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In this episode, James Marriott and I discuss who we think are the best twenty English poets. This is not the best poets who wrote in English, but the best British poets (though James snuck Sylvia Plath onto his list…). We did it like that to make it easier, not least so we could base a lot of our discussion on extracts in The Oxford Book of English Verse (Ricks edition). Most of what we read out is from there. We read Wordsworth, Keats, Hardy, Milton, and Pope. We both love Pope! (He should be regarded as one of the very best English poets, like Milton.) There are also readings of Herrick, Bronte, Cowper, and MacNiece. I plan to record the whole of ‘The Eve of St. Agnes' at some point soon.Here are our lists and below is the transcript (which may have more errors than usual, sorry!)HOGod Tier* Shakespeare“if not first, in the very first line”* Chaucer* Spenser* Milton* Wordsworth* Eliot—argue for Pope here, not usually includedSecond Tier* Donne* Herbert* Keats* Dryden* Gawain poet* Tom O'Bedlam poetThird Tier* Yeats* Tennyson* Hopkins* Coleridge* Auden* Shelley* MarvellJMShakespeareTier* ShakespeareTier 1* Chaucer* Milton* WordsworthTier 2* Donne* Eliot* Keats* Tennyson* Spencer* Marvell* PopeTier 3* Yeats* Hopkins* Blake* Coleridge* Auden* Shelley* Thomas Hardy* Larkin* PlathHenry: Today I'm talking to James Marriott, Times columnist, and more importantly, the writer of the Substack Cultural Capital. And we are going to argue about who are the best poets in the English language. James, welcome.James: Thanks very much for having me. I feel I should preface my appearance so that I don't bring your podcast and disrepute saying that I'm maybe here less as an expert of poetry and more as somebody who's willing to have strong and potentially species opinions. I'm more of a lover of poetry than I would claim to be any kind of academic expert, just in case anybody thinks that I'm trying to produce any definitive answer to the question that we're tackling.Henry: Yeah, no, I mean that's the same for me. We're not professors, we're just very opinionated boys. So we have lists.James: We do.Henry: And we're going to debate our lists, but what we do agree is that if we're having a top 20 English poets, Shakespeare is automatically in the God Tier and there's nothing to discuss.James: Yeah, he's in a category of his own. I think the way of, because I guess the plan we've gone for is to rather than to rank them 1, 2, 3, 4, 5, 6, 7 into sort of, what is it, three or four broad categories that we're competing over.Henry: Yes, yes. TiersJames: I think is a more kind of reasonable way to approach it rather than trying to argue exactly why it should be one place above Shelly or I don't know, whatever.Henry: It's also just an excuse to talk about poets.James: Yes.Henry: Good. So then we have a sort of top tier, if not the first, in the very first line as it were, and you've got different people. To me, you've got Chaucer, Milton, and Wordsworth. I would also add Spenser and T.S. Eliot. So what's your problem with Spenser?James: Well, my problem is ignorance in that it's a while since I've read the Fairy Queen, which I did at university. Partly is just that looking back through it now and from what I remember of university, I mean it is not so much that I have anything against Spenser. It's quite how much I have in favour of Milton and Wordsworth and Chaucer, and I'm totally willing to be argued against on this, but I just can't think that Spenser is in quite the same league as lovely as many passages of the Fairy Queen are.Henry: So my case for Spenser is firstly, if you go through something like the Oxford Book of English Verse or some other comparable anthology, he's getting a similar page count to Shakespeare and Milton, he is important in that way. Second, it's not just the fairy queen, there's the Shepherd's Calendar, the sonnets, the wedding poems, and they're all highly accomplished. The Shepherd's Calendar particularly is really, really brilliant work. I think I enjoyed that more as an undergraduate, actually, much as I love the Fairy Queen. And the third thing is that the Fairy Queen is a very, very great epic. I mean, it's a tremendous accomplishment. There were lots of other epics knocking around in the 16th century that nobody wants to read now or I mean, obviously specialists want to read, but if we could persuade a few more people, a few more ordinary readers to pick up the fairy queen, they would love it.James: Yes, and I was rereading before he came on air, the Bower of Bliss episode, which I think is from the second book, which is just a beautifully lush passage, passage of writing. It was really, I mean, you can see why Keats was so much influenced by it. The point about Spenser's breadth is an interesting one because Milton is in my top category below Shakespeare, but I think I'm placing him there pretty much only on the basis of Paradise Lost. I think if we didn't have Paradise Lost, Milton may not even be in this competition at all for me, very little. I know. I don't know if this is a heresy, I've got much less time for Milton's minor works. There's Samuel Johnson pretty much summed up my feelings on Lycidas when he said there was nothing new. Whatever images it can supply are long ago, exhausted, and I do feel there's a certain sort of dryness to Milton's minor stuff. I mean, I can find things like Il Penseroso and L'Allegro pretty enough, but I mean, I think really the central achievement is Paradise Lost, whereas Spenser might be in contention, as you say, from if you didn't have the Fairy Queen, you've got Shepherd's Calendar, and all this other sort of other stuff, but Paradise Lost is just so massive for me.Henry: But if someone just tomorrow came out and said, oh, we found a whole book of minor poetry by Virgil and it's all pretty average, you wouldn't say, oh, well Virgil's less of a great poet.James: No, absolutely, and that's why I've stuck Milton right at the top. It's just sort of interesting how unbelievably good Paradise Lost is and how, in my opinion, how much less inspiring the stuff that comes after it is Samson Agonistes and Paradise Regained I really much pleasure out of at all and how, I mean the early I think slightly dry Milton is unbelievably accomplished, but Samuel Johnson seems to say in that quote is a very accomplished use of ancient slightly worn out tropes, and he's of putting together these old ideas in a brilliant manner and he has this sort of, I mean I guess he's one of your late bloomers. I can't quite remember how old he is when he publishes Paradise Lost.Henry: Oh, he is. Oh, writing it in his fifties. Yeah.James: Yeah, this just extraordinary thing that's totally unlike anything else in English literature and of all the poems that we're going to talk about, I think is the one that has probably given me most pleasure in my life and the one that I probably return to most often if not to read all the way through then to just go over my favourite bits and pieces of it.Henry: A lot of people will think Milton is heavy and full of weird references to the ancient world and learned and biblical and not very readable for want of a better word. Can you talk us out of that? To be one of the great poets, they do have to have some readability, right?James: Yeah, I think so, and it's certainly how I felt. I mean I think it's not a trivial objection to have to Milton. It's certainly how I found him. He was my special author paper at university and I totally didn't get on with him. There was something about his massive brilliance that I felt. I remember feeling like trying to write about Paradise Lost was trying to kind of scratch a huge block of marble with your nails. There's no way to get a handle on it. I just couldn't work out what to get ahold of, and it's only I think later in adulthood maybe reading him under a little less pressure that I've come to really love him. I mean, the thing I would always say to people to look out for in Milton, but it's his most immediate pleasure and the thing that still is what sends shivers done my spine about him is the kind of cosmic scale of Paradise Lost, and it's almost got this sort of sci-fi massiveness to it. One of my very favourite passages, which I may inflict on you, we did agree that we could inflict poetry on one another.Henry: Please, pleaseJames: It's a detail from the first book of Paradise Lost. Milton's talking about Satan's architect in hell Mulciber, and this is a little explanation of who or part of his explanation of who Mulciber is, and he says, Nor was his name unheard or unadoredIn ancient Greece; and in Ausonian landMen called him Mulciber; and how he fellFrom Heaven they fabled, thrown by angry JoveSheer o'er the crystal battlements: from mornTo noon he fell, from noon to dewy eve,A summer's day, and with the setting sunDropt from the zenith, like a falling star,On Lemnos, th' Aegaean isle. Thus they relate,ErringI just think it's the sort of total massiveness of that universe that “from the zenith to like a falling star”. I just can't think of any other poet in English or that I've ever read in any language, frankly, even in translation, who has that sort of scale about it, and I think that's what can most give immediate pleasure. The other thing I love about that passage is this is part of the kind of grandeur of Milton is that you get this extraordinary passage about an angel falling from heaven down to th' Aegean Isle who's then going to go to hell and the little parenthetic remark at the end, the perm just rolls on, thus they relate erring and paradise lost is such this massive grand thing that it can contain this enormous cosmic tragedy as a kind of little parenthetical thing. I also think the crystal battlements are lovely, so wonderful kind of sci-fi detail.Henry: Yes, I think that's right, and I think it's under appreciated that Milton was a hugely important influence on Charles Darwin who was a bit like you always rereading it when he was young, especially on the beagle voyage. He took it with him and quotes it in his letters sometimes, and it is not insignificant the way that paradise loss affects him in terms of when he writes his own epic thinking at this level, thinking at this scale, thinking at the level of the whole universe, how does the whole thing fit together? What's the order behind the little movements of everything? So Milton's reach I think is actually quite far into the culture even beyond the poets.James: That's fascinating. Do you have a particular favourite bit of Paradise Lost?Henry: I do, but I don't have it with me because I disorganised and couldn't find my copy.James: That's fair.Henry: What I want to do is to read one of the sonnets because I do think he's a very, very good sonnet writer, even if I'm going to let the Lycidas thing go, because I'm not going to publicly argue against Samuel Johnson.When I consider how my light is spent,Ere half my days, in this dark world and wide,And that one Talent which is death to hideLodged with me useless, though my Soul more bentTo serve therewith my Maker, and presentMy true account, lest he returning chide;“Doth God exact day-labour, light denied?”I fondly ask. But patience, to preventThat murmur, soon replies, “God doth not needEither man's work or his own gifts; who bestBear his mild yoke, they serve him best. His stateIs Kingly. Thousands at his bidding speedAnd post o'er Land and Ocean without rest:They also serve who only stand and wait.”I think that's great.James: Yeah. Okay. It is good.Henry: Yeah. I think the minor poems are very uneven, but there are lots of gems.James: Yeah, I mean he is a genius. It would be very weird if all the minor poems were s**t, which is not really what I'm trying… I guess I have a sort of slightly austere category too. I just do Chaucer, Milton, Wordsworth, but we are agreed on Wordsworth, aren't we? That he belongs here.Henry: So my feeling is that the story of English poetry is something like Chaucer Spenser, Shakespeare, Milton, Wordsworth, T.S. Eliot create a kind of spine. These are the great innovators. They're writing the major works, they're the most influential. All the cliches are true. Chaucer invented iambic pentameter. Shakespeare didn't single handedly invent modern English, but he did more than all the rest of them put together. Milton is the English Homer. Wordsworth is the English Homer, but of the speech of the ordinary man. All these old things, these are all true and these are all colossal achievements and I don't really feel that we should be picking between them. I think Spenser wrote an epic that stands alongside the works of Shakespeare and Milton in words with T.S. Eliot whose poetry, frankly I do not love in the way that I love some of the other great English writers cannot be denied his position as one of the great inventors.James: Yeah, I completely agree. It's funny, I think, I mean I really do love T.S. Eliot. Someone else had spent a lot of time rereading. I'm not quite sure why he hasn't gone into quite my top category, but I think I had this—Henry: Is it because he didn't like Milton and you're not having it?James: Maybe that's part of it. I think my thought something went more along the lines of if I cut, I don't quite feel like I'm going to put John Donne in the same league as Milton, but then it seems weird to put Eliot above Donne and then I don't know that, I mean there's not a very particularly fleshed out thought, but on Wordsworth, why is Wordsworth there for you? What do you think, what do you think are the perms that make the argument for Wordsworth having his place at the very top?Henry: Well, I think the Lyrical Ballads, Poems in Two Volumes and the Prelude are all of it, aren't they? I'm not a lover of the rest, and I think the preface to the Lyrical Ballads is one of the great works of literary criticism, which is another coin in his jar if you like, but in a funny way, he's much more revolutionary than T.S. Eliot. We think of modernism as the great revolution and the great sort of bringing of all the newness, but modernism relies on Wordsworth so much, relies on the idea that tradition can be subsumed into ordinary voice, ordinary speech, the passage in the Wasteland where he has all of them talking in the bar. Closing time please, closing time please. You can't have that without Wordsworth and—James: I think I completely agree with what you're saying.Henry: Yeah, so I think that's for me is the basis of it that he might be the great innovator of English poetry.James: Yeah, I think you're right because I've got, I mean again, waiting someone out of my depth here, but I can't think of anybody else who had sort of specifically and perhaps even ideologically set out to write a kind of high poetry that sounded like ordinary speech, I guess. I mean, Wordsworth again is somebody who I didn't particularly like at university and I think it's precisely about plainness that can make him initially off-putting. There's a Matthew Arnold quote where he says of Wordsworth something like He has no style. Henry: Such a Matthew Arnold thing to say.James: I mean think it's the beginning of an appreciation, but there's a real blankness to words with I think again can almost mislead you into thinking there's nothing there when you first encounter him. But yeah, I think for me, Tintern Abbey is maybe the best poem in the English language.Henry: Tintern Abbey is great. The Intimations of Immortality Ode is superb. Again, I don't have it with me, but the Poems in Two Volumes. There are so many wonderful things in there. I had a real, when I was an undergraduate, I had read some Wordsworth, but I hadn't really read a lot and I thought of I as you do as the daffodils poet, and so I read Lyrical Ballads and Poems in Two Volumes, and I had one of these electrical conversion moments like, oh, the daffodils, that is nothing. The worst possible thing for Wordsworth is that he's remembered as this daffodils poet. When you read the Intimations of Immortality, do you just think of all the things he could have been remembered for? It's diminishing.James: It's so easy to get into him wrong because the other slightly wrong way in is through, I mean maybe this is a prejudice that isn't widely shared, but the stuff that I've never particularly managed to really enjoy is all the slightly worthy stuff about beggars and deformed people and maimed soldiers. Wandering around on roads in the lake district has always been less appealing to me, and that was maybe why I didn't totally get on with 'em at first, and I mean, there's some bad words with poetry. I was looking up the infamous lines from the form that were mocked even at the time where you know the lines that go, You see a little muddy pond Of water never dry. I've measured it from side to side, 'Tis three feet long and two feet wide, and the sort of plainness condescend into banality at Wordsworth's worst moments, which come more frequently later in his career.Henry: Yes, yes. I'm going to read a little bit of the Intimations ode because I want to share some of this so-called plainness at its best. This is the third section. They're all very short Now, while the birds thus sing a joyous song,And while the young lambs boundAs to the tabor's sound,To me alone there came a thought of grief:A timely utterance gave that thought relief,And I again am strong:The cataracts blow their trumpets from the steep;No more shall grief of mine the season wrong;I hear the Echoes through the mountains throng,The Winds come to me from the fields of sleep,And all the earth is gay;Land and seaGive themselves up to jollity,And with the heart of MayDoth every Beast keep holiday;—Thou Child of Joy,Shout round me, let me hear thy shouts, thou happy Shepherd-boy.And I think it's unthinkable that someone would write like this today. It would be cringe, but we're going to have a new sincerity. It's coming. It's in some ways it's already here and I think Wordsworth will maybe get a different sort of attention when that happens because that's a really high level of writing to be able to do that without it descending into what you just read. In the late Wordsworth there's a lot of that really bad stuff.James: Yeah, I mean the fact that he wrote some of that bad stuff I guess is a sign of quite how carefully the early stuff is treading that knife edge of tripping into banality. Can I read you my favourite bit of Tintern Abbey?Henry: Oh yes. That is one of the great poems.James: Yeah, I just think one of mean I, the most profound poem ever, probably for me. So this is him looking out over the landscape of Tinton Abbey. I mean these are unbelievably famous lines, so I'm sure everybody listening will know them, but they are so good And I have feltA presence that disturbs me with the joyOf elevated thoughts; a sense sublimeOf something far more deeply interfused,Whose dwelling is the light of setting suns,And the round ocean and the living air,And the blue sky, and in the mind of man:A motion and a spirit, that impelsAll thinking things, all objects of all thought,And rolls through all things. Therefore am I stillA lover of the meadows and the woodsAnd mountains; and of all that we beholdFrom this green earth; of all the mighty worldOf eye, and ear,—both what they half create,And what perceive; well pleased to recogniseIn nature and the language of the senseThe anchor of my purest thoughts, the nurse,The guide, the guardian of my heart, and soulOf all my moral being.I mean in a poem, it's just that is mind blowingly good to me?Henry: Yeah. I'm going to look up another section from the Prelude, which used to be in the Oxford Book, but it isn't in the Ricks edition and I don't really know whyJames: He doesn't have much of the Prelude does he?Henry: I don't think he has any…James: Yeah.Henry: So this is from an early section when the young Wordsworth is a young boy and he's going off, I think he's sneaking out at night to row on the lake as you do when you with Wordsworth, and the initial description is of a mountain. She was an elfin pinnace; lustilyI dipped my oars into the silent lake,And, as I rose upon the stroke, my boatWent heaving through the water like a swan;When, from behind that craggy steep till thenThe horizon's bound, a huge peak, black and huge,As if with voluntary power instinct,Upreared its head. I struck and struck again,And growing still in stature the grim shapeTowered up between me and the stars, and still,For so it seemed, with purpose of its ownAnd measured motion like a living thing,Strode after me. With trembling oars I turned,And through the silent water stole my wayBack to the covert of the willow tree;It's so much like that in Wordsworth. It's just,James: Yeah, I mean, yeah, the Prelude is full of things like that. I think that is probably one of the best moments, possibly the best moments of the prelude. But yeah, I mean it's just total genius isn't it?Henry: I think he's very, very important and yeah, much more important than T.S. Eliot who is, I put him in the same category, but I can see why you didn't.James: You do have a little note saying Pope, question mark or something I think, don't you, in the document.Henry: So the six I gave as the spine of English literature and everything, that's an uncontroversial view. I think Pope should be one of those people. I think we should see Pope as being on a level with Milton and Wordsworth, and I think he's got a very mixed reputation, but I think he was just as inventive, just as important. I think you are a Pope fan, just as clever, just as moving, and it baffles me that he's not more commonly regarded as part of this great spine running through the history of English literature and between Milton and Wordsworth. If you don't have Pope, I think it's a missing link if you like.James: I mean, I wouldn't maybe go as far as you, I love Pope. Pope was really the first perch I ever loved. I remember finding a little volume of Pope in a box of books. My school library was chucking out, and that was the first book of poetry I read and took seriously. I guess he sort of suffers by the fact that we are seeing all of this through the lens of the romantics. All our taste about Shakespeare and Milton and Spenser has been formed by the romantics and hope's way of writing the Satires. This sort of society poetry I think is just totally doesn't conform to our idea of what poetry should be doing or what poetry is. Is there absolutely or virtually nobody reads Dryden nowadays. It's just not what we think poetry is for that whole Augustine 18th century idea that poetry is for writing epistles to people to explain philosophical concepts to them or to diss your enemies and rivals or to write a kind of Duncia explaining why everyone you know is a moron. That's just really, I guess Byron is the last major, is the only of figure who is in that tradition who would be a popular figure nowadays with things like English bards and scotch reviewers. But that whole idea of poetry I think was really alien to us. And I mean I'm probably formed by that prejudice because I really do love Pope, but I don't love him as much as the other people we've discussed.Henry: I think part of his problem is that he's clever and rational and we want our poems always to be about moods, which may be, I think why George Herbert, who we've both got reasonably high is also quite underrated. He's very clever. He's always think George Herbert's always thinking, and when someone like Shakespeare or Milton is thinking, they do it in such a way that you might not notice and that you might just carry on with the story. And if you do see that they're thinking you can enjoy that as well. Whereas Pope is just explicitly always thinking and maybe lecturing, hectoring, being very grand with you and as you say, calling you an idiot. But there are so many excellent bits of Pope and I just think technically he can sustain a thought or an argument over half a dozen or a dozen lines and keep the rhyme scheme moving and it's never forced, and he never has to do that thing where he puts the words in a stupid order just to make the rhyme work. He's got such an elegance and a balance of composition, which again, as you say, we live under romantic ideals, not classical ones. But that doesn't mean we should be blind to the level of his accomplishment, which is really, really very high. I mean, Samuel Johnson basically thought that Alexander Pope had finished English poetry. We have the end of history. He had the end of English poetry. Pope, he's brought us to the mightiest of the heroic couplers and he's done it. It's all over.James: The other thing about Pope that I think makes us underrate him is that he's very charming. And I think charm is a quality we're not big on is that sort of, but I think some of Pope's charm is so moving. One of my favourite poems of his is, do you know the Epistle to Miss Blount on going into the country? The poem to the young girl who's been having a fashionable season in London then is sent to the boring countryside to stay with an aunt. And it's this, it's not like a romantic love poem, it's not distraught or hectic. It's just a sort of wonderful act of sympathy with this potentially slightly airheaded young girl who's been sent to the countryside, which you'd rather go to operas and plays and flirt with people. And there's a real sort of delicate in it that isn't overblown and isn't dramatic, but is extremely charming. And I think that's again, another quality that perhaps we're prone not to totally appreciate in the 21st century. It's almost the kind of highest form of politeness and sympathyHenry: And the prevailing quality in Pope is wit: “True wit is nature to advantage dressed/ What often was thought, but ne'er so well expressed”. And I think wit can be quite alienating for an audience because it is a kind of superior form of literary art. This is why people don't read as much Swift as he deserves because he's so witty and so scornful that a lot of people will read him and think, well, I don't like you.James: And that point about what oft was thought and ne'er so well expressed again, is a very classical idea. The poet who puts not quite conventional wisdom, but something that's been thought before in the best possible words, really suffers with the romantic idea of originality. The poet has to say something utterly new. Whereas for Pope, the sort of ideas that he express, some of the philosophical ideas are not as profound in original perhaps as words with, but he's very elegant proponent of them.Henry: And we love b******g people in our culture, and I feel like the Dunciad should be more popular because it is just, I can't remember who said this, but someone said it's probably the most under appreciated great poem in English, and that's got to be true. It's full of absolute zingers. There's one moment where he's described the whole crowd of them or all these poets who he considers to be deeply inferior, and it turns out he was right because no one reads them anymore. And you need footnotes to know who they are. I mean, no one cares. And he says, “equal your merits, equal is your din”. This kind of abuse is a really high art, and we ought to love that. We love that on Twitter. And I think things like the Rape of the Lock also could be more popular.James: I love the Rape of the Lock . I mean, I think anybody is not reading Pope and is looking for a way in, I think the Rape of the Lock is the way in, isn't it? Because it's just such a charming, lovely, funny poem.Henry: It is. And probably it suffers because the whole idea of mock heroic now is lost to us. But it's a bit like it's the literary equivalent of people writing a sort of mini epic about someone like Elon Musk or some other very prominent figure in the culture and using lots of heroic imagery from the great epics of Homer and Virgil and from the Bible and all these things, but putting them into a very diminished state. So instead of being grand, it becomes comic. It's like turning a God into a cartoon. And Pope is easily the best writer that we have for that kind of thing. Dryden, but he's the genius on it.James: Yeah, no, he totally is. I guess it's another reason he's under appreciated is that our culture is just much less worshipful of epic than the 18th century culture was. The 18th century was obsessed with trying to write epics and trying to imitate epics. I mean, I think to a lot of Pope's contemporaries, the achievement they might've been expecting people to talk about in 300 years time would be his translations of the Iliad and the Odyssey and the other stuff might've seen more minor in comparison, whereas it's the mock epic that we're remembering him for, which again is perhaps another symptom of our sort of post romantic perspective.Henry: I think this is why Spenser suffers as well, because everything in Spenser is magical. The knights are fairies, not the little fairies that live in buttercups, but big human sized fairies or even bigger than that. And there are magical women and saucers and the whole thing is a sort of hodgepodge of romance and fairy tale and legend and all this stuff. And it's often said, oh, he was old fashioned in his own time. But those things still had a lot of currency in the 16th century. And a lot of those things are in Shakespeare, for example.But to us, that's like a fantasy novel. Now, I love fantasy and I read fantasy, and I think some of it's a very high accomplishment, but to a lot of people, fantasy just means kind of trash. Why am I going to read something with fairies and a wizard? And I think a lot of people just see Spenser and they're like, what is this? This is so weird. They don't realise how Protestant they're being, but they're like, this is so weird.James: And Pope has a little, I mean, the Rape of the Lock even has a little of the same because the rape of the lock has this attendant army of good spirits called selfs and evil spirits called gnomes. I mean, I find that just totally funny and charming. I really love it.Henry: I'm going to read, there's an extract from the Rape of the Lock in the Oxford Book, and I'm going to read a few lines to give people an idea of how he can be at once mocking something but also quite charming about it. It's quite a difficult line to draw. The Rape of the Lock is all about a scandalous incident where a young man took a lock of a lady's hair. Rape doesn't mean what we think it means. It means an offence. And so because he stole a lock of her hair, it'd become obviously this huge problem and everyone's in a flurry. And to sort of calm everyone down, Pope took it so seriously that he made it into a tremendous joke. So here he is describing the sort of dressing table if you like.And now, unveil'd, the Toilet stands display'd,Each silver Vase in mystic order laid.First, rob'd in white, the Nymph intent adores,With head uncover'd, the Cosmetic pow'rs.A heav'nly image in the glass appears,To that she bends, to that her eyes she rears;Th' inferior Priestess, at her altar's side,Trembling begins the sacred rites of Pride.What a way to describe someone putting on their makeup. It's fantastic.James: It's funny. I can continue that because the little passage of Pope I picked to read begins exactly where yours ended. It only gets better as it goes on, I think. So after trembling begins the sacred rites of pride, Unnumber'd treasures ope at once, and hereThe various off'rings of the world appear;From each she nicely culls with curious toil,And decks the Goddess with the glitt'ring spoil.This casket India's glowing gems unlocks,And all Arabia breathes from yonder box.The Tortoise here and Elephant unite,Transformed to combs, the speckled, and the white.Here files of pins extend their shining rows,Puffs, Powders, Patches, Bibles, Billet-doux.It's just so lovely. I love a thing about the tortoise and the elephant unite because you've got a tortoise shell and an ivory comb. And the stuff about India's glowing gems and Arabia breathing from yonder box, I mean that's a, realistic is not quite the word, but that's a reference to Milton because Milton is continually having all the stones of Arabia and India's pearls and things all screwed through paradise lost. Yeah, it's just so lovely, isn't it?Henry: And for someone who's so classical and composed and elegant, there's something very Dickensian about things like the toilet, the tortoise and the elephant here unite, transform to combs. There's something a little bit surreal and the puffs, powders, patches, bibles, it has that sort of slightly hectic, frantic,James: That's sort of Victorian materialism, wealth of material objects,Henry: But also that famous thing that was said of Dickens, that the people are furniture and the furniture's like people. He can bring to life all the little bits and bobs of the ordinary day and turn it into something not quite ridiculous, not quite charming.James: And there is a kind of charm in the fact that it wasn't the sort of thing that poets would necessarily expect to pay attention to the 18th century. I don't think the sort of powders and ointments on a woman's dressing table. And there's something very sort of charming in his condescension to notice or what might've once seemed his condescension to notice those things, to find a new thing to take seriously, which is what poetry or not quite to take seriously, but to pay attention to, which I guess is one of the things that great perch should always be doing.Henry: When Swift, who was Pope's great friend, wrote about this, he wrote a poem called A Beautiful Young Lady Going to Bed, which is not as good, and I would love to claim Swift on our list, but I really can't.James: It's quite a horrible perm as well, that one, isn't it?Henry: It is. But it shows you how other people would treat the idea of the woman in front of her toilet, her mirror. And Swift uses an opportunity, as he said, to “lash the vice” because he hated all this adornment and what he would think of as the fakery of a woman painting herself. And so he talks about Corina pride of Drury Lane, which is obviously an ironic reference to her being a Lady of the Night, coming back and there's no drunken rake with her. Returning at the midnight hour;Four stories climbing to her bow'r;Then, seated on a three-legged chair,Takes off her artificial hair:Now, picking out a crystal eye,She wipes it clean, and lays it by.Her eye-brows from a mouse's hide,Stuck on with art on either side,Pulls off with care, and first displays 'em,Then in a play-book smoothly lays 'em.Now dexterously her plumpers draws,That serve to fill her hollow jaws.And it goes on like this. I mean, line after this is sort of raw doll quality to it, Pope, I think in contrast, it only illuminates him more to see where others are taking this kind of crude, very, very funny and witty, but very crude approach. He's able to really have the classical art of balance.James: Yes. And it's precisely his charm that he can mock it and sympathise and love it at the same time, which I think is just a more sort of complex suite of poetic emotions to have about that thing.Henry: So we want more people to read Pope and to love Pope.James: Yes. Even if I'm not letting him into my top.Henry: You are locking him out of the garden. Now, for the second tier, I want to argue for two anonymous poets. One of the things we did when we were talking about this was we asked chatGPT to see if it could give us a good answer. And if you use o1 or o1 Pro, it gives you a pretty good answer as to who the best poets in English are. But it has to be told that it's forgotten about the anonymous poets. And then it says, oh, that was stupid. There are quite a lot of good anonymous poets in English, but I suspect a lot of us, a lot of non artificial intelligence when thinking about this question overlook the anonymous poets. But I would think the Gawain poet and the Tom O' Bedlam poet deserve to be in here. I don't know what you think about that.James: I'm not competent to provide an opinion. I'm purely here to be educated on the subject of these anonymous poets. Henry: The Gawain poet, he's a mediaeval, assume it's a he, a mediaeval writer, obviously may well not be a man, a mediaeval writer. And he wrote Sir Gawain and The Green Knight, which is, if you haven't read it, you should really read it in translation first, I think because it's written at the same time as Chaucer. But Chaucer was written in a kind of London dialect, which is what became the English we speak. And so you can read quite a lot of Chaucer and the words look pretty similar and sometimes you need the footnotes, but when you read Gawain and The Green Knight, it's in a Northwestern dialect, which very much did not become modern day English. And so it's a bit more baffling, but it is a poem of tremendous imaginative power and weirdness. It's a very compelling story. We have a children's version here written by Selena Hastings who's a very accomplished biographer. And every now and then my son remembers it and he just reads it again and again and again. It's one of the best tales of King Arthur in his knights. And there's a wonderful book by John Burrow. It's a very short book, but that is such a loving piece of criticism that explicates the way in which that poem promotes virtue and all the nightly goodness that you would expect, but also is a very strange and unreal piece of work. And I think it has all the qualities of great poetry, but because it's written in this weird dialect, I remember as an undergraduate thinking, why is this so bloody difficult to read? But it is just marvellous. And I see people on Twitter, the few people who've read it, they read it again and they just say, God, it's so good. And I think there was a film of it a couple of years ago, but we will gloss lightly over that and not encourage you to do the film instead of the book.James: Yeah, you're now triggering a memory that I was at least set to read and perhaps did at least read part of Gawain and the Green Knight at University, but has not stuck to any brain cells at all.Henry: Well, you must try it again and tell me what you think. I mean, I find it easily to be one of the best poems in English.James: Yeah, no, I should. I had a little Chaucer kick recently actually, so maybe I'm prepared to rediscover mediaeval per after years of neglect since my degree,Henry: And it's quite short, which I always think is worth knowing. And then the Tom Bedlam is an anonymous poem from I think the 17th century, and it's one of the mad songs, so it's a bit like the Fool from King Lear. And again, it is a very mysterious, very strange and weird piece of work. Try and find it in and read the first few lines. And I think because it's anonymous, it's got slightly less of a reputation because it can't get picked up with some big name, but it is full of tremendous power. And again, I think it would be sad if it wasn't more well known.From the hag and hungry goblinThat into rags would rend ye,The spirit that stands by the naked manIn the Book of Moons defend ye,That of your five sound sensesYou never be forsaken,Nor wander from your selves with TomAbroad to beg your bacon,While I do sing, Any food, any feeding,Feeding, drink, or clothing;Come dame or maid, be not afraid,Poor Tom will injure nothing.Anyway, so you get the sense of it and it's got many stanzas and it's full of this kind of energy and it's again, very accomplished. It can carry the thought across these long lines and these long stanzas.James: When was it written? I'm aware of only if there's a name in the back of my mind.Henry: Oh, it's from the 17th century. So it's not from such a different time as King Lear, but it's written in the voice of a madman. And again, you think of that as the sort of thing a romantic poet would do. And it's strange to find it almost strange to find it displaced. There were these other mad songs. But I think because it's anonymous, it gets less well known, it gets less attention. It's not part of a bigger body of work, but it's absolutely, I think it's wonderful.James: I shall read it.Henry: So who have you got? Who else? Who are you putting in instead of these two?James: Hang on. So we're down to tier two now.Henry: Tier two.James: Yeah. So my tier two is: Donne, Elliot, Keats, Tennyson. I've put Spenser in tier two, Marvell and Pope, who we've already discussed. I mean, I think Eliot, we've talked about, I mean Donne just speaks for himself and there's probably a case that some people would make to bump him up a tier. Henry: Anybody can read that case in Katherine Rudell's book. We don't need to…James: Yes, exactly. If anybody's punching perhaps in tier two, it's Tennyson who I wasn't totally sure belonged there. Putting Tenon in the same tier as Donne and Spenser and Keets. I wonder if that's a little ambitious. I think that might raise eyebrows because there is a school of thought, which I'm not totally unsympathetic to this. What's the Auden quote about Tennyson? I really like it. I expressed very harshly, but I sort of get what he means. Auden said that Tennyson “had the finest ear perhaps of any English poet who was also undoubtedly the stupidest. There was little that he didn't know. There was little else that he did.” Which is far too harsh. But I mentioned to you earlier that I think was earlier this year, a friend and I had a project where we were going to memorise a perva week was a plan. We ended up basically getting, I think three quarters of the way through.And if there's a criticism of Tennyson that you could make, it's that the word music and the sheer lushness of phrases sometimes becomes its own momentum. And you can end up with these extremely lovely but sometimes slightly empty beautiful phrases, which is what I ended up feeling about Tithonus. And I sort of slightly felt I was memorising this unbelievably beautiful but ever so slightly hollow thing. And that was slightly why the project fell apart, I should say. Of course, they absolutely love Tennyson. He's one of my all time favourite poets, which is why my personal favouritism has bumped him up into that category. But I can see there's a case, and I think to a lot of people, he's just the kind of Victorian establishment gloom man, which is totally unfair, but there's not no case against Tennyson.Henry: Yeah, the common thing is that he has no ideas. I don't know if that's true or not. I'm also, I'm not sure how desperately important it is. It should be possible to be a great poet without ideas being at the centre of your work. If you accept the idea that the essence of poetry is invention, i.e. to say old things in a fantastically new way, then I think he qualifies very well as a great poet.James: Yes..Henry: Well, very well. I think Auden said what he said because he was anxious that it was true of himself.James: Yeah, I mean there's a strong argument that Auden had far too many ideas and the sorts of mad schemes and fantastical theories about history that Auden spent his spare time chasing after is certainly a kind of argument that poets maybe shouldn't have as many ideas, although it's just reading. Seamus Perry's got a very good little book on Tennyson, and the opening chapter is all about arguments about people who have tended to dislike Tennyson. And there are all kinds of embarrassing anecdotes about the elderly Tennyson trying to sort of go around dinner parties saying profound and sage-like things and totally putting his foot in it and saying things are completely banal. I should have made a note that this was sort of slightly, again, intensifying my alarm about is there occasionally a tinsely hollowness about Tennyson. I'm now being way too harsh about one of my favourite poets—Henry: I think it depends what you mean by ideas. He is more than just a poet of moods. He gives great expression, deep and strongly felt expression to a whole way of being and a whole way of conceiving of things. And it really was a huge part of why people became interested in the middle ages in the 19th century. I think there's Walter Scott and there's Tennyson who are really leading that work, and that became a dominant cultural force and it became something that meant a lot to people. And whether or not, I don't know whether it's the sort of idea that we're talking about, but I think that sort of thing, I think that qualifies as having ideas and think again, I think he's one of the best writers about the Arthurian legend. Now that work doesn't get into the Oxford Book of English Verse, maybe that's fair. But I think it was very important and I love it. I love it. And I find Tennyson easy to memorise, which is another point in his favour.James: Yeah.Henry: I'm going to read a little bit of Ulysses, which everyone knows the last five or six lines of that poem because it gets put into James Bond films and other such things. I'm going to read it from a little bit from earlier on. I am become a name;For always roaming with a hungry heartMuch have I seen and known; cities of menAnd manners, climates, councils, governments,Myself not least, but honour'd of them all;And drunk delight of battle with my peers,Far on the ringing plains of windy Troy.I am a part of all that I have met;Yet all experience is an arch wherethro'Gleams that untravell'd world, whose margin fadesFor ever and for ever when I move.I think that's amazing. And he can do that. He can do lots and lots and lots of that.James: Yeah, he really can. It's stunning. “Far on the ringing planes of windy Troy” is such an unbelievably evocative phrase.Henry: And that's what I mean. He's got this ability to bring back a sort of a whole mood of history. It's not just personal mood poetry. He can take you into these places and that is in the space of a line. In the space of a line. I think Matthew Arnold said of the last bit of what I just read is that he had this ability in Ulysses to make the lines seem very long and slow and to give them this kind of epic quality that far goes far beyond the actual length of that poem. Ulysses feels like this huge poem that's capturing so much of Homer and it's a few dozen lines.James: Yeah, no, I completely agree. Can I read a little bit of slightly more domestic Tennyson, from In Memoriam, I think his best poem and one of my all time favourite poems and it's got, there are many sort of famous lines on grief and things, but there's little sort of passage of natural description I think quite near the beginning that I've always really loved and I've always just thought was a stunning piece of poetry in terms of its sound and the way that the sound has patented and an unbelievably attentive description natural world, which is kind of the reason that even though I think Keats is a better poet, I do prefer reading Tennyson to Keats, so this is from the beginning of In Memoriam. Calm is the morn without a sound,Calm as to suit a calmer grief,And only thro' the faded leafThe chesnut pattering to the ground:Calm and deep peace on this high wold,And on these dews that drench the furze,And all the silvery gossamersThat twinkle into green and gold:Calm and still light on yon great plainThat sweeps with all its autumn bowers,And crowded farms and lessening towers,To mingle with the bounding main:And I just think that's an amazing piece of writing that takes you from that very close up image that it begins with of the “chestnut patterning to the ground” through the faded leaves of the tree, which is again, a really attentive little bit of natural description. I think anyone can picture the way that a chestnut might fall through the leaves of a chestnut tree, and it's just an amazing thing to notice. And I think the chestnut pattern to the ground does all the kind of wonderful, slightly onomatopoeic, Tennyson stuff so well, but by the end, you're kind of looking out over the English countryside, you've seen dew on the firs, and then you're just looking out across the plane to the sea, and it's this sort of, I just think it's one of those bits of poetry that anybody who stood in a slightly wet and romantic day in the English countryside knows exactly the feeling that he's evoking. And I mean there's no bit of—all of In Memoriam is pretty much that good. That's not a particularly celebrated passage I don't think. It's just wonderful everywhere.Henry: Yes. In Memoriam a bit like the Dunciad—under appreciated relative to its huge merits.James: Yeah, I think it sounds, I mean guess by the end of his life, Tennyson had that reputation as the establishment sage of Victorian England, queen of Victoria's favourite poet, which is a pretty off-putting reputation for to have. And I think In Memoriam is supposed to be this slightly cobwebby, musty masterpiece of Victorian grief. But there was just so much, I mean, gorgeous, beautiful sensuous poetry in it.Henry: Yeah, lots of very intense feelings. No, I agree. I have Tennyson my third tier because I had to have the Gawain poet, but I agree that he's very, very great.James: Yeah, I think the case for third tier is I'm very open to that case for the reasons that I said.Henry: Keats, we both have Keats much higher than Shelly. I think Byron's not on anyone's list because who cares about Byron. Overrated, badly behaved. Terrible jokes. Terrible jokes.James: I think people often think Byron's a better pert without having read an awful lot of the poetry of Byron. But I think anybody who's tried to wade through long swathes of Don Juan or—Henry: My God,James: Childe Harold, has amazing, amazing, beautiful moments. But yeah, there's an awful lot of stuff that you don't enjoy. I think.Henry: So to make the case for Keats, I want to talk about The Eve of St. Agnes, which I don't know about you, but I love The Eve of St. Agnes. I go back to it all the time. I find it absolutely electric.James: I'm going to say that Keats is a poet, which is kind of weird for somebody is sent to us and obviously beautiful as Keats. I sort of feel like I admire more than I love. I get why he's brilliant. It's very hard not to see why he's brilliant, but he's someone I would very rarely sit down and read for fun and somebody got an awful lot of feeling or excitement out of, but that's clearly a me problem, not a Keats problem.Henry: When I was a teenager, I knew so much Keats by heart. I knew the whole of the Ode to a Nightingale. I mean, I was absolutely steeped in it morning, noon and night. I couldn't get over it. And now I don't know if I could get back to that point. He was a very young poet and he writes in a very young way. But I'm going to read—The Eve of St. Agnes is great. It's a narrative poem, which I think is a good way to get into this stuff because the story is fantastic. And he had read Spenser, he was part of this kind of the beginning of this mediaeval revival. And he's very interested in going back to those old images, those old stories. And this is the bit, I think everything we're reading is from the Oxford Book of English Verse, so that if people at home want to read along they can.This is when the heroine of the poem is Madeline is making her escape basically. And I think this is very, very exciting. Her falt'ring hand upon the balustrade,Old Angela was feeling for the stair,When Madeline, St. Agnes' charmed maid,Rose, like a mission'd spirit, unaware:With silver taper's light, and pious care,She turn'd, and down the aged gossip ledTo a safe level matting. Now prepare,Young Porphyro, for gazing on that bed;She comes, she comes again, like ring-dove fray'd and fled.Out went the taper as she hurried in;Its little smoke, in pallid moonshine, died:She clos'd the door, she panted, all akinTo spirits of the air, and visions wide:No uttered syllable, or, woe betide!But to her heart, her heart was voluble,Paining with eloquence her balmy side;As though a tongueless nightingale should swellHer throat in vain, and die, heart-stifled, in her dell.A casement high and triple-arch'd there was,All garlanded with carven imag'riesOf fruits, and flowers, and bunches of knot-grass,And diamonded with panes of quaint device,Innumerable of stains and splendid dyes,As are the tiger-moth's deep-damask'd wings;And in the midst, 'mong thousand heraldries,And twilight saints, and dim emblazonings,A shielded scutcheon blush'd with blood of queens and kings.I mean, so much atmosphere, so much tension, so many wonderful images just coming one after the other. The rapidity of it, the tumbling nature of it. And people often quote the Ode to autumn, which has a lot of that.James: I have to say, I found that totally enchanting. And perhaps my problem is that I need you to read it all to me. You can make an audio book that I can listen to.Henry: I honestly, I actually might read the whole of the E and put it out as audio on Substack becauseJames: I would actually listen to that.Henry: I love it so much. And I feel like it gets, when we talk about Keats, we talk about, On First Looking into Chapman's Homer and Bright Star and La Belle Dame Sans Merci, and these are great, great poems and they're poems that we do at school Ode to a Nightingale because I think The Great Gatsby has a big debt to Ode to a Nightingale, doesn't it? And obviously everyone quotes the Ode to Autumn. I mean, as far as I can tell, the 1st of October every year is the whole world sharing the first stands of the Ode to Autumn.James: Yeah. He may be one of the people who suffers from over familiarity perhaps. And I think also because it sounds so much what poetry is supposed to sound like, because so much of our idea of poetry derives from Keats. Maybe that's something I've slightly need to get past a little bit.Henry: But if you can get into the complete works, there are many, the bit I just read is I think quite representative.James: I loved it. I thought it was completely beautiful and I would never have thought to ever, I probably can't have read that poem for years. I wouldn't have thought to read it. Since university, I don't thinkHenry: He's one of those people. All of my copies of him are sort of frayed and the spines are breaking, but the book is wearing out. I should just commit it to memory and be done. But somehow I love going back to it. So Keats is very high in my estimation, and we've both put him higher than Shelly and Coleridge.James: Yeah.Henry: Tell me why. Because those would typically, I think, be considered the superior poets.James: Do you think Shelly? I think Keats would be considered the superior poetHenry: To Shelly?James: Certainly, yes. I think to Shelly and Coleridge, that's where current fashion would place them. I mean, I have to say Coleridge is one of my all time favourite poets. In terms of people who had just every so often think, I'd love to read a poem, I'd love to read Frost at Midnight. I'd love to read the Aeolian Harp. I'd love to read This Lime Tree Bower, My Prison. I'd love to read Kubla Khan. Outside Milton, Coleridge is probably the person that I read most, but I think, I guess there's a case that Coleridge's output is pretty slight. What his reputation rest on is The Rime of the Ancient Mariner, Kubla Khan, the conversation poems, which a lot of people think are kind of plagiarised Wordsworth, at least in their style and tone, and then maybe not much else. Does anybody particularly read Cristabel and get much out of it nowadays? Dejection an Ode people like: it's never done an awful lot for me, so I sort of, in my personal Pantheon Coleridge is at the top and he's such an immensely sympathetic personality as well and such a curious person. But I think he's a little slight, and there's probably nothing in Coleridge that can match that gorgeous passage of Keats that you read. I think.Henry: Yeah, that's probably true. He's got more ideas, I guess. I don't think it matters that he's slight. Robert Frost said something about his ambition had been to lodge five or six poems in the English language, and if he'd done that, he would've achieved greatness. And obviously Frost very much did do that and is probably the most quotable and well-known poet. But I think Coleridge easily meets those criteria with the poems you described. And if all we had was the Rime of the Ancient Mariner, I would think it to be like Tom O' Bedlam, like the Elegy in a Country Churchyard, one of those great, great, great poems that on its own terms, deserves to be on this list.James: Yeah, and I guess another point in his favour is a great poet is they're all pretty unalike. I think if given Rime of the Ancient Mariner, a conversation poem and Kubla Khan and said, guess whether these are three separate poets or the same guy, you would say, oh, there's a totally different poems. They're three different people. One's a kind of creepy gothic horror ballad. Another one is a philosophical reflection. Another is the sort of Mad Opium dream. I mean, Kubla Khan is just without a doubt, one of the top handful of purposes in English language, I think.Henry: Oh yeah, yeah. And it has that quality of the Elegy in a Country Churchyard that so many of the lines are so quotable in the sense that they could be, in the case of the Elegy in a Country Churchyard, a lot of novels did get their titles from it. I think it was James Lees Milne. Every volume of his diaries, which there are obviously quite a few, had its title from Kubla Khan. Ancient as the Hills and so on. It's one of those poems. It just provides us with so much wonderful language in the space of what a page.James: Sort of goes all over the place. Romantic chasms, Abyssinian made with dulcimer, icy pleasure dome with caves of ice. It just such a—it's so mysterious. I mean, there's nothing else remotely like it at all in English literature that I can think of, and its kind strangeness and virtuosity. I really love that poem.Henry: Now, should we say a word for Shelly? Because everyone knows Ozymandias, which is one of those internet poems that goes around a lot, but I don't know how well known the rest of his body of work is beyond that. I fell in love with him when I read a very short lyric called “To—” Music, when soft voices die,Vibrates in the memory—Odours, when sweet violets sicken,Live within the sense they quicken.Rose leaves, when the rose is dead,Are heaped for the belovèd's bed;And so thy thoughts, when thou art gone,Love itself shall slumber on.I found that to be one of those poems that was once read and immediately memorised. But he has this very, again, broad body of work. He can write about philosophical ideas, he can write about moods, he can write narrative. He wrote Julian and Maddalo, which is a dialogue poem about visiting a madman and taking sympathy with him and asking the question, who's really mad here? Very Swiftian question. He can write about the sublime in Mont Blanc. I mean, he has got huge intellectual power along with the beauty. He's what people want Tennyson to be, I guess.James: Yeah. Or what people think Byron might be. I think Shelly is great. I don't quite get that Byron is so much more famous. Shelly has just a dramatic and, well, maybe not quite just as, but an incredibly dramatic and exciting life to go along with it,Henry: I think some of the short lyrics from Byron have got much more purchase in day-to-day life, like She Walks in Beauty.James: Yeah. I think you have to maybe get Shelly a little more length, don't you? I mean, even there's something like Ode to the West Wind is you have to take the whole thing to love it, perhaps.Henry: Yes. And again, I think he's a bit like George Herbert. He's always thinking you really have to pay attention and think with him. Whereas Byron has got lots of lines you can copy out and give to a girl that you like on the bus or something.James: Yes. No, that's true.Henry: I don't mean that in quite as rude a way as it sounds. I do think that's a good thing. But Shelly's, I think, much more of a thinker, and I agree with you Childe Harold and so forth. It's all crashing bore. I might to try it again, but awful.James: I don't want move past Coledridge without inflicting little Coledridge on you. Can I?Henry: Oh, yes. No, sorry. We didn't read Coledridge, right?James: Are just, I mean, what to read from Coledridge? I mean, I could read the whole of Kubla Khan, but that would be maybe a bit boring. I mean, again, these are pretty famous and obvious lines from Frost at Midnight, which is Coledridge sitting up late at night in his cottage with his baby in its cradle, and he sort of addressing it and thinking about it. And I just think these lines are so, well, everything we've said about Coledridge, philosophical, thoughtful, beautiful, in a sort of totally knockout, undeniable way. So it goes, he's talking to his young son, I think. My babe so beautiful! it thrills my heartWith tender gladness, thus to look at thee,And think that thou shalt learn far other lore,And in far other scenes! For I was rearedIn the great city, pent 'mid cloisters dim,And saw nought lovely but the sky and stars.But thou, my babe! shalt wander like a breezeBy lakes and sandy shores, beneath the cragsOf ancient mountain, and beneath the clouds,Which image in their bulk both lakes and shoresAnd mountain crags: so shalt thou see and hearThe lovely shapes and sounds intelligibleOf that eternal language, which thy GodUtters, who from eternity doth teachHimself in all, and all things in himself.Which is just—what aren't those lines of poetry doing? And with such kind of confidence, the way you get from talking to your baby and its cradle about what kind of upbringing you hope it will have to those flashes of, I mean quite Wordsworthian beauty, and then the sort of philosophical tone at the end. It's just such a stunning, lovely poem. Yeah, I love it.Henry: Now we both got Yeats and Hopkins. And Hopkins I think is really, really a tremendous poet, but neither of us has put Browning, which a lot of other people maybe would. Can we have a go at Browning for a minute? Can we leave him in shreds? James: Oh God. I mean, you're going to be a better advocate of Browning than I am. I've never—Henry: Don't advocate for him. No, no, no.James: We we're sticking him out.Henry: We're sticking him.James: I wonder if I even feel qualified to do that. I mean, I read quite a bit of Browning at university, found it hard to get on with sometimes. I think I found a little affected and pretentious about him and a little kind of needlessly difficult in a sort of off-puttingly Victorian way. But then I was reading, I reviewed a couple of years ago, John Carey has an excellent introduction to English poetry. I think it's called A Little History of Poetry in which he described Browning's incredibly long poem, The Ring in the Book as one of the all time wonders of verbal art. This thing is, I think it's like 700 or 800 pages long poem in the Penguin edition, which has always given me pause for thought and made me think that I've dismissed Browning out of hand because if John Carey's telling me that, then I must be wrong.But I think I have had very little pleasure out of Browning, and I mean by the end of the 19th century, there was a bit of a sort of Victorian cult of Browning, which I think was influential. And people liked him because he was a living celebrity who'd been anointed as a great poet, and people liked to go and worship at his feet and stuff. I do kind of wonder whether he's lasted, I don't think many people read him for pleasure, and I wonder if that maybe tells its own story. What's your case against Browning?Henry: No, much the same. I think he's very accomplished and very, he probably, he deserves a place on the list, but I can't enjoy him and I don't really know why. But to me, he's very clever and very good, but as you say, a bit dull.James: Yeah, I totally agree. I'm willing. It must be our failing, I'm sure. Yeah, no, I'm sure. I'm willing to believe they're all, if this podcast is listened to by scholars of Victorian poetry, they're cringing and holding their head in their hands at this—Henry: They've turned off already. Well, if you read The Ring and the Book, you can come back on and tell us about it.James: Oh God, yeah. I mean, in about 20 years time.Henry: I think we both have Auden, but you said something you said, “does Auden have an edge of fraudulence?”James: Yeah, I mean, again, I feel like I'm being really rude about a lot of poets that I really love. I don't really know why doesn't think, realising that people consider to be a little bit weak makes you appreciate their best stuff even more I guess. I mean, it's hard to make that argument without reading a bit of Auden. I wonder what bit gets it across. I haven't gotten any ready. What would you say about Auden?Henry: I love Auden. I think he was the best poet of the 20th century maybe. I mean, I have to sort of begrudgingly accept T.S. Eliot beside, I think he can do everything from, he can do songs, light lyrics, comic verse, he can do occasional poetry, obituaries. He was a political poet. He wrote in every form, I think almost literally that might be true. Every type of stanza, different lines. He was just structurally remarkable. I suspect he'll end up a bit like Pope once the culture has tur

Host Casandra Grundstrom is joined by special guest University Lecturer Arto Lanamäki from the University of Oulu in Finland. Much of his research is qualitative and phenomenon-driven research, concerning the role of information technologies in social practices. He is currently working in the Research Council of Finland (Suomen Akatemia) funded AI-REG project (2022-2026) investigating the European Act on Artificial Intelligence. While publishing mostly in the field of IS, he champions a certain research eclecticism and a boundary-breaking ethos. His research has been published in the Journal of Strategic Information Systems (JSIS), Computer Supported Cooperative Work (CSCW), Journal of the Association for Information Science and Technology (JASIST), Communications of the Association for Information Systems (CAIS), among others.In this episode, we first catch-up with Arto's research and new AI legislation, before turning our attention to paradigms in IS.  We consider the historical saturation of positivism in the IS discipline, the leaning into interpretivism before narrowing in on a paradigm gaining attention called 'critical realism'.  What is critical realism? Why is it important for IS? What does Arto think of critical realism? Tune in to find out. Also, colours.References:Barley, S. R. (2006). When I Write My Masterpiece: Thoughts on What Makes a Paper Interesting. Academy of Management Journal, 49(1), 16-20.Brock, S., & Mares, E. (2014). Realism and Anti-realism. Routledge.  Chen, W., & Hirschheim, R. (2004). A paradigmatic and methodological examination of information systems research from 1991 to 2001. Information Systems Journal, 14, 197-235.  Giere, R. N. (2010). Scientific Perspectivism. University of Chicago press.  Lanamäki, A. (2023). Agnostic Affordances: Challenging the Critical Realist Connection. In M. R. Jones, A. S. Mukherjee, D. Thapa, & Y. Zheng (Eds.), After Latour: Globalisation, Inequity and Climate Change. IFIPJWC 2023 (Vol. 696, pp. 265-279). Springer. Lanamäki, A. (in press). Questioning the Third Way Rhetoric of Critical Realism. The Data Base for Advances in Information Systems. https://www.researchgate.net/publication/371492086_Questioning_the_Third_Way_Rhetoric_of_Critical_Realism Lanamäki, A., Väyrynen, K., Laari-Salmela, S., & Kinnula, M. (2020). Examining relational digital transformation through the unfolding of local practices of the Finnish taxi industry. The Journal of Strategic Information Systems, 29(3), 101622.  Mason, R. (2021). Social kinds are essentially mind-dependent. Philosophical Studies, 178(12), 3975-3994.  Menand, L. (2002). The Metaphysical Club. Flamingo.  Misak, C. (2013). The American Pragmatists. Oxford University Press.  Orlikowski, W. J., & Baroudi, J. J. (1991). Studying Information Technology in Organizations: Research Approaches and Assumptions. Information Systems Research, 2(1), 1-28. Siponen, M., & Tsohou, A. (2018). Demystifying the Influential IS Legends of Positivism. Journal of the Association for Information Systems, 19(7), 600-617.  Volkoff, O., & Strong, D. M. (2013). Critical Realism and Affordances: Theorizing IT-Associated Organizational Change Processes. MIS Quarterly, 37(3), 819-834.Weber, R. (2004). Editor's Comments: The Rhetoric of Positivism versus Interpretivism: A Personal View. MIS Quarterly, 28(1), iii-xiiLink to all references

✅  Subscribe Like And Leave A Comment ✅  Episodes Drops Weekly And Available On All Platforms South African singer Tyla Laura Seethal, otherwise known as Tyla, has revealed the kind of men she is attracted to.Speaking on the Bianca show, Tyla said she does not like guys who tend to approach her and she is rather comfortable with guys who pretend not to want her.

Assista ao documentário Duas Vidas: https://youtube.com/live/XjapXhUuUzA _________ Por apenas R$ 10 você apoia o trabalho da Brasil Paralelo: https://sitebp.la/bp-yt __________ Queremos saber sua opinião sobre o Face Oculta: https://sitebp.la/opiniao-face-oculta ___________ Por trás de aclamadas personalidades há um lado obscuro que ninguém está olhando. Neste programa documental e cheio de mistérios, abordaremos a face oculta das principais personalidades e instituições. Nesta edição: Simone de Beauvoir __________ Fontes: Beauvoir, S. O Segundo Sexo. 1949. Carlos, C. Lamblin expõe motivos das acusações. Folha de S. Paulo. 1994. Entrevista com Betty Friedan. Sex, Society, and the Female Dilemma. The Saturday Review. 1975. Grimes, W. The Value and Complexities of an Existential Love Affair. The New York Times. 2005. Lamblin, B. Memórias de uma moça mal comportada. 1995. Menand, L. Stand by your man. The New Yorker. 2005. Roberts, G. Dangerous liaisons and sex with teens: The story of Sartre and de Beauvoir as never told before. MailOnline. 2008. Rowley, H. Tete-a-Tete: The Lives and Loves of Simone de Beauvoir and Jean-Paul Sartre. 2005. Seymour-Jones, C. Uma relação perigosa: Uma biografia reveladora de Simone de Beauvoir e Jean-Paul Sartre. 2014. ___________ Precisa de ajuda para assinar? Fale com nossa equipe comercial: https://sitebp.la/yt-equipe-de-vendas Já é assinante e gostaria de fazer o upgrade? Aperte aqui: https://sitebp.la/yt-equipe-upgrade __________ Siga a #BrasilParalelo: Site: https://bit.ly/portal-bp Instagram: / brasilparalelo Facebook: / brasilparalelo Twitter: / brasilparalelo Produtos oficiais: https://loja.brasilparalelo.com.br/ ___________ Sobre a Brasil Paralelo: Somos uma empresa de entretenimento e educação fundada em 2016. Produzimos documentários, filmes, séries, trilogias, cursos, podcasts e muito mais. Nosso foco é o conteúdo informativo e educativo relacionado ao contexto social, político e econômico brasileiro. Transcrição

Lev Menand is an associate professor of law at Columbia University and Josh Younger is a senior policy advisor at the Federal Reserve Bank of New York and a lecturer at Columbia Law School. Lev and Josh also recently co-authored a paper titled, *Money and the Public Debt: Treasury Market Liquidity as a Legal Phenomenon.* They are also returning guests to Macro Musings, and rejoin the podcast to talk about this paper and its implications for the Treasury market. Lev, Josh, and David also discuss the transition from bank to market financing, whether an increasing level of debt is leading to more instability, the impact of recent regulations on the primary dealer system, how to restore the balance between public debt and money creation, and a lot more.   Transcript for this week's episode.   Register now for the Bennett McCallum Monetary Policy Conference!   Josh's Columbia Law profile Lev's Columbia Law profile Lev's Twitter: @LevMenand   David Beckworth's Twitter: @DavidBeckworth Follow us on Twitter: @Macro_Musings   Join the Macro Musings mailing list! Check out our new Macro Musings merch!   Related Links:   *Money and the Public Debt: Treasury Market Liquidity as a Legal Phenomenon* by Lev Menand and Josh Younger   *The Fed Unbound: Central Banking in a Time of Crisis* by Lev Menand

SING ALONG !  "City of New Orleans"Written by Steve Goodman Released January 1, 1972.Made famous by Arlo Guthrie and Willie Nelson.Producer Renee plays her rendition on Piano + Guitar.Here are the Lyrics ( 2 verses) :Riding on the City of New OrleansIllinois Central, Monday morning railFifteen cars and fifteen restless ridersThree conductors and twenty five sacks of mailAll along the Southbound odysseyThe train pulls out of KankakeeAnd rolls along past houses farms and fieldsPassing trains that have no nameAnd freight-yards full of old black menAnd graveyards full of rusted automobilesGood morning America how are ya ?Say, don't you know me ? I'm your native sonI'm the train they call the City of New OrleansAnd I'll be gone five hundred miles when the day is done - - - - - - - -It's night time on the City of New OrleansChanging cars in Memphis Tennessee Half way home we'll be there by the morningThrough the Mississippi darkness rolling down to the seaBut all the towns and people seem to fade into a bad dreamAnd the steel rails still aint heard the newsThe conductor sings his songs againThe Passengers will please refrainThis train has got the disappearing railroad blues Good morning America how are ya ?Say, don't you know me ? I'm your native sonI'm the train they call the City of New OrleansAnd I'll be gone five hundred miles when the day is done I'll be gone five hundred miles  ....  when the day is done 

Eure Special Agents Oli und Hendrik besprechen: "Akte X - Die unheimlichen Fälle des FBI" Staffel 4, Episode 19 - "Rückkehr aus der Zukunft" Erstausstrahlung: 13.04.1997 (FOX), 11.01.1998 (Pro7) In Cambridge (Massachusetts) haben die beiden Kryotechniker Jason Nichols und Lucas Menand auf der Straße ein Wortgefecht. Ein alter Mann kommt hinzu und warnt Menand davor in Kürze vom Bus überfahren zu werden ... Quelle: Wikipedia 00:00:50 Begrüßung 00:12:39 Folgenbesprechung 00:51:28 Infos und Fazit Hinterlasst uns eine Audio-Nachricht mit Feedback, Fragen oder Anmerkungen unter unserer Mailbox-Nummer: 030-20 84 86 83 Dieser Podcast ist Teil des Podcast-Netzwerks DBPDW - Die besten Podcasts der Welt: https://www.die-besten-podcasts-der-welt.de Folgt uns auf Instagram: https://www.instagram.com/aktexcast/ Folgt uns auf Facebook: https://fb.me/akteXcast Folgt uns auf Twitter: https://twitter.com/AkteXCast Abonniert uns bei YouTube Unser Blog: https://www.h2m-blog.de Disclaimer: Morley Zigaretten sind eine fiktive Marke aus der Serie "Akte X". Wir machen nicht wirklich Werbung für Zigaretten und sind ausgesprochene Nichtraucher! Musik (Intro/Outro): X Top Secret Ufo by Gonzo02 via Pond5 "Akte X-Cast"-Intro-Sprecher: Michael Langner DBPDW-Claim-Sprecher: Sascha Rotermund - https://www.sascharotermund.de Musiklizenz: Eine Lizenz zur Nutzung wurde entsprechend des Pond5 Lizenzvertrags erworben, einsehbar unter https://www.pond5.com/de/rechtliches/license. Die Pond5-Lizenz gestattet dem Lizenznehmer die Nutzung der Medien für kommerzielle oder nichtkommerzielle Produktion sowie das Kopieren, Senden, Verteilen, Aufführen sowie das Verwerten der Produktion oder des Werkes in sämtlichen Medien - inklusive des Postens und der Verwertung auf YouTube - zu unseren Geschäftsbedingungen.

Chair: Bob Carr Louis Menand, the author of Pulitzer Prize-winning book The Metaphysical Club, tells the story of America after the Second World War in his latest book, The Free World. With references to luminaries such as Jack Kerouac, Elvis Presley, Susan Sontag and James Baldwin, Menand explores the significant cultural figures of the Cold War period, when “ideas mattered, painting mattered, movies mattered, poetry mattered". Supported by the Consulate of the United States. Event details: Thu 09 Mar, 2:30pm

The US financial system today is pretty much taken as a given. We have the Federal Reserve, which sets interest rates and provides various liquidity backstops. We have regulated banks, which lend and create money and have access to the Fed. And we have non-bank financial activity that falls under the nebulous umbrella of "shadow banking." But how did we actually end up with this system? And why did policymakers design it the way they did? On this episode, which was recorded live at Bloomberg's New York office on Nov. 29, we speak with Josh Younger and Lev Menand. They are research partners who have delved into the big questions about the structure of modern banking, the history that has shaped it into what it is today, and what its design actually means for the economy and society.See omnystudio.com/listener for privacy information.

Columbia Global Reports 0:08 – We spend the hour with Lev Menand (@levmenand), associate professor of law at Columbia Law School. He discusses his latest book, The Fed Unbound: Central Banking in a Time of Crisis. The post Lev Menand on the trouble with the Fed's role in the financial system appeared first on KPFA.

The U.S. Federal Reserve's role has evolved over the past several decades — and not in a good way, says author Lev Menand. A law professor and former economist at the Federal Reserve Bank of New York, Menand argues here — and in his new book, The Fed unbound: Central banking in a time of crisis — that the Fed's expanded responsibility of backstopping shadow banks and other speculative players during economic downturns serves mainly to enable more (and more severe) financial crises. Related resources: Guide to recessions  For industry-leading insights, support tools and more, subscribe to Capital Ideas at getcapitalideas.com. The Capital Ideas website is not intended for use outside the U.S. In Canada visit capitalgroup.com/ca for Capital Group insights.

Photo: No known restrictions on publication. @Batchelorshow #LondonCalling:  Mysteries of the Federal Reserve.  @JosephSternberg @WSJOpinion  https://www.wsj.com/articles/the-fed-unbound-review-whose-money-is-it-anyway-11659391943 The Fed has helped to erode this system by tolerating, since the mid-20th century, the expansion of a wide range of nonbank money creators. It has extended its lender-of-last-resort backstop—the keystone of the monetary system—to dollars created by money-market funds, insurers (such as AIG), and even foreign entities via swap arrangements with other central banks that lend Fed-credibility to dollars created abroad. “The Fed was not built to manage a monetary system that relies on these financial enterprises,” Mr. Menand writes, “but unless it is willing to risk a Second Great Depression, it is often pressed to rescue them when they get into trouble.”

Author and economist Lev Menand talks about his book The Fed Unbound with host Paul Samuel Dolman on the What Matters Most podcast. The post Lev Menand #1038 appeared first on Paul Samuel Dolman.

In Episode 258 of Hidden Forces, Demetri Kofinas speaks with Lev Menand, author of “The Fed Unbound: Central Banking in a Time of Crisis.” Menand is an associate professor of law at Columbia Law School who has worked as an economist at the Federal Reserve Bank of New York and as a senior advisor to both the Deputy Secretary of the Treasury and the Assistant Secretary for Financial Institutions. He joins Demetri for an important and timely conversation about the US Dollar and the evolution of the international financial system into a kind of Frankenstein's monster whose appendages and doppelgängers reach into the deepest recesses of the global economy. Dollar balances and dollar-based lending by institutions not regulated by the Federal Reserve—what we broadly refer to as the shadow banking system—have grown so large over the years that no one, not even the Fed, can actually quantify them. For most of us, awareness of just how dangerously complex the modern banking system has become was made clear fourteen years ago with the onset of what we now call “The Global Financial Crisis,” a supposedly once-in-a-lifetime event that almost repeated itself during the early days of the Covid-19 pandemic when the Fed came to the rescue of markets to stop yet another financial panic that threatened to bring down the global financial system. Panics like these ultimately stem from a fear or inability on the part of financial counterparties to settle claims and honor liabilities. With the Fed now raising interest rates more aggressively than it has in almost thirty years the question that many investors, economists, and policymakers around the world should be asking themselves is “what is the likelihood that the events we experienced in 2008 and most recently in 2020 repeat themselves today?” Our objective in bringing you this conversation is to provide you with a foundational framework for understanding the forces responsible for driving crises of liquidity in the international dollar system during a time when those forces are growing stronger and stronger. In the process you are going to learn about the plumbing of the shadow banking system, the evolution of the eurodollar market, repos, money market funds, and so much more. The majority of that conversation takes place in the second hour of today's episode which is available to premium subscribers only. You can access the full episode, transcript, and intelligence report to this week's conversation by going directly to the episode page at HiddenForces.io and clicking on "premium extras." All subscribers gain access to our premium feed, which can be easily added to your favorite podcast application. If you enjoyed listening to today's episode of Hidden Forces you can help support the show by doing the following: Subscribe on Apple Podcasts | YouTube | Spotify | Stitcher | SoundCloud | CastBox | RSS Feed Write us a review on Apple Podcasts & Spotify Subscribe to our mailing list at https://hiddenforces.io/newsletter/ Producer & Host: Demetri Kofinas Editor & Engineer: Stylianos Nicolaou Subscribe & Support the Podcast at https://hiddenforces.io Join the conversation on Facebook, Instagram, and Twitter at @hiddenforcespod Follow Demetri on Twitter at @Kofinas Episode Recorded on 07/07/2022

Shifting & Empowering Patterns of Intergenerational Toxic Masculinity Empowered Connection Podcast 24 with Michael Brasher & Damodar CorduaIn this important interview, Damodar talks with Michael Brasher -  the CEO of Boys To Men a Tucson nonprofit that strengthens communities by nurturing intentional spaces for boys, men, and masculine-identified folks to practice honest and mindful relationship,Reshaping and healing toxic intergenerational patterns of masculinity touches all parts of our world, no matter our age or gender.  In this episode we dive deep into why that is so - and how we can shift the narrative to heal + empower not only young men, but men of all ages, generations of manhood, and our society at large.Some of the themes explored:The core beliefs & wounds of masculinity that are passed down through generationsChallenging some of the normative scrips of manhood…  What would it be like to get a real dose of healthy heartfelt masculinity… what would that look and feel like?Shifting some of the disempowering intergenerational patterns of masculinity by working with teenage boys who are often starving for authentic, connected experiences with masculine figuresWhy showing young men vulnerability, acceptance, validation, and emotional awareness is transformationalGenerativity: becoming healed empowered, accountable & connected to multiple generations of men versus the isolation of injured, alienated boyhood + manhood Michael shares his own inspiring story that brought him towards his purpose Cycle of men's violence + domestic abuse towards women as a shockingly common narrative within many men's & women's livesEmotional intelligence - breaking down the myth that “men don't feel” and the empowerment of being with, processing and stating our feelings as menAnd  more..Resources:For more about Boys To Men in Tucson & how you can help: www.btmtucson.comBoys To Men Organizations around the worldLinks to books referenced on showKing, Warrior, Magician, Lover The Will To Change: Men, Masculinity + Love We Will Not Cancel UsLearn more about Damodar's Transformational 6 Week Group Coaching Summer Immersion!  Emotional + Relational Awareness, Self Love, & Empowered Communication Empower + Evolve 200 Hr Yoga Teacher Training  in-person in PhiladelphiaEMPOWERED CONNECTION

Lev Menand is an associate professor of law at Columbia University Law School and writes widely on legal issues surrounding the Federal Reserve. Lev rejoins Macro Musings to talk about his new book titled, *The Fed Unbound: Central Banking in a Time of Crisis.* Specifically, David and Lev discuss why the Fed can be considered unbound, the history of the Fed's engagement with the shadow banking system, and Lev's solutions for reform.   Transcript for the episode can be found here.   Lev's Twitter: @LevMenand Lev's Columbia Law profile   David's Twitter: @DavidBeckworth Follow us on Twitter: @Macro_Musings Click here for the latest Macro Musings episodes sent straight to your inbox!   Related Links:   *The Fed Unbound: Central Banking in a Time of Crisis* by Lev Menand   *Unappropriated Dollars: The Fed's Ad Hoc Lending Facilities and the Rules That Govern Them* by Lev Menand

With the Federal Reserve making bold moves this week, Lev Menand, author of the new book The Fed Unbound: Central Banking in a Time of Crisis, joins host Richard Aldous to talk about how the makers of monetary policy still need to adapt to the uncertain future.

In this new episode, host Rainer Schulte sat down with Harvard Professor Louis Menand for a virtual conversation on the future of the humanities. In December 2021, Menand published an essay in The New Yorker titled “What's so Great about Great-Books Courses,” which is certain to be of interest to those who study and teach the Humanities. Menand was previously an associate editor of The New Republic, editor of The New Yorker, and contributing editor of the New York Review of Books. He is currently a staff writer at The New Yorker. In 2016 he was awarded the National Humanities Medal by President Barack Obama. His most notable book, The Metaphysical Club won the 2002 Pulitzer Prize in History, the Francis Parkman Prize from the Society of American Historians, and the Heartland Prize from the Chicago Tribune. Dr. Menand's most recently published book, The Free World, offers a new intellectual and cultural history of the postwar years and is one of The New York Times's 100 best books of 2021.

In The Fed Unbound: Central Banking in a Time of Crisis, Lev Menand, a legal scholar and former Treasury official, assesses how and why the Fed has taken on more and more responsibilities to keep the economy out of recession, as it did during the 2008 crisis and again during the COVID-19 pandemic. Join us when Menand argues that the Fed significantly exceeded the bounds of its legal authority—and, more broadly, that using the Fed as our primary instrument of economic policymaking skews our economy in favor of the rich, furthering our economic divide on this installment of Leonard Lopate at Large.

Delighted to have Lev Menand, Associate Professor of Law at Columbia, on the show today to talk about his new book and the policy implications today. The Fed Unbound: Central Banking in a Time of Crisis On twitter: @LevMenand, @KalebNygaard

Matthew 20:30-34Two blind men were sitting by the roadside, and when they heard that Jesus was going by, they shouted, “Lord, Son of David, have mercy on us!” The crowd rebuked them and told them to be quiet, but they shouted all the louder, “Lord, Son of David, have mercy on us!” Jesus stopped and called them. “What do you want me to do for you?” he asked. “Lord,” they answered, “we want our sight.” Jesus had compassion on them and touched their eyes. Immediately they received their sight and followed him.The placeJesus has been traveling from Galilee toward Jerusalem for some time and He has been ministering to the people along the way. His plan is to be in Jerusalem for the PassoverJesus has repeatedly told His disciples, “the Son of Man will be delivered to the chief priests and scribes, and they will condemn Him to death, and will deliver Him to the Gentiles to mock and scourge and crucify Him, and on the third day He will be raised up” (Matthew 20:18,19)As Jesus has passed through different areas more people would start to follow Him. In addition the roads are full of other pilgrims making their way to JerusalemThe two blind menAnd as they were going out from Jericho, a great multitude followed Him. And behold, two blind men sitting by the road, hearing that Jesus was passing by, cried out, saying, “Lord, have mercy on us, Son of David!” And the multitude sternly told them to be quiet; but they cried out all the more, saying, “Lord, have mercy on us, Son of David!”We find that these two blind men are sitting by the side of the road. This would be a common place we would expect blind people to be since they usually had to make their living by beggingThese men had not met Jesus before, they had only heard about Him. Yet they applied what they heard from what they knew from the writings of the prophets and came to believe that Jesus was the MessiahThe miracleAnd Jesus stopped and called to them, and said, “What do you want Me to do for you?” They said to Him, “Lord, we want our eyes to be opened.” And moved with compassion, Jesus touched their eyes; and immediately they regained their sight and followed Him.Jesus was never is so much of a hurry that He failed to hear those who cried out to HimThe Gospels of Mark and Luke tell us that Jesus sent for them with Mark, the Gospel of Mark even saying that Bartimaeus cast aside his coat and jumped up to come to JesusNotice that Jesus healing was immediate. Jesus' miracles were always complete, usually instantaneous, and often defied any possible natural explanation. Jesus simply touched their eyes and they were healed.Jeremiah 29:13 You will seek Me and find Me, when you search for Me with all your heart. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit myeveningdevotional.substack.com

This is a live recording. I will be coming back to this episode, to ruminate and redo. That version is some weeks away. This is an episode about freedom. Freedom was the title of a book I read over the holiday period. Link below. 9.38 The Article I read out from: https://culturacolectiva.com/books/on-the-road-jack-kerouac/“Without this book we might have never had Fear and Loathing in Las Vegas, or films such as Thelma and Louise, Paris, Texas, or Easy Rider. Kerouac's influence is such that in the biographical Light My Fire: My Life With The Doors, the band's keyboard player, Ray Manzarek, claimed that without that book, the band might not have existed.” 12.17 Lines from the Ghost Song, by the Doors. Links Learner Centered Design Education: https://rawslearn.wordpress.com/ Who is Soumitri: http://soumitri.com.au/ On the Road by Jack Kerouac: LINK “With his barbaric yawp of a book, Kerouac commands attention as a kind of literary James Dean,” the reviewer noted. The Free World by Louis Menand: Book Review LINK Menand is truly one of the great explainers. He quotes approvingly a lesson taken by Lionel Trilling from his editor Elliot Cohen: “No idea was so difficult and complex but that it could be expressed in a way that would make it understood by anyone to whom it might conceivably be of interest.” Menand puts his own practice to the test. He is accurate, he is insightful, and he is not a dumber-downer. It is notoriously hard to summarize Martin Heidegger's Being and Time, structural linguistics, serial composition in music, or the formation of Great Power rivalries in the period of decolonization. Menand's account of each is an abbreviated tour de force. His explanations work at all levels: interpretation for scholars, review for general readers, introductions for neophytes. Where another writer would take 20 pages to tell us why someone or something mattered historically, Menand does it in two. Howl by Ginsberg: Review LINK Ginsberg's poem was an incantatory epic – emotionally and sexually explicit and intent on exploding the anxieties of the atomic age. Podcasts John Cage: https://podcasts.apple.com/au/podcast/strong-songs/id1443417194?i=1000484979414 How Not Podcast, John Cage: https://podcasts.apple.com/au/podcast/how-not/id1562586787?i=1000525410531 The Reason Interview, Louis Menand Interview: https://podcasts.apple.com/au/podcast/the-reason-interview-with-nick-gillespie/id1485021241?i=1000529629177 Legacy, Jack Kerouac: https://podcasts.apple.com/au/podcast/legacy-the-artists-behind-the-legends/id1232652684?i=1000427749693 Witness Archive, Jackson Pollock: https://podcasts.apple.com/au/podcast/witness-history-archive-2012/id1003007466?i=1000377912938

Women love to insult and dismiss men by placating them with the phrase, "awe, who hurt you?" when the truth is, all behavior has meaning and someone did hurt them.

Join me in welcoming Jeff Ash to my podcast!!Jeff Ash is a certified nutritionist, personal trainer, and intuitive eating coach living in Houston, TX USA. He works with individuals, families, adolescents, and children to help them transform their relationship with food and develop healthy bodies, minds, and attitudes without restriction, guilt, shame, or fixation on the size and shape of their body. He enjoys the outdoors, traveling, woodworking, and ninja warrior obstacle course training. Jeff also recently started up an IG account called @intuitive.eating.men and a podcast called Men's Intuition aimed at promoting intuitive eating to men around the world.In this interview, we discuss:-Jeff's journey with intuitive eating and working within a weight neutral approach-implementing this approach with families- including Ellen Sutter's Division of Responsibility-intuitive eating and menAnd so much more!!Apply for the Body and Food Freedom ProjectApply for the BFF group hereGet your free guide to managing the not good enough voicePDF - Not Good EnoughConnect with Vanessa!Instagram: https://www.instagram.com/vanessa_preston_/Linktree: @vanessa_preston_ | LinktreeWebsite: https://greenlifepsychology.com/Email: info@greenlifepsychology.comFacebook: Vanessa PrestonDisclaimer:This podcast represents the opinions of Vanessa Preston and her guests to the show. Vanessa is an Accredited Mental Health Social Worker and abides by ethics of the Australian Association of Social Workers (AASW). The content here should not be taken as medical or therapeutic advice. The content here is for informational purposes only, and because each person is so unique, please consult your healthcare professional for any medical questions.

Someone posed this question to me, and it caused me to stop in my tracks.Longing – such a powerful word.Not what do I want or what do I need.But what do I long for?Sometimes I long for deep connection with others. Not surface conversations, though those are needed and appropriate much of the time.But deep heart felt conversations.Sometimes I am longing for peace and quietTo be all alone in my house And read a book, snuggled up by the fire.Sometimes I long for my family to gather round the table and play a gameSee the boys laughing with each otherAnd relish in these boys and menAnd just love them. Sometimes I am longing for a hug.I am lucky enough I have people here I can ask for a hug from.  It is very telling to pause and ask yourself this questionWhat are you longing for?Your answer may change everything. Support the show (https://paypal.me/EnjoyBirth)

This is Cognitive Revolution, my show about the personal side of the intellectual journey. Each week, I interview an eminent scientist, writer, or academic about the experiences that shaped their ideas. The show is available wherever you listen to podcasts.This is a conversation I’ve been wanting to have for a long time. I met Kevin several years ago, and it was a big moment for me. This was the first time I’d ever met a real author. Of course I said something foolish. Of course he has no recollection of such foolish statements. I’m a huge admirer of his first book, The Most Dangerous Book, which tells the story behind Ulysses—one of the most controversial manuscripts of all time. It’s got an incredible cast of characters from James Joyce to Hemingway to Ezra Pound to Sylvia Beach. That book really drew me into to Kevin’s style of writing and the way he’s able to bring social analysis to bear on literary and intellectual themes.Kevin Birmingham has a PhD in English from Harvard. He actually studied under Louis Menand, whom I’ve also had on the show and is one of my all-time favorite authors. In this conversation, I definitely ask Kevin about Menand’s influence—a bit toward the end. Kevin has won numerous awards including the PEN New England Award and the Truman Capote Award for Literary Criticism. The occasion for our conversation today is the publication of his new book, which came out in November 2021. It’s called The Sinner and the Saint, and it tells the story of the creative process behind Dostoevsky’s masterpiece Crime and Punishment. Since it’s a Russian novel, the creative process entails a great deal of suffering. The book also ties in the true story of how Dostoevsky’s thriller was inspired by the real life crimes of a Frenchman, Pierre François Lacenaire. (I’d like to imagine that all French criminal masterminds are named Pierre François.)Of course I’m a cognitive scientist by training, so I don’t have a lot of background in literary analysis. That’s one of the reasons why I’ve enjoyed Kevin’s books so much, helping me, as a layman, to understand books—at least aspects of books anyway—that I wouldn’t otherwise have the tools to grasp. There’s a passage I especially love from Kevin’s recent book: “One measure of Dostoevsky’s talent is that he could make something as small as a wink turn all the gears in a complex relationship. Porfiry’s tiniest movement is either an involuntary twitch or a cunning signal. Either it means nothing or it spells out Raskolnikov’s doom. He doesn’t know how to read it, and he can’t even tell if it happened. Raskolnikov wonders if all of his blinks look like winks, if the inspector’s eyes always gleam on a horizon between empty sky and unsounded fathoms. He begins to scrutinize every detail: the way the inspector positions his body, the tone of his voice, the way he emphasized the word she. In Dostoevsky’s murder story, the detective is the mystery.”At any rate, talking to Kevin is like having a private seminar with your favorite professor. He’s able to spin some really great answers. It was a fun conversation, and I’m really looking forward to sharing it with you!Kevin’s Three Books:James Baldwin: Notes of a Native SonJames Joyce: UlyssesFyodor Dostoevsky: Crime and PunishmentLike this episode? Here’s another one to check out:I’d love to know what you thought of this episode! Just reply to this email or send a note directly to my inbox. Feel free to tweet me @CodyKommers. You can also leave a rating for the show on iTunes (or another platform). This is super helpful, as high ratings are one of the biggest factors platforms look at in their recommender system algorithms. The better the ratings, the more they present the show to new potential listeners.Also: If you’d like to unsubscribe from these weekly podcast emails, you can do so while still remaining on the email list that features my weekly writing. Thanks for following my work! This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit codykommers.substack.com/subscribe

https://youtu.be/7jF_gJ5g12c Eat some pork and shrimp- Matthew 15:1-20 Defile- desecrate or profane (something sacred). Traditions can defileMens traditions defile, not God's commandsv3 He answered and said to them, “Why do you also transgress the commandment of God because of your tradition?these Jews had created a tradition, where people were supposed to wash their hands before they ate bread- Jesus disciples didn't do this because it wasn't a commandment from God- it was a commandment that was created by menAnd this is one of the biggest problems that was going on within Judaism during the time- man made rules imposed on others as God made laws- Jesus crushed itMark 7:13 making the word of God of no effect through your tradition which you have handed down. And many such things you do.”And that's what the man-made traditions were doing- they were making the word of God of none effect- they had lost the awe and wonder of God's word and weren't following itJesus, when confronted- immediately points to the tradition that they had-v 5 But you say, ‘Whoever says to his father or mother, “Whatever profit you might have received from me is a gift to God”— 6 then he need not honor his father or mother.'What this was- was that the Jews would look at their money- call it “corban” which loosely means ‘this belongs to God” so when it came to taking care of their parents, they stated that they didn't have to because it all belonged to God- ‘wish I could help”Jesus is calling out two of their traditions- hand washing and calling money corban and saying these traditions defile you because you think they are of God but they are not.Let me say this- there are Good traditions and bad traditions.2 Thessalonians 2:15 Therefore, brethren, stand fast and hold the traditions which you were taught, whether by word or our epistle.1 Corinthians 11:2 Now I praise you, brethren, that you remember me in all things and keep the traditions just as I delivered them to you.Paul encouraged the early church to hold to the traditions they had- I'm not exactly sure what traditions he is specifically speaking to, but its clear that there are some traditions that are to kept.2 Thes 3:6 says that we should-  withdraw from every brother who does not walk not according to the traditionSome traditions are good! But some are also bad- Also tho- Colossians 2:8 READSome traditions are bad tho- Col 2:20-23 READIts like this-Meeting on Sundays is our tradition- but its not a commandment- order of worship, types of fasts, revivals, retreats, etc. All good- but not commandments from God-Turning them into a commandment from God is when you start to defile the word of God.Titus 1:14 not giving heed to Jewish fables and commandments of men who turn from the truth.Its like this- I like to dress like this- I feel like it would be disrespectful to God to come into his house to preach and wear sweats, a baseball hat, tshirt etc. Its not a requirement, there's nothing in scripture that describes what we are to wear to church- but its my tradition I haven't made it a law.When Christianity goes south is when we start making man made laws and passing them off as God's commandments- that's called legalism- putting on a law on someone and saying God demands it- (standing drinking rootbeer- told not to- not law-just don't make sense)Our tradition is to stand in worship- not a requirement- but I can't not.Here's the underlying problem with man made traditions that are called a law of God-It's hypocrisy- Hyprocrisy DefilesExternal piety doesn't please God ‘These people draw near to Me with their mouth, And honor Me with their lips, But their heart is far from Me.And that's what Jesus was calling out in the heart of these dudes- you are acting religious with your hand washing and money holding (it all belongs to God)But you guys are a bunch of hypocrites-It would be like this- holding to traditions that we have here- standing, worshipping, hand raising, amening etc.

Hello friends,It's a new Monday of a new year. Hope yours is fantastic. And however it is, and wherever you are, here's some Jane Austen podcasting to power your Monday. Louis Menand is a New Yorker writer and a Harvard professor who tries to get his Harvard students to read and understand and appreciate the stories of Jane Austen, among other classic authors - that's his day job. He co-teaches and co-founded a year-long freshman Humanities course at Harvard, with author and professor Stephen Greenblatt - the course is called “Humanities 10: An Introductory Humanities Colloquium.” Menand says that the conversations in that popular Harvard class - and also the ways we read Jane Austen - are getting more global in scope, and more historical. Our perspectives, you might say, are expanding. This conversation is the last of our Season 2 series of podcast episodes - you can listen to the entire series on Spotify and Apple,  or play/stream them straight from the Austen Connection website. It was a New Yorker article Louis Menand wrote in September 2020 that captured our attention: Titled “How to Misread Jane Austen,” the piece examines current books and thinking about Austen, and how she is interpreted in today's world. The ideas of Austen scholars like Helena Kelly, author of Jane Austen, the Secret Radical, and Tom Keymer, author of Jane Austen: Writing, Society, Politics, are explored.Menand is himself the author of several books uniting history, culture, and ideas: His latest is The Free World: Art and Thought in the Cold War. We interrupted Menand's book tour to see if he'd like to take a break from the Cold War to talk with us about Jane Austen. Lucky for us - he welcomed the diversion.Menand says Austen is important not just as an early, seminal novelist in English, but also as an innovator. You have to understand Austen to understand groundbreaking experimentalists like James Joyce. Like anyone teaching Austen, Menand and his colleagues also have to get creative in the effort to convince their students about the relevancy of the Regency world. Drawing from wedding and marriage announcements in the New York Times and the New York Daily News, professors Menand and Greenblatt get their freshmen students to see that we're all inhabiting a world of status and class, and money and marriage, that we have to navigate. In this conversation, Menand discussed the Courtship Plot and how part of understanding marriage in Austen is understanding math in Austen. That specific Regency-era formula for capital, interest rates, and income is key to decoding the motivations and the stakes influencing Austen's heroes and heroines. We also talked about the novel Emma. For Professor Menand, this novel is really about Frank Churchill and Jane Fairfax. As many of you know, I very much agree!Enjoy this conversation!—--And, thank you for tuning in, friends.Please let us know any comments or back-talk you have for us on any of the dialogue here - about math, marriage, money, and Austen. And: Jane Fairfax and Frank Churchill and Emma. And, who out there is teaching Jane Austen?As a journalism professor who has never taught literature, it'd be wonderful to hear how you take on the challenge of making Austen relevant and engaging to students today - whether at the high school, college, or graduate level. Any special tricks? New approaches? General philosophy? Get in touch, teachers. You can simply reply or email us at austenconnection@gmail.com - or comment here: Meanwhile, thanks for listening.Have a wonderful, safe, first week of this hopeful 2022,Yours truly,Plain Jane Cool linksLouis Menand's The Free World Helena Kelly's Jane Austen, the Secret Radical Tom Keymer's Jane Austen: Writing, Society, Politics If you are contributing as a paid subscriber to the Austen Connection, you are a member of the Charlotte Lucas Loyalty Club - and you rock. Thank you! If you appreciate this podcast, project, and the labor that goes into creating it, and would like to support the work, you can contribute as a paid subscriber and join the Charlotte Lucas Loyalty Club. You are also very welcome to sign up for the newsletter and join this community for free. The Austen Connection is free and available to everyone. Thank you for being here.  Get full access to The Austen Connection at austenconnection.substack.com/subscribe

In this episode I give a quick recap of my interview with Angus Nelson including: - How he turned things around after losing his marriage and business- The real reason most men are unhappy and what to do about it - Why men need brotherhood and how to find other high caliber menAnd so much more...  Angus Nelson helps men wake up their inner fortitude in order for them to take action on their dreams, revive their relationships, and expand their mindset. He's come out of divorce, addiction to porn and alcohol, and financial debt. Wherever you are, he's been there.He's worked with hundreds of highly ambitious and successful men over two decades and has helped them save their marriages, start businesses, triple their income, transition out of their day job and into their dream job, and unleash their inner power so they can take action on their dreams.He created the Manhood Matrix Method, a power sequence of mindshifts that has helped hundreds of clients flourish internally so they can become externally who they've always dreamed of being.Click Here to connect with Angus*************************************************************You will never maximize your potential on your own so I'm personally inviting you to come and join me in the private Extraordinary Man Facebook group so you can level up your business and your life. Just Click Here to join the Extraordinary Man private Facebook group. Iron sharpens iron and this is the #1 place for you to connect with me and other like minded men who are on a mission to maximize their potential. My goal is to help you become the man God created you to be in all areas of your life. So come and join us in the Facebook group and upgrade your business and your life.

Angus Nelson helps men wake up their inner fortitude in order for them to take action on their dreams, revive their relationships, and expand their mindset. He's come out of divorce, addiction to porn and alcohol, and financial debt. Wherever you are, he's been there.He's worked with hundreds of highly ambitious and successful men over two decades and has helped them save their marriages, start businesses, triple their income, transition out of their day job and into their dream job, and unleash their inner power so they can take action on their dreams.He created the Manhood Matrix Method, a power sequence of mindshifts that has helped hundreds of clients flourish internally so they can become externally who they've always dreamed of being.In this episode, we discuss:- How he turned things around after losing his marriage and business- The real reason most men are unhappy and what to do about it - Why men need brotherhood and how to find other high caliber menAnd so much more...  Click Here to connect with Angus**************************************************You will never maximize your potential on your own so I'm personally inviting you to come and join me in the private Extraordinary Man Facebook group so you can level up your business and your life. Just Click Here to join the Extraordinary Man private Facebook group. Iron sharpens iron and this is the #1 place for you to connect with me and other like minded men who are on a mission to maximize their potential. My goal is to help you become the man God created you to be in all areas of your life. So come and join us in the Facebook group and upgrade your business and your life.

The Cold War was not just a contest of power. It was also about ideas, in the broadest sense―economic and political, artistic and personal. In The Free World, the acclaimed Pulitzer Prize–winning scholar and critic Louis Menand tells the story of American culture in the pivotal years from the end of World War II to Vietnam and shows how changing economic, technological, and social forces put their mark on creations of the mind. How did elitism and an anti-totalitarian skepticism of passion and ideology give way to a new sensibility defined by freewheeling experimentation and loving the Beatles? How was the ideal of “freedom” applied to causes that ranged from anti-communism and civil rights to radical acts of self-creation via art and even crime? With the wit and insight familiar to readers of The Metaphysical Club and his New Yorker essays, Menand takes us inside Hannah Arendt's Manhattan, the Paris of Jean-Paul Sartre and Simone de Beauvoir, Merce Cunningham and John Cage's residencies at North Carolina's Black Mountain College, and the Memphis studio where Sam Phillips and Elvis Presley created a new music for the American teenager. He examines the post war vogue for French existentialism, structuralism and post-structuralism, the rise of abstract expressionism and pop art, Allen Ginsberg's friendship with Lionel Trilling, James Baldwin's transformation into a Civil Rights spokesman, Susan Sontag's challenges to the New York Intellectuals, the defeat of obscenity laws, and the rise of the New Hollywood. Stressing the rich flow of ideas across the Atlantic, he also shows how Europeans played a vital role in promoting and influencing American art and entertainment. By the end of the Vietnam era, the American government had lost the moral prestige it enjoyed at the end of the Second World War, but America's once-despised culture had become respected and adored. With unprecedented verve and range, this book explains how that happened.

This is the third and final episode of our discussion of  Andrea Wulf's biography of Alexander von Humboldt, The Invention of Nature. In this episode, we will discuss part 5 and have a general discussion about the entire book. As always with the book club, in each episode we will talk about whatever happened, so there will be spoilers and it probably makes most sense if you have read as far as we have. For this series, I'm joined by Cody Kommers, former guest of the podcast (episode 4), fellow podcaster, and fellow PhD student in cognitive neuroscience. Cody has a particular interest in travel and psychology.Podcast linksWebsite: https://bjks.buzzsprout.com/Twitter: https://twitter.com/BjksPodcastCody's linksWebsite: https://www.codykommers.com/Google Scholar: https://scholar.google.de/citations?user=ImTtx_kAAAAJTwitter: https://twitter.com/codykommersNewsletter: https://codykommers.substack.com/Ben's linksWebsite: www.bjks.blog/Google Scholar: https://scholar.google.co.uk/citations?user=-nWNfvcAAAAJTwitter:  https://twitter.com/bjks_tweetsReferencesHumboldt (1807). Personal narrative of travels to the equinoctial regions of the new continent during the years 1799-1804. G. Bell.Humboldt (1845-62). Cosmos: a sketch of a physical description of the universe. Harper. Isaacson (2011). Steve Jobs. Simon & SchusterMenand (2002). The metaphysical club: A story of ideas in America. Macmillan.Menand (2021). The Free World: Art and Thought in the Cold War. Farrar, Strauss & Giroux.Pausas & Bond (2019). Humboldt and the reinvention of nature. Journal of Ecology.Poe (1848). Eureka: a prose poem.(An essay on the material and spiritual universe.). GP Putnam.Rillig, Kiessling, Borsch, Gessler, Greenwood, Hofer ... & Jeltsch (2015). Biodiversity research: data without theory—theory without data. Frontiers in Ecology and Evolution.Wulf (2015). The invention of nature: Alexander von Humboldt's new world. Knopf.

Louis Menand é o autor de “Free World: art and thought in the cold war”. A obra recupera o momento em que os Estados Unidos estavam engajados com o mundo, a ponto de não apenas existir investimentos para a recuperação econômica do Japão e da Europa pós-Segunda Guerra Mundial, mas, também, quando a influência cultural dos Estados Unidos ia muito além de suas fronteiras, que, por sua vez, também se abriam para receber a produção artística, intelectual e criativa de outras nações. Na entrevista que concede ao nosso Podcast, Menand, que é professor em Harvard e autor da New Yorker, fala a respeito do livro e aproveita para discutir questões contemporâneas envolvendo a posição dos Estados Unidos no mundo.

There's no business like the idea business. That seems an apt motto for *The Free World: Art and Thought in the Cold War,* a comprehensive new book by Louis Menand. Menand, who splits his time writing for *The New Yorker* and teaching at Harvard, is fascinated by the culture heroes who successfully brought their wares to market between 1945 and 1965. Also fascinated is producer Ken Gordon and in this episode, he interrogates Menand—who, by the way, snagged a Pulitzer for his 2001 book, The Metaphysical Club*—about his multi-dimensional new volume. Menand admits that his ideal reader isn't some corner-officed CEO, but we think that any executive who aspires to be a systems thinker should consult *The Free World* to appreciate the panoramic context surrounding our famed American innovations. Despite the deep cultural focus, *The Free World* is, from certain angles, a business book. “The ideology of creation is that we don't talk about the business side of it,” says Menand. “But without the business side of it you can't get your product out to people.” *The Free World,* Menand says, details “the growth and maturity of the American culture industries. That would include Hollywood, the music business, book publishing, magazine publishing, and the art world. And also the university. All those industries boom after 1945.” Our interlocutors discuss the social networks that helped the characters in *The Free World* succeed—the *dramatis personae* includes everyone from Jean-Paul Sartre to Susan Sontag to The Beatles to James Baldwin and their many colleagues and friends—and how these compare to today's digital communities. “I'm an analog dinosaur,” Menand says, adding that, during his Zoom-enabled pandemic teaching, his students were busy kibbitzing in the chat: “They're carrying on a separate conversation, most of which is in kind of digital language I don't even understand.” The talk here is smart and informative—the flat nature of the web's cultural landscape (“There's just an endless amount of stuff which all more or less has the same degree of temperature,” says Menand. “It's like heat death in thermodynamics”), the surprises Menand found in writing (“Every time you open a door, there's a whole story behind it”), the psychological importance of feeling free, and more—all of which will make you think about our present moment and how current social networks, market forces, and creative thinkers can and will align to take new ideas and make them real. Host: Kenji Ross Engineer: Kyp Pilalas Producer: Ken Gordon

David Wraith studied sex education at the feet of “Bi-sexual white women”(Shouts out to Annie Sprinkle and Betty Dodson!). Now his mission is to inspire other Black men to embrace their full sexual selves by being a model for body love and sexual self-acceptance. From hosting clothing optional workshops, to educating the public about the 3 C's of polyamory (communication, consent, and ???) David Wraith is a force to be reckoned with in the field of pleasure activism and sex-positive education.Join Devi and David as they discuss:- Why representation in sex education matters- The healing power of public nudity- Celebrating polyfu*kery!- Practicing the 3 C's of ethical polyamory- Sexual self-acceptance specifically for black menAnd more!

Free minds. Freedom fries. Free speech. The Freedom Caucus. Freedom from. Freedom to. What do Americans really mean when they talk about freedom?Louis Menand's “The Free World” is a 700-plus-page intellectual history of the Cold War period that traces the opening of the American mind to new ideas in art, literature, politics, music, foreign policy, criticism, higher education and campus activism. John Cage was making silent music, Jackson Pollock was throwing paint on canvases, Pauline Kael was giving us permission to actually enjoy movies. Thinkers like James Baldwin, Isaiah Berlin and Hannah Arendt were arguing over what it meant to be free. Liberatory movements were trying to actually make Americans free. But what did it all get us? Out of all this ferment and conflict, what forms of freedom did Americans secure, and which did we lose?It's hard to think of a writer better suited to explain the art and intellectual culture of the Cold War than Louis Menand. In his writing for The New Yorker and his Pulitzer Prize-winning book “The Metaphysical Club,” Menand has shown how ideas are born out of interactions between individuals and larger historical forces, and how philosophical traditions like pragmatism, Transcendentalism and abolitionism continue to profoundly shape our world.In this conversation, we talk about the opening of the American mind, the rise of the American market and the narrowing of American politics. We discuss the avant-garde artists of the age and why Martin Luther King Jr.'s vision for equity has been lost. Oh, and how today's elite universities are built atop the legacy of 1960s campus radicalism, whether the Beat writers were actually the rebels they're remembered as, why John Cena is apologizing to China for calling Taiwan a country and more.Mentioned in this episode:“The Free World” by Louis MenandRecommendations:“Tristes Tropiques” by Claude Lévi-Strauss“Postwar: A History of Europe Since 1945” by Tony Judt“Chance and Circumstance: Twenty Years With Cage and Cunningham” by Carolyn BrownYou can find transcripts (posted midday) and more episodes of "The Ezra Klein Show" at nytimes.com/ezra-klein-podcast, and you can find Ezra on Twitter @ezraklein.Thoughts? Guest suggestions? Email us at ezrakleinshow@nytimes.com.“The Ezra Klein Show” is produced by Annie Galvin, Jeff Geld and Rogé Karma; fact-checking by Michelle Harris; original music by Isaac Jones; mixing by Jeff Geld, audience strategy by Shannon Busta. Special thanks to Kristin Lin.

This is sort of a hodgepodge of ideas that were inspired from Menand's book the free world.

Louis Menand’s new book, “The Free World: Art and Thought in the Cold War,” covers the interchange of arts and ideas between the United States and Europe in the decades following World War II. On this week’s podcast, Menand talks about the book, including why he chose to frame his telling from the end of the war until 1965.“What I didn’t get right away was the extent to which, what happened in American culture, both at the level of avant-garde art, like John Cage’s music, and at the level of Hollywood movies, was influenced by countries around the world,” Menand says. “When American culture comes into its own — because before 1945, I think, nobody really thought of America as a central player in world culture; that changes in the ’60s — but when that happens, culture becomes global, becomes international.”Phillip Lopate has edited many acclaimed anthologies throughout his career, but his latest project might be his most ambitious: three volumes of American essays from colonial times to the present day. “The Glorious American Essay” was published last year; “The Golden Age of the American Essay” arrived last month; and “The Contemporary American Essay” will be available this summer.“I’m really trying to expand the notion of what an essay is,” Lopate says on the podcast. “So I’ve included essays that are in the form of letters, like Frederick Douglass’s letter to his master; I’ve included essays in the form of sermons, like Jonathan Edwards, the Puritan preacher; I’ve included essays in the form of rants. I’m just trying to get people to see the essay as occurring in many, many different forms.”Also on this week’s episode, Tina Jordan looks back at Book Review history during this year of its 125th anniversary; Elizabeth Harris has news from the publishing world; and Gal Beckerman and Gregory Cowles talk about what they’re reading. Pamela Paul is the host.Here are the books discussed in this week’s “What We’re Reading”:“The Committed” by Viet Thanh Nguyen“The Big Sleep” by Raymond Chandler“Beijing Payback” by Daniel Nieh“Yoga” by Emmanuel Carrère

Blake Bailey’s new book about Philip Roth was taken out of print by the publisher after Bailey was accused of rape and attempted rape and “grooming” his teenage students for sex with him when they reached 18. Nation columnist Katha Pollitt argues that, while she believes the women—Bailey probably was a rapist, as well as a misogynist and a creep—readers should nevertheless have the chance to buy the book and come to their own conclusions. Also: Literature, art, and the idea of ‘freedom’ during the Cold War, from George Orwell to James Baldwin to The Family of Man: Louis Menand has been thinking about all of this. His new book is The Free World: Art and Thought in the Cold War. Menand teaches at Harvard and writes for The New Yorker. Subscribe to The Nation to support all of our podcasts: thenation.com/podcastsubscribe.  

The Free World: Art and Thought in the Cold War, is Luke Menand’s fourth book. His last, The Metaphysical Club: A Story of Ideas in America, won the 2002 Pulitzer Prize for history. Menand is a professor of English at Harvard, and a staff writer forThe New Yorker magazine

The postwar years were a true flowering of American culture. Even as the United States was locked in an arms race with the Soviet Union, which culminated in the terrifying doctrine known as mutually assured destruction, the country evolved from a military and economic powerhouse into a cultural presence at the center of the world. Modern jazz and rock and roll were exported and celebrated around the globe. Painters came out of the long shadow of war-torn Europe and led the way into new forms of abstraction and social commentary. Thinkers like James Baldwin turned a spotlight back on America’s fundamental, unexamined flaws. This period, in all its complicated glory, is the subject of “The Free World: Art and Thought in the Cold War,” by Louis Menand. Menand is a professor at Harvard University and a winner of the Pulitzer Prize for his book “The Metaphysical Club,” from 2001. Menand talks with David Remnick about a time, as he writes, when “ideas mattered. Painting mattered. Movies mattered. Poetry mattered.”

Oscars, schmoscars! Richard Brody is a critic of wide tastes and eccentric enthusiasms. His list of the best films of the year rarely lines up with the Academy’s. Each year, he joins David Remnick and the staff writer Alexandra Schwartz to talk about the year’s cinematic highlights. Plus, the staff writer Louis Menand talks with Remnick about his new work of cultural history, “The Free World.” Menand writes about the postwar flowering of American culture, when the United States evolved from an economic and military giant into a global creative force. Modern jazz and rock and roll were exported and celebrated around the world. Painters got out from under the long shadow of Europe and led the way into new forms of abstraction and social commentary. Writers like James Baldwin turned a spotlight back on America’s fundamental, unexamined flaws. It was a time, Menand writes, when “ideas mattered. Painting mattered. Movies mattered. Poetry mattered.”

From George Washington's administration onward, the federal government's power over financial markets and banks has always occupied a nebulous corner of American constitutional government. Recently the Gray Center posted three new working papers exploring different aspects of financial and monetary regulation. In this podcast, Adam White chats with two of the authors: Columbia Law School's Lev... Source

From George Washington’s administration onward, the federal government’s power over financial markets and banks has always occupied a nebulous corner of American constitutional government. Recently the Gray Center posted three new working papers exploring different aspects of financial and monetary regulation. In this podcast, Adam White chats with two of the authors: Columbia Law School’s […]

In this epic edition of Preaching Poetry Podcast, we embark upon a voyage through Alfred Lord Tennyson's famous poem, Ulysses. This week, we spend most of our time discussing the backstory and history of the character of Ulysses, known as Odysseus to his Greek fans. We march through Homer's great epics, the Illiad, and the Odyssey so that you can better understand what Tennyson reintroduces us the fabled Greek hero as an old man, longing for adventure again.Join us as we talk about all this and more, such as why you should keep it in your pants, avoid feuding Olympians, and why you should probably just avoid ever getting on a boat with anyone named Odysseus.“Ulysses" by Alfred Lord TennysonIt little profits that an idle king,By this still hearth, among these barren crags,Match'd with an aged wife, I mete and doleUnequal laws unto a savage race,That hoard, and sleep, and feed, and know not me.I cannot rest from travel: I will drinkLife to the lees: All times I have enjoy'dGreatly, have suffer'd greatly, both with thoseThat loved me, and alone, on shore, and whenThro' scudding drifts the rainy HyadesVext the dim sea: I am become a name;For always roaming with a hungry heartMuch have I seen and known; cities of menAnd manners, climates, councils, governments,Myself not least, but honour'd of them all;And drunk delight of battle with my peers,Far on the ringing plains of windy Troy.I am a part of all that I have met;Yet all experience is an arch wherethro'Gleams that untravell'd world whose margin fadesFor ever and forever when I move.How dull it is to pause, to make an end,To rust unburnish'd, not to shine in use!As tho' to breathe were life! Life piled on lifeWere all too little, and of one to meLittle remains: but every hour is savedFrom that eternal silence, something more,A bringer of new things; and vile it wereFor some three suns to store and hoard myself,And this gray spirit yearning in desireTo follow knowledge like a sinking star,Beyond the utmost bound of human thought.         This is my son, mine own Telemachus,To whom I leave the sceptre and the isle,—Well-loved of me, discerning to fulfilThis labour, by slow prudence to make mildA rugged people, and thro' soft degreesSubdue them to the useful and the good.Most blameless is he, centred in the sphereOf common duties, decent not to failIn offices of tenderness, and payMeet adoration to my household gods,When I am gone. He works his work, I mine.         There lies the port; the vessel puffs her sail:There gloom the dark, broad seas. My mariners,Souls that have toil'd, and wrought, and thought with me—That ever with a frolic welcome tookThe thunder and the sunshine, and opposedFree hearts, free foreheads—you and I are old;Old age hath yet his honour and his toil;Death closes all: but something ere the end,Some work of noble note, may yet be done,Not unbecoming men that strove with Gods.The lights begin to twinkle from the rocks:The long day wanes: the slow moon climbs: the deepMoans round with many voices. Come, my friends,'T is not too late to seek a newer world.Push off, and sitting well in order smiteThe sounding furrows; for my purpose holdsTo sail beyond the sunset, and the bathsOf all the western stars, until I die.It may be that the gulfs will wash us down:It may be we shall touch the Happy Isles,And see the great Achilles, whom we knew.Tho' much is taken, much abides; and tho'We are not now that strength which in old daysMoved earth and heaven, that which we are, we are;One equal temper of heroic hearts,Made weak by time and fate, but strong in willTo strive, to seek, to find,

ONE SONG is an interview series about your favourite artists, favourite song. I ask a songwriter to pick One Song from their whole collection... no mean feat.If you enjoy my podcasts please join my patreon for as little as $3 a month.https://www.patreon.com/TamaraWilliamson Mark Sasso is one of the founding members of ELLIOTT BROOD talking about his One Song "Their Will" released on the album "Days into Years" 2011.We have crossed paths many times over the last few years as Stephen Pitkin also helps me with drums and mastering on many of my projects. Please visit Elliott Broods website for details on their new release "KEEPER" released September 2020.https://www.elliottbrood.com Elliott Brood is a Canadian three-piece, alternative country band formed in 2002 in Toronto, consisting of Mark Sasso on lead vocals, guitar, banjo, ukulele, harmonica, and kazoo, Casey Laforet on guitar, lead vocals, backing vocals, bass pedals, keys, and ukulele, and Stephen Pitkin on percussion, sampler, and backing vocals. The band's style has been categorized as "death country", "frontier rock", or "revival music" Their Will (lyrics) On waves, we had comeThey planted us on to these shores Now we had never knownSuch sights or the places That we now called home We were given to this dayThere was silenceAnd then came their callsUrged us up and over for King and CountryFor God's sake, don't hesitate boysMake the distance before they see"Then into their fire, we drove our bodiesThen came the soundsCries of pain emerged from within the cloudsOur feet, they fell apartOur will soon followed, as did our heartsWith head in hands We traced our pathsOn the remnants of their worn out mapsAnd prayed for an endBy the time We had turned aroundThe tides had comeReclaimed the broken groundWe forgot that we were menAnd where we came fromAnd where we laid our headsAnd the wounds we hadWe all knew they'd never mendAnd the ones we lost And the ones we couldn't save

Cab Calloway - Minnie The Moocher (disco version) (1978)  Les Humphries Singers - Father O'Flynn (1975) Les Humphries Singers - US Calvary (1975)  Phil Ochs - I Ain't Marchin' Anymore (electric version) (1965) Rarely referenced in favor of the more taut acoustic version. Still, look at this: Oh I marched to the battle of New OrleansAt the end of the early British warThe young land started growingThe young blood started flowing But I ain't marchin' anymore For I've killed my share of IndiansIn a thousand different fightsI was there at the Little Big HornI heard many men lyingI saw many more dyingBut I ain't marchin' anymore   It's always the old to lead us to the warIt's always the young to fallNow look at all we've won with the saber and the gunTell me is it worth it allFor I stole California from the Mexican landFought in the bloody Civil WarYes I even killed my brotherAnd so many others And I ain't marchin' anymore For I marched to the battles of the German trenchIn a war that was bound to end all warsOh I must have killed a million menAnd now they want me back againBut I ain't marchin' anymore   For I flew the final mission in the Japanese skySet off the mighty mushroom roarWhen I saw the cities burningI knew that I was learningThat I ain't marchin' anymore   Now the labor leader's screamin' when they close the missile plantsUnited Fruit screams at the Cuban shoreCall it, "Peace" or call it, "Treason"Call it, "Love" or call it, "Reason"But I ain't marchin' any more   The Belmonts - My Sweet Lord (1971) Cheap Trick - Hello There (1978) Steve Albini version. With horns.  Cheap Trick - Downed (1978) Steve Albini version. Tonto's Exploding Headband - Tama (1971) "Tonto" is the name of the enormous synthesizer invented by Malcolm Cecil (Tonto's Expanding Head Band founder). T.O.N.T.O. stands for The Original and New Timbral Orchestra due to its amazingly expansive symphonic sound. Listen to Stevie Wonder's early-70's masterpieces. That's what you hear.  Here are some song-poems for your ass.  Sammy Marshall and the Party Crashers - Rock and Roll Boogie Beat  Sonny Cash - Psychic Cigarette  Jim Lea - The Doing of Our Thing  Stan Beard and the Swinging Strings - Snobows (?) What I Say? - Some band from Japan.  Fakes: The Georgettes - Be My Baby  The Chords - Mrs. Brown You've Got A Lovely Daughter The Jalopy Five - Help The Jalopy Five - Satisfaction  Betty Richards - These Boots Are Made For Walkin'  Betty Richards - How Does That Grab You Darlin' The Jalopy Five - Sock it To Me Baby Tribe - Why? (1971)    ? - Batman Theme (1966) Sherry York - A Sign Of The Times (1966) Sandy - Bang Bang (1966) Cheap Trick - Big Eyes (1978) Steve Albini version. The Alan Caddy Orchestra - Fire (1968) The Alan Caddy Orchestra - Want Ads (1970) The Alan Caddy Orchestra - Freddie's Dead (1971) The Now Generation - Half-Breed (1973)  Ray Conniff - Doin' The Twister (1957) The Human Beinz - Foxey Lady (1968)  ? - Fire (?) The Smack - Fire (1968) American rock band from Lawrence, Kansas active in 1968. Smack was formed by 4 students from the University of Kansas. Within a few weeks of inception, the band performed many gigs in the Lawrence area, and eventually recorded a covers album, Smack. Only around 2,000 copies of this album were ever pressed, and quickly sold out, later becoming collectors items, due to its unique, heavy musicianship, fuzz toned covers of classic songs, and its rarity.  Sarah Vaughan - Peter Gunn Theme (1966)  

A independência da primeira colônia das Américas foi um dos fatos mais importantes da história moderna e nós aqui no Fronteiras não poderíamos deixar de tratar desse tema. O surgimento da nação estadunidense já nos foi narrada em inúmeras peças da cultura pop, filmes, desenhos animados, músicas… mas que história foi essa? Por que os homens da independência escreviam nos documentos liberty e não freedom? Quais foram as causas e as consequências desse movimento? Afinal, o que nós, os demais americanos, podemos aprender estudando a independência dos Estados Unidos? Para conversar sobre estas e outras questões, tivemos o prazer em receber nossos amigos Willian Spengler e Marcos Sorrilha, e foi no perfil do Instagram dele que encontramos essa citação para convidá-los a virem conosco em mais essa viagem.:“Não há nada melhor que possa merecer o seu apoio do que a promoção da ciência e da literatura. Em todos os países, o conhecimento é a base mais segura da felicidade pública” (George Washington, 1790) Neste episódio Entenda como se deu a colonização das regiões da América do Norte, como era o modelo de colonização britânico e quais comparações podemos fazer com os modelos ibéricos aplicados nas outras regiões americanas. Conheça quem eram os colonizadores, quais atividades desenvolviam, como sua religião influenciou no processo. Reflita conosco sobre as causas da independência, desde as várias guerras que a precederam até as ações do governo britânico que foram criando cada vez mais rusgas entre ingleses e americanos. Entenda como cresceram as ideias de liberdade e direitos entre os cidadãos das colônias e como este processo que os tornou americanos, fazendo da ideia de independência algo irrefutável. Por fim, conheça as nuances das guerras de independência e as dinâmicas políticas entre as ex-colônias para a criação da federação que hoje conhecemos como Estados Unidos da América. *Este episódio é patrocinado pelo CAMBLY Arte da Capa CAMBLY Código que dá uma aula experimental grátis: FRONTEIRASNOTEMPO App do Cambly para iPhone App do Cambly para Android Ajude nosso projeto! Você pode nos apoiar de duas formas: PADRIM  – só clicar e se cadastrar (bem rápido e prático) PIC PAY – Baixe o aplicativo do PicPay: iOS / Android Mencionado no Episódio Canal do Marcos Sorrilha Redes Sociais Twitter, Facebook, Youtube, SPOTIFY, Instagram Contato fronteirasnotempo@gmail.com Expediente Produção Geral e Hosts: C. A e Beraba, Recordar é Viver: Willian Spengler. Vitrine:  Augusto Carvalho, Edição: Adriano João Como citar esse episódio Citação ABNT Fronteiras no Tempo #49 Independência dos EUA. Locução: Cesar Agenor F. da Silva, Marcelo de Souza e Silva, Marcos Sorrilha Pinheiro, Willian Spengler [S.l.] Portal Deviante, 17/06/2020. Podcast. Disponível em: https://www.deviante.com.br/podcasts/fronteiras-no-te…endencia-dos-eua/ Material Complementar Podcasts Fronteiras no Tempo #32 – A Revolução Francesa: https://fronteirasnotempo.com/fronteiras-no-tempo-32-a-revolucao-francesa/ Fronteiras no Tempo – Historicidade #20 – Thomas Jefferson, o advogado:  https://fronteirasnotempo.com/fronteiras-no-tempo-historicidade-20-thomas-jefferson-o-advogado/ [PILOTO] Fronteiras no Tempo: Pequenas Histórias #00 – Revolução Francesa https://www.deviante.com.br/podcasts/piloto-fronteiras-no-tempo-pequenas-historias-00-revolucao-francesa/ Livros, capítulos de livros e artigos AQUINO, Rubim Santos Leão de. História das Sociedades Americanas. Rio de Janeiro: Record, 2010. ARMITAGE, David. “The Declaration of Independence in World Context.”. OAH Magazine of History, vol. 18, no. 3 (April 2004), 61-66. Disponível em https://academic.oup.com/maghis/article-abstract/18/3/61/1034944 ARMITAGE, David. Declaração de Independência: uma história global. São Paulo: Companhia das Letras, 2011. 264p. BAILYN, Beranrd. Fontes e Tradições. In: ___. As Origens Ideológicas da Revolução Americana. Bauru: Edusc, 2003, p. 41-66. COGLIANO, Francis. The Imperial Crisis. In: ____. Revolutionary America, 1763-1815: A Political History. 3a ed, New York: Routledge, 2016, 27p. KARNAL, Leandro. Estados Unidos: da Colônia à Independência. São Paulo: Contexto, 1990. LIMONGI, Fernando Papaterra. “O Federalista”: remédios republicanos para males republicanos. In: WEFFORT, Francisco (org). Os Clássicos da Política. v.1. São  Paulo: Ática, 1993, p. 243 – 255. MAIER, Pauline. American Scripture: making the declaration of Independence. New York: Vintage Books, 1997. NARO, Nancy Priscilla S. A formação dos Estados Unidos. São Paulo: Atual, 1987. RÉMOND, René. História dos Estados Unidos. São Paulo: Martins Fontes, 1989. RICHARDS, David A. J. A Intenção dos Fundadores e a Interpretação Constitucional. In: BERLOWITZ, Leslie; DONOGHUE, Denis; MENAND, Louis. A América em Teoria. Rio de Janeiro: Forense Universitária, p. 24 – 49. SELLERS, MAY e McMILEN. Uma Reavaliação da História dos Estados Unidos. Rio de Janeiro: Zahar, 1985. TAYLOR, Alan. Republics. In: ____. American Revolutions: A Continental History. New York: W.W. Norton, 2016, 22p. Sugestão de filmes O Patriota. Trailer disponível em https://www.youtube.com/watch?v=P5u1am7pmrw O Último dos Moicanos. Trailer disponível em https://www.youtube.com/watch?v=Ztx_gmZDLO4 A Revolução. Trailer disponível em https://www.youtube.com/watch?v=avCXb58GNRU 1776. Trailer disponível em https://www.youtube.com/watch?v=neXdVJNZRg0 Filhos da Liberdade. Trailer disponível em https://www.youtube.com/watch?v=GYOn20T8lE4 John Adams. Trailer disponível em https://www.youtube.com/watch?v=GEtajI8Tmsw Jefferson em Paris. Trailer disponível em https://www.youtube.com/watch?v=oTpFci6HNgA The Crossing. Trailer disponível em https://www.youtube.com/watch?v=jSxe9le3Da4 Sugestão de vídeos Yankee Doodle Bugs,do Pernalonga. Disponível em https://www.dailymotion.com/video/x7u6wkg América – A Saga dos EUA, do History Channel. Disponível em https://www.youtube.com/watch?v=MnBii1GoEx8&list=PLfNlc9-a0AD4NcqRAjupJEhyI2c3CmqP9 História dos EUA, por Marcos Sorrilha Pinheiro. Disponível em https://www.youtube.com/watch?v=sokMc4r-Wlw&list=PLzgFbHithf-H21qa4O7tnqkyzDicmzCdF Hamilton – Battle Of Yorktown. Disponível em  https://www.youtube.com/watch?v=8odeMTS-sLg Sugestão de links O que você precisa saber sobre a guerra de independência dos EUA: https://revistagalileu.globo.com/Sociedade/Historia/noticia/2019/07/o-que-voce-precisa-saber-sobre-guerra-de-independencia-dos-estados-unidos.html Escravidão e liberdade: o paradoxo americano. https://www.scielo.br/scielo.php?script=sci_arttext&pid=S0103-40142000000100007 A Declaração de Independência dos EUA. http://www.uel.br/pessoal/jneto/gradua/historia/recdida/declaraindepeEUAHISJNeto.pdf Um Esboço da História Americana. https://photos.state.gov/libraries/amgov/30145/publications-portuguese/OutlineofUSHistory_Portuguese.pdf O constitucionalismo nos EUA. https://www.unigran.br/dourados/revista_juridica/ed_anteriores/23/artigos/artigo04.pdf História da América: das independências aos desafios do limiar do séc. XXI. http://repositorio.unicentro.br:8080/jspui/bitstream/123456789/862/5/HIST%C3%93RIA%20DA%20AM%C3%89RICA%20-%20DAS%20INDEPEND%C3%8ANCIAS%20AOS%20DESAFIOS.pdf As grandes revoluções do séc. XVIII e o Iluminismo. http://faef.revista.inf.br/imagens_arquivos/arquivos_destaque/2nwjMOpLyWln7m3_2018-10-6-10-38-31.pdf Thomas Paine revisitado. http://www.iea.usp.br/publicacoes/textos/florenzanothomaspaine.pdf Sugestão de games: Age of Empires III. Trailer disponível em https://www.youtube.com/watch?v=SSempPDd3ck Empire Total War. .Trailer disponível em: https://www.youtube.com/watch?v=Yrmsh54J-nA Assassin's Creed 3. Trailer disponível em https://www.youtube.com/watch?v=-pUhraVG7Ow Trilha Sonora do Episódio (em ordem de execução) 01 – James Brown – Living in America 02 – Bruce Springsteen – Born in the U.S.A. 03 – Grateful Dead – U.S Blues 04 – U2 – American Soul 05 – Cimorelli – Made in America 06 – Rihanna – American Oxygen 07 – Native American Song – Shaman 08 – Native American Song – Indian War Chant 09 – Sacred Spirit – Ly O Lay Ale Loya (The Counterclockwise Circle Dance) 10 – U2 – The Hands that Built America 11 – Brooks & Dunn – Only in America 12 – Toby Keith – Courtesy of the Red, White and Blue (The Angry American) 13 – Woody Guthrie – This Land is Your Land 14 – John Williams – The patriot (Main Theme) 15 – Elvis Presley – An American Trilogy 16 – 38th Army Band- Yankee Doodle | American Patriotic Song 17 – Papa Roach – American Dreams 18 – David Bowie – I’m Afraid of American 19 – Aaron Tippin – Where The Stars And Stripes and The Eagle Fly 20 – The Jazz Ambassadors – America the Beautiful 21 – Neil Diamond – America 22 – The Jazz Ambassadors – Sing Sing Sing 23 – Carmen Miranda & Mário Reis – Alô… Alô 24 – Tears For Fears – Everybody Wants To Rule The World Madrinhas e Padrinhos Alexandre Strapação Guedes Vianna, Alexsandro de Souza Junior, Anderson O Garcia,  André Luis Santos, Andre Trapani Costa Possignolo, Andréa Silva, Andressa Marcelino Cardoso, Artur Henrique de Andrade Cornejo, Carlos Alberto de Souza Palmezani, Carlos Alberto Jr., Carolina Pereira Lyon, Ceará, Cláudia Bovo, Eani Marculino de Moura, Eduardo Saavedra Losada Lopes, Elisnei Oliveira, Ettore Riter, Felipe Augusto Roza, Felipe Sousa Santana, Flavio Henrique Dias Saldanha, Iago Mardones, Iara Grisi, Isaura Helena, João Carlos Ariedi Filho, José Carlos dos Santos, Leticia Duarte Hartmann, Lucas Akel, Luciano Beraba, Manuel Macias, Marcos Sorrilha, Mayara Araujo dos Reis, Moises Antiqueira, Paulo Henrique de Nunzio, Rafael, Rafael Alves de Oliveira, Rafael Igino Serafim, Rafael Machado Saldanha, Raphael Almeida, Raphael Bruno Silva Oliveira, Renata Sanches, Rodrigo Raupp, Rodrigo Vieira Pimentel, Rubens Lima, Sr. Pinto, Wagner de Andrade Alves, Willian Scaquett, Willian Spengler e ao padrinho anônimoSee omnystudio.com/listener for privacy information.

Trinity Sunday (June 7th)Song: We All Believe in One True GodPassage: Genesis 1-2:4, Acts 2 14a, 22-36, Matthew 28:16-20Hello everyone and Welcome to episode #15 of the Anno Domini Podcast. A podcast dedicated to the supremacy of Christ over all things including our days, weeks, and months.Join me as we explore how Christ is revealed through the cyclical life of the church calendar year. We’ll discover how this calendar once structured culture and how it can again. We’ll also discuss practical ways to observe and celebrate these holy days in our quest to glorify God and live the good life in the midst of all good He has given us. Last week I said that Pentecost might be the most important day we mark on the Church Calendar. My reasoning is that only with the coming of the Holy Spirit, are those of us who belong to Christ are actually given new hearts. Jesus said that we would be born again by the Spirit. The Father sends the Son. The Son atones for the sins of His people, and the Spirit gives them new hearts so that they can approach the holiness of the Father. It is this beautiful trinitarian reality that we celebrate on Holy Trinity Sunday. Father, Son, and Holy Ghost, living in perfect harmony, three in one and one in three. The triune God head.PracticalTrinity Sunday is here. We are now beginning a new time within the Church Calendar; Ordinary Time. While the first half of the Church year focuses on the Life of Jesus, the second half focuses on the life of the Church now that the Spirit has come and filled our hearts with love of God and love of His people. This is where we get our idea of things being ordinary and special. The first half is special because it is all about the life of Christ, the second half is ordinary, or numbered, because we, the saints that comprised His bride, the Church, are being transformed into a better representation of Him. Ordinary isn’t boring, in fact, without ordinary you don’t have special. Things are only special if they are set against ordinary things. We are now living in the time of Pentecost and therefore we number our weeks as they correspond to the Pentecost Sunday when the Spirit was given to us. In this way we balance our focus on the life of Christ and the life of Christ’s people as they try and become more like Him. BiblicalEach episode of the Anno Domini podcast, we try and look at some or all of the readings found in the church lectionary. For those of you who are new, the lectionary is simply a prepared set of readings that are connected in a germane way to the day or week of the Church Calendar. This is a set group of readings that ALL the church is reading together regardless personal devotions. Usually there is an Old Testament Reading, A Psalm, a Gospel passage, and an Epistle reading. These passages usually share commonalities although sometimes you have to work to spot them. For Trinity Sunday the passages are from Genesis 1-2:4, Matthew 28:16-20 and Acts 2:14a, 22-36. I will actually be reading snippets of each of these passages to highlight why they were chosen for Trinity Sunday. Let’s start with the passage from Genesis.Genesis 1:26-28Then God said, “Let us make man in our image, after our likeness. And let them have dominion over the fish of the sea and over the birds of the heavens and over the livestock and over all the earth and over every creeping thing that creeps on the earth.”So God created man in his own image,in the image of God he created him;male and female he created them.And God blessed them. And God said to them, “Be fruitful and multiply and fill the earth and subdue it, and have dominion over the fish of the sea and over the birds of the heavens and over every living thing that moves on the earth.”As God is creating the world, His creation culminates with the creation of man, the image of God. When God prepares to create man, He refers to Himself using a first person plural pronouns “Us” and “Our.” He does not use the singular “I” or “My” but “Us” and “Our.” This means that God is one God with at least more than one person within the God head. We will see in the next passages that there are in fact three.Matthew 28:16-20Now the eleven disciples went to Galilee, to the mountain to which Jesus had directed them. And when they saw him they worshiped him, but some doubted. And Jesus came and said to them, “All authority in heaven and on earth has been given to me. Go therefore and make disciples of all nations, baptizing them in the name of the Father and of the Son and of the Holy Spirit, teaching them to observe all that I have commanded you. And behold, I am with you always, to the end of the age.”Christians have been given the task of calling to repentance and discipline, all the nations of the earth. We are to baptize them in a veryspecific way, in the name of the Father, and of the Son, and of the Holy Spirit. Once they’ve been baptized, we are teach them how to obey God in the ways He has commanded us. When we obey Christ in this way, He promises to be with us always.Acts 2:32-33,36This Jesus God raised up, and of that we all are witnesses. Being therefore exalted at the right hand of God, and having received from the Father the promise of the Holy Spirit, he has poured out this that you yourselves are seeing and hearing…Let all the house of Israel therefore know for certain that God has made him both Lord and Christ, this Jesus whom you crucified.”In this passage, Peter is giving His first sermon and He declares that Jesus ascended to the right hand of God the Father where He was given the promised Holy Spirit which He then poured out upon us. There again we see the three members of the Triune Godhead on display. We also see the love of our One God. The Father sends the Son to rescue His people from their sins so He can pour out His Spirit upon them. This in One God in Three Persons.PracticalThis week we are going to be examining a hymn from one of my favorite fathers of the faith; Martin Luther. Before we get to the hymn I would like to talk for a moment about this man God used to advance the kingdom here on earth as it is in heaven. Luther of course started his life out as a Roman Catholic but was disturbed by many things he saw taking place within the Roman Catholic church. Martin Luther observed rampant greed, oppression, corruption, and blasphemy, which is the act of speaking falsehoods about God that make Him out to be liar. Martin Luther is one of Christendom’s greatest heroes because he stood against the zeitgeist of the day. Martin Luther was German and so is the word zeitgeist which, to my knowledge, does not have an english equivalent. Zeitgeist is a word that is used to describe the “Spirit of the Age.” Every age, or period has a defining spirit or characteristic. For Luther, that Zeitgeist was a Roman Catholic church steeped in corruption as priests taught the manipulative and unbiblical doctrine of indulgences. Parishioners were deceived into giving extra money to the church outside the normal tithe to “buy their relatives out of purgatory.” The lay people were not allowed to read the bible and had to rely entirely on the clergy to teach them God’s Word. Since it was in the best financial interest of the Roman Catholic church to require indulgences the church grew fat with wealth while the people suffered. This was real oppression with actual victims. This was true institutional oppression. Martin Luther stood up against the prevailing thought of his day and one day courageously nailed his 95 Theses to the church doors at Wittenberg. By going against the zeitgeist, the Spirit of the Age, Martin Luther brought true freedom to a people who were really being oppressed. Martin Luther chose to not follow the crowd and instead took his stand courageously on Scripture. Paul warns us in Colossians 2:8 “See to it that no one takes you captive by philosophy and empty deceit, according to human tradition, according to the elemental spirits of the world, and not according to Christ.”The zeitgeist had its truth, its gospel if you will, hollow as it was. The zeitgeist promised true deliverance but only delivered a false deception dreamt up by the father of lies. The zeitgeist is fickle and is no substitute for true salvation. See the zeitgeist and if it doesn’t submit to Christ and His Word then reject this false gospel.As we seek practical ways of living a life that is shaped by Trinitarian thought let’s put 3 things at the forefront of our mind:Our sin is primarily against God the Father. We are guilty but not because we feel guilty. David didn’t feel guilty until Nathan called out his sin. David, while confessing his sin of adultery and murder confesses to God in Psalm 51 “against You and You only have I sinned.” This doesn’t mean that we shouldn’t confess our sins to others, we absolutely should and must if there is actual sin involved but never forgetting that sin is ultimately against our Holy Father.Our sin against God the Father was atoned for by Jesus Christ, God the Son, through His work on the cross. He lived a perfect life, fulfilled the Law of God, and imputes that righteousness to His children setting us free from the power and guilt of sin. If the Son sets you free, you will be free indeed. Therefore regardless of the sin of your father, or their fathers, if you are in Christ, you are a new creation, the old is gone and you have been set free from that sin. Walk no longer in guilt or shame.Our sin having been atoned for, we are given God the Holy Spirit to indwell us. Since God the Son has set us free from the power of sin against the God the Father, God the Holy Spirit gives us power to walk in that newness of life. Those of us in Christ should walk by the Spirit by living lives that reflect this freedom by our willingness to love God and to love those around us who have been made in the image of God. We exhibit this love for others by standing up for truth, goodness, and beauty. We exhibit this love for other by confess our own sin and not the sin of others. We exhibit this love for others by believing and speaking biblical truth in love and not by spreading sweet little easy lies.The bottom line is that our allegiance is to our God and Creator and to His people. When we sin it is against Him. When we are forgiven it is because of His mercy. When we walk in freedom it is because of His grace. A double portion. This gospel is independent of any nation, tribe, or tongue. We are Christians first. Period. Nothing should come before our unity as Christians. The only solidarity Christians should make primary is their union with the body of believers that comprise the Bride of Christ, the Church. The Father is providing His Son, the bridegroom, with a beautiful and spotless bride. That bride is us and we must not make our allegiance to anyone or anything before our true Husband. As believers in the One True God, We will be spending eternity together in harmony, so let’s start practicing that harmony now. The gospel is grace and freedom for all who come. Let’s treat our brothers and sisters in Christ as if they have actually been set free. MusicalAs I said earlier, this weeks hymn comes from Martin Luther in 1524. This hymn was originally set to a chant that is hauntingly beautiful. I have put the song to a new a tune. This is an explicitly Trinitarian song and each stanza is dedicated to a different member of the Trinity. This song is a sung creed. Just as we say the Apostles Creed or the Nicean Creed, we sing this creed. All Christians believe what is within those creeds as they are the foundations for Christianity. Creedal songs such as this are wonderful because even if Christians disagree on many theological topics, we all believe these things to be true and we can gather around our true unity within songs and creeds like these. I will read each stanza and comment briefly on each.We all believe in one true God,Who created earth and heaven,The Father, who to us in loveHath the right of children given.He both soul and body feedethAll we need He doth provide us.He through snares and perils leadeth,Watching that no harm betide us.He careth for us day and nightAll things are governed by His mightAs I said in the previous segment, Christians have solidarity first with one another. We are Christians first always. The blood of Christ is takes precedent over the blood in our own veins. What do we believe? We believe in the maker of heaven and earth. The one true God. The God is a Father and He calls us His children. He feeds our souls and our bodies and provides us with everything we truly need. He leads us through the many snares and perils that abound in this life and He does this all while watching that no harm happens to us. He is always taking care of us and He is sovereignly in control of everything that happens in this world. He is a good Father.We all believe in Jesus Christ,His own Son, our Lord, possessingAn equal Godhead, throne, and might,Source of ev'ry grace and blessing;Born of Mary, virgin mother,By the power of the Spirit,Made true man, our elder Brother,That the lost might life inherit,Was crucified for sinful menAnd raised by God to life again.Christians believe in Jesus Christ who is the Son of God the Father. Jesus possess an equal Godhead. That is to say while Christ submits to the Father, He is fully God in His position and his power. Christ is the source of our joy and happiness. By the Spirit Jesus was born of the virgin Mary and while fully God was also fully man or a true man. As He is one of us, He is our elder brother. Think about that, all those claimed by Christ have them same Big Brother; Jesus. That means we’re all siblings. He was made fully man so that we, His lost sheep, might inherit eternal life. He was crucified for our sins while we were still sinful and unlovely but He was then raised by God the Father to life again on the 3rd day.We all confess the Holy Ghost,Who sweet grace and comfort givethAnd with the Father and the SonIn eternal glory liveth;Who the Church, His own creation,Keeps in unity of spirit.Here forgiveness and salvationDaily come through Jesus' merit.All flesh shall rise, and we shall beIn bliss with God eternally.We all believe in or confess the Holy Ghost who gives us grace and comfort. Jesus calls Him the Comforter. He lives with the Father and the Son in eternity which means He had no beginning and will have no end. The Church is held together in unity by the power of the Holy Spirit’s work in us. We choose one another because we are all a part of the same body. Within the Church is forgiveness and salvation because of the merit or work or Christ. One day all men, women, boys, and girls, literally ALL flesh shall rise for the final judgement. For those found in Christ we will have bliss with God forever. I will be going on an extended break as we are entering ordinary time on the Church Calendar. Ordinary time refers the time that is marked by ordinal numbers following Pentecost. Trinity Sunday is actually the 1st Sunday after Pentecost. We will have 19 more Sunday’s after Pentecost before we get to our next Church Holiday which is Reformation Day and then the week after will be All Saints Day. I will for sure produce an episode for All Saints Day and probably will for Reformation Day as well. I have some time to think about it though as either of those days won’t be here until the end of October. If I might make a suggestion it would be to download the Lectionary in the show notes so you can continue to read the biblical passages during this beautifully ordinary time.Anyways, that wraps up our episode on the Trinity. I hope you all have a wonderful Trinity Sunday and I hope you enjoy a new setting of Martin Luther’s Trinitarian masterpiece, We All Believe in One True God and we’ll see you in October.

Lev Menand is a legal scholar at Columbia Law School and has previously worked for the New York Fed, the US Treasury Department, and the Financial Stability Oversight Council (FSOC). Lev Joins Macro Musings to talk about his new paper, *Unappropriated Dollars: The Fed’s Ad Hoc Lending Facilities and the Rules that Govern Them*. Specifically, David and Lev discuss opening up public Fed bank accounts, the importance of liquidity and credit facilities, and how Congress is using the CARES Act to skirt the Fed’s current legal mandates.   Transcript for the episode can be found here: https://www.mercatus.org/bridge/tags/macro-musings   Lev’s Twitter: @LevMenand Lev’s Columbia Law profile: https://www.law.columbia.edu/faculty/lev-menand   Related Links:   Bonus segment with Lev: https://youtu.be/N9qndjjju9A   *Unappropriated Dollars: The Fed’s Ad Hoc Lending Facilities and the Rules That Govern Them* by Lev Menand https://papers.ssrn.com/sol3/papers.cfm?abstract_id=3602740   *FedAccounts* by Morgan Ricks, John Crawford, and Lev Menand https://papers.ssrn.com/sol3/papers.cfm?abstract_id=3192162   David’s blog: macromarketmusings.blogspot.com David’s Twitter: @DavidBeckworth

Sparky speaks to Lev Menand, academic fellow and lecturer at Columbia Law School, who answers all Sparky's questions about the Federal Reserve: what it is, what money is, how banking works, Modern Monetary Theory—and, of course, whether money printer go brrr. This is a preview of an episode available in full to our Patreon subscribers. To gain full access to this episode, as well as lots of other fantastic bonus content, please consider becoming one of our subscribers at www.patreon.com/CurrentAffairs!

What a Digital Dollar looks like…We are on the cusp of a new monetary era. Central bankers around the world are increasingly worried that privately controlled digital currencies will relegate them to the sidelines of monetary affairs. To avoid this fate, central banks have been studying, and in some cases actively pursuing, issuing digital currencies of their own: so-called central bank digital currency (CBDC). Today's tech giants have the scale and consumer reach, not to mention the incentive, to create their own digital moneys that threaten to compete with or even displace the public moneys that central banks issue and manage. The Peoples Bank of China is reportedly poised to launch its CBDC as soon as this year. If it succeeds, other major central banks are sure to follow. The stakes are especially high for the United States because a successful digital currency—whether controlled by a private company or by China—could imperil the U.S. dollar's status as the dominant global currency, a source of “exorbitant privilege” for Americans.Congress should authorize the Federal Reserve to implement a broadly accessible, U.S. dollar-based CBDC by giving the general public—individuals, businesses, and institutions—the option to hold accounts at the central bank, which we call FedAccounts. FedAccounts would offer all the functionality of ordinary bank accounts with the exception of overdraft coverage. They would also have all the special features that banks currently enjoy on their central bank accounts, as well as some additional, complementary features. The FedAccount program would put government-issued digital or “account” money on par with government-issued physical currency, transforming digital dollars into a resource that anyone can use. The technology behind the digital dollar would be HyperLedger DLT, being designed to be fungible, meaning regardless of what central bank might end up minting its currency using the technology, every token will have the same value as the underlying asset, regardless of whether the token had been previously used for some nefarious purpose and will comply with the ERC-1155 token standard.When it comes to money and payments, integration and interoperability are demonstrably better than fragmentation and balkanization. On top of that, distributed ledger technology, however ingenious its conception, remains extremely slow and inefficient compared to centralized ledger systems. For central banks, these cryptocurrency design features are a needless distraction. The FedAccount system would be seamlessly interoperable with the existing system of money and payments and would rely on low-cost, reliable systems and technologies that the Federal Reserve has used successfully for decades. It would not charge interchange fees on debit card transactions, FedAccounts would reduce or eliminate an implicit tax on retailers and consumers. The Digital Dollar effects on BitcoinImportant to keep in mind. Bitcoin has the lead and will continue to have the lead in the digital currency space. The creation of the Digital Dollar at its core and infrastructure level isn't really a challenge for Bitcoin. Bitcoin wins hands down.China's digital yuan has been in the works since 2014. The launch date, however, still remains unknown but is expected later this year. Industry insiders told The Global Times that China should accelerate the launch of its digital currency amid the coronavirus pandemic and economic slowdown. This will be Bitcoin first major test.People's Bank of China Digital Yuan, United States of America Digital Dollar, Bitcoin and other crypto currencies. Currency Wars are upon us.What happens to cash when the digital dollar is created, does it become worthless. Will we continue on using the same fiat money system that hyper inflates the digital dollar as well. Currency devaluation, or debasement, has always been synonymous with inflation, where the amount of money in circulation relative to economic activity increases. When the Federal Reserve System started creating hundreds of billions of dollars out of thin air, they called it ‘quantitative easing' of the money supply. When that didn't work, they created more money and called it ‘QE2', instead of saying: ‘We are going to print more dollars — and hope it works this time.'” Now they are calling this QE infinity. Does the Fed introduce a new currency and if so do we lose all value in our current USD.Worse case scenario a new FedCoin currency is created including the wiping out of previous USD debt. Digital FedCoin becomes the world reserve currency backed by gold and/or a basket of other currencies, still highly centralized and highly controlled. However to make social and economic choices regarding this, the FED implements governance in a two tier token system that is well coordinated with other central banks holding the vast majority of wealth very similar to MakerDAO…while the smaller stable FedCoin token is distributed to everyone else all while keeping the programmable money aspect in tact. This pulls the rug under bitcoin. They then take additional steps to make it extremely difficult to receive and/or send and/or store legally if not held in a digital online/offline wallet not tied to a digital identity or an exchange. This creates a secondary market in the Bitcoin, Crypto industry and an onslaught of privacy coins become the standard and/or Bitcoin forks implementing a privacy component to its protocol. Best case scenario old cash currency is still used, currency wars continue, hyper inflation increases and most people make the move to bitcoin and becomes the world reserve currency.Citation: Ricks, Morgan and Crawford, John and Menand, Lev, Digital Dollars (February 1, 2020). Vanderbilt Law Research Paper 18-33; UC Hastings Research Paper No. 287; George Washington Law Review, Forthcoming. Available at SSRN: https://ssrn.com/abstract=3192162 or http://dx.doi.org/10.2139/ssrn.3192162

Você já deve ter ouvido em algum canto sobre a ideia de que a História acabou, que chegou ao seu fim. Nesse episódio, a gente vai ouvir um pouco sobre isso. Esse é um episódio piloto para representar as intenções do podcast. Os próximos serão mais longos e de melhor qualidade. Esse episódio foi gravado e editado por Daniel Pasini, com consultoria histórica a Ana Luiza Musella. Acompanhe nossas redes sociais! IG: @danipani_ IG: @anamusella Twitter: @danielpasini_g Referências Bibliográficas desse episódio: Fukuyama, Francis. “The End of History?” The National Interest, no. 16, 1989, pp. 3–18. JSTOR, www.jstor.org/stable/24027184. MENAND, Louis. Francis Fukuyama Postpones the End of History. The New Yorker, New York, ano 2018, 3 ago. 2018. Disponível em: https://www.newyorker.com/magazine/2018/09/03/francis-fukuyama-postpones-the-end-of-history. Acesso em: 10 dez. 2019. TURIN, Rodrigo. Entre o passado disciplinar e os passados práticos: figurações do historiador na crise das humanidades. Tempo [online]. 2018, vol.24, n.2, pp.186-205. ISSN 1413-7704. http://dx.doi.org/10.1590/tem-1980-542x2018v240201. Obrigado :)

Ulyssesby Alfred Lord TennysonIt little profits that an idle king,By this still hearth, among these barren crags,Match'd with an aged wife, I mete and doleUnequal laws unto a savage race,That hoard, and sleep, and feed, and know not me.I cannot rest from travel: I will drinkLife to the lees: All times I have enjoy'dGreatly, have suffer'd greatly, both with thoseThat loved me, and alone, on shore, and whenThro' scudding drifts the rainy HyadesVext the dim sea: I am become a name;For always roaming with a hungry heartMuch have I seen and known; cities of menAnd manners, climates, councils, governments,Myself not least, but honour'd of them all;And drunk delight of battle with my peers,Far on the ringing plains of windy Troy.I am a part of all that I have met;Yet all experience is an arch wherethro'Gleams that untravell'd world whose margin fadesFor ever and forever when I move.How dull it is to pause, to make an end,To rust unburnish'd, not to shine in use!As tho' to breathe were life! Life piled on lifeWere all too little, and of one to meLittle remains: but every hour is savedFrom that eternal silence, something more,A bringer of new things; and vile it wereFor some three suns to store and hoard myself,And this gray spirit yearning in desireTo follow knowledge like a sinking star,Beyond the utmost bound of human thought.This is my son, mine own Telemachus,To whom I leave the sceptre and the isle,—Well-loved of me, discerning to fulfilThis labour, by slow prudence to make mildA rugged people, and thro' soft degreesSubdue them to the useful and the good.Most blameless is he, centred in the sphereOf common duties, decent not to failIn offices of tenderness, and payMeet adoration to my household gods,When I am gone. He works his work, I mine.There lies the port; the vessel puffs her sail:There gloom the dark, broad seas. My mariners,Souls that have toil'd, and wrought, and thought with me—That ever with a frolic welcome tookThe thunder and the sunshine, and opposedFree hearts, free foreheads—you and I are old;Old age hath yet his honour and his toil;Death closes all: but something ere the end,Some work of noble note, may yet be done,Not unbecoming men that strove with Gods.The lights begin to twinkle from the rocks:The long day wanes: the slow moon climbs: the deepMoans round with many voices. Come, my friends,'T is not too late to seek a newer world.Push off, and sitting well in order smiteThe sounding furrows; for my purpose holdsTo sail beyond the sunset, and the bathsOf all the western stars, until I die.It may be that the gulfs will wash us down:It may be we shall touch the Happy Isles,And see the great Achilles, whom we knew.Tho' much is taken, much abides; and tho'We are not now that strength which in old daysMoved earth and heaven, that which we are, we are;One equal temper of heroic hearts,Made weak by time and fate, but strong in willTo... See acast.com/privacy for privacy and opt-out information.

This episode takes the listener on a journey through some fascinating topics- All of which tie back to human nature and the world of work. Our guest star is Tomas Chamorro-Premuzic an organizational psychologist who is currently a professor of business psychology at University College London (UCL) and Columbia University, as well as the Chief Talent Scientist at ManpowerGroup.We discuss Tomas’ book "Why Do So Many Incompetent Men Become Leaders? (And How to Fix It)." from the perspective of humans and their relationship to work and organizations. It is clear that the world of work represents a complex dynamic between individuals and organizations. When looked at from the dark side- this interplay can lead to waste in the form of unhappiness and poor economics. This dialogue provides a really interesting foundation for a subsequent discussion of the future of assessment. The focus turns to assessment at scale and the many issues that play into a future where personal data provides trait based insights without the use of a traditional assessment. A focus on the economics of assessment at scale provides some unique and fascinating insight into the future of assessment as a discipline AND a business.At the end of the day- the hidden treasure in accurate, ethical assessment at scale lies in the ability to increase productivity through helping humans find jobs that align with their talents and interests.At scale such matches will provide new levels of personal and economic enlightenment and drive a new age of prosperity! About Tomas Chamorro-PremuzicTomas is one of the founders of Meta, a company that creates data-driven tools to help corporations identify employees and leaders with entrepreneurial talent.He also serves as a consultant for both the private and public sectors, with clients that have included JP Morgan, Goldman Sachs, HSBC, Prudential, Unilever, the British Army, the BBC, Twitter, Spotify, and Harvard’s Entrepreneurial Finance Lab. He is the director of the MSc in Industrial-Organizational and Business Psychology at the University College London (UCL), having previously co-run the MSc in Occupational Psychology at Goldsmiths, University of London. He has also previously taught at the London School of Economics and New York University. He is the author of the column Mr. Personality, which appears regularly on Psychology Today, and contributes regularly to the Guardian, Fast Company, Management Today, Forbes, and Harvard Business Review. In February 2015, Dr. Chamorro-Premuzic assumed the role of CEO at Hogan Assessments after spending two years as the company's vice president of research and innovation. The company provides personality assessment services that corporations can utilize for hiring and training purposes.Find the original article, Tomas' book is based on here: https://hbr.org/2013/08/why-do-so-many-incompetent-menAnd grab a copy of the book yourself here:https://www.amazon.com/Why-Many-Incompetent-Become-Leaders/dp/1633696324

Lev Menand, associate in law, lecturer in law, and postdoctoral fellow at Columbia Law School, joins the Business Scholarship Podcast to discuss his new paper The Monetary Basis of Bank Supervision. In our conversation, he situates bank supervision and its safety-and-soundness concept as being historically rooted in banks' role as creators of money. This episode is hosted by Andrew Jennings, a teaching fellow and lecturer in law at Stanford Law School.

In todayand#8217;s FBA Dharmabyte we offer an excerpt from a talk by Vishvapani entitled: Sacred Mindfulness. A talk given at the Triratna Buddhist Order November 2014 Menand#8217;s UK and Ireland Area Order Weekend at Adhisthana on 1 November 2014. The theme of the weekend was Mindfulness. Vishvapani writes: and#8220;Weand#8217;re in the middle of the greatest surge in interest related to Buddhism since the 1960s: the secular mindfulness boom. Iand#8217;ve been deeply involved in Triratna for many years and my current experience as a secular mindfulness trainer has me doing everything from teaching meditation to murderers to helping prepare a report on mindfulness for the UK parliament. In this talk I share my reflections on the strengths and limitations of the secular mindfulness movement and#8211; including how it challenges us to rethink our own teaching and our place in the Buddhist world; and explore the and#8216;sacredand#8217; dimension of mindfulness in Triratna Buddhism.and#8221; From the talk Secular Mindfulness and Sacred Mindfulness.

elibrayley.comDaniel - The Sovereignty of GodDaniel 2:1-24 (NASB)2 Now in the second year of the reign of Nebuchadnezzar, Nebuchadnezzar had dreams; and his spirit was troubled and his sleep left him. 2 Then the king gave orders to call in the magicians, the conjurers, the sorcerers and the Chaldeans to tell the king his dreams. So they came in and stood before the king. 3 The king said to them, “I had a dream and my spirit is anxious to understand the dream.”4 Then the Chaldeans spoke to the king in Aramaic: “O king, live forever! Tell the dream to your servants, and we will declare the interpretation.”5 The king replied to the Chaldeans, “The command from me is firm: if you do not make known to me the dream and its interpretation, you will be torn limb from limb and your houses will be made a rubbish heap. 6 But if you declare the dream and its interpretation, you will receive from me gifts and a reward and great honor; therefore declare to me the dream and its interpretation.” 7 They answered a second time and said, “Let the king tell the dream to his servants, and we will declare the interpretation.” 8 The king replied, “I know for certain that you are bargaining for time, inasmuch as you have seen that the command from me is firm, 9 that if you do not make the dream known to me, there is only one decree for you. For you have agreed together to speak lying and corrupt words before me until the situation is changed; therefore tell me the dream, that I may know that you can declare to me its interpretation.” 10 The Chaldeans answered the king and said, “There is not a man on earth who could declare the matter for the king, inasmuch as no great king or ruler has ever asked anything like this of any magician, conjurer or Chaldean. 11 Moreover, the thing which the king demands is difficult, and there is no one else who could declare it to the king except gods, whose dwelling place is not with mortal flesh.”12 Because of this the king became indignant and very furious and gave orders to destroy all the wise men of Babylon. 13 So the decree went forth that the wise men should be slain; and they looked for Daniel and his friends to kill them.14 Then Daniel replied with discretion and discernment to Arioch, the captain of the king's bodyguard, who had gone forth to slay the wise men of Babylon; 15 he said to Arioch, the king's commander, “For what reason is the decree from the king so urgent?” Then Arioch informed Daniel about the matter. 16 So Daniel went in and requested of the king that he would give him time, in order that he might declare the interpretation to the king.17 Then Daniel went to his house and informed his friends, Hananiah, Mishael and Azariah, about the matter, 18 so that they might request compassion from the God of heaven concerning this mystery, so that Daniel and his friends would not be destroyed with the rest of the wise men of Babylon.19 Then the mystery was revealed to Daniel in a night vision. Then Daniel blessed the God of heaven; 20 Daniel said,“Let the name of God be blessed forever and ever,For wisdom and power belong to Him.21 “It is He who changes the times and the epochs;He removes kings and establishes kings;He gives wisdom to wise menAnd knowledge to men of understanding.22 “It is He who reveals the profound and hidden things;He knows what is in the darkness,And the light dwells with Him.23 “To You, O God of my fathers, I give thanks and praise,For You have given me wisdom and power;Even now You have made known to me what we requested of You,For You have made known to us the king's matter.”24 Therefore, Daniel went in to Arioch, whom the king had appointed to destroy the wise men of Babylon; he went and spoke to him as follows: “Do not destroy the wise men of Babylon! Take me into the king's presence, and I will declare the interpretation to the king.”

Weand're talking through the latest initiatives with the Menand's ministry called the and'4th Musketeerand' including their Extreme Character Challenges and the international Muskathlon. Help Vision to keep 'Connecting Faith to Life': https://vision.org.au/donate See omnystudio.com/listener for privacy information.

In todayand#8217;s Dharmabyte podcast Ratnaghosha brings usand#8220;Experience, Then Understandingand#8221;, a short excerpt from the talk entitled The Goal, the sixth talk given on the European Triratna Menand#8217;s Convention at Adhisthana on 19 August 2014. The Menand#8217;s Convention, the first to be held at Adhisthana, was based on Milarepaand#8217;s final exhortation from and#8220;The Shepherdand#8217;s Search for Mindand#8221;, which provides a complete path, effortlessly combining devotion and meditation. Day 5: He sees how wrong were the fears and hopes of his own mind. Without arrival, he reaches the place of Buddha; Without seeing, he visions the dharmakaya; Without effort, he does all things naturally.

Todayand#8217;s FBA Dharmabyte, is from the rather fabulous talk and#8220;Death and the Buddhistand#8221; by Danavira. Weand#8217;ve titled this and#8220;Death Has 10,000 Doorsand#8221;. Danavira is one of the best speakers we know and#8211; he is very funny, can do poetic and profound, tends to the chaotic in his style, and has a particular genius for this kind of thing; this kind of thing being talking about death. The whole talk is a kind of respectful joyride through the hardest subject of all and#8211; sit back and enjoy a thoroughly adult treat thatand#8217;s likely to blow the heart wide open. Talk given at Padmaloka Retreat Centre, Menand#8217;s Event 2000

In todayand#8217;sFBA Dharmabyte we hear from Ratnaghosha from the Menand#8217;s Combined Convention in and#8220;Speaking About the Goal.and#8221; Words and descriptions cannot fully encapsulate transcendental experience. Inspired by verses from Milarepaand#8217;s final exhortation from and#8220;The Shepherdand#8217;s Search for Mindand#8221;, which provides a complete path, effortlessly combining devotion and meditation: Without arrival, he reaches the place of Buddha; Without seeing, he visions the dharmakaya; Without effort, he does all things naturally. This is an excerpt from the sixth talk given on the European Triratna Menand#8217;s Convention at Adhisthana on 19 August 2014, entitled and#8220;The Goal.and#8221;

In todayand#8217;sFBA Dharmabyte we hear from Maitreyabandhu from the Menand#8217;s Combined Convention in and#8220;Hearing the Cuckoo’s Cry.and#8221; Reading haiku, Maitreyabandhu brings us to reflect on our shared understanding of the goal of insight and enlightenment. This is an excerpt from the second talk given on the European Triratna Menand#8217;s Convention at Adhisthana on 19 August 2014, entitled and#8220;Against Avoiding Pain.and#8221;

Pastor and media personality Karl Faase talks about menand's mid life crisis. Karl Faase, hosts the Menand's Series – a DVD and study guide. We talked about triggers for a mid life crisis, and the significance of maintaining good health. Help Vision to keep 'Connecting Faith to Life': https://vision.org.au/donate See omnystudio.com/listener for privacy information.

Louis Menand of Harvard University talks with EconTalk host Russ Roberts about the state of psychiatry. Drawing on a recent article of his in the New Yorker, Menand talks about the state of knowledge in psychiatry and the scientific basis for making conclusions about mental illness and various therapies. Menand argues that the research record shows little difference between the effectiveness of psychopharmacology and talk therapies of various kinds in fighting depression. Neither is particularly successful in any one case. Other topics that are discussed include the parallels between economics and psychiatry in assessing causation, the diminished role of Freudianism in modern psychiatry, and the range of issues involved in using medication to avoid pain and hardship.

Louis Menand of Harvard University talks with EconTalk host Russ Roberts about the state of psychiatry. Drawing on a recent article of his in the New Yorker, Menand talks about the state of knowledge in psychiatry and the scientific basis for making conclusions about mental illness and various therapies. Menand argues that the research record shows little difference between the effectiveness of psychopharmacology and talk therapies of various kinds in fighting depression. Neither is particularly successful in any one case. Other topics that are discussed include the parallels between economics and psychiatry in assessing causation, the diminished role of Freudianism in modern psychiatry, and the range of issues involved in using medication to avoid pain and hardship.