Podcast appearances and mentions of richard boyle

Returning from our unofficial hiatus, we continue our series on Oliver Stone. The early 1980s saw the release of a few films written by Stone that centered upon violent antiheroes. We talk about John Milius and his clash of visions with Stone over the approach to mysticism in 1982's Conan the Barbarian. Next, Scarface and The Year of the Dragon both unsuccessfully grasp toward Stone's political turn, while the much higher quality Salvador (1986) is the movie that truly brings Stone into his own as a filmmaker. Analyzing the insights and limitations of Salvador's critique of the CIA, we consider how its protagonist (journalist Richard Boyle, played by James Woods) reflects Stone's evolving approach to masculinity and to the legacy of the counterculture.   https://twitter.com/CinemaPsyophttps://www.patreon.com/PsyopCinemahttp://psyop-cinema.com/https://linktr.ee/psyopcinemathomas-psyopcinema@protonmail.combrett-psyopcinema@protonmail.com  If you enjoy Psyop Cinema, check out Cultural Engineering Studies magazine - https://decoding-culture.com/product/cultural-engineering-studies-issue-1-print/ CORRECTION: Tony's boss in Scarface was played by Robert Loggia, rather than Frank Langella

On the 2nd December 1980, four American nuns were driving from San Salvador international airport when their van was attacked and run off the road. Men from the El Salvador National Guard, the ruling government's military, dressed in civilian clothing, raped, shot, then buried the four women. This event failed to halt US funding of the Salvadorian regime as billions of dollars were spent in propping up the fascist rulers. In 1985, before shooting Platoon, Oliver Stone began filming Salvador, starring James Woods as Richard Boyle so this is your January film club. Please do like, subscribe and follow, and if you can leave a kind rating then thank you, but it's over to me, Roger and Tim on Salvador. Links Robert E White Obituary Salvadoran Civil War Salvador on IMDB Salvador on Wikipedia Ollie on X Tim on X Roger on X Latest Issue out - Annual Subscription to Aspects of History Magazine only $9.99/£9.99 Aspects of History on Instagram Get in touch: history@aspectsofhistory.com Learn more about your ad choices. Visit megaphone.fm/adchoices

The complete audiobook is available for purchase at Audible.com: https://n9.cl/8wt7i Moral Essays Or Epistles to Several Persons By Alexander Pope Edited by W. C. Armstrong Narrated by Denis Daly These four poems, which deal with ethical issues, were collated and published in 1751 by William Warburton, seven years after Pope's death.The poems were inspired by Pope's admiration for Henry St John, 1st Viscount Bolingbroke, a philosopher and Tory politician. Also included in this recording is Pope's Epistle to Mr (Joseph) Addison. Contents Advertisement Epistle 1 - to Sir Richard Temple, Lord Cobham (1734) Epistle 2 - to a Lady (Martha Blount) (1735) Epistle 3 - to Allen, Lord Bathurst (1733) Epistle 4 - to Richard Boyle, Earl of Burlington (1731) Epistle to Mr Addison (1720)

Robert Boyle Nacido el 25 de enero de 1627, fue un filósofo natural, químico, físico e inventor anglo-irlandés. Boyle nació en Lismore Castle, en el condado de Waterford , Irlanda. Fue el decimocuarto hijo del primer conde de Cork y Catherine Fenton. Lord Cork, entonces conocido simplemente como Richard Boyle, había llegado a Dublín desde Inglaterra en 1588 durante las plantaciones Tudor de Irlanda. Había acumulado enormes riquezas y posesiones de tierras cuando nació Robert, y fue nombrado conde de Cork en octubre de 1620. Catherine Fenton, condesa de Cork, era hija deSir Geoffrey Fenton , exsecretario de Estado de Irlanda. Cuando era niño, Boyle fue acogido por una familia local, al igual que sus hermanos mayores; para cimentar su educación. Boyle recibió clases particulares de latín, griego y francés y cuando tenía ocho años, tras la muerte de su madre, fue enviado al Eton College de Inglaterra. El amigo de su padre, Sir Henry Wotton, era entonces el rector de la universidad. Durante este tiempo, su padre contrató a un tutor privado, Robert Carew, que tenía conocimientos de irlandés , para que actuara como tutor privado de sus hijos en Eton. Sintamos el relato…

5 - The Richard Boyle case – just what is public interest by Australian Citizens Party

1. Pentagon carves up Australia in ‘Brisbane Line' redux, Top End revolts 2. Financial reset threatened by BRICS Presented by Elisa Barwick and Richard Bardon Donate to support the Citizens Party campaigns: https://citizensparty.org.au/donate?utm_source=YouTube&utm_medium=link&utm_campaign=cit_rep_donation&utm_content=20241107_cit_rep For cheques and direct deposits, call 1800 636 432 Support the Duggan family's legal efforts: https://chuffed.org/project/109154-dan-duggan-extradition-legal-fund Read the Australian Alert Service Article "Goodbye Australian sovereignty, hello AUKUS ‘division of labour'": https://citizensparty.org.au/goodbye-australian-sovereignty-hello-aukus-division-labour Watch the Citizens Party's November 17 National Conference "Return Government to the People - Policy Platform Launch": https://youtube.com/live/p2mjAjQl8z0 Listen to the full 30 October 2024 ABC Radio Darwin Drive episode including John Lander: https://www.abc.net.au/listen/programs/darwin-drive/drive/104515514?utm_content=link&utm_medium=content_shared Read the Pearls and Irritations article by Richard Boyle "I have nothing left to give. I need your help": https://johnmenadue.com/i-have-nothing-left-to-give-before-i-finally-take-the-stand-in-an-eventual-criminal-trial/ The government can't pass the MAD bill without the Greens and three Independents in the Senate. Call and/or email these Senators to ask them to oppose the bill. Greens New South Wales Senator Mehreen Faruqi (02) 9211 1500 senator.faruqi@aph.gov.au Senator David Shoebridge (02) 8073 7400 senator.shoebridge@aph.gov.au Queensland Senator Penny Allman-Payne (07) 4972 0380 senator.allman-payne@aph.gov.au Senator Larissa Waters (07) 3367 0566 senator.waters@aph.gov.au South Australia Senator Sarah Hanson-Young (08) 8227 0425 senator.hanson-young@aph.gov.au Senator Barbara Pocock (08) 8272 7575 senator.barbara.pocock@aph.gov.au Tasmania Senator Nick McKim (03) 6224 8899 senator.mckim@aph.gov.au Senator Peter Whish-Wilson (03) 6331 0033 senator.whish-wilson@aph.gov.au Victoria Senator Steph Hodgins-May (03) 9381 1446 senator.hodgins-may@aph.gov.au WA Senator Dorinda Cox (08) 9228 3277 senator.cox@aph.gov.au Senator Jordon Steele-John (08) 6245 3310 senator.steele-john@aph.gov.au Independents Senator Fatima Payman, WA (08) 6245 3322 Senator.Payman@aph.gov.au Senator David Pocock, ACT (02) 6247 6444 Senator.David.Pocock@aph.gov.au Senator Lidia Thorpe, VIC (03) 9070 1950 senator.thorpe@aph.gov.au Senator Tammy Tyrrell, TAS (03) 9070 1910 senator.tyrrell@aph.gov.au Senator David Van, VIC (03) 9008 4688 senator.van@aph.gov.au Contact your MP (search by name or electorate): https://www.aph.gov.au/Senators_and_Members Become a member of the Australian Citizens Party: https://citizensparty.org.au/membership?utm_source=YouTube&utm_medium=link&utm_campaign=membership&utm_content=20241107_cit_rep MOBILISE AND CONTACT YOUR MEMBERS AND SENATORS!: https://citizensparty.org.au/dec-branch-closures-contact Visit the Citizens Party Campaigns page for a run down of the branch closure media coverage: https://citizensparty.org.au/campaigns Sign the Citizens Party Petition to create an Australia Post Bank!: https://info.citizensparty.org.au/auspost-bank-petition Subscribe to the Australian Alert Service: https://info.citizensparty.org.au/subscribe?utm_source=YouTube&utm_medium=link&utm_campaign=AAS_subscibe&utm_content=20241107_cit_rep Sign up for ACP media releases: https://citizensparty.org.au/join-email-list?utm_source=YouTube&utm_medium=link&utm_campaign=join_email&utm_content=20241107_cit_rep Follow us on: Twitter: https://www.twitter.com/CitizensPartyAU Facebook: https://www.facebook.com/CitizensPartyAU Instagram: https://www.instagram.com/CitizensPartyAU YouTube: https://www.youtube.com/CitizensPartyAU LinkedIn: https://www.linkedin.com/company/citizenspartyau Telegram: https://t.me/CitizensPartyAU

The Act of Disappearing by Nathan Gower  Julia White is struggling: her bartending job isn't cutting it and her first book has sold hardly any copies. She's broke, barely able to make ends meet while drowning in her late mother's medical bills and reeling after a one-night stand with her ex-boyfriend, who's now completely ghosted her. Enter Johnathan Aster, world-renowned photographer, with a proposal: he has a never-before-seen photograph of a woman falling from a train bridge, clutching what appears to be a baby. And he wants Julia to research the story.  Alternating between present-day Brooklyn and Kentucky as it enters the 1960s, the story unfolds as Julia races to find answers: Who was the woman in the photograph? Why was she on the bridge? And what happened to the baby? Each detail is more propulsive than the last as Julia unravels the mystery surrounding the Fairchilds of Gray Station and discovers a story more staggering than anything she could have imagined.    I Will Ruin You by Linwood Barclay  How would you react in a life-or-death situation?  It's a question everyone asks themselves, but few have to face in real life. English teacher Richard Boyle certainly never thought he would find himself talking down a former student intent on harming others, but when Mark LeDrew shows up at Richard's school with a bomb strapped to his chest, Richard immediately jumps into action. Thanks to some quick thinking, he averts a major tragedy and is hailed as a hero, but not all the attention focused on him is positive.  Richard's brief moment in the spotlight puts him in the sights of a deranged blackmailer with a score to settle. The situation rapidly spirals out of control, drawing Richard into a fraught web of salacious accusations and deadly secrets. As he tries to uncover the truth he discovers that there's something deeply wrong in the town—something that ties together Mark, the blackmailer, and a gang of ruthless drug dealers, and Richard has landed smack in the middle of it. He's desperate to find a way out, but everyone in his life seems to be hiding something, and trusting the wrong person could cost him everything he loves.  What price will he pay for one good deed?    LISTEN ABOVE See omnystudio.com/listener for privacy information.

"Linwood Barclay's I Will Ruin You is a page-turner that also has important things to say. You'll get your money's worth out of this one." –Stephen KingIn the latest novel from New York Times bestselling author Linwood Barclay, a teacher's act of heroism inadvertently makes him the target of a dangerous blackmailer who will stop at nothing to get what he wants.How would you react in a life-or-death situation?It's a question everyone asks themselves, but few have to face in real life. English teacher Richard Boyle certainly never thought he would find himself talking down a former student intent on harming others, but when Mark LeDrew shows up at Richard's school with a bomb strapped to his chest, Richard immediately jumps into action. Thanks to some quick thinking, he averts a major tragedy and is hailed as a hero, but not all the attention focused on him is positive.Richard's brief moment in the spotlight puts him in the sights of a deranged blackmailer with a score to settle. The situation rapidly spirals out of control, drawing Richard into a fraught web of salacious accusations and deadly secrets. As he tries to uncover the truth he discovers that there's something deeply wrong in the town—something that ties together Mark, the blackmailer, and a gang of ruthless drug dealers, and Richard has landed smack in the middle of it. He's desperate to find a way out, but everyone in his life seems to be hiding something, and trusting the wrong person could cost him everything he loves.Support this show http://supporter.acast.com/houseofmysteryradio. Become a member at https://plus.acast.com/s/houseofmysteryradio. Hosted on Acast. See acast.com/privacy for more information.

There's been another strike against whistleblowing. Richard Boyle was a tax office employee when he raised concerns internally about a scheme to garnish overdue taxes directly from people's bank accounts. When that didn't work, he told journalists. A court in Adelaide yesterday upheld a ruling that he's not a whistleblower – which means he now has no defence for leaking that confidential information. Today, Macquarie University professor of journalism and whistleblower advocate Peter Greste on why the government talks big on open democracy, but hasn't acted to fix the system. Socials: Stay in touch with us on Twitter and Instagram Guest: Macquarie University professor of journalism and whistleblower advocate Peter Greste

By exposing human rights abuses, government wrongdoing and corporate misconduct, whistleblowers like David McBride and Richard Boyle make Australia a better place. Yet too often in Australia, whistleblowers are prosecuted rather than supported. This was recorded on Tuesday 24th October 2023 and things may have changed since recording. The Australia Institute // @theausinstitute Guests: Kieran Pender, senior lawyer at the Human Rights Law Centre // @KieranHRLC Professor Peter Greste, award-winning journalist, author and academic // @PeterGreste Rawan Arraf, Executive Director of the Australian Centre for International Justice // @rawanarraf Host: Ebony Bennett, Deputy Director, the Australia Institute // @ebony_bennett Producer: Jennifer Macey // @jennifermacey Edited by: Emily Perkins Theme Music: Pulse and Thrum; additional music by Blue Dot SessionsSupport Follow the Money: https://nb.australiainstitute.org.au/donateSee omnystudio.com/listener for privacy information.

This episode of the Green Left Show highlights the campaign to defend whistleblower rights, in particular the case of David McBride who faces trial in November. Read more: https://www.greenleft.org.au/content/war-crimes-whistleblower-david-mcbride-ill-eventually-win-public-support View this episode online at: https://www.greenleft.org.au/video/green-left-show-33-punish-war-criminals-not-whistleblowers Topics in this episode include: 0:00 hunting generals not corporals; 1:15 war crimes in Afghanistan; 3:26 why Attorney General Mark Drefus won't drop the prosecution; 6:07 Ben Roberts-Smith and cover-ups of war crimes; 10:36 national security laws 13:30 They knew 15:40 the case of tax office whisteblower Richard Boyle; 17:56 the campaign to drop the prosecutions; 18:36 why David McBride blew the whistle; and 21:30 the campaign to free Julian Assange If you like our work, become a supporter: https://www.greenleft.org.au/support Resources referred to in this video: Drop The Prosecutions: https://www.droptheprosecutions.org.au/ David McBride's Youtube: https://www.youtube.com@davidbirdmcbride David McBride's Instagram: https://instagram.com/davidbirdmcbride David McBride's Twitter/X: https://x.com/MurdochCadell David McBride's website: https://davidmcbride.com.au We acknowledge that this was produced on stolen Aboriginal land. We express solidarity with ongoing struggles for justice for First Nations people and pay our respects to Elders past and present. If you like our work, become a supporter: https://www.greenleft.org.au/support Support Green Left on Patreon: https://www.patreon.com/greenleft Green Left online: https://www.greenleft.org.au/ Facebook: https://www.facebook.com/GreenLeftOnline/ Twitter: https://twitter.com/greenleftonline YouTube: https://www.youtube.com/greenleftonline TikTok: https://www.tiktok.com/@greenleftonline Instagram: https://www.instagram.com/greenleftonline/ Podbean: https://greenleftonline.podbean.com/ Telegram: https://t.me/greenleftonline Podcast also available on Spotify, Apple Podcasts, Antennapod, Itunes and PodcastAddict.

In this week's episode, we dive into the biggest political issues making headlines in Australia. We kick off by discussing the scorching heatwave that hit Sydney, raising concerns about climate change's growing impact on weather patterns and the looming summer season. There have been many warnings issued by experts over the past 30 years, highlighting the need for swift action on climate change, so why are governments so slow to act?Next, we shift our focus to the recurring debate surrounding nuclear energy, a topic that resurfaces cyclically (and cynically) in Australian politics. We unpack why the Liberal Party continues to champion this issue, even when evidence suggests it is not economically, environmentally, or politically viable.We explore the troubling case of whistleblower Richard Boyle, who exposed questionable practices within the Australian Taxation Office. Despite calls to drop the case and concerns about its public interest, the federal government persists in pursuing the criminal trial, potentially leading to a 46-year jail sentence for Boyle. The calls to release Julian Assange are gaining traction, with a key Australian parliamentary delegation in Washington lobbying to gain his release before the end of this year.In the realm of media, we analyse the common journalistic strategy of using vague phrases like “a lot of people have said” to make claims without substantiation. We draw parallels to a historic Margaret Thatcher interview in 1981 and discuss the importance of holding journalists accountable for their reporting.Finally, we take a closer look at the upcoming Voice to Parliament referendum. While misinformation campaigns continue to swirl and controversial statements arise from the “No” campaign, we consider the broader issue of public opposition to the referendum and its implications. As the referendum approaches, we reflect on the challenges and controversies surrounding this critical event and invite our listeners to stay informed about the ongoing developments.

Can you imagine if the tax office went into your bank account and retrieved money it says you owe, without your permission?  Well, it can do that and it does.   It's a practice that distressed ATO employee Richard Boyle so much that he tried to help some taxpayers get around it.  He also became a whistleblower and is now facing charges that could land him in jail for up to 46 years.  Today, investigative journalist Adele Ferguson on his case and how whistleblower laws in Australia are failing all of us. Featured:  Adele Ferguson, ABC investigative reporter

On this week's episode of the Unnatural Selection Podcast, we discuss: 'Sexist' and 'inappropriate' Barely Legal beer withdrawn from craft beer festival, sparking industry debate. Richard Boyle faces life behind bars while those in the PwC scandal are protected by the corporate world. PwC scandal shows consultants, like church officials, are best kept out of state affairs. Google released a .zip web domain and people can't decide if it's the phishing apocalypse or just as bad as any other dodgy link. Argentina raises interest rate to 97 per cent as it struggles to tackle inflation. The Unnatural Selection podcast is produced by Jorge Tsipos, Adam Direen and Tom Heath. Visit the Unnatural Selection website at www.UnnaturalShow.com for stuff and things. The views expressed are those of the hosts and their guests and do not reflect those of any other entities. Unnatural Selection is a show made for comedic purposes and should not be taken seriously by anyone. Twitter: @JorgeTsipos @TomDHeath @UnnaturalShow Instagram: @JorgeTsipos @Tom.Heath @UnnaturalShow  

In this episode: a wrap up of the New South Wales election from last weekend, with the NSW Coalition ending their 12 years in office and the start of a NSW Labor government; the case against whistleblower Richard Boyle continues, but it needs to stop; the federal government social housing policy has stalled in Parliament; a new inquiry into the Freedom of Information system; and predictions for what might happen in the Aston byelection.There was a change of government in New South Wales last weekend and of the nine jurisdictions across Australia, there's only one Liberal Party government. Former Prime Minister John Howard suggested it's just a matter of time before the Liberal Party returns as a political force, but there are some very big long-term problems for the party, and not just in New South Wales.The case against whistleblower Richard Boyle is proceeding after the judge in the case decided that he's not immune from prosecution and the case should now proceed. The Labor government promised to clean up the whistleblower legislation and they still haven't done that. The Attorney–General Mark Dreyfus needs to act now and stop this case from going ahead any further.The Labor government's social housing policy is on the backburner – it's only 30,000 properties across Australia, it's not enough and the Greens cannot support it. Jim Chalmers did suggest that it would offer a boost to the economy as well as address a serious housing supply issue but it doesn't look like it's going to be the panacea that he suggested. And this is the time to do this properly.The Australian Greens, the crossbench and the Coalition have created an inquiry into the Freedom of Information system – the Coalition virtually destroyed when they were in office and it's a system that does need to be cleaned up.The Aston byelection on Saturday could be Peter Dutton's last stand. Historically, it's a seat the Liberal Party should hold – they've held it for over 30 years. But when you look at much of the evidence at the moment, it's also a seat that Labor should win. There's a 2.8 per cent margin, the Liberal Party in Victoria is in disarray. And it's not looking very good for the Liberal Party who might be looking for a new leader after Saturday night.

There was another session of Parliament this week and we found out that the federal government has spent $7.6 million to prosecute whistleblowers – while most of that was expended by the previous Coalition government and although the Labor government did drop the cases against Bernard Collaery and Witness K – the cases against David McBride and Richard Boyle are still continuing and they need to stop.The highlight of the week was the commemoration of the 15th anniversary of the National apology to the Stolen Generations. But the apology that has sucked all the attention is the one from Peter Dutton, who now says he didn't understand the significance of the apology to the Stolen Generations in 2008. If Peter Dutton is truly sorry for his actions from 2008, he'd backtrack on his opposition to the Voice to Parliament and he'd stop opposing for the sake of opposing. We don't want to hear another apology from Peter Dutton in another 15 years' time, for not understanding the significance of the occasion – it will be far too late for that. He needs to understand the significance of the occasion right now.There will be a byelection in the Melbourne seat of Aston caused by the resignation of former minister Alan Tudge, and it's been labeled as a big test for Peter Dutton. But it's also a big test for Anthony Albanese and the federal government. There can be endless opinion polls and speculation about public sentiment for the government and for the Opposition, but the real test in politics comes in when real votes are lodged at the ballot box.Aston hasn't been held by the Labor Party since 1990 and it has been a safe Liberal seat for most of that time since. An incumbent government hasn't won a seat off an Opposition in a byelection since 1921. But the electorate usually votes against the party that caused the by election first place – the Labor government is riding high in the polls and the Liberal–National party isn't. So it's a seat that the Labor Party could win. Equally, it's a seat that the Liberal Party should hold. But in byelections, a lot of political rules get thrown out the window.Political donations have come under the spotlight with revelations of the Minister for Communications Michelle Rowland receiving two donations from Sportsbet in the lead up to the 2022 federal election. And she was the Opposition spokesperson on online gambling and now as Minister of Communications, she's got responsibility for the Interactive Gambling Act and the Australian Communications and Media Authority. Sportsbet makes substantial donations to both the Liberal and the Labor parties but this is not a good look, and it's a corruption of the political process: that's one problem. The fact that all of this is legal, is a travesty. Disclosure laws need to change, as well as major reforms to the political donation system.

Industrial relations are once again in the spotlight, with the mining industry and Qantas joining the Coalition in their attacks on the Labor government's proposed legislation.And the big sticking points for these large companies is that issue of workers from different companies to collectively negotiate pay rises – but it seems that business just wants everything on its own terms.It's the weekend of the Victoria election – and we think that it's one of the most important state elections for some time – not so much about the result, but the behaviour of the Liberal Party and the mainstream media. A three-year anti-Daniel Andrews campaign that commenced during the pandemic, with all of the media's anti-lockdown stories, interviewing café owners, gym owners and pub owners about how unfair all of this was, and now filling the campaign with as much hate and bile as possible – we've just never seen anything like this in an election campaign before.The court cases against whistleblowers David McBride and Richard Boyle are ongoing, but the Attorney–General, Mark Dreyfus needs to use his discretionary powers to drop the charges and set them free.

In this episode Mike Holland, our legal expert, examines the new anticorruption commission legislation currently before Parliament, pointing out many of its shortcomings. of special concern is the “exceptional circumstances” rule which severely limits the opportunity for public hearings. the legislation also offers very little protection for whistleblowers, and Mike investigates the case of Richard Boyle – the ATO whistleblower who revealed some of the tactics the ATO was using to recover debt from small business owners, and Major David McBride, who uncovered illegal and unethical decisions made by the Australian government which affected Australian troops in Afghanistan. later in the program Mike discusses some of the anti-protest laws in the UK, the decline of democracy in the West and the extraordinary powers adopted by the Australian government over the past two decades. This program was presented by Fran Dyson on Radio Blue Mountains 89.1FM on 4/11/2022. Rights, Rorts and Rants is broadcast from 4pm to 6pm on 89.1FM or can be live streamed from rbm.org.au. If you'd like to add to the discussion, you can leave an audio comment about our show, which may be added to one of our podcasts..Apply to be a guest on our show. Join BMUC. Join a union - 1300 486 466 or join online. Disclaimer: We seek a range of perspectives but that means that views expressed in these podcasts are not necessarily endorsed by the Blue Mountains Unions Council Inc. --- Send in a voice message: https://anchor.fm/rightsrortsandrants/message

It's been five years since former tax officer Richard Boyle blew the whistle on aggressive debt collection tactics used by the Australian Tax Office which he claims ruined people's lives. Now he could face jail time for going public, but this week he will argue that he's entitled to immunity from criminal prosecution under Australia's whistleblowing laws. Reporter Christopher Knaus explains to Laura Murphy-Oates how this case is a major test of Australia's whistleblower laws

 Richard Boyle Whistleblower here II Kathryn Kelly, from Alliance Against Political Prosecutions (AAPP), talks to us on returning from a rally in Adelaide in support of dropping charges against ATO whistleblower Richard Boyle.Blockade Australia Defence here II Mark Davis, lawyer, who is handling the defence of members of Blockade Australia after the Sydney blockade outlines the legal situation.This is the Week here II Kevin Healy slices and dices the week with satire.Don Sutherland here II Don talks about the relationship between the setting of the Aged Pension and the average total male earnings and how the increased level of casualization and precarious work means that pensioners are increasingly sliding into poverty.

For Sarcoma awareness month we have focussed on hope for the future. The hope that comes from high level research, in order to unlock the questions that have eluded our brilliant scientific minds for over four decades. To finish Sarcoma Awareness Month on a high note, we hear from many of those leading the way in sarcoma research in Australia. Professors David Wood, University of WA, David Thomas, the Garvan Institute, and Glenn Marshall ,Sydney Children's Hospital Randwick, kick the series off this year followed in episode two by insights from Dr Richard Boyle,Head of the NSW Bone Tumour Team, Dr Joost Lesterhuis, Telethon Kids Institute and A/Prof Geoff McCowage from the Westmead children's hospital. Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

GUEST 1 OVERVIEW: For more than two decades, Mary Kostakidis was the face of SBS Television and the weeknight presenter of SBS World News Australia. She was the first woman appointed to present a national prime time news bulletin in Australia and went on to present its flagship news program for 20 years, before resigning from SBS in 2007. Since leaving the station, Mary has become a leading figure in Australian public life, a result of her long-standing interest in social justice and human rights. She has been a strong advocate for Julian Assange. GUEST 2 OVERVIEW: Kathryn Kelly is Co-convenor of the Alliance Against Political Prosecutions. AAPP is a coalition of groups and individuals advocating for truth and open justice in matters such as those of Bernard Collaery and Witness K and whistleblowers David McBride and Richard Boyle; AAPP condemns politically motivated prosecutions, demands the discontinuance of the cases against such people, and calls for the provision of appropriate financial restitution; AAPP supports whistleblowers and others whose actions result in serious wrong-doing being brought to public notice; AAPP opposes the use of secret hearings in such trials – transparency and open justice should remain a high priority in our justice system.

Episode: 3275 Katherine Boyle Jones, a Sister of the Scientific Revolution.  Today, a sister of the Scientific Revolution.

The biggest war is not the one in Ukraine – there are no generals in this war, there are no medals to hand out, and it's possibly a war without end. And, of course, it's a war that's been concocted by the mainstream media and the Opposition, mainly to put pressure on the new Labor government. Yes, it's the energy war, which is a war on public sensibilities and could end up being a war on the credibility of the media.For nine years, the media barely focused on the failures of the Liberal–National government to formulate an energy policy between 2013–2022 and now they're shaking their fists at Anthony Albanese for creating not just an energy crisis, but firing the first shots in a fictitious energy war. And it's not just energy: refugees are arriving by boat! For nine years, these were “on water matters” that couldn't be reported, but now it's open slather, with media reports now claiming that people smugglers in Sri Lanka are telling their clients Australia is now very welcoming of boat arrivals.One area the new Labor government can act upon is Julian Assange: he's been languishing in a British jail for over three years and Albanese – when he was Leader of the Opposition – did say that he couldn't see the point of the continuing incarceration of Assange. Well, now he's the Prime Minister, and now is the time to act. And also cease the prosecution of four whistleblowers in Australia – Jeff Morris, Richard Boyle, David McBride and Bernard Collaery – there's no point to these prosecutions either, and it's time to drop these cases.After each election, all political parties – whether they win or lose – assess where they went right, and where they went wrong. And the National Secretary of the Labor Party, Paul Erickson, has outlined all the reasons for why Labor won the election, and why the Coalition lost – eight key points – and the Coalition would be wise to listen in and take on these points. Free advice is probably the best advice.And is Scott Morrison the worst Prime Minister in Australia's history? It's an easy answer: a Prime Minister who won't be remembered for very much, squandered a massive amount of political capital built up during the pandemic, kept on repeating the same mistakes over and over again – and didn't learn from any of these mistakes – and then lost an election the Coalition didn't need to lose and shouldn't have lost. If only they displayed some level of competence. But they didn't.So, yes. An easy choice for the worst Prime Minister. Come on down, Scott Morrison, come on down…

Australia was “once ahead of the curve” when it came to protecting and empowering whistleblowers. However, as Kieran Pender notes, “we are now seeing them being punished”. On this episode of The Lawyers Weekly Show, host Jerome Doraisamy welcomes back Human Rights Law Centre senior lawyer Kieran Pender to discuss the state of affairs in whistleblowing around Australia, including reflection on where our whistleblowing laws once were compared to where they're at now, and what both major political parties are saying about this umbrella issue with a federal election around the corner. Mr Pender also details numerous current high-profile whisteblowing cases that Australian lawyers should be aware of (such as the trials being brought against former ACT attorney-general Bernard Collaery, ATO whistleblower Richard Boyle and former defence lawyer David McBride), the extent to which Australian legal professionals are paying attention to these cases, how some lawyers are advocating for better whistleblower protections and how Australians more broadly feel about the need to bolster whistleblower protections. If you like this episode, show your support by rating us or leaving a review on Apple Podcasts (The Lawyers Weekly Show) and by following Lawyers Weekly on social media: Facebook, Twitter and LinkedIn.   If you have any questions about what you heard today, any topics of interest you have in mind, or if you'd like to lend your voice to the show, email editor@lawyersweekly.com.au for more insights!

Robert Boyle, filósofo natural, químico, físico, inventor e teólogo irlandês, morre em Londres em 30 de dezembro de 1691. Como cientista é conhecido pela formulação da Lei de Boyle além de ser considerado como o primeiro químico moderno. Sua obra “The Sceptical Chemist” (ou “O Químico Cético”, em português) é fundamental na história da química. Boyle nasceu no condado de Waterford, Irlanda, em 1627. Foi o 14.º filho de um total de 15 do aristócrata inglês Richard Boyle e de Catherine Fenton, sua segunda esposa.Veja a matéria completa em: https://operamundi.uol.com.br/historia/33209/hoje-na-historia-1691-morre-cientista-irlandes-robert-boyle----Quer contribuir com Opera Mundi via PIX? Nossa chave é apoie@operamundi.com.br (Razão Social: Última Instancia Editorial Ltda.). Desde já agradecemos!Assinatura solidária: www.operamundi.com.br/apoio★ Support this podcast ★

Direction: South west over the N72 blackwater bridge Location: Lismore, Co. Waterford Coordinates: 52.141127, -7.93067 Richard Boyle came to Ireland from England in 1588 with only twenty-seven pounds in capital and proceeded to amass an extraordinary fortune. After purchasing Lismore he made it his principal seat and transformed it into a magnificent residence with impressive gabled ranges each side of the courtyard. He also built a castellated outer wall and a gatehouse known as the Riding Gate.  The principal apartments were decorated with fretwork plaster ceilings, tapestry hangings, embroidered silks and velvet. It was here in 1627 that Robert Boyle The Father of Modern Chemistry, the fourteenth of the Earl's fifteen children, was born. The castle descended to another Richard Boyle, 4th Earl of Cork & 3rd Earl of Burlington, who was a noted influence on Georgian architecture (and known in architectural histories as the Earl of Burlington).  Lismore featured in the Cromwellian wars when, in 1645, a force of Catholic confederacy commanded by Lord Castlehaven sacked the town and Castle. Some restoration was carried out by Richard Boyle, 2nd Earl of Cork (1612-1698) to make it habitable again but neither he nor his successors lived at Lismore. The castle (along with other Boyle properties - Chiswick House, Burlington House, Bolton Abbey and Londesborough Hall) was acquired by the Cavendish family in 1753 when the daughter and heiress of the 4th Earl of Cork, Lady Charlotte Boyle (1731-1754) married William Cavendish, 4th Duke of Devonshire, a future Prime Minister of Great Britain & Ireland. Their son, the 5th Duke (1748-1811) carried out improvements at Lismore, notably the bridge across the river Blackwater in 1775 designed by Cork-born architect Thomas Ivory.

Direction: heading north northeast Location: north of Ballinaclash on the right Coordinates: 52.023346, -7.851791 Tony tells us of how Walter Raleigh sold the Blackwater to Richard Boyle - how many a fisherman would love to get this as a present!

Five years ago the Moss Review of whistleblowing legislation recommended that reform was needed. Since then several whistleblowers have been subject to prosecution including Witness K and Bernard Collaery, David McBride and Richard Boyle. The Assistant Attorney General agrees that reform is needed but it wont happen until after the election. Kieran Pender explains why reform is so critical to our democracy and legal system.

Bryan is joined by film director Oliver Stone to discuss his 1986 film, ‘Salvador.' Stone talks about meeting journalist Richard Boyle, working with actors like James Woods, covering topics such as American foreign policy, filming in Mexico, and much more! Host: Bryan Curtis Guest: Oliver Stone Associate Producer: Erika Cervantes Learn more about your ad choices. Visit podcastchoices.com/adchoices

In episode one we speak to Dr Richard Boyle, Head of Surgery NSW Sarcoma Services, Dr Michela Sorensen, Medical Practitioner, and Merryn Aldridge, Australian Olympic Team Physiotherapist (Athletics), to explore the importance of recognising symptoms, early diagnosis and timely referral to a specialist sarcoma clinician. Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Australia's whistle-blower laws will be in the spotlight when a long-running, high-profile prosecution involving former ATO officer Richard Boyle comes back before the courts. Also, if a vaccine causes an injury, many countries have a vaccine injury compensation scheme. Do we need one in Australia?

News of the civil war in El Salvador certainly was prevalent in the early 80s when Oliver Stone returned to the director's chair. For his return, he joined forces with photojournalist Richard Boyle to tell Boyle's own stories of his time in El Salvador during the US's transition from Carter to Reagan and how US aid to the military junta running the country was fueling the death squads and atrocities. The political angle seemed ripe for Stone and the types of stories he wanted to tell, but it also seemed to be an early example of his stories focusing more on the policies than the people. Join us – Pete Wright and Andy Nelson – as we continue our Oliver Stone in the 80s series with Stone's 1986 film Salvador. We talk about the politics of El Salvador to get a sense of the dictatorship at the time and why the US was providing ‘aid,' and how that gave Stone the angle he wanted for his film. We debate the idea of having Boyle as our protagonist, as portrayed by James Woods, because he's such a despicable character from start to finish. We talk about the idea of photojournalists and the angle they take when looking for the perfect photo and why that idea seems to get lost for such a time in the film. We look at the other actors and talk about what they're bringing to the table. And we discuss the technical angles and why those elements work. It's a frustrating film that doesn't give us what we want in a film about a Central American dictatorship and the atrocities committed, but does at least provide a window for curious Americans to start their own explorations. We have a great time talking about it on the show this week so check it out then tune in. The Next Reel – when the movie ends, our conversation begins! Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM. Watch this film: JustWatch Script Transcript Original theatrical trailer Original poster artwork Flickchart Letterboxd

News of the civil war in El Salvador certainly was prevalent in the early 80s when Oliver Stone returned to the director’s chair. For his return, he joined forces with photojournalist Richard Boyle to tell Boyle’s own stories of his time in El Salvador during the US’s transition from Carter to Reagan and how US aid to the military junta running the country was fueling the death squads and atrocities. The political angle seemed ripe for Stone and the types of stories he wanted to tell, but it also seemed to be an early example of his stories focusing more on the policies than the people. Join us – Pete Wright and Andy Nelson – as we continue our Oliver Stone in the 80s series with Stone’s 1986 film Salvador. We talk about the politics of El Salvador to get a sense of the dictatorship at the time and why the US was providing ‘aid,’ and how that gave Stone the angle he wanted for his film. We debate the idea of having Boyle as our protagonist, as portrayed by James Woods, because he’s such a despicable character from start to finish. We talk about the idea of photojournalists and the angle they take when looking for the perfect photo and why that idea seems to get lost for such a time in the film. We look at the other actors and talk about what they’re bringing to the table. And we discuss the technical angles and why those elements work. It’s a frustrating film that doesn’t give us what we want in a film about a Central American dictatorship and the atrocities committed, but does at least provide a window for curious Americans to start their own explorations. We have a great time talking about it on the show this week so check it out then tune in. The Next Reel – when the movie ends, our conversation begins! Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel! Film Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM. Watch this film: JustWatch Script Transcript Original theatrical trailer Original poster artwork Flickchart Letterboxd

In episode 77 UNP founder and curator Grant Scott is in his shed considering portrait photography, and the importance of history and influence. He also gives details of his latest book that has just gone on sale. Plus this week photographer Roger Steffens takes on the challenge of supplying Grant with an audio file no longer than 5 minutes in length in which he answer's the question ‘What Does Photography Mean to You?' You can purchase Grant's latest book discussed in this podcast New Ways of Seeing: The Democratic Language of Photography on Amazon, your local bookseller and here www.bloomsbury.com/uk/new-ways-of-seeing-9781350049314/ You can also access and subscribe to these podcasts at SoundCloud https://soundcloud.com/unofphoto on iTunes https://itunes.apple.com/gb/podcast/a-photographic-life/id1380344701 on Player FM https://player.fm/series/a-photographic-life and Podbean www.podbean.com/podcast-detail/i6uqx-6d9ad/A-Photographic-Life-Podcast An actor, poet, broadcaster, writer, lecturer, editor, reggae archivist and photographer, Roger Steffens is regarded as one of the world's foremost experts on Bob Marley and the Wailers. It was Steffens who first alerted Paul Simon about African music, leading to the recording of the album Graceland and he has worked with Keith Richards to compile an album of Nyabinghi music recorded in the living room of Richards's Jamaican home. Prior to this, Steffens worked in an army psychological operations unit in Vietnam, after being drafted during the war. He was told to photograph his assignments, a request that began a 50-year relationship with the camera that resulted in an extraordinary archive of images that trace his life and times during a pivotal period in American history. Steffens returned from Vietnam to northern California in the early 70s and began to compulsively photograph his daily life and that of his friends: John Steinbeck IV (son of the Grapes of Wrath writer) and Sean Flynn (son of Errol) – both of whom had reported from Vietnam; war reporter Richard Boyle (the co-writer and subject of Oliver Stone's 1986 film, Salvador), British war photographer Tim Page and Ron Kovic, the paraplegic anti-war activist, whose memoir, Born on the Fourth of July, was adapted into an award winning Oliver Stone film. Photographer Page, who roomed with Steffens in Berkeley, schooled him in photography and his images are an evocation of a freewheeling hippie lifestyle: camping in Marrakech, trekking in the forests of northern California, visiting Stonehenge, and music festivals where the North Vietnamese flag was proudly flown. Now in his late 70s, Steffens finds himself enjoying a second life as an acclaimed photographer thanks partly to his children, Devon and Kate, setting up an Instagram account for their father and posting two pictures a day from his archive, a process that lead to the book The Family Acid in 2015. www.thefamilyacid.com Grant Scott is the founder/curator of United Nations of Photography, a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, a working photographer, and the author of Professional Photography: The New Global Landscape Explained (Focal Press 2014) and The Essential Student Guide to Professional Photography (Focal Press 2015). His next book New Ways of Seeing: The Democratic Language of Photography will be published by Bloomsbury Academic in 2019. His documentary film, Do Not Bend: The Photographic Life of Bill Jay can now be seen at www.youtube.com/watch?v=wd47549knOU&t=3915s. © Grant Scott 2019

A blend of slow radio, gardening advice and conversation, and readings from the best garden and wildlife writing.   These notes may contain affiliate links.      Garden soundtrack January, and standing about in the cold.   Winter readings.   Lines from Alexander Pope’s Epistle IV, to Richard Boyle, Earl of Burlington, https://en.wikipedia.org/wiki/Genius_loci   Leisure, by William Henry Davies  https://en.wikipedia.org/wiki/Leisure_(poem)     Interview with Laura Ellen Bacon   05:39  Plant memories   10:00  Laura’s materials   12:05  Describing Laura’s work   14:08  Creative process   15:10  Finding a sense of place   18:10  Characteristics of a space   18:46  Laura’s own garden   22:38  Working with a softer, more organic backdrop of the garden   31:05  Movement in Laura’s work   33:16  How being a mother has changed things   38:52  Creating intimate garden spaces       Laura’s website is http://lauraellenbacon.com   You can find her on on Twitter at http://twiter.com/lauraellenbacon and Instagram http://instagram.com/lauraellenbacon    You can read details about the Woman’s Hour Craft Prize here https://www.vam.ac.uk/articles/about-the-womens-hour-craft-prize?gclid=EAIaIQobChMIwKnAxLqE4AIVyOFRCh2_fwraEAAYASAAEgKmCfD_BwE     With thanks to Laura for being my guest this episode, and again to Beth Pinkerton for providing her smooth tones for the reading, once more at absurdly short notice. You can find Beth here: Twitter https://twitter.com/MissPinks Instagram instagram.com/misspinks      website: gardensweedsandwords.com email: gardensweedsandwords@gmail.com Instagram: instagram.com/AndrewTimothyOB Twitter: twitter.com/AndrewTimothyOB   

Expert speakers respond to Robert Watt's talk: Richard Boyle, Head of Research, Institute of Public Administration; Joan Burton TD, former Tánaiste and Leader of the Labour Party; Kevin Cardiff, former Secretary General, Department of Finance; Jill Rutter, Programme Director, Institute for Government, London

Oliver Stone's Salvador stars James Woods as fast-talking journalist Richard Boyle and James Belushi as his friend, Doctor Rock. It's kind of a "Fear and Loathing in Central America" with fewer drugs and more shooting of innocent bystanders.Learn more about your ad choices. Visit megaphone.fm/adchoices

Oliver Stone's Salvador stars James Woods as fast-talking journalist Richard Boyle and James Belushi as his friend, Doctor Rock. It's kind of a "Fear and Loathing in Central America" with fewer drugs and more shooting of innocent bystanders.

George Frideric HANDEL 1685-1759Our version ofAllemande in Am (HWV 478)George Frideric HANDEL 1685-1759© 2012 Shiloh Worship Music COPY FREELY;This Recording is copyrighted to prevent misuse, however,permission is granted for non-commercial copying-Radio play permitted. Www.ShilohWorshipMusic.com Georg Friedrich Händel (1685-1759)George Frideric Handel(from Wikipedia) George Frideric Handel, born in the same year as Johann Sebastian Bach and Domenico Scarlatti. By Thomas Hudson (1749)George Frideric Handel SignatureGeorge Frideric Handel (German: Georg Friedrich Händel; pronounced [ˈhɛndəl]) (23 February 1685 – 14 April 1759) was a German-British Baroque composer, famous for his operas, oratorios, anthems and organ concertos. Handel was born in 1685, in a family indifferent to music. He received critical musical training in Halle, Hamburg and Italy before settling in London (1712) and becoming a naturalised British subject in 1727.[1] By then he was strongly influenced by the great composers of the Italian Baroque and the middle-German polyphonic choral tradition.Within fifteen years, Handel, a dramatic genius, started three commercial opera companies to supply the English nobility with Italian opera, but the public came to hear the vocal bravura of the soloists rather than the music. In 1737 he had a physical breakdown, changed direction creatively and addressed the middle class. As Alexander's Feast (1736) was well received, Handel made a transition to English choral works. After his success with Messiah (1742) he never performed an Italian opera again. Handel was only partly successful with his performances of English Oratorio on mythical and biblical themes, but when he arranged a performance of Messiah to benefit the Foundling Hospital (1750) the critique ended. The pathos of Handel's oratorios is an ethical one. They are hallowed not by liturgical dignity but by the moral ideals of humanity.[2] Almost blind, and having lived in England for almost fifty years, he died a respected and rich man.Handel is regarded as one of the greatest composers of all time, with works such as Water Music, Music for the Royal Fireworks and Messiah remaining popular. Handel composed more than forty operas in over thirty years, and since the late 1960s, with the revival of baroque music and original instrumentation, interest in Handel's operas has grown. His operas contain remarkable human characterisation—especially for a composer not known for his love affairs.Early yearsHandel's baptismal registration (Marienbibliothek in Halle)Handel was born in 1685 in Halle, Duchy of Magdeburg, to Georg Händel and Dorothea Taust.[3] His father, 63 when his son was born, was an eminent barber-surgeon who served to the court of Saxe-Weissenfels and the Margraviate of Brandenburg.[4] According to Handel's first biographer, John Mainwaring, he "had discovered such a strong propensity to Music, that his father who always intended him for the study of the Civil Law, had reason to be alarmed. He strictly forbade him to meddle with any musical instrument but Handel found means to get a little clavichord privately convey'd to a room at the top of the house. To this room he constantly stole when the family was asleep".[5] At an early age Handel became a skillful performer on the harpsichord and pipe organ.[6]Händel-Haus (2009) – birthplace of George Frideric HandelEntrance of Teatro del Cocomero in FlorenceHandel and his father travelled to Weissenfels to visit either Handel's half-brother, Carl, or nephew, Georg Christian,[7] who was serving as valet to Duke Johann Adolf I.[8] Handel and the duke convinced his father to allow him to take lessons in musical composition and keyboard technique from Friedrich Wilhelm Zachow, the organist of the Lutheran Marienkirche. He learned about harmony and contemporary styles, analysed sheet music scores, learned to work fugue subjects, and to copy music. In 1698 Handel played for Frederick I of Prussia and met Giovanni Battista Bononcini in Berlin.From Halle to ItalyThe Hamburg Opera am Gänsemarkt in 1726In 1702, following his father's wishes, Handel started studying law under Christian Thomasius at the University of Halle;[9] and also earned an appointment for one year as the organist in the former cathedral, by then an evangelical reformed church. Handel seems to have been unsatisfied and in 1703, he accepted a position as violinist and harpsichordist in the orchestra of the Hamburg Oper am Gänsemarkt.[10] There he met the composers Johann Mattheson, Christoph Graupner and Reinhard Keiser. His first two operas, Almira and Nero, were produced in 1705.[11] He produced two other operas, Daphne and Florindo, in 1708. It is unclear whether Handel directed these performances.According to Mainwaring, in 1706 Handel travelled to Italy at the invitation of Ferdinando de' Medici, but Mainwaring must have been confused. It was Gian Gastone de' Medici, whom Handel had met in 1703–1704 in Hamburg.[12] Ferdinando tried to make Florence Italy's musical capital, attracting the leading talents of his day. He had a keen interest in opera. In Italy Handel met librettist Antonio Salvi, with whom he later collaborated. Handel left for Rome and, since opera was (temporarily) banned in the Papal States, composed sacred music for the Roman clergy. His famous Dixit Dominus (1707) is from this era. He also composed cantatas in pastoral style for musical gatherings in the palaces of cardinals Pietro Ottoboni, Benedetto Pamphili and Carlo Colonna. Two oratorios, La Resurrezione and Il Trionfo del Tempo, were produced in a private setting for Ruspoli and Ottoboni in 1709 and 1710, respectively. Rodrigo, his first all-Italian opera, was produced in the Cocomero theatre in Florence in 1707.[13] Agrippina was first produced in 1709 at Teatro San Giovanni Grisostomo, the prettiest theatre at Venice, owned by the Grimanis. The opera, with a libretto by cardinal Vincenzo Grimani, and according to Mainwaring it ran for 27 nights successively. The audience, thunderstruck with the grandeur and sublimity of his style,[14] applauded for Il caro Sassone.Move to LondonGeorge Frideric Handel (left) and King George I on the River Thames, 17 July 1717, by Edouard Jean Conrad Hamman (1819–88).In 1710, Handel became Kapellmeister to German prince George, Elector of Hanover, who in 1714 would become King George I of Great Britain.[15] He visited Anna Maria Luisa de' Medici and her husband in Düsseldorf on his way to London in 1710. With his opera Rinaldo, based on La Gerusalemme Liberata by the Italian poet Torquato Tasso, Handel enjoyed great success, although it was composed quickly, with many borrowings from his older Italian works.[16] This work contains one of Handel's favourite arias, Cara sposa, amante cara, and the famous Lascia ch'io pianga.In 1712, Handel decided to settle permanently in England. He received a yearly income of £200 from Queen Anne after composing for her the Utrecht Te Deum and Jubilate, first performed in 1713.[17][18]One of his most important patrons was the young and wealthy Richard Boyle, 3rd Earl of Burlington.[19] For him Handel wrote Amadigi di Gaula, a magical opera, about a damsel in distress, based on the tragedy by Antoine Houdar de la Motte.The conception of an opera as a coherent structure was slow to capture Handel's imagination[20] and he renounced it for five years. In July 1717 Handel's Water Music was performed more than three times on the Thames for the King and his guests. It is said the compositions spurred reconciliation between the King and Handel.[21]Cannons (1717–18)Main article: Handel at CannonsThe Chandos portrait. The 1st Duke of Chandos was an important patron for Handel.In 1717 Handel became house composer at Cannons in Middlesex, where he laid the cornerstone for his future choral compositions in the twelve Chandos Anthems.[22] Romain Rolland stated that these anthems were as important for his oratorios as the cantatas were for his operas.[23] Another work he wrote for the Duke of Chandos, the owner of Cannons, was Acis and Galatea: during Handel's lifetime it was his most performed work. Winton Dean wrote, "the music catches breath and disturbs the memory".[24]In 1719 the Duke of Chandos became one of the main subscribers to Handel's new opera company, the Royal Academy of Music, but his patronage of music declined after he lost money in the South Sea bubble, which burst in 1720 in one of history's greatest financial cataclysms. Handel himself invested in South Sea stock in 1716, when prices were low[25] and sold before 1720.[26]Royal Academy of Music (1719–34)Main article: Royal Academy of Music (company)Handel House at 25 Brook Street, Mayfair, LondonIn May 1719 Lord Chamberlain Thomas Holles, the Duke of Newcastle ordered Handel to look for new singers.[27] Handel travelled to Dresden to attend the newly built opera. He saw Teofane by Antonio Lotti, and engaged the cast for the Royal Academy of Music, founded by a group of aristocrats to assure themselves a constant supply of baroque opera or opera seria. Handel may have invited John Smith, his fellow student in Halle, and his son Johann Christoph Schmidt, to become his secretary and amanuensis.[28] By 1723 he had moved into a Georgian house at 25 Brook Street, which he rented for the rest of his life.[29] This house, where he rehearsed, copied music and sold tickets, is now the Handel House Museum.[30] During twelve months between 1724 and 1725, Handel wrote three outstanding and successful operas, Giulio Cesare, Tamerlano and Rodelinda. Handel's operas are filled with da capo arias, such as Svegliatevi nel core. After composing Silete venti, he concentrated on opera and stopped writing cantatas. Scipio, from which the regimental slow march of the British Grenadier Guards is derived,[31] was performed as a stopgap, waiting for the arrival of Faustina Bordoni.In 1727 Handel was commissioned to write four anthems for the coronation ceremony of King George II. One of these, Zadok the Priest, has been played at every British coronation ceremony since.[32] In 1728 John Gay's The Beggar's Opera premiered at Lincoln's Inn Fields Theatre and ran for 62 consecutive performances, the longest run in theatre history up to that time.[citation needed] After nine years Handel's contract was ended but he soon started a new company.The Queen's Theatre at the Haymarket (now Her Majesty's Theatre), established in 1705 by architect and playwright John Vanbrugh, quickly became an opera house.[33] Between 1711 and 1739, more than 25 of Handel's operas premièred there.[34] In 1729 Handel became joint manager of the Theatre with John James Heidegger.A musical portrait of Frederick, Prince of Wales and his sisters by Philip Mercier, dated 1733, using Kew Palace as its plein-air backdropThe Queen's Theatre in the Haymarket in London by William CaponHandel travelled to Italy to engage seven new singers. He composed seven more operas, but the public came to hear the singers rather than the music.[35] After two commercially successful English oratorios Esther and Deborah, he was able to invest again in the South Sea Company. Handel reworked his Acis and Galatea which then became his most successful work ever. Handel failed to compete with the Opera of the Nobility, who engaged musicians such as Johann Adolf Hasse, Nicolo Porpora and the famous castrato Farinelli. The strong support by Frederick, Prince of Wales caused conflicts in the royal family. In March 1734 Handel directed a wedding anthem This is the day which the Lord hath made, and a serenata Parnasso in Festa for Anne of Hanover.[36]Opera at Covent Garden (1734–41)In 1733 the Earl of Essex received a letter with the following sentence: "Handel became so arbitrary a prince, that the Town murmurs". The board of chief investors expected Handel to retire when his contract ended, but Handel immediately looked for another theatre. In cooperation with John Rich he started his third company at Covent Garden Theatre. Rich was renowned for his spectacular productions. He suggested Handel use his small chorus and introduce the dancing of Marie Sallé, for whom Handel composed Terpsichore. In 1735 he introduced organ concertos between the acts. For the first time Handel allowed Gioacchino Conti, who had no time to learn his part, to substitute arias.[37] Financially, Ariodante was a failure, although he introduced ballet suites at the end of each act.[38] Alcina, his last opera with a magic content, and Alexander's Feast or the Power of Music based on John Dryden's Alexander's Feast starred Anna Maria Strada del Pò and John Beard.In April 1737, at age 52, Handel apparently suffered a stroke which disabled the use of four fingers on his right hand, preventing him from performing.[39] In summer the disorder seemed at times to affect his understanding. Nobody expected that Handel would ever be able to perform again. But whether the affliction was rheumatism, a stroke or a nervous breakdown, he recovered remarkably quickly .[40] To aid his recovery, Handel had travelled to Aachen, a spa in Germany. During six weeks he took long hot baths, and ended up playing the organ for a surprised audience.[41]Deidamia, his last and only baroque opera without an accompagnato, was performed three times in 1741. Handel gave up the opera business, while he enjoyed more success with his English oratorios.[citation needed]OratorioFurther information: List of Handel's OratoriosHandel by Philip MercierIl Trionfo del Tempo e del Disinganno, an allegory, Handel's first oratorio[42] was composed in Italy in 1707, followed by La Resurrezione in 1708 which uses material from the Bible. The circumstances of Esther and its first performance, possibly in 1718, are obscure.[43] Another 12 years had passed when an act of piracy caused him to take up Esther once again.[44] Three earlier performances aroused such interest that they naturally prompted the idea of introducing it to a larger public. Next came Deborah, strongly coloured by the Anthems[45] and Athaliah, his first English Oratorio.[46] In these three oratorios Handel laid foundation for the traditional use of the chorus which marks his later oratorios.[47] Handel became sure of himself, broader in his presentation, and more diverse in his composition.[48]It is evident how much he learnt from Arcangelo Corelli about writing for instruments, and from Alessandro Scarlatti about writing for the solo voice; but there is no single composer who taught him how to write for chorus.[49] Handel tended more and more to replace Italian soloists by English ones. The most significant reason for this change was the dwindling financial returns from his operas.[50] Thus a tradition was created for oratorios which was to govern their future performance. The performances were given without costumes and action; the performers appeared in a black suit.[51]Caricature of Handel by Joseph Goupy (1754)In 1736 Handel produced Alexander's Feast. John Beard appeared for the first time as one of Handel's principal singers and became Handel's permanent tenor soloist for the rest of Handel's life.[52] The piece was a great success and it encouraged Handel to make the transition from writing Italian operas to English choral works. In Saul, Handel was collaborating with Charles Jennens and experimenting with three trombones, a carillon and extra-large military kettledrums (from the Tower of London), to be sure "...it will be most excessive noisy".[53] Saul and Israel in Egypt both from 1739 head the list of great, mature oratorios, in which the da capo and dal segno aria became the exception and not the rule.[54] Israel in Egypt consists of little else but choruses, borrowing from the Funeral Anthem for Queen Caroline. In his next works Handel changed his course. In these works he laid greater stress on the effects of orchestra and soloists; the chorus retired into the background.[55] L'Allegro, il Penseroso ed il Moderato has a rather diverting character; the work is light and fresh.During the summer of 1741, the 3rd Duke of Devonshire invited Handel to Dublin to give concerts for the benefit of local hospitals.[56] His Messiah was first performed at the New Music Hall in Fishamble Street, on 13 April 1742, with 26 boys and five men from the combined choirs of St Patrick's and Christ Church cathedrals participating.[57] Handel secured a balance between soloists and chorus which he never surpassed.The use of English soloists reached its height at the first performance of Samson. The work is highly theatrical. The role of the chorus became increasingly import in his later oratorios. Jephtha was first performed on 26 February 1752; even though it was his last oratorio, it was no less a masterpiece than his earlier works.[58]Later yearsGeorge Frideric Handel in 1733, by Balthasar Denner (1685–1749)In 1749 Handel composed Music for the Royal Fireworks; 12,000 people attended the first performance.[59] In 1750 he arranged a performance of Messiah to benefit the Foundling Hospital. The performance was considered a great success and was followed by annual concerts that continued throughout his life. In recognition of his patronage, Handel was made a governor of the Hospital the day after his initial concert. He bequeathed a copy of Messiah to the institution upon his death.[60] His involvement with the Foundling Hospital is today commemorated with a permanent exhibition in London's Foundling Museum, which also holds the Gerald Coke Handel Collection. In addition to the Foundling Hospital, Handel also gave to a charity that assisted impoverished musicians and their families.In August 1750, on a journey back from Germany to London, Handel was seriously injured in a carriage accident between The Hague and Haarlem in the Netherlands.[61] In 1751 one eye started to fail. The cause was a cataract which was operated on by the great charlatan Chevalier Taylor. This led to uveitis and subsequent loss of vision. He died eight years later in 1759 at home in Brook Street, at age 74. The last performance he attended was of Messiah. Handel was buried in Westminster Abbey.[62] More than three thousand mourners attended his funeral, which was given full state honours.Handel never married, and kept his personal life private. His initial will bequeathed the bulk of his estate to his niece Johanna. However four codicils distributed much of his estate to other relations, servants, friends and charities.[63]Handel owned an art collection that was auctioned posthumously in 1760.[64] The auction catalogue listed approximately seventy paintings and ten prints (other paintings were bequeathed).[64]WorksSenesino, the famous castrato from SienaMain articles: List of compositions by George Frideric Handel and List of operas by Handel.Handel's compositions include 42 operas, 29 oratorios, more than 120 cantatas, trios and duets, numerous arias, chamber music, a large number of ecumenical pieces, odes and serenatas, and 16 organ concerti. His most famous work, the oratorio Messiah with its "Hallelujah" chorus, is among the most popular works in choral music and has become the centrepiece of the Christmas season. Among the works with opus numbers published and popularised in his lifetime are the Organ Concertos Op.4 and Op.7, together with the Opus 3 and Opus 6 concerti grossi; the latter incorporate an earlier organ concerto The Cuckoo and the Nightingale in which birdsong is imitated in the upper registers of the organ. Also notable are his sixteen keyboard suites, especially The Harmonious Blacksmith.Handel introduced previously uncommon musical instruments in his works: the viola d'amore and violetta marina (Orlando), the lute (Ode for St. Cecilia's Day), three trombones (Saul), clarinets or small high cornetts (Tamerlano), theorbo, horn (Water Music), lyrichord, double bassoon, viola da gamba, bell chimes, positive organ, and harp (Giulio Cesare, Alexander's Feast).[65]Handel's works have been catalogued in the Händel-Werke-Verzeichnis and are commonly referred to by an HWV number. For example, Messiah is catalogued as HWV 56.LegacyA Masquerade at the King's Theatre, Haymarket (c. 1724)Handel's works were collected and preserved by two men in particular: Sir Samuel Hellier, a country squire whose musical acquisitions form the nucleus of the Shaw-Hellier Collection,[66] and abolitionist Granville Sharp. The catalogue accompanying the National Portrait Gallery exhibition marking the tercentenary of the composer's birth calls them two men of the late eighteenth century "who have left us solid evidence of the means by which they indulged their enthusiasm".[67]After his death, Handel's Italian operas fell into obscurity, except for selections such as the aria from Serse, "Ombra mai fù". The oratorios continued to be performed but not long after Handel's death they were thought to need some modernisation, and Mozart orchestrated a German version of Messiah and other works. Throughout the 19th century and first half of the 20th century, particularly in the Anglophone countries, his reputation rested primarily on his English oratorios, which were customarily performed by enormous choruses of amateur singers on solemn occasions.Since the Early Music Revival many of the forty-two operas he wrote have been performed in opera houses and concert halls.Handel's music was studied by composers such as Haydn, Mozart and BeethovenRecent decades have revived his secular cantatas and what one might call 'secular oratorios' or 'concert operas'. Of the former, Ode for St. Cecilia's Day (1739) (set to texts by John Dryden) and Ode for the Birthday of Queen Anne (1713) are noteworthy. For his secular oratorios, Handel turned to classical mythology for subjects, producing such works as Acis and Galatea (1719), Hercules (1745) and Semele (1744). These works have a close kinship with the sacred oratorios, particularly in the vocal writing for the English-language texts. They also share the lyrical and dramatic qualities of Handel's Italian operas. As such, they are sometimes performed onstage by small chamber ensembles. With the rediscovery of his theatrical works, Handel, in addition to his renown as instrumentalist, orchestral writer, and melodist, is now perceived as being one of opera's great musical dramatists.A carved marble statue of Handel, created for the Vauxhall Gardens in 1738 by Louis-François Roubiliac, and now preserved in the Victoria & Albert Museum.Handel's work was edited by Samuel Arnold (40 vols., London, 1787–1797), and by Friedrich Chrysander, for the German Händel-Gesellschaft (105 vols., Leipzig, 1858–1902).Handel adopted the spelling "George Frideric Handel" on his naturalisation as a British subject, and this spelling is generally used in English-speaking countries. The original form of his name, Georg Friedrich Händel, is generally used in Germany and elsewhere, but he is known as "Haendel" in France. Another composer with a similar name, Handl or Händl, was an Austrian from Carniola and is more commonly known as Jacobus Gallus.Musician's musicianHandel has generally been accorded high esteem by fellow composers, both in his own time and since.[68] Bach attempted, unsuccessfully, to meet with Handel while he was visiting Halle.[69] Mozart is reputed to have said of him, "Handel understands affect better than any of us. When he chooses, he strikes like a thunder bolt."[70] To Beethoven he was "the master of us all... the greatest composer that ever lived. I would uncover my head and kneel before his tomb".[70] Beethoven emphasised above all the simplicity and popular appeal of Handel's music when he said, "Go to him to learn how to achieve great effects, by such simple means".HomagesHandel Commemoration in Westminster Abbey, 1784After Handel's death, many composers wrote works based on or inspired by his music. The first movement from Louis Spohr's Symphony No. 6, Op. 116, "The Age of Bach and Handel", resembles two melodies from Handel's Messiah. In 1797 Ludwig van Beethoven published the 12 Variations in G major on ‘See the conqu’ring hero comes’ from Judas Maccabaeus by Handel, for cello and piano. Guitar virtuoso Mauro Giuliani composed his Variations on a Theme by Handel, Op. 107 for guitar, based on Handel's Suite No. 5 in E major, HWV 430, for harpsichord. In 1861, using a theme from the second of Handel's harpsichord suites, Johannes Brahms wrote the Variations and Fugue on a Theme by Handel, Op. 24, one of his most successful works (praised by Richard Wagner). Several works by the French composer Félix-Alexandre Guilmant use Handel's themes, for example his March on a Theme by Handel uses a theme from Messiah. French composer and flautist Philippe Gaubert wrote his Petite marche for flute and piano based on the fourth movement of Handel's Trio Sonata, Op. 5, No. 2, HWV 397. Argentine composer Luis Gianneo composed his Variations on a Theme by Handel for piano. In 1911, Australian-born composer and pianist Percy Grainger based one of his most famous works on the final movement of Handel's Suite No. 5 in E major (just like Giuliani). He first wrote some variations on the theme, which he titled Variations on Handel's ‘The Harmonious Blacksmith’ . Then he used the first sixteen bars of his set of variations to create Handel in the Strand, one of his most beloved pieces, of which he made several versions (for example, the piano solo version from 1930). Arnold Schoenberg's Concerto for String Quartet and Orchestra in B flat major (1933) was composed after Handel's Concerto Grosso, Op. 6/7.VenerationHandel is honored together with Johann Sebastian Bach and Henry Purcell with a feast day on the liturgical calendar of the Episcopal Church (USA) on 28 July.He is commemorated as a musician in the Calendar of Saints of the Lutheran Church on 28 July, with Johann Sebastian Bach and Heinrich Schütz.He is commemorated as a musician along with Johann Sebastian Bach on 28 July by The Order of Saint Luke in their calendar of saints prepared for the use of The United Methodist Church.EditionsBetween 1787 and 1797 Samuel Arnold compiled a 180-volume collection of Handel's works—however it was far from complete.[72] Also incomplete was the collection produced between 1843 and 1858 by the English Handel Society (found by Sir George Macfarren).[73]The 105-volume Händel-Gesellschaft edition was published in the mid 19th century and was mainly edited by Friedrich Chrysander (often working alone in his home). For modern performance, the realisation of the basso continuo reflects 19th century practice. Vocal scores drawn from the edition were published by Novello in London, but some scores, such as the vocal score to Samson are incomplete.The still-incomplete Hallische Händel-Ausgabe started to appear in 1956 (named for Halle in Saxony-Anhalt Eastern Germany, not the Netherlands). It did not start as a critical edition, but after heavy criticism of the first volumes, which were performing editions without a critical apparatus (for example, the opera Serse was published with the title character recast as a tenor reflecting pre-war German practice), it repositioned itself as a critical edition. Influenced in part by cold-war realities, editorial work was inconsistent: misprints are found in abundance and editors failed to consult important sources. In 1985 a committee was formed to establish better standards for the edition.From Wikipedia, the free encyclopedia

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