Podcasts about avalanches

Jesse wraps up the final installment of the Italian front of World War I and the White War. Avalanches played a major part in the death toll, and really there are three ways to go via avalanche. Mounting a counter attack in the mountains. Why gas was such a terrible way to go. The sound of silence. See omnystudio.com/listener for privacy information.

Dans ce nouvel épisode de Tailgate D1, le podcast dédié au football américain en France, notre équipe revient sur les faits marquants de la 7e journée du championnat. Les Molosses ont-ils frappé un grand coup? Le Flash est-il en perdition? Les Black Panthers ou les Iron Mask sont-ils les vrais favoris de cette saison?Nous recevons également Josie des Avalanches d'Annecy qui vient nous parler de l'élan de solidarité survenu après l'incendie qui a frappé le local de l'équipe la semaine dernière.Pour venir en aide aux Avalanches d'Annecy une cagnotte a été mise en place à l'adresse suivante: https://www.helloasso.com/associations/les-avalanches-annecy/formulaires/1Bonne écoute à tous et à toutesHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

The Fan Weekends roll on with Kyle Reese and Marcello Romano! The Avalanche are rolling in the month of March. They currently sit with the fourth best odds to win a Stanley Cup? Where do the guys fall on the Avalanches playoff chances? Is Gabe Landeskog on the way back to the ice? Could he be more motivated to come back now that the Avs are true title contenders? We wake up and reset. The Colorado Buffaloes are getting new turf in their stadium, how do we feel about the transition away from grass? Why does it feel like no one is paying attention to the Woman’s college basketball tournament? We react to your texts to close out the show!

The Fan Weekends roll on with Kyle Reese and Marcello Romano! The Broncos have been living it up since Russell Wilson has been gone, but has Wilson overstayed his welcome in the NFL after signing with the Giants? What other players have overstayed their welcome in sports? Have more players tarnished their legacy because they couldn’t hang it up? The Text-line gives some names that fit that bill. Producer Alex has some questions! Nikola Jokic is cementing his name as an all time great. Does he need another championship to finally be acknowledged as a top five ALL-TIME player? What grade would you give the Avalanches general manager as we reach their playoff push? The Colorado Rockies have officially started their season. Is there ANYTHING they can do to get your attention this year?

Si l'on vous demandait de délimiter cette nouvelle vague d'artistes qui redéfinissent la chanson québécoise, parions que vous parleriez spontanément d'Ariane Roy. Figure de proue de la désormais célèbre scène de Québec, récipiendaire du prix Révélation de l'année au Gala de l'ADISQ 2022, Révélation Radio-Canada 2021-2022, nommée à deux reprises aux prix JUNO, récipiendaire du Prix Félix-Leclerc en 2022, Prix Espoir FEQ et on en passe, tous s'entendent pour dire qu'elle est manifestement destinée à briller parmi nos plus grandes étoiles. Et même si on oubliait tout cela, il suffirait d'évoquer l'éclatante série de concerts Le Roy, La Rose et le Lou[p], nommée événement historique à deux occasions par La Presse (2022 et 2023) et couronnée du Félix du Spectacle de l'année, pour comprendre qu'elle est de celles qui nous donnent la force de croire en l'avenir de la musique québécoise. Suite à la parution d'un premier EP, Avalanches (n.f.) (2021), et d'un premier album, medium plaisir (2022), Ariane s'est fait un nom en brûlant les planches des quatre coins du Québec avec un spectacle bouillant, mettant en évidence les fulgurances qui la portent depuis ses tous débuts. Jubilatoire, d'une communion existentielle et inclusive avec la jeunesse d'aujourd'hui et d'hier, l'expérience d'un spectacle d'Ariane Roy marque et rassemble autour d'un souffle d'une vie ardente qui triomphe des angoisses de notre époque. Des prestations déterminantes au Printemps de Bourges et au MaMA en 2023, ainsi que des passages remarqués aux Francos de La Rochelle et au Paléo Festival en 2024 lui ont par la suite ouvert les portes de l'Europe francophone, territoire qu'elle entend revenir visiter sous peu. Suite à ces deux ans de tournée incessante, Ariane nous revient avec Dogue, un deuxième album qui tranche avec ce qu'elle nous avait habitué. Non pas qu'on ne la reconnaît plus, mais plutôt que la précieuse fleur qui éclot à présent a des teintes plus profondes que l'on s'imaginait. Délaissant la clarté de ses premiers airs, elle se montre à nous sous des jours plus sombres, le verbe plus mordant, la voix plus caustique, dans une lumière résolument contemporaine. Auto-fiction lui permettant de coller au plus près de sa vérité, l'album constitue un bon de géant, même pour la prodige que nous connaissions déjà. Coréalisé avec Félix Petit (Hubert Lenoir, Les Louanges, Bonnie Banane), Dogue montre les dents, oui pour sourire, mais aux dépends de qui ? Peu nous importe puisque l'on ne peut résister à se coucher devant les crocs, espérant se joindre à la meute. Instagram :https://www.instagram.com/laprescriptiondrfred/?hl=frFacebook :https://www.facebook.com/people/La-prescription-avec-Dr-Fred-Lambert/100078674880976/ Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Piccadilly Un:Plugged is curated by New Public and a part of Art after Dark commissioned by Art of London , an immersive creative journey and ecofeminist experience by Nelly Ben Hayoun- Stépanian across London's West End for Art After Dark on 6th, 7th and 8th March 2025. This installatio is in loving memory of Láwû Makuriye'nt (aka EOBIONT, Mango, half of Mirrored fatality) Moonbounce or Earth-Moon-Earth (EME) is a technology that allows sending radio signals from one location to another location on Earth, using the Moon as a natural satellite. It is like DJing with the Moon, the audio signal goes about 3 meter inside the crust of the moon before travelling back to earth picking up the Big Bang static on the way- which gives it this distorted audio, alien and eerie. Included in this playlist: the heartbeats of women in Nelly Ben Hayoun-Stépanian's Armenian family for International Women's Day; recordings from the city's streets and institutions produced by multi-instrumentalist Ayse Hassan (of Savages and Esya); and a series of original tracks from Nelly and the University of the Underground's long term collaborators: Massive Attack, The Avalanches (feat. Blood Orange), Pussy Riot, Mirrored Fatality and Moses Boyd. Additionally. newly produced track in collaboration with the late noise artist EOBIONT (Láwû Makuriye'nt), who tragically passed away this week features the heartbeats of Ben Hayoun-Stépanian's Armenian family. With special thanks to the team at Jodrell Bank Observatory for their support in making this technological feat happen.

Piccadilly Un:Plugged is curated by New Public and a part of Art after Dark commissioned by Art of London , an immersive creative journey and ecofeminist experience by Nelly Ben Hayoun- Stépanian across London's West End for Art After Dark on 6th, 7th and 8th March 2025. This installatio is in loving memory of Láwû Makuriye'nt (aka EOBIONT, Mango, half of Mirrored fatality) Moonbounce or Earth-Moon-Earth (EME) is a technology that allows sending radio signals from one location to another location on Earth, using the Moon as a natural satellite. It is like DJing with the Moon, the audio signal goes about 3 meter inside the crust of the moon before travelling back to earth picking up the Big Bang static on the way- which gives it this distorted audio, alien and eerie. Included in this playlist: the heartbeats of women in Nelly Ben Hayoun-Stépanian's Armenian family for International Women's Day; recordings from the city's streets and institutions produced by multi-instrumentalist Ayse Hassan (of Savages and Esya); and a series of original tracks from Nelly and the University of the Underground's long term collaborators: Massive Attack, The Avalanches (feat. Blood Orange), Pussy Riot, Mirrored Fatality and Moses Boyd. Additionally. newly produced track in collaboration with the late noise artist EOBIONT (Láwû Makuriye'nt), who tragically passed away this week features the heartbeats of Ben Hayoun-Stépanian's Armenian family. With special thanks to the team at Jodrell Bank Observatory for their support in making this technological feat happen.

Piccadilly Un:Plugged is curated by New Public and a part of Art after Dark commissioned by Art of London , an immersive creative journey and ecofeminist experience by Nelly Ben Hayoun- Stépanian across London's West End for Art After Dark on 6th, 7th and 8th March 2025. This installatio is in loving memory of Láwû Makuriye'nt (aka EOBIONT, Mango, half of Mirrored fatality) Moonbounce or Earth-Moon-Earth (EME) is a technology that allows sending radio signals from one location to another location on Earth, using the Moon as a natural satellite. It is like DJing with the Moon, the audio signal goes about 3 meter inside the crust of the moon before travelling back to earth picking up the Big Bang static on the way- which gives it this distorted audio, alien and eerie. Included in this playlist: the heartbeats of women in Nelly Ben Hayoun-Stépanian's Armenian family for International Women's Day; recordings from the city's streets and institutions produced by multi-instrumentalist Ayse Hassan (of Savages and Esya); and a series of original tracks from Nelly and the University of the Underground's long term collaborators: Massive Attack, The Avalanches (feat. Blood Orange), Pussy Riot, Mirrored Fatality and Moses Boyd. Additionally. newly produced track in collaboration with the late noise artist EOBIONT (Láwû Makuriye'nt), who tragically passed away this week features the heartbeats of Ben Hayoun-Stépanian's Armenian family. With special thanks to the team at Jodrell Bank Observatory for their support in making this technological feat happen.

Piccadilly Un:Plugged is curated by New Public and a part of Art after Dark commissioned by Art of London , an immersive creative journey and ecofeminist experience by Nelly Ben Hayoun- Stépanian across London's West End for Art After Dark on 6th, 7th and 8th March 2025. This installatio is in loving memory of Láwû Makuriye'nt (aka EOBIONT, Mango, half of Mirrored fatality) Moonbounce or Earth-Moon-Earth (EME) is a technology that allows sending radio signals from one location to another location on Earth, using the Moon as a natural satellite. It is like DJing with the Moon, the audio signal goes about 3 meter inside the crust of the moon before travelling back to earth picking up the Big Bang static on the way- which gives it this distorted audio, alien and eerie. Included in this playlist: the heartbeats of women in Nelly Ben Hayoun-Stépanian's Armenian family for International Women's Day; recordings from the city's streets and institutions produced by multi-instrumentalist Ayse Hassan (of Savages and Esya); and a series of original tracks from Nelly and the University of the Underground's long term collaborators: Massive Attack, The Avalanches (feat. Blood Orange), Pussy Riot, Mirrored Fatality and Moses Boyd. Additionally. newly produced track in collaboration with the late noise artist EOBIONT (Láwû Makuriye'nt), who tragically passed away this week features the heartbeats of Ben Hayoun-Stépanian's Armenian family. With special thanks to the team at Jodrell Bank Observatory for their support in making this technological feat happen.

Piccadilly Un:Plugged is curated by New Public and a part of Art after Dark commissioned by Art of London , an immersive creative journey and ecofeminist experience by Nelly Ben Hayoun- Stépanian across London's West End for Art After Dark on 6th, 7th and 8th March 2025. This installatio is in loving memory of Láwû Makuriye'nt (aka EOBIONT, Mango, half of Mirrored fatality) Moonbounce or Earth-Moon-Earth (EME) is a technology that allows sending radio signals from one location to another location on Earth, using the Moon as a natural satellite. It is like DJing with the Moon, the audio signal goes about 3 meter inside the crust of the moon before travelling back to earth picking up the Big Bang static on the way- which gives it this distorted audio, alien and eerie. Included in this playlist: the heartbeats of women in Nelly Ben Hayoun-Stépanian's Armenian family for International Women's Day; recordings from the city's streets and institutions produced by multi-instrumentalist Ayse Hassan (of Savages and Esya); and a series of original tracks from Nelly and the University of the Underground's long term collaborators: Massive Attack, The Avalanches (feat. Blood Orange), Pussy Riot, Mirrored Fatality and Moses Boyd. Additionally. newly produced track in collaboration with the late noise artist EOBIONT (Láwû Makuriye'nt), who tragically passed away this week features the heartbeats of Ben Hayoun-Stépanian's Armenian family. With special thanks to the team at Jodrell Bank Observatory for their support in making this technological feat happen.

Piccadilly Un:Plugged is curated by New Public and a part of Art after Dark commissioned by Art of London , an immersive creative journey and ecofeminist experience by Nelly Ben Hayoun- Stépanian across London's West End for Art After Dark on 6th, 7th and 8th March 2025. This installatio is in loving memory of Láwû Makuriye'nt (aka EOBIONT, Mango, half of Mirrored fatality) Moonbounce or Earth-Moon-Earth (EME) is a technology that allows sending radio signals from one location to another location on Earth, using the Moon as a natural satellite. It is like DJing with the Moon, the audio signal goes about 3 meter inside the crust of the moon before travelling back to earth picking up the Big Bang static on the way- which gives it this distorted audio, alien and eerie. Included in this playlist: the heartbeats of women in Nelly Ben Hayoun-Stépanian's Armenian family for International Women's Day; recordings from the city's streets and institutions produced by multi-instrumentalist Ayse Hassan (of Savages and Esya); and a series of original tracks from Nelly and the University of the Underground's long term collaborators: Massive Attack, The Avalanches (feat. Blood Orange), Pussy Riot, Mirrored Fatality and Moses Boyd. Additionally. newly produced track in collaboration with the late noise artist EOBIONT (Láwû Makuriye'nt), who tragically passed away this week features the heartbeats of Ben Hayoun-Stépanian's Armenian family. With special thanks to the team at Jodrell Bank Observatory for their support in making this technological feat happen.

Piccadilly Un:Plugged is curated by New Public and a part of Art after Dark commissioned by Art of London , an immersive creative journey and ecofeminist experience by Nelly Ben Hayoun- Stépanian across London's West End for Art After Dark on 6th, 7th and 8th March 2025. This installatio is in loving memory of Láwû Makuriye'nt (aka EOBIONT, Mango, half of Mirrored fatality) Moonbounce or Earth-Moon-Earth (EME) is a technology that allows sending radio signals from one location to another location on Earth, using the Moon as a natural satellite. It is like DJing with the Moon, the audio signal goes about 3 meter inside the crust of the moon before travelling back to earth picking up the Big Bang static on the way- which gives it this distorted audio, alien and eerie. Included in this playlist: the heartbeats of women in Nelly Ben Hayoun-Stépanian's Armenian family for International Women's Day; recordings from the city's streets and institutions produced by multi-instrumentalist Ayse Hassan (of Savages and Esya); and a series of original tracks from Nelly and the University of the Underground's long term collaborators: Massive Attack, The Avalanches (feat. Blood Orange), Pussy Riot, Mirrored Fatality and Moses Boyd. Additionally. newly produced track in collaboration with the late noise artist EOBIONT (Láwû Makuriye'nt), who tragically passed away this week features the heartbeats of Ben Hayoun-Stépanian's Armenian family. With special thanks to the team at Jodrell Bank Observatory for their support in making this technological feat happen.

Piccadilly Un:Plugged is curated by New Public and a part of Art after Dark commissioned by Art of London , an immersive creative journey and ecofeminist experience by Nelly Ben Hayoun- Stépanian across London's West End for Art After Dark on 6th, 7th and 8th March 2025. This installatio is in loving memory of Láwû Makuriye'nt (aka EOBIONT, Mango, half of Mirrored fatality) Moonbounce or Earth-Moon-Earth (EME) is a technology that allows sending radio signals from one location to another location on Earth, using the Moon as a natural satellite. It is like DJing with the Moon, the audio signal goes about 3 meter inside the crust of the moon before travelling back to earth picking up the Big Bang static on the way- which gives it this distorted audio, alien and eerie. Included in this playlist: the heartbeats of women in Nelly Ben Hayoun-Stépanian's Armenian family for International Women's Day; recordings from the city's streets and institutions produced by multi-instrumentalist Ayse Hassan (of Savages and Esya); and a series of original tracks from Nelly and the University of the Underground's long term collaborators: Massive Attack, The Avalanches (feat. Blood Orange), Pussy Riot, Mirrored Fatality and Moses Boyd. Additionally. newly produced track in collaboration with the late noise artist EOBIONT (Láwû Makuriye'nt), who tragically passed away this week features the heartbeats of Ben Hayoun-Stépanian's Armenian family. With special thanks to the team at Jodrell Bank Observatory for their support in making this technological feat happen.

Piccadilly Un:Plugged is curated by New Public and a part of Art after Dark commissioned by Art of London , an immersive creative journey and ecofeminist experience by Nelly Ben Hayoun- Stépanian across London's West End for Art After Dark on 6th, 7th and 8th March 2025. This installatio is in loving memory of Láwû Makuriye'nt (aka EOBIONT, Mango, half of Mirrored fatality) Moonbounce or Earth-Moon-Earth (EME) is a technology that allows sending radio signals from one location to another location on Earth, using the Moon as a natural satellite. It is like DJing with the Moon, the audio signal goes about 3 meter inside the crust of the moon before travelling back to earth picking up the Big Bang static on the way- which gives it this distorted audio, alien and eerie. Included in this playlist: the heartbeats of women in Nelly Ben Hayoun-Stépanian's Armenian family for International Women's Day; recordings from the city's streets and institutions produced by multi-instrumentalist Ayse Hassan (of Savages and Esya); and a series of original tracks from Nelly and the University of the Underground's long term collaborators: Massive Attack, The Avalanches (feat. Blood Orange), Pussy Riot, Mirrored Fatality and Moses Boyd. Additionally. newly produced track in collaboration with the late noise artist EOBIONT (Láwû Makuriye'nt), who tragically passed away this week features the heartbeats of Ben Hayoun-Stépanian's Armenian family. With special thanks to the team at Jodrell Bank Observatory for their support in making this technological feat happen.

Piccadilly Un:Plugged is curated by New Public and a part of Art after Dark commissioned by Art of London , an immersive creative journey and ecofeminist experience by Nelly Ben Hayoun- Stépanian across London's West End for Art After Dark on 6th, 7th and 8th March 2025. This installatio is in loving memory of Láwû Makuriye'nt (aka EOBIONT, Mango, half of Mirrored fatality) Moonbounce or Earth-Moon-Earth (EME) is a technology that allows sending radio signals from one location to another location on Earth, using the Moon as a natural satellite. It is like DJing with the Moon, the audio signal goes about 3 meter inside the crust of the moon before travelling back to earth picking up the Big Bang static on the way- which gives it this distorted audio, alien and eerie. Included in this playlist: the heartbeats of women in Nelly Ben Hayoun-Stépanian's Armenian family for International Women's Day; recordings from the city's streets and institutions produced by multi-instrumentalist Ayse Hassan (of Savages and Esya); and a series of original tracks from Nelly and the University of the Underground's long term collaborators: Massive Attack, The Avalanches (feat. Blood Orange), Pussy Riot, Mirrored Fatality and Moses Boyd. Additionally. newly produced track in collaboration with the late noise artist EOBIONT (Láwû Makuriye'nt), who tragically passed away this week features the heartbeats of Ben Hayoun-Stépanian's Armenian family. With special thanks to the team at Jodrell Bank Observatory for their support in making this technological feat happen.

Piccadilly Un:Plugged is curated by New Public and a part of Art after Dark commissioned by Art of London , an immersive creative journey and ecofeminist experience by Nelly Ben Hayoun- Stépanian across London's West End for Art After Dark on 6th, 7th and 8th March 2025. This installatio is in loving memory of Láwû Makuriye'nt (aka EOBIONT, Mango, half of Mirrored fatality) Moonbounce or Earth-Moon-Earth (EME) is a technology that allows sending radio signals from one location to another location on Earth, using the Moon as a natural satellite. It is like DJing with the Moon, the audio signal goes about 3 meter inside the crust of the moon before travelling back to earth picking up the Big Bang static on the way- which gives it this distorted audio, alien and eerie. Included in this playlist: the heartbeats of women in Nelly Ben Hayoun-Stépanian's Armenian family for International Women's Day; recordings from the city's streets and institutions produced by multi-instrumentalist Ayse Hassan (of Savages and Esya); and a series of original tracks from Nelly and the University of the Underground's long term collaborators: Massive Attack, The Avalanches (feat. Blood Orange), Pussy Riot, Mirrored Fatality and Moses Boyd. Additionally. newly produced track in collaboration with the late noise artist EOBIONT (Láwû Makuriye'nt), who tragically passed away this week features the heartbeats of Ben Hayoun-Stépanian's Armenian family. With special thanks to the team at Jodrell Bank Observatory for their support in making this technological feat happen.

Piccadilly Un:Plugged is curated by New Public and a part of Art after Dark commissioned by Art of London , an immersive creative journey and ecofeminist experience by Nelly Ben Hayoun- Stépanian across London's West End for Art After Dark on 6th, 7th and 8th March 2025. This installatio is in loving memory of Láwû Makuriye'nt (aka EOBIONT, Mango, half of Mirrored fatality) Moonbounce or Earth-Moon-Earth (EME) is a technology that allows sending radio signals from one location to another location on Earth, using the Moon as a natural satellite. It is like DJing with the Moon, the audio signal goes about 3 meter inside the crust of the moon before travelling back to earth picking up the Big Bang static on the way- which gives it this distorted audio, alien and eerie. Included in this playlist: the heartbeats of women in Nelly Ben Hayoun-Stépanian's Armenian family for International Women's Day; recordings from the city's streets and institutions produced by multi-instrumentalist Ayse Hassan (of Savages and Esya); and a series of original tracks from Nelly and the University of the Underground's long term collaborators: Massive Attack, The Avalanches (feat. Blood Orange), Pussy Riot, Mirrored Fatality and Moses Boyd. Additionally. newly produced track in collaboration with the late noise artist EOBIONT (Láwû Makuriye'nt), who tragically passed away this week features the heartbeats of Ben Hayoun-Stépanian's Armenian family. With special thanks to the team at Jodrell Bank Observatory for their support in making this technological feat happen.

Piccadilly Un:Plugged is curated by New Public and a part of Art after Dark commissioned by Art of London , an immersive creative journey and ecofeminist experience by Nelly Ben Hayoun- Stépanian across London's West End for Art After Dark on 6th, 7th and 8th March 2025. This installatio is in loving memory of Láwû Makuriye'nt (aka EOBIONT, Mango, half of Mirrored fatality) Moonbounce or Earth-Moon-Earth (EME) is a technology that allows sending radio signals from one location to another location on Earth, using the Moon as a natural satellite. It is like DJing with the Moon, the audio signal goes about 3 meter inside the crust of the moon before travelling back to earth picking up the Big Bang static on the way- which gives it this distorted audio, alien and eerie. Included in this playlist: the heartbeats of women in Nelly Ben Hayoun-Stépanian's Armenian family for International Women's Day; recordings from the city's streets and institutions produced by multi-instrumentalist Ayse Hassan (of Savages and Esya); and a series of original tracks from Nelly and the University of the Underground's long term collaborators: Massive Attack, The Avalanches (feat. Blood Orange), Pussy Riot, Mirrored Fatality and Moses Boyd. Additionally. newly produced track in collaboration with the late noise artist EOBIONT (Láwû Makuriye'nt), who tragically passed away this week features the heartbeats of Ben Hayoun-Stépanian's Armenian family. With special thanks to the team at Jodrell Bank Observatory for their support in making this technological feat happen.

Piccadilly Un:Plugged is curated by New Public and a part of Art after Dark commissioned by Art of London , an immersive creative journey and ecofeminist experience by Nelly Ben Hayoun- Stépanian across London's West End for Art After Dark on 6th, 7th and 8th March 2025. This installatio is in loving memory of Láwû Makuriye'nt (aka EOBIONT, Mango, half of Mirrored fatality) Moonbounce or Earth-Moon-Earth (EME) is a technology that allows sending radio signals from one location to another location on Earth, using the Moon as a natural satellite. It is like DJing with the Moon, the audio signal goes about 3 meter inside the crust of the moon before travelling back to earth picking up the Big Bang static on the way- which gives it this distorted audio, alien and eerie. Included in this playlist: the heartbeats of women in Nelly Ben Hayoun-Stépanian's Armenian family for International Women's Day; recordings from the city's streets and institutions produced by multi-instrumentalist Ayse Hassan (of Savages and Esya); and a series of original tracks from Nelly and the University of the Underground's long term collaborators: Massive Attack, The Avalanches (feat. Blood Orange), Pussy Riot, Mirrored Fatality and Moses Boyd. Additionally. newly produced track in collaboration with the late noise artist EOBIONT (Láwû Makuriye'nt), who tragically passed away this week features the heartbeats of Ben Hayoun-Stépanian's Armenian family. With special thanks to the team at Jodrell Bank Observatory for their support in making this technological feat happen.

Piccadilly Un:Plugged is curated by New Public and a part of Art after Dark commissioned by Art of London , an immersive creative journey and ecofeminist experience by Nelly Ben Hayoun- Stépanian across London's West End for Art After Dark on 6th, 7th and 8th March 2025. This installatio is in loving memory of Láwû Makuriye'nt (aka EOBIONT, Mango, half of Mirrored fatality) Moonbounce or Earth-Moon-Earth (EME) is a technology that allows sending radio signals from one location to another location on Earth, using the Moon as a natural satellite. It is like DJing with the Moon, the audio signal goes about 3 meter inside the crust of the moon before travelling back to earth picking up the Big Bang static on the way- which gives it this distorted audio, alien and eerie. Included in this playlist: the heartbeats of women in Nelly Ben Hayoun-Stépanian's Armenian family for International Women's Day; recordings from the city's streets and institutions produced by multi-instrumentalist Ayse Hassan (of Savages and Esya); and a series of original tracks from Nelly and the University of the Underground's long term collaborators: Massive Attack, The Avalanches (feat. Blood Orange), Pussy Riot, Mirrored Fatality and Moses Boyd. Additionally. newly produced track in collaboration with the late noise artist EOBIONT (Láwû Makuriye'nt), who tragically passed away this week features the heartbeats of Ben Hayoun-Stépanian's Armenian family. With special thanks to the team at Jodrell Bank Observatory for their support in making this technological feat happen.

Piccadilly Un:Plugged is curated by New Public and a part of Art after Dark commissioned by Art of London , an immersive creative journey and ecofeminist experience by Nelly Ben Hayoun- Stépanian across London's West End for Art After Dark on 6th, 7th and 8th March 2025. This installatio is in loving memory of Láwû Makuriye'nt (aka EOBIONT, Mango, half of Mirrored fatality) Moonbounce or Earth-Moon-Earth (EME) is a technology that allows sending radio signals from one location to another location on Earth, using the Moon as a natural satellite. It is like DJing with the Moon, the audio signal goes about 3 meter inside the crust of the moon before travelling back to earth picking up the Big Bang static on the way- which gives it this distorted audio, alien and eerie. Included in this playlist: the heartbeats of women in Nelly Ben Hayoun-Stépanian's Armenian family for International Women's Day; recordings from the city's streets and institutions produced by multi-instrumentalist Ayse Hassan (of Savages and Esya); and a series of original tracks from Nelly and the University of the Underground's long term collaborators: Massive Attack, The Avalanches (feat. Blood Orange), Pussy Riot, Mirrored Fatality and Moses Boyd. Additionally. newly produced track in collaboration with the late noise artist EOBIONT (Láwû Makuriye'nt), who tragically passed away this week features the heartbeats of Ben Hayoun-Stépanian's Armenian family. With special thanks to the team at Jodrell Bank Observatory for their support in making this technological feat happen.

Piccadilly Un:Plugged is curated by New Public and a part of Art after Dark commissioned by Art of London , an immersive creative journey and ecofeminist experience by Nelly Ben Hayoun- Stépanian across London's West End for Art After Dark on 6th, 7th and 8th March 2025. This installatio is in loving memory of Láwû Makuriye'nt (aka EOBIONT, Mango, half of Mirrored fatality) Moonbounce or Earth-Moon-Earth (EME) is a technology that allows sending radio signals from one location to another location on Earth, using the Moon as a natural satellite. It is like DJing with the Moon, the audio signal goes about 3 meter inside the crust of the moon before travelling back to earth picking up the Big Bang static on the way- which gives it this distorted audio, alien and eerie. Included in this playlist: the heartbeats of women in Nelly Ben Hayoun-Stépanian's Armenian family for International Women's Day; recordings from the city's streets and institutions produced by multi-instrumentalist Ayse Hassan (of Savages and Esya); and a series of original tracks from Nelly and the University of the Underground's long term collaborators: Massive Attack, The Avalanches (feat. Blood Orange), Pussy Riot, Mirrored Fatality and Moses Boyd. Additionally. newly produced track in collaboration with the late noise artist EOBIONT (Láwû Makuriye'nt), who tragically passed away this week features the heartbeats of Ben Hayoun-Stépanian's Armenian family. With special thanks to the team at Jodrell Bank Observatory for their support in making this technological feat happen.

Piccadilly Un:Plugged is curated by New Public and a part of Art after Dark commissioned by Art of London , an immersive creative journey and ecofeminist experience by Nelly Ben Hayoun- Stépanian across London's West End for Art After Dark on 6th, 7th and 8th March 2025. This installatio is in loving memory of Láwû Makuriye'nt (aka EOBIONT, Mango, half of Mirrored fatality) Moonbounce or Earth-Moon-Earth (EME) is a technology that allows sending radio signals from one location to another location on Earth, using the Moon as a natural satellite. It is like DJing with the Moon, the audio signal goes about 3 meter inside the crust of the moon before travelling back to earth picking up the Big Bang static on the way- which gives it this distorted audio, alien and eerie. Included in this playlist: the heartbeats of women in Nelly Ben Hayoun-Stépanian's Armenian family for International Women's Day; recordings from the city's streets and institutions produced by multi-instrumentalist Ayse Hassan (of Savages and Esya); and a series of original tracks from Nelly and the University of the Underground's long term collaborators: Massive Attack, The Avalanches (feat. Blood Orange), Pussy Riot, Mirrored Fatality and Moses Boyd. Additionally. newly produced track in collaboration with the late noise artist EOBIONT (Láwû Makuriye'nt), who tragically passed away this week features the heartbeats of Ben Hayoun-Stépanian's Armenian family. With special thanks to the team at Jodrell Bank Observatory for their support in making this technological feat happen.

Piccadilly Un:Plugged is curated by New Public and a part of Art after Dark commissioned by Art of London , an immersive creative journey and ecofeminist experience by Nelly Ben Hayoun- Stépanian across London's West End for Art After Dark on 6th, 7th and 8th March 2025. This installatio is in loving memory of Láwû Makuriye'nt (aka EOBIONT, Mango, half of Mirrored fatality) Moonbounce or Earth-Moon-Earth (EME) is a technology that allows sending radio signals from one location to another location on Earth, using the Moon as a natural satellite. It is like DJing with the Moon, the audio signal goes about 3 meter inside the crust of the moon before travelling back to earth picking up the Big Bang static on the way- which gives it this distorted audio, alien and eerie. Included in this playlist: the heartbeats of women in Nelly Ben Hayoun-Stépanian's Armenian family for International Women's Day; recordings from the city's streets and institutions produced by multi-instrumentalist Ayse Hassan (of Savages and Esya); and a series of original tracks from Nelly and the University of the Underground's long term collaborators: Massive Attack, The Avalanches (feat. Blood Orange), Pussy Riot, Mirrored Fatality and Moses Boyd. Additionally. newly produced track in collaboration with the late noise artist EOBIONT (Láwû Makuriye'nt), who tragically passed away this week features the heartbeats of Ben Hayoun-Stépanian's Armenian family. With special thanks to the team at Jodrell Bank Observatory for their support in making this technological feat happen.

Piccadilly Un:Plugged is curated by New Public and a part of Art after Dark commissioned by Art of London , an immersive creative journey and ecofeminist experience by Nelly Ben Hayoun- Stépanian across London's West End for Art After Dark on 6th, 7th and 8th March 2025. This installatio is in loving memory of Láwû Makuriye'nt (aka EOBIONT, Mango, half of Mirrored fatality) Moonbounce or Earth-Moon-Earth (EME) is a technology that allows sending radio signals from one location to another location on Earth, using the Moon as a natural satellite. It is like DJing with the Moon, the audio signal goes about 3 meter inside the crust of the moon before travelling back to earth picking up the Big Bang static on the way- which gives it this distorted audio, alien and eerie. Included in this playlist: the heartbeats of women in Nelly Ben Hayoun-Stépanian's Armenian family for International Women's Day; recordings from the city's streets and institutions produced by multi-instrumentalist Ayse Hassan (of Savages and Esya); and a series of original tracks from Nelly and the University of the Underground's long term collaborators: Massive Attack, The Avalanches (feat. Blood Orange), Pussy Riot, Mirrored Fatality and Moses Boyd. Additionally. newly produced track in collaboration with the late noise artist EOBIONT (Láwû Makuriye'nt), who tragically passed away this week features the heartbeats of Ben Hayoun-Stépanian's Armenian family. With special thanks to the team at Jodrell Bank Observatory for their support in making this technological feat happen.

Piccadilly Un:Plugged is curated by New Public and a part of Art after Dark commissioned by Art of London , an immersive creative journey and ecofeminist experience by Nelly Ben Hayoun- Stépanian across London's West End for Art After Dark on 6th, 7th and 8th March 2025. This installation is in loving memory of Láwû Makuriye'nt (aka EOBIONT, Mango, half of Mirrored fatality) Moonbounce or Earth-Moon-Earth (EME) is a technology that allows sending radio signals from one location to another location on Earth, using the Moon as a natural satellite. It is like DJing with the Moon, the audio signal goes about 3 meter inside the crust of the moon before travelling back to earth picking up the Big Bang static on the way- which gives it this distorted audio, alien and eerie. Included in this playlist: the heartbeats of women in Nelly Ben Hayoun-Stépanian's Armenian family for International Women's Day; recordings from the city's streets and institutions produced by multi-instrumentalist Ayse Hassan (of Savages and Esya); and a series of original tracks from Nelly and the University of the Underground's long term collaborators: Massive Attack, The Avalanches (feat. Blood Orange), Pussy Riot, Mirrored Fatality and Moses Boyd. Additionally. newly produced track in collaboration with the late noise artist EOBIONT (Láwû Makuriye'nt), who tragically passed away this week features the heartbeats of Ben Hayoun-Stépanian's Armenian family. With special thanks to the team at Jodrell Bank Observatory for their support in making this technological feat happen.

Piccadilly Un:Plugged is curated by New Public and a part of Art after Dark commissioned by Art of London , an immersive creative journey and ecofeminist experience by Nelly Ben Hayoun- Stépanian across London's West End for Art After Dark on 6th, 7th and 8th March 2025. This installation is in loving memory of Láwû Makuriye'nt (aka EOBIONT, Mango, half of Mirrored fatality) Moonbounce or Earth-Moon-Earth (EME) is a technology that allows sending radio signals from one location to another location on Earth, using the Moon as a natural satellite. It is like DJing with the Moon, the audio signal goes about 3 meter inside the crust of the moon before travelling back to earth picking up the Big Bang static on the way- which gives it this distorted audio, alien and eerie. Included in this playlist: the heartbeats of women in Nelly Ben Hayoun-Stépanian's Armenian family for International Women's Day; recordings from the city's streets and institutions produced by multi-instrumentalist Ayse Hassan (of Savages and Esya); and a series of original tracks from Nelly and the University of the Underground's long term collaborators: Massive Attack, The Avalanches (feat. Blood Orange), Pussy Riot, Mirrored Fatality and Moses Boyd. Additionally. newly produced track in collaboration with the late noise artist EOBIONT (Láwû Makuriye'nt), who tragically passed away this week features the heartbeats of Ben Hayoun-Stépanian's Armenian family. With special thanks to the team at Jodrell Bank Observatory for their support in making this technological feat happen.

Piccadilly Un:Plugged is curated by New Public and a part of Art after Dark commissioned by Art of London , an immersive creative journey and ecofeminist experience by Nelly Ben Hayoun- Stépanian across London's West End for Art After Dark on 6th, 7th and 8th March 2025. This installation is in loving memory of Láwû Makuriye'nt (aka EOBIONT, Mango, half of Mirrored fatality) Moonbounce or Earth-Moon-Earth (EME) is a technology that allows sending radio signals from one location to another location on Earth, using the Moon as a natural satellite. It is like DJing with the Moon, the audio signal goes about 3 meter inside the crust of the moon before travelling back to earth picking up the Big Bang static on the way- which gives it this distorted audio, alien and eerie. Included in this playlist: the heartbeats of women in Nelly Ben Hayoun-Stépanian's Armenian family for International Women's Day; recordings from the city's streets and institutions produced by multi-instrumentalist Ayse Hassan (of Savages and Esya); and a series of original tracks from Nelly and the University of the Underground's long term collaborators: Massive Attack, The Avalanches (feat. Blood Orange), Pussy Riot, Mirrored Fatality and Moses Boyd. Additionally. newly produced track in collaboration with the late noise artist EOBIONT (Láwû Makuriye'nt), who tragically passed away this week features the heartbeats of Ben Hayoun-Stépanian's Armenian family. With special thanks to the team at Jodrell Bank Observatory for their support in making this technological feat happen.

Piccadilly Un:Plugged is curated by New Public and a part of Art after Dark commissioned by Art of London , an immersive creative journey and ecofeminist experience by Nelly Ben Hayoun- Stépanian across London's West End for Art After Dark on 6th, 7th and 8th March 2025. This installation is in loving memory of Láwû Makuriye'nt (aka EOBIONT, Mango, half of Mirrored fatality) Moonbounce or Earth-Moon-Earth (EME) is a technology that allows sending radio signals from one location to another location on Earth, using the Moon as a natural satellite. It is like DJing with the Moon, the audio signal goes about 3 meter inside the crust of the moon before travelling back to earth picking up the Big Bang static on the way- which gives it this distorted audio, alien and eerie. Included in this playlist: the heartbeats of women in Nelly Ben Hayoun-Stépanian's Armenian family for International Women's Day; recordings from the city's streets and institutions produced by multi-instrumentalist Ayse Hassan (of Savages and Esya); and a series of original tracks from Nelly and the University of the Underground's long term collaborators: Massive Attack, The Avalanches (feat. Blood Orange), Pussy Riot, Mirrored Fatality and Moses Boyd. Additionally. newly produced track in collaboration with the late noise artist EOBIONT (Láwû Makuriye'nt), who tragically passed away this week features the heartbeats of Ben Hayoun-Stépanian's Armenian family. With special thanks to the team at Jodrell Bank Observatory for their support in making this technological feat happen.

Piccadilly Un:Plugged is curated by New Public and a part of Art after Dark commissioned by Art of London , an immersive creative journey and ecofeminist experience by Nelly Ben Hayoun- Stépanian across London's West End for Art After Dark on 6th, 7th and 8th March 2025. This installatio is in loving memory of Láwû Makuriye'nt (aka EOBIONT, Mango, half of Mirrored fatality) Moonbounce or Earth-Moon-Earth (EME) is a technology that allows sending radio signals from one location to another location on Earth, using the Moon as a natural satellite. It is like DJing with the Moon, the audio signal goes about 3 meter inside the crust of the moon before travelling back to earth picking up the Big Bang static on the way- which gives it this distorted audio, alien and eerie. Included in this playlist: the heartbeats of women in Nelly Ben Hayoun-Stépanian's Armenian family for International Women's Day; recordings from the city's streets and institutions produced by multi-instrumentalist Ayse Hassan (of Savages and Esya); and a series of original tracks from Nelly and the University of the Underground's long term collaborators: Massive Attack, The Avalanches (feat. Blood Orange), Pussy Riot, Mirrored Fatality and Moses Boyd. Additionally. newly produced track in collaboration with the late noise artist EOBIONT (Láwû Makuriye'nt), who tragically passed away this week features the heartbeats of Ben Hayoun-Stépanian's Armenian family. With special thanks to the team at Jodrell Bank Observatory for their support in making this technological feat happen.

Piccadilly Un:Plugged is curated by New Public and a part of Art after Dark commissioned by Art of London , an immersive creative journey and ecofeminist experience by Nelly Ben Hayoun- Stépanian across London's West End for Art After Dark on 6th, 7th and 8th March 2025. This installation is in loving memory of Láwû Makuriye'nt (aka EOBIONT, Mango, half of Mirrored fatality) Moonbounce or Earth-Moon-Earth (EME) is a technology that allows sending radio signals from one location to another location on Earth, using the Moon as a natural satellite. It is like DJing with the Moon, the audio signal goes about 3 meter inside the crust of the moon before travelling back to earth picking up the Big Bang static on the way- which gives it this distorted audio, alien and eerie. Included in this playlist: the heartbeats of women in Nelly Ben Hayoun-Stépanian's Armenian family for International Women's Day; recordings from the city's streets and institutions produced by multi-instrumentalist Ayse Hassan (of Savages and Esya); and a series of original tracks from Nelly and the University of the Underground's long term collaborators: Massive Attack, The Avalanches (feat. Blood Orange), Pussy Riot, Mirrored Fatality and Moses Boyd. Additionally. newly produced track in collaboration with the late noise artist EOBIONT (Láwû Makuriye'nt), who tragically passed away this week features the heartbeats of Ben Hayoun-Stépanian's Armenian family. With special thanks to the team at Jodrell Bank Observatory for their support in making this technological feat happen.

Piccadilly Un:Plugged is curated by New Public and a part of Art after Dark commissioned by Art of London , an immersive creative journey and ecofeminist experience by Nelly Ben Hayoun- Stépanian across London's West End for Art After Dark on 6th, 7th and 8th March 2025. This installation is in loving memory of Láwû Makuriye'nt (aka EOBIONT, Mango, half of Mirrored fatality) Moonbounce or Earth-Moon-Earth (EME) is a technology that allows sending radio signals from one location to another location on Earth, using the Moon as a natural satellite. It is like DJing with the Moon, the audio signal goes about 3 meter inside the crust of the moon before travelling back to earth picking up the Big Bang static on the way- which gives it this distorted audio, alien and eerie. Included in this playlist: the heartbeats of women in Nelly Ben Hayoun-Stépanian's Armenian family for International Women's Day; recordings from the city's streets and institutions produced by multi-instrumentalist Ayse Hassan (of Savages and Esya); and a series of original tracks from Nelly and the University of the Underground's long term collaborators: Massive Attack, The Avalanches (feat. Blood Orange), Pussy Riot, Mirrored Fatality and Moses Boyd. Additionally. newly produced track in collaboration with the late noise artist EOBIONT (Láwû Makuriye'nt), who tragically passed away this week features the heartbeats of Ben Hayoun-Stépanian's Armenian family. With special thanks to the team at Jodrell Bank Observatory for their support in making this technological feat happen.

Piccadilly Un:Plugged is curated by New Public and a part of Art after Dark commissioned by Art of London , an immersive creative journey and ecofeminist experience by Nelly Ben Hayoun- Stépanian across London's West End for Art After Dark on 6th, 7th and 8th March 2025. This installation is in loving memory of Láwû Makuriye'nt (aka EOBIONT, Mango, half of Mirrored fatality) Moonbounce or Earth-Moon-Earth (EME) is a technology that allows sending radio signals from one location to another location on Earth, using the Moon as a natural satellite. It is like DJing with the Moon, the audio signal goes about 3 meter inside the crust of the moon before travelling back to earth picking up the Big Bang static on the way- which gives it this distorted audio, alien and eerie. Included in this playlist: the heartbeats of women in Nelly Ben Hayoun-Stépanian's Armenian family for International Women's Day; recordings from the city's streets and institutions produced by multi-instrumentalist Ayse Hassan (of Savages and Esya); and a series of original tracks from Nelly and the University of the Underground's long term collaborators: Massive Attack, The Avalanches (feat. Blood Orange), Pussy Riot, Mirrored Fatality and Moses Boyd. Additionally. newly produced track in collaboration with the late noise artist EOBIONT (Láwû Makuriye'nt), who tragically passed away this week features the heartbeats of Ben Hayoun-Stépanian's Armenian family. With special thanks to the team at Jodrell Bank Observatory for their support in making this technological feat happen.

Piccadilly Un:Plugged is curated by New Public and a part of Art after Dark commissioned by Art of London , an immersive creative journey and ecofeminist experience by Nelly Ben Hayoun- Stépanian across London's West End for Art After Dark on 6th, 7th and 8th March 2025. This installation is in loving memory of Láwû Makuriye'nt (aka EOBIONT, Mango, half of Mirrored fatality) Moonbounce or Earth-Moon-Earth (EME) is a technology that allows sending radio signals from one location to another location on Earth, using the Moon as a natural satellite. It is like DJing with the Moon, the audio signal goes about 3 meter inside the crust of the moon before travelling back to earth picking up the Big Bang static on the way- which gives it this distorted audio, alien and eerie. Included in this playlist: the heartbeats of women in Nelly Ben Hayoun-Stépanian's Armenian family for International Women's Day; recordings from the city's streets and institutions produced by multi-instrumentalist Ayse Hassan (of Savages and Esya); and a series of original tracks from Nelly and the University of the Underground's long term collaborators: Massive Attack, The Avalanches (feat. Blood Orange), Pussy Riot, Mirrored Fatality and Moses Boyd. Additionally. newly produced track in collaboration with the late noise artist EOBIONT (Láwû Makuriye'nt), who tragically passed away this week features the heartbeats of Ben Hayoun-Stépanian's Armenian family. With special thanks to the team at Jodrell Bank Observatory for their support in making this technological feat happen.

Piccadilly Un:Plugged is curated by New Public and a part of Art after Dark commissioned by Art of London , an immersive creative journey and ecofeminist experience by Nelly Ben Hayoun- Stépanian across London's West End for Art After Dark on 6th, 7th and 8th March 2025. This installation is in loving memory of Láwû Makuriye'nt (aka EOBIONT, Mango, half of Mirrored fatality) Moonbounce or Earth-Moon-Earth (EME) is a technology that allows sending radio signals from one location to another location on Earth, using the Moon as a natural satellite. It is like DJing with the Moon, the audio signal goes about 3 meter inside the crust of the moon before travelling back to earth picking up the Big Bang static on the way- which gives it this distorted audio, alien and eerie. Included in this playlist: the heartbeats of women in Nelly Ben Hayoun-Stépanian's Armenian family for International Women's Day; recordings from the city's streets and institutions produced by multi-instrumentalist Ayse Hassan (of Savages and Esya); and a series of original tracks from Nelly and the University of the Underground's long term collaborators: Massive Attack, The Avalanches (feat. Blood Orange), Pussy Riot, Mirrored Fatality and Moses Boyd. Additionally. newly produced track in collaboration with the late noise artist EOBIONT (Láwû Makuriye'nt), who tragically passed away this week features the heartbeats of Ben Hayoun-Stépanian's Armenian family. With special thanks to the team at Jodrell Bank Observatory for their support in making this technological feat happen.

Piccadilly Un:Plugged is curated by New Public and a part of Art after Dark commissioned by Art of London , an immersive creative journey and ecofeminist experience by Nelly Ben Hayoun- Stépanian across London's West End for Art After Dark on 6th, 7th and 8th March 2025. This installation is in loving memory of Láwû Makuriye'nt (aka EOBIONT, Mango, half of Mirrored fatality) Moonbounce or Earth-Moon-Earth (EME) is a technology that allows sending radio signals from one location to another location on Earth, using the Moon as a natural satellite. It is like DJing with the Moon, the audio signal goes about 3 meter inside the crust of the moon before travelling back to earth picking up the Big Bang static on the way- which gives it this distorted audio, alien and eerie. Included in this playlist: the heartbeats of women in Nelly Ben Hayoun-Stépanian's Armenian family for International Women's Day; recordings from the city's streets and institutions produced by multi-instrumentalist Ayse Hassan (of Savages and Esya); and a series of original tracks from Nelly and the University of the Underground's long term collaborators: Massive Attack, The Avalanches (feat. Blood Orange), Pussy Riot, Mirrored Fatality and Moses Boyd. Additionally. newly produced track in collaboration with the late noise artist EOBIONT (Láwû Makuriye'nt), who tragically passed away this week features the heartbeats of Ben Hayoun-Stépanian's Armenian family. With special thanks to the team at Jodrell Bank Observatory for their support in making this technological feat happen.

Piccadilly Un:Plugged is curated by New Public and a part of Art after Dark commissioned by Art of London , an immersive creative journey and ecofeminist experience by Nelly Ben Hayoun- Stépanian across London's West End for Art After Dark on 6th, 7th and 8th March 2025. This installation is in loving memory of Láwû Makuriye'nt (aka EOBIONT, Mango, half of Mirrored fatality) Moonbounce or Earth-Moon-Earth (EME) is a technology that allows sending radio signals from one location to another location on Earth, using the Moon as a natural satellite. It is like DJing with the Moon, the audio signal goes about 3 meter inside the crust of the moon before travelling back to earth picking up the Big Bang static on the way- which gives it this distorted audio, alien and eerie. Included in this playlist: the heartbeats of women in Nelly Ben Hayoun-Stépanian's Armenian family for International Women's Day; recordings from the city's streets and institutions produced by multi-instrumentalist Ayse Hassan (of Savages and Esya); and a series of original tracks from Nelly and the University of the Underground's long term collaborators: Massive Attack, The Avalanches (feat. Blood Orange), Pussy Riot, Mirrored Fatality and Moses Boyd. Additionally. newly produced track in collaboration with the late noise artist EOBIONT (Láwû Makuriye'nt), who tragically passed away this week features the heartbeats of Ben Hayoun-Stépanian's Armenian family. With special thanks to the team at Jodrell Bank Observatory for their support in making this technological feat happen.

Piccadilly Un:Plugged is curated by New Public and a part of Art after Dark commissioned by Art of London , an immersive creative journey and ecofeminist experience by Nelly Ben Hayoun- Stépanian across London's West End for Art After Dark on 6th, 7th and 8th March 2025. This installation is in loving memory of Láwû Makuriye'nt (aka EOBIONT, Mango, half of Mirrored fatality) Moonbounce or Earth-Moon-Earth (EME) is a technology that allows sending radio signals from one location to another location on Earth, using the Moon as a natural satellite. It is like DJing with the Moon, the audio signal goes about 3 meter inside the crust of the moon before travelling back to earth picking up the Big Bang static on the way- which gives it this distorted audio, alien and eerie. Included in this playlist: the heartbeats of women in Nelly Ben Hayoun-Stépanian's Armenian family for International Women's Day; recordings from the city's streets and institutions produced by multi-instrumentalist Ayse Hassan (of Savages and Esya); and a series of original tracks from Nelly and the University of the Underground's long term collaborators: Massive Attack, The Avalanches (feat. Blood Orange), Pussy Riot, Mirrored Fatality and Moses Boyd. Additionally. newly produced track in collaboration with the late noise artist EOBIONT (Láwû Makuriye'nt), who tragically passed away this week features the heartbeats of Ben Hayoun-Stépanian's Armenian family. With special thanks to the team at Jodrell Bank Observatory for their support in making this technological feat happen.

Piccadilly Un:Plugged is curated by New Public and a part of Art after Dark commissioned by Art of London , an immersive creative journey and ecofeminist experience by Nelly Ben Hayoun- Stépanian across London's West End for Art After Dark on 6th, 7th and 8th March 2025. This installation is in loving memory of Láwû Makuriye'nt (aka EOBIONT, Mango, half of Mirrored fatality) Moonbounce or Earth-Moon-Earth (EME) is a technology that allows sending radio signals from one location to another location on Earth, using the Moon as a natural satellite. It is like DJing with the Moon, the audio signal goes about 3 meter inside the crust of the moon before travelling back to earth picking up the Big Bang static on the way- which gives it this distorted audio, alien and eerie. Included in this playlist: the heartbeats of women in Nelly Ben Hayoun-Stépanian's Armenian family for International Women's Day; recordings from the city's streets and institutions produced by multi-instrumentalist Ayse Hassan (of Savages and Esya); and a series of original tracks from Nelly and the University of the Underground's long term collaborators: Massive Attack, The Avalanches (feat. Blood Orange), Pussy Riot, Mirrored Fatality and Moses Boyd. Additionally. newly produced track in collaboration with the late noise artist EOBIONT (Láwû Makuriye'nt), who tragically passed away this week features the heartbeats of Ben Hayoun-Stépanian's Armenian family. With special thanks to the team at Jodrell Bank Observatory for their support in making this technological feat happen.

Bienvenidos Bastarnautas a esta edición en la que comenzamos con una pieza musical muy especial de Jungle, para continuar con un recorrido totalmente aleatorio para ir surfeando las olas musicales mientras discurrimos en conversaciones totalmente banales. Para que relajes tu sistema nervioso sobre-estimulado por años de intentar ser alguien que quizás no eres y nunca lo serás. Así que aquí, inmerso en nuestra cabina bastarda, podrás por fin relajarte y saber que al menos eres mejor que estos estúpidos neandertales. Qué es la camaradería sino ese gesto de sentirse acompañado en este absurdo total?Disfruta de You sexy thing de hot chocolate, algo suave y sabroso de Guts, una guitarra memorable con muy buen reverbe de Ty Segal, algo de The Avalanches para romper esquemas, Jamoiroquai para sabrosear y una sorpresita soul funk súper suave y sensual para cerrar con broche de oro. Así que peínate las patillas, desabróchate el cinturón, saca la panza y suéltate la greña para disfrutar un rato más en compañía de los Bastardos con Suerte.

This episode we continue to follow the monk Xuanzang on his path along the silk road.  From Gaochang, he traveled through the Tarim Basin, up over the Tianshan Mountains, to the heart of the Western Gokturk Qaghanate.  From there, he traveled south, through the region of Transoxania to Bactria and the land of Tukhara.  He pushed on into the Hindu Kush, witnessing the stone Buddha statues of Bamiyan, and eventually made his way to the land of Kapisa, near modern Kabul, Afghanistan.  From there he would prepare to enter the Indian subcontinent: the home of the historical Buddha. For more discussion and some photos of the areas along this journey, check out our podcast blog at https://sengokudaimyo.com/podcast/episode-121   Rough Transcript Welcome to Sengoku Daimyo's Chronicles of Japan.  My name is Joshua, and this is Episode 121: Journey to the West, Part 2   The cold winds blew through the travelers' doubled up clothing and thick furs.  Cold, wet ground meant that even two sets of boots were not necessarily enough after several days.  The frozen mist would often obscure everything except for the path immediately in front, hiding the peaks and making the sky a uniform white. In many places, the path would be blocked by rock, ice, or snow—the remnants of an avalanche, which could easily take an unsuspecting traveler.  And there was the elevation.  Hiking through the mountains, it was easy enough to reach heights of a mile or higher, and for those not accustomed to that elevation the thin air could take a surprising toll, especially if you were pushing yourself.  And the road was no less kind to the animals that would be hauling said travelers and their gear. And yet, this was the path that Xuanzang had agreed to.  He would continue to push through, despite the various deprivations that he would be subjected to.  No doubt he often wondered if it was worth it.  Then again, returning was just as dangerous a trip, so why not push on?   Last episode we introduced the monk Xuanzang, who traveled the Silk Road to India in the 7th century and returned to China.  He brought back numerous sutras to translate, and ended up founding a new school, known as the Faxian school—or the Hossou school in Japan.   As we mentioned last time, Xuanzang during his lifetime met with students from the archipelago when they visited the continent.  The records of his travels—including his biography and travelogue—are some of the best information we have on what life was like on the silk road around this time. In the last episode, we talked about Xuanzang: how he set out on his travels, his illegal departure from the Tang empire, and his perilous journey across the desert, ending up in Gaochang.  There, King Qu Wentai had tried to get him to stay, but he was determined to head out.  This episode we are going to cover his trip to Agni, Kucha, and Baluka—modern Aksu—and up to the Western Gokturk Qaghanate's capital of Suyab.  From there, we'll follow his footsteps through the Turkic controlled regions of Transoxania and into Tukhara, in modern Afghanistan.  Finally, we'll cover the last parts of his journey before he reached the start of his goal:  India. From Gaochang, Xuanzang continued on, through the towns he names as Wuban and Dujin, and into the country of Agni—known today as the area of Yanqi—which may also have been known as Wuqi.  The route was well-enough known, but it wasn't necessarily safe.  At one point, Xuanzang's caravan met with bandits, whom they were fortunately able to pay off.  The following night they encamped on a river bank with some merchants who also happened to be traveling the road.  The merchants, though, got up at midnight and headed out, hoping to get to the city early so that they could be the first ones to the market.  They only made it a few miles down the road, however, before they encountered more bandits, who slaughtered them and took their goods.  The following day, Xuanzang and his retinue came upon the merchants' remains lying in the road and saw the aftermath of the massacre. This was an unforgiving land, and the road was truly dangerous, even for those who traveled it regularly.  And yet Xuanzang was planning to travel its entire length until he reached India. So with little alternative, they carried on to the royal city of Agni. Agni, or Yanqi, sits on the southwestern edge of the basin, west of Bositeng lake, on the border between the Turfan basin and the larger Tarim Basin.  The name is thought to be a Tocharian—or Turfanian—name for the city, which is also known as Karashr. According to the biography by Huili, Xuanzang and his party didn't stay long in Agni.  Apparently Agni and Gaochang were not exactly on friendly terms, and even though the King of Agni and his ministers reportedly came out to greet Xuanzang and welcome him to their city, they refused to provide any horses.  They spent a single night and moved on. That said, Agni still made an impression on Xuanzang.  He noted how the capital was surrounded by hills on four sides, making it naturally defensible.  As for the people, he praises them as honest and straightforward.  They wore clothing of felt and hemp cloth, and cut their hair short, without hats or any kind of headwear.  Even the climate was pleasant, at least for the short time he was there.  He also notes that they used a script based on India—likely referring to the Brahmic script, which we find in the Tarim basin. However, as for the local lord, the King of Agni, he is a little less charitable.  Xuanzang claimed he was brave but “lacked resourcefulness” and he was a bit of a braggart.  Furthermore, the country had “no guiding principles or discipline and government orders are imperfect and not seriously implemented.”  He also mentioned the state of Buddhism in the country, noting that they were followers of Sarvastivada school, a Theravada sect popular along the Silk Road at the time.  Xuanzang was apparently not too pleased with the fact that they were not strict vegetarians, including the “three kinds of pure meat”.  From Agni, Xuanzang continued southwest, heading for the kingdom of Kucha.  He seems to have bypassed the nearby kingdom of Korla, south of Agni, and headed some 60 or 70 miles, climbing over a ridge and crossing two large rivers, and then proceeding another 200 miles or so to the land of Kucha. Kucha was a kingdom with over one hundred monasteries and five thousand monks following a form of Theravada Buddhism.  Here, Xuanzang was welcomed in by the king, Suvarnadeva, described as having red hair and blue eyes.  While Xuanzang was staying in Kucha, it is suspected that he probably visited the nearby Kizil grotto and the Buddhist caves, there, which include a painting of King Suvarnadeva's father, King Suvarnapuspa, and his three sons. You can still visit Kucha and the Kizil grottos today, although getting there is quite a trek, to be sure.  The ancient Kuchean capital is mostly ruins, but in the Kizil caves, protected from the outside elements, you can find vivid paintings ranging from roughly the 4th to the 8th century, when the site was abandoned.  Hundreds of caves were painted, and many still demonstrate vibrant colors.  The arid conditions protect them from mold and mildew, while the cave itself reduces the natural bleaching effect of sunlight.  The paintings are in numerous styles, and were commissioned by various individuals and groups over the years.  They also give us some inkling of how vibrant the city and similar structures must have been, back when the Kuchean kingdom was in its heyday. The people of Kucha are still something of a mystery.  We know that at least some of them spoke an Indo-European language, related to a language found in Agni, and both of these languages are often called Tocharian, which we discussed last episode.  Xuanzang himself noted that they used Indian writing, possibly referring to the Brahmi script, or perhaps the fact that they seem to have used Sanskrit for official purposes, such as the inscription on the cave painting at Kizil giving the name of King Suvarnapuspa.  The Kucheans also were clothed in ornamental garments of silk and embroidery.  They kept their hair cut, wearing a flowing covering over their heads—and we see some of that in the paintings. Xuanzang also notes that though we may think of this area as a desert, it was a place where rice and grains, as well as fruit like grapes, pomegranates, plums, pears, peaches, and almonds were grown.  Even today, modern Xinjiang grows some absolutely fantastic fruit, including grapes, which are often dried into raisins. Another point of interest for Xuanzang may have been that Kucha is known as the hometown of none other than Kumarajiva.  We first mentioned Kumarajiva back in episode 84.  Kumarajiva was one of the first people we know of who translated many of the sutras from India that were then more widely disseminated throughout the Yellow River and Yangzi river basins.  His father was from India and his mother was a Kuchean princess.  In the middle of the 4th century, when he was still quite young, he traveled to India and back with his mother on a Buddhist pilgrimage.  Later he would start a massive translation project in Chang'an.  His translations are credited with revolutionizing Chinese Buddhism. Xuanzang was initially welcomed by the king, his ministers, and the revered monk, Moksagupta.  They were accompanied by several thousand monks who set up tents outside the eastern gate, with portable Buddha images, which they worshipped, and then Xuanzang was taken to monastery after monastery until sunset.  At one of the monasteries, in the southeast of the city, there were several tens of monks who originally came from Gaochang, and since Xuanzang had come from there, they invited him to stay with them. The next day he met and feasted with the King, politely declining any meat, and then went to the monastery in the northwest to meet with the famous monk: Moksagupta.  Moksagupta himself had made the journey to India, and had spent 20 years there himself.  It seems like this would have been the perfect person for Xuanzang to talk to about his plans, but instead, the two butted heads.  Moksagupta seems to have seen Xuanzang's Mahayana faith as heretical.  He saw no reason for Xuanzang to travel all the way to India when he had all the sutras that anyone needed there in Kucha, along with Moksagupta himself.   Xuanzang's response seems to have been the Tang dynasty Buddhist version of “Okay, Boomer”, and then he went ahead and tore apart Moksagupta's understanding of his own sutras—or so Xuanzang relayed to his biographers.  We don't exactly have Moksagupta's side, and, let's face it, Xuanzang and his biographers are not necessarily reliable narrators.  After all, they followed Mahayana teachings, which they considered the “Greater Vehicle”, and they referred to the Theravada teachings as the “Hinayana” or “Lesser Vehicle”.  Meanwhile, Theravada Buddhists likely saw many of the Mahayana texts as extraneous, even heretical, not believing them to actually be the teachings of the Buddha. It must have been winter time, as the passes through the mountains on the road ahead were still closed, and so Xuanzang stayed in Kucha, spending his time sightseeing and meeting with various people.  He even went back to see Moksagupta, but the older monk shunned him, and would get up and exit the room rather than engaging with him, so they had no more conversations. Eventually, Xuanzang continued on his way west, following along the northern rim of the Tarim basin.  Two days out from Kucha, disaster struck.  Some two thousand or so Turkish bandits suddenly appeared—I doubt Xuanzang was counting, so it may have been more or less.  I imagine that memories of what had happened to the merchants near Agni must have gone through Xuanzang's mind.   Fortunately, for him, they were fighting over loot that they had pillaged from various travelers, and since they couldn't share it equally, they fell to fighting each other and eventually dispersed. He travelled for almost 200 miles after that, stopping only for a night at the Kingdom of Baluka, aka Gumo—the modern city of Aksu.  This was another Theravada Buddhist kingdom.  Xuanzang noted tens of Buddhist temples, and over 1000 Buddhist monks.  The country was not large—about 200 miles east to west and 100 miles north to south.  For reference that means it was probably comparable in size with Kyushu, in terms of overall area, or maybe the size of Denmark—excluding Greenland—or maybe the US state of Maryland.  Xuanzang described the country as similar to Kucha in just about every way, including the written language and law, but the spoken language was different, though we don't get many more details. From Baluka, he crossed northward through the Tianshan mountains, which are classified as an extension of the Pamirs known as the Ice Mountains.  Had he continued southwest, he would have hit Kashgar and crossed over between the Pamir and Tian Shan ranges into the Ferghana valley, but instead he turned north. We don't know exactly why he took this perilous option, but the route that may have been popular at the time as it was one of the most direct routes to the seat of the Western Gokturk Empire, which he was currently traveling through. The Tian Shan mountains were a dangerous journey.  Avalanches could block the road—or worse.  Xuanzang describes the permanent ice fields—indeed, it is the ice fields and glaciers of the Tian Shan that melt in the summer and provide the oasis towns of the Tarim Basin with water, even to this day.  In Xuanzang's day, those glaciers were likely even more prevalent than today, especially as they have been recorded as rapidly disappearing since 1961.  And where you weren't on snow and ice, the ground was probably wet and damp from the melt.  To keep warm, you would wear shoes over your shoes, along with heavy fur coats, all designed to reduce exposure. Xuanzang claims that 3 or 4 of every 10 people didn't survive the crossing—and that horses and oxen fared even worse.  Even if these numbers are an exaggeration, the message is clear:  This was a dangerous journey. After about seven days, Xuanzang came out of the mountains to the “Great Pure Lake”, the “Da Qing Hai”, also known as the Hot Sea or the Salt Sea, which likely refers to Issyk Kul.  The salt content, along with the great volume of water it possesses, means that the lake rarely freezes over, which is likely why it is seen as “hot” since it doesn't freeze when the fresh water nearby does.  This lake is the second largest mountain lake in the world, and the second deepest saltwater lake.  Traveling past the lake, he continued to Suyab, near modern Tokmok, in Kyrgyzstan, just west of the modern capital of Bishkek.  This was an old Sogdian settlement, and had since become the capital of the Western Gokturks.  Sogdians—like Xuanzang's guide, Vandak—were integral to the Gokturk kingdom. Their language was the lingua franca of the Silk Road, and at the time of the Gokturk Khaganate, it was also the official court language, and so when Xuanzang appeared at the court of the Great Khagan of the Western Gokturks, it was likely the language of diplomacy. When we think of Turkic people, many in the English speaking world think of Turkiye, and perhaps of the mighty Ottoman empire.  Some may think of Turkmenistan, Kazhakstan, Kyrgyzstan, or Uzbekistan, among others.  And of course, there are the Uyghur people in Xinjiang.  All of these people claim roots in the ancestral Turkic homeland in the Altai mountains, which sit largely in western Mongolia, north of China's Xinjiang region.  Much like the Xiongnu and the Mongols, they were pastoral nomads, moving their herds across the steppes, often covering great distances.  They would regularly move through different regions, perhaps returning each season, though sometimes not returning for years at a time.  They were often seen as barbarians by settled people living in cities, and yet their goods and horses were highly prized. Nomad and sedentary lifestyles would often collide.  Farmers would turn pastureland into fields, and when the nomadic people returned on their circuits, they would find walls and fences where there was once open land, and the people there would claim to “own” the land, a concept often foreign to people who were always on the move.  Nomadic people, such as the Gokturks, were not necessarily keeping vast libraries of records about themselves and their histories, and so much of what we get comes from external sources, which do not always have incredibly reliable narrators.  To many of the settled agriculturalists, groups like the Turks were marauders who raided their villages and farms.  They were a great bogeyman of the steppes, which required the firm hand of strong defenses to keep out—or so their opponents would want people to think. While they were known for their warfare, which incorporated their mobility, but they were keenly interested in trade, as well.  They understood the value of the trade routes and the various cities and states that they included in their empire.  Thus, the Sogdians and the Gokturks seem a natural fit: the Sogdians were more settled, but not entirely so, as demonstrated by their vast trade networks.  And the Sogdians also were part of the greater central Eurasian steppe culture, so the two cultures understood each other, to a degree.  They are even depicted similarly in art, with slight differences, such as long hair that was often associated with Turks over the Sogdians.  In some areas of the Gokturk empire, Sogdians would run the cities, while the Gokturks provided military aid and protection. Xuanzang's description of the people of Suyab, or the “City of Suye River”, doesn't pick out anyone in particular, and he even says that it was a place where traders of the Hu, or foreign, tribes from different countries mingle their abodes.  He mentions the people here as being called Suli, which is also the name given to the language—this may refer to “Sogdian” in general.  They write with an alphabet that is written vertically rather than horizontally—this may refer to a few scripts that were written this way, possibly based off Syriac or Aramaic alphabets that were adapted to Sogdian and other Iranian languages, but it isn't clear. We are told that the people dressed in felt and hemp clothing, with fur and “cotton” garments.  Their clothes fit tightly, and they kept their hair cut short, exposing the top of their heads—though sometimes they shaved it completely, tying a colored silk band around the forehead. He goes on to describe these people as greedy liars, possibly a reference to the mercantile nature of many of the people at the time. Something to note: The Turks of this time had not yet encountered Islam, which was just now starting to rise up in the Middle East.  The Prophet Muhammad is said to have been born around the end of the 6th century CE and was preaching in the early 7th century, though his teachings would begin to spread outward soon enough.  But that means that the Gokturks were not an Islamic empire.  Rather, their own traditions seem to have focused on the worship of Tengri, an Altaic personification of the universe, often simplified as a “sky god”.  Tengrism can be found amongst the Xiongnu, Mongols, and others, and it was the national religion of the Gokturks themselves, but there were many who also adopted other religions that they encountered, including Zoroastrianism, Christianity, Manichaeism, and Buddhism.  In fact, Xuanzang notes that the Turks he met in Suyab would not sleep or sit on beds made of wood because wood was thought to contain the spirit of fire, which he says they worshipped.  That sounds similar to Zoroastrian beliefs, where fire is associated with Ahura Mazda, who is also worshipped as a sky god.  These may have been beliefs inherited from their Eastern Iranian Sogdian partners. In Xuanzang's biography, we are given more details about his visit to Suyab.  Apparently, as he was headed to the city, he met a hunting party, which we are told was the retinue of Yehu Khan.  Hunting was an important part of life on the steppes, and it continued to be a favorite sport of the Gokturk nobility. Yehu Khan—possibly Yagbhu Khan, though that is up for some debate—is described as being dressed in a green silk robe, with his hair exposed, and wearing  a turban of white silk about ten feet long that wrapped his forehead and hung behind his back.  His “hunting” expedition wasn't just a couple of the guys.  It included about 200 officials, all with plaited hair and dressed in brocade robes—they weren't exactly out there roughing it.  He also had his soldiers, dressed in furs, felt, or fine woolen clothes, and there were so many cavalry that they stretched out of sight.  The Khan seemed pleased to meet Xuanzang, but his hunt was expected to last another couple of days, at least, so he sent an attendant named Dharmaja to take Xuanzang back to wait for the Khan to return. Three days later, Xuanzang was given an audience.  The khan was seated in a large yurt.  Xuanzang noted the seeming incongruity between the khan, sitting there in the tent, decorated with golden flowers, with the officials dressed in magnificent brocade garments sitting in two long rows in front of him and the armed guards behind him, compared to the simple felt walls of the tent. A ”yurt” is a common feature of nomadic life on the steppes.  It wasn't exactly a single person operation to haul them around, but they can be taken down and put up with relative ease.  And while yurts could be relatively simple, there are examples of much more elaborate structures.  There is little reason they couldn't be made larger, perhaps with some extra support.  In later centuries, there are examples of giant yurts that seem like real construction projects.  Use of tents, even in a city, where they had permanent palace buildings, was likely a means of retaining the nomadic steppe traditions, even while enjoying the benefits of city life. Whom exactly Xuanzang met with is a matter of debate.  His records seem to indicate that it was Tong Yabghu Qaghan of the Western Gokturk Khaganate, but other sources say that Tong Yabghu Qaghan died in 628, and the earliest Xuanzang could have been meeting with him was 630, two years later, so if that is the case, he must have met with Tong Yabghu's son, Si Yabghu Qaghan.  It is likely that Xuanzang, who was dictating his accounts years after, mentioned the Qaghan and then, when they looked up who it was, they simply made a mistake.  Remember, Xuanzang would have had everything translated through one or two languages.  He did know what he saw, however, and he recounted what he remembered. Tong Yabghu Qaghan oversaw the height of the Gokturk Qaghanate, and appears to have favored the Buddhist religion, though there were many different religions active in their territories at the time.  They oversaw an extremely cosmopolitan empire covering huge swaths of central Eurasia, including the lucrative silk road.  Xuanzang notes that at the court there were individuals from Gaochang and even a messenger from the Han—which is to say the Tang Empire.  One wonders if Xuanzang—or anyone at that time—realized just how tenuous the Khan'sposition was.  After Tong Yabghu's death, the Qaghanate would decline, and less than a decade later it would fall to the Tang dynasty, who took Suyab and made it their western outpost.  In fact, Suyab is thought to have been the birthplace, over a century later, of a young boy who would find a love of poetry.  That boy's name was Li Bai, or Ri Haku, in Japanese. He would become one of the most famous poets in Chinese history, and his poems were even known and studied in Japan.  And it was largely through Japanese study of Li Bai's poems that his works came to the English speaking world: first through Ernest Fenollosa, who had studied in Japan, and then by the celebrated Ezra Pound, who had used Ernest's notes to help with his own translations of the poems. This was, though, as I said, over a century after Xuanzang's journey.  At the time of our story, the Qaghan was throwing a feast, including Xuanzang and all of the foreign envoys.  Xuanzang comments on the food and drink—his hosts provided grape juice in lieu of wine, and cooked a special vegetarian feast just for him, while the other guests ate a feast of meat, such as veal, lamb, fish, and the like.  There was also the music of various regions along the Silk Road, which Xuanzang found to be catchy, but of course not as refined as the music he was used to, of course.  After dinner Xuanzang was asked to expound upon the Darma, largely about the basic principle that you should be kind to one another—I doubt he was getting into the deep mysteries of Buddhist philosophy. Xuanzang stuck around the court for three more days, during which time the Qaghan tried to get him to stay, but Xuanzang insisted that he had to make it to India.  And so the Qaghan relented.  He found men in his army who could translate for Xuanzang along his journey, and had letters of introduction written to at least as far as the state of Kapisa, in modern Afghanistan. And so, armed with the Qaghan's blessing and a fresh translator, Xuanzang struck out again.  They headed westward for over one hundred miles, eventually reaching Bingyul, aka the Thousand Springs.  This is the area where the Qaghan and his court would spend his summers, and the deer in the area were protected under his orders, so that they were not afraid of humans—which sounds similar to the situation with the deer in Nara.  Continuing on another fifty miles or so—the distances are approximate as Xuanzang's primary duty was not exactly to map all of this out—Xuanzang arrived at the city of Taras, in modern Kazakhstan, another place where the cultures of the Silk Road mixed and mingled.  Xuanzang didn't have much to say about Taraz, apparently, though it is one of the oldest cities in Transoxania, founded near the beginning of the Common Era.  A few miles south of there, Xuanzang reportedly found a village of re-settled ethnic Han that had been captured by the Gokturks and settled here.  They had adopted the dress and customs of the Turkic people, but continued to speak a version of Chinese. Southwest of that he reached the City of White Water, likely referring to Aksukent.  This is the same “Aksu” as the city in Xinjiang, both of which mean “White Water” in Turkic, but this one is in the south of Kazakhstan.  Xuanzang found the climate and products an improvement over what he had experienced in Taras.  Beyond that, he next arrived at the city of Gongyu, and then south again to Nujkend, and then traveling westward to the country of Chach, aka Tashkent.  Both Nujkend and Chach were large cities in nations of smaller, mostly autonomous city-states, which made up a lot of the political geography of Transoxania. I would note that Xuanzang's notes here are much more sparse than previously.  This may be because these were outside of the Tarim basin and therefore of less interest to individuals in the Tang empire.  Or perhaps he was just making his way more quickly and not stopping at every kingdom along the way. From Tashkent, he continued southeast to the Ferghana valley—the country of Feihan.  Oddly, this country doesn't appear in Xuanzang's biography, even though the Ferghana Valley seems to have been fairly well known back in the Tang Empire—it was known as the home of some of the best horses, which were one of its first major exports.  In fact, the Han dynasty even mounted a military expedition to travel to Ferghana just to obtain horses.  Xuanzang is oddly silent on this; however, he does talk about the fertile nature of the land.  He mentions that their language here is different from the lands he had been traveling through up to this point, and also points out that the people of the Ferghana valley were also visibly different from others in the area. From the Ferghana valley, Xuanzang headed west for about 300 miles or more to the land of Sutrushana—perhaps referring to the area of Ushrusana, with its capital of Bunjikat.  This country was also largely Sogdian, and described as similar to Tashkent.  From there, he traveled west through a great desert, passing skeletons, which were the only marker of the trail other than a view of the far off mountains.  Finally, they reached Samarkand, known as the country of “Kang” in Chinese, which was also the term used to mark Sogdians who claimed descent from the people of Samarkand. Samarkand is another of the ancient cities of Central Asia, and even today is the third largest city in modern Uzbekistan.  Human activity in the region goes back to the paleolithic era, and the city was probably founded between the 8th and 7th centuries BCE.  Samarkand was conquered by Alexander the Great, and during the Achaemenid Empire it was the capital of Sogdiana.  During Xuanzang's visit, Samarkand was described as an impenetrable fortress with a large population. For all of his travel, Samarkand was the first place Xuanzang notes as specifically not a Buddhist land.  In fact, there were two monasteries, suggesting that there had been Buddhists, but if any monks tried to stay there then the locals would chase them out with fire.  Instead, they worshipped fire—likely meaning Ahura Mazda and Zoroastrianism.  This leads to a story that I have to wonder about, given the reliability of our narrators. It is said that Xuanzang was met by the King with arrogance, but after staying the night Xuanzang was able to tell the King about Buddhism and its merits.  The king was intrigued, and asked to observe the Precepts, and treated Xuanzang with hospitality and respect.  So when two of Xuanzang's attendants went to the monasteries to worship, they were chased out with fire.  When the king heard about this, he had the people arrested and ordered their hands to be cut off.  Xuanzang could not bear to witness such suffering, however, and he intervened to have them spared.  So instead the king had them flogged and banished from the city.  Ever since then, all the people believed in Buddhism. Some parts of this strike true.  It was likely that the king would entertain this strange wanderer who had arrived with letters from the great Qaghan—that may have even explained why Xuanzang had been encouraged to make the dangerous journey to Suyab in the first place, so that he could obtain such permission.  And it would not be strange for the king to listen to his teachings.  If Xuanzang's attendants were attacked, that would have been a huge breach of hospitality, and however the King felt about it, he no doubt had to do something about it.  And so all of that sounds somewhat believable.  Does that mean everyone suddenly converted to Buddhism?  I don't know that I'm quite willing to go that far.  It is also likely that there were Buddhists there already, even if the majority religion was Zoroastrianism. From Samarkand, Xuanzang traveled farther southwest, to the country of Kasanna, which seems to have been the edge of what we might call Sogdiana.   According to his biographers, however, there was a little more to all of this.  Rather, he headed west to Kusanika.  Then he traveled to  Khargan, and further on to the country of Bukhara, and then to Vadi.  All of these were “An” in Chinese, which was the name element used for Sogdians from this region.  He then continued west to the country of Horismika, on the other side of the Amu Darya, aka the Oxus River of Transoxanian fame. From there he traveled further southwest, entering into the mountains.  The path here was often such that they had to travel single-file, and there was no food or water other than what you brought with you.  Eventually they came to a set of doors, known as the Iron Gate.  This was a Turkic fortress.  It was no doubt fortuitous that he had come from his meeting with the Qaghan, and likely had permission to pass through.  From there, they entered the country of Tukhara. As we noted in Episode 119, Tukhara was in the region of Bactria.  It was bordered by the Pamir range in the east, and the Persian empire in the west.  There were also the Great Snow Mountains in the south, likely referencing the Hindu Kush. Tukhara had been conquered by the Gokturks just within the past couple of decades, and Xuanzang notes that the country had been split into largely autonomous city-states as the local royalty had died without an heir many years before.  With the Gokturk conquest, it was now administered by Tardu Shad, the son of Tong Yabghu Qaghan.  “Shad” in this case was a local title. Here, Xuanzang's narrative gets a little dicey, especially between his biography and his records.  The records of the Western Regions denotes various countries in this area.  It is unclear if he traveled to all of them or is just recounting them from records he obtained.  He does give us at least an overview of the people and the region.  I would also note that this is one of the regions he visited, again, on his return trip, and so may have been more familiar with the region than those areas he had passed through from Suyab on down. For one thing, he notes that the language of the region was different from that of the “Suli”, which appears to refer to the Sogdians.  This was the old territory of the Kushan empire, and they largely spoke Bactrian.  Like Sogdian, it was another Eastern Iranian language, and they used an alphabet based largely on Greek, and written horizontally rather than vertically.  They also had their own coins. This region had plenty of Buddhist communities, and Xuanzang describes the cities and how many monasteries they had, though, again, it isn't clear if he actually visited all of them or not.  These are countries that Li Rongji translates as “Tirmidh”, “Sahaaniyan”, “Kharuun”, “Shuumaan”, etc. It does seem that Xuanzang made it to the capital city, the modern city Kunduz, Afghanistan. Xuanzang actually had something specific for the local Gokturk ruler, Tardu Shad.  Tardu Shad's wife was the younger sister of King Qu Wentai of Gaochang, whom we met last episode.  Qu Wentai had provided Xuanzang a letter for his younger sister and her husband.  Unfortunately, Xuanzang arrived to learn that the princess of Gaochang had passed away, and Tardu Shad's health was failing.  It does seem that Tardu Shad was aware of Xuanzang, however—a letter had already come from Qu Wentai to let them know that Xuanzang was on his way.  As I mentioned last episode, letters were an important part of how communities stayed tied together.  Of course, given the perils of the road, one assumes that multiple letters likely had to be sent just in case they didn't make it.  The US Postal Service this was not. Tardu Shad, though not feeling well, granted an interview with Xuanzang.  He suggested that Xuanzang should stick around.  Then, once the Shad had recovered from his illness, he would accompany Xuanzang personally on his trip to India.  Unfortunately, that was not to be.  While Xuanzang was staying there, he was witness to deadly drama.  Tardu Shad was recovering, which was attributed to the recitations by an Indian monk who was also there.  This outcome was not exactly what some in the court had wanted.  One of the Shad's own sons, known as the Tagin prince, plotted with the Shad's current wife, the young Khatun, and she poisoned her husband.  With the Shad dead, the throne might have gone to the son of the Gaochang princess, but he was still too young.  As such, the Tagin Prince was able to usurp the throne himself, and he married his stepmother, the young Khatun.  The funeral services for the late Tardu Shad meant that Xuanzang was obliged to stay at Ghor for over a month. During that time, Xuanzang had a seemingly pleasant interaction with an Indian monk.  And when he finally got ready to go, he asked the new Shad for a guide and horses.  He agreed, but also made the suggestion that Xuanzang should then head to Balkh.  This may have meant a bit of backtracking, but the Shad suggested that it would be worth it, as Balkh had a flourishing Buddhist community. Fortunately, there was a group of Buddhist monks from Balkh who happened to be in Kunduz to express their condolences at the passing of Tardu Shad, and they agreed to accompany Xuanzang back to their hometown, lest he end up getting lost and taking the long way there. The city of Balkh is also known as “Baktra”, as in “Bactria”, another name of this region.  A settlement has been there since at least 500 BCE , and it was already an important city when it was captured by Alexander the Great.  It sits at the confluence of several major trade routes, which no doubt were a big part of its success.  Xuanzang's biography notes that it was a massive city, though it was relatively sparsely populated—probably due to the relatively recent conquest by the Gokturks, which had occurred in the last couple of decades.  That said, there were still thousands of monks residing at a hundred monasteries in and around the city.  They are all characterized as monks of Theravada schools.  Southwest of the city was a monastery known as Navasamgharama, aka Nava Vihara, or “New Monastery”.  Despite its name, the monastery may have actually been much older, going back to the Kushan emperor Kaniska, in the 2nd century CE.  Ruins identified as this “New Monastery” are still visible south of Balkh, today. The monastery is described as being beautifully decorated, and it seems that it had a relic—one of the Buddha's teeth.  There are also various utensils that the Buddha is said to have used, as well.  The objects would be displayed on festival days.  North of the monastery there was a stupa more than 200 feet in height.  South of the monastery was a hermitage.  Each monk who studied there and passed away would have a stupa erected for them, as well.  Xuanzang notes that there were at around 700 memorial stupas, such that they had to be crammed together, base to base. It was here that Xuanzang met a young monk named Prajnaakara, who was already somewhat famous in India, and well-studied.  When questioned about certain aspects of Buddhism, Xuanzang was impressed by the monk's answers, and so stayed there a month studying with the young monk. Eventually, Xuanzang was ready to continue on his journey.  He departed Balkh towards the south, accompanying the teacher Prajnakara, and together they entered the Great Snow Mountains, aka the Hindu Kush.  This path was even more dangerous than the trip through the Tian Shan mountains to Suyab.   They eventually left the territory of Tukhara and arrived at Bamiyan.  Bamiyan was a kingdom in the Hindu Kush, themselves an extension of the Himalayan Mountain range.  It Is largely based around valley, home to the modern city of Bamyan, Afghanistan, which sits along the divide between Central Asia and the Indian subcontinent.  Today it is a major center for individuals of the Hazara ethnic group, one of the main ethnic groups in Afghanistan, which is a multi-ethnic state that includes, today, the Pashtun, Hazara, Tajik, and Uzbek people, along with a number of smaller ethnic groups.  Today they largely reside in the mountainous areas of the Hindu Kush. Bamiyan made an impact on our protagonist.   Their language was slightly different from that in Tukhara, but using the same—or similar enough—writing system.  Buddhism was thriving in the capital, and we are told of a rock statue of the standing Buddha, over a hundred feet in height, along with a copper statue of the standing Buddha nearby.    There was also another reclining Buddha a mile or two down the road.  There were multiple monasteries with thousands of monks, and the ruler of that kingdom received Xuanzang well. Xuanzang wasn't the first monk to travel to Bamiyan from the Middle Kingdom—in this he was, perhaps unwittingly, on the trail of the monk Faxian.  Faxian likely did not see these statues, though, as we believe they were built in the 6th and early 7th century—at least the stone Buddha statues.  They were a famous worship site until February 2001, when the Taliban gave an order to destroy all of the statues in Afghanistan.  Despite this, they were inscribed as UNESCO World Heritage Site in 2003. Fortunately, we have images from before their destruction.  These statues were a blend of Greco-Buddhist and Gandharan art styles—appropriate as it stands between the Hellenistic area of Tukhara and the ancient region of Gandhara—including the modern city of Kandahar and into the Indus Valley region of Pakistan. Continuing east through the mountains, Xuanzang eventually came out at the kingdom of Kapisa.  This may have had its capital around modern-day Bagram, north of modern Kabul, but the country seems to have been quite large.  Kapisa over saw some tens of other countries, and it is thought that at one time its influence extended from Bamyan and Kandahar to the area of modern Jalalabad.  Their language was even more different than that of Tukhara, but they were still using the same writing system.  The king of Kapisa is said to have been of Suli ethnicity—which would seem to indicate that he was Sogdian, or at least descended from people of the Transoxanian region.    Xuanzang notes that the ruler, as rough and fiery as he is described—as a true warlord or similar—he nonetheless made a silver image of the Buddha, eighteen feet in height, every year.  He also gave charity to the poor and needy in an assembly that was called every five years.  There were over one hundred monasteries and some 6000 monks, per Xuanzang's recollection, and notably, they were largely following Mahayana teachings. For the most part the monks that Xuanzang had encountered on this journey were Theravada—Xuanzang refers to them as “Hinayana”, referring to the “Lesser Vehicle” in contrast to Xuanzang's own “Mahayana”, or “Greater Vehicle”.  “Theravada” refers to the “way of the elders” and while Mahayana Buddhism largely accepts the sutras of Theravada Buddhism, there are many Mahayana texts that Theravada Buddhists do not believe are canonical.  We discussed this back in Episode 84. There was apparently a story of another individual from the Yellow River being sent as a hostage to Kapisa when it was part of the Kushan Empire, under Kanishka or similar.  Xuanzang recounts various places that the hostage, described as a prince, lived or visited while in the region.  Xuanzang's arrival likely stirred the imagination of people who likely knew that the Tang were out there, but it was such a seemingly impossible distance for most people.  And yet here was someone who had traveled across all of that distance.  One of the monasteries that claimed to have been founded because of that ancient Han prince invited Xuanzang to stay with them.  Although it was a Theravada monastery, Xuanzang took them up on the offer, both because of the connection to someone who may have been his countryman, but also because of his traveling companion, Prajnakara, who was also a Theravada monk, and may not be comfortable staying at a Mahayana monastery. Xuanzang spends a good deal of ink on the stories of how various monasteries and other sites were founded in Kapisa and the surrounding areas.  He must have spent some time there to accumulate all of this information.  It is also one of the places where he seems to have hit at least twice—once on the way to India, and once during his return journey. The King of Kapisa is said to have been a devotee of Mahayana Buddhism.  He invited Xuanzang and Prajnakara to come to a Mahayana monastery to hold a Dharma gathering.  There they met with several leading figures in the monastery, and they discussed different theories.  This gathering lasted five days, and at the end, the king offered Xuanzang and the other monks five bolts of pure brocade and various other gifts.  Soon thereafter, the monk Prajnakara was invited back to Tukhara, and so he and Xuanzang parted ways. And it was about time for Xuanzang to continue onwards as well.  From Kapisa, he would travel across the “Black Range” and into Lampaka.  This may refer to the area of Laghman or Jalalabad.  Today, this is in modern Afghanistan, but for Xuanzang, this would have been the northwestern edge of India.  He was almost there. And so are we, but we'll save his trip into India for next episode. Until then thank you for listening and for all of your support. If you like what we are doing, please tell your friends and feel free to rate us wherever you listen to podcasts.  If you feel the need to do more, and want to help us keep this going, we have information about how you can donate on Patreon or through our KoFi site, ko-fi.com/sengokudaimyo, or find the links over at our main website,  SengokuDaimyo.com/Podcast, where we will have some more discussion on topics from this episode. Also, feel free to reach out to our Sengoku Daimyo Facebook page.  You can also email us at the.sengoku.daimyo@gmail.com.  Thank you, also, to Ellen for their work editing the podcast. And that's all for now.  Thank you again, and I'll see you next episode on Sengoku Daimyo's Chronicles of Japan.

Some ex-Mormons leave religion with an noisy exit and are angry. Others walk away with little fanfare. What is the difference between these people? In his new book called "Goodbye Religion," University of Tampa sociology professor Dr Ryan Cragun discusses why people are leaving religion at higher rates. Check out our conversation... https://youtu.be/z7p-j-3YrJ0 Don't miss our other conversations with Ryan: https://gospeltangents.com/people/ryan-cragun/ transcript to follow Copyright © 2025 Gospel Tangents All Rights Reserved Except for book reviews, no content may be reproduced without written permission 0:00 Avalanches, Alligators, & Hurricanes 4:21 Educational Background 10:18 Intro to Goodbye Religion 16:29 Triggered vs Calm ex-Mormons transcript to follow Copyright © 2025 Gospel Tangents All Rights Reserved Except for book reviews, no content may be reproduced without written permission

We’re looking at the recent string of avalanches, where dangerous conditions have turned deadly. Just days after the tragic death of Crested Butte resident Sarah Steinwand in an avalanche near Silverton, another avalanche has claimed a snowboarder’s life. Support the show: https://www.montrosepress.com/site/forms/subscription_services/See omnystudio.com/listener for privacy information.

In this episode of My Simplified Life, host Michelle Glogovac speaks with author Becky Ellis about her memoir, Little Avalanches, which explores the generational impact of war through her own childhood experiences and her father's combat experiences in World War II. The conversation delves into the challenges of understanding and sharing war stories, the importance of empathy, and the need for open conversations about trauma and silence within families. Becky shares insights on how her father's experiences shaped her life and the lives of her children, emphasizing the significance of storytelling in healing and connection. What We're Talking About... Becky's memoir intertwines her childhood with her father's war experiences. Understanding a veteran's story fosters empathy and compassion. Many veterans struggle to share their experiences due to the burden of trauma. Conversations about the past can heal family relationships. Silence in families often perpetuates misunderstanding and pain. The transition from soldier to civilian can be challenging and complex. Empathy is crucial in understanding the impact of war on families. Sharing stories can bridge the gap between generations. Acknowledging a veteran's sacrifice is more meaningful than just saying thank you. Open conversations about trauma can lead to healing and connection. Chapters 00:00 Introduction and Background 08:01 The Challenge of Communication 14:09 Chronicling War Experiences 20:11 Family Dynamics and Trauma 26:11 The Importance of Conversations 34:44 Honoring World War II Veterans Links Mentioned Becky Ellis' Website http://beckyellis.net Becky Ellis' Newsletter https://becky-ellis.ck.page/79cfa2647a Becky Ellis' Facebook https://www.facebook.com/becky.ellis.9081 Becky Ellis' Instagram https://www.instagram.com/beckyellisauthor/ Little Avalanches by Becky Ellis https://bookshop.org/a/99223/9798895651520 

Ecoutez Le journal RTL du 16 février 2025.

Cáel' as the new Amazon Teen IdolBy FinalStand. Listen to the Podcast at Explicit Novels."I've missed you too," Aya bumped foreheads with me. I was 'a Son of the White Stallion' who 'ran with the herds of Epona'. I was so proud of her. She had woven together a Magyar myth with an Amazon naming convention. Epona, the Celtic Horse Goddess and Aya's matron divinity, was worshiped with the sacrifice of foals, Amazons offered up fillies (female baby horsies) whose spirits ran with the Goddess in the Spirit World.When the pre-Christian Magyars went to war, they sacrificed a white stallion to entreat their deities to grant them victory. No one was about to slit my throat, or cut my heart out. I was made sacred, a spirit stud in Epona's vast herd of mares. How freakishly accurate."I love you for your brains, you know that, don't you?" I whispered to Aya."Yes. You are saving up your other love for Mommy," she kinda/sorta teased me. Out of the semi-circle of children, three stood out. More accurately, they were dwarfed by their companions. I took the group's indecision as an offer to advance."Hi," I addressed the smallest three members of the audience. "Are you the Fatal Squirts?""They are not allowed that name," Sophia interceded. "No Amazon child deserves an acknowledgement before their trial." I half-turned and nodded her way."(Cough, cough). "Excuse me, please." If she spoke Phoenician, I was boned for being obviously disrespectful of her authority and would have to take whatever punishment Sophia felt I deserved.Otherwise, I was getting away with binding 'leads to death' to 'blood-death wound' in that ancient and highly extinct tongue: 'fatal, squirts' indeed. Her hand fell on my shoulder."I have heard you laugh at death," Sophia remarked. If I was on Zoosk, all you would have to do was type in 'Preference: Amazon Male Who Dares Talk Back', and there was my smiling mug, all alone, staring back at you."Before I confess to anything, do you consider that an asset, or liability," I grinned."I withhold judgment," was her reply."I don't mean to 'laugh at death'. It is because all the other choices suck and, perhaps I've been called stubborn, bull-headed and 'not having even a passing acquaintance with common sense' a time, or two," I shrugged with my lovely burden curled around my left arm."No names, our tradition and my command," Sophia laid down the law. Sigh. I put Aya down. She didn't cause me a hint of trouble because she knew my heart. I unbuckled and handed her my two guns (my Glock-22, and 38). I motioned one of the mini-Amazons forward. She shuffled up to Aya's side and received my two tomahawks.Not only was no one leaving, the rest of the camp started coming down to see what was about to transpire. In my short stint at Havenstone, I had developed a reputation as an exciting fun-guy/irrepressible troublemaker."I feel your decision is founded on misinformation, or your rendering to be unjust," I told Sophia."Explain," Sophia requested.I hadn't disarmed for my sake, or hers. I gave up my weapons to affirm my desire to talk. I placed myself at my sister's mercy, thus expressing my trust in her. Amazons are not savages, just violently inclined.Later, Pamela would remind me that my behavior was precisely what Isharans were supposed to do, seek peace."Aya has taken a position as intern with Executive Services at Havenstone," I explained. "She held my position and served effectively for four days with good work reviews from the head of the department herself," I added."She has served in a caste, been assigned duties by members of that caste, performed errands and accomplished all that was asked of her. Doesn't that create an allowance for Aya, as she has been considered for a caste?" I was fishing for an excuse based on my instincts for these people."She has never been selected, chosen and been anointed to a caste, so her preliminary experience does not qualify," Sophia said after a few seconds of introspection. "Next?""She has charged forth into battle on my behest." The archery range."You were not an acknowledged member of the Host when that happened. Next?""She's tried to kill me," I tossed out there."What?" many exclaimed."No!" Aya gasped."When did this occur?" Sophia's eyes twinkled."At the archery range. She shot at me twice," I responded."She was practicing," was the counter. "Next?""Not next," I smiled. "I didn't have permission from anyone to step beyond the shooting line.In doing so, I accepted all calls to combat. Both Leona and Aya shot at me. Aya shot twice and came close once. Leona only hit me after I gave myself up to protect three Amazon children."Pause."Okay. Aya has served in combat, no matter how one-sided, " Sophia began."I was armed for part of the fight," I interrupted hurriedly. Aya's first arrow."Accepted. You were a viable combatant before that as witnessed by other Amazons in earlier encounters. She and another Amazon shot at you without any other claiming traditional ownership of you," Sophia nodded. The Leader had given me a 'bye' on my intern status."Aya may bear an honorific," Sophia loudly proclaimed her change in course. To Amazons, screwing up was a distant third to not owning up to what you did and not learning from your mistakes. Besides, I could tell Sophia was warming up to me, as a male and an Amazon."My war band?" Aya chirped."You do not have a war band, Aya Epona, but whatever name you use among yourselves is not a matter I will concern myself with," Sophia stated firmly. "Fifty days, Cáel." That was the end of it. Sophia turned and began walking uphill, conflict successfully resolved.The Fatal Squirts had emerged with a semi-official status, I had emerged without a new series of wounds and I had wrangled forth a small down payment for all the love and loyalty Aya had showered on me."Best Daddy in the World!" Aya shouted. "Mamitu! Mamitu!" Destiny.Amazons weren't huge believers in luck. They put their faith in training, planning, experience and diligence. For them, victory was a matter of destiny. Let the sloppy, treacherous Greeks invoke 'Nike', Victory, or 'Tyche', Luck for tossing them a positive outcome in battle. My side weren't thankful for the win they deserved.They acknowledged Mamitu had, through foresight, prepared the Host for what had to be done. For Aya, it was destiny that had put me in her path; she and her sisters trained for the hostage scenario multiple times, so she was a logical choice for my training. She had been training with the bow when I was giving her the inner strength and confidence to hit the target.Training, not mutual good fortune, put her at the range to make that shot. Whatever part luck played, that bolt that had saved my life and paved the way for Aya's rise to leadership had been a part of her training as well. Amazons didn't deny luck, nor did the put any trust in it."Hi, so who are the rest of you?" I addressed the Fatal Squirts while rearming."I am Mosa Oya," the tomahawk holder identified herself."I am, " the third member got out before we were propelled back into that 'never too distant' No-Man's Land. A girl, a stranger in her early teens, came up and shoved Aya hard."You are nothing special," the older girl growled at my buddy. My 'daughter' barely avoided sprawling in the dust.The intensity was palatable. Aya had no chance of beating this girl. Not only did her opponent have every physical advantage, she had three buddies as well, correction: two buddies and a twin sister. Amazons built lifetime bonds around these foursomes. Aya and company backed down, despite her obvious shame. She had just won an honorific as a child, unheard of before this. It was Amazon tactical thinking, not fear, that ruled Aya's mind. I was so proud of her."What's your name?" I inquired congenially of the newcomer. She flashed me a look of anger laced with teenage hormones, then turned and stormed away, actually, she only started to storm away. Her behavior had played right into my hands. I was an adult. She wasn't a full-fledged member of the Host, nor was she a child anymore. I had asked her a question and she had been disrespectful to me. Her bad. Still, I doubted anyone expected my leg sweep.The bully hit the ground hard, no rolling with the blow for her. My foot smashing down on her diaphragm drove the fight right out of her. I wasn't done. The twin rushed in, my thunderbolt left sent her flying back from whence she came. Amazons despise child abuse as cruel and socially cancerous, yet no one else was rushing in to stop me.Even her other two friends were obeying both basic Amazon battle philosophy and conduct. Two young teens versus me was stupid, and I wasn't alone. I had four Squirts plus two other women close by who saw nothing wrong with a cooperative pummeling. I lifted my foot a centimeter from the girl's chest."Let's try this again," I spoke softly. "I am Cáel Ishara. You have disparaged my house by putting your back to me after I, an adult, politely addressed you. In fifteen seconds your sin will pass beyond your ability to address and your actions will be viewed as your family's unwarranted insult. My sisters will seek vengeance against your sisters with the added advantage that your sisters won't know what's going on. Now, what's your name?"See, I could have gone straight to Step Two, the House on House vengeance. Me kicking her ass was merciful because after five, or six members of her house were jumped, one at a time by three, or four, of mine, those ladies were going to be truly curious why their youngster had been so fucking rude in front of so many fucking Amazons to the HEAD of a fucking First House.'Honorific' Aya still had no status except that of a child. Dumb Bunny was passed her 12th year test, so she was of her House, thus the insult. Despite my 'fantasy' assumption of the role of grunt, everyone knew that Cáel Cabbage-head was Cáel Ishara, Head of House Ishara. I was the only accepted male Amazon in existence, the only possessor of a 'five o'clock shadow' in camp, I was armed and I was so armed while walking among their children.She could not have possibly mistaken me for another. Her eyes showed that truism too. Her wrathful 'how dare that male!' morphed into 'oh fuck, my older sisters are going to be tossed down stairwells, jacked up in parking garages and they were going to be caught totally flat-footed when it happens, and it is all my (the girl's) fault'.In theory, Saint Marie could deny my feud (we were at war), or warn the girl's house of my request, but why would she? The crime couldn't have been more obvious and the Amazons were way past making harmful shit up about me."Zarana, Zarana of House Inara," she gasped.I switched foot placement, pivoted, reached down to arm-clasp my left with her left and ended with me pulling her effortlessly to a standing position."A pleasure to meet you Zarana Inara. I am Cáel Ishara, but you may call me Cáel if you wish," I gave her my award winning smile. "No one will ever doubt your courage in my presence," I added.'Lead with the left jab, then catch them with the right hook'. As true in interpersonal relationships as in boxing. I had beaten her handily seconds ago and now I was applauding her bravery. Again, I wasn't a Head of House calling attention to her virtue, but I was."Your sister shares your warrior's heart.""I, I, I don't know what came over me, " she started to give me a respectful head-nod. I hooked a finger under her chin to stop her."Are you going to reconsider your approach for dealing with a male Amazon, Zarana of Inara?" I bridged the awkward moment. Bing! I had turned a humiliation into a learning moment."Yes," she smiled at me. "Yes Cáel Ish, Cáel.""I swear by the All-Mighty, if I find this one crawling into your sleeping bag, I'm going to be very disappointed in you," Delilah ambushed me. Wa-ha?"Oh, come on!" I protested. "She's thirteen.""Fourteen," the other twin, bleeding lip and all, puffed herself up."Not helping, " I looked at the twin."Vaski," she supplied. What?"Vaski? Really? That was Grandmother's name, it is Magyar-Finnish," I wondered."We are almost related," she conjured the improbable out of the impossible."No you are not, young lady," Delilah serpentined her way to the front of the crowd. "You are not family now and you can't attempt to be for four more years.""Who would you be?" Zarana challenged Delilah. Man, those two kids were spunky."An honored guest," Priya provided. "I hope another lesson in manners will not be necessary.""I'll do my best," I volunteered. Priya had been addressing the twins; not me. Taking the hit was a bit of comedy to diffuse the moment."Some of you need to eat," a camp counselor stated. Another crisis down and the sky wasn't even dark yet."Cáel!" and here we went again. Thank you, Ishara, it was Europa, the strange one, meaning the one I understood the most.(Night and Day)This place kept getting more and more wonderful. There was one safe road that rolled out of the camp's front gate (there was no wall, the gate was ceremonial) and disappeared off toward the closest state road. Scheduled trips were made to the closest blip on the census data where they bought stuff (irrelevant) and were 'seen' by the locals (the important thing).If anyone investigated, there was a legitimate summer camp 'out there'. The counselors weren't friendly, but they worked with 'troubled' kids, so keeping the small talk to a minimum was excusable. Sure, they only saw women, usually the same ones each trip during a given summer. The camp held nearly a thousand people, so the all-female thing was dismissed as a quirk.That was the second layer of deception. We had already learned that the first layer was the idea of a camp for girls in the foster care system. The third layer was all the visible 'props'. This went beyond the typical craft centers, juvenile obstacle courses, and a dozen other distractions. (The only 'real' one was the stables. Amazons loved riding horses and being assigned to tend to their care was a high honor.)Thirty meters inside the gate was a bridged gulch. After dark, the bridge supports were removed turning a clear shot into the center of camp into a waiting death trap. If there was any doubt, the gulch, so comforting and protective, was a blast zone as well, designation: The Barbecue Pit. I couldn't find it, but I was sure there was an altar somewhere to the matron goddess for this summer camp, the Goddess Paranoia.The sleeping quarters for everyone? More props. Campers would go in, mill around for ten minutes, then curl up on their bed, the ones that warmed up to 98 degrees in the shape of human bodies. Then the campers went down the shafts beneath their bunks and dutifully shuffled along the one meter high underground tunnels to their mesa-based domiciles. Again, once in the cliff-side barracks, they had two chimneys, a tunnel back to the dorm building and a cleverly designed, nearly invisible front exit to choose from.Pamela took it in stride, Delilah was a bit peeved by the 'excessive' security. Virginia, we'd already dragged her through her dorm tunnel to her cave to sleep it off. For me, the tunnel's dimensions made it a tight fit. Amazons can be pretty strong, but they don't have shoulders as wide as mine, nor are they normally over a meter/eight (six feet for us Yankees).I would have complained, except I had a sneaking suspicion that Pamela had a trowel to give me so I could 'widen up' a twenty to forty meter stretch of tunnel the moment I opened my mouth. As the last portion of the instructional tour, we were directed to get our grub before it was gone because the sadistic chefs loved to watch the eight year old workhouse orphans fight over who got to lick the pot instead of starving.Not really. The victuals were actually very good. I had hopes of more bonding time with my Epona ladies, yet no sooner had I cleaned my tin plate and dinnerware, I found someone else who craved my attention, Sophia. She was hot for my touch and by that I meant she wanted to punch and kick me around for a bit, all in the name of fun."Since you are my guest, I will let you choose our weapons," Sophia decided."I choose hyperbole," I gracefully flowed from sitting with one leg down and the other bent to standing."Specify.""Caber tossing with real Sequoia. I'll wait for the ladies of Girl Scout Troop 666 to go get some, they have to be authentic; no substitutes accepted," I explained."That's not hyperbole," Sophia snorted. "Hyperbole would be, 'I want to use the biggest spears ever used by Amazons, or Goddesses'.""My hyperbole wasn't the caber tossing, it was us 'waiting' for a set of circumstances we both knew wouldn't happen," I countered. Sophia nodded.

durée : 00:29:24 - Les Pieds sur terre - par : Sonia Kronlund, Elise Andrieu - Shilu a fait une chute libre lors d'une avalanche. Yoann, lui, s'est retrouvé aspiré sous la neige. Tous deux ont subi une avalanche de grande ampleur mais en sont ressortis vivants. Ils racontent ce à quoi ils ont échappé, et comment ils ont recommencé à vivre. - réalisation : Thomas Jost

Send us a textThis week, Kyle Sullivan of the  @LockedOnAvalanche podcast joins us to discuss the Mikko Rantanen trade that broke the  @NHL this weekend. What does it mean for both the  @ColoradoAvalanche and the  @CarolinaHurricanes moving forward.We also break down the Conference Championships, as we now know who's headed to the Super Bowl. There are also a lot of coaching hires to go through in the  @NFL as well as the approaching  @NBA Trade Deadline and the  @NHL   news of the day.#Tradenews #afcchampionship #nfcchampionship #avalanche #nfl Support the showThanks for tuning in! We are now on Youtube @fringe_fanatics and streaming live weekly at 5:30 pm MST Tuesday night on Twitch.tv/fringe_fanatics!!! Please make sure to Like, Share, Subscribe, and Follow Us and leave us a review and rating. It really helps us in the long run!linktr.ee/fringe_fanatics To find us on all social media, find where to stream or watch the show, and find out how to donate to the show!!!Follow us on Twitter and Instagram @fringe_fanatics and Facebook @Fringe Fanatics - if you would like to reach out to us through email, you can do so at fringefanaticspodcast@gmail.com

Are you enjoying this? Are you not? Tell us what to do more of, and what you'd like to hear less of. The Reykjavík Grapevine's Iceland Roundup brings you the top news with a healthy dash of local views. In this episode, Grapevine publisher Jón Trausti Sigurðarson is joined by Heimildin journalist Aðalsteinn Kjartansson, and Grapevine friend and contributor Sindri Eldon to roundup the stories making headlines in recent weeks.On the docket this week are:✨ Avalanches in the Eastfjords✨ The first birth in over three decades in the town of Seyðisfjörður.✨ 2024 was the coldest year of the century in Iceland, so far.✨ A death of a mink under suspicious circumstances in downtown Reykjavík✨ Former Icelandic PM defence of Elon Musk's recent hand gestures.✨ A curious case of a masked man repeatedly defecating on a car.✨ The missing Drug Detection dog in Keflavík International Airport.------------------------------------------------------------------------------------------SHOW SUPPORTSupport the Grapevine's reporting by becoming a member of our High Five Club: https://steadyhq.com/en/rvkgrapevine/You can also support the Grapevine by shopping in our online store: https://shop.grapevine.is------------------------------------------------------------------------------------------This is a Reykjavík Grapevine podcast.The Reykjavík Grapevine is a free alternative magazine in English published 18 times per year, biweekly during the spring and summer, and monthly during the autumn and winter. The magazine covers everything Iceland-related, with a special focus culture, music, food and travel. The Reykjavík Grapevine's goal is to serve as a trustworthy and reliable source of information for those living in Iceland, visiting Iceland or interested in Iceland. Thanks to our dedicated readership and excellent distribution network, the Reykjavík Grapevine is Iceland's most read English-language publication. You may not agree with what we write or publish, but at least it's not sponsored content.www.grapevine.is

David makes unfounded conjectures about a famous novelist. Jon promises to read Blood Meridian. Support us on Patreon http://patreon.com/electionprofitmakers Send your election prediction questions to contact@electionprofitmakers.com Follow Jon on Bluesky http://jonkimball.bsky.social Watch David's show DICKTOWN on Hulu http://bit.ly/dicktown