Podcasts about Leonard Cohen

The world does not seem to be doing particularly well at the moment. Much needs to change. Most conversations focus on what should change and how. This episode asks a different, and more refreshing, question:

Varför ska jag avstå från njutningar som jag både åstundar och kan få? Henrik Sahl Johansson griper sig an ett av moralens grundproblem. Lyssna på alla avsnitt i Sveriges Radio Play. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna.När hans husse lämnar hemmet över dagen tvingas hunden Bruno möta de sinnliga begärens igenkännbara dilemma. Han har fullständig kunskap om vad han ska göra, eller rättare sagt vad han inte ska göra: han ska inte äta tårtan, inte jaga katten, absolut inte gräva bland krukväxterna. Men hur ska han förhålla sig till det faktum att han vill göra allt det här? Förnuft krockar med känsla. Ansvar trängs med lust.Tårtan, katten, krukan ... Åh nej, Bruno!Huvudgestalten i Chris Haughtons bilderbok uttrycker samma bedrägliga uppgivenhet som människor i alla tider använt för att försvara sina lustar: han borde inte, ändå gör han. Det är synd om honom, och det är i förlängningen synd om oss, läsarna. För trots att vi gärna intalar oss motsatsen finns det gott om tecken på att vi, om tillfället är det rätta och lockelsen tillräckligt stor, trycker ned våra ansikten i första bästa hyacint. Jag kan motstå allt utom frestelse, som Oscar Wilde sade vid något tillfälle – eller, som Leonard Cohen uttrycker det i låten "On the level": "I was fighting with temptation, but I didn't want to win / A man like me don't like to see temptation caving in". Om Bruno hade använt samma psykologiska försvar när husse Harry kommer hem hade det kunnat låta ungefär så här: Jag kämpade mot frestelsen att äta tårtan, men jag ville inte vinna. En hund som jag tycker inte om när det är begäret som måste kasta in handduken. Åh nej, Bruno! Åh nej, Leonard!Vilken filosofisk skola hunden Bruno ansluter sig till kan man givetvis bara spekulera i, men jag anar att han skulle känna sig hemma bland den kortlivade, och i dag relativt bortglömda, kretsen kring kyrenaikerna – företrädd av livsnjutaren Aristippos den äldre, hans mer grubblande sonson Aristippos den yngre samt dottern Arete av Kyrene (troligtvis den medlem som såg till att man bokade mötesträdgårdar och betalade sina fakturor).Kyrenaikernas radikala hedonism – övertygelsen om att njutning är tillvarons enda mål – härleds i grunden ur en djupt skeptisk kunskapssyn. Det enda vi med säkerhet kan känna till om vår omvärld, menade kyrenaikerna (den äldre Aristippos med entusiasm, den yngre med viss tvekan, Arete troligtvis med himlande ögon i riktning mot dem båda), är sådant som smak och doft: att något skulle existera utanför denna fenomenologiska upplevelsevärld är däremot osäkert. Får man syn på en flaska vin är det således bäst att dricka den omedelbart, eftersom den rent ontologiskt skulle kunna visa sig vara en illusion. Eller, för att tala med hunden Bruno: om det enda vi kan känna till om tårtans väsen är dess intagande sötma gör man bäst i att helt enkelt äta upp den.Den franske författaren Gustave Flaubert var ovanligt försjunken i frågor om begärets natur. Efter att han 1845, vid 24 års ålder, sett Bruegels målning av den helige Antonius frestelse ägnade han mer eller mindre ett helt författarliv åt att skriva på ett manus om eremitens öde. Flaubert hann färdigställa sina mest kända romaner, som ofta kretsar kring just spelet mellan kontroll och hängivelse, innan han 1874 slutligen publicerade romanen ”Den helige Antonius frestelse”.Premisserna i Flauberts skildring av Antonius ökentillvaro påminner på flera punkter om Haughtons "Åh nej, Bruno!". Antonius har lämnats ensam hemma (i öknen) efter att hans husse (Gud) gett sig av för dagen. Han har fullständig kunskap om vad han inte borde göra: inte kyssa drottningen av Saba, inte hemfalla åt drömmar om rikedom när en gyllene skatt uppenbarar sig, absolut inte äta av den färska och mycket lockande frukt som plötsligt visar sig i sanden. Men hur ska han förhålla sig till att han vill göra allt det här?Drottningen av Saba, rikedom, krispig vattenmelon ... Åh nej, helige Antonius!Det hör dock till berättelsen att den verkliga ökeneremiten aldrig föll till föga för sina lustar. I stället behöll han sina bildliga händer på det liturgiska täcket och ägnade sin tid åt att lägga grunden för det kloster som fortfarande står kvar i Egyptens östra öken. Men i Flauberts dramatiska framställning är fantasierna så levande att de i sig blir till överträdelser, och Antonius skam så stor att han lyfter ansiktet mot himlen i bön om att få bli bestraffad. Hans lärljunge Hilarion träder plötsligt fram och beskyller eremiten för att han fuskar sig genom sin askes: ”Du hycklare", säger han, "som begraver dig i ensamheten för att bättre kunna hänge dig åt övermåttet av dina begär! Du avstår från kött, vin, bad, slavar och hedersbevisningar. Men låter du inte i stället din fantasi bjuda dig på fester, parfymer, nakna kvinnor och mängdens applåder? Din kyskhet är bara en mera subtil form av vällust och ditt förakt för världen döljer bara vanmakten i ditt hat till den.”Hur kommer det sig att Antonius förebrår sig för sina fantasier, när hunden Bruno och vissångaren Cohen helt sonika förverkligar dem? Kanske för att Antonius har Guds närvaro kring sig som ett skydd; han lider sina kval för att han har en överordnad som inte kommer tolerera överträdelser, och för att en större belöning väntar om han klarar av att stå emot sin frestelse. I sig är det en fråga om en kamp mellan ögonblicket och framtiden.Om kyrenaikernas sinnliga njutning utspelar i ett ständigt nu, där varken framtida belöningar eller yttre existens äger betydelse, finns hos Flauberts Antonius bara förväntan: tanken om att asketism i det här livet kommer belöna sig i nästa. Livet som det ultimata marshmallows-testet: om du bara lyckas sublimera dina drifter genom att bygga kloster under några år kommer du småningom bokstavligen simma i lite svampiga sötsaker (eller, eftersom vi befinner oss i senantiken, simma genom pistagemandlar).Så vad händer när husse kommer hem? Om Antonius verkligen fallit för sina frestelser föreställer jag mig att Gud, i Flauberts milda gestalt, hade förhållit sig till honom med samma tålamod som Harry visar sitt husdjur när han i lugn och ro sopar upp skärvorna efter den krossade krukan: förstående, men inte överslätande.Det var förstås inte så bra att abboten från Herakleopolis lockades så av drottningen av Saba, men med tanke på ökenlandskapets nöjesutbud i övrigt var det kanske heller inte så underligt. Kom så går vi ut på promenad i stället! I lustgården är det ju fint och stillsamt och fullt av den beständiga njutning som hör till skapelsens verkliga skönhet. Och om det skulle råka dyka upp några lättklädda mytologiska gestalter i en insynsskyddad skogsdunge längs vägen vet ju den helige Antonius vid det här laget att sådana njutningar är flyktiga och därmed meningslösa. Henrik Sahl Johansson, litteraturkritiker.Litteratur:Chris Haughton: Åh nej, Bruno! Svensk översättning av Gunilla Halkjaer Olofsson. Lilla Piratförlaget.Gustave Flaubert: Den helige Antonius frestelse. Svensk översättning av Per Meurling. Bokförlaget H:ström.

Constantine Cavafy, the Greek poet whose work not only charted a new path for Greek poetry, but also inspired countless readers around the world - including figures like David Hockney, Leonard Cohen, and Jackie Kennedy Onassis - is back in the spotlight thanks to the publication of his first biography in roughly 50 years. Professors Gregory Jusdanis and Peter Jeffreys, the authors of the book, join Thanos Davelis as we take a deeper dive into the life and work of Constantine Cavafy.For those who are interested, the book is available for purchase in the US and the UK, and is expected in early October in Greece as well.You can read the articles we discuss on our podcast here:Constantine Cavafy: A New BiographyAlexandrian Sphinx: The Hidden Life of Constantine Cavafy‘Constantine Cavafy' Review: A Poet's Odyssey WithinThe mysterious life of Constantine CavafyAnkara bristles at Athens' energy movesGreece suspends 5% of schools as birth rate drops

Album Nerds – Episode 305: Bands Across America – CanadaFeatured Albums:Leonard Cohen – Songs of Leonard Cohen (1967)Bryan Adams – Reckless (1984)Episode HighlightsThe summer road trip heads north to Canada! We celebrate Canadian music with two landmark albums: Leonard Cohen's introspective folk debut and Bryan Adams' chart-topping rock anthem machine. Tune in for in-depth discussion, standout tracks, production tales, and how each record weaves into the tapestry of Canadian culture.Leonard Cohen – Songs of Leonard CohenCohen's 1967 debut is a masterclass in poetic songwriting and sparse, haunting folk. His background as a Montreal-born novelist shapes every lyric, blending themes of love, spirituality, and alienation.Bryan Adams – RecklessReleased in 1984, Adams's biggest record was a cornerstone of ‘80s FM rock, packed with energy, hooks, and radio-ready polish.What We're Diggin'Bask – The Turning (2025): Heavy Americana blending psychedelic, stoner, and Appalachian influences, telling cosmic and country-tinged stories.Mastodon – Blood Mountain (2006): Progressive sludge-metal concept album full of wild, intricate songcraft.Panic Priest – Once Wild (2025): Chicago darkwave with atmospheric synths, baritone vocals, and a dance-driven edge.Don Beck – Dark to Light (2025): Colorado indie songwriter delivers faith-rooted, gospel-tinged tracks recorded at home.Shout-Out: Check out music pods like Can I Pod With Madness? for more 80s/90s metal deep-dives.Share your favorite Canadian album or musical memory on our socials @albumnerds or email podcast@albumnerds.com. Full episode archives at albumnerds.com. Please subscribe, rate, and review to support the show.

Andrés Amorós continua el ciclo con Leonard Cohen, cantautor, poeta y novelista canadiense.

Der Sommer ist vorbei, da kannst du machen, was du wilst! Aber welcher Sommer? Der kalendarische oder der meteorologische? Andy und Marty sind sich da nicht ganz einig. Wie sie sowieso sich nicht ganz einig sind über so vieles: Sufjan Stevens zum Beispiel. Nick Cave. Leonard Cohen. Und und und und und ...Aber genau das macht den Pop-Podcast aus Berlin ja so wertvoll! "Pop nach 8" - überall dort, wo es Podcasts gibt. Und direkt bei popnach8.berlinKONTAKT: mail@popnach8.berlinWEBSITE: https://popnach8.berlin

Today, we're sharing an excerpt from Thomas' conversation with acclaimed travel writer, author, and speaker Pico Iyer at the upcoming Collective Trauma Summit. Pico's extensive travels and journeys into the realms of Buddhism and meditation have deeply inspired and informed his creative process. They also brought him into close contact with another artist and meditation practitioner, the legendary musician Leonard Cohen. In this snippet from his Summit talk, Pico shares his experience witnessing Cohen's dedicated Zen practice and how Cohen later brought this sacred, surrendered quality from his meditation practice into his concert performances, transforming them into communal, sacred experiences. Within this experience, there are profound lessons about accepting impermanence and surrendering to something beyond your individual self.If you're moved by this conversation and want to hear the full talk, sign up at the link below, and we'll notify you as soon as details are announced for the 2025 Collective Trauma Summit, taking place online this fall.https://pointofrelationpodcast.com/#email-signup ✨ Click here to watch the video version of this episode on YouTube:

Today on part one the Rarified Heir Podcast, we speak to Sharyn Felder, daughter of one of the greatest songwriters of the 20th century, Doc Pomus. While you may not know the name Doc Pomus, you absolutely know his songs. Everyone from Elvis Presley, Dolly Parton, Bruce Springsteen, Ray Charles, Leonard Cohen, Dr. John, B.B. King have all recorded Doc Pomus songs…the list goes on and on. And we'll get to those songs he wrote shortly. On the day we spoke to Sharyn, it was release day of a new box set of her father's music, You Can't Hip a Square: The Doc Pomus Songwriting Demos on Omnivore Recordings, a six-CD set of lost, archival tracks that are a fascinating look into Doc's music and his voice. We also get to hear the back story of how the music survived, the family archive  as well as some famous people who also sang on the demos as well as the famous names whose sides didn't survive. Along the way we discuss more famous and infamous characters who were part of Doc's inner circle and those who sought out his help when the ships were down. And let us tell you, it's one hell of a list. Like who?  Robbie Robertson and Levon Helm when they were in Ronnie Hawkins band, Bob Dylan at a creative low point , Dr. John when he was struggling to quit heroin, Phil Spector, Bobby Darin, Otis Blackwell and many more. Somehow we concluded part one with a tale about the Runyon-esque existence her father lived to the fullest and the literal death of a clown. It's funny/not funny. Take a listen to this episode of the Rarified Heir Podcast.

Hoy en La Gran Travesía, con motivo del 55º Aniversario de la III Edición del Festival de la Isla de Wight, que comenzó el 26 de agosto de 1970, recordamos algunas de las grandes actuaciones de dicho festival. Sonarán los Who, Jimi Hendrix, Joni Mitchell, Free, Leonard Cohen, Moody Blues, Emerson Lake and Palmer, los Doors, Taste... También recordaros que ya podéis comprar La gran travesía del rock, un libro interactivo. Jimi y Janis, dos periodistas musicales, vienen de 2027, un mundo distópico y delirante donde el reguetón tiene (casi) todo el poder... pero ellos dos, deciden alistarse al GLP para viajar en el tiempo, salvar el rock, rescatar sus archivos ocultos y combatir la dictadura troyana del FPR. ✨ El libro ya está en diversas tiendas, Amazon, Fnac y también en La Montaña Mágica, por ejemplo https://www.amazon.es/GRAN-TRAVES%C3%8DA-DEL-ROCK-autoestopista/dp/8419924938 ▶️ Y ya sabéis, si os gusta el programa y os apetece, podéis apoyarnos y colaborar con nosotros por el simple precio de una cerveza al mes, desde el botón azul de iVoox, y así, además podéis acceder a todo el archivo histórico exclusivo. Muchas gracias también a todos los mecenas y patrocinadores por vuestro apoyo: Octavio Oliva, Piri, Andreea Deea, Samuel Sánchez, Igor Gómez Tomás, Matías Ruiz Molina, Eduardo Villaverde Vidal, Víctor Fernández Martínez, Rami, Leo Giménez, Gin75, Alberto Velasco, Poncho C, Francisco Quintana, Con, Tete García, Jose Angel Tremiño, Marco Landeta Vacas, Oscar García Muñoz, Raquel Parrondo, Nacho, Javito, Alberto, Moy, Dani Pérez, Santi Oliva, Vicente DC, Leticia, JBSabe, Melomanic, Arturo Soriano, Gemma Codina, Raquel Jiménez, Pedro, SGD, Raul Andres, Tomás Pérez, Pablo Pineda, Quim Goday, Enfermerator, Joaquín, Horns Up, Victor Bravo, Fonune, Francisco González, Marcos Paris, Daniel A, Redneckman, Elliott SF, Sementalex, Miguel Angel Torres, Suibne, Noyatan, Iván Menéndez, Niksisley y a los mecenas anónimos.

A tub-thumping, snare-cracking, cymbal-simmering, two-way backbeat to this week's rock and roll news, the on-beats including … … “Trauma-bonding?” Why being ‘a fan' is like a love affair … Ian Brown, Morrissey, Siouxsie, Janis Joplin, Jim Morrison … why singers who don't play an instrument are a different species … the stadium-rock drummer transfer window … Sigourney Weaver at Shea Stadium in '65 … singers who don't sound like their personalities … what can a singer-songwriter write about if they get famous at 18? … the unreleased Beatles Holy Grail? … can you be a fan of someone younger than you are?Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear … how do you know a drummer's knocking on your door? … plus Leonard Cohen, Phil Oakey and are you ever too old to be wearing a Libertines military tunic? Hosted on Acast. See acast.com/privacy for more information.

A tub-thumping, snare-cracking, cymbal-simmering, two-way backbeat to this week's rock and roll news, the on-beats including … … “Trauma-bonding?” Why being ‘a fan' is like a love affair … Ian Brown, Morrissey, Siouxsie, Janis Joplin, Jim Morrison … why singers who don't play an instrument are a different species … the stadium-rock drummer transfer window … Sigourney Weaver at Shea Stadium in '65 … singers who don't sound like their personalities … what can a singer-songwriter write about if they get famous at 18? … the unreleased Beatles Holy Grail? … can you be a fan of someone younger than you are?Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear … how do you know a drummer's knocking on your door? … plus Leonard Cohen, Phil Oakey and are you ever too old to be wearing a Libertines military tunic? Hosted on Acast. See acast.com/privacy for more information.

A tub-thumping, snare-cracking, cymbal-simmering, two-way backbeat to this week's rock and roll news, the on-beats including … … “Trauma-bonding?” Why being ‘a fan' is like a love affair … Ian Brown, Morrissey, Siouxsie, Janis Joplin, Jim Morrison … why singers who don't play an instrument are a different species … the stadium-rock drummer transfer window … Sigourney Weaver at Shea Stadium in '65 … singers who don't sound like their personalities … what can a singer-songwriter write about if they get famous at 18? … the unreleased Beatles Holy Grail? … can you be a fan of someone younger than you are?Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear … how do you know a drummer's knocking on your door? … plus Leonard Cohen, Phil Oakey and are you ever too old to be wearing a Libertines military tunic? Hosted on Acast. See acast.com/privacy for more information.

On the Saturday August 23 edition of The Richard Crouse Show we meet New York Times bestselling author Joy Fielding. With a career spanning over four decades, she has eraned readers with her ability to weave intricate plots, complex characters, and emotional depth. Known for bestsellers like “See Jane Run,” “Don't Cry Now,” and “Someone Is Watching,” Fielding explores themes of relationships, betrayal, and human resilience. Today we’ll talk about her latest novel, the psychological thriller “Jenny Cooper Has a Secret.” The book follows a 76-year-old widow named Linda who visits Legacy Place, a memory care facility where she meets 92-year-old Jenny Cooper, a dementia patient who shocks Linda with a confession: “I kill people.” Initially dismissing it as delusion, Linda grows intrigued as Jenny lucidly recounts tales of her victims—mostly men who wronged her. When a resident dies under seemingly natural circumstances, Linda begins to question whether Jenny’s claims might hold truth. Then, we’ll hang out with singer-songwriter Ron Sexsmith. Often called a “songwriter’s songwriter,” his fans include Paul McCartney, Elvis Costello, Leonard Cohen and many, many others. He’s release 17 albums to date, and collaborated with producers like Daniel Lanois, Mitchell Froom and Bob Rock. His songwriting appears on albums from Rod Stewart, Michael Bublé, k.d. lang, Emmylou Harris and Feist. Today we talk about his latest album, “Hangover Terrace,” The album was sparked during Ron’s extended stay in the UK in late 2024, following his Sexsmith at Sixty tour. Inspired by time spent recording at London’s Eastcote Studios, Ron says the album was inspired by “the hangover I feel from the last few years of pandemic and life knocking us around.”

On the Saturday August 23 edition of The Richard Crouse Show we meet New York Times bestselling author Joy Fielding. With a career spanning over four decades, she has eraned readers with her ability to weave intricate plots, complex characters, and emotional depth. Known for bestsellers like “See Jane Run,” “Don't Cry Now,” and “Someone Is Watching,” Fielding explores themes of relationships, betrayal, and human resilience. Today we'll talk about her latest novel, the psychological thriller “Jenny Cooper Has a Secret.” The book follows a 76-year-old widow named Linda who visits Legacy Place, a memory care facility where she meets 92-year-old Jenny Cooper, a dementia patient who shocks Linda with a confession: “I kill people.” Initially dismissing it as delusion, Linda grows intrigued as Jenny lucidly recounts tales of her victims—mostly men who wronged her. When a resident dies under seemingly natural circumstances, Linda begins to question whether Jenny's claims might hold truth. Then, we'll hang out with singer-songwriter Ron Sexsmith. Often called a “songwriter's songwriter,” his fans include Paul McCartney, Elvis Costello, Leonard Cohen and many, many others. He's release 17 albums to date, and collaborated with producers like Daniel Lanois, Mitchell Froom and Bob Rock. His songwriting appears on albums from Rod Stewart, Michael Bublé, k.d. lang, Emmylou Harris and Feist. Today we talk about his latest album, “Hangover Terrace,” The album was sparked during Ron's extended stay in the UK in late 2024, following his Sexsmith at Sixty tour. Inspired by time spent recording at London's Eastcote Studios, Ron says the album was inspired by “the hangover I feel from the last few years of pandemic and life knocking us around.”

Andrés Amorós comienza ciclo con Leonard Cohen, cantautor, poeta y novelista de origen canadiense.

Om ön Hydras lockelse för fashionfolk, om Lena Endres USA-bojkott, om Stubbs superman-aura, om Christian Bales välgörenhet och om hur gammal satir blir verklighet.

So many bat facts. Much wow. The movie, not so much.Host segments: we stopped using those things for a reason; so much midcentury; committing to the bit; a life sketch; the Leonard Cohen of the apocalypse; Jeff's punishment hutch; Joe tests the statute of limitations on cheating confessions;  the Sol-Mates have feelings about math classes; host segment world-building; some are not compelled by Pipe Dreams; Devori changes Jeff's world; just Manos it.

The CAT Club presents a long playing vinyl record . . .THE KINKS ARE THE VILLAGE GREEN PRESERVATION SOCIETYwith special guestCHRIS WADEMany regard 'The Kinks Are The Village Green Preservation Society' as Ray Davies' magnum opus. We were delighted to welcome Chris Wade along to explore the ins & outs of that 1968 album and the work of one of the greatest bands of all time.Chris is a prolific writer, musician, filmmaker and artist. He is also known for his renowned music project Dodson & Fogg. He has written music books about Bob Dylan, Madonna, Zappa, Lady Gaga, Hawkwind, Leonard Cohen, Paul McCartney, Donovan, The Beatles, Neil Young, Black Sabbath, Jethro Tull, Lou Reed, Captain Beefheart, The Velvet Underground, The Stranglers & Lindisfarne amongst many others. His critically acclaimed book, 'The Kinks Are The Village Green' was published in 2017.Chris has also had works of fiction and poetry published and he's also written about/or worked with James Woods, Dennis Hopper, Donald Sutherland, Oliver Stone, Jeff Bridges, Stacy Keach, Catherine Deneuve, Sharon Stone, Roger McGough, Ian Anderson, Paul Auster, Michael Palin, Nigel Planer, Toyah, Scarlet Rivera, Celia Humphris and Henry Jaglom.In the interviewer's chair was JASON BARNARD from The Strange Brew Podcasts..This event took place on 17th July 2025 in the Pigeon Loft at The Robin Hood, Pontefract, West Yorkshire.This podcast has been edited for content and for copyright reasons.To find out more about the CAT Club please visit: www.thecatclub.co.ukHappy Trails.

Ein Rail- und Roadmovie für die Ohren zum 150. Geburtstag Kanadas: von den poetischen Erben Joni Mitchells und Leonard Cohens, über Montréals kreative Brüche zwischen Franko- und Anglophonem, der bitteren Geschichte der First Nations und Inuits bis hin zum Pop der Immigranten. Das rote Ahornblatt aus der kanadischen Flagge, auf den Jubiläumsplakaten wird es derzeit in allen Farben des Regenbogens dargestellt. So schillernd entrollt sich im Jahr 2017 auch Kanadas Musikszene. Wer derzeit durch das Land reist, erlebt ein Land, das sich zum runden Geburtstag viele Fragen nach seiner Identität und den Umgang mit seiner Vergangenheit stellt. Musiker sind dabei die sensibelsten Seismographen der aktuellen Stimmung. Eine akustische Erkundungsreise von Stefan Franzen. Erstsendung: 16.6.2017

Descubrimos la evolución de las voces de grandes cantantes a lo largo de sus vidas: David Bowie, Elvis Presley, Leonard Cohen, Michael Jackson, Justin Bieber, Antonio Vega, Bunbury, Ana Belén, Celia Cruz, Chavela Vargas y Joan Manuel Serrat.

This week on Eavesdroppin', Geordie & Michelle discuss muses...Despite having an anti-feminist spasm about the whole concept of muses, this week Michelle dives in to look at the life of Marianne Ihlen, a Norwegian woman who was the muse to three different men! When Marianne met a guy called Axel Jensen, it set her on a path to Hydra, which led her to meeting Leonard Cohen and having an almost decade-long relationship with him. The inspiration for many songs, Marianne and Leonard's story runs the gamut of emotions, culminating in an email that set the internet on fire...Geordie follows with a little history lesson on Greek muses before looking at the life of the coolest girl in the world, Chloe Sevigny. Authentic and independent, Geordie digs into what makes her a modern-day muse. She then looks at the tragic life of Edie Sedgwick, before ending with the life of art muse, Kiki de Parnasse - the woman behind the surrealist photographer Man Ray. So pop on your headphones, grab a brown lemonade and join Geordie & Michelle for this week's episode, plus chat about people pleasers, fleeces and more, only on Eavesdroppin' podcast. And remember, wherever you are, whatever you do, just keep Eavesdroppin'!*Disclaimer: We don't claim to have any factual info about anything ever and our opinions are just opinions not fact, sooorrrryyy! Don't sue us!Please rate, review, tell your friends and subscribe in all the usual places – we love it when you do!Support us on Patreon: https://www.patreon.com/eavesdroppinDo write in with your stories at hello@eavesdroppinpodcast.com or send us a Voice Note!Listen: http://www.eavesdroppinpodcast.comorhttps://podfollow.com/eavesdroppinYouTube: https://www.youtube.com/channel/UCqcuzv-EXizUo4emmt9PgfwFacebook: https://www.facebook.com/eavesdroppinpodcast#muses #marianneihlen #leonardcohen #Chloesevigny #ediesedgwick #andywarhol #kikideparnasse #reallife #truestories #eavesdroppin #eavesdroppinpodcast #eavesdroppincomedypodcast #podcast #comedy Hosted on Acast. See acast.com/privacy for more information.

email: rockpoprollpodcast@gmail.com website: www.rockpopandroll.com (Some of) My Favorite Covers: From the earliest days of rock and roll, cover songs have been a vital part of the music's forward movement, drawing on its past. Long before we knew about digital discovery, one of the fastest ways for new artists to connect with audiences was to reimagine an existing hit and put it on an album or 45—infusing it with their own style, energy, and attitude. A Chuck Berry riff might get filtered through the Beatles' harmonies, or an old blues song could get a new spin in the hands of the Rolling Stones. Musicians have always looked back to reinterpret the songs that shaped them, essentially creating a conversation across decades of music. Great rock and roll covers often redefine the song. Jimi Hendrix's “All Along the Watchtower” transformed Bob Dylan's stark folk ballad into a guitar-rock, psychedelic stomper. Aretha Franklin took Otis Redding's “Respect” and made it a soul-rock anthem of empowerment. Nirvana's raw take on David Bowie's "The Man Who Sold the World" introduced the track to an entirely new audience. In each case, the cover didn't just honor the original—it expanded its reach. The best covers don't just repeat the past—they rewrite it, proving that a great song can live many lives. 10 Iconic Rock and Roll Covers and How They Transformed the Original Jimi Hendrix – All Along the Watchtower (1968) Originally by Bob Dylan, Hendrix electrified the song with guitars and redefined it as a rock classic. Dylan himself later performed it in Hendrix's style. The Beatles – Twist and Shout (1963) Originally recorded by The Top Notes and popularized by The Isley Brothers, the Beatles turned it into their own via John Lennon's famously shredded vocal take. Aretha Franklin – Respect (1967) Originally by Otis Redding, Aretha flipped the perspective, injecting it with feminist firepower, gospel-inspired vocals, and made it an anthem for empowerment and equality. The Rolling Stones – Little Red Rooster (1964) Originally by Willie Dixon (recorded by Howlin' Wolf), the Stones slowed it down, leaning into the deep Chicago blues feel, introducing American blues to a younger audience. Nirvana – The Man Who Sold the World (1993) Originally by David Bowie, Nirvana's MTV Unplugged version stripped it to a haunting acoustic vibe that resonated with '90s alternative fans - and (re)introduced Bowie to them, Joe Cocker – With a Little Help from My Friends (1968) Originally by The Beatles, Cocker turned the Sgt. Pepper and Ringo song into a soulful, slow-burning rocker.  Killer organ and gospel vocals. Janis Joplin – Piece of My Heart (1968) Originally by Erma Franklin, Joplin's version with Big Brother and the Holding Company was a raw and bluesy. The Clash – I Fought the Law (1979) Written in 1958 and first released in 1960 by The Crickets (after Buddy Holly left) and popularized by The Bobby Fuller Four, The Clash injected punk. It was their first single in the United States. Creedence Clearwater Revival – I Heard It Through the Grapevine (1970) Originally by Gladys Knight & The Pips and made famous by Marvin Gaye, CCR turned the Motown hit into an 11-minute swamp-rock jam. Jeff Buckley – Hallelujah (1994) Originally by Leonard Cohen, Buckley's haunting performance influenced artists in the decades that followed. Further Listening: 4 Lesser-Known but Brilliant Beatles Covers The Black Keys – She Said, She Said (2002) A gritty, stripped-down garage-rock take on The Beatles' psychedelic classic from Revolver. Siouxsie and the Banshees – Dear Prudence (1983) The Beatles' ballad morphs in goth-tinged new wave.. Gov't Mule – She Said, She Said / Tomorrow Never Knows (1998) A jam-band fusion of two Beatles tracks Fiona Apple – Across the Universe (1998) Slowed to a languid pace, Apple leans into the cosmic melancholy

We were in actual tears by the end of this episode. Kel takes us back to 1960 on the remote island of Hydra, where singer-songwriter Leonard Cohen first met and fell in love with Marianne Ihlen, a young mother from Norway. Although their paths didn't stay aligned forever, Leonard and Marianne never quite forgot each other– even in their very last days. Whether you're unfamiliar with Leonard's music (although everyone knows ‘Hallelujah') or a die-hard Cohen fan, there's a lot to learn from Leonard and Marianne's relationship. But first, Kel makes Mel and Kaitlyn correctly differentiate Leonard Cohen, Dustin Hoffman, and Al Pacino in a lineup. Later, she has a random rant about the Boygenius song “Leonard Cohen.” And we end it with a good cry… “It's time to laugh and cry, and cry and laugh about it all again.” Mentioned in Episode: Leonard Cohen, Dustin Hoffman, or Al Pacino? ***** This is a teaser for a bonus episode— the full episode is 2 hr 59 minutes long! You can listen to it in full ⁠on Patreon⁠. About Significant LoversSignificant Lovers is a true-love podcast exploring couples throughout history and pop culture, hosted by cousins Kelly, Melissa, and Kaitlyn. Follow us on Instagram and TikTok @significantlovers, listen on YouTube, and contact us at significantlovers@gmail.com.Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for ‘fair use' for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.

In a culture obsessed with comfort and stability, the idea of necessary breakdown feels almost revolutionary. Yet this ancient wisdom appears across traditions—from Leonard Cohen's "There's a crack in everything, that's how the light gets in" to Rumi's understanding that "the wound is the place where the light enters you." This week's conversation explores why our modern fear of breakdown might be preventing our greatest growth. Unlike previous generations who embraced adventure and uncertainty, we've traded our willingness to put "chips on the table" for the illusion of safety. But what if this very attachment to preserving our current forms—whether mental, emotional, or physical—is actually imprisoning the spirit within us? The discussion reveals how breakdown isn't destruction for its own sake, but rather the natural process that allows new life to emerge. Just as a seed must crack open to become a flower, and a caterpillar must dissolve into "goo" to become a butterfly, we too must be willing to let our outdated identities dissolve when they no longer serve our deeper purpose. Perhaps most importantly, this episode addresses the fear that letting go means losing our core principles or truth. The profound insight emerges: when we release what is false about ourselves, what remains is always the truth—solid, uncompromised, and eternal. The question becomes not whether we can afford to break down, but whether we can afford not to. Meditation Mount and HeartLight Productions are pleased to present Musings from the Mount – a weekly podcast with host Joseph Carenza and guests in conversation exploring a range of topics drawn from the Ageless Wisdom teachings. New episodes every Monday. If you enjoy this podcast, please consider donating at MeditationMount.org

Ever feel the pressure to peak in your 20s or 30s? In this solo, Lindsey gives us all permission to slow down and trust the timing of our lives. There is an ever-increasing expectation that success should be achieved in our youth, and Lindsey explains exactly why this is a faulty perception.  Ahead, Lindsey challenges myths surrounding who we should be “by now,” sharing her evolution as a mother, a creative, and a spiritual woman. She invites you into her process of letting go, embracing the unknown, and savoring the ‘in-betweens' instead of anxiously chasing what's next.  Lindsey also explores the power of divine timing, the misconception that youth is your creative peak, and the gifts of emotional growth. If you've ever wondered if you're “too late” or missing your purpose, this episode is a loving nudge to honor your soul's unique pace—it's for a reason! We also talk about: -Why your dreams + manifestations aren't reserved for your 20s + 30s   -Releasing the anxiety of having to “figure it all out” ASAP   -Embracing motherhood as a portal for creative expansion   -How meditation + mindfulness anchor you during times of change   -The myth of the “peak decade” + why your best years are always ahead   -The power of process—and why rushing divine timing robs you of joy   -Lessons from icons like Oprah, Leonard Cohen, and Toni Morrison   -The link between aging, wisdom, and emotional regulation   -How to find fulfillment by being present with what you've already created   Resources: -Instagram: ⁠@lindseysimcik⁠  -YouTube: @NewMomOTB (Returns soon - stay tuned!)  Sponsors: -Get our book, Almost 30: A Definitive Guide To A Life You Love For The Next Decade and Beyond, here: http://bit.ly/Almost30Book.  LMNT | Go to DrinkLMNT.com/ALMOST30 and get a free sample pack with any order. That's 8 single serving packets FREE with any LMNT order.  Just Thrive | Visit https://justthrivehealth.com/discount/almost30 and save 20% on your first 90 day bottle of Just Thrive probiotic with promo code: ALMOST30. Chime | Open your account in 2 minutes at chime.com/almost30. IQ Bar | Get 20% off all IQBAR products, plus get FREE shipping. Just text ALMOST to 64000 to get your discount. Ka'Chava | Go to https://kachava.com and use code ALMOST30 for 15% off your next order. Quince | Go to Quince.com/ALMOST30 for free shipping on your order and 365-day returns.  Learn More: To advertise on this podcast please email: partnerships@almost30.com. -https://almost30.com/about -almost30.com/morningmicrodose -https://almost30.com/book Join our community: -facebook.com/Almost30podcast/groups -instagram.com/almost30podcast -tiktok.com/@almost30podcast -youtube.com/Almost30Podcast Podcast disclaimer can be found by visiting: almost30.com/disclaimer.  Find more to love at almost30.com! Almost 30 is edited by Garett Symes and Isabella Vaccaro. Learn more about your ad choices. Visit megaphone.fm/adchoices

Bret McKenzie now mainly works on movie soundtracks, the Simpsons, Minecraft and the Muppets among them, which brings the pure delight of hearing his songs sung by Lady Gaga, Benedict Cumberbatch, Miss Piggy and Tony Bennett. He talks here about his early life in Wellington (ballet teacher Mum, racehorse trainer Dad), narrative comedy, songwriting heroes and his new album Freak Out City, and unravels New Zealand's double-edged sense of humour. Along with … … how Randy Newman pitches songs for soundtracks … “the test of a good song works is if it works with just one instrument” … lyrics he loved growing up like 16 Tons by Tennessee Ernie Ford – ‘Some people say a man is made out of mud/ A poor man's made out of muscle and blood' … Morrissey's wounded reaction to his sausage-firing Quilloughby on the Simpsons ‘Panic On The Streets Of Springfield' ... solving the “fun puzzles” of a song brief and writing for “donkeys who have a dream” … the ingenious humour of John Prine, Harry Nilsson and Leonard Cohen … the moment in his live shows where he asks the audience for a story and creates a song around it – “one woman suggested ‘falling out of love' with her husband standing right beside her” ... playing the local girls schools aged 15 as the drummer in a James Brown funk band … reworking rejected songs – “which was hard with one from Paddington with its multiple rhymes for marmalade and Peru” … Flight Of The Conchords lampooning the acts they loved (Bowie, Pet Shop Boys) and playing the O2 – “pretending to be a stadium band and the audience pretending to be a stadium audience” … live on-stage application of the John Lennon “pomegranate” lyric-solving technique … “Play like a used car salesman! I need a Steely Dan solo here!” Recording with LA session legends like Leland Sklar. Order Bret's ‘Freak Out City' album here: https://music.subpop.com/bretmckenzie_freakoutcityFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Tour dates and tickets …https://www.ticketmaster.co.uk/bret-mckenzie-tickets/artist/5380913 Hosted on Acast. See acast.com/privacy for more information.

Bret McKenzie now mainly works on movie soundtracks, the Simpsons, Minecraft and the Muppets among them, which brings the pure delight of hearing his songs sung by Lady Gaga, Benedict Cumberbatch, Miss Piggy and Tony Bennett. He talks here about his early life in Wellington (ballet teacher Mum, racehorse trainer Dad), narrative comedy, songwriting heroes and his new album Freak Out City, and unravels New Zealand's double-edged sense of humour. Along with … … how Randy Newman pitches songs for soundtracks … “the test of a good song works is if it works with just one instrument” … lyrics he loved growing up like 16 Tons by Tennessee Ernie Ford – ‘Some people say a man is made out of mud/ A poor man's made out of muscle and blood' … Morrissey's wounded reaction to his sausage-firing Quilloughby on the Simpsons ‘Panic On The Streets Of Springfield' ... solving the “fun puzzles” of a song brief and writing for “donkeys who have a dream” … the ingenious humour of John Prine, Harry Nilsson and Leonard Cohen … the moment in his live shows where he asks the audience for a story and creates a song around it – “one woman suggested ‘falling out of love' with her husband standing right beside her” ... playing the local girls schools aged 15 as the drummer in a James Brown funk band … reworking rejected songs – “which was hard with one from Paddington with its multiple rhymes for marmalade and Peru” … Flight Of The Conchords lampooning the acts they loved (Bowie, Pet Shop Boys) and playing the O2 – “pretending to be a stadium band and the audience pretending to be a stadium audience” … live on-stage application of the John Lennon “pomegranate” lyric-solving technique … “Play like a used car salesman! I need a Steely Dan solo here!” Recording with LA session legends like Leland Sklar. Order Bret's ‘Freak Out City' album here: https://music.subpop.com/bretmckenzie_freakoutcityFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Tour dates and tickets …https://www.ticketmaster.co.uk/bret-mckenzie-tickets/artist/5380913 Hosted on Acast. See acast.com/privacy for more information.

Bret McKenzie now mainly works on movie soundtracks, the Simpsons, Minecraft and the Muppets among them, which brings the pure delight of hearing his songs sung by Lady Gaga, Benedict Cumberbatch, Miss Piggy and Tony Bennett. He talks here about his early life in Wellington (ballet teacher Mum, racehorse trainer Dad), narrative comedy, songwriting heroes and his new album Freak Out City, and unravels New Zealand's double-edged sense of humour. Along with … … how Randy Newman pitches songs for soundtracks … “the test of a good song works is if it works with just one instrument” … lyrics he loved growing up like 16 Tons by Tennessee Ernie Ford – ‘Some people say a man is made out of mud/ A poor man's made out of muscle and blood' … Morrissey's wounded reaction to his sausage-firing Quilloughby on the Simpsons ‘Panic On The Streets Of Springfield' ... solving the “fun puzzles” of a song brief and writing for “donkeys who have a dream” … the ingenious humour of John Prine, Harry Nilsson and Leonard Cohen … the moment in his live shows where he asks the audience for a story and creates a song around it – “one woman suggested ‘falling out of love' with her husband standing right beside her” ... playing the local girls schools aged 15 as the drummer in a James Brown funk band … reworking rejected songs – “which was hard with one from Paddington with its multiple rhymes for marmalade and Peru” … Flight Of The Conchords lampooning the acts they loved (Bowie, Pet Shop Boys) and playing the O2 – “pretending to be a stadium band and the audience pretending to be a stadium audience” … live on-stage application of the John Lennon “pomegranate” lyric-solving technique … “Play like a used car salesman! I need a Steely Dan solo here!” Recording with LA session legends like Leland Sklar. Order Bret's ‘Freak Out City' album here: https://music.subpop.com/bretmckenzie_freakoutcityFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Tour dates and tickets …https://www.ticketmaster.co.uk/bret-mckenzie-tickets/artist/5380913 Hosted on Acast. See acast.com/privacy for more information.

Christopher & Jobst sprechen mit Kolja über seine Playlist "77er Punk Essentials". Wir reden über "Learning English", Punk als Kulturrevolution, Songs wurden kürzer, nur ein Lied pro Band, Henry Rollins hat sie alle, die dritte Damned-Platte, das unglaubliche erste Stiff Little Fingers-Album, "Borstal Breakout" in der Version von Sick of it All, kein Cockney Rejects, die Fragilität des frühen Punk, Poly Sterenes Reggae Single, kein Blondie, doch Siouxsie, Thomas Gottschalk und seine Rap-Wurzeln, die (Un.)Wichtigkeit der Lurkers, die Genialität von The Ruts, die enttäuschenden Vibrators in der Sumpfblume Hameln, eine Lanz für Richard Hell brechen, Kolja & Christopher über ihre Lieblings-Clash-Platten, dem Geschmack und dem Lokalpatriotismus von Kolja geschuldet, Rotzkotz & der Plattenladen in Hameln, Mark Perry von Alternative TV & das Sniffing Glue, Funk Rock überhaupt nicht mögen, die ganze Zeit aussehen wie der Schrei von Edward Munch, Betriebsausflug zu Chelsea, purer Punkrock mit langen Haaren, ein sehr gutes frühes Live-Album von UK Subs, Paul Weller hat sich evtl. mit John Lydon geprügelt, "Destination Düsseldorf" von The Skids, "Sick City Sometimes" von Buzzcocks, "Reisefieber" inspiriert von "Ready Steady Go", "Pink Flag" durchhören, "Hawaii" von PIL, Nora Forsters Background, John Peels Lieblingslied, eine Schule singt "Teenage Kicks", sich zu jedem Album umbenennen, Spizz mit leuchtender Brille, Menace nehmen Sham 69 vorweg, eine Antipathie zu Crass, eine Netflix-Doku über Johnny Moped, der Strassen-Glam-Rock von Slaughter & The Dogs, der "I´m a mess"-Button von Wreckless Eric & Sid Vicious, die Schwierigkeit prägnante Sänger:innen zu wechseln, "Sid Sings" in schlechter Qualität, laut Leonard Cohen die einzig gute Version von "My Way", uvm. https://open.spotify.com/playlist/5vm9MLo5tFGETaauXXP0NZ?pi=TTPyVnRiTu20s

  Acclaimed director Amy Berg (“West of Memphis,” “Janis: Little Girl Blue”) set her sights on making a documentary about the beloved singer/songwriter Jeff Buckley some 15 years ago. Now, with her finely crafted new documentary, “It's Never Over, Jeff Buckley,” Amy delivers a fresh take on Buckley's remarkable music and a thoughtful look at his life and loves.   Amy joins Ken on “Top Docs” to discuss Jeff Buckley's meteoric rise as a dynamic musical force in the ‘90s, whose sensitive and introspective lyrics ran counter to the grunge and metal scenes ascendant at the time. Jeff's influences, from Nina Simone to Led Zeppelin and Soundgarden, were surprisingly diverse. His voice —  a powerful and haunting instrument in its own right — was unmatched. One listen of his soul-piercing version of Leonard Cohen's “Hallelujah” is all the proof you need of that. At the heart of the film is Jeff's complicated relationship with his dear mother, Mary, who granted Amy access to an incredible array of personal archival material, and with two of his girlfriends, who, collectively, provide insight into this complex young man. He took the music world by storm but had to battle his own demons… and left us all too soon.   “It's Never Over, Jeff Buckley” is in release by Magnolia Films and opens in theaters nationwide on August 8th.   Follow: @amy_berg on Instagram @topdocspod on Instagram and X    “Top Docs” is now on YouTube!   Hidden Gem: “The Cruise”   The Presenting Sponsor of "Top Docs" is Netflix.

All-Ireland football hopes from Kenmare to Killybegs, Leonard Cohen's magical Lissadell concert, and more, with John Toal, Regina Devenney, John S Doyle, Tony Griffin, Noel King, Denise Blake and John Cooney

Álvaro Colomer presenta a Miguel Barrero, autor de "El Guitarrista de Montreal", una biografía de Leonard Cohen que pretende rememorar la figura del guitarrista español que le enseñó cinco acordes a un joven Cohen. Jordi Costa salta de la lectura y la música al cine con Nacho Vigalondo, que visita el programa para presentar su nuevo proyecto "Superstar", un biopic sobre la estrella de los 2000, Tamara. El primer 'Club de cultura' de la temporada de verano cierra con Álvaro Colomer hablando de Pierre Michon, uno de los escritores franceses más reconocidos del siglo XX, con novelas como ‘Vidas minúsculas' y ‘Los Once'. 

A light-sounding song gets matched by a lighter episode with less information. However, we still have some interesting discussions on guest band members, the music and the meaning of the lyrics! Some put some mad sounds in your era and get up and then listen... I guess. We also dissect one of Justin's favourite artists, Leonard Cohen, in the pre-show with his debut album 'Songs of Leonard Cohen'. Subscribe at https://www.patreon.com/arcticpodcast

Episode Summary: In this deeply honest episode of The Advancing Women Podcast, we explore what it means to stop hiding the cracks—and start honoring them. Inspired by Leonard Cohen's iconic lyric, “There is a crack in everything. That's how the light gets in” from his song Anthem (1992), we dig into the cultural and professional pressures that push us all, especially women , toward perfectionism as a form of self-protection. Through the lens of the Japanese art of Kintsugi—the practice of repairing pottery with gold lacquer, which highlights rather than hides breakage—and the concept of “Prove-It-Again” bias coined by sociologist Joan Williams in her book What Works for Women at Work(2014), this episode invites listeners to see their so-called imperfections not as flaws, but as places of power, healing, and light. Host Dr. Kimberly doesn't just speak about vulnerability—she practices it, sharing her own season of struggle and the truth that letting the light in starts with acknowledging - maybe even honoring - the cracks. In this episode, we unpack: The cultural myth of perfectionism—and who it really serves How gender bias reinforces the need to over-perform and under-rest What Kintsugi and Leonard Cohen's Anthem can teach us about resilience Joan Williams' research on the “Prove-It-Again” bias and how it impacts women at work References Williams, Joan C. and Rachel Dempsey. What Works for Women at Work: Four Patterns Working Women Need to Know. New York: New York University Press, 2014. (Chapter on “Prove-It-Again” bias) Cohen, Leonard. “Anthem.” The Future [Album], Columbia Records, 1992. https://youtu.be/1jzl0NlTmzY?si=S1wUBVh_7sXq_Wj3 Kintsugi: The Japanese Art of Precious Scars. [For readers, a good primer is by Bonnie Kemske, Kintsugi Wellness: The Japanese Art of Nourishing Mind, Body, and Spirit (2020)] Advancing Women Podcast (Spotify, iTunes) The Progress Principle https://open.spotify.com/episode/73WsiPl2cisLSd5XjZlco5?si=wfiNpNMPQpeWR9Cbl0tcAQ The Therapeutic Art of Kintsugi: Applying Japanese Pottery Repair Techniques to Personal Healing. Posted in: Mind/Body Medicine, Self-actualization, Spirituality (Guest post by Prudence Sinclair.) https://berniesiegelmd.com/the-therapeutic-art-of-kintsugi-applying-japanese-pottery-repair-techniques-to-personal-healing/ Let's Connect @AdvancingWomenPodcast Subscribe, rate, and share the podcast! Follow on Instagram https://www.instagram.com/advancingwomenpodcast/ Facebook https://www.facebook.com/advancingwomenpodcast/ More on Dr. DeSimone here! https://www.linkedin.com/in/kimberly-desimone-phd-mba-ba00b88/

Lee, Daniel, and the returning Lady Leah cover a classic of the silent era, once thought lost, Carl Theodor Dreyer's "The Passion of Joan of Arc" (1928), featuring one of, if not the greatest, performance ever captured on film, from Maria Falconetti, starring as the titular Joan of Arc. The history of the film and its various versions are briefly touched upon, and the hosts dig into the various lenses the film can be viewed through, as well as spending time talking about Dreyer's rule-breaking filming techniques he employed to make the film. Will Lee manage to struggle through reading all the French names in the cast? All this, and the cast also talks about what they've watched recently. We are putting you, the listener, on trial! Confess! You will listen to this episode! Repent! "The Passion of Joan of Arc" IMDB  From the Danish Film Institute: Hermann Warm and the models for Jeanne D' Arc.  Lee on Bluesky.  Daniel on Bluesky, his other Podcast, and his Patreon.    Featured music: Excerpt from "Joan of Arc" by Leonard Cohen; "Bigmouth Strikes Again" by The Smiths, and "Maid Of Orleans" by Orchestral Manoeuvres in the Dark.

"You aren’t going to like what comes after America," skrev Leonard Cohen – og i denne sommerudgave af Kampagnesporet spørger vi: Hvad sker der, hvis USA ikke længere spiller rollen som verdens dominerende supermagt? Hvordan ser en verden ud, hvor USA trækker sig tilbage fra det internationale ansvar – og hvem (eller hvad) træder i stedet? Værter: Mads Fuglede og David Trads Redaktør: Jacob Grosen Klip og produktion: Kasper Risgaard Foto: Aaron Favila/AP/Ritzau ScanpixSee omnystudio.com/listener for privacy information.

How do you become religious? What is a conversion experience? Does it happen all at once or gradually? What's the point of religion, anyway? These are questions that JF (a Catholic) and Phil (a Zennist) have often been asked since starting Weird Studies, and in this episode they attempt some answers. Image: "Small Candle Flame" by Le Priyavrat, via Wikimedia Commons Sign up to attend Shannon Taggart's Lily Dale symposium, July 24-26 REFERENCES Ross Douthat, Believe   Dogen, Shobogenzo   New Atheism https://en.wikipedia.org/wiki/New_Atheism  Weird Studies, Episode 99 on “Wild, Wild Country” William James, Varieties of Religious Experience   George Steiner, Real Presences Patrick Curry, Art and Enchantment Max Picard, The Flight from God Charles Taylor, A Secular Age James Carse, Finite and Infinite Games Richard Wagner, Ring Cycle Gilles Deleuze, The Logic of Sense Weird Studies, Episode 183 on “Siddhartha” Charles Sanders Peirce, American philosopher Leonard Cohen, “Hallelujah”   Our Known Friend, Meditations on the Tarot Learn more about your ad choices. Visit megaphone.fm/adchoices

Listen to an interview with the vocalist and lute player Joel Frederiksen. He'll be performing in Indiana with the Ensemble Phoenix Munich on July 11th and 13th as part of the Indianapolis Early Music Festival. Joel Frederiksen is internationally recognized for his interpretations of early music. For over 30 years, Frederiksen has dedicated his career to reviving and reimagining this repertoire. He has collaborated with many of the world's great early music artists, including Dame Emma Kirkby and Jordi Savall. Frederiksen has toured extensively throughout Europe, and North America. He's also the founder and artistic director of Ensemble Phoenix Munich, a group acclaimed for its historically informed interpretations of early music But Frederiksen isn't a strict traditionalist. In 2012, he gained notoriety for his album “Requiem for a Pink Moon: An Elizabethan Tribute to Nick Drake,” a project that blended the music of the British singer-songwriter Nick Drake, with the music from the English Renaissance. During his upcoming visit to Indianapolis, Frederiksen will perform music from his 2023 album “A Day with Suzanne, A Tribute to Leonard Cohen,” which features songs from the Canadian singer-songwriter Leonard Cohen fused with music of the French Renaissance.

Send us a textWelcome to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:10 points: Get the year dead on!7 points: 1-2 years off4 points: 3-5 years off1 point: 6-10 years offGuesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes (please leave your name).I will read your scores out before the next episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.). Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers......Okay, answers coming. Don't peek if you haven't made your guesses yet!.....Intro song: Baker Street by Gerry Rafferty (1978)Song 1: The Great Pretender by The Platters (1955)Song 2: Two Days in February by The Goo Goo Dolls (1990)Song 3: Made Up Mind by Tedeschi Trucks Band (2013)Song 4: Rainbow Connection by Kermit the Frog (1979)Song 5: Today by Smashing Pumpkins (1993)Song 6: Trash by New York Dolls (1973)Song 7: Isjaki by Sigur Ros (2013)Song 8: Yorktown (The World Turned Upside Down) by Hamilton Cast (2015)Song 9: Suzanne by Leonard Cohen (1967)Song 10: The Charge by New Model Army (1989)

How has the media distorted Israel's response to the October 7 Hamas attacks? In this powerful conversation from AJC Global Forum 2025, award-winning journalist and former AP correspondent Matti Friedman breaks down the media bias, misinformation, and double standards shaping global coverage of Israel. Moderated by AJC Chief Communications and Strategy Officer Belle Etra Yoeli, this episode explores how skewed narratives have taken hold in the media, in a climate of activist journalism. A must-listen for anyone concerned with truth in journalism, Israel advocacy, and combating disinformation in today's media landscape. Take Action: Take 15 seconds and urge your elected leaders to send a clear, united message: We stand with Israel. Take action now. Resources: Global Forum 2025 session with Matti Friedman:: Watch the full video. Listen – AJC Podcasts: The Forgotten Exodus: Untold stories of Jews who left or were driven from Arab nations and Iran People of the Pod:  Latest Episodes:  John Spencer's Key Takeaways After the 12-Day War: Air Supremacy, Intelligence, and Deterrence Iran's Secret Nuclear Program and What Comes Next in the Iranian Regime vs. Israel War Why Israel Had No Choice: Inside the Defensive Strike That Shook Iran's Nuclear Program Follow People of the Pod on your favorite podcast app, and learn more at AJC.org/PeopleofthePod You can reach us at: peopleofthepod@ajc.org If you've appreciated this episode, please be sure to tell your friends, and rate and review us on Apple Podcasts or Spotify. Transcript of the Interview: Manya Brachear Pashman: I've had the privilege of interviewing journalism colleague Matti Friedman: twice on this podcast. In 2022, Matti took listeners behind the scenes of Jerusalem's AP bureau where he had worked between 2006 and 2011 and shared some insight on what happens when news outlets try to oversimplify the Israeli-Palestinian conflict. Then in 2023, I got to sit down with Matti in Jerusalem to talk about his latest book on Leonard Cohen and how the 1973 Yom Kippur War was a turning point both for the singer and for Israel.  Earlier this year, Matti came to New York for AJC Global Forum 2025, and sat down with Belle Yoeli, AJC Chief Strategy and Communications Officer. They rehashed some of what we discussed before, but against an entirely different backdrop: post-October 7. For this week's episode, we bring you a portion of that conversation.  Belle Yoeli:   Hi, everyone. Great to see all of you. Thank you so much for being here. Matti, thank you for being here.  Matti Friedman:   Thanks for having me.  Belle Yoeli:   As you can tell by zero empty seats in this room, you have a lot of fans, and unless you want to open with anything, I'm going to jump right in. Okay, great.  So for those of you who don't know, in September 2024 Matti wrote a piece in The Free Press that is a really great foundation for today's discussion. In When We Started to Lie, Matti, you reflect on two pieces that you had written in 2015 about issues of media coverage of Israel during Operation Protective Edge in 2014. And this piece basically talked about the conclusions you drew and how they've evolved since October 7. We're gonna get to those conclusions, but first, I'm hoping you can describe for everyone what were the issues of media coverage of Israel that you first identified based on the experience in 2014? Matti Friedman:   First of all, thanks so much for having me here, and thanks for all of the amazing work that you guys are doing. So it's a real honor for me. I was a reporter for the AP, between 2006 and the very end of 2011, in Jerusalem. I was a reporter and editor. The AP, of course, as you know, is the American news agency. It's the world's largest news organization, according to the AP, according to Reuters, it's Reuters. One of them is probably right, but it's a big deal in the news world.  And I had an inside view inside one of the biggest AP bureaus. In fact, the AP's biggest International Bureau, which was in Jerusalem. So I can try to sketch the problems that I saw as a reporter there. It would take me seven or eight hours, and apparently we only have four or five hours for this lunch, so I have to keep it short. But I would say there are two main problems. We often get very involved. When we talk about problems with coverage of Israel. We get involved with very micro issues like, you call it a settlement. I call it a neighborhood. Rockets, you know, the Nakba, issues of terminology. But in fact, there are two major problems that are much bigger, and because they're bigger, they're often harder to see. One of the things that I noticed at the Bureau was the scale of coverage of Israel. So at the time that I was at the AP, again, between 2006 and the very end of 2011 we had about 40 full time staffers covering Israel. That's print reporters like me, stills photographers, TV crews. Israel, as most of you probably know, is a very small country. As a percentage of the world's surface, Israel is 1/100 of 1% of the surface of the world, and as a percentage of the land mass of the Arab world, Israel is 1/5 of 1%. 0.2%.  And we had 40 people covering it.  And just as a point of comparison, that was dramatically more people than we had at the time covering China. There are about 10 million people today in Israel proper, in China, there are 1.3 billion. We had more people in Israel than we had in China. We had more people in Israel than we had in India, which is another country of about 1.3 billion people. We had more people in Israel than we had in all of the countries of Sub-Saharan Africa. That's 50 something countries. So we had more people in Israel than we had in all of those countries combined. And sometimes I say that to Jews, I say we covered Israel more than we covered China, and people just stare at me blankly, because it's Israel. So of course, that makes perfect sense.  I happen to think Israel is the most important country in the world because I live there. But if the news is meant to be a rational analysis of events on planet Earth, you cannot cover Israel more than you cover the continent of Africa. It just doesn't make any sense. So one of the things that first jumped out at me– actually, that's making me sound smarter than I am. It didn't jump out at me at first. It took a couple of years. And I just started realizing that it was very strange that the world's largest organization had its largest international bureau in the State of Israel, which is a very small country, very small conflict in numeric terms. And yet there was this intense global focus on it that made people think that it was the most important story in the world. And it definitely occupies a place in the American political imagination that is not comparable to any other international conflict.  So that's one part of the problem. That was the scope, the other part was the context. And it took me a while to figure this out, but the coverage of Israel is framed as an Israeli-Palestinian conflict. The conflict is defined in those terms, the Israeli Palestinian conflict, and everyone in this room has heard it discussed in those terms. Sometimes we discuss it in those terms, and that is because the news folks have framed the conflict in those terms. So at the AP bureau in Jerusalem, every single day, we had to write a story that was called, in the jargon of the Bureau, Is-Pals, Israelis, Palestinians. And it was the daily wrap of the Israeli Palestinian conflict. So what Netanyahu said, what Abbas said, rockets, settlers, Hamas, you know, whatever, the problem is that there isn't an Israeli=Palestinian conflict. And I know that sounds crazy, because everyone thinks there is.  And of course, we're seeing conflicts play out in the most tragic way right now in Gaza. But most of Israel's wars have not been fought against Palestinians. Israel has unfortunately fought wars against Egyptians and Jordanians and Lebanese and Iraqis. And Israel's most important enemy at the moment, is Iran, right? The Iranians are not Palestinian. The Iranians are not Arab. They're Muslim, but they're not Arab. So clearly, there is a broader regional conflict that's going on that is not an Israeli Palestinian conflict, and we've seen it in the past year. If we had a satellite in space looking down and just following the paths of ballistic missiles and rockets fired at Israel. Like a photograph of these red trails of rockets fired at Israel. You'd see rockets being fired from Iraq and from Yemen and from Lebanon and from Gaza and from Iran. You'd see the contours of a regional conflict.  And if you understand it's a regional conflict, then you understand the way Israelis see it. There are in the Arab world, 300 million people, almost all of them Muslim. And in one corner of that world, there are 7 million Jews, who are Israelis. And if we zoom out even farther to the level of the Islamic world, we'll see that there are 2 billion people in the Islamic world. There's some argument about the numbers, but it's roughly a quarter of the world's population. And in one corner of that world there, there are 7 million Israeli Jews. The entire Jewish population on planet Earth is a lot smaller than the population of Cairo.  So the idea that this is an Israeli-Palestinian conflict, where Israelis are the stronger side, where Israelis are the dominant actor, and where Israelis are, let's face it, the bad guy in the story, that's a fictional presentation of a story that actually works in a completely different way. So if you take a small story and make it seem big. If you take a complicated regional story and you make it seem like a very small local story involving only Israelis and Palestinians, then you get the highly simplified but very emotive narrative that everyone is being subjected to now. And you get this portrayal of a villainous country called Israel that really looms in the liberal imagination of the West as an embodiment of the worst possible qualities of the age. Belle Yoeli:   Wow. So already you were seeing these issues when you were reporter, earlier on. But like this, some of this was before and since, since productive edge. This is over 10 years ago, and here we are. So October 7 happens. You already know these issues exist. You've identified them. How would you describe because obviously we have a lot of feelings about this, but like, strictly as a journalist, how would you describe the coverage that you've seen since during October 7, in its aftermath? Is it just these issues? Have they? Have they expanded? Are there new issues in play? What's your analysis? Matti Friedman:   The coverage has been great. I really have very I have no criticism of it. I think it's very accurate. I think that I, in a way, I was lucky to have been through what I went through 10 or 15 years ago, and I wasn't blindsided on October 7, as many people were, many people, quite naturally, don't pay close attention to this. And even people who are sympathetic to Israel, I think, were not necessarily convinced that my argument about the press was right. And I think many people thought it was overstated.  And you can read those articles from 2014 one was in tablet and one was in the Atlantic, but it's basically the two chapters of the same argument. And unfortunately, I think that those the essays, they stand up. In fact, if you don't really look at the date of the essays, they kind of seem that they could have been written in the past year and a half. And I'm not happy about that. I think that's and I certainly wrote them in hopes that they would somehow make things better. But the issues that I saw in the press 15 years ago have only been exacerbated since then. And October seven didn't invent the wheel. The issues were pre existing, but it took everything that I saw and kind of supercharged it.  So if I talked about ideological conformity in the bureaus that has been that has become much more extreme. A guy like me, I was hired in 2006 at the AP. I'm an Israeli of center left political leanings. Hiring me was not a problem in 22,006 by the time I left the AP, at the end of 2011 I'm pretty sure someone like me would not have been hired because my views, which are again, very centrist Israeli views, were really beyond the pale by the time that I left the AP, and certainly, and certainly today, the thing has really moved what I saw happening at the AP. And I hate picking on the AP because they were just unfortunate enough to hire me. That was their only error, but what I'm saying about them is true of a whole new. Was heard. It's true of the Times and CNN and the BBC, the news industry really works kind of as a it has a herd mentality. What happened was that news decisions were increasingly being made by people who are not interested in explanatory journalism. They were activists. Activists had moved into the key positions in the Bureau, and they had a very different idea of what press coverage was supposed to do. I would say, and I tried to explain it in that article for the free press, when I approach a news story, when I approach the profession of journalism, the question that I'm asking is, what's going on? That's the question I think you're supposed to ask, what's going on? How can I explain it in a way that's as accurate as as possible? The question that was increasingly being asked was not what's going on. The question was, who does this serve? That's an activist question. So when you look at a story, you don't ask, is it true, or is it not true? You ask, who's it going to help? Is it going to help the good guys, or is it going to help the bad guys?  So if Israel in the story is the villain, then a story that makes Israel seem reasonable, reasonable or rational or sympathetic needs to be played down to the extent possible or made to disappear. And I can give you an example from my own experience.  At the very end of 2008 two reporters in my bureau, people who I know, learned of a very dramatic peace offer that Prime Minister Ehud Olmert had made to the Palestinians. So Olmert, who was the prime minister at the time, had made a very far reaching offer that was supposed to see a Palestinian state in all of Gaza, most of the West Bank, with land swaps for territory that Israel was going to retain, and a very far reaching international consortium agreement to run the Old City of Jerusalem. Was a very dramatic. It was so far reaching, I think that Israelis probably wouldn't have supported it. But it was offered to the Palestinian side, and the Palestinians rejected it as insufficient. And two of our reporters knew about this, and they'd seen a map of the offer. And this was obviously a pretty big story for a bureau that had as the thrust of its coverage the peace process.  The two reporters who had the story were ordered to drop it, they were not allowed to cover the story. And there were different explanations. And they didn't, by the way, AP did not publish the story at the time, even though we were the first to have it. Eventually, it kind of came out and in other ways, through other news organizations. But we knew at first. Why were we not allowed to cover it? Because it would have made the Israelis who we were trying to villainize and demonize, it would have made Israel seem like it was trying to solve the conflict on kind of reasonable lines, which, of course, was true at that time. So that story would have upended the thrust of our news coverage. So it had to be made to go away, even though it was true, it would have helped the wrong people. And that question of who does this serve has destroyed, I want to say all, but much, of what used to be mainstream news coverage, and it's not just where Israel is concerned.  You can look at a story like the mental health of President Biden, right. Something's going on with Biden at the end of his term. It's a huge global news story, and the press, by and large, won't touch it, because why? I mean, it's true, right? We're all seeing that it's true, but why can't you touch it? Because it would help the wrong people. It would help the Republicans who in the press are the people who you are not supposed to help.  The origins of COVID, right? We heard one story about that. The true story seems to be a different story. And there are many other examples of stories that are reported because they help the right people, or not reported because they would help the wrong people. And I saw this thinking really come into action in Israel 10 or 15 years ago, and unfortunately, it's really spread to include the whole mainstream press scene and really kill it.  I mean, essentially, anyone interested in trying to get a solid sense of what's going on, we have very few options. There's not a lot, there's not a lot out there. So that's the broader conclusion that I drew from what I thought at the time was just a very small malfunction involving Israel coverage. But Israel coverage ends up being a symptom of something much bigger, as Jews often are the symptom of something much bigger that's going on.  So my problems in the AP bureau 15 years ago were really a kind of maybe a canary in the coal mine, or a whiff of something much bigger that we were all going to see happen, which is the transformation of the important liberal institutions of the west into kind of activist arms of a very radical ideology that has as its goal the transformation of the west into something else. And that's true of the press, and it's true of NGO world, places like Human Rights Watch and Amnesty International, which were one thing 30 years ago and are something very different today. And it's also true of big parts of the academy. It's true of places like Columbia and places like Harvard, they still have the logo, they still have the name, but they serve a different purpose, and I just happen to be on the ground floor of it as a reporter. Belle Yoeli:   So obviously, this concept of who does this serve, and this activist journalism is deeply concerning, and you actually mentioned a couple other areas, academia, obviously we're in that a lot right now in terms of what's going on campus. So I guess a couple of questions on that. First of all, think about this very practically, tachlis, in the day to day.  I'm a journalist, and I go to write about what's happening in Gaza. What would you say is, if you had to throw out a percentage, are all of them aware of this activist journalist tendency? Or you think it's like, like intentional for many of them, or it's sort of they've been educated that way, and it's their worldview in such a way that they don't even know that they're not reporting the news in a very biased way. Does that make sense? Matti Friedman:   Totally. I think that many people in the journalism world today view their job as not as explaining a complicated situation, but as swaying people toward the correct political conclusion. Journalism is power, and the power has to be wielded in support of justice. Now, justice is very slippery, and, you know, choosing who's in the right is very, very slippery, and that's how journalism gets into a lot of trouble. Instead of just trying to explain what's going on and then leave, you're supposed to leave the politics and the activism to other people. Politics and activism are very important.  But unless everyone can agree on what is going on, it's impossible to choose the kind of act, the kind of activism that would be useful. So when the journalists become activists, then no one can understand what's what's going on, because the story itself is fake, and there are many, many examples of it. But you know, returning to what you asked about, about October 7, and reporting post October 7, you can really see it happen. The massacres of October 7 were very problematic for the ideological strain that now controls a lot of the press, because it's counterintuitive. You're not supposed to sympathize with Israelis.  And yet, there were a few weeks after October 7 when they were forced to because the nature of the atrocities were so heinous that they could not be ignored. So you had the press covering what happened on October 7, but you could feel it. As someone who knows that scene, you could feel there was a lot of discomfort. There was a lot of discomfort. It wasn't their comfort zone, and you knew that within a few weeks, maybe a month, it was gonna snap back at the first opportunity.  When did it snap back? In the story of the Al Ahli hospital strike. If you remember that a few weeks in, there's a massive global story that Israel has rocketed Hospital in Gaza and killed about 500 people and and then you can see the kind of the comfort the comfort zone return, because the story that the press is primed to cover is a story about villainous Israelis victimizing innocent Palestinians, and now, now we're back. Okay. Now Israel's rocketing hospital. The problem was that it hadn't happened, and it was that a lot of stories don't happen, and they're allowed to stand.  But this story was so far from the truth that even the people involved couldn't make it work, and it had to be retracted, but it was basically too late. And then as soon as the Israeli ground offensive got into swing in Gaza, then the story really becomes the same old story, which is a story of Israel victimizing Palestinians for no reason. And you'll never see Hamas militants in uniform in Gaza. You just see dead civilians, and you'll see the aftermath of a rocket strike when the, you know, when an Israeli F16 takes out the launcher, but you will never see the strike. Which is the way it's worked in Gaza since the very end of 2008 which is when the first really bad round of violence in Gaza happens, which is when I'm at the AP.  As far as I know, I was the first staffer to erase information from the story, because we were threatened by Hamas, which happened at the very end of 2008. We had a great reporter in Gaza, a Palestinian who had always been really an excellent reporter. We had a detail in a story. The detail was a crucial one. It was that Hamas fighters were dressed as civilians and were being counted as civilians in the death toll, an important thing to know, that went out in an AP story. The reporter called me a few hours later. It was clear that someone had spoken to him, and he told me, I was on the desk in Jerusalem, so I was kind of writing the story from the main bureau in Jerusalem. And he said, Matti, you have to take that detail out of the story. And it was clear that someone had threatened him. I took the detail out of the story. I suggested to our editors that we note in an Editor's Note that we were now complying with Hamas censorship. I was overruled, and from that point in time, the AP, like all of its sister organizations, collaborates with Hamas censorship in Gaza.  What does that mean? You'll see a lot of dead civilians, and you won't see dead militants. You won't have a clear idea of what the Hamas military strategy is. And this is the kicker, the center of the coverage will be a number, a casualty number, that is provided to the press by something called the Gaza health ministry, which is Hamas. And we've been doing that since 2008, and it's a way of basically settling the story before you get into any other information. Because when you put, you know, when you say 50 Palestinians were killed, and one Israeli on a given day, it doesn't matter what else you say. The numbers kind of tell their own story, and it's a way of settling the story with something that sounds like a concrete statistic. And the statistic is being, you know, given to us by one of the combatant sides. But because the reporters sympathize with that side, they're happy to play along. So since 2008, certainly since 2014 when we had another serious war in Gaza, the press has not been covering Gaza, the press has been essentially an amplifier for one of the most poisonous ideologies on Earth. Hamas has figured out how to make the press amplify its messaging rather than covering Hamas. There are no Western reporters in Gaza. All of the reporters in Gaza are Palestinians, and those people fall into three categories. Some of them identify with Hamas. Some of them are intimidated by Hamas and won't cross Hamas, which makes a lot of sense. I wouldn't want to cross Hamas either. So either. And the third category is people who actually belong to Hamas. That's where the information from Gaza is coming from. And if you're credulous, then of course, you're going to get a story that makes Israel look pretty bad. Belle Yoeli:   So this is very depressing. That's okay. It's very helpful, very depressing. But on that note, I would ask you so whether, because you spoke about this problem in terms, of, of course, the coverage of Israel, but that it's it's also more widespread you talk, you spoke about President Biden in your article, you name other examples of how this sort of activist journalism is affecting everything we read. So what should everyone in this room be reading, truly, from your opinion. This is Matti's opinion. But if you want to you want to get information from our news and not activist journalism, obviously The Free Press, perhaps. But are there other sites or outlets that you think are getting this more down the line, or at least better than some, some better than others?  Matti Friedman:   No, it's just The Free Press. No. I mean, it's a question that I also wrestle with. I haven't given up on everyone, and even in publications that have, I think, largely lost the plot, you'll still find good stuff on occasion. So I try to keep my eye on certain reporters whose name I know. I often ask not just on Israel, but on anything, does this reporter speak the language of the country that they're covering? You'd be shocked at how rare that is for Americans. A lot of the people covering Ukraine have no idea what language they speak in Ukraine, and just as someone who covers Israel, I'm aware of the low level of knowledge that many of the Western reporters have. You'll find really good stuff still in the Atlantic. The Atlantic has managed, against steep odds, to maintain its equilibrium amid all this. The New Yorker, unfortunately, less so, but you'll still see, on occasion, things that are good. And there are certain reporters who are, you know, you can trust. Isabel Kirchner, who writes for The New York Times, is an old colleague of mine from the Jerusalem report. She's excellent, and they're just people who are doing their job. But by and large, you have to be very, very suspicious of absolutely everything that you read and see. And I'm not saying that as someone who I'm not happy to say that, and I certainly don't identify with, you know, the term fake news, as it has been pushed by President Trump.  I think that fake news is, you know, for those guys, is an attempt to avoid scrutiny. They're trying to, you know, neuter the watchdog so that they can get away with whatever they want. I don't think that crowd is interested in good press coverage. Unfortunately, the term fake news sticks because it's true. That's why it has worked. And the press, instead of helping people navigate the blizzard of disinformation that we're all in, they've joined it. People who are confused about what's going on, should be able to open up the New York Times or go to the AP and figure out what's going on, but because, and I saw it happen, instead of covering the circus, the reporters became dancing bears in the circus. So no one can make heads or tails of anything. So we need to be very careful.  Most headlines that are out there are out there to generate outrage, because that's the most predictable generator of clicks, which is the, we're in a click economy. So I actually think that the less time you spend following headlines and daily news, the better off you'll be. Because you can follow the daily news for a year, and by the end of the year, you'll just be deranged. You'll just be crazy and very angry.  If you take that time and use it to read books about, you know, bitten by people who are knowledgeable, or read longer form essays that are, you know, that are obviously less likely to be very simplistic, although not, you know, it's not completely impossible that they will be. I think that's time, that's time better spent. Unfortunately, much of the industry is kind of gone. And we're in an interesting kind of interim moment where it's clear that the old news industry is basically dead and that something new has to happen. And those new things are happening. I mean, The Free Press is part of a new thing that's happening. It's not big enough to really move the needle in a dramatic way yet, but it might be, and I think we all have to hope that new institutions emerge to fill the vacuum.  The old institutions, and I say this with sorrow, and I think that this also might be true of a lot of the academic institutions. They can't be saved. They can't be saved. So if people think that writing an editor, a letter to the editor of the New York Times is going to help. It's not going to help. Sometimes people say, Why don't we just get the top people in the news industry and bring them to Israel and show them the truth? Doesn't help. It's not about knowing or not knowing. They define the profession differently.  So it's not about a lack of information. The institutions have changed, and it's kind of irrevocable at this point, and we need new institutions, and one of them is The Free Press, and it's a great model of what to do when faced with fading institutions. By the way, the greatest model of all time in that regard is Zionism. That's what Zionism is. There's a guy in Vienna in 1890 something, and his moment is incredibly contemporary. There's an amazing biography of Herzl called Herzl by Amos Elon. It's an amazing book. If you haven't read it, you should read it, because his moment in cosmopolitan Vienna sounds exactly like now. It's shockingly current. He's in this friendly city. He's a reporter for the New York Times, basically of the Austro Hungarian empire, and he's assimilated, and he's got a Christmas tree in his house, and his son isn't circumcised, and he thinks everything is basically great. And then the light changes.  He notices that something has changed in Vienna, and the discourse about Jews changes, and like in a Hollywood movie, the light changes. And he doesn't try to he doesn't start a campaign against antisemitism. He doesn't get on social media and kind of rail against unfair coverage. He sits down in a hotel room in Paris and he writes this pamphlet called the Jewish state, and I literally flew from that state yesterday. So there's a Zionist model where you look at a failing world and you think about radical solutions that involve creation. And I think we're there. And I think Herzl's model is a good one at a dark time you need real creativity. Belle Yoeli:   Thank God you found the inspiration there, because I was really, I was really starting to worry. No, in all seriousness, Matti, the saying that these institutions can't be saved. I mean the consequences of this, not just for us as pro-Israel, pro-Jewish advocates, but for our country, for the world, the countries that we come from are tremendous.  And the way we've been dealing with this issue and thinking about how, how can you change hearts and minds of individuals about Israel, about the Jewish people, if everything that they're reading is so damaging and most of what they're reading is so damaging and basically saying there's very little that we can do about that. So I am going to push you to dream big with us. We're an advocacy organization. AJC is an advocacy organization. So if you had unlimited resources, right, if you really wanted to make change in this area, to me, it sounds like you're saying we basically need 15 Free Presses or the new institutions to really take on this way. What would you do? What would you do to try to make it so that news media were more like the old days? Matti Friedman:   Anyone who wants unlimited resources should not go into journalism. I have found that my resources remain limited. I'll give you an answer that is probably not what you're expecting or not what you want here. I think that the fight can't be won. I think that antisemitism can't be defeated. And I think that resources that are poured into it are resources wasted. And of course, I think that people need legal protection, and they need, you know, lawyers who can protect people from discrimination and from defamation. That's very important. But I know that when people are presented with a problem like antisemitism, which is so disturbing and it's really rocking the world of everyone in this room, and certainly, you know, children and grandchildren, you have a problem and you want to address it, right? You have a really bad rash on your arm. You want the rash to go away, and you're willing to do almost anything to make it go away. This has always been with us. It's always been with us.  And you know, we recently celebrated the Seder, and we read in the Seder, in the Haggadah, l'chol dor vador, omdim aleinu l'chaloteinu. Which is, in every generation, they come at us to destroy us. And it's an incredibly depressing worldview. Okay, it's not the way I wanted to see the world when I grew up in Toronto in the 1990s. But in our tradition, we have this idea that this is always gonna be around. And the question is, what do you do? Do you let other people define you? Do you make your identity the fight against the people who hate you? And I think that's a dead end.  This crisis is hitting the Jewish people at a moment when many of us don't know who we are, and I think that's why it's hitting so hard. For my grandfather, who was a standard New York Jew, garment industry, Lower East Side, poor union guy. This would not have shaken him, because he just assumed that this was the world like this. The term Jewish identity was not one he ever heard, because it wasn't an issue or something that had to be taught. So if I had unlimited resources, what I would do is I would make sure that young Jewish people have access to the riches of Jewish civilization, I would, you know, institute a program that would allow any young Jewish person to be fluent in Hebrew by the time they finish college. Why is that so important? Why is that such an amazing key?  Because if you're fluent in Hebrew, you can open a Tanakh, or you can open a prayer book if you want. Or you can watch Fauda or you can get on a plane to Israel and hit on Israeli guys. Hebrew is the key to Jewish life, and if you have it, a whole world will open up. And it's not one that antisemites can interfere with. It does not depend on the goodwill of our neighbors. It's all about us and what we're doing with ourselves. And I think that if you're rooted in Jewish tradition, and I'm not saying becoming religious, I'm just saying, diving into the riches of Jewish tradition, whether it's history or gemara or Israel, or whatever, if you're if you're deep in there enough, then the other stuff doesn't go away, but it becomes less important.  It won't be solved because it can't be solved, but it will fade into the background. And if we make the center of identity the fight against antisemitism, they've won. Why should they be the center of our identity? For a young person who's looking for some way of living or some deep kind of guide to life, the fight against antisemitism is not going to do it, and philanthropy is not going to do it. We come from the wisest and one of the oldest civilizations in the world, and many of us don't know how to open the door to that civilization, and that's in our hands. And if we're not doing it, it's not the fault of the antisemites. It's our own fault. So if I had unlimited resources, which, again, it's not, it's not going to happen unless I make a career change, that's where I would be putting my effort. Internally and not externally.  Belle Yoeli:   You did find the inspiration, though, again, by pushing Jewish identity, and we appreciate that. It's come up a lot in this conversation, this question about how we fight antisemitism, investing in Jewish identity and who we are, and at the same time, what do we do about it? And I think all of you heard Ted in a different context last night, say, we can hold two things, two thoughts at the same time, right? Two things can be true at the same time. And I think for me, what I took out of this, in addition to your excellent insights, is that that's exactly what we have to be doing.  At AJC, we have to be engaging in this advocacy to stand up for the Jewish people and the State of Israel. But that's not the only piece of the puzzle. Of course, we have to be investing in Jewish identity. That's why we bring so many young people to this conference. Of course, we need to be investing in Jewish education. That's not necessarily what AJC is doing, the bulk of our work, but it's a lot of what the Jewish community is doing, and these pieces have to go together. And I want to thank you for raising that up for us, and again, for everything that you said. Thank you all so much for being here. Thank you. Manya Brachear Pashman: If you missed last week's episode, be sure to tune in as John Spencer, Chair of Urban Warfare Studies at West Point, breaks down Israel's high-stakes strike on Iran's nuclear infrastructure and the U.S. decision to enter the fight. 

"High In My Balloon" When it comes to the Grammy-nominated musician and composer Willie Aron, he's worked with so many people, it might be faster just to list the people he hasn't worked with. Born in Southern California, Aron studied classical piano before falling in love with the Beatles and new wave and teaching himself guitar. He co-founded The Balancing Act who signed to I.R.S., put out three excellent albums, toured with 10,000 Maniacs and They Might Be Giants before calling it a day in 1989. After the band broke up, Aron became an in-demand session musician and over the years he's collaborated with Leonard Cohen, The Dream Syndicate, Rickie Lee Jones, Milo Binder, Susanna Hoffs, Brian Wilson, Michael Penn and Peter Himmelman. Speaking of Brian Wilson, yes, that's Wilie in Love & Mercy and he was also a consultant for the Beatles doc Eight Days A Week. Willie also has worked as a film and television composer, a producer of children's music and a composer for commercials and music libraries. Additionally, he helped develop the curriculum and write original songs for a Los Angeles-based children's music space and company called Play Music (play-losangeles.com) and he also earned a a Master's Degree in clinical psychology from Antioch University in Los Angeles. As for the bands he plays in currently, the list is long, but let's just start with Moremen/Bonebrake with Matthew Sweet guitarist John Moremen and X drummer DJ Bonebrake, an improvisation outfit called Mushroom, The Vince Melouney Sect featuring original Bee Gees guitarist Vince Melouney, and the all-star musical collective known as The Wild Honey Orchestra that raises money for autism. All of which brings us to Thee Holy Brothers, which finds Willie teaming up with his pal Marvin Etzioni who you might remember from Lone Justice and his appearance on this podcast. The duo's new album "High In My Balloon" is a sterling platter of rootsy stomp and jangling pop that's pure melodic joy. And this conversation is equally joyful and it's also a reminder that being a nice person like Willie Aron leads to lasting friendships and as we all know, without lasting friendships, none of us would last. www.theeholybrothers.com (http://www.theeholybrothers.com) www.bombshellradio.com www.stereoembersmagazine.com (http://www.stereoembersmagazine.com) www.alexgreenbooks.com (http://www.alexgreenbooks.com) Stereo Embers The Podcast IG + BLUESKY: @emberspodcast editor@stereoembersmagazine.com

“The blood, the soil, the faith These words you can't forget Your vow, your holy place O love, aren't you tired yet?”—Leonard Cohen 1 Corinthians 3:4-8a

This is a free preview of a paid episode. To hear more, visit andrewsullivan.substack.comPaul is a writer, an editor, and an old friend. He's a regular contributor to The New Yorker and a senior fellow in Georgetown's Berkley Center for Religion, Peace, and World Affairs. He's the author of The Life You Save May Be Your Own and Reinventing Bach, and his new book is The Last Supper: Art, Faith, Sex, and Controversy in the 1980s.For two clips of our convo — on Martin Scorsese's extraordinary religious films, and the strikingly resilient Catholicism of Andy Warhol — head to our YouTube page.Other topics: Paul raised in upstate NY as a child of Vatican II; his great-uncle was the bishop of Burlington who attended the 2nd Council; Thomas Merton and Flannery O'Connor as formative influences; working in publishing with McPhee and Wolfe; Cullen Murphy on the historical Christ; Jesus as tetchy; Czesław Miłosz; Leonard Cohen making it cool to be religious; the row over The Last Temptation of Christ and Scorsese's response with Silence; Bill Donahue the South Park caricature; Bono and U2; The Smiths; The Velvet Underground; Madonna and her Catholic upbringing; “Like A Prayer” and “Papa Don't Preach”; her campaign for condom use; when I accidentally met her at a party; Camille Paglia; Warhol the iconographer; his near-death experience that led to churchgoing; Robert Mapplethorpe; S&M culture in NYC; Andres Serrano's “Piss Christ”; Jesse Helms' crusade against the NEA; Sinead O'Connor's refusal to get an abortion; tearing up the JP II photo on SNL; the sex-abuse crisis; Cardinal O'Connor; the AIDS crisis; ACT-UP's antics at St. Patrick's Cathedral; the AIDS quilt as a cathedral; and Paul's gobsmacking omission of the Pet Shop Boys.Coming up: Edward Luce on the war with Iran, Walter Isaacson on Ben Franklin, Tara Zahra on the revolt against globalization after WWI, Thomas Mallon on the AIDS crisis, and Johann Hari turning the tables to interview me. (NS Lyons indefinitely postponed a pod appearance — and his own substack — because he just accepted an appointment at the State Department; and the Arthur Brooks pod is postponed because of calendar conflicts.) Please send any guest recs, dissents, and other comments to dish@andrewsullivan.com.

Hometown Radio 06/25/25 3:30p: Leonard Cohen reports on the downtown parking situation

What do Andy Warhol, Leonard Cohen, Bob Dylan, Flannery O'Connor, and Bono all have in common? According to writer and cultural historian Paul Elie, they're “cryptoreligious.” Their art isn't about affirming doctrine—it's about invoking mystery, longing, and spiritual disquiet. In a culture where religious belief is often either rigidly defined or entirely dismissed, these artists dwell in the in between. They don't preach—but they provoke. Their work invites us into important questions, questions to which the artists themselves often don't have answers.   This week, Russell Moore talks with Paul Elie, author of The Life You Save May Be Your Own: An American Pilgrimage—Russell's favorite biography—and the new book The Last Supper: Art, Faith, Sex, and Controversy in the 1980s. Together they explore how religion haunts the work of artists like Dylan (especially his “Christian era”), Cohen (“Hallelujah”), singer Sinéad O'Connor (her unforgettable Saturday Night Live moment), and even Andy Warhol's more-than-15 minutes of fame.   If you've ever felt as if a song lyric or a painting was almost a prayer—or wondered why some of our greatest artists can't seem to stop brushing up against the divine—this conversation is for you. Resources mentioned in this episode or recommended by the guest include: The Last Supper: Art, Faith, Sex, and Controversy in the 1980s by Paul Elie The Life You Save May Be Your Own: An American Pilgrimage by Paul Elie Special offer for listeners of The Russell Moore Show: Click here for 25% off a subscription to CT magazine. Learn more about your ad choices. Visit podcastchoices.com/adchoices

It's often remarked that America has become less religious, especially during recent decades. But what if that religiosity hasn't disappeared, but just taken less visible forms? That's exactly what was happening in the arts in 1980s NYC, argues Paul Elie, author of The Last Supper: Art, Faith, Sex, and Controversy in the 1980s.  As Elie tells it, the era wasn't just marked by the ascendance of the moral majority and the authority of tradition—figures like Pope John Paul II and Ronald Reagan.  It also featured subtle engagement with spiritual themes by the likes of figures like Leonard Cohen, Andy Warhol, Madonna, Patti Smith, Bruce Springsteen, and Martin Scorcese, and provides a template for understanding where Catholicism stands today.  For further reading:  An excerpt from Paul Elie's new book Kaya Oakes on why religion must ask better questions Susan Bigelow Reynolds on millennial religious rejection

La Venganza Será Terrible: todo el año festejando los 40 años Coliseo Podestá de La Plata Alejandro Dolina, Patricio Barton, Gillespi Introducción • Entrada0:01:28 Segmento Inicial • Hábitos que parecen buenos y son malos, etc.0:05:38 Segmento Dispositivo • James Nayler, el cuáquero seductor0:50:19 • "Hallelujah" ♫ Leonard Cohen, Various Positions, 1984 Segmento Humorístico • Verdadero o Falso: animales de la selva Sordo Gancé / Trío Sin Nombre • Presentación • "Rezo Por Vos" ♫ (Charly García/Luis Alberto Spinetta) • "N.P. (No Placé)" ♫ (Juan José Riverol/Francisco Loiacono) • "Sasha, Sissí y el círculo de baba" ♫ (Fito Páez) • "Mi Refugio" ♫ (Juan Carlos Cobián/Pedro Numa Córdoba) • "Ain't No Sunshine" ♫ (Bill Withers) • "Night and Day" ♫ (Cole Porter) • "Vamos las Bandas" ♫ (Patricio Rey y sus Redonditos de Ricota)

Seasoned journalist Matti Friedman joins Jamie Weinstein to unpack the current state of Israel's war against Hamas, exploring the tension between military objectives and the return of hostages. He also delves into the role of American leadership, the morality of warfare, and what the future might hold for Israeli-Iranian relations. The Agenda:—Public trust in Israel's government is at an all-time low—The dilemma of the hostage return—Perception of American leadership and Donald Trump—Qatar: friend or foe?—Taking out Iran's nukes—Is there a Leonard Cohen in today's war? The Dispatch Podcast is a production of ⁠⁠⁠⁠The Dispatch⁠⁠⁠⁠, a digital media company covering politics, policy, and culture from a non-partisan, conservative perspective. To access all of The Dispatch's offerings—including members-only newsletters, bonus podcast episodes, and regular livestreams—⁠⁠⁠⁠click here. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jasun Horsley is an author, podcaster and host of the Children of Job Substack. He chats to James about his late artist brother Sebastian, the perils of inheriting money when you are too young, the secret life of Leonard Cohen, the dubious cult of the serial killer and whether or not there really is a Grand Universal Conspiracy. His latest (erudite but readable) book 16 Maps of Hell*: The Unraveling of Hollywood Superculture finds - according to James - the perfect balance between red-pilled Normiedom and unashamed rabbit holery. 16 Maps of Hell: The Unraveling of Hollywood Superculture ↓ Good Food Project is hosting a Barbara O'Neill event at Cranage Estate in Cheshire from the 20th to 24th May. Visit www.goodfoodproject.co.uk, find the event link at the top of the homepage, and use code delingpole15 for 15% off your virtual ticket. ↓ Monetary Metals is providing a true alternative to saving and earning in dollars by making it possible to save AND EARN in gold and silver. Monetary Metals has been paying interest on gold and silver for over 8 years. Right now, accredited investors can earn 12% annual interest on silver, paid in silver in their latest silver bond offering. For example, if you have 1,000 ounces of silver in the deal, you receive 120 ounces of silver interest paid to your account in the first year. Go to the link in the description or head to https://monetary-metals.com/delingpole/ to learn more about how to participate and start earning a return on honest money again with Monetary Metals. ↓ ↓ How environmentalists are killing the planet, destroying the economy and stealing your children's future. In Watermelons, an updated edition of his ground-breaking 2011 book, James tells the shocking true story of how a handful of political activists, green campaigners, voodoo scientists and psychopathic billionaires teamed up to invent a fake crisis called ‘global warming'. This updated edition includes two new chapters which, like a geo-engineered flood, pour cold water on some of the original's sunny optimism and provide new insights into the diabolical nature of the climate alarmists' sinister master plan. Purchase Watermelons by James Delingpole here: https://jamesdelingpole.co.uk/Shop/ ↓ ↓ ↓ Buy James a Coffee at: https://www.buymeacoffee.com/jamesdelingpole The official website of James Delingpole: https://jamesdelingpole.co.uk xxx

Jake and Phil discuss Clement Greenberg's 1939 "Kitsch and the Avant-Garde" alongside Taylor Swift's "I Knew You Were Trouble" and Leonard Cohen's "Chelsea Hotel No. 2" The Manifesto: Clement Greenberg, "Avant-Garde and Kitsch" https://resources.finalsite.net/images/v1606923282/slcschoolsorg/wumlyaskvhhzawsvbbzc/Avant-GardeandKitsch.pdf The Art: Taylor Swift, "I Knew You Were Trouble" https://www.youtube.com/watch?v=vNoKguSdy4Y Leonard Cohen, "Chelsea Hotel No. 2" https://www.youtube.com/watch?v=QWZo7UmCbBc