Podcasts about John Gay

The Shakeout Podcast returns with a special Boston Marathon-edition of The Rundown, featuring Canadian Olympian and 2025 Boston Elite-field competitor Rory Linkletter.This week on the show, Rory joins host John Gay to discuss his training leading into Boston, and what makes the 129-year old event like no other marathon in the world.As part of this Rundown episode, John is also joined by first-time guests Paula Roberts Banks and Kristian Jamieson, two 2025 Boston Qualifiers who share their unique perspectives on the marathon and it's importance to Canadians.TIMELINERory Linkletter - 2:00 @rory_linkletterPaula Roberts Banks - 24:43 https://www.paulabanks.caKristian Jamieson - 36:49 @kristian.j1Subscribe to The Shakeout Podcast feed on Apple and Spotify or wherever you find your podcasts.

The return of the Rundown! In this special edition of The Shakeout Podcast, host John Gay is joined by Canadian Running staff writers Cameron Ormond and Marley Dickinson to recap an exciting winter of racing on the indoor oval and set the stage for the fast-approaching spring season on the track and roads.2025 got off to a flying start and the team at CR takes you through their favourite moments thus far, from Canadian dominance at NCAAs to Sarah Mitton's title defence at the World Indoor Championships and Evan Dunfee's incredible new World record.With a full slate of pro meets and marathon majors coming up, Cami, Marley & John also break down some of the biggest storylines heading into the Spring, including which Canadian's to keep an eye on along the road to the World Athletics Championships in Tokyo this summer. 

9-9:30am Rob Roper updates listeners on the stalemate in the legislature on energy, taxes, and affordability and how the inaction is impacting Vermonters9:30-10am Rep Zak Harvey joins the show to discuss legislative priorities and the current status of key policy priorities for lowering costs10-10:30 John Gay, Executive Director of the John Quincy Adams Society, discusses the recent tensions with Ukraine, a path to peace, and a new world order in foreign policy10:30-11am John Reynolds, State Director for National Federation for Independent Business (NFIB), informs listeners how his organization helps small business, the economic outlook for VT, and how we can improve VT's business climate

The Shakeout Podcast is back with new host, Olympic Finalist and multiple time Canadian Champion John Gay. In his inaugural episode John is joined by Canadian Running Staff writer Marley Dickinson to discuss the return of the Podcast,  recap his recent career highlights, and give a sneak preview of what listeners can expect in the next chapter of the Shakeout!Subscribe to The Shakeout Podcast feed on Apple, Spotify, SoundCloud, or wherever you find your podcasts and follow @canadianrunning and @shakeoutpodcast for more storytelling from the running world.

Eighteenth century prison break artist and folk hero Jack Sheppard is among history's most frequently adapted rogues: his exploits have inspired Daniel Defoe, John Gay, Bertolt Brecht, and most recently, Jordy Rosenberg, whose first novel, Confessions of the Fox (2018), rewrites Sheppard as a trans man and Sheppard's partner Bess as a South Asian lascar and part of the resistance movement in the Fens. Rosenberg embeds the manuscript tracing their love story within a satirical frame narrative of a professor whose discovery of it gets him caught up in an absurd and increasingly alarming tussle with neoliberal academic bureaucracy and corporate malfeasance. Jordy is joined here by Annie McClanahan, a scholar of contemporary literature and culture who describes herself as an unruly interloper in the 18th century.  Like Jordy's novel, their conversation limns the 18th and 21st centuries, taking up 18th century historical concerns and the messy early history of the novel alongside other textual and vernacular forms, but also inviting us to rethink resistance and utopian possibility today through the lens of this earlier moment. Jordy and Annie leapfrog across centuries, reading the 17th century ballad “The Powtes Complaint” in relation to extractivism and environmental justice, theorizing the “riotous, anarchic, queer language of the dispossessed” that characterizes Confessions of the Fox as a kind of historically informed cognitive estrangement for the present, and considering the work theory does (and does not) do in literary works and in academic institutions. Mentioned in this Episode Peter Linebaugh, The London Hanged John Bender, Imagining the Penitentiary Dean Spade Samuel Delany's Return to Nevèrÿon series (Tales of Nevèrÿon, Neveryóna, Flight from Nevèrÿon, Return to Nevèrÿon) Samuel Richardson's Pamela Sal Nicolazzo Greta LaFleur “The Powtes Complaint,” first printed in William Dugdale's The history of imbanking and drayning of divers fenns and marshes, both in forein parts and in this kingdom, and of the improvements thereby extracted from records, manuscripts, and other authentick testimonies (1662) Fred Moten Saidiya Hartman Jordy Rosenberg, “Gender Trouble on Mother's Day” and “The Daddy Dialectic” Amy De'Ath, “Hidden Abodes and Inner Bonds,” in After Marx, edited by Colleen Lye and Christopher Nealon Aziz Yafi, “Digging Tunnels with Pens” Jasbir Puar 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

Eighteenth century prison break artist and folk hero Jack Sheppard is among history's most frequently adapted rogues: his exploits have inspired Daniel Defoe, John Gay, Bertolt Brecht, and most recently, Jordy Rosenberg, whose first novel, Confessions of the Fox (2018), rewrites Sheppard as a trans man and Sheppard's partner Bess as a South Asian lascar and part of the resistance movement in the Fens. Rosenberg embeds the manuscript tracing their love story within a satirical frame narrative of a professor whose discovery of it gets him caught up in an absurd and increasingly alarming tussle with neoliberal academic bureaucracy and corporate malfeasance. Jordy is joined here by Annie McClanahan, a scholar of contemporary literature and culture who describes herself as an unruly interloper in the 18th century.  Like Jordy's novel, their conversation limns the 18th and 21st centuries, taking up 18th century historical concerns and the messy early history of the novel alongside other textual and vernacular forms, but also inviting us to rethink resistance and utopian possibility today through the lens of this earlier moment. Jordy and Annie leapfrog across centuries, reading the 17th century ballad “The Powtes Complaint” in relation to extractivism and environmental justice, theorizing the “riotous, anarchic, queer language of the dispossessed” that characterizes Confessions of the Fox as a kind of historically informed cognitive estrangement for the present, and considering the work theory does (and does not) do in literary works and in academic institutions. Mentioned in this Episode Peter Linebaugh, The London Hanged John Bender, Imagining the Penitentiary Dean Spade Samuel Delany's Return to Nevèrÿon series (Tales of Nevèrÿon, Neveryóna, Flight from Nevèrÿon, Return to Nevèrÿon) Samuel Richardson's Pamela Sal Nicolazzo Greta LaFleur “The Powtes Complaint,” first printed in William Dugdale's The history of imbanking and drayning of divers fenns and marshes, both in forein parts and in this kingdom, and of the improvements thereby extracted from records, manuscripts, and other authentick testimonies (1662) Fred Moten Saidiya Hartman Jordy Rosenberg, “Gender Trouble on Mother's Day” and “The Daddy Dialectic” Amy De'Ath, “Hidden Abodes and Inner Bonds,” in After Marx, edited by Colleen Lye and Christopher Nealon Aziz Yafi, “Digging Tunnels with Pens” Jasbir Puar Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

The complete audiobook is available for purchase at Audible.com: https://n9.cl/p5lhm Epistle to Dr Arbuthnot Being the Prologue to the Satires By Alexander Pope Read by Denis Daly John Arbuthnot (1675-1735) was an eminent physician, scholar, satirist, and an intimate friend of Pope, John Gay, and Jonathan Swift. "He has more wit than we all have," said Swift; "and more humanity than wit." This very clever and highly-polished epistle to Dr Arbuthnot (also entitled the "Prologue to the Satires"), who was suffering from terminal illness, dates from 1734. Arbuthnot, from his deathbed, solemnly advised Pope to moderate his satire and expressed fear about the poet's personal safety from his numerous foes. Pope replied in a manly but self-defensive style. He is said at this time to have in his walks carried arms, and taken a large dog as a protector, but none of the purported enemies ever had the courage to attack him. The poem takes the form of a dialogue in which Pope vents at length about being publicly misrepresented and also taken advantage of by publishers and critics and Arbuthnot provides occasional rejoinders urging caution and moderation.

Jonathan Swift's enduring satire Gulliver's Travels was first published on October 28, 1726 - though the true identity of the book's author was concealed from readers. A spoof of Daniel Defoe's popular Robinson Crusoe, the novel bleakly satirised British society, colonialism, and the monarchy, shocking as many readers as it entertained. In this episode, Arion, Rebecca and Olly reveal the tale's rebellious origins in Swift's social oeuvre; consider why children still relate to (abridged versions of) this highly specific political satire; and explain why Swift's creation lead directly to Yahoo! Mail…  Further Reading: • ‘Why Jonathan Swift wanted to ‘vex the world' with Gulliver's Travels' (The Conversation): https://theconversation.com/why-jonathan-swift-wanted-to-vex-the-world-with-gullivers-travels-94972 • 'Letter to Jonathan Swift' (John Gay, 1726): https://walleahpress.com.au/communion8-John-Gay.html • ‘Gulliver's Travels' (Paramount, 1939): https://www.youtube.com/watch?v=rehNT9wIjUg Love the show? Support us!  Join 

Tim Walz's "accomplishments" defy comprehension. Minnesota expert Liz Collin of Alpha News discusses Walz's appalling record of Covid corruption, riot enabling, anti-white discrimination, stolen valor, and more. Plus, John Gay explains what's going on in the Middle East while America is without a president. Could Americans wake up to find themselves suddenly find itself embroiled in World War 3?Support the show: http://www.charliekirk.com/supportSee omnystudio.com/listener for privacy information.

Tim Walz's "accomplishments" defy comprehension. Minnesota expert Liz Collin of Alpha News discusses Walz's appalling record of Covid corruption, riot enabling, anti-white discrimination, stolen valor, and more. Plus, John Gay explains what's going on in the Middle East while America is without a president. Could Americans wake up to find themselves suddenly find itself embroiled in World War 3?Support the show: http://www.charliekirk.com/supportSee omnystudio.com/listener for privacy information.

In The Beggar's Opera we enter a society turned upside down, where private vices are seen as public virtues, and the best way to survive is to assume the worst of everyone. The only force that can subvert this state of affairs is romantic love – an affection, we discover, that satire finds hard to cope with. John Gay's 1727 smash hit ‘opera', which ran for 62 performances in its first run, put the highwaymen, criminal gangs and politicians of the day up on stage, and offered audiences a tuneful but unnerving reflection of their own corruption and mortality. Clare and Colin discuss how this satire on the age of Walpole came about, what it did for its struggling author, and why it's an infinitely elusive, strangely modernist work.This is an extract from the episode. To listen in full, and to all our other Close Readings series, sign up:Directly in Apple Podcasts: https://apple.co/3pJoFPqIn other podcast apps: lrb.me/closereadingsColin Burrow and Clare Bucknell are both fellows of All Souls College, Oxford.Get in touch: podcasts@lrb.co.uk Hosted on Acast. See acast.com/privacy for more information.

In this heartwarming episode of The ROCC Pod, we delve into the harmonious world of the Cantata Academy Chorale. Join hosts John Gay and Lisa Bibbee as they explore the musical and personal connections that make this ensemble more than just a choir—it's a family. Our special guests, conductor Susan Catanese and board president Maggie Reese, share their stories of love, music, and community that resonate through the group's performances.Maggie reveals her own love story that blossomed within the choir's ranks, and the conversation takes a thrilling dive into her bucket list adventures, including skydiving. We also get a glimpse into Susan's journey from a piano-playing child to a beloved conductor, and her plans for a harmonious retirement.The episode crescendos as we discuss the upcoming concert season, with its theme "Tomorrow Comes," reflecting the enduring spirit of the chorale and its members. We learn about the choir's impressive history, including international tours and their connection with the Royal Oak Chamber of Commerce.As the chorale faces a transition with Susan's retirement, we uncover the excitement and anticipation for the future. With auditions on the horizon and a legacy of excellence, the Cantata Academy Chorale is poised to continue its tradition of exceptional choral music.Whether you're a long-time supporter or new to the wonders of choral music, this episode is a testament to the power of community and the arts in Royal Oak.Remember to subscribe to The ROCC Pod for more stories that strike a chord in the heart of Royal Oak's vibrant community.Cantata Academy Chorale Website: https://www.cantataacademy.org/ Learn more about the Royal Oak Chamber of Commerce: https://www.royaloakchamber.com/Connect with our hosts:Jon Gay from JAG in Detroit Podcasts - http://www.jagindetroit.com/Lisa Bibbee from Keller Williams - http://soldbylisab.com/

Reciban un cordial saludo. Desde Cali (Colombia), les habla Sergio Luis López, compartiéndoles un nuevo episodio de "Así la escuché yo..." Una de las canciones más representativas del género Salsa y de la carrera artística del cantautor panameño Rubén Blades es sin duda alguna “Pedro Navaja”, la cual se publicó inicialmente en el emblemático álbum “Siembra” de 1978, grabado por la exitosa dupla que Blades conformó junto a Willie Colón. Así la escuché yo… En un acto de total transparencia, el propio Rubén Blades ha contado en diferentes oportunidades que su inspiración para “Pedro Navaja” proviene de otra famosa canción.   La canción en mención se titula "Mack The Knife" (Mack “El Cuchillo”), la cual ha sido grabada en idioma inglés por diversos artistas. A nivel mundial, la popularidad de la canción “Mack The Knife” se debe al célebre trompetista estadounidense Louis Armstrong, quien grabó una versión en 1955 con letra adaptada al inglés por Marc Blitzstein. Cuatro años después (en 1959), el español José Guardiola publicó una versión libre al castellano titulada “Mackie El Navaja”. En 1998, el también español, Miguel Ríos, lanzó otra versión al castellano de “Mackie El Navaja”, aunque con diferente letra, la cual se acerca más a la canción original alemana. Las anteriores versiones están basadas en la canción “Die Moritat von Mackie Messer” (La balada de Mackie El Cuchillo), escrita originalmente en alemán por el reconocido dramaturgo y poeta Bertolt Brecht, con música de su compatriota Kurt Weill, quienes la compusieron para la famosa “Ópera de los tres centavos”, interpretada inicialmente por Harald Paulsen en 1929. Como dato curioso, hay que decir que la “Ópera de los tres centavos” es una adaptación al alemán de la obra “The Beggar's Opera” (Ópera del mendigo) del inglés John Gay. También hay que decir que la canción “Mack The Knife” no hace parte de la ópera original inglesa, sino que fue compuesta por Brecht y Weill especialmente para la alemana “Ópera de los tres centavos”. No podemos terminar sin aplaudir el talento creador del gran Rubén Blades, quien se inspiró en una canción para componer otra en un contexto musical y social totalmente diferente; regalándonos de esta manera, una de las clásicas de la música popular bailable latinoamericana. ¿Y tú, qué opinas de este episodio? Autor: Rubén Blades (panameño) para "Pedro Navaja" Autores: Bertolt Brecht & Kurt Weill (alemanes) para “Die Moritat von Mackie Messer” - Adaptación al inglés por Marc Blitzstein (estadounidense) para “Mack The Knife” Pedro Navaja - Willie Colón & Rubén Blades (1978) “Siembra” álbum (1978) Canta: Rubén Blades (nombre real Rubén Blades Bellido de Luna, panameño) Willie Colón (nombre real William Anthony Colón Román, estadounidense) Género: Salsa Mack The Knife - Louis Armstrong (1955) single “Mack The Knife/Back O'Town Blues” (1955) Louis Armstrong (nombre real Louis Daniel Armstrong, estadounidense) Género: Fox Mackie El Navaja - José Guardiola (1959) “Pequeña flor/Mis besos te dirán/Mackie El Navaja/Ten piedad” mini-álbum (1959) José Guardiola (español) Mackie El Navaja - Miguel Ríos (1998) “Big Band Ríos - Miguel Ríos en concierto” álbum (1998) Miguel Ríos (español) Die Moritat von Mackie Messer - Harald Paulsen (1929) “Die Dreigroschenoper (Ópera de los tres centavos)” Soundtrack álbum (1929) Textos escritos por Bertolt Brecht (alemán) & musicalizados por Kurt Weill (alemán) ___________________ “Así la escuché yo…” Temporada: 8 Episodio: 1 Sergio Productions Cali – Colombia Sergio Luis López Mora

Christmas is coming! In this festive episode, Andrew and Kassy discuss Christmas preparations and traditions. Join our hosts as they share their childhood memories, discuss gifts, and explore how Christmas is celebrated in different countries. Get into the Christmas spirit and take your English fluency to the next level! Fun facts In this episode, Andrew and Kassy talk about Christmas lights. Interesting fact: the world record for the most lights on a house was set on November 28, 2014. This happened in LaGrangeville, New York, USA. A family - Tim, Grace, Emily, Daniel, and John Gay - decorated their home with 601,736 lights. That's a lot of Christmas spirit! Expressions included in the study guide To get into the spirit Is that the case? To follow in [someone's] footsteps To stick with [something] Decked out To go hard Copyright: Culips.com For more information about this episode, visit culips.com. Music Credit: Something Elated by Broke for Free Photo: Brett Sayles (Pexels.com)

In the first of three introductions to our full 2024 Close Readings programme, starting in January, Colin Burrow and Clare Bucknell present their series, On Satire. Over twelve episodes, Colin and Clare will attempt to chart a stable course through some of the most unruly, vulgar, incoherent, savage and outright hilarious works in English literature, as they ask what satire is, what it's for and why we seem to like it so much.Authors covered: Erasmus, John Donne, Ben Jonson, Earl of Rochester, John Gay, Alexander Pope, Laurence Sterne, Jane Austen, Lord Byron, Oscar Wilde, Evelyn Waugh and Muriel Spark.Colin Burrow and Clare Bucknell are both fellows of All Souls College, Oxford, and regular contributors to the LRB.First episode released on 4 January 2024, then on the fourth of each month for the rest of the year.How to ListenClose Readings subscriptionDirectly in Apple Podcasts: https://apple.co/3pJoFPqIn other podcast apps: lrb.me/closereadingsClose Readings PlusIn addition to the episodes, receive all the books under discussion; access to webinars with Colin, Clare and special guests including Lucy Prebble and Katherine Rundell; and shownotes and further reading from the LRB archive.On sale here from 22 November: lrb.me/plus Hosted on Acast. See acast.com/privacy for more information.

In the first of three introductions to our full 2024 Close Readings programme, starting in January, Colin Burrow and Clare Bucknell present their series, On Satire. Over twelve episodes, Colin and Clare will attempt to chart a stable course through some of the most unruly, vulgar, incoherent, savage and outright hilarious works in English literature, as they ask what satire is, what it's for and why we seem to like it so much.Authors covered: Erasmus, John Donne, Ben Jonson, Earl of Rochester, John Gay, Alexander Pope, Laurence Sterne, Jane Austen, Lord Byron, Oscar Wilde, Evelyn Waugh and Muriel Spark.Colin Burrow and Clare Bucknell are both fellows of All Souls College, Oxford, and regular contributors to the LRB.First episode released on 4 January 2024, then on the fourth of each month for the rest of the year.How to ListenClose Readings subscriptionDirectly in Apple Podcasts: https://apple.co/3pJoFPqIn other podcast apps: lrb.me/closereadingsClose Readings PlusIn addition to the episodes, receive all the books under discussion; access to webinars with Colin, Clare and special guests including Lucy Prebble and Katherine Rundell; and shownotes and further reading from the LRB archive.On sale here from 22 November: lrb.me/plus Hosted on Acast. See acast.com/privacy for more information.

Nghe trọn nội dung sách nói Gulliver Du Ký trên ứng dụng Voiz FM: https://voiz.vn/play/1990 Trong một chuyến đi biển, chàng thủy thủy Gulliver lạc vào một xứ sở kỳ lạ. Ở đó, mỗi người dân cao chưa đến một gang tay, còn ngựa thì nhỉnh hơn con chuột một chút. Tới chuyến đi sau, thật trớ trêu, Gulliver lại dạt vào vương quốc của những người khổng lồ, mà con chó giữ nhà ở đây to bằng bốn con voi, còn ong vò vẽ thì có thân hình như một con chim trĩ. Cả hai nơi ấy đều chứa đựng vô số điều kì thú những cũng đem tới cho Gulliver không ít hiểm nguy. Ngay từ khi ra đời, Gulliver Dy Ký đã được bạn đọc đón nhận nồng nhiệt. Trong một bức thứ gửi cho tác giả, thi sĩ người Anh nổi tiếng John Gay đã viết: “Đâu đâu người ra cũng đọc tác phẩm này, từ hội đồng chính phủ cho tới các nhà trẻ”. Và kể từ đó đến nay, Gulliver Du Ký chưa bao giờ ngừng tái bản. Tại ứng dụng sách nói Voiz FM, sách nói Gulliver Du Ký được đầu tư chất lượng âm thanh và thu âm chuyên nghiệp, tốt nhất để mang lại trải nghiệm nghe tuyệt vời cho bạn. --- Về Voiz FM: Voiz FM là ứng dụng sách nói podcast ra mắt thị trường công nghệ từ năm 2019. Với gần 2000 tựa sách độc quyền, Voiz FM hiện đang là nền tảng sách nói podcast bản quyền hàng đầu Việt Nam. Bạn có thể trải nghiệm miễn phí đa dạng nội dung tại Voiz FM từ sách nói, podcast đến truyện nói, sách tóm tắt và nội dung dành cho thiếu nhi. --- Voiz FM website: https://voiz.vn/ Theo dõi Facebook Voiz FM: https://www.facebook.com/VoizFM Tham khảo thêm các bài viết review, tổng hợp, gợi ý sách để lựa chọn sách nói dễ dàng hơn tại trang Blog Voiz FM: http://blog.voiz.vn/ --- Cảm ơn bạn đã ủng hộ Voiz FM. Nếu bạn yêu thích sách nói Gulliver Du Ký và các nội dung sách nói podcast khác, hãy đăng ký kênh để nhận thông báo về những nội dung mới nhất của Voiz FM channel nhé. Ngoài ra, bạn có thể nghe BẢN FULL ĐỘC QUYỀN hàng chục ngàn nội dung Chất lượng cao khác tại ứng dụng Voiz FM. Tải ứng dụng Voiz FM: voiz.vn/download #voizfm #sáchnói #podcast #sáchnóiGulliverDuKý #JonathanSwift

Episode 58: Guest Name: Lauren Lowery and John GayGuest Business: FP Commercial Advisors and JAQ CorpSummary StyleEPISODE SUMMARYIn this episode of Black Businesses Matter, I had the opportunity to speak with Lauren Lowery, CEO and founder of FP Commercial Advisors, and John Gay, CEO and founder of JAQ Corp Intl. FP Commercial is a recognized Minority and Women-Owned Advisory firm committed to providing clients with proven solutions and outcomes for urban community revitalization and international retail development. JAQ is a national, technical, design Architecture firm with expertise in Aviation, Light Med, and Mix-Use Development. Lauren and John share the story of their upbringing and educational background that shaped them into successful professionals in the fields of real estate and architecture respectively. Lauren highlights her parents as her main motivators in her educational pursuits. John highlights his grandmother and John Moutoussamy. The two then discuss their experiences with Juneteenth. John credits the politicisim of the holiday as the moment he became aware of the holiday while Lauren credits a close friend and restauranteur for her awareness. The conversation shifts to community development and Lauren highlights the significance of recognizing the progress and contributions of developers in the community. John discusses various ways in which individuals can utilize their voices for community development and encourages developers to value and incorporate feedback from community members.If you want to learn more about Juneteenth and community development this is the episode for you.IN THIS EPISODE, I TALK ABOUT…What were Lauren and John like as children?What does Juneteenth mean for John and Lauren?Is it our responsibility to refer other professional services?The importance of relationship building between developers and the community How do they handle people devaluing their services or not following the correct avenues for service requests?What brings Lauren and John joy? Why do black businesses matter?Stream & Download Black Businesses Matter Podcast NOW for FREE on Apple Podcast, Google, Stitcher, Pandora, and Spotify! To connect further with me:Visit my website: Thel3agency.comConnect with me on Facebook: www.facebook.com/thel3agencyFollow me on Instagram: https://www.instagram.com/larvettaspeaks/Connect with me on Linkedin: www.linkedin.com/company/thel3agency/Be sure to follow our podcast on Instagram. I can't wait to see you join us and take the pledge of #blackbusinessesmatter  To connect with Lauren Lowery Visit their website: https://www.laurenlowery.com/Connect with them on Facebook: https://www.facebook.com/lauren.lowery.127Connect with them on Twitter:http://www.twitter.com/@TransformUrbanTo connect with JAQ Corp Int Visit their website: https://jaqcorp.com/Follow them on Instagram:https://www.instagram.com/jaqcorp_intl/Connect with them on LinkedIn: https://www.linkedin.com/company/jaq-corp-international/

A Matter of Time (1976) AIP Production #7615 Jeff and Cheryl insert themselves into the memories of an aging Contessa living in genteel poverty in Italy in A Matter of Time.Directed by Vincente MinnelliWritten by John Gay based on The Film of Memory, a 1955 novel by Maurice Druon Produced by Jack H. Skirball and J. Edmund Grainger for American International PicturesStarring: Liza Minnelli as Nina Ingrid Bergman as Contessa Lucretia SanzianiCharles Boyer as Conte SanzianiIsabella Rossellini as Sister PiaTina Aumont as Valentina Fernando Rey as Charles Van MaarSpiros Fokas as MarioGabriele Ferzetti as Antonio VicariOrso Maria Guerrini as Gabriele d'OrazioAmedeo Nazzari as TewfikGiampiero Albertini as Mr. DePermaArnoldo Foà as PavelliAnna Proclemer as JeanneBlasto Dominot as Hotel Porter Produced and released under American International Pictures. Find this movie streaming, on Paramount Plus, or on DVD.Follow the American International Podcast on Letterboxd, Twitter and Instagram @aip_pod and on Facebook at facebook.com/AmericanInternationalPodcast. Our open and close includes clips from the following films/trailers: How to Make a Monster (1958), The Brain That Wouldn't Die (1962), I Was a Teenage Werewolf (1957), High School Hellcats (1958), Beach Blanket Bingo (1965), The Wild Angels (1966), It Conquered the World (1956), The Abominable Dr. Phibes (1971), and Female Jungle (1955)

Descubra a intrigante conexão entre o gênio do Iluminismo, Voltaire, e sua associação com a Maçonaria em seus últimos dias. Infância e educação (1694-1711): François-Marie Arouet, mais tarde conhecido como Voltaire, nasceu em 21 de novembro de 1694, em Paris, França. Ele era o caçula de cinco filhos em uma família de classe média e seu pai era funcionário do governo. A mãe de Voltaire faleceu quando ele tinha apenas sete anos. Criado em uma família religiosa, ele recebeu uma educação jesuíta no estimado Collège Louis-le-Grand, onde estudou retórica, filosofia e teologia. Durante seu tempo no Collège, Voltaire foi exposto a uma variedade de discussões intelectuais, incluindo as ciências populares e as obras de filósofos como Pierre Bayle e John Locke. Essas influências mais tarde se tornariam instrumentais na formação de suas ideias filosóficas, enraizadas no ceticismo e na tolerância. Apesar da insistência de seu pai para que ele seguisse a carreira de advogado, a verdadeira paixão de Voltaire era escrever. Iniciou o seu percurso literário com a composição da sua primeira tragédia, “ Édipe ”, ainda na escola. Sua paixão pela escrita e suas habilidades de pensamento crítico tornaram-se evidentes em uma idade jovem e mais tarde contribuiriam significativamente para seu sucesso literário. Carreira Inicial e Prisão (1711-1718) Após completar seus estudos, Voltaire seguiu brevemente os desejos de seu pai e trabalhou como secretário do embaixador francês na Holanda. No entanto, logo abandonou a carreira diplomática e voltou a Paris para seguir sua verdadeira vocação de escritor. Voltaire tornou-se conhecido por sua perspicácia e abordagem satírica das questões sociais e políticas. Suas opiniões bem articuladas sobre religião, governo e outros tópicos lhe renderam a reputação de pensador destemido e influente. Infelizmente, suas críticas implacáveis às normas sociais e ao governo levaram à sua prisão na Bastilha em 1717. Voltaire foi acusado de difamação contra o regente da França, Philippe II, duque de Orléans. Ele passou quase um ano na prisão, período durante o qual escreveu sua peça trágica, “Oedipe”. Libertado em 1718, Voltaire rapidamente ganhou destaque como dramaturgo e poeta. Sucesso literário e defesa das liberdades civis (1718-1733) Na década seguinte, Voltaire alcançou um sucesso literário significativo, produzindo obras de várias formas, incluindo peças teatrais, poemas, ensaios, obras históricas e tratados científicos. Seu talento multifacetado o ajudou a emergir como uma das principais figuras literárias do Iluminismo francês. No cerne das obras de Voltaire está sua defesa inabalável das liberdades civis. Ele era um firme defensor da liberdade de expressão, liberdade de religião e da separação entre igreja e estado. Ele criticou a estreita aliança entre a igreja e o estado, que ele acreditava impedir o progresso da ciência e promover a ignorância, o fanatismo e a perseguição. Suas perspectivas sobre essas questões alimentaram sua missão de educar as massas e melhorar as condições sociais. Os esforços de defesa de Voltaire se concentraram em desafiar dogmas intelectuais, promover a tolerância e abordar injustiças cometidas por poderes religiosos e políticos. Seu compromisso incansável com essas causas contribuiu significativamente para a fundação do movimento iluminista, que de fato mudaria o mundo. Exílio de Voltaire na Grã-Bretanha (1726-1728) Após uma disputa contenciosa com o Chevalier de Rohan-Chabot e um período de prisão na Bastilha, Voltaire solicitou o exílio na Inglaterra como punição alternativa. As autoridades francesas concordaram e, em maio de 1726, Voltaire embarcou em uma jornada que influenciaria significativamente seu desenvolvimento intelectual. Após sua chegada à Inglaterra, Voltaire se estabeleceu em Wandsworth e logo formou conexões com figuras proeminentes como Everard Fawkener . Mais tarde, mudou-se para Maiden Lane, Covent Garden, para ficar mais perto de seu editor. Sua estada na Grã-Bretanha permitiu que ele se envolvesse com mentes ilustres, como Alexander Pope, John Gay, Jonathan Swift e Lady Mary Wortley Montagu, entre outros. Voltaire foi especialmente cativado pela monarquia constitucional britânica, que contrastava fortemente com o absolutismo da França. A maior liberdade de expressão e religião da Grã-Bretanha o impressionou profundamente, assim como seus prósperos esforços literários e científicos. Em particular, Voltaire foi inspirado nas obras de William Shakespeare, embora relativamente obscuro na Europa continental na época. Apesar de sua crítica ao desvio de Shakespeare dos padrões neoclássicos, Voltaire apreciou a capacidade do dramaturgo de criar um drama poderoso e envolvente, algo que ele sentiu que faltava nas produções teatrais francesas. À medida que a influência de Shakespeare começou a se espalhar na França, Voltaire procurou desafiá-la com suas peças, tentando mostrar o equilíbrio entre a profundidade emocional e os padrões teatrais clássicos. O tempo de Voltaire na Inglaterra o expôs ao funeral do visionário cientista, Sir Isaac Newton, deixando uma profunda impressão no escritor francês. Inspirado por nomes como Newton e outros intelectuais britânicos, Voltaire começou a publicar ensaios em inglês que afirmavam sua recém-descoberta apreciação pela sociedade e cultura britânicas. Esses primeiros trabalhos incluem “Sobre as Guerras Civis da França, extraídos de manuscritos curiosos” e “Sobre a poesia épica das nações européias, de Homer Down a Milton”. Depois de dois anos e meio morando na Grã-Bretanha, Voltaire voltou para a França com uma visão transformada sobre política, religião e cultura. Suas experiências na Inglaterra moldaram suas perspectivas sobre liberdades civis, tolerância e os méritos de uma monarquia constitucional, influenciando significativamente seus esforços filosóficos e literários subsequentes. Pouco depois de retornar à França, a admiração de Voltaire pela sociedade britânica culminou na publicação de “Cartas sobre a nação inglesa” (publicado como “Lettres philosophiques” em francês). Esta coleção de ensaios incitou controvérsia devido ao seu elogio à monarquia constitucional da Grã-Bretanha, à liberdade religiosa e ao respeito pelos direitos humanos. Apesar de enfrentar censura e reação em sua terra natal, Voltaire permaneceu inabalável em suas convicções, profundamente influenciado por seu tempo na Grã-Bretanha. Relacionamento com Émilie du Châtelet (1733-1749) No início da década de 1730, Voltaire envolveu-se romanticamente com Gabrielle Émilie le Tonnelier de Breteuil, Marquise du Châtelet. Émilie du Châtelet era uma potência intelectual e uma matemática brilhante, o que era altamente incomum para uma mulher de seu tempo. Ela foi inflexível sobre seu desejo de se envolver no trabalho intelectual e permaneceu dedicada a suas atividades, apesar da pressão social para cumprir os papéis tradicionais de gênero. Apesar de casada e mãe de três filhos, Émilie du Châtelet embarcou em um relacionamento apaixonado e intelectualmente estimulante com Voltaire. Os dois compartilhavam um intenso amor pela ciência, literatura e filosofia que os ajudou a formar um vínculo profundo. Eles trabalharam juntos em vários projetos científicos e realizaram experimentos em sua casa comum, Cirey, um castelo no nordeste da França. A parceria deles foi, sem dúvida, produtiva. Tanto Du Châtelet quanto Voltaire contribuíram para o trabalho um do outro, enriquecendo seus respectivos campos e ampliando os limites da investigação intelectual. Por exemplo, Du Châtelet traduziu e expandiu o Principia Mathematica de Isaac Newton, que foi fundamental na promoção de suas ideias científicas inovadoras na França. Por sua vez, Voltaire aprimorou suas habilidades em matemática sob sua orientação, incorporando essas ideias em seus escritos filosóficos. Seu relacionamento único, baseado na busca intelectual e no respeito mútuo, persistiu até 1749, quando Émilie du Châtelet faleceu tragicamente devido a complicações decorrentes do parto. Voltaire lamentou-a profundamente e continuou a reconhecer seu notável legado como cientista, matemática e figura influente do Iluminismo. Exílio na Prússia (1750-1753) Na década de 1750, Voltaire recebeu um cobiçado convite do rei Frederico, o Grande, da Prússia, que admirava a sagacidade e o intelecto do escritor. Ansioso por buscar oportunidades intelectuais na corte de Frederico, Voltaire deixou a França e mudou-se para a Prússia. Ele foi calorosamente recebido e os dois homens desfrutaram de uma admiração mútua um pelo outro, discutindo literatura, filosofia e política. No entanto, as tensões começaram a surgir entre Voltaire e Frederick devido a divergências sobre o trabalho criativo, filosofia e assuntos pessoais. O relacionamento inicialmente promissor se deteriorou, levando à saída de Voltaire da Prússia depois de apenas três anos. Vida em Genebra e Ferney (1755-1778) Depois de deixar a Prússia, Voltaire se estabeleceu em Genebra, onde continuou a escrever e apoiar causas justas. No entanto, os rígidos regulamentos na cidade protestante tornaram-se sufocantes, o que o levou a se mudar mais uma vez, desta vez para Ferney, um pequeno vilarejo perto da fronteira franco-suíça. Em sua residência em Ferney, Voltaire passou a maior parte das últimas duas décadas de sua vida. Dedicou-se a várias atividades intelectuais, incluindo a construção de uma grande biblioteca e um teatro. Voltaire também continuou a defender indivíduos perseguidos injustamente, emprestando sua voz e influência à causa deles. Anos Finais e Morte (1778) Em 1778, aos 83 anos, Voltaire voltou a Paris para supervisionar a produção de sua peça “Irene”. Ele foi recebido com grande entusiasmo pelo público parisiense, que o saudou como uma figura heróica do Iluminismo. No entanto, a saúde de Voltaire começou a piorar rapidamente e ele faleceu em 30 de maio de 1778. Apesar de suas críticas ao longo da vida à Igreja, Voltaire, ciente do potencial de seus restos mortais serem descartados em solo não consagrado, foi enterrado secretamente em uma abadia em Champagne. Seu túmulo foi posteriormente transferido para o Panteão de Paris, onde seus restos mortais repousam ao lado de outros grandes pensadores franceses, como Rousseau e Victor Hugo. Obras e legado de Voltaire Ao longo de sua vida, Voltaire escreveu inúmeras obras que deixariam uma impressão duradoura nas gerações futuras. Algumas de suas obras mais notáveis incluem "Candide", "Zadig", "The Age of Louis XIV" e "The Maid of Orleans". A escrita prolífica de Voltaire serviu como testemunho de sua genialidade e de sua dedicação incansável à busca do conhecimento e do progresso. Como pioneiro do Iluminismo e feroz defensor das liberdades civis, as ideias e contribuições de Voltaire deixaram uma marca indelével no mundo. Seu compromisso inabalável em desafiar o status quo e promover a liberdade de pensamento continua sendo um exemplo inspirador para todos os que lutam pelo progresso intelectual e social. Voltaire e a Maçonaria La Loge des Neuf Sœurs (As Nove Irmãs), fundada em Paris em 1776, foi uma proeminente Loja Maçônica Francesa do Grande Oriente da França que foi influente na organização do apoio francês à Revolução Americana. O nome se referia às nove Musas, filhas de Mnemosyne/Memory, patronas das artes e das ciências desde a antiguidade e há muito tempo significativas nos círculos culturais franceses. Em 1778, ano em que Voltaire se tornou membro, Benjamin Franklin e John Paul Jones também foram aceitos. Benjamin Franklin tornou-se Mestre da Loja em 1779 e foi reeleito em 1780. Quando Franklin, após uma longa e influente estada na Europa, retornou à América para participar da redação da Constituição, Thomas Jefferson, um não maçom, assumiu o cargo de enviado americano. Voltaire foi iniciado na loja em 4 de abril de 1778, em Paris; seus regentes foram Benjamin Franklin e Antoine Court de Gébelin. Ele morreu no mês seguinte. Sua filiação, no entanto, simbolizava a independência de espírito que Les Neuf Sœurs representava. Benjamin Franklin, um dos Pais Fundadores dos Estados Unidos, foi uma figura chave na loja. Ele serviu como Venerável Mestre da loja de 1779 a 1781. Sua influência e conexões desempenharam um papel significativo na promoção do relacionamento entre a França e os emergentes Estados Unidos durante a Revolução Americana. Em conclusão, Voltaire, Benjamin Franklin e a Loge des Neuf Sœurs em Paris estavam interligados. Todos faziam parte desta influente Loja Maçônica, que desempenhou um papel significativo no cenário cultural e político da época. --- Send in a voice message: https://podcasters.spotify.com/pod/show/malhete-podcast/message

DescriptionJohn Gay wrote The Beggar's Opera as an anti-opera rather than an opera, lampooning the Italian opera style and the English public's fascination with it.  Take a minute to get the scoop!Listen to: The Beggar's Opera ℅ YouTubeFun FactsFact 1Lavinia Fenton, the first Polly Peachum, became an overnight success. Her pictures were in great demand, verses were written to her and books published about her. After appearing in several comedies, and then in numerous repetitions of The Beggar's Opera, she ran away with her married lover, Charles Powlett, 3rd Duke of Bolton. Fact 2Bertolt Brecht adapted the work into Die Dreigroschenoper (The Threepenny Opera) in 1928, sticking closely to the original plot and characters but with a new libretto, and mostly new music by Kurt Weill.About Steven, HostSteven is a Canadian composer living in Toronto. He creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his website for more. Member of the Canadian League Of Composers.__________________________________________________________________You can FOLLOW ME on Instagram.

"make sure you turn that slave girl into cash"

Support the podcast: patreon.com/thehemingwaylist War & Peace - Ander Louis Translation: Kindle and Amazon Print Host: @anderlouis

Synopsis On today's date in 1928, Kurt Weill's “Three Penny Opera,” whose cast members portrayed thieves, murderers, and sex workers, debuted at the Theater am Schiffbauerdamm in Berlin. “The Three-Penny Opera” was a 20th century updating of a satirical 18th century British ballad-opera by John Gay, titled “The Beggar's Opera.” A new German text was provided by playwright Bertolt Brecht and Kurt Weill provided a jazzy score. “The Three Penny Opera” was a smash success in Berlin, and within a year was taken up by theaters all over Europe. But in 1933, when the Nazis came to power in Germany, all performances of “The Three Penny Opera” were banned, since Kurt Weill was Jewish, and Bertolt Brecht a communist sympathizer. Just as “The Three Penny Opera” was being banned in Germany, its 1933 American premiere in New York was a flop, and the show closed after only a dozen performances. It wasn't until 1952 that it was successfully revived in America. With a new English translation by the American composer Marc Bliztstein, the “Three Penny Opera” was reintroduced by Leonard Bernstein at a Music Festival at Brandeis University, and in 1954 reopened off -roadway in Greenwich Village to sold-out houses and rave reviews. Music Played in Today's Program Kurt Weill (1900 - 1950) –Three Penny Opera (Suite Canadian Chamber Ensemble; Raffi Armenian, cond.) CBC 5010

This is a very popular song from the "The Threepenny Opera", The Beggar's Opera by John Gay starting with its first production back in 1728. The Beggar's Opera is a comic ballad opera, an original concept when it came out, conjuring up the thoughts and ideas of the anti-hero, Robin Hood types, and quotes of the likes of Bob Dylan, such as "Steal a little and they throw you in jail: steal a lot and they make you a king". It was the first musical play produced in colonial New York. George Washington enjoyed it. The original lyrics went through some transformations for the European audience and were cleaned up a bit by Blitstein, which allowed it to gain much more fame. This song was request of one of the employees or volunteers at Mayo Hospital. I hope you enjoy it.

In this episode, we look at the soundtrack of the 1996 movie of Jane Austen's Emma by Rachel Portman. We listen to how the clarinet is Emma's voice and how the instrumentation, time signature, and major vs minor are often used to change mood or characters. We also pay to attention to how her emotional journey and theme changes throughout as well as the comedy and matchmaking theme. Finally, we compare the songs performed by Emma and Jane and how the words convey meaning to Frank Churchill's attentions. Music included in podcast: "Main Titles" - Emma: Music from the Miramax Motion Picture, music by Rachel Portman, 1996 "Emma: Piano Suite" - music by Rachel Portman, 2022 "End Titles" - Emma: Music from the Miramax Motion Picture, music by Rachel Portman, 1996 "Celery Root" - Emma: Music from the Miramax Motion Picture, music by Rachel Portman, 1996 "Emma Insults Miss Bates" - Emma: Music from the Miramax Motion Picture, music by Rachel Portman, 1996 "Emma Writes her Diary" - Emma: Music from the Miramax Motion Picture, music by Rachel Portman, 1996 "Mr. Knightley Returns" - Emma: Music from the Miramax Motion Picture, music by Rachel Portman, 1996 "Proposal" - Emma: Music from the Miramax Motion Picture, music by Rachel Portman, 1996 "Emma Tells Harriet about Mr. Elton" - Emma: Music from the Miramax Motion Picture, music by Rachel Portman, 1996 "The Picnic" - Emma: Music from the Miramax Motion Picture, music by Rachel Portman, 1996 "Emma dreams of Frank Churchill" - Emma: Music from the Miramax Motion Picture, music by Rachel Portman, 1996 "Sewing and Archery" - Emma: Music from the Miramax Motion Picture, music by Rachel Portman, 1996 "Harriet's Portrait" - Emma: Music from the Miramax Motion Picture, music by Rachel Portman, 1996 "Three German Dances, K. 605: No. 3 in C, Trio "Die Schlittenfahrt" - Mozart in the Morning, music by Wolfgang Amadeus Mozart, performed by Academy of St. Martin in the Fields & Sir Neville Marriner, 1992 "Mr. Elton's Rejection" - Emma: Music from the Miramax Motion Picture, music by Rachel Portman, 1996 "The Coles' Party" - Emma: Music from the Miramax Motion Picture, music by Rachel Portman, 1996 "Mrs. Elton's Visit" - Emma: Music from the Miramax Motion Picture, music by Rachel Portman, 1996 "Main Title and First Victim" - Jaws (The Collector's Edition Soundtrack), music by John Williams, 1975 "Gypsies" - Emma: Music from the Miramax Motion Picture, music by Rachel Portman, 1996 "Tolomeo, Re Di Egitto HWV 25: Silent Worship (adapted by Arthur Somervell from "Non lo diro col labbro")" - Silent Worship: The Timeless Music by Handel, music by George Frederic Handel, performed by David Hobson, 2006 "The Beggar's Opera: Act 1 No 14, Air 6: Virgins are like the fair flowers" - Gay: The Beggar's Opera, music by John Gay, performed by The Broadside Band, Jeremy Barlow, Bronwen Mills & Charles Daniels, 1991 "The Dance" - Emma: Music from the Miramax Motion Picture, music by Rachel Portman, 1996 "Mr. Beveridge's Magot" - English Country Dances from Playford's Dancing Master, performed by The Broadside Band, 2009 "World of Soundtracks" - music by Edith Mudge, graphics by Lindsey Bergsma

In the 49th episode of Chris Dyer's Creative Friends, Chris sits down with his friend John Gay at his home in Denver, Colorado! They sit down and have conversations with topics including how they met, going to festivals, and John's transition from living in a small town to moving to Atlanta. Watch to the end to hear John talk about aliens! Blessings! --- Support this podcast: https://anchor.fm/chris-dyer8/support

Special Guest Toby Poole, joins your hosts Chad Robinson and Russell Guest for the Retro Movie Roundtable as they revisit On Her Majesty's Secret Service (1969) [PG-13] Genre: Action, Spy, Thriller Starring:  George Lazenby, Diana Rigg, Telly Savalas, Gabriele Ferzetti, Ilse Steppat, Lois Maxwell, George Baker, Bernard Lee, Bernard Horsfall, Desmond Llewelyn, Yuri Borienko, Virginia North, Geoffrey Cheshire, Irvin Allen, Terence Mountain, John Gay, James Bree, Angela Scoular, Catherine Schell, Julie Ege, Mona Chong, Sylvana Henriques, Sally Sheridan, Joanna Lumley, Zaheera, Anouska Hempel, Ingrid Back, Helena Ronee, Jenny Hanley   Director: Peter R. Hunt Recoded on 2022-05-29

There is no dependence that can be sure but a dependence upon oneself," wrote English poet John Gay.  Was he right?

John Gay gives us a look at his development from NAIA champ to Olympic finalist, the highs and lows of pursuing the games, and goals moving forward.

John Gay is a visionary artist out of Denver, Colorado. His work focuses on ancient cultural mythology and folklore. You can find his work on most social media platforms @johngayart and on his Website at johngayart.com  

Synopsis It's quite likely that if we could ask him, the great 18th century composer George Frideric Handel would have described himself first and foremost as a composer of Italian operas. For most of the 19th century, however, it was chiefly Handel's English-language sacred oratorios that kept his fame alive. It wasn't until the 20th century that curiosity about Handel's Italian operas led to revivals, recordings, and their eventual return to the repertory of opera companies worldwide. On today's date in 1711, Handel's opera “Rinaldo” had its premiere performance in London at the Queen's Theater in the Haymarket. This was the first Handel opera produced in London, and the first Italian opera written specifically for that city. It was designed to be a spectacle, full of heroic chivalry and stage magic including live birds and flying machines, a kind of 18th century “Star Wars,” if you will. It was a tremendous success, and, like “Star Wars,” was SO popular that it became fit material for parody. Handel's Act III march of Christian Crusaders resurfaced as a chorus of highway robbers in John Gay's “Beggar's Opera” of 1728, a spoof poking fun at both contemporary politics and the conventions and pretensions of Italian-style opera. Music Played in Today's Program George Frederic Handel (1685 — 1759) Lascia ch'io pianga , from Rinaldo Barbra Streisand, soprano; Columbia Symphony; Claus Ogerman, cond. CBS/Sony 33452 John Gay (1685 — 1732) The Beggar's Opera The Broadside Band; Jeremy Barlow, cond. Hyperion 66591

Seen as the first musical, the Beggar's Opera changed london's theatre scene with a snarky, modern satirical bite. In order to take on the rival theatres, John Rich went off-piste and produced this anti-opera worn by John Gay. With a clever mix of poking fun at the great and the good, plus retooling popular tunes, it was a roaring success which led to the creation of one of london's most well known institutions. Show notes - https://www.ladieswholondon.com/post/beggar-s-opera-the-first-musical Get in touch ladieswholondon@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Host Kevin Scott and Justin Zell of Pittsburg's Steel City Improv Theater discuss Separate Tables from 1958 featuring Rita Hayworth, Deborah Kerr, David Niven, Burt Lancaster, and Wendy Hiller. Niven and Hiller won Academy Awards for Best Actor and Best Supporting Actress respectively for their performances. Separate Tables was directed by Delbert Mann and Written by Rattigan and John Gay. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/kevin-scott15/support

What's currently trending in Peoria Unified? Our Support Staff. Like many school districts around the country, we are experiencing a shortage in support staff in a variety of roles. While these positions are often looked over, so many of them are the reason our schools are able to provide the services they do. In the latest episode of Peoria Unified's podcast, Trending Peoria, we are joined by our Chief Operations and Technology Officer, John Gay, as he shares the different support staff positions we have in Peoria Unified and the roles they play in serving students. Later in the episode, Christina Sosa from KidZone will discuss her role as facilitator in Peoria Unified's before and after school program in our Glendale schools. If you are interested in becoming a school bus driver, or if any high-quality individuals with a passion for kids, please direct them to jobs.peoriaunified.org. You can listen to the Trending Peoria podcast anywhere you listen to podcast and at peoriaunified.org/trendingpeoria​.

It's time to get back inside the MusicalTalk Time Machine to look at the music compiled by Thomas D'urfey in his seminal collection of 17th and 18th Century songs.  Thos looks at the connections between D'urfey, John Gay, The Beggar's Opera, and a well-known nursery rhyme. There's also a chance to hear a further chat with the multitalented academic and performer, David William Hughes, who talks about another of his one man musicals - this time named after D'Urfey's famous book, Wit and Mirth. 

Genevieve Lalonde, John Gay headline a strong elite field at the Medavie Canadian 5K Championships that are set to beginThis Saturday, August 28, the 14-day period for submissions of race results in the Medavie Canadian 5K Championship, opens. Hosted by Athletics New Brunswick and Run NB, the event will be raced virtually in 2021 with the event boasting a strong field of top Canadian elite athletes, including several Canadian Olympians. Headlining the women's field is Genevieve Lalonde, a Moncton native. Lalonde ran two Canadian records at the Tokyo 2020 Games, including an 11th place finish in the 3000m steeplechase final. The women's event also includes two other first-time Olympians in Julie-Anne Staehli and Alycia Butterworth. Both athletes have burst on the scene as of late; Staehli is one of the few Canadian women ever to run 5K under 15 minutes while Butterworth just made her Diamond League debut in Eugene, running the third-best Canadian time ever for the steeplechase.The women's start list also includes several national and provincial champions including Newfoundlander and marathon mom, Kate Bazeley, veteran Sasha Gollish, former Canadian marathon Champion, Leslie Sexton, and cross-country specialist, Kate Ayers. Not to be outdone, the men's start list also features another world-class steeplechaser in John Gay who also competed in Tokyo where he ran a personal best in the heats to book his ticket for his first Olympic final. Gay is capping off a breakout year after winning the Canadian Trials and cracking the Olympic standard in that same race. Gay is flanked by 2x Olympian, and fellow British Columbian, Luc Bruchet. Following the familiar theme, Bruchet is also capping off a breakout season, one which included a massive personal best and ranking him third all-time in Canada over the 5,000M. Charles Philibert-Thiboutot (CPT), an Olympian from the Rio 2016 Games is also running in the event. CPT barely missed out on a second Olympic berth in Tokyo and is coming into the event in flying form.The men's start list also includes a number of national champions including Atlantic Canadian and Canadian Cross-Country Champion, Mike Tate, his teammates from the Backroad's Bandits Connor Black and Parrot-Migas, NAZ Elite runner and NCAA standout, Rory Linkletter, and world record holder for pushing a stroller over a marathon, Calum Neff. The full elite start list follows: Women's Start ListNameAgePersonal Best (5K, unless stated otherwise)Sasha Gollish39 16:11Kate Bazeley3733:52 (10K)Carolyn Buchanan262:49:20 (marathon)Marina Gross1717:16Sarah Beairsto2818:14Erin Mawhinney2516:40Julie-Anne Staehli2714:57Paula Wiltse5417:02Briana Scott3115:46Hannah Woodhouse2416:05Leslie Sexton341:11:21 (half marathon)Genevieve Lalonde2915:48Brittany Moran342:36:23 (marathon)Kate Ayers2617:34Lauren Reid2517:55Stephanie Johnston2536:42 (10K)Alycia Butterworth 2816:11Shari Boyle481:19:23 (half marathon)Erin Poirier4118:14Men's Start ListNameAgePersonal Best (5K, unless stated otherwise)Mark Klassen3615:24Luc Bruchet3013:12Daniel Fournier2714:59Marley Dickinson2615:54Jean-Marc Doiron3315:24John Gay2413:26Rory Linkletter2513:36Kevin Coffey351:05:48 (half marathon)Theo Hunt3214:39Charles Philibert-Thiboutot3013:22Connor Black 2513:56Phil Parrot-Migas2814:06Josh Lumani311:07:22 (half marathon)Mike Tate2613:35Calum Neff372:20:37 (marathon)Dawson Nancekievil2215:27Justin Kent2913:46Thomas “Jeremy” Coughler2513:59Caleb de Jong25 14:25Thomas Broatch2231:14 (10K)Have questions or media requests? Please contact us at moncton5K@gmail.comSign up link https://raceroster.com/events/2021/45473/medavie-canadian-5k-championships

On The Alfred Daily Today: Celebrating the Royal Forest linking Shaftesbury, Motcombe and Gillingham. Paul Merefield's Mitre pub quizzes return. Blackmore Vale Art Trail - local artists open homes to art lovers. Festival in Cann will support dog walking for mental wellbeing. Mary Myers gets tips for smallholders -from Gillingham and Shaftesbury show's sheep expert John Gay. A Shaftesbury Fringe concert featuring unexpected instruments with Nick Crump Poetry by Rich Foreman - ‘Solitary Hornbeam, Kingsettle Wood'. Soundscapes - snoring pigs at Twyford.

It's time for part two of our three-part look at Victor Hugo's Les Misérables! Today, we're looking at six more French- and English-language screen adaptations, released from 1978 to 2018. Listen to part one on: The web Apple Podcasts Overcast Spotify In this episode we discuss: The 1978 American TV movie, directed by Glenn Jordan, written by John Gay, and starring Richard Jordan and Anthony Perkins The 1982 French movie, directed by Robert Hossein, written by Hossein and Alain Decaux, and starring Lino Ventura and Michel Bouquet The 1998 American movie, directed by Bille August, written by Rafael Yglesias, and starring Liam Neeson, Geoffrey Rush, Uma Thurman, and Claire Danes The 2000 French miniseries, directed by Josée Dayan, written by Didier Decoin, and starring Gérard Depardieu, John Malkovich, Christian Clavier, and Charlotte Gainsbourg Shōjo Cosette, the 2007 Japanese animated series, directed by Hiroaki Sakurai and written by Tomoko Motohashi The 2018 British miniseries, directed by Tom Shankland, written by Andrew Davies, and starring Dominic West, David Oyelowo, Lily Collins, and Olivia Colman You can follow Adapt or Perish on Twitter, Instagram, and Facebook, and you can find us and all of our show notes online at adaptorperishcast.com. We're also on Patreon! You can find us at patreon.com/adaptcast. We have multiple reward levels, which include access to a patron-only community and a patron-only, biweekly bonus show! We hope to see you there. If you want to send us a question or comment, you can always email us at adaptorperishcast@gmail.com.

Synopsis Today's date marks the premiere of two chamber works from the 1920s, both landmark and transitional works from two of the 20th century's most influential composers. On this date in 1920, at London's Wigmore Hall, the Swiss conductor Ernest Ansermet led the first performance of a “Grand Suite” from Igor Stravinsky's biting anti-war stage fable entitled “The Soldier's Tale.” During and immediately following the First World War, Stravinsky had developed a spiky, jagged, and occasionally jazzy style, and music from “The Soldier's Tale” is typical of this period. But Stravinsky did a compositional about-face that same year with one of his earliest “neo-classical” scores: the ballet “Pulcinella,” based on themes borrowed from 18th century composers. Stravinsky's “neo-classical” period would last for another three decades until the 1950s, when he became fascinated with the 12-tone method of composition developed by the Austrian composer, Arnold Schoenberg. And speaking of Schoenberg, on today's date in 1924, his “Serenade” received its premiere at the Fourth Donaueschingen Festival in Germany. “Serenade” was the first work in which Schoenberg employed his strict “12-tone” method of composition, avoiding traditional 18th century rules of melody and harmony – and only its Mozartean sounding title could be considered “neo-classical.” Music Played in Today's Program Igor Stravinsky (1882 – 1971): L'histoire du Soldat Suite (Harmonie Ensemble; Steven Richman, cond.) Koch 7438 Igor Stravinsky (1882 – 1971): Pulcinella Suite (Columbia Chamber Ensemble) Sony 64136 Arnold Schoenberg (1874 – 1951): Serenade, Op. 24 (Ensemble InterContemporain) Sony 48463 On This Day Births 1872 - French composer Déodat de Severac, in Saint-Félix-de-Caraman, Lauraguais 1908 - Swedish composer Gunnar de Frumerie, in Nacka (near Stockholm Deaths 1752 - German-born English composer and conductor John Christopher (Johann Christoph) Pepusch, age 85, in London; In 1710 was one of the founding members of the "Academy of Ancient Music," which revived 16th century vocal music; He orchestrated some of the numbers in John Gay's famous "The Beggar's Opera" in 1728 Premieres 1920 - Stravinsky: "Grande Suite" from the staged work "The Soldier's Tale," in London at Wigmore Hall, with Ernest Ansermet conducting 1924 - Schoenberg: "Serenade" for chamber ensemble, in Donaueschingen, Germany 1942 - Miaskovsky: Symphony No. 23, in Moscow 1958 - Xenakis: "Achorripsis" for 21 instruments, in Brussels 1970 - Morton Feldman: "Mme. Press Died Last Week at Ninety," an orchestral work commemorating his Russian piano teacher, in St. Paul de Venice, France

Synopsis Today's date marks the premiere of two chamber works from the 1920s, both landmark and transitional works from two of the 20th century's most influential composers. On this date in 1920, at London's Wigmore Hall, the Swiss conductor Ernest Ansermet led the first performance of a “Grand Suite” from Igor Stravinsky's biting anti-war stage fable entitled “The Soldier's Tale.” During and immediately following the First World War, Stravinsky had developed a spiky, jagged, and occasionally jazzy style, and music from “The Soldier's Tale” is typical of this period. But Stravinsky did a compositional about-face that same year with one of his earliest “neo-classical” scores: the ballet “Pulcinella,” based on themes borrowed from 18th century composers. Stravinsky's “neo-classical” period would last for another three decades until the 1950s, when he became fascinated with the 12-tone method of composition developed by the Austrian composer, Arnold Schoenberg. And speaking of Schoenberg, on today's date in 1924, his “Serenade” received its premiere at the Fourth Donaueschingen Festival in Germany. “Serenade” was the first work in which Schoenberg employed his strict “12-tone” method of composition, avoiding traditional 18th century rules of melody and harmony – and only its Mozartean sounding title could be considered “neo-classical.” Music Played in Today's Program Igor Stravinsky (1882 – 1971): L'histoire du Soldat Suite (Harmonie Ensemble; Steven Richman, cond.) Koch 7438 Igor Stravinsky (1882 – 1971): Pulcinella Suite (Columbia Chamber Ensemble) Sony 64136 Arnold Schoenberg (1874 – 1951): Serenade, Op. 24 (Ensemble InterContemporain) Sony 48463 On This Day Births 1872 - French composer Déodat de Severac, in Saint-Félix-de-Caraman, Lauraguais 1908 - Swedish composer Gunnar de Frumerie, in Nacka (near Stockholm Deaths 1752 - German-born English composer and conductor John Christopher (Johann Christoph) Pepusch, age 85, in London; In 1710 was one of the founding members of the "Academy of Ancient Music," which revived 16th century vocal music; He orchestrated some of the numbers in John Gay's famous "The Beggar's Opera" in 1728 Premieres 1920 - Stravinsky: "Grande Suite" from the staged work "The Soldier's Tale," in London at Wigmore Hall, with Ernest Ansermet conducting 1924 - Schoenberg: "Serenade" for chamber ensemble, in Donaueschingen, Germany 1942 - Miaskovsky: Symphony No. 23, in Moscow 1958 - Xenakis: "Achorripsis" for 21 instruments, in Brussels 1970 - Morton Feldman: "Mme. Press Died Last Week at Ninety," an orchestral work commemorating his Russian piano teacher, in St. Paul de Venice, France

This episode is also available as a blog post: http://quiteaquote.in/2021/06/30/john-gay-life-is-a-jest/ --- Send in a voice message: https://anchor.fm/quiteaquote/message

What's currently trending in Peoria? Refreshing and reimagining our strategic plan and reclaiming our seat as a national leader in pK-12 education. Throughout this process we have brought in leaders, educators and support staff from across Peoria Schools to ensure we continue to meet the needs of every student, every day. We will be joined in the episode by Peoria Unified's Superintendent, Dr. Jason Reynolds as well as Mike Maas, Director of Research and Planning, and John Gay, Chief Strategic Planning and Technology Officer. For past episodes and more information about our podcast, visit the Trending Peoria page.

John Gay is a visionary artist out of Denver, Colorado. His work focuses on ancient cultural mythology and folklore. You can find his work on most social media platforms @johngayart -- also johngayart.com

En esta edición de nuestro podcast hablaremos de teatro y musical escrito por Chico Buarque; inspirado en The Beggar's Opera de John Gay y en el musical La ópera de los tres centavos, de Bertolt Brecht y Kurt Weill. La letra y música son originales de Chico Buarque, uno de las cantautores más importantes de la cultura brasileña. Ayúdanos a mantener este podcast con un aporte mensual: https://anchor.fm/libreriaradio/support Respalda este PodCast con una pequeña donación mensual para ayudarnos a mantener el programa al aire en medio de la dura crisis que vivimos en Venezuela. Con tu apoyo haremos que la literatura llegue mucho más lejos y con contenido de calidad. Puedes donar 0.99$, 4,99$ o 9,99$ mensuales Sin publicidad tu marca o negocio está en desventaja frente a miles de emprendedores que si hacen uso de los medios para dar a conocer sus productos. @LibreriaRadio te ofrece el mejor paquete publicitario para tu empresa: un anuncio #midrol (en mitad del programa) de 30 segundos, menciones en #twitter e #Instagram; emisiones diarias en las 21 emisoras de la Red Nacional Radio Fe y Alegría en Venezuela, más la presencia en 15 plataformas de #podcast a nivel mundial. Además colgaremos un anuncio permanente en nuestra página web. Únete a nuestro selecto grupo de patrocinantes y garantiza que tu marca o negocio tenga presencia diaria y constante ante miles de personas. INVIERTE EN PUBLICIDAD EN RADIO con Puerto de Libros – Librería Radiofónica. Consulta nuestras tarifas al +584246723597 --- Send in a voice message: https://anchor.fm/libreriaradio/message Support this podcast: https://anchor.fm/libreriaradio/support

Gulliver's Travels - Jonathan Swift - Book 2, Part 2 Title: Gulliver's Travels Overview: Gulliver's Travels, or Travels into Several Remote Nations of the World. In Four Parts. By Lemuel Gulliver, First a Surgeon, and then a Captain of Several Ships is a 1726 prose satire by the Anglo-Irish writer and clergyman Jonathan Swift, satirizing both human nature and the "travelers' tales" literary subgenre. It is Swift's best known full-length work and a classic of English literature. Swift claimed that he wrote Gulliver's Travels "to vex the world rather than divert it". The book was an immediate success. The English dramatist John Gay remarked "It is universally read, from the cabinet council to the nursery." In 2015, Robert McCrum released his selection list of 100 best novels of all time in which Gulliver's Travels is listed as "a satirical masterpiece". Published: 1726 List: 100 Best Novels Of All Time, 100 Classic Book Collection Author: Jonathan Swift Genre: Satire, Fantasy, Action & Adventure Fiction, Fantastic Fiction Episode: Gulliver's Travels - Jonathan Swift - Book 2, Part 2 Part: 2 of 2 Length Part: 5:03:06 Book: 2 Length Book: 11:10:32 Episodes: 20 - 39 of 39 Predecessor: Drapier's Letters Successor: A Modest Proposal Narrator: Lizzie Driver Memorium: Kristin Hughes (1974 - 2021) Language: English Rated: Guidance Suggested Edition: Unabridged Audiobook Keywords: satire, parody, travelers, tales, literary, humanity, literature, jonathanswift Hashtags: #freeaudiobooks #audiobook #mustread #readingbooks #audiblebooks #favoritebooks #free #booklist #audible #freeaudiobook #satire #parody #travelers #tales #literary #humanity #literature #JonathanSwift Credits: All LibriVox Recordings are in the Public Domain. Wikipedia (c) Attribution-ShareAlike 3.0 Unported License. WOMBO Dream. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/free-audiobooks/message Support this podcast: https://anchor.fm/free-audiobooks/support

Gulliver's Travels - Jonathan Swift - Book 2, Part 1 Title: Gulliver's Travels Overview: Gulliver's Travels, or Travels into Several Remote Nations of the World. In Four Parts. By Lemuel Gulliver, First a Surgeon, and then a Captain of Several Ships is a 1726 prose satire by the Anglo-Irish writer and clergyman Jonathan Swift, satirizing both human nature and the "travelers' tales" literary subgenre. It is Swift's best known full-length work and a classic of English literature. Swift claimed that he wrote Gulliver's Travels "to vex the world rather than divert it". The book was an immediate success. The English dramatist John Gay remarked "It is universally read, from the cabinet council to the nursery." In 2015, Robert McCrum released his selection list of 100 best novels of all time in which Gulliver's Travels is listed as "a satirical masterpiece". Published: 1726 List: 100 Best Novels Of All Time, 100 Classic Book Collection Author: Jonathan Swift Genre: Satire, Fantasy, Action & Adventure Fiction, Fantastic Fiction Episode: Gulliver's Travels - Jonathan Swift - Book 2, Part 1 Part: 1 of 2 Length Part: 6:20:23 Book: 2 Length Book: 11:10:32 Episodes: 0 - 19 of 39 Predecessor: Drapier's Letters Successor: A Modest Proposal Narrator: Lizzie Driver Memorium: Kristin Hughes (1974 - 2021) Language: English Rated: Guidance Suggested Edition: Unabridged Audiobook Keywords: satire, parody, travelers, tales, literary, humanity, literature, jonathanswift Hashtags: #freeaudiobooks #audiobook #mustread #readingbooks #audiblebooks #favoritebooks #free #booklist #audible #freeaudiobook #satire #parody #travelers #tales #literary #humanity #literature #JonathanSwift Credits: All LibriVox Recordings are in the Public Domain. Wikipedia (c) Attribution-ShareAlike 3.0 Unported License. WOMBO Dream. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/free-audiobooks/message Support this podcast: https://anchor.fm/free-audiobooks/support

Il 29 gennaio 1728 va in scena a Londra The Beggar's Opera (l'Opera del mendicante) su testo, in prosa e in versi, di John Gay. Nicola Pedone lo racconta a Wikimusic

John Gay is a visionary artist out of Denver, Colorado. His work focuses on ancient cultural mythology and folklore. You can find his work on most social media platforms. @johngayart And also johngayart.com Credits:// Pink beats for intro

Today Alex Cyr is joined by two fit, restless, potential future Olympians. John Gay has represented Canada in three separate international competitions since early 2019, including the world athletics championships in Doha late last year in the 3,000m steeplechase — that's especially impressive considering the world has been shut down for nine of these past 24 months. Kieran Lumb is the 2019 Canadian U Sports cross-country champion, and as of February, the Canadian U-23 record holder in the indoor 3,000m. Both were in great fitness when COVID sent the world into lockdown in March, so they decided to essentially quarantine together in a cabin to keep some sort of momentum going. Just last week, they got to prove their post-lockdown fitness over 10,000m, where Lumb stopped the clock at 28:17, and Gay at 28:18. Both trailed the winner, 2016 Olympian Luc Bruchet, by milliseconds. Today John, Kieran and I talked about that race, but also about venturing into the world of professional running, about dealing with a busy school schedule, about making a push for the Olympics, and at one point, John tells his dad that he loves him. Really sweet listen until the end. I had fun recording this conversation, and I hope you enjoy.

A Cup of Tea Cette semaine Sandrine Roufenche et Christelle Maubry décryptent pour nous l'expression anglaise Cool as a Cucumber. Un podcast tout frais à écouter avec une tasse de thé ou une pinte de Guiness. https://radio-chateaubriant.com/wp-content/uploads/2020/11/a-cup-of-tea-.mp3Cool as a Cucumber Bonjour bonjour, aujourd'hui, nous avons le plaisir de vous parler d'une expression qui nous a fait bien rire et qui, nous l'espérons, vous plaira également.  Il s'agit de cool as a cucumber. Je vous rassure, cette expression est communément utilisée quelle que soit la saison, qu'il fasse chaud ou froid. Prenons un exemple: She walked in as cool as a cucumber as if nothing had happened.  Le contexte est posé avec le comme si rien ne s'était passé ; la dame reste imperturbable. Oui, imperturbable, pas littéralement froide comme un concombre. Remarquez, ce pourrait être rigolo. Le synonyme de cool as a cucumber, c'est bien entendu cool, calm and collected. On retrouve dans les deux expressions le même amour de l'allitération en trois C. A noter en passant qu'on ne prononce pas le L dans calm ; on prononce un A long, marquant l'ellipse du L.  On dit bien cool, calm and collected. Mais, on y reviendra plus tard. Première utilisation dans la littérature anglaise Si l'on revient en arrière, on s'aperçoit que la première fois que l'expression a été utilisée, c'est en 1732. On la retrouve en effet dans le poème de John Gay, New Song on New Similes. Nouvelle chanson sur les nouvelles images. Le voici, pour votre plaisir : My passion is as mustard strong ;I sit all sober sad ;Drunk as a piper all day long,Or like a March-hare mad.Round as a hoop the bumpers flow ;I drink, yet can't forget her ;For, though as drunk as David's sow,I love her still the better.Pert as a pear-monger I'd be,If Molly were but kind ;Cool as a cucumber could seeThe rest of womankind. Pour le situer, John Gay est né le 30 juin 1685 à Barnstaple, dans le Devon en Angleterre, et mort le 4 décembre 1732 à Londres. C'est un poète et un dramaturge anglais. Il est surtout connu pour avoir écrit le livret de L'Opéra des Gueux, sur une musique de Johann Christoph Pepusch.  Ça vous parle ?  C'est bien ce que je pensais. Le point grammaire du jour Passons à présent au point grammaire du jour, comme d'habitude.  Aujourd'hui, nous allons porter notre attention au comparatif d'égalité trouvé dans l'expression du jour.  Dans as cool as a cucumber, on retrouve la formule grammaticale [as adjectif as article nom]. Ici, on ne fait pas de distinction entre les adjectifs longs et les adjectifs courts.  Le premier as peut se traduire par aussi et le second par que. Bon à savoir, pour la forme négative, les anglais optent plus facilement pour [not so adjectif as] au lieu de [not as adjectif as].  Retenez également que l'on peut remplacer l'adjectif de la formule par un participe passé à valeur d'adjectif (I'm as bored as an unopened book in a library), un adverbe (your cake turned out as lovely as in my memories) ou un adjectif composé (Madonna is as well-known as Michael Jackson). Penchons-nous à présent sur l'histoire de cette expression. Il y a une croyance populaire vieille du XVIIIe siècle qui a été vérifiée par la science dans les années 197o qui disait que lors des grandes chaleurs, les champs de coton étaient l'endroit idéal où se réfugier. En effet, dans les champs, à l'abri des feuilles, il faisait environ 7 à 10 degrés Celsius de moins. Ce qui nous rapproche de la première définition du mot qui est frais, ...

Mack the Knife by Kurt Weill (1900-1950), one of the most popular songs of the 20th century, has its origins in The Beggar’s Opera by John Gay (1685-1732), one of the most popular plays of the 18th century. Photo of Kurt Weill: https://upload.wikimedia.org/wikipedia/commons/0/05/Bundesarchiv_Bild_146-2005-0119%2C_Kurt_Weill.jpg Bundesarchiv, Bild 146-2005-0119 / CC-BY-SA 3.0 / CC BY-SA 3.0 DE (https://creativecommons.org/licenses/by-sa/3.0/de/deed.en)

*Imprint Companion is the only podcast on the Australian Internet about "DVD Culture."* Hang onto your slipcases because Alexei Toliopoulos (Finding Drago, Total Reboot) and Blake Howard (One Heat Minute) team up to unbox, unpack and unveil upcoming releases from Australia's brand new boutique Blu-Ray label *Imprint Films.* This episode we're talking Imprint 6 - "When Worlds Collide" (1951), Imprint 7 - "No Way To Treat A Lady" (1968) and Imprint 8 "A Place In The Sun" (1951). *Blake Howard -* Twitter ( https://twitter.com/OneBlakeMinute ) & One Heat Minute Website ( https://oneheatminute.com/ ) *Alexei Toliopoulos -* Twitter ( https://twitter.com/ThisisAlexei ) & Total Reboot ( http://sanspantsradio.com/total-reboot ) ***************************************** IMPRINT No 6 - WHEN WORLDS COLLIDE (1951) ***************************************** RELEASE DATE: August 26th, 2020 NUMBER OF DISCS: 1 RATING: G RUNTIME (IN MINUTES): 83 A WORLDWIDE FIRST ON BLU-RAY! An impending collision with a runaway star signals the destruction of the earth. Today's Science-Fiction extravaganzas all pay tribute to this pioneering classic from Producer George Pal (The War of the Worlds), which won an Oscar® for its spectacular special effects. *Special Features and Technical Specs:* * 1080p presentation of the film on Blu-ray * *NEW* exclusive audio commentary by film critics Barry Forshaw & Kim Newman * 90min of extended interviews with Gene Roddenberry, Ray Bradbury, Ray Harryhausen, Roy Edward Disney, Wah Chang, Russ Tamblyn & Duke Goldstone recorded for the 1985 documentary" Fantasy Film Worlds of George Pal". * LPCM 2.0 Mono * Optional English subtitles * Theatrical Trailer * Limited Edition slipcase with unique artwork on the first 1500 copies ******************************************** Imprint No 7 - NO WAY TO TREAT A LADY (1968) ******************************************** RELEASE DATE: August 26th, 2020 NUMBER OF DISCS: 1 RATING: M RUNTIME (IN MINUTES): 108 A WORLDWIDE FIRST ON BLU-RAY! No Way to Treat a Lady is a darkly comic thriller directed by Jack Smight, with a screenplay by John Gay adapted from William Goldman's novel of the same name. The film starred Rod Steiger, Lee Remick, George Segal and Eileen Heckart. *Special Features and Technical Specs:* * 1080p presentation of the film on Blu-ray * *NEW* exclusive audio commentary by Kat Ellinger, author and editor-in-chief of Diabolique Magazine * LPCM 2.0 Mono * Optional English subtitles * Theatrical Trailer * Limited Edition slipcase on the first 1000 copies **************************************** Imprint No 8 - A PLACE IN THE SUN (1951) **************************************** RELEASE DATE: August 26th, 2020 NUMBER OF DISCS: 1 RATING: PG RUNTIME (IN MINUTES): 121 A WORLDWIDE FIRST ON BLU-RAY! Montgomery Clift stars as George Eastman; a poor young man determined to win a place in respectable society and the heart of a beautiful socialite (Elizabeth Taylor). Shelley Winters plays the factory girl whose dark secret threatens Eastman's professional and romantic prospects. *Special Features and Technical Specs:* * 1080p presentation taken from the latest 4K restoration of the film * Audio commentary with George Stevens Jr. and associate producer Ivan Moffat * "George Stevens and His Place in the Sun" featurette * "George Stevens: The Filmmakers Who Knew Him" – Warren Beatty, Frank Capra, and others reminisce about working with Stevens * English 5.1 DTS-HD & LPCM 2.0 * Theatrical Trailer * Optional English subtitles * Limited Edition slipcase on the first 1000 copies Visit imprintfilms.com.au

*Imprint Companion is the only podcast on the Australian Internet about "DVD Culture."* Hang onto your slipcases because Alexei Toliopoulos (Finding Drago, Total Reboot) and Blake Howard (One Heat Minute) team up to unbox, unpack and unveil upcoming releases from Australia's brand new boutique Blu-Ray label *Imprint Films.* This episode we're talking Imprint 4 - The Duellists (1977), Imprint 5 - "Waterloo" (1970) and previewing the August releases. *Blake Howard -* Twitter ( https://twitter.com/OneBlakeMinute ) & One Heat Minute Website ( https://oneheatminute.com/ ) *Alexei Toliopoulos -* Twitter ( https://twitter.com/ThisisAlexei ) & Total Reboot ( http://sanspantsradio.com/total-reboot ) *********************************** Imprint No 4 - THE DUELLISTS (1977) *********************************** RELEASE DATE: May 27th, 2020 NUMBER OF DISCS: 1 RATING: M RUNTIME (IN MINUTES): 100 FROM VISIONARY DIRECTOR RIDLEY SCOTT! Keith Carradine and Harvey Keitel play officers in Napoleon's army — D'Hubert and Feraud, respectively — who spend their off-hours challenging each other to bloody duels. *Special Features and Technical Specs:* * 1080p presentation of the film on Blu-ray * Audio commentary with director Ridley Scott * Audio commentary with composer Howard Blake * Isolated Score * Interview with actor Keith Carradine * Duelling Directors: Ridley Scott and Kevin Reynolds interview * Photo and Poster Gallery * Optional English subtitles * Limited Edition slipcase on the first 1000 copies ****************************** Imprint No 5 - WATERLOO (1970) ****************************** RELEASE DATE: May 27th, 2020 NUMBER OF DISCS: 1 RATING: G RUNTIME (IN MINUTES): 132 A WORLDWIDE FIRST ON BLU-RAY! Waterloo is a film on an epic scale with a cast to match. Rod Steiger, Christopher Plummer, Orson Welles and Jack Hawkins all contribute fine portraits of great men against a magnificent backdrop of battle and bloodshed. *Special Features and Technical Specs:* * 1080p presentation of the film on Blu-ray * *NEW* Video Interview with film historian Sheldon Hall * Theatrical Trailer * Limited Edition slipcase on the first 1000 copies ********************************* IMPRINT BUNDLE PACK - AUGUST 2020 ********************************* RELEASE DATE: August 26th, 2020 NUMBER OF DISCS: 5 *When Worlds Collide (1951)* An impending collision with a runaway star signals the destruction of earth. Today's Science-Fiction extravaganzas all pay tribute to this pioneering classic from Producer George Pal (The War of the Worlds), which won an Oscar® for its spectacular special effects. *No Way to Treat A Lady (1968)* No Way to Treat a Lady is a darkly comic thriller directed by Jack Smight, with a screenplay by John Gay adapted from William Goldman's novel of the same name. The film starred Rod Steiger, Lee Remick, George Segal and Eileen Heckart. *A Place In The Sun (1951)* Montgomery Clift stars as George Eastman, a poor young man determined to win a place in respectable society and the heart of a beautiful socialite (Elizabeth Taylor). Shelley Winters plays the factory girl whose dark secret threatens Eastman's professional and romantic prospects. *The Carpetbaggers (1964)* Harold Robbins' best-seller about '30s Hollywood comes to the screen in a torrent of frank, controversial and (for the times) sensational scenes that helped break the Production Code. George Peppard is the ruthless tycoon who (with amazing parallels to Howard Hughes) builds a multi-million-dollar empire. Carroll Baker, who performs a razzle-dazzle striptease atop a glittery chandelier, is the Jean Harlow-type star. *Night Falls on Manhattan (1996)* A newly elected District attorney finds himself in the middle of a police corruption investigation that may involve his father and his partner. The August Bundle Pack contains pre-order titles and will be dispatched in the week leading up to its August 26th release date. Visit imprintfilms.com.au

In this episode, we hear the powerful journey of how John Gay ended up in prison with a 9 year sentence and the transformations that occurred from it. At what point are you imprisoned in life? What is freedom? How do you become free? Learn and be inspired by his journey of self-discovery, and how he discovered a newfound passion for music. Learn how he now sometimes sings 8 hours straight, while in the past he was diagnosed with a voice dysfunction. See John's creations at www.JohnGayMusic.com Follow Per at www.Instagram.com/perbristow See more content by Per Bristow at www.PerBristow.com

In this episode, we hear the powerful journey of how John Gay ended up in prison with a 9 year sentence and the transformations that occurred from it. At what point are you imprisoned in life? What is freedom? How do you become free? Learn and be inspired by his journey of self-discovery, and how he discovered a newfound passion for music. Learn how he now sometimes sings 8 hours straight, while in the past he was diagnosed with a voice dysfunction. See John’s creations at www.JohnGayMusic.com Follow Per at www.Instagram.com/perbristow See more content by Per Bristow at www.PerBristow.com

What do Andrew Jackson, a lawyer, and a farmer have in common? This week, we hear a story about Andrew Jackson from a farmer whose family has farmed sugarcane in Louisiana since 1807. That same farmer's son-in-law left a life practicing law to make a career on the farm. John Gay is a 7th generation sugarcane farmer, and Patrick Frischhertz represents the 8th generation on the family farm. Also in this episode is Andy Brown, Neil Melancon, and Karl Wiggers from the Louisiana Farm Bureau Federation.

In the Falmouth Cemetery, a family grave holds Sir John Gay Newton Alleyne, 3rd Baronet of Four Hills, Barbados. What does his story tell us about the British Empire and the Victorian initiative for improvement? In the middle of the 19th century, the town of Falmouth, overwhelmed by cholera epidemics, is trying to improve the lives of its inhabitants. The old churchyard is too full and making people sick, they must find a new solution.

In the Falmouth Cemetery, a family grave holds Sir John Gay Newton Alleyne, 3rd Baronet of Four Hills, Barbados. The Alleyne family's sugar plantation in Barbados was maintained by the unpaid labour of African slaves. What does his story tell us about the British Empire? In the middle of the 19th century, the town of Falmouth, overwhelmed by cholera epidemics, is trying to improve the lives of its inhabitants among the Victorian initiatives for orderly lives. The old churchyard in town is too full and making people sick, they must find a new solution.

This week on Track Wrap: The long-standing women’s 1,500m national record goes down at London Diamond League meet, Debuess-Stafford continues to re-write the record book with monster season. Degrasse dips under 10 in the 100m. Newman breaks her own National Record. Big results from Belgium; John Gay, Rachel Cliff, Erica Digby, Luc Bruchet and Justin Kent light it up.

Ascolto dell''Opera do Malandro, musical di Chico Buarque de Hollanda del 1978, ispirato dall'Opera del Mendicante di John Gay e dall'Opera dei 3 soldi di Bertold Brecht e trasportato nella Rio de Janeiro degli anni '40. A cura di Monica Paes

Ascolto dell''Opera do Malandro, musical di Chico Buarque de Hollanda del 1978, ispirato dall'Opera del Mendicante di John Gay e dall'Opera dei 3 soldi di Bertold Brecht e trasportato nella Rio de Janeiro degli anni '40. A cura di Monica Paes

The fast times and big performances are starting to roll in from California, and it appears that by all measures that the tracks are hot this year. The Mt. SAC Relays took place last weekend, and they were no exception, with a ton of early season results rushing in, 2019 is shaping up to be a fast one. That seems especially true for our two guests this week, John Gay ran an 8:36 season opener in the 3000 steeple, and his UBC teammate Kieran Lumb blazed a quick 13:40 5,000 for a new PB.

Do you have pet names for your plants?   Amy the Amaryllis.   Jerry the geranium.   Once I bought some dahlias at a private plant sale.   Before I drove away, I rolled down the window to ask for the sellers name; they’ve been my “Doris“ dahlias ever since. Doris and I have stayed in touch over the years, and I have to say; she’s as lovely as the bloom on those dahlias.   So whether they are called Howard or Bertie, Harry or Liz; if you’ve named your plants, you are not alone. The gesture of honoring a loved one or the little laugh evoked from a cleverly name to plant all add it to the joy of gardening. There’s nothing wrong with that.   Brevities #OTD On this day in 1855 Paul de Longpré (Books By This Author)was born.   Known as the "King of Flowers", de Longpré painted exceptional portrayals of roses (his first love), and wildflowers (his second love).  If you look at his work, you'll find somewhere in his composition his signature accent – a bumblebee. After exhibitions of his work on the East Coast, reviewers praised,  "No one but a poet could paint as he does."   "De Longpré has the rare gift of reading down to the heart of his loved flowers." De Longpré was raised in northern Paris. His father left the family early one - a hurt that de Longpré hid from reporters; telling them that his father was dead. De Longpré's family was artistic and he helped his mother financially by painting silk fans with his brother. (The fans were quite fashionable at the time).   After marrying the delightful Josephine Estievenard, de Longpré was mentored by Francois Rivoire. Like Rivoire, de Longpré’s mastery of watercolors are said to rival the richness of oil painting.   When de Longpré lost his savings in a Paris bank crash, he immigrated with his wife and their children to the United States - ultimately calling Hollywood their home in 1900.  At the time, Hollywood was a brand new development just west of Los Angeles -   De Longpré built a lavish Mission Revival style villa and it quickly became the most famous estate on the boulevard. He bought an additional three blocks of property from socialite Daeida Wilcox Beveridgein exchange for three of his flora watercolors. On the property, de Longpré planted over 4000 rosebushes the muses for his work – and he turned the main level of his magnificent home into an art gallery. The place became a sensation; a hub for elites, as well as a tourist destination, with over 8,000 visitors a month. De Longpré’s guests were greeted by a very courteous Japanese butler who would hand them a list of the paintings titles and prices.   Pauls daily habit was to get up in the morning and pick flowers with his youngest daughter, Pauline, by his side. After creating more than 2,000 paintings, de Longpré died in 1911. Josephine and the girls sold the house and sadly agreed to a final exhibition of de Longpré's work, which included his masterpiece the Cherokee Rose. It was a Josephine's lifelong regret to part with these paintings. Thirteen years later, the architectural wonder of the de Longpré's villa and the lavish gardens were all destroyed to make room for commercial buildings and parking lots.   #OTD On this day in 1734, Elsa Beate Bunga was born.   She was a pistol. Married to the handsome Swedish Count Sven Bunga, Elsa was a passionate amateur botanist. At her Beataberga mountain estate, she had many large greenhouses.    Bunga wrote a book called, "About the Nature of Grapevines", which brought her notoriety and authority. She even  corresponded with fellow Swede Carl Linnaeus (who is almost 30 years older than her).   Bunga also drew attention because of her way of dressing. Like the women of her time she wore a skirt, but she distinguished herself by dressing as a man from the waist up. When King Gustav III (1771 - 1792), inquired about a peculiarly dressed woman at the Royal Swedish opera, Bunge boldly replied,  "Tell his Majesty that I am the daughter of statesman Fabian Reder and married to statesman Sven Bunga". Unearthed Words #OTD Maryland selected the Black-Eyed Susan as the State Flower.   This was after much debate. The Baltimore Sun, among many others, was not in favor of the Black-Eyed Susan selection, writing dismissively: "Susan came to Maryland, not on the Ark or the Dove, but a migrant from the Midwest mixed in clover and hayseed." Before the plant received it's popular common name, there was a song by John Gay called Black-Eyed Susan - popular in British maritime novels.    The song tells of a love story between Susan and her Sweet William. As the two say their final farewells before his departure on a long sea voyage, Susan had crying and had black circles around her eyes.   Today, their stories continue; folklore sharing that Black-Eyed Susans and Sweet William share the same bloom time to celebrate their undying love for each other.     Here are a few verses:   All in the Downs the fleet was moor'd, The streamers waving to the wind When black-eyed Susan came on board; Oh! where shall I my true love find? Tell me, ye jovial sailors, tell me true, If my sweet William sails among your crew.   William, who high upon the yard, Rock'd with the billows to and fro, Soon as her well-known voice he heard,; He sigh'd, and cast his eyes below; ;- The cord glides swiftly through his glowing hands, ' And quick as lightning on the deck he stands. '   So the sweet lark, high pois'd in air, Shuts close his pinions to his breast, If chance his mate's shrill call he hear, And drops at once into her nest, The noblest captain in the British fleet, Might envy William's lips those kisses sweet.   O Susan, Susan, lovely dear, My vows shall ever true remain; Let me kiss off that falling tear;  We only part to meet again. . Change as ye list, ye winds, my heart shall be The faithful compass that still points to thee.   Believe not what the landsmen say, Who tempt with doubts thy constant mind; They'll tell thee, sailors, when away, In every port a mistress find. Yes, yes, believe them, when they tell thee so, For thou art present wheresoe'er I go.   If to fair India's coast we sail,  Thy eyes are seen in di'monds bright; Thy breath is Afric's spicy gale, Thy skin is ivory so white. Thus, ev'ry beauteous object that I view, Wakes in my soul some charm of lovely Sue.   Though battle calls me from thy arms, Let not my pretty Susan mourn; Though cannons roar, yet safe from harms. William shall to his dear return. Love turns aside the balls 'that round me fly; Lest precious tears should drop from Susan's eye. I   The boatswain gave the dreadful word, The sails their swelling bosoms spread; No longer must she stay aboard They kiss'd she sigh'd; he hung his head Her less'ning boat unwilling rows to land; Adieu! she cries, and wav'd her lily hand.   Today's book recommendation  Studio Oh! Hardcover Medium Capture Life’s Moments Cactus Journal Studio Oh offers inspired collections of finely crafted and cleverly designed journals and other decorative home accessories.  Their new cactus line of products will be a sure hit with gardeners. Today's Garden Chore Plan how you will honor Arbor Day Find the best place to source saplings in your area. Increase your tree diversity by planting a Kentucky Coffee Tree. Something Sweet  Reviving the little botanic spark in your heart The story of de Longpré is quite enchanting. There are two images in particular about de Longpré that stuck with me. The first is such a quintessentially French image. De Longpré is riding his bicycle, peddling out to the garden with an easel on his back, a hat on his head, on his way to paint the flowers he loved so much.   The second image is a photo of de Longpré in the garden with his little daughter Pauline. In an article in the Overland Monthly, we get a little glimpse into their relationship. "de Longpré’s youngest daughter, is a bright little miss about eight years old. If you ask for her name, she will say it is Pauline; but the only name she has ever called at home is “Joujou”; the French word for toy or plaything.  She is idolized by her famous father, and when he walks in the garden she is always by his side."   Thanks for listening to the daily gardener, and remember: "For a happy, healthy life, garden every day."

German-born Johann Christoph Pepusch spent much of his career working in London, where he founded the Academy of Ancient Music and found fame with his music for John Gay's “Beggar's Opera”. Lucie Skeaping talks to Robert Rawson of Canterbury Christ Church University about the extraordinary life and music of this now-neglected 18th-century composer.

Jordy Rosenberg is a transgender writer and scholar who focuses on 18th-century literature and queer/trans theory. His first novel, Confessions of the Fox, smashes those two disciplines together by retelling the story of two notorious thieves, jailbreakers, and lovers: Jack Sheppard and Edgeworth Bess, both real people who lived and breathed the fetid London air. But in Rosenberg's imagining, Jack is trans and Bess is the daughter of a South Asian sailor and an Englishwoman from the soon-to-be-drained fen. Confessions of the Fox is the title of both the novel and a long-lost manuscript that may or may not be their confessions, discovered by a scholar named Dr. Voth. He obsessively annotates the novel and presents it to us, the reader, with an introduction and footnotes that unspool into a conspiratorial tale of surveillance, resistance, and suspense. Rosenberg joins us on the podcast to talk about what it’s like to rewrite history.Also, we have a copy of the novel to give away! So please, tell one person that you're a fan of the podcast, write us a pithy review on iTunes, and email podcast@theamericanscholar.org to tell us you’ve done so for your chance to win a copy of Confessions of the Fox. We will randomly select a winner on October 12.Go beyond the episode:Jordy Rosenberg’s Confessions of the FoxProof that Jack Sheppard is, in fact, real, and not a fantastical invention: his Encyclopedia Britannica entryListen to the 1958 recording of The Threepenny Opera (1928) by Bertolt Brecht, adapted from The Beggar’s Opera (1728) by John GayFor more about how the spectacle of capital punishment was used in the 18th century, check out Peter Linebaugh’s The London HangedTune in every week to catch interviews with the liveliest voices from literature, the arts, sciences, history, and public affairs; reports on cutting-edge works in progress; long-form narratives; and compelling excerpts from new books. Hosted by Stephanie Bastek.Subscribe: iTunes • Feedburner • Stitcher • Google Play • AcastHave suggestions for projects you’d like us to catch up on, or writers you want to hear from? Send us a note: podcast@theamericanscholar.org. And rate us on iTunes! Our theme music was composed by Nathan Prillaman. This episode features the song “Canvasback” by Chad Crouch.  See acast.com/privacy for privacy and opt-out information.

This podcast is a continuation from Episode 5 about Love + Attachment where Rina and Eric left off talking about spiders. They will share the end of the story and how we all end of acting like Turkeys from the poem the Turkey and the Ant by John Gay. They also talk about forgiveness and how to approach it in a healthy way. 

This episode explores the ways that texts can influence a reader’s actions and life decisions. We reflect on literary justifications for crimes offered by captured criminals, trace the aftermath of Robert Louis Stevenson’s "Dr. Jekyll and Mr. Hyde" (and John Gay’s "The Beggar’s Opera"), investigate the social and fashion fads inspired by Sydney Owenson’s author/character performances of "The Wild Irish Girl" and interview Dave Wheeler about “how reading helped [him] find [his] pride.”

The Mayor of London, Sadiq Khan, looks ahead to Sunday when he's transforming Trafalgar Square into 'London's biggest cinema' for a free public screening of Iranian director Asghar Farhadi's Oscar-nominated film The Salesman, just hours before this year's Academy Awards are announced. Jake Arnott discusses his latest novel The Fatal Tree set in Georgian London's criminal underworld. It follows the fortunes of notorious prostitute and pickpocket Edgworth Bess and her husband Jack Sheppard, a thief whose escapades inspired the character of Macheath in John Gay's The Beggar's Opera.Next week the Guildhall School will put on the world premiere of Julian Philips' opera The Tale of Januarie. Based on Chaucer's The Merchant's Tale, it's the first opera to have been written in Middle English. The librettist Stephen Plaice and composer Julian Philips join John to discuss how they approached it.Presenter: John Wilson Producer: Edwina Pitman.

The Threepenny Opera — Bertolt Brecht’s 1928 “play with music — is like an expensive desert that’s so complex and filled with flavor most people can’t quite figure out how to enjoy it. That’s how Brecht liked it. A proponent of what he called “Epic Theater,” Brecht was not interested in entertaining his audiences or allowing them to become lost in the emotions of a story. He wanted his audiences to stay a bit uncomfortable, to remain just distant enough from their feelings —and from the show they are watching — to always be thinking about how the play is being presented, what it all actually means. Therefore, I’d say that for most people, the only significant obstacle in 6th Street’s thoroughly effective and often delightful production of Threepenny Opera is that in the end, it’s still The Threepenny Opera. Staged in the larger G.K. Hardt theater, it a fascinating choice for 6th Street, where its main-stage musicals have tended, of late, toward the safe and predictable. Directed by Michael R.J, Campbell, Threepenny features thrilling singing voices, excellent musical direction by Janis Dunson Wilson, frequently brilliant staging, cooler-than-cool visual stylings, and whimsically Brechtian touches. The set, essentially a large room filled with props and costumes, resembles a theater hoarder’s paradise, and I loved those chalk-drawn signs some characters hold up from time to time, and that well-lit proscenium over the stage, chalked over with the scrawled titles of all the songs, constantly reminding us that this is, after all, just a play with music. The music, by the way, is by Kurt Weill, and includes some of his best known songs. The story is set in London in 1937, and plays like a Victorian-version of the Rocky Horror Show. It’s gleefully sexy and aberrant, and joyously contemptuous of those too sensitive and proper to sit and watch a dark, twisted, tune-filled show about the seedy underbelly of society. Ironically, the musical—based on John Gay’s 1728 “The Beggar’s Opera”—is actually (if you pay attention) all about Europe’s wealthy class of bankers and businessman, who too-often behave like crooks and murderers. Though in Threepenny Opera, we get crooks and murderers behaving like bankers and businessmen. The show’s best-known song (“The Ballad of Mack the Knife”), is presented in a gothy prelude by an accordion-playing street-singer (a first-rate Shawna Eierman), after which the plot-heavy story introduces Mr. and Mrs. Peachum (Robert Rogers & Eileen Morris, both excellent). The Peachums oversee a network of robbers and thugs, rivaled only by the vicious gang of the knife-wielding Macheath (a wonderful Jerry Lee, singing beautifully while looking like a cross between Charlie Chaplin and Gomez Addams). When Mack secretly marries the Peachum’s daughter Polly (Molly Larsen, adding yet another excellent voice to the cast), things get complicated. It seem Mack has more than one wife, and a girlfriend or two on the side. One of them, the prostitute Jenny, played powerfully by Seran Elize Flores, reluctantly collaborates with the Peachums to have Mack arrested, his eventual fate illuminated, literally, the noose hanging over the stage, occasionally lit by a spot so we don’t forget its there. The twisty tale is deliberately hard to follow (Brecht trikes again), but for venturous audiences willing to take their tea with a bit of arsenic, this energetic romp of an anti-capitalist fable is served up with enough style to keep you smiling, even as it sends you out of the theater thinking hard, and perhaps just a little unsettled. 'Threepenny Opera’ runs Thursday–Sunday through October 23 at 6th Street Playhouse. www.6thstreetplayhouse.com

With The Beggar's Opera, John Gay attempted to skewer 18th-century British government, the rich, and Italian operas. Did his satire succeed? Maybe you'll find out on this rather free-wheeling episode. Off-topic topics include: the firm of Borowitz, Onion and Yankovic; the Ginger Ale Dimension; 99 Degrees; and "Celebration by Kool & the Gang" a new musical by Kool & the Gang.

With The Beggar's Opera, John Gay attempted to skewer 18th-century British government, the rich, and Italian operas. Did his satire succeed? Maybe you'll find out on this rather free-wheeling episode. Off-topic topics include: the firm of Borowitz, Onion and Yankovic; the Ginger Ale Dimension; 99 Degrees; and "Celebration by Kool & the Gang" a new musical by Kool & the Gang.

“The future’s ripe for those who mix their artistry with politics” – yes, in this time of election and referendum, Thos rejoins modern musical theatre master, Dougal Irvine, for a chat about his brand new show, the Busker's Opera – a new take on what is arguably the first ever musical, John Gay’s satirical masterpiece, The Beggar's Opera, but this time with a contemporary feel - and a lot of mayoral skulduggery! 

Lucie Skeaping visits the Scilly Isles to learn about the actress and singer Ann Cargill, who drowned in a dramatic shipwreck there in 1784, and whose ghost is said to have haunted Rosevear Island ever since. Ann made her London stage debut in 1771 at the tender age of eleven in Thomas Arne's opera "The Fairy Prince" at Covent Garden. Later she eloped with a married man eighteen years her senior, and her father washed his hands of her. She continued to be a popular draw at Drury Lane, in productions of John Gay's "The Beggar's Opera" and Thomas Linley's "The Duenna", but her love-life became more scandalous. Eventually, she fell in love with a merchant seaman and, carrying his illegitimate child, left London to start a new life with him in India. In Bombay she received a mixed reception and some were distinctly unimpressed that an "English strumpet" was bringing shame and embarrassment to the nation. One such was the Prime Minister, William Pitt the Younger, who demanded her return to Britain forthwith. So in December 1783, Ann and her husband boarded a ship - the Nancy Packet - and set sail for London. They arrived in British waters in February 1784 amidst a horrific gale, and the ship struck one of the many treacherous rocks off the western reaches of Scilly. Ann scrambled into a lifeboat with her infant son, while The Nancy Packet sank in the tumult. The locals later discovered the upturned lifeboat just off a small bay on Rosevear Island, and underneath found Ann, floating in her nightgown with her head resting on her baby's, as if in sleep. Lucie Skeaping meets Todd Stevens, a wreck-diver and treasure hunter, who found the wreck of the Nancy Packet in 2007, and has since written a book about his findings and the life and death of Ann Cargill. (REPEAT).

Kneehigh Theatre Company from Cornwall is currently working on a brand new adaptation of John Gay’s The Beggar’s Opera titled Dead Dog in a Suitcase, with a script by regular Kneehigh writer Carl Grose and music by Charles Hazlewood, directed by Kneehigh founder Mike Shepherd. Charles Hazlewood spoke to us from Sweden where he was conducting a concert of music from video games with the Malmö SymfoniOrkester. He talks about his involvement in the project from taking it to Mike Shepherd as an idea around three years ago through his process of creating the score in rehearsals with the performers and scriptwriter-lyricist Carl Grose. Mike Shepherd, speaking to us at the end of the first week of rehearsals at the Everyman Theatre in Liverpool, where the show opens in June, speaks about the evolving story and politics of the show and the influences of modern events and modern popular culture, as well as the process of bringing it to the stage. Mike also explains how Kneehigh has developed and constantly changed direction since he founded it in 1980, and talks about some current Kneehigh projects including Kneehigh Rambles and the company's mobile theatre space the Asylum. Dead Dog in a Suitcase runs at the Everyman Theatre in Liverpool from 21 June to 12 July 2014, and then will be performed in Kneehigh’s mobile theatre, the Asylum, at The Lost Gardens of Heligan in Cornwall from 30 August to 28 September. Charles Hazlewood’s Orchestival summer festival, with which Kneehigh is also involved, is on 19 and 20 July in Somerset. (Rehearsal images of Mike Shepherd and Charles Hazlewood by Steve Tanner.)

The Beggar's Opera by John Gay, explored by Suzy Klein and Christian Curnyn.

Anne and Niamh Buckley sing 'The Pirate Jenny' from The Threepenny Opera by Bertolt Brecht and Kurt Weill. Recorded in front of a live audience at Marino Library on Culture Night, 20 September 2013. Pirate Jenny is fromThe Threepenny Opera by German dramatist Bertolt Brecht and composer Kurt Weill. It was adapted from The Beggar's Opera (1728) by John Gay and was first performed in Berlin in 1928. If you'd like to hear more, good listeners are always welcome at An Góilín, Traditional Singer's Club based in The Teacher's Club, Parnell Square, Dublin.

George Frideric HANDEL 1685-1759Our version ofAllemande in Am (HWV 478)George Frideric HANDEL 1685-1759© 2012 Shiloh Worship Music COPY FREELY;This Recording is copyrighted to prevent misuse, however,permission is granted for non-commercial copying-Radio play permitted. Www.ShilohWorshipMusic.com Georg Friedrich Händel (1685-1759)George Frideric Handel(from Wikipedia) George Frideric Handel, born in the same year as Johann Sebastian Bach and Domenico Scarlatti. By Thomas Hudson (1749)George Frideric Handel SignatureGeorge Frideric Handel (German: Georg Friedrich Händel; pronounced [ˈhɛndəl]) (23 February 1685 – 14 April 1759) was a German-British Baroque composer, famous for his operas, oratorios, anthems and organ concertos. Handel was born in 1685, in a family indifferent to music. He received critical musical training in Halle, Hamburg and Italy before settling in London (1712) and becoming a naturalised British subject in 1727.[1] By then he was strongly influenced by the great composers of the Italian Baroque and the middle-German polyphonic choral tradition.Within fifteen years, Handel, a dramatic genius, started three commercial opera companies to supply the English nobility with Italian opera, but the public came to hear the vocal bravura of the soloists rather than the music. In 1737 he had a physical breakdown, changed direction creatively and addressed the middle class. As Alexander's Feast (1736) was well received, Handel made a transition to English choral works. After his success with Messiah (1742) he never performed an Italian opera again. Handel was only partly successful with his performances of English Oratorio on mythical and biblical themes, but when he arranged a performance of Messiah to benefit the Foundling Hospital (1750) the critique ended. The pathos of Handel's oratorios is an ethical one. They are hallowed not by liturgical dignity but by the moral ideals of humanity.[2] Almost blind, and having lived in England for almost fifty years, he died a respected and rich man.Handel is regarded as one of the greatest composers of all time, with works such as Water Music, Music for the Royal Fireworks and Messiah remaining popular. Handel composed more than forty operas in over thirty years, and since the late 1960s, with the revival of baroque music and original instrumentation, interest in Handel's operas has grown. His operas contain remarkable human characterisation—especially for a composer not known for his love affairs.Early yearsHandel's baptismal registration (Marienbibliothek in Halle)Handel was born in 1685 in Halle, Duchy of Magdeburg, to Georg Händel and Dorothea Taust.[3] His father, 63 when his son was born, was an eminent barber-surgeon who served to the court of Saxe-Weissenfels and the Margraviate of Brandenburg.[4] According to Handel's first biographer, John Mainwaring, he "had discovered such a strong propensity to Music, that his father who always intended him for the study of the Civil Law, had reason to be alarmed. He strictly forbade him to meddle with any musical instrument but Handel found means to get a little clavichord privately convey'd to a room at the top of the house. To this room he constantly stole when the family was asleep".[5] At an early age Handel became a skillful performer on the harpsichord and pipe organ.[6]Händel-Haus (2009) – birthplace of George Frideric HandelEntrance of Teatro del Cocomero in FlorenceHandel and his father travelled to Weissenfels to visit either Handel's half-brother, Carl, or nephew, Georg Christian,[7] who was serving as valet to Duke Johann Adolf I.[8] Handel and the duke convinced his father to allow him to take lessons in musical composition and keyboard technique from Friedrich Wilhelm Zachow, the organist of the Lutheran Marienkirche. He learned about harmony and contemporary styles, analysed sheet music scores, learned to work fugue subjects, and to copy music. In 1698 Handel played for Frederick I of Prussia and met Giovanni Battista Bononcini in Berlin.From Halle to ItalyThe Hamburg Opera am Gänsemarkt in 1726In 1702, following his father's wishes, Handel started studying law under Christian Thomasius at the University of Halle;[9] and also earned an appointment for one year as the organist in the former cathedral, by then an evangelical reformed church. Handel seems to have been unsatisfied and in 1703, he accepted a position as violinist and harpsichordist in the orchestra of the Hamburg Oper am Gänsemarkt.[10] There he met the composers Johann Mattheson, Christoph Graupner and Reinhard Keiser. His first two operas, Almira and Nero, were produced in 1705.[11] He produced two other operas, Daphne and Florindo, in 1708. It is unclear whether Handel directed these performances.According to Mainwaring, in 1706 Handel travelled to Italy at the invitation of Ferdinando de' Medici, but Mainwaring must have been confused. It was Gian Gastone de' Medici, whom Handel had met in 1703–1704 in Hamburg.[12] Ferdinando tried to make Florence Italy's musical capital, attracting the leading talents of his day. He had a keen interest in opera. In Italy Handel met librettist Antonio Salvi, with whom he later collaborated. Handel left for Rome and, since opera was (temporarily) banned in the Papal States, composed sacred music for the Roman clergy. His famous Dixit Dominus (1707) is from this era. He also composed cantatas in pastoral style for musical gatherings in the palaces of cardinals Pietro Ottoboni, Benedetto Pamphili and Carlo Colonna. Two oratorios, La Resurrezione and Il Trionfo del Tempo, were produced in a private setting for Ruspoli and Ottoboni in 1709 and 1710, respectively. Rodrigo, his first all-Italian opera, was produced in the Cocomero theatre in Florence in 1707.[13] Agrippina was first produced in 1709 at Teatro San Giovanni Grisostomo, the prettiest theatre at Venice, owned by the Grimanis. The opera, with a libretto by cardinal Vincenzo Grimani, and according to Mainwaring it ran for 27 nights successively. The audience, thunderstruck with the grandeur and sublimity of his style,[14] applauded for Il caro Sassone.Move to LondonGeorge Frideric Handel (left) and King George I on the River Thames, 17 July 1717, by Edouard Jean Conrad Hamman (1819–88).In 1710, Handel became Kapellmeister to German prince George, Elector of Hanover, who in 1714 would become King George I of Great Britain.[15] He visited Anna Maria Luisa de' Medici and her husband in Düsseldorf on his way to London in 1710. With his opera Rinaldo, based on La Gerusalemme Liberata by the Italian poet Torquato Tasso, Handel enjoyed great success, although it was composed quickly, with many borrowings from his older Italian works.[16] This work contains one of Handel's favourite arias, Cara sposa, amante cara, and the famous Lascia ch'io pianga.In 1712, Handel decided to settle permanently in England. He received a yearly income of £200 from Queen Anne after composing for her the Utrecht Te Deum and Jubilate, first performed in 1713.[17][18]One of his most important patrons was the young and wealthy Richard Boyle, 3rd Earl of Burlington.[19] For him Handel wrote Amadigi di Gaula, a magical opera, about a damsel in distress, based on the tragedy by Antoine Houdar de la Motte.The conception of an opera as a coherent structure was slow to capture Handel's imagination[20] and he renounced it for five years. In July 1717 Handel's Water Music was performed more than three times on the Thames for the King and his guests. It is said the compositions spurred reconciliation between the King and Handel.[21]Cannons (1717–18)Main article: Handel at CannonsThe Chandos portrait. The 1st Duke of Chandos was an important patron for Handel.In 1717 Handel became house composer at Cannons in Middlesex, where he laid the cornerstone for his future choral compositions in the twelve Chandos Anthems.[22] Romain Rolland stated that these anthems were as important for his oratorios as the cantatas were for his operas.[23] Another work he wrote for the Duke of Chandos, the owner of Cannons, was Acis and Galatea: during Handel's lifetime it was his most performed work. Winton Dean wrote, "the music catches breath and disturbs the memory".[24]In 1719 the Duke of Chandos became one of the main subscribers to Handel's new opera company, the Royal Academy of Music, but his patronage of music declined after he lost money in the South Sea bubble, which burst in 1720 in one of history's greatest financial cataclysms. Handel himself invested in South Sea stock in 1716, when prices were low[25] and sold before 1720.[26]Royal Academy of Music (1719–34)Main article: Royal Academy of Music (company)Handel House at 25 Brook Street, Mayfair, LondonIn May 1719 Lord Chamberlain Thomas Holles, the Duke of Newcastle ordered Handel to look for new singers.[27] Handel travelled to Dresden to attend the newly built opera. He saw Teofane by Antonio Lotti, and engaged the cast for the Royal Academy of Music, founded by a group of aristocrats to assure themselves a constant supply of baroque opera or opera seria. Handel may have invited John Smith, his fellow student in Halle, and his son Johann Christoph Schmidt, to become his secretary and amanuensis.[28] By 1723 he had moved into a Georgian house at 25 Brook Street, which he rented for the rest of his life.[29] This house, where he rehearsed, copied music and sold tickets, is now the Handel House Museum.[30] During twelve months between 1724 and 1725, Handel wrote three outstanding and successful operas, Giulio Cesare, Tamerlano and Rodelinda. Handel's operas are filled with da capo arias, such as Svegliatevi nel core. After composing Silete venti, he concentrated on opera and stopped writing cantatas. Scipio, from which the regimental slow march of the British Grenadier Guards is derived,[31] was performed as a stopgap, waiting for the arrival of Faustina Bordoni.In 1727 Handel was commissioned to write four anthems for the coronation ceremony of King George II. One of these, Zadok the Priest, has been played at every British coronation ceremony since.[32] In 1728 John Gay's The Beggar's Opera premiered at Lincoln's Inn Fields Theatre and ran for 62 consecutive performances, the longest run in theatre history up to that time.[citation needed] After nine years Handel's contract was ended but he soon started a new company.The Queen's Theatre at the Haymarket (now Her Majesty's Theatre), established in 1705 by architect and playwright John Vanbrugh, quickly became an opera house.[33] Between 1711 and 1739, more than 25 of Handel's operas premièred there.[34] In 1729 Handel became joint manager of the Theatre with John James Heidegger.A musical portrait of Frederick, Prince of Wales and his sisters by Philip Mercier, dated 1733, using Kew Palace as its plein-air backdropThe Queen's Theatre in the Haymarket in London by William CaponHandel travelled to Italy to engage seven new singers. He composed seven more operas, but the public came to hear the singers rather than the music.[35] After two commercially successful English oratorios Esther and Deborah, he was able to invest again in the South Sea Company. Handel reworked his Acis and Galatea which then became his most successful work ever. Handel failed to compete with the Opera of the Nobility, who engaged musicians such as Johann Adolf Hasse, Nicolo Porpora and the famous castrato Farinelli. The strong support by Frederick, Prince of Wales caused conflicts in the royal family. In March 1734 Handel directed a wedding anthem This is the day which the Lord hath made, and a serenata Parnasso in Festa for Anne of Hanover.[36]Opera at Covent Garden (1734–41)In 1733 the Earl of Essex received a letter with the following sentence: "Handel became so arbitrary a prince, that the Town murmurs". The board of chief investors expected Handel to retire when his contract ended, but Handel immediately looked for another theatre. In cooperation with John Rich he started his third company at Covent Garden Theatre. Rich was renowned for his spectacular productions. He suggested Handel use his small chorus and introduce the dancing of Marie Sallé, for whom Handel composed Terpsichore. In 1735 he introduced organ concertos between the acts. For the first time Handel allowed Gioacchino Conti, who had no time to learn his part, to substitute arias.[37] Financially, Ariodante was a failure, although he introduced ballet suites at the end of each act.[38] Alcina, his last opera with a magic content, and Alexander's Feast or the Power of Music based on John Dryden's Alexander's Feast starred Anna Maria Strada del Pò and John Beard.In April 1737, at age 52, Handel apparently suffered a stroke which disabled the use of four fingers on his right hand, preventing him from performing.[39] In summer the disorder seemed at times to affect his understanding. Nobody expected that Handel would ever be able to perform again. But whether the affliction was rheumatism, a stroke or a nervous breakdown, he recovered remarkably quickly .[40] To aid his recovery, Handel had travelled to Aachen, a spa in Germany. During six weeks he took long hot baths, and ended up playing the organ for a surprised audience.[41]Deidamia, his last and only baroque opera without an accompagnato, was performed three times in 1741. Handel gave up the opera business, while he enjoyed more success with his English oratorios.[citation needed]OratorioFurther information: List of Handel's OratoriosHandel by Philip MercierIl Trionfo del Tempo e del Disinganno, an allegory, Handel's first oratorio[42] was composed in Italy in 1707, followed by La Resurrezione in 1708 which uses material from the Bible. The circumstances of Esther and its first performance, possibly in 1718, are obscure.[43] Another 12 years had passed when an act of piracy caused him to take up Esther once again.[44] Three earlier performances aroused such interest that they naturally prompted the idea of introducing it to a larger public. Next came Deborah, strongly coloured by the Anthems[45] and Athaliah, his first English Oratorio.[46] In these three oratorios Handel laid foundation for the traditional use of the chorus which marks his later oratorios.[47] Handel became sure of himself, broader in his presentation, and more diverse in his composition.[48]It is evident how much he learnt from Arcangelo Corelli about writing for instruments, and from Alessandro Scarlatti about writing for the solo voice; but there is no single composer who taught him how to write for chorus.[49] Handel tended more and more to replace Italian soloists by English ones. The most significant reason for this change was the dwindling financial returns from his operas.[50] Thus a tradition was created for oratorios which was to govern their future performance. The performances were given without costumes and action; the performers appeared in a black suit.[51]Caricature of Handel by Joseph Goupy (1754)In 1736 Handel produced Alexander's Feast. John Beard appeared for the first time as one of Handel's principal singers and became Handel's permanent tenor soloist for the rest of Handel's life.[52] The piece was a great success and it encouraged Handel to make the transition from writing Italian operas to English choral works. In Saul, Handel was collaborating with Charles Jennens and experimenting with three trombones, a carillon and extra-large military kettledrums (from the Tower of London), to be sure "...it will be most excessive noisy".[53] Saul and Israel in Egypt both from 1739 head the list of great, mature oratorios, in which the da capo and dal segno aria became the exception and not the rule.[54] Israel in Egypt consists of little else but choruses, borrowing from the Funeral Anthem for Queen Caroline. In his next works Handel changed his course. In these works he laid greater stress on the effects of orchestra and soloists; the chorus retired into the background.[55] L'Allegro, il Penseroso ed il Moderato has a rather diverting character; the work is light and fresh.During the summer of 1741, the 3rd Duke of Devonshire invited Handel to Dublin to give concerts for the benefit of local hospitals.[56] His Messiah was first performed at the New Music Hall in Fishamble Street, on 13 April 1742, with 26 boys and five men from the combined choirs of St Patrick's and Christ Church cathedrals participating.[57] Handel secured a balance between soloists and chorus which he never surpassed.The use of English soloists reached its height at the first performance of Samson. The work is highly theatrical. The role of the chorus became increasingly import in his later oratorios. Jephtha was first performed on 26 February 1752; even though it was his last oratorio, it was no less a masterpiece than his earlier works.[58]Later yearsGeorge Frideric Handel in 1733, by Balthasar Denner (1685–1749)In 1749 Handel composed Music for the Royal Fireworks; 12,000 people attended the first performance.[59] In 1750 he arranged a performance of Messiah to benefit the Foundling Hospital. The performance was considered a great success and was followed by annual concerts that continued throughout his life. In recognition of his patronage, Handel was made a governor of the Hospital the day after his initial concert. He bequeathed a copy of Messiah to the institution upon his death.[60] His involvement with the Foundling Hospital is today commemorated with a permanent exhibition in London's Foundling Museum, which also holds the Gerald Coke Handel Collection. In addition to the Foundling Hospital, Handel also gave to a charity that assisted impoverished musicians and their families.In August 1750, on a journey back from Germany to London, Handel was seriously injured in a carriage accident between The Hague and Haarlem in the Netherlands.[61] In 1751 one eye started to fail. The cause was a cataract which was operated on by the great charlatan Chevalier Taylor. This led to uveitis and subsequent loss of vision. He died eight years later in 1759 at home in Brook Street, at age 74. The last performance he attended was of Messiah. Handel was buried in Westminster Abbey.[62] More than three thousand mourners attended his funeral, which was given full state honours.Handel never married, and kept his personal life private. His initial will bequeathed the bulk of his estate to his niece Johanna. However four codicils distributed much of his estate to other relations, servants, friends and charities.[63]Handel owned an art collection that was auctioned posthumously in 1760.[64] The auction catalogue listed approximately seventy paintings and ten prints (other paintings were bequeathed).[64]WorksSenesino, the famous castrato from SienaMain articles: List of compositions by George Frideric Handel and List of operas by Handel.Handel's compositions include 42 operas, 29 oratorios, more than 120 cantatas, trios and duets, numerous arias, chamber music, a large number of ecumenical pieces, odes and serenatas, and 16 organ concerti. His most famous work, the oratorio Messiah with its "Hallelujah" chorus, is among the most popular works in choral music and has become the centrepiece of the Christmas season. Among the works with opus numbers published and popularised in his lifetime are the Organ Concertos Op.4 and Op.7, together with the Opus 3 and Opus 6 concerti grossi; the latter incorporate an earlier organ concerto The Cuckoo and the Nightingale in which birdsong is imitated in the upper registers of the organ. Also notable are his sixteen keyboard suites, especially The Harmonious Blacksmith.Handel introduced previously uncommon musical instruments in his works: the viola d'amore and violetta marina (Orlando), the lute (Ode for St. Cecilia's Day), three trombones (Saul), clarinets or small high cornetts (Tamerlano), theorbo, horn (Water Music), lyrichord, double bassoon, viola da gamba, bell chimes, positive organ, and harp (Giulio Cesare, Alexander's Feast).[65]Handel's works have been catalogued in the Händel-Werke-Verzeichnis and are commonly referred to by an HWV number. For example, Messiah is catalogued as HWV 56.LegacyA Masquerade at the King's Theatre, Haymarket (c. 1724)Handel's works were collected and preserved by two men in particular: Sir Samuel Hellier, a country squire whose musical acquisitions form the nucleus of the Shaw-Hellier Collection,[66] and abolitionist Granville Sharp. The catalogue accompanying the National Portrait Gallery exhibition marking the tercentenary of the composer's birth calls them two men of the late eighteenth century "who have left us solid evidence of the means by which they indulged their enthusiasm".[67]After his death, Handel's Italian operas fell into obscurity, except for selections such as the aria from Serse, "Ombra mai fù". The oratorios continued to be performed but not long after Handel's death they were thought to need some modernisation, and Mozart orchestrated a German version of Messiah and other works. Throughout the 19th century and first half of the 20th century, particularly in the Anglophone countries, his reputation rested primarily on his English oratorios, which were customarily performed by enormous choruses of amateur singers on solemn occasions.Since the Early Music Revival many of the forty-two operas he wrote have been performed in opera houses and concert halls.Handel's music was studied by composers such as Haydn, Mozart and BeethovenRecent decades have revived his secular cantatas and what one might call 'secular oratorios' or 'concert operas'. Of the former, Ode for St. Cecilia's Day (1739) (set to texts by John Dryden) and Ode for the Birthday of Queen Anne (1713) are noteworthy. For his secular oratorios, Handel turned to classical mythology for subjects, producing such works as Acis and Galatea (1719), Hercules (1745) and Semele (1744). These works have a close kinship with the sacred oratorios, particularly in the vocal writing for the English-language texts. They also share the lyrical and dramatic qualities of Handel's Italian operas. As such, they are sometimes performed onstage by small chamber ensembles. With the rediscovery of his theatrical works, Handel, in addition to his renown as instrumentalist, orchestral writer, and melodist, is now perceived as being one of opera's great musical dramatists.A carved marble statue of Handel, created for the Vauxhall Gardens in 1738 by Louis-François Roubiliac, and now preserved in the Victoria & Albert Museum.Handel's work was edited by Samuel Arnold (40 vols., London, 1787–1797), and by Friedrich Chrysander, for the German Händel-Gesellschaft (105 vols., Leipzig, 1858–1902).Handel adopted the spelling "George Frideric Handel" on his naturalisation as a British subject, and this spelling is generally used in English-speaking countries. The original form of his name, Georg Friedrich Händel, is generally used in Germany and elsewhere, but he is known as "Haendel" in France. Another composer with a similar name, Handl or Händl, was an Austrian from Carniola and is more commonly known as Jacobus Gallus.Musician's musicianHandel has generally been accorded high esteem by fellow composers, both in his own time and since.[68] Bach attempted, unsuccessfully, to meet with Handel while he was visiting Halle.[69] Mozart is reputed to have said of him, "Handel understands affect better than any of us. When he chooses, he strikes like a thunder bolt."[70] To Beethoven he was "the master of us all... the greatest composer that ever lived. I would uncover my head and kneel before his tomb".[70] Beethoven emphasised above all the simplicity and popular appeal of Handel's music when he said, "Go to him to learn how to achieve great effects, by such simple means".HomagesHandel Commemoration in Westminster Abbey, 1784After Handel's death, many composers wrote works based on or inspired by his music. The first movement from Louis Spohr's Symphony No. 6, Op. 116, "The Age of Bach and Handel", resembles two melodies from Handel's Messiah. In 1797 Ludwig van Beethoven published the 12 Variations in G major on ‘See the conqu’ring hero comes’ from Judas Maccabaeus by Handel, for cello and piano. Guitar virtuoso Mauro Giuliani composed his Variations on a Theme by Handel, Op. 107 for guitar, based on Handel's Suite No. 5 in E major, HWV 430, for harpsichord. In 1861, using a theme from the second of Handel's harpsichord suites, Johannes Brahms wrote the Variations and Fugue on a Theme by Handel, Op. 24, one of his most successful works (praised by Richard Wagner). Several works by the French composer Félix-Alexandre Guilmant use Handel's themes, for example his March on a Theme by Handel uses a theme from Messiah. French composer and flautist Philippe Gaubert wrote his Petite marche for flute and piano based on the fourth movement of Handel's Trio Sonata, Op. 5, No. 2, HWV 397. Argentine composer Luis Gianneo composed his Variations on a Theme by Handel for piano. In 1911, Australian-born composer and pianist Percy Grainger based one of his most famous works on the final movement of Handel's Suite No. 5 in E major (just like Giuliani). He first wrote some variations on the theme, which he titled Variations on Handel's ‘The Harmonious Blacksmith’ . Then he used the first sixteen bars of his set of variations to create Handel in the Strand, one of his most beloved pieces, of which he made several versions (for example, the piano solo version from 1930). Arnold Schoenberg's Concerto for String Quartet and Orchestra in B flat major (1933) was composed after Handel's Concerto Grosso, Op. 6/7.VenerationHandel is honored together with Johann Sebastian Bach and Henry Purcell with a feast day on the liturgical calendar of the Episcopal Church (USA) on 28 July.He is commemorated as a musician in the Calendar of Saints of the Lutheran Church on 28 July, with Johann Sebastian Bach and Heinrich Schütz.He is commemorated as a musician along with Johann Sebastian Bach on 28 July by The Order of Saint Luke in their calendar of saints prepared for the use of The United Methodist Church.EditionsBetween 1787 and 1797 Samuel Arnold compiled a 180-volume collection of Handel's works—however it was far from complete.[72] Also incomplete was the collection produced between 1843 and 1858 by the English Handel Society (found by Sir George Macfarren).[73]The 105-volume Händel-Gesellschaft edition was published in the mid 19th century and was mainly edited by Friedrich Chrysander (often working alone in his home). For modern performance, the realisation of the basso continuo reflects 19th century practice. Vocal scores drawn from the edition were published by Novello in London, but some scores, such as the vocal score to Samson are incomplete.The still-incomplete Hallische Händel-Ausgabe started to appear in 1956 (named for Halle in Saxony-Anhalt Eastern Germany, not the Netherlands). It did not start as a critical edition, but after heavy criticism of the first volumes, which were performing editions without a critical apparatus (for example, the opera Serse was published with the title character recast as a tenor reflecting pre-war German practice), it repositioned itself as a critical edition. Influenced in part by cold-war realities, editorial work was inconsistent: misprints are found in abundance and editors failed to consult important sources. In 1985 a committee was formed to establish better standards for the edition.From Wikipedia, the free encyclopedia

John Gay, the executive director and CEO of the Washington DC-based Natural Product Association (NPA), commends industry for the lobbying effort that has led to Republican Senator John McCain agreeing to alter his highly unpopular Bill.

John Gay, the executive director and CEO of the Washington DC-based Natural Product Association (NPA), commends industry for the lobbying effort that has led to Republican Senator John McCain agreeing to alter his highly unpopular Bill.

Dr. Don Nichol is an English Professor at Memorial University in Newfoundland, Canada. He has been researching copyright law and its role in the history of writing and publishing for more than a decade. He is the author of Pope's Literary Legacy, published by the Oxford Bibliographical Society in 1992, and editor, more recently, of The New Foundling Hospital for Wit 1768-1773, a three-volume set containing enhanced facsimiles of some of the 18th-century's most popular and salacious English satire. Nothing too salacious in our conversation, unfortunately, but we do have a rollicking good talk about 18th Century booksellers and authors, the Copyright Act of 1710, copyright libraries, 14 year protection, perpetual monopoly, the famous Alexander Pope and his friend John Gay, Dr. Johnson, and his biographer James Boswell, less famous Andrew Miller, and my new hero, the independent Scottish bookseller/philanthropist Alexander Donaldson, a Warren Buffet of his age.  Periodically you'll hear what sounds like an earthquake rumbling in the background…this is nothing more than a soft Atlantic cross-breeze wafting through Don's corner (yes, he's made it) office in the Arts building where the interview was conducted.