Podcasts about Oxford

Ernest Hemingway (1899-1961) was one of the most famous American writers of the twentieth century. His plain, economical prose style--inspired by journalism and the King James Bible, with an assist from the Cezannes he viewed in Gertrude Stein's apartment--became a hallmark of modernism and changed the course of American literature. In this episode, Jacke and Mike take a look at an author and novel, The Sun Also Rises (1927), they've been reading and discussing for decades. Want more Hemingway? We took a new look at an old argument in Episode 47 Hemingway vs Fitzgerald. Love everything about the Lost Generation? Spend some time with the coiner of the phrase in Episode 127 Gertrude Stein. Rather be tramping through Europe? Try Episode 157 Travel Books (with Mike Palindrome). [The bulk of this episode was originally released on October 3, 2018. It has been unavailable for several years.] Join Jacke on a trip through literary England! Join Jacke and fellow literature fans on an eight-day journey through literary England in partnership with ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠John Shors Travel⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ in May 2026! Scheduled stops include The Charles Dickens Museum, Dr. Johnson's house, Jane Austen's Bath, Tolkien's Oxford, Shakespeare's Globe Theater, and more. Learn more by emailing ⁠⁠jackewilsonauthor@gmail.com⁠⁠ or ⁠⁠masahiko@johnshorstravel.com⁠⁠, or by contacting us through our website ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠historyofliterature.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Act now - sign-up closes March 1! The music in this episode is by Gabriel Ruiz-Bernal. Learn more at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠gabrielruizbernal.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Help support the show at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/literature⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠historyofliterature.com/donate⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠thepodglomerate.com/historyofliterature⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

Hoje recebemos Gustavo Maia, fundador e CEO da Colab, uma govtech que conecta cidadãos e governos em mais de 2 mil cidades no Brasil. A Colab promove a participação popular e a gestão pública colaborativa. Gustavo possui uma formação sólida, com especializações em governança, inovação e políticas públicas pela Harvard Kennedy School, Blavatnik School of Government da Universidade de Oxford, e um mestrado em Liderança e Gestão Pública pelo Instituto Singularidades, além de passagens pelo Insper e FGV. Ele também integra o GovTech Network do Fórum Econômico Mundial. E é um apaixonado pela Inteligência Artificial, que dominou boa parte da conversa.See omnystudio.com/listener for privacy information.

Hoje recebemos Gustavo Maia, fundador e CEO da Colab, uma govtech que conecta cidadãos e governos em mais de 2 mil cidades no Brasil. A Colab promove a participação popular e a gestão pública colaborativa. Gustavo possui uma formação sólida, com especializações em governança, inovação e políticas públicas pela Harvard Kennedy School, Blavatnik School of Government da Universidade de Oxford, e um mestrado em Liderança e Gestão Pública pelo Instituto Singularidades, além de passagens pelo Insper e FGV. Ele também integra o GovTech Network do Fórum Econômico Mundial. E é um apaixonado pela Inteligência Artificial, que dominou boa parte da conversa.See omnystudio.com/listener for privacy information.

This week, Michael is joined by Munira Mirza. Raised in Oldham and educated at Oxford, Munira worked at Policy Exchange before serving as Deputy Mayor of London under Boris Johnson and later as Director of the No.10 Policy Unit, where she helped shape the Conservatives' 2019 election manifesto. She now leads Civic Future and the think tank Fix Britain.In the first of this two-part interview, Munira reflects on Labour's vulnerability in the upcoming Gorton and Denton by-election, and the ‘serious threat' it faces if the Muslim votes flees to the Greens. She discusses the politicisation of religious identity, the influence of Islamism in Britain, and what she sees as a failure of public authorities to confront hard truths.They also discuss the news this week that Valdo Calocane – the man who killed three people in Nottingham in 2023 – was released from hospital in 2020 because health professionals were concerned about the disproportionate number of black men who were being detained in the mental health system. Munira argues that fear of being accused of institutional racism has distorted decision-making, a scandal of potentially greater magnitude than the grooming gangs and with serious consequences for public safety.Finally, she revisits Brexit and the 2019 realignment, defending the decision to leave the EU and arguing that levelling up was an attempt to fix a broken economic model built on high immigration and weak productivity.Produced by Oscar Edmondson. Hosted on Acast. See acast.com/privacy for more information.

Send a textIn this episode of the Causes or Cures Podcast, Dr Eeks speaks with Dr. Sam West, a researcher at the University of Oxford, about his study on what happens after people stop taking GLP 1 weight loss medications.While much of the attention has focused on how these drugs work while people are taking them, this conversation looks at what happens when people stop. Dr West discusses how quickly weight tends to return (and how much), what happens to cardiometabolic markers after stopping treatment, and how these outcomes compare with weight regain after behavior-based interventions.They also explore what these findings mean in practice, including long-term weight maintenance, patient expectations, and how insurers may weigh coverage for these medications. This episode offers important real world context for one of the most widely discussed drug classes in medicine today.Dr. Sam West is a postdoctoral researcher with the Health Behaviours team based in the Department of Primary Care Health Sciences at the University of Oxford. He completed his PhD with the Nutritional Physiology Research Group at the University of Exeter, where his research centred around assessing how modulating dietary protein form influences postprandial skeletal muscle metabolism. His current research focuses on understanding how lifestyle (diet and exercise) and pharmaceutical interventions can be used in the treatment and management of obesity and type 2 diabetes.Work with me? Perhaps we are a good match.You can contact Dr. Eeks at bloomingwellness.com.Follow Eeks on Instagram here.Follow Public Health is WeirdOr Facebook here.Or X.On Youtube.Or TikTok.SUBSCRIBE to her WEEKLY newsletter here!Support the show

Lewis Cox and Jonny Drury return with the latest episode of the Baggies Broadcast - in association with Sandwell College. Another manager has gone - and Albion are still in a bleak position, staring down the barrel of relegation. Lewis and Jonny discuss the fallout from Eric Ramsay's departure, what it means for the Baggies, where they go next and why there is no place to hide for Shilen Patel. They answer your questions and preview the trip to Oxford.

Rune Lykkeberg taler med den canadiske historiker om krigens rolle i politik, fredens forudsætninger og en verdensorden under pres. --- Ugens gæst i Langsomme Samtaler er den canadiske historiker Margaret MacMillan – en af vor tids mest indflydelsesrige fortolkere af krig, fred og den internationale orden. Hun er forfatter til en lang række anerkendte værker, heriblandt klassikeren Paris 1919, der med historisk overblik og dramatisk nerve fortæller historien om fredsslutningen efter Første Verdenskrig og de beslutninger, der kom til at forme det tyvende århundrede.   Margaret MacMillan har i årtier beskæftiget sig med stormagter, diplomati og verdensorden. Hun har undervist i international historie ved både Oxford og Toronto og rådgivet politiske beslutningstagere om udenrigs- og sikkerhedspolitik. Hendes blik er historikerens: Hun leder ikke efter øjeblikkets sensation, men efter de lange linjer, de strukturer og erfaringer, som gentager sig, når verden igen bevæger sig ind i usikre tider.   Anledningen til samtalen er hendes bog War: How Conflict Shaped Us. Her insisterer hun på noget, vi i Vesten længe har fortrængt: at krig ikke er en historisk undtagelse, men en grundlæggende del af den politiske virkelighed. Vores samfund er formet af krige, vores institutioner er skabt for at håndtere dem, og vores fred hviler på erkendelsen af, at nogen må kunne forsvare den. Når vi glemmer det, svækkes både vores dømmekraft og vores politiske beredskab.   I en tid, hvor den internationale orden vakler, hvor atomaftaler udløber, og hvor antallet af konflikter vokser, rejser MacMillan et ubehageligt, men nødvendigt spørgsmål: Har vi glemt, hvad krig er? Og dermed også, hvad fred kræver?   Samtalen bevæger sig fra fredsslutningen i 1919 til nutidens geopolitiske spændinger. Fra Woodrow Wilsons ankomst til Europa som fredens håb til spørgsmålet om, hvorvidt vores egne fredsinstitutioner i dag er stærke nok til at modstå presset. Og den begynder et personligt sted: i Canada, hvor Margaret MacMillan følger udviklingen i forholdet til USA og den nationale mobilisering, der synes at være i gang.   Det er en samtale om krigens realitet og fredens skrøbelighed – og om hvorfor historien ikke blot er noget, der ligger bag os, men noget, vi er nødt til at forstå for at kunne handle i nutiden.  

Join host Sharon James as she interviews the remarkable mother-daughter duo Jenny and Piper Grant Rankin on KXFM Laguna Beach. At just 16, Piper has already spoken at Oxford University about cognitive dissonance, while her accomplished mother Jenny brings expertise from Cambridge, Oxford, and the White House. Together, they explore how psychological concepts can be better taught in schools and how trauma can become a superpower for personal growth.

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Today we cover a whirlwind of stories exposing how political control, corporate flight, and real-world grit collide: Democrats' “Freedom to Move Act”: tracking your miles, charging for road use, and income-tiered digital leashes reminiscent of Oxford's “15-minute city” experiments Tech Titans on the move: Bezos, Zuckerberg, and other Silicon Valley leaders relocating to Florida after Susan Rice threats Republican voter mobilization in Texas: early voting shows Democrats surging — stakes for the March 3 primary Team USA men's hockey gold: a story of teamwork, national pride, and leadership contrasted against political schemes Liberals fleeing to Canada: real-life examples of Americans expecting free housing and healthcare, encountering an affordability crisis Comedy break: Sean Farash's dead-on Trump impersonation congratulating Team USA It's a story of power, politics, irony, and patriotism — the stark contrast between ambition that builds and ambition that punishes. ⚡ KEY TALKING POINTS 1️⃣ Vehicle Miles & Digital Leashes Massachusetts & California exploring road usage charges, geofencing, and mileage-based pricing Oxford, UK demonstration: licenses, transmitters, fines Potential harm to small businesses, minority- and women-owned businesses 2️⃣ Silicon Valley Exodus Bezos, Zuckerberg, Netflix, Stripe, Palantir founders moving to Florida Susan Rice threats and Democrat overreach motivate corporate relocations Florida emerges as a safe zone from political persecution 3️⃣ Texas Primary Alert Democrats leading early voting by nearly 60k Republican voter mobilization is critical — if Texas falls, national consequences 4️⃣ Team USA Gold Medal Hughes brothers and men's hockey team demonstrate unity, execution, and national pride Comedy: Trump impersonation highlights the fun side of national victories 5️⃣ Liberals Fleeing North Story of Americans moving to Canada, expecting free housing & healthcare Reality: visa limits, unaffordable rent, lack of work options Ironic lesson on liberal expectations vs. actual systems 6️⃣ Contrast of Values Teamwork, national pride, and achievement vs. political targeting, coercion, and short-term self-interest

Today we dive deep into a trifecta of control, corporate moves, and national pride: Digital Leashes on Americans: Massachusetts and California explore tracking your vehicle miles, geofencing, and income-tiered road usage charges — the first steps toward the “15-minute city” concept. Silicon Valley Exodus: Bezos, Zuckerberg, Netflix, Stripe, and Palantir leadership relocate to Florida after Susan Rice threats, highlighting the clash between corporate freedom and political overreach. Republican Voter Alert: Early voting in Texas shows Democrats surging — critical for the March 3 primary and national stakes. Team USA Men's Hockey Gold: Hughes brothers and teammates exemplify teamwork, national pride, and perseverance. Comedian Sean Farash's Trump impersonation celebrating the win goes viral. Liberals Fleeing North: Americans seeking a “better life” in Canada encounter unaffordable housing, restricted work options, and harsh realities of socialist policies. Contrast of Values: From political coercion and short-term self-interest to unity, achievement, and national pride — today's stories highlight the stakes for freedom, accountability, and civic engagement. ⚡ KEY TALKING POINTS 1️⃣ Vehicle Miles & Digital Leashes Massachusetts & California pilot road usage charges, licenses, transmitters, fines Potential impact on small businesses, minority- and women-owned enterprises Oxford, UK as a demonstration project 2️⃣ Silicon Valley Exodus Bezos, Zuckerberg, Netflix, Stripe, Palantir relocate to Florida Response to political threats from Susan Rice and Democrats Florida becomes a safe haven from overreach 3️⃣ Texas Primary Early Voting Democrats lead early voting by nearly 60k Republican mobilization crucial to protect national outcomes 4️⃣ Team USA Gold Medal Men's hockey team victory demonstrates teamwork, skill, and leadership Comedy clip: Sean Farash impersonates Trump congratulating Team USA 5️⃣ Liberals Fleeing North Americans move to Canada expecting free housing, healthcare, and support Reality: affordability crisis, visa restrictions, no access to Canadian benefits 6️⃣ Political & Cultural Contrast Teamwork, national pride, and achievement vs. political coercion, surveillance, and short-term self-interest Totalitarian-style control and digital monitoring vs. liberty and civic responsibility

Today's episode exposes a new wave of Democrat control: from tracking your vehicle miles to targeting tech executives. We break down: The rise of Vehicle Miles Traveled (VMT) programs, geofencing, and digital driving licenses Massachusetts & California demonstration projects modeled after Oxford, UK The threat to small, minority, and women-owned businesses Silicon Valley exodus to Florida and the reasons beyond the wealth tax Susan Rice's threats to tech titans and her “accountability agenda” Surveillance and persecution of Republican leaders and organizations The dangerous precedent of post-American judicial overreach Power, politics, and control collide — here's what's happening, and why it matters. ⚡ PRIMARY TALKING POINTS VMT programs & “Freedom to Move Act” – digital tracking & mile-based taxes Demonstration projects in Massachusetts, California, and Oxford, UK Income/geography-based pricing & high-cost zones for drivers Threats to small businesses, minority and women-owned enterprises Silicon Valley migration to Florida: Zuckerberg, Bezos, Page, Brin, and more Democrat surveillance on Republican leaders & activists The post-American judicial system & politically motivated prosecutions

Beth Ann Fennelly is the former poet laureate of Mississippi and the author of seven books, including Heating and Cooling and The Titled World. In today's episode, Annmarie and Beth Ann discuss her latest book, The Irish Goodbye: Micro-Memoirs, and what we can learn from everyday moments observed with extraordinary clarity and humor. Episode Sponsors: Square Books – A general independent bookstore on the historic town square of Oxford, Mississippi, home of the University of Mississippi and many great writers, including William Faulkner, Barry Hannah, Larry Brown, and, for a time, both Willie Morris and John Grisham. Square Books is known for its strong selection of literary fiction, books on the American South and by Southern writers, and its emphasis on books for children. The store hosts the popular Thacker Mountain radio show and over 150 author events a year. Stop by our Oxford location or shop online at squarebooks.com. Fountain Bookstore – An independent, general, full-service bookstore serving the Metro Richmond area and the world! Fountain hosts more author programming than any other entity in the state of Virginia. We also ship autographed copies worldwide. Come check us out! You'll find enthusiastic booksellers happy to talk about their favorite titles. Or find us online at fountainbookstore.com. Titles by Beth Ann Fennelly  Open House Tender Hooks Unmentionables Great with Child: Letters to a Young Mother The Tilted World, coauthored with Tom Franklin Heating & Cooling: 52 Micro-Memoirs  The Irish Goodbye: Micro-Memoirs Additional Titles Mentioned in This Episode  House of Smoke, by John T. Edge Me vs. Slugs: Pandemic Edition, by Beth Ann Fennelly Outtakes from the Highlight Reel, by Beth Ann Fennelly Follow Beth Ann Fennelly: Facebook: @BethAnnFennelly Instagram: @bethannfennelly Threads: @bethannfennelly Substack: The BethAnnigan bethannfennelly.com **Writing Workshops:  If you liked this conversation and are interested in writing together, please consider the opportunities below.  For women interested in an online Saturday morning writing circle, you can sign up here.  For anyone interested in an evening class to jumpstart your creative practice, you can sign up here. And if you'd like to travel with your writing, Annmarie is leading a writing retreat in Paris this June. Join us! Photo Credit: Paul Gandy Learn more about your ad choices. Visit megaphone.fm/adchoices

Anna Lundberg had spent her whole life being the good girl. Top of the class as valedictorian, Oxford graduate, and the shiny P&G title to show for it. She'd ticked every box, perfected the image, and then she did something very off-brand: she quit.What she didn't expect was how long the good girl mindset would follow her. Even now, a decade into solopreneurship and 370 episodes into her podcast Reimagining Success, Anna still feels the pull of the old scripts. Say yes, never chase, be likeable, and fill up your diary to feel important.We talk about what success looks like once the gold stars disappear and you're left to figure it out on your own. Anna's advice? Bring your A game, set the boundary, go the extra mile – but whatever you do, don't go two.Links to learn more about Anna Lundberg:WebsiteLinkedInBookPodcastAny thoughts? Share them with us!Support the show✨✨✨If you miss the "workshops work" podcast, join us on Substack, where Myriam builds a Podcast Club with monthly gatherings around old episodes: https://myriamhadnes.substack.com/

It's another Barbarians at the Gate crossover with China Books Review. This month's China Archives column covers Decadence Mandchoue by Edmund Backhouse, edited and annotated by Derek Sandhaus. CBR Associate Editor Alexander Boyd and I sat down to talk about all things Backhouse and try to parse one of Sinology's more controversial memoirs. Backhouse was the son of a British baronet who dropped out of Oxford, fled to Beijing in 1898, and spent the next four decades as a fixer, translator, and professional eccentric in the hutongs. He was also a forger, a fabulist, possibly a fascist sympathizer, and the author of what may be the most explicit expat China memoir ever written. His central claim: an extended sexual relationship with Empress Dowager Cixi. His central problem: almost nobody believed him. And there's a good reason. He almost certainly invented the whole thing.The real question isn't whether Backhouse was making stuff up. He was. A lot. The question is whether this gifted fabulist, writing from inside (or at least adjacent to) the world he's fabricating, can still tell us something real about the fall of the Qing Dynasty. Join us as we explore the decadent world of sex, lies, and power during one of the most tumultuous periods of Chinese history.

Interviu cu istoricii Armand Goșu și Cosmin Popa, la 4 ani de război în g4media. „Nu exclud un scenariu care să reaprindă conflictul diplomatic între București și Kiev” / „Putin construiește un regim fascist într-un cămin de bătrâni” / „A crescut ostilitatea față de Europa” / „Războiul are efecte morale devastatoare asupra rușilor”. Sunt câteva idei desprinse din interviu. Articolul complet pe  g4media.ro PressOne trece în revistă 4 ani de război în Ucraina: Ce știm sigur - și aproape sigur - despre ajutorul militar pe care România l-a acordat Kievului până acum. După 4 ani de război în Ucraina, provocat de invazia militară a Rusiei, declanșată pe 24 februarie 2022, România continuă să facă o ciudată excepție printre țările NATO și UE, în ceea ce privește transparentizarea clară a ajutoarelor militare acordate până acum Kievul. În ciuda secretomaniei afișate de București, există câteva certitudini legate de ajutorul militar concret pe care România l-a acordat până acum Ucrainei Cea mai importantă donație pentru armata ucraineană făcută de România: un întreg sistem antiaerian Patriot PAC 3, de ultimă generație România mai oferă sprijin în ceea ce privește pregătirea piloților ucraineni pe avioanele F-16 PressOne vorbeste si despre Ciudata „suveică” România-Bulgaria în materie de exporturi de armament care ajung, prin ricoșeu, în Ucraina Această pseudo-„ambiguitate strategică” a fost parafată în perioada președinției lui Klaus Iohannis, când toate cifrele clare, legate de cantitatea și tipul de ajutor militar acordat Kievului au fost secretizate în CSAT. Venirea la Cotroceni a lui Nicușor Dan nu a schimbat această paradigmă. Emblematică rămâne, din acest punct de vedere, declarația făcută de noul ministru al Apărării, Radu Miruță, care a explicat de ce „nu e bine” să se știe cât armament a dat România Ucrainei. Ajutorul pentru Ucraina a depășit miliardul de euro, dar autoritățile de la București nu spun ce anume „s-a dat” în acest ajutor ............................................................................................................................................................................. Serviciile de informații trebuie restructurate fundamental. România a pierdut războiul hibrid cu Rusia - spune Corneliu Bjola, profesor al Universității Oxford din Marea Britanie într-un interviu pentru spotmedia.ro Seful grupului de cercetare “Oxford Digital Diplomacy”, consideră că Nicușor Dan a fost tratat cu superioritate în SUA de către oficialii americani, expunându-se gratuit într-o încercare dificilă de a reface relațiile privilegiate cu Washingtonul, în contextul în care SUA se retrag din Europa. ...................................................................................................................................................................... Comisia de Deontologie din cadrul Colegiului Psihologilor din România și Poliția Capitalei s-au autosesizat în cazul Ion Duvac, în urma dezvăluirilor făcute de PressOne. Poliția Capitalei face apel către toate persoanele „care consideră că au fost victime ale unor astfel de comportamente (n.red. hărțuire) să se adreseze poliției, în vederea formulării unei plângeri” scrie PressOne. Investigația arată cum Ion Duvac, doctor în psihologie și membru în Comisia de Deontologie și Disciplină a Colegiului Psihologilor din România, își hărțuiește sexual pacientele prin propuneri sexuale explicite și cere poze cu părțile intime ale femeilor, încă de la prima ședință, potrivit unei înregistrări ajunse în posesia redacției. În aceeași înregistrare, Duvac afirmă că nu e prima dată când face acest lucru.  ............................................................................................................................................................................................. Bolojan amenință cu revocarea miniștrii și secretarii de stat, dacă România pierde bani din PNRR Premierul Ilie Bolojan a avertizat că miniștrii și secretarii de stat riscă revocarea din funcție dacă România va pierde fonduri din Planul Național de Redresare și Reziliență (PNRR), subliniind că răspunderea pentru neîndeplinirea angajamentelor va fi politică, dar și administrativă. Declarațiile au fost făcute, luni, în cadrul reuniunii Comitetului Interministerial de Coordonare a PNRR, desfășurată sub coordonarea prim-ministrului și a ministrului Investițiilor și Proiectelor Europene, Dragoș Pîslaru.

For thousands of years, writers from ancient China to contemporary meme-makers have demonstrated the power of the short, witty, philosophical phrases known as aphorisms. In this episode, Jacke talks to James Geary (The World in a Phrase: A Brief History of the Aphorism) about his decades-long effort to collect, catalogue, and celebrate the oldest written art form on the planet. PLUS author Paul Chrystal (Miracula: Weird and Wonderful Stories of Ancient Greece and Rome) stops by to discuss his choice for the last book he will ever read. Join Jacke on a trip through literary England! Join Jacke and fellow literature fans on an eight-day journey through literary England in partnership with ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠John Shors Travel⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ in May 2026! Scheduled stops include The Charles Dickens Museum, Dr. Johnson's house, Jane Austen's Bath, Tolkien's Oxford, Shakespeare's Globe Theater, and more. Learn more by emailing ⁠⁠jackewilsonauthor@gmail.com⁠⁠ or ⁠⁠masahiko@johnshorstravel.com⁠⁠, or by contacting us through our website ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠historyofliterature.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Act now - sign-up closes March 1! The music in this episode is by Gabriel Ruiz-Bernal. Learn more at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠gabrielruizbernal.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Help support the show at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/literature⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠historyofliterature.com/donate⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠thepodglomerate.com/historyofliterature⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

Skeptics said synagogues didn't exist in Galilee during Jesus' lifetime. They were wrong. They said crucified victims were never buried. They were wrong. They said the Gospel writers invented details about first-century Palestine. Wrong again.Dr. Craig Evans, one of the world's leading scholars on the historical Jesus and New Testament archaeology, has spent decades connecting physical discoveries to the Gospel narratives. He's authored over 70 books, founded the Dead Sea Scrolls Institute, lectured at Cambridge, Oxford, and Yale, and appeared on BBC, the History Channel, Discovery Channel, and National Geographic. In this episode, he walks us through the discoveries that secular Israeli archaeologists rely on the Gospels as their primary sources, why skeptical theories collapse under the weight of evidence, and how the skeletal remains of a crucified man confirm that Jesus would have been buried exactly as the Gospels describe. This conversation will transform how you read the New Testament.In this episode, you will learn:Why Israeli archaeologists, even non-believing ones, use Matthew, Mark, Luke, John, and Acts as their most reliable sourcesThe discovery of first-century synagogues at Magdala and what they reveal about Jesus' ministryWhat the Theodotus Inscription proves about synagogues existing in Jerusalem before 70 ADHow the Pilate Stone and Caiaphas Ossuary confirm key figures from the Passion narrativesWhy the Gospel writers showed remarkable restraint and integrity in recording only what Jesus actually saidThe archaeological evidence that crucified victims in Jewish Palestine were in fact buriedHow the skeletal remains of Yehohanan, a crucified man with a nail still in his heel, validates Gospel burial accountsWhy Joseph of Arimathea's burial of Jesus is historically plausible and fits Jewish law perfectlyThe stunning continuity of village memory that preserved the location of Jesus' tomb for centuriesCheck out Dr. Craig Evans' work:Website: https://www.craigaevans.comJesus and His World: The Archaeological EvidenceFabricating Jesus: How Modern Scholars Distort the GospelsThe Bible Seminary: https://www.thebibleseminary.eduStay Connected with Johnny Ova and The Dig In Podcast: Subscribe and follow The Dig In Podcast on YouTube: https://www.youtube.com/@thejohnnyova Follow all things Johnny: https://linktr.ee/johnnyova Grab Johnny's book, The Revelation Reset: https://a.co/d/hiUkW8H

In this week's episode of the Seven Figure Consultant Podcast, we're doing something a bit different! My guest Sharath Jeevan, Founder of The Generational Success Lab at Oxford's Said Business School, is interviewing me as we approach the one-year anniversary of my book 'Too Much'. If you've ever felt like your ambition was 'too much' for the world around you, or if you left corporate because you needed a bigger playing field to run on, this conversation is for you. Sharath and I explore how I went from a rebellious teenager who wanted to be a rock star to building a seven-figure consulting business that finally gives me the container I need.  We talk about the corporate exit, the early days of celebrating £3,000 months, and what it really takes to build a business around your zone of genius rather than what you think you're 'supposed' to do.  This is a candid conversation about legacy, ambition and what happens when you finally stop trying to fit into someone else's version of success. In This Episode:  [00:01:33] How Jessica's early ambition and 'too much-ness' shaped her path - and why entrepreneurship became the only container that could hold her [00:05:16] The violin, physics homework, and parental expectations: navigating the gap between what your family wanted and who you actually are [00:10:22] The corporate years at Sony and the moment Jessica realized she'd rather be made redundant than stay - and what came next [00:17:50] Building a £3,000/month business from the attic and how Jessica's husband became her biggest supporter [00:22:49] The pivot moment: when Jessica stopped trying to 'follow the business plan' and started listening to what clients actually needed [00:27:14] Getting past comparisonitis and imposter syndrome and why one client sale fixes most business problems [00:29:34] Reflecting on the book 'Too Much', writing as legacy work, and what's next Key Takeaways:  Entrepreneurship was the only container big enough: If you've always felt restless in corporate, it's not because you're broken. You just need a playing field where you can run as fast as you want without hitting a ceiling. The power of low-volume, high-ticket consulting: One client sale can fix most business problems. Five clients can fix almost everything. This is why we build businesses where you're not making 500 sales just to stay afloat. Your ambition isn't the problem. The context is: Jessica spent years being told she was 'too much'. The breakthrough came when she stopped trying to fit into someone else's version of success and built a business aligned with her actual genius. Quotes:  "Entrepreneurship has been the only thing that I found, the only container that can actually hold me, that doesn't make me feel kind of trapped or restricted and gives me a big playing field where I can run as fast as I want." - Jessica Fearnley "I always try and go with the path of least resistance, keeping the bar as low as it can possibly be, because then it's like, I may as well have a go. And you know, more often than not it goes well and it works." - Jessica Fearnley "I'm really passionate about how we can be intentional about our legacy. You've done that very consciously and deliberately, and I'm very passionate about how we can all try and find that whatever way makes sense for us in our lives as well." - Sharath Jeevan Useful Links Sharath Follow Sharath on LinkedIn Sharath's Website: intrinsic-labs.com Episode 112: Encouraging Yourself to Make a Bigger Impact with Sharath Jeevan Jessica: Buy Jessica's book, Too Much, on Amazon Get in touch with Jessica to discuss your consulting business Leave a rating and review for the Seven Figure Consultant Podcast Connect with Jessica on LinkedIn Guest Bio Sharath is focused on helping Leaders across sectors futureproof success and build intentional legacy, with clients ranging from L'Oreal to the Barbican to the NHS. He's established the Generational Success Lab at Oxford University's Said Business School, where he's exploring how generations can collaborate better to shape a better world. He's the author of two acclaimed leadership books, "Intrinsic" and "Inflection". Sharath is exploring the questions of generational transition through a forthcoming novel and comedy show.

Actualités. Gros plan. International. La Slovaquie sans frontieres. La Vie comme elle va. A Košice, nous irons nous promener en ville. Il nous faudra de bonnes chaussures, plus précisément des chaussures de danse. Car nous ne ferons pas une visite guidée, mais nous irons danser le tango. Bien que notre pays produise environ 600 tonnes de laine de mouton par an, la majeure partie finit a la poubelle. Pres de Krupina, Martina et Imrych Vozárovci, un couple attachant, ont décidé d'agir. Comment ? Suivez l'émission ! Matej Bárta est né et a grandi a Bratislava. Il a étudié dans un lycée a Saint-Flour, en France, il a obtenu une licence en sciences politiques a l'université d'Amsterdam et une licence en politique a l'université d'Oxford.

Guest: Dr Carolyn Weber, author of "Surprised by Oxford" | Host: Julian Gibb, Executive Director, Harvest Foundation Listen to how Dr. Weber discovered Jesus at Oxford University. She repeatedly heard about "this" Jesus from Christians at Oxford.See omnystudio.com/listener for privacy information.

Just as there are darkened seasons in human history—times when the structures sustaining civilization collapse in on themselves and humanity finds itself stiff-fisted, grasping at brittle branches, slipping between worlds—so too is every individual subject to phases of undoing in the metamorphosis of a lifetime.Entering the chrysalis is rarely a matter of choice. We would resist if we could. One morning, we awaken with a pit in the stomach, a visceral unease that signals change even before we can name its source. Quite all of a sudden, we find we have entered a dream with no solid ground and no turning back. Loss feels imminent, along with the uncertainty of what comes next or how we will get there. We try to keep moving, mistaking busyness for control of circumstance. We hoist the blueprints of our former lives above our heads to keep them dry, trying to shore up what is already dissolving.We try very hard, as all creatures do, not to die. Yet for the caterpillar, entering the chrysalis is a form of programmed death—a gruesome act of self-digestion. What can the larva comprehend of its own metamorphosis as it surrenders to darkness and enzymatic dissolution? Before it can be reconstituted, the caterpillar's whole body must pupate—which is to say liquify. Epithelial cells breaking down, muscles and mandibles lysed by their own enzymes, the entire body reduced to a nutrient slurry.Every winter, nature takes this serious turn. Fallen leaves coil in on themselves, roots retreat, seeds release, and stillness wraps the living world. Here's orientation from a recent column in our cherished local magazine, the Santa Fe New Mexican —“In winter, our arid steppe climate shows us the value of leaving things alone. Grasses left standing become shelter. Seed heads become sustenance. Evergreen shrubs offer cover from wind and predators when the world feels most exposed. What looks untidy to us is, in fact, a carefully balanced system of protection and patience. The garden does not ask us to fix it in January—only to witness it.”The winter gardener knows not to try to fix such depression, but instead to witness and accompany the world beyond control. For the winter gardener recognizes the fallows as sanctuary, the outer casings of seed heads and pale grasses as fortresses of transformation, and death as a passage between birthing seasons. This is the winter gardener's regenerative faith.Similarly, with respect to human development, Jungian analyst and author Marion Woodman called the chrysalis “a twilight between past, present, and future,” a place where the psyche must “tolerate annihilation—just long enough for the new form to begin assembling itself.” She described the sojourn of life as a series of “border crossings between what we were and what we cannot yet imagine.”For the caterpillar, the dream of the butterfly is carried by imaginal cells—tiny, sac-like clusters that, through the primordial twilight of metamorphosis, give rise at last to compound eyes, scaled wings—a new and elegant anatomy. This is how a creature built for crawling holds within its body the imagination of flight.In his 1910 Oxford lecture, The Birth of Humility, anthropologist Robert Ranulph Marett described metamorphic thresholds as “psycho-physical,” when body and mind falter so that “latent energies [may] gather strength for activity on a fresh plane.”The most courageous way we can enter the chrysalis is with attunement. “Pause,” Marett wrote, “is the necessary condition of the development of all those higher purposes which make up the rational being.” James Baldwin attested that the darkest hour can “force a reconciliation between oneself and all one's pain and error.” We cannot will ourselves to grow, for transformation is an act of presence, not power. But within the privacy of our consciousness, with patience and attention, we can rediscover the forces shaping our evolution and develop faith in what is becoming.In Jungian terms, the collective mirrors the individual psyche: what deconstructs in the outer world—painfully, though necessarily—reflects what must be reimagined from within. Today, democratic principles and ecological balance are slipping from their axes. But, as Marett observed, “Not until the days of this period of chrysalis life have been painfully accomplished can [a person] emerge a new and glorified creature.”Some silent, imaginal knowledge within us already knows the way. Here in the high desert, the earliest bloomers will soon appear: proof that the intelligence of life has been preparing the ground, all along, for the resurrection of some new and common beauty.Together, we're making sense of what it means to be human in an era of radical change. Your presence here matters. Thank you for reading, sharing, ‘heart'ing, commenting, and subscribing to The Guest House.+ Join next month's yoga & meditation class on Thursday, Mar 12, at 9 am MT / 11 am ET. A replay will be shared via email shortly thereafter.+ Find me at YogaSource in Santa Fe every Wednesday morning, 9-10:15 am MT / 11 am-12:15 pm ET for Dynamic Practice. This class is fully analog—live and in person. Register through the studio here.+ I'll be returning to two beloved places to offer retreats with friends in the coming year: Beyul Retreat, in the pristine wilderness surrounding Aspen, Colorado, May 21-25, 2026, with Wendelin Scott; AND world-class Ballymaloe House in County Cork, Ireland, Sept 20-26, 2026, with Erin Doerwald. Each retreat will feature yoga, meditation, farm-to-table meals, and curated outings—plus rest, nurturance, and imagination. Just a few spots left. Check out all the details here. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit shawnparell.substack.com/subscribe

Morto a Londra nel 1626, John Dowland era nato nel 1563 in una località ancora oggi sconosciuta. Diventato, nel 1588, baccelliere in musica ad Oxford, soggiornò in Germania ed in Italia e in patria fu insignito del dottorato in musica a Cambridge (1597). Lo troviamo in Danimarca, dal 1598 al 1606, come liutista di camera del re, e finalmente di nuovo a Londra, liutista di Lord Walden e poi (1612) membro del sestetto liutistico del re d'Inghilterra. In ragione dell'armoniosa composizione architettonica, della dolcezza d'espressione e di suono della sua musica, J. D. è da considerarsi come uno dei maggiori maestri inglesi e tra i pochi, dell'epoca elisabettiana, che ancora oggi possano ottenere piena comprensione nei concerti.Il numero delle sue opere è veramente considerevole, e molte ne appaiono anche in raccolte di musiche per liuto. Tra le principali vanno ricordate le Lachrimae, or seven Teares figured in seven passionate Pavans, ecc., a 5 voci, per liuti e viole . Di questa straordinaria pagina parliamo oggi con il gambista Cristiano Contadin che, con il suo ensemble, ha pubblicato un appassionato cd registrato negli studi della nostra Radio.

Chris & Joe reflect on a damaging defeat and a dismal display against Coventry City.They also look ahead to a huge week in which Albion face fellow relegation battlers Charlton & Oxford.For more from Albion Analysis, follow us on X (@AlbionAnalysis). Hosted on Acast. See acast.com/privacy for more information.

The song "Narel" made me think about the power of separate and unique voices working together. The name Narel in Hebrew also mean "singing". I was inspired to use the field recording to make new voices that I could remix in different ways and recombine to form a new whole. In my version of "Narel", the field recording is manipulated in various ways to create different instruments - choirs, guitars, strings - upon which a new composition is built.Narel (song) reimagined by Kid Kin.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a collection of wax cylinder recordings of Zande songs, dances and spoken language made by social anthropologist Edward Evans-Pritchard in South Sudan between 1928 and 1930.Recorded by Edward Evan Evans-Pritchard.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

This has been the most difficult piece I have ever written for Cities and Memory. What could I add to a recording made by Patti Langton of a young Moru man - Timon Beri? The recording was of Timon singing and playing a lamellophone. Whatever I ever I did, it felt like cheap exploitation. The recording was beautiful, authentic and real.In my research I came across a paper by Patti Langton called Personal Reflections on Fieldwork: A Moral Dilemma and it resonated and hit hard with how I was feeling about what I was creating with this field recording. In the end, with the deadline fast approaching I separated Timon's voice from the lamellophone and decided to use his voice as a sort of tribute to him, even though it was heavily processed. As I was scouring for further inspiration, I found a vocal sample which says "we dance, we dream, we love" and this became the title of the track as well as being the light in the piece. Up to then it had been a brooding dark piece of dark electronica which I felt represented not only my frustration but also the backdrop of war and famine which was and still is so prevalent in Sudan. After all, what can a piece of music be against the backdrop of so much human tragedy, but I felt the lyric spoke of the human experience that everybody, from whatever culture, race or creed can identify with. We all dance, we dream, we love.Sanza (lamellophone) music reimagined by Rob Knight. ———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

The field recording that I worked with was a wax cylinder recording of a Zande funeral song. One of the things that really struck me when I first listened to it was how this funeral song is buried beneath the imperfections of its recording medium – you just hear this single impassioned, grieving voice breaking out through layers of noise and obfuscation. I thought there was something strangely poignant about hearing this almost century-old funeral song, originally intended to memorialise a lost loved one, itself having become an imperfect and dwindling memory.Following on from hearing the recording in this way, I wrote the song 'Int. Exteriors (Day)', which aims to convey how it feels to find yourself momentarily severed from the material present moment. How it feels, for example, to be internally going through intense emotions but not feeling able to express them out in an everyday public space.In terms of how the field recording itself is incorporated in 'Int. Exteriors (Day)'; the recording emerges throughout the song in a few different ways – it is run through a vocoder, adding a ghostly layer of harmony to the synthesiser and guitars that drive the music; and later on, samples of the emotive song bleed out in the composition alongside the crackles and hiss and artefacts of the original recording medium.Zande funeral song for a woman reimagined by Mute Branches.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

"You say you no want 'im married long me" (song performed by men, women and children).From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a large collection of reel-to-reel tape recordings of music and soundscapes made by ethnomusicologist Raymond Clausen mainly on the island of Malekula (Malampa Province) in Vanuatu between 1960 and 1979.Recorded by Raymond Ernst Clausen.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

Researching this sound and the U'wa people gave me an opportunity to scratch the surface of their deeply complex seasonal customs, involving dance, storytelling and performance. Ann Osborn (the sound recordist) documents this in her study "The Four Seasons of the U'wa: A Chibcha Ritual Ecology in the Colombian Andes".What I learned inspired me to tell a new story. In this piece you hear about Ray Collective, a dance group who couldn't be more culturally, temporally or geographically removed from the U'wa, but for whom performative seasonal ritual is the connective tissue. Looking back on it, I can see how this piece subconsciously reflected my wrangling with the ethics of this project and concerns I had around cultural appropriation. It's interesting that even in Ray Collective, where members are drawing from and reworking a shared UK-based cultural/folk heritage, similar themes about what constitutes respectful reinterpretation and what is fair to use or repurpose came up a lot. It got me thinking about themes like rightfulness, ownership, permission and agency - and more specifically, how female and non-binary people relate to these within the context of a British cultural heritage that has for the most part, precluded their meaningful involvement. This may sound heady in retrospect, but ultimately, I set out to make peace that was fun, and in which the listener would get a sense of the real and present joy experienced within Ray Collective. I can see why it might feel problematic that I'm in any way drawing a line between the complex mythos of the U'wa culture and a group of women mucking about in Bournemouth, but my intent was purely to focus on commonality - the need to gather, dance and create rituals in harmony with the rhythm of the seasons. All of the instruments/sounds you are hearing in this piece have been created by sampling recordings from Ray collective sessions (usually people singing the word Sun) and mixing them with the U'wa sound (which from my research, I believe is a conch shell signalling the beginning of a ritual performance). I've never used this sampling technique, nor really made bits of bed music for a piece before, and it was a really tough but rewarding process. The voice you hear speaking is Lizzie Maries, founder of Ray collective. I cut so much nuanced and insightful discussion from our interview and hope she'll forgive me. I should also credit both Lorna Rees who composed the 'Singing for Sun' refrain that crops up a lot, and Billy Nomates, Ray Collective's composer- you hear a rough sample of her song at the close of this piece. And of course, all the wonderful Rays for humouring me and my recorder. U'wa drones reimagined by Laura Irving.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

I haven't sung professionally in over 21 years and had long stopped writing and recording music. I am trying to return to it but these things are easier said than done. I was immediately drawn to this 1987 recording of a woman singing with harmonium recorded by David Mowat in the town of Mahalingapur, in the Indian state of Karnataka. It was perfect as it was – and in choosing it I knew I would be setting myself up to fail. Something about it spoke to me, though, and I felt hopeful that perhaps this unknown, beautiful woman might accompany me back to singing. Her voice was so strong, so effortless, that I couldn't hope to match it; I couldn't hold the notes or even understand what she was saying. I listened closely. I pulled out my old vocal warmup tape, began rehearsing and sang alongside the recording every day.Between first hearing her voice and producing my version, I stepped far outside my comfort zone. In one of those crazy “and why not?!” moments an old friend I decided to start a band and record an album. Against all expectation, I sang again – so far just a single complete vocal, written quickly in response to an improvisation – but I had broken the spell that bound me.This piece is as much about listening as it is about singing, about proximity without possession and about connection across time, distance and uncertainty. I did not sing on this recording – only she did. The work remains with her voice and with what it set in motion.Woman singing with harmonium reimagined by Margaret Fiedler McGinnis.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

This project is inspired by a 1958 field recording of a Bamum girl singing a religious song in Fumban, West Region, Cameroon, recorded by Lois Mitchson on a ¾-inch reel tape. The archival voice forms the emotional and conceptual core of the project. The recording of the young girl singing praises about the Sultan Njoya who was part of the monarchy which dates back to the fourteenth century, is sampled and fused with layered percussion, reflecting the rhythmic richness of traditional African music, where percussion functions as both structure and communal expression. The title “Mwana Wevhu”, meaning “Child of the Soil” in Shona, draws from my Zimbabwean heritage and speaks to ancestry, land, and spirituality. Musically rooted in 3-step house, a South African subgenre of electronic music, the project blends Central African archival sound and culture, Southern African rhythm, and Zimbabwean language and identity. This intentional cross-regional fusion symbolises the idea that Africa is one, diverse in culture yet deeply interconnected. “Mwana Wevhu” bridges past and present, tradition and innovation, using music as a unifying force.Bamum girl singing religious song reimagined by NdiniBeatz.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

When I first heard this recording of men gathered around a guitar, singing fragments of traditional songs and inventing lyrics on the spot, with women and children laughing in the background - it hit me: music isn't just sound, it's connection. It's a reminder of the timeless beauty in coming together, sharing stories, passing down traditions, and creating something meaningful in the moment.Curious about what the singers were saying, I reached out to people from Central Africa, and the response was surprising - those improvised lyrics were built from single words in regional slang. In this kind of music-making, it often starts with one word, then another, and before you know it, a whole verse is born. It's spontaneous, alive, and beautifully organic.For my remix, I used the main melody of the original field recording as the foundation, blending in those improvised words as fillers. I also incorporated the traditional rhythm of Soukous - a guitar-driven genre from Congo, often referred to as Congolese rumba, which mixes Afro-Cuban folkloric influences.Just like our ancestors sang around the fire, united by song, we too continue this tradition today - whether around a campfire or through modern technology, remixing old recordings into something new. Music is more than entertainment; it's a bond, a message, a celebration of community, and a bridge to the past. From kings sending musicians ahead of their armies to show unity, to modern-day communities of music lovers sharing sounds across the globe - we keep passing the sound from generation to generation. And that's what keeps us together.Afternoon beneath a palm shelter reimagined by micca.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a collection of reel-to-reel tape recordings of Berber (Ait Haddidu) music and soundscapes made by members of the Oxford University Expedition to the Atlas Mountains of Southern Morocco in 1961.Recorded by Audrey Butt, Michael R. Emerson or Ralph Hudson Johnson.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a large collection of cassette tape and digital audio tape recordings of Bayaka music and soundscapes made by ethnomusicologist Louis Sarno mainly in the Central African Republic (and the Republic of Congo) between 1986 and 2009.Recorded by Louis Sarno.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

I listened to the piece and researched any historical links between Plymouth, my home town and Sarawak, were the original recording by Leslie Bennet was made. It turns out there were three white "Rajahs" of Sarawak and they were members of the Brooke dynasty: James Brooke, who founded the rule in 1841; his nephew Charles Brooke, who succeeded him; and Charles' son, Charles Vyner Brooke. Although not from Plymouth, all three of the “Rajahs of Sarawak” are buried in the small churchyard of St Leonard's at Sheepstor on Dartmoor, just outside of Plymouth. James Brooke did at one time set sail from Plymouth in 1838, arriving at Sarawak the following year.The name for Sarawak means the land of the hornbill. This piece is an ode to this journey. I listened to the recording of the Sapeh and learnt the rough pentatonic scale used. I isolated a few segments and tried them on guitar to get the ideas flowing. The recording of the Sapeh is sampled and utilise throughout the piece. At times I have used it to double the bass line or to give a new melody line or rhythm.The main “nautical” melody is built upon a four bar segment of the original recording. The clicks and resonance of the instrument are also used to give some ambience and texture. I have used acoustic guitars, hand drums, mandolin, electric guitars, sequenced midi instruments and drums using GarageBand. I also used open source recordings of seagulls in Plymouth and Hornbills in Sarawak.Sapeh (three-stringed boat lute) reimagined by Daniel Chudley - Le Corre.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

The field recording that inspired this composition features a Bayaka musician playing the geedal, an instrument whose sound is deeply connected to the forest, communal memory, and oral transmission. When I first listened to the recording, what struck me was not only the melody, but the space around it: the breath, the rhythm, and the sense of conversation between the player, the instrument, and the environment. The geedal, whose timbre closely resembles the adeudeu from Western Kenya, where I come from, felt less like a solo instrument and more like a voice embedded within a living ecosystem. This immediately shaped my approach to the composition, not as a reinterpretation that dominates the original or places it in the background, but as a dialogue with it, allowing the geedal to remain the bed of the music.As a Kenyan artist working across traditional African instruments and contemporary production, I was drawn to reimagine the recording in a way that honours its origins while allowing it to travel across geographies and time. I approached the piece asking how I could respond musically without erasing the cultural specificity of the Bayaka sound world, while also connecting it to my own cultural lineage as a Luhya artist from Western Kenya. The similarities between the geedal and the adeudeu created a natural bridge, making it possible to situate the composition within a shared African sonic language.Technically, the field recording became the anchor of the piece. Rather than heavily manipulating it, I preserved the geedal's texture and rhythmic integrity. In collaboration with my friend and producer, Ambrose Akwabi of Mandugu Digital, we conducted additional research on the Bayaka people to better understand their world, sounds, and musical techniques. Through this research, we chose to reimagine the work through an East African lens, reflecting my Kenyan background and Ambrose's experience as a Kenyan based in Tanzania. We noticed strong sonic and rhythmic similarities between the Bayaka, the Luhya community, and the Wagogo of Tanzania.We began by stripping the original recording of its vocal elements, leaving only the geedal, which we looped and layered with bass, hi-hats and muffled snare, and a restrained kick. I recorded shakers and udu to introduce a watery, grounding texture, and added my voice in response to the phrasing and emotional tone of the original performance. Chants were used intentionally, with lyrics written in Luhya to echo the ancestral roots of the piece. The words narrate the story of the Bayaka people as custodians who have resisted disconnection from the forest and from nature. Ultimately, this composition is an offering: a bridge between regions, traditions, and listening practices, inviting the listener to experience the geedal not as an artifact, but as a living, resonant voice.Balonyona playing the geedal (bow harp) reimagined by Liboi.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

I heard the piece, which is a Vanuata hymn called 'You say you no want 'im married long me,' and connected with it immediately. Despite not knowing what the lyrics were about the singing was filled with emotion and a kind of melancholy that I often bring to my own work. I contacted Pitt Rivers for details on the lyrics, as I thought I would like to add my own singing to the piece, but unfortunately the sound recordist Raymond Clausen published little on his fieldwork. It turned out to be quite a tricky track to work with as the original recording wasn't in a consistent key or rhythm. I got around this by turning the piece into a sort of fugue; organs and choir ensembles have a breath and dissonance to them that I felt would complement the voices in the recording, and be in keeping with the original context of the song."You say you no want 'im married long me" reimagined by Hattie Cooke.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

The recording I worked with was pure beauty. A simple, pure sound of a conch shell being played - according to my further research, these conches can be hand-stopped to produce different notes and tones, and when played on the reefs in Vanuatu, can “make the whole reef resonate in sympathy”.Conch shells are also used ceremonially, for instance, to celebrate and denote the quality of boars that are killed for meals as part of a ceremony called Maki. A sound of beauty, then, but also of ceremonial significance - a treasure. At the same time, the sound reminded me irrevocably of a piece called “Conch Calling” from one of the ambient albums that's had the greatest influence on how I think about music, Underground Overlays from the Cistern Chapel by Stuart Dempster. On this album, trombonist Dempster takes a troupe of musicians into a two-million gallon underground cistern, with a naturally cavernous reverb that turns the simplest melodic patterns into some of the deepest, most beautiful drones you've ever heard. I wanted to respect - and highlight - the naked beauty of the pure sound from the original recording, and at the same time to imagine a duet across time and space, between conch shells from Vanuatu, and 21st-century synthesisers. Ancestral drone music, paired with today's ambient music. This piece is built, respectfully, around a repeated 12-second loop of the conch shell, which remains throughout, while synthesisers and arpeggios paint the air around it. This is a duet for conch shell and two synthesisers. Writing it, I was held in a moment forever, and I hope it brings a moment of stillness and contemplation for the listener too.Natar (song) on conch and musket reimagined by Cities and Memory.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

Natar (song) with Markany Lei on conch and Wani on musket.From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a large collection of reel-to-reel tape recordings of music and soundscapes made by ethnomusicologist Raymond Clausen mainly on the island of Malekula (Malampa Province) in Vanuatu between 1960 and 1979.Recorded by Raymond Ernst Clausen.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

“The Hills Remember” is a concept piece on the “domination paradigm” — a cultural logic shared across systems of oppression. The work explores the intersections of religious nationalism, religious violence and colonisation, authoritarianism, capitalism, misogyny, domestic and child abuse, gender- and sexuality-based violence, racial oppression, and rape culture — systems all linked by hierarchies of power justified through ideological and cultural narratives that normalise inequality and violence as methods of destabilisation and control.Initially inspired by a field recording from circa 1916–1919 of the Angami Naga singing their love song “Lozoruu, Hoiyi Ollie", the project took on a life of its own when artist Savannah Rae (Fawn Response) sat with the recording while researching the tribe and its historical context. After listening deeply to the emotion in the performance and reflecting on the lyrics — “though the villages are separated the herds graze together, upon the ridge there is a great stone to sit upon” — within the context of the religious colonization the Angami endured, Savannah was moved to research both the culture of the Angami people and the role religious colonization played in subverting it.Through this research, she discovered an unlikely through-line linking one of the religious crusaders responsible for the Christian indoctrination of the Angami Naga to the religious-based trauma she experienced as a child at the hands of radical televangelists. With a background as a therapeutic educator and trauma and behavioural specialist, Savannah broadened her inquiry to better understand the overlapping psychosocial mechanisms driving religious colonisation and extremism, religious nationalism, child abuse, sexual abuse, and exploitation.As the research deepened, and in recognising the scope required to create a piece that could meaningfully hold this material, Savannah enlisted the support of longtime friends and musical collaborators Oliver Ignatius (musician, producer, engineer, and owner of Holy Fang Studios), and Brian Ducey (musician and assistant engineer at Holy Fang Studios). Additional support included original works and samples related to the concept from friend and writer, comedian, and musician Joe DeRosa, as well as friends and musical collaborators Mitch Wells (Thou, Big Garden), Craig Oubre (High, Big Garden), drummer Tyler Coburn (Thou, Bursting), and contributions from her sister Jess and niece Willow.The composition includes multiple historical audio samples of sermons related to religious colonisation and nationalism, including those specific to the Angami; samples of Angami songs and dances; research compiled and read by Savannah — sped up in places to bypass the conscious mind; scripture and first-person religious colonisation accounts processed through AI voices; prayers; references to Angami folklore; field recordings of native birds; original songs and excerpts inspired by the emotional resonance of the work; original poetry; a channeled hymnal; and a question posed by a seven-year-old child in modernity, already questioning those who use religion to justify atrocity.Juxtaposing elements of noise with sound healing and music therapy, the piece sonically mirrors emotional modulation —seeking to hold the weight of deeply disturbing truths without becoming stuck in that heaviness, and instead modeling how to feel it and allow it to move through us as a path toward empowered expression. It is a channeled and researched effort to unpack and honour the context of something as hyper-specific as the historical field recording of the Angami, into a space that is universally resonant and urgently applicable today.An extended cut will follow and will be pressed to vinyl. In the meantime, and in all times, please remember gentleness; please remember peace."Lozorüü" - Angami Naga love song reimagined by Fawn Response———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a large collection of cassette tape and digital audio tape recordings of Bayaka music and soundscapes made by ethnomusicologist Louis Sarno mainly in the Central African Republic (and the Republic of Congo) between 1986 and 2009.Recorded by Louis Sarno.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

"Lozorüü" (tune: "Hoiyi Olle"): an Angami Naga love song performed by two men and two young women ("Though the villages are separated the herds graze together./ Upon the ridge there is a great stone to sit on").From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a collection of wax cylinder recordings of Naga (Angami, Sümi, Lotha, Chang and Sangtam) songs made by administrator and anthropologist John Hutton in India between 1915 and 1919.Recorded by John Henry Hutton.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

"Merer Pake": an nDavu trumpet signal for a full circle tusked boar.From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a large collection of reel-to-reel tape recordings of music and soundscapes made by ethnomusicologist Raymond Clausen mainly on the island of Malekula (Malampa Province) in Vanuatu between 1960 and 1979.Recorded by Raymond Ernst Clausen.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

U'wa drones from the Andes in north-east Colombia.From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a collection of reel-to-reel recordings of U'wa songs and stories made by anthropologist Ann Osborn in the Northern Andes (Sierra Nevada del Cocuy region) in Colombia between 1969 and 1977.Recorded by Ann Osborn.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

William Tyndale risked everything to put God's Word in your hands — and his final prayer was answered fast.This episode is a deep-dive, spy-thriller style story of William Tyndale: the scholar-fugitive who made the English New Testament a “dangerous object” in the 1520s–30s.We trace why translation was illegal, how the Bible was smuggled into England, and how a few “simple word choices” threatened an entire power system. In the end, Tyndale's death becomes a shocking victory — and a challenge for us today to actually read the Word we have so easily.WHAT YOU'LL LEARNThe Outlawed Word: Why church and state treated translation and even reading as heresy.The Laws of Fire: The Constitutions of Oxford (1408) and “De heretico comburendo.”The Ploughboy Prophecy: Tyndale's mission to put Scripture in ordinary hands.The Smuggling Networks: Printing raids, merchant allies, and the “Packington scheme.”The War of Words: Why “congregation,” “elder,” “repent,” and “love” shook the system.Betrayal & Martyrdom: Henry Phillips, the dungeon letter, and Tyndale's final prayer.The KJV Legacy: How Tyndale's phrasing fundamentally shaped the King James Version.CONNECT & RESOURCESBlog: https://conradrocks.netBook: Open Your Eyes https://amzn.to/3RJx7byBook: Night Terror https://amzn.to/3XRFohlAmazon Ministry List https://www.amazon.com/hz/wishlist/ls/2GSBT99APHFQR?ref_=wl_share

#978 | Ed and Adam suffer through the long wait for United men to play again. In the meantime they enjoy United Women's 5–0 aggregate win over Atlético Madrid to reach the Women's Champions League quarterfinals. It's been a strong performance from the team so far this season despite the often critical reception to manager Marc Skinner. There's a deep-dive on United's strategy behind revamping midfield in the summer - Anderson, Wharton, Baleba, Tonali … somebody else? That group will include Kobbie Mainoo, with reports this week that negotiations over a new contract are underway now that he is back in the first team under Michael Carrick. The under-18s beat Oxford in the Youth Cup and there's even more hype around 15-year-old JJ Gabriel. Finally a preview of Everton away at the new Hill Dickinson Stadium. Everton have enjoyed a solid season under David Moyes. How will Carrick approach this one after West Ham's solid defensive performance last time out? Is it time for Benjamin Šeško to start? 00:00 Introduction 00:27 United Women's Success 05:48 Arsenal vs City Title Race 13:23 Mainoo Contract & Midfield Targets 21:49 Evaluating Midfield Options 30:13 Transfer Strategy 35:41 Youth Academy & JJ Gabriel 39:29 Everton Preview If you are interested in supporting the show and accessing a weekly exclusive bonus episode, check out our Patreon page or subscribe on Apple Podcasts. Supporter funded episodes are ad-free. NQAT is available on all podcast apps and in video on YouTube. Hit that subscribe button, leave a rating and write a review on Apple or Spotify. Learn more about your ad choices. Visit podcastchoices.com/adchoices

We are joined by former Mayor and current City Councilman Dr. Bill Snavely to learn more about the city of Oxford, Ohio!

Jacke kicks off the episode with an analysis of T.S. Eliot's underappreciated poem of urban alienation, "Preludes." Then scholar and translator Kate Deimling (The Story of the Marquis de Cressy by Marie-Jeanne Riccoboni) tells Jacke about an eighteenth-century Frenchwoman who was a bestseller in her day, but whose best novels have been unavailable in English for more than 200 years (until now!). Join Jacke on a trip through literary England! Join Jacke and fellow literature fans on an eight-day journey through literary England in partnership with ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠John Shors Travel⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ in May 2026! Scheduled stops include The Charles Dickens Museum, Dr. Johnson's house, Jane Austen's Bath, Tolkien's Oxford, Shakespeare's Globe Theater, and more. Learn more by emailing ⁠⁠jackewilsonauthor@gmail.com⁠⁠ or ⁠⁠masahiko@johnshorstravel.com⁠⁠, or by contacting us through our website ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠historyofliterature.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Act now - sign-up closes March 1! The music in this episode is by Gabriel Ruiz-Bernal. Learn more at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠gabrielruizbernal.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Help support the show at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/literature⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠historyofliterature.com/donate⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠thepodglomerate.com/historyofliterature⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

On November 1, 1755, a massive earthquake took place on the floor of the Atlantic Ocean southwest of Lisbon, Portugal. The destruction in Portugal led to one of the first coordinated government responses to a natural disaster. Research: Algarve History Association. “The 1755 Lisbon Earthquake and the Algarve.” https://www.algarvehistoryassociation.com/en/portuguese-history/algarve-history/194-the-1755-lisbon-earthquake-and-the-algarve Blanc, P.-L.: Earthquakes and tsunami in November 1755 in Morocco: a different reading of contemporaneous documentary sources, Nat. Hazards Earth Syst. Sci., 9, 725–738, https://doi.org/10.5194/nhess-9-725-2009, 2009. Borlase, William. “The Natural History of Cornwall.” Oxford : printed for the author; by W. Jackson: sold by W. Sandby, London; and the booksellers of Oxford. 1758. Cavendish, Richard. “Pombal and the Inquisition in Portugal.” History Today. 5/5/2001. https://www.historytoday.com/archive/months-past/pombal-and-inquisition-portugal Dynes, Russell R. “The Lisbon Earthquake in 1755: The First Modern Disaster.” University of Delaware Disaster Research Center. Preliminary Paper #333. Joel, Lucas. “November 1, 1755: Earthquake Destroys Lisbon.” EARTH. November/December 2015. Lai, Dria. “The Great Lisbon Earthquake: A Journey through the First Modern Disaster.” https://storymaps.arcgis.com/stories/e30a2ea6401e4f2e8805dfbcfa604dc5 Lisbon Earthquake Museum. “Inquérito.” https://lisbonquake.com/en-GB/blog/inquerito Lisbon Earthquake Museum. “Providências.” https://lisbonquake.com/en-GB/blog/providencias Martínez-Loriente, S., Sallarès, V. & Gràcia, E. The Horseshoe Abyssal plain Thrust could be the source of the 1755 Lisbon earthquake and tsunami. Commun Earth Environ 2, 145 (2021). https://doi.org/10.1038/s43247-021-00216-5 Mascarenhas, J., Belgas, L., Branco, F.G., Vieira, E. (2024). The Pombaline Cage (“Gaiola Pombalina”): An European Anti-seismic System Based on Enlightenment Era of Experimentation. In: Endo, Y., Hanazato, T. (eds) Structural Analysis of Historical Constructions. SAHC 2023. RILEM Bookseries, vol 47. Springer, Cham. https://doi.org/10.1007/978-3-031-39603-8_5 Molesky, Mark. “The Vicar and the Earthquake: Conflict, Controversy, and a Christening during the Great Lisbon Disaster of 1755.” e-JPH, Vol. 10, number 2, Winter 2012. Penwith Local History Group. “The Mounts Bay Tsunami.” https://www.penwithlocalhistorygroup.co.uk/on-this-day/?id=269 Pereira, Alvaro S. “The Opportunity of a Disaster: The Economic Impact of the 1755 Lisbon Earthquake.” The Journal of Economic History , Jun. 2009. Via JSTOR. https://www.jstor.org/stable/40263964See omnystudio.com/listener for privacy information.