Podcasts about Strode

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

Stāsta horeogrāfe, dejotāja, baleta pedagoģe, Latvijas Kultūras akadēmijas profesore Gunta Bāliņa. 1950. gada maijā diriģenta Arvīda Jansona (1914–1984) vadībā notika pirmizrāde komponista Ādolfa Skultes (1909–2000) un horeogrāfa Jevgēņija Čangas (1920–1999) baletam “Brīvības sakta”. Mūsu baleta vēsturē tas bija pirmais paraugs, kura sižetā tika izmantoti Raiņa (1865–1929) lugas “Spēlēju dancoju” (1919) motīvi. Tiesa, pārdzīvojot daudzas un dažādas izmaiņas gan libretā un mūzikā, gan arī pašā nosaukumā, kas sākotnēji bija “Lelde” – atbilstoši Raiņa lugas galvenajai varonei, un tikai pašā pēdējā brīdī – “Brīvības sakta” – kā tautas laimes un brīvības simbols. Rezultātu gan slavēja, gan norādīja uz trūkumiem, piemēram, komponists esot pārlieku šķiedies ar izteiksmes līdzekļiem, orķestra krāsu sabiezinājumi novedot pie klausītāja uzmanības nogurdināšanas. Toties jaunajam horeogrāfam tas bija ar visaugstāko atzīmi novērtētais diplomdarbs, un arī komponists bija radījis jauna veida – simfonisko baletu. 1966. gada decembrī pirmizrādi piedzīvoja komponista Jāņa Ķepīša (1908–1989) un horeogrāfes Irēnas Strodes (1921–2013) balets “Turaidas Roze”. Šeit libreta pamatā ir Raiņa luga “Mīla stiprāka par nāvi” (1927), kas jau iepriekš bija rosinājusi komponistu Emili Melngaili (1874–1954), kura paveiktais tā arī nekad nenonāca līdz baleta skatuvei. Šīs Raiņa lugas centrā ir kopš 17. gadsimta vēl aizvien uzrunājošais un traģiskais Maijas liktenis. Maija, kura spēj pārliecināt kareivi Jakubovski, ka viņas dāvātais lakats pasargā no ievainojuma. Lai viņš ticētu lakata brīnumainajam spēkam, Maija apsien to sev un liek cirst ar zobenu. Jakubovskis notic… un Maija mirst. Irēna Strode horeogrāfiju bija veidojusi saskaņā ar klasiskā baleta kanoniem, klasiskās dejas formās ietverot gan liriskās epizodes, gan dramatiskās kolīzijas, veiksmīgi izmantojot arī pantomīmu. 2000. gadā Latvijas Nacionālā opera sagādāja skaistāko dāvanu dzejnieces un dramaturģes Aspazijas (1865–1943) 135. dzimšanas dienas gadskārtā un viņas lugas “Sidraba šķidrauts” pirmizrādes 95. gadskārtā. Komponista Jura Karlsona baletam “Sidraba šķidrauts” horeogrāfiju veidoja Kšištofs Pastors no Nīderlandes, scenogrāfiju un kostīmus – Andris Freibergs, gaismas – Deivids Hārvijs no Lielbritānijas. Tas bija simboliem un alegorijām bagāts iestudējums. Pieturoties pie lugas pamatsižeta, libreta autori bija ieviesuši jaunas epizodes un tēlus: galvenās varones Gunas nākotnes vīzijas, Nāvi ar diviem Eņģeļiem un dziedošo tēlu – Laimu. Tika paspilgtinātas tādas lugas epizodes, kā Gunas prāta aptumšošanās un viņas izšķiršanās starp dzīvību un nāvi. Komponistu un horeogrāfu fantāziju rosinājusi arī Annas Brigaderes (1861–1933) pasaku dramaturģija. 1968. gada janvārī ar “Sprīdīša” pirmizrādi aizsākās latviešu bērnu baleta vēsture. Kā pilnmetrāžas horeogrāfijas autors un iestudētājs debitēja Aleksandrs Lembergs (1921–1985). Baleta melodiskās un izteiksmīgās mūzikas autors bija Arvīds Žilinskis (1905–1993), bet māksliniecisko noformējumu veidoja Biruta Goģe (1926–2008). Skaistai un krāsainai bilžu grāmatai līdzīgā izrāde aizrāva kā bērnus, tā pieaugušos. Skatītāju lutinātais pirmais iestudējums piedzīvoja vairāk nekā 150 izrādes. [1983. gadā notika baleta atjaunojums.] Atzīmējot komponista Arvīda Žilinska 75 gadu jubileju, tika iestudēts “Lolitas brīnumputns”, kura pamatā ir viena no interesantākajām Brigaderes pasakām – par vienkāršo puisi Alni, viņa draugu Sūrmi un brīnumdaiļo princesi Lolitu. Rūdolfa Blaumaņa (1863–1908) varoņi – Kristīne, Edgars, Māte un Akmentiņš. pirmoreiz uz baleta skatuves uznāca 1979. gadā. Viencēliens “Lasot Blaumani” radās komponista Jura Karlsona un baletmeistara Aleksandra Lemberga sadarbības rezultātā. Baleta autori nekonkretizēja nedz laikmetu, nedz arī vidi, kurā risinās psiholoģiskā drāma par mīlestību, kurai nākas brist cauri pelēkajam sadzīves purvam. Uzmanība bija pievērsta galveno personu iekšējiem pārdzīvojumiem. 2018. gadā tika iestudēts komponista Jura Karlsona un horeogrāfa Aivara Leimaņa oriģinālbalets “Antonija & Silmači” pēc Blaumaņa lugas “Skroderdienas Silmačos” motīviem. Piešķirot Dejas balvu kategorijā “Klasiskās dejas iestudējums vai notikums” (2017–2018), žūrija komentēja: „Lielisks komponista veikums. Atzinīgi vērtējams skatuves noformējums, videomākslinieka darbs un kostīmi. Dejotāji ļoti organiski un aktieriski, ar baudu izdejo savas lomas.” Šo lomu atveidotāji bija Elza Leimane, Antons Freimans, Alise Prudāne, Arturs Sokolovs un daudzi citi. Ir gana daudz teiku un traģēdiju, kurām ik pa laikam pievēršas gan horeogrāfi, gan komponisti, izvēloties tēmas savai jaunradei. Arī Raiņa, Aspazijas, Brigaderes, Blaumaņa daiļrade vēl arvien var piedāvāt daudz jaunu horeogrāfisko tulkojumu latviešu baleta skatuvei.

Happy Presidents Day!!! Today returning guest Joe Testa is back for a suuuuper deep dive into Halloween H20: 20 Years Later (1998), a thrilling return to the franchise that revitalized the iconic slasher series. This is mega episode we discuss Jamie Lee Curtis's powerful comeback as Laurie Strode, the film's blend of '90s horror with classic slasher elements, and how it balances nostalgia with fresh terror. Get ready for a spooky deep dive into one of Halloween's most iconic sequels!Apple Podcast: https://podcasts.apple.com/us/podcast/wheel-of-horror/id1534102813 Spotify: https://open.spotify.com/show/3HnyAISG8Z8hvMFdSG60tE?si=9b785cf21c7f46a3 YouTube: https://www.youtube.com/@wheelofhorrorpodcast1802/videos Instagram: https://www.instagram.com/wheel_of_horror/ Twitter/X: https://twitter.com/HorrorWheel

In this week's episode of In The Circle, I'm delighted to speak with Scott Strode. Scott has been sober for over 25 years and is the Executive Director of The Phoenix, a transformational nonprofit he founded in 2006. The Phoenix is reshaping how society views addiction and recovery by harnessing the power of connection to create lasting change.The Phoenix offers free in-person and virtual programs worldwide, including yoga, climbing, music, CrossFit, art, and dance. The only cost to participate is 48 hours of sobriety. While an activity might draw someone in, Scott emphasizes that it's the supportive community of sober friendships that keeps them coming back.Today, we'll dive into how this spark of hope has helped thousands rise from addiction because the solution to the addiction crisis lives in all of us.Tommy Discusses:The role of physical activity in recoveryCommunity is the thing that keeps people on the recovery path Is medication needed in recovery?How can we give back and help someone in need? Would you like to be a guest on the In The Circle Podcast? Submit Your Question Here: R20.com/inthecircleRecovery 2.0 Spiritual Journey to IndiaVisiting India is a not-to-be-missed experience - especially for anyone interested in spirituality, yoga, meditation, and the exotic. Come immerse yourself with the Recovery 2.0 community in an unforgettable, 10-day journey to Rishikesh, India. Learn more and apply: R20.com/india2025 Further Links & ResourcesCatch a Meeting. We offer 40+ Live Online Recovery meetings every week. Come and find your community here. Meetings are always free.Want ongoing recovery insights and inspiration delivered to your inbox? Subscribe to the Weekly UPLIFTJoin our Recovery 2.0 Community: access your authentic power, connect with others on a similar path, and thrive in life beyond addictionSubscribe to The Recovery Channel on YouTubeVisit our websiteCome and experience an in-person event or retreat: r20.com/eventsAddiction is part of everyone's journey, but recovery is not. The Recovery 2.0 Membership is a place where you can explore the topics that interest you, find community, and connect with Tommy Rosen on a personal level. It's here that we'll dig into spirituality and union of the mind, body, and spirit, and transform from the inside out. You will learn and grow alongside a community of supportive, conscious, compassionate, and vibrant individuals, like you!Join us at r20.com/welcome to explore how to move beyond addiction and thrive in your life.Connect with TommyInstagramFacebook

Andrew Strode talks about his up and coming fight at BKFC on DAZN MOHEGAN SUN & More ► Click HERE http://li.sten.to/paulpickettpodcast  to subscribe to Paul Pickett Podcast https://www.youtube.com/@PaulPickettPodcast https://millions.co/paul-pickett Listen to Paul Pickett Playlists - http://li.sten.to/PaulPickettPlaylists https://linktr.ee/paulpickettplaylists Listen to Paul Ma$$on Music - li.sten.to/paulnc910 Merchandise - https://millions.co/paul-pickett Also Check out Our New Podcast Live from fayettenam Click Here To Subscribe https://www.youtube.com/channel/UC-ABEKDsjAEg9R1R4o42uJg/ Order Online Here https://emiliosbev.com/dizzle-liqueur-750ml/ https://dizzlenova.com Follow Us https://dizzlebrand.com/ https://dizzlenova.com https://www.instagram.com/thedizzlebrand/ https://www.facebook.com/DizzleBrand https://twitter.com/DizzleBrand https://www.youtube.com/channel/UCiXjkwdveA0flRLW3TujcFQ Dizzle Brand Merch - https://www.etsy.com/shop/dizzlebrand

We're back on with a couple more gentlemen that'll be back in the squared circle on October 25th in Denver Colorado. Tune in as we talk to a couple of undefeated prospects, Ramiro Figueroa and Andrew Strode! Then stay tuned as we'll talk about the massive BKFC on DAZN: Spain event happening next in Marbella Spain.

If you live in Canada, you're probably familiar with Heritage Minutes. Produced by Historica Canada, these sixty-second short films educate viewers on fascinating or little-known stories from Canada's history. Dozens of Heritage Minutes have been released since 1991, and many of them are iconic, like “Doctor Penfield, I can smell burnt toast!” and “You never know, it might be worth something someday” and especially “Both of you know I canna read a word.” The latest short film to join the pantheon of iconic Heritage Minutes tells the story of Mary Riter Hamilton, a brave Canadian painter who ventured into No Man's Land in the aftermath of World War One. She bore witness to the destruction and devastation, painted what she saw, and suffered mentally and physically as a result. The haunting Heritage Minute – which stars Megan Follows (AKA Anne Shirley) as Mary – was written and directed by a Vancouver-based dynamic duo, Hayley Gray and Elad Tzadok, whose previous Heritage Minute told the story of Paldi, one of the most successful multicultural communities in our history. In this fascinating episode, get to know this trailblazing but little-known artist from the first half of the 20th century, as well as the dynamic duo who stepped up to tell her story. Episode sponsor: Fish Flight Entertainment

"Halloween" is the most-covered franchise in the Shat The Movies catalogue, and this Spooktacular season we're bringing you "Halloween 2," courtesy of listener Rob T. So what if it this movie mostly takes place in the same small hospital? So what if Michael Myers' backstory essentially is rewritten? This sequel has more of what we loved about the original "Halloween": great boobs, quirky Haddonfield, bloody kills and an absolutely wild Dr. Loomis.  In this episode, Gene and Big D cover dental records, journalism, razor blades in candy, hot tubs, medical malpractice, forced sedation and getting shot in the eyeballs. Subscribe Now Android: https://www.shatpod.com/android Apple/iTunes: https://www.shatpod.com/apple Help Support the Podcast Contact Us: https://www.shatpod.com/contact Commission Movie: https://www.shatpod.com/support Support with Paypal: https://www.shatpod.com/paypal Support With Venmo: https://www.shatpod.com/venmo Shop Merchandise: https://www.shatpod.com/shop Theme Song - Die Hard by Guyz Nite: https://www.facebook.com/guyznite

In this HALLOWEEN SPECTACULAR we close The Grimoire Of Familiar Killers with Halloween: The Curse Of Michael Myers (1995). It's HALLOWEEN on HALLOWEEN! Thank you to all our Trick-Or-Treaters who came to the door with Halloween messages!

Jason gives you a quick overview of The Haddonfield Massacre.Read the essay here: https://historywiththeszilagyis.org/hwts262   Find us on Twitter:The Network: @BQNPodcasts The Show: @HistorySzilagyi. Chrissie: @TheGoddessLivia.  Jason: @JasonDarkElf.Send topic suggestions via Twitter or on our Facebook page History with the Szilagyis.History with the Szilagyis is supported by our patrons: PatiSusan Capuzzi-De ClerckLaura DullKris HillBetty LarsenVince LockeJoin these wonderful supporters by visiting patreon.com/historywiththeszilagyis. The BQN Podcast Collective is brought to you by our listeners. Special thanks to these patrons on Patreon whose generous contributions help to produce this podcast and the many others on our network! You can join this illustrious list by becoming a patron here: https://www.patreon.com/BQN

On a quiet street, in a quiet town in Illinois there is an urban legend about a terrifying serial killer who terrorizes its citizens. Donning a terrifying alabaster death mask and killing innocent people with glee. Is the urban legend of the Boogeyman of Haddonfield true?Support the pod:www.patreon.com/monsterfuzz Check out our merch:https://monster-fuzz.creator-spring.com Everything else!www.linktr.ee/monsterfuzzBecome a supporter of this podcast: https://www.spreaker.com/podcast/monster-fuzz--4349429/support.

ON THE MORNING of April 23, 1936, the city of Portland was proudly preparing to launch its new harbor-patrol and first-aid boat, the Jack Luihn. It was a big moment for the city. Mayor Fiorello LaGuardia of New York City was in town and had been invited to attend. Reporters were on hand, and photographers snapping pictures. And the boat's inventor was there — it was his moment of triumph. His wife stood ready with a bottle of champagne for the christening. The boat itself was a remarkably strange-looking thing. It looked almost as much like an airplane as a boat, like something out of a Buck Rogers comic. Nothing like it had ever plied the waters of Portland Harbor ... or, most likely, ever would again. THE JACK LUIHN was the brainchild of a Portland attorney, aviator, promoter, and inventor named Victor Wiegand Strode. Strode was a fascinating man. Looking over his life, his career is reminiscent of the early life of Howard Hughes — before he became insane, of course. And he really does give Thomas Slate, the Alsea-born inventor of all-metal steam-powered airships, some serious competition for the title of “The Nicola Tesla of Oregon.” For my money, he's best described as a real-life Tom Swift....(Portland Harbor, Multnomah County; 1920s, 1930s) (For text and pictures, see https://offbeatoregon.com/2407d-1209d.victor-strode-aerohydrocraft.html)

Send us your thoughts on this episode!It's week two of Camp Wicked Wild and we hope you're having an amazing spooky season so far!! This week the crew is joined by Joe Charnews to review a classic slasher movie with the prototypical final girl--Laurie freakin' Strode.  Let's GO!!To learn more about The Wicked Wild, visit www.thewickedwild.com and follow us on Twitter: @wickedwildweare, Slasher: @wickedwildweare, and Instagram: @wickedwildpod. Please remember to subscribe to get notified as new episodes are published and rate and share within your favorite social media and podcasting apps

How comfortable are you telling your story? I talk with a lot of creatives, copywriters, messaging strategists, and coaches—people who are really comfortable sharing stories about others as part of their work. They're comfortable at helping others tell their own stories, and are really happy to be advocates for them too. In my circles, there are a lot of individuals for whom advocacy and being other people's voices is a huge part of their personality and their passion. But how comfortable are you telling your own story?  Today, I'm speaking to Siobhan Strode, an incredibly wonderful and fabulous human being who is also a dear friend of mine. Siobhan is a word witch, a copy coach, and a mentor based in Devon, UK. With a background in education, activism, and politics, social justice is truly in her veins. She helps individuals raise their voices and lead the change they want to see in the world.We talk about her impressive political background (far more so than mine), the hidden stories of women throughout history, and the importance of sharing them. We also explore how, as cishet white women, we have a responsibility to address issues from our place of relative privilege. And she wraps up our conversation by sharing three tips for anyone feeling nervous about telling their own story.Siobhan is obsessed with women sharing their magic, whether that's through their small biz or their next campaigns. When she's not writing or shouting through a megaphone, you can usually find her on the beach with her kids and Strike, the family hound.Join us as we explore the power of storytelling and the importance of embracing our own narratives.Follow Siobhan on LinkedInFollow Siobhan on InstagramSiobhan's websiteThis Sister Speaks waitlist Looking for more? Join The Soap Box Community - Peta's membership for businesses with a social conscience - for only $29 a month. Follow Peta on InstagramFind Peta on LinkedInHire Peta to work on your copywriting and brand messaging

Kicking off Spooky Season in style! Anthony Caruso from (Tis The Podcast & DC Unlimited Pod) joins Phil to debate who the Ultimate Final Girl is: Sidney Prescott or Laurie Strode. Moderated by Chris Evans (Gathering of the Geeks & DC Unlimited Pod), Anthony and Phil passionately discuss why their Final Girl is the ultimate one. #FORTHELOVEOFMOVIESWatch This Show on YouTube!• https://www.youtube.com/@PhilWMoviesSocial Media: Special Guests:• https://twitter.com/TheSandersonBro• https://twitter.com/tisthepod• https://twitter.com/ThatChrisEvans0• https://twitter.com/gofthegeeksFollow Along:• https://twitter.com/philwmovies• https://letterboxd.com/philup603/• https://twitter.com/PhilAtTheMovies• https://twitter.com/DCUnlimitedPod

It's time to start putting up Chris...I'm sorry.....holiday decorations. Iggy's vision problems. Strode Story Time. Kelly Tilghman. Duke or UNC? Duke. EMOTD Showdown. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Today I chat with Siobhan Strode, a word witch mentor and copy coach and fearless intersectional feminist and activist. We dive into breaking societal narratives in wellness, decolonizing our minds, and addressing privilege. Siobhan shares her journey from education to social justice activism, highlighting her work in raising voices through impactful language. We challenge the status quo in wellness, discussing language inclusivity, representation, and the critical role of social justice in holistic practices. Tune in for deep, transformative discussions on fostering a space for higher love and collective healing. Episode Highlights: 03:29 The Power of Language in Shaping Perspectives 07:32 Challenges in the Wellness Industry 17:10 Social Activism and Wellness: Bridging the Gap 27:51 Empowering Women to Raise Their Voices 39:37 The Importance of Inclusive Language About Siobhan: Siobhan is a word witch, copy coach and mentor, helping you raise your voice and lead the change. Her background is in education, activism and politics. She's obsessed with women telling their stories and telling the world about their magic - whether that's their small biz or their next campaign.  Get on the This Sister Speaks waitlist & be the first to hear about everything. Connect with me on ⁠Instagram⁠ and find out more about me ⁠this way⁠. I'd love to hear what you think. Podcast Music: Good For You by THBD https://soundcloud.com/thbdsultanCreative Commons — Attribution 3.0 Unported— CC BY 3.0Free Download / Stream: http://bit.ly/2PgU6MuMusic promoted by Audio Library https://youtu.be/-K_YSjqKgvQ

YouTube ads. Jackson's taking shrapnel for the ads and PSAs. Johnny Gil's Rub You The Right Way. Is Jackson censoring comments? St. Louis Starter Pack's Top 16 Sandwiches. The Bear Season 3. Sending food back in restaurants. Social media icks. Millenial Pause. Iggy's Hawk Tuah fascination continues. Is Iggy angling to join her management team? Doug's near-death experience in Florida. Shark attacks. Learn more about your ad choices. Visit megaphone.fm/adchoices

Liv Maddox joins us in studio this morn. Iggy opening up the show with an apology to Marshy Marsh. Soliciting a press conference Wednesday. Doug is the keynote speaker at the 2025 Vianney Father/Son Dance. Filling Liv in on Iggy's mattress situation. Liv's lacrosse career. Bif is on the line. Workshopping a topless donut shack. Male strip clubs. Mr. Lix is up next. Managers vs. Handlers in the adult industry. Iggy's ice chewing. Liv is at the Dungeons & Dragons table today. Door slamming. Learn more about your ad choices. Visit megaphone.fm/adchoices

Long time radio personality Kenny Strode and Bob Underwood, member of the committee for the St. Louis Sports Hall of Fame, will be our guests this week, as we talk STL Hall of Famers, the "Big Red" Cardinals, and so much more! --- Send in a voice message: https://podcasters.spotify.com/pod/show/roundabout-sports/message

Amadeus. Iggy pitches a putt-putt tournament in lieu of the Dotem. Iggy kicks around the logistics. The texters are not very receptive. The wiffle ball tournament from years ago. Iggy vs. His Apartment Complex and Dave Portnoy. EMOTD.    Learn more about your ad choices. Visit megaphone.fm/adchoices

After struggling with addiction for almost 2 decades, Scott Strode found hope while ice climbing. The healing power of nature and community radically transformed his life. And Scott couldn't not share his secret with the rest of the world too. The Phoenix was born and this year their sober movement is expected to serve more than 400,000 people!Follow Clay & Buck on YouTube: https://www.youtube.com/c/clayandbuckSee omnystudio.com/listener for privacy information.

After struggling with addiction for almost 2 decades, Scott Strode found hope while ice climbing. The healing power of nature and community radically transformed his life. And Scott couldn't not share his secret with the rest of the world too. The Phoenix was born and this year their sober movement is expected to serve more than 400,000 people!Follow Clay & Buck on YouTube: https://www.youtube.com/c/clayandbuckSee omnystudio.com/listener for privacy information.

After struggling with addiction for almost 2 decades, Scott Strode found hope while ice climbing. The healing power of nature and community radically transformed his life. And Scott couldn't not share his secret with the rest of the world too. The Phoenix was born and this year their sober movement is expected to serve more than 400,000 people!Support the show: https://www.normalfolks.us/premiumSee omnystudio.com/listener for privacy information.

After struggling with addiction for almost 2 decades, Scott Strode found hope while ice climbing. The healing power of nature and community radically transformed his life. And Scott couldn't not share his secret with the rest of the world too. The Phoenix was born and this year their sober movement is expected to serve more than 400,000 people!Support the show: https://www.normalfolks.us/premiumSee omnystudio.com/listener for privacy information.

Join Kosta and his guest: Lori Jackson-Strode, Counselor, Real Estate Agent, Cookeville Theatre Company Board Member, and 'I Am My Ancestors Wildest Dream' Co-Creator, Producer and Director.In this episode: We're celebrating Black History Month and talking about what it's like to be black and grow up in Middle Tennessee. What racial equality looks like  today and how it's changed since Lori grew up in Cookeville during the 70's, 80's and 90's. How we create an Upper Cumberland where young people feel welcome, have professional opportunities and an engaging environment where they can grow and thrive personally. Find out more about I Am My Ancestors Wildest Dream and Cookeville Theatre Company: https://cookevilletheatreco.org/Better Together with Kosta Yepifantsev is a product of Morgan Franklin Media and recorded in Cookeville, TN.This episode of Better Together with Kosta Yepifantsev is made possible by our partners at Loxx Salon and Spa.Find out more about Loxx Salon and Spa:https://loxxsalon.net/

In the latest episode of Transform Your Workplace, bestselling author Daniel Strode provides valuable insights into fostering corporate culture and navigating the pace of change in the modern workplace. He shares practical tips from his book, The Culture Advantage, highlighting the role of culture in driving innovation, the significance of a growth mindset in leadership, and the importance of putting your people first.   TAKEAWAYS Culture is "the way we do things around here, especially when no one is looking or listening." The rapid change in the modern workplace is driven by societal and technological shifts, making adaptation crucial for any business's survival. It's not just about the amount of money, time, or resources a company has, but rather the culture of innovation that sets successful companies apart.  Building a culture that encourages and supports innovation is key to staying competitive. Changing a company's culture is a process that requires both immediate action and patience.  Effective leaders listen and guide employees to find their own answers, which fosters psychological safety and contributes to a growth mindset within the company. Leading by example is a key driver for cultural change within a company.   A QUICK GLIMPSE INTO OUR PODCAST 

Join us in this delightful episode as we sit down with the extraordinary Chef Arlena Strode, a culinary maestro, children's author, and the visionary behind the Children's Culinary Institute. Get ready to embark on a culinary adventure tailored for the little ones as Chef Arlena shares her passion for combining the joy of cooking with the magic of storytelling. In our conversation, Chef Arlena takes us behind the scenes of her creative process, revealing the inspiration behind her enchanting children's books that revolve around the world of food. From exploring the wonders of different cuisines to instilling a love for fresh, wholesome ingredients, Chef Arlena's stories not only entertain but also educate young minds about the joys of a well-cooked meal. As we delve into the heart of our discussion, Chef Arlena enlightens us about the numerous benefits of involving children in the kitchen. Discover how cooking becomes a powerful tool for developing essential life skills, fostering creativity, and nurturing healthy eating habits from a young age. Chef Arlena shares practical tips and heartwarming anecdotes that highlight the transformative impact of culinary experiences on children. Whether you're a parent, educator, or simply curious about the magical world Chef Arlena has crafted, this episode promises to inspire and spark your imagination. Join us as we explore the intersection of food, storytelling, and education with Chef Arlena Strode, and learn how the kitchen can become a playground for learning and laughter. Tune in and get ready to embrace the delicious adventure of cooking with kids on this special and final episode of 2023. Don't forget to find me on instagram at @foodology_feeding ⁠https://www.instagram.com/foodology_feeding/⁠ Thanks so much for joining me again for another episode! If you got any value from the episode, I would love to hear about it! You can rate, review & subscribe to help me out! You can find my virtual parent courses, free webinars, and more information on how we can help your picky eater on our website: ⁠www.foodologyfeeding.com⁠ You can find my book for sale on ⁠Amazon: Mealtime Mindset⁠,  and Food Explorer's Log Book Thank you so much! See you next week! Christine

In this episode, we discuss:Scott's recovery from childhood trauma & addictionFinding community through fitnessThe benefits of communityShifting your mindset around slip-upsCreating psychological safety at eventsThe story of The PhoenixWelcoming allies into recovery spacesScott's vision for the futureScott Strode, sober for over 25 years, is the Executive Director of The Phoenix, a transformational nonprofit he founded in 2006. The Phoenix harnesses the power of connection to ignite a movement that's changing how society looks at addiction and recovery. The Phoenix provides free programs both in-person and virtually, across the globe, including yoga, climbing, music, CrossFit, art, and more. The only cost to participate is 48 hours of sobriety. Scott says, “It might be the activity that brings someone in, but it's the community of sober friendships that keeps them coming back.” This spark of hope for recovery, that Scott himself experienced, has continued to grow and help thousands rise from addiction. Not limited to those in recovery, The Phoenix movement is for anyone who has been impacted by substance use disorder — because the solution to the addiction crisis lives in all of us. This is our movement!To learn more, or to connect with The Phoenix community, volunteer, or donate, please go to thephoenix.org. Download The Phoenix App to explore virtual and online events.__Connect with our Sun & Moon Sober Living community:Join the Virtual Membership: https://sunandmoonsoberliving.com/membership/Instagram: @sunandmoon.soberliving__Disclaimer: The content of this podcast is not intended to be a substitute for professional medical advice, diagnosis, or treatment

So much sports to talk about this morning. Fight. Basketball. Tigers. Nair & hair talk. Brazilian waxes. Jay Randolph Jr. in the skeleton. Blues suffered a Shark Attack last night (tee hee). Mizzou Florida tomorrow. Big 10 West is an offensive juggernaut. Customer service at Lambert Airport. Kasey from WIL dropping in to talk about their fund raiser for One Pet, One Vet. Iggy might bop on down to WIL. Caller Ellen checking in to talk NBA. Listeners not real happy about it. Extreme couponing. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today I'm talking with Scott Strode, the Founder of The Phoenix, a Free Sober Active Community.    Scott is sharing his story of how trauma from his dysfunctional family, dyslexia and low self esteem lead to his addiction, and what he did to break the cycle. We talk about how The Phoenix came to be and all the ways that this organization is helping people recover in all 50 states, including people who are incarcerated.   Before we get started, I just have a small favor to ask. If you enjoy these conversations, it would mean the world to me if you shared this episode with a friend or subscribe to the YouTube channel. As the podcast grows, we can continue to bring on amazing guests that will help inspire you on your journey of healing.   And as always, if you need some free resources to get you started, like books, meditations, and even other recovery podcasts, you can visit soberlifeschool.com and join our monthly newsletter.   So that's it for the intro! Please enjoy this episode with Scott Strode.   Connect with Scott here: Website: https://thephoenix.org/ Instagram: https://www.instagram.com/riserecoverlive/   Subscribe So You Don't Miss New Episodes!   Listen On:   Apple Podcasts https://apple.co/30g6ALF   Spotify https://odaatchat.libsyn.com/spotify   Amazon Music      Watch Full Episodes on YouTube! https://bit.ly/2UpR5Lo  

Scott Strode, sober for over 25 years, is the Executive Director of The Phoenix, a transformational nonprofit he founded in 2006. The Phoenix harnesses the power of connection to ignite a movement that's changing how society looks at addiction and recovery. The Phoenix provides free programs both in-person and virtually, across the globe, including yoga, climbing, music, CrossFit, art, and more. The only cost to participate is 48 hours of sobriety. Scott says, “It might be the activity that brings someone in, but it's the community of sober friendships that keeps them coming back.” This spark of hope for recovery, that Scott himself experienced, has continued to grow and help thousands rise from addiction. Not limited to those in recovery, The Phoenix movement is for anyone who has been impacted by substance use disorder — because the solution to the addiction crisis lives in all of us. This is our movement! To learn more, or to connect with our community, volunteer, or donate, please go to thephoenix.org.  The Phoenix is a national sober active community that provides free, active, and meaningful programming—ranging from yoga and rock climbing to CrossFit and art—to individuals impacted by substance use. The Phoenix fosters a welcoming and safe community where participants, with a minimum of 48 hours of sobriety, can heal and grow together. The organization has achieved remarkable results: 83% of members report sustained sobriety after three months of participation. In 2022, The Phoenix realized a gap in recovery support in the music industry despite the fact that addiction disproportionately affects the music industry – 56% of music industry professionals cite problematic substance use (Source: Tulane University School of Social Work 2022), so they partnered with Stand Together Music and Stand Together Foundation to launch 1 Million Strong—an impact initiative to support one million people impacted by substance use, starting in the music industry. Over the past year, 1MS has hosted sober-supportive retreats at over a dozen renowned music festivals, supporting hundreds of thousands of fans. Positioned strategically amid the festival's heart, these retreats offer a VIP-like experience with mocktails, The Phoenix programming (like guided meditations and yoga) and a supportive atmosphere to meet other likeminded people. The impact of these events are undeniable: Since the launch of 1MS in September 2022, The Phoenix has had nearly 140,000 new members join the community. We're not slowing down the tempo – 1 Million Strong will be hosting sober-supportive retreats at In Between Days, Park City Song Sumit, Bourbon & Beyond, Telluride Blues & Brews, Louder than Life, and Camp Flog Gnaw between now and the end of the year and planning for a festival-filled 2024! The Phoenix and 1 Million Strong are transforming how America approaches addiction, so those in recovery can go from surviving to truly living. Scott's personal story and work with The Phoenix and 1 Million Strong could offer your listeners a fresh perspective on the power of connection in overcoming addiction. thephoenix.org 1millionstrong.com The Phoenix - A Sober Community (app)   HELP SUPPORT OUR FIGHT AGAINST ADDICTION. DONATE HERE: https://bit.ly/Fightdrugs   PART OF THE GOOD NEWS PODCAST NETWORK. AUDIO VERSIONS OF ALL OUR EPISODES: https://theaddictionpodcast.com CONTACT US: The Addiction Podcast - Point of No Return theaddictionpodcast@yahoo.com Intro and Outro music by: Decisions by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Source: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100756 Artist: http://incompetech.com/  

Trivia Night. S'ing where you eat. Drops of the Week. Hrabe with an outstanding audio postcard. Viva La Strode. College Football wagering. Ole Miss - UGA, UDub - Utah, and Missouri - Tennessee. Fungo joins the show to talk about the state of St. Gabe's ahead of Trivia Night. Why do SEC folk dislike Tennessee? Tennessee vs. Missouri in terms of sports. Learning to skate. Who would most want to see the Tigers play in a bowl game? Learn more about your ad choices. Visit megaphone.fm/adchoices

Greg Warren in studio today, shoutout Plowboy for booking him. We are a rigid show, buttoned up, and scripted to the minute so last-minute bookings are frowned upon. Brianna Coppage was on Plug Talk with Adam22 and Lena The Plug. She talked about her appearance on TMA that got her husband fired. Did they have sex? Blues lose last night. Need to pick up some points against the Coyotes. Unseasonable warmth. Iggy's move. Giveaways at sporting events. Iggy's swap meet. Rizz show audio about Rafe being late from break. The boys try to find who was the culprit that made Rafe late. Was it Iggy? Cross examinations begin. Rafe comes into the studio to give us the straight skinny. Mad Dog goes crazy about analytics in baseball. Cardinals talk. Plowsy vs. Analytics. Noot. Slidin' Billy Hamilton. Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to the Horror Project Podcast. Join hosts Laura and Phil as they review Halloween (2018).We scrap the lengthy and confusing timeline's associated with this franchise and pick up with Myers and Strode 40 years later after the original film.We chat about the podcaster's presented, and is it right to be shining a light on a notorious killer in the first place? Plus Laurie's transformation into a grizzled badass with a difficult family life. Is Michael genuinely interested in killing her or is he just in the right place at the right time on Halloween night?Plus we shall be finding a place on the leaderboard for the movie during our Ranking.We hope you enjoy the show, thanks for listening!Email - Horrorprojectpodcast@hotmail.com  X (Formerly Twitter) - @TheHorrorProje1Instagram - horrorprojectpodcastTikTok - @horrorprojectpodcast

"Maintenant Vous Savez" c'est également deux autres podcasts qui décryptent la culture avec "Maintenant Vous Savez - Culture" et la santé avec "Maintenant Vous Savez - Santé". Quatre fois par semaine, nous vous proposons de découvrir les meilleurs épisodes. Il s'agit d'une saga mythique de films, monument du 7ème art composé d'un total de 13 films. Difficile de résumer toute la série en quelques mots. Pour simplifier, c'est l'histoire d'un tueur en série, Michael Myers, orné d'un masque un peu flippant, et qui fait pas mal de victimes parce qu'il est totalement fou. Parmi ses victimes préférées il y a Laurie Strode, incarnée par Jamie Lee Curtis, et plus généralement toute la famille Strode, dont les différents membres seront présents dans les multiples épisodes de la saga. Que raconte la saga de films "Halloween" ? C'est quoi un bogeyman ? Et la saga n'a fonctionné que grâce à son méchant ? Écoutez la suite de cet épisode de "Maintenant vous savez". Un podcast Bababam Originals. Date de première diffusion : 19 octobre 2021 À écouter aussi : Pourquoi ranger améliore-t-il notre santé mentale ? Pourquoi la puberté arrive-t-elle de plus en plus tôt chez les filles ? Comment expliquer la sensation de déjà-vu ? Retrouvez tous les épisodes de "Maintenant vous savez". Suivez Bababam sur Instagram. Learn more about your ad choices. Visit megaphone.fm/adchoices

In which the Mister and I check out HALLOWEEN (1978) from director John Carpenter.  With a script from Debra Hill and John Carpenter, the film starts on Halloween night, 1963, and we see the Myers House from the viewpoint of Michael Myers.  Fifteen years later we return to the small town of Haddonfield where Halloween is once upon its inhabitants and Laurie (Jamie Lee Curtis in her first movie role) Strode finds herself swept up in the night Michael has returned home.  A film that resides as one of the greats in horror history, the movie is still a fun treat after all this time.  The film clocks in at 1 h 31 m and is rated R.  Please note there are SPOILERS in this review. Opening intro music: GOAT by Wayne Jones, courtesy of YouTube Audio Library  --- Support this podcast: https://podcasters.spotify.com/pod/show/jokagoge/support

Join me Jason LaChance host of the Knockin' Doorz Down podcast, certified addiction recovery coach, and mental health advocate for my sit down with special guest Scott Strode the Founder and Executive Director of Phoenix Multisport, Inc., a non-profit organization based in Boulder, CO. Launched in 2007, the organization offers an innovative recovery model that fosters a sober active community to those recovering from alcohol or drug addiction and those who choose to live a sober life. Scott and I converse about the origins of the Phoenix, where his substance use and addiction took off, and how important community and being of service to others is in his recovery and life. We answer the following questions. Where do you think your substance use was generated from? How did endurance sports help you in your recovery? What tips and tools do you have for positive self-care? What was your moment of clarity on the path to recovery? Do you think there's still a stigma around people asking for help? We finish our conversation with fun random questions and Scott finishes with final thoughts. This is Scott Strode Knockin' Doorz Down. For more on Scott Strode and The Phoenix: http://www.scottstrode.com/ https://thephoenix.org/ Please subscribe and share and to get the YouTube visit https://www.KDDPodcast.com for more Celebrities, everyday folks, and expert conversations on turning your greatest adversities into your most significant advantages. Get your copy of Carlos Vieira's Autobiography Knockin' Doorz Down. Hardcover, Paperback & Audio Book https://linktr.ee/kddbook For the KDD Inspired t-shirts brought to you by 51FIFTY use the discount code KDD20 for 20% off! https://51fiftyltm.com/shop/NO-OUTSIDE-SOLUTIONS-TEE-p589349381 https://51fiftyltm.com/shop/ONE-DAY-AT-A-TIME-TEE-p589354767 For more information on Carlos Vieira's autobiography Knockin' Doorz Down, the Carlos Vieira Foundation, the Race 2B Drug-Free, Race to End the Stigma, and Race For Autism programs visit: https://www.carlosvieirafoundation.org/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Scott Strode, sober for over 25 years, is the Executive Director of The Phoenix, a transformational nonprofit he founded in 2006. The Phoenix is fueling a movement that is changing how society looks at addiction and recovery. They provide free programs both in-person and virtually, across the globe, including yoga, climbing, music, CrossFit, art, and more. The only cost to participate is 48 hours of sobriety. Scott says, “It might be the activity that brings someone in, but it's the community of sober friendships that keeps them coming back.” Thank you Scott!

Today on the show, we are joined by Mike Strode. Mike is a writer, urban cyclist, facilitator, and solidarity economy organizer with the Kola Nut Collaborative. The Kola Nut Collaborative is Chicago's only time-based service and skills exchange that provides an open platform for mutual aid, community organizing, and network weaving. Through practices like the Offers and Needs Market, they develop programming to support Chicago-based organizers in facilitating non-monetary exchange networks. Mike is also a program manager at Open Collective Foundation and serves on the boards of the US Solidarity Economy Network, the New Economy Coalition, and more.For full show notes, visit: https://www.lifteconomy.com/blog/mike-strode/The spring cohort of the Next Economy MBA is officially open! Save 20% when you register before 1/29 with our early-bird sale ➡️ https://lifteconomy.com/mba

Hello. Where's Tim? Old disney VHSs. Good old Tom Hollyhack. Tales of Ross Perot in Bermuda. Cardinals attendance. Iggy brings back his Anna Cardente Shea Stadium spittle story. St. Louis vs. New York City. Shoutout Mr. Burkett on his retirement. Social security. Shrewsbury Seat Sniffer breaks up the retirement seminar with an NBA question. N*Seckman. TMA Talent Show. Haunted hotels. Learn more about your ad choices. Visit megaphone.fm/adchoices

Disruptors for GOOD is presented by: One Tree PlantedOne Tree Planted is a non-profit organization focused on global reforestation.If you are interested in being a part of global reforestation and would like to make a philanthropic donation or become a business partner, learn more here.---> Check out the Causeartist Partners here.---> Subscribe to the Causeartist Newsletter here.In episode 189 of the Disruptors for GOOD podcast, we speak with Scott Strode, Founder & Jacquelyn Hillios, Deputy Executive Director of The Phoenix, on building a global sober community combating addiction together.In a world where addiction and substance abuse affect countless individuals and their families, The Phoenix shines as a beacon of hope. This non-profit organization has embarked on a mission to build a unique and vibrant community centered around sobriety and active living.The Mission of The PhoenixAt the core of The Phoenix's philosophy is a clear and powerful mission: to create a sober active community that fuels resilience and harnesses the transformational power of connection. By combining physical activities, emotional support, and shared experiences, The Phoenix fosters an environment where individuals in recovery can rebuild their lives, rediscover their passions, and connect with others who understand their journey.The Power of Active LivingPhysical activity has been proven to have numerous positive effects on mental health and overall well-being. The Phoenix recognizes this and integrates physical fitness into its programs as a key component of recovery. They offer a wide range of activities, including yoga, climbing, CrossFit, hiking, and more. These activities not only promote physical health but also provide a healthy outlet for stress and a sense of accomplishment. By engaging in these activities, individuals can experience the benefits of an active lifestyle while connecting with others who share similar goals.Embracing Connection and SupportRecovery can be a challenging and isolating journey, but The Phoenix believes that no one should have to face it alone. By cultivating a strong sense of community, the organization creates a safe and supportive space where individuals can build meaningful relationships based on shared experiences. Through group workouts, social events, and volunteer opportunities, The Phoenix encourages a network of support that goes beyond traditional recovery programs. The bonds formed within this community become an invaluable source of encouragement, accountability, and friendship.Inclusivity and AccessibilityThe Phoenix is committed to ensuring that everyone, regardless of their background or financial means, has access to their programs. They offer free memberships to anyone with 48 hours of continuous sobriety and actively work to reduce barriers to participation. The organization collaborates with treatment centers, recovery programs, and community organizations to extend their reach and provide resources to those who need them most. This dedication to inclusivity ensures that all individuals, regardless of their circumstances, can find solace and support through The Phoenix.About ScottScott Strode, the Founder & National Executive Director of The Phoenix, has an incredible personal journey that led him to create this transformative non-profit organization. Born and raised in Pennsylvania, he spent 11 years in Boston before finding his true home in Colorado. It was on April 8, 1997, that Scott achieved sobriety, and he attributes his success to his involvement in boxing and climbing during that pivotal time. These activities became powerful catalysts for his recovery, instilling in him a deep appreciation for the transformative effects of a healthy and active lifestyle.Scott's passion for fitness has only grown over the years. From mountain biking to CrossFit, triathlons to running, and cycling to motorcycle touring, he embraces a wide range of activities that connect him with the great outdoors. Through his personal experiences, Scott came to realize the profound impact that a sober active community can have on individuals seeking recovery. With this belief firmly rooted in his heart, he launched The Phoenix in Colorado in 2006, driven by a mission to empower individuals to rise, recover, and truly live through the power of fitness and community.In addition to leading The Phoenix, Scott is deeply committed to pursuing his own fitness goals and maintaining a high level of expertise in outdoor activities. He holds certifications as a Certified Personal Trainer NASM, USA Triathlon Level II Certified Coach, AMGA Certified Single Pitch Instructor, Wilderness First Responder, and CPR. With over two decades of experience working, instructing, coaching, and guiding in the outdoors, Scott brings a wealth of knowledge and expertise to his role.Scott's dedication and impact have not gone unnoticed. In 2012, he was named one of CNN's Top 10 Heroes, recognizing his remarkable work in substance use disorder recovery. The following year, Scott received the prestigious "Advocates for Action Award" from the White House Office of National Drug Control Policy, further cementing his status as a leader and advocate in the field.About JackiJacki Hillios, Ph.D., serves as the Deputy Executive Director of The Phoenix, a highly successful addiction recovery program that embraces the power of peer-to-peer support and a physically active community. In her influential role, she provides valuable oversight and leadership in program design, implementation, evaluation, and expansion, driving the organization's mission to transform lives.With a background as a clinician working with youth and families grappling with mental illness and substance-use disorders, Jacki recognized the immense potential of The Phoenix's real-life solution to addiction. Since joining the organization in 2006, she has been instrumental in its growth and impact, working closely with teams in Colorado and Massachusetts. Through her dedication and expertise, Jacki has played a pivotal role in expanding The Phoenix's model to 22 states and over 40 communities nationwide, reaching and transforming the lives of countless individuals.Beyond her leadership within The Phoenix, Jacki is a passionate public speaker. Drawing from her extensive experience and insights, she shares her knowledge on the vital role of peer-to-peer engagement within a sober active community. In recognition of her expertise, Jacki had the privilege of delivering a thought-provoking TEDxBoulder presentation in 2013 titled "Transcending Addiction and Redefining Recovery." Her impactful talks serve to inspire, educate, and challenge perceptions surrounding addiction and recovery, offering a fresh perspective on finding hope and embracing a life of resilience.Jacki Hillios, Ph.D., stands as a driving force behind The Phoenix's transformative approach to addiction recovery. Through her leadership, dedication, and commitment to spreading awareness, she has played a key role in bringing the benefits of peer support and active community engagement to individuals across the country. Jacki's work continues to empower individuals on their journey to transcending addiction, redefining recovery, and embracing a future filled with purpose and well-being. ---> Check out the Causeartist Partners here.---> Subscribe to the Causeartist Newsletter here.

Blake Strode is the Executive Director of Arch City Defenders, a nonprofit civil rights law firm in St. Louis, Missouri providing holistic legal advocacy and combating the criminalization of poverty and state violence against poor people and people of color. He is also a Co-host of Under the Arch podcast, which discusses issues impacting the St. Louis community and the people working to change them.  In this episode, Blake joins Eric Reiter and Bethany Copeland, of the Gephardt Institute for Civic and Community Engagement, to discuss carceral systems, localized reparations, public safety as community wellness, and how to create more equitable structural changes within the law.

In episode 1439, Jack and guest co-host Chris Crofton are joined by stand-up comedian, Blair Socci, to discuss… How to Unf**k Your City and Country - Design For People Not Cars, Girl Scout Cookies Are in Short Supply... And Also Evil and more! How to Unf**k Your City and Country - Design For People Not Cars (Twitter Thread) Girl Scout Cookies Are in Short Supply... And Also Evil Child Labor in Palm Oil Industry Tied to Girl Scout Cookies There's a big Girl Scout cookie shortage, and the group is frustrated with its main baker Sold-Out Girl Scout Cookie Flavor Hits the Resale Market The Untold Truth Of Girl Scout Cookies Good Question: Where Does Girl Scout Cookie Money Go? LISTEN: Acid Rain by LornSee omnystudio.com/listener for privacy information.

SoundStory. Barrett's Top 20 Morning Shows in the Mid-Markets. Are we on the list? We breakdown the list. Plowsy is hot and bothered. Groundhog Day. Kenny Wu joins the show. Plowsy's battle with cigarettes. Kenny (Wu, not Strode) has a wholesome story. Spinning yarns. Smoking stories that could have led to sex.

ANTI-WOKE WEDNESDAY: I am Jack's weird remorse, SBF's jailed, Florida's ESG hypocrisy, Strive's proxy "guidelines", and a word from Strode Asset Management on Awesomeness Capitalism

The community created inside of a CrossFit Affiliate is special. It's embracing and inclusive. And to those that are fighting addiction and in recovery, it may be life-saving. You'd be surprised at how many of your members are in recovery, and we're talking with Scott Strode about how CrossFit Affiliates can help them with The Phoenix. 00:00 - Intro 02:20 - Scott's Journey 04:45 - Look Within 13:15 - Keep Trying 15:30 - Founding Phoenix 19:30 - How to Bring Phoenix into the Affiliate 28:30 - Effectiveness 32:30 - What Does Sober Mean _________ SUBSCRIBE to YouTube and never miss a tip, trick, or knowledge bomb! https://www.youtube.com/channel/UCbue1LPfz1h6pEmBpQkvWxA Sign Up For Our Newsletter https://www.besthouroftheirday.com/ _________ SPONSORS O2 is an Official Sponsor of the Best Hour of Their Day Podcast! Best Hour Affiliate Exclusive Offer: Buy 4 Cases, Get a FREE Mini-Fridge, 4 FREE Cases, and a FREE YETI Water Bottle Visit https://wholesale.drinko2.com/pages/best-hour-offer to learn more! _________ OUR “BEST” FRIENDS DocSpartan - Use code BESTHOUR at checkout for 15% off RXSmartGear - Use code BESTHOUR at checkout for 10% off InsideTracker - Use code BESTHOUR20 at checkout for 20% off WheelPay - An official best friend of our podcast LMNT - An official best friend of our podcast --- Support this podcast: https://anchor.fm/besthouroftheirday/support

Trick or treat a buffet of canned vegetables, trauma bonds and epic fake outs. Head on down to old town strode for one last ride to hell with Halloween Ends this week. Quid Pro Mo for Popcorn Podcast Website | Apple | Patreon | Twitter | Instagram

Revisiting Mr. Fix's call from yesterday. Boy, that call stunk. Plowsy's donut. This Is Brutal hoodie available on TMASTLshop.com. Was Jackson at Tin Roof again? Monday Night Football. Dan Orlovsky is a real takesmith. Iggy with tales from the AVN. Where is Iggy's interview with Maitland? Caller rob joins us to talk Post Malone and P & G's recap of 'House of the Dragon'. Movies. Soccer discussion. Larry Nickel joins us for the WWE Recap. Buzz joins us with an outline. Mizzou vs. Georgia.

Revisiting Mr. Fix's call from yesterday. Boy, that call stunk. Plowsy's donut. This Is Brutal hoodie available on TMASTLshop.com. Was Jackson at Tin Roof again? Monday Night Football. Dan Orlovsky is a real takesmith. Iggy with tales from the AVN. Where is Iggy's interview with Maitland? Caller rob joins us to talk Post Malone and P & G's recap of 'House of the Dragon'. Movies. Soccer discussion. Larry Nickel joins us for the WWE Recap. Buzz joins us with an outline. Mizzou vs. Georgia.