Podcasts about romantics

Episode 87 Dover Beach by Matthew Arnold Mark McGuinness reads and discusses ‘Dover Beach' by Matthew Arnold. https://media.blubrry.com/amouthfulofair/media.blubrry.com/amouthfulofair/content.blubrry.com/amouthfulofair/87_Dover_Beach_by_Matthew_Arnold.mp3 Poet Matthew Arnold Reading and commentary by Mark McGuinness Dover Beach By Matthew Arnold The sea is calm tonight.The tide is full, the moon lies fairUpon the straits; on the French coast the lightGleams and is gone; the cliffs of England stand,Glimmering and vast, out in the tranquil bay.Come to the window, sweet is the night-air!Only, from the long line of sprayWhere the sea meets the moon-blanched land,Listen! you hear the grating roarOf pebbles which the waves draw back, and fling,At their return, up the high strand,Begin, and cease, and then again begin,With tremulous cadence slow, and bringThe eternal note of sadness in. Sophocles long agoHeard it on the Aegean, and it broughtInto his mind the turbid ebb and flowOf human misery; weFind also in the sound a thought,Hearing it by this distant northern sea. The Sea of FaithWas once, too, at the full, and round earth's shoreLay like the folds of a bright girdle furled.But now I only hearIts melancholy, long, withdrawing roar,Retreating, to the breathOf the night-wind, down the vast edges drearAnd naked shingles of the world. Ah, love, let us be trueTo one another! for the world, which seemsTo lie before us like a land of dreams,So various, so beautiful, so new,Hath really neither joy, nor love, nor light,Nor certitude, nor peace, nor help for pain;And we are here as on a darkling plainSwept with confused alarms of struggle and flight,Where ignorant armies clash by night. Podcast Transcript This is a magnificent and haunting poem by Matthew Arnold, an eminent Victorian poet. Written and published at the mid-point of the nineteenth century – it was probably written around 1851 and published in 1867 – it is not only a shining example of Victorian poetry at its best, but it also, and not coincidentally, embodies some of the central preoccupations of the Victorian age. The basic scenario is very simple: a man is looking out at the sea at night and thinking deep thoughts. It's something that we've all done, isn't it? The two tend to go hand-in-hand. When you're looking out into the darkness, listening to the sound of the sea, it's hard not to be thinking deep thoughts. If you've been a long time listener to this podcast, it may remind you of another poet who wrote about standing on the shore thinking deep thoughts, looking at the sea, Shakespeare, in his Sonnet 60: Like as the waves make towards the pebbled shore,So do our minutes hasten to their end; Arnold's poem is not a sonnet but a poem in four verse paragraphs. They're not stanzas, because they're not regular, but if you look at the text on the website, you can clearly see it's divided into four sections. The first part is a description of the sea, as seen from Dover Beach, which is on the shore of the narrowest part of the English channel, making it the closest part of England to France: The sea is calm tonight.The tide is full, the moon lies fairUpon the straits; – on the French coast the lightGleams and is gone; the cliffs of England stand,Glimmering and vast, out in the tranquil bay. And as you can hear, the poem has a pretty regular and conventional rhythm, based on iambic metre, ti TUM, with the second syllable taking the stress in every metrical unit. But what's slightly unusual is that the lines have varying lengths. By the time we get to the third line: Upon the straits; – on the French coast the light There are five beats. There's a bit of variation in the middle of the line, but it's very recognisable as classic iambic pentameter, which has a baseline pattern going ti TUM, ti TUM, ti TUM, ti TUM, ti TUM. But before we get to the pentameter, we get two short lines: The sea is calm tonight.Only three beats; andThe tide is full, the moon lies fair – four beats. We also start to notice the rhymes: ‘tonight' and ‘light'. And we have an absolutely delightful enjambment, where a phrase spills over the end of one line into the next one: On the French coast the light,Gleams and is gone. Isn't that just fantastic? The light flashes out like a little surprise at the start of the line, just as it's a little surprise for the speaker looking out to sea. OK, once he's set the scene, he makes an invitation: Come to the window, sweet is the night-air! So if there's a window, he must be in a room. There's somebody in the room with him, and given that it's night it could well be a bedroom. So this person could be a lover. It's quite likely that this poem was written on Arnold's honeymoon, which would obviously fit this scenario. But anyway, he's inviting this person to come to the window and listen. And what does this person hear? Well, helpfully, the speaker tells us: Listen! you hear the grating roarOf pebbles which the waves draw back, and fling,At their return, up the high strand,Begin, and cease, and then again begin,With tremulous cadence slow, and bringThe eternal note of sadness in. Isn't that just great? The iambic metre is continuing with some more variations, which we needn't go into. And the rhyme is coming more and more to the fore. Just about every line in this section rhymes with another line, but it doesn't have a regular pattern. Some of the rhymes are close together, some are further apart. There's only one line in this paragraph that doesn't rhyme, and that's ‘Listen! You hear the grating roar'. If this kind of shifting rhyme pattern reminds you of something you've heard before, you may be thinking all the way back to Episode 34 where we looked at Coleridge's use of floating rhymes in his magical poem ‘Kubla Khan'. And it's pretty evident that Arnold is also casting a spell, in this case to mimic the rhythm of the waves coming in and going out, as they ‘Begin, and cease, and then again begin,'. And then the wonderful last line of the paragraph, as the waves ‘bring / The eternal note of sadness in'. You know, in the heart of the Victorian Age, when the Romantics were still within living memory, poets were still allowed to do that kind of thing. Try it nowadays of course, and the Poetry Police will be round to kick your front door in at 5am and arrest you. Anyway. The next paragraph is a bit of a jump cut: Sophocles long agoHeard it on the Aegean, and it broughtInto his mind the turbid ebb and flowOf human misery; So Arnold, a classical scholar, is letting us know he knows who Sophocles, the ancient Greek playwright was. And he's establishing a continuity across time of people looking out at the sea and thinking these deep thoughts. At this point, Arnold explicitly links the sea and the thinking:                                     weFind also in the sound a thought,Hearing it by this distant northern sea. And the thought that we hear when we listen to the waves is what Arnold announces in the next verse paragraph, and he announces it with capital letters: The Sea of FaithWas once, too, at the full, and round earth's shoreLay like the folds of a bright girdle furled. And for a modern reader, I think this is the point of greatest peril for Arnold, where he's most at risk of losing us. We may be okay with ‘the eternal note of sadness', but as soon as he starts giving us the Sea of Faith, we start to brace ourselves. Is this going to turn into a horrible religious allegory, like The Pilgrim's Progress? I mean, it's a short step from the Sea of Faith to the Slough of Despond and the City of Destruction. And it doesn't help that Arnold uses the awkwardly rhyming phrase ‘a bright girdle furled' – that's not going to get past the Poetry Police, is it? But fear not; Arnold doesn't go there. What comes next is, I think, the best bit of the poem. So he says the Sea of Faith ‘was once, too, at the full', and then: But now I only hearIts melancholy, long, withdrawing roar,Retreating, to the breathOf the night-wind, down the vast edges drearAnd naked shingles of the world. Well, if you thought the eternal note of sadness was great, this tops it! It's absolutely fantastic. That line, ‘Its melancholy, long, withdrawing roar,' where the ‘it' is faith, the Sea of Faith. And the significance of the line is underlined by the fact that the word ‘roar' is a repetition – remember, that one line in the first section that didn't rhyme? Listen! you hear the grating roar See what Arnold did there? He left that sound hovering at the back of the mind, without a rhyme, until it came back in this section, a subtle but unmistakeable link between the ‘grating roar' of the actual sea at Dover Beach, and the ‘withdrawing roar' of the Sea of Faith: Its melancholy, long, withdrawing roar, Isn't that the most Victorian line ever? It encapsulates the despair that accompanied the crisis of faith in 19th century England. This crisis was triggered by the advance of modern science – including the discoveries of fossils, evidence of mass extinction of previous species, and the theory of evolution, with Darwin's Origin of Species published in 1859, in between the writing and publication of ‘Dover Beach'. Richard Holmes, in his wonderful new biography of the young Tennyson, compares this growing awareness of the nature of life on Earth to the modern anxiety over climate change. For the Victorians, he writes, it created a ‘deep and existential terror'. One thing that makes this passage so effective is that Arnold has already cast the spell in the first verse paragraph, hypnotising us with the rhythm and rhyme, and linking it to the movement of the waves. In the second paragraph, he says, ‘we find also in the sound a thought'. And then in the third paragraph, he tells us the thought. And the thought that he attaches to this movement, which we are by now emotionally invested in, is a thought of such horror and profundity – certainly for his Victorian readers – that the retreat of the sea of faith really does feel devastating. It leaves us gazing down at the naked shingles of the world. The speaker is now imaginatively out of the bedroom and down on the beach. This is very relatable; we've all stood on the beach and watched the waves withdrawing beneath our feet and the shingle being left there. It's an incredibly vivid evocation of a pretty abstract concept. Then, in the fourth and final verse paragraph, comes a bit of a surprise: Ah, love, let us be trueTo one another! Well, I for one was not expecting that! From existential despair to an appeal to his beloved. What a delightful, romantic (with a small ‘r') response to the big-picture, existential catastrophe. And for me, it's another little echo of Shakespeare's Sonnet 60, which opens with a poet contemplating the sea and the passing of time and feeling the temptation to despair, yet also ends with an appeal to the consolation of love: And yet to times in hope my verse shall stand,blockquotePraising thy worth, despite his cruel hand. Turning back to Arnold. He says ‘let us be true / To one another'. And then he links their situation to the existential catastrophe, and says this is precisely why they should be true to each other: for the world, which seemsTo lie before us like a land of dreams,So various, so beautiful, so new,Hath really neither joy, nor love, nor light,Nor certitude, nor peace, nor help for pain; It sounds, on the face of it, a pretty unlikely justification for being true to one another in a romantic sense. But actually, this is a very modern stance towards romantic love. It's like the gleam of light that just flashed across the Channel from France – the idea of you and me against an unfeeling world, of love as redemption, or at least consolation, in a meaningless universe. In a world with ‘neither joy, nor love, nor light,' our love becomes all the more poignant and important. Of course, we could easily object that, regardless of religious faith, the world does have joy and love and light. His very declaration of love is evidence of this. But let's face it, we don't always come to poets for logical consistency, do we? And we don't have to agree with Matthew Arnold to find this passage moving; most of us have felt like this at some time when we've looked at the world in what feels like the cold light of reality. He evokes it so vividly and dramatically that I, for one, am quite prepared to go with him on this. Then we get the final three lines of the poem:We are here as on a darkling plainSwept with confused alarms of struggle and flight,Where ignorant armies clash by night. I don't know about you, but I find this a little jarring in the light of what we've just heard. We've had the magnificent description of the sea and its effect on human thought, extending that into the idea of faith receding into illusion, and settling on human love as some kind of consolation for the loss of faith. So why do we need to be transported to a windswept plain where armies are clashing and struggling? It turns out to be another classical reference, to the Greek historian Thucydides' account of the night battle of Epipolae, where the two armies were running around in the dark and some of them ended up fighting their own side in the confusion. I mean, fine, he's a classical scholar. And obviously, it's deeply meaningful to him. But to me, this feels a little bit bolted on. A lot of people love that ending, but to me, it's is not as good as some of the earlier bits, or at least it doesn't quite feel all of a piece with the imagery of the sea. But overall, it is a magnificent poem, and this is a small quibble. Stepping back, I want to have another look at the poem's form, specifically the meter, and even more specifically, the irregularity of the meter, which is quite unusual and actually quite innovative for its time. As I've said, it's in iambic meter, but it's not strictly iambic pentameter. You may recall I did a mini series on the podcast a while ago looking at the evolution of blank verse, unrhymed iambic pentameter, from Christopher Marlowe and Shakespeare's dramatic verse, then Milton's Paradise Lost and finally Wordsworth's Tintern Abbey. ‘Dover Beach' is rhymed, so it's not blank verse, but most of the techniques Arnold uses here are familiar from those other poets, with variations on the basic rhythm, sometimes switching the beats around, and using enjambment and caesura (a break or pause in the middle of the line). But, and – this is quite a big but – not every line has five beats. The lines get longer and shorter in an irregular pattern, apparently according to Arnold's instinct. And this is pretty unusual, certainly for 1851. It's not unique, we could point to bits of Tennyson or Arthur Hugh Clough for metrical experiments in a similar vein, but it's certainly not common practice. And I looked into this, to see what the critics have said about it. And it turns out the scholars are divided. In one camp, the critics say that what Arnold is doing is firmly in the iambic pentameter tradition – it's just one more variation on the pattern. But in the other camp are people who say, ‘No, this is something new; this is freer verse,' and it is anticipating free verse, the non-metrical poetry with no set line lengths that came to be the dominant verse form of the 20th century. Personally, I think you can look back to Wordsworth and see a continuity with his poetic practice. But you could equally look forward, to a link with T. S. Eliot's innovations in ‘The Love Song of J. Alfred Prufrock' and The Waste Land. Eliot is often described as an innovator in free verse, which is true up to a point, but a lot of his writing in that early period isn't strictly free verse; it's a kind of broken up metrical verse, where he often uses an iambic metre with long and short lines, which he varies with great intuitive skill – in a similar manner to Arnold's ‘Dover Beach'. Interestingly, when ‘Dover Beach' was first published, the reviews didn't really talk about the metre, which is ammunition for the people who say, ‘Well, this is just a kind of iambic pentameter'. Personally, I think what we have here is something like the well-known Duck-Rabbit illusion, where you can look at the same drawing and either see a duck or a rabbit, depending how you look at it. So from one angle, ‘Dover Beach' is clearly continuing the iambic pentameter tradition; from another angle, it anticipates the innovations of free verse. We can draw a line from the regular iambic pentameter of Wordsworth (writing at the turn of the 18th and 19th century) to the fractured iambic verse of Eliot at the start of the 20th century. ‘Dover Beach' is pretty well halfway between them, historically and poetically. And I don't think this is just a dry technical development. There is something going on here in terms of the poet's sense of order and disorder, faith and doubt. Wordsworth, in the regular unfolding of his blank verse, conveys his basic trust in an ordered and meaningful universe. Matthew Arnold is writing very explicitly about the breakup of faith, and we can start to see it in the breakup of the ordered iambic pentameter. By the time we get to the existential despair of Eliot's Waste Land, the meter is really falling apart, like the Waste Land Eliot describes. So overall, I think we can appreciate what a finely balanced poem Arnold has written. It's hard to categorise. You read it the first time and think, ‘Oh, right, another conventional Victorian melancholy lament'. But just when we think he's about to go overboard with the Sea of Faith, he surprises us and with that magnificent central passage. And just as he's about to give in to despair, we get that glimmering spark of love lighting up, and we think, ‘Well, maybe this is a romantic poem after all'. And maybe Arnold might look at me over his spectacles and patiently explain that actually, this is why that final metaphor of the clashing armies is exactly right. Friend and foe are running in first one direction, then another, inadvertently killing the people on the wrong side. So the simile gives us that sense of being caught in the cross-currents of a larger sweep of history. With all of that hovering in our mind, let's go over to the window once more and heed his call to listen to the sound of the Victorian sea at Dover Beach. Dover Beach By Matthew Arnold The sea is calm tonight.The tide is full, the moon lies fairUpon the straits; on the French coast the lightGleams and is gone; the cliffs of England stand,Glimmering and vast, out in the tranquil bay.Come to the window, sweet is the night-air!Only, from the long line of sprayWhere the sea meets the moon-blanched land,Listen! you hear the grating roarOf pebbles which the waves draw back, and fling,At their return, up the high strand,Begin, and cease, and then again begin,With tremulous cadence slow, and bringThe eternal note of sadness in. Sophocles long agoHeard it on the Aegean, and it broughtInto his mind the turbid ebb and flowOf human misery; weFind also in the sound a thought,Hearing it by this distant northern sea. The Sea of FaithWas once, too, at the full, and round earth's shoreLay like the folds of a bright girdle furled.But now I only hearIts melancholy, long, withdrawing roar,Retreating, to the breathOf the night-wind, down the vast edges drearAnd naked shingles of the world. Ah, love, let us be trueTo one another! for the world, which seemsTo lie before us like a land of dreams,So various, so beautiful, so new,Hath really neither joy, nor love, nor light,Nor certitude, nor peace, nor help for pain;And we are here as on a darkling plainSwept with confused alarms of struggle and flight,Where ignorant armies clash by night. Matthew Arnold Matthew Arnold was a British poet, critic, and public intellectual who was born in 1822 and died in 1888. His father was Thomas Arnold, the famed headmaster of Rugby School. Arnold studied Classics at Oxford and first became known for lyrical, melancholic poems such as ‘Dover Beach', ‘The Scholar-Gipsy', and ‘Thyrsis', that explore the loss of faith in the modern world. Appointed an inspector of schools, he travelled widely and developed strong views on culture, education, and society. His critical essays, especially Culture and Anarchy, shaped debates about the role of culture in public life. Arnold remains a central figure bridging Romanticism and early modern thought. A Mouthful of Air – the podcast This is a transcript of an episode of A Mouthful of Air – a poetry podcast hosted by Mark McGuinness. New episodes are released every other Tuesday. You can hear every episode of the podcast via Apple, Spotify, Google Podcasts or your favourite app. You can have a full transcript of every new episode sent to you via email. The music and soundscapes for the show are created by Javier Weyler. Sound production is by Breaking Waves and visual identity by Irene Hoffman. A Mouthful of Air is produced by The 21st Century Creative, with support from Arts Council England via a National Lottery Project Grant. Listen to the show You can listen and subscribe to A Mouthful of Air on all the main podcast platforms Related Episodes Dover Beach by Matthew Arnold Episode 87 Dover Beach by Matthew Arnold Mark McGuinness reads and discusses ‘Dover Beach' by Matthew Arnold.Poet Matthew ArnoldReading and commentary by Mark McGuinnessDover Beach By Matthew Arnold The sea is calm tonight.The tide is full, the moon lies... Recalling Brigid by Orna Ross Orna Ross reads and discusses ‘Recalling Brigid’ from Poet Town. 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"Nostalgia" is a portmanteau coined in 1688 by Johannes Hofer, combining the Greek nostros (homecoming) and algos (pain, ache).  Hofer was a medical student, and he invented this term to describe a kind of melancholia, a somewhat depressive state–- and so, from its inception, "nostalgia" was viewed as a mood disorder.  For the Romantics, it was a sentimentality for the past, the good old days of yore, combining the sadness of loss with a joy that that loss is not complete or total.  Nostalgia is also paradoxical, because the past we long for and re-member is a past that was never present.  If it is a "homecoming," what one discovers in returning home, as Odysseus does, is that there is no "there" there.  That is, nostalgia is always unheimlich ("unhomely") or more accurately, "uncanny."  It always involves a manner of self-deception about what was by distorting or idealizing the past. This can often have negative, even dangerous consequences: individually, socially, and politically.  More than just a "mood," nostalgia is a vector of philosophical investigation par excellence that opens onto a wide range of themes: memory, time, the hermeneutics of personal identity, and even reality itself.   So, pour a drink, and let's see what might be problematic about what we "fondly remember"!Full episode notes available at this link:https://hotelbarpodcast.com/nostalgia---------------------SUBSCRIBE to the podcast now to automatically download new episodes!SUPPORT Hotel Bar Sessions podcast on Patreon here! (Or by contributing one-time donations here!)BOOKMARK the Hotel Bar Sessions website here for detailed show notes and reading lists, and contact any of our co-hosts here.Hotel Bar Sessions is also on Facebook, YouTube, BlueSky, and TikTok. Like, follow, share, duet, whatever... just make sure your friends know about us! ★ Support this podcast on Patreon ★

Nueva entrega de Música de Contrabando, semanario de actualidad musical ( 11/12/2025)Entrevistas:- Second recibe el Premio Leyenda. Recordamos con Fran y Jorge su trayectoria. - The Sand estrena 2 canciones en español y nos habla de su disco.Noticias:El mundo del rock rinde tributo a Raul Malo, cantante de The Mavericks.Muere Jorge Ilegal, el alma de Ilegales.Tras el fallecimiento de Jorge Ilegal llegó otra tristísima noticia para el rock español. Ha fallecido Robe Iniesta, uno de los grandes de la música en castellano. Llega el tráiler de EPiC: Elvis Presley in concert, una película documental dirigida por Baz Luhrmann . Coincidiendo con el lanzamiento de la edición del 50 aniversario de Wish you were here, de Pink Floyd, el 12 de diciembre, en colaboración con News & Coffee, se abrirán tiendas efímeras en París, Londres, Los Ángeles y Barcelona. Ochenta mil personas reclaman un aeropuerto con el nombre de Ozzy Osbourne .Liam Gallagher ha confirmado que Oasis no volverá a salir de gira hasta 2027 como muy pronto. Yusuf/Cat Stevens cancela las presentaciones de sus memorias en EE.UU. por problemas con elvisado. Toto, Christopher Cross y The Romantics se van juntos de gira . Se publican las primeras grabaciones de Melanie. Bob Dylan volverá a girar a partir de la primavera. King Gizzard & the Lizard Wizard ha denunciado la presencia en la Spotify de clones de su proyecto generados por IA que utilizan su estética, su nombre e incluso sus canciones. Viña Rock anuncia su primera lista de confirmaciones. Noches del Botánico revela los primeros nombres de su nueva edición, que se celebrará entre junio y julio del 2026 . Bilbao BBK Live celebrará su 20 aniversario los días 9, 10 y 11 de julio de 2026 con una edición que prometen histórica Novedades:Sting, Guns N' Roses, The Waterboys, Peter Murphy & Boy George & Juno Reactor, Flea, Tomora, The James Hunter Six, Julia Cry, Courtney Marie Andrews, The Sha La Das, Carlos Sadness, Camellos, Starbenders, Ángel Stanich, Dry Cleaning, Lisasinson ft La Casa Azul, Brighton 64, Bernal ft El Fin del Mundo, María Arnal, Mika, Evve, Monstruo Laberinto, 15 15, The Temper Trap, Angelpop, Overmono, Noise Box, Alice Costelloe, Xoel López, Axolotes Mexicanos, Kuve, Ruth (ganadores Premios Yepes), J Mascis, El Diablo de Shanghai , Archy Marshall, Rodrigo Cuevas y Massiel.Agenda de conciertos:Eskorzo, Claim, Hidrogenesse, The Sand, Sala de Catas (Airin.Wav), Dani Flaco, Wakame, Joaquín Talismán y Los Chamanes, Pablo Und Destruktion, Guiu Cortés, Calatrava, Muchachito Bombo Inferno, Alexei León, Tocino Metal Fest, Carlos Vudú, Perdón, Helio, Charleston Gospel Choir...

Murph & Markus - hour 4: Another one not with us, gauging the temperature on a potential Bryce Eldridge trade, & WDYTLT: "What I Like About You" by The RomanticsSee omnystudio.com/listener for privacy information.

Murph & Markus - hour 4: Another one not with us, gauging the temperature on a potential Bryce Eldridge trade, & WDYTLT: "What I Like About You" by The RomanticsSee omnystudio.com/listener for privacy information.

Un nuevo programa para hablar de una sencilla pero entretenida serie japonesa, si eres una romántica y además te gusta el chocolate el posible que no pares de comerlo cuando veas esta serie.

Présentée par Maël & Clément.Clément Louveteau et Maël donnerent un coup de projecteur aux collaborations musicales au sens large. Seront de la partie : invitations le temps d'un titre, combinaisons à l'échelle d'un album, supergroupes et autres mélanges à la faveur de projets parallèles parfois éphémères. Rendez-vous donc pour redécouvrir ensemble des projets tels que Ruin of Romantics ou l'étonnant Legend of the Seagullmen, sans oublier la récente sortie de Monkeys on Mars.

This week is all poetry—our first all-poetry week of the Immersive Humanities project! After struggling through young Werther, I decided I needed to step back and understand Romanticism as a movement. I offer a brief review of the history leading up to Romanticism; after all, most movements are reactions against what precedes them. The printing press and Protestant Reformation blew open European thought, leading to centuries of philosophical upheaval. Empiricists like Bacon and Hume insisted that knowledge must be tested; rationalists like Descartes and Spinoza trusted pure reason. Kant eventually tried to unite both. Their world gave rise to the Enlightenment—and then came the Romantics, pushing back with emotion, imagination, and nature.That's the world our poets wrote in. This week I used Pocket Book of Romantic Poetry and read Blake, Wordsworth, Coleridge, Byron, Shelley, and Keats (skipping Novalis and Hölderlin). I loved some poems, disliked others. Blake's mystical, anti-Christian tone left me cold. Wordsworth's childhood wonder won me over. Coleridge's Rime of the Ancient Mariner shocked me--it's gripping, almost epic. Byron was brilliant, scandalous, and endlessly readable. His Prisoner of Chillon might have been my favorite poem of the week. Shelley felt dreamlike and visionary, while Keats, to me, seemed talented but young. What did the world lose when he died?Reading these poets in their historical context changed everything. They're passionate, experimental, and surprisingly radical—not quaint! We are missing out when we resort to tired anthologies to get to know these poets--something that I didn't expect to feel so strongly about! Paired with Beethoven's Pastoral Symphony and Chopin's preludes, this week was a revelation.LINKTed Gioia/The Honest Broker's 12-Month Immersive Humanities Course (paywalled!)My Amazon Book List (NOT an affiliate link)That cool Medieval Science Book The Genesis of Science by James HannamCONNECTThe complete list of Crack the Book Episodes: https://cheryldrury.substack.com/p/crack-the-book-start-here?r=u3t2rTo read more of my writing, visit my Substack - https://www.cheryldrury.substack.com.Follow me on Instagram - https://www.instagram.com/cldrury/ LISTENSpotify - https://open.spotify.com/show/5GpySInw1e8IqNQvXow7Lv?si=9ebd5508daa245bdApple Podcasts -

In this episode, I turn to the Romantics as guides for a world coming apart, viewing Mary Shelley's Frankenstein as a protest against a mechanistic worldview that devalues feeling. Some questions that emerge from this journey are:   What do we do when technology outpaces our moral framework? Just because we're able to do something, should we? What responsibilities do we incur when we create a new form of life?  Are we repeating Frankenstein's mistake when we build systems and then disclaim any obligation to the creatures we have released onto the world? Books Mentioned: Magnificent Rebels, Andrea Wulf Romantic Outlaws, Charlotte Gordon Frankenstein, Mary Shelley A Flash of Golden Fire, Thomas Elsner The Rime of the Ancient Mariner, Samuel Taylor Coleridge The Romantics and Us, Simon Schama BERGHAIN, Rosalia [Lux] Guillermo del Toro's, Frankenstein

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Um programa que vai dos anos 80, aos 90 e 00, dos Joy Division aos Romantics, dos Chameleons aos Bauhaus, numa experiência de vida musical e radiofónica. Esta terceira temporada é dedicada aos anos 90. Com Augusto Seabra

Samādhi is the Sanskrit word for a state of peaceful, integrated absorption the mind can reach through meditation. And people's faces in meditation have been a source of fascination (and distraction) for documentary filmmaker Hartley Woolf since he began his own Buddhist practice. “I can't help but enjoy taking in all the different expressions around me in the shrine room,” he says, “and wondering what's going on inside the mind behind.” Join us for a delightful conversation between an artist and some of his subjects (Bhadra, Eugene Furniss and Maitrijyoti) as we explore the beautiful intimacy of this unique art project. In the most mindful way, Hartley sets out to capture something of the mystery of meditation, expressed in the faces of a diverse set of humans trying to be present with their experience. The result is an extraordinary book of portrait photography and we are privileged to hear reflections after the fact from some of those sitting and from the artist himself. Self-consciousness and self-perception, what we look for in people's faces and expressions, the vulnerability of meditating with others and of being witnessed – this conversation flows, you might say, like the breath, opening into a space of genuine shared gratitude for a memorable shared experience of sitting in stillness, and being in relationship. Produced and presented by Candradasa, edited by Zac Pomphrey and Candradasa *** "When I began this project, it was simply about capturing the subtlety of human facial expression. It quickly became about much more than that, however: my emotional connection to the sitter in that moment; the impact the lights, camera and my presence had on their meditation; the very act of watching for those subtle changes and deciding when to press the shutter. All these things became just as interesting—if not more so. I saw all kinds of emotions play out on my sitters' faces. They may not have all reached such advanced states as samādhi, but I did see a lot of vulnerability, pleasure, discomfort, and courage. I'm very grateful to them all for allowing me (and you) into their intimate worlds of practice for a brief moment." Hartley Woolf Show Notes Order ‘Portraits of Samadhi' by Hartley Woolf (Hardback) Revisting the Romantics by Vishvapani (free with sign-up) Alfoxton Park Retreat Centre A Renovating Virtue: Hartley's film about the Alfoxton project Listen to The Intimacy of Art and the Dharma on painting as practice Eisenstein on co-creating films as art  |  A Dialectic Approach to Film Form by Sergei Eisenstein  Hartley Woolf's website  |  Follow Hartley on Instagram *** Visit The Buddhist Centre Live (events year-round on Buddhism, mindfulness, meditation, and culture) Come meditate with us online six days a week! Theme music by Ackport! Used with kind permission.

Our November Yak covers a bunch of dramas we just started and one drama we needed to talk in depth about - Kim Eun-suk's Make a Wish Genie. Join Paroma and Anisa as we get back into talking at you for 90 minutes again.Leave us your COMMENTS here. LINKS MENTIONED:Paroma's video on Make a Wish Genie.TIMESTAMPS:00:00 Hello!01:20 Ms Incognito10:30 My Troublesome Star18:10 Romantics Anonymous33:25 Typhoon Family35:09 Oh My Ghost Client43:26 Make a Wish, GenieLEAVE US A REVIEW:Apple podcasts | Spotify | Audible!MORE EPISODES YOU MAY LIKE:Episode 188: The Rise of the Murder Rom-Com in K-DramasNEWSLETTER:Join our email list for the monthly newsletter with podcast announcements and special episodes!PATRONS:SPECIAL THANK YOU to our beloved patrons for another year of helping us light the lanterns to sail our ship! Join it here! ❤︎ You can MAJORLY support us by leaving a review on your podcast app, or sharing the episode with friends! ❤︎SOCIAL:Follow us on Twitter @dramasoverflow and Instagram @dramasoverflowers_.Email us at dramasoverflowers@gmail.com.CREDITS:This episode was edited by Paroma.

We take a look at the latest romantic drama coming out of Japan. Come find out if Romantics Anonymous made us giddy as we review the whole drama in this month's Patreon.Access this Patreon VIP episode HEREYou can also find us on Twitter, BlueSky, and Facebook.Click HERE for our show notes. Hosted on Acast. See acast.com/privacy for more information.

Um programa que vai dos anos 80, aos 90 e 00, dos Joy Division aos Romantics, dos Chameleons aos Bauhaus, numa experiência de vida musical e radiofónica. Esta terceira temporada é dedicada aos anos 90. Com Augusto Seabra

Um programa que vai dos anos 80, aos 90 e 00, dos Joy Division aos Romantics, dos Chameleons aos Bauhaus, numa experiência de vida musical e radiofónica. Esta terceira temporada é dedicada aos anos 90. Com Augusto Seabra

We're wrapping up October with one last episode—and we're going back to our vampire roots, because we are the girls who grew up on sparkly vampires

The duo candidly discusses the advantages of their diverse performance backgrounds, including music, juggling, and even jiu-jitsu, in creating entertaining magic that prioritizes audience connection over mere sleight of hand. And then a big confrontation in Chapter 19 of “The Linking Rings.” The Cosmic Romantics Interview starts at 00:02:22"I Love That" starts at 00:58:07Chapter Nineteen of “The Linking Rings" starts at 01:11:09 LINKSThe Eli Marks Mystery Series: http://www.elimarksmysteries.com/Get yourself a Free Eli Marks Short Story: https://dl.bookfunnel.com/jj1r1yaavjListen to an Eli Marks Audio Short Story: https://BookHip.com/LZBPPMDThe Cosmic Romantics Website: https://www.thecosmicromantics.com/blogFireFly TV Series: https://tinyurl.com/4r2ztn8mW1A TV Series: https://tinyurl.com/5n6s84shW1A Clip: https://youtu.be/GKWZlWaGKgcRicky Jay Card Throwing: https://youtu.be/4F93VCA_TCQCheck out the Occasional Film Podcast: https://www.fastcheapfilm.com/the-podcast

Um programa que vai dos anos 80, aos 90 e 00, dos Joy Division aos Romantics, dos Chameleons aos Bauhaus, numa experiência de vida musical e radiofónica. Esta terceira temporada é dedicada aos anos 90. Com Augusto Seabra

Episode Notes S6E35 -- Join us as we get sedated with the great Richie Ramone. He'll be in the house telling tales from the road to his book and much much more. Richard Reinhardt (born August 11, 1957) is an American drummer best known by his stage name Richie Ramone, and for being the drummer for the punk band the Ramones from February 1983 until August 1987. As of 2025, he is one of three surviving members of the band, the others being Marky Ramone and C.J. Ramone. Richie appeared on three studio albums with the Ramones and played on Joey Ramone's second solo album ...Ya Know? He has later released three solo albums and currently fronts his own solo band. VETERANS: https://www.va.gov/.../mental-health/suicide-prevention/ ADDICTION: https://lp.recoverycentersofamerica.com/.../continuum-of.../ Due you know someone that has lost their lives due to addiction? Or even someone that has made a full recovery? Reach out to Johnny Whitaker so they can help to celebrate the lives lost/ lives recovered at overdoseawareness0831@gmail.com Follow our guest https://en.wikipedia.org/wiki/Richie_Ramone https://www.richieramone.com/ https://www.instagram.com/richieramone/?hl=en Toking with the Dead: https://www.stilltoking.com/ ————————————— Follow Still Toking With and their friends! https://smartpa.ge/5zv1 ————————————— Produced by Leo Pond and The Dorkening Podcast Network MORE ABOUT THE GUEST: Richie left the band abruptly in August 1987 after financial conflicts with Johnny Ramone. Richie stated in an interview that he had asked for a small percentage of the merchandise income based on his tenure with the band and their use of his name and image, which he claimed Joey and Dee Dee were in favor of, but Johnny refused.[5] Richie added that he never felt entitled to a large share as he was not a founding member and mentioned feeling left out when the other members would go to cash their merchandise checks while on tour.[5] After leaving the Ramones, Richie remained friends with Dee Dee and worked on some of his solo recordings. He was briefly replaced by Clem Burke of Blondie and The Romantics, before the latter was replaced by Richie's predecessor Marky Ramone. After Joey's passing in 2001, the only Ramones to attend his funeral were Richie, Tommy and C. J. Richie would later express sadness over not being able to reconnect with Joey before his death given their close friendship while in the band. Find out more at https://still-toking-with.pinecast.co Send us your feedback online: https://pinecast.com/feedback/still-toking-with/a0c83e75-251d-46ec-a82b-99c55663477e

This is the last of the year-specific shows, leading up to the last show of Suburban Underground in late November. This show contains all 1983 songs by these artists: Thompson Twins, Sparks, UB40, Industry, Violent Femmes, The Romantics, Yaz, R.E.M., Spandau Ballet, The Cure, Elvis Costello & The Attractions, Espionage, A Flock Of Seagulls, Beat Rodeo, SSQ, Billy Bragg. AI-free since 2016! On the Air on Bedford 105.1 FM Radio      *** 5pm Friday ***      *** 10am Sunday ***      *** 8pm Monday *** Stream live at http://209.95.50.189:8178/stream Stream on-demand most recent episodes at https://wbnh1051.podbean.com/category/suburban-underground/ And available on demand on your favorite podcast app! Facebook: SuburbanUndergroundRadio   ***    Instagram: SuburbanUnderground   ***    #newwave #altrock #alternativerock #punkrock #indierock

WE'RE BACK!

The guys talk about the highest-charting song by The Romantics; Talking In Your Sleep. The only thing that eclipse the creepiness of this is how it doesn't make sense in the end.

“This is a sea that will take your life,” says Matthew Hollis in this week's episode of The World in Time. “This is the cruel sea. This is the hard sea. And it takes extraordinary skill and good luck to survive it. But we come quickly to realize in this poem that actually there is a different kind of allegorical turmoil within as well. It's one of the things that makes this poem so compelling, it seems to me, because it does have ideas about moral choices, and it does have ideas about belonging that seem as important today as they were then. One of the great things that strikes me with the great parts of the Anglo-Saxon opus is how modern it feels—or rather, to put it a different way, how timeless the cares and concerns and worries of human beings can be. Some of the fears about loneliness, some of the fears about pain, some of the worries about doubt, about making a good life or the life of right choosing, are issues that trouble us in exactly the same way, or challenge us in exactly the same way, as they did this sailor.” This week on the podcast, Donovan Hohn speaks with poet Matthew Hollis about his new translation of The Seafarer, about the world from which this mysterious tenth-century Anglo-Saxon poem emerged, about the history of the poem's improbable survival, and about its rediscovery by the Romantics and the Modernists. Into the conversation the episode weaves audio samples from different translations and different recordings, including one made by Lewis Lapham, another by Ezra Pound, and a third by Matthew Hollis himself.

The brilliant Roman love poet is the poster boy for teen angst. He feels everything intensely, from the stealing of his favourite napkin to the death of his lover Lesbia's pet sparrow. And then he dies young. Of course the Romantics loved him, as do his biographer Dr Daisy Dunn and Professor Llewelyn Morgan. Born to an aristocratic family in Verona, Catullus is fearless in abusing in sophisticated verse his father's friend Julius Caesar, his ex-lover Lesbia and the poets unlucky enough to be his contemporaries. Satirical, scurrilous and obscene, his popularity endures.'Rockstar mythologist' Natalie Haynes is the best-selling author of 'Divine Might', 'Stone Blind', and 'A Thousand Ships' as well as a reformed comedian who is a little bit obsessive about Ancient Greek and Rome.Dr Daisy Dunn is an award-winning classicist. Her books, Catullus' Bedspread: The Life of Rome's Most Erotic Poet, and The Poems of Catullus: A New Translation, were published in 2016 and earned her a place in the Guardian‘s list of leading female historians.Producer...Beth O'Dea

This week on The Metro, Rev. Jeff Ivins brings the following bands to you for your weekly time warp to the 1980s: When In Rome, Sly Fox, Paul Young, Midge Ure, Billy Ocean, Daryl Hall & John Oates, Elvis Costello, Bonnie Tyler, Billy Idol, Sigue Sigue Sputnik, The Damned, Echo And The Bunnymen, The Romantics, and finishes up with a request for Madonna.

The boys are back to breakdown the back half of Mayday Parades legendary record, A Lesson In Romantics!! Enjoy!

The boys are back to discuss one of the greatest Emo/pop punk albums of all time! They discuss the front half of the legendary Mayday Parade album, “A Lesson In Romantics” hope y'all enjoy!!

Everybody look - what's going down?"Yes, time for a journey of distraction with 2 hours of "Music Without Boundaries" on this week's Whole 'Nuther Thing. Joining us are Tracy Chapman, The Grateful Dead, Peter Frampton, B.B. King, The Wallflowers, Small Faces, The Move, Traffic, The Romantics, Hollies, Doors, Rolling Stones, Love, The Fortunes, Easybeats, Tom Petty & The Heartbreakers, Paul Butterfield Blues Band, The Shangri-Las, Ambrosia, Python Lee Jackson, Bob Dylan, Buffalo Springfield, Carole King, Elton John, Art Garfunkel and a tribute to Billy Joel.

Muse - Mercy a-ha - The Sun Always Shines On TV Sabrina Carpenter - Juno P!nk - Get The Party Started Dead Or Alive - You Spin Me Round The Dandy Warhols - Bohemian Like You Hozier - Too Sweet Elton John & Dua Lipa - Cold Heart (Pnau remix) U2 - With Or Without You (Teemid remix) Sombr - Undressed New Radicals - You Get What You Give Beach Bunny - Big P!nk Bubble Coldplay - Clocks Deacon Blue - Real Gone Kid The Romantics - Talking In Your Sleep Doechii - Anxiety Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

What happens when five brilliant, rebellious Romantics take refuge from a climate catastrophe in a lakeside villa — and decide to conjure monsters?In this episode of Ojai Talk of the Town, we sit down with acclaimed playwright, screenwriter and novelist Jule Selbo to discuss her gripping new play, Mary Shelley: The Year Without Summer, premiering in Ojai on August 8, running through August 17th at Matilija Auditorium, directed by Richard Camp as the Ojai Performing Arts Theater's summer production.Set in the summer of 1816, amid the eerie aftermath of a volcanic eruption that blotted out the sun, the play captures a charged gathering at Villa Diodati, where Mary Shelley, Percy Bysshe Shelley, Lord Byron, Dr. Polidori, and Mary's stepsister Claire Clairmont engage in a dark game: Who can write the best horror story?From this stormy retreat, two modern mythologies are born —Mary's Frankenstein, which redefined horror and science fiction, and Polidori's Vampyre, the prototype for the seductive bloodsucker that haunts our popular imagination to this day.Jule shares her insights into dramatizing these iconic figures, why the tensions of that fateful summer still resonate, and how creativity thrives in chaos. A must-listen for literature lovers, theater fans, and anyone who enjoys a good ghost story.We talk about how these gothic tales speak to the modern imagination, writing for money and much more. (We do not talk about old English desserts, Arthur Rimbaud or folk dancing.)For more information, check out OPAT's website at OjaiTheater.org or Jule Selbo's site at JuleSelbo.com.

Patreon: www.patreon.com/nosleepdsm Facebook: www.facebook.com/nosleepdsm Instagram: @nosleepdsm Toll Insta: @tollbocop AJ Insta: @asimmetrical Alex Insta: @fakealexcarter

“You can tell what a culture values by who it labels a genius—and also what it is prepared to tolerate. The Renaissance had its great artists. The Romantics lionized androgynous, tubercular poets. Today we are in thrall to tech innovators and brilliant jerks in Silicon Valley.” So writes Atlantic staff writer Helen Lewis in her new book, “The Genius Myth: A Curious History of a Dangerous Idea.” Lewis analyzes how the “genius” label is disproportionately applied to white men, often acting as an excuse for antisocial behavior. She joins us to share why she thinks we could all be more honest about the role history and collaboration play in any individual's accomplishments—and the good that comes from allowing fewer lone wolves to make decisions on our collective behalf. Guests: Helen Lewis, staff writer, The Atlantic - author, "The Genius Myth: A Curious History of a Dangerous Idea" Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on The Metro, Rev Jeff Ivins brings you the following bands for your time warp back to the 1980s: Assembly, Translator, The Hooters, Simply Red, Paul Carrack, Marshall Crenshaw, Killer Pussy, Fine Young Cannibals, Japan, Fiction Factory, The Fixx, Wang Chung, The Romantics, The Alarm, and finishing up with some New Order.

Tudor monarchs didn't just sit on thrones—they moved with them. In this special interview, historian Carol Ann Lloyd joins me to explore the world of Tudor progresses: the royal road trips that brought the court (and the mess) to towns across England. We chat about:Why Henry VII hit the road just months after becoming kingHow nobles went bankrupt trying to impress Elizabeth IThe epic disaster of Henry VIII's progress with Catherine HowardRobert Dudley's full-blown 1575 Kenilworth Proposal-palooza (mermaids! fireworks! matching portraits!)And yes—mud, plague, and poop logistics.It's part political strategy, part royal flex, and 100% fascinating. Don't miss it!

Well, Alice is back. But she's still facing some COVID aftershocks. And now Doug has COVID for the very first time. No, this is episode isn't coming to you straight from mid-2020.Alice shares tales from Salt Lake City (spoiler: it's a lot of sitting in her hotel room watching movies, like Crazy Rich Asians). And Doug overshares about his unique COVID symptoms.Still not 2020 though. We promise.Other discussion topics include:- Getting all one's medical knowledge from Dick Van Dyke's Diagnosis Murder- The wittiest Davids- The time Keanu Reeves had his talent stolen by the Monstars- Why frogs might be the most exhausted animals- Messy sheets: Poop or Caesar salad incident?

Even thought we aren't quite sure which Chris is in it, some of us may be expecting too much out of the acting, and we clearly don't know the right way to pronounce Pedro we're still gonna check out Materialists. Does it have the romantic flare to win us over? We'll see. Plus we've 2 or 5 or maybe it's 4 good new trailers this week.    Be a part of the show! Email us at Podcast@PennCinema.com 

Send us a textI'm speaking today with M. A. McLaughlin, author of The Lost Dresses of Italy listed in the Textile Arts category on Art In Fiction.View the video on YouTube: https://youtu.be/rDe_rXrLC2kOverview of the story of The Lost Dresses of Italy as a dual time novel taking place in 1947 and 1864 and inspired by a three-week trip to Italy taken by Victorian poet Christina RossettiPoetry of Christina Rossetti and why it has enduredChristina's sonnet sequence Monna Innominata as inspiration for the plotCombining a costume history and design with the story of Christina's time in ItalyReasons for setting the modern story in post-war VeronaResearching costume design and preservationThe role of pre-Raphaelite Dante Gabriel Rossetti in the novelSome of the challenges of fictionalizing real peopleWhat is it about the Romantics and Victorians that Marty is attracted to?Reading from The Lost Dresses of ItalyThings that Marty learned from writing her novel - the complicated nature of Italy's participation in World War II and its aftermath.Read more about M. A. McLaughlin on her website: https://martyambrose.com/Are you enjoying The Art In Fiction Podcast? Consider giving us a small donation so we can continue bringing you interviews with your favorite arts-inspired novelists. Click this link to donate: https://ko-fi.com/artinfiction.Also, check out Art In Fiction at https://www.artinfiction.com and explore 2300+ novels inspired by the arts in 11 categories: Architecture, Dance, Decorative Arts, Film, Literature, Music, Textile Arts, Theater, Visual Arts, & Other.Want to learn more about Carol Cram, the host of The Art In Fiction Podcast? She's the author of several award-winning novels, including The Towers of Tuscany and Love Among the Recipes. Find out more on her website.

Johnny "Bee" Badanjek got his professional start in music, at the ripe old age of 16 as the drummer for the Detroit rock and roll band Billy Lee and The Rivieras, later changing their name to Mitch Ryder & The Detroit Wheels, where he was described as an "unknown genius" for his drum break on their single "Devil with a Blue Dress On". he co-founded The Rockets, in which he was the drummer and vocalist, as well as songwriter.   He's toured Europe with Nils Lofgren as well as recording an album with him.  Besides the already mentioned, He's worked in some compacity (Playing or writing) with The Romantics,  Broken Toys,  Dr. John, Ronnie Montrose, Edgar Wither, Bob Segar,  Ted Nugent, the legendary  Alice Cooper and others. He has also stayed extremely active in the local rock scene with bands such as The Stammering Flames, The Howling Diablos and The Murder Hornets to name a few. This brings us to want we're here to talk about tonight. Johnny is a self-taught artist whose work has graced album covers, art collection and gallery walls for years. Ladies and gentlemen, allow me to introduce a true renaissance man, Mr. Johnny Bee Badanjek. 

Subscribe to 7-Second Riddles: https://goo.gl/BZSTVh Music: Epidemic Sound https://www.epidemicsound.com/ Music: Youtube Library https://www.youtube.com/audiolibrary/... Stock materials (photos, footages and other): https://www.depositphotos.com https://www.shutterstock.com -------------------------------------------------------------------------------------------- Join us on Social Media: Facebook: https://www.facebook.com/7Second.Ridd... Instagram: https://www.instagram.com/7second.rid... Website: https://brightside.me/wonder-quizzes/ -------------------------------------------------------------------------------------------- For more videos and articles visit: http://www.brightside.me/ Learn more about your ad choices. Visit megaphone.fm/adchoices

My Music with Graham Coath – Featuring Rachel Dibiaso from Dvrk RomanticsWelcome back to My Music! In this episode, things are about to get Dvrk — with a “V” — as Graham sits down with Rachel Dibiaso, frontwoman of glam-alt-indie-pop band Dvrk Romantics. From the cheesiest intros to the wildest on-stage antics (including trifle-filled boots and toilet-flushing sound effects), this conversation dives deep into the chaos, creativity, and charm of life as an emerging artist.Rachel shares hilarious stories of heckling parents, surprise costumes, and the challenges of playing to unpredictable crowds. She also reveals her ambitious plans for the Dvrk Romantics Cinematic Universe, an eight-part video series inspired by cult cinema and classic narrative music videos. Expect tales of family festivals gone wrong, 80s guilty pleasures, and why she believes artists should start with the encore.Graham and Rachel also dream up outrageous merch ideas, guerrilla marketing stunts involving real-life locker drops, and the power of truly connecting with your audience, whether it's 10 people or 10,000.If you love music, creativity, and a bit of chaos, this episode is not to be missed. Check out Dvrk Romantics on your favourite streaming platforms, and follow My Music for more great conversations with the artists behind the soundtracks of our lives.

Have you ever wondered why Jane Austen isn't counted among the Romantics of her era when she is now known now as the most romantic of writers? Julia and Katy take a deep dive into what Romantism was (poets such as Wordsworth and Byron) and discuss how Jane connected or criticised the literary movement of her era. In short, this episode is everything you need to know about Romanticism and were too afraid to ask!We end with our latest news about Jane Austen events and Julia's new book The Wordsworth Key which you can find here: https://www.amazon.co.uk/Wordsworth-Key-page-turning-historical-adventure-ebook/dp/B0DSZ94PDW/ or at your local bookseller.

Founding Red Rockers' bassist and NY Dolls manager Darren Hill returns with Oley Sassone, the SexDog guitarist and director of the Rockers' MTV debut, "China." While the hit video elevated the band to new career heights, touring with U2 and other top groups, it was also the pivotal achievement for Oley, propelling him to a career in L.A., where he rubbed elbows with James Cameron, Steven Soderbergh, and Marvel creator Stan Lee. Oley went on to direct over 100 music videos as well as numerous TV shows and films, including "Xena: Warrior Princess," "Hercules," and the controversial Roger Corman production of "The Fantastic Four." Tonight Darren and Oley return to their dive bar roots as they get down and dirty with the Troubled Men. Topics include the Milan Bar, deportations, a vow of silence, a wedding party, April Fool's Day, RFK Jr.'s toilet seat, a surprise tattoo, Pete Davidson, a methadone safe, a publishing mixup, Rummel H.S., super 8 movies, "A Hard Day's Night," "Pretty Baby," Sven Nykvist, the Swedish Film Institute, WYLD, the Glass House, the Dirty Dozen Brass Band, Mardi Gras Indians, directing commercials, an Annie Leibowitz cover photo, a spec production, an NYC publicist, an L.A. job offer, Bill Paxton, Richard Roundtree, an underground classic, Joseph Culp, the Contenders, RIP David Johansen, Gilbert Gottfried, and much more. Intro music: "Just Keeps Raining" by Styler/Coman Break and Outro Music: "Drerams Fade Away"  and "China" from "Good As Gold" by the Red Rockers Support the podcast: Paypal or Venmo Join the Patreon page here.  Shop for Troubled Men's T-shirts & tanks here. Subscribe, review, and rate (5 stars) on Apple Podcasts or any podcast source. Follow on social media, share with friends, and spread the Troubled Word. Troubled Men Podcast Facebook Troubled Men Podcast Instagram Iguanas Tour Dates René Coman Facebook Darren Hill Facebook Ten Pin Management Homepage Red Rockers Facebook Red Rockers Bandcamp POP Emporium Homepage Oley Sassone Facebook Doomed! The Untold Story of Roger Corman's "The Fantastic Four" Chapters (00:00:00) - Troubled Men: Back in the Lounge(00:00:53) - Louisiana lounges close down(00:03:16) - Don't Let Anyone Get Deported(00:07:05) - A Vow of Silent Silence(00:07:48) - Wedding Party With Glenn Hartman(00:09:03) - Manny Paco on His Birthday(00:09:25) - Crazy Texas Woman Chops Up Her Toilet Seat(00:12:35) - Have You Seen Elvis' Toilet Seats?(00:13:38) - milo on Trump's plan to cut the number of steps in Alcohol(00:15:13) - Can Pete Davidson Get A Tattoo?(00:18:43) - Pete from Social Distortion on Getting Tats(00:22:06) - Safe Room for Methadone Users(00:24:00) - Red Rockers Family Reunion(00:26:47) - Red Rockers(00:28:10) - Darren Hill on China(00:30:09) - Louisiana High School(00:33:14) - Martin Scorsese on Shooting Super 8 Films(00:35:54) - Adam Levine on Working With Cranston(00:40:06) - Oli Haden on Acting in a Punk Film(00:43:43) - Battle of the Drummers(00:46:26) - Troublemen Podcast(00:48:58) - Troubleman: Stickers for Illegal Aliens(00:49:38) - Olie Sasson on directing the Red Rockers(00:50:49) - "China"(00:55:38) - The Romantics(00:59:04) - The Romantics(01:01:22) - Roger Corman on The Kinks' Second Video(01:03:53) - Andrew Garfield on Writing His First Scriptment(01:06:13) - Roger Corman on Working With Bill Paxton(01:10:35) - Roger Corman on His 1994 Fantastic Four Movie(01:14:52) - Stan Lee on The Femazons ((01:17:34) - Stan Lee At The Red Rockers Reunion(01:20:23) - David Johansson At The Red Rockers(01:23:14) - Buster Poindexter in the Dark(01:24:59) - Troubled Men: Nine People(01:25:24) - Walking Through China

 @Brasseriecantillonofficiel @alesmithbrewing @newglarusbrewing @jackalopebrew @barriquebrewing #ValentinesDay #beer #podcast #radioshow Co hosts : Good ol Boy Dave, Good ol' Boy Sparky,  Good ol Boy Mike, Good ol Boy Kendall, and Good ol Gal Julieanna SUDS  Episode – Valentine's Day Beer Love Fest On this special episode of Sips, Suds, and Smokes, we're trading roses and chocolates for something a little more romantic—beer! Join our hosts as they each bring a beer that they would choose for their sweetheart in a delightful bottle share. Expect laughter, lively banter, and a few surprises as they introduce their sweetheart beers and share the stories behind their choices. From funky lambics to rich old ales, we'll explore the flavors that speak the language of love. Plus, find out which beers might just earn a thumbs up in the romance department! Tune in for this heartwarming celebration of beer and love, recorded almost live from the Dude in the Basement Studios! We taste and rate the following beer from 1-5:  KENDALL's PICK7:41      Classic Gueuze (2016) – 5% ABV Brasserie Cantillon Anderlecht, Bruxelles Belgium   SUDS-5 MIKE'S PICK14:43    Private Stock Ale (2016)- 11% ABV AleSmith Brewing Company San Diego, CA SUDS-5 SPARKY'S PICK23:06    Strawberry Rhubarb (bottle vintage 2019) (can vintage 2021) 4% ABV New Glarus Brewing Company New Glarus, WI  SUDS-5 – can is better than bottle DAVE'S PICK37:52    Lovebird – wheat with strawberry and raspberry 4.4% ABV.  Jackalope Brewing Company Nashville, TN  SUDS-2 JULIEANNA'S PICK44:19    Talking Machine – English IPA with First Gold and Endeavor hops.  6% ABV  Barrique Brewing and Blending, Nashville, TN  SUDS-5 BONUS BEER49:03    Serendipity- Wisconsin Ale brewed with Apples, Cranberries, and Cherries- 4% ABV  New Glarus Brewing Company New Glarus, WI  SUDS-5 info@sipssudsandsmokes.com X- @sipssudssmokes IG/FB/Bluesky - @sipssudsandsmokes Sips, Suds, & Smokes® is produced by One Tan Hand Productions using the power of beer, whiskey, and golf.  Available on Apple Podcasts, YouTube Music, Spotify, Pandora, iHeart, and nearly anywhere you can find a podcast.Check out Good ol Boy Dave on 60 Second Reviewshttps://www.instagram.com/goodoleboydave/Kendall is working on his new idea for a bouquet of beers “Love in the Can” as the perfect gift for a lover. His blog is much better than this show: www.beermakesthree.com Enjoying that cool new Outro Music, it's from Woods & Whitehead – Back Roads Download your copy here:https://amzn.to/2XblorcThe easiest way to find this award winning podcast on your phone is ask Alexa, Siri or Google, “Play Podcast , Sips, Suds, & Smokes” Credits:TITLE: Maxwell Swing/ FlapperjackPERFORMED BY: Texas GypsiesCOMPOSED BY: Steven R Curry (BMI)PUBLISHED BY: Alliance AudioSparx (BMI)TITLE: Back RoadsPERFORMED BY: Woods & WhiteheadCOMPOSED BY: Terry WhiteheadPUBLISHED BY: Terry WhiteheadCOURTESY OF: Terry WhiteheadPost production services : Pro Podcast SolutionsAdvertising sales: Contact us directlyContent hosting services:  Earshot, Radio4All, PodBeanProducer: Good ol Gal Julieanna & Good ol Boy DaveExecutive Producer: Good ol Boy Mike

Today, people are increasingly defining themselves by gender, ethnicity, and other social groupings. How should the Church respond? Investigating the philosophies of the Romantics, Nietzsche, Marx, Wilde, Freud, and the New Left, Dr. Carl Trueman will show how influences ranging from traditional institutions to modern technology have nudged culture in a sexual direction---and reveal their impact on religion, free speech, and personal identity. Don’t miss this fascinating conversation.Become a Parshall Partner: http://moodyradio.org/donateto/inthemarket/partnersSee omnystudio.com/listener for privacy information.

TikTok'er Reveal Why BETA MALES Get Chosen | Why Men Are The Hopeless Romantics CoachGregAdams YouTube FreeAgentLifestyle YouTube

@Brasseriecantillonofficiel @alesmithbrewing @newglarusbrewing @jackalopebrew @barriquebrewing #ValentinesDay #beer #podcast #radioshow

In our final Steve Picks episode, we're talking about a pop-punk emo staple, Mayday Parade and their debut album A Lesson in Romantics! BECOME A PATRON and support the show while access to exclusive material: http://www.patreon.com/hsnepod Be sure to follow us on all social media @HSNEpod and visit http://www.hsnepod.com for official merchandise and more! Join in the conversation on our official Discord https://discord.gg/b3AdrAYURm  High School Never Ends is a part of the Dragon Wagon Radio independent podcast network.  www.dragonwagonradio.com

Are women addicted to b.s.? How would you feel if you found out that you weren't your woman's type? Is purpose different for men and women? On this episode, women give out free game and decide to let men know a thing or two about these modern women. We're officially back in the swing of thing's Alumni...Let's Pod!

This week on The Metro, Rev. Jeff Ivins brings you the following artists for your weekly time trip to the 1980s: Go West, The B-52’s, Tom Tom Club, U2, The Romantics, Billy Idol, Red Rockers, Level 42, Adam Ant, Matthew Wilder, Wham!, Duran Duran, David Bowie with The Pat Metheny Group.