Podcasts about Paradise Lost

As we continue through Joshua Traylor's Paradise Lost course, Josh discusses Book III of Paradise Lost.Watch the video of this episode and subscribe to my YouTube channel here: https://youtu.be/reHsDt3-4bAListen to all THREE Mythic Mind podcasts:Mythic MindMythic Mind GamesMythic Mind Movies & Shows(or become a patron to get all three shows in one ad-free feed)Support Josh and purchase his course here: https://www.patreon.com/joshtraylor/shopBecome a supporter of this podcast: https://www.spreaker.com/podcast/mythic-mind--5808321/support.

Why do some people remember things effortlessly while others repeat information over and over and still forget it? In this episode, Michael looks at what research on actors reveals about how memory really works. Drawing on studies by psychologists Helga and Tony Noice and the remarkable story of John Basinger — who memorized all 10,565 lines of Milton's Paradise Lost starting at age 58 — we look at why understanding something beats repeating it every time. If you're a student, a performer, or just someone who wishes they could remember things better, this episode will change how you think about learning.

The West Memphis Three story is a nightmare of panic, pressure, and vanished evidence, where a confession mattered more than truth. In 1993, three eight-year-old boys vanished in West Memphis, Arkansas, then turned up murdered in Robin Hood Hills. As the Satanic Panic crept into the investigation, police chased a satanic ritual narrative and built a case around Damien Echols, Jason Baldwin, and Jesse Misskelley, fuelled by a false confession and courtroom “experts” who should never have been there. Years later, the hair evidence in a ligature knot and the Alford plea that freed them leave one brutal question hanging: if they walked out, who never got caught? Topics include Satanic Panic hysteria and a wrongful conviction built on fear Jesse Misskelley's false confession and the interrogation tactics behind it Paradise Lost and West of Memphis, and how the documentaries shifted the case The Alford plea, the hair evidence in the knot, and why the case stayed unresolved DNA testing and the long fight for full exoneration Resources and Further Reading West Memphis Three - Wikipedia The Satanic Panic - Wikipedia Paradise Lost (1996) - Documentry West of Memphis (2012) - Peter Jackson Devil's Knot - Mara Leveritt Host & Show InfoHosts: Kyle Risi & Adam CoxIntro Music: Alice in dark WonderlandCommunity & Calls to ActionReview & follow on: Spotify & Apple PodcastsInstagram: @theCompendiumPodcastWebsite: TheCompendiumPodcast.comSupport us: Sign up to PatreonCertified Freaks: Submit your job Descriptions Share this episode with a friend! If you enjoyed it, tag us on social media and let us know your favourite takeaway. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

On this episode of THE GEEK BUDDIES, John Rocha, Michael Vogel and Shannon McClung discuss James Gunn angrily disputing the recent DC rumors about The Batman 3, Paradise Lost and Superman! Plus, they talk about Kristen Bell being cast in the new Sonic 4 movie, McKenna Grace cast as Daphne in a new live action Scooby Doo series for Netflix, their scariest movies ever, and the trailers for Toy Story 5, House of the Dragon S3, Over Your Dead Body and Lee Cronin's The Mummy. Remember to Like and Share this episode on your social media and to Subscribe to The John Rocha Channel below. #DC #Jamesgunn #Batman #WonderWoman #HouseoftheDragon #Disney #Pixar #ToyStory #Horror #johnrocha #michaelvogel #shannonmcclung #thegeekbuddies ____________________________________________________________________________________ Chapters: 0:00 Intro and Rundown 3:42 James Gunn Shoots Down DC Rumors on Batman 3, Paradise Lost and More 13:54 Kristen Bell Joins Sonic 4 Cast 21:54 McKenna Grace Cast as Daphne for Netflix's Live Action Scooby Doo 28:00 Toy Story 5, HOTD S3, Over Your Dead Body, Lee Cronin's The Mummy Trailers FOLLOW THE GEEK BUDDIES: Twitter: https://twitter.com/Geek_Buddies Follow John Rocha: https://twitter.com/TheRochaSays​​​​​ Follow Michael Vogel: https://twitter.com/mktoon Follow Shannon McClung: https://twitter.com/Shannon_McClung Learn more about your ad choices. Visit megaphone.fm/adchoices

Today, John Ortberg tackles one of our most stubborn spiritual habits: blame.Tracing its origins back to Genesis, John shows how blame enters the human story the moment shame appears—and how quickly we learn to deflect responsibility onto others. From Adam and Eve to modern relationships, blame becomes our go-to strategy for avoiding pain.Along the way, John draws from Scripture, Paradise Lost, and insights from thinkers like Charles Tilly and Paul Tournier to explore why we instinctively hog credit and dodge fault—and why spiritual maturity looks like learning to own our part with humility and courage.John reminds us that while removing blame can reduce shame, only love actually heals the soul. Real freedom comes not from avoiding responsibility, but from stepping into God's presence honestly, without hiding or deflecting.This is a thoughtful, practical invitation to live one day at a time without blaming others—and to discover again the grace that makes change possible.Download the free NO CONDEMNATION COMMITMENT: https://bit.ly/NC-commitment

As we continue through Joshua Traylor's Paradise Lost course, Josh discusses Book II of Paradise Lost.Watch the video of this episode and subscribe to my YouTube channel here: https://youtu.be/1kWeS9mEkocListen to all THREE Mythic Mind podcasts:Mythic MindMythic Mind GamesMythic Mind Movies & Shows(or become a patron to get all three shows in one ad-free feed)Become a Tier 3 patron to join our Silmarillion study, which begins in February! patreon.com/mythicmindSupport Josh and purchase his course here: https://www.patreon.com/joshtraylor/shopBecome a supporter of this podcast: https://www.spreaker.com/podcast/mythic-mind--5808321/support.

Send a textWhen the Loeb Classical Library was launched, the greatest language teacher of the age, W.H.D. Rouse, wrote an essay meant to promote the Loebs by extolling the magnificence of Greek literature and Latin literature. And boy did he. "Your mind cannot live without them. All the great intellectual impulses begin in Greece; the modern world only grows crops from the Greek seed." While Rouse admitted that his space was short, and so he had to "be dogmatic," this essay, "Machines or Mind?" is a worthy read, not least because of its response to the utilitarians who'd prefer we abandon the humanities and instead bend all of our time, effort, and resources to making more machines. One of Rouse's 21st century heirs, Senior Fellow of Classical Languages at New Saint Andrews College and founder of Picta Dicta, Timothy Griffith, joins the podcast to discuss the essay, Rouse's place in the tradition of humanist education, and whether the Aeneid can properly be called an epic.W.H.D. Rouse's Machines or Mind?: https://antigonejournal.com/2024/11/machines-or-mind-loebs-rouse/Picta Dicta: https://pictadicta.com/W.H.D. Rouse's Latin on the Direct Method: https://scholalatina.it/wp-content/uploads/2020/09/Rouse-Appleton-Latin-on-the-direct-method.pdfC.S. Lewis's Preface to Paradise Lost: https://bookshop.org/a/25626/9780195003451New Humanists is brought to you by the Ancient Language Institute: https://ancientlanguage.com/Links may have referral codes, which earn us a commission at no additional cost to you. We encourage you, when possible, to use Bookshop.org for your book purchases, an online bookstore which supports local bookstores.Music: Save Us Now by Shane Ivers - https://www.silvermansound.comSupport the show

As we continue through Joshua Traylor's Paradise Lost course, Josh discusses Book I of Paradise Lost.Watch the video of this episode and subscribe to my YouTube channel here: https://youtu.be/Xv7U-nArnIsListen to all THREE Mythic Mind podcasts:Mythic MindMythic Mind GamesMythic Mind Movies & Shows(or become a patron to get all three shows in one ad-free feed)Become a Tier 3 patron to join our Silmarillion study, which begins in February! patreon.com/mythicmindSupport Josh and purchase his course here: https://www.patreon.com/joshtraylor/shopBecome a supporter of this podcast: https://www.spreaker.com/podcast/mythic-mind--5808321/support.

On todays episode we get back into the reviewing of newer albums and start with Cradle of Filth: The Screaming of the Valkyries, The Protomen: Act 3 - This City Made Us, and Paradise Lost: AscensionFind all things Metalhead Journeys here:https://linktr.ee/metalheadjourneys   Support the show

In this episode we're discussing the origins of demonology in Western Civilization, tracing it back to its ancient roots. Pre-Christian cultures across Mesopotamia, Egypt, and beyond featured a range of supernatural beings blamed for sickness and bad choices. When Zoroastrianism came on the scene, in 8th century BC Iran, religion first developed the idea of dualism: that the world is locked in the struggle between good and evil. This idea profoundly influenced post-exilic Judaism during Persian rule, enabling them to develop concepts of organized demons, angels, Satan, and eschatology in texts like the Book of Enoch, Jubilees, and Tobit. Christianity built on this rich heritage, portraying Satan as God's active adversary and demons as a malignant force to be reckoned with in the New Testament. Later works, from the Testament of Solomon and Dante's Inferno to Milton's Paradise Lost and C.S. Lewis's Screwtape Letters, further enriched the popular imagination of demons thus giving us the understanding of demons that we have today. This episode is the first in a series exploring demonology. Further episodes will look into exorcisms and demon hunting.

Series: The Spirit's Mission Through You - Acts 1-7Sermon: Paradise Lost, Restored, SharedScripture: Acts 5Pastor: David Giese

Join Nikko, Mr. C and Nick Z discussing Clayface's delay, Paradise Lost trouble, Supergirl's marketing kicks off and has another test screening, Hawkgirl in Man of Tomorrow and the lack of movie trailer excitement at the Super Bowl Rate, Review, & Subscribe ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠here: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Contact Us:V39: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://x.com/Vigilante1939⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Nick Jr: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://x.com/NCarusoJr⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Nikko: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://x.com/NikkoCaruso⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Nick Z: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://x.com/NickZednik⁠⁠⁠⁠

In Black Shakespeare: Reading and Misreading Race (Cambridge University Press, 2022), Ian Smith urges readers of Othello, The Merchant of Venice, and Hamlet to develop “racial literacy.” Through both wide social influences and specific professional pressures, Shakespearean critics have been taught to ignore, suppress, and explain away the racial thinking of the plays, a set of evasion strategies that inevitably have political and social ramifications in the contemporary United States. As Ian writes in the introduction, Black Shakespeare is intended to “shift the focus to conditions that shape readers, inform their epistemologies, and influence their reading practices” (3). Today's guest is Ian Smith, Professor of English at the University of Southern California. Ian is the author of the previous monograph, Race and Rhetoric in the Renaissance: Barbarian Errors (Palgrave, 2009), as well as one of the most important articles in early modern literary criticism of the last twenty years, “Othello's Black Handkerchief.” Ian is the current President of the Shakespeare Association of America. John Yargo is a Visiting Assistant Professor of Environmental Humanities at Boston College. He holds a Ph.D. in English from the University of Massachusetts Amherst. His specializations are early modern literature, the environmental humanities, and critical race studies. His dissertation explores early modern representations of environmental catastrophe, including William Shakespeare's The Tempest, Aphra Behn's Oroonoko, and John Milton's Paradise Lost. He has published in Early Theatre, Studies in Philology, The Journal for Early Modern Cultural Studies, and Shakespeare Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In Black Shakespeare: Reading and Misreading Race (Cambridge University Press, 2022), Ian Smith urges readers of Othello, The Merchant of Venice, and Hamlet to develop “racial literacy.” Through both wide social influences and specific professional pressures, Shakespearean critics have been taught to ignore, suppress, and explain away the racial thinking of the plays, a set of evasion strategies that inevitably have political and social ramifications in the contemporary United States. As Ian writes in the introduction, Black Shakespeare is intended to “shift the focus to conditions that shape readers, inform their epistemologies, and influence their reading practices” (3). Today's guest is Ian Smith, Professor of English at the University of Southern California. Ian is the author of the previous monograph, Race and Rhetoric in the Renaissance: Barbarian Errors (Palgrave, 2009), as well as one of the most important articles in early modern literary criticism of the last twenty years, “Othello's Black Handkerchief.” Ian is the current President of the Shakespeare Association of America. John Yargo is a Visiting Assistant Professor of Environmental Humanities at Boston College. He holds a Ph.D. in English from the University of Massachusetts Amherst. His specializations are early modern literature, the environmental humanities, and critical race studies. His dissertation explores early modern representations of environmental catastrophe, including William Shakespeare's The Tempest, Aphra Behn's Oroonoko, and John Milton's Paradise Lost. He has published in Early Theatre, Studies in Philology, The Journal for Early Modern Cultural Studies, and Shakespeare Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Black Shakespeare: Reading and Misreading Race (Cambridge University Press, 2022), Ian Smith urges readers of Othello, The Merchant of Venice, and Hamlet to develop “racial literacy.” Through both wide social influences and specific professional pressures, Shakespearean critics have been taught to ignore, suppress, and explain away the racial thinking of the plays, a set of evasion strategies that inevitably have political and social ramifications in the contemporary United States. As Ian writes in the introduction, Black Shakespeare is intended to “shift the focus to conditions that shape readers, inform their epistemologies, and influence their reading practices” (3). Today's guest is Ian Smith, Professor of English at the University of Southern California. Ian is the author of the previous monograph, Race and Rhetoric in the Renaissance: Barbarian Errors (Palgrave, 2009), as well as one of the most important articles in early modern literary criticism of the last twenty years, “Othello's Black Handkerchief.” Ian is the current President of the Shakespeare Association of America. John Yargo is a Visiting Assistant Professor of Environmental Humanities at Boston College. He holds a Ph.D. in English from the University of Massachusetts Amherst. His specializations are early modern literature, the environmental humanities, and critical race studies. His dissertation explores early modern representations of environmental catastrophe, including William Shakespeare's The Tempest, Aphra Behn's Oroonoko, and John Milton's Paradise Lost. He has published in Early Theatre, Studies in Philology, The Journal for Early Modern Cultural Studies, and Shakespeare Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

In Black Shakespeare: Reading and Misreading Race (Cambridge University Press, 2022), Ian Smith urges readers of Othello, The Merchant of Venice, and Hamlet to develop “racial literacy.” Through both wide social influences and specific professional pressures, Shakespearean critics have been taught to ignore, suppress, and explain away the racial thinking of the plays, a set of evasion strategies that inevitably have political and social ramifications in the contemporary United States. As Ian writes in the introduction, Black Shakespeare is intended to “shift the focus to conditions that shape readers, inform their epistemologies, and influence their reading practices” (3). Today's guest is Ian Smith, Professor of English at the University of Southern California. Ian is the author of the previous monograph, Race and Rhetoric in the Renaissance: Barbarian Errors (Palgrave, 2009), as well as one of the most important articles in early modern literary criticism of the last twenty years, “Othello's Black Handkerchief.” Ian is the current President of the Shakespeare Association of America. John Yargo is a Visiting Assistant Professor of Environmental Humanities at Boston College. He holds a Ph.D. in English from the University of Massachusetts Amherst. His specializations are early modern literature, the environmental humanities, and critical race studies. His dissertation explores early modern representations of environmental catastrophe, including William Shakespeare's The Tempest, Aphra Behn's Oroonoko, and John Milton's Paradise Lost. He has published in Early Theatre, Studies in Philology, The Journal for Early Modern Cultural Studies, and Shakespeare Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In Black Shakespeare: Reading and Misreading Race (Cambridge University Press, 2022), Ian Smith urges readers of Othello, The Merchant of Venice, and Hamlet to develop “racial literacy.” Through both wide social influences and specific professional pressures, Shakespearean critics have been taught to ignore, suppress, and explain away the racial thinking of the plays, a set of evasion strategies that inevitably have political and social ramifications in the contemporary United States. As Ian writes in the introduction, Black Shakespeare is intended to “shift the focus to conditions that shape readers, inform their epistemologies, and influence their reading practices” (3). Today's guest is Ian Smith, Professor of English at the University of Southern California. Ian is the author of the previous monograph, Race and Rhetoric in the Renaissance: Barbarian Errors (Palgrave, 2009), as well as one of the most important articles in early modern literary criticism of the last twenty years, “Othello's Black Handkerchief.” Ian is the current President of the Shakespeare Association of America. John Yargo is a Visiting Assistant Professor of Environmental Humanities at Boston College. He holds a Ph.D. in English from the University of Massachusetts Amherst. His specializations are early modern literature, the environmental humanities, and critical race studies. His dissertation explores early modern representations of environmental catastrophe, including William Shakespeare's The Tempest, Aphra Behn's Oroonoko, and John Milton's Paradise Lost. He has published in Early Theatre, Studies in Philology, The Journal for Early Modern Cultural Studies, and Shakespeare Studies.

In Black Shakespeare: Reading and Misreading Race (Cambridge University Press, 2022), Ian Smith urges readers of Othello, The Merchant of Venice, and Hamlet to develop “racial literacy.” Through both wide social influences and specific professional pressures, Shakespearean critics have been taught to ignore, suppress, and explain away the racial thinking of the plays, a set of evasion strategies that inevitably have political and social ramifications in the contemporary United States. As Ian writes in the introduction, Black Shakespeare is intended to “shift the focus to conditions that shape readers, inform their epistemologies, and influence their reading practices” (3). Today's guest is Ian Smith, Professor of English at the University of Southern California. Ian is the author of the previous monograph, Race and Rhetoric in the Renaissance: Barbarian Errors (Palgrave, 2009), as well as one of the most important articles in early modern literary criticism of the last twenty years, “Othello's Black Handkerchief.” Ian is the current President of the Shakespeare Association of America. John Yargo is a Visiting Assistant Professor of Environmental Humanities at Boston College. He holds a Ph.D. in English from the University of Massachusetts Amherst. His specializations are early modern literature, the environmental humanities, and critical race studies. His dissertation explores early modern representations of environmental catastrophe, including William Shakespeare's The Tempest, Aphra Behn's Oroonoko, and John Milton's Paradise Lost. He has published in Early Theatre, Studies in Philology, The Journal for Early Modern Cultural Studies, and Shakespeare Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

Speaker: Geoff Bates,Date:  1/2/2025,Title: Paradise Lost,Bible Passage: Genesis 3:1- 24,Series: Genesis,https://richmondanglican.com.au/

As we continue through Joshua Traylor's Paradise Lost course, Josh discusses John Milton's theology.Watch the video of this episode and subscribe to my YouTube channel here: https://youtu.be/4hpe0JxDfs4Listen to all THREE Mythic Mind podcasts:Mythic MindMythic Mind GamesMythic Mind Movies & Shows(or become a patron to get all three shows in one ad-free feed)Become a Tier 3 patron to join our Silmarillion study, which begins in February! patreon.com/mythicmindSupport Josh and purchase his course here: https://www.patreon.com/joshtraylor/shopBecome a supporter of this podcast: https://www.spreaker.com/podcast/mythic-mind--5808321/support.

Silvana, Eric and Tegan watch Stargate SG-1 Season 6 Episode 15 "Paradise Lost." The bromance between Jack and Colonel Maybourne is back with a vengeance. The queerbaiting is off the charts from the very beginning with the hot dog jokes. Maybourne springs his new plan to avoid being imprisoned and convinces the SGC to authorize a mission to a planet that he claims has a cache of goa'uld weapons. As expected, SG-1 is double crossed but Jack accidentally goes through a portal with Maybourne with no way to get back to the Stargate. Sam, Jonas and Teal'c are back on earth trying to find Jack with the not very helpful assistance of Dr. Bill Lee. There is a touching moment between Sam and Teal'c which acknowledges the loss of Daniel. What did you think of this episode? Join the conversation on our socials. Episode ratings: Comedic Effect - 7/7 chevrons Emotional Impact - 6/7 chevrons Enjoyability - 6/7 chevrons Culture/history/lore - 3/7 chevrons Novelty - 2/7 chevrons Technical Quality  - 5/7 chevrons Plot -5/7 chevrons Relevance to the overall story? Yes relevant, do not skip

As we continue through Joshua Traylor's Paradise Lost course, Josh surveys Milton's other works.Watch the video of this episode and subscribe to my YouTube channel here: https://youtu.be/OPv73kVkTrYListen to all THREE Mythic Mind podcasts:Mythic MindMythic Mind GamesMythic Mind Movies & Shows(or become a patron to get all three shows in one ad-free feed)Become a Tier 3 patron to join our Silmarillion study, which begins in February! patreon.com/mythicmindSupport Josh and purchase his course here: https://www.patreon.com/joshtraylor/shopBecome a supporter of this podcast: https://www.spreaker.com/podcast/mythic-mind--5808321/support.

This week's contribution showcases one of Ireland's longest-serving DJs, as we host Dublin-based DJ Aoife Nic Canna to the series. Lock in for the next hour as she exhibits her slick selections and effortless technique throughout. For our latest iteration of the Local Selection, we welcome a legendary Irish vinyl DJ, Aoife Nic Canna to the series. Her contribution acts as the 292nd edition, where she sifts through her library, sharing various old school deep cuts in house and adjacent genres. A range of soft, elegant and warm selections can be heard over the course of the recording. Ideal listening for this glum Wednesday. Aoife has established a significant legacy during her 30+ years as a DJ. Acting as a central force in the Irish dance music scene since its first moves in the early 1990's. She was a founding member of the seminal Horny Organ Tribe. Dubbed the 'first lady of Irish house', she earned regular appearances at culture-defining nights and institutions like Cork's Mór Disco, Dublin's Temple of Sound, and Manchester's Hacienda. Continuing to hold several residencies across Ireland over her expansive career, she has, since Covid lifted, returned to playing regularly across Ireland. Some notable venues include Connollys of Leap, Opium, Hen's Teeth, Izakaya, The Bernard Shaw and Pawn Shop. Some other accolades include support for Inner City, spinning at Ealú le Grá and Paradise Lost in Ibiza, Carl Cox for District 8 and perhaps the biggest of all, supporting Soft Cell and OMD at St. Anne's Park to an audience of 20,000 people. Alongside DJing, in 2012 Aoife created and produced a six-part documentary on Irish club history called 'Folklore from the Dancefloor'. Listen here. This hour-long recording emits a metaphorical sense of fresh air, as Aoife shares a range of lesser-heard tunes with us for this edition. Fragments of punchy house tracks, some acid and slightly progressive, emotive selections in this mix, hitting all the right notes. Fortunately, Aoife has been so kind to share the tracklist for this mix with us. Aoife Nic Canna ----------------- SC: @aoifeniccanna IG: www.instagram.com/aoifeniccanna Four Four Magazine 
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Episode #216 of the Last Call Trivia Podcast kicks off with a round of general knowledge questions. Then, we're fighting the good fight with a themed round of “Good & Evil” Trivia!Round OneThe game begins with a Music Trivia question that asks the Team to identify a Cutting Crew song given its parenthetical title.Next, we have a Science Trivia question about the third most common gas in Earth's atmosphere.The first round concludes with a Candy Trivia question about a disk-shaped candy bar with a baby-inspired name.Bonus QuestionToday's Bonus Question is a follow-up to the Candy Trivia question from the first round.Round TwoIt's time for the ultimate battle in today's theme round of “Good & Evil” Trivia!The second round starts with a Religion Trivia question that asks the Team to name the patron saint of several different countries.Next, we have a Literature Trivia question about one of the most famous lines from Paradise Lost.Round Two concludes with a Countries Trivia question about the horror film Midsommar.Final QuestionWe've reached the Final Question of the game, and today's category of choice is Inventions. Let's get into some happy accidents!For today's Final, the Trivia Team is asked to place five accidental inventions in order of their creation from earliest to most recent.Visit lastcalltrivia.com to learn more about hosting your own ultimate Trivia event!

Live teaching from Pastor Darryl Hall from Lifewell Church in Garland, TX.⁠https://www.lifewellchurch.com⁠View Full Stream⁠https://www.youtube.com/lifewelld⁠Give Online⁠www.lifewellchurch.com/donate.html⁠Feedback⁠https://www.lifewellchurch.com/feedback.html⁠Twitter⁠https://twitter.com/lifewelld

In this lession from Josh Traylor's 2025 Paradise Lost course, Josh discusses Milton's treaise, "Of Education," which details a robust model of classical education.Watch the video of this episode and subscribe to my YouTube channel here: https://youtu.be/NqxCB0CvO3oListen to all THREE Mythic Mind podcasts:Mythic MindMythic Mind GamesMythic Mind Movies & Shows(or become a patron to get all three shows in one ad-free feed)Become a Tier 3 patron to join our Silmarillion study, which begins in February! patreon.com/mythicmindSupport Josh and purchase his course here: https://www.patreon.com/joshtraylor/shopBecome a supporter of this podcast: https://www.spreaker.com/podcast/mythic-mind--5808321/support.

SISKO'S HOME COUP'ING. Can Sisko and Odo unravel another Star Trek Badmiral's plot to usurp control of Earth from the President? Bryan and Geekscape's A. Diallo Jackson play TREK MARRY KILL with the exciting conclusion to this two-part earthbound conspiracy. Check out Diallo's motion comic, Angela and the Dark here: Angela and the Dark: Volume Zero - Motion Comic 80s Kids Unite here: 80s Kids Unite | Geekscape Learn more about your ad choices. Visit megaphone.fm/adchoices

What if the “dumb party metal” you grew up with turned out to be one of the sharpest mirrors of 1980s America? In this episode of Dig Me Out: 80s Metal, we sit down with author, professor, and 80s tribute-band guitarist Jesse Kavadlo to talk about his new book Rock of Pages: The Literary Tradition of 1980s Heavy Metal and why those songs about girls, demons, and good times were actually wrestling with nuclear fear, censorship, and what it meant to grow up under the Cold War.Jesse walks us through how 80s metal lyrics connect to classic literature, from Def Leppard reimagining Genesis and Paradise Lost to Metallica and Ozzy Osbourne grappling with existential dread, addiction, and the possibility of global annihilation. We dig into the PMRC hearings and satanic panic, the way MTV videos turned escapism into literal chains and magic portals, and how Stranger Things surprisingly nails the mix of danger and freedom that metal kids actually felt in the 80s. Along the way, we talk subculture vs. streaming-era playlists, why Dio and Iron Maiden might be the true heirs of Romantic poetry, and how heavy metal may have nudged the Cold War toward its end at the Moscow Music Peace Festival.If you care about 80s heavy metal, the MTV era, or just love thinking about how songs work under the hood, this episode is for you. Fans of Iron Maiden, Metallica, Ozzy Osbourne, Van Halen, Mötley Crüe, Poison, Bon Jovi, Dio, and even Steel Panther's parody universe will hear this music in a new way. And if you're into how culture and politics collide in sound—think the way punk, hip-hop, or grunge carried the anxieties of their eras—you'll find a lot to chew on here too.Episode Highlights0:00 – Intro / Setting the stage How Jesse went from Brooklyn club stages and opening for Danger Danger to a PhD in literature and an 80s tribute band in St. Louis, and why 80s metal still gets written off as “by and for dummies” while Dylan and Kendrick win major literary prizes.5:12 – Are 80s metal lyrics actually literature? Cassette liner notes, goofy rhymes, and serious themes: Jesse breaks down how synecdoche, personification, metaphor, and symbolism show up in songs by Def Leppard, Metallica, and Twisted Sister.12:45 – PMRC, Tipper Gore, and the fight over teenage imagination We revisit the 1985 PMRC hearings, Dee Snider's testimony, and why “Under the Blade” and “Suicide Solution” say more about adult panic than teen corruption.20:30 – Cold War metal: Bon Jovi to Nuclear Assault How videos like Bon Jovi's “Runaway” and songs by Metallica, Ozzy, Megadeth, and Nuclear Assault carried nuclear anxiety, class conflict, and apocalyptic dread beneath all the hairspray.28:10 – Escapism, fantasy, and why Dio matters From Dungeons & Dragons to Iron Maiden and Dio, we explore metal's love of magic, fantasy, and portals as a deeply human response to a world that often felt unlivable.36:40 – MTV, chains, and the magic door We unpack the visual language of 80s metal videos: breaking out of asylums and prisons, falling through mirrors, and what it meant to “escape to the concert” once metal hit the mainstream.45:05 – Outsiders selling millions of records Why metal fans still felt like misfits even as the music dominated MTV, and how that outsider identity overlaps with the way readers and writers see themselves.52:30 – Van Halen, class struggle, and 1984 From “Running with the Devil” and “Jump” to “Hot for Teacher,” we look at David Lee Roth's working-class storytelling, school-as-prison imagery, and the eerie resonance of naming an album 1984 in the synth-drenched futureshock of the mid-80s.1:01:10 – Cowboys, Road Warriors, and the end of the world How metal videos borrowed from Escape from New York, The Road Warrior, and cowboy mythology to build a visual language of lawless survival and American ruggedness.1:09:45 – W.A.S.P., Nine Inch Nails, and moving the line What it means that W.A.S.P.'s “Animal (F*** Like a Beast)” got pulled from shelves while “Closer” became a critical darling, and how censorship lines shifted from the 80s to the 90s.1:18:20 – White Lion, Living Colour, and the politics hiding in band names We get into White Lion's unexpected political conscience, the uncomfortable optics of Pride, and how Living Colour wore their politics more explicitly.1:25:40 – How to listen differently after Rock of Pages Jesse explains how he hopes readers (and listeners) revisit 80s metal: with streaming open, videos queued up, and an ear tuned to metaphor, context, and the way these songs helped kids survive their era.1:33:50 – What's next and where to find the book Jesse hints at possible 90s projects and shares where to find Rock of Pages through Bloomsbury, indie bookstores, and the usual suspects.If this conversation makes you want to pull your old cassettes out of the box (or at least re-open your 80s metal playlist), don't stop here.Dive into the full archive of 70s & 80s metal episodes, history-of-the-band deep dives, and mixtapes at digmeoutpodcast.com.Join the DMO Union for bonus episodes, new release reviews, polls, and our private Discord community at dmounion.com.Subscribe, leave a review, and share this episode with the friend who still swears 80s metal was “just for fun.” Let's prove, once and for all, that the music that raised us was doing a lot more than just partying. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.digmeoutpodcast.com/subscribe

Josh Traylor led a study on Paradise Lost for Mythic Mind in 2025, and he has graciously given me permission to post his content here and on the Mythic Mind podcast. In this episode, Josh discusses the life of John Milton.Watch the video of this episode and subscribe to my YouTube channel here: https://youtu.be/lhuS1YpB5fEListen to all THREE Mythic Mind podcasts:Mythic MindMythic Mind GamesMythic Mind Movies & Shows(or become a patron to get all three shows in one ad-free feed)Become a Tier 3 patron to join our Silmarillion study, which begins in February! patreon.com/mythicmindSupport Josh and purchase his course here: https://www.patreon.com/joshtraylor/shopBecome a supporter of this podcast: https://www.spreaker.com/podcast/mythic-mind--5808321/support.

After praying over our Ministry Advisory Council and Pastoral Search Committee, Pastor Kenny shares a message from Genesis 3 on the beginning of sin, its consequences, and God's merciful salvation through His Son.

Pastor Mike Rose Genesis 3:20-24

Josh Traylor led a study on Paradise Lost for Mythic Mind in 2025, and he has graciously given me permission to post his content here and on the Mythic Mind podcast. This is Josh's introduction to Paradise Lost, in which he frames the poem and discusses how to go about reading it.Watch the video of this episode and subscribe to my YouTube channel here: https://youtu.be/wUZsFmj37vIListen to all THREE Mythic Mind podcasts:Mythic MindMythic Mind GamesMythic Mind Movies & Shows(or become a patron to get all three shows in one ad-free feed)Become a Tier 3 patron to join our Silmarillion study, which begins in February! patreon.com/mythicmindSupport Josh and purchase his course here: https://www.patreon.com/joshtraylor/shopBecome a supporter of this podcast: https://www.spreaker.com/podcast/mythic-mind--5808321/support.

Original Video: https://www.youtube.com/watch?v=vdg7q4yf6II E. Michael Jones recently wrote a book titled: "Walking With A Bible And A Gun: The Rise, Fall, and Return of American Identity. He discusses some of the interesting subjects that The book contains in its 50 chapters. The underlining theme is the bold assertion the the hidden grammar of Protestantism is Satanism. In various ways in this discussion Dr. Jones attempts to prove his thesis. One aspect of this Satanism is what Dr. Jones assumes to be John Calvins heretical notion of total depravity. That man is basically evil even to the point of evil that the Church Fathers never taught. That discussion was not developed here. But what was developed was how Thomas Paine quotes Satan in Milton's poem: Paradise Lost. The American experiment in self government Dr. Jones points out get much of its foundation in Satan's speech for self-government. Satan says: "Better to reign in Hell, than serve in Heaven" in Book 1 (line 263) of Paradise Lost. In the pamphlet wars between the American Patriots and the British of 1775 and 1776 John Fletcher defended John Wesley's harsh critique of the Patriots. Fletcher did indeed suggest that the patriots doctrines were the same as Satan as articulated in his speech in Paradise Lost. For example the Patriots declared that they were not to be subject to the King but rather the King should be subject to them. Likewise in all the Biblical relationships. Under this new world order experiment the women would be able to come out from under her husbands authority, slaves would be able to come out from under their masters etc. etc. Dr. Jones Books: fidelitypress.org/ Subscribe to Culture Wars Magazine: culturewars.com Donate: culturewars.com/donate Follow: https://culturewars.com/links CW Magazine: culturewars.com NOW AVAILABLE!: Walking with a Bible and a Gun: The Rise, Fall and Return of American Identity: https://www.fidelitypress.org/book-products/walking-with-a-bible-and-a-gun

“Praise to the holiest”From The Dream of Gerontius by St. John Henry NewmanPraise to the Holiest in the heightAnd in the depth be praise:In all His words most wonderful;Most sure in all His ways!O loving wisdom of our God!When all was sin and shame,A second Adam to the fightAnd to the rescue came.O wisest love! that flesh and bloodWhich did in Adam fail,Should strive afresh against the foe,Should strive and should prevail;And that a higher gift than graceShould flesh and blood refine,God's Presence and His very Self,And Essence all-divine.O generous love! that He who smoteIn man for man the foe,The double agony in manFor man should undergo;And in the garden secretly,And on the cross on high,Should teach His brethren and inspireTo suffer and to die.On November 1 of last year, All Saints Day, Pope Leo XIV declared Saint John Henry Newman – Cardinal Newman – as a Doctor of the Church. There are thousands of saints—but there are only 38 Doctors: saints who not only inspire us by their example and aid us by their intercession, but whose writing and teaching have had a profound impact on the Church. Cardinal Newman's writings have shaped the Church's understanding in many ways—especially his teaching on the development of doctrine and on Catholic education. Newman was more than a theologian: he was a preacher, a poet, even a novelist. The poem Scott read is taken from his long poem The Dream of Gerontius, which was published in 1865, when Newman was 64 years old. This poem is written in parts like a verse drama or an oratorio (it was later magnificently set to music by Elgar).Gerontius means “old man.” In the poem, Gerontius is an “everyman,” a “soul” who experiences death and what comes after death.The poem begins with Gerontius, the old man, on his deathbed, friends and priest gathered around, praying for him. But his death is only the beginning. Most of the poem takes the form of a dialogue with his guardian angel, who introduces him to the mysterious world of heaven and helps him prepare to meet God face to face.  At the end, he comes before God's throne, and then is led –joyfully - to Purgatory to be made ready for heaven.The poem Scott read is one of several choruses of angelical beings which the soul hears along the way. It's a song of praise, which marvels at the “loving wisdom” and “wisest love” of God in the redeeming work of Christ. The poem uses the Scriptural image of Christ as the “new Adam.” In Adam, our “flesh and blood” was vanquished; in Christ, that same flesh and blood prevails against the enemy. But there is more than a victory won here: there is “a higher gift than grace,” for in Christ our “flesh and blood” are “refined,” with God's Presence, Self, and Essence. Christ is truly human—and truly God.The last two stanzas speak of the suffering Christ underwent, for us, and as one of us. The “double agony” is interior and exterior: anguish of soul in Gethsemane, and physical torment on the cross. God's wise love is also “generous love”: for when Christ dies on the cross, he is still teaching, showing us how to suffer, and how to die.This song comes close to the end of The Dream of Gerontius. This great mystery of our redemption is what prepares the soul to enter the presence of God. And judgment is no longer terrifying. In life, says Gerontius, “the thought of death / And judgment was to me most terrible. / I had it aye before me, and I saw / The Judge severe e'en in the crucifix. / Now that the hour is come, my fear is fled.” In the face of Christ's generous, self-emptying love, fear is no longer possible.Newman's poem about the life that awaits us after death has the feeling of an adventure, a great journey, as the soul discovers that life is not over—it has only just begun. As with poems like The Divine Comedy of Dante and Paradise Lost of Milton, we come away from The Dream of Gerontius feeling that heaven and the afterlife are more real, more vivid, than this life and this world.Newman describes eternal life with urgency and eagerness, without ever dismissing this life as unimportant. Instead, the poem invites us to live life differently, and to look to death—and even judgment—with joy and hope. As Pope Leo XIV said of Cardinal Newman, “The lives of the saints teach us that it is possible to live passionately amidst the complexity of the present, without neglecting the apostolic mandate to shine like stars in the world” ( Pope Leo XIV).

In this episode I'm joined by author and Scarlet Imprint founder Peter Grey for a wide-ranging conversation around his book Lucifer Praxis—a work that approaches Lucifer not as a static figure or moral symbol, but as a living current of rebellion, imagination, and spiritual authority.We explore the deep mythic roots of Lucifer and the fallen angels, tracing them from ancient sources and early biblical material—where these beings were associated with the transmission of magic and forbidden knowledge—through their later demonisation under Christianity. Peter explains how John Milton's Paradise Lost radically reshaped the image of Lucifer, transforming him into a defiant figure whose influence carried forward into Romanticism through writers like Blake, Shelley, and Byron, helping to form the foundations of modern Luciferian thought.Our conversation moves through early Christian exorcism and its relation to grimoire magic conjuration and Pauline theology. We also spend time on Peter's argument that the French Revolution of 1789 marked a decisive cultural rupture—a symbolic regicide and deicide that signalled the death of God and the emergence of a modern Luciferian worldview. Paris itself becomes part of this story, reshaped through monuments, symbolism, and revolutionary ritual.Peter also outlines his approach to magical practice and teaching: drawing on ancient traditions while deliberately avoiding rigid systems or prescriptive methods. We discuss the importance of personal gnosis, the risks of over-identifying with deities, and the need for open structures that allow practitioners to find their own way into the spirit world.Show notes:Get the book: https://scarletimprint.com/publications/p/lucifer-praxisJohn Milton - Paradise Lost: https://en.wikipedia.org/wiki/Paradise_LostWilliam Blake: https://en.wikipedia.org/wiki/William_BlakePercy Bysshe Shelly: https://en.wikipedia.org/wiki/Percy_Bysshe_ShelleyLord Byron: https://en.wikipedia.org/wiki/Lord_ByronRomantic poetry: https://en.wikipedia.org/wiki/Romantic_poetryThe Book of Enoch: https://en.wikipedia.org/wiki/Book_of_EnochThe French Revolution: https://en.wikipedia.org/wiki/French_RevolutionLouis XVI: https://en.wikipedia.org/wiki/Louis_XVIThe Spirit of Liberty: https://en.wikipedia.org/wiki/July_ColumnKeep in touch?https://linktr.ee/darraghmason

Is a badmiral trying to Make Earth Great Again? Has Avery Brooks finally found a plot to match the size of his performance? And can he outsmart Not Nick Lacarno from Not Nova Squadron? Either way, Not Leah Brahms may save the day!Happy Gratitude festival, crew! We are gratitudinal for all of you. [Episode discussion begins around 1:15]

Episode 87 Dover Beach by Matthew Arnold Mark McGuinness reads and discusses ‘Dover Beach' by Matthew Arnold. https://media.blubrry.com/amouthfulofair/media.blubrry.com/amouthfulofair/content.blubrry.com/amouthfulofair/87_Dover_Beach_by_Matthew_Arnold.mp3 Poet Matthew Arnold Reading and commentary by Mark McGuinness Dover Beach By Matthew Arnold The sea is calm tonight.The tide is full, the moon lies fairUpon the straits; on the French coast the lightGleams and is gone; the cliffs of England stand,Glimmering and vast, out in the tranquil bay.Come to the window, sweet is the night-air!Only, from the long line of sprayWhere the sea meets the moon-blanched land,Listen! you hear the grating roarOf pebbles which the waves draw back, and fling,At their return, up the high strand,Begin, and cease, and then again begin,With tremulous cadence slow, and bringThe eternal note of sadness in. Sophocles long agoHeard it on the Aegean, and it broughtInto his mind the turbid ebb and flowOf human misery; weFind also in the sound a thought,Hearing it by this distant northern sea. The Sea of FaithWas once, too, at the full, and round earth's shoreLay like the folds of a bright girdle furled.But now I only hearIts melancholy, long, withdrawing roar,Retreating, to the breathOf the night-wind, down the vast edges drearAnd naked shingles of the world. Ah, love, let us be trueTo one another! for the world, which seemsTo lie before us like a land of dreams,So various, so beautiful, so new,Hath really neither joy, nor love, nor light,Nor certitude, nor peace, nor help for pain;And we are here as on a darkling plainSwept with confused alarms of struggle and flight,Where ignorant armies clash by night. Podcast Transcript This is a magnificent and haunting poem by Matthew Arnold, an eminent Victorian poet. Written and published at the mid-point of the nineteenth century – it was probably written around 1851 and published in 1867 – it is not only a shining example of Victorian poetry at its best, but it also, and not coincidentally, embodies some of the central preoccupations of the Victorian age. The basic scenario is very simple: a man is looking out at the sea at night and thinking deep thoughts. It's something that we've all done, isn't it? The two tend to go hand-in-hand. When you're looking out into the darkness, listening to the sound of the sea, it's hard not to be thinking deep thoughts. If you've been a long time listener to this podcast, it may remind you of another poet who wrote about standing on the shore thinking deep thoughts, looking at the sea, Shakespeare, in his Sonnet 60: Like as the waves make towards the pebbled shore,So do our minutes hasten to their end; Arnold's poem is not a sonnet but a poem in four verse paragraphs. They're not stanzas, because they're not regular, but if you look at the text on the website, you can clearly see it's divided into four sections. The first part is a description of the sea, as seen from Dover Beach, which is on the shore of the narrowest part of the English channel, making it the closest part of England to France: The sea is calm tonight.The tide is full, the moon lies fairUpon the straits; – on the French coast the lightGleams and is gone; the cliffs of England stand,Glimmering and vast, out in the tranquil bay. And as you can hear, the poem has a pretty regular and conventional rhythm, based on iambic metre, ti TUM, with the second syllable taking the stress in every metrical unit. But what's slightly unusual is that the lines have varying lengths. By the time we get to the third line: Upon the straits; – on the French coast the light There are five beats. There's a bit of variation in the middle of the line, but it's very recognisable as classic iambic pentameter, which has a baseline pattern going ti TUM, ti TUM, ti TUM, ti TUM, ti TUM. But before we get to the pentameter, we get two short lines: The sea is calm tonight.Only three beats; andThe tide is full, the moon lies fair – four beats. We also start to notice the rhymes: ‘tonight' and ‘light'. And we have an absolutely delightful enjambment, where a phrase spills over the end of one line into the next one: On the French coast the light,Gleams and is gone. Isn't that just fantastic? The light flashes out like a little surprise at the start of the line, just as it's a little surprise for the speaker looking out to sea. OK, once he's set the scene, he makes an invitation: Come to the window, sweet is the night-air! So if there's a window, he must be in a room. There's somebody in the room with him, and given that it's night it could well be a bedroom. So this person could be a lover. It's quite likely that this poem was written on Arnold's honeymoon, which would obviously fit this scenario. But anyway, he's inviting this person to come to the window and listen. And what does this person hear? Well, helpfully, the speaker tells us: Listen! you hear the grating roarOf pebbles which the waves draw back, and fling,At their return, up the high strand,Begin, and cease, and then again begin,With tremulous cadence slow, and bringThe eternal note of sadness in. Isn't that just great? The iambic metre is continuing with some more variations, which we needn't go into. And the rhyme is coming more and more to the fore. Just about every line in this section rhymes with another line, but it doesn't have a regular pattern. Some of the rhymes are close together, some are further apart. There's only one line in this paragraph that doesn't rhyme, and that's ‘Listen! You hear the grating roar'. If this kind of shifting rhyme pattern reminds you of something you've heard before, you may be thinking all the way back to Episode 34 where we looked at Coleridge's use of floating rhymes in his magical poem ‘Kubla Khan'. And it's pretty evident that Arnold is also casting a spell, in this case to mimic the rhythm of the waves coming in and going out, as they ‘Begin, and cease, and then again begin,'. And then the wonderful last line of the paragraph, as the waves ‘bring / The eternal note of sadness in'. You know, in the heart of the Victorian Age, when the Romantics were still within living memory, poets were still allowed to do that kind of thing. Try it nowadays of course, and the Poetry Police will be round to kick your front door in at 5am and arrest you. Anyway. The next paragraph is a bit of a jump cut: Sophocles long agoHeard it on the Aegean, and it broughtInto his mind the turbid ebb and flowOf human misery; So Arnold, a classical scholar, is letting us know he knows who Sophocles, the ancient Greek playwright was. And he's establishing a continuity across time of people looking out at the sea and thinking these deep thoughts. At this point, Arnold explicitly links the sea and the thinking:                                     weFind also in the sound a thought,Hearing it by this distant northern sea. And the thought that we hear when we listen to the waves is what Arnold announces in the next verse paragraph, and he announces it with capital letters: The Sea of FaithWas once, too, at the full, and round earth's shoreLay like the folds of a bright girdle furled. And for a modern reader, I think this is the point of greatest peril for Arnold, where he's most at risk of losing us. We may be okay with ‘the eternal note of sadness', but as soon as he starts giving us the Sea of Faith, we start to brace ourselves. Is this going to turn into a horrible religious allegory, like The Pilgrim's Progress? I mean, it's a short step from the Sea of Faith to the Slough of Despond and the City of Destruction. And it doesn't help that Arnold uses the awkwardly rhyming phrase ‘a bright girdle furled' – that's not going to get past the Poetry Police, is it? But fear not; Arnold doesn't go there. What comes next is, I think, the best bit of the poem. So he says the Sea of Faith ‘was once, too, at the full', and then: But now I only hearIts melancholy, long, withdrawing roar,Retreating, to the breathOf the night-wind, down the vast edges drearAnd naked shingles of the world. Well, if you thought the eternal note of sadness was great, this tops it! It's absolutely fantastic. That line, ‘Its melancholy, long, withdrawing roar,' where the ‘it' is faith, the Sea of Faith. And the significance of the line is underlined by the fact that the word ‘roar' is a repetition – remember, that one line in the first section that didn't rhyme? Listen! you hear the grating roar See what Arnold did there? He left that sound hovering at the back of the mind, without a rhyme, until it came back in this section, a subtle but unmistakeable link between the ‘grating roar' of the actual sea at Dover Beach, and the ‘withdrawing roar' of the Sea of Faith: Its melancholy, long, withdrawing roar, Isn't that the most Victorian line ever? It encapsulates the despair that accompanied the crisis of faith in 19th century England. This crisis was triggered by the advance of modern science – including the discoveries of fossils, evidence of mass extinction of previous species, and the theory of evolution, with Darwin's Origin of Species published in 1859, in between the writing and publication of ‘Dover Beach'. Richard Holmes, in his wonderful new biography of the young Tennyson, compares this growing awareness of the nature of life on Earth to the modern anxiety over climate change. For the Victorians, he writes, it created a ‘deep and existential terror'. One thing that makes this passage so effective is that Arnold has already cast the spell in the first verse paragraph, hypnotising us with the rhythm and rhyme, and linking it to the movement of the waves. In the second paragraph, he says, ‘we find also in the sound a thought'. And then in the third paragraph, he tells us the thought. And the thought that he attaches to this movement, which we are by now emotionally invested in, is a thought of such horror and profundity – certainly for his Victorian readers – that the retreat of the sea of faith really does feel devastating. It leaves us gazing down at the naked shingles of the world. The speaker is now imaginatively out of the bedroom and down on the beach. This is very relatable; we've all stood on the beach and watched the waves withdrawing beneath our feet and the shingle being left there. It's an incredibly vivid evocation of a pretty abstract concept. Then, in the fourth and final verse paragraph, comes a bit of a surprise: Ah, love, let us be trueTo one another! Well, I for one was not expecting that! From existential despair to an appeal to his beloved. What a delightful, romantic (with a small ‘r') response to the big-picture, existential catastrophe. And for me, it's another little echo of Shakespeare's Sonnet 60, which opens with a poet contemplating the sea and the passing of time and feeling the temptation to despair, yet also ends with an appeal to the consolation of love: And yet to times in hope my verse shall stand,blockquotePraising thy worth, despite his cruel hand. Turning back to Arnold. He says ‘let us be true / To one another'. And then he links their situation to the existential catastrophe, and says this is precisely why they should be true to each other: for the world, which seemsTo lie before us like a land of dreams,So various, so beautiful, so new,Hath really neither joy, nor love, nor light,Nor certitude, nor peace, nor help for pain; It sounds, on the face of it, a pretty unlikely justification for being true to one another in a romantic sense. But actually, this is a very modern stance towards romantic love. It's like the gleam of light that just flashed across the Channel from France – the idea of you and me against an unfeeling world, of love as redemption, or at least consolation, in a meaningless universe. In a world with ‘neither joy, nor love, nor light,' our love becomes all the more poignant and important. Of course, we could easily object that, regardless of religious faith, the world does have joy and love and light. His very declaration of love is evidence of this. But let's face it, we don't always come to poets for logical consistency, do we? And we don't have to agree with Matthew Arnold to find this passage moving; most of us have felt like this at some time when we've looked at the world in what feels like the cold light of reality. He evokes it so vividly and dramatically that I, for one, am quite prepared to go with him on this. Then we get the final three lines of the poem:We are here as on a darkling plainSwept with confused alarms of struggle and flight,Where ignorant armies clash by night. I don't know about you, but I find this a little jarring in the light of what we've just heard. We've had the magnificent description of the sea and its effect on human thought, extending that into the idea of faith receding into illusion, and settling on human love as some kind of consolation for the loss of faith. So why do we need to be transported to a windswept plain where armies are clashing and struggling? It turns out to be another classical reference, to the Greek historian Thucydides' account of the night battle of Epipolae, where the two armies were running around in the dark and some of them ended up fighting their own side in the confusion. I mean, fine, he's a classical scholar. And obviously, it's deeply meaningful to him. But to me, this feels a little bit bolted on. A lot of people love that ending, but to me, it's is not as good as some of the earlier bits, or at least it doesn't quite feel all of a piece with the imagery of the sea. But overall, it is a magnificent poem, and this is a small quibble. Stepping back, I want to have another look at the poem's form, specifically the meter, and even more specifically, the irregularity of the meter, which is quite unusual and actually quite innovative for its time. As I've said, it's in iambic meter, but it's not strictly iambic pentameter. You may recall I did a mini series on the podcast a while ago looking at the evolution of blank verse, unrhymed iambic pentameter, from Christopher Marlowe and Shakespeare's dramatic verse, then Milton's Paradise Lost and finally Wordsworth's Tintern Abbey. ‘Dover Beach' is rhymed, so it's not blank verse, but most of the techniques Arnold uses here are familiar from those other poets, with variations on the basic rhythm, sometimes switching the beats around, and using enjambment and caesura (a break or pause in the middle of the line). But, and – this is quite a big but – not every line has five beats. The lines get longer and shorter in an irregular pattern, apparently according to Arnold's instinct. And this is pretty unusual, certainly for 1851. It's not unique, we could point to bits of Tennyson or Arthur Hugh Clough for metrical experiments in a similar vein, but it's certainly not common practice. And I looked into this, to see what the critics have said about it. And it turns out the scholars are divided. In one camp, the critics say that what Arnold is doing is firmly in the iambic pentameter tradition – it's just one more variation on the pattern. But in the other camp are people who say, ‘No, this is something new; this is freer verse,' and it is anticipating free verse, the non-metrical poetry with no set line lengths that came to be the dominant verse form of the 20th century. Personally, I think you can look back to Wordsworth and see a continuity with his poetic practice. But you could equally look forward, to a link with T. S. Eliot's innovations in ‘The Love Song of J. Alfred Prufrock' and The Waste Land. Eliot is often described as an innovator in free verse, which is true up to a point, but a lot of his writing in that early period isn't strictly free verse; it's a kind of broken up metrical verse, where he often uses an iambic metre with long and short lines, which he varies with great intuitive skill – in a similar manner to Arnold's ‘Dover Beach'. Interestingly, when ‘Dover Beach' was first published, the reviews didn't really talk about the metre, which is ammunition for the people who say, ‘Well, this is just a kind of iambic pentameter'. Personally, I think what we have here is something like the well-known Duck-Rabbit illusion, where you can look at the same drawing and either see a duck or a rabbit, depending how you look at it. So from one angle, ‘Dover Beach' is clearly continuing the iambic pentameter tradition; from another angle, it anticipates the innovations of free verse. We can draw a line from the regular iambic pentameter of Wordsworth (writing at the turn of the 18th and 19th century) to the fractured iambic verse of Eliot at the start of the 20th century. ‘Dover Beach' is pretty well halfway between them, historically and poetically. And I don't think this is just a dry technical development. There is something going on here in terms of the poet's sense of order and disorder, faith and doubt. Wordsworth, in the regular unfolding of his blank verse, conveys his basic trust in an ordered and meaningful universe. Matthew Arnold is writing very explicitly about the breakup of faith, and we can start to see it in the breakup of the ordered iambic pentameter. By the time we get to the existential despair of Eliot's Waste Land, the meter is really falling apart, like the Waste Land Eliot describes. So overall, I think we can appreciate what a finely balanced poem Arnold has written. It's hard to categorise. You read it the first time and think, ‘Oh, right, another conventional Victorian melancholy lament'. But just when we think he's about to go overboard with the Sea of Faith, he surprises us and with that magnificent central passage. And just as he's about to give in to despair, we get that glimmering spark of love lighting up, and we think, ‘Well, maybe this is a romantic poem after all'. And maybe Arnold might look at me over his spectacles and patiently explain that actually, this is why that final metaphor of the clashing armies is exactly right. Friend and foe are running in first one direction, then another, inadvertently killing the people on the wrong side. So the simile gives us that sense of being caught in the cross-currents of a larger sweep of history. With all of that hovering in our mind, let's go over to the window once more and heed his call to listen to the sound of the Victorian sea at Dover Beach. Dover Beach By Matthew Arnold The sea is calm tonight.The tide is full, the moon lies fairUpon the straits; on the French coast the lightGleams and is gone; the cliffs of England stand,Glimmering and vast, out in the tranquil bay.Come to the window, sweet is the night-air!Only, from the long line of sprayWhere the sea meets the moon-blanched land,Listen! you hear the grating roarOf pebbles which the waves draw back, and fling,At their return, up the high strand,Begin, and cease, and then again begin,With tremulous cadence slow, and bringThe eternal note of sadness in. Sophocles long agoHeard it on the Aegean, and it broughtInto his mind the turbid ebb and flowOf human misery; weFind also in the sound a thought,Hearing it by this distant northern sea. The Sea of FaithWas once, too, at the full, and round earth's shoreLay like the folds of a bright girdle furled.But now I only hearIts melancholy, long, withdrawing roar,Retreating, to the breathOf the night-wind, down the vast edges drearAnd naked shingles of the world. Ah, love, let us be trueTo one another! for the world, which seemsTo lie before us like a land of dreams,So various, so beautiful, so new,Hath really neither joy, nor love, nor light,Nor certitude, nor peace, nor help for pain;And we are here as on a darkling plainSwept with confused alarms of struggle and flight,Where ignorant armies clash by night. Matthew Arnold Matthew Arnold was a British poet, critic, and public intellectual who was born in 1822 and died in 1888. His father was Thomas Arnold, the famed headmaster of Rugby School. Arnold studied Classics at Oxford and first became known for lyrical, melancholic poems such as ‘Dover Beach', ‘The Scholar-Gipsy', and ‘Thyrsis', that explore the loss of faith in the modern world. Appointed an inspector of schools, he travelled widely and developed strong views on culture, education, and society. His critical essays, especially Culture and Anarchy, shaped debates about the role of culture in public life. Arnold remains a central figure bridging Romanticism and early modern thought. 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 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. From The Rime of the Ancient Mariner by Samuel Taylor Coleridge Episode 85 From The Rime of the Ancient Mariner by Samuel Taylor Coleridge Mark McGuinness reads and discusses a passage from ‘The Rime of the Ancient Mariner' by Samuel Taylor Coleridge.Poet Samuel Taylor ColeridgeReading and commentary by Mark McGuinnessFrom...

Quinn covers Shades of God, the 3rd album from Death-Doom & Goth Metal pioneers, Paradise Lost.

In this ClimateGenn episode I am speaking with cofounder of the Climate Psychology Alliance (CPA) and author of Paradise Lost, Paul Hoggett. Paul's book was published in 2023 and is more relevant today than it was a couple of years ago, given the ongoing tragedies and violence we are all being subjected to and forced to respond to. "There's that kind of coldness, that cold indifference in the face of inhumanity and suffering is something I think has been a very powerful element in the way in which, for example, oil companies and oil company professionals and executives have functioned."Paul Hoggett - Author of 'Paradise Lost' 2023For more information visit: https://genn.cc/a-blank-and-pitiless-stare-confronting-the-inhuman/Paul refers to the work of the poet WB Yeats, in particular, one poem, ‘The Second Coming' written in 1919 in the aftermath of the first world war. Given its resonance in the context of our lives today, I have pasted below for those who have not read it:Turning and turning in the widening gyreThe falcon cannot hear the falconer;Things fall apart; the centre cannot hold;Mere anarchy is loosed upon the world,The blood-dimmed tide is loosed, and everywhereThe ceremony of innocence is drowned;The best lack all conviction, while the worstAre full of passionate intensity.Surely some revelation is at hand;Surely the Second Coming is at hand.The Second Coming! Hardly are those words outWhen a vast image out of Spiritus MundiTroubles my sight: somewhere in sands of the desertA shape with lion body and the head of a man,A gaze blank and pitiless as the sun,Is moving its slow thighs, while all about itReel shadows of the indignant desert birds.The darkness drops again; but now I knowThat twenty centuries of stony sleepWere vexed to nightmare by a rocking cradle,And what rough beast, its hour come round at last,Slouches towards Bethlehem to be born?Source WikipediaI definitely recommend Paul's book, Pandora's Box too if you want to explore the issues that we discuss in this episode. I have found it fascinating.W.B. Yeats – The Second Coming

Synopsis: Man comes to see the full effect of evil and the desperate need for God's provision of restoration, to which God responds in compassionate judgement and promise of restoration. God calls sinners to confess, declares punishment for sin while giving hope to sinners by making gracious provision for believing sinners. Sermon Text: Genesis 3:8-24

Synopsis: Man comes to see the full effect of evil and the desperate need for God's provision of restoration, to which God responds in compassionate judgement and promise of restoration. God calls sinners to confess, declares punishment for sin while giving hope to sinners by making gracious provision for believing sinners. Sermon Text: Genesis 3:8-24

Two episodes with serious problems. Dan had to watch the 2nd one twice to try to make sense of it!

#TrueCrime #WestMemphisThree #SatanicPanic #Propaganda #WM3 #Satanism #SatanicPanic #TrueCrimeDocumentary #Propaganda #Psyop The West Memphis Three case is a true crime story that has sparked intense debate and discussion, and its importance extends far beyond the realm of satanic panic or true crime. In this video, we explore why the West Memphis Three case is more important than ever, delving into the world of satanic panic, occultism, and the dangers of misinformation. The Paradise Lost documentary series has manipulated hoards of people, but there is still much to uncover. William Ramsey, known for his in-depth investigations on William Ramsey Investigates and Rise To Liberty, examines the West Memphis Three (3) case (aka WM3) and its significance in the context of satanic crime and the occult. By exploring this true crime story, we can gain a deeper understanding of the impact of the manufactured satanic panic and the importance of critical thinking in the face of sensationalized and propagandist media. The West Memphis Three case serves as a cautionary tale about the dangers of not thinking critically, not researching stories yourself, and the importance of seeking truth, making it a vital part of any true crime discussion. GUEST LINKS: Website: https://www.williamramseyinvestigates... Williams X Account: https://x.com/WilliamRamseyIn -------------------------- RISE TO LIBERTY LINKS: Merch Store: https://risetoliberty.store Donate: https://risetoliberty.com/coffee Donate Op 2: https://ko-fi.com/risetoliberty RTL on X: https://risetoliberty.com/twitter RTL On Rumble: https://risetoliberty.com/rumble RTL On Telegram: https://risetoliberty.com/freespeech Beware The Mockingbird: https://bewarethemockingbird.substack.com/

What happens when fear hijacks Starfleet's ideals? In “Paradise Lost,” Dom Bettinelli, Jimmy Akin, and Fr. Jason Tyler examine Admiral Leighton's coup, changeling mind games, and the cracks in the Federation's golden image.

What happens when fear hijacks Starfleet's ideals? In “Paradise Lost,” Dom Bettinelli, Jimmy Akin, and Fr. Jason Tyler examine Admiral Leighton's coup, changeling mind games, and the cracks in the Federation's golden image. The post Paradise Lost (DS9) appeared first on StarQuest Media.

Our hosts are back on The Literary Life podcast today to continue our series on Bram Stoker's Dracula. This week we are covering chapters 12-17, and in the introduction to this episode, Angelina, Cindy and Thomas discuss the purpose of the Gothic novel in reorienting us to realize there is more to the world than the physical and empirical. As they cover the plot in these chapters, other ideas shared are the effective blending of modern technology with ancient wisdom in fighting evil, the many mythological and fairy tale elements in this story, the contrast between the true woman and the false woman, the parallels to Paradise Lost, and so much more. Be sure to check out all that is happening at The House of Humane Letters and Morning Time for Moms in this season so you don't miss out on all their current offerings! Also, check out the full show notes for this episode on our podcast website at https://theliterary.life/299. 

Many of us set out to read great works of literature, like War and Peace or Paradise Lost, but quite a few will never make it all the way through. The same might be said of Leviticus, a book of sacrifices, instructions and rituals. Join Dr. James Boice on The Bible Study Hour as he explains the deeper meaning of a puzzling book for the modern-day Christian. To support this ministry financially, visit: https://www.oneplace.com/donate/81/29

Each quarter, Stig Brodersen sits down with his friend and co-host William Green, author of Richer, Wiser, Happier. Together, they reflect on the lessons and stories that have made them Richer, Wiser, or Happier over the past few months. From investing insights to timeless ideas about how to live well, this conversation is an invitation to join them on the journey toward a more meaningful life. IN THIS EPISODE YOU'LL LEARN: 00:00 - Intro 05:35 - Whether universal truths about a good life really exist 07:43 - What we can — and can't — learn about living well from other people 47:54 - Why happiness often comes more from the absence of negative emotions than from positive ones 50:24 - What William has learned about money and happiness from some of the wealthiest people on earth 01:17:33 - Why spending money on others may increase your own happiness 01:27:29 - Why Stig has deliberately constrained himself from reading new books this past quarter Disclaimer: Slight discrepancies in the timestamps may occur due to podcast platform differences. BOOKS AND RESOURCES Join the exclusive ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TIP Mastermind Community⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ to engage in meaningful stock investing discussions with Stig, Clay, Kyle, and the other community members. William Green's book Richer, Wiser, Happier – read reviews of this book. Check out their episode on being Richer, Wiser, and Happier in Q2 2025, Q1 2025, Q4 2024, Q3 2024, Q1 2024,and Q3 2023. William Green's interview with Hagstrom. Sarah Bakewell's book, How to Live: A Life of Montaigne in One Question and Twenty Attempts at an Answer. Michel de Montaigne's book, Essays. David R. Hawkins' book, Letting Go. Ray Dalio's book, How Countries Go Broke. Ray Dalio's book, Principles for Dealing with the Changing World Order. Patrul Rinpoche's book, Words of My Perfect Teacher. John Milton's book, Paradise Lost. Virginia Woolf's book, A Room of One's Own. Related ⁠⁠⁠books⁠⁠⁠ mentioned in the podcast. Ad-free episodes on our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠Premium Feed⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. NEW TO THE SHOW? Get smarter about valuing businesses in just a few minutes each week through our newsletter, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠The Intrinsic Value Newsletter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Check out our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠We Study Billionaires Starter Packs⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Follow our official social media accounts: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠X (Twitter)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠LinkedIn⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Browse through all our episodes (complete with transcripts) ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Try our tool for picking stock winners and managing our portfolios: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TIP Finance Tool⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Enjoy exclusive perks from our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠favorite Apps and Services⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Learn how to better start, manage, and grow your business with the ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠best business podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. SPONSORS Support our free podcast by supporting our sponsors: SimpleMining HardBlock AnchorWatch Human Rights Foundation Linkedin Talent Solutions Vanta Unchained Onramp Netsuite Shopify Abundant Mines Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://theinvestorspodcastnetwork.supportingcast.fm