Podcasts about musee

Yvette's stay at the Pont Royal Hotel, a former “writer's residence” turned hotel and later expanded to its impressive destination status, was enhanced by her opportunity to interview the general manager, Frederic Legallois.    The hotel is located on the Left Bank of the Seine River, where artists and intellectuals of the early and mid-20th century held court on café terraces in Saint-Germain-des-Prés. This neighborhood is a postcard-perfect vision of Paris: a grand, boutique-filled boulevard; café terraces practically made for people-watching; former residences turned into hotels; antique shops and bookstores spilling out on cobblestoned squares.    Yvette enjoyed the hotel staff's attentiveness to quality service, the art on display and the jazz performance in the hotel's well-appointed bar and lounge. The hotel's proximity to museums and gardens allowed Yvette to enjoy the beautifully manicured Jardin du Luxembourg, which dates back 400 years, and the Musee d'Orsay.   The Musee d'Orsay, which was originally established with loans from the Louvre, now claims the largest collection of impressionist and post-impressionist art in the world. Taking over a former Beaux-Arts railway station along the Seine River, this Museum holds masterpieces, which Yvette had an opportunity to enjoy, like Vincent van Gogh's “The Starry Night” and Edouard Manet's “The Luncheon on the Grass” and a very special find for Yvette, the American artist's James McNeill Whistler's “Whistler Mother.”

For this season finale, we're on a private boat on the Seine River with Marie and Bertrand from My Private Paris. They explain how best to plan a visit to the big five, the Louvre, Notre Dame, the Musee d'Orsay, the Eiffel Tower, and the Seine.  My Private Paris is a local deluxe agency, crafting itineraries for tours in Paris and beyond. See what they offer here. They've been the sponsor for this podcast all season! Enjoying what we're doing here at The Earful Tower and keen to see more? Become a Patreon member here to support it and to discover our exciting extras. Music: Pres Maxson.

Si le commun des mortels dit à ceux qui veulent l'entendre que l'Histoire se répète, les spécialistes précisent : l'Histoire ne se répète jamais de manière exactement similaire. Entre les mouvements impressionnants de ce balancier de l'histoire, il est plus qu'essentiel de connaitre ce qui s'est passé hier, et d'avoir un œil sur ce qui est en cours actuellement. C'est le point de départ de cette séquence, une sorte de retour vers le présent. Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

On ajoute une nouvelle couleur au tableau qui dépeint Jette toute cette semaine en compagnie de Walid, Juan d'Oultremont et Raphaël Charlier. On parle de l'étymologie du nom « Jette », du blason de la commune, de tofu, de l'or détenu par l'Etat belge, fast food, licorne et poumons de fourmis, entre autres, au travers des questions posées à Patricia et Blerime, qui nous expliqueront également ce qui, selon leur cœur, fait le petit « plus » de leur commune. Commune sous le charme de laquelle était tombé René Magritte, qui y a résidé durant 24 ans dans une maison située rue Esseghem. Maison qui, grâce à la passion d'un collectionneur belge, a été transformée en double musée : celui du surréalisme de René Magritte d'un côté, et de l'art abstrait belge de l'autre. On en parle avec Chloé Thibault, assistante de conservation et médiatrice culturelle au Musée Magritte et de l'Art abstrait de Jette https://www.magrittemuseum.be/index.php/fr/ Merci pour votre écoute Salut les copions, c'est également en direct tous les jours de la semaine de 16h à 17h sur www.rtbf.be/lapremiere Retrouvez tous les épisodes de Salut les copions sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/19688 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

La maison Van Buuren est aujourd'hui un musée. Elle se trouve à Uccle et date de 1928. Une maison de style Art déco. Visite guidée à l'occasion du premier épisode d'une série que nous consacrons à ce mouvement artistique dans le cadre du centenaire de l'exposition des arts décoratifs de Paris en 1925. Un reportage de Françoise Baré et Ariane Dufrane. Photo : Olivier Vin - Belga Merci pour votre écoute Transversales, c'est également en direct tous les samedis de 12h à 13h00 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes de Transversales sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/492 Retrouvez tous les contenus de la RTBF sur notre plateforme Auvio.beRetrouvez également notre offre info ci-dessous :Le Monde en Direct : https://audmns.com/TkxEWMELes Clés : https://audmns.com/DvbCVrHLe Tournant : https://audmns.com/moqIRoC5 Minutes pour Comprendre : https://audmns.com/dHiHssrLes couleurs de l'info : https://audmns.com/MYzowgwMatin Première : https://audmns.com/aldzXlmEt ses séquences-phares : L'Invité Politique : https://audmns.com/LNCogwP L'édito politique « Les Coulisses du Pouvoir » : https://audmns.com/vXWPcqx L'humour de Matin Première : https://audmns.com/tbdbwoQN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

self-described loner, Joel Philip Myers developed his skills in relative isolation from the Studio Glass movement. With works inspired by a vast array of topics ranging from his deep love of the Danish countryside to Dr. Zharkov, the artist avoided elaborate sculpture in favor of substantial vessels that are simple yet powerful. States Myers: “In 1964, on the occasion of an exhibition titled Designed for Production: The Craftsman's Approach, I wrote in an essay in Craft Horizons magazine: ‘My approach to glass, as it is to clay, is to allow the material an expression of its own. Press the material to the utmost, and it will suggest ideas and creative avenues to the responsive artist.' The statement was sincere and enthusiastic, but decidedly naïf. I never thought when I wrote it that it would be the one statement of mine that would continue to be repeatedly quoted, throughout my 46- year-long career, as my defining philosophy. I have no defining philosophy. I am a visual artist, not a philosopher. Thoughts and ideas and opinions do not constitute a philosophy, and my thoughts and ideas and opinions have evolved and matured and changed in the time that has passed since 1964.” He continues: “As an artist I like to think of myself as a visitor in a maze, trying to find a solution to a dizzying puzzle. As in a maze, I have, through blunders and exploration, arrived at solutions, and embraced the manifold possibilities that the material offers: plasticity, transparency, opacity, translucency. I am sensitive to the wonders of the visual world and inspired by the forms and colors of the natural world. My training as a designer has enabled me to understand and exploit organization and structure, adding a rational perspective to my intuitive, emotional self.” Myers earned his degree in advertising design from Parsons School of Design in 1954. He studied in Copenhagen, Denmark, before earning a B.F.A. and M.F.A. in ceramics from the New York State College of Ceramics at Alfred University in the early 1960s. In 1963, he was hired as design director at Blenko Glass Company in Milton, West Virginia. Captivated by the drama of this thriving glass factory, he learned glassblowing through observation and practice.  In 1970, Myers established the nascent glass department at Illinois State University in Normal, Illinois, where he served as Distinguished Professor of Art for 30 years until he retired from teaching in 1997. He is an Honorary Lifetime Member, 2012 Lifetime Achievement Award Winner and past President of the Glass Art Society, a Fellow of the American Crafts Council, and the recipient of a National Endowment for the Arts Fellowship. His work is represented in prominent museum collections around the world, including The Corning Museum of Glass, Corning, NY; The Art Institute of Chicago, Chicago, IL; the National Museum of American History, Smithsonian Institution, Washington, DC; the Smithsonian American Art Museum, Washington, D.C; The Museum of Decorative Arts, Prague; Hokkaido Museum of Modern Art, Japan; Musee des Arts Decoratifs, Palais du Louvre, Paris, France; and Musee de Design et d'Arts Appliques Contemporains, Lausanne, Switzerland, amongst others. Of his sculpture, Myers states: “My work is concerned with drawing, painting, playing with color and imagery on glass. I work with simple forms and concentrate on the surface enrichment. I prefer the spherical, three-dimensional surface to a flat one, because as I paint and draw on the glass, the glass form receives the drawing, adapts to its shape, distorts and expands it as it clothes and envelops itself in my drawing. I feel a communication with the material, and a reciprocation from my subconscious, as I continually search for new insights into my unknown self.” Enjoy this enlightening conversation with Myers, who at 91 has a near photographic memory of the events and developments that spurred the Studio Glass movement forward in its early days, as well as the ideas and processes of his personal work in glass – some of the most successful and collected of its day.  

Bonne humeur, sourires, jeux, questions et réponses (bonnes et mauvaises vous aurez l'occasion de l'entendre), encore une pause de midi conviviale au programme ! C'est la ville de Binche (et plus spécifiquement l'Office du tourisme) qui accueille Walid, Raphaël Charlier et Salvatore di Bennardo, et ce sont Antoine et Jean-Paul qui s'affrontent afin de remporter des séjours en Wallonie ou des jeux de société et des goodies aux couleurs de La1ère. Avec comme chaque jour, un aspect de la cité hôte qui est développé, en ce mardi c'est, puisque nous sommes dans la ville du carnaval, le superbe Musée international du carnaval et du masque, qui fête ses 50 ans en cette année 2025 ! On parle avec sa directrice, Clémence Mathieu, de ce lieu un peu magique et qui vaut le détour. https://www.museedumasque.be/ Merci pour votre écoute Salut les copions, c'est également en direct tous les jours de la semaine de 16h à 17h sur www.rtbf.be/lapremiere Retrouvez tous les épisodes de Salut les copions sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/19688 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

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

Trois ans après le début de l'invasion russe en Ukraine, nous nous intéressons à l'identité ukrainienne à travers la visite d'un musée : le musée Ivan Honchar à Kiev. Il est consacré à l'art populaire. Et c'est important parce que la résistance passe aussi par la culture. Un reportage de Caroline Thirion et Arnaud Bertrand. Photo : Caroline Thirion. Merci pour votre écoute Transversales, c'est également en direct tous les samedis de 12h à 13h00 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes de Transversales sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/492 Retrouvez tous les contenus de la RTBF sur notre plateforme Auvio.beRetrouvez également notre offre info ci-dessous :Le Monde en Direct : https://audmns.com/TkxEWMELes Clés : https://audmns.com/DvbCVrHLe Tournant : https://audmns.com/moqIRoC5 Minutes pour Comprendre : https://audmns.com/dHiHssrLes couleurs de l'info : https://audmns.com/MYzowgwMatin Première : https://audmns.com/aldzXlmEt ses séquences-phares : L'Invité Politique : https://audmns.com/LNCogwP L'édito politique « Les Coulisses du Pouvoir » : https://audmns.com/vXWPcqx L'humour de Matin Première : https://audmns.com/tbdbwoQN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Cette semaine, on joue les touristes à Arlon, et pour découvrir le chef-lieu de la province de Luxembourg, rien de mieux que de s'amuser avec des locales de l'étape ! Natacha et Marie-Anne, en binôme avec Madeleine Baudot et Corentin Candi, tentent de répondre sans faiblir aux questions de Walid, le tout avec le sourire et dans la bonne Humeur… Il sera question de patrimoine architectural, d'Histoire, de Jules Verne, de bons conseils tourisme, de signes du zodiaque, de sculptures romaines et du frère de Jésus, mais également de scoutisme ! Et pas parce que la province de Luxembourg en accueille des milliers chaque année lors des fameux camps d'été, mais car notre invité du jour est Philippe Maldague, collectionneur et fondateur du musée du scoutisme international, basé à Arlon ! https://museescout.be/ Merci pour votre écoute Salut les copions, c'est également en direct tous les jours de la semaine de 16h à 17h sur www.rtbf.be/lapremiere Retrouvez tous les épisodes de Salut les copions sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/19688 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Apparus en 2017, les NFT – non fungible tokens ou « jetons non fongibles » – sont ces mystérieuses images numériques dont l'accès est verrouillé sur la blockchain. Objets de spéculations effrénées, les NFT ont vu leur prix atteindre des sommets puis s'effondrer. Peut-on les considérer comme des œuvres d'art à part entière ? On en parle avec Françoise Benhamou, professeure émérite d'économie à l'université Sorbonne-Paris-Nord, présidente du Cercle des économistes, présidente du Comité d'éthique de Radio France et Nathalie Heinich, sociologue, chercheuse au CNRS, spécialisée en sociologie de l'art et en sociologie des valeurs. L'énigme des NFT (Ed.Odile Jacob) Merci pour votre écoute Tendances Première, c'est également en direct tous les jours de la semaine de 10h à 11h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes de Tendances Première sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/11090 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Au musée des sciences naturelles, L'exposition « SAUVAGE ? » offre un voyage émotionnel à la rencontre des « bêtes » et de soi-même. Entre peur et fascination. On en parle avec Kelle Moreau, expert en biodiversité et porte-parole pour l'expo Sauvage. Merci pour votre écoute Tendances Première, c'est également en direct tous les jours de la semaine de 10h à 11h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes de Tendances Première sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/11090 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Michael Elmgreen and Ingar Dragset talk to Ben Luke about their influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped their lives and work. This is the first episode of A brush with featuring an artist duo. Over the past 30 years Elmgreen and Dragset have consistently created unexpected scenarios within and outside of the museum and gallery structure. Playful, even mischievous at times, and yet shot-through with searing critique and sincere expression, their sculptures and environments are fundamentally concerned with space, both private and public, and the people and communities that occupy it. Elmgreen was born in 1961 in Copenhagen and Dragset in 1969 in Trondheim, Norway. They now live and work in Berlin. They discuss the influence of Hannah Ryggen and Vilhelm Hammershøi, Michael's meeting with Felix Gonzalez-Torres and his effect on their work, and how they feel their work relates to Samuel Beckett's writing, and the final, moving scene of Wim Wenders' film Paris Texas. Plus, they give insight into their lives in the studio and answer our usual questions, including: what is art for?Elmgreen & Dragset: L'Addition, Musee d'Orsay, Paris, until 2 February 2025; Elmgreen & Dragset: Spaces, Amorepacific Museum of Art, Seoul, 23 February 2025; K-BAR is open now at Khao Yai Art Forest, Thailand; Nurture Gaia, Bangkok Art Biennale, Bangkok, Thailand, until 25 February 2025. Hosted on Acast. See acast.com/privacy for more information.

Ready to take your Luxembourgish to the next Level with a B1 Conversation Workout? Natural speaking and understanding native speakers takes practice! Especially if you would like to have more interesting conversations. So this episode is all about helping you to sharpen first your listening comprehension skills but also your speaking skills so to help you sound more natural.Today you will listen to a conversation between Jeannine and Anne. This will give you an idea how to have a conversation about your last trip / vacation and your next travel plans with a friend or even with someone you've just met. Talking about vacation can as well be a good way to start a conversation, so it's useful if you know what to say and have some questions to ask and some answers to possible questions. The level of this conversation is A2-B1Moien Jeannine,J: Wat hues du déi lescht Zäit gemaach? What have you been doing lately?A: Majo ech war bis gëschter zu London. Ech hunn do 4 Deeg verbruecht. Et war eng Geschäftsrees. Well I was in Londin til yesterday. I spent 4 days there. It was a business trip.J: Ech war nach ni zu London. I've never been to London.A: Rees du gär? Do you like to travel?J: Jo ech reesen immens gär. Et gëtt esou vill voll Plazen op der Welt ze entdecken. Yes I love traveling. There so many wonderful places in the world to discover.A: Wou waars du dann bis elo? Where have you been so far?J: Ech war scho a vill schéi Länner, awer meng Liblingslänner sinn Asien . Ech war a Japan, Südkorea, Thailand an Indien. I've been to many beautiful countries, but my favourite countries were in Asia, I was in Japan ….Ech léiere gär aner Kulturen kennen a sammelen och gär Erfarungen. I love getting to know different cultures and to gather experiences.A: Dat kléngt jo super. That sounds great. Wat gefält dir dann am beschten an Asien? What is your favourite thing in Asia?J. D'Iessen ass einfach wonnerbar. Sushi, Miso Zopp, asiatesch Nuddelen mat Poulet. Alles schmaacht esou lecker. The food is simple excellent. Sushi, Everything tastes so deliciousA:Ginn et nach aner Länner wou s du gär reese wëlls? Are there other countries you would like to visitJ: Natierlech Of course Ech géif gär an Sudamerika reesen an zwar a Brasilien, Argentinien, Peru . I would like to travel to South america more precisely to Brazil, Argentinia and Peru.Och an Afrika ginn et vill Länner déi ech gär gesi géif, wéi Ägypten, Marocco, Tunesien. Also in Africa there are many countries I would like to see like Morocco, Egypt.A: Ech reesen och immens gär fir nei Länner ze entdecken. I love to travel too and discover new places.Wat war deng Liblingsplaz an Europa? What was your favourite place in Europe? J: Meng Liblingsplaz war Roum. D'Stad huet esou vill Geschicht a Kultur ze bidden an d'Iessen war esou lecker. Awer Barcelona war och fantastesch, d'Stad huet eng lieweg Atmosphär.My favourite place was Rome.The city has so much history and culture to offer and the food was so delicious. But Barc was also fantastic. The city has a very lively atmosphereA: Dat héiert sech jo fantastesch un. Ech war nach ni zu Roum, awer ech hunn héieren datt et do immens schéi soll sinn.That sounds great. I've never been to Rome but I have heard that it is supposed to be very beautifulEch war eemol zu Florenz an zu Pisa. D'Konscht ass do formidabel. Et ginn esou vill Museeën, Palaisen, a flott Plazen zu Florenz. Dat war esou eng schéi Rees. Wat sinn deng nächst Reespläng? I've been once in Florence and Pisa. The art there is outstanding. There are so many museums, palaces and nice squares in Florence. That was such a beautiful trip. What are your next travel plans?J: Am Moment plangen ech eng Rees an Australien. Ech géif gär d'Plagen an d'Nationalparken gesinn an d'Land kenneléieren. At the moment I'm planning a trip to Australia. I would like to see the beaches and the national parks and to get to know the country.A:Wow dat kléngt richteg spannend. Ech hunn och Australien op menger Lëscht , awer ech mengen ech géif léiwer op Sydney a Melbourne reesen an dës Stied visitéieren. Wéi lang wëlls du dann an Australie bleiwen? Wow that sounds very exciting.I also have Australia on my list , but I think I would prefer tp go to Sy & Mel and visit these cities. How long do you plan to stay in Aust?J: Ech plangen ongeféier ee Mount do ze bleiwen.Dann hunn ech genuch Zäit déi wichtegst Schéinheeten ze gesin. I plan to stay about one month there. Then I should have enough time to see the most important sights.A: Mega. Da wënschen ech dir vill Spass an hoffen datt s du vill flott Erënnerungen sammele wäerts.Fantastic. Then I wish you lots of fun and hope that you gather a lot of great experiencesJ: Merci dat hoffen ech och. Et huet mech gefreet mat dir ze schwätzen. Bis déi nächst Kéier.Thank you I hope that too. It was nice to talk to you.Until next time.Website: https://luxembourgishwithanne.luSproochentest Oral Exam Prep Class:https://courses.luxembourgishwithanne.lu/p/oralexamFacebook: https://www.facebook.com/luxembourgishwithanne.lu/Instagram: https://www.instagram.com/luxembourgishwithanne/?hl=enLinkedIn: https://www.linkedin.com/company/80364342/admin/feed/postsYoutube: https://www.youtube.com/channel/UCh7_kWqrLaZea-IJH46KJEA

In this episode, Shankar Vendantam joins us to read and discuss "Musee des Beaux Arts," a poem that explores the ways in which humans become indifferent to the suffering of others. To learn more about Shankar Vendantam and the Hidden Brain podcast, visit his website (https://www.npr.org/people/137765146/shankar-vedantam). To read Auden's poem, click here (https://english.emory.edu/classes/paintings&poems/auden.html). Thanks to Curtis Brown Ltd. for granting us permission to read this poem.

Episode 83: Goodnight, Mary Magdalene first aired in June 2020 and features three poems by Vasiliki Katsarou, a poet and publisher. This time last year, Vasiliki published a new short collection of poetry Three Sea Stones with Solitude Hill Press. It's a great time to revisit Vasiliki's work. Dear Slushies, join the PBQ crew (which includes a freshly-tenured Jason Schneiderman) for a pre-pandemic recording of our discussion of 3 poems by the wonderful Vasiliki Katsarou's work. Be sure to read the poems on the page below as you listen.  They'll require your eyes and ears– and “a decoder ring.” The team has a grand old time explicating these artful poems. The muses are sprung and singing in us as we read and decide on this submission. Katsarou's poems teach us to read them without projecting too much of ourselves and our current preoccupations onto them. We're reminded to pay attention to what's happening on the page. But synchronicities abound! Before we know it we're ricocheting off of the poems' images and noting the wonderful convergences the poems trigger –  we hear traces of Wallace Stevens “Idea of Order of Key West” or Auden's Musee de Beaux Arts. (But first we check in with each other, cracking each other up in a pre-pandemic moment of serious lightness. We're heard that “Science” shows Arts & Humanities majors make major money in the long run. Kathy reports that “the data on success” shows that participation in Nativity Plays is a marker for career success. Samantha confesses she played Mary Magdalene in a Nativity Play. Marion might have been a Magi. And many of us were reindeer.. Also, Donkeys do better than sheep over time (which may or may not have been claimed on “Wait, wait… don't tell me!”).  Editing a Lit Mag shouldn't be this much fun, Slushies. Listen through to the discussion of the 3rd poem's deep magic and craft. And listen to our editors' cats chime in). Addison Davis, Jason Schneiderman, Samantha Neugebauer, Kathleen Volk Miller,  Marion Wrenn, and Joe Zang Vasiliki Katsarou grew up Greek American in Jack Kerouac's hometown of Lowell, Massachusetts. She has also lived in Paris, France, and Harvard, Mass. She is the author of a full-length poetry collection, Memento Tsunami, and co-editor of two contemporary poetry anthologies: Eating Her Wedding Dress: A Collection of Clothing Poems and Dark as a Hazel Eye: Coffee & Chocolate Poems. She holds an MFA from Boston University and an AB in comparative literature from Harvard University. She read her poetry at the 2014 Geraldine R. Dodge Poetry Festival, and is a Teaching Artist at Hunterdon Art Museum in Clinton, New Jersey. Her poems have been published widely and internationally, including in NOON: Journal of the Short Poem (Japan), Corbel Stone Press' Contemporary Poetry Series (U.K.), Regime Journal (Australia), as well as in Poetry Daily, Tiferet: A Journal of Spiritual Literature, Wild River Review, wicked alice, Literary Mama, La Vague Journal, Otoliths, and Contemporary American Voices.  She wrote and directed an award-winning 35mm short film, Fruitlands 1843, about a Transcendentalist utopian community in Massachusetts. Vasiliki's website: https://onegoldbead.com/, Twitter: https://twitter.com/cineutopia , Facebook: https://www.facebook.com/vasiliki.katsarou, and Instagram: https://www.instagram.com/cineutopia/   The Future Arrives as a Redhead They talk of mothers in law but not of outlaw daughters her sun and her moon is our son her cool paleness, reflected in an eye that looks like mine, follows her curves along the shoreline her hair like copper coils from beneath a straw hat a Maisie or Daisy, a woman of Stem for whom we stem talk of servers, thumbprint keys, on an ancient island now we are all code-changers the future arrives as a redhead green, green love lays a glove on us, we no longer count in threes, a quaver sounds, and the future all sharps and flats   *   Wedding, Key West A stitch in throat saves time Infernal cough speaks through me @ the bride and groom On sand they stand to create a sand souvenir from this empty glass vessel Sunset drips from the lips of the bride As the prey is plucked from the air between her palms In the gulf beyond the photographer's camera, a capsized sailboat, but no one's looking– The Key light bedazzles and defeats us all Mouth tightly shut clench in the solar plexus   *     Waited you waited with me as the house next door emptied of its guests, then its owners, fairy tale turned animal farm minted with ash and wishes you were my kitchen elf my second thought my echo's echo cocked ear, cracked oasis your absorbent embered orbs that morning of the supermoon setting behind the barn you were quiet, then quieter still white fog settling into the hollows and a thin coat of frost everywhere and this, the simplest death you trained me well, M. I listen for your listening

Det händer något väsentligt när den grå forntiden antar mänsklig skepnad, när individer framträder inför våra blickar – när Ramses II:s mumifierade kropp möter oss avlindad på museet i Kairo, när sargade offerlik och folk som mördats hittas i våra gamla mossar, eller när gestalter som Ötzi – ”ismannen” från Alperna – upptäcks av en slump. Vår förhistoria blir genast mer påtaglig; den får, bokstavligt talat, ansikten och kryddas med människoöden som pockar på att bli studerade och beskrivna. Under det senaste seklet, från upptäckten av Tutankhamons grav 1922, har mängder av forntida män och kvinnor grävts upp, analyserats och ställts ut till allmänt beskådande. Detta gäller även Sverige, med iögonfallande fynd som Barumkvinnan, Hallonflickan och Granhammarsmannen. Med hjälp av den allra senaste tekniken försöker vi lära oss hur de levt – vilken mat de ätit, vilka platser de har besökt – och hur de mötte döden. Det är inte ovanligt att vi införlivar dem i vår krets genom att skänka dem namn, som när ett av de äldsta upphittade exemplaren av de varelser som för tre–fyra miljoner år sedan höll på att utvecklas till människor döptes till Lucy, efter en Beatleslåt som var populär i forskningsteamet.I detta avsnitt av podden Harrisons dramatiska historia samtalar Dick Harrison, professor i historia vid Lunds universitet, med Katarina Harrison Lindbergh, historiker och författare, om individerna under forntiden – om egyptiska mumier, nordiska mosslik och andra döda män och kvinnor som idag kan beskådas och analyseras.ReprisBild: Mumien av Ramses den store, G. Elliot Smith - "Catalogue General Antiquites Egyptiennes du Musee du Caire: The Royal Mummies" Detaljer om farao Ramesses II mumifierade kropp. Kairo museum. Wikipedia, Public Domain.Klippning: Aron SchuurmanProducent: Urban Lindstedt Hosted on Acast. See acast.com/privacy for more information.

Episode No. 672 features curators Kimberly A. Jones and Mary Morton; and curators Sant Khalsa and Juniper Harrower. Along with Sylvie Patry and Anne Robbins, Jones and Morton are the curators of "1874: The Impressionist Moment" at the National Gallery of Art. The exhibition examines the condition of Parisian art in 1874, both official standards exhibited at and effectively promoted via the official salon, and the renegade works exhibited at the first impressionist exhibition. Included are impressionist stalwarts such as Claude Monet and Camille Pissarro, and also salon lions such as William Bouguereau and Jean-Léon Gérôme. The smart, delightful catalogue was published by the Musee d'Orsay and the NGA. Amazon and Bookshop offer it for about $46-60. "1874" is on view through January 19, 2025. Khalsa and Harrower are the curators of "Desert Forest: Life with Joshua Trees" at the Lancaster (Calif.) Museum of Art and History. Part of this year's sprawling Getty PST ART initiative, it's on view through December 29. "Desert Forest" examines how artists from Carleton Watkins to Cara Romero to Nancy Baker Cahill have presented Joshua trees and the fragile Mojave Desert ecosystem in their work. A fine catalogue was published by Inlandia Institute. It's available from MOAH. Instagram: Mary Morton, Kimberly Jones, Sant Khalsa, Juniper Harrower, Tyler Green.

In 1976, the 3,000-year-old mummy of Ramesses II was found to have a fungal infection.The embalmed body of the Egyptian pharaoh was flown from Cairo to Paris for a once-in-a-deathtime makeover.It received a royal welcome at the airport, and was guarded throughout its restoration, which took place at the Musee de l'Homme. Anne-Marie Gouden worked as a receptionist at the museum. She tells Gill Kearsley the extraordinary story of the restoration. Eye-witness accounts brought to life by archive. Witness History is for those fascinated by the past. We take you to the events that have shaped our world through the eyes of the people who were there. For nine minutes every day, we take you back in time and all over the world, to examine wars, coups, scientific discoveries, cultural moments and much more. Recent episodes explore everything from football in Brazil, the history of the ‘Indian Titanic' and the invention of air fryers, to Public Enemy's Fight The Power, subway art and the political crisis in Georgia. We look at the lives of some of the most famous leaders, artists, scientists and personalities in history, including: visionary architect Antoni Gaudi and the design of the Sagrada Familia; Michael Jordan and his bespoke Nike trainers; Princess Diana at the Taj Mahal; and Görel Hanser, manager of legendary Swedish pop band Abba on the influence they've had on the music industry. You can learn all about fascinating and surprising stories, such as the time an Iraqi journalist hurled his shoes at the President of the United States in protest of America's occupation of Iraq; the creation of the Hollywood commercial that changed advertising forever; and the ascent of the first Aboriginal MP.(Photo: The mummy of Ramesses II being examined in Paris. Credit: Tony Comiti/Sygma via Getty Images)

Using photography, testimony and archive, Diana Matar's in-depth bodies of work investigate themes of history, memory and state sponsored violence. Grounded in heavy research and often spending years on a project, Diana attempts to capture the invisible traces of human history and produces installations and books that query what role aesthetics might playin the depiction of power. A graduate of the Royal College of Art, Diana has received the Deutsche Bank Pyramid Award for Fine Art; the International Fund for Documentary Photography; a Ford Foundation Grant for artists making work on history and memory; and twice been awarded an Arts Council of England Individual Artist Grant. Her work is held in public and private collections and has been exhibited in numerous institutions including Tate Modern, London; The National Museum of Singapore; Museum Folkswang, Essen, Germany; The Institut du Monde Arabe, Paris; The Museum of Contemporary Photography, Chicago; and Musee de la Photographie a Charleroi. Her monograph Evidencewas published in 2014 by Schilt Publishing Amsterdam to critical acclaim and chosen by New York Times Photography critic Teju Cole as one of two best photography books of the year. In 2019 Matar was appointed Distinguished Artist at Barnard College Columbia University, New York. In April 2024 Diana's most recent book, My America, was published by GOST Books.  In episode 238, Diana discusses, among other things:Early experiences in Panama and Latin America.How an errand to buy a lightbulb changed everything.A brush with Manuel Noriega.How she met her Libyan husband, the writer Hisham Matar.Why she found doing her M.A. ‘really, really challenging'.Her first book project, Evidence.The inclusion of her own writing in the book.Her latest book, My America.Some of the key factors around the issue of police shootings.The complexities of the subject.How she has “intermalised a European sense of America.”Why she shot the project on her iPhone and the rules she imposed on herself.Whether photographs can ‘bear the burden of history.'What she is currently working on.Her reaction to the bonus questions. Website | Instagram“I think I internalised a European sense of America in several different ways. When I was out on the road a lot of things seemed exotic to me, things that I'd grown up with and were just part of being: the long distances; these buildings that just pop up in the middle of nowhere; the emptiness; the scale… the kind of watching of movies of what is the American west. The internalisation I think has something to do with scale. I live in London - the small streets, you're around people all the time, and then being in this openness, which i miss and i love, but I did find it unnerving and it effected how I made the work actually.” Become a full tier 1 member here to access exclusive additional subscriber-only content and the full archive of previous episodes for £5 per month.For the tier 2 archive-only membership, to access the full library of past episodes for £3 per month, go here.Subscribe to my weekly newsletter here for everything A Small Voice related and much more besides.Follow me on Instagram here.Build Yourself a Squarespace Website video course here.

Welcome to the first episode of Season Ten of the Bagley Wright Lecture Series on Poetry podcast. Season Ten is comprised of lectures written and delivered by Srikanth Reddy during his tenure as a Bagley Wright Lecturer, in 2015. Srikanth Reddy's series of lectures consider a range of questions concerning poetry and visual art, including theories of likeness, ekphrasis, and wonder. Today, we'll hear a recording of “The Unsignificant,” given October 2, 2015 at New York University.  This lecture considers W. H. Auden's poem “Musee des Beaux Arts” in relation to Peter Brueghel's painting “The Fall of Icarus,” and references a number of artworks. To view a gallery of these works, visit the Bagley Wright Lecture Series website or click here. Reddy's book based on his BWLS lectures, ⁠The Unsignificant: Three Talks on Poetry and Pictures⁠, is forthcoming from Wave Books, and is available ⁠here⁠. Visit us at our website, bagleywrightlectures.org, for more information about Bagley Wright lecturers, as well as links to supplementary materials on each lecturer's archive page, including selected writings. Music: "⁠I Recall⁠" by ⁠Blue Dot Sessions⁠ from the ⁠Free Music Archive⁠ CC BY NC

The opening ceremony of the Paris Olympics is underway, with a flotilla of boats taking the athletes down the River Seine as an accordionist plays Piaf on a bridge. The rain has for now abated, sparing the hundreds of thousands of spectators gathered on the quays and bridges. Meanwhile, the French intelligence services are hunting those who disrupted the Olympic festivities by sabotaging the high-speed rail lines into Paris -- also affecting locals setting off for the summer holidays.Hospital staff in Bangladesh say plain-clothes police have taken away three leaders of the recent student protests. They were being treated in Dhaka for injuries allegedly sustained in custody. And we will hear about the nationwide women only student organization in America, that Kamala Harris hopes will help her win the presidency.(Photo: A torchbearer runs atop the Musee d'Orsay during the opening ceremony. Credit: REUTERS/Peter Cziborra)

Une série d'interviews de différents artisans gravitants dans le monde de l'horreur et du fantastique !Dans cet épisode, j'interviewe Romain Houles : Responsable éditorial et technicien au sein du Musée Cinéma et Miniature de Lyon !LIENS DE L'EPISODE :Site @ : www.museeminiatureetcinema.frFacebook : Musée Cinéma et MiniatureInstagram : musee.cinema.miniatureBonne écoute ! Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Alan Belcher, courtesy of Hunt Gallery Alan Belcher's concept-based work is decidedly multi-layered and object oriented. He has been recognized in the past as an originator of a tactile fusion of photography and object-making. A transparency of vision and simplicity of fabrication with a concentrated regard for materials remain hallmarks of his serial productions. A sense of humour and a reverence for both Pop and Poveric sensibilities, as well as a hands-on approach; invade much of his work. His lifelong study of the works by artists Manzoni, Fontana, Pascali, Balla, Boccioni, and Scarpitta inform much of his work history, and indeed the pieces included in this exhibition. Works by Alan Belcher are held in various public collections which include the National Gallery of Canada (Ottawa), Centre Georges Pompidou (Paris), Art Gallery of Ontario (Toronto), Le Consortium (Dijon), Musee des Beaux-Arts (Montréal), Deste Foundation (Athens), Fotomuseum Winterthur (Zurich), Walker Art Center (Minneapolis), Chase Manhattan Bank, Credit Suisse Collection, Dropbox HQ (San Francisco), The Progressive Insurance Art Collection (Ohio), MoCA San Diego, Morris & Helen Belkin Art Gallery at UBC (Vancouver), and Musée Nicéphore Niépce (Chalon-sur-Saône, France) —as well as numerous prominent private collections. Napoli, 2024, Neapolitan ice cream on canvas 10 x 16 x 3 inches 25.4 x 40.7 x 7.7 cm, courtesy of LFdocumentation Vesuvio Vesuvio, 2024 Oil on canvas, pepperoni pizza, lava from Vesuvius 22 x 22 x 5 inches 56 x 56 x 12.7 cm, courtesy of LFdocumentation Roma, 2024, Oil on canvas, 24k gold on Bulgari soap 8 x 6 x 2⅜ inches 20.3 x 15.3 x 6 cm, courtesy of LFdocumentation

Elle est la chercheuse qui a fait basculer le débat sur la restitution du patrimoine africain. L'historienne Bénédicte Savoy (professeure d'histoire de l'art à l'université technique de Berlin) nous soumet cette question : à qui appartient la beauté ? Autrement dit : à qui appartiennent ces objets que les musées européens se sont appropriés et ont élevés au rang d'art ? Aux admirateurs acquéreurs, aux dépossédés ou à l'humanité ? Et que dire de ces œuvres qui au départ étaient des objets de culte ? Comment les sortir de l'approche esthétique européenne ? Bénédicte Savoy est notre invitée, cette semaine. Son dernier essai : « A qui appartient la beauté ? » (La Découverte). Dans notre Grand dictionnaire, une définition de l'initiation par Jean-Philippe Schreiber, professeur à l'ULB et fondateur de l'Observatoire des Religions et de la Laïcité. Merci pour votre écoute Et Dieu dans tout ça ? c'est également en direct tous les dimanches de 13h à 14h sur www.rtbf.be/lapremiere Retrouvez tous les épisodes de Et Dieu dans tout ça ? sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/180 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Jessica Loughlin's work is characterized by a strict reductive sensibility and restricted use of color. Fusing kiln formed sheets of opaque and translucent glass together in flat panels or in thin, geometric compositions and vessels, she alludes to shadow, reflection and refraction. Loughlin's work is influenced by the flat landscapes and salt lakes of South Australia, and the recurring motif of the mirage appears in much of her work. Each piece makes its own poetic statement.  “My work investigates space, seeing distance and understanding how wide-open spaces, particularly of the Australian landscape, affect us. I am fascinated by the unreachable space. The view we look upon, but can never reach. In this minimal landscape, all elements are stripped back, light becomes the landscape, and I am left looking at space, the space between here.…and there. This viewed distance is a place we can never reach, never get to, for as we move towards it, it moves away from you. Is this a real place or is it a projected space of the imagination. My work does not aim to represent this landscape directly but rather induce a state of looking inward and outward simultaneously.”   Originally from Melbourne, Australia, Loughlin is a graduate of the Canberra School of Art under the tutelage of late Stephen Procter. Her work can be found in the permanent collections of the Corning Museum of Glass, the National Gallery of Australia, the Victoria and Albert Museum in London, National Museums Scotland, Edinburgh GB, and the Musee de Design et d'Arts Appliques Contemporains in Lausanne, Switzerland. A studio artist for over 20 years, Loughlin has exhibited both nationally and internationally. In 2020, she was only the second Australian to have work selected as a finalist in the Loewe Craft Prize. In 2018, she was awarded the Fuse Glass Prize, and in 2004 and 2007, the Tom Malone Art Prize. She is represented by Sabbia Gallery, Sydney, Australia, and Caterina Tognon, Venice, Italy. A committed and passionate artist who is highly regarded both in Australia and internationally, Loughlin combines her thoughtful and instinctual approach with extraordinary technical skills. With a gentle color palette of soft muted hues, her work often explores ideas of evaporation, space and distance, all inherent in the Australian landscape. Loughlin's work was on view in late 2023 in a solo exhibition near | far at Sabbia Gallery, Sydney, and her piece of light is on national tour as part of the Jamfactory Icon series, accompanied by a monograph of her art Jessica Loughlin: from here published by Wakefield Press. In 2024, Loughlin was selected for and will participate in the Adelaide Biennial of Australian Art at the Art Gallery of South Australia, March 29 through June 2.  

Amanda opens up about what it means to create a Brand like Musee and the importance of good design. Amanda Broyles is the Creative Director and Lead Designer at Musee, a nationally recognized bath and body line based in Mississippi. After becoming a proud graduate of the University of Mississippi, Amanda and her husband Drew spent four years living in the Upper West Side of New York City where she started her career working remotely with the bath company, Musee. However, her heart eventually led her back to the warmth and hospitality of the South, where she has since made a significant mark in the world of creative design. Amanda resides in the charming town of Oxford, MS, with her husband Drew, and her two-year-old son.Amanda, alongside Musee's owner, Leisha Pickering, serves as the driving force behind the brand's whimsical aesthetic. With a remarkable seven-year tenure as the lead designer, Amanda has been the mastermind behind all packaging designs and brand photography.During Amanda's time at Musee, the brand has garnered widespread acclaim, earning recognition from prestigious platforms such as The Today Show, Southern Living, Harper's Bazaar, and even securing a spot on Oprah's coveted list of favorite things three years in a row. She has been the lead designer on brand collaborations with Anthropologie, Maisonette, The Honest Company, St. Jude Children's Research Hospital, West Elm, and Alabaster Co.Her dedication to excellence and unwavering commitment to the Musee brand continues to elevate Musee's presence in the market. Outside of her creative endeavors at Musee, Amanda finds joy in the simple pleasures of life by spending time with her family and friends.ResourcesCrossroads Ministry (Musee's Partner) Exclusive Membership Group ✨ Sign Up!Freebie ➡️ 2024 Guide and PlannerSPECIAL DEAL:

6 novembre 1922. Il est à peu près 10 heures lorsque Lord Carnarvon reçoit un télégramme pour le moins surprenant. Confortablement installé dans le bureau de son somptueux manoir anglais, il s'allume une cigarette avant de lire ces quelques mots : « Merveilleuse découverte dans la Vallée. Tombe superbe avec sceaux intacts. Attends votre arrivée pour ouvrir. Félicitations. H.C ». Si ces phrases abruptes peuvent sembler cryptiques pour le commun des mortels, Lord Carnarvon, lui, sait très bien de quoi il s'agit. Ce fameux « H.C », ce n'est autre qu'Howard Carter, son ami égyptologue, comme lui. Depuis une dizaine d'années, tous deux se sont mis en tête de découvrir la tombe du pharaon égyptien Toutankhamon. Se pourrait-il que ce soit justement « la merveilleuse découverte » d'Howard Carter ? Ni une, ni deux, Lord Carnarvon remplit son bagage en cuir de quelques vêtements, avant de quitter la Grande Bretagne pour se précipiter en Égypte. Plus précisément à Louxor, où son ami archéologue l'attend. Ce qu'il ne sait pas encore, c'est que la découverte du tombeau de Toutankhamon va emmener avec elle son lot de malheurs… jusqu'à devenir une véritable malédiction qui va frapper toutes celles et ceux qui s'en approcheraient d'un peu trop près. Il est 10h et c'est l'heure H de mon histoire. Merci pour votre écoute Retrouvez l'ensemble des épisodes de l'Heure H sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/22750 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

PADI Club recently completed their latest club trip to Belize where they had 38 divers from around the world participate. There is another trip planned for Bonaire in September. PADI Club continues to grow their benefits. A team of divers from the Musee des Ilse de la Magdalin have discovered 7 shipwrecks believed to be from the 1800s. The shipwrecks are off the Magdalin Islands in the Gulf of St. Lawrence. REEF is holding their 14th annual REEF Florida Keys Lionfish Derby and Festival - September 7 through September 10. The hunt happens on September 8 and 9. The festival concludes on Sunday September 10 at the Postcard Inn on Islamorada. United is adding more direct flights from Newark to Bonaire starting January 2024. There will be two more flights added each week. In addition to their Saturday flight, they will also add a Sunday flight and a Wednesday flight. The flights will run through April 2024. Maui needs visitors. In the wake of the devastating wildfires, people were asked not to head out to the island, but now, the island which is so dependent on tourism, needs visitors. While West Maui is closed, there is still plenty of other locations on the island to enjoy this magical island. Commentary- In my opinion - climate change is NOT a hoax. We have seen record high temperatures, the hottest month on record and the hottest single day in recorded history. We have seen incredible wildfire destruction, storms hitting areas that are not prone to these conditions and water temperatures in Florida closing in on 100 degrees. We cannot deny the evidence. It is like ignoring a serious medical condition like cancer - it doesn't cure itself. We have the information, knowledge and expertise to battle the climate change issue but do we have the sustained leadership to meet the challenge. We cannot change our direction every four years on this one. New divers often ask about what is next after gaining their open water certification. First and foremost, my advice is to tell them to get out and go diving. That isn't always easy or practical for some. They still want the guidance of dive professionals until they gain their confidence and become better scuba divers. So here are my three steps for new scuba divers. Become a certified Enriched Air Nitrox diver. By diving with enriched air, you are not only gaining longer no decompression limits, it becomes part of your risk mitigation strategy. Less nitrogen being absorbed in your tissue is a good thing. Your advantage is extended when doing repetitive dives Get more training on buoyancy, control and propulsion. There are number of ways to do this. Training agencies have specific classes on buoyancy. This provides valuable experience. Also, some dive shops have specialized classes to give people this training. You can even get one-on-one private lessons with a dive professional. You are now ready for the rigors of Advanced Open Water certification. With Nitrox and buoyancy, you are better prepared for the task loading of navigation, and deep along with other things like search and recovery, or delayed SMB deployment. By completing steps one and two, you will get a lot more out of your advanced training.

Original sound tourist Paris musee carnavalet --- Support this podcast: https://podcasters.spotify.com/pod/show/haiying-yang/support

In this episode of the podcast with my guest Terri Brault, we discuss Canadian WW2 Normandy sites you can visit. Canadian forces were heavily involved in the D-Day landings on June 6, 1944, which marked the beginning of the end for Nazi Germany. The Canadian 3rd Infantry Division, along with the 2nd Armoured Brigade, landed at Juno Beach, a stretch of coast located between Sword and Gold beaches. Facing heavily fortified German defenses, they experienced fierce resistance, but their courage and determination saw them overcome these formidable obstacles. By the end of the day, Canadian forces had penetrated deeper into France than any other Allied force, a testament to their discipline and valor. Canadian troops also played a significant role in the subsequent Battle of Normandy, a grueling two-month campaign to liberate the region from German occupation. They were central to Operation Totalize, an offensive designed to break through German defenses south of Caen, a strategic city that witnessed some of the war's bloodiest conflicts. Moreover, Canadian soldiers were victims of one of the war's most infamous atrocities at the Abbaye d'Ardenne, where 20 prisoners of war were executed by the 12th SS Panzer Division, a crime later prosecuted as a war crime. Today, the Canadian War Cemetery at Beny-sur-Mer, where about 2,000 soldiers are laid to rest, serves as a somber reminder of the ultimate sacrifice these brave men made in the pursuit of freedom and peace. Their bravery, tenacity, and sacrifice significantly contributed to the successful Normandy campaign, marking a pivotal turn in the course of World War II. Their legacy lives on in the form of numerous memorials, museums, and preserved historical sites in Normandy, and their heroic efforts continue to be honored and remembered by both Canadians and the international community.  Let's talk about the places in Normandy you can visit to honor their sacrifice and valor. Table of Contents for this Episode Today on the podcast Podcast supporters Bonjour Itinerary Service The Magazine part of the podcast Canadian Heroes of Normandy with Terri Brault Seeing the Water Lilies at The Musee d'Orangerie Giverny No speeding tickets Rouen Going too cheap on the hotel Bayeux D-Day Sites, Longues-sur-Mer Arronmanches Juno Beach, Courseulles-sur-Mer Canada House, Bernières-sur-Mer Beny-sur-Mer Cemetery Abbaye D'Ardenne Chateau de Cruelly Battle of Normandy museums in Bayeux, Caen, and Juno Beach Centre. Bayeux Tapestry Mont St. Michel Ducey Don't pack too much into your trip Hotel des Arènes, on Rue Monge, Walking some of Annie's VoiceMap tours What she learned about France: Do and Don't Do Warnings Why Normandy in September? Annie's itinerary review service Orange travel sim cards Travel journal before leaving Thank you, patrons Getting ready for a trip to France The Olympic Village Next week on the podcast Copyright

On this episode, Devi shares a breathing exercise, her experience traveling to Paris this summer, and insights for setting intentions on your birthday.  If you are currently in Paris or have plans to visit one day, here are a few travel and entertainment recommendations:Musee de LouvrePicasso Exhibit The Louis Vuitton FoundationFilms to watch on the journey:Before Sunrise3000 Years of LongingLiving  And a reminder! There is still time to join Devi and Queen Afua at The Woman Who Heal Retreat - August 20-25, 2023See omnystudio.com/listener for privacy information.

A version of this essay was published by firstpost.com at https://www.firstpost.com/opinion/shadow-warrior-paris-is-burning-why-12837712.htmlI had the disconcerting experience of being on the ground in Paris while the current riots raged. Oddly enough, on my previous visit, in April 2019, I arrived the night the Notre Dame cathedral caught fire, and then was in town during the Yellow Vest riots against fuel taxes. In both cases, my plans were affected: in the current case I stirred out of my hotel room near the Arc de Triomphe with trepidation, worried as I was by TV images of random violence and especially arson.I had been to Paris for several years in a row (until covid) for an annual conference on innovation, so I have a slight familiarity with the city, and it remains one of the most charming cities in the world. Architecturally appealing, with world-class museums (I did my usual homage to the Louvre, the impressionist Musee d'Orsay and the Musee Guimet of Asian art), lovely boulevards, the peerless Eiffel Tower, the unhurried meals in sidewalk cafes: the very picture of the good life.Then there is the dark side of things.The proximate cause of the troubles was the shooting death of a 17 year old youth of Algerian heritage, possibly the result of excessive force by the police. But this is just the spark. As in other countries with restless minority populations (e.g. the US with periodic riots after police shoot yet another black man, as in Los Angeles burning after the death of Rodney King), there are many other resentments that fan the fire. It would be easy to surmise that racism and the reaction thereto are the main factors in action.But I think there is another, possibly preponderant cause: demographic shift. France is getting less white, more black and Arab, and more Muslim. Coupled with an ever-restive leftist streak that has been evident for long (remember the student riots in May 1968 and the always volatile Left Bank?), today we have a left-migrant nexus of sorts that magnifies any issue and takes to the streets.There are large numbers of migrants, including those who came from the colonies and more recently refugees fleeing terror and chaos in Syria, Afghanistan etc. One would think that they would generally be grateful to Europe for taking them in, but radicalization is literally visible on the streets: the older generation is more secular, but their sons and especially their daughters-in-law are more observant, with beards, hijabs and other signs of religiosity. They are influenced by fiery preachers who call for jihad.It is now much easier to marshal ‘flashmobs' via social media. In fact, France has just had to turn off the Internet to prevent further provocation and nastiness. Let us note that this was not trumpeted by Deep State journalists as a sign of autocracy, although that is exactly what they say when India has to turn off the Internet in Kashmir.There were statements made by some of the rioters (I'm not sure if it is just bravado or whether they seriously mean it) that they intend to take over Europe through the power of their numbers, as they are noticeably more fertile than native whites. Eurabia is an inevitable reality, they believe. This, naturally, does not sit well with the locals. They will probably begin to curtail migration, as some Scandinavian countries have begun to do.Perhaps there is also a crisis in governance, which was the opinion of an old friend, whom I met for drinks at the landmark Publicis Drugstore on the Champs Elysees. She was unhappy about the mayor and other politicians whom she blamed for the poor state of general administration. (I just read that a suburban mayor's home was attacked, and his wife injured). Although my friend didn't talk about him, Emmanuel Macron is not universally popular either; even senior citizens appear to be upset with him.She also mentioned that the covid lockdowns had had a hugely disruptive, and lingering, effect, as many people lost their jobs, many moved out of Paris, and have had their prospects diminished. France's place in the world is also diminishing: it is now mostly a purveyor of luxury goods (fittingly, the head of LVMH is now the richest person in the world), and it was roundly humiliated by the US in the AUKUS affair, even though it is still a major arms supplier.Maybe there is a certain angst in the air. Maybe that is the root cause, or at least a root cause.I met a Pondicherry-origin man working in the transit hotel near the airport where I spent my last night in Paris, not wanting to risk riots, arson and barricades on the way from the city to Charles de Gaulle. He was generally negative, warning me about crime ranging from pickpocketing to muggings and especially the riots. He felt that his life as an immigrant (he has been there for many years) has become worse, and he felt he could be targeted by both Arabs and whites based on his Indian looks and the certainty that he was harmless and would not retaliate.I only personally witnessed a boisterous crowd shouting slogans that I couldn't understand, and no violence or arson (thankfully), but there was the constant wail of police sirens in the background, and what sounded like shots in the middle distance. Sadly, the largest library in France was set on fire. Thousands of vehicles were destroyed, and hundreds of houses looted and burned. In the end, I am told residents responded with vigilante squads fending off the unruly mobs.I also spoke to the proverbial taxi driver (a Moroccan-Frenchman), following in the footsteps of famous economists and journalists. He tried to be circumspect, and he didn't seem to be a religious person (there were no accoutrements in his car), but he told me about hard times. He was running an illegal taxi service, and he overcharged me 10 Euros since (he claimed) he didn't have enough change.He spoke about unemployment and discrimination, and how inflation was hurting his living standards. I have in the past found French Arabs not very hostile to Indians (as we don't threaten their livelihoods), and this man wasn't either.The same issue of economic problems was echoed by a Malayali manning a souvenir shop. He had arrived as a student, stayed on for a few years, and now was facing problems in bringing his family over from India. Incidentally, a lot of the souvenir stalls near Sacre Coeur, the Louvre and elsewhere are staffed or owned by Indian-origin people: I met one from Gujarat, another from Mauritius.The number of Indians I saw around Paris has gone up from prior visits: both tourists and residents. There still are far more East Asians (in my hotel there were Koreans and Singaporeans) around. I met a young woman from Kanyakumari who was leading a tour group on the Eiffel Tower. She was optimistic: she was doing her MBA, working part-time, and she has an import-export startup in India that she will be returning to.My chance encounters with these people illustrate the point about European decline. France has a nice little niche in luxury goods, but I suspect their buyers are increasingly from newly-affluent Asia. The departure area at CDG airport Terminal 1 is a veritable secular cathedral, with chandeliers and luxurious seats, surrounded by glitzy and expensive Dior, Chanel, Louis Vuitton, Hermes, Cartier, etc. shops tempting the departing traveler.But decline in the former colonial powers (most evident in Britain, which also shot itself in the foot with Brexit) is a fact. In a way it is poetic justice: Paris is full of evident loot from elsewhere (the Egyptian obelisk from Luxor, the Cambodian sculptures from the Bayon and Angkor Wat) and France clearly was enriched by exploitation of the colonies.But their core industrial strength has vanished (China continues to rape and pillage their IPR), along with their position in the global GDP standings. India has overtaken France and Britain, and will soon overtake Germany. Europe is now less of a factor in the world than it has been since the Middle Ages. Asia is rising again.It's a powerful cocktail: inevitable cyclical decline, memories of imperial grandeur, the determined Islamist assault, and general anti-government feelings going way back to the French Revolution. Surely, the crackdown by some 50,000 police and if necessary, the army, will control the riots, but one day the rioters may win. Predictably, all of Europe is now shifting right-wards: Italy, Finland, Greece, possibly Spain. Hard times beget hard men.1450 words, Jul 3, 2023 This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit rajeevsrinivasan.substack.com

Judy Wells lives in Berkeley. Her book, Night at the Musee d'Orsay, is a memoir of travel poems — both serious and humorous — that center on her appreciation of great art in European cities. It came out in January, 2023.

John 14, 1-6: 'Do not let your hearts be troubled. Trust in God still, and trust in me. There are many rooms in my Father's house; if there were not, I should have told you. I am going now to prepare a place for you, and after I have gone and prepared you a place, I shall return to take you with me; so that where I am you may be too. You know the way to the place where I am going.' Thomas said, ‘Lord, we do not know where you are going, so how can we know the way?' Jesus said: ‘I am the Way, the Truth and the Life. No one can come to the Father except through me.' The Lord Jesus understands the internal upheaval of the apostles. He sees clearly that they are troubled, that they are anxious and nervous. I may not even have shown externally, but he could read their hearts well. Now he reads our hearts and invites us to be men and women of peace. Music: Tears keep flowing by Bert Alink. Thumbnail: Mission of the Apostles. Byzantine ivory plaque. Paris, Musee du Louvre 10th century. From article by Robert Bergman, "A School of Ivory Carving in Arnalfi", Metropolitan Museum of Art Journal (v. 9 1974).

Det händer något väsentligt när den grå forntiden antar mänsklig skepnad, när individer framträder inför våra blickar – när Ramses II:s mumifierade kropp möter oss avlindad på museet i Kairo, när sargade offerlik och folk som mördats hittas i våra gamla mossar, eller när gestalter som Ötzi – ”ismannen” från Alperna – upptäcks av en slump. Vår förhistoria blir genast mer påtaglig; den får, bokstavligt talat, ansikten och kryddas med människoöden som pockar på att bli studerade och beskrivna. Under det senaste seklet, från upptäckten av Tutankhamons grav 1922, har mängder av forntida män och kvinnor grävts upp, analyserats och ställts ut till allmänt beskådande. Detta gäller även Sverige, med iögonfallande fynd som Barumkvinnan, Hallonflickan och Granhammarsmannen. Med hjälp av den allra senaste tekniken försöker vi lära oss hur de levt – vilken mat de ätit, vilka platser de har besökt – och hur de mötte döden. Det är inte ovanligt att vi införlivar dem i vår krets genom att skänka dem namn, som när ett av de äldsta upphittade exemplaren av de varelser som för tre–fyra miljoner år sedan höll på att utvecklas till människor döptes till Lucy, efter en Beatleslåt som var populär i forskningsteamet.I detta avsnitt av podden Harrisons dramatiska historia samtalar Dick Harrison, professor i historia vid Lunds universitet, med Katarina Harrison Lindbergh, historiker och författare, om individerna under forntiden – om egyptiska mumier, nordiska mosslik och andra döda män och kvinnor som idag kan beskådas och analyseras.Bild: Mumien av Ramses den store, G. Elliot Smith - "Catalogue General Antiquites Egyptiennes du Musee du Caire: The Royal Mummies" Detaljer om farao Ramesses II mumifierade kropp. Kairo museum. Wikipedia, Public Domain.Klippning: Aron SchuurmanProducent: Urban Lindstedt Hosted on Acast. See acast.com/privacy for more information.

As one of the most famous and bizarre moments in papal history, we had to spend some extra time digging through the Cadaver Synod! In this special bonus episode, we are joined by Gregg of the Popeular History podcast, to explore and review many things that this event inspired. We'll discuss sources, paintings, music, musicals, and more! Images:  Jean Paul Laurens, “Pope Formosus and Stephen VI, the Cadaver Synod”, 1870 At the Musee des Beaux Arts in Nantes: https://upload.wikimedia.org/wikipedia/commons/thumb/b/bf/Jean_Paul_Laurens_Le_Pape_Formose_et_Etienne_VI_1870.jpg/1280px-Jean_Paul_Laurens_Le_Pape_Formose_et_Etienne_VI_1870.jpg  Unknown Alamy: https://upload.wikimedia.org/wikipedia/commons/5/56/Cadaver_Synod.jpg The Cadaver Synod, the posthumous ecclesiastical trial of Pope Formosus, 897, engraving from the Middle Ages, 1892, by Francesco Bertolini (1836-1909), with illustrations by Lodovico Pogliaghi (1857-1950). Biblioteca Ambrosiana: https://discovery-assets-production.s3.eu-west-1.amazonaws.com/app/uploads/2022/11/23121220/GettyImages-935422378-770x1091.jpg.webp Cadaver Synod by Hippolite Magen 1857 https://www.bridgemanimages.com/en-US/noartistknown/title/notechnique/asset/4944939 "Le pape Formose et Etienne VII". Le concile cadaverique Gravure pour illustrer Histoire des papes par Maurice Lachatre (1814-1900), librairie du progres, Paris. https://www.alamy.com/le-pape-formose-et-etienne-vii-le-concile-cadaverique-897-le-cadavre-du-pape-formose-formoso-formosus-pape-de-891-a-896-revetu-de-ses-habi-image331922551.html?imageid=6B83FC86-C1F1-4AFB-A17B-3CBB25432BED&p=1169799&pn=1&searchId=856dd054def096977f5ecc6bd8180f46&searchtype=0 Wild Ambition Brewing: https://wildambition.beer/  Cadaver Synod Musical IndieGogo: https://www.indiegogo.com/projects/the-cadaver-synod-a-pope-musical#/  Guests and Readings:  Gregg of Popeular History: https://popeularhistory.podbean.com/  Liutprand - Brendan of Tsar Power: https://open.spotify.com/show/49JyFkdWvSy0sKv37W8YX6  Platina - Ben of Wittenberg to Westphalia: https://play.acast.com/s/wittenbergtowestphalia#:~:text=by%20Benjamin%20Jacobs%20Go%20to,Modern%20Period%20of%20European%20history.  Mann - Rob of Totalus Rankium: https://totalusrankium.podbean.com/ 

Both through his own works and his activities in education, Richard Meitner has had a profoundly positive and highly visible impact on art in glass internationally. His works have been shown around the world and have been included in almost every major international museum exhibition of art in glass for the last 25 years. In spite of his considerable reknown, Meitner's work has never been mainstream. His place is always on the outer edge of what is happening, searching, challenging, discovering, taking risks, as if he were a child at play. It is this desire to discover and speak as a child does, to learn and rejoice in that learning, but also the willingness to be caught off guard, and amazed or puzzled by experience, which has always been at the heart of his activities.  Anna Venini wrote: “The best way to express what I like most about Richard and his work is perhaps this: he lives in an extraordinary world, one that is not simply the pleasing world of fairy tales but is at the same time a breeding ground for some serious (albeit elusive) philosophical thought and research. It is from this place that he creates. It is my feeling that he has not only already accomplished great things, but has, in addition, a long career in front of him as an important artist. I come from a family of glass makers. I love Richard's work most certainly not only for that reason, but also because Richard is able to approach that material and to use it with culture, with great fantasy and originality, with authority and great thoughtfulness. That combination is, in my experience, highly unusual.”  An artist with decades of experience and practice in art and art education, Meitner has lived in Amsterdam since 1972. He has lectured and conducted workshops in the U.S.A., Great Britain, the Netherlands, Germany, France, Spain, Malta, Portugal, Sweden, Denmark, the Czech Republic, Italy and Japan. He has been invited artist-in-residence in many countries and has worked as a designer for the glass industry in Italy, Germany, Austria, Switzerland, the Netherlands, and Belgium. Additionally, Meitner has served on the Dutch National Commission for Endowments for the Arts and the Dutch National Advisory Board for the Arts. Together with Mieke Groot, he was responsible from 1981 to 2000 for the glass department of the Gerrit Rietveld Academy in Amsterdam. In 2006, he was appointed to the faculty for Science and Technology of the Universidade Nova de Lisboa (New University of Lisbon), Portugal. Meitner's major exhibitions include a retrospective at the Musee des Arts Decoratifs of the Louvre in Paris, and solo shows at the National Museum for the History of Science and Medicine in Leiden, Netherlands, the National Glass Museum in Sunderland, England, the Stedelijk Museum in Amsterdam, and the Corning Museum of Glass in the U.S.A. His work is included in the permanent collections of more than 60 museums in 16 countries. In 2020, the artist received the Lifetime Achievement Award from the Glass Art Society. In 2016, Meitner earned a PhD in sculpture from the Faculty of Fine Arts of the University of Lisbon, Portugal. His doctoral thesis made the case that in education and public policy for art, the way we define, make policy for and teach art is in many respects incorrect and ineffective. He formulates his arguments citing science and many other sources that strongly suggest that we need urgently to discuss, rethink and come to much more accurate and useful understandings of what making and appreciating art are really about.  In 2023, Meitner will begin work for his upcoming solo show at Galeria Caterina Tognon in Venice during the Biennale and continue to build a working collaboration with his partner, Nataliya Vladychko, a talented Ukrainian artist. He will also carry on his work with the Vicarte Research Unit at Universidade Nova in Lisbon, i.e. working with young student artists in the Master's degree program for the Art and Science of Glass and Ceramics.  Saya Meitner: “Helping young talented artists as a teacher is something I've done for many decades, and has become quite an important aspect of both my career and my life.”  

In this episode, we discuss current biosolid management and application, as well as alternative uses for biosolids in the home and in municipalities. Sources: 1) https://www.epa.gov/biosolids/basic-information-about-biosolids 2) https://www.biosolids.com.au/info/what-are-the-different-forms-of-biosolids/ 3) https://www.dec.ny.gov/docs/materials_minerals_pdf/facts.pdf 4) https://extension.missouri.edu/publications/wq427 5) Musee de Civilization: Poop Exhibit

Today, Annie Sargent brings you a conversation with Elyse Rivin of Toulouse Guided Walks about the big events coming up in Paris in 2023. We also have a recap of how Paris museums have been doing since the pandemic. And Annie gets to do her own trip report and spills the beans on the best things she enjoyed in Paris in January 2023. Table of Contents for this Episode [00:00:16] Intro [00:00:38] Today on the podcast [00:01:10] Podcast supporters [00:04:00] New patrons [00:04:55] Next week on the podcast [00:05:30] Annie and Elyse – Coming Up in Paris [00:05:45] Museums in Paris since the pandemic [00:07:26] Centre Pompidou [00:07:51] Quai Branly [00:09:54] Versailles [00:12:50] The City of Paris museums [00:13:21] The Catacombs [00:15:41] Orangerie and Orsay [00:17:13] Edvard Munch [00:19:21] The Orsay Museum wants your to buy your tickets with their App [00:22:08] What's happening at the Orsay in 2023 [00:25:11] 7 Expos not to miss in Paris in 2023 [00:27:07] 50th anniversary of the death of Picasso [00:31:02] Museums outside of Paris [00:31:43] Paris needs to stop hogging all the art! [00:33:46] Annie's visit to Paris [00:37:25] Jacquemart-André Museum [00:38:48] Costcos in France [00:40:48] Cluny Museum [00:42:16] Visiting the newly reopened BnF Richelieu [00:44:38] Musee de la Liberation [00:46:28] Rue Daguerre [00:47:47] Bringing the dog to Paris [00:49:25] Long drive [00:49:46] Charging the car on the freeway [00:52:39] Copyright  

In the second hour of the show it's our weekend recap with Todd Leabo as they talk with Todd about the Chiefs close win over the Broncos & the rivalry renewed in Columbia on Saturday between KU and MUSee omnystudio.com/listener for privacy information.

Couch Talks is the bonus episode of You Need Therapy where Kat answers questions that listeners send to kathryn@youneedtherapypodcast.com. This week, Kat spices things up with some holiday cheer by creating a gift guide full of meaningful gifts that give back for everyone on your list!    1. Able Able's mission is to create go-to wardrobe pieces that empower both the women who wear them and the women who make them.  2. Affirmators  These affirmation cards were created by comedian Suzi Barrett and are sad to Providing the fun of a horoscope with a little less woo-woo which  3. F%^ck Meditation  For the loved one in your life is who going through some stuff and finds relief by throwing out a couple of F bombs every now and then.  4. How to Carry What Can't Be Fixed  A journal written by Megan Devine that “contains no clichés, timetables, or checklists of stages to get through; it won't help you “move on” or put your loss behind you. Instead, you'll find encouragement, self-care exercises, and daily tools to help you manage and explore your grief.” 5. ArtbySharyl Custom water color paintings! 6. Propagated Plant  7. Musee  Musee makes handcrafted, natural bath products in Madison County, Mississippi with the mission of restoring lives by providing dignified work for vulnerable people in our community. Musee partners with a local organization called Crossroads to help provide jobs for women coming out of spending time in prison, treatment centers or abusive situations AND Schools of Haiti to provide teacher salaries, new books, new desks, uniforms and one meal every day for the students. 8. Nashville Blanket Project For every blanket purchased a blanket is donated to someone in need!  9. 4 Things Gratitude Journal & I'm Fine Puzzle Perfect gift to offer someone who is going through some tough stuff and doesnt want to be so serious all of the time OR for someone you love who wants to count their blessings with a little more intention- all while helping support organizations in Haiti! 10. Cuddle And Kind  A company started by a family of 5 that's mission is to help provide meals for children in need. They sell dolls hand knit by women in Peru and Nepal that are ADORABLE and while you are giving the cutest gift to someone you are helping sustain jobs for women and supplying 10 meals to a child in need!   Follow Kat on Instagram: @Kat.Defatta Follow the podcast Instagram: @YouNeedTherapyPodcast Have a question, concern, guest idea, something else? Reach Kat at: Kathryn@youneedtherapyodcast.com Heard about Three Cords Therapy but don't know what it is? Click here!   Produced by: @HoustonTilleySee omnystudio.com/listener for privacy information.

For Video Edition, Please Click and Subscribe Here: https://youtu.be/84LgcSSnx5o Internationally acclaimed designer, Marc Rosen, is known for his award winning fragrance, cosmetic, and fashion packaging, A creative entrepreneur, his foresight has established him as a leader in the fields of design, marketing and public relations. His vision has been inspired by working with famous 'beauty' manufacturers and fashion names such as; Elizabeth Arden, Coty, Revlon, Estee Lauder, Nina Ricci, Perry Ellis, Oscar de la Renta, Avon, Halston, Chloe, Proctor & Gamble, Karl Lagerfeld, Fendi, Bath & Body Works, Victoria's Secret, Ellen Tracy and Burberrys, etc…He has worked with celebrities ie; Christina Aguilara, Joan Rivers, Celine Dion, Paris Hilton, Stephanie Powers, Joan Collins. Just prior to establishing his own firm in 1989, Mr. Rosen was Senior Vice President — Corporate Design and Communications for Elizabeth Arden Global for over a decade. In that role he was responsible for all corporate design, packaging, in-store merchandising and public relations. He is a seven time FiFi award winner. Mr. Marc Rosen has been involved in three highly acclaimed museum exhibitions: In 1979 he created "Cosmetic Packaging: A 20th Century Art Form" at the Fashion Institute of Technology, New York City and co-chaired the Fragrance Foundations "Scents of Time" exhibit (1986-87) that traveled nationwide. In September 2002 he created an exhibit entitled "Glass Houses" featuring his perfume bottle designs to celebrate the opening of Pratt Institute's new graduate center in Manhattan. His designs are represented in the permanent collections of the Museum of Modern Art, New York and the Musee de La Mode, Paris. 

Serge Strosberg is an acclaimed international artist who is known for his realist and expressionist portraits. After growing up in the US and Europe, he "received classical training at the prestigious Academie Julian in Paris and Ecole Nationale Superieure des Beaux-Arts. In 2008, he exhibited his work at the Felix Nussbaum Museum (Germany) and the Musee de Pontoise (Paris) in Germany with Lucian Freud, Philip Pearlstein, Chaim Soutine, Alex Katz in major group exhibitions of realist painting." He works with oil and egg tempura to create large-scale commissioned pieces for institutions or families. His goal in each painted portrait is to include the personality of the person; not just a photo likeness. Beyond this, his portfolio is full of concepts that critique the elite extremes of American culture (fashion, the 1%..) through figurative pieces that consider both composition and location as a means of questioning high society and cultural norms. He offers a candid description of what it is like to work on his own terms with the support of cultural organizations, the struggle of working within the established gallery system, and the gift of being able to spend his life making art. The cover art of this episode is one of Serge's paintings- a portrait of Blake Byrne --- Send in a voice message: https://anchor.fm/thestolenhourspodcast/message

Écoutez l'histoire du sculpteur Rodin et de sa passion pour l'Egypte racontée par l'historienne Virginie Girod, dans un récit inédit en deux épisodes, en partenariat avec le Musée Rodin à l'occasion de l'exposition "Rêve d'Egypte". En 1897, Auguste Rodin termine son Balzac, une statue commandée par Emile Zola et dans laquelle on retrouve la monumentalité égyptienne. Et comme d'autres œuvres avant elle, celle-ci va provoquer une avalanche de critiques. Dans cet épisode du podcast "Au cœur de l'Histoire" produit par Europe 1 Studio, Virginie Girod poursuit son récit sur l'histoire de l'artiste, le sculpteur évidemment mais aussi le collectionneur féru d'Egypte antique.>> En partenariat avec le Musée Rodin, à l'occasion de l'exposition "Rêve d'Egypte" "Au cœur de l'histoire" est un podcast Europe 1 Studio.Ecriture et présentation : Virginie Girod - Production : Adèle Humbert - Direction artistique : Adèle Humbert et Julien Tharaud - Réalisation : Clément Ibrahim - Musique originale : Julien Tharaud - Musiques additionnelles : Julien Tharaud et Sébastien Guidis - Communication : Kelly Decroix - Diffusion et rédaction : Eloise Bertil - Visuel : Sidonie Mangin

Julie let her kids eat a plate of fries and watch YouTube on her phone while out to dinner... is that okay? Other topics we discuss... Back-to-school morning routines School start times and how to get to work on time when school starts after 9 AM The going rate for a babysitter Musee de la Civilisation, Quebec City - O Merde! (Oh, Shit!) exhibit If your kids do this crazy, ridiculous, obnoxious stuff too, just know - you are not alone! Come hang out with us on Facebook and Instagram. Join our Facebook group, Mom Chat by The Basic Moms. If you've got a story you'd like to share with us, send us an email to TheBasicMomsMedia@gmail.com, we'd love to hear it! And, don't forget to rate and review this podcast and subscribe so you know exactly when each new episode is released! Until next time….

What Can We Learn From the Masters?   How do we deal with the pain in the world and still carry on? I know it feels like we're living during one of the most challenging times, but the truth is, there has always been chaos and pain and heartache in the world.   When you feel down, poetry may help. Listen to hear the poem Musee des Beaux Arts by W. H. Auden for a bit of inspiration.  Declare Your Identity as an Artist   Impostor syndrome. Who am I to write a book or sell my art? I've been there, and I also realized I could figure it out.    If you are struggling to call yourself an artist here's what I want you to do. Declare it to everyone! Share this from a place of connection. When you practice showing up in the world as an artist you begin to re-write your story.   Get Artist Affirmations Here (Plus the bonus from Amy Porterfield)    What Kinds of Online Classes Can You Create as an Artist  When you are starting out in the digital course world, it's overwhelming. There are so many options, so I recommend starting with these 3 concepts:   A starter course like Watercolor Secrets   A spotlight course like Spirited Sunflowers   A signature course like Watercolor Portrait Academy  This is the framework I used to grow my business. I have a great resource to help you get started: The Course Creator Starter Kit.   For even more help you can get access to a free training from expert Amy Porterfield. Join her 5 Day Bootcamp to help you claim success when it comes to teaching your online class.   Discover the 9 Tools Recommended by Top Artists to Create Stunning Art Videos  When I first started creating art video tutorials, I was overwhelmed with all the options. I asked for help to get the right set up that works for me. After 10 years, I've streamlined things and I'm sharing them with you today.   Digital Camcorder with a rotating view finder   Tripod with multi-angle rotation  Webcam for your laptop or PC   Microphone   Lighting (especially if you don't have lots of natural light)   Cyberlink software  Memory card for your camcorder   Kajabi – online course platform   Zoom   Get the list of these resources here.   Fight for Your Art Dreams   100 years ago today, the 19th amendment was signed giving women the right to vote. It's also the anniversary of Martin Luther King's “I Have a Dream Speech.”   There are numerous women artists that inspire me. I can name so many just off the top of my head so was disappointing to hear that less than 10% of the art at the MOMA were by women artists. That was in 2002, and sadly it hasn't changed much in the past 20 years.   We don't have to be a statistic. We can fight. I believe in you, in your art, and your dream.  Here's a quick recap of all the free resources we talked about today- 12 Artpreneur Affirmations schulmanArt.com/AFFIRMATIONS Course Creator Starter Kit schulmanart.com/GUIDE Art Video Tech set up list schulmanart.com/tech 

5th Arrondissement: Historic Paris   The XXth arrondissement is xxxx (oliver writes description) The Earful Tower podcast episode This podcast episode on the XXth district of Paris includes an interview with xxx and our final ranking on the district out of 100.  Video guide to the 5th arrondissement We'll share our visit, in video format, on our YouTube channel in the coming days. We'll be making one of these travel vlogs every week, so be sure to subscribe (you can do it in one click via this link).  The Earful Tower's guide to the xxth arrondissement   Oldest arrondissement in Paris (claimed Wikipedia) - first built by the Romans.  Latin Quarter, known as such because in the Middle Ages the students here were taught in Latin. Students lived here historically and now. Beat Generation, many of the greats of that movement lived in the neighborhood.    Tops things to find in the 5th arrondissement   Plan:   Breakfast at LouLou Cluny  Pantheon Bibliotheque genevieve Jardin des plantes Musee natural history Zoo (but it was shit) Mosque for tea Mouffetard  Midnight in Paris steps Le Contrescarpe Maison de Verlaine Caveau de la huchette   Natural History Museum  + Jardin des Plantes Address: 2 Rue Buffon, 75005 Tickets   Grande Mosquée de Paris Address: 2bis Pl. du Puits de l'Ermite, 75005 Lockers available, only for women, open every day 10h - 21h, variety of hamman options, book tickets here   Saint-Geneviève Library Address: 10 Pl. du Panthéon, 75005 Hours Mon - Sat 10h - 22h To enter you need to fill out this form and bring a valid form of ID. Then you complete your registration at the library.   Shakespeare and Company @shakespeareandcoparis Address: 37 Rue de la Bûcherie, 75005   Place de l'Abbé Basset Address: 1 Rue Saint-Etienne du Mont, 75005 The Midnight in Paris steps   Arab World Institute Address: 1 Rue des Fossés Saint-Bernard, 75005 Hours: Tues - Sun 10h - 19h   Panthéon Address: Pl. du Panthéon, 75005   Cluny Museum - National Museum of the Middle Ages Address: 28 Rue du Sommerard, 75005 (with a quick visit to the roman ruins of the old bath houses)   Le Caveau de la Huchette @caveaudelahuchetteofficiel Address: 5 Rue de la Huchette, 75005 Hours: Open every evening, no reservation. Fri, Sat & pubic holidays: 21h - 4h The musician: Du mercredi 29 juin au samedi 2 juillet : Matthieu Boré Blues in New Orleans   Ancient vestiges of the city: Phillipe Auguste wall, the Romann baths and the Arène de Lutèce. Perhaps an honorable mention?   Outdoor Sculpture Museum Along the banks of the Seine always such an amazing atmosphere here Address: 11 Bis Quai Saint-Bernard, 75005   Food   Resturants   La Tour D'Argent Address: 19 Quai de la Tournelle, 75005    Chinaski @chinaskiparis Address: 46 Rue Daubenton, 75005 Paris, France Cafe by day, neo bistro by night   Restaurant Flocon @restaurantfocon Address: 75 Rue Mouffetard, 75005  Great spot to visit on the vibey Rue Mouffetard   Le Bel Ordinaire @lebelordinaire Address: 5 Rue de Bazeilles, 75005   Au P'tit Grec Address: 68 Rue Mouffetard, 75005 Paris, France Great cheap crêpes on Mouffetard   Marché Maubert Address: Pl. Maubert, 75005 Good square with great bakeries, cheese shops and green grocers.    Le Loulou @loulou_restaurant Address: 90 Bd Saint-Germain, 75005 Brunch & Coffee   Drink   Place de la Contrescarpe Address: 2-2 Pl. de l'Estrapade, 75005  Hemmingway lived just around the corner ay 74 rue du Cardinal-Lemoine he came here often. James Joyce finished Ulysses just down the road at 71 rue du Cardinal Lemoine.   Rue Mouffetard Rue Mouffetard was so-named because of the mouffle, Old French for stink, that came from the river Bièvre at the foot of the hill (!! cool link) Orwell wrote about this area in Down and Out in Paris and London.   Coffee   Jozi Café @jozicafeparis Address: 3 Rue Valette, 75005

After a long hiatus, we are back with an update! Unfortunately Tamara and Kim both came down with COVID after returning from their respective spring break trips, which has delayed getting a new episode out. But this week Tamara fills us in on her adventures (and misadventures) on spring break and shares some of the highlights and tips from her week in Paris. Paris Trip Highlights This post contains affiliate links. If you click a link and make a purchase, we may receive a small commission. All opinions are our own. Tamara and her family stayed at Le Relais Saint Germain in the 6th Arrondissement See her full 5 days in Paris itinerary Tamara's Paris trip planning timeline and checklist You can also see Tamara's Paris travel tips One of the highlights was seeing Monet's Water Lilies at the Musee d'la Orangerie, relaxing in the Tuileries Gardens, and an amazing tour of the Louvre The tour was "Mona Lisa at her Quietest" by Take Walks / Walks of France Tamara also recommend the Ultimate Food Tour of the Marais neighborhood with Devour Tours She recommends skipping a river cruise on the Seine, or do it at night when everything is lit up Tamara and her family also didn't enjoy going up the Eiffel Tower, but if you want to do it, make sure you book tickets well in advance for a timed entry Two food highlights were the chef's tasting dinner at Ze Kitchen Galerie and lunch with Hannah at Cafe Recruitment For Paris, Tamara recommends the Bandolier phone case and lanyard as the perfect travel companion for easy access to your phone for taking pictures, directions, etc. She also liked the packable travel backpack from Travelon

Join me in a discussion of passage 109 of Daybreak: "Self-Control and Moderation and Their Final Motive". In this passage that we've oft referenced but not yet attempted a deep dive of, Nietzsche outlines six ways of dealing with the "vehemence of a drive". As Nietzsche considers the self to be governed by impulses, some of which are competing, we should not expect that we can simply command ourselves with a voluntarily governing ego, or somehow will ourselves into having willpower. He also rejects the Christian abdication of responsibility: i.e., that every person is inherently sinful and shall only find perfection in the next life, and therefore all men must simply yield to the grace of God. For Nietzsche, the picture of the human condition is akin to that of William James: we are bundles of habits, and every little nourishment or denial of a habit either enhances or diminishes it. This is the way that drives make war against one another within the psyche: by drawing in more nourishment for themselves at the expense of the others. The question of self-control then becomes a question of how to consciously bring about the nourishment or diminishment of one's impulses. Today's episode covers the practical question of "giving style to one's character". Art: Napoleon Crossing the Saint-Bernard Pass, 20 May 1800/Musee de l'Histoire de France