Podcast appearances and mentions of sean ryder

In this episode of The Tactical Empire, host Jeff Smith and guest Shawn Rider discuss strategies for achieving a life of abundance and high achievement. They reflect on their recent in-person meetup, highlighting how informal planning and deep personal connections among participants resulted in significant takeaways and actionable insights. The meetup featured exercises designed to compress time and address pressing issues, fostering a community of servant leaders dedicated to helping each other overcome obstacles. Jeff and Sean emphasize the importance of eliminating friction and reducing drag to achieve faster progress in personal and professional goals. They encourage listeners to join their free Facebook community, Tactical Empire Community, for further engagement and support.00:00 Introduction and Welcome01:53 Meetup Reflections and Takeaways04:05 Deep Connections and Networking07:20 Exercises and Personal Growth19:26 Eliminating Friction for Success22:20 Conclusion and Call to Action

In this episode of the Tactical Empire podcast, host Sean Ryder interviews Peter Brasovan, a successful entrepreneur who transitioned from running a million-dollar gym in Indianapolis to moving to a small town in Alabama. Peter shares his journey of building a fitness business, navigating challenges during the pandemic, and ultimately deciding to sell his shares to prioritize family. He emphasizes the importance of mentorship, patience in negotiations, and maintaining an abundance mindset in business. The conversation highlights the balance between personal and professional life, and Peter's aspirations for future ventures.Chapters 00:00 From Big City to Small Town: Peter's Journey02:59 Building a Million-Dollar Gym: The Early Years05:55 Navigating Challenges and Opportunities in Business08:52 The Impact of the Pandemic on Business12:03 Family First: The Decision to Move to Alabama14:47 Selling the Gym: A Business Decision18:09 Lessons Learned: Patience and Negotiation in Business20:53 The Importance of Mentorship and Mindset24:11 Looking Ahead: Future Plans and Aspirations  

In this episode of the Tactical Empire podcast, hosts Jeff Smith and Sean Ryder discuss the value and structure of the Inner Circle, a men's mastermind group designed to foster personal and professional growth. They emphasize the importance of community, accountability, and the pursuit of potential, while addressing common misconceptions about the group's offerings. The conversation highlights the transformative power of surrounding oneself with like-minded individuals and the benefits of shared experiences in achieving financial freedom and personal development.Chapters00:00 Introduction to the Tactical Empire Podcast01:02 The Value of the Inner Circle Mastermind06:16 Building a Community of High Achievers11:18 Pursuing Potential and Overcoming Challenges16:21 The Importance of Accountability and Support

In this episode of The Tactical Empire, Shawn Rider, stepping in for Jeff Smith, introduces the solo episode. Shawn answers commonly asked questions from their audience, focusing on strategies to achieve financial freedom even when overwhelmed with debt, common mistakes men make in balancing careers and family life, and maintaining motivation during fitness roadblocks. He emphasizes the importance of shifting focus from debt to income generation, the need for integrating family life into one's daily routine, and creating sustainable habits to avoid fitness roadblocks. Shawn also invites listeners to follow their social media and consider joining their mastermind group for further guidance.Chapters00:00 Introduction to The Tactical Empire00:31 Meet Shawn Rider01:27 Today's Q&A Format02:07 Question 1: Overcoming Debt12:54 Question 2: Balancing Career and Family16:55 Question 3: Staying Motivated in Fitness20:46 Episode Recap and ClosingYou can connect with Shawn Rider on Facebook and Instagram. If what you heard resonated with you, you can find Jeff on Instagram, Facebook. If you're interested you can visit The Tactical Empire's website https://www.thetacticalempire.com/home-4169. And don't forget to visit us on Apple Podcasts to leave a review and let us know what you think! Your feedback keeps us going. Thanks for helping us spread the word!

It's that time of the week again… Time for a brand-spanking new episode of The Chris Moyles Show On Radio X Podcast! How great is that!? The start of this week was on ‘fire' as we had Serge Pizzorno on the show to announce the upcoming Radio X Presents Kasabian with Barclaycard at the O2 Academy Sheffield! Not only that, we had 80s legend Martin Kemp chit chatting about his golden era of music and gave us an insight into a crazy night out he had with Michael Jackson. Jungle fever is still running strong in the studio as ‘Our Chris' had quite the honker, only receiving one 1 star during his trial this week. Sean Ryder and Vernon Kay (our I'm a Celeb guru) also popped by to give their two cents on jungle life. If that wasn't enough, we also had Todd, a Champion Sausage thrower, teaching us all how to properly toss a sausage (the pork variety of course)! Also this week: Commuting Pigeons Dom's dodgy computer virus An advent calendar debate

Alan McGee – Founder, Creation Records & Discovering the World's Biggest Band, Oasis Having managed bands such as Primal Scream, The Jesus and Mary Chain, The Libertines, Sean Ryder and many more, Alan McGee is hugely influential in the music industry. More than that however, he is credited for having discovered and then signed Oasis. Alan is responsible for bringing the most important rock band of the last generation to millions of fans around the world and at one time was Number 1 in 32 countries at the same time! 4 Episodes in and we are genuinely excited to bring you this podcast. Alan McGee was the founder of Creation Records and personally discovered and signed Oasis. For two big Oasis fans we were in our element, as Alan discussed his life, living to excess and the small matter of the whole business operation, which, often gets overlooked! Alan's colourful life is the subject of Irvine Welsh's new film Creation Stories, written by Irvine Welsh and directed by Nick Moran. Alan explains why Ewan McGregor couldn't have played the role of Alan and instead his former Trainspotting cast mate, Ewen Bremner was offered the part! Creation Stories | Official Trailer | Sky Cinema - Bing video Alan discusses his life, his tough upbringing and how that shaped the adult he became, fuelling his ambition, drive and determination to head south to London and “stick it to everyone for a very long time”. Ben and Simon discuss growing up and following Oasis, Simon, the gigs as a punter and Ben as part of the team that once booked Noel Gallagher! We analyse what it might take for a working-class boy with £12 in his pocket living in a squat hundreds of miles from home to eventually sell the company he created for £20m. This is episode 4, and we thank you all for your comments and reviews. We have listened and made 2 changes from your feedback, the opening of the show is more informal and we have extended our discussions post interview, so please, keep the suggestions coming. So, without further ado, expect a story of a colourful life with even more colourful language as we bring you the legend, Alan McGee. Enjoy the show! Mindset Musings Message Thank you so much for supporting our Podcast. In such a crowded space, we really are trying to bring you something different. Make sure you have subscribed to Mindset Musings on iTunes, Spotify, or any platform where you listen to your Podcasts. If you have found value in our show, or we have made you think about something differently, then please tell a friend, and more importantly, leave a review or 5-star rating. Socials Our preferred platform is Instagram, please feel free to Follow and DM us, we will respond to everyone! Instagram: https://www.instagram.com/mindset.musings/ Our personal Instagram handles are below, we often invite listeners to follow and DM us personally too, please do so. Ben Instagram: https://www.instagram.com/sirbenmills/ Simon Instagram: https://www.instagram.com/si.gardiner.mm/ You can find us on Facebook at: https://www.facebook.com/mindset.musings As well as all of the usual mainstream Podcast platforms, you can listen to our Podcast on YouTube at: https://www.youtube.com/channel/UCnX_20kHuJdUvwz6sUAmv5A

In this week's Worcester Culture Watch podcast, Victor D. Infante takes us through the looking glass with songs from the Great Worcester Magazine Song Swap, where more than 50 local and locally-connected musicians covered each other's work. Here, Infante presents reimaginings of work by the Marshall Pass, Walter Sickert & the Army of Broken Toys, Gracie Day, the River Neva, Sean Ryder and Doug Geer.    

Jo is back again this week for the final in Tom & Jo's political trilogy. This time Jo is in the driving seat on a quest to liven things up a bit after the doom and gloom of the past couple of weeks. She presents her list of the top ten political beards from history. In a sign of things to come, Tom manages to tear himself away from discussing politics to touch upon the politics surrounding the recent shock retirement of Nico Rosberg from Formula One after having just won the World Title. Those of you who aren't F1 fans, fret not, the discussion doesn't last all that long! If you feel your favourite historical character was snubbed from Jo's list, feel free to contact us at any of the contact details below and we'll have an appraisal! Enjoy! P.S. Here is the visual list of facial hair for you to enjoy aslo: 10. Mahatma Gandhi mahatma-gandhi 9. Genghis Khangenghis-khan8. Charles de Gaulle charles-de-gaulle ...or is he actually Sean Ryder of the Happy Mondays?! charles-or-seansean-or-charles 7. Joseph Stalin stalin Though, in his early years he was hot! young-stalinstalin-on-cosmo 6. Prime Minister Edward George Geoffrey Smith-Stanley, 14th Earl of Derby edward-stanley 5. Nikola Pašić nikola-pasic 4. Abraham Lincoln abraham_lincoln 3. Franz Joseph I of Austriafranz_joseph_of_austria 2. Georges Clémenceau georges-clemenceau 1. Ho Chi Minhho-chi-minh Get in touch with us: Twitter - @abhpod Facebook - facebook.com/abhpod Youtube - youtube.com/abhpodcast

A special episode this week to celebrate the life of Anthony H Wilson on what would have been his 66th birthday recently. Clint plays out an interview he did with the great man from 2005. Also, stories of Clint teaching Peter Hook how to DJ, a trip with Sean Ryder to the Theatre and the story behind the Inspirals track Directing Traffic. This week, new unsigned music from band Lyerr as well.This week’s Spotify playlist lives here - http://spoti.fi/1LG0xg0Joy Division - She’s Lost ControlHappy Mondays - Wrote For LuckInspiral Carpets - Directing TrafficJoy Division - AtmosphereSt Anthony - An Ode to Anthony H WilsonLyerr - Miss Bright Ideas

1. American Dream - L.A. Style 2. X, Y & Zee (Sensory Amplification Mix) - Pop Will Eat Itself 3. W.F.L. (Think About the Future Mix) - Happy Mondays 4. Never Let Me Down (Aggro Mix) - Depeche Mode 5. It's Over Now - Cause & Effect 6. Again ('90 Remix) - Do Piano 7. Prisoner to Desire - Psyche 8. Don't Argue (Dance) - Cabaret Voltaire 9. Hyperreal (Remix) - The Shamen 10. Life on Your Own (Extended) - The Human League 11. Hip Hop Be Bop (12" Mix) - Man Parrish 12. State of the Nation - New Order 13. Around My Heart (Razormaid! Mix) - Sandra 14. It's Alright Now (Back to Basics) - Beloved 15. State of Shock (L'Pool Edit) - Revenge   Notes and other random things: Greetings from Charlotte, NC. I'm DJ Tintin and this is my retro podcast. Glad you've found it. Feel free to stay as long as you like. Sorry for the re-introduction, but I've been away for so many weeks between my last podcast and this one that I almost feel like stranger to many of you. If you're tuning in for the first time, I am. And if you are, in fact, a newbie, I recommend going back and re-reading the first sentence, making sure to apply a tone of sincerity to the voice in your head instead of a sarcastic one. Before you do, however, I need to add a few more adjectives. That first sentence should read: Greetings from bread-less, milk-less, power generator-less Charlotte, NC. What the hell am I talking about? Well, for those listeners in the U.S., (and possibly abroad) you are probably well aware of the recent hurricane that hit the eastern seaboard over the past week. (If you're not, may I suggest the internet?) As such, there is neither bread, nor milk, nor power generator to be found anywhere as these are the desirable items for which panic-stricken residents spend hours in check-out lines hoping to buy the week leading up to the event.  Now, as a mid-west transplant living in the Carolinas for 14 years, I get the fear associated with hurricanes. I do. They are analagous to the fear we mid-westerners have in regards to tornadoes. The difference is you have about 10-15 minutes maximum to prepare for a tornado as opposed to a week or so for a hurricane. What that means is after a tornado passes, I can at least emerge from the twisted pile of tinder that used to be my house, go down to the local market (if it’s still standing) and celebrate my continuing to live with a bowl of cereal. In the Carolinas, that’s an impossibility because the shelves have been completely wiped out.   If I were a guy who actually bothered to prepare for catastrophe instead of worrying about posting his next podcast, I'd actually scoop up all the lunch meat, cereal and lightbulbs from the nearby food emporium at the first word of impending doom. Surely, someone with bread, milk and a power generator would be willing to barter for shelter should I be left homeless. Methinks the guy with the cache of mustard or mayo would probably be sitting pretty as well. On to the music … L.A. Style make their first appearance on CRC. They were a rave group that toured extensively between 1991 and 1995, when they eventually split up. The group was founded by radio host Wessel van Diepen, also the most successful dance-pop producer in Dutch history having assembled the groups Nakatomi and the Vengaboys as well. The band was fronted by Frans Zid Merkx, a multi-tool artist going by the moniker FX. Best known for their huge club hit James Brown is Dead, L.A. Style were the first group to land a rave track on Billboard’s Hot 100 Airplay chart. The song here, American Dream, is the last track on L.A. Style’s self-titled album from 1993. The sample contained within comes from the first inaugural speech of President Richard M. Nixon, delivered Monday, January 20, 1969. See the excerpt below: “The American dream does not come to those who fall asleep. But we are approaching the limits of what government alone can do. Our greatest need now is to reach beyond government, and to enlist the legions of the concerned and the committed. What has to be done, has to be done by government and people together or it will not be done at all. The lesson of past agony is that without the people we can do nothing; with the people we can do everything.” Pop Will Eat Itself have appeared a couple times in earlier CRC episodes (#13 and #20) and both times the tracks used were taken from their Cure For Sanity album circa 1990. If you believe the past is a good indicator of the future, you won’t at all be surprised to learn that X, Y & Zee, the track here, also appeared on that amazing album. I say amazing because I have vivid memories associated with it, trucking home from Texas to Kansas over fall break my sophomore year in college. I took my roommate to see the Kansas/Kansas State football game and then we stayed in Manhattan (also called "The Little Apple", which is home to the KSU campus) with friends drinking and carousing well into the night after a KSU victory (though truth be told I’m a KU fan). This album received heavy rotation on that 1200-mile round trip and deservedly so, though you won’t find much agreement among those haters of what was called the “grebo” movement. Mostly a product of the music media who have an unfailing compulsion to label clusters of similar-sounding music, grebo started in the late 80s and continued on into the early 90s before “Brit Pop” took over. PWEI were forerunners of the subculture, which encompassed bands whose sound blended garage rock, hip hop, pop and electronica. Dreads, partially shaved heads and high ponytails, torn jeans, boots, lumberjack shirts, army surplus clothing, and eclectic hats defined the fashion (if you can call it that), a look dubbed by the Trouser Press as “slimy-looking lowlifes playing retrograde raunch”. Ned’s Atomic Dustbin, Jesus Jones, The Wonder Stuff and others were all part of that short-lived movement. The remix appearing here, though taken from the single, also appears as a hidden track at the end of the Cure for Sanity CD. A little PWEI trivia: the band was headed by Clint Mansell, a fine musician who has gone on to score many Hollywood films including the Darren Aronofsky films Pi and Requiem for a Dream, The Wrestler and Black Swan. Music writing credits on PWEI albums are all listed as Vestan Pance, a pseudonym for the entire band. At one time, after the addition of drummer Robert “Fuzz” Townshend to their line-up, they proposed the name Vestan Pance and Socks, which was summarily rejected by their label RCA. Speaking of heading up an artistic movement, The Happy Mondays would most certainly qualify. Lead by one-time smack user Sean Ryder, the Mondays charged headlong into what would become the Ecstasy-fueled club scene in Manchester, England. Dubbed “Madchester” by those who were there, the Mondays became poster boys for the “haves” of the sonic landscape, diving into excess so severely that they nearly drove their label, Factory Records, into financial oblivion. The whole thing is pretty well-chronicled in the excellent film 24-Hour Party People, directed by Michael Winterbottom, which is sort of a dramatized account of Factory Records head man, Tony Wilson, and the rise of Joy Division, with some attention given to other Factory bands including: New Order, A Certain Ratio, The Durutti Column and, of course, the Mondays. The track here, W.F.L. (which stands for Wrote For Luck) was remixed by Paul Oakenfold and appears on the mini-album Hallelujah. Hallelujah was originally a four-song EP called the Madchester Rave On EP, but was renamed after three bonus dance mixes were added before its release in the U.S. For Erasure buffs, a Vince Clarke remix of W.F.L. also appears on the CD version of the Mondays’ second full-length album called Bummed. When close-knit bands lose a member to tragic circumstances there exists a time of deep reflection followed by a re-evaluation period where remaining members make the critical decision to fold up the tent or to carry on. After losing singer Ian Curtis to suicide on the eve of their first U.S. tour, Bernard Sumner, Peter Hook and Stephen Morris of Joy Division decided to continue on, though they decided a name change was in order to escape the long shadow left by Curtis. Out of the ashes came New Order. For Rob Rowe of Cause & Effect, the untimely death of friend and co-founder Sean Rowley too put his hopes for the future in serious doubt. The tragic loss in many ways eclipsed the success of their self-titled debut album on Exile Records (which was later re-issued as Another Minute by BMG). That album spawned two top ten dance singles, including You Think You Know Her, which stands as the group’s pop chart high point. Unlike Joy Division, Rob made the decision to move forward under the C&E banner. He enlisted Keith Milo, a California-based electronic musician and, along with drummer Richard Shepherd, the band released their second full-length album, Trip, in 1994.             “Performing the tribute to Sean at the KROQ Acoustic Christmas Show in LA was a turning point,” explains Rowe in the band’s Offical bio, “The overwhelming support from the fans and audience made me realize that giving up just wasn’t an option.” “Coming in to Cause and Effect after Sean’s death was a scary thing to do,” adds Milo. “There was so much uncertainty. Sean was a genius with melody, he was irreplaceable. I think there was solace in the fact that we became a very different band at that point and we all felt that we were doing the right thing by continuing on.” Produced by the great Martyn Phillips, Trip contains the brilliant track appearing here, It’s Over Now. It ultimately climbed to #7 on Billboard’s modern rock charts, and was the band’s fourth release to appear on Billboard Hot 100 singles chart. The last artist I want to touch upon this go-round is Man Parrish. An Andy Warhol, Club 54 “freakazoid”, Man Parrish is responsible for a couple of the most enduring, innovative and influential tracks in the history of electronic music. I say a couple because as quickly as he arrived he vanished once again into relative obscurity. Arriving right at the juncture of the evolutionary electronic music tree where legendary producers like Arthur Baker and John Robie split from the Kraftwerk-infused trunk to create a portion of the hip-hop foundation with Soul Sonic Force’s track Planet Rock, Manny Parrish would split the other way, building upon the notes of Kraftwerk’s Autobahn that were no doubt trapped somewhere in his brain. Using a Roland TR-808 drum machine and two keyboards, he crafted Hip Hop Be Bop in his bedroom. In doing so, he became one of the early producers-turned-artists on the electronic music scene. In an interview, Man said of the track, “It was played in a really wide spectrum: in black hip-hop clubs, in white underground places like Danceteria, in after-hours clubs. The radio station pumped it like crazy because I did vocoder spots for them and in exchange for payment, they put my stuff into heavy rotation. When you first hear it, you think, ‘Huh, weird instrumental track.’ But the more you listen to it, it's like, 'This is really interesting.' It even happened to me: I used to hate it at first." Hip Hop Be Bop went on to sell over two million copies, but Parrish received almost nothing for his groundbreaking efforts. Much like innovation, ripping off artists was commonplace back then. As Parrish explains, “When I first started out I was so broke I made this song called Heatstroke as a soundtrack for a porno movie. Some DJ had sampled it off the movie, made an acetate, and somebody told me, ‘Hey they're playing your music at this club.’ I ran down to the club and all of a sudden my song came on. I asked the DJ, ‘Wait a minute, where'd you get that record? It's my music.’ He told me, ‘That's your music? Come down to the record company, they'll sign you on the spot.’" He goes on to say, “I got nothing--it was the classic first record rip-off deal. I would go to the label and literally beg for rent. The guy who owned it bought a plane, a house in Vermont, and a Porsche with a hand-carved dashboard. It was how everyone did it back then.” After suffering so many disappointments and massive burn-out, Parrish ended up a male prostitute for a spell to pay the bills. As many musicians as were influenced by him, Man Parrish inadvertently may have influenced thousands of lawyers as well as his story reads like a textbook case of copyright infringement, an issue which would come to the forefront of music as technology and sampling began to take hold during the 80s. That’s it for this episode. Thanks to everyone for tuning in and be sure to support the artists as they make this all possible. Barring any more hurricanes, I’ll be back soon with another episode. Cheers!       

Frank McGuinness speaks of his experience of adapting Brian Friel’s Dancing At Lughnasa for the screen, with Meryl Streep in the leading role. Friel has appeared to shy away from film for most of his distinguished career but was deeply influenced by the wider revolutions in acting, writing and directing across all media during the 1960s when modern sensibility took shape. Friel’s writing may have been influenced by Tennessee Williams and Arthur Miller but it also owes a debt to powerful films such as Kurosawa’s Rashomon. By reducing the role of the narrator and repositioning the climactic dance sequence, McGuinness attempted to translate what he regarded as a ‘male’ play into ‘a woman’s movie’.

Frank McGuinness speaks of his experience of adapting Brian Friel’s Dancing At Lughnasa for the screen, with Meryl Streep in the leading role. Friel has appeared to shy away from film for most of his distinguished career but was deeply influenced by the wider revolutions in acting, writing and directing across all media during the 1960s when modern sensibility took shape. Friel’s writing may have been influenced by Tennessee Williams and Arthur Miller but it also owes a debt to powerful films such as Kurosawa’s Rashomon. By reducing the role of the narrator and repositioning the climactic dance sequence, McGuinness attempted to translate what he regarded as a ‘male’ play into ‘a woman’s movie’.

Over the last three decades Bill Whelan has been at the heart of many exciting moments of extraordinary innovation in Irish music across the genres from traditional to rock. Here he documents and considers his varied career to date, from jobbing session musician in the early 1970s to Grammy Award winner in 1997. Donal Lunny and Andy Irvine are recalled as seminal influences on his music during the Planxty years while the founding of Windmill Lane Studios in the 1980s is seen as a landmark moment in the evolution of Irish music across the spectrum. Whelan reflects on Riverdance from inception to global reception. At a time of rapid cultural change he welcomes the creative possibilities brought on by recent immigration to Ireland and argues for the importance of a robust Irish musical tradition.

Over the last three decades Bill Whelan has been at the heart of many exciting moments of extraordinary innovation in Irish music across the genres from traditional to rock. Here he documents and considers his varied career to date, from jobbing session musician in the early 1970s to Grammy Award winner in 1997. Donal Lunny and Andy Irvine are recalled as seminal influences on his music during the Planxty years while the founding of Windmill Lane Studios in the 1980s is seen as a landmark moment in the evolution of Irish music across the spectrum. Whelan reflects on Riverdance from inception to global reception. At a time of rapid cultural change he welcomes the creative possibilities brought on by recent immigration to Ireland and argues for the importance of a robust Irish musical tradition.

This lecture examines how contemporary Irish playwrights depict and how they engage the cinematic and narrative patterns we’ve come to associate with American movies. Donal O’Kelly’s Catalpa (1995), Martin McDonagh’s The Cripple of Inishmaan (1996), Marie Jones’s Stones in His Pockets (1999), and Geraldine Hughes’s Belfast Blues (2003) grapple with the effects of Hollywood on their characters and on Irish society. Despite frequently depicting individuals thwarted in their pursuit of big screen success, these plays maintain a surprising optimism about Hollywood. This suggests the American film industry provides a productive tool for exploring Irish identity and history in a moment of rapidly changing, globalized popular culture.

This lecture examines how contemporary Irish playwrights depict and how they engage the cinematic and narrative patterns we’ve come to associate with American movies. Donal O’Kelly’s Catalpa (1995), Martin McDonagh’s The Cripple of Inishmaan (1996), Marie Jones’s Stones in His Pockets (1999), and Geraldine Hughes’s Belfast Blues (2003) grapple with the effects of Hollywood on their characters and on Irish society. Despite frequently depicting individuals thwarted in their pursuit of big screen success, these plays maintain a surprising optimism about Hollywood. This suggests the American film industry provides a productive tool for exploring Irish identity and history in a moment of rapidly changing, globalized popular culture.

This lecture explores forms of popular culture that developed in Ireland during the Second World War. Comparisons are drawn with Britain, where radio and cinema assume tremendous importance in the war years. In Ireland the major developments are in amateur drama, reading groups, beginnings of film and journalism. Particular attention is focused on the very specific relationship between high and popular culture which develops in both Britain and Ireland at this time due to the fact that many 'high cultural' writers are taking on mediated jobs in radio broadcasting. Consideration is also given to the role of The Bell and other cultural movements in strengthening the consensus on behalf of neutrality in Ireland.

This lecture explores forms of popular culture that developed in Ireland during the Second World War. Comparisons are drawn with Britain, where radio and cinema assume tremendous importance in the war years. In Ireland the major developments are in amateur drama, reading groups, beginnings of film and journalism. Particular attention is focused on the very specific relationship between high and popular culture which develops in both Britain and Ireland at this time due to the fact that many 'high cultural' writers are taking on mediated jobs in radio broadcasting. Consideration is also given to the role of The Bell and other cultural movements in strengthening the consensus on behalf of neutrality in Ireland.

James Joyce’s works abound in references to popular culture. They depict such works as part of the very fabric of modern consciousness. Frequently, Joyce deploys allusions to popular entertainment as a means of underlining the debasement and vulgarity of contemporary existence. But also crucially, in the manner of Walter Benjamin, he depicts popular culture as a site of resistance and the very basis by which his characters may contest the enervating effects of capitalism and of political imperialisms.

James Joyce’s works abound in references to popular culture. They depict such works as part of the very fabric of modern consciousness. Frequently, Joyce deploys allusions to popular entertainment as a means of underlining the debasement and vulgarity of contemporary existence. But also crucially, in the manner of Walter Benjamin, he depicts popular culture as a site of resistance and the very basis by which his characters may contest the enervating effects of capitalism and of political imperialisms.

This lecture is focused primarily on the pre-revolutionary period in Ireland and looks at the cultural and visual significance of the image of the boy within Irish nationalist discourse.

This lecture examines W.B. Yeats’s not inconsiderable body of writing for the newspapers which ranges from literary journalism to letters to the editor. Attention will focus on the tensions between his clear commitment to journalistic practice and his own avowed hostility to ‘the Ireland of the newspapers’.

This lecture examines W.B. Yeats’s not inconsiderable body of writing for the newspapers which ranges from literary journalism to letters to the editor. Attention will focus on the tensions between his clear commitment to journalistic practice and his own avowed hostility to ‘the Ireland of the newspapers’.

This lecture is focused primarily on the pre-revolutionary period in Ireland and looks at the cultural and visual significance of the image of the boy within Irish nationalist discourse.