Podcasts about Paradiso

Piccarda may have vanished but questions remain. The pilgrim Dante is caught between them, unable to voice them.Beatrice to the rescue! She voices what he cannot say . . . or perhaps what he is afraid to say.She articulates his two questions, makes one of them very personal, and attempts to mitigate the anger of King Nebuchadnezzar . . . or maybe the pilgrim's anger.Join me, Mark Scarbrough, as we explore the fascinating opening to the fourth canto of PARADISO.Here are the segments for this episode of WALKING WITH DANTE:[01:01] My English translation of PARADISO, Canto IV, lines 1 - 27. If you'd like to read along or drop a comment to continue the conversation, please find the entry for this episode on my website, markscarbrough.com.[03:24] PURGATORIO Canto XVIII as the background for PARADISO Cantos IV and V.[06:27] The multivalent, triplicate, opening simile--a man, a lamb, and a dog; hunger, fear, hunger--which embellishes a simile from PARADISO Canto III.[12:51] Beatrice : Daniel :: Nebuchadnezzar : Dante?[15:09] Beatrice's two intuited doubts from the pilgrim: the souls' origins and destinations, as well as the problem of coercion and the will.[20:01] The Latin in the text, the veil of the will.[22:22] The canto's opening simile again: paralysis, perhaps between women, certainly because of desire, hardly a hymn to rational free will.[26:14] Rereading the passage: PARADISO, Canto IV, lines 1 - 27.

Recorded on location at the Martini Expo in Chicago.Why This Episode MattersToby Maloney looks back at the first wave of the modern cocktail renaissance from Milk & Honey to The Violet Hour and explains why great ice, precise dilution and serious technique still have to serve hospitality.Jackson Cannon recalls bringing serious cocktails into a high-volume Boston restaurant at Eastern Standard, building a team around consistency and collaboration, and why, after all the technique and innovation, the guest still matters most.Federico Lombardi, formerly of Barcelona's Paradiso and now working in the U.S., compares European and American cocktail cultures and explains the lesson that taught him why temperature, dilution and precision make the martini such an exacting drink.Dan Smith takes The Guys inside Chicago's Queen Mary Tavern, where a 1940s neighborhood bar became an elegant cocktail destination without losing its soul and explains why, when every small detail of a martini comes together, “it is perfection.”BanterBefore heading into the Expo, The Guys compare notes on their very compact Chicago hotel rooms and discover that the Moxy apparently shares Stage Left's taste in wallpaper: monkeys smoking cigars and drinking vodka.The ConversationToby Maloney goes back to the beginnings of the modern craft-cocktail movement, including becoming the first bartender hired at Milk & Honey and later helping establish The Violet Hour in Chicago. He and The Guys geek out over metal-on-metal shakers, why experienced bartenders can hear the quality and quantity of ice in a tin, and how dilution changes a drink. Toby also reflects on The Violet Hour's influence, the danger of cocktail expertise becoming pretentious, and his newer project, The Elbow Room in Vancouver, Washington. Then he explains his unusual martini built around vermouth-and-sherry granita topped with frozen gin.Jackson Cannon joins the conversation to talk about opening Eastern Standard in Boston in 2005, when serious cocktails were still largely disconnected from serious restaurant dining. He recalls the self-taught first generation of the cocktail revival, building consistency across a large bar team and creating buy-in rather than simply dictating technique. Looking at where cocktail culture has gone since, Cannon argues that technique and creativity aren't enough to sustain a career behind the bar. What matters most is still the guest: as he puts it, borrowing from Julia Child, “It's not what's on the table, it's what's on the chairs.”Federico Lombardi compares the cocktail cultures of Italy, Spain and the United States, talks about creating drinks through the lens of chefs and food, and recalls the training that made him understand the martini as a drink in which every detail has to be right. Finally, Dan Smith explains how old movies first made him curious about cocktail culture, how The Violet Hour turned that curiosity into a career, and how a Polish neighborhood tavern sealed up for four decades became Queen Mary Tavern. He gets into the judicious use of salt in cocktails, the gin-and-rum Navy Strength Old Fashioned, and the Violet Hour martini that showed him what happens when dilution, bitters, temperature and technique all land exactly where they should.Guest BiosToby Maloney is a bartender, author and longtime figure in the American craft-cocktail movement. He was the first bartender hired at Milk & Honey and later helped open Chicago's influential Violet Hour. He is the author of The Bartender's Manifesto and The Classic Cocktail Sessions and is now involved with The Elbow Room in Vancouver, Washington.Jackson Cannon helped shape Boston's modern cocktail culture as the longtime bar director at Eastern Standard, which opened in 2005 with serious cocktails integrated into a large, full-service restaurant. He later partnered in The Hawthorne and became an influential mentor to a generation of Boston bartenders.Federico Lombardi is an Italian bartender who worked at Paradiso in Barcelona when it reached No. 1 on The World's 50 Best Bars list. He has since moved to the United States and works behind the bar at Dante in New York.Dan Smith is managing partner of Queen Mary Tavern in Chicago's Ukrainian Village. His approach combines serious cocktail technique with the warmth and accessibility of a neighborhood tavern.Timestamps00:00 — Chicago, Martini Expo and the Moxy Hotel03:45 — Toby Maloney: Milk & Honey, The Violet Hour and hearing the ice14:30 — The Elbow Room, free pouring and Toby's vermouth-granita martini24:45 — Jackson Cannon: bringing craft cocktails to Boston31:00 — Building bartenders, cocktail culture and hospitality34:45 — Federico Lombardi: Europe vs. America and his martini lesson42:45 — Dan Smith: The Violet Hour and the story of Queen Mary Tavern54:00 — Navy Strength Old Fashioned and Dan's perfect martini moment InfoMartini Expo — https://www.martiniexpo.com/Toby Maloney — The Elbow Room, Vancouver, WABooks: The Bartender's Manifesto; The Classic Cocktail SessionsJackson Cannon — Eastern Standard; The HawthorneFederico Lombardi — Paradiso, Barcelona; Dante, New York CityDan Smith — Queen Mary Tavern, ChicagoOct 23, Friday - Winemaker Dinner w/ Neri Capponi of Villa Calcinaia WineryOct 26-31 - Spooky BarOct 27, Tuesday - Robert Simonson book signing cocktail partyMore info - https://www.stageleft.com/events/ Subscribe: Restaurant Guys' Regularhttps://restaurantguysregulars.buzzsprout.com/Magyar Bankhttps://www.magbank.com/Stage Left Wine Shophttps://www.stageleftwineshop.com/Our PlacesStage Left Steakhttps://www.stageleft.com/Catherine Lombardi Restauranthttps://www.catherinelombardi.com/Stage Left Wineshophttps://www.stageleftwineshop.com/Reach Out to The Guys!TheGuys@restaurantguyspodcast.com

Tuesdays is our chance to chat books! Our critic Anna Rankin joins Jesse to share what she's been reading. U.X.O by Brannvan Gnanalingam Paradiso 17 by Hannah Lillith Assidi

Maurizio Fantoni Minnella"Che cos'è una biblioteca?"Ogni biblioteca nasce da un desiderio impossibile: tenere insieme tutto ciò che è stato scritto, sottrarlo al tempo, renderlo di nuovo leggibile. Proprio per questo la sua storia è anche una storia di fragilità: i libri bruciano, si sbriciolano, vengono dimenticati, censurati, dispersi. Il percorso che segue attraversa sei luoghi, reali e immaginari, in cui la biblioteca si mostra per ciò che è davvero. Non è un deposito, ma un organismo vivo che chiede custodi.I. AlessandriaIl mito fondativo. Una città che voleva possedere il sapere del mondo e che, proprio per questo, ha consegnato alla memoria collettiva la sua perdita. Da allora ogni biblioteca porta in sé il ricordo di un incendio.II. BabeleBorges immagina una biblioteca infinita che contiene tutti i libri possibili, e in cui proprio per questo nessuno riesce a trovare quello che cerca. Altrove confessa di essersi sempre figurato il Paradiso come una specie di biblioteca. È lo sguardo da cui parte Fantoni Minnella: il suo documentario "Libri di sabbia" (2019) prende il titolo da un racconto borgesiano.III. Il desertoNell'Adrar mauritano, a Chinguetti, Ouadane, Tichitt e Oualata, ci sono antiche città carovaniere oggi patrimonio Unesco. Lì manoscritti medievali e libri a stampa arrivati dal Cairo e dalla Mecca sono custoditi da secoli nelle biblioteche private delle famiglie, tramandati di padre in figlio. Sabbia, termiti e desertificazione li minacciano. Il film di Fantoni Minnella nasce da un gesto di ascolto, «Mi sono messo in ascolto del deserto», e dal timore che finiscano come Timbuctù.IV. Il rogoIl 10 maggio 1933 a Berlino e nelle città tedesche si bruciano i libri in piazza. Ogni anno l'Associazione italiana biblioteche ricorda quella notte con la rassegna "Libri salvati", letture pubbliche contro la cancellazione della memoria. Salvare un libro è un atto politico. Lo sapeva Victor Hugo, che nel 1872 dedica un poema alla biblioteca incendiata durante la Comune.V. La biblioteca di casaSono scaffali costruiti in una vita, disordinati, stratificati. La biblioteca privata è un autoritratto involontario, un diario scritto con i libri degli altri. Chi la guardasse senza conoscerci capirebbe molto di noi: dei viaggi, degli amori, delle ossessioni.VI. La sogliaInfine la biblioteca pubblica, luogo di accesso e di democrazia: l'unico spazio in cui chiunque può entrare, sedersi e leggere senza dover comprare nulla. Da qui torna la domanda di fondo del percorso: chi custodisce oggi i libri, e per chi?— Tu viens d'incendier la Bibliothèque ?— Oui.J'ai mis le feu là.— Mais c'est un crime inouï !«Hai appena incendiato la Biblioteca?» «Sì. Ci ho appiccato il fuoco.» «Ma è un crimine inaudito!» Il poema si chiude con la risposta dell'incendiario, che rovescia l'accusa: «Non so leggere».(Victor Hugo, "À qui la faute ?", da "L'Année terrible", 1872)There is no Frigate like a BookTo take us Lands away«Non c'è vascello come un libro per portarci in terre lontane.»(Emily Dickinson, 1873 circa, pubblicata postuma nel 1894)Maurizio Fantoni Minnella (Varese, 1959) è scrittore, saggista, critico cinematografico, documentarista e fotografo. Si è formato negli anni Ottanta ai Cineseminari della Cineteca Italiana di Milano. Ha pubblicato oltre trenta opere tra narrativa, saggistica e reportage di viaggio, tra cui il romanzo "Ritmo binario" (Castelvecchi, 2022), "Destini globali" (Castelvecchi, 2024) e "Un viaggio in inverno" (Passigli, 2025). Ha girato una trentina di documentari tra Palestina, Algeria, Kurdistan, Senegal, Messico e Mauritania. In Mauritania ha realizzato "Libri di sabbia", sulle biblioteche del deserto, accompagnato dalla mostra fotografica "Parole di sabbia". Studioso di letteratura latinoamericana, collabora con "Avvenire" e dirige dal 2013 Poevisioni al Festival Internazionale di Poesia di Genova. Dal 2021 è ambasciatore di Genova nel mondo.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Piccarda Donati doesn't stop her monologue with the cryptic line about her life after the convent. She turns to another figure in the lunar landscape: Constance I of Sicily, the Holy Roman Empress and mother of Frederick II, the stupor mundi.Piccarda offers Constance a parallel life to her own. The problem is, Piccarda's account doesn't match the historical record.But maybe Dante has other fish to fry. Maybe he's more interested in Constance's son, the Holy Roman Emperor that many are insistent on calling “the anti-Christ.”Join me, Mark Scarbrough, as we work through the final lines of Canto III, the shortest canto of PARADISO.Here are the segments for this episode of WALKING WITH DANTE:[01:22] My English translation of PARADISO, Canto III, Lines 109 - 130. If you'd like to read along or drop a comment about this episode, please find its entry on my website, markscarbrough.com.[03:02] Linguistic and poetic details at the end of Canto III: shades, dark spots in redemption, Narcissus, line rhythms, and a seal in the wax.[10:24] Constance I of Sicily, the mother of Holy Roman Emperor Frederick II and the grandmother of Manfred (PURGATORIO, Canto III).[14:17] Parallels with the Donati family in COMEDY and a possible rehabilitation for Frederick II.[17:17] The sphere of the moon, a community of women (only women?)[20:10] When they vanish, where do they go?[21:36] Rereading the passage: PARADISO, Canto III, lines 109 - 130.

Piccarda Donati finally answers the question about who she is. She's given her name but not much else about her. In twelve lines (or four tercets) she brings her personal story to its violent yet elliptical conclusion.Before that the poet has to explain what he's learned, the pilgrim has to express what his time with her has felt like, and then she gets to take center stage . . . and not fully answer the question.Piccarda Donati is one of the strongest feminist characters in COMEDY. Her voice is an essential part of the puzzle that includes Francesca from INFERNO and Pia from PURGATORIO.Join me, Mark Scarbrough, as we explore the conclusion to Piccarda's story.If you'd like to help underwrite the many fees associated with this podcast, you can make a donation or even offer a small monthly stipend through this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:12] My English translation of PARADISO, Canto III, Lines 88 - 108. If you'd like to read along or continue the conversation with me, please find the entry for this episode on my website, markscarbrough.com.[03:13] Unity is expressed in diversity (at least as far as grace goes).[06:15] A Latin word in the pasage--for one-upmanship or to elevate the sweet new style?[08:32] The mixed metaphoric space of the pilgrim Dante and Piccarda Donati.[12:38] The monastic prelude to Piccarda's personal story.[18:56] The violent yet elliptical end of her story.[25:45] Rereading the passage: PARADISO, Canto III, lines 88 - 108.

This post contains affiliate links, which means I may earn a small commission at no extra cost to you.This post was an original Subtack Live that aired on September 18, 2026.Awards season has landed — and the 2026 National Book Award (NBA) fiction longlist is stacked. Deedi Reads joins the pod to break it all down.Deedi from the Deedi Reads Substack joins What to Read Next for a special crossover covering all ten titles on the 2026 National Book Award fiction longlist — from Marlon James's queer epic The Disappearers to Valeria Luiselli's Beginning Middle End. We also dig into the Hugo Awards, the biggest NBA snub of the year, and how to build a budget-friendly award-season TBR using your library

Jason Baxter opens our Worldview Academy up with Dante's Paradiso. These were recorded on 7/18/2026

Piccarda has confessed to her more humble place in the heavens. Our pilgrim Dante then wants to know if she wants more.Her answer leads her to an apotheosis of the will. Everything in the universe is in harmony; all dissonances are put aside.It also leads her to a similar spot that Francesca comes to in INFERNO V: a riff off a quotation from St. Augustine's CONFESSIONS.Join me, Mark Scarbrough, as Piccarda offers her answer to a central question in COMEDY: How does the universe reconcile its differences?Here are the segments for this episode of WALKING WITH DANTE:[01:04] My English translation of PARADISO, Canto III, Lines 58 - 87. If you'd like to read along or continue the conversation with me through a dropped comment, please find the entry for this episode on my website, markscarbrough.com.[03:35] Dante's position in this passage: (1) the pilgrim's smaller question gets a bigger, cosmological answer; and (2) the poet's desire for a greater position may lie under the pilgrim's question.[08:39] Movement in the passage: (1) from not knowing to living the best life, (2) from individuality to unity, and (3) from created to creator.[15:41] Metamorphosis in the passage: (1) their aspects, (2) Piccarda's desire, (3) their wills, and (4) possibly God's.[20:57] Piccarda's use of Latin: the sweet new style gets elevated.[23:49] Francesca and Piccarda: Augustine's students![28:11] Rereading the passage: PARADISO, Canto III, lines 58 - 87.

This episode of the BG Ideas podcast features Dr. Olga Sanz Casasnovas and Dr. Pedro Porbén, professors of Spanish at BGSU's World Languages and Cultures Department, as they discuss the significance of José Lezama Lima's first novel Paradiso 60 years after its publication. Listen along, as they examine how the protagonist, José Cemí, breaks the mold for expectations of Cuban men at that time and how Paradiso challenges its readers with the concept of “otherness.” As the conversation unfolds, our guests also share the novel's history of controversy and censorship due to Cemí's exploration of his sexuality.A transcript for this episode can be found here.

This is Episode 86 of the Consortium Podcast, an academic audio blog of Kepler Education. In this episode, Dr. Joe Carlson narrates his discovery of Classical Christian Education as an insightful, young high schooler; illuminates the importance of "living room" discussions above classroom lectures; and presents The Dante Curriculum (among other works) he has published with Roman Roads Press. Dr. Joe Carlson's current book recommendation: Galahad and the Grail by Malcolm Guite Kepler's Consortiums provide resources and regional connections for Christian families, teachers, and educational organizations to expand the reach of classical education and foster human flourishing for generations to come. Dr. Joe Carlson serves as both a literature professor at New Saint Andrews College and Senior Editor at Roman Roads Press. He (along with his wife, Jen) graduated NSA in 2005 with a BA in Liberal Arts and Culture. Following that, he did a number of things, including publishing micro-epic poetry, acting as the Director of Operations for a family of coffee shops, co-pastoring the church he grew up in in central coast California, and co-founding a campus ministry at the University of California Santa Cruz. He holds an MA in Humanities and a PhD in Literature, both from the University of Dallas. He is the author of several works, including an original translation of Dante's Divine Comedy and readers' guides for the Inferno, Purgatorio, and Paradiso, Milton's Paradise Lost and Paradise Regained, and Vergil's Aeneid, all with Roman Roads Press. He and his wife have one son, and they all live very happily in Moscow, ID.

At long last, the first soul--or "shade"--steps forward in Paradise. She's Piccarda Donati, a figure we've already encountered once (maybe even twice) in COMEDY.Dante flatters her to speak and she begins, not with herself, but with some theology and thoughts on her placement in the heavens.Along the way, her speech takes on some dark spots of ambiguity, about like the moon with its rare and dense material.Join me, Mark Scarbrough, as we begin our time with the first soul in Paradise.Here are the segments for this episode of WALKING WITH DANTE:[01:04] My English translation of PARADISO, Canto III, Lines 34 - 57. If you'd like to read along or drop a comment on this episode, please find its entry on my website, markscarbrough.com.[03:12] Introducing Piccarda Donati, a nun forced to violate her vows.[09:11] Finding Piccarda Donati elsewhere in COMEDY, particularly at PURGATORIO XXIII and XXIV, in the speech of her brother, Forese, among the gluttons.[12:19] Also finding Piccarda Donati in Francesca from INFERNO V.[18:00] Finding darkness (or ambiguity) in Piccarda--moon spots, as it were.[22:51] Playing games with vows, voids, and volition (or the will).[26:37] Rereading PARADISO, Canto III, lines 34 - 87.

Dante is about to meet the first souls in Paradise, emerging from the liquid light of the moon.The poetry is lush and sensuous. The metaphors are complex and compounded. And Beatrice is a bit chilly, full of Latinisms and a condescending smile.It's a marvelous banquet for the senses, here in this first sphere, where the souls seems to emerge as reflections in the diaphanous lunar realm.Join me, Mark Scarbrough, as we see our first redeemed souls in heaven--and discover that Paradise is not as bright or as clear as we might expect.Here are the segments for this episode of WALKING WITH DANTE:[01:13] My English translation of PARADISO, Canto III, Lines 1 - 33. If you'd like to read along or drop a comment on this episode to continue the conversation, please find its entry on my website, markscarbrough.com.[03:53] The lush, even sensual poetics of the moon.[09:14] Deeper, even dark complexities within the lush poetry.[11:53] Beatrice, not an allegory, but a real woman, and an honored spokesperson for truth.[15:30] Dante as Narcissus . . . or not.[20:20] Getting stuck on the marginalia, so much so that you can't make out the text.[23:48] Truth as an approximation, not a delineation.[25:56] Rereading the passage: PARADISO, Canto III, Lines 1 - 33.

Een aangrijpende coming-of-age-roman die zich afspeelt in de bergen van Italië. Het is 1993 en Eva ontdekt zowel een andere kant van zichzelf als een geheim dat in de bergen verscholen ligt. Uitgegeven door Ambo|Anthos Spreker: Josine Pieters

Beatrice concludes her explanation for moon spots by veering away from them specifically to talk about the nature of the universe.Blessed movers turn the spheres. Or perhaps inhabit them. Or are bound to them. Or maybe even give them life.Her argument may veer into heresy as Dante brings his universe alive . . . maybe literally.Join me, Mark Scarbrough, as we explore this dense and abstruse conclusion to Beatrice's first major discourse in PARADISO.To support this podcast, consider a one-time donation or a small monthly stipend using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:20] My English translation of PARADISO, Canto II, Lines 127 - 148. If you'd like to read along or continue the conversation by dropping a comment about this episode, please find its entry on my website: markscarbrough.com.[04:26] A paraphrase of this difficult passage.[06:14] Beatrice's central questions: How do the spheres of the heavens move and how do they disperse their influence?[13:03] Light as the vehicle for stellar or heavenly influence.[14:26] Heresy, angels, spheres, souls, and bodies: Is the universe at least partly alive?[20:36] Beatrice's incomplete discourse: How do some spheres have more than one nature and how are any dark spots dark?[23:08] The bigger implication: Dark and light parts of people . . . and maybe of the blessed.[24:47] Rereading the passage: PARADISO, Canto II, lines 127 - 148.

Beatrice now launches into the true explanation for moon spots, found not in folklore, not in natural philosophy, but in metaphysics.Her explanation pushes her to disclose the parts of the universe we could never see, then lets her discuss diversity as a function of the light falling from the stars through the planets to us.A gorgeously poetic passage, it also raises many more questions than it answers . . . . questions that will trouble PARADISO for cantos to come.Join me, Mark Scarbrough, as we begin the discovery of Dante's ultimate explanation for moon spots. They're not physical. They're metaphysical.Here are the segments for this episode of WALKING WITH DANTE:[01:45] My English translation of PARADISO, Canto II, Lines 106 - 126. If you'd like to read along or drop a comment on this episode to continue the conversation, find its entry on my website, markscarbrough.com.[04:10] An overview of the three explanations for moon spots and of the structure of this passage.[06:27] Beatrice's metaphysical explanation for moon spots.[16:32] Dante's fully aligned (and thus broken) cosmos.[19:05] Two astrological implications from Beatrice's metaphysics.[22:41] Beatrice's metaphors in the passage.[26:37] Rereading PARADISO, Canto II, lines 106 - 126.

Beatrice continues in her scientific and Scholastic explanation for moon spots by taking apart a secondary argument . . . and proposing an optical experiment.She voices an objection Dante might have: perhaps there are dense bits behind the rare bits that reflect light as darker spots because those denser bits are farther off.To prove him wrong (although he hasn't said a thing), she asks him to set up an experiment with three mirrors.Problem is, he doesn't need three mirrors for this experiment. But he does need three if he wants to show that the universe is based on a trinitarian concept of God.Join me, Mark Scarbrough, as we look at one of the more surprising moments in PARADISO: the call for scientific experimentation (perhaps to prove a theological point).Here are the segments for this episode of WALKING WITH DANTE:[01:13] My English translation of PARADISO, Canto II, Lines 85 - 105. To read along or to continue the conversation with me, please find the entry for this episode on my website, markscarbrough.com.[03:25] The basic structure of the passage: Beatrice's secondary explanation (or objection), then her experimental refutation of that explanation.[05:29] Medieval optical theory and its limits.[08:36] The limits of Beatrice's proposed experiment--and why they may not matter since the point may be theology, not optical theory or cosmology.[17:23] Four possiblereasons this long discussion of moon spots lands here in COMEDY.[23:41] Rereading the passage: PARADISO, Canto II, lines 85 - 105.

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Beatrice begins her destruction of Dante's explanation for moon spots by taking apart his notion of dense and rare spots on the lunar surface . . . with a dizzying display of mixed metaphors.Her argument lofts to the highest visible heaven, the eighth sphere; then falls back into scholastic reasoning; and offering both experimental and poetic rationales for why he's wrong.Join me, Mark Scarbrough, as we explore the first part of Beatrice's explanation for moon spots, predicated on the bass line of the incarnation.Here are the segments for this episode of WALKING WITH DANTE:[01:20] My English translation of PARADISO, Canto II, Lines 64 - 84. If you'd like to read along or continue the conversation about this passage, find its entry at my website, markscarbrough.com.[03:27] Paraphrasing this difficult passage in Beatrice's argument about moon spots.[04:46] Lofting the argument to the eighth heaven, the highest part of visible creation (from Dante's perspective).[08:15] Offering diversity as complexity beyond a simple continuum for an answer.[12:31] Moving into experimental (or experiential) proofs for her argument (and implicitly for an understanding of the incarnation of Jesus).[15:13] Inspiring a dizzying vertigo through mixed metaphors to state the negative of her argument.[18:41] Rereading the passage: PARADISO, Canto II, lines 64 - 84.

Now that our pilgrim Dante is standing in the moon, he has a fundamental question: Why are there spots on the moon?And he thinks he knows the answer, right out of natural philosophy. They're caused by rare and dense material in the moon.He's asking a question for which he knows the answer, trying to play teacher's pet. But Beatrice is having none of it. She's ready to show him how he's not as smart as he thinks he is.Join me, Mark Scarbrough, as we begin our descent into some of the most complicated material in all of COMEDY.Here are the segments for this episode of WALKING WITH DANTE:[01:14] My English translation of PARADISO, Canto II, Lines 46 - 63. If you'd like to read along or drop a comment about this episode, please find its entry on my website, markscarbrough.com.[02:57] Two small thematic details: the uses of the word "body" and Beatrice's watery metaphor of "submerged."[06:02] Two of three explanations for moon spots in this canto: 1) the folkloric myth and 2) the natural philosophy deduction.[07:57] Folklore: Cain and his thorns in the moon.[09:21] Natural philosophy: rare and dense materials (and how they reflect light).[12:54] The distance Beatrice puts between her arguments (to come) and 1) sensory input and 2) reason . . . and thereby Virgil.[17:07] Diversity and a pluralistic world.[19:07] Rereading the passage: PARADISO, Canto II, lines 46 - 63.

Puntata speciale del Cacciatore di libri Estate dedicata a romanzi che narrano di personaggi storici. Interviste a: - Valeria Parrella che nel romanzo "La ragazzina" (Feltrinelli) ha narrato con un linguaggio attuale le vicende di Giovanna d'Arco- Matteo Nucci che ha ricostruito la vita del filosofo Platone, mettendo in evidenza gli aspetti più umani e meno noti, nel libro "Platone - Una storia d'amore" (Feltrinelli)- Stefano Petrocchi che con il libro "Romanzo privato" (Mondadori) ci porta alla scoperta di Maria Bellonci, non solo fondatrice del Premio Strega ma scrittrice, autrice di romanzi su personaggi storici- Sara Rattaro che nel romanzo "Il vestito di mia madre" (Piemme) ricostruisce la storia di Teresa Mattei, partigiana e una delle ventuno donne che hanno contribuito a scrivere la Costituzione italiana Nella parte dedicata ai personaggi dei classici della letteratura, Manlio Castagna ci parla della Monaca di Monza che appare nei Promessi Sposi, mentre Claudio Giunta di Beatrice che accompagna Dante nel suo viaggio in Paradiso. Le interviste sono tratte dal podcast "Volti di carta" realizzato da DeaScuola in collaborazione con Radio 24.

Fr. Chris Alar, MIC reflects on the remarkable life and spirituality of St. Bernard of Clairvaux, Abbot and Doctor of the Church—a mystic and contemplative who was also deeply involved in the political and Church affairs of his time. Known for his profound Marian devotion, St. Bernard even appears in Dante's Paradiso as the final spiritual guide who leads Dante through Mary toward his vision of God and eternity. Fr. Chris also highlights the powerful devotion associated with the Shoulder Wound of Christ, traditionally connected with St. Bernard. We are invited to contemplate the hidden suffering Jesus endured on His shoulder while carrying the heavy Cross for us. This devotion reminds us that following Christ means accepting our own crosses with faith and love, trusting that our suffering, united with His, can lead us closer to God and ultimately to the joy of eternal life. Readings for August 20th 2026: https://bible.usccb.org/bible/readings/082026.cfm © 2026 Marian Fathers of the Immaculate Conception. All rights reserved. ⭐️ Support our Ministries: https://www.thedivinemercy.org/donate... ✝️ Explore Divine Mercy on Divine Mercy Plus! https://divinemercyplus.org/?source=YT ⛪️ Plan Your Visit to the National Shrine of The Divine Mercy! https://www.shrineofdivinemercy.org/?... Follow Us on Social Media!

After Dante's warning to his readers (or perhaps some of his readers), we return to the plot, ascending through the heavens to arrive at the moon . . . or really, in the moon.Dante and Beatrice find themselves inside this translucent pearl in the heavens.And in so doing, Dante proves the incarnation really happened . . . at least, if you accept that his journey really happened.Join me, Mark Scarbrough, as we explore the first of several complex passages in the second canto of PARADISO.If you'd like to support this work, please consider a one-time donation or a small monthly stipend using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:11] My English translation of PARADISO, Canto I, lines 19 - 45. If you'd like to read along or continue the conversation with me, find the entry for this episode on my website, markscarbrough.com.[03:12] Backgrounds: A brief history of "natural philosophy" in Dante's day.[07:29] Backgrounds: The incarnation, of the prime methods of redemption for Dante.[10:10] A thought experiment: the universe as a diaphanous, aesthetic object.[12:20] The journey into the universe . . . or mystery (without spoilers).[14:16] Hysteron proteron: the rhetorical flourish of PARADISO and the ultimate structure of COMEDY.[17:16] Lots of joinings here and in Canto I, all anticipating the incarnation.[18:37] The complex symbolism of the moon as a pearl.[21:27] The incarnation in the foreground of the narrative.[24:17] Dante's journey as proof of the incarnation.[26:37] Rereading the passage: PARADISO, Canto II, lines 19 - 45.

Serie A-säsongen är runt hörnet, och Calcio Paradiso dyker ner i alla lag för att ge er kollen ni behöver. Talanger(?), anledningar att hata och älska lagen samt nyförvärv och historia. Häng med - äntligen är det dags för Serie a!

Hoy recibimos a dos jovenes de la tercera edad, pero están más vivas que cualquiera de 25

Vi intresserar oss för Maltes politiska gärning i Georgien och imponeras, även av fotbollens utveckling i Italiens tvillingstat. Samtidigt har Rinos Lazio förlorat mot Mantova - själlösa Mantova. Vi leker Paradiso eller Inferno med halva landet och sätter ett starkt strplkastarljus på Lucarelli-brödernas Livorno - post Protti.Vi intresserar oss för Maltes politiska gärning i Georgien och imponeras, även av fotbollens utveckling i Italiens tvillingstat. Samtidigt har Rinos Lazio förlorat mot Mantova - själlösa Mantova. Vi leker Paradiso eller Inferno med halva landet och sätter ett starkt strålkastarljus på Lucarelli-brödernas Livorno - post Protti.

Our poet steps out of the shadows with an important message: "Go home."Because PARADISO is hard. Because we might get lost. Because we're not prepared.The stark address to all readers--or perhaps to a much more limited set of specialty readers--that opens Canto II is one of the most unusual moments in COMEDY. When does an author ever warn his readers to stay away?Join me, Mark Scarbrough, as we attempt to find a way survive with the other Argonauts as our Jason begins to plow his own field.Consider supporting this work with a one-time donation or a small monthly stipend using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:04] My English translation of PARADISO, Canto II, lines 1 - 18. If you'd like to read along or drop a comment about this episode, please find its entry on my website, markscarbrough.com.[02:41] Introductory remarks: Don't skip this canto but don't be too optimistic.[05:10] The rhetoric of the new: PARADISO is not Virgil, not Statius, not the Apocalypse of St John, not PURGATORIO, not INFERNO, and not the CONVIVIO.[10:08] The bread of angels: the Eucharist, theological study, or something less well defined?[12:11] Jason, the Argonauts, and the rewriting of Ovid's METAMORPHOSIS.[15:25] An address to any reader or an address to a more limited audience, like fellow poets?[19:41] The grace of partial understanding with metonymies.[23:19] Rereading the passage: PARADISO, Canto II, lines 1 - 18.

Beatrice continues in her discourse about our natural instincts, making the bold claim that they can lead us to our natural ends . . . which are the good, not the catastrophic bad.Her Scholastic theology is tinted with poetic metaphors in a bold move to explain how the arrow, once shot, can deviate from its preordained track.Join me, Mark Scarbrough, for the conclusion of Beatrice's first major discourse in PARADISO.Here are the segments for this episode of WALKING WITH DANTE:[01:39] My English translation of PARADISO, Canto I, Lines 115 - 142. To read along or continue the conversation about this passage, please find the entry for this podcast episode on my website, markscarbrough.com.[03:50] Paraphrasing Beatrice's discourse on instinct, order, and ends.[06:41] Keeping the instinct to a predetermined end fuzzy.[09:29] Highlighting Beatrice's poetics in two metaphors: archery and art.[14:43] Swerving with the lightning.[16:02] Drawing further conclusions from Beatrice's first major discourse in PARADISO.[21:05] Rereading the passage: PARADISO, Canto I, lines 115 - 142.

Dave here, I'm delighted to say I recently recorded my first ever audiobook - Lucky's Woods, by author Massimo Paradiso. In this episode, I chat with Massimo about the book, the process of writing and recording the audiobook, and he shares some advice for aspiring authors on the world of self-publishing. You can listen to my reading of Lucky's Woods on Audible here. You can learn more about Massimo and purchase Lucky's Woods or his other novels on his website here. Learn more about your ad choices. Visit megaphone.fm/adchoices

Follow FRANCHISE PARADISO on Instagram @franchiseparadiso!You can find also find the guys individually on social media:Heath on Letterboxd @theoneheathbar,Foster on Letterboxd @fosth101Rowan on Twitter @bitsofjoel, Letterboxd and Instagram @rowan.a.boatJonathan Watkins @samloomisAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Beatrice has answered Dante's first doubt, but he has another. He can't quite understand how he, maybe in his body, can make his way across the universe.She doesn't have a quick answer. Instead, she has a theory of how the whole universe works.Her answers are always bigger than his questions.And in this case, she brings him out onto the great sea of "to be" as he begins to sail into port.Join me, Mark Scarbrough, as we explore the first part of her great schematic for the universe: its diverse order is a reflection of its unified creator.If you'd like to support this work, consider a one-time donation or a small monthly stipend using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:14] My English translation of PARADISO, Canto I, Lines 94 - 114. If you'd like to read along or drop a comment about this episode, please find its entry on my website, markscarbrough.com.[03:14] Dante's agitation, Beatrice's smile.[10:00] His implicit question: my body v. all the heavenly bodies.[13:25] The first part of her answer about the orderliness of creation.[20:10] Order and disorder: Dante's and our dualities.[23:43] Rereading the passage: PARADISO, Canto I, lines 94 - 114.

Our pilgrim finds everything doubled in brightness . . . because he's begun to fly up to the heavens, although he doesn't know it at first.He's too busy figuring out all that light . . . and listening to the music of the spheres.But Beatrice is there to set him straight and tell him that his ascent is faster than he could ever understand.She also redefines "home"--not the Italian peninsula, nor the Garden of Eden, but the highest heaven, where they're headed in this journey to the final vision.Join me, Mark Scarbrough, as we begin our flight among the planets and stars to head home.Here are the segments for this episode of WALKING WITH DANTE:[00:49] My English translation of PARADISO, Canto I, Lines 61 - 93. If you'd like to read along or drop a comment to continue the conversation, please find this episode's entry on my website, markscarbrough.com.[03:34] Glaucus, the fisherman who becomes a sea-god.[05:01] Glossing lines 61 - 72: the changing light and pilgrim.[10:14] Glossing lines 73 - 75: the mind/body problem.[13:19] Glossing lines 76 - 84: the sempiternal music of the spheres.[18:55] Glossing lines 85 - 93: Beatrice's answer to an unasked question.[21:00] How a guy transhumans--and how this guy translates some hard lines.[28:06] There is always more light.[30:06] Wonder and awe are not ends in themselves.[32:03] Life is an on-going redefinition of "home."[34:30] Rereading PARADISO, Canto I, lines 61 - 93.

Det första historiska avsnittet av Calcio Paradiso zick-zackar mellan Comos starke man Osian Roberts, Det Nya Juve, Leaos ickebefintliga dragningskraft, Gasperinis påtryckningar och Gauccis ritorno i Perugia. Samt allt där emellan. Välkomna till Sverige nya calciopodd!

The plot gets underway in PARADISO.Our pilgrim Dante turns to Beatrice . . . who is paying him no attention. She's staring at the sun.So he does the same! He hasn't even left earth, yet the miraculous nature of his story is already in high gear.As is his understanding of the universe ahead of him. Join me, Mark Scarbrough, as we experience Beatrice's return to the poem and the pilgrim's new mode of reflecting her glory.If you'd like to help underwrite this work, please consider a one-time donation or a small monthly stipend using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:19] My English translation of PARADISO, Canto I, Lines 37 - 60. If you'd like to read along or continue the conversation with me through a comment on this episode, please find its entry on my website, markscarbrough.com.[03:23] In PARADISO plot comes second.[06:06] Where are we? Cosmology and geography in the first three tercets.[12:26] Dante explains the vernal equinox by the geocentric crossings of various circles around the globe.[16:16] PARADISO is based on locations that its readers can observe in real time.[19:18] Beatrice returns to the poem and manifests her ray of light.[26:07] The pilgrim wishes to return home--but where is that?[28:21] PARADISO excels at unanswered questions.[30:24] The sparks fly from the sun . . . or from the sphere of fire.[34:00] Rereading the passage: PARADISO, Canto I, lines 37 - 60.

Our poet moves from his scholastic and even (medieval) scientific opening of PARADISO into his invocation . . . to Apollo?This passage has often embarrassed Dante scholars who feel the need to excuse various pieces of it.But we can let those pieces stand as part of the polyvocality of the text.Join me, Mark Scarbrough, as we move back and forth from the Christian to the pagan as we walk through this second part of Dante's opening lines of PARADISO.Here are the segments for this episode of WALKING WITH DANTE:[01:11] My English translation of PARADISO, Canto I, Lines 13 - 36. If you'd like to read along or continue the conversation with me via a comment on this episode, please find its entry on my website, markscarbrough.com.[03:09] This passage embarrasses too many Dante scholars.[09:14] This passage is polyvocal, a two-part fugue or invention.[17:59] These two voices lead to dissonances in the passage.[23:36] Did Dante intend these dissonances?[25:20] Three small dissonances: Dante crowns himself, fights in an arena, and find his worth in two places at once.[28:32] Marsyas, a comedic tragedy.[32:01] The flame of the tongue, Pentecost, or maybe Ulysses.[34:48] A high-toned, perhaps red-flag reference to Cyrrha.[35:55] An inaccurate but telling reference to Parnassus.[39:07] Rereading the passage: PARADISO, Canto I, lines 13 - 36.

Watch the full video here: https://renderingunconscious.substack.com/p/ru411-ann-pellegrini-avgi-saketopoulou Rendering Unconscious is now at Substack: https://renderingunconscious.substack.com RU413: ON THE SPANISH TRANSLATION OF GENDER WITHOUT IDENTITY BY PARADISO EDITORES Rendering Unconscious welcomes Alejandro Cerda Rueda, Ann Pellegrini and Avgi Saketopoulou to the podcast! They're here to discuss the Spanish translation of Gender Without Identity – Género sin identidad – published by Paradiso Editores as part of their Estancias collection. https://www.paradiso-editores.com/shop/p/s4tdrabx6xap8b5-rck7p-ef7nw-yteg3-prwpd-3kzpc-9ahr3-6b53b-hdj8j-j5yg7-jszdt-5a4hp-wj3lj-lfgne-4zyye-88kmp Rendering Unconscious episode 413. On this episode, Avgi, Ann and Alejandro discuss the Spanish translation of Gender Without Identity, as Género sin identidad published by Paradiso Editores. They share the backstory of how the translation project came about, highlighting the involvement of various colleagues and translators. The discussion also touches upon the influence of Jean Laplanche in Mexico and the broader impact of his work in different regions. Furthermore, Alejandro shares his journey in founding publishing company, Paradiso Editores with his father, and its role in promoting psychoanalytic literature in the Spanish-speaking world. Special thanks to translators Carolina Besoain, Tomás Ojeda Güemes, Andrea Rihm Bianchi. Follow Paradiso Editores on Instagram: https://www.instagram.com/paradisoeditores/ Check out previous episode(s): RU247: ANN PELLEGRINI & AVGI SAKETOPOULOU ON GENDER WITHOUT IDENTITY: https://renderingunconscious.substack.com/p/ru247-ann-pellegrini-and-avgi-saketopoulou You may find your favorite Rendering Unconscious Podcast episodes and guests here: https://renderingunconscious.substack.com/p/episodes RU Center news & updates: See you Wednesday, August 5th as Dr. Mikita Brottman presents Two Renegade Sexologists: On Psychopathia Sexualis & The Sexual Criminal: A Psychoanalytic Study. https://www.tickettailor.com/events/renderingunconsciouscenterforpsychoanalysis/2312172 Rendering Unconscious is also a book: Rendering Unconscious: Psychoanalytic Perspectives, Politics & Poetry vols 1:1 & 1:2 (Trapart Books, 2024): https://amzn.to/4sOqSEu Thank you for being a paid subscriber to Rendering Unconscious Podcast. It makes my work possible. If you are so far a free subscriber, thanks to you too. Please consider becoming a paid subscriber to gain access to all the material on the site, including new, future, and archival podcast episodes. It's so important to maintain independent spaces free from censorship and corporate influence. If you are interested in pursuing psychoanalytic treatment or supervision with me, please feel free to contact me directly: www.drvanessasinclair.net/contact/ As always, huge thanks to Carl Abrahamsson for providing the intro and outro music for Rendering Unconscious Podcast. https://linktr.ee/CarlAbrahamsson https://thefenriswolf.substack.com https://anartapart.substack.com The song at the end of this episode is "This is the Subconscious (Your Own Adventure)" from the album "Conceive Ourselves" by Vanessa Sinclair and Pete Murphy: https://petemurphy.bandcamp.com/album/conceive-ourselves-2-2 Visit Pete's Bandcamp and support indie artists: https://petemurphy.bandcamp.com Our music is also available at Spotify and other streaming services. https://open.spotify.com/artist/3xKEE2NPGatImt46OgaemY Links to everything can be found at: https://linktr.ee/renderingunconscious Enjoy! Thank You.

It's the school summer holidays and I'm taking a break. So instead of new chats, I'm replaying some of my old favourites! This is a repeat of episode #12.In this episode of NeedleXChange I interview John Thomas Paradiso.John Thomas Paradiso is a Washington-based artist who has been exploring the intimacy of gay culture through needlework for over 30 years.Using hand embroidered quilting techniques, working on surfaces including leather and suede, and using traditional materials like doilies to mask the graphic parts of his subjects, John's work treads the line between pornography and personal portraiture. His art is unapologetic in its openness and his expressions of the passion of gay love are both sensitive and sensational.In our NeedleXChange we talk about how John's artistic career has run alongside the timeline of the HIV pandemic, the value in re-appropriating homophobic slurs, and how his art has defined his own queer identity.Timestamps:00:00:00 - Intro00:01:38 - How John's subjects come into being00:04:00 - Why John hand quilts his work00:08:00 - The challenge of entering into quilt shows00:16:00 - How John honours his feminine side and strives for masculinity00:21:00 - Reflecting on his earlier work00:23:00 - John's definition of success00:25:15 - Favourite Album00:26:55 - Favourite Book00:29:26 - Favourite Film00:33:00 - John's reflections on working in the care sectorLinks:Website: john-paradiso.comInstagram: john_paradiso_artistIntro music is Let's Go Find The Sun by Sarah the Illstrumentalist via Epidemic Sound. About NeedleXChangeAn artist interview podcast exploring contemporary embroidery and textile art. Hosted by Jamie "Mr X Stitch" Chalmers.Stay Connectedneedl.exchange | Newsletter: bit.ly/NeedleXChangeNewsmrxstitch.com | xstitchmag.com

From its opening lines, it's clear that PARADISO is not like what has come before in COMEDY. Dante seems to be renegotiating the terms of his poem, establishing a new voice, a new model, and a new methodology for who he will proceed.These opening lines are already packed with the sort of theological and philosophical stumbling blocks that make PARADISO a challenge, not just for a modern reader, but even for a medieval one.Join me, Mark Scarbrough, as we slowly walk throug the first twelve lines of what is assuredly the most imaginative canticle, PARADISO.Here are the segments for this episode of WALKING WITH DANTE:[02:42] My English translation of PARADISO, Canto I, lines 1 - 12. If you'd like to read along, please find the entry for this episode on my website, markscarbrough.com.[03:56] The glory of the unmoved mover.[09:39] The varying illuminations of the universe.[13:27] The finite geography of heaven.[15:54] A passing glance at the highest heaven.[17:34] Dante and St. Paul, renegotiated.[19:25] The interrelations of desire, intellect, memory, and potentially Beatrice.[22:23] The memory of a memory--or knowing by not knowing, the core of the aphophatic revelation.[29:37] The key paradox of the mystical experience: the cross-currents of the material and the immaterial.[33:02] The resurrection of Brunetto Latini.[35:25] Rereading the passage: PARADISO, Canto I, Lines 1 - 12.

This week on Beers & Bible, we're in Romans 12:16–21, where Paul gets very practical about what Christian love looks like when life gets personal.How do we respond when we're wronged? Do we defend ourselves, get even, or trust God with justice? Paul calls believers away from pride, retaliation, bitterness, and vengeance—and toward humility, peace, mercy, and active goodness.We talk about the difference between vindication and vengeance, why Christians are called to pursue peace “as much as depends on you,” and what it means to overcome evil with good.

Follow FRANCHISE PARADISO on Instagram @franchiseparadiso!You can find also find the guys individually on social media:Heath on Letterboxd @theoneheathbar,Foster on Letterboxd @fosth101Rowan on Twitter @bitsofjoel, Letterboxd and Instagram @rowan.a.boatMike Hilty - @mhity2452Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Damian recaps his trip to Amsterdam for the inaugural Europe's 50 Best Bars 2026.What started as an awards ceremony quickly became a full festival of cocktails, with bar takeovers, brand activations, industry events, parties and a green-carpet ceremony bringing together some of the best bars in Europe.From Rosewood Amsterdam's stunning Advocatuur bar and the Meet the Bartenders media event, to the main Europe's 50 Best Bars ceremony at De Kromhouthal and the rooftop closing party at LuminAir, Damian gives a behind-the-scenes look at what happens when 50 Best rolls into town.He also reflects on the key themes shaping the European cocktail scene in 2026, including Athens' dominance, the continued strength of London cocktail bars and Barcelona cocktail bars, the rise of Central and Eastern Europe, and the importance of genuine hospitality alongside technical innovation.Key TakeawaysEurope's 50 Best Bars 2026 felt much bigger than a single awards night. Amsterdam became the centre of the European cocktail world, with pop-ups, parties, brand activations and some of the best bartenders in Europe gathering across the city.Athens had a huge showing, with Line taking the No.1 spot and The Bar in Front of The Bar coming in at No.2, underlining just how strong the Greek cocktail scene has become.London remains a major force in the best bars in Europe conversation, with bars including The Connaught Bar, Satan's Whiskers, Tayēr + Elementary, Panda & Sons, Waltz, Kwãnt Mayfair, Three Sheets Soho and Scarfes Bar all appearing on the list.Panda & Sons deserve a special mention, coming in at No.20 and also picking up the Siete Misterios Best Cocktail Menu Award.Barcelona continues to be one of Europe's most important cocktail cities, with Sips, Paradiso, Aldea, Boadas, Foco and others showing the depth of the city's bar scene.Central and Eastern Europe are becoming increasingly important on the cocktail map, with strong placements from bars in Bratislava, Tirana, Prague and Krakow.Sustainability, fermentation, low-waste practices, hyper-local ingredients and strong storytelling are clearly shaping modern cocktail culture.At the same time, the best cocktail bars are still the ones that combine technical skill with warmth, simplicity, personality, atmosphere and genuine hospitality.HighlightsLanding in a sun-soaked Amsterdam and heading straight into a packed few days of cocktail events.Visiting Advocatuur at Rosewood Amsterdam, a beautiful cocktail bar inside the former Palace of Justice, with thoughtful drinks, warm hospitality and a strong sense of place.Stopping by The Flying Dutchman at Sofitel Legend The Grand for a Gin Mare event with the team from Boadas Barcelona.Bumping into Simone Caporale from Sips Barcelona and lining up what will hopefully become a future episode of The Cocktail Academy Podcast.Attending The Cambridge Public House activation, complete with great drinks, a packed room, big energy and a sleeping Jack Russell in the middle of the madness.Finishing the first night at Belly of the Beast, with rum, gongs, colour and full tiki-style energy.Taking part in the Meet the Bartenders event, speaking with teams from Super Lyan, Tjoget, TAG, Aldea and Panda & Sons.Experiencing the main Europe's 50 Best Bars 2026 ceremony at De Kromhouthal, with the green carpet, packed room, brand activations, cocktails and the live countdown.Seeing Line in Athens crowned The Best Bar in Europe 2026.Celebrating Panda & Sons coming in at No.20 and winning the Siete Misterios Best Cocktail Menu Award.Ending the trip at the rooftop closing party at LuminAir, with sunshine, DJs, barbecue, sushi, cocktails and views over Amsterdam.LinksThe World's 50 Best Bars:https://www.theworlds50best.com/bars/The Cocktail Academy on Instagram:https://www.instagram.com/welovecocktails/The Cocktail Academy on Tiktok Facebook:https://www.facebook.com/welovecocktailsx/https://www.tiktok.com/@welovecocktailsxThe Cocktail Academy:https://thecocktailacademy.com/ Hosted on Acast. See acast.com/privacy for more information.

Concluding our three-series on Dante, Fr. John and Fr. Jacob walk through the finale of Dante's Divine Comedy, the Paradiso. This "highlights reel" serves as an overview of the work for anyone every interested, but intimated by a poem of such stature. We hope it inspires a reading, as the poetry of Dante is truly inexhaustible. If you are interested in more, check out Fr. John's nine-part lecture series at Our Lady of Lourdes: https://www.youtube.com/@LourdesDenver/streams.