Podcasts about Occupied

Owen Benjamin joins Stew to discuss Charlie Kirk's betrayal and murder, linking it to the Epstein files cover-up by elite international pedophiles.

Gia Santos joins Stew to dismantle the myth of Trump's mass deportations. Over a year into his second term, less than 350,000 illegals deported in 2025—far from the promised 50 million. Instead, DHS, ICE, and Border Patrol, backed by Palantir, are building a facial recognition dystopia to track Americans. Jake GTV exposes Trump's sellout betrayal, buried Epstein child rape tapes, and the AI surveillance grid Talmudic perverts are forcing on Americans to destroy us while pushing Netanyahu's Iran war.

Fresh DOJ/FBI docs unleash nightmare: Epstein's trafficked teens strangled by Robin Leach during taped orgies, with bodies sold to cartels via Ghislaine Maxwell and buried at Trump's LA golf resort. EJ Prior tears apart Utah's sham trial: Rifle DNA hits 5 strangers (not Tyler), prosecutor's daughter is an eyewitness, and Erika Kirk's Epstein-linked lawyer rams fake speedy trial.

Renue Healthcare https://Renue.Healthcare/ToddYour journey to a better life starts at Renue Healthcare. Visit https://Renue.Healthcare/Todd Bulwark Capital https://KnowYourRiskPodcast.comBe confident in your portfolio with Bulwark! Schedule your free Know Your Risk Portfolio review. Go to KnowYourRiskPodcast.com today. Alan's Soaps https://www.AlansArtisanSoaps.comUse coupon code TODD to save an additional 10% off the bundle price.Bonefrog https://BonefrogCoffee.com/ToddGet the new limited release, The Sisterhood, created to honor the extraordinary women behind the heroes. Use code TODD at checkout to receive 10% off your first purchase and 15% on subscriptions.LISTEN and SUBSCRIBE at:The Todd Herman Show - Podcast - Apple PodcastsThe Todd Herman Show | Podcast on SpotifyWATCH and SUBSCRIBE at: Todd Herman - The Todd Herman Show - YouTubeMinneapolis: Some Demons Can Only Be Banished By Prayer & Fasting // ICE! Run, kids  -- oh, wait // Would Jesus Embrace the “Catholic Occupied Government?” Nick Fuentes Wants?Episode Links:Meet Chad Malinowski, a Chicago area nurse. Chad appears to suggest letting ICE agents bleed out and call on nurses to target them. He also says hospitals should fire all MAGA employees because they're racists. Chad works at Midwest Express Clinic and Carle Hospital according to his LinkedinBREAKING UPDATE: Chad claims he's been fired and is almost in tears, trying to backtrack his statements. We reached out to the clinic to confirm and will update when they respond.ICE protesters confirm Minneapolis law enforcement is allowing them to stop vehicles and run their plates at their blockadesWhile Seattle's so-called public schools were staging a walk-out on behalf of illegal immigrants, two students were shot at a bus stop near Rainier Bearch, a notoriously gang-ridden, cartel-run part of the City. Major public school board simulates parent ‘terrorist' attack after fatal accident kills student; The parental terror attack training session came just hours after a Loudoun County high school student was killed in an accident involving an employeeNick demands we have a Catholic Occupied Government instead of a ZOGISRAEL - Catholics successfully defend their church from Zionist extremist group 'La Familia', who attempted to sieze Mar Elias Monastery by force . In recent months, priests have been stabbed and assaulted, cemeteries desecrated and churches set on fire in Israel

Trump dominates Epstein docs with 4,500+ hits—flight logs, assault claims, elite dirt—tied to the depraved Zionist Jewish rulers using child rape and sacrifices to control U.S. gov and military. Dr. Michael Rectenwald exposes it all. Ryan Matta breaks down the massive Epstein release—millions of pages exposing Jeffrey as Mossad's blackmail kingpin targeting politicians, tech giants, and fueling regime shifts like Ukraine 2014 to back Israel's wars and expansions. John Jubilee from Energized Health is dropping truth bombs today, revealing how inner cellular hydration reverses heart damage, gets patriots off dozens of deadly meds, and rebuilds real health from the cells up. Go to energizedhealth.com right now, smash the red Cellular Health Training button for the free live class this February, register, and arm yourself with the knowledge to survive their attack!

Jimmy Dore and Stew Peters blow the lid off Charlie Kirk's suspicious “death”—insider leaks reveal Mossad puppets pulling strings at TPUSA, geo-fencing Christians for Zionist data theft, crocodile tears from fake trad-wives, mass staff firings to silence dissent, and Trump's bogus pardon on Zionist letterhead!

These Border Patrol raids deep in our cities are nothing but a massive beta test for the AI surveillance grid, with feds wearing Meta glasses that snap your face, ID you instantly, and feed you into kill lists just like they did to Alex Pretti before they executed him on camera. Erika Kirk wants you to buy her grieving trad-wife act, but the receipts don't lie—she's a documented pathological liar who faked her entire backstory, hid ex-fiancés and wild reality-TV hookups, invented a single-mom sob story, and buried inconvenient family members while pretending to be some pure Christian conservative princess.

These federal goons just publicly assassinated Alex Pretti—an ICU nurse who dared step in when they were brutalizing American women—yanking his gun, pistol-whipping him, and executing him on video while the whole country watches. Jon Miller joins the show to expose how Pam Bondi and the entire Trump crew are spitting on the Epstein Files Transparency Act, protecting the pedophiles who blackmail and rape kids while they run our government.

Beatrice is joined by Melissa Gira Grant to discuss what's happening on the ground in Minneapolis, the murders of Renee Good and Alex Pretti, and the broader currents of fascism nationally producing the context for the battle going on in the streets of the twin cities. To support the show and help make episodes like this one possible, become a patron at www.patreon.com/deathpanelpod Find Melissa's recent reporting on ICE in Minnesota in the New Republic here: https://newrepublic.com/article/205199/renee-good-shooting-misogyny https://newrepublic.com/article/204943/tim-walz-child-care-minnesota-fraud Find frontline mutual aid and rent support fundraisers here: http://standwithminnesota.com/ Show links: Get Health Communism here: bookshop.org/a/118130/9781839765179 Find Tracy's book Abolish Rent here: bookshop.org/a/118130/9798888902523 Find Jules' latest book, A Short History of Trans Misogyny, here: bookshop.org/a/118130/9781804291603 Outro by Time Wharp: timewharp.bandcamp.com/track/tezeta

Former TPUSA insider Matthew Tucciarone goes nuclear in this must-watch podcast, ripping the lid off ballot harvesting fraud, massive data heists, and the deadly Zionist betrayal that led to Charlie Kirk's murder.

Turning Point USA and Erika Kirk are issuing cease and desist orders against people questioning the uncomfortable inconsistencies surrounding Charlie Kirk's assassination — no transparency, just intimidation. Instead of answering questions, they're trying to shut us down. Turning Point USA, under Erika Kirk's regime, is in meltdown—firing 30-40 insiders in a desperate hunt for the mole leaking info about shady embezzlements, Fort Huachuca plots, and the DOGE audit fallout. John Jubilee joins Stew to expose how Energized Health's inner cellular hydration protocol turned his dad bod into peak strength stronger than his 20s.

Episode 88 Occupied by Tim Rich   Tim Rich reads ‘Occupied' and discusses the poem with Mark McGuinness. https://media.blubrry.com/amouthfulofair/media.blubrry.com/amouthfulofair/content.blubrry.com/amouthfulofair/88_Occupied_by_Tim_Rich.mp3 This poem is from: Dark Angels: Three Contemporary Poets Available from: Dark Angels is available from: The publisher: Paekakariki Press Amazon: UK   Occupied by Tim Rich We buttered the cat's pawsand baked bread in borrowed tinsto make the unfamiliar speak of pleasureand our intentions to remain All that first daythe house talked to itselfabout us Later than I expected, light withdrew across our table, unopened cratesback through thin glasstowards tomorrow So the room released its formand we sat among one anothergiving our ears to the conversation:inner doorways muttering behind flat hands; oak floors—masonic in their black treacle gloss—deciding whether to settleunder our presence Later still, in bed, I stared sideways into an unlit universe, absentlymindwalking the bounds,relocking iron door-bolts like an old rifle, drawingdrawn curtains a little closer,charting the evaporating pathbehind that plane's descent In time, each stray thought went to its home, leaving this accommodation to take place: the air held here sighing gently,like contented tortoise breaths; the softening percussion of bodies sleeping; the punctuating crack and hiss as fresh eggs are brokeninto a smoking pan; someoneopening a window   Interview transcript Mark: Tim, where did this poem come from? Tim: So, almost always for me, poems just emerge out of some sort of inner dusk. I'm not someone that can go to their desk with a plan to write about a particular message or topic or piece of content. The poem just presents itself to me. And actually I don't really have any choice in the matter. I'm sort of just forced to be a transcriber in that moment. And I was looking at the sea the other day, and I had this moment when I just thought my poems are a bit like strange sea creatures that live on the seabed. And at a particular point in their life, they decide that they just want to go to the light and they start floating up through the murky water and explode in bubbles on the surface. And, you know, hopefully I'm there sitting in the poet's boat ready to haul them on board. So, that's almost always how poems start for me. And this poem very much began that way. I was at home on a winter's evening, and it just began to come through me, as it were. And the context for that was that after many years of living in the same house, my wife and I were starting to think about the possibility of moving. And, you know, it was a really exciting prospect but also it definitely was stirring up the sediment of my unconscious. I'm someone that really feels the need for a settled home, a settled place, and this unsettled me. So, I think that that was what was giving the raw energy to the content. And there was something else, which is what informed the scenery of the poem, if you like, which is this idea of light withdrawing from a space and what that does within the space. And when I was 11, I was living just with my dad, and he would come home from work later than I would get home from school. So, for the first year or so, he arranged for me to go to some elderly neighbours on the way home from school. So I was, sort of, watched, and we would sit in their front room, and they would load up their coal fire. And through the windows, the sun would set slowly, and they were so calm. They would hardly speak. When they did speak, it was about these, kind of, wonderful domestic details like, you know, what needs to be chopped for dinner, or are there any windfalls in the garden that we can harvest tomorrow? It was very, very calm. And, you know, the coals in the fire were glowing red, but the rest of the room just lost its light. And I remember the shape of their very heavy old furniture, and the picture frames, and the curtains all began to disappear. And that must have just lodged somewhere deep within me, because that's very much, as the poem came out, where I was also taken to in my mind. Mark: So, I like this. So, I mean, to put it bluntly, it's not like you moved into a house and then you wrote this. You were thinking about moving and then a house emerged from your unconscious, from memories of other houses and so on. Tim: Yeah, yeah. Absolutely. Mark: And I think that's kind of a salutary thing to hear because… And this is a poem that really you read it and you totally believe it. It feels like a first-hand account of, well, we did this and this is what happened. And yet you're, kind of, pulling the rug from under our feet here, which is a nice thing in poetry. I think that you can't necessarily take it literally or face value. Tim: Well, we moved house… Yeah, we moved house about six months after I wrote the poem. So, I went through the experience of living the poem, which seems to be quite a good way around. Mark: Did you conjure the house, Tim? Tim: Actually, it was wonderful because it confirmed to me part of what motivated the poem, which is that I think we can all become a little bit… I don't know. Complacent seems to be too loaded a term, but we get so used to how our houses speak that we stop hearing them. And actually, there's this kind of wonderful symphony going on the whole time, you know, radiators making those strange percussive noises, and the way that the door squeaks, or suddenly, you know, how your staircase gets to a particular temperature in the middle of the night and decides to squeak. And they're constantly making these noises. And when you're living there, you stop hearing them. But when you move to somewhere for the first time, or sometimes if you go and stay in a haunted Airbnb in the woods, that first night particularly, everything's coming to you fresh. So, I think there's a strong sense of what's it like when a person moves into a space for the first time and that space has a character, and an energy, and a being of its own. Mark: So, really it's that state of heightened awareness, isn't it? You know, apparently this is how the mind works. If you've got a constant stimulus, the mind will tune it out. It's that Heaney line, you know, ‘The refrigerator whinnied into silence,' which is just that moment of… You only hear the fridge when it stops. Tim: Yeah. Mark: And what you're describing is the reverse of that. When you're in the house for the first time and everything is new and you're on hyperalert for the voices of the house. Tim: Yeah. And we're listening to our houses right now because there's a 1066 Line train from Hastings that's just gone into the tunnel over there. But we probably can't quite hear it on the microphones, but it's in the air and it's just touching elements of the house. And we're surrounded by this the whole time. And I think it's important to say, as soon as the poem had laid itself out on the page for the first time, it was clear to me that this poem was about people moving into a home for the first time, but it is also quite a vivid description, I think, of what was going through me at the time in terms of that unsettled nature. You know, I was quite surprised by the nature of the metaphors that my unconscious had presented me with. I mean, it's quite a portrait of anxiety to double-check the curtains, to lock a bolt as if it's an old rifle. You know, this is partly a portrait of an unsettled, anxious mind, which is, I think, something that I was going through at the time. Mark: And you've got some great similes, you know, the iron door bolts like an old rifle. And there's this lovely bit where you talk about ‘drawing drawn curtains'. And if you look on the website, then you can see that there's a line break after drawing, so it's drawing, line break, drawn curtains, which really just emphasises it's already drawn. You don't need to do it. This is the OCD kicking in, which really speaks to that anxiety you're describing. And I really love the second section where you say, ‘All that first day, the house talked to itself about us,' which is just a wonderfully unsettling idea that we are the intruders and the house has an opinion. Tim: Yeah, I definitely wasn't being sort of whimsically mystical about infrastructure and materials. It was definitely the feeling that there is an exchange when animals, human and other, come into a space. There's a change in energies and temperatures and sound and smells. And, you know, the dynamism of creatures come into a space that has been unoccupied, which is what generally most houses are, you know, sometimes for days, sometimes for months, and years before the new occupants come in. And I was just really taken with that idea that the house also needs to find its way of settling under these new occupants. And that seemed like a moment of 24 hours of the two parties eyeing each other and listening to each other and wondering about, ‘Who is this that I need to live with for these next years?' Mark: And it's quite a humbling poem, isn't it? Because, you know, when you think of owning the house or occupying the house, it's like you're the one in charge. But this poem just kind of subverts that idea that it's the house that's weighing us up, as in the people in the poem. It made me think of that TV series David Olusoga does, A House Through Time, where he gets an old house, and he goes through the records, and he looks at all the people who lived in the house and tells their story. And there's quite a lot of them, like, much more than I would have expected. You know, each episode goes on and on and on, and you just realise the house is staying there. The house is constant. These people, they're temporary. They might think they're the owners, but we're just passing through. Tim: We are passing through. It is a reminder of our mortality and our houses often way outlive us. Also, in recent years and decades, there's been an increase in the way in which people work from home, but that isn't a new thing. So, I wrote this poem in the house we lived in before, which was built to be a weaver's cottage, a live/work weaver's cottage. And, you know, they would find their living accommodation in quite modest corners of the house because a lot of it, at different times in the process, was given to equipment and storing material and a very intense version of live/work and working from home. And, you know, I think that part of when people suddenly a whole generation through particularly lockdowns but also just this change in working habits are spending much more of their life within the home quite often and what that means in terms of their relationship to the space and how the house relates to that. Tim: I think, just as I'm speaking, it occurs to me that perhaps also part of the influence of the atmosphere in the poem is around some of the fiction that I enjoy. And I haven't thought about this until we were talking now, but I like an M. R. James novel, or, you know, The Haunting of Hill House has just come to mind, and buildings and atmospheres that speak, as sort of some of the atmospheres you get in a Robert Aickman type horror novel. So, some of the classic British horror novels and that type of fiction. And just as we were talking about that, and I was also casting my eyes down the poem, there's some of the dusk that you get with those places, which is in this poem. And it's great, isn't it, coming back to one of your own poems quite a while after you wrote it, and you perhaps see some of the reasons for its being in a slightly different way. Mark: I mean, that's the basic premise of the haunted house is that the house is alive. I mean, you've not gone full Hammer Horror with this one. It's maybe a little more subtle, but you've definitely got some really wonderfully suggestive details. I loved ‘inner doorways muttering behind / flat hands, oak floors – masonic / in their black treacle gloss'. And that's so true. There are so many of these old houses. It's like, what happens to the wood? How does it get to be like treacle? And there's that heaviness and that opacity about it that you convey really well. Tim: Yeah. I was taken with the idea of the house being almost quite an august figure in some ways. It would be wrong to say it's proud of itself, but deciding whether to settle under our presence is quite… Mark: It's not aiming to please, is it? Tim: It's not. It's not easily won over. I mean, you know… Yeah, let's see what these new occupants are like. You know, what do they get up to? What are their tastes? What do we think of the prints that they put up on the wall? Mark: Yeah. Will they get it? Will they behave themselves? So you've got this lovely line in the third paragraph, ‘So the room released its form / and we sat among one another.' Well, thinking about the form of the poem, how close is this to, say, the first draft when you were hauling the sea creature out from the depths over the side of your poetic boat? Tim: Yeah, when the poem came out onto the page, it actually made a demand of me. It said, ‘I don't want you to put me into very organised type measures. I don't want to be sorted into regular stanzas. And also, I want you to be quite careful about any linguistic bells and whistles.' It just was a bit like the house. It had almost a sort of slightly stern feeling to it as a poem. It was very clear, and it was saying each of these stanzas, or scenes maybe, has to be as long as it wants to be. ‘I don't want you to spend time evening things up or creating consistency.' And there are many other poems that I've written where, of course, I'm deliberately very measured, very consistent. At the moment, a lot of the poems I'm writing have a lot of half rhymes but particularly a lot of internal rhymes. And, goodness, audaciously, you know, I even have a rhyming couplet in a poem that I'm working on at the moment. But this poem just said, ‘I don't want any of that.' Now, that's not to say that there aren't some half rhymes or suggestions of rhymes, and certainly some lovely withholding with words at the end of the line that only resolve as you move through into the next line, the enjambment of the word and the meaning falling over into the next line. Definitely that happens. But I tried to edit this into different shapes. I probably tried it five different ways, and each time it just felt wrong quite quickly actually. I tried to give it a consistent number of lines per stanza, and it repulsed me as a poem. It just said, ‘No, I need to be this free form.' And also, I had to accept that it's probably a little bit messier than I normally feel comfortable with. And it was good. I was like, ‘Actually, you know, just stop fighting. Just stop fighting it.' Sometimes your poems can be more irregular, more free, less obviously organised. And I think it has its rhythms that hold it together. It does for me. And listeners will decide, when they hear it, whether those rhythms are actually holding it together. Mark: Well, for me, it feels a bit like one of those old houses where you go in and there's not a right angle in sight. You know, the floors are sloping. The doors have to be a kind of trapezium to open and close, which I think is obviously true to the spirit of the thing. And it's like the house itself. It's not trying too hard. You can read it quite quickly, and it seems quite plain-spoken and spartan. But when you look, you notice the little details. Like, you know, there's the door bolts like a rifle, and the ‘nasonic', a wonderful adjective. And I've just noticed now, as we were talking, in the final verse, ‘In time, each stray thought / went to its home, leaving this / accommodation to take place'. And that's a lovely reframing of ‘accommodation', because the everyday sense is a place where you go and live, but it's an accommodation in the sense of a mutual alignment, almost like a negotiation or getting used to each other, which I think is really delightful. Mark: Okay, Tim, so I have to ask, looking again at the poem, what on earth is going on with buttering the cat's paws at the beginning? Tim: So, buttering the cat's paws is a bit of folk wisdom. And the idea is that when you move to a new house, if you have a cat or cats, that you actually put lovely, creamy butter on their paws and that they, you know, as cats do, will then spend time licking and licking and licking. And it means that more of their scent is put into the floor and the grounds of the place so they feel at home quicker and sooner. So they're sensing the place much more actively sooner. Now, I don't think there's any scientific evidence to suggest it works. But, you know, if anyone has any experience with this, I would love to hear it. But I don't really care, because the whole image of spreading beautiful, creamy butter onto the paws of the cat and that somehow just inviting them to feel that this place is home is more than enough for me. And I'd heard the phrase years and years and years before. And again, I think it was just the very first phrase that came out as the poem emerged. I think it was opening the doorway to the poem, and it felt very natural for it to be the beginning of the poem. I wonder now, looking back, whether there's something to do with the eye opened with an animal spirit. And so much of this poem really has come up from the unconscious. And I'm not starting with a very measured, conscious human, you know, activity or… I'm not saying, you know, ‘we made the decision to move'. It's not a person-led piece in the sense that, okay, we're doing the buttering, but it's the cat that's front and centre in that open line. And that's not something that I particularly thought about consciously at the time. But looking back, I think there's a hint there that we're not just talking about a straightforward human, rational response to living in a place. There are animal spirits too. Mark: Yeah, and it feels like a wonderful piece of folk magic. I mean, cats are magical creatures like witches' familiars. And, you know, maybe there's a magical aspect to that. It's a little ritual, isn't it? Tim: It is. I had a question for you, but it just came out of part of my experience of this poem going out into the world, which is that I've just been surprised, in a wonderful way, by how diverse and often surprising people's responses are to poems, how I can never really tell what it is about a poem someone's going to pick up and come back to you about. You know, for example, someone has given copies of this poem to friends when they move house. Mark: Oh, lovely. Tim: …as a housewarming present, a printed letterpress, which is very, very beautiful. Someone else said that they really loved sort of, what did they say, the soft absurdity around the house being almost this grand piece. And others have responded in different ways. And I think it's one of the wonders of poetry, maybe something that doesn't get talked about quite so much, which is that we interrogate the meaning for ourselves. And if you work with your editor and sometimes reviewers, meaning is discussed. But actually, my experience, when poems go out into the world, is it's just incredible how broad the range of response is and what people pick up on. And I suddenly think, well, is that just my experience? So what's it like for you? Are you constantly surprised by what people pick up and come back to and focus on with your poems? Mark: Yeah, it's a little bit like a Rorschach test, isn't it? People see themselves in it to a degree, or they see something that will resonate for them. And to me, it's the sign of a real poem if it can do that, if different people see different things in it. If it was too obvious and too, you know, two-dimensional, then that's fine, but it's not really a poem. And I think this is part of the magic of why poems can persist over time. Society is shifting all around them. Maybe a few of the houses are constant, but the poem still inhabits the space, and people still relate to it for decades or hundreds or even thousands of years sometimes. Tim: Yeah, I think there's an important point for poets that you have to maintain your confidence in ambiguity and what might feel like potential confusion. Of course, you need to think through how you're writing it and avoid unintended, poor consequences. But there's also a point in which I think you have to protect some of the messiness of meaning and not try to pin things down too much. Of course, there are different types of poets, and some poets need to be very clear and very message-driven. But I'm thinking, for me, there are sometimes moments when I think, ‘Am I just leaving this hanging and ambiguous and a bit dusky in terms of meaning?' And that's the point at which I think, ‘No, quite often just trust that people will find their own way into the poem.' Mark: Yeah, absolutely. And this is something I've seen a lot in classes, and it certainly happened to me very often. You know, the teacher will say you can cut the last line because we already get it. You don't need to underline the message of the poem. Sometimes we feel a bit nervous just leaving it hanging. And you've absolutely had the confidence to do that with the wonderful ending of this, where you talk about ‘the punctuating crack and hiss / as fresh eggs are broken / into a smoking pan. Someone / opening a window' – and that's it. I mean, tell me about that ending. How did you arrive at that? And did you go back and forth? Did you think, ‘Can I leave that window open, that line?' And by the way, listener, there is no full stop either to hang on to at that point! Tim: Yeah. I have to say, I do find myself clearing away more and more of the furniture of the poems. And there is a very deliberate lack of a full stop there. It was all there in the first draft that came out. It wasn't a constructed or reconstructed ending later on. Again, the poem seemed to want to open into something rather than close itself down and make a point. I think that in the action of the poem, we've moved through this dusky night, including a sort of bout of insomnia, of staring into the darkness. And then morning is coming, and it's full of new things. And there is something about that morning of waking up in a new house. What a moment in someone's life that is. Mark: Yeah. Yeah, yeah, yeah. Tim: It's just extraordinary. And there's a natural link there into the egg as a symbol. Something new, something is being born. And yeah, there may be many reasons why that window needed to be open. The smoke from the pan is one thing, which is all about the… Mark: Right, right. Setting the smoke alarm off! Tim: Yeah, it goes off in our kitchen quite often. And of course, the cooking is, again, this thing of humans being in a house and occupying it and all of the energy and dynamics. And how are you most going to make a new home your own? You're going to get out and start cooking and making a mess and eating together and getting things moving. I have no idea who the someone is, and I don't know what their motivation is for opening a window. And I like that. Mark: Okay. Well, let's have another listen to the poem and maybe, you know, each of us, as we listen to this this time, just see what associations come up for you. You know, houses you've lived in, places you've been, memories it conjures up. Thank you very much, Tim. What a lovely space to explore with this poem.   Occupied by Tim Rich We buttered the cat's pawsand baked bread in borrowed tinsto make the unfamiliar speak of pleasureand our intentions to remain All that first daythe house talked to itselfabout us Later than I expected, light withdrew across our table, unopened cratesback through thin glasstowards tomorrow So the room released its formand we sat among one anothergiving our ears to the conversation:inner doorways muttering behind flat hands; oak floors—masonic in their black treacle gloss—deciding whether to settleunder our presence Later still, in bed, I stared sideways into an unlit universe, absentlymindwalking the bounds,relocking iron door-bolts like an old rifle, drawingdrawn curtains a little closer,charting the evaporating pathbehind that plane's descent In time, each stray thought went to its home, leaving this accommodation to take place: the air held here sighing gently,like contented tortoise breaths; the softening percussion of bodies sleeping; the punctuating crack and hiss as fresh eggs are brokeninto a smoking pan; someoneopening a window   Dark Angels: Three Contemporary Poets ‘Occupied' is from Dark Angels: Three Contemporary Poets, published by Paekakariki Press. Available from: Dark Angels is available from: The publisher: Paekakariki Press Amazon: UK     Tim Rich Tim Rich grew up in the woods of Sussex and now lives and writes by the sea in Hastings. His poems have been published in numerous anthologies and journals, including Dark Angels: Three Contemporary Poets (Paekakariki Press) and Poet Town (Moth Light Press). The Landfall series – exhibited at the Bloomsbury Festival, London — brought together his poetry and photography. He has five poems in the anthology Family Matters, a collection of poetry about family, to be published in 2026. Alongside poetry, Tim writes, edits and ghostwrites books.  timrich.com Photograph by Maxine Silver   A Mouthful of Air – the podcast This is a transcript of an episode of A Mouthful of Air – a poetry podcast hosted by Mark McGuinness. New episodes are released every other Tuesday. You can hear every episode of the podcast via Apple, Spotify, Google Podcasts or your favourite app. You can have a full transcript of every new episode sent to you via email. The music and soundscapes for the show are created by Javier Weyler. Sound production is by Breaking Waves and visual identity by Irene Hoffman. A Mouthful of Air is produced by The 21st Century Creative, with support from Arts Council England via a National Lottery Project Grant. Listen to the show You can listen and subscribe to A Mouthful of Air on all the main podcast platforms Related Episodes Occupied by Tim Rich Episode 88 Occupied by Tim Rich  Tim Rich reads ‘Occupied' and discusses the poem with Mark McGuinness.This poem is from: Dark Angels: Three Contemporary PoetsAvailable from: Dark Angels is available from: The publisher: Paekakariki Press Amazon: UK... Dover Beach by Matthew Arnold Episode 87 Dover Beach by Matthew Arnold  Mark McGuinness reads and discusses ‘Dover Beach' by Matthew Arnold.Poet Matthew ArnoldReading and commentary by Mark McGuinnessDover Beach By Matthew Arnold The sea is calm tonight.The tide is full, the moon lies... Recalling Brigid by Orna Ross Orna Ross reads and discusses ‘Recalling Brigid’ from Poet Town.

This is an Emergency Broadcast from the Military Occupied Twin Cities, MN.

At the World Economic Forum in Davos, Jared Kushner presented plans for rebuilding Gaza as a luxury real estate hub — while tens of thousands lie dead and entire families remain buried under the rubble. This is what empire looks like in 2024: war, displacement, and then profit. Turning Point USA and Erika Kirk are issuing cease and desist orders against people questioning the uncomfortable inconsistencies surrounding Charlie Kirk's assassination — no transparency, just intimidation. Instead of answering questions, they're trying to shut us down.

Israel is at it again—staging false flags by dressing as Iranian protesters to gun down innocent kids with Israeli-made bullets, all exposed in child autopsies. Now Trump's flooding Iran with massive troops and weapons to spark WWIII and expand their empire. Stew joins Jimmy Rex on The Jimmy Rex Show for a raw look at the chaos hitting our streets and our screens. We're diving into the immigration crisis, the trap of foreign wars, and the systematic silencing of "unacceptable" opinions.

Do we need e-shifters? Is Taylor a luddite? (0:19) Listener Email: South Carolina's Freeway for Bikes https://www.reddit.com/r/bikecommuting/comments/1qinw7z/south_carolinas_freeway_for_bikes_it_makes/ (2:43) Blind riding in tandem, with Sonya Chapnick (3:44). Charlie's News: New York Governor Kathy Hochul proposes a “stop super speeders” pilot program https://empire.streetsblog.org/state-of-the-state-exclusive-hochul-will-push-stop-super-speeders-bill-through-her-budget. Check out the best new bike lanes of 2025 https://www.peopleforbikes.org/news/best-new-bike-lanes-2025. A New Jersey ebike lumping law threatens low-income riders and immigrants https://hudsoncountyview.com/op-ed-murphy-must-veto-anti-safety-anti-affordability-anti-immigrant-e-bike-bill/. Ontario government spent hundreds of thousands in the legal fight to rip up bike lanes in Toronto https://www.cbc.ca/news/canada/toronto/foi-shows-province-external-lawyer-cost-bike-lane-challenge-9.7042278 (14:33). NY Governor Kathy Hochul wants to appease our car oppressors with cheap insurance and low coverage in NY, StreetsblogNYC editor Gersh Kuntzman says in this NY Minute https://nyc.streetsblog.org/2026/01/14/gov-hochuls-car-insurance-cuts-threaten-payouts-to-crash-victims-experts (17:19). On “Everything That Has Changed Since Congestion Pricing Started in New York,” with NY Times writer Emily Badger https://www.nytimes.com/interactive/2025/05/11/upshot/congestion-pricing.html (19:43). Los Angeles Bikerowave Co-op Head Mechanic Shane Quentin on the co-op model. Interviewed by Liana at Bike! Bike! in Mexico City (39:50).

Turning Point USA, under Erika Kirk's regime, is in meltdown—firing 30-40 insiders in a desperate hunt for the mole leaking info about shady embezzlements, Fort Huachuca plots, and the DOGE audit fallout. Elon Musk's “free speech” X is a total fraud—Grok just blew the lid off 92% throttling that silences real patriots like Stew and Candace Owens while amplifying mouthpieces like Ben Shapiro to shove their anti-American agenda down our throats.  

EJ Prior joins Stew Peters to blow the lid off the Utah courtroom scam. Erika Kirk, now running TPUSA, is using her Epstein-tied lawyer Jeffrey Neiman (who defended Alex Acosta, the guy who gave Epstein his sweetheart plea deal) to frantically push for a speedy conviction of patsy Tyler Robinson.   Mitch Snow joins Stew to rip apart the TPUSA goons—Erika Kirk's Zionist attack dogs—who've been slinging personal smears to destroy the lone eyewitness to their Fort Huachuca hit on Charlie Kirk. But their DARVO tactics have exploded: every slanderer is now a subpoena target in Mitch's divorce case, forced under oath where lies mean perjury charges.  

Our children are being physically and mentally mutilated right in front of our eyes…shot after shot.    But one doctor is breaking his silence and EXPOSING it all.  

Today's episode is a recording of a panel discussion hosted on January 15, 2026 by the Long Island Library Resources Council. The panelists, all notable historians who have researched the Revolutionary War period on Long Island, give their insights into what life was like in the area from 1776-1783. This time of British occupation saw the inhabitants of Kings, Queens, and Suffolk counties suffer depredations brought on by British and Hessian troops as well as by Patriot attacks from across Long Island Sound. You'll hear about the enslaved Black woman Liss from Oyster Bay, about the activities of the Culper Spy Ring, and the experiences of others ranging from British officer John Simcoe to Elizabeth Lewis, wife of Declaration signatory Francis Lewis. The panel itself was funded by a WETA grant awarded to LILRC in support of programming related to the PBS documentary The American Revolution by Ken Burns, Sarah Botstein, and David Schmidt. Further Research The American Revolution (PBS) Dr. Joanne Grasso The American Revolution on Long Island. (Find in a library via WorldCat) George Washington's 1790 Grand Tour of Long Island. (Find in a Library via WorldCat) Dr. Natalie Naylor Women in Long Island's Past: A History of Eminent Ladies and Everyday Lives. (Find in a library via WorldCat) Long Island Studies Institute Claire Bellerjeau Remember Liss.org Espionage and Enslavement in the Revolution: the True Story of Robert Townsend and Elizabeth. (Find in a library via WorldCat) Long Island Library Resources Council Feature image from the New York Public Library Intro Music: https://homegrownstringband.com/ Outro music: Capering by Blue Dot Sessions CC BY-NC 4.0

This week: 109 days into a ceasefire, Israel has killed at least 646 Palestinians in Gaza. The US announced phase 2 of the Gaza ceasefire deal. Israeli forces kill a young boy in the Occupied West Bank. Israel has killed more than 71,548 Palestinians in Gaza since October 7th, 2023. In this episode: Osama Bin Javid, (@osamabinjavaid), Al Jazeera Correspondent Michael Appel, (@TheMikeAppel), Al Jazeera Senior Producer Tareq Abu Azzoum, (@abuoazzum) Al Jazeera Correspondent Nida Ibrahim, (@nidaibrahim) Al Jazeera Correspondent Episode credits: This episode was voiced by Nida Ibrahim, and producer by Marthe van der Wolf. Our sound designer is Alex Roldan. Our lead of audience development and engagement is Andrew Greiner and Munera AlDosari is our engagement producer. Alexandra Locke is The Take’s executive producer. Ney Alvarez is Al Jazeera's head of audio. Connect with us: @AJEPodcasts on X, Instagram, Facebook, and YouTube

Russian strikes continue to hammer at Ukraine's energy grid. AP correspondent Donna Warder reports.

Minneapolis is imploding in flames YET AGAIN as ICE straight-up arms ruthless Somali invaders and violent communist gangs with pilfered federal guns—while barely deporting anyone amid the 50-MILLION alien swarm orchestrated by globalist elites! George Papadopoulos joins Stew to discuss the latest.   Larry Fink and BlackRock are forcing tokenization on everything you own—your house, your car, all of it—turning it into blockchain tokens they control so they can rip it away the second you step out of line. Carlos Cortez joins Stew to expose this World Economic Forum Mark of the Beast track-trace-control system.   Big Pharma has poisoned millions of Americans with deadly opioids and even everyday Tylenol, turning chronic pain sufferers into addicts or corpses. But Angie, a former world-class athlete turned health revolutionary, exposes the simple, drug-free secret to cleaning blocked joints and restoring your body—empowering you to break free from pain and take back your life starting today.

Top body language expert Bluemontauk dissects Mitch Snow's testimony, concluding he's spitting pure truth about spotting Erika Kirk slinking around Fort Huachuca just days before Charlie's brutal execution! Donald Trump is dragging America into a nightmare war with Iran, delivering the brutal regime change that bloodthirsty Israeli overlords and their bought-off DC scum have lusted after for decades! While the pedo elite bury the Epstein files deeper and assassinate truth-tellers like Charlie Kirk, they're placing aircraft carriers into position, looting oil fields, and gearing up to slaughter another wave of American youth on the altar of Greater Israel.

The Zionist-controlled puppets are shoving the ultimate scam down your throat—that Charlie Kirk's so-called “heartbroken widow” Erika is some wholesome all-American housewife—when she's a hardcore lifelong spook embedded with the CIA, crooked defense contractors, and sketchy Eastern European orphan mills. JD Sharp joins Stew with the latest. Trump's bogus “mass deportations” are just a flashy circus act to blind you from the nightmare truth—Zionist-controlled government thugs vanishing HUNDREDS OF THOUSANDS of migrant kids into twisted trafficking rings operated by their own corrupt NGOs!

Autumn lives, works and organizes in Minneapolis, where, for over 6 weeks, ICE has escalated its tactics in abducting people from their home. adrienne asks her what's happening on the ground right now and how YOU can get involved.https://defend612.com/https://unidos-mn.org/ ---⁠⁠⁠⁠⁠⁠⁠⁠⁠TRANSCRIPT⁠⁠⁠⁠⁠⁠⁠⁠---⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠SUPPORT OUR SHOW⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/Endoftheworldshow---HTS ESSENTIALS⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠SUPPORT Our Show on Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/Endoftheworldshow⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠PEEP us on IG⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/endoftheworldpc/⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠

Ruthless Israeli Unit 8200 thugs—the same bloodthirsty monsters behind Pegasus spyware and endless Palestinian slaughter—are now embedded deep in America's core, dominating over 70 US agencies through their shady Axonius front!  

SHOCKING REVEAL: Sleazy Zionist mogul Ronald Lauder and his shadowy Jewish network have already sunk their claws into Greenland's precious water and economy—buying it all up like cheap real estate! Now Trump's gearing up for an all-out war against a loyal White NATO ally to lock in the takeover. This ice-cold theft? Zero for America—it's pure fuel for the emerging Jewish superstate, poised to dominate the entire Western Hemisphere and obliterate any nation dumb enough to challenge Tel Aviv's iron-fisted commands. Wake up before it's too late! BOMBSHELL COVER-UP: Utah Valley University, swarmed in with agents as guards, ripping into Charlie Kirk's fresh blood-soaked ground and slapping down pavers to obliterate every trace of the assassination before any honest probe could kick off. Big Pharma wants you fat, depressed, and hooked on toxic pills for profit. John Jubilee exposes the lie—real Americans are dropping 59lbs in 88 days, ditching 38 meds, and reversing "irreversible" diseases with Energized Health's protocol.  

Charlie Kirk's murder wasn't a chance—it was a calculated Zionist takedown of the last barrier to Jewish control of America, unleashing Venezuela invasions, Mexico wars, and rigged civil riots straight from Tel Aviv's playbook. With Kirk erased, scheming Israeli donors and their DC puppets sacrifice American blood for stolen oil and endless foreign schemes, prepping their jets to flee while we burn.  

AP's Lisa Dwyer reports on more unrest in the West Bank.

Zionist vulture capitalist Paul Singer, Trump's mega-Jewish donor, just hijacked Citgo—the only U.S. heavy crude refinery—at dirt-cheap prices after Trump deliberately tanked its value through pirate ship seizures and brutal blockades. Now Trump is siphoning billions in stolen Venezuelan oil directly into Singer's coffers to bankroll Israel's endless wars and globalist schemes.   A white American mom of three was gunned down cold-blood by a faceless ICE agent in Minneapolis. Owen Shroyer teams with Stew to rip open this engineered psyop designed to unleash riots, crush freedoms, and force-feed the AI Gestapo down our throats. Is this the deep-state trigger for martial law? There is no law requiring Americans in the 50 states to file or pay federal income tax—yet trillions are seized to bomb nations for Jewish billionaires and push global degeneracy at gunpoint. Peymon Mottahedeh exposes the century-old fraud and gives you the exact, battle-tested steps to go exempt, keep your earnings, and join the millions already refusing to feed the swamp. Erika Kirk isn't just grieving—she's the centerpiece of a decades-long web connecting Romanian orphanages, U.S. military bases, and accusations of child trafficking that go straight to the top.  

Sheriff Mack joins Stew to dissect bombshell 2015 Phoenix Trump rally footage where Erika Kirk (Frantzve) sits right next to his own son, raising red flags on her shady ties, promiscuous vibes, and elite puppet strings. Sheriff Mack drops explosive truths with Stew—his direct talk with the Tyler Robinson case prosecutor's office reveals they were clueless about the assassination site's earth-deep dig-up and quick pave-over, erasing forensic evidence and splatter patterns forever.   Big Pharma's worst nightmare unleashed— they've suppressed the TZLA plasma tech for generations to keep you hooked on toxic drugs and killer injections, but Jeff Berwick rips the lid off this game-changer that vaporizes tumors, fixes stroke damage in hours, and cranks your energy to god-mode levels. Mainstream quacks like the FDA are scrambling to bury this, but the proof is exploding.

JD Sharp joins Stew to blow the lid off Trump's brutal betrayal—U.S. black ops just snatched President Maduro and his wife in a midnight raid, igniting an all-out war to crush one of the last holdout nations against the global elite. JD drops explosive details on how Venezuela's fierce fightback will drain American blood and treasure for the power brokers' agenda.   Description: Six years after the COVID death shots, turbo cancers are exploding, kids are dropping dead from myocarditis, and babies are born broken yet no doctor, nurse, or pharma exec has faced justice. Laura Hartman from Ezra Healing joins me to expose this protected genocide and revea   Charlie Kirk wasn't gunned down, his neck was ripped open by a concealed bomb in his lapel mic, detonated from afar to crush a voice challenging the Zionist power structure. John Bray joins Stew with game-changing evidence that proves the mechanics behind Charlie's fatal blow.