him, and I was born in 1932 in Paris.Elena Poniatowska (00:07:25):I would like to knowJulian Vigo (00:07:31):more about this experience, because as you probably know — especially Americans and Canadians — they think everyone wants to come to their countries. But something they don't know until they travel is that in Mexico, Honduras, and all of Latin America there is a great deal of immigration, people from every country in the world. Why not?Elena Poniatowska (00:08:01):Her mother was in France; my mother was Mexican, born in France. Her family — she had a grandmother, my mother's great-grandmother, who was Russian, and in general her father was educated in England, so they wereElena Poniatowska (00:08:29):Mexicans — Amor is a Mexican surname — but they were very closely tied to Europe. For my mother, living in Europe was very natural becauseElena Poniatowska (00:08:49):she first attended a boarding school in Switzerland, in Lausanne,Elena Poniatowska (00:08:56):and then was in Paris. At a Rothschild ball she met my father JuanElena Poniatowska (00:09:07):Poniatowski and married him in 1931,Elena Poniatowska (00:09:17):or perhaps at the beginning of 1932, because I was born on the 19th of May 1932.Elena Poniatowska (00:09:29):My sister was born in 1933.Julian Vigo (00:09:34):As a child who spoke French and had to learn Spanish, in what way did language become your first tool for survival?Elena Poniatowska (00:09:47):Well, I also know English and French. Language, for me — learning Spanish in Mexico — was obviously about communicating with people in the streetElena Poniatowska (00:09:56):and with friends at school. But French remained my mother tongue, andElena Poniatowska (00:10:03):later I dedicated myself to speaking Spanish with the people at home, with the MexicansElena Poniatowska (00:10:14):I met at school.Elena Poniatowska (00:10:23):Curiously, I attended an English school called the Windsor School, but I learned SpanishJulian Vigo (00:10:38):in the street — one always learns Spanish better in the street. You learn so much from people in Mexico. I found people very warm and open. On the other hand, for Mexicans in my country, it's not the same at all.Julian Vigo (00:10:59):What was the first moment you felt that writing was the only possible way to understand the Mexico around you?Elena Poniatowska (00:11:11):Well, I would never say it was the only possible way.Elena Poniatowska (00:11:17):I think that at twenty,Elena Poniatowska (00:11:22):twenty-one years old, returning from studying at a convent of nuns, I had theElena Poniatowska (00:11:30):good fortune to be able to start writing at a newspaper called, at that time,Elena Poniatowska (00:11:42):Excelsior.Elena Poniatowska (00:11:43):They asked me to submit a daily article,Elena Poniatowska (00:11:48):an interview,Elena Poniatowska (00:11:51):a chronicle, and I did so with enormous enthusiasm and great pleasure, because it allowed meElena Poniatowska (00:12:00):to know Mexico much better, and also to meet great figures of Mexico such asElena Poniatowska (00:12:09):Diego Rivera,Elena Poniatowska (00:12:11):José Clemente Orozco, actresses like Dolores del Río and María Félix, architects likeElena Poniatowska (00:12:20):Luis Barragán, and writers — even writers of my own generation, or slightlyElena Poniatowska (00:12:31):older than me — such as Juan Rulfo,Elena Poniatowska (00:12:38):Rosario Castellanos, Carlos Fuentes, and of course Octavio Paz.Julian Vigo (00:12:46):What a rich life! María Félix — what a figure!Julian Vigo (00:12:52):How was your experience beginning in journalism in the early 1950s in a predominantly male environment?Elena Poniatowska (00:13:05):Well, I was truly very lucky, because people were very kind andElena Poniatowska (00:13:14):even affectionate towards me. No one ever refused me an interview. I was able to reach Alfonso Reyes, Octavio Paz,Elena Poniatowska (00:13:25):the great architect Luis Barragán, José Vasconcelos the philosopher, and all were veryElena Poniatowska (00:13:40):kind and cordial with me, as were important actors like Ignacio LópezElena Poniatowska (00:13:51):Tarso,Elena Poniatowska (00:13:52):and of course those I already mentioned — Dolores del Río, María Félix — and singers, and also many visitors who came from Europe, the United States, or Latin America to perform in Mexico.Elena Poniatowska (00:14:20):Did you know El Indio Fernández?Elena Poniatowska (00:14:23):Yes,Elena Poniatowska (00:14:24):of course —Elena Poniatowska (00:14:25):I interviewed him,Elena Poniatowska (00:14:26):I knew El Indio Fernández, who by ten in the morning was already offering me a tequila, whichElena Poniatowska (00:14:35):I did not drink, as I'm not accustomed to drinking. And also many otherElena Poniatowska (00:14:47):famous actors of that era, like the comedian Cantinflas, whoseJulian Vigo (00:14:56):real name was Mario Moreno. Cantinflas — I know his work. Wow. And you were in Mexico during the same period as Luis Buñuel?Elena Poniatowska (00:15:06):Yes, I ended up with Luis Buñuel — yes, we had a great friendshipElena Poniatowska (00:15:15):because out of affection he came to have lunch at my house several times, so I saw him on manyElena Poniatowska (00:15:24):occasions. We even went together to the prison of Lecumberri to visit, for example, aElena Poniatowska (00:15:33):Colombian who had committed an offence and was imprisoned — his name wasElena Poniatowska (00:15:42):Álvaro Mutis.Julian Vigo (00:15:45):And you have lived through and narrated great social transformations.Julian Vigo (00:15:51):Do you think that today's digital democratisation of public opinion helps social justice, or does it rather dilute real struggles into mere narratives of identity and likes?Elena Poniatowska (00:16:08):Well, I think the Mexican Revolution,Elena Poniatowska (00:16:15):led by a man like Emiliano Zapata, was extraordinary in redistributing the lands and haciendas of Mexico and in giving all MexicansElena Poniatowska (00:16:32):access to better education, better formation, a better life. I consider thatElena Poniatowska (00:16:46):Emiliano Zapata was one of the great heroes of Mexico, even though he personally took away the haciendas of my grandparents, the Amors and the Iturbes.Julian Vigo (00:17:06):What did you learn from the great intellectuals of your youth?Julian Vigo (00:17:08):You mentioned Juan Rulfo, Alfonso Reyes, and many others.Julian Vigo (00:17:15):What influenced your decision to dedicate your life to letters?Elena Poniatowska (00:17:20):No, they did not influence my decision to dedicate myself to letters.Elena Poniatowska (00:17:26):I met them later.Elena Poniatowska (00:17:30):I began as a journalist, a modest journalist, at the newspaper Excelsior in 1953 —Elena Poniatowska (00:17:42):I think 1952 or 1953. Very young. I had come from an education at a convent of nuns inElena Poniatowska (00:17:53):Philadelphia, and I decidedElena Poniatowska (00:17:57):to write chronicles and interviews to get to know Mexico better. I came to know those figures through my work as a journalist, and because I could question themElena Poniatowska (00:18:14):in the language I knew and had learned as a child — at ten years old — which is Spanish. My other languages until then had beenElena Poniatowska (00:18:22):English,Elena Poniatowska (00:18:27):and French, which is my mother tongue.Julian Vigo (00:18:32):You are known for the testimonio.Julian Vigo (00:18:36):At what exact point did you feel that traditional fiction was not sufficient to capture Mexican reality?Elena Poniatowska (00:18:47):As I mentioned, I began by engaging with many valuable MexicansElena Poniatowska (00:18:54):who received me in their homes, gave me their opinions. At the same time as I received what they wished to give me,Elena Poniatowska (00:19:04):I observed how their homes were, how they treated the people around them — their wives, their children, their servants — and all of that helped meElena Poniatowska (00:19:22):to know Mexico better. I also spent a great deal of time in the streets — that is, with the poorest people, whom I was able to reachElena Poniatowska (00:19:34):through my own nature and also with the help of a great Mexican illustrator, Alberto Beltrán. In the street he made sketches of everything the Mexicans did — the newspaper vendors,Elena Poniatowska (00:19:59):the taco sellers,Elena Poniatowska (00:20:03):the women making corn tortillas by hand,Elena Poniatowska (00:20:12):the bakeries, and then the hardware stores where everything was sold — from nails toElena Poniatowska (00:20:22):cleaning cloths — and all of that was a very vital andElena Poniatowska (00:20:32):generous apprenticeship in learning to see the lives of working Mexicans.Julian Vigo (00:20:40):But it is an art — to be able to listen to people, to their voices.Julian Vigo (00:20:53):How did you learn to listen to the voice of the other?Elena Poniatowska (00:20:58):Well, I think it is a natural inclination.Elena Poniatowska (00:21:03):It is not learned.Elena Poniatowska (00:21:05):It is not forced.Elena Poniatowska (00:21:06):It is a way of being.Elena Poniatowska (00:21:10):I am far more interestedElena Poniatowska (00:21:11):in speaking of what others do, how they do it, and who they are, than in speaking of myself, my sensations, my emotions. And I have done this from a very young age, so it has become a habit — it is part of my daily life.Julian Vigo (00:21:36):Do you believe that the testimonio is essentially an act of political resistance?Elena Poniatowska (00:21:44):I think so.Elena Poniatowska (00:21:45):It helps enormously to know the thinking of those who have no power, who are not in power, who do not consider themselves political, who are not leaders — although I did have the great privilege of interviewing leaders and very important figures in Mexico,Elena Poniatowska (00:22:14):such as, for example, the Spanish refugee of the Civil War, Luis Buñuel.Julian Vigo (00:22:26):And how was the process of gathering the voice of Jesusa Palancares?Julian Vigo (00:22:32):How long did it take you to absorb her story?Elena Poniatowska (00:22:38):Well, it was a privilege. I heard her — she was doing laundry in a popular building, a building where many Mexicans lived who had noElena Poniatowska (00:22:56):economic resources. Everything she said caught my attention enormously. I approached her and asked if I could visit her at her home,Elena Poniatowska (00:23:13):which was a very poor house, obviously far from the area where I lived. And so I went toElena Poniatowska (00:23:26):see her once a week. We became friends, and she began telling me her life. And that is howElena Poniatowska (00:23:36):the novel Hasta No Verte Jesús Mío came about. When it was published,Elena Poniatowska (00:23:43):she asked me to give her ten copies to give to her friends —Elena Poniatowska (00:23:52):the bricklayers or the people she had worked with.Julian Vigo (00:24:00):And why did she choose the testimonial genre for Hasta No Verte Jesús Mío?Julian Vigo (00:24:09):It is one of the testimonial novels because —Elena Poniatowska (00:24:16):She didn't really choose it — she didn't. It was I who gathered her words andElena Poniatowska (00:24:27):assembled them in the best way I could. But she did not choose it.Elena Poniatowska (00:24:34):She could not read or write. She did not know how to read or write. But she asked for the books, and I — the cover of the book, what goes on the outside, is the Santo Niño de Atocha, a small Christ child that she liked.Julian Vigo (00:25:08):And I saw it in the street, and so I put it there so she would be happy. But I was asking you about the testimonial genre — in 1969 it was not a common thing in literature.Julian Vigo (00:25:26):How was this novel received?Julian Vigo (00:25:30):I wonder if people were confused.Julian Vigo (00:25:32):Is it a true story or is it fiction?Elena Poniatowska (00:25:35):No, it was very well received. The book was greatly liked.Elena Poniatowska (00:25:41):Immediately many editions came out and it was translated into English and French.Julian Vigo (00:25:51):And I wonder if at that time — less so today — people were confused because they did not know if it was a completely real story or partly real. Because the novel Hasta No Verte Jesús Mío was categorised as a novel.Elena Poniatowska (00:26:16):Yes, that's right, that is what it was.Elena Poniatowska (00:26:19):It is a novel based on a character — a woman who was in the Mexican Revolution, the life of a soldadera. To what extent is Jesusa an invented character or a real woman? I have said it, I have written it many times: Jesusa is a real character. After that I wroteElena Poniatowska (00:26:49):other books about other women who were also real characters. I had the joy of knowing Jesusa in person, but for example Tina Modotti, the main character ofElena Poniatowska (00:27:08):the novel Tinísima, I did not know. And other novels about other women and other characters I also did not know.Julian Vigo (00:27:22):What lessons about the resilience of Mexican women did you learn from Jesusa that remain relevant today?Elena Poniatowska (00:27:31):All the women in Mexico whom I see and engage with and encounter in the streetElena Poniatowska (00:27:41):and who come to my house — they are women who have known how to struggle and continue to struggle. For example, one woman, Rosario Ibarra de Piedra, whose son was disappeared, and who searched all of Mexico — she is obviously one of the heroines who has most caught my attention.Julian Vigo (00:28:10):And especially in recent years — almost thirty years — the femicides and the disappearances of men and women. You are still fighting for your society, and I think literary words have the power to carry reality forward. I am thinking of La Noche de Tlatelolco — that was the first book of yours I read. It is incredible. I have no words. Thank you. It is one of the best books of the twentieth century, and I teach it. It is astonishing. Can you speak about why you began that work, and also for those listening now who do not know the history of what happened in Mexico?Elena Poniatowska (00:29:03):Well, in general I can tell you that I received letters from a prisoner in the jail — Jesús Sánchez García — and I began going to Lecumberri, which was called the Black Palace of Lecumberri. It was no palace — it was a prison with bars and cells. I asked permission from the prison director — I believe his name was Martín del Campo — and he gave it to me. That is how I went to gather life stories from men, and later, at the women's prison, from women who had nothing to do with my own life, who bore no resemblance to what I hadElena Poniatowska (00:30:03):lived or what I would go on to live.Elena Poniatowska (00:30:16):That was an enormous enrichment for me, and a knowledge of an unknown Mexico that also helped me understand MexicoElena Poniatowska (00:30:31):— a Mexico to which I owe a great deal.Elena Poniatowska (00:30:35):I think that everything I am I owe to the voice, and to the gift of their voice, that the poorest Mexicans gave me — those I was able to approach over years and years,Elena Poniatowska (00:30:52):going to the prison and sometimes going to their own very poor homes, called vecindades, which were located in the very neighbourhoods where the prisons were.Julian Vigo (00:31:11):How did you manage the pain and trauma of the testimonies you heard while assembling the book?Elena Poniatowska (00:31:22):Pain is not managed. To manage something is to seek something. Pain is simply assumed and lived. So the pain is in the words written in the book.Julian Vigo (00:31:46):And why did you choose the technique of a collage of voices rather than a linear, chronological narrative for this book?Elena Poniatowska (00:31:57):I have many other books that speak even of personal stories — books that contain much of biography.Julian Vigo (00:32:13):Yes, but it is very interesting how you wove those narratives together in this book. It is very beautiful, in fact.Julian Vigo (00:32:24):Was there any moment during the writing of La Noche de Tlatelolco when you felt fear or censorship?Elena Poniatowska (00:32:33):Well, there was always the dread of entering terrain unknown to me.Elena Poniatowska (00:32:40):Ultimately, I was educated —Elena Poniatowska (00:32:45):I spent time in the United States at a convent to be educated, not to become a nun — it was called the Sacred Heart Convent.Elena Poniatowska (00:33:03):When I came out I was speaking English. My mother tongue is French. And when I left there, my strongest desire was truly to know Mexico — the country I had arrived in at the age of ten, but in which I had received an educationElena Poniatowska (00:33:30):in both English and French, not in Spanish.Julian Vigo (00:33:36):More than fifty years later, what impact do you think that book has on the collective memory of young Mexicans today?Elena Poniatowska (00:33:48):Well, I think that is a question that should be put to them.Elena Poniatowska (00:33:55):What I can say is that I have receivedElena Poniatowska (00:33:59):a great deal of affection from young people — many come to find me at my home, and I give lectures and talks with some frequency. Remember that I am already 94 years old and have lost the use of my left eye, which prevents me from seeing well. So within my limitations,Elena Poniatowska (00:34:27):I remain in contact with the people who want to see me, which for me produces great enthusiasm and which I experience as great support.Julian Vigo (00:34:42):The book you wrote is something very specific — evidently about Mexico — but it is still a book with which everyone can identify. If we look around today, where there are acts of political repression in almost every country in the world in one form or another — and I know your books are translated into many languages — I wonder whether the power of La Noche de Tlatelolco came from the form of the narration itself, not only from the fact that you confronted the government, the police, and justice. You narrated a story of the people seeking justice, yes, but literature itself was also seeking truth within its pages. There are wars everywhere, there is too much sadness. After the lockdown — which was less bad in Mexico than here in Italy — we are living through a very difficult moment. Do you sometimes think of this book as a model for dialogue, for collaboration, for moving forward together, the people united?Elena Poniatowska (00:36:09):Well, what I love about this book is that it has so many voices — many voices gathered from mothers of families, from children of political prisoners. For me it was a great learning experience to go to the prison in Mexico and see a world I did not know, to be accepted in that world, to go frequently to hear and gather the voices of political prisoners and of young people whoElena Poniatowska (00:36:52):didn't even have strong political ideas but were imprisoned because they had stolen something in a market. It meant entering a world I was completely unfamiliar with,Elena Poniatowska (00:37:13):to which I did not belong. And it was an enormous lesson — a very generous lesson — in how the lives of others can be. That is what I have dedicated myself to over many years, because I remain a journalist and continue writing about disasters such asElena Poniatowska (00:37:39):not only the massacre of the 2nd of October, but what the earthquake of 1985 meant for Mexico and the loss, for many Mexicans, of their families and their homes.Julian Vigo (00:37:59):Yes. You documented the earthquake of ‘85 — a moment when the Mexican government was completely paralysed and it was civil society that took control to rescue the city.Julian Vigo (00:38:15):Do you believe that peoples are still alone in the face of tragedy, or is that organic solidarity you described an invincible force?Elena Poniatowska (00:38:29):Yes,Elena Poniatowska (00:38:29):of course.Elena Poniatowska (00:38:30):I believe — that is why I believe in the invincible force of Mexicans, who help and support each other, who run to answer a cry for help. They are the ones who save themselves by saving others. I believe in that truth. It is a truth I lived, that I witnessed,Elena Poniatowska (00:38:57):and for me it is a lesson, a way of life.Julian Vigo (00:39:03):Does it reflect the structural abandonment of the seamstresses, the inhabitants, those who live in vecindades, and the poorest?Julian Vigo (00:39:13):How did you manage, in the midst of the chaos, the dust, and the mourning of those days, to earn the trust of people so that they would share their most painful and raw testimonies?Elena Poniatowska (00:39:30):Well, I have two physical advantages.Elena Poniatowska (00:39:32):I am small in stature. I frighten no one. No one is afraid of me. I can go anywhere. I am not someone who imposes anything at all, and I know how to listen. So by listening to others' voices, I gather them, I keep them, I memorise them,Elena Poniatowska (00:40:03):and then I put them on paper.Elena Poniatowska (00:40:06):That is the most solitary and difficult moment — writing about what happens to others,Elena Poniatowska (00:40:21):their sorrows,Elena Poniatowska (00:40:22):their joys,Elena Poniatowska (00:40:24):their defeats and also their triumphs —Elena Poniatowska (00:40:28):and making books and articles from them. Because I am also a journalist sinceElena Poniatowska (00:40:38):1953. I am now 94 years old.Julian Vigo (00:40:47):You're listening to Savage Minds.Julian Vigo (00:40:49):If you're enjoying the show, take a second to subscribe at savageminds.co.Julian Vigo (00:40:54):Feel free to comment below or drop us a line to share your thoughts.Julian Vigo (00:40:59):Support independent media today.Julian Vigo (00:41:01):Now, let's get back to it.Julian Vigo (00:41:15):Many consider that the earthquake of ‘85 not only brought down buildings but also toppled the myth of the Mexican State's absolute control — marking the true birth of modern citizenship in the country.Julian Vigo (00:41:33):From your perspective as a chronicler —Elena Poniatowska (00:41:40):I think Mexicans have always had enormous character and enormous capacity to defend themselvesElena Poniatowska (00:41:49):in spite of their own poverty, or in spite of the total absence of outside help.Elena Poniatowska (00:42:02):There was in Mexico a Mexican Revolution,Elena Poniatowska (00:42:08):a country conquered by very cruel conquerors, and yet the country has continued to forge ahead and has continued to demonstrate its bravery and courage in allElena Poniatowska (00:42:28):circumstances — one of which was, for example, the earthquake, in which the neighbours themselvesElena Poniatowska (00:42:37):helped each other before the State or the so-called government did anything.Elena Poniatowska (00:42:46):So I think it is a country with many very brave men, women, and children who save themselves, who know how to look after themselves.Elena Poniatowska (00:43:03):Of course there are people who don't know how to do it, and there are people who sometimes end upElena Poniatowska (00:43:12):in prison or in hospital. But in general Mexico is a country of very solidary people, people who help each other and defend themselves.Julian Vigo (00:43:31):What I love about your books in general is that you give voice — you shed light on the lives that are forgotten.Julian Vigo (00:43:42):Do you feel that in this book, for example, or in Nadie Me Verá Llorar, the author's voice becomes more present or closer to her characters than in your earlier works?Elena Poniatowska (00:43:56):No,Elena Poniatowska (00:43:57):I think that element is present in all my works — in Hasta No Verte Jesús Mío, in the book about the 2nd of October, in the earthquake — and it is always present in everything I still do at the newspaper where I work. I am in a certain way a chronicler and aElena Poniatowska (00:44:21):participant in the lives of other Mexicans.Julian Vigo (00:44:27):And I also notice that many of your works are about women — Tinísima, the life of Tina Modotti, a woman who lived so many lives in one. Leonora. And I wanted to ask — before we get to those books — about Querido Diego Te Abraza Quiela. Why did you choose that subject? Not only Diego Rivera but his first wife.Elena Poniatowska (00:44:59):I was moved to learn that in Paris, Angelina Beloff had gone to Mexico to seeElena Poniatowska (00:45:12):Diego Rivera, whom she had supported in Paris. He had lived with her and had livedElena Poniatowska (00:45:22):off her, because she was the one with a salary. He was a very young painter withoutElena Poniatowska (00:45:33):money, without resources. She helped him. And when she went to Mexico, she had also hadElena Poniatowska (00:45:42):the only male child that Diego Rivera ever had, who died of cold in Paris. And when she decided to go to Mexico — in a sense, to get to know the country of her lover — she decided to go to the Palacio de Bellas Artes because she knew that heElena Poniatowska (00:46:11):would be there. And he walked right past her — past the seat, one of those red velvet seats in the Palacio de Bellas Artes, called butacas, in which she was sitting — he walked past and did not even recognise her.Elena Poniatowska (00:46:40):That story struck me deeply, and that is why I decided to write the small book —Elena Poniatowska (00:46:55):it is not a very long book —Elena Poniatowska (00:46:58):called Querido Diego, Te Abraza Quiela.Julian Vigo (00:47:00):In Tinísima, what was it that drew you to the life of Tina Modotti?Elena Poniatowska (00:47:08):In reality it came from a request to make a film. The cinematographerElena Poniatowska (00:47:17):Gabriel Figueroa told me that a film was going to be made about Tina Modotti, the Italian woman who had been in Mexico. So I began interviewing all the people who had knownElena Poniatowska (00:47:38):Tina Modotti. And even when I was invited to France for a conference, I had theElena Poniatowska (00:47:47):opportunity to go to Udine in Italy to meet and get to know the siblings of Tina Modotti —Elena Poniatowska (00:48:00):to see them, interview them, speak with them.Elena Poniatowska (00:48:05):Then when I was told that the film about Tina Modotti in Mexico was no longer going to be made because there was no money, I — who had gone at my own expense to that conference in France and another writers' conference inElena Poniatowska (00:48:37):Italy — decided to launch into writing the novel called Tinísima, because I hadElena Poniatowska (00:48:48):interviewed many old communists whom I had gone to visitElena Poniatowska (00:48:56):in their various homes — generally very modest, very poor homes.Elena Poniatowska (00:49:03):I did not want to let them down, and so the novel Tinísima was published.Julian Vigo (00:49:10):And to what extent does Tina Modotti represent the struggle of the woman artist in the twentieth century?Elena Poniatowska (00:49:19):To the extent that she commits herself —Elena Poniatowska (00:49:23):she takes photographs of Mexico alongside Edward Weston, and then goes alongsideElena Poniatowska (00:49:33):Commander Carlos of the Fifth Regiment to Spain — she goes to the Spanish Civil War and becomes a nurse, caring evenElena Poniatowska (00:49:52):on the ground for the bodies that had fallen on the earth before taking them to the Red Cross — giving them first aid and dedicating herself to saving lives,Elena Poniatowska (00:50:08):or helping to save lives. I believe that many soldiers did not die thanks to the care of this womanElena Poniatowska (00:50:19):who was in the trench following the doctors.Julian Vigo (00:50:25):You have said that the writer must be a bridge.Julian Vigo (00:50:29):Between what worlds do you think it is most necessary to build bridges — or should we be breaking bridges today?Elena Poniatowska (00:50:38):No, I think one should never break a bridge, for anything.Elena Poniatowska (00:50:42):I think one mustElena Poniatowska (00:50:45):communicate — that the most important thing in the life of any human being is dialogue. Peoples too must dialogue with others in order to know each other. I think Mexico must have a dialogue with the United States, and that many Mexicans who have returned fromElena Poniatowska (00:51:09):the United States because TrumpElena Poniatowska (00:51:12):did not want to receive them, has rejected them — well, they nevertheless had, with another nation or with the inhabitants of another nation, knowledge and dialogue.Elena Poniatowska (00:51:28):And that I believe is what is called,Elena Poniatowska (00:51:34):within Catholicism if you like, or within any religion by whatever name it may be called — that is human fraternity. The otherElena Poniatowska (00:51:50):is the one who exists and who awaits you and whom you must help, because perhapsElena Poniatowska (00:51:58):one day you will need him to extend a hand to you.Julian Vigo (00:52:05):Trump is certainly a character, but I see the situation as too tragic for Americans — the United States, still my country — because the reality is that a large part of the Western world has absolutely no idea of the immense cultural, intellectual, and spiritual richness of Mexico.Julian Vigo (00:52:30):For me, it's not only Trump —Julian Vigo (00:52:32):but Americans, Canadians, etc.Julian Vigo (00:52:35):know nothing about the sharpest chroniclers of this country. If you had to open the eyes of an international audience completely unaware of Mexico's depth, what would you say is the most valuable treasure of Mexican identity that the rest of the world is missing?Elena Poniatowska (00:53:01):Well, I must say that many North Americans have come and written about Mexico — anthropologists and sociologists. We have Oscar LewisElena Poniatowska (00:53:17):and many others who have written about the poorest Mexicans, starting in Tepoztlán, a city near Mexico City, following them to the vecindades in the city where they took refuge and found very modest work. So yes, there have been North AmericansElena Poniatowska (00:53:44):who have written about the richness and beauty of Mexico, and their books areElena Poniatowska (00:53:53):translated into Spanish and are admired and appreciated by Mexicans who are grateful that attention is paid to them. So one cannot say that no one who has come from outside has cared about Mexico — in archaeology, in anthropology, as well as figures like Frances Toor, who was a North American woman who created a magazineElena Poniatowska (00:54:39):called Mexico Today and wrote extensively about Mexican customs and lived in Taxco.Elena Poniatowska (00:54:41):For example, a certain William Spratling enriched himself personally but helped many Mexicans inElena Poniatowska (00:54:51):Taxco to learn how to work silver and sell silver. And still today many foreigners and tourists go to buy silver objectsElena Poniatowska (00:55:10):that come from a mine discovered by foreigners — and clearly alsoElena Poniatowska (00:55:20):plundered, one might say, by foreigners.Julian Vigo (00:55:30):Because not everything is entirely good or entirely bad. But I was referring to the fact that — as you know, having been in the United States and many other countries — Trump and far too many people insufficiently educated about Mexico think that all Mexicans want to invade the United States. But the reality is otherwise. In Mexico there was a great cinematic tradition, for example. Mexican cinema has greatly influenced Hollywood — not only today but throughout history. The Oscar statuette itself was modelled on the body of El Indio Fernández. People do not know the depth of Mexican philosophy. I am thinking of Sor Juana, who contributed so much to poetry, theatre, even science — if we think of her letter to Sor Filotea, who was actually Manuel Fernández de Puebla. That dialogue was very important. Western feminists know nothing of these exchanges between those two figures. But for me Mexico has an enormous and very important force in the history of philosophy, science, and feminism. And I am thinking of Octavio Paz's book on Sor Juana Inés de la Cruz, called Sor Juana Inés de la Cruz, or The Traps of Faith. You knew Paz closely. Did you have conversations with him about his perspective on this book — especially regarding the power dynamics of the Church and the silencing she suffered as an intellectual woman?Elena Poniatowska (00:58:09):No, but I think you are mixing very many topics into one question, and it isElena Poniatowska (00:58:18):difficult to answer you because you are speaking of very diverse things that evenElena Poniatowska (00:58:27):happened in different centuries.Elena Poniatowska (00:58:30):Sor Juana — there have always been in Mexico,Elena Poniatowska (00:58:34):before Octavio Paz, people who dedicated themselves to reading,Elena Poniatowska (00:58:40):studying, and getting to know Sor Juana Inés de la Cruz.Elena Poniatowska (00:58:45):I will not add more names to those you mentioned, but there are many studies and many Sor Juana scholars in Mexico, as well as at the University of SantaElena Poniatowska (00:59:01):Barbara, California, in Paris, in France —Elena Poniatowska (00:59:04):there are many studies on the great figures of Mexico — not only The Traps of Faith by the Mexican poet Octavio Paz. So these are studies that will continue and do continue. In California, for example, Sara Poot HerreraElena Poniatowska (00:59:32):is dedicated to studying Sor Juana Inés de la Cruz, along with many other scholars — I don't know if she is still living — whose name was Rivers. All of these are studies that have been carried out in Mexico and outside Mexico.Julian Vigo (00:59:55):No, I was asking specifically about Paz's book because you knew him and —Elena Poniatowska (01:00:03):I knew him,Elena Poniatowska (01:00:04):I admired him, and I also wrote about him. I have a book about him. I admired him,Elena Poniatowska (01:00:12):I knew him, his poetry dazzled me. And he is a man whom I have admired since getting to know him, and whom I also hold with affection.Julian Vigo (01:00:29):I asked about your relationship with him because sometimes it happens to me too — with other writers — one asks or someone asks me, “Why did you do that?” It is a dialogue. Because that book, The Traps of Faith, had something very important — not only for Mexico but it placed the image of Sor Juana before the world. Many people began to ask who this nun was because it is very important. I was asking about the presentation Paz gave of her — whether you had any dialogues with Paz from your own perspective.Elena Poniatowska (01:01:20):Well, yes, of course. But there were others who also spoke at great length about Sor Juana de la Cruz — other Mexicans before Octavio Paz, other Mexicans who, for example, also concerned themselves with indigenous peoples, such as a priest — Ángel María Garibay — who was also a Sor Juana scholar. So there are many studies on Sor Juana Inés de la Cruz and there are Sor Juana scholars in Santa Bárbara, for example, such as Doctor Sara Poot Herrera and others — a woman by the name of Rivers and many more.Julian Vigo (01:02:16):You have dedicated your life to listening and giving voice to those who have none, through the chronicle and literature.Julian Vigo (01:02:26):Today,Julian Vigo (01:02:27):with social media,Julian Vigo (01:02:28):it seems that everyone has a platform for opinions.Julian Vigo (01:02:32):But are we really listening?Julian Vigo (01:02:36):What happens to the power of the word when it becomes a constant noise, as in social media?Elena Poniatowska (01:02:45):I don't know.Elena Poniatowska (01:02:46):I suppose it loses efficacy.Elena Poniatowska (01:02:49):But that depends on the activity of each human being.Elena Poniatowska (01:02:58):There are people — elderly people, for example, people already old — for whom life,Elena Poniatowska (01:03:08):even in institutions, in care homes, means turning the television on from morning until night and being entertained — that is, entertained without making the least effort of criticism or thought in front ofElena Poniatowska (01:03:29):the television.Elena Poniatowska (01:03:31):I have seen that this has been very important in keeping the elderly calm andElena Poniatowska (01:03:41):allowing them to die little by little in institutions called health facilities, where they have thisElena Poniatowska (01:03:52):constant and rather sad entertainment. ButElena Poniatowska (01:03:59):as they say in Mexico: no hay de otra — there is no other option, or no other option has been found, or there are not enough people willing to dedicate themselves to attending to and caring for others. So I see it as an end of lifeElena Poniatowska (01:04:28):for an individual who was once a thinking individual, who knew how to act,Elena Poniatowska (01:04:37):who knew how to elevate himself,Elena Poniatowska (01:04:41):to become a better human being. And I find it sad.Julian Vigo (01:04:46):Today, and for twenty years now, I have noticed as a university professor that students are reading less and less. Today, with so-called artificial intelligence — so-called because intelligence it is not — students are not reading. How can literature or journalism restore the true value and depth of words when we are in a world full of social media, opinions, and videos of a cat doing something funny?Elena Poniatowska (01:05:31):Your question is very difficult because I don't have the answer.Elena Poniatowska (01:05:37):What I can say is that ultimately it depends on the teachers.Elena Poniatowska (01:05:44):It depends on students having a good teacher,Elena Poniatowska (01:05:49):because even I have seen in classes —Elena Poniatowska (01:05:54):in different classes —Elena Poniatowska (01:05:57):that many young people continue looking at their phones while the teacher is writing onElena Poniatowska (01:06:07):the board, or speaking, or giving a class.Elena Poniatowska (01:06:13):So we shall see whether the destiny of young people will depend on what theyElena Poniatowska (01:06:21):learn from their phone. I don't have a phone —Elena Poniatowska (01:06:27):I never bought one,Elena Poniatowska (01:06:28):never got one. Or whether they will be able to go beyond themselvesElena Poniatowska (01:06:37):and beyond above all what the phone wants to give you or teach you or not teach youElena Poniatowska (01:06:46):or distract you from — because ultimately it is a distraction. Yes.Julian Vigo (01:06:53):Writing something to share — in quotation marks — they are sharing nothing in the end. I have noticed that many people are sharing articles they have not read. Young people are embracing identity politics and cancel cultureJulian Vigo (01:07:16):in the absence of any engagement with material reality today.Julian Vigo (01:07:21):That is my fear —Julian Vigo (01:07:23):that the millennials,Julian Vigo (01:07:26):this generation of thirty-year-olds,Julian Vigo (01:07:31):are fixated on pronounsJulian Vigo (01:07:36):but do nothing to help their neighbour.Julian Vigo (01:07:41):They do nothing to fight for living wages.Elena Poniatowska (01:07:46):Well, not all of them.Elena Poniatowska (01:07:49):It's a generalisation, of course.Elena Poniatowska (01:07:54):But I think you are right.Elena Poniatowska (01:07:58):It is a generalisation, because in any case there are human beings who live for others.Julian Vigo (01:08:08):We are in two camps today, because during the lockdown I noticed that many people — even on the right — were fighting for the poor in the United States, where I published. I could not publish a single article questioning the lockdown. That is when I started Savage Minds, because I was asking: what is happening? I no longer recognise this world in which the left is pushing people not to speak. We weren't talking about the lockdown, and the right was speaking very openly. And I see that politically, left and right — there is no longer that dichotomy, so to speak.Elena Poniatowska (01:09:02):Yes,Elena Poniatowska (01:09:03):I thank you greatly for your interest and I thank you enormously for this conversation. I feel animated,Elena Poniatowska (01:09:11):I feel glad to hear what you are saying.Elena Poniatowska (01:09:19):But I do feel that,Elena Poniatowska (01:09:22):as you say,Elena Poniatowska (01:09:23):the speed,Elena Poniatowska (01:09:26):the pace of all events,Elena Poniatowska (01:09:29):the television —Elena Poniatowska (01:09:32):it sets critical thinking and reflection on events to one side,Elena Poniatowska (01:09:41):because everything must be immediate, mustn't it?Elena Poniatowska (01:09:46):That is to say, everything ends in a second. Even the deepest interests sometimes last onlyElena Poniatowska (01:09:56):a few — one might even think, as we say in Mexico,Elena Poniatowska (01:10:01):un ratito — just a little while. There is no continuity in ideas orElena Poniatowska (01:10:12):even in purposes. There is something we all know called habit, and each personElena Poniatowska (01:10:21):lives according to the habits they have established in order to keep going —Elena Poniatowska (01:10:28):to keep existing, if you will. To make it to night, fall asleep, and know that you will wake the following day. Or perhaps you won't wake, because — well, for example, IElena Poniatowska (01:10:45):am a person of 94 years old and I have no certainty that I will see the following morning. ButElena Poniatowska (01:10:55):what I do believe is thatElena Poniatowska (01:10:58):I believe in the innate goodness of every human being.Elena Poniatowska (01:11:03):I have to believe in it, because I need that hope.(01:12:02): Get full access to Savage Minds at www.savageminds.co/subscribe

Welcome to a new series of Mystery Quest where we're playing Mythic Bastionland by Chris McDowall. 'Seek the Myths. Honour the Seers. Protect the Realm...' Three Knights bound by solemn oath travel to the distant lands of Saltmere Reach, birthplace of their Mentor, sir Graeme to lay his body to rest. They ride at the behest of the mysterious seers whom guide the knights from the shadows in aide of a great collective purpose: to find and manifest the great City foretold in prophecy. Join: https://www.youtube.com/channel/UCd5_xAWJ4yX6NZ5cZaccqPw/join Community Discord: https://discord.gg/z2NW53APFa Merch: https://mystery-quest-shop.fourthwall.com/en-gbp Members and Patrons get $7 off your order - that's like a free membership along with your stylish new adventuring attire! Check out Mythic Bastionland: https://chrismcdee.itch.io/mythic-bastionland Podcast: https://www.pickaxe.uk/mystery-quest Patreon link: https://www.patreon.com/MysteryQuest Follow the Cast: Tom: @AngoryTom Dominic Allen:  @apocplayers  Danann McAleer: @apocplayers Harry: https://www.twitch.tv/hrry Editing & Sound Design: Oscar Henderson Thumbnail Art: Jack Bailey Learn more about your ad choices. Visit podcastchoices.com/adchoices

The sound of the water in a river in Wissahickon, Philadelphia. An episode in honour of organizers. Greg aka my dad learns that most of the time we call "activism" "organizing" now. We listen to an episode made by Yowei Shaw, the investigative journalist of emotion. Nicole is an organizer who's afraid to stop being angry. At the same time she is afraid NOT to stop being angry. Yowei connects Nicole with what she calls a "proxy"; someone who has experienced something similar. Lucky for us, this proxy is Deborah Gould, a member emeritus of the ICONIC gay rights organization: ACT UP. Happy pride month beautiesssss xoxoDonate to the guild (KP/the heart/mermaid palace) HERE. Learn about your ad choices: dovetail.prx.org/ad-choices

Award-winning actor Kristin Scott Thomas talks to John Wilson about her career and cultural influences. After a breakthrough role in the Evelyn Waugh film adaptation of A Handful Of Dust, she became a global star with Four Weddings and a Funeral in 1994. Two years later, was Oscar nominated for The English Patient directed by Anthony Minghella. Her screen roles in the years since have included Gosford Park, The Horse Whisperer and more recently Rebecca and on television, Slow Horses. She has just made her debut as a director and screenwriter with My Mother's Wedding, inspired by her real life family story. Her extensive theatre credits include Chekhov's The Seagull, for which she won an Olivier Award, and she played The Queen in Peter Morgan's drama The Audience. Kristin Scott Thomas has also enjoyed a distinguished stage and film career in France, where she was awarded the Legion of Honour in 2005. In 2014 she was made a Dame for services to drama. Producer: Edwina Pitman

Roslyn O'Callaghan from The Women of Honour

Rev. Tetteh Djangmah is the Senior Pastor of True Vine Charismatic Church Int.

Prince Edward and Sophie charm Lisbon aboard one of the city's famous yellow trams as they celebrate the six hundred and fortieth anniversary of the Treaty of Windsor. Back in Britain, Sophie faces a potential royal scheduling headache as Peter Phillips' wedding collides with Windsor Flower Show commitments. We also look at reports that five royal protection officers have been removed from duties at Kensington Palace following an internal investigation, Prince William honors a trusted member of his household staff, new claims that William is “fuming” over a reported Sarah Ferguson financial proposal, and reports that Queen Camilla is playing a key role in discussions surrounding Prince Andrew's future.Palace Intrigue is a daily British royal family podcast covering King Charles, Meghan Markle, Prince Harry, Kate Middleton and the House of Windsor. New episodes every day. Follow on Apple Podcasts, Spotify, or wherever you listen. Part of the Caloroga Shark Media network.

S.389 Honour The Law of Inheritance by Apostle Grace Lubega

S.389 Honour The Law of Inheritance by Apostle Grace Lubega

Listen to #Pulse95Radio in the UAE by tuning in on your radio (95.00 FM) or online on our website: www.pulse95radio.net ************************ Follow us on Social. www.instagram.com/pulse95radio www.facebook.com/pulse95radio

On the phone-in: We discuss the importance of lifelong learning with Kelly O'Neil and Maureen MacInnis. And off the top of the show, we hear why the Town of Annapolis Royal has removed cameras from council meetings. We also hear feedback from listeners about yesterday's show. And Pam Burton is retiring as the director of the Halifax Boys Honour Choir.

REWARDS OF HONOUR

HONOUR

Preached at THE ANOINTING & THE PRESENCE SERVICE, ANOINTED PEOPLE INTERNATIONAL. 

Elijah's ministry to Israel at a time of rampant backsliding is a challenge and an encouragement to us in the days of apostasy in which we live. But what drove Elijah? What was his abiding concern—his activating conviction? Reed S. Rusniak takes us to the heart of the prophet's motivations.  This week's article, the first of a projected six-part series in the print magazine, is from the June 2026 issue.    Featured resource:  Reed S. Rusniak, 'Standing for God (1): Elijah's Concern for the Honour and Glory of God,' Banner of Truth Magazine, Issue 753 (June 2026).    Explore the work of the Banner of Truth: www.banneroftruth.org Subscribe to the Magazine (print/digital/both): www.banneroftruth.org/magazine Leave us your feedback or a testimony: www.speakpipe.com/magazinepodcast

Welcome to the twelfth episode of our ongoing series: Fascism On Film. Each episode of this series, the Holmes Brothers look and review a film that has to do with fascism. During the episodes, the brothers look and see how the aspects and portrayal of fascism shown in the film relate to current and/or past events.On this Fascism on Film episode, the Holmes Brothers look at and discuss the political thriller The Manchurian Candidate, directed by John Frankenheimer and released in 1962 during the height of The Cuban Missile Crisis. This is the second John Frankenheimer film we have talked about in this series. The other film was Seven Days In May. The Manchurian Candidate stars Frank Sinatra, Laurence Harvey, Janet Leigh and Angela Lansbury. Laurence Harvey plays Raymond Shaw, a Korean War veteran who returns to America after receiving the Medal of Honour. During the war, him and his commanding officer Captain Bennett 'Ben' Marco (Sinatra) plus the rest of their platoon are captured by Soviet and Chinese soldiers. They were brainwashed and Shaw has been turned into a sleeper agent as part of a plot to overthrow the US government. Plagued by nightmares, Marco tries to uncover the plot before it is too late. Shaw's mother, Eleanor Iselin (Lansbury), is married to John Iselin. A senator whose career Eleanor is trying to manage. We hope you enjoy this episode and stay tuned for more episodes of this Fascism On Film series.Be sure to check out our Monument Valley Film on our YouTube Channel.Anders's screenwriter work can also be seen at work in the horror, car chase thriller Delivery Run, co-written with & directed by Joey Palmroos. The film has been released digitally and also in select cinemas in the US and the UK. In Finland it was released on Apple TV after finishing its limited cinema run and was the Number 1 film for multiple weeks. You can read a review about it here on the Fangoria website. The film is now available to watch in the other Nordic territories like Sweden, Oslo and of course Denmark. If you live in Denmark, you can watch the movie here on Apple TV by clicking this link.Follow us on our Instagram page. For obvious reasons, we are no longer on Twitter. You won't find us there. Perhaps we will make a BlueSky account, so keep an eye out for that.Follow our Letterboxd page where you can see what we were recommending to each other over the course of the Covid-19 Pandemic.Check out our blog and read Anders's recent review on David Lynch and Mark Frost's iconic TV show Twin Peaks.Also check us out on Letterboxd too!AndersAdam Hosted on Acast. See acast.com/privacy for more information.

In this passionate and deeply practical message delivered during the Founder's Day Celebration, Rev. Mordecai Takal explores the spiritual weight and necessity of honoring spiritual fathers. Drawing from the biblical example of Abishai defending David in 2 Samuel 21, Rev. Takal challenges believers to move beyond mere lip service and "eye service," teaching that true honor is a posture of the heart demonstrated through obedience, priority, and sacrifice. This sermon is a powerful wake-up call against the rising tide of dishonor and social media disrespect. Discover why your spiritual father is your defense, how honoring him unlocks a unique grace and canopy of safety over your life, and why every generation needs "Abishais" who will fiercely stand by and defend their spiritual leaders. Whether you are a church member, a junior pastor, or a senior leader, this message will reshape your understanding of loyalty and impartation. If this message blessed you, please leave a like, share it with someone who needs encouragement today, and subscribe to Adonai International Ministries - Ghana for more powerful kingdom teachings! Listen to audio sermons on podcast SERMONS: https://adonaiinternationalministries.podbean.com/ Connect with us Website: https://adonaiglobal.org Facebook: https://www.facebook.com/DueOrder

Episode 147 welcomes Corey into the Jungle, bringing the perspective of a content creator navigating an era where attention is currency and authenticity is constantly being tested. From building an audience to staying relevant in an ever-changing digital landscape, Corey opens up about his journey, the lessons he's learned along the way, and what it really takes to create content that connects with people beyond a quick scroll. The conversation explores the highs, the frustrations, and the reality of trying to build something meaningful in a world obsessed with going viral. The music segment delivers a little bit of everything. Lil Tjay's "They Just Ain't You" sparks discussion about heartbreak, moving on, and whether some people truly leave a lasting imprint on your life. Zeddy Will's "Party At The Beach" shifts the energy toward feel-good vibes and reminds the room that sometimes music is meant to be enjoyed without overthinking it. Giveon's BELOVED: Act 2 brings emotion back to the forefront, leading into a conversation about vulnerability, storytelling, and why some artists can make heartbreak feel universal. Toosii's "Proud of Me" resonates with themes of growth and validation, while the collaboration between Chris Brown and Leon Thomas gets everyone talking about vocal chemistry, artistry, and the evolution of modern R&B. The culture segment doesn't disappoint. Ice Spice once again finds herself dominating timelines, proving that the internet never stays focused on one thing for too long. Druski making history as one of the youngest hosts of the BET Awards sparks conversation about comedy, influence, and how creators are becoming major players in entertainment. And with the Knicks playing some of their best basketball in years, the room naturally turns into a mix of celebration, skepticism, and passionate sports debate about whether this run is finally the one fans have been waiting for. As always, the deepest conversations come when relationships hit the table. The squad debates whether you're obligated to take your partner's side during conflicts with family and friends, even when they're clearly in the wrong. Then comes a conversation about intimacy and initiative: should the person with the higher sex drive be expected to make the first move more often, or should pursuit stay balanced regardless of desire? Social media enters the discussion as the crew breaks down whether it's a problem when your partner starts following your friends back online, and whether harmless interactions can sometimes create unnecessary tension. Finally, the episode closes with a modern dating question that almost everyone can relate to: in today's world, are people more likely to find meaningful connections through social media, or does meeting someone face-to-face still hold an advantage that the internet can't replicate? Episode 147 is funny, insightful, and packed with the kind of conversations that blur the line between entertainment and real life. From content creation and music to sports and relationships, this is another reminder that nothing stays off-limits once you step into the Jungle. Welcome back to the Jungle. — Subscribe: YouTube.com/@JSCNetwork_ Follow: @thejunglesquadcast Ape Loso – @apeishere_ Rad – @radical_jl Rahh – @_rahhbanks Guest: Corey #JungleSquadCast #Episode147 #Corey #ContentCreator #Giveon #Toosii #ChrisBrown #LeonThomas #Druski #Knicks #RelationshipTalk #PodcastCulture #UnfilteredConversations

Matti Friedman is an award-winning journalist and columnist at The Free Press. He joins the show to discuss his latest book, Out of the Sky: Heroism and Rebirth in Nazi Europe. Whom were the Zionist Jews fighting on behalf of the British during World War II? What happened to the legendary Zionist figure Hannah Senesh? And how did a war story without battlefield success help give birth to a nation? 01:45 - The scene in British Mandate Palestine 07:30 - British MI9 unit 07:38 - Jewish military units 08:41 - Rescue missions into Europe 14:21 - Secret meeting in Tel Aviv 17:29 - Palestinian Jews' view of European Jewry 21:51 - Hannah Senesh 24:46 - Parachuting technology in WWII 26:44 - Sword of Honour trilogy 29:48 - Discrimination against Jewish agents in Europe 32:54 - Chaos at the end of WWII 34:13 - Hannah Senesh's doomed mission 43:10 - The escape of Hannah's mother 47:43 - The importance of heroes and myths 49:06 - Understanding Zionism  Follow along on Instagram, X @schoolofwarpod, and YouTube @SchoolofWarPodcast Find more at The Free Press. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this edition of the podcast, Canon Angela Tilby talks about her new book, Good Faith: Why England needs its Church (Hodder & Stoughton), which is available to buy at the Church House Bookshop. https://chbookshop.hymnsam.co.uk/books/9781399801638/good-faith Canon Tilby is Canon Emeritus of Christ Church Cathedral, Oxford, and a Canon of Honour at Portsmouth Cathedral. She is also a regular contributor to BBC Radio 4's Thought for the Day, as well as a weekly columnist for the Church Times. The book “seeks to reclaim what is unique about the Church of England — a church which claims to be ‘part of' the one, holy Catholic Church — and its role in our national life, and how a deeper understanding of Christian faith can still be passed on through it to the English people”. Picture credit: KT Bruce Music for the podcast is by Twisterium. Try 10 issues of the Church Times for £10 or get two months access to our website and apps, also for £10. Go to www.churchtimes.co.uk/new-reader

Che Fu took the stage at the Aotearoa Music Awards last night, accepting his induction into the New Zealand Music Hall of Fame. The award was given to him by one of his own heroes, Adijah's Betty-Anne Hall. Che Fu spoke to John Campbell.

Today, I had to bring my friend H.K. Domino onto the podcast for a deep-dive conversation surrounding Drake and the speculation around projects like Iceman, Maid of Honour, and Habibti. The discussion connects the themes behind those albums with the aftermath of the highly publicized feud with Kendrick Lamar, while asking the bigger question: what's really next for Drake creatively, mentally, and culturally? The conversation shifts into the current state of hip-hop and whether vulnerability in music has become Drake's greatest strength.We break down how his ability to express emotion, relationships, fame, pressure, and personal battles continues to separate him from many artists in today's landscape. From there, we explore how the music industry is evolving, the power of fan perception, and whether legendary figures like Jay-Z could still shake the culture with another album release. YouTube: https://linktw.in/MiUYrA

This Week on the Brunch Breakdown Podcast: What Skills Do You Have That Are Useless in 2026? Dan Who needs a 24 Team College Football Playoff? DD thinks Drake's "Maid of Honour" is the Album of the Summer, Dan Wants Medieval Times to have better Food, Brunch Court (ft. Ketchup Slices), and MORE! See Yinz at the Table for another Delicious BRUNCH! Thank You For Listening and Reviewing! Check out the SOUNDS OF BRUNCH Playlist on Spotify! WATCH Full Episodes of the @BrunchBreakdown Podcast on YouTube, Spotify, & Facebook. LISTEN on AMAZON, Audible, Spotify, Apple, and Everywhere You Get Your Podcasts. FOLLOW us on Twitter, Instagram, TikTok, and GoodPods!

What would happen to Earth if Jupiter stopped rotating? Neil deGrasse Tyson and Chuck Nice answer a grab bag of fan questions about the challenges with space telescopes, the nature of AI, and whether aliens are funny.  NOTE: StarTalk+ Patrons can listen to this entire episode commercial-free here:  https://startalkmedia.com/show/cosmic-queries-from-wine-to-wormholes/ Thanks to our Patrons Vail Stein, Aylin Anik, Neil Graham, EZChamp OSU, M Warth, Tanner Chiplis, SeeLive, Atlas, Ajamu, Frank Rizzo, Antoinette Watson, Beautiful Nightmare, David Vi…Vail Stein, Aylin Anik, Neil Graham, EZChamp OSU, M Warth, Tanner Chiplis, SeeLive, Atlas, Ajamu, Frank Rizzo, Antoinette Watson, Beautiful Nightmare, David Villegas, Juan Molina, Sean M. Garzee, Thiru, Madeleine Hewitt, Shanleigh McStay, Tony, Patrick, Honour, Arthur Rits, Charles Harston, Maciej Palicki, Lisa Battersby, David Trotter, Reggie B, Loren Loose, Kbobabob, Michelle Barr, Garreth Walker, Frklox, Jesse, Dankslippers, Heather Adams, Max Savage, Sara Vienna, Lorrin Suzawa, William Cooney, Hector, Daniel Durling, Mark McDonald, Brian Hartman, Sir Harold, Frank Sarcia, Barbara Mathews, Salem Geddings, Harry Powell, Green Go OG22, Henry Vestgård Pettersson, Osemoka, ADK_Astro, Stephen Chapman, Koji Shimada, Kerry NC, Adam Wiley, Justin Ash, Gregory K, Martin, Tyler Reinthaler, Nameria ✨, Mantas Gervinas, Lilsprite, Devou Patel, Decath1111, Danny Rectenwald, Grey Elerson, Fawaz Al-Daihani, Robert Santee, Isabel McCaffrey, Harvey Mushman, Felix, Waffle Head, Vikk, Kiara, Brian Yambao, Alex Cook, Ayeshrin, Jalun Armenta, M Frank, Steven Groves, Matthew Isen, Abdulrahman, Jessica Hewitt, Fabricio, Emcy Tech, Terence Garrod, George Straubing, Dan Leidal, Matthew Christophers, Nocte, Anthony Fenner, Tina Gallagher, Abe Massry, Paul Kulessa, Léo B, Fenyx, Kevin, Adam Jones, and Brett Ray for supporting us this week. Subscribe to SiriusXM Podcasts+ to listen to new episodes of StarTalk Radio ad-free and a whole week early.Start a free trial now on Apple Podcasts or by visiting siriusxm.com/podcastsplus. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Canada's favorite export Drake is back! This month, the Toronto singer-rapper extraordinaire released three albums simultaneously: the long-anticipated return to form Iceman, the sultry, R&B Habibti and the pop-focused, clubby Maid of Honour. All three albums have much different vibes, and are Drake's first official solo efforts since his seismic beef with Kendrick Lamar back in 2024. There's a lot of music to talk about. As a result, Reanna argues that we are living in an era of “Drake Slop” – low-effort, mass-produced dumps of music, often with confused intentions. On this episode of Switched on Pop, Reanna, Charlie, and Nate explore all that these three albums have to offer, and try to figure out exactly what is going on in the twisted mind of Aubrey Graham.  Links: ⁠Newsletter⁠, ⁠YouTube Songs discussed: Drake – Shabang Kendrick Lamar – Not Like Us Drake – Circadian Rhythm Drake, Central Cee – Which One Drake – NOKIA Drake – Make Them Cry Drake – Janice STFU Drake – Make Them Pay Drake, Future, Molly Santana – Ran To Atlanta Future, Metro Boomin, Kendrick Lamar – Like That Drake – 2 Hard 4 The Radio YG, Slim 400 – Word Is Bond Mac Dre – 2 Hard 4 the Fuckin' Radio Drake – Rusty Intro Rihanna, Kanye West, Paul McCartney – FourFiveSeconds Drake – High Fives Drake – Tuscan Leather Drake – Classic Drake – Teenage Fever Drake, Sexyy Red – Cheetah Print Drake, Sexyy Red, SZA – Rich Baby Daddy Afrika Bambaataa, The Soulsonic Force – Planet Rock Drake – BBW Queen – Fat Bottomed Girls Drake – Princess A$AP Rocky – PUNK ROCKY Drake – Find Your Love Learn more about your ad choices. Visit podcastchoices.com/adchoices

And now, we'll hear a few rousing words from our Breast Man... WE ARE SO BACK! Welcome to deeeeluxe hour of Thot Topics excellence brought to you by Aubrey Graham of Toronto, Canada. There's so much to discuss, so whatcha waitin' for? This week, we discuss DRAKE DERANGEMENT SYNDROME, and issue our highly valued gay male opinion on RAP MUSIC. Maid of Honour and the other ones... so many thoughts to be shared. Plus, Nick recaps his ICELANDIC ADVENTURE and issues a state of the union address regarding his thoughts on America after a time away. That's not all though: we also chat about the new Charli XCX single ROCK MUSIC: whether or not it's a sign of good things to come, or if we have really lost our girl in the depths of the sauce. Follow the girls on Twitter @VLRTUALBOY and @YOURE2BASIC, and the official pod Insta @th0tstarsxo. Donate to Kendrick Lamar's NAMBLA initiative on Patreon.

This was supposed to be a match review.Instead, it became something else.Arsenal closed the Premier League season with victory away at Crystal Palace — but the football quickly gave way to reflection, celebration and everything that came with finally seeing the trophy lifted after a twenty-two-year wait.  Elliot and Justin react to the final day atmosphere, the guard of honour at Selhurst Park, the celebrations in North London and the emotions of finally watching this Arsenal side complete the journey. There's discussion on the trophy presentation, the symbolism of seeing ownership hand over the title, Martin Ødegaard's moment as captain and the scenes shared across the Arsenal fanbase worldwide.  On the pitch, there is still a game to review.The lads work through Mikel Arteta's heavily rotated starting XI, discuss Martin Zubimendi's surprise role at right back, look at Max Dowman's involvement and reflect on Gabriel Jesus marking the day with a goal in what could prove to be one of his final Premier League starts for Arsenal. The performance itself is unpacked through the lens of freedom, rotation and whether anything meaningful can actually be learned from football played after the title is already secured.  There's also reflection on the moments behind the moments — player leadership, the conversations that helped carry the squad through difficult periods, the significance of lifting the trophy after years of near misses, and what this achievement means for the club's future rather than simply its past.  And finally, one image, one quote and one feeling.Standing there together.Standing in our dreams.Chapters:(00:00) - Arteta's Non-Negotiables & Intro(00:18) - Match Review Setup & Champions Reflection(00:58) - Guard of Honour & Final Day Atmosphere(03:07) - Trophy Lift Emotions & Watching Arsenal Become Champions(06:15) - Kroenkes Deliver the Trophy & Symbolism Discussion(07:58) - Arteta's Entrance & Trophy Presentation(09:33) - Ødegaard Lifts the Trophy & Celebration Moments(10:41) - Favourite Celebration Scenes & “We Are Unbearable”(12:18) - Starting XI Reaction & Rotation Discussion(13:14) - Max Dowman Impressions & Christian Nørgaard Start(13:58) - Martin Zubimendi at Right Back Debate(15:53) - Midfield Selection & PSG Thoughts(18:50) - Gabriel Jesus Goal, Captaincy & Future Discussion(22:07) - Arsenal's Freedom, Match Context & Performance Reflection(23:47) - Palace Push Back & Closing Match Moments(25:42) - Match Stats & Control Analysis(28:30) - Post-Match Scenes Around North London(30:30) - Global Arsenal Celebrations & Fan Connection(32:29) - Mikel Arteta's Trophy Lift Reflections(34:02) - Josh Kroenke, Belief & What Comes Next(38:51) - Martin Ødegaard's Journey to the Title(41:10) - Declan Rice, Player Meetings & Leadership Voices(44:36) - Bukayo Saka, Perspective & “Standing In Our Dreams”(47:35) - PSG Question & Looking Towards the Final(49:22) - Outro & Champions Sign Off

Max Rushden is joined by Barry Glendenning, Barney Ronay, Jonathan Wilson and Jacob Steinberg to discuss the final day of the Premier League season. Help support our independent journalism at theguardian.com/footballweeklypod. Watch us on YouTube: https://www.youtube.com/@FootballWeeklyPodcast

On this episode, Harry Symeou reacts to Arsenal's win at Crystal Palace on the final day. We reflect on a beautiful day of celebrations as the capital turned red, from Selhurst Park to Emirates Stadium the streets were lined with joyous Gooners. And as for the trophy lift, it was magical - even more beautiful than I expected. We'll relive it all on today's episode of the podcast. Donate to Gooners vs Cancer here: https://goonersvcancer.com/ To sign up as a Patreon, get additional episodes, ad-free episodes and become a part of our discord server, click the link below: https://patreon.com/thechroniclesofagooner?utm_medium=unknown&utm_source=join_link&utm_campaign=creatorshare_creator&utm_content=copyLink Listen to 'The Rise of Pafos FC' on Apple podcasts or Spotify: https://podcasts.apple.com/us/podcast/the-rise-of-pafos-fc-with-harry-symeou/id1334407316?i=1000746012823 #arsenal #afc #premierleague

Linktree: ⁠https://linktr.ee/Analytic⁠Join The Normandy For Ad-Free NME, Additional Bonus Audio And Visual Content For All Things Nme+! Join Here:⁠ ⁠⁠https://ow.ly/msoH50WCu0K⁠Analytic Dreamz breaks down Drake's surprise triple-album drop on May 15, 2026, with ICEMAN, Maid of Honour, and Habibti simultaneously released to fulfill his Universal Music Group contract obligations. In this segment, Analytic Dreamz examines the projected first-week numbers: ICEMAN aiming for 480k–520k units, Maid of Honour 115k–135k, and Habibti 110k–130k, for a combined total of roughly 705k–785k units. We analyze the potential historic Billboard 200 achievement of occupying #1, #2, and #3 simultaneously under modern chart rules, and how this compares to past milestones by Taylor Swift and Kendrick Lamar.Analytic Dreamz also explores the business side: Drake's transition after completing the UMG deal while the label retains his valuable catalog, plus reports on his ongoing struggle to sell his $75 million Beverly Hills mansion amid rising mortgage rates and a cooling luxury market.Join Analytic Dreamz for a full breakdown of Drake's strategic dominance in the streaming era and what it means for his next chapter.Privacy & Opt-Out: https://redcircle.com/privacy

Linktree: ⁠⁠⁠⁠https://linktr.ee/Analytic⁠⁠⁠⁠Join The Normandy For Ad-Free NME, Additional Bonus Audio And Visual Content For All Things Nme+! Join Here:⁠⁠⁠⁠ ⁠⁠https://ow.ly/msoH50WCu0K⁠⁠⁠⁠ Analytic Dreamz breaks down Drake's surprise triple-album drop on May 15, 2026, with ICEMAN, Maid of Honour, and Habibti simultaneously released to fulfill his Universal Music Group contract obligations. In this segment, Analytic Dreamz examines the projected first-week numbers: ICEMAN aiming for 480k–520k units, Maid of Honour 115k–135k, and Habibti 110k–130k, for a combined total of roughly 705k–785k units. We analyze the potential historic Billboard 200 achievement of occupying #1, #2, and #3 simultaneously under modern chart rules, and how this compares to past milestones by Taylor Swift and Kendrick Lamar.Analytic Dreamz also explores the business side: Drake's transition after completing the UMG deal while the label retains his valuable catalog, plus reports on his ongoing struggle to sell his $75 million Beverly Hills mansion amid rising mortgage rates and a cooling luxury market.Join Analytic Dreamz for a full breakdown of Drake's strategic dominance in the streaming era and what it means for his next chapter.Privacy & Opt-Out: https://redcircle.com/privacy

Cole is joined by The Ringer's Charles Holmes and Justin Sayles to discuss Drake's three-album release stunt. They speculate on the strategy behind the 43-song drop before diving into ICEMAN's music and lyrics. Finally, they discuss Habibti and Maid of Honour, ending the conversation by wondering where Drake will go next. Host: Cole Cuchna Guests: Charles Holmes, Justin Sayles Editor: Kevin Pooler Engineer: Sarah Reddy Learn more about your ad choices. Visit podcastchoices.com/adchoices

On this special live episode, Joe and Jon react to Drake's new albums – "Iceman," "Habibti" and "Maid of Honour." They unpack the rapper's decision to release 43 tracks at once, the bars aimed at Kendrick Lamar and other adversaries and the strongest moments of sonic experimentation across the three projects.   Watch the episode here. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

The US and Chinese presidents meet face to face in Beijing for a much anticipated summit. Ahead of the talks, Xi Jinping told Donald Trump that the two countries should be "partners, not rivals". In response, President Trump described Mr Xi as a "great leader" and said the relationship between the superpowers will be "better than ever before". However, thorny subjects will be addressed during the talks, including tariffs, competition over tech, the Iran war and Taiwan. Also: The United Arab Emirates has denied a claim by Israel's prime minister that he secretly visited the country during the war with Iran. The man tasked with implementing President Trump's peace plan for Gaza says Hamas can survive as a political movement - but only if it gives up its weapons. And the disgraced lawyer, Alex Murdaugh, who was convicted of killing his wife and son in a high profile US murder trial that was the subject of a TV series, has his verdict overturned.The Global News Podcast brings you the breaking news you need to hear, as it happens. Listen for the latest headlines and current affairs from around the world. Politics, economics, climate, business, technology, health – we cover it all with expert analysis and insight. Get the news that matters, delivered twice a day on weekdays and daily at weekends, plus special bonus episodes reacting to urgent breaking stories. Follow or subscribe now and never miss a moment. Get in touch: globalpodcast@bbc.co.uk