Podcasts about acis

Title: The Duke of Chandos Track: Handel ; Acis and Galatea, HWV 49a, Act I: Happy We! Artist: The Sixteen, Harry Christophers, Grace Davidson & Jeremy Budd Publisher: ℗ 2019 The Sixteen Productions Ltd

Mark Lowther's personal recommendation for Handel's opera Acis and Galatea.

Antes y después de cada exposición, hay un trabajo de las galerías que a menudo pasa desapercibido, un trabajo cultural muy tapado por la faceta comercial. Para mostrar ese trabajo, Pedro Marín Boza ha escrito 'Galerías de arte: conceptos, historias y otras particularidades', editado por Cátedra. Está incluido en la colección Básicos de Arte que dirige una autoridad en la materia, Estrella de Diego. Algo que el autor quiere dejar claro desde el comienzo: las galerías de arte no solo venden, no solo cumplen una función comercial, marchante no es el único sinónimo de galerista.Este martes, el Ministerio de Cultura, ha anunciado la compra de Casa Gomis, obra de Antonio Bonet Castellana, por 7 millones 250 mil euros. El anuncio lo hacía el ministro Ernest Urtasun en la propia Casa Gomis, también conocida como La Ricarda, en El Prat de Llobregat, en Barcelona. Una obra singular de la modernidad arquitectónica en España en un paisaje natural. El Ministerio de Cultura hará de Casa Gomis un centro cultural en torno al arte y la naturaleza. El Cuarteto Casals, un prestigioso esemble de música de cámara que el próximo 20 de enero volverá a tocar esta pieza en el Teatro Real de Madrid. Hablamos de un concierto solidario: 'Stradivarius por la Dana' en el que se podrá escuchar el sonido, con sus matices, melodías, del Cuarteto Palatino, los Stradivarius de Patrimonio Nacional que hacía más de 25 años que no salían del Palacio Real.Y nos vamos con Martín Llade que viene con su sesión de música clásica y el disco de Galatea & Acis, 'La Pispersione'.Escuchar audio

Saruna par jaunās galerijas “ASNI” pieredzi, kopā ar citām galerijām šogad rīkojot Mazo mākslas mesi un gleznotājas Paulas Zariņas-Zēmanes izstādi "Acis atvērtas, aizvērtas", kas aplūkojama no 13. decembra. Jaunākajā darbu sērijā, kuru ievada ideja par mākslas darba rašanās impulsu (jeb stāstu mākslinieces acu priekšā), māksliniece eksperimentē ar glezniecības medija iespējām, galeriju ASNI atklājot kā maiguma un siltuma pilnu telpu, kurā patverties no gada noslēgumam ierastās steigas. Gleznas izstādē papildina arī mākslinieces autortehnikā radīti keramikas objekti. Jaunā mākslas galerija “ASNI”sevi pieteica brīdī, kad ēka pretī Nacionālajam Mākslas muzejam tika remontēta. Fasāde bija aizsegta. Abas galeristes – Auguste  Petre un Elīna Drāke – fokusējas uz Baltijas jaunajiem māksliniekiem, kā arī kopsadarbībām ar starptautiskiem kuratoriem, nekaunoties no Austrumeiropas vārda. Galerija “ASNI” plāno ne tikai izstādes, bet arī iespēju radīt īpašu mākslas satiksmes pieturu. Tikko atvērta mākslinieces Paulas Zariņas-Zēmanes personālizstāde "Acis atvērtas/ aizvērtas". Galerijā “ASNI” tiekamies ar mākslinieci un Elīnu Drāki.

[@ 4 min] It's a Tenor Double Header! We go inside the huddle with two singers making their North American debuts in lead roles. First up, Mexican-American tenor Galeano Salas, who is set to co-star in La Traviata in Detroit opposite FOS Emily Pogorelc. Then, we speak to baroque specialist Antonin Rondepierre, who sings a title role in Acis and Galatea at Opera Atelier. [@ 52 min] Plus, in the ‘Two Minute Drill'…Warning: Naked Nuns Roller Skating may induce nausea….And the New York Times critics may induce tantrums. GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore

Presentamos exclusivamente en formato de audio podcast la grabación íntegra de nuestro segundo evento ya anual en colaboración con el congreso de ACIS (Association of Contemporary Iberian Studies), que tuvo lugar el día 6 de septiembre en Dublín, Irlanda. En nuestros canales de Instagram, X y YouTube @Pleibericos pueden verse resúmenes en vídeo de las cuatro presentaciones grabados posteriormente. Este audio recoge el evento original. Dado el carácter híbrido del evento, la calidad del sonido varía depenediendo de la fuente del mismo. Algunas presentaciones, por tanto, se escucharán de forma más nítida que otras. Los libros presentados en el evento e incluidos en esta grabación son: The Op-Ed Novel. A Literary History of Post-Franco Spain (Harvard UP, 2024). Autor: Bécquer Seguín. Cine en femenino del plural: Mujeres y prácticas creativas en el ámbito ibérico (Sindéresis, 2023). Editores: Jesús Ramé y Caterina Cucinotta. La forja del canon. Identidad nacional e Historia de la literatura española (1800-1939) (Ediciones de la Universidad de Murcia, 2024). Autor: Santiago Pérez Isasi. Contar o Caminho de Santiago. Literatura, discurso(s) e efeitos sociais na comunidade local ( Edições Colibri, 2022). Compiladores: Elias J. Torres Feijó, Álvaro Iriarte Sanromán e Felisa Rodríguez Prado.

Logi nav tikai mājas acis uz pasauli. Logi ir estētiska bauda, dizaina elements un arī vērtīgs risinājums gaismas un siltuma ziņā. Kā pareizi izvēlēties logus un kas jāzina, tos uzstādot, skaidrojam raidījumā Kā labāk dzīvot. Saprast to, kas jāzina par logiem, palīdz Latvijas logu un durvju ražotāju asociācijas pārstāvis Ivars Buls, SIA "REHAU" valdes priekšsēdētājs, Latvijas logu un durvju ražotāju asociācijas valdes loceklis Aldis Sirmačs un Patērētāju tiesību aizsardzības centra Preču un pakalpojumu uzraudzības departamenta Būvizstrādājumu, elektroiekārtu un energoefektivitātes uzraudzības daļas vadītājs /departamenta direktora vietnieks Ivars Jorniņš.  

rWotD Episode 2707: Gråt Fader Berg och spela Welcome to Random Wiki of the Day, your journey through Wikipedia’s vast and varied content, one random article at a time.The random article for Tuesday, 1 October 2024 is Gråt Fader Berg och spela.Gråt Fader Berg och spela (Cry, Father Berg, and Play) is No. 12 in the Swedish poet and performer Carl Michael Bellman's 1790 song collection, Fredman's Epistles. The epistle is subtitled "Elegi över Slagsmålet på Gröna Lund" ("Elegy on the Battle at Gröna Lund [Tavern]"). It is a lament over a pub brawl, caused by Fredman's drinking a soldier's beer and dancing with someone else's girlfriend. Set to the melody from the aria "The flocks shall leave the mountains" in George Frideric Handel's opera Acis and Galatea, it is the best-known of his poems describing the consequences of brandy-drinking. Bellman used the contrast between the romantic associations of the melody and the brutal reality of heavy drinking to humorous effect.This recording reflects the Wikipedia text as of 00:32 UTC on Tuesday, 1 October 2024.For the full current version of the article, see Gråt Fader Berg och spela on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Matthew.

une in now to dive into Presley Jackson's incredible Polaroid project! Diagnosed at just 13, Presley has been unstoppable in sharing his journey these last few years, with the unwavering support of his amazing mom, Stephanie. His outlook in the face of #ocularmelanoma, his plaque treatment with Dr. Shields, and his transition into adulthood is nothing short of inspiring. Don't miss this video, and get ready for an exciting YouTube and Podcast channel launch later this week! A massive thank you to everyone who supports, organizes fundraisers, and participates in the Lookin' For A Cure For Ocular Melanoma 5k races! We can't achieve our goals without you, and we value every contribution! Please think about making a donation today to help ACIS continue to fund patient care, research, and educational programs like The Eye Believe Podcast. #ChildhoodCancerAwarenessMonth A special shoutout to Castle Biosciences, Inc. for sponsoring the podcast platforms!

TWiV discusses WHO declaration of Mpox as a public health emergency of international concern, Sweden reports first case of clade 1b outside of Africa, can household pets be productively infected with monkeypox virus, widespread exposure to SARS-CoV-2 in wildlife communities, and modulation of plant defenses by insect salivary GAPDH benefits viral transmission. Hosts: Vincent Racaniello, Dickson Despommier, Alan Dove, Rich Condit, and Kathy Spindler Subscribe (free): Apple Podcasts, Google Podcasts, RSS, email Become a patron of TWiV! Links for this episode MicrobeTV Discord Server Mpox outbreak is PHEIC (WHO) Tecovirimat not great against monkeypox virus clade I (NIH) Case of Mpox Clade I in Sweden (PHAS) Mpox and pets in USA (Emerg Inf Dis) SARS-CoV-2 widespread in wildlife communities (Nat Comm) Salivary GAPDH benefits plant virus transmission (Nat Comm) Letters read on TWiV 1143 Timestamps by Jolene. Thanks! Weekly Picks Dickson – NASA Confirms Evidence That Liquid Water Flows on Today's Mars Kathy – TBP for PCR internal control Rich –  xmACIS2 compares the data in the ACIS database to that in GHCN-Daily Alan – Larry, the world's most highly cited cat Vincent – The Viral Paleontologist Who Unearths Pathogens' Deep Histories Listener Pick Ryan – Mpox emergencies AP News one and two Rona – Up in smoke David – Ode to Joy (YouTube, TikTok) Intro music is by Ronald Jenkees Send your virology questions and comments to twiv@microbe.tv Content in this podcast should not be construed as medical advice.

Acis ir sarežģīta sistēma, kura prasa uzmanību. Kā parūpēties par to, lai acis ne tikai redz, bet arī saredz, un kā saglabāt acu veselību ilgtermiņā, spriedīsim raidījumā Kā labāk dzīvot kopā ar oftalmoloģi Andu Balgalvi un "Pasaules optikas" galveno optometristi Kristu Cauni-Bērziņu.

In this episode, James Clutton chats with Elizabeth Karani and Anthony Gregory who play the roles of Acis and Galatea in Opera Holland Park's 2024 production.

Tra il 3 e il 6 luglio si terrà il convegno dell'ACIS (Australasian Centre for Italian Studies), che riunisce italianisti ed italianiste che operano in Australia e Nuova Zelanda. Ne parliamo con Francesco Ricatti.

durée : 01:28:14 - En pistes ! du vendredi 31 mai 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Pour terminer la semaine, Emilie et Rodolphe vous proposent Les sonates du Rosaire de Biber, un extrait de l'opéra Acis et Galatea de Haendel, le Divertissement à la Hongroise de Schubert, le ballet Appalachian Spring de Copland ainsi que le Capriccio à la Turque de Ferit Tüzün. En pistes !

Jāni Ozoliņu pamanīju Instagram, jo uzmanību piesaistīja viņa neparastās ilustrācijas. Tajās viņš viegli uztveramā veidā parāda idejas, kas saistītas ar biznesu, radošumu vai personīgo izaugsmi. Viņa darbi ir ieguvuši lielu popularitāti, mēneša ietvaros sasniedzot miljoniem cilvēku. Jānis ir veidojis ilustrācijas biznesa un izaugsmes sfērās tādiem atpazīstamiem autoriem, kā Naval Ravikant un The Diary Of A CEO podkāsta veidotājam Steven Bartlett un citiem. Domāju, ka Jāņa pieredzes stāsts varētu iedvesmot citus, kuri meklē savu profesionālo ceļu un vairāk brīvības.Vairāk informācijas sarunas lapā.SARUNAS PIETURPUNKTI:4:19 Ko nozīmē “darīt lietas internetā un pelnīt ar to naudu”11:46 Par pārcelšanos uz Spāniju13:47 Stāsts no bērnības, kas akcentē Jāņa domāšanas veidu.16:49 Funktieris dzīvei, ko iedeva mīlestība uz kalnu riteņbraukšanu22:46 “Muļķi mēs galīgi nebijām, galva uz pleciem ir” – kā jauni čaļi bez pieredzenes nokļuva IT biznesā28:02 Kad nauda vairs nav motivācija - meklējumi, mēģinot aizpildīt tukšuma sajūtu darba vidē33:40 Kāds dzinulis uzveda uz pašattīstības ceļa39:11 “Beidz lasīt ziņas. Ja pasaulē kaut kas gana svarīgs notiks, tu par to dzirdēsi.”44:42 Četri dažādi biznesi, ko Jānis pamēģināja, pirms atrada to, par ko deg acis 52:24 “Tu nevari vienkārši sēdēt krēslā un izdomāt savu perfekto plānu. Tev ir jāmēģina.”58:52 Brīdis, kad tiek pārrautas visas saites ar korporatīvo vidi un stabilu atalgojumu1:03:07 Cik svarīgi ir būt jaukam, atbalstīt citus un sniegt atgriezenisko saiti1:06:35 Pirmais personīgais lielais darījums un spēja paprasīt par to adekvātu samaksu1:11:51 No kā sastāv ilustrāciju veidošana no koncepta līdz rezultātam1:15:33 “Es biju sava mērķauditorija”1:17:16 “Veido reputāciju un iespējas nāks pie tevis” – cik svarīgi ir atrast to, kas patīk un sanāk1:19:54 Kā atšķiras ienākumu un ieguldītā darba attiecība, salīdzinot darbu korporatīvajā vidē un personīgajā biznesā1:25:16 Izslēgt perfekcionismu – drosme uztaisīt apmācību kursu angļu valodā, nepārvaldot šo valodu ideāli1:30:32 Pārcelties uz Spāniju ar ģimeni un bērniem. Cik pūles un birokrātijas džungļu tas prasīja 1:37:44 “Internets tev dod iespēju sasniegt miljoniem cilvēku. Tas potenciāls ir vājprātīgs”

In a branch of music where research plays such a central role, how can there be such a disconnection between research and performance? How can we create cooperation between both fields? These themes, according to Rebekah Ahrendt, are central in "EarlyMuse", a research action funded by the European Cooperation in Science and Technology (COST). Listen to her describe her ideal world in this final episode of the 4th season of the Early Music Podcast! CREDITSguest Rebekah Ahrendt, Utrecht University interview & editing Darina Abloginaproduction REMAdesign Doretta RinaldimusicString Quartet No. 7 in F Major, Op. 59 No. 1, "Razumovsky": III. Adagio molto e mesto, Ludwig van Beethovenperformed by Quatuor ÉbèneBeethoven around the World, Erato 2019The White Rose, Florence Beatrice Priceperformed by Reginald Mobley and AgaveAmerican Orignals: A New World, A New Canon, Acis 2021

What's the situation of inclusion in the Early Music sector? In this episode, countertenor Reginald Mobley puts the issues of race, gender, and more generally, identity under the spotlight. He talks about the challenges and discrimination he faced as an Afro-American singer, and opens our eyes to the progress that still needs to be made to make the sector more inclusive. CREDITSguest Reginald Mobley, countertenorinterview & editing Darina Abloginaproduction REMAdesign Doretta RinaldimusicMusic for a while, Henry Purcellperformed by Reginald Mobley and Brandon Acker2022The White Rose, Florence Beatrice Priceperformed by Reginald Mobley and AgaveAmerican Orignals: A New World, A New Canon, Acis 2021

Check out Credit Risk Transfer's (CRT) latest CRTcast episode to learn about the how the markets evolved and changed throughout 2023 from both a STACR® and ACIS® perspective.

Pleibéricos - Presentación de estudios ibéricos online. Para marcar el inicio de nuestro cuarto año en activo y nuestro evento 25, el 6 de septiembre de 2023 celebramos nuestro primer evento híbrido en el marco del Congreso Anual (44) de ACIS (Association of Contemporary Iberian Studies) en Oporto. Libros presentados: Memory, Transition, and Transnationalism in Iberia (Cambridge Scholars, 2023). Editores: Mark Gant, Susana Rocha Relvas and Siân Edwards. Matilde de la Torre. Sex, Socialism and Suffrage in Republican Spain (MHRA 2022). Autora: Deborah Madden. Leyendas negras, marcas blancas. La malsana obsesión con la imagen de España en el mundo (Contexto, 2022). Autor: Sebastiaan Faber. Novedades de la serie ‘Constelaciones‘ (Comares, 2022-23). Conversación con la editora de la serie: Cristina Moreiras Menor. Encounters with Jazz on Television in Cold War Era Portugal 1954–1974 (Routledge, 2022). Autor: Pedro Cravinho.

Kate Molleson shares stories of Handel's music at summer soirees across the British Isles When he arrived in London in 1712, German-born George Frideric Handel was already one of Europe's most exciting musical minds. Over the next decades he would not only carve a living for himself, but transform British musical life, from the opera stage to the choir stalls, and hardwire his legacy into our culture. This week, Kate Molleson tells the stories of five summer soirees from across his life in the British Isles – golden evenings of 18th-century music making, and some of his most eventful performances. Music Featured: Water Music (Suite 2: i. Allegro) Water Music (Suite 2: ii. Hornpipe) Water Music (Suite 1: excerpt) Water Music (Suite 3) Qual nave smarrita (from Radamisto) Water Music (Suite 1: excerpt) Acis and Galatea (Overture) Chandos Te Deum (excerpt) Chandos Anthem No 4 ‘O sing unto the Lord a new song' Acis and Galatea, Act II: Nos 25-29 Keyboard Suite in E major ‘The Harmonious Blacksmith', HWV430 (Air & Variations) Esther, Act I, Scene 4: Tune your harps to cheerful strains; Praise the Lord Organ Concerto in B-flat major, Op 4 No 2 Jubilate Deo in D major ‘Utrecht', HWV279 Athalia, Act II Scene 2: My vengeance awakes me L'Allegro, il penseroso ed il moderato: As steals the morn Alexander's Feast, Part I (excerpt) Messiah, Part 2 (excerpt) Messiah, Part 3: Amen Hornpipe compos'd for Vauxhall Acis and Galatea: Hush ye pretty warbling quire Semele: Where'er you walk Concerto Grosso in F major, Op 3 No 4b Zadok the Priest Music for the Royal Fireworks (excerpt) Presented by Kate Molleson Produced by Amelia Parker for BBC Audio Wales and West For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for George Frideric Handel (1685-1759) https://www.bbc.co.uk/programmes/m001q14p And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

🎯 Acceso de por vida: https://preparadoredufis.com/cursos/formacion-de-evaluacion-formativa-con-menos-notas-se-aprende-mas/ te encontrarás una serie de módulos con distintos vídeos y recursos que te ayudarán progresivamente a llevar la evaluación formativa a tu aula: 🎯Módulo 0. ¿Cómo aplicar la LOMLOE y la psicología cognitiva a tu evaluación de situaciones de aprendizaje y unidades de programación? 🕹Módulo 1. Creación y utilización de instrumentos de evaluación: Rúbricas, listas de cotejo, base de orientación, dianas de autoevaluación y mucho más. 🧩Módulo 2. Evaluación formadora. Metacognición, autoevaluación y coevaluación como llevarlo de forma práctica. 🧸Módulo 3. Alternativas a la corrección escrita. Evaluación sumativa cómo poner menos notas y que tu alumnado aprenda más. 🧶Módulo 4. Evaluación e inclusión (Todo lo que necesitas saber sobre el DUA, NEAE, ACIS…) ♣Módulo 5. Todo sobre el feedback y feedforward. Cómo retroalimentar para que tu alumnado aprenda mejor. 🪅Módulo 6. Evaluando situaciones de aprendizaje y unidades de programación ⛳Módulo 7. Evaluando el aprendizaje cooperativo y proyectos. ❤️Módulo 8. Evaluando emociones. 😺Módulo 9. Evaluación en oposiciones. Dedicado específicamente para diferenciarte en un punto complicado. 🤯Módulo 10. Evaluación en educación infantil. 🏃Módulo 11. Evaluación en educación física. 📝Módulo 12: Libros de evaluación resumidos 🧑‍🏫Módulo 13: Experiencias de docentes que Evalúan formativamente y no ponen muchas notas. ♥Aprovecha la oferta acceso de por vida: https://preparadoredufis.com/cursos/formacion-de-evaluacion-formativa-con-menos-notas-se-aprende-mas/ PreparadorEduFis

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Synopsis Back in Bach's day, there were churchmen aghast at the thought that composers were trying to sneak flashy opera music into Sunday services. Church music was meant to be simple, austere, and, well , not “operatic.” So what would they have made of the three “church parables” – mini-operas, really, composed in the 20th century by the great English composer Benjamin Britten? The third of these, The Prodigal Son, debuted on today's date in 1968 at St. Bartholomew's Church in Orford, England. All three impart Christian values and were meant for church performance – scored for a handful of soloists, modest choir, and a small ensemble that would fit in front of and on either side of a church altar where church music was normally performed. But operas they are, and Britten himself let the “o” word slip when he commented in a 1967 interview that he was (quote), “doing another church opera to go with the other two, Curlew River and The Burning Fiery Furnace, to make a kind of trilogy.'” Britten took these mini-operas seriously, and dedicated The Prodigal Son to his new friend, the Soviet composer Dmitri Shostakovich, who in turn would dedicate his 14th Symphony to Britten. Music Played in Today's Program Benjamin Britten (1913 - 1976) The Prodigal Son Peter Pears, tenor; John Shirley-Quirk, baritone; Robert Tear, tenor; Bryan Drake, baritone; English Opera Group Orchestra; Benjamin Britten, conductor. Decca 425713 On This Day Births 1904 - German-born American musical composer Frederick Loewe, in Berlin; 1913 - Soviet composer Tikhon Khrennikov, in Elets (Julian date: May 28); 1960 - English composer Mark Anthony Turnage, in Grays, Essex; Deaths 1899 - French composer Ernest Chausson, age 44, after a bicycle accident near Limay; 1918 - Italian opera composer and librettist Arrigo Boito, age 76, in Milan; 1934 - British composer Frederick Delius, age 72, in Grez-sur-Loing, France; 1964 - American composer Louis Gruenberg, age 75, in Los Angeles; Premieres 1732 - Handel: opera "Acis and Galetea" (in an English/Italian version), in London at the King's Theater in the Haymarket, at the request of Princess Anne (Gregorian date: June 21); 1865 - Wagner: opera "Tristan and Isolde," in Munich at the Hoftheater, conducted by Hans von Bülow; 1921 - Stravinsky: "Symphonies of Wind Instruments" (in memory of Claude Debussy), in London at Queen's Hall, with Serge Kousevitzky conducting; Three days earlier, on June 7, 1921, Stravinsky had attended the British premiere of the concert version of his ballet score "The Rite of Spring," also at Queen's Hall, with Eugene Goossens conducting; 1939 - Bliss: Piano Concerto (with Solomon the soloist) and Vaughan Williams: "Five Variants of Dives and Lazarus," at Carnegie Hall by the New York Philharmonic, with Sir Adrian Boult conducting; These works (Along with Bax's Seventh Symphony, which premiered the previous day) were all commissioned by the British Council as part of the British Exhibition at 1939 World's Fair; 1941 - Poulenc: first public performance of Concerto for Organ, Strings and Timpani, in Paris; 1968 - Britten: church opera "The Prodigal Son," in Orford Church, near Aldeburgh. Links and Resources On Britten

Welcome to The Sports Docs Podcast! On each episode we chat about the most recent developments in sports medicine and dissect through all the noise so you know which literature should actually impact your practice. On today's episode we're focusing on patellofemoral cartilage defects with Dr. Cassandra Lee, an orthopaedic sports medicine surgeon, team physician for the UC Davis Aggies and Sacramento Republic FC, and chief of the sports medicine service at UC Davis. Dr. Lee has published on and spoken a lot about cartilage – both at the basic science level as well as clinical application – so we're excited to have her join the discussion today.  We have some great articles for you that contribute well to our conversation on the surgical treatment of patellofemoral cartilage disease. As always, links to all of the papers that we discuss on this show can be found on our podcast website. The first article is a systematic review published just this month in OJSM titled “Cartilage Restoration for Isolated Patellar Chondral Defects.” Ronak Patel and his colleagues at the Illinois Center for Orthopaedic Research and Education summarized the results and complication rates of various patellar cartilage restoration techniques. They concluded that osteochondral autograft transplantation and autologous chondrocyte implantation were the most studied procedures for isolated patellar chondral defects. The article also touches upon newer techniques such as augmented microfracture, but the authors state that there is wide variability in indications and techniques that must be clarified in future higher-level studies.  Then, from the upcoming June issue of Arthroscopy this year, we review a retrospective cohort study titled “Utilization of Autologous Chondrocyte Implantation in the Knee Is Increasing While Reoperation Rates Are Decreasing Despite Increasing Preoperative Comorbidities.” Drew Lansdown and his team at UCSF observed a significant increase in the use of ACI since 2017 with a significant decrease in the rate of 90-day and 2-year reoperations for ACIs performed after 2017. Older age and tobacco use were predictors of increased risk of conversion to arthroplasty. Male sex was associated with decreased risk of reoperation. We are joined today by Dr. Cassandra Lee, a board-certified fellowship-trained orthopedic sports medicine surgeon and Chief of the Sports Medicine service at UC Davis. Dr. Lee obtained her medical degree from Boston University. She completed her residency training at Wake Forest University and sports medicine fellowship at Washington University in St. Louis, serving as team physician for the Washington University Bears, St. Louis Rams, and St. Louis Blues. Dr. Lee was a 2017 Lars Petersen Travelling Fellow for the International Cartilage Regeneration and Joint Preservation Society and a 2022 American Orthopaedic Society for Sports Medicine / Asian-Pacific Knee, Arthroscopy and Sports Medicine Society Traveling Fellow.  She currently serves as team physician for collegiate and professional teams including the UC Davis Aggies and the Sacramento Republic FC. Her research interests are in modulation of post-traumatic osteoarthritis, currently funded by an NIH R01 and Department of Defense grants. 

Synopsis Each January, Martin Luther King Day is observed on the third Monday of the month, and in 2009, MLK day fell on January 19th. To celebrate, the director of the Boston Children's Chorus commissioned and premiered a new work from the American composer Trevor Weston. Rather than set words spoken by King, Weston took a different course: “[Dr. King's] speeches speak to … the beauty of living in a society where the truth of equality is actually realized and often demonstrate a broad historical perspective,” says Weston, “so I celebrated King by using texts from the African Saint Augustine and the African-American poet Paul Laurence Dunbar.” From Saint Augustine's “Confessions,” Weston includes the line, “O Truth, you give hearing to all who consult you … you answer clearly, but all men do not hear you,” and from a Dunbar work entitled “The Poet,” this line: “He sang of life, serenely sweet/With now and then a deeper note.” Musically, Weston echoes works both medieval and modern, specifically the 12th century composer Hildegard von Bingen and the 20th century composer Morton Feldman, with a variation on the spiritual “Wade in the Water” tossed in for good measure. The result is a haunting, inward-looking choral work that Weston entitled “Truth Tones.” Music Played in Today's Program Trevor Weston "Truth Tones" Trinity Youth Chorus; Julian Wachner, conductor. Acis 72290

Rūpes par sevi vistiešākajā veidā atspoguļojas arī acīs. Kā saglabāt redzi, trenēt vai novērst problēmas, no kurām var izvairīties un ko varam paveikt paši, lai turpinātu pasauli uzlūkot ar iespējami veselām acīm un asu skatienu, raidījumā Kā labāk dzīvot skaidro oftalmoloģe Anda Balgalve, Rīgas Stradiņa universitātes asociētā profesore Darba drošības un vides veselības institūta Aroda un vides medicīnas katedra, pētniece Jeļena Reste un dabiskas redzes atjaunošanas skolotāja Vija Buša. Anda Balgalve atgādina, ka svarīgs ir darba režīms, strādājot pie datora. Sistēma 20 - 20 - 20 nāk no Amerikas - ik pa 20 minūtēm paskatāmies 20 sekundes 20 pēdu (5-6 metru) attālumā. Ideāli - skatīties ārā pa logu. "Šajā pauzē būtu labi izdarīt trīs lietas: vispirms enerģiski izmirkšķinām; izapaļot acis - vienu apli uz vienu pusi, otru - uz otru, daudziem tas liekas sāpīgi un nepatīkami, jo nav pieraduši acis kustināt; tad vienkārši atslābinoši paskatāmies tālumā; vēlreiz kārtīgi izmirkšķinām un strādājam tālāk," skaidro Anda Balgalve. "Ja cilvēks saka, ka nevar atļauties, der atcerēties, ka tas no stundas paņem minūti." "Cilvēki, kam acis ir nospringušas, pirmo nedēļu paņemiet pulksteni blakus, tai nav jābūt precīzi 20 minūtei, bet to ritmu. Tad vēlāk cilvēki saka, ka acis pašas prasa, ir iemācījušās. Vienkāršs ieteikums, kas rada milzīgu efektu," atzīst Anda Balgalve. Vija Buša atgādina, ka acis tāpat jākopj kā āda, mati vai nagi. Bet to vajag gribēt un tam vajag arī atrast laiku. Var dzīvot bez brillēm līdz sirmam vecumam, bet tas ir regulārs darbs, it sevišķi, ja brilles jau ir iegūtas. "Tiem, kas grib atturēties no briļļu lietošanas, pirmais ir pauzes, strādājot pie datora. Visu redzes problēmu, izņemot traumas, pamatā ir sasprindzinājums. Cilvēka acs nav radīta darbam tuvumā ilgstoši. Pauzes ir pats pirmais," atzīst Vija Buša. Viņa iesaka uzlikt datorā atgādinājumu, ka ir pēc pusstundas ir vajadzīga pauze. "Tad pastumiet visu malā, atgrūdiet krēslu nost, kārtīgi izstaipieties, izapaļojiet plecus, pagroziet galvu, protams, pamirkšķiniet acis. Elpojiet dziļi, paskatieties pēc iespējas tālāk. Tāluma vērošana ir ļoti laba," iesaka Vija Buša. "Vēl - sarīvējiet siltas plaukstas, uzlieciet uz acīm tā, lai plaukstu iedobīte ir tieši pret aci. Acis sākumā vaļā, pamirkšķiniet, sajūtiet, ka nav piespiestas, aizveriet ciet. jums pietiks ar 20 sekundēm un jutīsiet, kā acis atslābinās. (..) Tad, kad atļaujiet sev pauzi, dariet jebko, kas jūs atslābina, kaut vai pieceļaties un nostājaties uz rokām vai galvas." Vēl viņa atgādina par fiziskām nodarbēm un arī domāt par uzturu.  

BYRD: Pavana y Gallarda a 6 (3.33). Fantasía a 6 (5.18). Fretwork. MAHLER: Sinfonía nº 2 en Do menor “Resurrección” (Cuarto y quinto movimientos: Urlich: Sehr feierlich, aber schlicht; In tempo des scherzos: Wild herausfahrend) (36.12). H. Harper (sop.), J. Baker (mez.), Coro y Orq. Sinf. de la Radio de Baviera. Dir.: O. Klemperer. LITERES: Aria “Pues del culto mi piedad” (Acis y Galatea) (1.46). M. Almajano (sop.), Al Ayre Español. Dir.: E. López Banzo. Escuchar audio

Newsletter: https://www.subscribepage.com/newsletterpreparadoredufis 🎯 Acceso de por vida: https://preparadoredufis.com/cursos/formacion-de-evaluacion-formativa-con-menos-notas-se-aprende-mas/ te encontrarás una serie de módulos con distintos vídeos y recursos que te ayudarán progresivamente a llevar la evaluación formativa a tu aula: 🎯Módulo 0. ¿Cómo aplicar la LOMLOE y la psicología cognitiva a tu evaluación de situaciones de aprendizaje y unidades de programación? 🕹Módulo 1. Creación y utilización de instrumentos de evaluación: Rúbricas, listas de cotejo, base de orientación, dianas de autoevaluación y mucho más. 🧩Módulo 2. Evaluación formadora. Metacognición, autoevaluación y coevaluación como llevarlo de forma práctica. 🧸Módulo 3. Alternativas a la corrección escrita. Evaluación sumativa cómo poner menos notas y que tu alumnado aprenda más. 🧶Módulo 4. Evaluación e inclusión (Todo lo que necesitas saber sobre el DUA, NEAE, ACIS…) ♣Módulo 5. Todo sobre el feedback y feedforward. Cómo retroalimentar para que tu alumnado aprenda mejor. 🪅Módulo 6. Evaluando situaciones de aprendizaje y unidades de programación ⛳Módulo 7. Evaluando el aprendizaje cooperativo y proyectos. ❤️Módulo 8. Evaluando emociones. 😺Módulo 9. Evaluación en oposiciones. Dedicado específicamente para diferenciarte en un punto complicado. 🤯Módulo 10. Evaluación en educación infantil. 🏃Módulo 11. Evaluación en educación física. 📝Módulo 12: Libros de evaluación resumidos 🧑‍🏫Módulo 13: Experiencias de docentes que Evalúan formativamente y no ponen muchas notas. ♥Aprovecha la oferta porque nunca más estará a este precio: https://preparadoredufis.com/cursos/formacion-de-evaluacion-formativa-con-menos-notas-se-aprende-mas/

📌 Último día para acceder al curso online de evaluación formativa y competencial a 80€ 🎯 Acceso de por vida: https://preparadoredufis.com/cursos/formacion-de-evaluacion-formativa-con-menos-notas-se-aprende-mas/ te encontrarás una serie de módulos con distintos vídeos y recursos que te ayudarán progresivamente a llevar la evaluación formativa a tu aula: 🎯Módulo 0. ¿Cómo aplicar la LOMLOE y la psicología cognitiva a tu evaluación de situaciones de aprendizaje y unidades de programación? 🕹Módulo 1. Creación y utilización de instrumentos de evaluación: Rúbricas, listas de cotejo, base de orientación, dianas de autoevaluación y mucho más. 🧩Módulo 2. Evaluación formadora. Metacognición, autoevaluación y coevaluación como llevarlo de forma práctica. 🧸Módulo 3. Alternativas a la corrección escrita. Evaluación sumativa cómo poner menos notas y que tu alumnado aprenda más. 🧶Módulo 4. Evaluación e inclusión (Todo lo que necesitas saber sobre el DUA, NEAE, ACIS…) ♣Módulo 5. Todo sobre el feedback y feedforward. Cómo retroalimentar para que tu alumnado aprenda mejor. 🪅Módulo 6. Evaluando situaciones de aprendizaje y unidades de programación ⛳Módulo 7. Evaluando el aprendizaje cooperativo y proyectos. ❤️Módulo 8. Evaluando emociones. 😺Módulo 9. Evaluación en oposiciones. Dedicado específicamente para diferenciarte en un punto complicado. 🤯Módulo 10. Evaluación en educación infantil. 🏃Módulo 11. Evaluación en educación física. 📝Módulo 12: Libros de evaluación resumidos 🧑‍🏫Módulo 13: Experiencias de docentes que Evalúan formativamente y no ponen muchas notas. ♥Aprovecha la oferta porque nunca más estará a este precio: https://preparadoredufis.com/cursos/formacion-de-evaluacion-formativa-con-menos-notas-se-aprende-mas/ PreparadorEduFis

A Cure in Sight is joined by Dr. Marlana Orloff, MD, for a brief but highly informative discussion on liver-directed therapies when navigating metastatic disease. Dr. Marlana Orloff is an associate professor of medicine and medical oncologist at Thomas Jefferson University Hospital – Sidney Kimmel Cancer Center in Philadelphia, PA. In this discussion, Dr. Orloff shares a few slides (you can find those attached at the link below!) talking about the different types of LDT (liver directed therapies) and how they are used, how effective they are proving in certain cases, and also takes about 10 minutes at the end to answer questions! Get ready for a wild ride but it's so exciting to see there really are SO many options out there for treatment of this disease.  All we want for Christmas is a cure omies–let's be sure to share and ask our communities for donations to ACIS to help create that reality for as many patients as possible! ANNOUNCEMENTS: Steps for Sight Registration is coming! Subscribe to the newsletter to stay in the know! Newsletter link   Email contact@acureinsight.org for questions regarding any upcoming events! ********* Be sure to follow us on Facebook, Twitter, Linked In, or  Instagram @acureinsight, for more stories, tips, research news, and ideas to help you navigate this journey with OM! *A Cure in Sight is a 501c3 organization. All donations made can help fund our podcast to educate patients, fund research, aid patients, and more! Donate $10 $15 $20 today to help A Cure in Sight in their quest to find a cure. Contribute via  PAYPAL OR VENMO or reach out directly to contact@acureinsight.org  The Eye Believe Podcast is brought to you by Castle Biosciences. Castle Biosciences is a leading diagnostics company improving health through innovative tests that guide patient care. The Company aims to transform disease management by keeping people first: patients, clinicians, employees and investors.  This podcast was hosted by Danet Peterson and produced by Page Fronczek.

Hemos aprovechado el evento para presentar mi curso online de evaluación formativa y competencial. Acceso a la formación de por vida: https://preparadoredufis.com/cursos/formacion-de-evaluacion-formativa-con-menos-notas-se-aprende-mas/ En él te encontrarás una serie de módulos con distintos vídeos y recursos que te ayudarán progresivamente a llevar la evaluación formativa a tu aula: Módulo 0. ¿Cómo aplicar la LOMLOE y la psicología cognitiva a tu evaluación de situaciones de aprendizaje y unidades de programación? Módulo 1. Creación y utilización de instrumentos de evaluación: Rúbricas, listas de cotejo, base de orientación, dianas de autoevaluación y mucho más. Módulo 2. Evaluación formadora. Metacognición, autoevaluación y coevaluación como llevarlo de forma práctica. Módulo 3. Alternativas a la corrección escrita. Evaluación sumativa cómo poner menos notas y que tu alumnado aprenda más. Módulo 4. Evaluación e inclusión (Todo lo que necesitas saber sobre el DUA, NEAE, ACIS…) Módulo 5. Todo sobre el feedback y feedforward. Cómo retroalimentar para que tu alumnado aprenda mejor. Módulo 6. Evaluando situaciones de aprendizaje y unidades de programación Módulo 7. Evaluando el aprendizaje cooperativo y proyectos. Módulo 8. Evaluando emociones. Módulo 9. Evaluación en oposiciones. Dedicado específicamente para diferenciarte en un punto complicado. Módulo 10. Evaluación en educación infantil. Módulo 11. Evaluación en educación física. Módulo 12: Libros de evaluación resumidos Módulo 13: Experiencias de docentes que Evalúan formativamente y no ponen muchas notas. Acceso ilimitado https://preparadoredufis.com/cursos/formacion-de-evaluacion-formativa-con-menos-notas-se-aprende-mas/ #oposiciones #evaluacion #evaluacionformativa #evaluacion #calificacion #oposicionesdeeducacion #oposicionessecundaria

Hemos aprovechado el evento para presentar mi curso online de evaluación formativa y competencial. En él te encontrarás una serie de módulos con distintos vídeos y recursos que te ayudarán progresivamente a llevar la evaluación formativa a tu aula: Módulo 0. ¿Cómo aplicar la LOMLOE y la psicología cognitiva a tu evaluación de situaciones de aprendizaje y unidades de programación? Módulo 1. Creación y utilización de instrumentos de evaluación: Rúbricas, listas de cotejo, base de orientación, dianas de autoevaluación y mucho más. Módulo 2. Evaluación formadora. Metacognición, autoevaluación y coevaluación como llevarlo de forma práctica. Módulo 3. Alternativas a la corrección escrita. Evaluación sumativa cómo poner menos notas y que tu alumnado aprenda más. Módulo 4. Evaluación e inclusión (Todo lo que necesitas saber sobre el DUA, NEAE, ACIS…) Módulo 5. Todo sobre el feedback y feedforward. Cómo retroalimentar para que tu alumnado aprenda mejor. Módulo 6. Evaluando situaciones de aprendizaje y unidades de programación Módulo 7. Evaluando el aprendizaje cooperativo y proyectos. Módulo 8. Evaluando emociones. Módulo 9. Evaluación en oposiciones. Dedicado específicamente para diferenciarte en un punto complicado. Módulo 10. Evaluación en educación infantil. Módulo 11. Evaluación en educación física. Módulo 12: Libros de evaluación resumidos Módulo 13: Experiencias de docentes que Evalúan formativamente y no ponen muchas notas. Acceso ilimitado Además, tenemos una comunidad privada donde puedes dejar todas tus sugerencias y dudas. En enero tenemos la primera tutoría donde puedes entrar ya a dejar tus problemas con la evaluación tanto en tu día a día como en las oposiciones y será todo contestado. Como digo cada mes habrá una tutoría para acompañaros en el proceso de aprender a evaluar de manera formativa. Es un video curso con acceso de por vida, en el que hasta el domingo podrás entrar por un único pago de 80€. Esta oferta la tendrás hasta el domingo 18 de diciembre incluido. A partir de ahí subirá de precio el curso más de 50€. Ya sabéis que cuando saco una formación los primeros días está al precio más reducido histórico, y este será durante estos 6 días de 80€. https://preparadoredufis.com/cursos/formacion-de-evaluacion-formativa-con-menos-notas-se-aprende-mas/ Pd: Aquí tienes la redifusión PD2: Tendrás acceso a todos los vídeos a partir del día 25 de diciembre, mientras tanto pásate por la comunidad privada (está en el primer módulo) y deja todas tus dudas y problemáticas ya que de esta manera podrás ser partícipe de las actualizaciones del curso. PD3: Me encantaría verte dentro y recuerda. "Nunca califiques a los alumnos cuando están todavía aprendiendo" Kohn. "Los alumnos ven la nota, frecuentemente, como "el final" del aprendizaje. By John Hattie (Aprendizaje visible)

Join fellow omie, Anne Osborn, as she helps patients navigate "What we can expect of our friends after an OM diagnosis."   Welcome our friend Anne Osborn helping us to understand What we can expect of our friends after an OM diagnosis. Anne Osborn, Author, as a teen grew up in the shadows of OM when her mother died of OM. Forty years later, she was diagnosed with OM, Class 2.   Anne spent her career in human services, trained as a psychotherapist. Her specialties include initially being a children's therapist specializing in needs impacting the ability to learn in education. Simultaneously she began leading an emergency team for law enforcement and fire personnel over nearly three decades, ‘when bad things happen to them, we go in'.   Managing her stress was with long distance, both in running and bicycling. Though now, as a Master Gardener time is spent in Nature. Her passion outside of family and friends includes travel, writing and being of service. Her  book, Coping with Ocular Melanoma: A Toolbox is published with proceeds going to ACIS.

Mike Reynolds and Christian Valencia, vice president of CRT Investments and Capital Markets, and Jeff Shue, senior director of CRT Investments and Capital Marketing, discuss the current state of the market and what to expect in the upcoming quarter.

A Cure in Sight is joined by Presley Jackson and his mom, Stephanie to discuss coming of age with a rare cancer diagnosis. This month is #childhoodcancerawarenessmonth and there are few more brave than kids tackling a cancer diagnosis. Please consider sharing this episode and or starting a fundraiser for ACIS on your page to help us ensure patients have the resources they need, as well as funds for future research for #ocularmelanoma All #pediatriccancer is rare. In the #ocularmelanoma world, it's even more rare to be born with OM or to experience a diagnosis in childhood. Presley Jackson was diagnosed at 13 years old. We wanted to share what he wrote in honor of #nationalbraveday and #childhoodcancerawareness "If I had to recount a time I faced a challenge or setback I would think back to November of 2018 when I started the battle with the biggest challenge I have and probably will ever face. This challenge would be my battle with the super rare cancer called ocular melanoma. The cancer and the treatment I received to fight this cancer would ultimately destroy the vision in my right eye rendering me practically blind. This would be my first major setback, because it impacted the biggest part of my life, baseball. I have played baseball since I was 5 years old. It is my pride and joy, and really my life. I love baseball. So when I returned to baseball in the spring of 2019 it was not the same as before. The cancer had ruined both my depth perception and my reaction time. This made playing baseball exceptionally hard and practically banned me from pitching. Slowly but surely, with hours of practice and work I would make my way back to the mound and back to the standard of playing I was at before my diagnosis. I continue to raise my standards still to this day and continue to push my limits and defy the odds. I may not be the best pitcher, but I give it everything I have got. Other setbacks would come in my everyday life. I have now become very light sensitive and fragile in a way. I get severe ocular migraines that affect the vision in my good eye as well. My cancer and subsequent radiation treatment took everything my body had, so normal illnesses like Covid, the flu and even the common cold are much worse on me. I also have to deal with hundreds of doctors appointments, scans and travel for treatment. This causes me to miss a lot of school and a lot of normal kid life. Through everything this challenge has thrown at me, I continue to live my life to the fullest and have even learned some very valuable lessons from it. I learned that no one is promised tomorrow, so you have to make every single moment count. I started a project called the Polaroid Project to help me capture these memories. The second lesson I learned is that family is everything. Having the full support of my family has enabled me to fully believe that anything is possible. Which brings me to my final and most important lesson, nothing is truly impossible." Presley Jackson Ponce September 21st, 2022 Thank you Presley for your bravery and honesty in sharing your story. ANNOUNCEMENTS: Eye Believe Survivorship Seminar in Nashville, Tennessee October 14-15. REGISTER HERE! (Welcome reception for in person attendees on October 13, 6:00 PM) (Virtual and in person options.) Lookin' For a Cure TEXAS 5K Walk for Ocular Melanoma  NOVEMBER 5, 2022; 8 AM  Register here and be sure to bring friends and family to walk with us! (Virtual option available) Lookin' For a Cure LA 5K Walk for Ocular Melanoma in memory of Laurie Walters   NOVEMBER 12, 2022 REGISTER here and feel free to bring friends and family along! (virtual options available)    Email contact@acureinsight.org for questions regarding any upcoming events! ********* Be sure to follow us on Facebook, Twitter, Linked In, or  Instagram @acureinsight, for more stories, tips, research news, and ideas to help you navigate this journey with OM! *A Cure in Sight is a 501c3 organization. All donations made can help fund our podcast to educate patients, fund research, aid patients, and more! Donate $10 $15 $20 today to help A Cure in Sight in their quest to find a cure. Contribute via  PAYPAL OR VENMO or reach out directly to contact@acureinsight.org  The Eye Believe Podcast is brought to you by Castle Biosciences. Castle Biosciences is a leading diagnostics company improving health through innovative tests that guide patient care. The Company aims to transform disease management by keeping people first: patients, clinicians, employees and investors.  This podcast was hosted by Danet Peterson and produced by Page Fronczek.

Acis et Galatée (Acis and Galatea) is an opera by Jean-Baptiste Lully. Unlike most of his operas, which are designated tragédies en musique, Lully called this work a pastorale-héroïque, because it was on a pastoral theme and had only three acts (plus a prologue) compared to the usual five. Otherwise, there is little musically or dramatically to distinguish it from Lully's tragédies.Purchase the music (without talk) at:Lully: Acis and Galatea (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

Mallory Harding, mezzo-soprano, and Artistic Director of New Moon Opera joins the show to discussBiographyChicago-based mezzo-soprano Mallory Harding most recently performed with Haymarket Opera in their filmed production of Acis and Galatea, and previously covered the role of Maxualinda and sang in the chorus in their production of The Dragon of Wantley by John Frederick Lampe.  As a founding member and the Artistic Director of New Moon Opera, Mallory has appeared as Zita in Gianni Schicchi, Armelinde in Pauline Viardot's Cendrillon, Croûte-au-Pot in Mesdames de la Halle by Offenbach, Dinah in Trouble in Tahiti, and Hansel in Hansel and Gretel.Ms. Harding performed with Evanston Chamber Opera in the world premiere of Joseph's Gift by Francis Lynch as Alto Narrator and was hailed as "simply fanastic" (Aaron Hunt, Chicago Theatre Review).  She frequently performs with Vox 3 Collective and has sung the roles of Line and Agathe in their Chicago premiere of Carl Nielsen's Maskerade, in addition to appearing in numerous Vox 3 cabarets and recitals all over the city of Chicago.  She also is the alto section leader and cantor at St. Francis Xavier Catholic Church in Wilmette.Mallory Harding received her Master of Music degree from the University of Missouri-Columbia in 2012, where she performed the roles of Tisbe in La Cenerentola and Valencienne in The Merry Widow.Visit Creative Peacemeal Podcast on social media, browse podcast swag, and continue the creative conversations via the blog!Website https://tstakaishi.wixsite.com/musicInstagram @creative_peacemeal_podcastFacebook https://www.facebook.com/creativepeacemealpod/RedBubble Merch Shop: CPPodcast.redbubble.com

“I do feel that we are infinite choice makers. You make millions of choices all the time. Make the right choice and if you make the wrong choice, understand that mistakes are great teachers. Learn from that and move on. I do have this sense of responsibility of passing something on a love of dance history that really informs my process. Speaking in old language in a new way with a contemporary accent. Something so wonderful about dance and the arts is that you never stop learning. It is like always just this long process, and I continue. Students teach me every day. It is such a gift. It is probably the most important thing I can think of. Especially when I think of two things. In terms of history, the humanities show us how we were, why we were, and while we were...But then I also think about the future. What are we doing now? What seeds are we planting to inform the future?...And I said it earlier about making sense out of a chaotic universe where bad things happen to good people. Arts will help you figure that out.”Seán Curran began his dance training with traditional Irish step dancing as a young boy in Boston, Massachusetts. He went on to make his mark on the dance world as a leading dancer with Bill T. Jones/Arnie Zane Dance Company. He received a New York Dance and Performance Bessie Award for his performance in Secret Pastures. A graduate of New York University's Tisch School of the Arts, Curran was an original member of the New York City cast of the Off-Broadway percussion extravaganza Stomp, performing in the show for four years. He has performed his solo evening of dances at venues throughout the United States as well as at Sweden's Danstation Theatre and France's EXIT Festival. Current and recent projects for Curran include productions of Much Ado About Nothing and A Midsummer Night's Dream for The Shakespeare Theater, the twentieth anniversary production of Nixon in China and Street Scene at Opera Theater of St. Louis; choreography for the New York City Opera productions of L'Etoile, Alcina, Turandot, Haroun and the Sea of Stories, Capriccio, and Acis and Galetea; the Playwrights Horizons' production of My Life with Albertine; Shakespeare in the Park's As You Like It. He recently made his Metropolitan Opera debut choreographing Romeo and Juliette. Curran's work has appeared on Broadway in James Joyce's The Dead for Playwrights Horizons and The Rivals at Lincoln Center Theater. He has created works for Trinity Irish Dance Company, American Ballet Theatre's studio company, Denmark's Upper Cut Company, Sweden's Skanes Dance Theater, Irish Modern Dance Theatre, Ririe Woodbury Dance Theater, and Dance Alloy, as well as for numerous college and university dance departments.· www.seancurrancompany.com· tisch.nyu.edu/about/directory/dance/109207637.html· www.creativeprocess.info· www.oneplanetpodcast.org

Seán Curran began his dance training with traditional Irish step dancing as a young boy in Boston, Massachusetts. He went on to make his mark on the dance world as a leading dancer with Bill T. Jones/Arnie Zane Dance Company. He received a New York Dance and Performance Bessie Award for his performance in Secret Pastures. A graduate of New York University's Tisch School of the Arts, Curran was an original member of the New York City cast of the Off-Broadway percussion extravaganza Stomp, performing in the show for four years. He has performed his solo evening of dances at venues throughout the United States as well as at Sweden's Danstation Theatre and France's EXIT Festival.Current and recent projects for Curran include productions of Much Ado About Nothing and A Midsummer Night's Dream for The Shakespeare Theater, the twentieth anniversary production of Nixon in China and Street Scene at Opera Theater of St. Louis; choreography for the New York City Opera productions of L'Etoile, Alcina, Turandot, Haroun and the Sea of Stories, Capriccio, and Acis and Galetea; the Playwrights Horizons' production of My Life with Albertine; Shakespeare in the Park's As You Like It. He recently made his Metropolitan Opera debut choreographing Romeo and Juliette. Curran's work has appeared on Broadway in James Joyce's The Dead for Playwrights Horizons and The Rivals at Lincoln Center Theater. He has created works for Trinity Irish Dance Company, American Ballet Theatre's studio company, Denmark's Upper Cut Company, Sweden's Skanes Dance Theater, Irish Modern Dance Theatre, Ririe Woodbury Dance Theater, and Dance Alloy, as well as for numerous college and university dance departments.· www.seancurrancompany.com· tisch.nyu.edu/about/directory/dance/109207637.html· www.creativeprocess.info· www.oneplanetpodcast.org

“I do feel that we are infinite choice makers. You make millions of choices all the time. Make the right choice and if you make the wrong choice, understand that mistakes are great teachers. Learn from that and move on. I do have this sense of responsibility of passing something on a love of dance history that really informs my process. Speaking in old language in a new way with a contemporary accent. Something so wonderful about dance and the arts is that you never stop learning. It is like always just this long process, and I continue. Students teach me every day. It is such a gift. It is probably the most important thing I can think of. Especially when I think of two things. In terms of history, the humanities show us how we were, why we were, and while we were...But then I also think about the future. What are we doing now? What seeds are we planting to inform the future?...And I said it earlier about making sense out of a chaotic universe where bad things happen to good people. Arts will help you figure that out.”Seán Curran began his dance training with traditional Irish step dancing as a young boy in Boston, Massachusetts. He went on to make his mark on the dance world as a leading dancer with Bill T. Jones/Arnie Zane Dance Company. He received a New York Dance and Performance Bessie Award for his performance in Secret Pastures. A graduate of New York University's Tisch School of the Arts, Curran was an original member of the New York City cast of the Off-Broadway percussion extravaganza Stomp, performing in the show for four years. He has performed his solo evening of dances at venues throughout the United States as well as at Sweden's Danstation Theatre and France's EXIT Festival. Current and recent projects for Curran include productions of Much Ado About Nothing and A Midsummer Night's Dream for The Shakespeare Theater, the twentieth anniversary production of Nixon in China and Street Scene at Opera Theater of St. Louis; choreography for the New York City Opera productions of L'Etoile, Alcina, Turandot, Haroun and the Sea of Stories, Capriccio, and Acis and Galetea; the Playwrights Horizons' production of My Life with Albertine; Shakespeare in the Park's As You Like It. He recently made his Metropolitan Opera debut choreographing Romeo and Juliette. Curran's work has appeared on Broadway in James Joyce's The Dead for Playwrights Horizons and The Rivals at Lincoln Center Theater. He has created works for Trinity Irish Dance Company, American Ballet Theatre's studio company, Denmark's Upper Cut Company, Sweden's Skanes Dance Theater, Irish Modern Dance Theatre, Ririe Woodbury Dance Theater, and Dance Alloy, as well as for numerous college and university dance departments.· www.seancurrancompany.com· tisch.nyu.edu/about/directory/dance/109207637.html· www.creativeprocess.info· www.oneplanetpodcast.org

Seán Curran began his dance training with traditional Irish step dancing as a young boy in Boston, Massachusetts. He went on to make his mark on the dance world as a leading dancer with Bill T. Jones/Arnie Zane Dance Company. He received a New York Dance and Performance Bessie Award for his performance in Secret Pastures. A graduate of New York University's Tisch School of the Arts, Curran was an original member of the New York City cast of the Off-Broadway percussion extravaganza Stomp, performing in the show for four years. He has performed his solo evening of dances at venues throughout the United States as well as at Sweden's Danstation Theatre and France's EXIT Festival.Current and recent projects for Curran include productions of Much Ado About Nothing and A Midsummer Night's Dream for The Shakespeare Theater, the twentieth anniversary production of Nixon in China and Street Scene at Opera Theater of St. Louis; choreography for the New York City Opera productions of L'Etoile, Alcina, Turandot, Haroun and the Sea of Stories, Capriccio, and Acis and Galetea; the Playwrights Horizons' production of My Life with Albertine; Shakespeare in the Park's As You Like It. He recently made his Metropolitan Opera debut choreographing Romeo and Juliette. Curran's work has appeared on Broadway in James Joyce's The Dead for Playwrights Horizons and The Rivals at Lincoln Center Theater. He has created works for Trinity Irish Dance Company, American Ballet Theatre's studio company, Denmark's Upper Cut Company, Sweden's Skanes Dance Theater, Irish Modern Dance Theatre, Ririe Woodbury Dance Theater, and Dance Alloy, as well as for numerous college and university dance departments.· www.seancurrancompany.com· tisch.nyu.edu/about/directory/dance/109207637.html· www.creativeprocess.info· www.oneplanetpodcast.org

Seán Curran began his dance training with traditional Irish step dancing as a young boy in Boston, Massachusetts. He went on to make his mark on the dance world as a leading dancer with Bill T. Jones/Arnie Zane Dance Company. He received a New York Dance and Performance Bessie Award for his performance in Secret Pastures. A graduate of New York University's Tisch School of the Arts, Curran was an original member of the New York City cast of the Off-Broadway percussion extravaganza Stomp, performing in the show for four years. He has performed his solo evening of dances at venues throughout the United States as well as at Sweden's Danstation Theatre and France's EXIT Festival.Current and recent projects for Curran include productions of Much Ado About Nothing and A Midsummer Night's Dream for The Shakespeare Theater, the twentieth anniversary production of Nixon in China and Street Scene at Opera Theater of St. Louis; choreography for the New York City Opera productions of L'Etoile, Alcina, Turandot, Haroun and the Sea of Stories, Capriccio, and Acis and Galetea; the Playwrights Horizons' production of My Life with Albertine; Shakespeare in the Park's As You Like It. He recently made his Metropolitan Opera debut choreographing Romeo and Juliette. Curran's work has appeared on Broadway in James Joyce's The Dead for Playwrights Horizons and The Rivals at Lincoln Center Theater. He has created works for Trinity Irish Dance Company, American Ballet Theatre's studio company, Denmark's Upper Cut Company, Sweden's Skanes Dance Theater, Irish Modern Dance Theatre, Ririe Woodbury Dance Theater, and Dance Alloy, as well as for numerous college and university dance departments.· www.seancurrancompany.com· tisch.nyu.edu/about/directory/dance/109207637.html· www.creativeprocess.info· www.oneplanetpodcast.org

“I do feel that we are infinite choice makers. You make millions of choices all the time. Make the right choice and if you make the wrong choice, understand that mistakes are great teachers. Learn from that and move on. I do have this sense of responsibility of passing something on a love of dance history that really informs my process. Speaking in old language in a new way with a contemporary accent. Something so wonderful about dance and the arts is that you never stop learning. It is like always just this long process, and I continue. Students teach me every day. It is such a gift. It is probably the most important thing I can think of. Especially when I think of two things. In terms of history, the humanities show us how we were, why we were, and while we were...But then I also think about the future. What are we doing now? What seeds are we planting to inform the future?...And I said it earlier about making sense out of a chaotic universe where bad things happen to good people. Arts will help you figure that out.”Seán Curran began his dance training with traditional Irish step dancing as a young boy in Boston, Massachusetts. He went on to make his mark on the dance world as a leading dancer with Bill T. Jones/Arnie Zane Dance Company. He received a New York Dance and Performance Bessie Award for his performance in Secret Pastures. A graduate of New York University's Tisch School of the Arts, Curran was an original member of the New York City cast of the Off-Broadway percussion extravaganza Stomp, performing in the show for four years. He has performed his solo evening of dances at venues throughout the United States as well as at Sweden's Danstation Theatre and France's EXIT Festival. Current and recent projects for Curran include productions of Much Ado About Nothing and A Midsummer Night's Dream for The Shakespeare Theater, the twentieth anniversary production of Nixon in China and Street Scene at Opera Theater of St. Louis; choreography for the New York City Opera productions of L'Etoile, Alcina, Turandot, Haroun and the Sea of Stories, Capriccio, and Acis and Galetea; the Playwrights Horizons' production of My Life with Albertine; Shakespeare in the Park's As You Like It. He recently made his Metropolitan Opera debut choreographing Romeo and Juliette. Curran's work has appeared on Broadway in James Joyce's The Dead for Playwrights Horizons and The Rivals at Lincoln Center Theater. He has created works for Trinity Irish Dance Company, American Ballet Theatre's studio company, Denmark's Upper Cut Company, Sweden's Skanes Dance Theater, Irish Modern Dance Theatre, Ririe Woodbury Dance Theater, and Dance Alloy, as well as for numerous college and university dance departments.· www.seancurrancompany.com· tisch.nyu.edu/about/directory/dance/109207637.html· www.creativeprocess.info· www.oneplanetpodcast.org

Seán Curran began his dance training with traditional Irish step dancing as a young boy in Boston, Massachusetts. He went on to make his mark on the dance world as a leading dancer with Bill T. Jones/Arnie Zane Dance Company. He received a New York Dance and Performance Bessie Award for his performance in Secret Pastures. A graduate of New York University's Tisch School of the Arts, Curran was an original member of the New York City cast of the Off-Broadway percussion extravaganza Stomp, performing in the show for four years. He has performed his solo evening of dances at venues throughout the United States as well as at Sweden's Danstation Theatre and France's EXIT Festival.Current and recent projects for Curran include productions of Much Ado About Nothing and A Midsummer Night's Dream for The Shakespeare Theater, the twentieth anniversary production of Nixon in China and Street Scene at Opera Theater of St. Louis; choreography for the New York City Opera productions of L'Etoile, Alcina, Turandot, Haroun and the Sea of Stories, Capriccio, and Acis and Galetea; the Playwrights Horizons' production of My Life with Albertine; Shakespeare in the Park's As You Like It. He recently made his Metropolitan Opera debut choreographing Romeo and Juliette. Curran's work has appeared on Broadway in James Joyce's The Dead for Playwrights Horizons and The Rivals at Lincoln Center Theater. He has created works for Trinity Irish Dance Company, American Ballet Theatre's studio company, Denmark's Upper Cut Company, Sweden's Skanes Dance Theater, Irish Modern Dance Theatre, Ririe Woodbury Dance Theater, and Dance Alloy, as well as for numerous college and university dance departments.· www.seancurrancompany.com· tisch.nyu.edu/about/directory/dance/109207637.html· www.creativeprocess.info· www.oneplanetpodcast.org

“I do feel that we are infinite choice makers. You make millions of choices all the time. Make the right choice and if you make the wrong choice, understand that mistakes are great teachers. Learn from that and move on. I do have this sense of responsibility of passing something on a love of dance history that really informs my process. Speaking in old language in a new way with a contemporary accent. Something so wonderful about dance and the arts is that you never stop learning. It is like always just this long process, and I continue. Students teach me every day. It is such a gift. It is probably the most important thing I can think of. Especially when I think of two things. In terms of history, the humanities show us how we were, why we were, and while we were...But then I also think about the future. What are we doing now? What seeds are we planting to inform the future?...And I said it earlier about making sense out of a chaotic universe where bad things happen to good people. Arts will help you figure that out.”Seán Curran began his dance training with traditional Irish step dancing as a young boy in Boston, Massachusetts. He went on to make his mark on the dance world as a leading dancer with Bill T. Jones/Arnie Zane Dance Company. He received a New York Dance and Performance Bessie Award for his performance in Secret Pastures. A graduate of New York University's Tisch School of the Arts, Curran was an original member of the New York City cast of the Off-Broadway percussion extravaganza Stomp, performing in the show for four years. He has performed his solo evening of dances at venues throughout the United States as well as at Sweden's Danstation Theatre and France's EXIT Festival. Current and recent projects for Curran include productions of Much Ado About Nothing and A Midsummer Night's Dream for The Shakespeare Theater, the twentieth anniversary production of Nixon in China and Street Scene at Opera Theater of St. Louis; choreography for the New York City Opera productions of L'Etoile, Alcina, Turandot, Haroun and the Sea of Stories, Capriccio, and Acis and Galetea; the Playwrights Horizons' production of My Life with Albertine; Shakespeare in the Park's As You Like It. He recently made his Metropolitan Opera debut choreographing Romeo and Juliette. Curran's work has appeared on Broadway in James Joyce's The Dead for Playwrights Horizons and The Rivals at Lincoln Center Theater. He has created works for Trinity Irish Dance Company, American Ballet Theatre's studio company, Denmark's Upper Cut Company, Sweden's Skanes Dance Theater, Irish Modern Dance Theatre, Ririe Woodbury Dance Theater, and Dance Alloy, as well as for numerous college and university dance departments.· www.seancurrancompany.com· tisch.nyu.edu/about/directory/dance/109207637.html· www.creativeprocess.info· www.oneplanetpodcast.org

“I do feel that we are infinite choice makers. You make millions of choices all the time. Make the right choice and if you make the wrong choice, understand that mistakes are great teachers. Learn from that and move on. I do have this sense of responsibility of passing something on a love of dance history that really informs my process. Speaking in old language in a new way with a contemporary accent. Something so wonderful about dance and the arts is that you never stop learning. It is like always just this long process, and I continue. Students teach me every day. It is such a gift. It is probably the most important thing I can think of. Especially when I think of two things. In terms of history, the humanities show us how we were, why we were, and while we were...But then I also think about the future. What are we doing now? What seeds are we planting to inform the future?...And I said it earlier about making sense out of a chaotic universe where bad things happen to good people. Arts will help you figure that out.”Seán Curran began his dance training with traditional Irish step dancing as a young boy in Boston, Massachusetts. He went on to make his mark on the dance world as a leading dancer with Bill T. Jones/Arnie Zane Dance Company. He received a New York Dance and Performance Bessie Award for his performance in Secret Pastures. A graduate of New York University's Tisch School of the Arts, Curran was an original member of the New York City cast of the Off-Broadway percussion extravaganza Stomp, performing in the show for four years. He has performed his solo evening of dances at venues throughout the United States as well as at Sweden's Danstation Theatre and France's EXIT Festival. Current and recent projects for Curran include productions of Much Ado About Nothing and A Midsummer Night's Dream for The Shakespeare Theater, the twentieth anniversary production of Nixon in China and Street Scene at Opera Theater of St. Louis; choreography for the New York City Opera productions of L'Etoile, Alcina, Turandot, Haroun and the Sea of Stories, Capriccio, and Acis and Galetea; the Playwrights Horizons' production of My Life with Albertine; Shakespeare in the Park's As You Like It. He recently made his Metropolitan Opera debut choreographing Romeo and Juliette. Curran's work has appeared on Broadway in James Joyce's The Dead for Playwrights Horizons and The Rivals at Lincoln Center Theater. He has created works for Trinity Irish Dance Company, American Ballet Theatre's studio company, Denmark's Upper Cut Company, Sweden's Skanes Dance Theater, Irish Modern Dance Theatre, Ririe Woodbury Dance Theater, and Dance Alloy, as well as for numerous college and university dance departments.· www.seancurrancompany.com· tisch.nyu.edu/about/directory/dance/109207637.html· www.creativeprocess.info· www.oneplanetpodcast.org

“I do feel that we are infinite choice makers. You make millions of choices all the time. Make the right choice and if you make the wrong choice, understand that mistakes are great teachers. Learn from that and move on. I do have this sense of responsibility of passing something on a love of dance history that really informs my process. Speaking in old language in a new way with a contemporary accent. Something so wonderful about dance and the arts is that you never stop learning. It is like always just this long process, and I continue. Students teach me every day. It is such a gift. It is probably the most important thing I can think of. Especially when I think of two things. In terms of history, the humanities show us how we were, why we were, and while we were...But then I also think about the future. What are we doing now? What seeds are we planting to inform the future?...And I said it earlier about making sense out of a chaotic universe where bad things happen to good people. Arts will help you figure that out.”Seán Curran began his dance training with traditional Irish step dancing as a young boy in Boston, Massachusetts. He went on to make his mark on the dance world as a leading dancer with Bill T. Jones/Arnie Zane Dance Company. He received a New York Dance and Performance Bessie Award for his performance in Secret Pastures. A graduate of New York University's Tisch School of the Arts, Curran was an original member of the New York City cast of the Off-Broadway percussion extravaganza Stomp, performing in the show for four years. He has performed his solo evening of dances at venues throughout the United States as well as at Sweden's Danstation Theatre and France's EXIT Festival. Current and recent projects for Curran include productions of Much Ado About Nothing and A Midsummer Night's Dream for The Shakespeare Theater, the twentieth anniversary production of Nixon in China and Street Scene at Opera Theater of St. Louis; choreography for the New York City Opera productions of L'Etoile, Alcina, Turandot, Haroun and the Sea of Stories, Capriccio, and Acis and Galetea; the Playwrights Horizons' production of My Life with Albertine; Shakespeare in the Park's As You Like It. He recently made his Metropolitan Opera debut choreographing Romeo and Juliette. Curran's work has appeared on Broadway in James Joyce's The Dead for Playwrights Horizons and The Rivals at Lincoln Center Theater. He has created works for Trinity Irish Dance Company, American Ballet Theatre's studio company, Denmark's Upper Cut Company, Sweden's Skanes Dance Theater, Irish Modern Dance Theatre, Ririe Woodbury Dance Theater, and Dance Alloy, as well as for numerous college and university dance departments.· www.seancurrancompany.com· tisch.nyu.edu/about/directory/dance/109207637.html· www.creativeprocess.info· www.oneplanetpodcast.org

Seán Curran began his dance training with traditional Irish step dancing as a young boy in Boston, Massachusetts. He went on to make his mark on the dance world as a leading dancer with Bill T. Jones/Arnie Zane Dance Company. He received a New York Dance and Performance Bessie Award for his performance in Secret Pastures. A graduate of New York University's Tisch School of the Arts, Curran was an original member of the New York City cast of the Off-Broadway percussion extravaganza Stomp, performing in the show for four years. He has performed his solo evening of dances at venues throughout the United States as well as at Sweden's Danstation Theatre and France's EXIT Festival.Current and recent projects for Curran include productions of Much Ado About Nothing and A Midsummer Night's Dream for The Shakespeare Theater, the twentieth anniversary production of Nixon in China and Street Scene at Opera Theater of St. Louis; choreography for the New York City Opera productions of L'Etoile, Alcina, Turandot, Haroun and the Sea of Stories, Capriccio, and Acis and Galetea; the Playwrights Horizons' production of My Life with Albertine; Shakespeare in the Park's As You Like It. He recently made his Metropolitan Opera debut choreographing Romeo and Juliette. Curran's work has appeared on Broadway in James Joyce's The Dead for Playwrights Horizons and The Rivals at Lincoln Center Theater. He has created works for Trinity Irish Dance Company, American Ballet Theatre's studio company, Denmark's Upper Cut Company, Sweden's Skanes Dance Theater, Irish Modern Dance Theatre, Ririe Woodbury Dance Theater, and Dance Alloy, as well as for numerous college and university dance departments.· www.seancurrancompany.com· tisch.nyu.edu/about/directory/dance/109207637.html· www.creativeprocess.info· www.oneplanetpodcast.org

Lindsay closes out our tour of Chile with a variety of tales that may turn your stomach (or your head). Our appetizer is the ghostly tale of El Caleuche - a ship that ties into the royal mermaid family of cryptids from Emily's first dish. The main course tells the disturbing creation stories of not only the Righteous Province and its Brujos, but of the Invunche, which is one of the most terrifying creatures we've served up so far. Dessert is the colorful tale of El Coco and the creepiest lullaby of all time.Find Leave the Lights on Podcast on your favorite social media or streaming platform at https://linktr.ee/lightsonpod (https://linktr.ee/lightsonpod)To stay on top of all the latest from Pineapple Pizza Podcast, be sure to check out our website at http://www.pineapplepizzapodcast.com (www.pineapplepizzapodcast.com) where you will find links to merch, Patreon and a variety of ways to support the show, as well as detailed episode descriptions and regional specials. Help our show grow by leaving us a review on Apple Podcasts at https://podcasts.apple.com/us/podcast/pineapple-pizza-podcast/id1543640038 (https://podcasts.apple.com/us/podcast/pineapple-pizza-podcast/id1543640038)Or on Podchaser at https://www.podchaser.com/podcasts/pineapple-pizza-podcast-1568165 (https://www.podchaser.com/podcasts/pineapple-pizza-podcast-1568165)You can also send mail to: Pineapple Pizza PodcastPO Box 341Wyoming, MN 55092Remember, no matter how you slice it, you're awesome and we love you.Sources:2017 Vaya Adventures blog post by Rachel Harris2015 Folk Realms Studios blog post by zteve t evans2013 Esoterx article titled “Dead and Loving It: Spectral Seafaring with the Ghost Ship El Caleuche of the Chilean Chilotes”Evil Wiki entry on CaleucheLonely PlanetWikipedia entry on Caleuche, Chasm City, Imbunche, Sirena Chilota, Pincoya, & Pincoy2017 Fodors Travel blog post by Rachael Levitt2017 The Culture Trip article by Will Lees2013 Smithsonian Magazine article by Mike DashA Cascada Travel blog post by Zoe BaillargeonWikipedia entry on Imbunche, Warlock of Chiloe2020 Den of Geek article by Tony Sokol2020 Men's Health article by Josh St. Clair2020 Refinery29 article by Gina Vaynshteyn2016 Ancient Origins article by Natalie KlimczakBlog entry on the ACIS travel website by Francesca WilliamsMyths and Folklore Wiki entryWikipedia entry on the folklore of Coco