Podcasts about Pickwick

Ian speaks with Noah Lennox and Pete Kember—aka Panda Bear and Sonic Boom—about the annoying Victor Wembanyama, ditching Spotify, the former glory of the charts, Lou Reed's Pickwick era, making music that makes them laugh, the evolution of their collaborative relationship, annoying-sounding keyboards, fostering a community that values art, and their sublime new record, A ? OF WHEN.  "A ? OF WHEN" AVAILABLE NOW (BUT NOT ON SPOTIFY)

Techaandelen wereldwijd werden gedumpt. Het begon op Wall Street, verplaatste zich naar de Aziatische beurs (waar de Zuid-Koreaanse beurs zelfs even werd stilgelegd) om ook huis te houden op Europese beurzen. Waarna het hele 'feest' weer verder ging op Wall Street. SpaceX, Nvidia, Micron: alles dat iets met tech doet wordt gedumpt. We proberen deze aflevering te kijken wat de reden daar voor is. Of je moet vrezen voor een correctie. En wat de aandelen zijn die je nu wat meer rust en stabiliteit bieden. Hebben we het ook nog even specifiek over SpaceX. Dat maakt zich op voor zijn vierde handelsdag op rij dat de koers daalt. Inmiddels is er 600 miljard dollar aan beurswaarde door het putje. Nog even en de koers van het aandeel zit onder de introductieprijs. Stellen we je ook voor aan Rafael Oliveira. De Braziliaan verkocht eerst koffie en thee, maar wordt nu de op-een-na machtigste bierman van de wereld. Hij wordt namelijk de baas van Heineken! De beste man heeft nog geen dag gewerkt en krijgt nu al bijna voor 25 miljoen euro aan Heineken-aandelen. Tot woede van de VEB. Ook gaat het over Sjoerd Sjoerdsma. Die gaat om de tafel met Howard Lutnick, de plaaggeest van ASML. De man die denkt dat ASML strenge exportregels aan zijn laars lapt. Sjoerdsma moet hem overhalen, zorgen dat 'ie ASML niet aan nog meer regels onderwerpt. Te gast: Erik Mauritz van Trade Republic BNR Beurs is een journalistiek onafhankelijke productie, mede mogelijk gemaakt door Saxo. Over de makers: Jelle Maasbach is presentator van BNR Beurs en freelance financieel journalist. Zijn favoriete aandeel om over te praten is Disney, maar daar lijkt hij de enige in te zijn. Sinds de eerste uitzending van BNR Beurs is 'ie er bij. Maxim van Mil is presentator van BNR Beurs en journalist bij BNR, waar hij zich focust op de financiële markten en ontwikkelingen in de tech-wereld. Je krijgt hem het meest enthousiast als hij kan praten over ASML, of oer-Hollandse bedrijven zoals Ahold of ABN Amro. Jorik Simonides is presentator van BNR Beurs, economieredacteur en verslaggever bij BNR. Hij wordt er vooral blij van als het een keer níet over AI gaat. Je hoort hem ook in de BNR-podcast Moerdijk: dorp van de rekening. Milou Brand is presentator van BNR Beurs, freelance podcastmaker en columnist bij het Financieele Dagblad. Jochem Visser is presentator van BNR Beurs, maakt Beursnerd XL en is redacteur bij de podcast Onder Curatoren. Vraag hem naar obscure zaken op financiële markten en hij vertelt je waarom het eigenlijk nóg leuker is dan je al dacht. Over de podcast: Met BNR Beurs ga je altijd voorbereid de nieuwe beursdag in. We praten je in een kleine 25 minuten bij over alle laatste ontwikkelingen op de handelsvloer. We blijven niet alleen bij de AEX of Wall Street, maar vertellen je ook waar nog meer kansen liggen. En we houden het niet bij de cijfers, maar zoeken ook iedere dag voor je naar duiding van scherpe gasten en experts. Of je nu een ervaren belegger bent of net begint met je eerste stappen op de beurs, de podcast biedt waardevolle inzichten voor je beleggingsstrategie. Door de focus op zowel de korte termijn als de lange termijn, helpt BNR Beurs luisteraars om de ruis van de markt te scheiden van de essentie.See omnystudio.com/listener for privacy information.

Techaandelen wereldwijd werden gedumpt. Het begon op Wall Street, verplaatste zich naar de Aziatische beurs (waar de Zuid-Koreaanse beurs zelfs even werd stilgelegd) om ook huis te houden op Europese beurzen. Waarna het hele 'feest' weer verder ging op Wall Street. SpaceX, Nvidia, Micron: alles dat iets met tech doet wordt gedumpt. We proberen deze aflevering te kijken wat de reden daar voor is. Of je moet vrezen voor een correctie. En wat de aandelen zijn die je nu wat meer rust en stabiliteit bieden. Hebben we het ook nog even specifiek over SpaceX. Dat maakt zich op voor zijn vierde handelsdag op rij dat de koers daalt. Inmiddels is er 600 miljard dollar aan beurswaarde door het putje. Nog even en de koers van het aandeel zit onder de introductieprijs. Stellen we je ook voor aan Rafael Oliveira. De Braziliaan verkocht eerst koffie en thee, maar wordt nu de op-een-na machtigste bierman van de wereld. Hij wordt namelijk de baas van Heineken! De beste man heeft nog geen dag gewerkt en krijgt nu al bijna voor 25 miljoen euro aan Heineken-aandelen. Tot woede van de VEB. Ook gaat het over Sjoerd Sjoerdsma. Die gaat om de tafel met Howard Lutnick, de plaaggeest van ASML. De man die denkt dat ASML strenge exportregels aan zijn laars lapt. Sjoerdsma moet hem overhalen, zorgen dat 'ie ASML niet aan nog meer regels onderwerpt. Te gast: Erik Mauritz van Trade Republic BNR Beurs is een journalistiek onafhankelijke productie, mede mogelijk gemaakt door Saxo. Over de makers: Jelle Maasbach is presentator van BNR Beurs en freelance financieel journalist. Zijn favoriete aandeel om over te praten is Disney, maar daar lijkt hij de enige in te zijn. Sinds de eerste uitzending van BNR Beurs is 'ie er bij. Maxim van Mil is presentator van BNR Beurs en journalist bij BNR, waar hij zich focust op de financiële markten en ontwikkelingen in de tech-wereld. Je krijgt hem het meest enthousiast als hij kan praten over ASML, of oer-Hollandse bedrijven zoals Ahold of ABN Amro. Jorik Simonides is presentator van BNR Beurs, economieredacteur en verslaggever bij BNR. Hij wordt er vooral blij van als het een keer níet over AI gaat. Je hoort hem ook in de BNR-podcast Moerdijk: dorp van de rekening. Milou Brand is presentator van BNR Beurs, freelance podcastmaker en columnist bij het Financieele Dagblad. Jochem Visser is presentator van BNR Beurs, maakt Beursnerd XL en is redacteur bij de podcast Onder Curatoren. Vraag hem naar obscure zaken op financiële markten en hij vertelt je waarom het eigenlijk nóg leuker is dan je al dacht. Over de podcast: Met BNR Beurs ga je altijd voorbereid de nieuwe beursdag in. We praten je in een kleine 25 minuten bij over alle laatste ontwikkelingen op de handelsvloer. We blijven niet alleen bij de AEX of Wall Street, maar vertellen je ook waar nog meer kansen liggen. En we houden het niet bij de cijfers, maar zoeken ook iedere dag voor je naar duiding van scherpe gasten en experts. Of je nu een ervaren belegger bent of net begint met je eerste stappen op de beurs, de podcast biedt waardevolle inzichten voor je beleggingsstrategie. Door de focus op zowel de korte termijn als de lange termijn, helpt BNR Beurs luisteraars om de ruis van de markt te scheiden van de essentie.See omnystudio.com/listener for privacy information.

In the early morning hours of July 4, 1925, the crowd at The Pickwick Club in Boston were celebrating the holiday at the “Before-the-Fourth” dance when roughly fifty couples took to the dance floor for one of the final songs of the night. With so much revelry and vibrations from the dancing, no one noticed the subtle sounds distressed infrastructure makes just before a tragedy, and even if they had, there likely wasn't enough time to avoid the disaster. Around 3:30 am, the ceiling above them collapsed, as the entire five-story building came down on top of them, killing forty-four people and injuring countless more. At the time, the Pickwick Club disaster was the deadliest building collapse and one of the worst accidents in in the city's history. It was followed by large investigation, during which the disaster was temporarily blamed on the Charleston, and a sensational trial aimed at punishing those responsible. However, in the one hundred years since the disaster, the tragedy at the Pickwick Club has been largely forgotten, overshadowed by larger and more devastating accidents. MENTIONED IN THIS EPISODE Come to the Live Show in New York on June 27th! Preorder The Butcher Legacy! References Boston Daily Globe. 1925. "12 bodies taken from the Pickwick Club ruins as searchers place toll of death at 40." Boston Daily Globe, July 5: 1. —. 1925. "Leaping of dancers caused collapse, view of survivor." Boston Daily Globe, July 6: 11. —. 1925. "Officer beaten in raid staged at Pickwick Club." Boston Daily Globe, February 9: 2. —. 1925. "Stabbing and small riot in Pickwick Club." Boston Daily Globe, March 23: 1. —. 1925. "Survivors' stories of building horror." Boston Daily Globe, July 5: 20. —. 1925. "Testifies Hendrick said Pickwick safe." Boston Daily Globe, Juky 28: 1. —. 1925. "Testimony ends in cluyb tragedy." Boston Daily Globe, July 11: 10. —. 1925. "Thousands seek sight of ruins." Boston Daily Globe, July 6: 12. Donovan, John J. 1925. "Probe planned by grand jury." Boston Daily Globe, July 5: 20. Harris, Henry. 1925. "Pickwick Club lure lay in its mystery." Boston Daily Globe, July 5: 18. Keefe, John E. 2024. Deathtrap: Boston's Pickwick Club Disaster. Boston, MA: Menotomy Publishing. —. 2018. The Pickwick Club Disaster. Boston, MA: Menotomy Publishing. Cowritten by Alaina Urquhart, Ash Kelley & Dave White (Since 10/2022)Produced & Edited by Mikie Sirois (Since 2023)Research by Dave White (Since 10/2022), Alaina Urquhart & Ash KelleyListener Correspondence & Collaboration by Debra LallyListener Tale Video Edited by Aidan McElman (Since 6/2025) Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

We discuss the culture of gambling and drinking in La Crosse with UW-L political science professor, Dr. Anthony Chergosky, and WIZM’s Brad Williams, and then feature another woman-owned business "for no reason whatsoever" The conversation went a bunch of different ways, including when residents voted by referendum whether to allow a casino to come to La Crosse. Another reason for the talk stems from two La Crosse businesses not being allowed to have their liquor licenses renewed by the city council, and whether Wisconsin’s sports gambling legalization gets fully implemented before Gov. Tony Evers retires. After that, Chergosky talked about the politics of the Wisconsin governor’s race, now that there are seven Democrats and two Republicans on the ballot — and the dilemma of the less popular candidates either needing to make a name for themselves or drop out or go. Lastly, we hyped up another women-owned business in the area “for no reason whatsoever.” Our seventh business featured is Scrappin’ on the Ranch, in Pickwick, Minn. — tucked in the bluffs between La Crosse and Winona. Jolene Danca joined to tell us about her B&B that was created for scrapbookers to get away for a weekend — and she has everything there a scrapbooker would need — but has evolved into everything from bachelorette and graduation parties to weddings and business trainings. Check out Scrappin’ on the Ranch here.See omnystudio.com/listener for privacy information.

Numbers 27.1-11

In From Juche to Jesus: A Study of Worldview Transformation Among North Korean Defector Christians in South Korea (Pickwick Publications, 2025), Su Hwa Keum explores the profound spiritual journeys of North Korean defectors as they navigate the transition from Juche ideology to faith in Christ. While many encounter the gospel during their escape, genuine transformation requires more than exposure – it is a deep, internal process. Through personal interviews and grounded theory research, Keum examines the key factors and processes that lead to lasting worldview transformation. She highlights how experiencing God enables defectors to “replace the logic of survival with the logic of grace.” A scholarly, insightful and deeply personal work, From Juche to Jesus sheds light on the journey of faith and renewal, offering a powerful perspective on how the gospel reshapes hearts, minds, and entire worldviews. 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 From Juche to Jesus: A Study of Worldview Transformation Among North Korean Defector Christians in South Korea (Pickwick Publications, 2025), Su Hwa Keum explores the profound spiritual journeys of North Korean defectors as they navigate the transition from Juche ideology to faith in Christ. While many encounter the gospel during their escape, genuine transformation requires more than exposure – it is a deep, internal process. Through personal interviews and grounded theory research, Keum examines the key factors and processes that lead to lasting worldview transformation. She highlights how experiencing God enables defectors to “replace the logic of survival with the logic of grace.” A scholarly, insightful and deeply personal work, From Juche to Jesus sheds light on the journey of faith and renewal, offering a powerful perspective on how the gospel reshapes hearts, minds, and entire worldviews. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

In From Juche to Jesus: A Study of Worldview Transformation Among North Korean Defector Christians in South Korea (Pickwick Publications, 2025), Su Hwa Keum explores the profound spiritual journeys of North Korean defectors as they navigate the transition from Juche ideology to faith in Christ. While many encounter the gospel during their escape, genuine transformation requires more than exposure – it is a deep, internal process. Through personal interviews and grounded theory research, Keum examines the key factors and processes that lead to lasting worldview transformation. She highlights how experiencing God enables defectors to “replace the logic of survival with the logic of grace.” A scholarly, insightful and deeply personal work, From Juche to Jesus sheds light on the journey of faith and renewal, offering a powerful perspective on how the gospel reshapes hearts, minds, and entire worldviews. Learn more about your ad choices. Visit megaphone.fm/adchoices

In From Juche to Jesus: A Study of Worldview Transformation Among North Korean Defector Christians in South Korea (Pickwick Publications, 2025), Su Hwa Keum explores the profound spiritual journeys of North Korean defectors as they navigate the transition from Juche ideology to faith in Christ. While many encounter the gospel during their escape, genuine transformation requires more than exposure – it is a deep, internal process. Through personal interviews and grounded theory research, Keum examines the key factors and processes that lead to lasting worldview transformation. She highlights how experiencing God enables defectors to “replace the logic of survival with the logic of grace.” A scholarly, insightful and deeply personal work, From Juche to Jesus sheds light on the journey of faith and renewal, offering a powerful perspective on how the gospel reshapes hearts, minds, and entire worldviews. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/korean-studies

In From Juche to Jesus: A Study of Worldview Transformation Among North Korean Defector Christians in South Korea (Pickwick Publications, 2025), Su Hwa Keum explores the profound spiritual journeys of North Korean defectors as they navigate the transition from Juche ideology to faith in Christ. While many encounter the gospel during their escape, genuine transformation requires more than exposure – it is a deep, internal process. Through personal interviews and grounded theory research, Keum examines the key factors and processes that lead to lasting worldview transformation. She highlights how experiencing God enables defectors to “replace the logic of survival with the logic of grace.” A scholarly, insightful and deeply personal work, From Juche to Jesus sheds light on the journey of faith and renewal, offering a powerful perspective on how the gospel reshapes hearts, minds, and entire worldviews. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/christian-studies

Tuesday is the 250th anniversary of Jane Austen's birth, so today I spoke to John Mullan, professor of English Literature at UCL, author of What Matters in Jane Austen. John and I talked about how Austen's fiction would have developed if she had not died young, the innovations of Persuasion, wealth inequality in Austen, slavery and theatricals in Mansfield Park, as well as Iris Murdoch, A.S. Byatt, Patricia Beer, the Dunciad, and the Booker Prize. This was an excellent episode. My thanks to John!TranscriptHenry Oliver (00:00)Today, I am talking to John Mullen. John is a professor of English literature at University College London, and he is the author of many splendid books, including How Novels Work and the Artful Dickens. I recommend the Artful Dickens to you all. But today we are talking about Jane Austen because it's going to be her birthday in a couple of days. And John wrote What Matters in Jane Austen, which is another book I recommend to you all. John, welcome.John Mullan (00:51)It's great to be here.Henry Oliver (00:53)What do you think would have happened to Austin's fiction if she had not died young?John Mullan (00:58)Ha ha! I've been waiting all this year to be asked that question from somebody truly perspicacious. ⁓ Because it's a question I often answer even though I'm not asked it, because it's a very interesting one, I think. And also, I think it's a bit, it's answerable a little bit because there was a certain trajectory to her career. I think it's very difficult to imagine what she would have written.John Mullan (01:28)But I think there are two things which are almost certain. The first is that she would have gone on writing and that she would have written a deal more novels. And then even the possibility that there has been in the past of her being overlooked or neglected would have been closed. ⁓ And secondly, and perhaps more significantly for her, I think she would have become well known.in her own lifetime. you know, partly that's because she was already being outed, as it were, you know, of course, as ⁓ you'll know, Henry, you know, she published all the novels that were published in her lifetime were published anonymously. So even people who were who were following her career and who bought a novel like Mansfield Park, which said on the title page by the author of Sense and Sensibility and Pride and Prejudice, they knew they knew.John Mullan (02:26)were getting something by the same author, they wouldn't necessarily have known the author's name and I think that would have become, as it did with other authors who began anonymously, that would have disappeared and she would have become something of a literary celebrity I would suggest and then she would have met other authors and she'd have been invited to some London literary parties in effect and I think that would have been very interesting how that might have changed her writing.John Mullan (02:54)if it would have changed her writing as well as her life. She, like everybody else, would have met Coleridge. ⁓ I think that would have happened. She would have become a name in her own lifetime and that would have meant that her partial disappearance, I think, from sort of public consciousness in the 19th century wouldn't have happened.Henry Oliver (03:17)It's interesting to think, you know, if she had been, depending on how old she would have been, could she have read the Pickwick papers? How would she have reacted to that? Yes. Yeah. Nope.John Mullan (03:24)Ha ha ha ha ha!Yes, she would have been in her 60s, but that's not so old, speaking of somebody in their 60s. ⁓ Yes, it's a very interesting notion, isn't it? I mean, there would have been other things which happened after her premature demise, which she might have responded to. I think particularly there was a terrific fashion for before Dickens came along in the 1830s, there was a terrific fashion in the 1820s for what were called silver fork novels, which were novels of sort of high life of kind of the kind of people who knew Byron, but I mean as fictional characters. And we don't read them anymore, but they were they were quite sort of high quality, glossy products and people loved them. And I'm I like to think she might have reacted to that with her sort of with her disdain, think, her witty disdain for all aristocrats. know, nobody with a title is really any good in her novels, are they? And, you know, the nearest you get is Mr. Darcy, who is an Earl's nephew. And that's more of a problem for him than almost anything else. ⁓ She would surely have responded satirically to that fashion.Henry Oliver (04:28)Hahaha.Yes, and then we might have had a Hazlitt essay about her as well, which would have been all these lost gems. Yes. Are there ways in which persuasion was innovative that Emma was not?John Mullan (04:58)Yes, yes, yes, yes. I know, I know.⁓ gosh, all right, you're homing in on the real tricky ones. Okay, okay. ⁓ That Emma was not. Yes, I think so. I think it took, in its method, it took further what she had done in Emma.Henry Oliver (05:14)Ha ha.This is your exam today,John Mullan (05:36)which is that method of kind of we inhabit the consciousness of a character. And I I think of Jane Austen as a writer who is always reacting to her own last novel, as it were. And I think, you know, probably the Beatles were like that or Mozart was like that. think, you know, great artists often are like that, that at a certain stage, if what they're doing is so different from what everybody else has done before,they stop being influenced by anybody else. They just influence themselves. And so I think after Emma, Jane Austen had this extraordinary ⁓ method she perfected in that novel, this free indirect style of a third-person narration, which is filtered through the consciousness of a character who in Emma's case is self-deludedly wrong about almost everything. And it's...brilliantly tricksy and mischievous and elaborate use of that device which tricks even the reader quite often, certainly the first time reader. And then she got to persuasion and I think she is at least doing something new and different with that method which is there's Anne Elliot. Anne Elliot's a good person. Anne Elliot's judgment is very good. She's the most cultured and cultivated of Jane Austen's heroines. She is, as Jane Austen herself said about Anne Elliot, almost too good for me. And so what she does is she gives her a whole new vein of self-deception, which is the self-deception in the way of a good person who always wants to think things are worse than they are and who always, who, because suspicious of their own desires and motives sort of tamps them down and suppresses them. And we live in this extraordinary mind of this character who's often ignored, she's always overhearing conversations. Almost every dialogue in the novel seems to be something Anne overhears rather than takes part in. And the consciousness of a character whodoesn't want to acknowledge things in themselves which you and I might think were quite natural and reasonable and indeed in our psychotherapeutic age to be expressed from the rooftops. You still fancy this guy? Fine! Admit it to yourself. ⁓ No. So it's not repression actually, exactly. It's a sort of virtuous self-control somehow which I think lots of readers find rather masochistic about her. Henry Oliver (08:38)I find that book interesting because in Sense and Sensibility she's sort of opposed self-command with self-expression, but she doesn't do that in Persuasion. She says, no, no, I'm just going to be the courage of, no, self-command. know, Eleanor becomes the heroine.John Mullan (08:48)Yes. Yes, yes, yes, yes, yes, yes. But with the odd with the odd burst of Mariannes, I was watching the I thought execrable Netflix ⁓ persuasion done about two or three years ago ⁓ with the luminous Dakota Johnson as as you know, as Anne Elliot. You could not believe her bloom had faded one little bit, I think.John Mullan (09:23)And ⁓ I don't know if you saw it, but the modus operandi rather following the lead set by that film, The Favourite, which was set in Queen Anne's reign, but adopted the Demotic English of the 21st century. similarly, this adaptation, much influenced by Fleabag, decided to deal with the challenge of Jane Austen's dialogue by simply not using it, you know, and having her speak in a completely contemporary idiom. But there were just one or two lines, very, very few from the novel, that appeared. And when they appeared, they sort of cried through the screen at you. And one of them, slightly to qualify what you've just said, was a line I'd hardly noticed before. as it was one of the few Austin lines in the programme, in the film, I really noticed it. And it was much more Marianne than Eleanor. And that's when, I don't know if you remember, and Captain Wentworth, they're in Bath. So now they are sort of used to talking to each other. And Louisa Musgrove's done her recovering from injury and gone off and got engaged to Captain Benwick, Captain Benwick. So Wentworth's a free man. And Anne is aware, becoming aware that he may be still interested in her. And there's a card party, an evening party arranged by Sir Walter Elliot. And Captain Wentworth is given an invitation, even though they used to disapprove of him because he's now a naval hero and a rich man. And Captain Wentworth and Anna making slightly awkward conversation. And Captain Wentworth says, you did not used to like cards.I mean, he realizes what he said, because what he said is, remember you eight years ago. I remember we didn't have to do cards. We did snogging and music. That's what we did. But anyway, he did not used to like cards. And he suddenly realizes what a giveaway that is. And he says something like, but then time brings many changes. And she says, she cries out, I am not so much changed.Henry Oliver (11:23)Mm. Mm, yes, yes. Yep.Yes.Cries out, yeah.John Mullan (11:50)It's absolutely electric line and that's not Eleanor is it? That's not an Eleanor-ish line. ⁓ Eleanor would say indeed time evinces such dispositions in most extraordinary ways. She would say some Johnsonian thing wouldn't she? so I don't think it's quite a return to the same territory or the same kind of psychology.Henry Oliver (12:05)That's right. Yes, yes, yeah.No, that's interesting, yeah. One of the things that happens in Persuasion is that you get this impressionistic writing. So a bit like Mrs. Elliot talking while she picks strawberries. When Lady Russell comes into Bath, you get that wonderful scene of the noises and the sounds. Is this a sort of step forward in a way? And you can think of Austen as not an evolutionary missing link as such, but she's sort of halfway between Humphrey Clinker and Mr. Jangle.Is that something that she would have sort of developed?John Mullan (12:49)I think that's quite possible. haven't really thought about it before, but you're right. think there are these, ⁓ there are especially, they're impressionistic ⁓ passages which are tied up with Anne's emotions. And there's an absolutely, I think, short, simple, but extraordinarily original one when she meets him again after eight years. And it says something like, the room was full, full of people. Mary said something and you're in the blur of it. He said all that was right, you know, and she can't hear the words, she can't hear the words and you can't hear the words and you're inside and she's even, you're even sort of looking at the floor because she's looking at the floor and in Anne's sort of consciousness, often slightly fevered despite itself, you do exactly get this sort of, ⁓ for want of a better word, blur of impressions, which is entirely unlike, isn't it, Emma's sort of ⁓ drama of inner thought, which is always assertive, argumentative, perhaps self-correcting sometimes, but nothing if not confidently articulate.John Mullan (14:17)And with Anne, it's a blur of stuff. there is a sort of perhaps a kind of inklings of a stream of consciousness method there.Henry Oliver (14:27)I think so, yeah. Why is it that Flaubert and other writers get all the credit for what Jane Austen invented?John Mullan (14:35)Join my campaign, Henry. It is so vexing. It is vexing. sometimes thought, I sometimes have thought, but perhaps this is a little xenophobic of me, that the reason that Jane Austen is too little appreciated and read in France is because then they would have to admit that Flaubertdidn't do it first, you know. ⁓Henry Oliver (14:40)It's vexing, isn't it?John Mullan (15:04)I mean, I suppose there's an answer from literary history, which is simply for various reasons, ⁓ some of them to do with what became fashionable in literary fiction, as we would now call it. Jane Austen was not very widely read or known in the 19th century. So it wasn't as if, as it were, Tolstoy was reading Jane Austen and saying, this is not up to much. He wasn't. He was reading Elizabeth Gaskell.Jane Eyre ⁓ and tons of Dickens, tons, every single word Dickens published, of course. ⁓ So Jane Austen, know, to cite an example I've just referred to, I Charlotte Bronte knew nothing of Jane Austen until George Henry Lewis, George Eliot's partner, who is carrying the torch for Jane Austen, said, you really should read some. And that's why we have her famous letter saying, it's, you know, it's commonplace and foolish things she said. But so I think the first thing to establish is she was really not very widely read. So it wasn't that people were reading it and not getting it. It was which, you know, I think there's a little bit of that with Dickens. He was very widely read and people because of that almost didn't see how innovative he was, how extraordinarily experimental. It was too weird. But they still loved it as comic or melodramatic fiction. But I think Jane Austen simply wasn't very widely read until the late 19th century. So I don't know if Flaubert read her. I would say almost certainly not. Dickens owned a set of Jane Austen, but that was amongst 350 selecting volumes of the select British novelists. Probably he never read Jane Austen. Tolstoy and you know never did, you know I bet Dostoevsky didn't, any number of great writers didn't.Henry Oliver (17:09)I find it hard to believe that Dickens didn't read her.John Mullan (17:12)Well, I don't actually, I'm afraid, because I mean the one occasion that I know of in his surviving correspondence when she's mentioned is after the publication of Little Dorrit when ⁓ his great bosom friend Forster writes to him and says, Flora Finching, that must be Miss Bates. Yes. You must have been thinking of Miss Bates.John Mullan (17:41)And he didn't write it in a sort of, you plagiarist type way, I he was saying you've varied, it's a variation upon that character and Dickens we wrote back and we have his reply absolutely denying this. Unfortunately his denial doesn't make it clear whether he knew who Miss Bates was but hadn't it been influenced or whether he simply didn't know but what he doesn't… It's the one opportunity where he could have said, well, of course I've read Emma, but that's not my sort of thing. ⁓ of course I delight in Miss Bates, but I had no idea of thinking of her when I... He has every opportunity to say something about Jane Austen and he doesn't say anything about her. He just says, no.Henry Oliver (18:29)But doesn't he elsewhere deny having read Jane Eyre? And that's just like, no one believes you, Charles.John Mullan (18:32)Yes.Well, he may deny it, but he also elsewhere admits to it. Yeah.Henry Oliver (18:39)Okay, but you know, just because he doesn't come out with it.John Mullan (18:43)No, no, it's true, but he wouldn't have been singular and not reading Jane Austen. That's what I'm saying. Yes. So it's possible to ignore her innovativeness simply by not having read her. But I do think, I mean, briefly, that there is another thing as well, which is that really until the late 20th century almost, even though she'd become a wide, hugely famous, hugely widely read and staple of sort of A levels and undergraduate courses author, her real, ⁓ her sort of experiments with form were still very rarely acknowledged. And I mean, it was only really, I think in the sort of almost 1980s, really a lot in my working lifetime that people have started saying the kind of thing you were asking about now but hang on free and direct style no forget flow bear forget Henry James I mean they're terrific but actually this woman who never met an accomplished author in her life who had no literary exchanges with fellow writersShe did it at a little table in a house in Hampshire. Just did it.Henry Oliver (20:14)Was she a Tory or an Enlightenment Liberal or something else?John Mullan (20:19)⁓ well I think the likeliest, if I had to pin my colours to a mast, I think she would be a combination of the two things you said. I think she would have been an enlightenment Tory, as it were. So I think there is some evidence that ⁓ perhaps because also I think she was probably quite reasonably devout Anglican. So there is some evidence that… She might have been conservative with a small C, but I think she was also an enlightenment person. I think she and her, especially her father and at least a couple of her brothers, you know, would have sat around reading 18th century texts and having enlightened discussions and clearly they were, you know, and they had, it's perfect, you know, absolutely hard and fast evidence, for instance, that they would have been that they were sympathetic to the abolition of slavery, that they were ⁓ sceptics about the virtues of monarchical power and clear-eyed about its corruption, that they had no, Jane Austen, as I said at the beginning of this exchange, had no great respect or admiration for the aristocratic ruling class at all. ⁓ So there's aspects of her politics which aren't conservative with a big C anyway, but I think enlightened, think, I mean I, you know, I got into all this because I loved her novels, I've almost found out about her family inadvertently because you meet scary J-Night experts at Jane Austen Society of North America conferences and if you don't know about it, they look at scants. But it is all interesting and I think her family were rather terrific actually, her immediate family. I think they were enlightened, bookish, optimistic, optimistic people who didn't sit around moaning about the state of the country or their own, you know, not having been left enough money in exes will. And...I think that they were in the broadest sense enlightened people by the standard of their times and perhaps by any standards.Henry Oliver (22:42)Is Mansfield Park about slavery?John Mullan (22:45)Not at all, no. I don't think so. I don't think so. And I think, you know, the famous little passage, for it is only a passage in which Edmund and Fanny talk about the fact it's not a direct dialogue. They are having a dialogue about the fact that they had, but Fanny had this conversation or attempt at conversation ⁓ a day or two before. And until relatively recently, nobody much commented on that passage. It doesn't mean they didn't read it or understand it, but now I have not had an interview, a conversation, a dialogue involving Mansfield Park in the last, in living memory, which hasn't mentioned it, because it's so apparently responsive to our priorities, our needs and our interests. And there's nothing wrong with that. But I think it's a it's a parenthetic part of the novel. ⁓ And of course, there was this Edward Said article some decades ago, which became very widely known and widely read. And although I think Edward Said, you know, was a was a wonderful writer in many ways. ⁓I think he just completely misunderstands it ⁓ in a way that's rather strange for a literary critic because he says it sort of represents, you know, author's and a whole society's silence about this issue, the source of wealth for these people in provincial England being the enslavement of people the other side of the Atlantic. But of course, Jane Auster didn't have to put that bit in her novel, if she'd wanted really to remain silent, she wouldn't have put it in, would she? And the conversation is one where Edmund says, know, ⁓ you know, my father would have liked you to continue when you were asking about, yeah, and she says, but there was such terrible silence. And she's referring to the other Bertram siblings who indeed are, of course, heedless, selfish ⁓ young people who certainly will not want to know that their affluence is underwritten by, you know, the employment of slaves on a sugar plantation. But the implication, I think, of that passage is very clearly that Fanny would have, the reader of the time would have been expected to infer that Fanny shares the sympathies that Jane Austen, with her admiration, her love, she says, of Thomas Clarkson. The countries leading abolitionists would have had and that Edmund would also share them. And I think Edmund is saying something rather surprising, which I've always sort of wondered about, which is he's saying, my father would have liked to talk about it more. And what does that mean? Does that mean, my father's actually, he's one of these enlightened ones who's kind of, you know, freeing the slaves or does it mean, my father actually knows how to defend his corner? He would have beenYou know, he doesn't he doesn't feel threatened or worried about discussing it. It's not at all clear where Sir Thomas is in this, but I think it's pretty clear where Edmund and Fanny are.Henry Oliver (26:08)How seriously do you take the idea that we are supposed to disapprove of the family theatricals and that young ladies putting on plays at home is immoral?John Mullan (26:31)Well, I would, mean, perhaps I could quote what two students who were discussing exactly this issue said quite some time ago in a class where a seminar was running on Mansfield Park. And one of the students can't remember their names, I'm afraid. I can't remember their identities, so I'm safe to quote them. ⁓ They're now probably running PR companies or commercial solicitors. And one of them I would say a less perceptive student said, why the big deal about the amateur dramatics? I mean, what's Jane Austen's problem? And there was a pause and another student in the room who I would suggest was a bit more of an alpha student said, really, I'm surprised you asked that. I don't think I've ever read a novel in which I've seen characters behaving so badly as this.And I think that's the answer. The answer isn't that the amateur dramatics themselves are sort of wrong, because of course Jane Austen and her family did them. They indulged in them. ⁓ It's that it gives the opportunity, the license for appalling, mean truly appalling behaviour. I mean, Henry Crawford, you know, to cut to the chase on this, Henry Crawford is seducing a woman in front of her fiance and he enjoys it not just because he enjoys seducing women, that's what he does, but because it's in front of him and he gets an extra kick out of it. You know, he has himself after all already said earlier in the novel, oh, I much prefer an engaged woman, he has said to his sister and Mrs. Grant. Yes, of course he does. So he's doing that. Mariah and Julia are fighting over him. Mr. Rushworth, he's not behaving badly, he's just behaving like a silly arse. Mary Crawford, my goodness, what is she up to? She's up to using the amateur dramatics for her own kind of seductions whilst pretending to be sort of doing it almost unwillingly. I mean, it seems to me an elaborate, beautifully choreographed elaboration of the selfishness, sensuality and hypocrisy of almost everybody involved. And it's not because it's amateur dramatics, but amateur dramatics gives them the chance to behave so badly.Henry Oliver (29:26)Someone told me that Thomas Piketty says that Jane Austen depicts a society in which inequality of wealth is natural and morally justified. Is that true?John Mullan (29:29)Ha⁓Well, again, Thomas Piketty, I wish we had him here for a good old mud wrestle. ⁓ I would say that the problem with his analysis is the coupling of the two adjectives, natural and morally right. I think there is a strong argument that inequality is depicted as natural or at least inevitable, inescapable in Jane Austen's novels.but not morally right, as it were. In fact, not at all morally right. There is a certain, I think you could be exaggerated little and call it almost fatalism about that such inequalities. Do you remember Mr. Knightley says to Emma, in Emma, when he's admonishing her for her, you know, again, a different way, terribly bad behavior.Henry Oliver (30:38)At the picnic.John Mullan (30:39)At the picnic when she's humiliatedMiss Bates really and Mr Knightley says something like if she'd been your equal you know then it wouldn't have been so bad because she could have retaliated she could have come back but she's not and she says and he says something like I won't get the words exactly right but I can get quite close he says sinceher youth, she has sunk. And if she lives much longer, will sink further. And he doesn't say, ⁓ well, we must have a collection to do something about it, or we must have a revolution to do something about it, or if only the government would bring in better pensions, you know, he doesn't, he doesn't sort of rail against it as we feel obliged to. ⁓ He just accepts it as an inevitable part of what happens because of the bad luck of her birth, of the career that her father followed, of the fact that he died too early probably, of the fact that she herself never married and so on. That's the way it is. And Mr Knightley is, I think, a remarkably kind character, he's one of the kindest people in Jane Austen and he's always doing surreptitious kindnesses to people and you know he gives the Bates's stuff, things to eat and so on. He arranges for his carriage to carry them places but he accepts that that is the order of things. ⁓ But I, you know Henry, I don't know what you think, I think reading novels or literature perhaps more generally, but especially novels from the past, is when you're responding to your question to Mr. Piketty's quote, is quite a sort of, can be quite an interesting corrective to our own vanities, I think, because we, I mean, I'm not saying, you know, the poor are always with us, as it were, like Jesus, but... ⁓ You know, we are so ⁓ used to speaking and arguing as if any degree of poverty is in principle politically remediable, you know, and should be. And characters in Jane Austen don't think that way. And I don't think Jane Austen thought that way.Henry Oliver (33:16)Yes, yes. Yeah.The other thing I would say is that ⁓ the people who discuss Jane Austen publicly and write about her are usually middle class or on middle class incomes. And there's a kind of collective blindness to the fact that what we call Miss Bates poverty simply means that she's slipping out of the upper middle class and she will no longer have her maid.⁓ It doesn't actually mean, she'll still be living on a lot more than a factory worker, who at that time would have been living on a lot more than an agricultural worker, and who would have been living on a lot more than someone in what we would think of as destitution, or someone who was necessitous or whatever. So there's a certain extent to which I actually think what Austin is very good at showing is the... ⁓ the dynamics of a newly commercial society. So at the same time that Miss Bates is sinking, ⁓ I forget his name, but the farmer, the nice farmer, Robert Martin, he's rising. And they all, all classes meet at the drapier and class distinctions are slightly blurred by the presence of nice fabric.John Mullan (34:24)Mr. Robert Martin. Henry Oliver (34:37)And if your income comes from turnips, that's fine. You can have the same material that Emma has. And Jane Austen knows that she lives in this world of buttons and bonnets and muslins and all these new ⁓ imports and innovations. And, you know, I think Persuasion is a very good novel. ⁓ to say to Piketty, well, there's nothing natural about wealth inequality and persuasion. And it's not Miss Bates who's sinking, it's the baronet. And all these admirals are coming up and he has that very funny line, doesn't he? You're at terrible risk in the Navy that you'd be cut by a man who your father would have cut his father. And so I think actually she's not a Piketty person, but she's very clear-eyed about... quote unquote, what capitalism is doing to wealth inequality. Yeah, yeah.John Mullan (35:26)Yes, she is indeed. Indeed.Clear-eyed, I think, is just the adjective. I mean, I suppose the nearest she gets to a description. Yeah, she writes about the classes that she knows from the inside, as it were. So one could complain, people have complained. She doesn't represent what it's like to be an agricultural worker, even though agricultural labour is going on all around the communities in which her novels are set.And I mean, I think that that's a sort of rather banal objection, but there's no denying it in a way. If you think a novelist has a duty, as it were, to cover the classes and to cover the occupations, then it's not a duty that Jane Austen at all perceived. However, there is quite, there is something like, not a representation of destitution as you get in Dickens.but a representation of something inching towards poverty in Mansfield Park, which is the famous, as if Jane Austen was showing you she could do this sort of thing, which is the whole Portsmouth episode, which describes with a degree of domestic detail she never uses anywhere else in her fiction. When she's with the more affluent people, the living conditions, the food, the sheer disgustingness and tawdryness of life in the lodgings in Portsmouth where the Price family live. And of course, in a way, it's not natural because ⁓ in their particular circumstances, Lieutenant Price is an alcoholic.They've got far too many children. ⁓ He's a useless, sweary-mouthed boozer ⁓ and also had the misfortune to be wounded. ⁓ And she, his wife, Fanny's mother, is a slattern. We get told she's a slattern. And it's not quite clear if that's a word in Fanny's head or if that's Jane Austen's word. And Jane Austen...Fanny even goes so far as to think if Mrs. Norris were in charge here, and Mrs. Norris is as it were, she's the biggest sadist in all Jane Austen's fiction. She's like sort Gestapo guard monquet. If Mrs. Norris were in charge, it wouldn't be so bad here, but it's terrible. And Jane Austen even, know, she describes the color of the milk, doesn't she? The blue moats floating in the milk.She dis- and it's all through Fanny's perception. And Fanny's lived in this rather loveless grand place. And now it's a great sort of, ⁓ it's a coup d'etat. She now makes Fanny yearn for the loveless grand place, you know, because of what you were saying really, Henry, because as I would say, she's such an unsentimental writer, you know, andyou sort of think, you know, there's going to be no temptation for her to say, to show Fanny back in the loving bosom of her family, realising what hollow hearted people those Bertrams are. You know, she even describes the mark, doesn't she, that Mr Price's head, his greasy hair is left on the wall. It's terrific. And it's not destitution, but it's something like a life which must be led by a great sort of rank of British people at the time and Jane Austen can give you that, she can.Henry Oliver (39:26)Yeah, yeah. That's another very Dickensian moment. I'm not going to push this little thesis of mine too far, but the grease on the chair. It's like Mr. Jaggers in his horse hair. Yes. That's right, that's right. ⁓ Virginia Woolf said that Jane Austen is the most difficult novelist to catch in the act of greatness. Is that true?John Mullan (39:34)Yes, yes, yes, it is these details that Dickens would have noticed of course. Yes.Yes.⁓ I think it is so true. think that Virginia Woolf, she was such a true, well, I think she was a wonderful critic, actually, generally. Yeah, I think she was a wonderful critic. you know, when I've had a couple of glasses of Rioja, I've been known to say, to shocked students, ⁓ because you don't drink Rioja with students very often nowadays, but it can happen. ⁓ But she was a greater critic than novelist, you know.Henry Oliver (39:54)Yeah.Best critic of the 20th century. Yes, yes. Yeah. And also greater than Emson and all these people who get the airtime. Yes, yes.John Mullan (40:20)You know.I know, I know, but that's perhaps because she didn't have a theory or an argument, you know, and the Seven Types, I know that's to her credit, but you know, the Seven Types of Ambiguity thing is a very strong sort of argument, even if...Henry Oliver (40:31)Much to her credit.But look, if the last library was on fire and I could only save one of them, I'd let all the other critics in the 20th century burn and I'd take the common reader, wouldn't you?John Mullan (40:47)Okay. Yes, I, well, I think I agree. think she's a wonderful critic and both stringent and open. I mean, it's an extraordinary way, you know, doesn't let anybody get away with anything, but on the other hand is genuinely ready to, to find something new to, to anyway. ⁓ the thing she said about Austin, she said lots of good things about Austin and most of them are good because they're true. And the thing about… Yes, so what I would, I think what she meant was something like this, that amongst the very greatest writers, so I don't know, Shakespeare or Milton or, you know, something like that, you could take almost a line, yes? You can take a line and it's already glowing with sort of radioactive brilliance, know, and ⁓ Jane Austen, the line itself, there are wonderful sentences.)Mr. Bennett was so odd a mixture of quick parts, sarcastic humor, reserve and caprice that the experience of three and 20 years had been insufficient to make his wife understand his character. I mean, that's as good as anything in Hamlet, isn't it? So odd a mixture and there he is, the oddest mixture there's ever been. And you think he must exist, he must exist. But anyway, most lines in Jane Austen probably aren't like that and it's as if in order to ⁓ explain how brilliant she is and this is something you can do when you teach Jane Austen, makes her terrific to teach I think, you can look at any bit and if everybody's read the novel and remembers it you can look at any paragraph or almost any line of dialogue and see how wonderful it is because it will connect to so many other things. But out of context, if you see what I mean, it doesn't always have that glow of significance. And sometimes, you know, the sort of almost most innocuous phrases and lines actually have extraordinary dramatic complexity. but you've got to know what's gone on before, probably what goes on after, who's in the room listening, and so on. And so you can't just catch it, you have to explain it. ⁓ You can't just, as it were, it, as you might quote, you know, a sort of a great line of Wordsworth or something.Henry Oliver (43:49)Even the quotable bits, you know, the bit that gets used to explain free and direct style in Pride and Prejudice where she says ⁓ living in sight of their own warehouses. Even a line like that is just so much better when you've been reading the book and you know who is being ventriloquized.John Mullan (43:59)Well, my favourite one is from Pride and Prejudice is after she's read the letter Mr Darcy gives her explaining what Wickham is really like, really, for truth of their relationship and their history. And she interrogates herself. And then at the end, there's ⁓ a passage which is in a passage of narration, but which is certainly in going through Elizabeth's thoughts. And it ends, she had been blind, partial, prejudiced, absurd. And I just think it's, if you've got to know Elizabeth, you just know that that payoff adjective, absurd, that's the coup de grace. Because of course, finding other people absurd is her occupation. It's what makes her so delightful. And it's what makes us complicit with her.Henry Oliver (44:48)Yeah.That's right.John Mullan (45:05)She sees how ridiculous Sir William Lucas and her sister Mary, all these people, and now she has absurded herself, as it were. So blind partial prejudice, these are all repetitions of the same thought. But only Elizabeth would end the list absurd. I think it's just terrific. But you have to have read the book just to get that. That's a whole sentence.You have to have read the book to get the sentence, don't you?Henry Oliver (45:34)Yep, indeed. ⁓ Do we love Jane Austen too much so that her contemporaries are overshadowed and they're actually these other great writers knocking around at the same time and we don't give them their due? Or is she in fact, you know, the Shakespeare to their Christopher Marlowe or however you want to.John Mullan (45:55)I think she's the Shakespeare to their Thomas Kidd or no even that's the... Yes, okay, I'm afraid that you know there are two contradictory answers to that. Yes, it does lead us to be unfair to her contemporaries certainly because they're so much less good than her. So because they're so much less good than her in a way we're not being unfair. know, I mean... because I have the profession I have, I have read a lot of novels by her immediate predecessors. I mean, people like Fanny Burnie, for instance, and her contemporaries, people like Mariah Edgeworth. And ⁓ if Jane Austen hadn't existed, they would get more airtime, I think, yes? And some of them are both Burnie and Edgeworth, for instance. ⁓ highly intelligent women who had a much more sophisticated sort of intellectual and social life than Jane Austen ⁓ and conversed with men and women of ideas and put some of those ideas in their fiction and they both wrote quite sophisticated novels and they were both more popular than Jane Austen and they both, having them for the sort of carpers and complainers, they've got all sorts of things like Mariah Regworth has some working-class people and they have political stuff in their novels and they have feminist or anti-feminist stuff in their novels and they're much more satisfying to the person who's got an essay to write in a way because they've got the social issues of the day in there a bit, certainly Mariah Regworth a lot. ⁓ So if Jane Austen hadn't come along we would show them I think more, give them more time. However, you know, I don't want to say this in a destructive way, but in a certain way, all that they wrote isn't worth one paragraph of Jane Austen, you know, in a way. So we're not wrong. I suppose the interesting case is the case of a man actually, which is Walter Scott, who sort of does overlap with Jane Austen a bit, you know, and who has published what I can't remember, two, three, even four novels by the time she dies, and I think three, and she's aware of him as a poet and I think beginning to be aware of him as a novelist. And he's the prime example of somebody who was in his own day, but for a long time afterwards, regarded as a great novelist of his day. And he's just gone. He's really, you know, you can get his books in know, Penguin and Oxford classics in the shops. I mean, it's at least in good big book shops. And it's not that he's not available, but it's a very rare person who's read more than one or even read one. I don't know if you read lots of Scott, Henry.Henry Oliver (49:07)Well, I've read some Scott and I quite like it, but I was a reactionary in my youth and I have a little flame for the Jacobite cause deep in my heart. This cannot be said of almost anyone who is alive today. 1745 means nothing to most people. The problem is that he was writing about something that has just been sort of forgotten. And so the novels, know, when Waverly takes the knee in front of the old young old pretender, whichever it is, who cares anymore? you know?John Mullan (49:40)Well, yes, but it can't just be that because he also wrote novels about Elizabeth I and Robin Hood and, you know... ⁓Henry Oliver (49:46)I do think Ivanhoe could be more popular, yeah.John Mullan (49:49)Yeah, so it's not just that this and when he wrote, for instance, when he published Old Mortality, which I think is one of his finest novels, I mean, I've read probably 10 Scott novels at nine or 10, you know, so that's only half or something of his of his output. And I haven't read one for a long time, actually. Sorry, probably seven or eight years. He wrote about some things, which even when he wrote about and published about, readers of the time couldn't have much known or cared about. mean, old mortalities about the Covenant as wars in the borderlands of Scotland in the 17th century. I mean, all those people in London who were buying it, they couldn't give a damn about that. Really, really, they couldn't. I mean, they might have recognized the postures of religious fanaticism that he describes rather well.But even then only rather distantly, I think. So I think it's not quite that. I think it's not so much ignorance now of the particular bits of history he was drawn to. I think it's that in the 19th century, historical fiction had a huge status. And it was widely believed that history was the most dignified topic for fiction and so dignified, it's what made fiction serious. So all 19th century authors had a go at it. Dickens had a go at it a couple of times, didn't he? I think it's no, yes, yes, think even Barnaby Rudge is actually, it's not just a tale of two cities. Yes, a terrific book. But generally speaking, ⁓ most Victorian novelists who did it, ⁓ they are amongst, you know, nobodyHenry Oliver (51:22)Very successfully. ⁓ a great book, great book.John Mullan (51:43)I think reads Trollope's La Vendée, you know, people who love Hardy as I do, do not rush to the trumpet major. it was a genre everybody thought was the big thing, know, war and peace after all. And then it's prestige faded. I mean, it's...returned a little bit in some ways in a sort of Hillary man, Tellish sort of way, but it had a hugely inflated status, I think, in the 19th century and that helped Scott. And Scott did, know, Scott is good at history, he's good at battles, he's terrific at landscapes, you know, the big bow wow strain as he himself described it.Henry Oliver (52:32)Are you up for a sort of quick fire round about other things than Jane Austen?John Mullan (52:43)Yes, sure, try me.Henry Oliver (52:44)Have you used any LLMs and are they good at talking about literature?John Mullan (52:49)I don't even know what an LLM is. What is it? Henry Oliver (52:51)Chat GPT. ⁓ John Mullan (53:17)⁓ God, goodness gracious, it's the work of Satan.Absolutely, I've never used one in my life. And indeed, have colleagues who've used them just to sort of see what it's like so that might help us recognise it if students are using them. And I can't even bring myself to do that, I'm afraid. But we do as a...As a department in my university, we have made some use of them purely in order to give us an idea of what they're like, so to help us sort of...Henry Oliver (53:28)You personally don't feel professionally obliged to see what it can tell you. Okay, no, that's fine. John Mullan (53:32)No, sorry.Henry Oliver (53:33)What was it like being a Booker Prize judge?heady. It was actually rather heady. Everybody talks about how it's such a slog, all those books, which is true. But when you're the Booker Prize judge, at least when I did it, you were treated as if you were somebody who was rather important. And then as you know, and that lasts for about six months. And you're sort of sent around in taxes and give nice meals and that sort of thing. And sort of have to give press conferences when you choose the shortlist. and I'm afraid my vanity was tickled by all that. And then at the moment after you've made the decision, you disappear. And the person who wins becomes important. It's a natural thing, it's good. And you realize you're not important at all.Henry Oliver (54:24)You've been teaching in universities, I think, since the 1990s.John Mullan (54:29)Yes, no earlier I fear, even earlier.Henry Oliver (54:32)What are the big changes? Is the sort of media narrative correct or is it more complicated than that?John Mullan (54:38)Well, it is more complicated, but sometimes things are true even though the Daily Telegraph says they're true, to quote George Orwell. ⁓ you know, I mean, I think in Britain, are you asking about Britain or are you asking more generally? Because I have a much more depressing view of what's happened in America in humanities departments.Henry Oliver (54:45)Well, tell us about Britain, because I think one problem is that the American story becomes the British story in a way. So what's the British story?John Mullan (55:07)Yes, yes, think that's true.Well, I think the British story is that we were in danger of falling in with the American story. The main thing that has happened, that has had a clear effect, was the introduction in a serious way, however long ago it was, 13 years or something, of tuition fees. And that's really, in my department, in my subject, that's had a major change.and it wasn't clear at first, but it's become very clear now. So ⁓ it means that the, as it were, the stance of the teachers to the taught and the taught to the teachers, both of those have changed considerably. Not just in bad ways, that's the thing. It is complicated. So for instance, I mean, you could concentrate on the good side of things, which is, think, I don't know, were you a student of English literature once?Henry Oliver (55:49)Mm-hmm.I was, I was. 2005, long time ago.John Mullan (56:07)Yes. OK.Well, I think that's not that long ago. mean, probably the change is less extreme since your day than it is since my day. But compared to when I was a student, which was the end of the 70s, beginning of the 80s, I was an undergraduate. The degree of sort of professionalism and sobriety, responsibility and diligence amongst English literature academics has improved so much.You know, you generally speaking, literature academics, they are not a load of ⁓ drunken wastrels or sort of predatory seducers or lazy, work shy, ⁓ even if they love their own research, negligent teachers or a lot of the sort of the things which even at the time I recognise as the sort of bad behaviour aspects of some academics. Most of that's just gone. It's just gone. You cannot be like that because you've got everybody's your institution is totally geared up to sort of consumer feedback and and the students, especially if you're not in Oxford or Cambridge, the students are essentially paying your salaries in a very direct way. So there have been improvements actually. ⁓ those improvements were sort of by the advocates of tuition fees, I think, and they weren't completely wrong. However, there have also been some real downsides as well. ⁓ One is simply that the students complain all the time, you know, and in our day we had lots to complain about and we never complained. Now they have much less to complain about and they complain all the time. ⁓ So, and that seems to me to have sort of weakened the relationship of trust that there should be between academics and students. But also I would say more if not optimistically, at least stoically. I've been in this game for a long time and the waves of student fashion and indignation break on the shore and then another one comes along a few years later. And as a sort of manager in my department, because I'm head of my department, I've learned to sort of play the long game.And what everybody's hysterical about one moment, one year, they will have forgotten about two or three years later. So there has been a certain, you know, there was a, you know, what, what, you know, some conservative journalists would call kind of wokery. There has been some of that. But in a way, there's always been waves of that. And the job of academics is sort of to stand up to it. and in a of calm way. Tuition fees have made it more difficult to do that I think.Henry Oliver (59:40)Yeah. Did you know A.S. Byatt? What was she like?John Mullan (59:43)I did.⁓ Well...When you got to know her, you recognized that the rather sort of haughty almost and sometimes condescending apparently, ⁓ intellectual auteur was of course a bit of a front. Well, it wasn't a front, but actually she was quite a vulnerable person, quite a sensitive and easily upset person.I mean that as a sort of compliment, not easily upset in the sense that sort of her vanity, but actually she was quite a humanly sensitive person and quite woundable. And when I sort of got to know that aspect of her, know, unsurprisingly, I found myself liking her very much more and actually not worrying so much about the apparent sort of put downs of some other writers and things and also, you know, one could never have said this while she was alive even though she often talked about it. I think she was absolutely permanently scarred by the death of her son and I think that was a, you know, who was run over when he was what 11 years old or something. He may have been 10, he may have been 12, I've forgotten, but that sort of age. I just think she was I just think she was permanently lacerated by that. And whenever I met her, she always mentioned it somehow, if we were together for any length of time.Henry Oliver (1:01:27)What's your favourite Iris Murdoch novel?John Mullan (1:01:33)I was hoping you were going to say which is the most absurd Aris Murdoch novel. ⁓ No, you're an Aris Murdoch fan, are you? Henry Oliver (1:01:38)Very much so. You don't like her work?John Mullan (1:01:59)Okay. ⁓ no, it's, as you would say, Henry, more complicated than that. I sort of like it and find it absurd. It's true. I've only read, re-read in both cases, two in the last 10 years. And that'sThat's not to my credit. And both times I thought, this is so silly. I reread the C to C and I reread a severed head. And I just found them both so silly. ⁓ I was almost, you know, I almost lost my patience with them. But I should try another. What did I used to like? Did I rather like an accidental man? I fear I did.Did I rather like the bell, which is surely ridiculous. I fear I did. Which one should I like the most?Henry Oliver (1:02:38)I like The Sea, the Sea very much. ⁓ I think The Good Apprentice is a great book. There are these, so after The Sea, the Sea, she moves into her quote unquote late phase and people don't like it, but I do like it. So The Good Apprentice and The Philosopher's Pupil I think are good books, very good books.John Mullan (1:02:40)I've not read that one, I'm afraid. Yes, I stopped at the sea to sea. I, you know, once upon a time, I'm a bit wary of it and my experience of rereading A Severed Head rather confirmed me in my wariness because rereading, if I were to reread Myris Murdoch, I'm essentially returning to my 18 year old self because I read lots of Myris Murdoch when I was 17, 18, 19 and I thought she was deep as anything. and to me she was the deep living British novelist. And I think I wasn't alone ⁓ and I feel a little bit chastened by your advocacy of her because I've also gone along with the ⁓ general readership who've slightly decided to ditch Irish Murdoch. her stock market price has sunk hugely ⁓ since her death. But perhaps that's unfair to her, I don't know. I've gone a bit, I'll try again, because I recently have reread two or three early Margaret Drabble novels and found them excellent, really excellent. And thought, ⁓ actually, I wasn't wrong to like these when I was a teenager. ⁓Henry Oliver (1:04:11)The Millstone is a great book.John Mullan (1:04:22)⁓ yes and actually yes I reread that, I reread the Garrick year, the Millstone's terrific I agree, the the Garrick year is also excellent and Jerusalem the Golden, I reread all three of them and and and thought they were very good. So so you're recommending the Philosopher's Apprentice. I'm yeah I'm conflating yes okay.Henry Oliver (1:04:31)first rate. The Good Apprentice and the Philosopher's Pupil. Yeah, yeah. I do agree with you about A Severed Head. I think that book's crazy. What do you like about Patricia Beer's poetry?John Mullan (1:04:56)⁓ I'm not sure I am a great fan of Patricia Beer's poetry really. I got the job of right, what? Yes, yes, because I was asked to and I said, I've read some of her poetry, but you know, why me? And the editor said, because we can't find anybody else to do it. So that's why I did it. And it's true that I came.Henry Oliver (1:05:02)Well, you wrote her... You wrote her dictionary of national... Yes.John Mullan (1:05:23)I came to quite like it and admire some of it because in order to write the article I read everything she'd ever published. But that was a while ago now, Henry, and I'm not sure it puts me in a position to recommend her.Henry Oliver (1:05:35)Fair enough.Why is the Dunciad the greatest unread poem in English?John Mullan (1:05:41)Is it the greatest unread one? Yes, probably, yes, yes, I think it is. Okay, it's great because, first of all, great, then unread. It's great because, well, Alexander Poet is one of the handful of poetic geniuses ever, in my opinion, in the writing in English. Absolutely genius, top shelf. ⁓Henry Oliver (1:05:46)Well, you said that once, yes.Mm-hmm. Yes, yes, yes. Top shelf, yeah.John Mullan (1:06:09)And even his most accessible poetry, however, is relatively inaccessible to today's readers, sort of needs to be taught, or at least you have to introduce people to. Even the Rape of the Lock, which is a pure delight and the nearest thing to an ABBA song he ever wrote, is pretty scary with its just densely packed elusiveness and...Henry Oliver (1:06:27)YouJohn Mullan (1:06:38)You know, and as an A level examiner once said to me, we don't set Pope for A level because it's full of irony and irony is unfair to candidates. ⁓ Which is true enough. ⁓ So Pope's already difficult. ⁓ Poetry of another age, poetry which all depends on ideas of word choice and as I said, literary allusion and The Dunciad is his most compacted, elusive, dense, complicated and bookish poems of a writer who's already dense and compact and bookish and elusive. And the Dunceyad delights in parodying, as I'm sure you know, all the sort of habits of scholarly emendation and encrustation, which turn what should be easy to approach works of literature into sort of, you know, heaps of pedantic commentary. And he parodies all that with delight. But I mean, that's quite a hard ask, isn't it? And ⁓ yeah, and I just and I think everything about the poem means that it's something you can only ever imagine coming to it through an English literature course, actually. I think it is possible to do that. I came to it through being taught it very well and, you know, through because I was committed for three years to study English literature, but it's almost inconceivable that somebody could just sort of pick it up in a bookshop and think, ⁓ this is rather good fun. I'll buy this.Henry Oliver (1:08:26)Can we end with one quick question about Jane Austen since it's her birthday? A lot of people come to her books later. A lot of people love it when they're young, but a lot of people start to love it in their 20s or 30s. And yet these novels are about being young. What's going on there?John Mullan (1:08:29)Sure, sure.Yes.I fear, no not I fear, I think that what you describe is true of many things, not just Jane Austen. You know, that there's a wonderful passage in J.M. Coetzee's novel Disgrace where the reprehensible protagonist is teaching Wordsworth's Prelude.to a group of 19 and 20 year olds. And he adores it. He's in his mid fifties. And he, whilst he's talking, is thinking different things. And what he's thinking is something that I often think actually about certain works I teach, particularly Jane Austen, which is this book is all about being young, but the young find it tedious. Only the aging.You know, youth is wasted on the young, as it were. Only the aging really get its brilliance about the experience of being young. And I think that's a sort of pattern in quite a lot of literature. So, you know, take Northanger Abbey. That seems to me to be a sort of disly teenage book in a way.It's everything and everybody's in a hurry. Everybody's in a whirl. Catherine's in a whirl all the time. She's 17 years old. And it seems to me a delightfully teenage-like book. And if you've read lots of earlier novels, mostly by women, about girls in their, you know, nice girls in their teens trying to find a husband, you know, you realize that sort ofextraordinary magical gift of sort Jane Austen's speed and sprightliness. You know, somebody said to me recently, ⁓ when Elizabeth Bennet sort of walks, but she doesn't walk, she sort of half runs across the fields. You know, not only is it socially speaking, no heroine before her would have done it, but the sort of the sprightliness with which it's described putsthe sort of ploddingness of all fiction before her to shame. And there's something like that in Northanger Abbey. It's about youthfulness and it takes on some of the qualities of the youthfulness of its heroine. know, her wonderful oscillations between folly and real insight. You know, how much she says this thing. I think to marry for money is wicked. Whoa. And you think,Well, Jane Austen doesn't exactly think that. She doesn't think Charlotte Lucas is wicked, surely. But when Catherine says that, there's something wonderful about it. There is something wonderful. You know, only a 17 year old could say it, but she does. And but I appreciate that now in my 60s. I don't think I appreciated it when I was in my teens.Henry Oliver (1:11:55)That's a lovely place to end. John Mullen, thank you very much.John Mullan (1:11:58)Thanks, it's been a delight, a delight. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk/subscribe

On today's show, we're chatting with Karyn Dethrow, owner of Dethrose Vintage in Chicago. Dethrose Vintage specializes in ultra-rare pieces, and Karyn takes pride in restoring every find – from the 1910s through the 1990s – to as close to its original state as possible, so it's ready to be worn and loved again as soon as it arrives at your door. In this episode, Karyn shares her journey into vintage, which started with her vintage dealer sister introducing her to the Bins in Southern Illinois, where she found some of her first 1940s pieces. She shares why vintage from the 1930s became her specialty – from bias cuts to the era's unexpected boldness – and why she feels it's a standout era that influenced fashion for decades to come. We talk about the serendipitous vintage buys she's had with former-strangers, her philosophy on rescuing vintage fur coats for sustainability, plus, her tips for cleaning and caring for delicate vintage textiles, and why Chicago's vintage community finally got the show it deserved with Pickwick. It's a warm, inspiring conversation about building a vintage business with integrity – from someone who has been at this a while and knows her stuff, so let's dive right in! DISCUSSED IN THE EPISODE: [2:45] Karyn's sister was a vintage dealer, and she would take her to the Bins and the thrift stores as a teenager.  [4:19] She had always loved 1930s-40s style from old movies. [7:22] When she started her Etsy shop, it sold out in two days [12:09] Her very first market was the Rosebowl. [14:43] Pickwick Vintage's first time in Chicago.  [16:11] How Karyn found her brand voice and vintage specialties. [17:45] Why the 1930s is such an influential era in fashion history [23:33] Vintage coats are the hot item of the year!  [26:32] Tips for caring, storing, and mending vintage pieces [32:43] The story of her first major professional vintage buy [38:32] Pieces she's saved for over a year for the perfect moment [43:04] How the vintage space has changed and advice for newcomers [48:19] Long haul pieces she'll never part with & other favorite finds EPISODE MENTIONS:  @dethrosevintage Dethrose Vintage Pickwick Vintage Rosebowl Flea Knee Deep Vintage Pre-Loved's coverage of Pickwick Vintage in Chicago Retroclean @lostgirlsvintage Gem Search  Dial M for Modern LET'S CONNECT: 

On today's show, we're chatting with Annapurna Rogers, a Brooklyn-based vintage curator and the owner of Annapurna Vintage. Anna specializes in exceptional pieces from the 1960s through the 1990s for the modern woman – think well-constructed blazers, iconic coats, and those showstopper garments that elevate any wardrobe. In this episode, she shares her journey from growing up as a thrift-loving kid in Portland, Oregon – where she'd walk to Valley Village and find mod 60s dresses to wear to middle school – to running the daily operations of the Arcade vintage store for A Current Affair in Industry City, Brooklyn, and eventually launching her own business.  She opens up about what she's learned from vintage-selling mentors, and about navigating the world of high-end vintage markets – including what's hot right now, and her philosophy on building a collection around quality and design  Plus, the unbelievable moment when Sabrina Carpenter's stylist reached out for a piece she'd just sold. What would you even do? It's a really fun one full of great stories and advice, so let's dive right in! DISCUSSED IN THE EPISODE: [2:52] Growing up, Annapurna visited the Value Village for vintage, and her mom made a lot of her clothes. [8:12] Her design internship in London that made her realize styling might be a good job for her [10:25] Her winding career path that eventually led her to vintage – - from restaurant management to high-end boutiques. [12:55] She started out in vintage by helping her friend get ready for the A Current Affair shows. [18:05] But she opened her Etsy store in 2016 to sell some of her personal collection [18:48] She gets her big break into vintage when A Current Affair opened a store in Industry City and needed a manager.  [23:52] Learning to source based on public demand [31:04] How Annapurna developed her own vintage specialties. [34:33] She loves female designers like Anne Klein and Donna Karen.  [41:19] Stocking both practical wardrobe staples and showstopper pieces, and the pressure dealers feel to find showstoppers for markets. [43:16] Preparing for major markets like A Current Affair and Pickwick. [47:16] What's hot right now: suede coats, leather jackets, feather coats, and silk slip dresses [51:02] When Sabrina Carpenter's stylist reached out for a piece she'd just sold [52:52] Holy grail finds she still thinks about, and other pieces from her personal collection EPISODE MENTIONS:  Annapurna Vintage Annapurna's Etsy Will, of The Find Pickwick Vintage A Current Affair Omnia Magpie Vintage Redlight Clothing Exchange Arcade James Veloria Amarcord Saint Laurent ivory leather top Recreo Reinspired Samantha Knight Swanee Grace @lesansfin Lesansfin Past Lives Studio Studio Nordic LET'S CONNECT: 

Released in 1978 on the Pickwick label, at first glance the budget album "Mahalo from Elvis" could have seemed like any number of other slapdash repackaging of old recordings in the wake of Elvis's death. However "Mahalo" not only represented the first official release of the five post-show songs from "Aloha from Hawaii" filmed for inclusion in the continental US broadcast, but had originally been compiled by RCA's Joan Deary for release in late 1973.  As an album that could have potentially been part of the lifetime canon of Elvis's album releases, has "Mahalo" been overlooked? Eventually certified Gold by the RIAA, many later-generation fans - including Justin - had it in their vinyl collection early on as a formative part of their Elvis musical experience. Bec and Justin decided to revisit the record and see how it holds up. For Song of the Week, Bec takes the baton from Olivia pick last week, highlighting another Don Robertson-penned number, the stunning "There's Always Me" from 1961. Justin, on the other hand, tries really hard not to let the potential for innuendo get out of hand as he digs into what sets Elvis's version of the country weeper "It Ain't No Big Thing (But It's Growing)" apart from numerous others before and after his.  If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy.

Send us a textA selection of Ghost Club discussion topics 1902-1913. These include : Haunted bottles, Egyptian mummy curses, Mrs Etta Wreight's seances, The Glastonbury Cup, Whymper's pony, The Pickwick mystery and the Dorchester incident. My narration is not great and there is a pug  called Otto snoring at my feet and it is recorded in one take without editing. his is the first of four podcasts I will post on Ghost Club meetings over the course of the next year.

Binnen een paar uur ging het van gerucht naar geschiedenis. Het bedrijf achter Douwe Egberts en Pickwick vind je binnenkort niet meer in Amsterdam, maar in New York. JDE Peet's wordt overgenomen door het bedrijf achter Dr Pepper en 7Up. Dat deed een bod van 18 miljard dollar, en dat bleek onweerstaanbaar. Moeten we er treurig om zijn? En wie is de volgende die het Damrak laat voor wat 't is? Dat hoor je in deze aflevering. En dan hebben we het ook over Intel. Het is officieel: de Amerikaanse regering bezit tien procent van het bedrijf. In ruil daarvoor krijgt het de al eerder beloofde subsidie van 9,5 miljard dollar. Maar een saillant detail is dat de chipmaker zelf laat doorschemeren dat het die deal tegen heug en meug gesloten heeft. Het gaat ook nog - alweer - over AI. Apple geeft soort van toe dat het de zaken niet op orde heeft, want het is zelfs bereid om de AI van Google in te kopen om daar Siri eindelijk eens een beetje beter mee te maken. En Meta krijgt het ook niet voor elkaar om de beste te zijn, en koopt het daarom bij startup Midjourney. En er was meer te doen: Een koersval van het Deense Ørsted, nadat de Amerikaanse overheid een einde maakt van een windpark voor de kust van Rhode Island dat al bijna af was. Italiaanse zakenbank UniCredit kruipt weer een beetje dichterbij de overname van Duitse concurrent Commerzbank. Netflix scoort voor het eerst een échte bioscoophit. En je hoort over de DJ-ambities van Niels Koerts. See omnystudio.com/listener for privacy information.

“I like the Pickwick score, it's robust and British. I've often been offered parts in American musicals but I've always turned them down. No matter how good they are, I always feel they are not part of us. That's why I waited and thought of this idea of making a musical of ‘Pickwick.” - Harry Secombe, 1963.And so the idea was realised, based on the 1837 Charles Dickens novel The Posthumous Papers of the Pickwick Club, better known simply as The Pickwick Papers. Harry got the idea for the musical while on holiday in the Bahamas, inspired by the success of Oliver! The writer Wolf Mankowitz agreed to turn it into a musical but faced the considerable challenge of condensing the 250,000words and loosely-linked anecdotes from the original novel into a workable stage production. He eventually decided to use the Pickwick-Bardell breach of promise action as a basic skeleton from which to hang the two-act musical adaptation. Pickwick premiered in Manchester in summer 1963 and as well as Secombe as the titular rotundity featured the likes of Anton Rodgers, Julian Orchard, Hilda Braid, Peter Bull and Norman Rossington among the cast.It swiftly transferred to the West End and two years later opened in the United States. Some of the original British cast reprised their roles (obviously including Harry) but Charlotte Rae came on board as Mrs Bardell and a young scapegrace called Davy Jones took up the part of Sam Weller. The story is he was spotted and signed up for The Monkees during this, and was subsequently replaced by the great Roy Castle. An original cast recording was released on LP in 1963 and in 1969 the BBC broadcast a 90-minute colour adaptation of the musical, adapted for the screen by James Gilbert and Jimmy Grafton. It reunited Secombe with Roy Castle and Julian Orchard and introduced us to Hattie Jacques as Mrs Bardell, Aubrey Woods as Mr Jingle and Robert Dorning as Tupman.This week returning guest Tim Worthington talks all things Pickwick but as you would expect with someone like Tim the conversation is wide-ranging and he pulls many a thread from the tapestry of sixties popular culture!

Tonight's reading comes from The Pickwick Papers. Written by Charles Dickens and first published in 1836, this story follows Mr. Pickwick and his associates during 1830's England. My name is Teddy and I aim to help people everywhere get a good night's rest. Sleep is so important and my mission is to help you get the rest you need. The podcast is designed to play in the background while you slowly fall asleep.For those new to the podcast, it started from my own struggles with sleep. I wanted to create a resource for others facing similar challenges, and I'm so grateful for the amazing community we've built together.

William Nichols and Jake Young weighed in 27.69lbs of Pickwick Lake Bass to secure their win, $15,000, and their spot on Wheeler Lake at the ABT Championship in October. Kay brings in Luke Dunkin to predict Lay Lake!

Consider making a donation to The Piano Maven podcast by subscribing to our Substack page (https://jeddistlermusic.substack.com/about), which you also can access by clicking on the "Donate" button here: https://rss.com/podcasts/pianomavenLink to John Ogdon's Beethoven "Appassionata" - https://johnogdon.bandcamp.com/album/ludwig-van-beethoven-piano-sonata-no-23-in-f-minor-op-57-appassionata

CRAGG Live from May 10th, 2025Lou Reed Pickwick Records Profile Join us for a 2-hour radio special where we dive deep into the roots of a legendary singer Lou Reed. We profile the latest posthumous Lou Reed release: “Why Don't You Smile Now: Lou Reed at Pickwick Records 1964–65”. Discover the early days, the raw recordings, and the sound before the fame.Listen to the show HERE.What is CRAGG Live Anyways?!  The flagship radio show of Cult Radio A-Go-Go!'s, CRAGG Live is a lively 2-3 hour talk radio show hosted by Terry and Tiffany DuFoe LIVE from an old abandoned Drive-In Movie theater with Wicked Kitty, Fritz, Imhotep and Hermey the studio cats and CRAGG The Gargoyle. We play retro pop culture, Drive-In movie, classic TV and old radio audio along with LIVE on the air celebrity interviews from the world of movies, TV, music, print, internet and a few odd balls thrown in for good measure. We air Saturdays at 5:00 pacific.We air on www.cultradioagogo.com which is a 24/7 free internet radio network of old time radio, music, movie trailers, old nostalgic commercials, snack bar audio, AND much more!  This show is copyright 2025 DuFoe Entertainment and the live interviews contained in this show may not be reproduced, transcribed or posted to a blog, social network or website without written permission from DuFoe Entertainment.

Here are two fragments that didn't make the cut in the previous episode on THE PICKWICK PAPERS ...Prof. Hugo Bowles talks about the afterlife of Pickwick & Gina Beck reads an extract where Pickwick is observed from a window by a Scientific Gentleman! Support the showIf you'd like to make a donation to support the costs of producing this series you can buy 'coffees' right here https://www.buymeacoffee.com/dominicgerrardThank you so much!Host: Dominic GerrardSeries Artwork: Léna GibertOriginal Music: Dominic GerrardThank you for listening!

Dominic is joined by the inimitable Prof. Hugo Bowles who is currently working the OUP edition of The Pickwick Papers  to guide us through this riot of a novel - if it is a novel? Hugo is an alumnus of both Oxford and Cambridge where he read English, Classics and Applied Linguistics. For over three decades he lectured at four Italian Universities and is the author of Dickens and Stenographic Mind (published by Edinburgh University Press). We last caught up with Hugo in his joint episodes with Dr. Claire Wood as they spoke about their award-winning Dickens Code Project.Joining us today, to read extracts from this dizzying narrative is the wonderful actress Gina Beck.The sounds of horses, carriages, seagulls and nature are used with permission from Epidemic SoundCaution: Listeners please note that the topic of suicide is covered in the earlier parts of the Pickwick story.Support the showIf you'd like to make a donation to support the costs of producing this series you can buy 'coffees' right here https://www.buymeacoffee.com/dominicgerrardThank you so much!Host: Dominic GerrardSeries Artwork: Léna GibertOriginal Music: Dominic GerrardThank you for listening!

The special guests on this episode of the Rapala #WeAreCollegiateBass Podcast are Chandler Howell & Clayton Ellis.  Representing Top 20 ranked Blue Mountain Christian University, Chandler & Clayton won the Association of Collegiate Anglers' first event of 2025 for the Bass Pro Shops Collegiate Bass Fishing Series, the third event of its historic 20th season.  The duo won the Pickwick Slam with a five bass limit weighing 25.54 pounds.  For the 1st place victory, the anglers received a total payout exceeding $3,000 in prizes and contingencies...including the ACA logo contingency and T-H Marine Atlas Awards.  Blue Mountain Christian also earned the most points of any team competing at Pickwick Lake, as the school's two highest-finishing teams earned 3,470 points towards the Bass Pro Shops School of the Year presented by Abu Garcia.  Tune in to hear about their winning pattern, and goals for the team with just one month remaining in this current season!

The Association of Collegiate Anglers is set to host its first event of 2025 on the Bass Pro Shops Collegiate Bass Fishing Series.  The Pickwick Slam will be contested at Pickwick Lake on April 5-6.  This third major double points event of the ACA's historic 20th season will be the final event for the 2024-25 campaign before the year-end 20th Collegiate Bass Fishing Championship presented by Bass Pro Shops next month.  Joining us on this episode of the Rapala #WeAreCollegiateBass Podcast are Peyton Harris, Dalton Head, and Peyton Sorrow from top ranked University of Montevallo.  Tune in to hear them preview Pickwick Lake, as well as talk about the team's quest for finishing the year ranked number one for the fifth straight season.

This winter, Dylan Nutt has dominated on the Tennessee River, winning two Toyota Series Presented by Phoenix Boats events on Pickwick and Chickamauga and leading Fishing Clash angler of the Year for the Central Division. Of course, he's also done it all while still in school at the University of North Alabama, going to class and fishing collegiately as well.

Send us a textToday's episode is A Tale of Two Podcasts where Dominic teams up with Jordan Evans-Hill: creator and host of the Charles Dickens Museum's Inimitable podcast.Here Jordan takes the listener on a tour inside number 48 Doughty St - the house where Dickens lived and worked as he completed Pickwick, wrote the entirety of Oliver Twist & Nicholas Nickleby and began Barnaby Rudge …Jordan is a former footman from the Royal Household where he served the late Queen Elizabeth II. He is also a writer, having recently completed his debut novel and he works as the Head of Marketing and Commercial at the Dickens Museum. And as you journey through the house you can follow the Dickens Museum's online interactive tour and walk around the rooms virtually as we go. Support the showIf you'd like to make a donation to support the costs of producing this series you can buy 'coffees' right here https://www.buymeacoffee.com/dominicgerrardThank you so much!Host: Dominic GerrardSeries Artwork: Léna GibertOriginal Music: Dominic GerrardThank you for listening!

In Missiology Reimagined: The Missions Theology of the Nineteenth-Century African American Missionary (Pickwick, 2024), Kent Michael Shaw I examines the lives and theology of early African American missionaries of the Antebellum and Reconstruction era. The enslaved and formerly enslaved constructed a hermeneutic and interpreted the sacred text through a lens that contradicted the enslaver's version of Christianity. They engaged Scripture on their own terms and embraced a theology of mission that compelled them to risk death and re-enslavement to pursue a global mandate from God. These pioneering missionaries were not only mission workers but missiologists. The reader will discover an applied missiology with relevance not only for the African American church of that day but for the church as a whole today. Dave Broucek is a retired cross-cultural missionary/coordinator of continuing education/international ministries director, having served on the staff of two faith-based nonprofits, The Evangelical Alliance Mission (TEAM) and South America Mission (SAM). He holds a PhD in Intercultural Studies from Trinity Evangelical Divinity School, Deerfield, Illinois. 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 Missiology Reimagined: The Missions Theology of the Nineteenth-Century African American Missionary (Pickwick, 2024), Kent Michael Shaw I examines the lives and theology of early African American missionaries of the Antebellum and Reconstruction era. The enslaved and formerly enslaved constructed a hermeneutic and interpreted the sacred text through a lens that contradicted the enslaver's version of Christianity. They engaged Scripture on their own terms and embraced a theology of mission that compelled them to risk death and re-enslavement to pursue a global mandate from God. These pioneering missionaries were not only mission workers but missiologists. The reader will discover an applied missiology with relevance not only for the African American church of that day but for the church as a whole today. Dave Broucek is a retired cross-cultural missionary/coordinator of continuing education/international ministries director, having served on the staff of two faith-based nonprofits, The Evangelical Alliance Mission (TEAM) and South America Mission (SAM). He holds a PhD in Intercultural Studies from Trinity Evangelical Divinity School, Deerfield, Illinois. 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 Missiology Reimagined: The Missions Theology of the Nineteenth-Century African American Missionary (Pickwick, 2024), Kent Michael Shaw I examines the lives and theology of early African American missionaries of the Antebellum and Reconstruction era. The enslaved and formerly enslaved constructed a hermeneutic and interpreted the sacred text through a lens that contradicted the enslaver's version of Christianity. They engaged Scripture on their own terms and embraced a theology of mission that compelled them to risk death and re-enslavement to pursue a global mandate from God. These pioneering missionaries were not only mission workers but missiologists. The reader will discover an applied missiology with relevance not only for the African American church of that day but for the church as a whole today. Dave Broucek is a retired cross-cultural missionary/coordinator of continuing education/international ministries director, having served on the staff of two faith-based nonprofits, The Evangelical Alliance Mission (TEAM) and South America Mission (SAM). He holds a PhD in Intercultural Studies from Trinity Evangelical Divinity School, Deerfield, Illinois. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In Missiology Reimagined: The Missions Theology of the Nineteenth-Century African American Missionary (Pickwick, 2024), Kent Michael Shaw I examines the lives and theology of early African American missionaries of the Antebellum and Reconstruction era. The enslaved and formerly enslaved constructed a hermeneutic and interpreted the sacred text through a lens that contradicted the enslaver's version of Christianity. They engaged Scripture on their own terms and embraced a theology of mission that compelled them to risk death and re-enslavement to pursue a global mandate from God. These pioneering missionaries were not only mission workers but missiologists. The reader will discover an applied missiology with relevance not only for the African American church of that day but for the church as a whole today. Dave Broucek is a retired cross-cultural missionary/coordinator of continuing education/international ministries director, having served on the staff of two faith-based nonprofits, The Evangelical Alliance Mission (TEAM) and South America Mission (SAM). He holds a PhD in Intercultural Studies from Trinity Evangelical Divinity School, Deerfield, Illinois. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

In Missiology Reimagined: The Missions Theology of the Nineteenth-Century African American Missionary (Pickwick, 2024), Kent Michael Shaw I examines the lives and theology of early African American missionaries of the Antebellum and Reconstruction era. The enslaved and formerly enslaved constructed a hermeneutic and interpreted the sacred text through a lens that contradicted the enslaver's version of Christianity. They engaged Scripture on their own terms and embraced a theology of mission that compelled them to risk death and re-enslavement to pursue a global mandate from God. These pioneering missionaries were not only mission workers but missiologists. The reader will discover an applied missiology with relevance not only for the African American church of that day but for the church as a whole today. Dave Broucek is a retired cross-cultural missionary/coordinator of continuing education/international ministries director, having served on the staff of two faith-based nonprofits, The Evangelical Alliance Mission (TEAM) and South America Mission (SAM). He holds a PhD in Intercultural Studies from Trinity Evangelical Divinity School, Deerfield, Illinois. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In Missiology Reimagined: The Missions Theology of the Nineteenth-Century African American Missionary (Pickwick, 2024), Kent Michael Shaw I examines the lives and theology of early African American missionaries of the Antebellum and Reconstruction era. The enslaved and formerly enslaved constructed a hermeneutic and interpreted the sacred text through a lens that contradicted the enslaver's version of Christianity. They engaged Scripture on their own terms and embraced a theology of mission that compelled them to risk death and re-enslavement to pursue a global mandate from God. These pioneering missionaries were not only mission workers but missiologists. The reader will discover an applied missiology with relevance not only for the African American church of that day but for the church as a whole today. Dave Broucek is a retired cross-cultural missionary/coordinator of continuing education/international ministries director, having served on the staff of two faith-based nonprofits, The Evangelical Alliance Mission (TEAM) and South America Mission (SAM). He holds a PhD in Intercultural Studies from Trinity Evangelical Divinity School, Deerfield, Illinois. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Missiology Reimagined: The Missions Theology of the Nineteenth-Century African American Missionary (Pickwick, 2024), Kent Michael Shaw I examines the lives and theology of early African American missionaries of the Antebellum and Reconstruction era. The enslaved and formerly enslaved constructed a hermeneutic and interpreted the sacred text through a lens that contradicted the enslaver's version of Christianity. They engaged Scripture on their own terms and embraced a theology of mission that compelled them to risk death and re-enslavement to pursue a global mandate from God. These pioneering missionaries were not only mission workers but missiologists. The reader will discover an applied missiology with relevance not only for the African American church of that day but for the church as a whole today. Dave Broucek is a retired cross-cultural missionary/coordinator of continuing education/international ministries director, having served on the staff of two faith-based nonprofits, The Evangelical Alliance Mission (TEAM) and South America Mission (SAM). He holds a PhD in Intercultural Studies from Trinity Evangelical Divinity School, Deerfield, Illinois. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-south

Old Chuck D dazzles Scooter with a chapter from a book about a paper filled with merriment, bells, and cozy barrels.Start a 7 day FREE trial of Sleep With Me Plus- The ultimate way to listen to show, based on how YOU listen! Get your Sleep With Me SleepPhones. Use "sleepwithme" for $5 off!!Learn more about producer Russell aka Rusty Biscuit at russellsperberg.com and @BabyTeethLA on IG.Show Artwork by Emily TatSupport our AAPI communityBlack Lives Matter. Here is a list of anti-racism resources.Support the people in Ukraine.Going through a hard time? You can find support at the Crisis Textline and see more global helplines here.HELIX SLEEP - Take the 2-minute sleep quiz and they'll match you to a customized mattress that'll give you the best sleep of your life. Visit helixsleep.com/sleep for up to $200 off and 2 free pillows!ZOCDOC - With Zocdoc, you can search for local doctors who take your insurance, read verified patient reviews and book an appointment, in-person or video chat. Download the Zocdoc app to sign-up for FREE at zocdoc.com/sleep PROGRESSIVE - With the Name Your Price tool, you tell Progressive how much you want to pay for car insurance, and they'll show you coverage options that fit your budget. Get your quote today at progressive.comLUMEN - Lumen is the world's first handheld metabolic coach. Get tailored guidance to improve your nutrition, workouts, sleep, and even stress management. Go to lumen.me/SLEEP for 15% off your purchase.UNCOMMON GOODS - Uncommon Goods scours the globe for original, remarkable, handmade things. Surprise your friends and family with unique - and even personalized! - gifts this holiday season. Head to uncommongoods.com/sleep for 15% off!

Episode 137 Merry Moog 2024 Electronic Music for the Holidays Performed on the Moog and other Synthesizers   Playlist Time Track Time Start Introduction –Thom Holmes 04:34 00:00 1.     Hans Wurman, “Overture Miniature” from Electric Nutcracker (1976 Ovation). This Austrian composer made several remarkable, classically influenced Moog Modular albums from 1969 to 1976. This was one of his last big Moog projects and is difficult to find. 2:54 02:54 04:32 2.     Hans Wurman, “Danse De La Fee-Dragee ( Sugar Plum Fairy)” from Electric Nutcracker (1976 Ovation). Moog Modular synthesizer, Hans Wurman. 1:33 01:33 07:24 3.     Hans Wurman, “Danse Des Mirlitons (Flutes)” from Electric Nutcracker (1976 Ovation). Moog Modular synthesizer, Hans Wurman. 2:14 02:14 08:56 4.     Emerson, Lake & Palmer, “Nutrocker” from Nutrocker / The Great Gates Of Kiev (1972 Cotillion). Arranged by, Emerson, Lake & Palmer. Written by Kim Fowley. 03:48 11:08 5.     Sounds Of Broadcasting 2, “Night Of The Kings” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer. 01:01 14:56 6.     Jean Jacques Perrey and Sy Mann, “Jingle Bells” from Switched on Santa (1970 Pickwick). USA. Moog Modular Synthesizer. 01:44 15:56 7.     Jean Jacques Perrey and Sy Mann, “Christmas Bells” from Switched on Santa (1970 Pickwick). USA. Moog Modular Synthesizer. 01:52 17:40 8.     Douglas Leedy, “The Coventry Carol” from A Very Merry Electric Christmas to You (1970 Capitol). USA. Moog Modular Synthesizer and Buchla Synthesizer. 04:46 19:30 9.     Joseph Byrd, “Christmas in the Morning” from A Christmas Yet to Come (1975 Takoma). USA. ARP 2600 Synthesizer with an Oberheim Expander Module. 01:34 24:16 10.   Armen Ra, “O Come All Ye Faithful” from Theremin Christmas (2018 Sungod). USA. Moog Etherwave Pro Theremin. 04:43 25:50 11.   Beck, “The Little Drum Machine Boy” from Just Say Noël (1996 Geffen). USA. Roland TR-808 Rhythm Composer. 07:02 30:32 12.   Alan Horsey, “We Wish You a Merry Christmas” from Switched-On Christmas (1985 Snowflake Records). Italian album with electric organ by Alan Horsey. This is reminiscent of Hooked on Classics as the entire album seems to be woven together by a drum machine beat. This is played on organ. Seems a little late for disco. 03:10 37:30 13.   Denny Hinman, “Christmas in July” from Plays The Yamaha Electone E-70 (1980 Yamaha). Denny Hinman plays the Yamaha Electone E-70. A release by Yamaha. 01:45 40:36 14.   Miharu Koshi, “Belle Tristesse” (妙なる悲しみ)from We Wish You A Merry Christmas (1984 Yen). Japan. A compilation of specially recorded Christmas-themed songs from various artists on the Yen Records label. Written by, synth-pop with vocals by Miharu Koshi. Miharu Koshi is a keyboardist and singer with a long-standing collaborative association with YMO-founder Haruomi Hosono. 03:43 42:20 15.   Taeko Onuki, Inori (Prayer) from We Wish You A Merry Christmas (1984 Yen). Japan. A compilation of specially recorded Christmas-themed songs from various artists on the Yen Records label. Japanese synth-pop with vocals by Onuki. Maybe Ryuichi Sakamoto on keyboards. 03:44 46:02 16.   Frank Collett, “Jesu Joy of Man's Desiring (1970 Privately Made Release). USA. This is a special addition to the Merry Moog podcast. I found what is likely a one-of-a-disc private pressing by Frank Collett using the Moog Modular Synthesizer. This 45 RPM disc was recorded at Finetone Recording Studio in New York City and is inscribed with the hand-written message, “To John & Loretta: Merry XMAS. Composed and arranged by Frank Collett” This appears to be disc made of metal with a vinyl coating. One side includes his rendition of Bach's “Jesu Joy of Man's Desiring” plus a short tune called “Little Joey” (see below). The flip side contains the same recording of “Little Joey.” Dated December 22, 1970. Clearly made using a Moog Modular Synthesizer. Collett (1941-2016) was a noted session pianist and sometimes led and recorded with his own trio. He was raised in New York. In 1968 he was accompanist to Sarah Vaughan. The following year he moved to Las Vegas, Nevada.  He became the house pianist, with the orchestra in the main showroom of the International Hotel (which became the Las Vegas Hilton).  It was during this period that he made this recording in NY.  01:57 49:44 17.   Frank Collett, “Little Joey” (1970 Privately Made Release). Frank Collett using the Moog Modular Synthesizer. From a 45 RPM disc recorded at Finetone Recording Studio in New York City (see above). Dated December 22, 1970. Clearly made using a Moog Modular Synthesizer. Collett (1941-2016) was a noted session pianist and sometimes led and recorded with his own trio. Moog Modular Synthesiser, Frank Collett. Whose Moog Synthesizer did he use to make this recording? I can only speculate and guess that he made the recording at the studio of Gerson Kingsley in New York. 01:56 51:40 18.   Romantic Synthesizer, “Oh Tannenbaum” from Christmas Memories (1983 Dureco Benelux). French-Dutch album. Arranged, produced, synthesizers by Gerto Heupink, Robert Pot. 02:53 53:34 19.   Keiko Ohta (Ota), “Here Comes Santa Claus” from Electone X'Mas Present (1975 Canyon). Yamaha Electone GX-707 (GX-1), arranged by Keiko Ohta. Ohta was a female Electone star from Japan. The GX-1 was an early polyphonic synthesizer and a new branch of the Yamaha Electone family tree. 02:43 56:24 20.   Keiko Ohta (Ota), “Blue Christmas” from Electone X'Mas Present (1975 Canyon). Yamaha Electone GX-707 (GX-1), arranged by Keiko Ohta. Japan. Yes, the song originally made famous by Elvis Presley. Ohta was a female Electone star from Japan. The GX-1 was an early polyphonic synthesizer and a new branch of the Yamaha Electone family tree. 04:11 59:06 21.   Paul Haig, “Scottish Christmas” from Chantons Noël - Ghosts Of Christmas Past (1981 Les Disques Du Crépuscule). From a compilation album of Christmas-related tunes. Scottish songwriter, musician and singer. 02:46 01:03:16 22.   Les Cousins Dangereux, “What Child Is This” from Gotta Groove Records 2012 (2012 Gotta Groove Records). Holiday album with various artists. Les Cousins Dangereux is Mr. Tim Thornton. 01:59 01:06:00 23.   Joy Electric, “Angels We Have Heard on High” from The Magic Of Christmas (2003 Tooth & Nail Records). Joy Electric is Ronnie Martin from Ohio. American synthesizer-pop musician. Among his many releases is this crafty Christmas album. 01:48 01:07:58 24.   Koichi Oki, “Jingle Bells” from The Man From Yukiguni (1975 TIM/RS). Japan. Koichi Oki's Christmas album performed solely by his Yamaha Electone E-3. “Yukiguni” means snowland. Oki was a hugely popular Electone artist in Japan. 01:50 01:09:46 25.   Koichi Oki, “Winter Wonderland” from The Man From Yukiguni (1975 TIM/RS). Japan. Koichi Oki's Christmas album performed solely by his Yamaha Electone E-3. “Yukiguni” means snowland. Oki was a hugely popular Electone artist in Japan. 02:18 01:11:34 26.   Edhels, “Oriental Christmas” from Oriental Christmas (1985 Cabana Music). Recorded in France. Drums, Percussion, Keyboards, Jacky Rosati; Guitar, Jean Louis Suzzoni; Guitar, Bass, Keyboards, Composed by, Marc Ceccotti; Keyboards, Noël Damon. I was sent this as a promotional album back in 1985 with a kind little note from the artists. Sorry it took me so long to put the Christmas-related track in my podcast. This is great example of synth-pop from France in the 1980s. 04:22 01:13:52 27.   Bob Wehrman, John Bezjian and Dusty Wakeman, “Joy to the World” from Christmas Becomes Electric (1984 Tropical Records). Produced in L.A., a collection of pre-fab synthesizer classics. Not the same record of the same title as Douglas Leedy. 02:40 01:18:12 28.   Bob Wehrman, John Bezjian and Dusty Wakeman, “Ring Christmas Bells” from Christmas Becomes Electric (1984 Tropical Records). Produced in L.A., a collection of pre-fab synthesizer classics. Not the same record of the same title as Douglas Leedy. 01:46 01:20:50 29.   Romantic Synthesizer, “So This is Christmas” from Christmas Memories (1983 Dureco Benelux). French-Dutch album. Arranged, produced, synthesizers by Gerto Heupink, Robert Pot. We don't often hear an instrumental rendition of this Lennon and Ono X-mas tune. 03:22 01:22:34 30.   Swinging Buildings, “Praying For A Cheaper Christmas” from Chantons Noël - Ghosts Of Christmas Past (1981 Les Disques Du Crépuscule). From a compilation album of Christmas-related tunes. This group was once rumored to be New Order in disguise. But no, they were in fact The Bowling Balls in disguise. 03:07 01:25:54 31.   Bernie Krause, Philip Aaberg, “Feliz Navidad” from A Wild Christmas (1994 Etherean Music ). This delightful cassette is from Bernie Krause, known for his Moog explorations with Paul Beaver back in the day. All animal and ambient sounds recorded on location worldwide by Bernie Krause with the exception of the fish (courtesy of U.S. Navy). Animal samples, Bernie Krause and Phil Aaberg. Arrangements, new materials, all keyboards (Kurzweil 2000/Emulator III) Phil Aaberg. Percussion on Feliz Navidad performed by Ben Leinbach. 5:37 05:37 01:28:58 32.   The Original Cast: R2-D2, Anthony Daniels As C-3PO, “R2D2 We Wish You A Merry Christmas” from Christmas In The Stars: Star Wars Christmas Album (1980 RSO). Vocals, Arthur Boller, Donald Oriolo, Jr., Dori Greenberg, Ivy Alexenburg, Jake Yeston, Jessica Taylor, Marney Alexenburg, Ricky Haayen, Roddy McBrien, Russell Poses, Scot Randell, Stacy Greenberg; Keyboards, Derek Smith, Harold Wheeler, Pat Rebillot; Sound Effects (R2D2), Ben Burtt. The whole Star Wars crew seems to have a part in this holiday album. I wanted to highlight a track featuring the melodious electronic beeping of R2D2. 03:33 01:34:34 Opening background music: Sounds Of Broadcasting 1, “Christmas Logos” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer. Notice how the melody imitates a familiar tune without ever hitting the same notes. A copyright thing. Another name of this track might as well be, “It's Beginning to Sound A Lot Like Christmas.” Jean Jacques Perrey and Sy Mann, “Tijuana Christmas” from Switched on Santa (1970 Pickwick). USA. Moog Modular Synthesizer. Don Voegeli, “Chanukah” from Holiday & Seasonal Music (1977 EMI). USA. Produced at the Electrosonic Studio of the University of Wisconsin-Extension.   Opening and closing sequences voiced by Anne Benkovitz. Visual design by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.  

De beurswaarde moet verdubbelen! Dat is het doel van de nieuwe topman van Prosus, die nu 100 dagen erop heeft zitten bij de tech-investeerder. Hij is ervan overtuigd dat er meer in het vat zit voor zijn bedrijf. Prosus is nu zo'n 100 miljard dollar waard, maar daar kan volgens hem makkelijk nog eens hetzelfde bedrag bijkomen. Door een nieuwe bestuursvorm en met verschillende bedrijven die staan te popelen om naar de beurs te gaan, denkt hij dat nogal ambitieuze doel waar te kunnen maken. In deze aflevering hoor je op welke termijn de dromen van Prosus waarheid kunnen worden. En we hebben het ook over de termijn van een andere topman. Bob Iger, de man die speciaal uit zijn pensioen terugkeerde om Disney te redden heeft eindelijk een stip aan de horizon. Begin 2026 moet er een opvolger voor hem gekozen zijn. Het grootste mediabedrijf ter wereld heeft vier kandidaten op het oog, en we zoeken uit wie van de vier het beste in de functie-omschrijving past. En bij Boeing kan de nieuwe topman zijn eerste overwinning in potlood noteren. Het einde van de stakingen bij de vliegtuigbouwer lijkt in zicht. Boeing kwam met een nieuw loonbod, en de vakbonden zien dat bod wel zitten. Het enige obstakel dat overblijft is het personeel zelf, dat stemt woensdag over het akkoord.See omnystudio.com/listener for privacy information.

The next time you think about attending a show at The Music Hall in downtown Portsmouth...you may want to think twice. Because you may just come into contact with something that will haunt you forever. In today's conversation from a sketchy cellar in Deadwick's Ethereal Emporeum, Portsmouth's top ghost historian Juniper Pickwick and I discuss: Juniper Pickwick's affinity for ghosts (00:00) What makes Deadwick's special (06:26) Interacting with the ghosts of Portsmouth (08:22) The first stop along the Spectral Stroll (17:10) John Paul Jones' complicated love life (23:25) The Music Hall's haunted history (27:53) The conviction of Ruth Blay (30:35) Smuttynose Murders (33:52) Is Portsmouth spookier than Salem? (38:23) What's your mission? (44:18) Juniper Pickwick is the Director of Visual Artistry and the Keeper of Hearth and Banke at Pickwick's in the Strawberry Banke region of Portsmouth. Adopted into the magical Pickwick family in 2019, Juniper is the leader of the annual Spectral Strolls, and she's a critical part of the machine behind beloved spooky spots Pickwick's, Deadwick's, and Fezziwig's. To book a private Spectral Stroll with Juniper, visit this link here. For more information on the Halloween party mentioned in the episode, send @seacoaststoriespodcast a DM on Instagram. This podcast is hosted, written, researched, and produced by Spotify's ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Troy Farkas⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. To support this show, please leave a review of "Seacoast Stories" on ⁠our Apple Podcasts page.⁠

El recopilatorio “Why don’t you smile now” (Light In The Attic) recoge parte del trabajo de Lou Reed para Pickwick Records en los dos años previos a la formación de The Velvet Underground. En 1964 Reed fue contratado por esta disquera como compositor, músico de sesión y ocasional intérprete. Un trabajo a destajo en donde aprendió el funcionamiento de la industria de la música comercial, co-escribiendo decenas de canciones de todos los estilos, las cuales eran grabadas por bandas ficticias de estudio o artistas emergentes que aspiraban a convertirse en estrellas del pop.(Foto del podcast por Matthew Kloss)Playlist (Todas las canciones de “Why don’t you smile now” salvo donde indicado;(sintonía) LOU REED “I’m waiting for the man (demo mayo 1965)” (Words and Music)THE PRIMITIVES “Sneaky Pete”LOU REED “Merry-go-round” (single 1962)SPONGY and THE DOLLS “Really really really really really love”THE ALL NIGHT WORKERS “Why don’t you smile”ROBERTHA WILLIAMS “Tell mamma not to cry”THE J BROTHERS “Ya running, but I’ll getcha”BEVERLEY ANN “We got trouble”RONNIE DICKERSON “Oh no don’t do it”THE PRIMITIVES “The Ostrich”THE ROUGHNECKS “You’re driving me insane”THE BEACHNUTS “Cycle Annie”JEANNIE LARIMORE “Johnny won’t surf no more”THE SURFSIDES “Little Deuce Coupe”THE HOLLYWOODS “Teardrops in the sand”THE HI-LIFES “Soul City”RONNIE DICKERSON “What about me”THE BEACHNUTS “Sad, lonely, orphan boy”THE HI-LIFES “I’m gonna fight”LOU REED “Heroin” (demo mayo 1965)” (Words and Music)Escuchar audio

On this episode of Low Budget Live (Not So Live), Luke runs his mouth about the upcoming ICAST show in Orlando, The NPFL's amazing Pickwick event, and is joined in the Bar and Grill by NPFL Pro, and owner of Sonar Pros, Trent Palmer, for a great discussion on where we are headed in the electronics world, Patrick Walters being a dream crusher, surrounding yourself with greatness only makes you better, rednecks loving rap music and more! Learn more about your ad choices. Visit megaphone.fm/adchoices

The special guests on this episode of the Rapala #WeAreCollegiateBass Podcast are Dylan & Carter Nutt from 3rd ranked University of North Alabama.  This twin brother team won the Collegiate Bass Fishing Championship presented by Bass Pro Shops contested at Pickwick Lake on May 23-24.  Their two-day total weight of 52.36 pounds bested 2nd place by close to nine pounds.  For their victory, the duo earned a total of close to $8,000 in prizes and contingencies, as well as 2,500 points to count towards the Bass Pro Shops School of the Year presented by Abu Garcia.  Tune in to hear the two brothers talk about their major victory!

On this week's episode of The Literary Life Podcast, Angelina and Thomas continue their series of discussions on Anne Brontë's novel Agnes Grey. They open the conversation about this novel with some thoughts on the differences between Agnes Grey and Jane Eyre and Anne and Charlotte Brontë. Angelina poses the question as to whether this novel crosses the line into didacticism or if it stays within the purpose of the story and the art. In discussing the education of Agnes' charges in these chapters, Angelina has a chance to expand upon the upbringing of Victorian young women. She and Thomas discuss the position of the curate and Agnes' spiritual seriousness, as well as the characters of Weston and Hatfield as foils for each other. Thomas closes out the conversation with a question as to whether Agnes Grey is as memorable a character as Jane Eyre or Catherine Earnshaw and why that is. Check out the schedule for the podcast's summer episodes on our Upcoming Events page. In July, Dr. Jason Baxter will be teaching a class titled “Dostoyevsky's Icon: Brothers Karamazov, The Christian Past, and The Modern World”, and you can sign up for that or any of the HHL Summer Classes here. Sign up for the newsletter at HouseofHumaneLetters.com to stay in the know about all the exciting new things we have coming up! Commonplace Quotes: In wit, as nature, what affects our hearts/ Is not the exactness of peculiar parts;/ ‘Tis not a lip, or eye, we beauty call,/ But the joint force and full result of all. Alexander Pope, from “An Essay on Criticism” In any case, it is Charlotte Brontë who enters Victorian literature. The shortest way of stating her strong contribution is, I think, this: that she reached the highest romance through the lowest realism. She did not set out with Amadis of Gaul in a forest or with Mr. Pickwick in a comic club. She set out with herself, with her own dingy clothes and accidental ugliness, and flat, coarse, provincial household; and forcibly fused all such muddy materials into a spirited fairy-tale. G. K. Chesterton, The Victorian Age in Literature My Heart Leaps Up By William Wordsworth My heart leaps up when I beholdA Rainbow in the sky:So was it when my life began;So is it now I am a man;So be it when I shall grow old,Or let me die!The Child is father of the man;And I wish my days to beBound each to each by natural piety. Book List: Ten Novels and Their Authors by W. Somerset Maugham 1984 by George Orwell The Jungle by Upton Sinclair Charlotte Mason Hugh Walpole George Eliot Wuthering Heights by Emily Brontë Support The Literary Life: Become a patron of The Literary Life podcast as part of the “Friends and Fellows Community” on Patreon, and get some amazing bonus content! Thanks for your support! Connect with Us: You can find Angelina and Thomas at HouseofHumaneLetters.com, on Instagram @angelinastanford, and on Facebook at www.facebook.com/ANGStanford/ Follow The Literary Life on Instagram, and jump into our private Facebook group, The Literary Life Discussion Group, and let's get the book talk going! http://bit.ly/literarylifeFB

The next event for the Association of Collegiate Anglers is the Collegiate Bass Fishing Championship presented by Bass Pro Shops.  College fishing's longest running National Championship event is set to take place on Pickwick Lake in Florence, AL on May 23-24.  On this episode of the Rapala #WeAreCollegiateBass Podcast, we are joined by members of the Top 25 ranked Blue Mountain Christian University Bass Fishing Team.  Tune in to hear John Mark, TJ, and Lake talk about the fishing conditions out on Pickwick and Wilson Lakes!

The father and son team of Tracy & Dustin join Kay on this weeks show to breakdown their huge day on Pickwick Lake!

Erick Sommers and Robbie Pelt join the show to discuss their win on Lake Jordan! Luke Dunkin then joins in to preview Pickwick Lake. 

Jimmy Mason talks about guiding on Wheeler, Wilson, Pickwick and Guntersville for everything from white bass to giant smallmouth bass.  

Music by Cyril OrandelLyrics by Leslie BricusseBook by Wolf MankowitzOpened on Broadway October 4, 1965

ONLY MURDERS IN THE BUILDING SEASON 3 REVIEW Which of the Pickwick triplets did it, or any of the other members of this star-studded cast? Steve Martin, Martin Short, and Selena Gomez return as Charles, Oliver, and Mabel for the third season of their comedic mystery series Only Murders in the Building, and this time,… Read More »Screener Squad: Only Murders in the Building Season 3

This week Melanie and I share our March Madness reactions (personally it has not been our finest basketball hour), Melanie talks about the Ben Rector concert, and I pass along some interesting (to me, at least) information I learned on TikTok.  We also discuss a very exciting skirt, Melanie updates us on Spring Break '23, and it's my turn for Five Favorites. Enjoy, everybody!  - Join Us on Patreon  - Our Amazon Shop Show Notes: - Buzz Williams prays over Dexter Dennis - Ben Rector - The Skirt - Sundance (WE LOVE THEM - but I don't love the returns process) - Daisy Jones & the Six on Amazon Prime - Free People's Daisy Jones Collection - American Eagle Go Big oversize shirt (size down) - Pickwick & Co. Granada Pomegranate candle - Pepper Belly Pete's TikTok roast - watch band for spring - Teva Flatforms from Nordstrom Rack Sponsors: - ZocDoc (use this link to download the ZocDoc app for free) - Reel (use this link to get 30% off your first order and free shipping) - KiwiCo (use this link for 50% off your first order and free shipping) - Prose (use this link for your free hair consultation and 15% off)