Podcasts about she walks

Welcome back, dear listener! Today, I'm joined by my friend Kate Bartley, founder of She Walks in Wellness and a powerhouse in the world of holistic health and transformation. Kate is a Master Holistic Health & Life Transformation Coach, a Physical Therapist, a cancer survivor, a surgical menopause warrior, and a self-described recovering over-giver. She works with exhausted caregivers and service-driven professionals who feel like they've tried everything but still don't feel better—helping them reconnect with their own personalized path to wellness so they can finally feel like themselves again.Kate's journey of healing, both personally and professionally, led her to develop The FREEDOM Formula, a unique approach where emotional health opens the door for physical transformation. And now, she's bringing that wisdom to the world through her new book, The Good Girl Rx, which explores how deeply ingrained "Good Girl Syndrome" keeps so many of us stuck in exhaustion, over-giving, and self-doubt.In our conversation, we dive into what "Good Girl Syndrome" is, how it erodes self-trust, and the tools Kate has discovered to help people break free from it. She also shares the personal challenges she faced while writing and releasing this book—because even when you teach this stuff, the old patterns can still show up.If you've ever felt trapped by perfectionism, people-pleasing, or the pressure to always be "good," this episode is for you. Let's dive in!You can find Kate at:Order the book! https://a.co/d/9cU5nGCBook sneak peek: https://www.subscribepage.com/goodgirlrxwaitlistwww.katebartley.comemail: info@shewalksinwellness.comIG @katebartleycoachingFB @ katebartleyAnd you can find me at:Instagram: ⁠⁠⁠⁠⁠⁠@anna_holtzman⁠⁠⁠⁠⁠⁠Email: anna@annaholtzman.comWebsite: ⁠⁠⁠⁠⁠⁠www.annaholtzman.com⁠

Send us a message, so we know what you're thinking!This episode, we look back at two hugely influential women artists – Patti Smith, whose 1975 “Horses” album inspired so many artists, and Marianne Faithfull, whose passing in January, 2025, is a huge loss.  “Horses”, with its confrontational approach - “Jesus died for somebody's sins, but not mine” - changed the landscape of rock music for the next few decades.  Produced by John Cale, of Velvet Underground fame, the album opened the door for so many women, including Blondie and so many English punk and new wave bands.  We talk about why we like this album, its influential impact, and how Patti Smith developed over later years. Marianne Faithfull has long been one of our favourites, and we talked about “Broken English” in Season 3. (If you haven't heard that episode, here's the link.) Tributes have come from every corner of the industry, all saying one thing – Marianne was inspirational to everyone she worked with, from The Rolling Stones to Metallica to Nick Cave and Warren Ellis. Banging our own drum for a moment, we've just been named as one of the top Australian Music Podcasts by monitoring service, Feedspot, which compiles the most comprehensive list of Australian Music Podcasts on the web. Great subjects.  Great episode.  Enjoy.  References:  Marianne Faithfull, Patti Smith, Andrew Loog Oldham, Sister Morphine, Girl on a Motorcycle, Samuel Beckett, homelessness, Hipgnosis, Storm Thorgerson, Mick Jagger, Keith Richards, “The Memory Remains”, Metallica, Lars Ulrich, Warren Ellis, She Walks in Beauty, Graham Coxon, Blur, TOTO, “Africa”, “Hold The Line”, "Rosanna”, Robert Dimery, 1001 Albums You Must Listen to Before You Die,  Jim Morrison, oil shortage – 70's, Robert Mapplethorpe, Allen Lanier, Blue Öyster Cult, Tom Verlaine, Television, "Break It Up",  John Cale, “Gloria”, Van Morrison, “Marquee Moon”, “Land (Horses)”, “Radio Ethiopia”, “Wave”, “Easter”, “Because the Night”, Siouxsie Sioux, Siouxsie & The Banshees, R.E.M.,  Michael Stipe, Peter Buck, Morrissey, Johnny Marr,  Courtney Love, Hole, PJ Harvey Episode playlistHorsesBroken EnglishMarianne Faithfull - Series 3, Episode 14

She Walks the WildShe laces her boots with the break of dawn, A whisper of wind, and then she is gone. The mountains call, the rivers sing, She walks the wild, untamed, free-winged.The path is steep, the miles long, But in her heart, she hums a song. With every step, her spirit soars, Each trail unlocks forgotten doors.The trees bow low, the rocks stand tall, She finds herself within it all. No maps, no rules, just earth and sky, A woman walking, reaching high.She is the storm, she is the sun, She does not wait—she simply runs. Through dust and rain, through loss and gain, She walks the wild—unchained, unchained.- AspenTiktok - @muon2020 / Instagram - @kselvage8

Subscriber-only episodeSend us a textOne of the last projects recorded by singer/actress Marianne Faithfull (who passed away in January) was a 2021 spoken word album of English Romantic poetry, including a hauntingly beautiful 12-minute recitation of Tennyson's “Lady of Shalott.” After exploring Faithfull's passion for (and family connections to) classic literature, Amy finds new meaning in this poem about an exiled woman fated to forever view life through a mirror's reflection. This episode includes accounts of several other doomed and exiled noblewomen in history — Lucrezia de Medici and Marguerite de la Rocque — and the books their lives inspired.Mentioned in this episode:She Walks in Beauty by Marianne Faithfull“As Tears Go By” by Marianne Faithfull“The Lady of Shalott” by Alfred, Lord TennysonVenus in Furs by Leopold von Sacher-MasochVenus in Furs by The Velvet UndergroundThe Marriage Portrait by Maggie O'FarrellLucrezia de MediciPortrait of Lucrezia de Medici at North Carolina Museum of Art“My Last Duchess” by Robert BrowningIsola by Allegra GoodmanMarguerite de la RocqueThe Heptameron by Marguerite de NavarreFor episodes and show notes, visit: LostLadiesofLit.comDiscuss episodes on our Facebook Forum. Follow us on instagram @lostladiesoflit. Follow Kim on twitter @kaskew. Sign up for our newsletter: LostLadiesofLit.com Email us: Contact — Lost Ladies of Lit Podcast

What do you learn after seven years on the road, traveling 20,000 miles on foot?In this episode, host Kim Anderson sits down with Angela Maxwell, an inspirational speaker and global adventurer, who spent nearly seven years walking solo across four continents. Covering 20,000 miles and traveling through 16 countries, Angela shares the highs and lows of her journey—facing extreme weather, illness, and the challenges of sleeping in a tent wherever she could find shelter.You'll hear about:✅ What inspired her to take her first steps on this life-changing journey✅ The most difficult and rewarding moments of walking the world✅ How solo travel reshaped her perspective on strength, resilience, and connectionAngela's story has been featured in Lonely Planet, Outside, and BBC Travel, and her adventures continue—most recently, she became one of the first women to swim across the Caspian Sea in 2024!If you've ever dreamed of long-term travel, solo adventures, or pushing past your comfort zone, this episode is packed with insights and inspiration.RESOURCES: Connect with Angela at She Walks the Earth (Website)Want travel tips and a behind-the-scenes look at the podcast? SIGN UP for our weekly newsletter here! It's just the good stuff, I promise. No spam here. Support the showLet's CONNECT! FREE GUIDE: Travel Longer for Less

In this episode, James Marriott and I discuss who we think are the best twenty English poets. This is not the best poets who wrote in English, but the best British poets (though James snuck Sylvia Plath onto his list…). We did it like that to make it easier, not least so we could base a lot of our discussion on extracts in The Oxford Book of English Verse (Ricks edition). Most of what we read out is from there. We read Wordsworth, Keats, Hardy, Milton, and Pope. We both love Pope! (He should be regarded as one of the very best English poets, like Milton.) There are also readings of Herrick, Bronte, Cowper, and MacNiece. I plan to record the whole of ‘The Eve of St. Agnes' at some point soon.Here are our lists and below is the transcript (which may have more errors than usual, sorry!)HOGod Tier* Shakespeare“if not first, in the very first line”* Chaucer* Spenser* Milton* Wordsworth* Eliot—argue for Pope here, not usually includedSecond Tier* Donne* Herbert* Keats* Dryden* Gawain poet* Tom O'Bedlam poetThird Tier* Yeats* Tennyson* Hopkins* Coleridge* Auden* Shelley* MarvellJMShakespeareTier* ShakespeareTier 1* Chaucer* Milton* WordsworthTier 2* Donne* Eliot* Keats* Tennyson* Spencer* Marvell* PopeTier 3* Yeats* Hopkins* Blake* Coleridge* Auden* Shelley* Thomas Hardy* Larkin* PlathHenry: Today I'm talking to James Marriott, Times columnist, and more importantly, the writer of the Substack Cultural Capital. And we are going to argue about who are the best poets in the English language. James, welcome.James: Thanks very much for having me. I feel I should preface my appearance so that I don't bring your podcast and disrepute saying that I'm maybe here less as an expert of poetry and more as somebody who's willing to have strong and potentially species opinions. I'm more of a lover of poetry than I would claim to be any kind of academic expert, just in case anybody thinks that I'm trying to produce any definitive answer to the question that we're tackling.Henry: Yeah, no, I mean that's the same for me. We're not professors, we're just very opinionated boys. So we have lists.James: We do.Henry: And we're going to debate our lists, but what we do agree is that if we're having a top 20 English poets, Shakespeare is automatically in the God Tier and there's nothing to discuss.James: Yeah, he's in a category of his own. I think the way of, because I guess the plan we've gone for is to rather than to rank them 1, 2, 3, 4, 5, 6, 7 into sort of, what is it, three or four broad categories that we're competing over.Henry: Yes, yes. TiersJames: I think is a more kind of reasonable way to approach it rather than trying to argue exactly why it should be one place above Shelly or I don't know, whatever.Henry: It's also just an excuse to talk about poets.James: Yes.Henry: Good. So then we have a sort of top tier, if not the first, in the very first line as it were, and you've got different people. To me, you've got Chaucer, Milton, and Wordsworth. I would also add Spenser and T.S. Eliot. So what's your problem with Spenser?James: Well, my problem is ignorance in that it's a while since I've read the Fairy Queen, which I did at university. Partly is just that looking back through it now and from what I remember of university, I mean it is not so much that I have anything against Spenser. It's quite how much I have in favour of Milton and Wordsworth and Chaucer, and I'm totally willing to be argued against on this, but I just can't think that Spenser is in quite the same league as lovely as many passages of the Fairy Queen are.Henry: So my case for Spenser is firstly, if you go through something like the Oxford Book of English Verse or some other comparable anthology, he's getting a similar page count to Shakespeare and Milton, he is important in that way. Second, it's not just the fairy queen, there's the Shepherd's Calendar, the sonnets, the wedding poems, and they're all highly accomplished. The Shepherd's Calendar particularly is really, really brilliant work. I think I enjoyed that more as an undergraduate, actually, much as I love the Fairy Queen. And the third thing is that the Fairy Queen is a very, very great epic. I mean, it's a tremendous accomplishment. There were lots of other epics knocking around in the 16th century that nobody wants to read now or I mean, obviously specialists want to read, but if we could persuade a few more people, a few more ordinary readers to pick up the fairy queen, they would love it.James: Yes, and I was rereading before he came on air, the Bower of Bliss episode, which I think is from the second book, which is just a beautifully lush passage, passage of writing. It was really, I mean, you can see why Keats was so much influenced by it. The point about Spenser's breadth is an interesting one because Milton is in my top category below Shakespeare, but I think I'm placing him there pretty much only on the basis of Paradise Lost. I think if we didn't have Paradise Lost, Milton may not even be in this competition at all for me, very little. I know. I don't know if this is a heresy, I've got much less time for Milton's minor works. There's Samuel Johnson pretty much summed up my feelings on Lycidas when he said there was nothing new. Whatever images it can supply are long ago, exhausted, and I do feel there's a certain sort of dryness to Milton's minor stuff. I mean, I can find things like Il Penseroso and L'Allegro pretty enough, but I mean, I think really the central achievement is Paradise Lost, whereas Spenser might be in contention, as you say, from if you didn't have the Fairy Queen, you've got Shepherd's Calendar, and all this other sort of other stuff, but Paradise Lost is just so massive for me.Henry: But if someone just tomorrow came out and said, oh, we found a whole book of minor poetry by Virgil and it's all pretty average, you wouldn't say, oh, well Virgil's less of a great poet.James: No, absolutely, and that's why I've stuck Milton right at the top. It's just sort of interesting how unbelievably good Paradise Lost is and how, in my opinion, how much less inspiring the stuff that comes after it is Samson Agonistes and Paradise Regained I really much pleasure out of at all and how, I mean the early I think slightly dry Milton is unbelievably accomplished, but Samuel Johnson seems to say in that quote is a very accomplished use of ancient slightly worn out tropes, and he's of putting together these old ideas in a brilliant manner and he has this sort of, I mean I guess he's one of your late bloomers. I can't quite remember how old he is when he publishes Paradise Lost.Henry: Oh, he is. Oh, writing it in his fifties. Yeah.James: Yeah, this just extraordinary thing that's totally unlike anything else in English literature and of all the poems that we're going to talk about, I think is the one that has probably given me most pleasure in my life and the one that I probably return to most often if not to read all the way through then to just go over my favourite bits and pieces of it.Henry: A lot of people will think Milton is heavy and full of weird references to the ancient world and learned and biblical and not very readable for want of a better word. Can you talk us out of that? To be one of the great poets, they do have to have some readability, right?James: Yeah, I think so, and it's certainly how I felt. I mean I think it's not a trivial objection to have to Milton. It's certainly how I found him. He was my special author paper at university and I totally didn't get on with him. There was something about his massive brilliance that I felt. I remember feeling like trying to write about Paradise Lost was trying to kind of scratch a huge block of marble with your nails. There's no way to get a handle on it. I just couldn't work out what to get ahold of, and it's only I think later in adulthood maybe reading him under a little less pressure that I've come to really love him. I mean, the thing I would always say to people to look out for in Milton, but it's his most immediate pleasure and the thing that still is what sends shivers done my spine about him is the kind of cosmic scale of Paradise Lost, and it's almost got this sort of sci-fi massiveness to it. One of my very favourite passages, which I may inflict on you, we did agree that we could inflict poetry on one another.Henry: Please, pleaseJames: It's a detail from the first book of Paradise Lost. Milton's talking about Satan's architect in hell Mulciber, and this is a little explanation of who or part of his explanation of who Mulciber is, and he says, Nor was his name unheard or unadoredIn ancient Greece; and in Ausonian landMen called him Mulciber; and how he fellFrom Heaven they fabled, thrown by angry JoveSheer o'er the crystal battlements: from mornTo noon he fell, from noon to dewy eve,A summer's day, and with the setting sunDropt from the zenith, like a falling star,On Lemnos, th' Aegaean isle. Thus they relate,ErringI just think it's the sort of total massiveness of that universe that “from the zenith to like a falling star”. I just can't think of any other poet in English or that I've ever read in any language, frankly, even in translation, who has that sort of scale about it, and I think that's what can most give immediate pleasure. The other thing I love about that passage is this is part of the kind of grandeur of Milton is that you get this extraordinary passage about an angel falling from heaven down to th' Aegean Isle who's then going to go to hell and the little parenthetic remark at the end, the perm just rolls on, thus they relate erring and paradise lost is such this massive grand thing that it can contain this enormous cosmic tragedy as a kind of little parenthetical thing. I also think the crystal battlements are lovely, so wonderful kind of sci-fi detail.Henry: Yes, I think that's right, and I think it's under appreciated that Milton was a hugely important influence on Charles Darwin who was a bit like you always rereading it when he was young, especially on the beagle voyage. He took it with him and quotes it in his letters sometimes, and it is not insignificant the way that paradise loss affects him in terms of when he writes his own epic thinking at this level, thinking at this scale, thinking at the level of the whole universe, how does the whole thing fit together? What's the order behind the little movements of everything? So Milton's reach I think is actually quite far into the culture even beyond the poets.James: That's fascinating. Do you have a particular favourite bit of Paradise Lost?Henry: I do, but I don't have it with me because I disorganised and couldn't find my copy.James: That's fair.Henry: What I want to do is to read one of the sonnets because I do think he's a very, very good sonnet writer, even if I'm going to let the Lycidas thing go, because I'm not going to publicly argue against Samuel Johnson.When I consider how my light is spent,Ere half my days, in this dark world and wide,And that one Talent which is death to hideLodged with me useless, though my Soul more bentTo serve therewith my Maker, and presentMy true account, lest he returning chide;“Doth God exact day-labour, light denied?”I fondly ask. But patience, to preventThat murmur, soon replies, “God doth not needEither man's work or his own gifts; who bestBear his mild yoke, they serve him best. His stateIs Kingly. Thousands at his bidding speedAnd post o'er Land and Ocean without rest:They also serve who only stand and wait.”I think that's great.James: Yeah. Okay. It is good.Henry: Yeah. I think the minor poems are very uneven, but there are lots of gems.James: Yeah, I mean he is a genius. It would be very weird if all the minor poems were s**t, which is not really what I'm trying… I guess I have a sort of slightly austere category too. I just do Chaucer, Milton, Wordsworth, but we are agreed on Wordsworth, aren't we? That he belongs here.Henry: So my feeling is that the story of English poetry is something like Chaucer Spenser, Shakespeare, Milton, Wordsworth, T.S. Eliot create a kind of spine. These are the great innovators. They're writing the major works, they're the most influential. All the cliches are true. Chaucer invented iambic pentameter. Shakespeare didn't single handedly invent modern English, but he did more than all the rest of them put together. Milton is the English Homer. Wordsworth is the English Homer, but of the speech of the ordinary man. All these old things, these are all true and these are all colossal achievements and I don't really feel that we should be picking between them. I think Spenser wrote an epic that stands alongside the works of Shakespeare and Milton in words with T.S. Eliot whose poetry, frankly I do not love in the way that I love some of the other great English writers cannot be denied his position as one of the great inventors.James: Yeah, I completely agree. It's funny, I think, I mean I really do love T.S. Eliot. Someone else had spent a lot of time rereading. I'm not quite sure why he hasn't gone into quite my top category, but I think I had this—Henry: Is it because he didn't like Milton and you're not having it?James: Maybe that's part of it. I think my thought something went more along the lines of if I cut, I don't quite feel like I'm going to put John Donne in the same league as Milton, but then it seems weird to put Eliot above Donne and then I don't know that, I mean there's not a very particularly fleshed out thought, but on Wordsworth, why is Wordsworth there for you? What do you think, what do you think are the perms that make the argument for Wordsworth having his place at the very top?Henry: Well, I think the Lyrical Ballads, Poems in Two Volumes and the Prelude are all of it, aren't they? I'm not a lover of the rest, and I think the preface to the Lyrical Ballads is one of the great works of literary criticism, which is another coin in his jar if you like, but in a funny way, he's much more revolutionary than T.S. Eliot. We think of modernism as the great revolution and the great sort of bringing of all the newness, but modernism relies on Wordsworth so much, relies on the idea that tradition can be subsumed into ordinary voice, ordinary speech, the passage in the Wasteland where he has all of them talking in the bar. Closing time please, closing time please. You can't have that without Wordsworth and—James: I think I completely agree with what you're saying.Henry: Yeah, so I think that's for me is the basis of it that he might be the great innovator of English poetry.James: Yeah, I think you're right because I've got, I mean again, waiting someone out of my depth here, but I can't think of anybody else who had sort of specifically and perhaps even ideologically set out to write a kind of high poetry that sounded like ordinary speech, I guess. I mean, Wordsworth again is somebody who I didn't particularly like at university and I think it's precisely about plainness that can make him initially off-putting. There's a Matthew Arnold quote where he says of Wordsworth something like He has no style. Henry: Such a Matthew Arnold thing to say.James: I mean think it's the beginning of an appreciation, but there's a real blankness to words with I think again can almost mislead you into thinking there's nothing there when you first encounter him. But yeah, I think for me, Tintern Abbey is maybe the best poem in the English language.Henry: Tintern Abbey is great. The Intimations of Immortality Ode is superb. Again, I don't have it with me, but the Poems in Two Volumes. There are so many wonderful things in there. I had a real, when I was an undergraduate, I had read some Wordsworth, but I hadn't really read a lot and I thought of I as you do as the daffodils poet, and so I read Lyrical Ballads and Poems in Two Volumes, and I had one of these electrical conversion moments like, oh, the daffodils, that is nothing. The worst possible thing for Wordsworth is that he's remembered as this daffodils poet. When you read the Intimations of Immortality, do you just think of all the things he could have been remembered for? It's diminishing.James: It's so easy to get into him wrong because the other slightly wrong way in is through, I mean maybe this is a prejudice that isn't widely shared, but the stuff that I've never particularly managed to really enjoy is all the slightly worthy stuff about beggars and deformed people and maimed soldiers. Wandering around on roads in the lake district has always been less appealing to me, and that was maybe why I didn't totally get on with 'em at first, and I mean, there's some bad words with poetry. I was looking up the infamous lines from the form that were mocked even at the time where you know the lines that go, You see a little muddy pond Of water never dry. I've measured it from side to side, 'Tis three feet long and two feet wide, and the sort of plainness condescend into banality at Wordsworth's worst moments, which come more frequently later in his career.Henry: Yes, yes. I'm going to read a little bit of the Intimations ode because I want to share some of this so-called plainness at its best. This is the third section. They're all very short Now, while the birds thus sing a joyous song,And while the young lambs boundAs to the tabor's sound,To me alone there came a thought of grief:A timely utterance gave that thought relief,And I again am strong:The cataracts blow their trumpets from the steep;No more shall grief of mine the season wrong;I hear the Echoes through the mountains throng,The Winds come to me from the fields of sleep,And all the earth is gay;Land and seaGive themselves up to jollity,And with the heart of MayDoth every Beast keep holiday;—Thou Child of Joy,Shout round me, let me hear thy shouts, thou happy Shepherd-boy.And I think it's unthinkable that someone would write like this today. It would be cringe, but we're going to have a new sincerity. It's coming. It's in some ways it's already here and I think Wordsworth will maybe get a different sort of attention when that happens because that's a really high level of writing to be able to do that without it descending into what you just read. In the late Wordsworth there's a lot of that really bad stuff.James: Yeah, I mean the fact that he wrote some of that bad stuff I guess is a sign of quite how carefully the early stuff is treading that knife edge of tripping into banality. Can I read you my favourite bit of Tintern Abbey?Henry: Oh yes. That is one of the great poems.James: Yeah, I just think one of mean I, the most profound poem ever, probably for me. So this is him looking out over the landscape of Tinton Abbey. I mean these are unbelievably famous lines, so I'm sure everybody listening will know them, but they are so good And I have feltA presence that disturbs me with the joyOf elevated thoughts; a sense sublimeOf something far more deeply interfused,Whose dwelling is the light of setting suns,And the round ocean and the living air,And the blue sky, and in the mind of man:A motion and a spirit, that impelsAll thinking things, all objects of all thought,And rolls through all things. Therefore am I stillA lover of the meadows and the woodsAnd mountains; and of all that we beholdFrom this green earth; of all the mighty worldOf eye, and ear,—both what they half create,And what perceive; well pleased to recogniseIn nature and the language of the senseThe anchor of my purest thoughts, the nurse,The guide, the guardian of my heart, and soulOf all my moral being.I mean in a poem, it's just that is mind blowingly good to me?Henry: Yeah. I'm going to look up another section from the Prelude, which used to be in the Oxford Book, but it isn't in the Ricks edition and I don't really know whyJames: He doesn't have much of the Prelude does he?Henry: I don't think he has any…James: Yeah.Henry: So this is from an early section when the young Wordsworth is a young boy and he's going off, I think he's sneaking out at night to row on the lake as you do when you with Wordsworth, and the initial description is of a mountain. She was an elfin pinnace; lustilyI dipped my oars into the silent lake,And, as I rose upon the stroke, my boatWent heaving through the water like a swan;When, from behind that craggy steep till thenThe horizon's bound, a huge peak, black and huge,As if with voluntary power instinct,Upreared its head. I struck and struck again,And growing still in stature the grim shapeTowered up between me and the stars, and still,For so it seemed, with purpose of its ownAnd measured motion like a living thing,Strode after me. With trembling oars I turned,And through the silent water stole my wayBack to the covert of the willow tree;It's so much like that in Wordsworth. It's just,James: Yeah, I mean, yeah, the Prelude is full of things like that. I think that is probably one of the best moments, possibly the best moments of the prelude. But yeah, I mean it's just total genius isn't it?Henry: I think he's very, very important and yeah, much more important than T.S. Eliot who is, I put him in the same category, but I can see why you didn't.James: You do have a little note saying Pope, question mark or something I think, don't you, in the document.Henry: So the six I gave as the spine of English literature and everything, that's an uncontroversial view. I think Pope should be one of those people. I think we should see Pope as being on a level with Milton and Wordsworth, and I think he's got a very mixed reputation, but I think he was just as inventive, just as important. I think you are a Pope fan, just as clever, just as moving, and it baffles me that he's not more commonly regarded as part of this great spine running through the history of English literature and between Milton and Wordsworth. If you don't have Pope, I think it's a missing link if you like.James: I mean, I wouldn't maybe go as far as you, I love Pope. Pope was really the first perch I ever loved. I remember finding a little volume of Pope in a box of books. My school library was chucking out, and that was the first book of poetry I read and took seriously. I guess he sort of suffers by the fact that we are seeing all of this through the lens of the romantics. All our taste about Shakespeare and Milton and Spenser has been formed by the romantics and hope's way of writing the Satires. This sort of society poetry I think is just totally doesn't conform to our idea of what poetry should be doing or what poetry is. Is there absolutely or virtually nobody reads Dryden nowadays. It's just not what we think poetry is for that whole Augustine 18th century idea that poetry is for writing epistles to people to explain philosophical concepts to them or to diss your enemies and rivals or to write a kind of Duncia explaining why everyone you know is a moron. That's just really, I guess Byron is the last major, is the only of figure who is in that tradition who would be a popular figure nowadays with things like English bards and scotch reviewers. But that whole idea of poetry I think was really alien to us. And I mean I'm probably formed by that prejudice because I really do love Pope, but I don't love him as much as the other people we've discussed.Henry: I think part of his problem is that he's clever and rational and we want our poems always to be about moods, which may be, I think why George Herbert, who we've both got reasonably high is also quite underrated. He's very clever. He's always think George Herbert's always thinking, and when someone like Shakespeare or Milton is thinking, they do it in such a way that you might not notice and that you might just carry on with the story. And if you do see that they're thinking you can enjoy that as well. Whereas Pope is just explicitly always thinking and maybe lecturing, hectoring, being very grand with you and as you say, calling you an idiot. But there are so many excellent bits of Pope and I just think technically he can sustain a thought or an argument over half a dozen or a dozen lines and keep the rhyme scheme moving and it's never forced, and he never has to do that thing where he puts the words in a stupid order just to make the rhyme work. He's got such an elegance and a balance of composition, which again, as you say, we live under romantic ideals, not classical ones. But that doesn't mean we should be blind to the level of his accomplishment, which is really, really very high. I mean, Samuel Johnson basically thought that Alexander Pope had finished English poetry. We have the end of history. He had the end of English poetry. Pope, he's brought us to the mightiest of the heroic couplers and he's done it. It's all over.James: The other thing about Pope that I think makes us underrate him is that he's very charming. And I think charm is a quality we're not big on is that sort of, but I think some of Pope's charm is so moving. One of my favourite poems of his is, do you know the Epistle to Miss Blount on going into the country? The poem to the young girl who's been having a fashionable season in London then is sent to the boring countryside to stay with an aunt. And it's this, it's not like a romantic love poem, it's not distraught or hectic. It's just a sort of wonderful act of sympathy with this potentially slightly airheaded young girl who's been sent to the countryside, which you'd rather go to operas and plays and flirt with people. And there's a real sort of delicate in it that isn't overblown and isn't dramatic, but is extremely charming. And I think that's again, another quality that perhaps we're prone not to totally appreciate in the 21st century. It's almost the kind of highest form of politeness and sympathyHenry: And the prevailing quality in Pope is wit: “True wit is nature to advantage dressed/ What often was thought, but ne'er so well expressed”. And I think wit can be quite alienating for an audience because it is a kind of superior form of literary art. This is why people don't read as much Swift as he deserves because he's so witty and so scornful that a lot of people will read him and think, well, I don't like you.James: And that point about what oft was thought and ne'er so well expressed again, is a very classical idea. The poet who puts not quite conventional wisdom, but something that's been thought before in the best possible words, really suffers with the romantic idea of originality. The poet has to say something utterly new. Whereas for Pope, the sort of ideas that he express, some of the philosophical ideas are not as profound in original perhaps as words with, but he's very elegant proponent of them.Henry: And we love b******g people in our culture, and I feel like the Dunciad should be more popular because it is just, I can't remember who said this, but someone said it's probably the most under appreciated great poem in English, and that's got to be true. It's full of absolute zingers. There's one moment where he's described the whole crowd of them or all these poets who he considers to be deeply inferior, and it turns out he was right because no one reads them anymore. And you need footnotes to know who they are. I mean, no one cares. And he says, “equal your merits, equal is your din”. This kind of abuse is a really high art, and we ought to love that. We love that on Twitter. And I think things like the Rape of the Lock also could be more popular.James: I love the Rape of the Lock . I mean, I think anybody is not reading Pope and is looking for a way in, I think the Rape of the Lock is the way in, isn't it? Because it's just such a charming, lovely, funny poem.Henry: It is. And probably it suffers because the whole idea of mock heroic now is lost to us. But it's a bit like it's the literary equivalent of people writing a sort of mini epic about someone like Elon Musk or some other very prominent figure in the culture and using lots of heroic imagery from the great epics of Homer and Virgil and from the Bible and all these things, but putting them into a very diminished state. So instead of being grand, it becomes comic. It's like turning a God into a cartoon. And Pope is easily the best writer that we have for that kind of thing. Dryden, but he's the genius on it.James: Yeah, no, he totally is. I guess it's another reason he's under appreciated is that our culture is just much less worshipful of epic than the 18th century culture was. The 18th century was obsessed with trying to write epics and trying to imitate epics. I mean, I think to a lot of Pope's contemporaries, the achievement they might've been expecting people to talk about in 300 years time would be his translations of the Iliad and the Odyssey and the other stuff might've seen more minor in comparison, whereas it's the mock epic that we're remembering him for, which again is perhaps another symptom of our sort of post romantic perspective.Henry: I think this is why Spenser suffers as well, because everything in Spenser is magical. The knights are fairies, not the little fairies that live in buttercups, but big human sized fairies or even bigger than that. And there are magical women and saucers and the whole thing is a sort of hodgepodge of romance and fairy tale and legend and all this stuff. And it's often said, oh, he was old fashioned in his own time. But those things still had a lot of currency in the 16th century. And a lot of those things are in Shakespeare, for example.But to us, that's like a fantasy novel. Now, I love fantasy and I read fantasy, and I think some of it's a very high accomplishment, but to a lot of people, fantasy just means kind of trash. Why am I going to read something with fairies and a wizard? And I think a lot of people just see Spenser and they're like, what is this? This is so weird. They don't realise how Protestant they're being, but they're like, this is so weird.James: And Pope has a little, I mean, the Rape of the Lock even has a little of the same because the rape of the lock has this attendant army of good spirits called selfs and evil spirits called gnomes. I mean, I find that just totally funny and charming. I really love it.Henry: I'm going to read, there's an extract from the Rape of the Lock in the Oxford Book, and I'm going to read a few lines to give people an idea of how he can be at once mocking something but also quite charming about it. It's quite a difficult line to draw. The Rape of the Lock is all about a scandalous incident where a young man took a lock of a lady's hair. Rape doesn't mean what we think it means. It means an offence. And so because he stole a lock of her hair, it'd become obviously this huge problem and everyone's in a flurry. And to sort of calm everyone down, Pope took it so seriously that he made it into a tremendous joke. So here he is describing the sort of dressing table if you like.And now, unveil'd, the Toilet stands display'd,Each silver Vase in mystic order laid.First, rob'd in white, the Nymph intent adores,With head uncover'd, the Cosmetic pow'rs.A heav'nly image in the glass appears,To that she bends, to that her eyes she rears;Th' inferior Priestess, at her altar's side,Trembling begins the sacred rites of Pride.What a way to describe someone putting on their makeup. It's fantastic.James: It's funny. I can continue that because the little passage of Pope I picked to read begins exactly where yours ended. It only gets better as it goes on, I think. So after trembling begins the sacred rites of pride, Unnumber'd treasures ope at once, and hereThe various off'rings of the world appear;From each she nicely culls with curious toil,And decks the Goddess with the glitt'ring spoil.This casket India's glowing gems unlocks,And all Arabia breathes from yonder box.The Tortoise here and Elephant unite,Transformed to combs, the speckled, and the white.Here files of pins extend their shining rows,Puffs, Powders, Patches, Bibles, Billet-doux.It's just so lovely. I love a thing about the tortoise and the elephant unite because you've got a tortoise shell and an ivory comb. And the stuff about India's glowing gems and Arabia breathing from yonder box, I mean that's a, realistic is not quite the word, but that's a reference to Milton because Milton is continually having all the stones of Arabia and India's pearls and things all screwed through paradise lost. Yeah, it's just so lovely, isn't it?Henry: And for someone who's so classical and composed and elegant, there's something very Dickensian about things like the toilet, the tortoise and the elephant here unite, transform to combs. There's something a little bit surreal and the puffs, powders, patches, bibles, it has that sort of slightly hectic, frantic,James: That's sort of Victorian materialism, wealth of material objects,Henry: But also that famous thing that was said of Dickens, that the people are furniture and the furniture's like people. He can bring to life all the little bits and bobs of the ordinary day and turn it into something not quite ridiculous, not quite charming.James: And there is a kind of charm in the fact that it wasn't the sort of thing that poets would necessarily expect to pay attention to the 18th century. I don't think the sort of powders and ointments on a woman's dressing table. And there's something very sort of charming in his condescension to notice or what might've once seemed his condescension to notice those things, to find a new thing to take seriously, which is what poetry or not quite to take seriously, but to pay attention to, which I guess is one of the things that great perch should always be doing.Henry: When Swift, who was Pope's great friend, wrote about this, he wrote a poem called A Beautiful Young Lady Going to Bed, which is not as good, and I would love to claim Swift on our list, but I really can't.James: It's quite a horrible perm as well, that one, isn't it?Henry: It is. But it shows you how other people would treat the idea of the woman in front of her toilet, her mirror. And Swift uses an opportunity, as he said, to “lash the vice” because he hated all this adornment and what he would think of as the fakery of a woman painting herself. And so he talks about Corina pride of Drury Lane, which is obviously an ironic reference to her being a Lady of the Night, coming back and there's no drunken rake with her. Returning at the midnight hour;Four stories climbing to her bow'r;Then, seated on a three-legged chair,Takes off her artificial hair:Now, picking out a crystal eye,She wipes it clean, and lays it by.Her eye-brows from a mouse's hide,Stuck on with art on either side,Pulls off with care, and first displays 'em,Then in a play-book smoothly lays 'em.Now dexterously her plumpers draws,That serve to fill her hollow jaws.And it goes on like this. I mean, line after this is sort of raw doll quality to it, Pope, I think in contrast, it only illuminates him more to see where others are taking this kind of crude, very, very funny and witty, but very crude approach. He's able to really have the classical art of balance.James: Yes. And it's precisely his charm that he can mock it and sympathise and love it at the same time, which I think is just a more sort of complex suite of poetic emotions to have about that thing.Henry: So we want more people to read Pope and to love Pope.James: Yes. Even if I'm not letting him into my top.Henry: You are locking him out of the garden. Now, for the second tier, I want to argue for two anonymous poets. One of the things we did when we were talking about this was we asked chatGPT to see if it could give us a good answer. And if you use o1 or o1 Pro, it gives you a pretty good answer as to who the best poets in English are. But it has to be told that it's forgotten about the anonymous poets. And then it says, oh, that was stupid. There are quite a lot of good anonymous poets in English, but I suspect a lot of us, a lot of non artificial intelligence when thinking about this question overlook the anonymous poets. But I would think the Gawain poet and the Tom O' Bedlam poet deserve to be in here. I don't know what you think about that.James: I'm not competent to provide an opinion. I'm purely here to be educated on the subject of these anonymous poets. Henry: The Gawain poet, he's a mediaeval, assume it's a he, a mediaeval writer, obviously may well not be a man, a mediaeval writer. And he wrote Sir Gawain and The Green Knight, which is, if you haven't read it, you should really read it in translation first, I think because it's written at the same time as Chaucer. But Chaucer was written in a kind of London dialect, which is what became the English we speak. And so you can read quite a lot of Chaucer and the words look pretty similar and sometimes you need the footnotes, but when you read Gawain and The Green Knight, it's in a Northwestern dialect, which very much did not become modern day English. And so it's a bit more baffling, but it is a poem of tremendous imaginative power and weirdness. It's a very compelling story. We have a children's version here written by Selena Hastings who's a very accomplished biographer. And every now and then my son remembers it and he just reads it again and again and again. It's one of the best tales of King Arthur in his knights. And there's a wonderful book by John Burrow. It's a very short book, but that is such a loving piece of criticism that explicates the way in which that poem promotes virtue and all the nightly goodness that you would expect, but also is a very strange and unreal piece of work. And I think it has all the qualities of great poetry, but because it's written in this weird dialect, I remember as an undergraduate thinking, why is this so bloody difficult to read? But it is just marvellous. And I see people on Twitter, the few people who've read it, they read it again and they just say, God, it's so good. And I think there was a film of it a couple of years ago, but we will gloss lightly over that and not encourage you to do the film instead of the book.James: Yeah, you're now triggering a memory that I was at least set to read and perhaps did at least read part of Gawain and the Green Knight at University, but has not stuck to any brain cells at all.Henry: Well, you must try it again and tell me what you think. I mean, I find it easily to be one of the best poems in English.James: Yeah, no, I should. I had a little Chaucer kick recently actually, so maybe I'm prepared to rediscover mediaeval per after years of neglect since my degree,Henry: And it's quite short, which I always think is worth knowing. And then the Tom Bedlam is an anonymous poem from I think the 17th century, and it's one of the mad songs, so it's a bit like the Fool from King Lear. And again, it is a very mysterious, very strange and weird piece of work. Try and find it in and read the first few lines. And I think because it's anonymous, it's got slightly less of a reputation because it can't get picked up with some big name, but it is full of tremendous power. And again, I think it would be sad if it wasn't more well known.From the hag and hungry goblinThat into rags would rend ye,The spirit that stands by the naked manIn the Book of Moons defend ye,That of your five sound sensesYou never be forsaken,Nor wander from your selves with TomAbroad to beg your bacon,While I do sing, Any food, any feeding,Feeding, drink, or clothing;Come dame or maid, be not afraid,Poor Tom will injure nothing.Anyway, so you get the sense of it and it's got many stanzas and it's full of this kind of energy and it's again, very accomplished. It can carry the thought across these long lines and these long stanzas.James: When was it written? I'm aware of only if there's a name in the back of my mind.Henry: Oh, it's from the 17th century. So it's not from such a different time as King Lear, but it's written in the voice of a madman. And again, you think of that as the sort of thing a romantic poet would do. And it's strange to find it almost strange to find it displaced. There were these other mad songs. But I think because it's anonymous, it gets less well known, it gets less attention. It's not part of a bigger body of work, but it's absolutely, I think it's wonderful.James: I shall read it.Henry: So who have you got? Who else? Who are you putting in instead of these two?James: Hang on. So we're down to tier two now.Henry: Tier two.James: Yeah. So my tier two is: Donne, Elliot, Keats, Tennyson. I've put Spenser in tier two, Marvell and Pope, who we've already discussed. I mean, I think Eliot, we've talked about, I mean Donne just speaks for himself and there's probably a case that some people would make to bump him up a tier. Henry: Anybody can read that case in Katherine Rudell's book. We don't need to…James: Yes, exactly. If anybody's punching perhaps in tier two, it's Tennyson who I wasn't totally sure belonged there. Putting Tenon in the same tier as Donne and Spenser and Keets. I wonder if that's a little ambitious. I think that might raise eyebrows because there is a school of thought, which I'm not totally unsympathetic to this. What's the Auden quote about Tennyson? I really like it. I expressed very harshly, but I sort of get what he means. Auden said that Tennyson “had the finest ear perhaps of any English poet who was also undoubtedly the stupidest. There was little that he didn't know. There was little else that he did.” Which is far too harsh. But I mentioned to you earlier that I think was earlier this year, a friend and I had a project where we were going to memorise a perva week was a plan. We ended up basically getting, I think three quarters of the way through.And if there's a criticism of Tennyson that you could make, it's that the word music and the sheer lushness of phrases sometimes becomes its own momentum. And you can end up with these extremely lovely but sometimes slightly empty beautiful phrases, which is what I ended up feeling about Tithonus. And I sort of slightly felt I was memorising this unbelievably beautiful but ever so slightly hollow thing. And that was slightly why the project fell apart, I should say. Of course, they absolutely love Tennyson. He's one of my all time favourite poets, which is why my personal favouritism has bumped him up into that category. But I can see there's a case, and I think to a lot of people, he's just the kind of Victorian establishment gloom man, which is totally unfair, but there's not no case against Tennyson.Henry: Yeah, the common thing is that he has no ideas. I don't know if that's true or not. I'm also, I'm not sure how desperately important it is. It should be possible to be a great poet without ideas being at the centre of your work. If you accept the idea that the essence of poetry is invention, i.e. to say old things in a fantastically new way, then I think he qualifies very well as a great poet.James: Yes..Henry: Well, very well. I think Auden said what he said because he was anxious that it was true of himself.James: Yeah, I mean there's a strong argument that Auden had far too many ideas and the sorts of mad schemes and fantastical theories about history that Auden spent his spare time chasing after is certainly a kind of argument that poets maybe shouldn't have as many ideas, although it's just reading. Seamus Perry's got a very good little book on Tennyson, and the opening chapter is all about arguments about people who have tended to dislike Tennyson. And there are all kinds of embarrassing anecdotes about the elderly Tennyson trying to sort of go around dinner parties saying profound and sage-like things and totally putting his foot in it and saying things are completely banal. I should have made a note that this was sort of slightly, again, intensifying my alarm about is there occasionally a tinsely hollowness about Tennyson. I'm now being way too harsh about one of my favourite poets—Henry: I think it depends what you mean by ideas. He is more than just a poet of moods. He gives great expression, deep and strongly felt expression to a whole way of being and a whole way of conceiving of things. And it really was a huge part of why people became interested in the middle ages in the 19th century. I think there's Walter Scott and there's Tennyson who are really leading that work, and that became a dominant cultural force and it became something that meant a lot to people. And whether or not, I don't know whether it's the sort of idea that we're talking about, but I think that sort of thing, I think that qualifies as having ideas and think again, I think he's one of the best writers about the Arthurian legend. Now that work doesn't get into the Oxford Book of English Verse, maybe that's fair. But I think it was very important and I love it. I love it. And I find Tennyson easy to memorise, which is another point in his favour.James: Yeah.Henry: I'm going to read a little bit of Ulysses, which everyone knows the last five or six lines of that poem because it gets put into James Bond films and other such things. I'm going to read it from a little bit from earlier on. I am become a name;For always roaming with a hungry heartMuch have I seen and known; cities of menAnd manners, climates, councils, governments,Myself not least, but honour'd of them all;And drunk delight of battle with my peers,Far on the ringing plains of windy Troy.I am a part of all that I have met;Yet all experience is an arch wherethro'Gleams that untravell'd world, whose margin fadesFor ever and for ever when I move.I think that's amazing. And he can do that. He can do lots and lots and lots of that.James: Yeah, he really can. It's stunning. “Far on the ringing planes of windy Troy” is such an unbelievably evocative phrase.Henry: And that's what I mean. He's got this ability to bring back a sort of a whole mood of history. It's not just personal mood poetry. He can take you into these places and that is in the space of a line. In the space of a line. I think Matthew Arnold said of the last bit of what I just read is that he had this ability in Ulysses to make the lines seem very long and slow and to give them this kind of epic quality that far goes far beyond the actual length of that poem. Ulysses feels like this huge poem that's capturing so much of Homer and it's a few dozen lines.James: Yeah, no, I completely agree. Can I read a little bit of slightly more domestic Tennyson, from In Memoriam, I think his best poem and one of my all time favourite poems and it's got, there are many sort of famous lines on grief and things, but there's little sort of passage of natural description I think quite near the beginning that I've always really loved and I've always just thought was a stunning piece of poetry in terms of its sound and the way that the sound has patented and an unbelievably attentive description natural world, which is kind of the reason that even though I think Keats is a better poet, I do prefer reading Tennyson to Keats, so this is from the beginning of In Memoriam. Calm is the morn without a sound,Calm as to suit a calmer grief,And only thro' the faded leafThe chesnut pattering to the ground:Calm and deep peace on this high wold,And on these dews that drench the furze,And all the silvery gossamersThat twinkle into green and gold:Calm and still light on yon great plainThat sweeps with all its autumn bowers,And crowded farms and lessening towers,To mingle with the bounding main:And I just think that's an amazing piece of writing that takes you from that very close up image that it begins with of the “chestnut patterning to the ground” through the faded leaves of the tree, which is again, a really attentive little bit of natural description. I think anyone can picture the way that a chestnut might fall through the leaves of a chestnut tree, and it's just an amazing thing to notice. And I think the chestnut pattern to the ground does all the kind of wonderful, slightly onomatopoeic, Tennyson stuff so well, but by the end, you're kind of looking out over the English countryside, you've seen dew on the firs, and then you're just looking out across the plane to the sea, and it's this sort of, I just think it's one of those bits of poetry that anybody who stood in a slightly wet and romantic day in the English countryside knows exactly the feeling that he's evoking. And I mean there's no bit of—all of In Memoriam is pretty much that good. That's not a particularly celebrated passage I don't think. It's just wonderful everywhere.Henry: Yes. In Memoriam a bit like the Dunciad—under appreciated relative to its huge merits.James: Yeah, I think it sounds, I mean guess by the end of his life, Tennyson had that reputation as the establishment sage of Victorian England, queen of Victoria's favourite poet, which is a pretty off-putting reputation for to have. And I think In Memoriam is supposed to be this slightly cobwebby, musty masterpiece of Victorian grief. But there was just so much, I mean, gorgeous, beautiful sensuous poetry in it.Henry: Yeah, lots of very intense feelings. No, I agree. I have Tennyson my third tier because I had to have the Gawain poet, but I agree that he's very, very great.James: Yeah, I think the case for third tier is I'm very open to that case for the reasons that I said.Henry: Keats, we both have Keats much higher than Shelly. I think Byron's not on anyone's list because who cares about Byron. Overrated, badly behaved. Terrible jokes. Terrible jokes.James: I think people often think Byron's a better pert without having read an awful lot of the poetry of Byron. But I think anybody who's tried to wade through long swathes of Don Juan or—Henry: My God,James: Childe Harold, has amazing, amazing, beautiful moments. But yeah, there's an awful lot of stuff that you don't enjoy. I think.Henry: So to make the case for Keats, I want to talk about The Eve of St. Agnes, which I don't know about you, but I love The Eve of St. Agnes. I go back to it all the time. I find it absolutely electric.James: I'm going to say that Keats is a poet, which is kind of weird for somebody is sent to us and obviously beautiful as Keats. I sort of feel like I admire more than I love. I get why he's brilliant. It's very hard not to see why he's brilliant, but he's someone I would very rarely sit down and read for fun and somebody got an awful lot of feeling or excitement out of, but that's clearly a me problem, not a Keats problem.Henry: When I was a teenager, I knew so much Keats by heart. I knew the whole of the Ode to a Nightingale. I mean, I was absolutely steeped in it morning, noon and night. I couldn't get over it. And now I don't know if I could get back to that point. He was a very young poet and he writes in a very young way. But I'm going to read—The Eve of St. Agnes is great. It's a narrative poem, which I think is a good way to get into this stuff because the story is fantastic. And he had read Spenser, he was part of this kind of the beginning of this mediaeval revival. And he's very interested in going back to those old images, those old stories. And this is the bit, I think everything we're reading is from the Oxford Book of English Verse, so that if people at home want to read along they can.This is when the heroine of the poem is Madeline is making her escape basically. And I think this is very, very exciting. Her falt'ring hand upon the balustrade,Old Angela was feeling for the stair,When Madeline, St. Agnes' charmed maid,Rose, like a mission'd spirit, unaware:With silver taper's light, and pious care,She turn'd, and down the aged gossip ledTo a safe level matting. Now prepare,Young Porphyro, for gazing on that bed;She comes, she comes again, like ring-dove fray'd and fled.Out went the taper as she hurried in;Its little smoke, in pallid moonshine, died:She clos'd the door, she panted, all akinTo spirits of the air, and visions wide:No uttered syllable, or, woe betide!But to her heart, her heart was voluble,Paining with eloquence her balmy side;As though a tongueless nightingale should swellHer throat in vain, and die, heart-stifled, in her dell.A casement high and triple-arch'd there was,All garlanded with carven imag'riesOf fruits, and flowers, and bunches of knot-grass,And diamonded with panes of quaint device,Innumerable of stains and splendid dyes,As are the tiger-moth's deep-damask'd wings;And in the midst, 'mong thousand heraldries,And twilight saints, and dim emblazonings,A shielded scutcheon blush'd with blood of queens and kings.I mean, so much atmosphere, so much tension, so many wonderful images just coming one after the other. The rapidity of it, the tumbling nature of it. And people often quote the Ode to autumn, which has a lot of that.James: I have to say, I found that totally enchanting. And perhaps my problem is that I need you to read it all to me. You can make an audio book that I can listen to.Henry: I honestly, I actually might read the whole of the E and put it out as audio on Substack becauseJames: I would actually listen to that.Henry: I love it so much. And I feel like it gets, when we talk about Keats, we talk about, On First Looking into Chapman's Homer and Bright Star and La Belle Dame Sans Merci, and these are great, great poems and they're poems that we do at school Ode to a Nightingale because I think The Great Gatsby has a big debt to Ode to a Nightingale, doesn't it? And obviously everyone quotes the Ode to Autumn. I mean, as far as I can tell, the 1st of October every year is the whole world sharing the first stands of the Ode to Autumn.James: Yeah. He may be one of the people who suffers from over familiarity perhaps. And I think also because it sounds so much what poetry is supposed to sound like, because so much of our idea of poetry derives from Keats. Maybe that's something I've slightly need to get past a little bit.Henry: But if you can get into the complete works, there are many, the bit I just read is I think quite representative.James: I loved it. I thought it was completely beautiful and I would never have thought to ever, I probably can't have read that poem for years. I wouldn't have thought to read it. Since university, I don't thinkHenry: He's one of those people. All of my copies of him are sort of frayed and the spines are breaking, but the book is wearing out. I should just commit it to memory and be done. But somehow I love going back to it. So Keats is very high in my estimation, and we've both put him higher than Shelly and Coleridge.James: Yeah.Henry: Tell me why. Because those would typically, I think, be considered the superior poets.James: Do you think Shelly? I think Keats would be considered the superior poetHenry: To Shelly?James: Certainly, yes. I think to Shelly and Coleridge, that's where current fashion would place them. I mean, I have to say Coleridge is one of my all time favourite poets. In terms of people who had just every so often think, I'd love to read a poem, I'd love to read Frost at Midnight. I'd love to read the Aeolian Harp. I'd love to read This Lime Tree Bower, My Prison. I'd love to read Kubla Khan. Outside Milton, Coleridge is probably the person that I read most, but I think, I guess there's a case that Coleridge's output is pretty slight. What his reputation rest on is The Rime of the Ancient Mariner, Kubla Khan, the conversation poems, which a lot of people think are kind of plagiarised Wordsworth, at least in their style and tone, and then maybe not much else. Does anybody particularly read Cristabel and get much out of it nowadays? Dejection an Ode people like: it's never done an awful lot for me, so I sort of, in my personal Pantheon Coleridge is at the top and he's such an immensely sympathetic personality as well and such a curious person. But I think he's a little slight, and there's probably nothing in Coleridge that can match that gorgeous passage of Keats that you read. I think.Henry: Yeah, that's probably true. He's got more ideas, I guess. I don't think it matters that he's slight. Robert Frost said something about his ambition had been to lodge five or six poems in the English language, and if he'd done that, he would've achieved greatness. And obviously Frost very much did do that and is probably the most quotable and well-known poet. But I think Coleridge easily meets those criteria with the poems you described. And if all we had was the Rime of the Ancient Mariner, I would think it to be like Tom O' Bedlam, like the Elegy in a Country Churchyard, one of those great, great, great poems that on its own terms, deserves to be on this list.James: Yeah, and I guess another point in his favour is a great poet is they're all pretty unalike. I think if given Rime of the Ancient Mariner, a conversation poem and Kubla Khan and said, guess whether these are three separate poets or the same guy, you would say, oh, there's a totally different poems. They're three different people. One's a kind of creepy gothic horror ballad. Another one is a philosophical reflection. Another is the sort of Mad Opium dream. I mean, Kubla Khan is just without a doubt, one of the top handful of purposes in English language, I think.Henry: Oh yeah, yeah. And it has that quality of the Elegy in a Country Churchyard that so many of the lines are so quotable in the sense that they could be, in the case of the Elegy in a Country Churchyard, a lot of novels did get their titles from it. I think it was James Lees Milne. Every volume of his diaries, which there are obviously quite a few, had its title from Kubla Khan. Ancient as the Hills and so on. It's one of those poems. It just provides us with so much wonderful language in the space of what a page.James: Sort of goes all over the place. Romantic chasms, Abyssinian made with dulcimer, icy pleasure dome with caves of ice. It just such a—it's so mysterious. I mean, there's nothing else remotely like it at all in English literature that I can think of, and its kind strangeness and virtuosity. I really love that poem.Henry: Now, should we say a word for Shelly? Because everyone knows Ozymandias, which is one of those internet poems that goes around a lot, but I don't know how well known the rest of his body of work is beyond that. I fell in love with him when I read a very short lyric called “To—” Music, when soft voices die,Vibrates in the memory—Odours, when sweet violets sicken,Live within the sense they quicken.Rose leaves, when the rose is dead,Are heaped for the belovèd's bed;And so thy thoughts, when thou art gone,Love itself shall slumber on.I found that to be one of those poems that was once read and immediately memorised. But he has this very, again, broad body of work. He can write about philosophical ideas, he can write about moods, he can write narrative. He wrote Julian and Maddalo, which is a dialogue poem about visiting a madman and taking sympathy with him and asking the question, who's really mad here? Very Swiftian question. He can write about the sublime in Mont Blanc. I mean, he has got huge intellectual power along with the beauty. He's what people want Tennyson to be, I guess.James: Yeah. Or what people think Byron might be. I think Shelly is great. I don't quite get that Byron is so much more famous. Shelly has just a dramatic and, well, maybe not quite just as, but an incredibly dramatic and exciting life to go along with it,Henry: I think some of the short lyrics from Byron have got much more purchase in day-to-day life, like She Walks in Beauty.James: Yeah. I think you have to maybe get Shelly a little more length, don't you? I mean, even there's something like Ode to the West Wind is you have to take the whole thing to love it, perhaps.Henry: Yes. And again, I think he's a bit like George Herbert. He's always thinking you really have to pay attention and think with him. Whereas Byron has got lots of lines you can copy out and give to a girl that you like on the bus or something.James: Yes. No, that's true.Henry: I don't mean that in quite as rude a way as it sounds. I do think that's a good thing. But Shelly's, I think, much more of a thinker, and I agree with you Childe Harold and so forth. It's all crashing bore. I might to try it again, but awful.James: I don't want move past Coledridge without inflicting little Coledridge on you. Can I?Henry: Oh, yes. No, sorry. We didn't read Coledridge, right?James: Are just, I mean, what to read from Coledridge? I mean, I could read the whole of Kubla Khan, but that would be maybe a bit boring. I mean, again, these are pretty famous and obvious lines from Frost at Midnight, which is Coledridge sitting up late at night in his cottage with his baby in its cradle, and he sort of addressing it and thinking about it. And I just think these lines are so, well, everything we've said about Coledridge, philosophical, thoughtful, beautiful, in a sort of totally knockout, undeniable way. So it goes, he's talking to his young son, I think. My babe so beautiful! it thrills my heartWith tender gladness, thus to look at thee,And think that thou shalt learn far other lore,And in far other scenes! For I was rearedIn the great city, pent 'mid cloisters dim,And saw nought lovely but the sky and stars.But thou, my babe! shalt wander like a breezeBy lakes and sandy shores, beneath the cragsOf ancient mountain, and beneath the clouds,Which image in their bulk both lakes and shoresAnd mountain crags: so shalt thou see and hearThe lovely shapes and sounds intelligibleOf that eternal language, which thy GodUtters, who from eternity doth teachHimself in all, and all things in himself.Which is just—what aren't those lines of poetry doing? And with such kind of confidence, the way you get from talking to your baby and its cradle about what kind of upbringing you hope it will have to those flashes of, I mean quite Wordsworthian beauty, and then the sort of philosophical tone at the end. It's just such a stunning, lovely poem. Yeah, I love it.Henry: Now we both got Yeats and Hopkins. And Hopkins I think is really, really a tremendous poet, but neither of us has put Browning, which a lot of other people maybe would. Can we have a go at Browning for a minute? Can we leave him in shreds? James: Oh God. I mean, you're going to be a better advocate of Browning than I am. I've never—Henry: Don't advocate for him. No, no, no.James: We we're sticking him out.Henry: We're sticking him.James: I wonder if I even feel qualified to do that. I mean, I read quite a bit of Browning at university, found it hard to get on with sometimes. I think I found a little affected and pretentious about him and a little kind of needlessly difficult in a sort of off-puttingly Victorian way. But then I was reading, I reviewed a couple of years ago, John Carey has an excellent introduction to English poetry. I think it's called A Little History of Poetry in which he described Browning's incredibly long poem, The Ring in the Book as one of the all time wonders of verbal art. This thing is, I think it's like 700 or 800 pages long poem in the Penguin edition, which has always given me pause for thought and made me think that I've dismissed Browning out of hand because if John Carey's telling me that, then I must be wrong.But I think I have had very little pleasure out of Browning, and I mean by the end of the 19th century, there was a bit of a sort of Victorian cult of Browning, which I think was influential. And people liked him because he was a living celebrity who'd been anointed as a great poet, and people liked to go and worship at his feet and stuff. I do kind of wonder whether he's lasted, I don't think many people read him for pleasure, and I wonder if that maybe tells its own story. What's your case against Browning?Henry: No, much the same. I think he's very accomplished and very, he probably, he deserves a place on the list, but I can't enjoy him and I don't really know why. But to me, he's very clever and very good, but as you say, a bit dull.James: Yeah, I totally agree. I'm willing. It must be our failing, I'm sure. Yeah, no, I'm sure. I'm willing to believe they're all, if this podcast is listened to by scholars of Victorian poetry, they're cringing and holding their head in their hands at this—Henry: They've turned off already. Well, if you read The Ring and the Book, you can come back on and tell us about it.James: Oh God, yeah. I mean, in about 20 years time.Henry: I think we both have Auden, but you said something you said, “does Auden have an edge of fraudulence?”James: Yeah, I mean, again, I feel like I'm being really rude about a lot of poets that I really love. I don't really know why doesn't think, realising that people consider to be a little bit weak makes you appreciate their best stuff even more I guess. I mean, it's hard to make that argument without reading a bit of Auden. I wonder what bit gets it across. I haven't gotten any ready. What would you say about Auden?Henry: I love Auden. I think he was the best poet of the 20th century maybe. I mean, I have to sort of begrudgingly accept T.S. Eliot beside, I think he can do everything from, he can do songs, light lyrics, comic verse, he can do occasional poetry, obituaries. He was a political poet. He wrote in every form, I think almost literally that might be true. Every type of stanza, different lines. He was just structurally remarkable. I suspect he'll end up a bit like Pope once the culture has tur

In this episode of The Watchung Booksellers Podcast, poets Alicia Cook and Deborah Garrison share how poetry fosters connection and their own work. Plus, at the end of the episode, listen to some of the poetry readings from our special Valentine's Day Pop-Up Poetry Booth in The Kids' Room. Deborah Garrison began her career at the The New Yorker, where she worked for fifteen years and where her poetry first began appearing in the late 80s. She is the author of the bestselling poetry collection A Working Girl Can't Win, published in 1998, and joined book publishing herself in 2000, as the Poetry Editor of Alfred A. Knopf and a Senior Editor at Pantheon Books. Now editorial director of Knopf poetry, Deb also enjoys working with writers of literary fiction and biography. She is a proud Montclairian and raised her three kids here in town; their childhood and the experience of mothering them is the subject of many of the poems in her book The Second Child. Her poems have also appeared in a number of anthologies, including Garrison Keillor's Good Poems series and Caroline Kennedy's She Walks in Beauty: A Womans's Journey Through Poems.Alicia Cook is a multi-award-winning writer and mental health and addiction awareness advocate based in Newark, New Jersey. Her writing often focuses on addiction, mental health, and grief – sometimes all at once. She is the poet behind Stuff I've Been Feeling Lately, I Hope My Voice Doesn't Skip, Sorry I Haven't Texted You Back, and last year's The Music Was Just Getting Good. Her work has also been published in numerous anthologies and outlets including The New York Times. She received an MBA from Saint Peter's University and a bachelor's degree in English Literature from Georgian Court University, where she currently serves on the Board of Trustees. Alica has shared her work multiple times at Watchung Booksellers and we are excited to welcome her to the podcast.Resources:American Guild of Musical ArtistsSeptember 1, 1939 by W. H. AudenMosab TohaBooks:A full list of the books and authors mentioned in this episode is available here. Register for Upcoming Events.The Watchung Booksellers Podcast is produced by Kathryn Counsell and Marni Jessup and is recorded at Watchung Booksellers in Montclair, NJ. The show is edited by Kathryn Counsell. Original music is composed and performed by Violet Mujica. Art & design and social media by Evelyn Moulton. Research and show notes by Caroline Shurtleff. Thanks to all the staff at Watchung Booksellers and The Kids' Room! If you liked our episode please like, follow, and share! Stay in touch!Email: wbpodcast@watchungbooksellers.comSocial: @watchungbooksellersSign up for our newsletter to get the latest on our shows, events, and book recommendations!

Entretien sur les débuts du festival en 1997 avec Sophie Rosemont, journaliste et réalisatrice, autrice de Girls Rock, un livre qui raconte les destins croisés de femmes rockeuses devenues mythiques. Avec elle, nous évoquons la création du festival tout en dressant un état des lieux de la place des femmes dans la musique à la fin des années 90. Un podcast produit par Les Femmes S'En Mêlent et réalisé par Inbar dans le studio d'enregistrement de La Gaîté Lyrique et écrit par Stéphane Amiel. Directrice de création et voi off : Marine Rivollet Montage, Sound Design et Mixage : Valentin Lavoillotte Remerciements particuliers aux personnes ayant témoigné Nathalie Ridard (Directrice de promotion et fondatrice d'Ephélide), Perrine Leydier (Ancienne collaboratrice Les Femmes S'en Mêlent et indépendante ​​CAE Clara et Clarabis), Suzanne Combo (Directrice et co-fondatrice La GAM & Artiste et musicienne du groupe Pravda), Stephy La Fouache (Manageuse de Mensch, Vale Poher, Helluvah, Larsovitch), Silly Boy Blue (Artiste et musicienne), Nicolas d'Aprigny (Directeur/Programmateur du Normandy à Saint-Lô), Brisa Roché (Artiste et musicienne), Yannick Martin (Programmateur à la Carène à Brest), Vale Poher (Artiste et musicienne). Archives : Shannon Wright : Enregistrement live au Café de la Danse en 2002. Elysian Fields : Performance au Café de la Danse en 2002. Gore Gore Girls : Concert à la Maroquinerie en 2008. The Slits : Concert du 26 avril 2007 à la Maroquinerie, Paris, dans le cadre du festival Les Femmes S'en Mêlent. Robots in Disguise : Live à la Maroquinerie en 2008. Musiques : Sonic Youth – "Kool Thing" : Extrait de l'album Goo sorti en 1990. Sister Rosetta Tharpe – "Didn't It Rain" : Enregistrement live de 1964. Holden – "Sur le pavé" : Titre de l'album Chevrotine sorti en 2006. Björk – "Bachelorette" : Extrait de l'album Homogenic sorti en 1997. Kim Gordon – "Bye Bye" : Titre de l'album No Home Record sorti en 2019. Hole – "She Walks on Me" : Extrait de l'album Live Through This sorti en 1994. Hole – "Rock Star" : Titre de l'album Live Through This sorti en 1994. Portishead – "Roads" : Extrait de l'album Dummy sorti en 1994. Fiona Apple – "Criminal" : Titre de l'album Tidal sorti en 1996. Hazy – "Dreamer" : Morceau libre de droits. Godie and the Gingerbeads – 1962. The Slits – "Typical Girls" : Extrait de l'album Cut sorti en 1979. Dum Dum Girls – "Bedroom Eyes" : Titre de l'album Only in Dreams sorti en 2011. Courtney Barnett – "Avant Gardener" : Extrait de l'EP The Double EP: A Sea of Split Peas sorti en 2013. Kely Boys – "Cœur Néon" : 2001. Peaches – "The Pain Away" : Extrait de l'album I Feel Cream sorti en 2009.

This week, scholar Marilyn Sanders Mobley visits the AWM to discuss her book Toni Morrison and the Geopoetics of Place, Race, and Be/longing, which Henry Louis Gates, Jr. calls a "powerful and learned meditation, and one that deserves a prominent place in the field of Morrison studies." Mobley is joined in conversation by poet Parneshia Jones. This conversation originally took place October 15, 2024 and was recorded live at the American Writers Museum.AWM PODCAST NETWORK HOMEMore about Toni Morrison and the Geopoetics of Place, Race, and Be/longing:Toni Morrison's readers and critics typically focus more on the “what” than the “how” of her writing. In Toni Morrison and the Geopoetics of Place, Race, and Be/longing, Marilyn Sanders Mobley analyzes Morrison's expressed narrative intention of providing “spaces for the reader” to help us understand the narrative strategies in her work.Mobley's approach is as interdisciplinary, intersectional, nuanced, and complex as Morrison's. She combines textual analysis with a study of Morrison's cultural politics and narrative poetics and describes how Morrison engages with both history and the present political moment.Informed by research in geocriticism, spatial literary studies, African American literary studies, and Black feminist studies at the intersection of poetics and cultural politics, Mobley identifies four narrative strategies that illuminate how Morrison creates such spaces in her fiction; what these spaces say about her understanding of place, race, and belonging; and how they constitute a way to read and re-read her work.MARILYN SANDERS MOBLEY is Emerita Professor of English and African American Studies at Case Western Reserve University in Cleveland, Ohio. She is the author of Folk Roots and Mythic Wings in Sarah Orne Jewett and Toni Morrison: The Cultural Function of Narrative and a spiritual memoir, The Strawberry Room, and Other Places Where a Woman Finds Herself.PARNESHIA JONES studied creative writing at Chicago State University and earned an MFA from Spalding University. Her first book Vessel (2015) was the winner of the Midwest Book Award and featured in O, The Oprah Magazine as one of 12 poetry books to savor for National Poetry Month. Her poems have been published in anthologies such as The Ringing Ear: Black Poets Lean South (2007), Poetry Speaks Who I Am (2010), and She Walks in Beauty: A Woman's Journey Through Poems (2011), edited by Caroline Kennedy. Jones serves on the boards of Cave Canem and the Guild Complex and the advisory board for UniVerse: A United Nations of Poetry. She is the director of Northwestern University Press.

Who knew that Collins wrote his doctoral dissertation on the romantic poets?? Tune in to hear Kimberly break down the Romantic Movement and Byron's "She Walks in Beauty"--all in preparation to more fully appreciate our nation's "most popular poet"!

100 Episodes! We've been through a lot together.  To celebrate, I compiled some audio mail I've received into another poetry reading episode. If you enjoy it, send me a poem why dontcha!  Pamela reads "Crooked" by G.K. Chesterton Carrie reads "She Walks in Beauty" by Lord Byron Melinda reads "Doors opening, closing on us" by Marge Piercy    Thank you to all who have listened and contributed to this poetry endeavor!   

The panel reads five poems from Hebrew Melodies, a cycle of poems by Lord Byron originally set to music by Isaac Nathan, including one of Byron's most-anthologised works, "She Walks in Beauty," and a companion piece to "The Destruction of Sennacherib".Continue reading

I invite my new friend Jim McCarty back on The Next Room. Jim just released a beautiful song called "Breath of Wind" written for his wife Lizzie who transitioned three years ago. His book "She Walks in Beauty" is also available through Amazon. Born James Stanley McCarty is an English musician, best known as the drummer for The Yardbirds and Renaissance. Following Chris Dreja's departure from the Yardbirds in 2013, McCarty became the only member of the band to feature in every lineup. McCarty has performed and recorded with the Yardbirds, Together, Renaissance, Shoot, Illusion, the Yardbirds reunion band Box of Frogs, Stairway, the British Invasion All-Stars, and Pilgrim, as well as under his own name and as the Jim McCarty Band. Since 1992 he has been playing with the reformed Yardbirds. Mr. McCarty was inducted into the Rock and Roll Hall of Fame as a founding member of The Yardbirds. Get the book She Walks in Beauty by Jim McCarty Get the song Breath of Wind by Jim McCarty Find out more about Jane Asher and The Next Room Find Jane's book and books from other MindBodySpirit.fm podcast hosts in the online store Learn more about your ad choices. Visit megaphone.fm/adchoices

If you've ever had an interest in the paranormal, spirituality in general, or wondered if there's life after death, if our consciousness does not end when our bodies do; if you've ever lost someone dear to you, felt the weight of grief, ached to connect with that person again and asked yourself . . . is there a chance—any chance at all—that I could reconnect with my loved one: What would you do to find out? How open would you be to embarking on a quest for the bigger picture? Yardbirds drummer and Rock and Roll Hall of Famer Jim McCarty made such a quest and wrote about it in his 2021 book ‘She Walks in Beauty', a fascinating account of his endearing and enduring relationship with his beloved late wife, Lizzie, and his lifelong interest in the paranormal. He continues those themes in his brand new song, “Breath of the Wind,” from The Yardbirds' UK label, Demon Music. Join us for a candid, poignant discussion about the personal and spiritual dimensions of Jim's life and his relationship with Lizzie—before and after her death of cancer in 2020. I also invite you to listen to my first interview with Jim wherever you get your podcasts or watch the video version on YouTube (links below). In that interview, we explore his upbringing and musical development and his incredible musical career, including his tenure with The Yardbirds and beyond.    EPISODE PLAYLIST: All songs by Jim McCarty “Mountain Song”—played on episode intro and all transitions except where “Breath of the Wind” is referenced “Breath of the Wind”—played on two transitions, in the outro, and a longer clip near the middle of the episode “Walking in the Wild Land” “Changing Times” “Soft in a Hard Place” “Charmed”    LINKS: Leave a rating and comment for Rock is Lit on Goodpods: https://goodpods.com/podcasts/rock-is-lit-212451 Leave a rating and comment for Rock is Lit on Apple Podcasts: https://podcasts.apple.com/us/podcast/rock-is-lit/id1642987350 Jim McCarty's website: http://www.jamesmccarty.com/ Jim McCarty's new song “Breath of the Wind”: https://jimmcarty.lnk.to/wind?fbclid=IwAR0WiPW3STBvLZ_GInH8MadOwEaRFao9MU0OcOYyumlrqX2QtIA61u6ql2s Jim's 2018 album ‘Walking in the Wild Land' on Spotify: https://open.spotify.com/artist/3Ic5T5ATtPPT4M4BxryUYi Jim's 2018 album ‘Walking in the Wild Land' on Pandora: https://www.pandora.com/artist/jim-mccarty/walking-in-the-wild-land/ALl3KgfJZ4ltgbw *Purchase Jim's books and albums at his website *All of Jim's social media links can be found on his website Listen to my first interview with Jim on YouTube: https://www.youtube.com/watch?v=ngxA8cH3_t4&t=211s Listen to my first interview with Jim on Apple Podcasts: https://podcasts.apple.com/us/podcast/yardbirds-drummer-rock-and-roll-hall-of-fame/id1642987350?i=1000611052496 Christy Alexander Hallberg's website: https://www.christyalexanderhallberg.com  Christy Alexander Hallberg on Twitter, Instagram, YouTube: @ChristyHallberg Learn more about your ad choices. Visit megaphone.fm/adchoices

If you've ever had an interest in the paranormal, spirituality in general, or wondered if there's life after death, if our consciousness does not end when our bodies do; if you've ever lost someone dear to you, felt the weight of grief, ached to connect with that person again and asked yourself . . . is there a chance—any chance at all—that I could reconnect with my loved one: What would you do to find out? How open would you be to embarking on a quest for the bigger picture? Yardbirds drummer and Rock and Roll Hall of Famer Jim McCarty made such a quest and wrote about it in his 2021 book ‘She Walks in Beauty', a fascinating account of his endearing and enduring relationship with his beloved late wife, Lizzie, and his lifelong interest in the paranormal. He continues those themes in his brand new song, “Breath of the Wind,” from The Yardbirds' UK label, Demon Music. Join us for a candid, poignant discussion about the personal and spiritual dimensions of Jim's life and his relationship with Lizzie—before and after her death of cancer in 2020. I also invite you to listen to my first interview with Jim wherever you get your podcasts or watch the video version on YouTube (links below). In that interview, we explore his upbringing and musical development and his incredible musical career, including his tenure with The Yardbirds and beyond.    EPISODE PLAYLIST: All songs by Jim McCarty “Mountain Song”—played on episode intro and all transitions except where “Breath of the Wind” is referenced “Breath of the Wind”—played on two transitions, in the outro, and a longer clip near the middle of the episode “Walking in the Wild Land” “Changing Times” “Soft in a Hard Place” “Charmed”    LINKS: Leave a rating and comment for Rock is Lit on Goodpods: https://goodpods.com/podcasts/rock-is-lit-212451 Leave a rating and comment for Rock is Lit on Apple Podcasts: https://podcasts.apple.com/us/podcast/rock-is-lit/id1642987350 Jim McCarty's website: http://www.jamesmccarty.com/ Jim McCarty's new song “Breath of the Wind”: https://jimmcarty.lnk.to/wind?fbclid=IwAR0WiPW3STBvLZ_GInH8MadOwEaRFao9MU0OcOYyumlrqX2QtIA61u6ql2s Jim's 2018 album ‘Walking in the Wild Land' on Spotify: https://open.spotify.com/artist/3Ic5T5ATtPPT4M4BxryUYi Jim's 2018 album ‘Walking in the Wild Land' on Pandora: https://www.pandora.com/artist/jim-mccarty/walking-in-the-wild-land/ALl3KgfJZ4ltgbw *Purchase Jim's books and albums at his website *All of Jim's social media links can be found on his website Listen to my first interview with Jim on YouTube: https://www.youtube.com/watch?v=ngxA8cH3_t4&t=211s Listen to my first interview with Jim on Apple Podcasts: https://podcasts.apple.com/us/podcast/yardbirds-drummer-rock-and-roll-hall-of-fame/id1642987350?i=1000611052496 Christy Alexander Hallberg's website: https://www.christyalexanderhallberg.com  Christy Alexander Hallberg on Twitter, Instagram, YouTube: @ChristyHallberg Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Season 5, Episode 8 covering chapters 32-36 of “A Court of Silver Flames”  by Sarah J. Maas. Please note that this episode is NOT for little ears and contains potential triggers due to the nature of the chapter topics. For more info about your hosts, or to reach out to us with your fan-cast and playlist suggestions, you can follow us on Facebook (https://www.facebook.com/MaasiveFansBookClubandPodcast), Twitter (https://twitter.com/MaasivePodcast), Instagram (https://www.instagram.com/maasivefanspodcast/), Pinterest (https://www.pinterest.com/maasivefans), and TikTok (https://www.tiktok.com/@MaasiveFanPod), or visit our website (https://www.maasivefansbookclub.com). Join the Maas-ive Fans Book Club Discord Server here: https://discord.gg/sNCfaBvutc Read Kelsey's fan fic on Wattpad here: https://www.wattpad.com/user/kelseyreadnwrite This episode's song list: She Walks in Beauty - The Medieval Babes Swim Like Mom - Babyfat Jump at the Sun - Brollywacker The Jabberwocky - The Medieval Babes Legends Never Die - League of Legends, Against the Current Mo Ghile Mear - The Chieftains, Sting Brian Boru's March - The Chieftains Dead in the Water - SPELLES Monsters - Ruelle Ambush - Arcane League of Legends Rise to the Surface - Arcane League of Legends

This week, Onsi, Colin, and Rhys answer YOUR questions! They talk about Onsi's problem with C.S. Lewis, working in a Catholic college, a curriculum for the classics, Protestant and Thomism, whether modernity exists, and why they've remained silent on the topic of fairies.NOTE: most books below are linked via Bookshop.org. Any purchases you make via these links give The Davenant Institute a 10% commission, and support local bookshops against chainstores/Amazon.Currently ReadingOnsi: The Book of Khalid by Ameen Rihani Colin: "She Walks in Beauty" by Lord Byron Rhys: First Person Singular by Haruki Murakami Texts DiscussedThe Iliad and the Odyssey by HomerTheogony and Works and Days by HesiodMeditations by Marcus AureliusLives by PlutarchEnduring Divine Absence by Joseph MinichBulwarks of Unbelief by Joseph MinichThe Discarded Image by C.S. LewisThe Myth of Disecnhantment by Jason Josephson-StormSpotlightItaly's Forgotten Reformation (Register by Wednesday 24th May!)

EP 49 DuEwa interviewed Ellen Hagan. Ellen discussed her writing life and her books including her forthcoming book, All That Shines. Visit www.ellenhagan.com. Visit DuEwa's website at ⁠www.duewafrazier.com⁠. INSTAGRAM @nerdacitypodcast TWITTER @nerdacitypod1 FACEBOOK Nerdacity Podcast with DuEwa Subscribe, Rate & Support Nerdacity with DuEwa at Apple Podcasts, Spotify, YouTube.com/DuEwaWorld.com, iHeart Radio, Amazon or itunes Music, Podcast Addict, Radio FM, and more! ⁠PayPal.me/DuEwaWorld⁠ 

Hosts Jim DeRogatis and Greg Kot highlight new music that listeners may have missed: musical buried treasures. They're joined by their production staff as well. They also pay tribute to music industry legend Seymour Stein and hear feedback from listeners. Join our Facebook Group: https://bit.ly/3sivr9T Become a member on Patreon: https://bit.ly/3slWZvc Sign up for our newsletter: https://bit.ly/3eEvRnG Make a donation via PayPal: https://bit.ly/3dmt9lU Send us a Voice Memo: Desktop: bit.ly/2RyD5Ah  Mobile: sayhi.chat/soundops Featured Songs: Kate Fagan, "I Don't Wanna Be Too Cool," I Don't Wanna Be Too Cool, Captured, 2023 Sunny War, "No Reason," Anarchist Gospel, New West, 2023 Man's Body, "Dark Horse Matter," Dark Horse Matter (Single), Sofa Hablando Music/Heyday Media Group, 2023 Miko Marks and The Resurrectors, "Trouble," Feel Like Going Home, Redtone, 2022 Jen Cloher, "My Witch," I Am the River, the River Is Me, Milk!, 2023 Flycatcher, "Always Selfish," Stunt, Memory, 2023 Jim Legxacy, "Old Place," Old Place (Single), !, 2023 Jenn Howard, "Better Than You Think," Valiant Women, self-released, 2023 Kevin Atwater, "star tripping," star tripping (Single), self-released, 2022 Carol Ades, "Sunny Disposition," Sadtown USA - EP, C-Penn, 2022 Buster Williams, "The Wisdom of Silence," Unalome, Smoke Sessions, 2023 Gina Birch, "I Play My Bass Loud," I Play My Bass Loud, Third Man, 2023 Mariee Siou, "Snake Hoop," Circle of Signs, self-released, 2023 Belle and Sebastian, "Seymour Stein," The Boy with the Arab Strap, Matador, 1998 Poster Children, "She Walks," Flower Plower, Frontier, 1991 Jai Paul, "BTSTU," Leak 04-13 (Bait Ones), XL, 2011 The Specials, "Gangsters," (Single), 2-Tone, 1979 Cavetown, "Worm Food," Worm Food, Sire, 2022 Eleventh Dream Day, "Among The Pines," Prairie School Freakout, Amoeba, 1988Support The Show: https://www.patreon.com/soundopinionsSee omnystudio.com/listener for privacy information.

This is a reading of a Lord Byron poem, She Walks in Beauty: She walks in beauty, like the night Of cloudless climes and starry skies; And all that's best of dark and bright Meet in her aspect and her eyes; Thus mellowed to that tender light Which heaven to gaudy day denies. One shade the more, one ray the less, Had half impaired the nameless grace Which waves in every raven tress, Or softly lightens o'er her face; Where thoughts serenely sweet express, How pure, how dear their dwelling-place. And on that cheek, and o'er that brow, So soft, so calm, yet eloquent, The smiles that win, the tints that glow, But tell of days in goodness spent, A mind at peace with all below, A heart whose love is innocent! Poem by: Lord Byron Read by: Momus Najmi Music: The Beat of Nature by Olexy via Pixaby

Poster Children have been going strong for nearly 35 years. Hosts Jim DeRogatis and Greg Kot talk with co-founders Rose Marshack and Rick Valentin about Marshack's memoir, "Play Like A Man." Plus Jim and Greg review new albums from Iris DeMent and Screaming Females.    Join our Facebook Group: https://bit.ly/3sivr9T Become a member on Patreon: https://bit.ly/3slWZvc Sign up for our newsletter: https://bit.ly/3eEvRnG Make a donation via PayPal: https://bit.ly/3dmt9lU Send us a Voice Memo: Desktop: bit.ly/2RyD5Ah  Mobile: sayhi.chat/soundops   Featured Songs: Poster Children, "She Walks," Flower Plower, Limited Potential, 1989The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Capitol, 1967Iris DeMent, "Workin' On A World," Workin' On A World, Flariella, 2023Iris DeMent, "The Sacred Now," Workin' On A World, Flariella, 2023Iris DeMent, "Mahalia," Workin' On A World, Flariella, 2023Iris DeMent, "Goin' Down To Sing In Texas," Workin' On A World, Flariella, 2023Iris DeMent, "Let Me Be Your Jesus," Workin' On A World, Flariella, 2023Screaming Females, "Brass Bell," Desire Pathway, Don Giovanni, 2023Screaming Females, "Let You Go," Desire Pathway, Don Giovanni, 2023Screaming Females, "Mourning Dove," Desire Pathway, Don Giovanni, 2023Poster Children, "Now Its Gone," No More Songs About Sleep And Fire, Hidden Agenda, 2004Poster Children, "He's My Star," Junior Citizen, Sire, 1995De La Soul, "Me, Myself and I," 3 Feet High and Rising, Tommy Boy, 1989Support The Show: https://www.patreon.com/soundopinionsSee omnystudio.com/listener for privacy information.

For more than 60 years, John Cale has continued to make exciting, challenging and culturally relevant music, including his most recent release, Mercy. Hosts Jim DeRogatis and Greg Kot talk with the Velvet Underground legend about his new music, collaborations and legacy. Plus, the hosts share some of their favorite spy songs and bid farewell to jazz saxophonist Wayne Shorter.   Join our Facebook Group: https://bit.ly/3sivr9T Become a member on Patreon: https://bit.ly/3slWZvc Sign up for our newsletter: https://bit.ly/3eEvRnG Make a donation via PayPal: https://bit.ly/3dmt9lU Send us a Voice Memo: Desktop: bit.ly/2RyD5Ah  Mobile: sayhi.chat/soundops   Featured Songs: John Cale, "STORY OF BLOOD feat. Weyes Blood," Mercy, Double Six, 2023The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Capitol, 1967John Cale, "EVERLASTING DAYS feat. Animal Collective," Mercy, Double Six, 2023John Cale, "MARILYN MONROE'S LEGS (beauty elsewhere) feat. Actress," Mercy, Double Six, 2023John Cale, "TIME STANDS STILL feat. Sylvan Esso," Mercy, Double Six, 2023John Cale, "NIGHT CRAWLING," Mercy, Double Six, 2023John Cale, "MOONSTRUCK (Nico's Song)," Mercy, Double Six, 2023The Velvet Underground and Nico, "Femme Fatale," The Velvet Underground & Nico, Verve, 1967The Velvet Underground and Nico, "I'm Waiting for the Man," The Velvet Underground & Nico, Verve, 1967John Cale, "Dying On the Vine (Fragments)," Artificial Intelligence, PVC, 1985John Cale, "MERCY," Mercy, Double Six, 2023Johnny Rivers, "Secret Agent Man," ...And I Know You Wanna Dance, Imperial, 1966Tony Allen, "Secret Agent," Secret Agent, World Circuit, 2009The Fugs, "CIA Man," Virgin Fugs, ESP-Disk, 1967Gene Vincent, "Private Detective (feat. The Shouts)," Private Detective (feat. The Shouts) (Single), Columbia, 1964Rockwell, "Somebody's Watching Me," Somebody's Watching Me, Motown, 1984The Untouchables, "I Spy (For the F.B.I.)," Wild Child, MCA, 1985Lori & The Chameleons, "The Lonely Spy," To the Shores of Lake Placid, Zoo, 1982Desmond Dekker & the Aces, "007 (Shanty Town)," Action!, Lagoon, 1968The dB's, "A Spy In the House of Love," Like This, Bearsville, 1984Big Boys, "Detectives," The Skinny Elvis, Touch and Go, 1993Steely Dan & Tom Scott, "Aja," Aja, ABC, 1977Wayne Shorter, "Speak No Evil," Speak No Evil, Blue Note, 1966Poster Children, "She Walks," Flower Plower, Limited Potential, 1989Support The Show: https://www.patreon.com/soundopinionsSee omnystudio.com/listener for privacy information.

Legendary singer-songwriter Marianne Faithfull opens up about surviving COVID-19 and recording a new album of classic romantic poems, titled She Walks in Beauty. After hustling for 11 years, Lainey Wilson talks about her acclaimed new record Bell Bottom Country and why it's funny to be called an "overnight sensation." Comedian Margaret Cho discusses her role in Fire Island as a den mother to a chosen family of young gay men, plus, how she feels about becoming a role model for Asian Americans onscreen.

Legendary singer-songwriter Marianne Faithfull opens up about surviving COVID-19 and recording a new album of classic romantic poems, titled She Walks in Beauty. After hustling for 11 years, Lainey Wilson talks about her acclaimed new record Bell Bottom Country and why it's funny to be called an "overnight sensation." Comedian Margaret Cho discusses her role in Fire Island as a den mother to a chosen family of young gay men, plus, how she feels about becoming a role model for Asian Americans onscreen.

The book of the moment for today's episode is Mexican Gothic by Silvia Moreno-Garcia. Just a forewarning for those of you listening, this is NOT a spoiler-free zone. We will be discussing this book in all of its glory, which of course includes revealing the ending. Mexican by birth, Canadian by inclination. Silvia Moreno-Garcia is the author of a number of critically acclaimed novels, including Gods of Jade and Shadow (Sunburst Award for Excellence in Canadian Literature of the Fantastic, Ignyte Award), Mexican Gothic (Locus Award, British Fantasy Award, Pacific Northwest Book Award, Aurora Award, Goodreads Award), and Velvet Was the Night (finalist for the Los Angeles Times Book Prize and the Macavity Award). She has edited several anthologies, including She Walks in Shadows (World Fantasy Award winner, published in the USA as Cthulhu's Daughters). Silvia is the publisher of Innsmouth Free Press. Her fiction has appeared in numerous magazines and anthologies. She has an MA in Science and Technology Studies from the University of British Columbia. She lives in Vancouver, British Columbia. If you enjoyed this episode, I encourage you to leave a review on whichever platform you are listening on, if applicable. If you have any further questions regarding topics discussed throughout the episode feel free to join our Hardcover Hoes Discord Server via the link in the show notes, or send us an email at hardcoverhoespod@gmail.com. Feel free to recommend books to cover in future episodes as well! Discord Server: https://discord.gg/zpvW4FyuPF TikTok, IG, Twitter: @HardcoverHoes Facebook Group: https://www.facebook.com/groups/993967071461813/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Intro/outro: The Amplified Elephants Shore from Deep Creatures GISELE, SHE WALKS, SHE FLOATS (2022) by Sooji Diimpa ‘Bunya' and ‘Moss' from Bunya (2021)  Elliptical Gamelan by Astasie-abasie‘Purple' from Swirm by Swirm (New York, Promnight records 2010)  

Screen capture of McCarty during our Zoom-based interview. Jim McCarty is one of the founding members of The Yardbirds, and he's recently published his second book, She Walks in Beauty: My Quest for the Bigger Picture. It's a journey that starts with the death of his wife Lizzie and then jumps back to earlier in his life, as he examines the various things that connect us to parts of the world that are just beyond our reach. I was hooked immediately when I began reading this book, and no doubt you will be too. There's a search for spirituality weaved among stories about his musical career with, and since, the Yardbirds, and how the two occasionally intertwined. You can order the book from this site, or you can check out all the usual outlets (but it's guaranteed to be in stock there). At any rate, because he's living in France and I'm living in Baltimore, he and I communicated via Skype. It was supposed to be Zoom, but he couldn't get it to work. Then I couldn't get it to work. So we bailed out and jumped over to Skype, where my camera wouldn't work but at least we could hear each other. I'm so glad we both persevered, because I think we had a fantastic conversation, and the date of the interview turned out to be important to both of us, for similar reasons. At one point we talk about the Krishna Das cover of "For Your Love", which I gave him a heads-up that I wanted to talk about, and it turns out that he was quite familiar with it, and a little bit more. There's a short clip in the interview but the whole thing is here, and worth a listen. It's probably in my Top Ten all-time tracks: Enjoy! Jim McCarty Official Website Yardbirds Official Website Sarcoma Foundation of America Click here to become a patron of the show.  (Sorry, no transcript for this episode.)

Lorene Roberts speaks to the inspirational Monique Toonen who is this week's Wow Love Light Inspire Podcast guest, she certainly is a woman of wisdom, Monique, who shares her struggles,  including overcoming cancer and other life experiences, and how she got through them and finally got to live her dream life as an international traveller.Have you ever felt like life almost always gives you the taste of great life but then takes it back before you even get there?  Monique felt like that so now shares her story to help others live an amazing life doing exactly what they have dreamt of.  Highlights/Timestamps:10:43 - Why is addressing primary emotions so important?24:25 - Acceptance and letting go30:35 - How was freedom for me?Tweet-able Quotes:"When you get oxygen at your primary emotion, it's when it starts to heal. You feel so much lighter, you feel a lot of weight fall off of your shoulder.""You can collect a lot of stuff. But as you know, at the end of the day, you cannot take anything with you."About the Guest:Monique is a digital nomad traveling the world with her Pomeranian Spirit, helping you Design your Dream Life in 90 Days! Focuses mainly on helping Established Business Owners Create their Dream Life while Crushing their Business with less Pressure & Effort. It's about Dream Attraction instead of chasing. She Walks her Walk, lives her dream life, and facilitates VIP Nature Retreats abroad!Connect with Monique Toonen:E-mail:Happiguru4u@gmail.com Website:https://happiguru.business.site/ Facebook: https://m.facebook.com/Monique1965ToonenTwitter: https://twitter.com/HappiGuru4U?t=YSLCQsuY2ak66AIXUez-5Q&s=09Instagram:https://instagram.com/Happi_GuruYouTube:https://youtube.com/channel/UCHpXU304F66pxeisyNQ2-CgLinkedIn:https://www.linkedin.com/in/moniquetoonenConnect with Lorene Roberts:Facebook Page: https://www.facebook.com/lovelightandinspire  Facebook Community: https://www.facebook.com/lovelightandinspire/groups  Instagram: https://www.instagram.com/loreneanneroberts/  Website: https://lovelightinspire.com/  Get a copy of my book, Crazy Stupid Love – Unlocking Life's Lessons, which is available for Kindle from Amazon.  https://www.amazon.com.au/Crazy-Stupid-Love-unlocking-lessons-ebook/dp/B00P91XFUW  If you want more content like this and to help support this podcast, you can Buy Me a Coffee by clicking the link below:https://www.buymeacoffee.com/wowlli?fbclid=IwAR1hch2v3XJ08zqmjuPled28N73L4WNYBiGmg6qbGuHaGimcv7N3_IXuy4c

On this episode of Analog Smile, Sherry speaks with Jim McCarty. Jim is best known for his musical career in the Yardbirds, Renaissance, and Box of Frogs. He has a poignant new book titled “She Walks In Beauty: My Quest For The Bigger Picture”. She Walks In Beauty is the tale of Yardbirds drummer Jim McCarty's lifelong quest to unravel the mysteries of the world that exist beyond the world in which we live. Beginning with a childhood fascination with the paranormal that only gathered strength as he grew older, this book explores the world hidden just out of reach, the shadows that are just out of sight and the certainty that there is an enduring connection between the living and the dead. Woven in and around his career as a musician, McCarty reflects upon the books and films that signposted his course, and the myriad places to which his curiosity led him, from war-time bomb-sites to public seances, from suburban English healing centers to pilgrimages to India, China and the Himalayas. He looks back at the songs he has written that chart that journey, beginning with the Yardbirds' “Happenings Ten Years Time Ago,” through to his recent solo work. He recalls the friends and musicians who have joined him on his quest, including Yardbirds vocalist Keith Relf, and Renaissance/Stairway bassist Louis Cennamo. He tells stories… so many stories… of his years in and out of music, forever searching for answers to the questions he had - and, ultimately, finding them. She Walks in Beauty is not the typical rock'n'roll autobiography. There again, Jim McCarty is not the typical rock'n'roller. They have a short and sweet chat about his book and more! Please visit jamesmccarty.com or theyardbirds.com for details.

Jim McCarty is the drummer and founding member of the Yardbirds. The Yardbirds featured three legendary guitarists: Eric Clapton, Jeff Beck and Jimmy Page. The band was inducted into the Rock & Roll Hall of Fame in 1992 and rank #89 on Rolling Stone's list of “100 Greatest Artists of All Time.”  Jim has a new book out titled “She Walks in Beauty: My Quest for the Bigger Picture.” In this interview we discuss the best Yardbirds guitarist, playing Ouija boards with Jimmy Page, Jim's bad experience with LSD, hearing Paul McCartney play him an early version of “Yesterday” and more! 00:00 - Intro00:38 - Quitting the Day Job 03:05 - Putting Out Albums Vs. Singles 05:05 - Pussycat Dolls Song & Royalties 08:30 - Recording New Music 09:20 - Best Guitarist? 11:30 - Jimmy Page & Ouija Boards 14:30 - Linked Together & Global Consciousness 18:15 - Visions Before Death & Charlie Watts 19:40 - Birds & Butterflies 21:30 - Signs, Synchronicity  & Salvador Dali 24:42 - Drugs & LSD 30:20 - Religion, Morality & Philosophy 36:30 - Success, Fame & Gratitude 37:48 - Interactions with The Beatles 40:18 - Other Memories & Touring w/ The Yardbirds 42:35 - Sarcoma Foundation 44:40 - Outro Jim McCarty website:http://www.jamesmccarty.comSarcoma Foundation of America website:https://www.curesarcoma.orgChuck Shute website:http://chuckshute.comSupport the show

Check Playlist This episode of The Five Count featured an exclusive interview with musician Jim McCarty. Jim is best known as the founder and drummer for the band The Yardbirds. He also played with bands like Renaissance, Shoot, Box of Frogs and is a member of the Rock and Roll Hall of Fame. During the show he discussed the influence The Yardbirds had on other bands, still touring with The Yardbirds after 60 years, and his new book “She Walks in Beauty: My Quest for the Bigger Picture.” Get your copy today! During the rest of the show we discussed what our ideal donuts are, Ton bragged about buying a Onewheel, and we talked a lot about old batteries. Put them in the freezer for a quick recharge! https://youtu.be/HU5zqidlxMQ

It's a show of serendipitous alignment this week on the show. Years ago, when Jane was a rock-n-roll D.J. playing Yardbirds tunes on KTYD, little did she know she would be interviewing the drummer for the band years later about the afterlife. Jane welcomes Jim McCarty on The Next Room to talk about his mystical journey on connecting with his wife Lizzie after she crossed. Jim and his friend Dave Thompson connect again to write another book, but this time it's to talk about the thread that bridges him to his beloved wife. She Walks in Beauty is beautifully written and describes his synchronistic path to unravel his search for answers about how to find Elizabeth and hear her direction from The Next Room. Learn more about your ad choices. Visit megaphone.fm/adchoices

HPR's Dave Lawrence speaks with rock pioneers The Yardbirds, and drummer Jim McCarty, about his new book "She Walks in Beauty - My Quest for the Bigger Picture." Jim is a returning guest after 2011 and 2016 appearances on the show. He shares remarkable stories about the book and The Yardbirds over two days, yesterday sharing funny tales of their first superstar guitarist, Eric Clapton, and today stories about Jeff Beck, Jimmy Page, Keith Moon and John Bonham! We also post the complete one hour interview.

HPR's Dave Lawrence speaks with rock pioneers The Yardbirds, and drummer Jim McCarty, about his new book "She Walks in Beauty - My Quest for the Bigger Picture." Jim is a returning guest after 2011 and 2016 appearances on the show. He shares remarkable stories about the book and The Yardbirds over two days, today including funny tales of their first superstar guitarist, Eric Clapton.

Canada's Drag Race star Kimora Amour discusses Season 2 of the show, her two careers in drag and nursing, and her (now-postponed) cross-country tour. Singer-songwriter BJ The Chicago Kid talks about his new EP, his recent Grammy nomination and why he's creating music on his own terms after cutting ties with Motown Records. Singer-songwriter Marianne Faithfull opens up about surviving COVID-19 and recording a new album of classic romantic poems, titled She Walks in Beauty.

Jim McCarty is a Rock & Roll Hall of Famer, inducted with his band, the legendary, ground breaking and iconic 60's group The Yardbirds! He played alongside some of the greatest guitarists of all time as the band boasted Eric Clapton, Jeff Beck and Jimmy Page among their number! Hear Jim talk about playing with these guys, plus stories of replacing the Rolling Stones, hearing a famous Beatles song in it's infancy, touring America and his new book "She Walks in Beauty."Vintage Rock Pod is proudly part of the Pantheon Podcasts family, find out more at http://pantheonpodcasts.com/

Jim McCarty is a Rock & Roll Hall of Famer, inducted with his band, the legendary, ground breaking and iconic 60's group The Yardbirds! He played alongside some of the greatest guitarists of all time as the band boasted Eric Clapton, Jeff Beck and Jimmy Page among their number! Hear Jim talk about playing with these guys, plus stories of replacing the Rolling Stones, hearing a famous Beatles song in it's infancy, touring America and his new book "She Walks in Beauty." Vintage Rock Pod is proudly part of the Pantheon Podcasts family, find out more at http://pantheonpodcasts.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Jim McCarty is a Rock & Roll Hall of Famer, inducted with his band, the legendary, ground breaking and iconic 60's group The Yardbirds! He played alongside some of the greatest guitarists of all time as the band boasted Eric Clapton, Jeff Beck and Jimmy Page among their number! Hear Jim talk about playing with these guys, plus stories of replacing the Rolling Stones, hearing a famous Beatles song in it's infancy, touring America and his new book "She Walks in Beauty."Vintage Rock Pod is proudly part of the Pantheon Podcasts family, find out more at http://pantheonpodcasts.com/

Jim McCarty is a Rock & Roll Hall of Famer, inducted with his band, the legendary, ground breaking and iconic 60's group The Yardbirds! He played alongside some of the greatest guitarists of all time as the band boasted Eric Clapton, Jeff Beck and Jimmy Page among their number! Hear Jim talk about playing with these guys, plus stories of replacing the Rolling Stones, hearing a famous Beatles song in it's infancy, touring America and his new book "She Walks in Beauty." Vintage Rock Pod is proudly part of the Pantheon Podcasts family, find out more at http://pantheonpodcasts.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

This episode of Big Blend Radio features Jim McCarty, the original drummer in the legendary Yardbirds, a musical force of nature since the halcyon days of the 1960s and still active today with Jim as the sole remaining original member. Jim, who is also an accomplished singer and songwriter having released numerous solo albums over the years, has just released the second installment of his memoirs, entitled "She Walks in Beauty," which is a follow-up to his initial autobiography, "Nobody Told Me," which was released to great acclaim in 2018. "She Walks in Beauty" continues with Jim's life journey – inside and outside of music - expanding on his storied musical career while also giving the reader a very personal and intimate look at Jim's personal lifelong quest to unravel the mysteries of the life that exists beyond the world in which we live. It's an intimate, honest, fascinating look inside the life of a rock legend whose boundless curiosity for a life often unseen and understood makes for a compelling read. More: http://www.jamesmccarty.com/

This episode of Big Blend Radio features Jim McCarty, the original drummer in the legendary Yardbirds, a musical force of nature since the halcyon days of the 1960s and still active today with Jim as the sole remaining original member. Jim, who is also an accomplished singer and songwriter having released numerous solo albums over the years, has just released the second installment of his memoirs, entitled "She Walks in Beauty," which is a follow-up to his initial autobiography, "Nobody Told Me," which was released to great acclaim in 2018."She Walks in Beauty" continues with Jim's life journey – inside and outside of music - expanding on his storied musical career while also giving the reader a very personal and intimate look at Jim's personal lifelong quest to unravel the mysteries of the life that exists beyond the world in which we live. It's an intimate, honest, fascinating look inside the life of a rock legend whose boundless curiosity for a life often unseen and understood makes for a compelling read. More: http://www.jamesmccarty.com/

Kayleigh is on the show to talk about her business She Walks NZ. Walking is a forgotten art that can bring out the best in people in the best environments. She Walks brings together a bunch of women for a day of making friends and adventuring. We talk about how walking is a great way to interact and make friends with new people, clears the mind and frees it up for new ideas to enter. It's going to inspire you to either start a business or go for a day walk yourself so tune in for a goodie.

Jim McCarty of The Yardbirds talks about the second installment of his memoirs. She Walks in Beauty continues Jim's life journey, expanding on his musical career to explore his lifelong quest to unravel the mysteries of the life that exists beyond the world in which we live. Also on The Strange Brew with Jim McCarty: QA […] The post Jim McCarty – The Yardbirds appeared first on The Strange Brew.

Concert Pipeline’s three hundred fortieth episode featuring Jim McCarty, in which we talk about the legends who passed through the band (Jimmy Page, Eric Clapton, Jeff Beck), touring with the Stones, breaking Ringo Starr’s snare drum and his new book “She Walks in Beauty.”

This week, in a short but personal conversation, Guy and Gary chat to Marianne Faithfull. Marianne has been making music for over 50 years and is part of the very fabric of British 60's culture.On the show this week she talks about her friendship with Anita Pallenberg, her relationship with the Stones, her new collection of romantic poetry ‘She Walks in Beauty' and also her recent poor health and slow recovery as a result of catching the corona virus last year. Hosted on Acast. See acast.com/privacy for more information.

Jodi Sell-Grove, the host of She Walks In Purpose, takes some time to share with listeners her why, mission, some of the themes of upcoming seasons and the scriptural foundation of the She Walks in Purpose podcast. Jodi would love to hear from you! email: hispresenceandpurpose@gmail.com Follow She Walks In Purpose - https://www.facebook.com/walkinhispurpose - @walkinhispurpose If you would like to support She Walks In Purpose, please visit https://www.unitetoknow.org/she-walks-in-purpose and give to Forged In Faith Oak Ministries and earmark your donation 'She Walks In Purpose.'

For decades, Heart's Nancy Wilson has been connecting with audiences through her masterful guitar playing and spot-on harmony vocals. Hosts Jim DeRogatis and Greg Kot talk with her about her illustrious career and her debut studio solo album. Plus, they review new records from Art d'Ecco and Marianne Faithfull. Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcMake a donation via PayPal: https://bit.ly/3dmt9lURecord a Voice Memo: https://bit.ly/2RyD5Ah Featured Songs:Heart, "Crazy On You," Dreamboat Annie, Mushroom, 1975Marianne Faithfull, "The Bridge of Sighs (with Warren Ellis)," She Walks in Beauty (with Warren Ellis), BMG, 2021Marianne Faithfull, "She Walks in Beauty (with Warren Ellis)," She Walks in Beauty (with Warren Ellis), BMG, 2021Marianne Faithfull, "Ozymandias (with Warren Ellis)," She Walks in Beauty (with Warren Ellis), BMG, 2021Billie Holiday, "Glad to Be Unhappy," Lady in Satin, Columbia, 1958Art d'Ecco, "Desires," In Standard Definition, Paper Bag, 2021Art d'Ecco, "Head Rush," In Standard Definition, Paper Bag, 2021Art d'Ecco, "I Am the Dance Floor," In Standard Definition, Paper Bag, 2021Art d'Ecco, "I Remember," In Standard Definition, Paper Bag, 2021Art d'Ecco, "In Standard Definition," In Standard Definition, Paper Bag, 2021Nancy Wilson, "You and Me," You and Me, Carry On Music, 2021Nancy Wilson, "The Rising," You and Me, Carry On Music, 2021Heart, "Magic Man," Dreamboat Annie, Mushroom, 1975Heart, "Barracuda," Little Queen, Portrait, 1977Nancy Wilson, "4 Edward," You and Me, Carry On Music, 2021Heart, "Mistral Wind," Dog & Butterfly, Portrait, 1978Heart, "Straight On," Dog & Butterfly, Portrait, 1978Heart, "Dog & Butterfly," Dog & Butterfly, Portrait, 1978Heart, "Alone," Heart, Capitol, 1985Heart, "What About Love," Heart, Capitol, 1985Heart, "These Dreams," Heart, Capitol, 1985Nancy Wilson, "We Meet Again," You and Me, Carry On Music, 2021Dorothy Moore, "Misty Blue," Misty Blue, Malaco, 1976

Í Víðsjá í dag verður meðal annars rætt við Hörð Áskelsson um tónlistarlíf í Hallgrímskirkju en Hörður lætur nú af störfum sem organisti og kantor við kirkjuna eftir tæplega fjörutíu ára starf. Einnig verður sagt frá nýrri plötu með ensku tónlistarkonunni Marianne Faithfull, platan nefnist She Walks in Beauty, þar flytur Faithful ellefu ljóð eftir rómantísk skáld 19. aldar en plötuna vann hún með ástralska tónlistarmanninum Warren Ellis sem þekktastur er fyrir samstarf sitt við Nick Cave. Arnljótur Sigurðsson heldur áfram í tónlistarhorninu Heyrandi nær að skoða tónlistarlegar rætur rafbræðingstónlistar Miles Davis, en í pistli dagsins tekur hann fyrir tónlistarkonuna Betty Davis og skoðar þau mótandi tónlistarlegu áhrif sem hún hafði á sinn þáverandi, Miles Davis. Og Snæbjörn Brynjarsson leikhúsgagnrýnandi Víðsjár fjallar í dag um leikritið Haukur og Lilja eftir Elísabetu Jökulsdóttur sem frumsýnt var í Ásmundarsal í síðustu viku.

Does the world need another podcast right now? Why, yes. It does. If you're tired of chasing society's ideas of who you ought to be, She Walks the Walk: The Podcast is for you. I'm Sam, and I'm rebelling against the status quo by walking a new path. Find out why I got off the treadmill and started a movement for women at shewalksthewalk.com. I invite you to join me.

Author : Laura Blackwell Narrator : Emily Smith Host : Alasdair Stuart Audio Producer : Chelsea Davis Discuss on Forums This story was originally published in She Walks in Shadows anthology, eds. Silvia Moreno-Garcia and Paula R. Stiles, October 2015 from Innsmouth Free Press. Prime Books issued the American edition, which is called Cthulhu's Daughters. […]