Podcasts about Northern English

The Consummation of Praise Ryan Griffith Download I don't know about you, but I have always struggled with poetry. And by struggle I mean that I haven't particularly liked it. Most of the stuff I was introduced to in high school was the open-verse kind – no meter, no rhyme scheme. I'm sure if I was smarter or worked on it longer, I might find Whitman or Dickenson or Hughes illuminating. Perhaps I'm too simple, but for my lights good poetry is not mainly a puzzle to unlock. Let's try a relevant example for our sesquicentennial year. Maybe you know it.Listen my children, and you shall hear, of the midnight ride of Paul Revere. On the eighteenth of April in seventy-five hardly a man is now alive who remembers that famous day and year.Poetry is designed to be memorable and meaningful and to produce a certain kind of response.I love the ending:And so through the night went his cry of alarmTo every Middlesex village and farm,—A cry of defiance, and not of fear,A voice in the darkness, a knock at the door,And a word that shall echo forevermore!For, borne on the night-wind of the Past,Through all our history, to the last,In the hour of darkness and peril and need,The people will waken and listen to hearThe hurrying hoof-beats of that steed,And the midnight message of Paul Revere.In April of 1860, Longfellow wrote Paul Revere's Ride as our nation stood on the precipice of Civil War. He wanted to remind a very divided country of an important story of courage and sacrifice from America's founding generation. And he longed to impact their affections — encouraging fellow abolitionists to take heart and to act with urgency and end the injustice of chattel slavery. That's what great poetry does: it captures a narrative in a memorable way — a way that communicates truth beautifully and awakens the reader's affections and actions. This is how Psalm 104 works. It is different than Psalm 8 (“you have set your glory above the heavens”) or Psalm 19 (“the heavens declare the glory of God and the sky above proclaims his handiwork), because not only is Psalm 104 a poem with vivid, worship-evoking imagery, it is a poetic retelling of an important story: Genesis 1-3. It's literally a song—the Psalmist's cover of Moses's narrative account. And like Paul Revere's Ride, the retelling of God's work in Creation (vv2-30) communicates truth beautifully and awakens our affections and actions. It calls us (v1) to bless the Lord and (v31-35) fuels the consummation of that praise. Let's take this poem in those three steps. The call to praise (v1)The cause for praise (vv2-30)The consummation of praise (vv31-35)1. The Call to PraiseWhile the Hebrew text doesn't ascribe this Psalm to David, both the Greek translation of the Old Testament and the Dead Sea scrolls label this a Davidic Psalm. Especially because the Psalmist begins, as David did in 103, by calling on his soul: “Bless the Lord, O my soul.”David is telling himself, “slow down, shut off the music, put away the phone, and look – I mean really look.” This isn't just a looking with the eyes. As we heard, vv2-30 are full of vivid imagery – things that David certainly would have seen: lightning, storm clouds, the sea, the mountains; streams, birds, donkeys, and so on. But David is doing more than observing – he is lovingly turning over in his mind what he sees; pondering it; examining it in light of the story of creation. In verse 34 David calls this way of looking “meditation.”Verse 34, May my meditation be pleasing to him, for I rejoice in the Lord.We'll come back to this, but for the moment notice that the call to bless the Lord is grounded not only in what David sees but in who he sees by it. His meditation on God's work in Genesis 1-3 produces a delight that bubbles up at the beginning, in the middle, and at the end of the Psalm. 2. The CauseLet's turn to examine the cause for this delight. David goes back to Genesis 1 and 2 to give six reasons creation is a cause for blessing the Lord.Reason #1: God is great in the heavens (1b-4).Look at verses 1-4. Can you hear Genesis 1? In the beginning, God created the heavens and the earth. The earth was formless and void and darkness was over the face of the deep. And the Spirit of God of was hovering over the waters. And God said “let there be light.” And there was light (Gen 1.1-3).And so David proclaims, God is clothed with splendor and majesty, robed in light. He hangs the stars and the planets. He establishes the atmosphere. He stores up the rain and builds his throne above the earth. He is swift and mighty as the wind and he bridles the great thunderclouds. The greatest forces of the universe are under his sovereign control: “he lays, he makes, he rides.” Reason #1 for praise, God is great in the heavens.But not only is God great in the heavens, he is also…Reason #2 supreme over the earth (5-9).Look at vv. 5-9 while I read Genesis 1. Can you hear the creation account? And God said, “Let the waters under the heavens be gathered together into one place, and let the dry land appear.” And it was so. God called the dry land Earth, and the waters that were gathered together he called Seas. And God saw that it was good.We tend to call the world around us “nature” as though it is self-existing. But David attributes supremacy over the planet to God alone. It is a supernatural creation. You covered the earth with the waters. You spoke and they fled. The mountains and valleys took the places you assigned. You drew a line for the waters and said: “they shall not pass.” Reason #2, God is supreme over the earth.God is also…Reason #3, the giver of life-sustaining waters (10-18).Here David's song does variation on a theme. In an arid land like Israel, water was scarce. But God took care of that. You make the water appear out of nowhere. Springs to sustain your birds and animals. Even the mountaintops you provide for – bringing rain to water them. You cause the grass to grow. You made good plants for man to cultivate – grain for bread, grapes for wine. You provide for the animals and you gladden the heart of man. Just as Genesis 2 says, God is the giver of life-sustaining waters.Reason #4 God is maker of time (19-23).“Night and day,” David says, “they were your idea” On the fourth day, you made the sun and the moon to govern them. You even appointed that the beasts stalk their prey (which you provide) at night so that man can labor by day. What didn't you think of? You are the maker of time.David can't even get through his meditation on creation without erupting into praise. Look at verse 24:“O Lord, how manifold are your works! In wisdom have you made them all; the earth is full of your creatures.”The poet Gerard Manly Hopkins wrote, “the world is charged with the grandeur of God. It will flame out like shining from shook foil.” Everywhere David looks, he sees God's beauty and excellence. It is as though he is saying, “Look at that! Isn't he amazing? Look at that! Isn't he majestic? Look at that! Isn't he wise! So David like a good songwriter, even puts in verse 24 as a bridge — pointing back at God's works in vv1-23 and pointing forward to God's creatures in vv25-30!Because…Reason #5 God is maker of the sea and its creatures (25-26).Even the Leviathan, which makes Job shiver in his boots, you made on Day Five so it could play in the sea. Since the waters are under your sovereign control, what once was a barrier is now a route for travel and trade. Isn't he something? God is the maker of the sea and its creatures.The whole account crescendos in the final reason David gives…Reason #6, God is creator and sustainer of all creatures (27-30).All these — the beasts and the birds, the plants and the trees, the whales and the wombat — they all look to you. You, God, are at the center of it all. When you give, when you open, when you hide, when you take away…all creation waits on you. You care for them. None escape your notice. Because you are the creator and sustainer of all things.So, David with Genesis in mind and the Spirit's poetic inspiration gives us six reasons creation should cause us to bless the Lord. God is great in the heavens, he is supreme over the earth, he is the giver of life-sustaining waters, he made and governs time, he oversees the oceans and its amazing creatures, and he is the creator and sustainer of all things. Creation displays his handiwork. All of it testifies to his power and divine nature. If we have eyes to see it, every blade of grass, every multi-colored sunset, every microscopic organism, every mighty beast, every mathematical equation shouts the glory of God. We inhabit a world “set on fire with praise.”No wonder David begins in v 1 by exclaiming: O YHWH, my God you are very great! In fact, the Hebrew might be better rendered – “you have become magnificent. You have clothed yourself with splendor and majesty.” Your works redound to your glory! Everything in the created order is a mirror reflecting back to God the wisdom and beauty and goodness that he is, himself. Lord, give us the eyes to see!So we've seen the call to praise (v1), David's six-fold cause for praise (vv1-30); now, thirdly, (vv31-35) the consummation of praise.3. The Consummation of Praise (31-35)All that David has considered now fuels his final refrain in verses 31-35:“May the glory of the Lord endure forever; may the Lord rejoice in his works, who looks on the earth and it trembles, who touches the mountains and they smoke!” (vv31-32)Notice two striking things about this verse. First, it is a plea. “May the glory of the Lord endure forever. May the Lord rejoice in his works.” David feels God's greatness so deeply that his prayers line up with God's design. “Yes, God. You are glorious, and so may your glory be seen! May your people delight in you and all that you are.”But notice that second prayer in verse 31. “May the Lord rejoice in his works.” Not “May your people, rejoice in your works,” but “may the Lord rejoice.” God delights in his works. We know this, because that's God's refrain in Genesis: “And God saw that it was good.” The earth and seas. Good! The plants and the trees. Good! The moon, sun, and stars. Good! The creepy crawlies and the fish and the birds and the sea creatures and the great beasts and the livestock. Yes, Good! Man and woman, in my own image. Very good! God rejoices in his work because it reflects him. It shows off his manifold excellencies. All of creation simultaneously every moment of every day since God spoke the universe into existence declares what is true — that God is the most admirable, beautiful, wise, good, generous, glorious being in the universe. And we were created to share in his joy.This God-centeredness of God might throw us off balance. Is it off-putting that God, through David in Psalm 104, commands his own praise? C.S. Lewis at first thought that it seemed no different than a vain woman craving compliments. But listen to what he concluded: “…the most obvious fact about praise – whether of God or anything – [had] strangely escaped me. I thought of it in terms of compliment, approval, or the giving of honor. I had never noticed that all enjoyment spontaneously overflows into praise…The world rings with praise – lovers praising their mistresses, readers their favorite poet, walkers praising the countryside, players praising their favorite game – praise of weather, wines, dishes, actors [and so on]….I had not noticed…that just as men spontaneously praise whatever they value, so they spontaneously urge us to join them in praising it: ‘isn't she lovely? Wasn't it glorious? Don't you think that magnificent?' The Psalmists in telling everyone to praise God are doing what all men do when they speak of what they care about. My whole more general difficulty about the praise of God depended on my absurdly denying to us as regards the supremely valuable what we delight to do – what indeed we can't help doing – about everything else we value.”David praises what is supremely valuable. He does what we are made and delight to do. He rejoices in God being God. And sings about it!“I will sing to the Lord as long as I live; I will sing praise to my God while I have being. May my meditation be pleasing to him, for I rejoice in the Lord.” (vv33-34) But the singing must not stop with him. Look how he ends his song. “Bless the Lord O my soul. Praise the Lord!” (35b)David moves beyond calling his soul to bless the Lord to summoning all people to do the same. “Praise the Lord” is the first use of “hallelujah” in the Psalter. It is a you-plural not a you-singular. Northern English speakers don't have a category for this, but my eastern Kentucky relatives would say it right, “Praise the Lord, y'all. All y'all.” And that's because, as Lewis continues, calling others to praise God “doesn't merely express the enjoyment, it is its appointed consummation” — it brings praise to its fullest completion. David's joy is made complete by calling us to praise the Lord by us joining in that praise. That is what this Psalm is for. Like Longfellow's Paul Revere's Ride, Psalm 104 captures an important story in a memorable way. It reminds us of something that really matters. But ultimately, it does something to us.Don Paterson says that when a poet writes a poem he's creating a little machine that when operated by a reader, recreates in them the experience the poem is trying to preserve. When we operate Psalm 104, it evokes our joy in God. It summons us to express that joy in praise and blessing. And it calls us to consummate that joy by sharing it with others. But neither David nor us can know this joy without addressing the most serious problem.Let sinners be consumed from the earth and let the wicked be no more! (v 35a)At first, I found this an odd thing for David to say in his great crescendo of praise. But he is reminding us that Genesis 3 comes after Genesis 1 and 2. Human beings were made to receive creation as a gift and enjoy and rejoice in what it tells us about the one for whom we were made. But we turned the gold into idols halfway to Canaan. We worship created things rather than the Creator. While creation shouts that we were made for joy in God, so often we say “that's nice” and go back to scrolling on our devices. David longs for a day when this outrage will finally be addressed. That sin that he sees traces of in verse 29. Paul tells us that even creation has been subjected to futility because of our rebellion. Things are not the way that they should be. The Lord's SupperAnd that is what brings us to the table. Because in the fullness of time, God himself came to address that rebellion. He entered into his own creation to free us from enslavement to inferior joys. To save us from the penalty our idolatry justly deserves. In mercy and kindness, to restore to us the fullness of his joy; His life for ours; our sin for his righteousness that we might be to praise of his glory. That is what we celebrate here. Maybe in this moment you can't bless the Lord because you haven't given up your idols; you haven't put all your hope in Jesus for the forgiveness of sin. Friend there is no better time than now. Jesus says to you, I am the bread of life, whoever comes to me shall not hunger and whoever believes in me shall never thirst (Jn 6.35). Go to him.

Anne, Charlotte, and Emily Brontë were all accomplished novelists. Charlotte's famous work is Jane Eyre, and Emily's is Wuthering Heights. But how did three sisters all become popular authors at the same time? Could it have been the cemetery water they grew up drinking?? Jane Eyre superfan Lana Wood Johnson joins us to discuss the tuberculosis-laden lives of these Northern English authors (with Irish accents). — ⁠⁠Order a copy ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠of Ann's book, Rebel of the Regency!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Watch the Rebel of the Regency livestream on YouTube on February 13th! Info on Ann's upcoming live events! — Get 15% off all the gorgeous jewellery and accessories at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠common.era.com/vulgar⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠commonera.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and use code VULGAR at checkout — Get Vulgar History merch at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vulgarhistory.com/store⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (best for US shipping) and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vulgarhistory.redbubble.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (better for international shipping) — ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Support Vulgar History on Patreon ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ — Vulgar History is an affiliate of Bookshop.org, which means that a small percentage of any books you click through and purchase will come back to Vulgar History as a commission. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Use this link to shop there and support Vulgar History.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

In episode 99 of “How Do You Say That?!” sponsored by Voxbox, Jack Oddie joins Sam and Mark to talk about different approaches to scripts, how a football theme can change the feel, northern versus southern grittiness and Sam gets fruity!Our VO question this week is all about the process you use when approaching a new character or script... if any process at all!Get involved! Have you got a Wildcard suggestion that we should try or an idea for the show? Send it to us via Mark or Sam's social media or email it directly to podcast@britishvoiceover.co.ukScript 1So what makes a Good Life? To have done something important do you need to be named? To have made a difference do you have to have an image which is instantly recognised? Do you need a million Tweets and a billion followers? An Oscar winning bio-pic? Is the business of a life lived to the full only worth knowing if you yourself are known? A tree falling in the empty forest is not unheard. If nothing else it's noticed by the other trees. So I fall. Back into the silence of history.Script 2It's wearing your heart on your sleevebut keeping your cool.The noise, the chantsPoints won, points lost.To win the cup or just stay upWe go again, we march on.Win games and you'll be fine.Football, bloody hell Its turning up and never giving upMeeting triumph and disasterDust yourself down, pick yourself upAnd face the arena.To coachTo leadTo deliverTo succeedYou just do it.We'd love your feedback - and if you listen on Apple Podcasts or Spotify, hit the follow button today!**Listen to all of our podcasts here - you can also watch on YouTube, or say to your smart speaker "Play How Do You Say That?!"About our guest: Winner of several Industry awards, including Best International Voiceover Performance at One Voice USA, Jack Oddie has been voicing full time for 8 years. Originally from Carlisle, He's probably known for his reads with a Northern English lilt, but he does enjoy some of the more lesser-known jobs for the likes of Nick Toons and anything where he's allowed to attempt a bit of comic timing. He has two kids, two dogs and lives with them all, along with his lovely partner, Natasha in Newcastle. Jack's Website @oddiejoddie on InstagramResources:Check out our sponsor Voxbox - the portable, foldable, storable audio booth.https://www.voxbox.studio/ Now you can get 10% off a Voxbox by using the code HDYST24Click here for the Wildcard Generator and don't forget to think of an action your character can be doing!Mark's demos & contact details: https://linktr.ee/britishvoiceovermarkSam's...

Natalie Moon is thrilled to be able to share her guest star role this season as Lex Luthor's ex-wife, the iconic DC comic book character Erica Del Portenza, on The CW hit series Superman and Lois. The episode Break the Cycle aired on October 28, 2024. Now that it has been released, Natalie is excited to share her experience in this unforgettable role alongside Michael Cudlitz, who plays Lex Luthor in the series. The director of this episode is Elizabeth Henstridge, who also plays her grown-up daughter in the episode. Natalie's other recent works include Apple TV's hit show Invasion, the new CBS series The Hunting Party, which will air soon, and Season 2 of CBC's most-watched new television drama Allegiance. Her roles in Allegiance and The Hunting Party are emotionally demanding victim roles, so stay tuned. One of the roles that Natalie is most proud of is her guest star role as quirky and socially awkward Inspector Jane in The CW series The Flash. Natalie's other works include the Hallmark Television series Chesapeake Shores, where she plays Peggy Lucas; the Hallmark movie Legend of The Lost Locket, where she plays Rebecca, best friend to the lead Amelia (Natasha Burnett); and Brahms: The Boy II alongside Katie Holmes and O'wain Yeoman where her Northern English roots helped land the role of an overly friendly countryside realtor. Also, Paramount Pictures Star Trek Beyond, Lifetime's Harry & Meghan: Becoming Royal, the Netflix hit series Travelers alongside Eric McCormack, Mary-Jane Constantine in DC Legends of Tomorrow and more. Natalie is also a keen supporter of the Indy film scene and has appeared in many short films, including One Day, a quirky festival short that she wrote, directed, produced, and starred in. My Name Is, a short film currently in post-production in which she plays Patricia, a recovering drug and alcohol addict with a troubled past. Natalie is also an accent coach in Vancouver, coaching actors including Jon Voight, Kristen Chenoweth and Inbar Lavi, among others, on various productions.    Want to watch: YouTube Meisterkhan Pod (Please Subscribe)

In a regular segment of Unhelpful Advice, Isi and Mitch give their unqualified opinion on rapping in English. They later talk about their presumptions and assumptions of the French people, culture and lifestyle after spending a few weeks in the south-west of France. Interactive Transcript Support Easy English and get interactive transcripts and bonus content for all our episodes: easyenglish.fm/membership Transcript Intro Mitch: [0:22] Hiya! Isi: [0:23] Hello! Mitch: [0:24] Hello. Welcome to episode number... Isi: [0:27] 53. Mitch: [0:28] 53, well done. Isi: [0:30] Thank you. Mitch: [0:31] Of the Easy English Podcast. We are back in Brighton. Were we ever saying where we were before? When we made our Relationship Goals Podcast last time? Isi: [0:45] I'm not sure. Maybe we did. Maybe only in the Aftershow for the members. because our podcast always goes on a little bit for our members. If you want to join that and also listen to that and get a lot of other perks go to easyenglish.video/membership and join us that would be great but I think yeah we have only talked about it in the Aftershow so we have been to France. Mitch: [1:11] Yeah, and we thought today we could make an episode about our expectations and then the realities of France, from things we've heard, things we've kind of, presumed, and if we were right and wrong with our presumptions. Isi: [1:28] Okay, I have two things to say first. I say France and you say France. Mitch: [1:34] Oh, yeah. Isi: [1:34] What is right? Mitch: [1:36] You are doing a southern British English pronunciation of France. Isi: [1:44] France. Mitch: [1:45] Which sounds nice though. Isi: [1:46] It's more sophisticated. Mitch: [1:47] It does sound a lot smoother and a lot more, I don't know. It has a joie de vivre about it. Isi: [1:55] D'accord. God. And you say France, which is Northern English. Mitch: [2:02] France. And there's also, funnily enough, not funnily enough, by coincidence how American. Isi: [2:08] Northern British English, sorry. Mitch: [2:09] Yeah. Isi: [2:10] I said that. Mitch: [2:10] It's also how I think American English people would say it; France. Isi: [2:14] France. Mitch: [2:15] Not France. Isi: [2:16] France. And the second thing I wanted to say is it hasn't been our first time in in France we both have been... in the past years we've been, five times I think. Before that I have been a few times maybe but you have been a lot of times for holidays right? Mitch: [2:37] I've been very often but mostly was a holiday and was camping and it was not really feeling like you're settled into French life because those camping places are a bit, a culture mix and they're kind of, I don't think they represent French life, but this time we were in French towns, French villages. Isi: [2:58] And yeah, your parents live there, we have to say. Mitch: [3:00] And my parents are now living there. Isi: [3:02] It's more integrating in French lifestyle. Support Easy English and get interactive transcripts and bonus content for all our episodes: easyenglish.fm/membership

This episode is sponsored by House of Macadamias -- ⁠⁠⁠⁠⁠⁠⁠⁠⁠Click Here⁠⁠⁠⁠⁠⁠⁠⁠⁠ to get our specially curated box that also comes with the free snack bars and 15% offer for CURVA MUNDIAL listeners! The legendary creative director, photographer and graphic designer of Oasis, The Verve, Suede and founder of Microdot Creative Brian Cannon joins CURVA MUNDIAL. Cannon talks about his storied career, his support of Wigan Athletic and his Northern English roots. --- Support this podcast: https://podcasters.spotify.com/pod/show/curva-mundial/support

Sam Frost joins us for the morning, all the fallout from the NRL Grand Final and we learn about a Northern English delicacy See omnystudio.com/listener for privacy information.

After arriving early for a big meeting with the mayor of a bizarre Northern English town, a traveling salesman takes the time to explore and meet the locals, who are all very eager to give him a series of increasingly odd jobs…“Thank Goodness You're Here!” is a comedy slapformer, which unfolds over time as the players' exploration and antics leave their mark on the strange town of Barnsworth. With each completed odd job, new areas of the town open up, stranger and stranger tasks become available, and the clock ticks towards our salesman's big meeting. The town's colorful inhabitants are brought to life with vibrant hand-drawn animation, fully voiced dialogue, and wall-to-wall double entendres.Features:- Bold, beautiful visual design that seamlessly blends side-scrolling action vignettes with top-down exploration in a chock-a-block world.- Progressively more involved and puzzling odd-jobs to complete: cut the grass, bake a pie, traverse the astral plane!- Hand-crafted animation and original story based on traditional Yorkshire folklore.- Authentic regional dialects guaranteed to mek thi spit art thi tea laughin'.- Oddly moving original soundtrack.

We're back!  And we're sorry we've been away for so long.  This episode will be a brief reunion, but by no means a final one.  The podcast will return for a full series this autumn, and before then there are further treats on the way. The new British horror movie on the block is Chris Cronin's The Moor, an acclaimed slice of particularly Northern English folk horror.  As The Moor appears on streaming services to rent and buy, Ian interviews Cronin and co-lead David Edward-Robertson, while Dan joins Ian to review the film in non-spoiler fashion.   You can rent or buy The Moor now on YouTube and Amazon UK, among others. Critical Readings on Hammer Horror Films, to which Dan is a contributor, is out now from Routledge.   Visit our website, andnowpodcast.com, and follow us on Mastodon and Twitter (we will always call it Twittter) @AndNowPodcast, Instagram (and Threads) and_now_the_podcast_starts. All music and trailer clips are used in the spirit of Fair Dealing (UK law) and Fair Use (US law).  No copyright infringement intended.

Joel watched a great TV show based on Benjamin Myers' 'The Gallows Pole' only to find out that everyone had been reading Benjamin Myers for years. This week, he's reading the 2014 novel set in idillic Northern English countryside, Beastings. Hosted on Acast. See acast.com/privacy for more information.

For this week's episode, we're coming back to barmy Britain for the horrible marsh-dwelling Grindylows! How do these monsters link to the Vikings? Why are these monsters so popular with so little folklore written on them? Find out this week!Support the showYou can find us on -Myth Monsters Website: https://mythmonsters.co.ukSpotify: https://open.spotify.com/show/5RPGDjM...Apple Podcasts: https://podcasts.apple.com/gb/podcast...Google Podcasts: ...

Come celebrate the joy of dance with Brandon and Jane! Are there some ups and downs in this Northern English town where The Elliot's live? Sure, but it all disappears when we see Jamie Bell as Billy dancing down the road. Julie Walters and Gary Lewis give amazing performances as the two parental figures for Billy in this film. We cover the striking miners in the early 80's, Billy's cute little gay friend, and the delightful accents us Americans definitely need subtitles for. Press play, y'all! You'll enjoy it.

Welcome Malcom Bamford to the Rockin' the Suburbs Perfect Pop party! He chooses a song that reflects on his Northern English background by I Am Kloot.  Rockin' the Suburbs on Apple Podcasts/iTunes or other podcast platforms, including audioBoom, Spotify, Google Podcasts, Amazon, iHeart, Stitcher and TuneIn. Or listen at SuburbsPod.com. Please rate/review the show on Apple Podcasts and share it with your friends. Visit our website at SuburbsPod.com Email Jim & Patrick at rock@suburbspod.com Follow us on the Twitter, Facebook or Instagram @suburbspod If you're glad or sad or high, call the Suburban Party Line — 612-440-1984. Theme music: "Ascension," originally by Quartjar, covered by Frank Muffin. Visit quartjar.bandcamp.com and frankmuffin.bandcamp.com.

The Half Court Press Podcast is back! Goalmouth Gossip is our latest series, where we focus on the first player on any hockey team sheet. Tao MacLeod talks to a variety of goalkeepers from around the world about training, development and personal backgrounds. In episode two we hear from James Mazarelo of England and Great Britain, as well as Jess Buchanan of Scotland and the Great Britain Elite Development Programme (EDP). James Mazarelo hails from the Northern English city of Manchester, where he started his hockey career with local club Bowdon, before moving on to Loughborough Students. Now he plays his domestic hockey for Surbiton, whilst being a part of the British setup. Originally from Glasgow, Jess Buchanan has recently moved back to the UK to be a part of the GB EDP, having spent the last few seasons playing in goal for Catalonian side Atlètic Terrassa Hockey Club. Next season she will be playing for Exeter University, whilst looking to progress in her international career, with Scotland and GB. In this interview we chat about playing styles, the differences and similarities between indoor and outdoor hockey for goalies, as well as how the aerial rule affects goalkeepers.  

If we were to title this episode we'd call it "Where's Freddie?"Today we get a classic deep cut from a classic album. Good Company is a Brian May tour-de-force, in which he labours for days to assemble a New Orleans style ragtime band using only his Red Special. The silly goose could have just brought in some session players instead! But then we wouldn't have this brilliant bit of technical virtuosity to wonder at. We introduce our very first Tweet of the Week and explore the subtleties of time management. Also, we learn that Randy can't wrap his head around Northern English dialect. Thanks to everyone who tuned in to the last episode and left us some comments on Twitter and Facebook! We'll always try to answer any questions you have and seriously appreciate any corrections you make to anything we get wrong. And thanks so much for all your support as usual. We're loving diving into the Queen fandom a little more deeply as much as we're enjoying recording the podcasts!Huge thanks to Corey Morrissette and Mark Camire for letting us copy and paste the format from their gold-standard podcast; And the Podcast Will Rock. You can find them at @PodcastWillRock on Twitter. Follow us onTwitter: @queenseasideFacebook: @seasidepodreview Hosted on Acast. See acast.com/privacy for more information.

Capturing Sounds of Spring on a Northern English Farm. A latch opens the gate the door. Food pellets drop into a bucket. Water buckets are filled. Lambs bleat, ewes baa, cattle moo, a tractor purrs as it drops of the day's provisions, the quad bike buzzes round to inspect the sheep as they wait to lamb, the snowdrops are out in their thousands, sunny yellow straw swishes as feet walk by. The Oxford Black pig calls to her piglets - unbelievably cute. The swollen river rushes past, hens toot at their piggy visitors, sparrows trill and crows caw in the distance, the Royal Mail delivery arrives, spring breeze and sunshine make the grass grow. #spring #newlife #relaxation

I'm delighted to be chatting to one of the finest beard-tamers in all of comedy, Simon O'Keeffe. We get into classy Northern English ladies, being saved by a gay couple from a football hooligans and going viral for not recognising some of the Game Of Thrones cast in the audience.For tickets and to support the show, access todays video, weekly Ramble Pods and a rake more Patreon exclusive content why not follow this link: https://www.patreon.com/tomomahonybuckshot

The fierce fighting at the Battle of Fulford that initially saw the Norwegians being driven back gave way to a counter-attack that led to Hardrada's ...

To celebrate the 6 month anniversary of Review It Yourself, Sean does his first watch-along episode of an absolute cracker. Of course he decides to watch Titanic (1997). What follows is a mix of trivia and a very Northern English way of describing the events in the film, e.g. "Yep, Miss Trudy's gone", "His mates like you're talking so much crap", and "Mind that crane". Massive thanks must go to Ben from FilmFloggers for his technical expertise and all-round support in this venture. Thanks for listening!

This week, host June Thomas talks to sisters Natalia and Lauren O'Hara, who work as an author/illustrator team to create children's books like Hortense and the Shadow and Frindleswylde. In the interview, Natalia and Lauren discuss their collaborative relationship, their early exposure to fairy tales, and misconceptions about gender in children's book publishing.  After the interview, June and co-host Isaac Butler talk about sibling relationships and what it's like to collaborate with a close friend or family member.  In the exclusive Slate Plus segment, June asks Natalia and Lauren if they ever include Easter eggs for parents in their books. Then the three of them discuss Northern English accents and rhyming words.  Send your questions about creativity and any other feedback to working@slate.com or give us a call at (304) 933-9675. Podcast production by Cameron Drews. If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get benefits like zero ads on any Slate podcast, bonus episodes of shows like Slow Burn and Big Mood, Little Mood—and you'll be supporting the work we do here on Working. Sign up now at slate.com/workingplus. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, host June Thomas talks to sisters Natalia and Lauren O'Hara, who work as an author/illustrator team to create children's books like Hortense and the Shadow and Frindleswylde. In the interview, Natalia and Lauren discuss their collaborative relationship, their early exposure to fairy tales, and misconceptions about gender in children's book publishing.  After the interview, June and co-host Isaac Butler talk about sibling relationships and what it's like to collaborate with a close friend or family member.  In the exclusive Slate Plus segment, June asks Natalia and Lauren if they ever include Easter eggs for parents in their books. Then the three of them discuss Northern English accents and rhyming words.  Send your questions about creativity and any other feedback to working@slate.com or give us a call at (304) 933-9675. Podcast production by Cameron Drews. If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get benefits like zero ads on any Slate podcast, bonus episodes of shows like Slow Burn and Big Mood, Little Mood—and you'll be supporting the work we do here on Working. Sign up now at slate.com/workingplus. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, host June Thomas talks to sisters Natalia and Lauren O'Hara, who work as an author/illustrator team to create children's books like Hortense and the Shadow and Frindleswylde. In the interview, Natalia and Lauren discuss their collaborative relationship, their early exposure to fairy tales, and misconceptions about gender in children's book publishing.  After the interview, June and co-host Isaac Butler talk about sibling relationships and what it's like to collaborate with a close friend or family member.  In the exclusive Slate Plus segment, June asks Natalia and Lauren if they ever include Easter eggs for parents in their books. Then the three of them discuss Northern English accents and rhyming words.  Send your questions about creativity and any other feedback to working@slate.com or give us a call at (304) 933-9675. Podcast production by Cameron Drews. If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get benefits like zero ads on any Slate podcast, bonus episodes of shows like Slow Burn and Big Mood, Little Mood—and you'll be supporting the work we do here on Working. Sign up now at slate.com/workingplus. Learn more about your ad choices. Visit megaphone.fm/adchoices

The idea of spitting in the face of the expectations of life seems sexy, right? But what does that actually look like? What does it take to live that out? Northern English musician Rebecca Lucy Taylor lives that truth throughout Self Esteem, a subversive pop project that goes there. The songs of her second album, Prioritise Pleasure, highlights why trying to live up to societal expectations will always be unfulfilling and instead, we should aim to warmly embrace our “flaws.” A unique quality about Rebecca is how she both doesn't give a shit and deeply gives a shit about what you think, and that duality beautifully comes across on this episode. We recorded this onsite at Baby's All Right in Brooklyn, and together we chat about women's liberation, the slog of dating apps, periods and we even get into some word association (no really). If you're in the UK, be sure to catch Self Esteem on tour, visit selfesteem.love for all tour dates.

This is The Gnömic, a mid-week read from Sunday Letters. It’s usually reserved from paying subscribers, but this week it’s free. If you’d like to get it every Wednesday, consider supporting Sunday Letters. In fact, here’s a discount.In 1996, Jeremy Rifkin heralded the decline of the global labour force painting a dystopian picture of the future. “In offices and factories around the world,” he said, “people wait in fear, hoping to be spared one more day. Like a deadly epidemic inexorably working its way through the marketplace,” Rifkin reported, “the strange, seemingly inexplicable new economic disease spreads, destroying lives and destabilising whole communities in its wake.” He cites many instances of the 1990s “operational restructuring” to support his thesis; Bankcorp 9,000 job losses, Arvin Industries 10% job cuts, Union Carbide 14,000 workers, GTE 17,000 employees made redundant, Siemens 16,000 employees cut, and ABB 50,000 workers globally. Sounds pretty shit alright.At the time the book was published, employment in Ireland was around 13%–a little high–and people like me were legging it to the States, Australia, and Canada. I must admit though, my sole motivation was not to find work but to party my white Irish arse off. And I did! So I didn’t notice the relative turmoil around me. In Philadelphia, I got work within the Irish community whenever I needed it and was rarely in a dire situation. The only reason I may have ever been broke was when I blew my dollars on booze and strip joints. So I count myself lucky in that regard. I got back home in ‘97 and the economy was beginning to lift so work was in plentiful supply. Ten years later at the opposite end of the building boom, I and others like me weren’t so fortunate.I have little doubt that corporate restructuring destroys lives and destabilises communities. As it was for working people in the North of England in the 1980s, as the Thatcher government closed the coal mines, hundreds of thousands of people, if not millions, are impacted by these decisions and enormous social unrest results. Even though arguably, the work was not fit for a dog, let alone a human being, people became dependent on it for their livelihood for generations. Their way of life was taken from them, and they had little say in the matter. Almost forty years later, many of those mostly men who protested at the closing of the mines have retired or passed away. Today, people of those Northern English communities are employed elsewhere and in other industries. That entire way of life has disappeared, and workers are doing other things.Work has changed, and although we can argue, as the late David Graeber has, that many jobs people do today are bullshit (and I agree with the premise, by the way), the global workforce has not declined. At least according to the OECD, that is. Their data from 1980 to 2020 show that unemployment rates are, in fact, lower today. Leaving Covid out of the equation, although that may have lasting effects, UK unemployment had fallen from 10.78% in 1980 to 4.48% in 2020. In the US, unemployment was 7.14% in 1980 and is only 1% higher today at 8.09%, although there was a sharp increase from 3.67 in 2019. In the nineteen states of the Euro area, unemployment is currently under 8% of total employment compared to 7.84% when first recorded in 1991. The observable trend in Spain, Ireland, Poland, Greece, and the Slovak Republic paints a different picture and stands out from the UK, US, and Euro areas. Fluctuations here are more dramatic and reflect the deep recessionary impact of market collapses over the same period.I realise the accuracy of these figures depends on how they are calculated and perhaps mask the complexity of the on-the-ground state of affairs; however, it seems the working population are, in fact, still working. The dystopian future Rifkin told us was coming due to technological changes maybe didn’t come at all. We have other problems, such as the trauma caused by Covid, global warming, social inequality and discrimination, but it seems people are still working. We’re still earning a living, and the economy is still moving and growing. Whether or not people are happy in the work they do, if they gain gratification and fulfilment from that work, is an entirely other question altogether. Maybe the end of work is only around the corner, or maybe it’s not. Maybe the need to work, contribute, and be productive is hard-wired into us, and as such, we’ll always find work to do.The problem is that we are too reliant on big corporates. When they decide it’s time to close shop, it won’t matter what normal Joe and Jane Soap have to say. It won’t matter about losing our way of life, community upheaval, and social unrest–they will leave anyway. Corporates are built to make money first; social conscience comes second no matter how well they market to the contrary. The real problem is that masses of people are schooled from a very young age to find a job. There might be certain freedoms within the job, but you better believe that you must toe the line and play your part. You must subjugate yourself to the power centre that is the corporation. There is no room for independent thinkers and doers in large organisations, not really.Funny, we think there is an enormous risk venturing out on our own to work for ourselves. Maybe it comes from our tribal brain; outside the fold, we can get killed and eaten! But to me, the greatest risk is staying with the crowd. As the economy rises and falls, as corporations make decisions primarily for the benefit of shareholders (no, I’m not buying the new decade corporate sales pitch that all stakeholders are their concern), the greatest risk to personal security is staying on the inside. On the outside, there is an opportunity to see more. Our vantage point is broader, and nobody is blocking our view. Groupthink presents practically zero risk; we can make decisions quickly and avoid danger. Inside the employee group mindset, we can’t see the holes in the road, or indeed, the edge of the cliff. So if the end of work is near or not, it is better that we take the decision for our future into our own hands rather than leave it in the hands of others.Work for yourself.Join me on DiscordHey listen… I’ve created the Sunday Letters Community on Discord. It’s a place to share ideas and have discussions over text chat, audio, and video and allows us to connect with one another on a more personal level. Next week, Dmitri and I are talking ethics; what is right and wrong, good and evil, and is it all a matter of relativity and social conditioning? You can join in if you’re free, but you’ll need to join the server first… Facebook my arse! Join me on Discord… This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit sundayletters.larrygmaguire.com/subscribe

Hard Times - Charles Dickens - Book 12, Part 2 Title: Hard Times Overview: For These Times (commonly known as Hard Times) is the tenth novel by Charles Dickens, first published in 1854. The book surveys English society and satirizes the social and economic conditions of the era. Hard Times is unusual in several ways. It is by far the shortest of Dickens's novels, barely a quarter of the length of those written immediately before and after it. Also, unlike all but one of his other novels, Hard Times has neither a preface nor illustrations. Moreover, it is his only novel not to have scenes set in London. Instead, the story is set in the fictitious Victorian industrial Coketown, a generic Northern English mill-town, in some ways similar to Manchester, though smaller. Coketown may be partially based on 19th-century Preston. One of Dickens's reasons for writing Hard Times was that sales of his weekly periodical Household Words were low, and it was hoped the novel's publication in installments would boost circulation – as indeed proved to be the case. Since publication, it has received a mixed response from critics. Critics such as George Bernard Shaw and Thomas Macaulay have mainly focused on Dickens's treatment of trade unions and his post–Industrial Revolution pessimism regarding the divide between capitalist mill owners and undervalued workers during the Victorian era. F. R. Leavis, a great admirer of the book, included it – but not Dickens's work as a whole – as part of his Great Tradition of English novels. Published: 1854 List: 100 Classic Book Collection Author: Charles Dickens Genre: Novel, Serial Novel, Social Criticism Novel, Novella, Bildungsroman, Fiction Novel Episode: Hard Times - Charles Dickens - Book 12, Part 2 Part: 2 of 2 Length Part: 6:33:36 Book: 12 Length Book: 12:00:54 Episodes: 20 - 37 of 37 Narrator: Bob Neufeld, , Dramatis Personae Language: English Edition: Unabridged Audiobook Keywords: determination, persistence, kindness, human spirit, morality play, perception, discovery, hope, betrayal, deceit, social classes, reconciliation, growth, change, social ascent, class structure, industrialization, machines, exploitation, factory, agriculture, monotony, pleasureless, mechanization Credits: All LibriVox Recordings are in the Public Domain. Wikipedia (c) Attribution-ShareAlike 3.0 Unported License. WOMBO Dream. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/free-audiobooks/message Support this podcast: https://anchor.fm/free-audiobooks/support

Hard Times - Charles Dickens - Book 12, Part 1 Title: Hard Times Overview: For These Times (commonly known as Hard Times) is the tenth novel by Charles Dickens, first published in 1854. The book surveys English society and satirizes the social and economic conditions of the era. Hard Times is unusual in several ways. It is by far the shortest of Dickens's novels, barely a quarter of the length of those written immediately before and after it. Also, unlike all but one of his other novels, Hard Times has neither a preface nor illustrations. Moreover, it is his only novel not to have scenes set in London. Instead, the story is set in the fictitious Victorian industrial Coketown, a generic Northern English mill-town, in some ways similar to Manchester, though smaller. Coketown may be partially based on 19th-century Preston. One of Dickens's reasons for writing Hard Times was that sales of his weekly periodical Household Words were low, and it was hoped the novel's publication in installments would boost circulation – as indeed proved to be the case. Since publication, it has received a mixed response from critics. Critics such as George Bernard Shaw and Thomas Macaulay have mainly focused on Dickens's treatment of trade unions and his post–Industrial Revolution pessimism regarding the divide between capitalist mill owners and undervalued workers during the Victorian era. F. R. Leavis, a great admirer of the book, included it – but not Dickens's work as a whole – as part of his Great Tradition of English novels. Published: 1854 List: 100 Classic Book Collection Author: Charles Dickens Genre: Novel, Serial Novel, Social Criticism Novel, Novella, Bildungsroman, Fiction Novel Episode: Hard Times - Charles Dickens - Book 12, Part 1 Part: 1 of 2 Length Part: 5:27:17 Book: 12 Length Book: 12:00:54 Episodes: 1 - 19 of 37 Narrator: Bob Neufeld, , Dramatis Personae Language: English Edition: Unabridged Audiobook Keywords: determination, persistence, kindness, human spirit, morality play, perception, discovery, hope, betrayal, deceit, social classes, reconciliation, growth, change, social ascent, class structure, industrialization, machines, exploitation, factory, agriculture, monotony, pleasureless, mechanization Credits: All LibriVox Recordings are in the Public Domain. Wikipedia (c) Attribution-ShareAlike 3.0 Unported License. WOMBO Dream. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/free-audiobooks/message Support this podcast: https://anchor.fm/free-audiobooks/support

While telling my Italian friend about my travels around Italy we got onto the topic of Rome, a beautiful and lively city. I stayed there for 3 weeks alone over a recent summer while studying classics. However I had to admit that some areas were slightly dodgy and I preferred not to stay alone in them. Dodgy she responded? Louisa I don't understand this at all. So let's look at this word today…In slang Dodgy D-O-D-G-Y is an adjective used for people, places, things you should avoid. In slang we can use it like this: "don't go to that park at night it's a bit dodgy" meaning that park may be dangerous so don't go there.Dodgy in slang is derived from the formal english word dodge D-O-D-G-E used as both a verb and noun. As a verb dodge means to move aside or change position suddenly for example "he dodge the ball" or to get away from or avoid (someone or something) in a skillful or dishonest way such as "When asked a direct question, he dodges".It originated in the 1680s and perhaps it is from or akin to Scottish and Northern English word dodd D-O-D-D meaning to jog or run.As a noun dodge means a shifty tactic or clever trick such as "He keeps his money overseas as a tax dodge". In slang dodgy can be a synonym for dangerous, bad or untrustworthy for example "That guy looks a bit dodgy" meaning he looks untrustworthy.Or "urgh! That cheese smells dodgy!"meaning its gone off.Remember if something or someone is dodgy, keep your distance.That's our episode of the day, you can find us on our website https://theslangpodcast.com and from there you can see our transcript and subscribe on Apple Podcasts, Spotify and many more apps.Let's catch up soon to explore our next slang word.

Beyond Our Ken (1958–1964) is a radio comedy program, the predecessor to Round the Horne (1965–1968). Both programs starred Kenneth Horne, Kenneth Williams, Hugh Paddick, Betty Marsden and Bill Pertwee, with announcer Douglas Smith. The name is a pun on Kenneth Horne's name and the (now mainly Northern English and Scots) word ken, meaning "knowledge or perception". Advertising Inquiries: https://redcircle.com/brands Privacy & Opt-Out: https://redcircle.com/privacy

Beyond Our Ken (1958–1964) is a radio comedy program, the predecessor to Round the Horne (1965–1968). Both programs starred Kenneth Horne, Kenneth Williams, Hugh Paddick, Betty Marsden and Bill Pertwee, with announcer Douglas Smith. The name is a pun on Kenneth Horne's name and the (now mainly Northern English and Scots) word ken, meaning "knowledge or perception". Advertising Inquiries: https://redcircle.com/brands Privacy & Opt-Out: https://redcircle.com/privacy

Beyond Our Ken (1958–1964) is a radio comedy program, the predecessor to Round the Horne (1965–1968). Both programs starred Kenneth Horne, Kenneth Williams, Hugh Paddick, Betty Marsden and Bill Pertwee, with announcer Douglas Smith. The name is a pun on Kenneth Horne's name and the (now mainly Northern English and Scots) word ken, meaning "knowledge or perception". Advertising Inquiries: https://redcircle.com/brands Privacy & Opt-Out: https://redcircle.com/privacy

Beyond Our Ken (1958–1964) is a radio comedy program, the predecessor to Round the Horne (1965–1968). Both programs starred Kenneth Horne, Kenneth Williams, Hugh Paddick, Betty Marsden and Bill Pertwee, with announcer Douglas Smith. The name is a pun on Kenneth Horne's name and the (now mainly Northern English and Scots) word ken, meaning "knowledge or perception". Advertising Inquiries: https://redcircle.com/brands Privacy & Opt-Out: https://redcircle.com/privacy

Beyond Our Ken (1958–1964) is a radio comedy program, the predecessor to Round the Horne (1965–1968). Both programs starred Kenneth Horne, Kenneth Williams, Hugh Paddick, Betty Marsden and Bill Pertwee, with announcer Douglas Smith. The name is a pun on Kenneth Horne's name and the (now mainly Northern English and Scots) word ken, meaning "knowledge or perception". Advertising Inquiries: https://redcircle.com/brands Privacy & Opt-Out: https://redcircle.com/privacy

Beyond Our Ken (1958–1964) is a radio comedy program, the predecessor to Round the Horne (1965–1968). Both programs starred Kenneth Horne, Kenneth Williams, Hugh Paddick, Betty Marsden and Bill Pertwee, with announcer Douglas Smith. The name is a pun on Kenneth Horne's name and the (now mainly Northern English and Scots) word ken, meaning "knowledge or perception". Advertising Inquiries: https://redcircle.com/brands Privacy & Opt-Out: https://redcircle.com/privacy

Beyond Our Ken (1958–1964) is a radio comedy program, the predecessor to Round the Horne (1965–1968). Both programs starred Kenneth Horne, Kenneth Williams, Hugh Paddick, Betty Marsden and Bill Pertwee, with announcer Douglas Smith. The name is a pun on Kenneth Horne's name and the (now mainly Northern English and Scots) word ken, meaning "knowledge or perception". Advertising Inquiries: https://redcircle.com/brands Privacy & Opt-Out: https://redcircle.com/privacy

Beyond Our Ken (1958–1964) is a radio comedy program, the predecessor to Round the Horne (1965–1968). Both programs starred Kenneth Horne, Kenneth Williams, Hugh Paddick, Betty Marsden and Bill Pertwee, with announcer Douglas Smith.  The name is a pun on Kenneth Horne's name and the (now mainly Northern English and Scots) word ken, meaning "knowledge or perception". Advertising Inquiries: https://redcircle.com/brands Privacy & Opt-Out: https://redcircle.com/privacy

Beyond Our Ken (1958–1964) is a radio comedy program, the predecessor to Round the Horne (1965–1968). Both programs starred Kenneth Horne, Kenneth Williams, Hugh Paddick, Betty Marsden and Bill Pertwee, with announcer Douglas Smith.  The name is a pun on Kenneth Horne's name and the (now mainly Northern English and Scots) word ken, meaning "knowledge or perception".

Beyond Our Ken (1958–1964) is a radio comedy program, the predecessor to Round the Horne (1965–1968). Both programs starred Kenneth Horne, Kenneth Williams, Hugh Paddick, Betty Marsden and Bill Pertwee, with announcer Douglas Smith.  The name is a pun on Kenneth Horne's name and the (now mainly Northern English and Scots) word ken, meaning "knowledge or perception". Advertising Inquiries: https://redcircle.com/brands Privacy & Opt-Out: https://redcircle.com/privacy

Beyond Our Ken (1958–1964) is a radio comedy program, the predecessor to Round the Horne (1965–1968). Both programs starred Kenneth Horne, Kenneth Williams, Hugh Paddick, Betty Marsden and Bill Pertwee, with announcer Douglas Smith.  The name is a pun on Kenneth Horne's name and the (now mainly Northern English and Scots) word ken, meaning "knowledge or perception". Advertising Inquiries: https://redcircle.com/brands Privacy & Opt-Out: https://redcircle.com/privacy

Beyond Our Ken (1958–1964) is a radio comedy program, the predecessor to Round the Horne (1965–1968). Both programs starred Kenneth Horne, Kenneth Williams, Hugh Paddick, Betty Marsden and Bill Pertwee, with announcer Douglas Smith.  The name is a pun on Kenneth Horne's name and the (now mainly Northern English and Scots) word ken, meaning "knowledge or perception". Advertising Inquiries: https://redcircle.com/brands Privacy & Opt-Out: https://redcircle.com/privacy

Beyond Our Ken (1958–1964) is a radio comedy program, the predecessor to Round the Horne (1965–1968). Both programs starred Kenneth Horne, Kenneth Williams, Hugh Paddick, Betty Marsden and Bill Pertwee, with announcer Douglas Smith.  The name is a pun on Kenneth Horne's name and the (now mainly Northern English and Scots) word ken, meaning "knowledge or perception". Advertising Inquiries: https://redcircle.com/brands Privacy & Opt-Out: https://redcircle.com/privacy

Beyond Our Ken (1958–1964) is a radio comedy program, the predecessor to Round the Horne (1965–1968). Both programs starred Kenneth Horne, Kenneth Williams, Hugh Paddick, Betty Marsden and Bill Pertwee, with announcer Douglas Smith.  The name is a pun on Kenneth Horne's name and the (now mainly Northern English and Scots) word ken, meaning "knowledge or perception". Advertising Inquiries: https://redcircle.com/brands Privacy & Opt-Out: https://redcircle.com/privacy

Beyond Our Ken (1958–1964) is a radio comedy program, the predecessor to Round the Horne (1965–1968). Both programs starred Kenneth Horne, Kenneth Williams, Hugh Paddick, Betty Marsden and Bill Pertwee, with announcer Douglas Smith.  The name is a pun on Kenneth Horne's name and the (now mainly Northern English and Scots) word ken, meaning "knowledge or perception". Advertising Inquiries: https://redcircle.com/brands Privacy & Opt-Out: https://redcircle.com/privacy

Beyond Our Ken (1958–1964) is a radio comedy program, the predecessor to Round the Horne (1965–1968). Both programs starred Kenneth Horne, Kenneth Williams, Hugh Paddick, Betty Marsden and Bill Pertwee, with announcer Douglas Smith.  The name is a pun on Kenneth Horne's name and the (now mainly Northern English and Scots) word ken, meaning "knowledge or perception". Advertising Inquiries: https://redcircle.com/brands Privacy & Opt-Out: https://redcircle.com/privacy

Beyond Our Ken (1958–1964) is a radio comedy program, the predecessor to Round the Horne (1965–1968). Both programs starred Kenneth Horne, Kenneth Williams, Hugh Paddick, Betty Marsden and Bill Pertwee, with announcer Douglas Smith.  The name is a pun on Kenneth Horne's name and the (now mainly Northern English and Scots) word ken, meaning "knowledge or perception". Advertising Inquiries: https://redcircle.com/brands Privacy & Opt-Out: https://redcircle.com/privacy

Beyond Our Ken (1958–1964) is a radio comedy program, the predecessor to Round the Horne (1965–1968). Both programs starred Kenneth Horne, Kenneth Williams, Hugh Paddick, Betty Marsden and Bill Pertwee, with announcer Douglas Smith.  The name is a pun on Kenneth Horne's name and the (now mainly Northern English and Scots) word ken, meaning "knowledge or perception". Advertising Inquiries: https://redcircle.com/brands Privacy & Opt-Out: https://redcircle.com/privacy

Beyond Our Ken (1958–1964) is a radio comedy program, the predecessor to Round the Horne (1965–1968). Both programs starred Kenneth Horne, Kenneth Williams, Hugh Paddick, Betty Marsden and Bill Pertwee, with announcer Douglas Smith.  The name is a pun on Kenneth Horne's name and the (now mainly Northern English and Scots) word ken, meaning "knowledge or perception". Advertising Inquiries: https://redcircle.com/brands Privacy & Opt-Out: https://redcircle.com/privacy

Beyond Our Ken (1958–1964) is a radio comedy program, the predecessor to Round the Horne (1965–1968). Both programs starred Kenneth Horne, Kenneth Williams, Hugh Paddick, Betty Marsden and Bill Pertwee, with announcer Douglas Smith.  The name is a pun on Kenneth Horne's name and the (now mainly Northern English and Scots) word ken, meaning "knowledge or perception". Advertising Inquiries: https://redcircle.com/brands Privacy & Opt-Out: https://redcircle.com/privacy

Beyond Our Ken (1958–1964) is a radio comedy program, the predecessor to Round the Horne (1965–1968). Both programs starred Kenneth Horne, Kenneth Williams, Hugh Paddick, Betty Marsden and Bill Pertwee, with announcer Douglas Smith.  The name is a pun on Kenneth Horne's name and the (now mainly Northern English and Scots) word ken, meaning "knowledge or perception". Advertising Inquiries: https://redcircle.com/brands Privacy & Opt-Out: https://redcircle.com/privacy

Beyond Our Ken (1958–1964) is a radio comedy program, the predecessor to Round the Horne (1965–1968). Both programs starred Kenneth Horne, Kenneth Williams, Hugh Paddick, Betty Marsden and Bill Pertwee, with announcer Douglas Smith.  The name is a pun on Kenneth Horne's name and the (now mainly Northern English and Scots) word ken, meaning "knowledge or perception". Advertising Inquiries: https://redcircle.com/brands Privacy & Opt-Out: https://redcircle.com/privacy

In the ninth month of our year with the Beatles, Graeme Burk and Rob Jones are joined by their old friend, TV and film author (and Liverpudlian) Jim Sangster where they talk about Magical Mystery Tour as the most "Liverpool" of the Beatles' albums and talk about the influences the city has throughout, most notably in "Strawberry Fields Forever" and "Penny Lane". Along the way they discuss the album's contribution to the emerging psychadelic movement and the band's trend toward introspection and Jim points out some filthy phrases only a Scouser would know. For extra-credit homework, Graeme, Rob and Jim watch the 1967 TV special Magical Mystery Tour and discuss its origins in Northern English bank holiday traditions and why most people consider this production a failure for the fab four.