Podcasts about Dionysus

Gavin landed back in Australia just the day before recording, and he and Ken settle in for a full debrief on WDC 2026 in Athens. From the venues and the social activities to all four of Gavin's games and the top board, this one covers it all. Intro Ken sets up the episode – this one is going to be almost entirely about WDC 2026 Athens, because Gavin was there and has only just landed back in Australia (as at the time of recording) (15 secs) He notes the DBN coverage gave a strong account of the boards and Ed's player interviews, but plenty of the magic from Spyros Dovas and his organising team didn't make it to the stream (45 secs) Drinks are introduced: Ken is on one of his home-brew lagers with a kick, and Gavin is working through a leftover Sicilian Nero d'Avola that has turned a little sour – a fitting metaphor, he suggests, for how his first round went (1 min 45 secs) The tournament in aggregate Ken asks Gavin to give a broad overview – location, numbers, facilities, atmosphere (2 mins 45 secs) Around 106 players registered, though some didn't show due to last-minute issues. Approximately 5 Australian players couldn't attend because their original flights were routed through the Middle East (3 mins 30 secs) The geopolitical context: as of recording, the Middle East airspace situation was in week nine of its shutdown, forcing Australian travellers to reroute via Singapore, Hong Kong, or Malaysia. Some also baulked at the US transit option due to the documentation requirements (4 mins 30 secs) Despite the drop-outs, the turnout was excellent and genuinely representative – a heavy European component split between the UK and the rest of Europe, a strong French contingent, players from the Netherlands, Belgium, Germany, Poland, and Norway, a good number of Americans and a couple of Canadians (including Chris Brand), around 10 Australians, and a couple of Kiwis (Dominick Stephens and Craig Purcell). The local Greek contingent, given the Athens club had only been running for about 18 months, was especially impressive (3 mins 30 secs) Tournament format: three regular rounds followed by a fourth round of tiered top boards. Rather than a single top board, the format featured seven simultaneous top boards – the top 7 players went to the premier board, players 8–14 played the second tier, 15–21 the third, and so on down through the field. Crucially, players who volunteered to sit out for round four to help with numbers kept their ranking position (7 mins) Ken and Gavin discuss how the tiered format means the fourth round is never a dead rubber – every board is still competing for something meaningful (8 mins 15 secs) Discussion of the central clock arrangement: effectively federation-based rather than a literal single clock, with the two main venues coordinating their start times by communication (9 mins 30 secs) The venues The main venue was the upstairs function space of a beachside restaurant operation – excellent location right on the waterfront, but somewhat cramped for negotiations once all the boards were in (9 mins 45 secs) As a result, boards were redistributed to the secondary venue: the Anchor bar, about 150–200 metres down the road. Gavin played two games in each location and considered the Anchor the better play space – more open, well ventilated, and with a large covered outdoor area next to a (drained) pool (11 mins) The colour-coded sash system made it easy to identify players by country but created the amusing challenge of locating your specific Italy in a room full of Italys from different boards (13 mins) The third venue – an outdoor shaded area – was reserved for the premier top board. Unlike Milan's car park, this one had good shade and plenty of room for spectators around the giant shadow board (13 mins 30 secs) Pre-tournament social activities Gavin outlines the structure: you could do as much or as little as you liked. He landed well due to a useful 5.5-hour Singapore layover that helped reset his body clock, and flew over on the same flight as tournament director Jamal Blakkarly (16 mins) They were met at Athens airport by Spyros, his wife, and daughter, who drove them to breakfast at a beautiful harbour-side restaurant in one of the small inlet bays east of Piraeus (18 mins 15 secs) Pre-tournament island stay: Gavin spent two days on Serifos, the island Spyros recommended and which has personal significance to his family (his grandfather was christened there). Spyros provided a detailed Google Map of the best spots. With the tourist season barely starting, Gavin got excellent last-minute accommodation at a family-run hotel and had the beaches almost entirely to himself (18 mins 45 secs) The island was so off-season that locals were literally still painting their furniture and kerbs in preparation. Gavin did the recommended hikes and swims, and the hotel gifted him a dry-bag left behind by a previous guest (20 mins 30 secs) Back in Athens overnight, Gavin caught up with a multinational squad of players including Shane, Brandon, Max, Zoe, Justin Law, Bradley Grace, and Karthik. They had dinner at an Italian restaurant with the Acropolis lit up above them (22 mins 30 secs) Hydra day trip (Wednesday): players caught the fast ferry from Piraeus out to Hydra (about 1.5 hrs). The island has a refined Venetian-Greek port feel, with rustic paths and rock beaches beyond. The group visited the Museum of the 1821 Greek Revolution, full of local history and artefacts. Gavin wore one of his Diplomacy shirts and ended up being an ambassador for the hobby to an American grandmother and her debate-champion granddaughter from North Carolina – and pointed them towards David Hood and the local hobby there (24 mins 15 secs) The water temperature at the beach was about 4–5 degrees colder than Australia, which meant the Europeans loved it and Gavin did not go in (26 mins 30 secs) Acropolis and Athens tour (Thursday): guided tour of the Acropolis by what Spyros described as the best guides operating there, followed by a walk through the Plaka and past the Panathenaic Stadium (venue of the first modern Olympics in 1896), then a seafood lunch at a beautiful harbourside restaurant (30 mins) Temple of Poseidon (Thursday evening): the most popular activity – the bus was packed. About halfway there, Spyros took everyone on an unannounced detour to a beach bar where they had the place to themselves, a wonderful surprise. The Temple itself sits on a peninsula with 270-degree sea views. Spyros told the story of how the Aegean got its name from that location, and a huge group photo was taken (31 mins 15 secs) Tournament production values Gavin describes the production as setting new high-water marks for tournament organisation – high enough that the Chicago 2027 organising team would be wondering how to match it. Every player had a colour-coded sash matching their country, a branded WDC Athens notepad in their country colour, and a matching pen for every round (33 mins) The awards were 3D-printed Greek god statues for the podium finishers, complemented by a full suite of themed awards for the top players in each country and for notable gameplay (34 min) Special awards included: the Ajax Award for 8th place overall (the brilliant fighter who just missed out); the Archimedes Award for the most innovative play; the Leonidas Award for the player who fought on against insurmountable odds; and professionally screen-printed awards for best performance as each of the seven Great Powers (35 mins 45 secs) Gavin's games Round 1 – France – Board: Agkystri (View game) Gavin introduces his first game and the board composition: he played France, with Danae Stamataki (Austria-Hungary, local Greek player who topped the board on 10 supply centres and won best Austria), Sabrina Ahuja "Sabi" as England, Brian Ecton as Germany, Jean-Louis Delattre as Italy, Teo Ananiadis as Russia, and Frank Oosterom from the Netherlands as Turkey (37 mins 15 secs) The plan was a Western Triple working with England and Germany, with the goal of neutralising a strong-looking Italy early. It didn't come together as intended (37 mins 45 secs) The infamous mis-order: Gavin had two builds and intended fleet Brest plus a second build. Instead he built fleet Brest and placed the build directly in MAO, effectively waiving his second build. The DBN commentators interpreted this as a genius strategic waive; Ken's interpretation was somewhat more grounded. Gavin confirms Ken was correct (39 mins) The other players on the board didn't share DBN's generous reading of the situation. Germany immediately moved into Burgundy and kept flipping between fronts as his position allowed. Italy kept pressing France throughout. Gavin found himself squeezed down to a single unit in the English Channel (40 mins 30 secs) Final turn plan: England agreed to convoy an army across to Picardy to support Gavin back into Brest. Instead, Sabi walked into an open Paris. Gavin ended the game with zero supply centres and was eliminated (42 mins 15 secs) Gavin notes he made his disappointment known professionally, and that he subsequently had a drink with Sabi – but not that night (44 mins 15 secs) Round 2 – England – Board: Lemnos Not covered by DBN. Gavin played England; the board included Dominick Stephens (New Zealand) as Germany, Chris Brand (Canada) as Russia, Ruben Sanchez as Italy, Roberto Perego (Italy) as France, Robert Schuppe as Turkey, and Anastasia "Nastja" Styles as Austria-Hungary (46 mins) The plan was a Northern Alliance of England, Germany, and Russia. It unravelled immediately when Chris opened Moscow to Livonia and Dominick interpreted it as aggressive – resulting in a Germany-Russia war from the outset (46 mins 15 secs) Gavin adapted: knowing Germany was occupied in the east, he gave Russia some space and opened into Belgium, with Dominick and Chris both honouring his request to take Norway unopposed via fleet (46 mins 45 secs) Dominick and Gavin worked to grind down Roberto Perego's France, who ground out a hard-fought game staying alive on 2 centres. Ruben Sanchez's Italy played a deft game, flipping between alliances with Turkey and Austria (49 mins 15 secs) Dominick topped the board on 10; Ruben came in at 9; Gavin finished at 7. The game was meant to run to 1909 but drew earlier when the position stabilised. Gavin reflects he may have drawn too early, with both Dominick and Ruben suggesting he had room to push for another two centres (50 mins) Round 3 – Germany – Board: Symi (View game) Gavin played Germany. The board included Shane Armstrong (Australia) as France, Mikalis Kamaritis as Italy, Alex Maslow (USA) as Russia, Steven Hogue (USA) as Austria, Alex Lebedev (Russia) as England, and Jack Johns as Turkey (51 mins 15 secs) The strategic context: only Mikalis Kamaritis and Alex Lebedev were realistically in contention for the top board from this game. Shane and Gavin identified this early and committed to supporting the player they believed deserved to be there (52 mins 45 secs) Shane and Gavin opened with a Sealion against England, while Gavin also walked a careful line with Alex Lebedev, who initially felt more threatened by France than Germany. Austria was eliminated in 1903, and England in 1904 (53 mins 45 secs) A notable moment: Gavin slipped an army from the North Sea into an unoccupied London – a move he acknowledged was unnecessary, created friction with Alex Lebedev, and which he would not make again. He apologised on the day (56 mins 15 secs) Mikalis told Gavin and Shane to wait until 1905 – and delivered. He launched from his eastern position, took two dots off Russia and one off Turkey in a single year, then steamrolled from there. Alex Maslow was a strong and enjoyable player who nearly flipped the alliance but ultimately couldn't (56 mins 15 secs) The game agreed to a draw of 10-10-14 (Shane-Gavin-Mikalis), which the three felt would get Mikalis comfortably onto the top board. In the final adjudication Mikalis took one extra dot away from Shane, making the final scores 15-10-9 (58 mins 15 secs) Round 4 – Austria – Board: Myconos (View game) Gavin made it onto the fourth round, placed into the 6th top board. The board featured Shane Armstrong again as Turkey, Emmett Wainwright as England, Patrick Jacobson as France, Nathan Lester as Germany, Cameron Taylor as Italy, and Richard Bolton as Russia (59 mins 30 secs) The standout introduction: Nathan Lester, son of Dan Lester (who Gavin played against at Bangkok WDC). Same voice, same playing style, same persuasive meta-game arguments – but with a mullet and dressed like he's in an 80s rock video, and without the beard-stroking (1 hr 0 mins 45 secs) Gavin and Shane, having just played together in Round 3, ended up as Austria and Turkey respectively – not a natural alliance. Gavin didn't trust it but it held. Italy and France both kept fighting hard throughout (59 mins 45 secs) The game drew in 1906, with Shane and Emmett both finishing on 8, Gavin on 6 as Austria. Everyone then rushed across the road to watch the top board (1 hr 3 mins 45 secs) The top board Ken asks about Mikalis's diplomatic style. Gavin: exceptional situational awareness, communicates clearly and directly, asked and answered the "what do you want from this game?" question in a way that built immediate trust, and was good to his word on timing (1 hr 4 mins) Gavin arrived at the top board mid-1906 (his own game had just drawn). The top board was played outdoors under a well-shaded tree with plenty of room for negotiations, guarded by two or three people ensuring other players and passing members of the public couldn't crowd the board (1 hr 5 mins) The giant shadow board: a massive life-size replica board was set up nearby so all spectators could follow the game without approaching the real board. Andrew Goff read out the orders and the shadow board was updated after each adjudication – the same setup used at Milan WDC (1 hr 7 mins 45 secs) When Gavin arrived, he felt Bradley Grace had the game. The shift came late – Mikalis made a decisive move in the endgame that separated him from a closely matched France/Germany contest (1 hr 9 mins) Congratulations to Mikalis Kamaritis – well deserved, Gavin says. And to Bradley Grace: so close, but it will happen (1 hr 9 mins) The awards ceremony included Mikalis receiving both the championship belt and a traditional olive laurel wreath – a detail that was not captured in the DBN stream. Ken flags this as something future broadcasts should consider covering (1 hr 11 mins 15 secs) A Best Shane Cubis Award was also created – won by a Greek player who loudly lobbied Spyros for an award on the basis of how much he'd helped out. An AI-generated image of Shane Cubis in 1901 attire featured on the award, to the complete bafflement of the European and American contingents (1 hr 12 mins 50 secs) Game hobby and future WDCs The Chicago Windy City Weasels delivered a presentation promoting WDC 2027, enthusiastically received by the assembled players (1 hr 13 mins 15 secs) The 2028 bid: Melbourne was the only bid, and it was unanimously approved. Andrew Goff (Goffy) presented it. WDC 2028 Melbourne will be held at the MCG – the Melbourne Cricket Ground – with the conference rooms used for regular play, and the premier top board played on the MCG wicket itself. The countdown timer will run on the MCG scoreboard. Notionally scheduled for the last weekend of February 2028 – the weekend after the Formula One Grand Prix and the weekend before the first AFL round (1 hr 14 mins 30 secs) For international context: roughly equivalent to playing at Yankee Stadium, Madison Square Garden, the Camp Nou, or Bayern Munich's Allianz Arena. English players will recognise the MCG as where English cricket hopes traditionally come to die (1 hr 15 mins 15 secs) Also at the game hobby: a unanimous vote to amend and modernise the WDC charter, which dates from around 2000–2001 and doesn't reflect current online play, email communication, or the organisational structures of the Asia-Pacific and European hobbies. Four representatives (from NADF, the Asia-Pacific Diplomacy Association, and the European and UK hobbies) will draft amendments to be presented at WDC 2027 Chicago, with ratification at WDC 2028 Melbourne (1 hr 18 mins) Wrap up Gavin acknowledges the full organising effort: approximately 10 people working behind the scenes alongside Spyros and Jamal to make everything run. The Greek hobby and Athens Diplomacy Club can be enormously proud (1 hr 20 mins 30 secs) The Armistice Party: held between rounds three and four in the venue near the pool area. A DJ with a custom app allowed all attending players to nominate up to 10 songs each, with the crowd then voting in real time from four options for what came next. Gavin describes it as stunningly well thought through (1 hr 22 mins) Ken summarises: meticulously planned, wonderful venue, brilliant location, great games, fantastic people. Gavin: you got it in one. Thank you to Spyros, Jamal, and everyone they played with (1 hr 23 mins) Addendum – recorded one week later Ken and Gavin explain the addendum: a few things were either forgotten or lost in the original recording, so they've caught up a week later to cover them (1 hr 25 mins 45 secs) The Cane Toad The Cane Toad tournament will not run in 2026 – Gavin has made the decision to rest it for the year and bring it back bigger and better in 2027 (1 hr 26 mins 30 secs) Reasons: Gavin no longer lives in Brisbane where the tournament has historically been based, and several attempts to get a local game going have been completely unsuccessful. He feels it would be unfair to interstate players to travel to Queensland only to play mostly other interstate players rather than a meaningful proportion of locals (1 hr 27 mins 30 secs) He also flags cost-of-living pressures and fuel costs as factors, noting that the fuel excise which had been removed is about to be reinstated (1 hr 28 mins 45 secs) Ken and Gavin have a brief riff on whether cane toads actually hibernate, and whether the tournament might one day move to a different Queensland location (1 hr 28 mins 45 secs) Gavin shares a long-held dream of running the Cane Toad on the beach under a sun-safe setup. Council regulations require public liability insurance – but the Asia Pacific Diplomacy Association is in the process of organising exactly that for tournament directors, which may open the door in future (1 hr 29 mins 15 secs) Tournament news The Sydney Cup is on the weekend of 4–5 July. Gavin would love to go but has used up his diplomacy credits between Greece and starting a new job – it'll have to stay in the bank for now (1 hr 30 mins 45 secs) A New Zealand tournament is being discussed for the week before WDC 2028 Melbourne (late February 2028). Three New Zealand players who attended WDC 2026 in Athens have flagged interest in hosting something, on the logic that if you're travelling all the way from Europe or the US, a short hop across the Tasman to New Zealand is well worth building into the itinerary (1 hr 32 mins) Ken enthusiastically endorses the idea and encourages anyone planning for WDC 2028 Melbourne to factor in a week in New Zealand beforehand (1 hr 33 mins 30 secs) Challenge for next episode Over his birthday lunch, Gavin's son surprised him with an accurate recall of his WDC result. This leads Gavin to issue a challenge for the next episode: both Ken and Gavin will do some homework and come back with three or four online diplomacy resources that people may not know about, to raise awareness of what the community has put together over the years (1 hr 34 mins 45 secs) Around the grounds VDiplomacy gets an introduction for any listeners who aren't familiar: a sibling platform to WebDiplomacy, it hosts classic games but is particularly known for its range of variants (1 hr 36 mins 30 secs) The Dionysus Reimagined game recap – the ancient Greece variant Ken and Gavin set up in the lead-up to WDC Athens. Ken soloed, eliminating Gavin in the final year. Gavin notes that technically his last dot was taken so late that his result registers as a survive rather than an elimination (1 hr 38 mins 45 secs) Gavin played Athens and found himself defending on all fronts from early on: Sparta (who built only armies and had nowhere to go but north), the Macedonians pressing from the north, Byzantium late in the game, and Rhodes. Ken played Byzantium and credits his early token luck as a key advantage, picking up all his bid supply centres including one he expected to bounce – giving him fleet dominance in the Aegean from the start (1 hr 40 mins) The bid mechanics are recapped for any listeners unfamiliar with the variant: each player has 4 tokens to bid on non-core supply centres; outbid or bounce and you don't get the build. Ken's fortunate opening bids gave him a decisive early position (1 hr 40 mins 30 secs) A practical tip for vDiplomacy players: always open the large map after adjudication. The small map can omit orders that didn't go through, making moves look different from what was actually played. Ken noted several instances in the Dionysus game where support orders that failed simply weren't visible on the small map (1 hr 45 mins 45 secs) Ken congratulates himself on the win and notes the ratings gap between the two has now closed to around 100 points (1 hr 47 mins 30 secs) New game announced: Gavin has set up a Pirates game titled Ahoy Mateys on vDiplomacy. Gunboat, 2-day 2-hour phase length. Ken explains the extra 2 hours: it gradually shifts the adjudication time back toward Australian time zones in games where everyone readies up early (1 hr 48 mins) Pirates variant overview: a 13-player variant set in the golden age of piracy in the Caribbean, created by Gavin in collaboration with Ollie (the vDiplomacy site administrator). The 13 players are broken into three factions (1 hr 51 mins 45 secs): Europeans – Spain, England, France, and Holland, who nominally control supply centres across the map but must capture them to make them count Pirates – five pirates, four historical (Montbas, Brasiliano, de la Cueva, and Johnson) and one fictitious: El Guapo, borrowed from the movie The Three Amigos Privateers – one per European power, operating as private navies with letters patent. They can attack anyone except their sponsoring power (and vice versa). The Dunkirkers serve Spain, Henry Morgan serves England, François Le Jones serves France, and the Rocherson serves Holland Unit rules: all units are fleets, but there are two types – Clippers (move up to two spaces, standard attack strength) and Frigates (move one space, attack at 1.5x strength). A single clipper cannot defend against an attacking frigate, but a clipper supported by another clipper can. Five marked spots on the board allow transformation between unit types (1 hr 57 mins 45 secs) Special rules: a voodoo witch's hut in Cuba allows a fleet on the north coast to teleport to the south coast and vice versa. And a 14th non-playing character – a Hurricane – spins up each storm season in a random sea territory, moves randomly in the fall turn, and destroys anything in its path with an effectively unstoppable attack strength, also resetting any supply centre it passes through to neutral (1 hr 59 mins) Ken commits to reading the full rules before play begins, notes Pirates has a genuine following on vDiplomacy with games regularly in progress, and suspects he may get slaughtered (2 hr 1 min 15 secs) Gavin and Ken wrap up the show (2 hr 2 mins 15 secs) Venue: At home Drinks for the interview: Ken: One of his home brews – a lager with a bit of a kick Gavin: A Baliamo Nero d'Avola from Sicily – opened two weeks prior, which he noted had become a little sour and bitter compared to its fresh opening, much like his first round at the tournament Just a reminder you can support the show by giving it 5 stars on iTunes or Stitcher. And don't forget if you want to help pay off the audio equipment… or get the guys more drunk, you can also donate at Patreon, plus you get extra podcast episodes! Lastly, don't forget to subscribe so you get the latest Diplomacy Games episodes straight to your phone. Thanks as always to Dr Dan aka "The General" for his rockin' intro tune.

Midas finds that the gift Dionysus granted him is actually a curse.Nehemiah Luckett is Midas and Eric Berryman is Dionysus."Careful What You Wish For" and all of our music and songs were composed, arranged and produced by Magdalini Giannikou. Lyrics and vocal production by Malena Marcase. Music performed by Banda Magda. Songs mixed and mastered by Tom Beuchel. Music direction by Magdalini Giannikou and Nehemiah Luckett.

When Dionysus grants him a wish, King Midas knows exactly what he wants -- to have everything he touches turn to GOLD!Nehemiah Luckett is Midas and Eric Berryman is Dionysus."Give Me That Golden Touch" (and all of Live from Mount Olympus music and songs) was composed, arranged and produced by Magdalini Giannikou. Lyrics and vocal production by Malena Marcase. Music performed by Banda Magda. Songs mixed and mastered by Tom Beuchel. Music direction by Magdalini Giannikou and Nehemiah Luckett.

Looking for daily inspiration?  Get a quote from the top leaders in the industry in your inbox every morning.   Paul Couch is the Creative Producer of PTC Stages. Over the course of a decades-long career in entertainment, Paul built a remarkable path through theme parks, concert venues, theater management, and higher education. Beginning as a singer inspired by live performance, he worked at parks including Kings Island, Opryland USA, and Dollywood while also helping lead entertainment operations at the historic Ryman Auditorium. Along the way, he produced concerts, managed festivals, developed theatrical productions, and later became an Assistant Professor at Middle Tennessee State University. In this interview, Paul talks about theme park career stories, entertainment as the human experience, and working with Dolly. Theme park career stories “Working at King's Island that summer was the best job of my life.” Paul shares a fascinating career journey that began with a desire to become a professional singer after being inspired by a live Neil Diamond album as a teenager. That passion eventually led him into the theme park industry when he was hired to perform at Kings Island, where he unexpectedly found himself immersed in country music and theme park entertainment. That experience introduced him to a larger world of live entertainment production and sparked his interest in building a career beyond performing alone. From there, Paul worked his way through Nashville's entertainment scene, balancing music industry jobs with carpentry work before deciding to pursue live show production full time. Networking played a critical role in helping him transition into management at Opryland, where he developed a reputation for getting things done and eventually became deeply involved in concerts, Halloween festivals, and large-scale entertainment operations. His career later expanded to the Ryman Auditorium, where he helped guide concerts and theatrical productions during a transformative period for downtown Nashville before ultimately joining Dollywood's entertainment leadership team. Entertainment as the human experience “Entertainment has a big footprint, not just as a business, but as part of the human experience.” Paul offers a thoughtful perspective on why entertainment matters so deeply within theme parks and beyond. He explains that gathering together for shared experiences is fundamentally part of being human, pointing to the ancient Greek Theater of Dionysus as evidence that people have always sought communal entertainment experiences. For Paul, theme parks are not simply offering rides and attractions. They are creating opportunities for emotional connection and collective experiences that guests actively crave. He also discusses the evolving role of technology in entertainment and how guest expectations continue to rise. Modern audiences expect sophisticated lighting, sound, video, and production value, and parks that successfully balance those advancements with manageable operating costs will be positioned well for the future. Paul believes entertainment remains essential because it fulfills something deeply rooted in human nature, which is why live concerts, productions, and immersive experiences continue to grow in popularity across the industry. Working with Dolly “She is the person that you hope she is.” When discussing his experience working with Dolly Parton, Paul describes her as authentic, professional, and deeply collaborative. He explains that while working with someone of Dolly's stature was initially intimidating, their relationship evolved over time into a friendship built on trust and mutual respect. He credits her with maintaining incredibly high standards for the entertainment experiences connected to her name while also remaining approachable and generous in the creative process. Paul also shares insight into their collaboration on Dolly Parton's Smoky Mountain Christmas Carol, a musical that premiered in Boston before touring internationally and across the United States. He emphasizes that Dolly values equal collaboration and genuinely wants to hear ideas from her creative partners. That openness, combined with her professionalism and kindness, helped create an environment where everyone involved could feel proud of the final product and invested in the work they created together.   Paul can be reached on LinkedIn, as well as by email at ptcstages@gmail.com. To learn more about PTC Stages, visit www.ptcstages.com. This podcast wouldn't be possible without the incredible work of our faaaaaantastic team: Scheduling and correspondence by Kristen Karaliunas   To connect with AttractionPros: AttractionPros.com AttractionPros@gmail.com AttractionPros on Facebook AttractionPros on LinkedIn AttractionPros on Instagram AttractionPros on Twitter (X)

This lecture was recorded by Ronald Hutton on the 6th May 2026 at Barnard's Inn Hall, LondonProfessor Hutton is Professor of History at the University of Bristol. He took degrees at Cambridge and then Oxford Universities, and was a fellow of Magdalen College, Oxford. He is now a Fellow of the British Academy, the Royal Historical Society, the Society of Antiquaries and the Learned Society of Wales, and has won awards for teaching and research.He has lectured all over the world, authored twenty books and ninety-six essays, appeared in or presented scores of television and radio programmes, and sits on the editorial boards of six journals concerned with the history of religion and magic.He is currently working on the third volume of his biography of Oliver Cromwell. The transcript of the lecture is available from the Gresham College website: https://www.gresham.ac.uk/watch-now/god-dionysusGresham College has offered free public lectures for over 400 years, thanks to the generosity of our supporters. There are currently over 2,500 lectures free to access. We believe that everyone should have the opportunity to learn from some of the greatest minds. To support Gresham College's mission, please consider making a donation: https://www.gresham.ac.uk/get-involved/support-us/make-donation/donate-today Website:  https://gresham.ac.ukX: https://x.com/GreshamCollegeFacebook: https://facebook.com/greshamcollegeInstagram: https://instagram.com/greshamcollegeBluesky: https://bsky.app/profile/greshamcollege.bsky.social TikTok: https://www.tiktok.com/@greshamcollegeSupport Us: https://www.gresham.ac.uk/get-involved/support-us/make-donation/donate-todaySupport the show

In this episode of Domina Tempora, we unleash the wild, sacred power of the Maenads — the raving priestesses and fierce warriors of Dionysus, god of wine, ecstasy, vegetation, and divine madness.Adorned with ivy, snakes, and panther skins, these women were far more than “mad” followers. They were holy initiates who danced in frenzied ecstasy to the thunder of drums, performed miracles that summoned wine from the earth and milk from stones, and wielded superhuman strength in service to their god. As both celebrants and soldiers, they tore apart the enemies of Dionysus — from the dismembered Orpheus to the doomed King Pentheus, whose own mother Agave, still in divine frenzy, carried his severed head as a hunting trophy.We explore their dual nature: bringers of joy and terror, voluntary devotees and those driven mad as punishment, miracle-workers and destroyers. From the tragic fate of Lycurgus to the protective sisterhood shown by the women of Amphissa, the Maenads reveal the untamed, dangerous heart of Dionysian worship — where ecstasy and violence, life and death, blur into one.If the intoxicating pull of divine frenzy, forbidden rites, and the raw power of ancient passion calls to you, my debut novel Clotho Unbound is waiting. In its pages, Clotho — the Fate who has spun death for Zeus across the ages — becomes entangled with Aphrodite in stolen, blasphemous nights of desire that make the Loom of Fate itself tremble. Their love is treason. Their passion could unravel destiny.Clotho Unbound is out now — order your copy today on Amazon (Kindle, paperback, and audiobook coming soon).Direct link:https://www.amazon.com/Clotho-Unbound-Marianne-Fisher/dp/B0GTZ8PZFVThank you for listening.Until next time — may your thyrsus strike true and your frenzy set you free.

Send us Fan MailJoin Fr. Aaron & Marissa Burt to discuss the readings for Trinity Sunday: Genesis 1:1-2:3; Psalm 150; 2 Corinthians 13:5-14; Matthew 28:16-20.Notes:Check out Marissa's Spiritual Treadmills survey hereThe quote Aaron mentioned: "Polytheism, therefore, was really a sort of pool; in the sense of the pagans having consented to the pooling of their pagan religions. And this point is very important in many controversies ancient and modern. It is regarded as a liberal and enlightened thing to say that the god of the stranger may be as good as our own; and doubtless the pagans thought themselves very liberal and enlightened when they agreed to add to the gods of the city or the hearth some wild and fantastic Dionysus coming down from the mountains or some shaggy and rustic Pan creeping out of the woods. But exactly what it lost by these larger ideas is the largest idea of all. It is the idea of the fatherhood that makes the whole world one."- G.K. Chesterton, The Everlasting Man--Dwell App--2019 Book of Common PrayerThe Bible ProjectPentecost: A Day of Power for All People, by: Emilio AlvarezOrdinary Time: A Season of Growth, by: Amy Peeler1:11 Collect1:58 Answering questions about the preaching team14:33 Genesis 1:1-2:333:50 Psalm 15036:14  2 Corinthians 13:5-1448:13 Matthew 28:16-20 Our outro music is an original song by our friend Dcn. Jeremiah Webster, a poet and professor whose giftedness is rivaled by his humbleness. You can find his published works, including After So Many Fires, with a quick Google.

Topics: (00:00:00) - Intro (00:01:23) - Reading the forward to Sean's new book (00:09:30) - What problem were you experiencing that sparked these ideas? (00:12:30) - Sean's early arrival to AI (00:23:15) - Identity (00:27:55) - Defining Apollo and Dionysus (00:34:47) - Understanding and uncertainty (00:38:26) - Tools to deal with uncertainty (00:50:27) - Tools for metabolism (01:03:25) - Ritual time and run time (01:11:30) - Building trust to have hard conversations (01:13:40) - The key pillars of the Dionysus Program (01:37:09) - Applying this thinking across organizations and life (01:45:28) - Applying Apollo/Dionysus to investing (01:57:10) - Observing the learning rate of an organization (02:03:08) - Closing thoughts Links: The Dionysus Program - https://www.dionysusprogram.com/ To support the costs of producing this podcast:  >> Buy a copy of the Navalmanack: www.navalmanack.com/  >> Buy a copy of The Anthology of Balaji: https://balajianthology.com/ >> Sign up for my online course and community about building your Personal Leverage: https://www.ejorgenson.com/leverage  >> Invest in early-stage companies alongside Eric and his partners at Rolling Fun: https://angel.co/v/back/rolling-fun >> Join the free weekly email list at ejorgenson.com/newsletter >> Text the podcast to a friend >> Or at least give the podcast a positive review to help us reach new listeners! Important Quotes from the podcast on Business and Entrepreneurship   There is no skill called “business.” Avoid business magazines and business classes. - Naval Ravikant   You have to work up to the point where you can own equity in a business. You could own equity as a small shareholder where you bought stock. You could also own it as an owner where you started the company. Ownership is really important.     Everybody who really makes money at some point owns a piece of a product, a business, or some IP. That can be through stock options if you work at a tech company. That's a fine way to start.

In his last book Ecce Homo, Nietzsche leaves us with one of his most dramatic and powerful lines! Dionysus versus Christ! ...  Check out my new books! This one is called: The Last Human: How Technology is Changing What it Means to be Humanhttps://www.amazon.com/Last-Human-Technology-Changing-Means/dp/1069510831/ 

We live in the most entertained, most medicated, most connected moment in human history. And we are emptier than ever. We reach for things to fill us. And they don't. Paul saw this same pattern in Ephesus two thousand years ago - a city drunk on wine and the worship of Dionysus, chasing fullness in all the wrong places. And into that world he wrote: don't be drunk with wine. Be filled with the Spirit. In this message, Pastor David walks through Ephesians 5:15–21 in three movements - the trajectory, the waste, and the foundation - and shows that the question was never about a line. It was always about who is in control of you. In this message: The ancient two-path wisdom tradition and why everyone is trajecting toward something What kairos means — and why the wise person seizes moments instead of drifting through them The Dionysus cult in Ephesus and why Paul's audience felt the word asōtia in their bones Why the things we reach for to fill us — screens, substances, approval, work — hollow us out instead What "be filled with the Spirit" actually means — and why it's reception, not self-effort Key Scriptures: Ephesians 5:15–21 • Psalm 1 • John 6:40; 14:6 • Matthew 7:24–27 • 1 Corinthians 6:12 • 1 Peter 5:8 • Acts 4:12 • Romans 10:9–10

Do you know what an iconic actor from these movies: The Godfather, Apocalypse Now, On the Waterfront, A Streetcar Named Desire, and The Wild One brought to BDSM that is still part of the lifestyle today?Have you ever heard how Harley-Davidson and the United States government created a staple in early BDSM groups?Or that Satyrs, the part-man and part-beast, deities in Greek known for being wild, lustful companions of Dionysus, helped lay the foundation of modern BDSM in the States?Press play and find out the answers and why some would like to erase this knowledge.

fWotD Episode 3294: Golden Bough (Aeneid) Welcome to featured Wiki of the Day, your daily dose of knowledge from Wikipedia's finest articles.The featured article for Tuesday, 12 May 2026, is Golden Bough (Aeneid).The Golden Bough is a fantastical object described in the Aeneid, an epic poem by the Roman poet Virgil composed between 29 and 19 BCE narrating the adventures of the Trojan hero Aeneas after the Trojan War. The episode of the Golden Bough is found in its sixth book and is part of Aeneas's journey into the Underworld. The bough itself acts as proof of Aeneas's divine favour, and allows him to pass into the Underworld. He is tasked to find it in an expansive forest, which he accomplishes with the aid of his mother, the goddess Venus, and to remove it from its host tree. Although Aeneas has been told that it would come easily, if his journey is ordained by fate, Virgil describes the bough as briefly hesitating before he takes it.Virgil's portrayal of the bough has no direct literary antecedents, though it draws on several precedents from literature, folklore and philosophy. Scholars have connected it with, among others, the Golden Fleece in the story of the Argonauts; symbolic objects associated with deities such as Hermes, Dionysus and Circe; and the branches carried by prospective initiates into the Eleusinian Mysteries, a Greek religious rite centred on a symbolic journey into the Underworld. Virgil associates it with both death and immortality, partly by way of symbolic associations in Graeco-Roman culture between gold and the gods. It also recalls ideas put forth by the Roman philosopher Lucretius as to the nature of the soul. The episode of the Golden Bough was parodied by authors including Virgil's contemporary Ovid, and drawn upon by later Roman poets including Lucan and Valerius Flaccus.Early interpretations of the Golden Bough tended to give it an allegorical function, particularly via Pythagorean and Neoplatonist philosophy, which viewed it as symbolic of the choice between virtue and vice. Medieval commentators often considered it a symbol of wisdom, and several Christian theologians interpreted it as representing Christian wisdom and virtue. In the sixteenth century, it became a heraldic symbol of the Florentine House of Medici. Early modern receptions of the bough, including those of François Rabelais and Jonathan Swift, were often parodic or obscene. In the twentieth century, scholars following the Harvard School interpretation of the Aeneid argued that Virgil's use of the bough reflected his ambivalence towards Aeneas and the latter's mission to set in motion the rise of the Roman Empire. Other critics have highlighted echoes between the episode of the Golden Bough and the morally charged deaths of two of Aeneas's antagonists, Dido and Turnus.In the fourth or fifth century CE, the commentator Servius connected the bough to rex Nemorensis, a priest of the goddess Diana at Lake Nemi whose office was passed on by the killing of its holder. This equation influenced the anthropologist James George Frazer, who used the bough for the title of his 1890 work on comparative religion. The bough is recalled in Dante Alighieri's Divine Comedy and was the subject of an 1834 painting by J. M. W. Turner, which was used as the frontispiece for the early editions of Frazer's book. It was an influential motif in the "Byzantium" poems of W. B. Yeats and in the poetry of Seamus Heaney, who made several translations of Virgil's account of the episode. Scholars have also drawn parallels between the Golden Bough and significant objects in the novels of J. R. R. Tolkien.This recording reflects the Wikipedia text as of 00:53 UTC on Tuesday, 12 May 2026.For the full current version of the article, see Golden Bough (Aeneid) on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Emma.

Kiki Kramer is a musician.Kiki Kramer has performed with friend and guest of Wear Many Hats, May Rio, Harry Teardrop, Valley Latini, and Drink More Water.A day in the life of a wannabe popstar. Will you pause your game for me? We give you deja vu. Normalize walking your guy friends on leashes. Dionysus.Please welcome Kiki Kramer to Wear Many Hats.instagram.com/kikikramer⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠instagram.com/wearmanyhatswmh⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠instagram.com/rashadrastam⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠rashadrastam.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠wearmanyhats.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

The conflict reached a turning point in 33 BC when Antony committed what Strauss calls an "unforced error" by divorcing Octavia. This provided Octavian with a "propaganda bonanza," allowing him to frame the coming war not as a civil struggle, but as a crusade to save Rome from an Egyptian queen. Antony viewed the divorce as a "credible commitment" to his Eastern supporters, showing he would never compromise with Octavian. Despite warnings from generals like Ahenobarbus to leave Cleopatra behind, Antony kept her and her treasury close, further fueling Octavian's narrative that Antony had been "unmanned." Octavian strategically declared war on Cleopatra rather than Antony to maintain the moral high ground. Strauss notes that Octavian even mocked Antony's identification with Dionysus, portraying him as a simple drunk rather than a new Alexander. This battle of optics and ideology paved the road to the decisive confrontation at Actium. (4/8)80 BCE SULLA

Numa Pompilius' rule is a lot less exciting than that of Romulus in terms of warfare. Instead, we get a whole lot of religious restructuring, instilling piety into the rabble that is Roman society, and a mysterious burial with sacred texts the later Republic will never address again... That and calendar administration.Time period: 716- 672 BCERelevant individuals: Numa PompiliusSources for this episode:Cassius Dio (1961), Dio's Roman History in Nine Volumes. Volume II. Translated by E. Cary. London, United Kingdom and Cambridge, Massachusetts: William Heinemann Ltd. and Harvard University Press.Dionysus of Halicarnassus (1960), The Roman Antiquities of Dionysus of Halicarnassus. Translated by E. Cary. Cambridge, Massachusetts and London: Harvard University Press and William Heinemann Ltd.Livy (1971), The Early History of Rome. Translated by A. de Selincourt. Harmondsworth: Penguin Books Ltd.Marks, A. and Tingay, G. (date unknown), Romans. London: Usborne Publishing.M's Chronicle of the Roman Republic (TBA).Plutarch (1938), Plutarch's Lives (Volume I). London and New York: J. M. Dent & Sons Ltd. and E. P. Dutton & Co. Inc.Author unknown, Wikipedia (date unknown), Via Sacra (online) (Accessed 27/10/2025).

THE EMPIRE OF BAAL continues. This episode follows the golden thread westward into Celtic Europe, tracing the bull god's fingerprints across Ireland and Britain.Watch the Video of this Episode | Watch Part 1 first | Inner Whirled (All Episodes)What do Celtic mythology, Beltane, and the ancient Phoenicians have in common? In Part 2 of The Empire of Baal, Chance Garton and Dylan Saccoccio follow the linguistic and ritual signature of the bull god Baal across the ancient world — from the Mediterranean into Gaul, Britain, and Ireland — tracing a continuous system of ancient religion preserved across thousands of years and thousands of miles.Topics include the Celtic god Belenus and his philological identity with Dionysus, the shared origin of Beltane, Walpurgisnacht, and Ash Wednesday as fire festivals, the linguistic parallel between ancient Phoenician and Irish, the etymology of Pharaoh, pyramid, and Baal, the bull and Taurus symbolism throughout the Old Testament, and the gods Adonis, Bacchus, and Mithras as regional expressions of one ancient system.

Chris joined me for a conversation on Friedrich Schelling & German Idealism! In spite of his prominence, Schelling tends to be underdiscussed in popular philosophy circles when it comes to the German Idealist tradition. In this episode, we talk about his essay Philosophical Inquiries into the Essence of Human Freedom, the dialectic of potencies that develops out of nature-philosophy, and the relation of Schelling's ideas to those of his school friends at Tubingen - two gentlemen you may or may not have heard of, named Hegel and Holderlin. The three of them were enthusiastic about the French Revolution, and planted a "freedom tree", around which they danced and sang "Hen Kai Pain" - "One and All" - the watchword of Hellenistic pantheists. Schelling's late lectures were attended by everyone from Kierkegaard to Burckhardt to Engels to Bakunin; his views on myth (centering on Apollo and Dionysus) likely influenced Nietzsche, and his notion of the dark ground as a ceaseless impulsive striving echoes in the work of Schopenhauer. At the end of the episode, we have a brief discussion about Chris' thoughts on Deleuze, a philosopher he has drifted away from, and some of the pitfalls of post-structuralist thinking.Christopher, on how to read Schelling's Freedom Essay: https://epochemagazine.org/77/freedom-god-and-ground-an-introduction-to-schellings-1809-freedom-essay/Papers Referenced: Exceeding Reason: Freedom and Religion in Schelling and Nietzsche by Dennis Vanden AuweeleNietzsche, German Idealism and Its Critics (DeGruyter)

Pergamum sits north of Smyrna and about 16 miles inland from the Aegean Sea. Their massive library rivaled the library in Alexandria housing thousands of works. It was in Pergamum where the use of more expensive and longer lasting parchment was developed (1). In addition to three temples dedicated to the emperor, Pergamum also had a temple for Asclepius, god of healing; Dionysius, god of “wine and ecstasy";(2) Athena, goddess of wisdom and warfare, along with the great alter to Zeus(3) (considered one of the seven wonders of the ancient world)The Christians here stood strong in their faith in and worship of Christ, but struggled with tolerance and compromise over wrong teachings about Him. Living in such a hostile environment towards the things of Christ would have been difficult. The belief systems and practices surrounding them were idolatrous and immoral and to hold fast not just to declaring Christ as Lord but also discerning practically how that applies to daily life would require courage and fortitude. Allowing idolatrous and immoral teaching and practice to creep into their church hindered their ability to fully honor Jesus and maintain faithfulness to His word. The church needed to take these things seriously and stop. -------To keep the gospel in the forefront as we read these letters, we invite you to memorize Revelation 12:11:They overcame him by the blood of the Lamb and by the word of their testimony, they did not love their lives so much as to shrink from death.-------Prepare for this week's teaching by reading **Revelation 2:12-17**

What happens when a faithful church—commended by Jesus Himself—becomes the birthplace of one of the most controversial movements in early Christianity? In this episode of the Ephesiology Podcast, we journey to ancient Philadelphia in Asia Minor, a “gateway city” shaped by competing religious forces and cultural pressures. With limited archaeological data but rich literary and numismatic clues, we uncover how a steadfast community navigated syncretism, only to later give rise to Montanism—a movement that both recovered important biblical emphases and introduced dangerous distortions. This is more than history; it's a cautionary tale about leadership, authority, and the enduring tension between faithfulness and innovation in the mission of God. Keywords: Archaeology, Missiology, Philadelphia (Asia Minor), Seven Churches of Revelation, Book of Revelation, Early Church History, Montanism, New Prophecy Movement, Syncretism, Numismatic Evidence, Religious Pluralism, Dionysus Worship, Artemis Cult, Jewish Diaspora, Apocalyptic Expectation, New Jerusalem, Church Leadership, Heresy, Prophetic Authority, Moral Rigor, Missional Strategy, Gateway City Key Takeaways 1. Faithful beginnings don't guarantee faithful trajectoriesThe church in Philadelphia receives only commendation from Jesus (Revelation 3), yet later developments in the region reveal theological drift and distortion. 2. Archaeology's silence still speaksEven with minimal excavation, literary and numismatic evidence provides a vivid picture of Philadelphia as a deeply religious, pluralistic environment shaped by multiple cults and practices. 3. Context shapes theology—for better or worseThe surrounding worship of Dionysus, Artemis, and other deities created a cultural environment where ecstatic practices and syncretism could easily infiltrate emerging Christian expressions. 4. Syncretism is not just a pagan problemBoth Jewish and Christian communities in Asia Minor show signs of accommodation to surrounding religious practices, echoing concerns seen in texts like 1 Corinthians. 5. Montanism: reform and distortion intertwinedMontanism recovered valuable elements—moral seriousness, the role of the Spirit, and broad participation in ministry—yet distorted authority by elevating new prophecy above prior revelation. 6. “Jesus and…” is the fault line of heresyThe movement illustrates a recurring theological danger: adding new authority or revelation alongside Jesus undermines the foundation of the faith. 7. Leadership formation is mission-criticalMontanus serves as a cautionary example of elevating immature or newly converted leaders, reinforcing New Testament warnings about leadership qualification. 8. Geography shapes eschatologyMontanus's claim that the New Jerusalem would appear in his region shows how local context can shape—and distort—apocalyptic expectations. 9. Movements spread beyond their originsMontanism's influence reached far beyond Phrygia, impacting figures like Tertullian and spreading across the Roman Empire for centuries. 10. The past speaks to present mission practiceThis episode underscores a central Ephesiological insight: understanding the historical movement of God helps the church navigate contemporary challenges with greater discernment. Connect With Us Follow Ephesiology: Website | Twitter | Instagram | YouTube Follow Andrew Johnson @thediscfan.bsky.social If this episode encouraged you, please leave a review and share it with others exploring missional living in post-Christian contexts. Thanks for doing theology in community with us today! If you have a question or topic that you'd like to hear addressed on the Ephesiology Podcast, just send it to Andrew at thediscfan@gmail.com. Donate Find the podcast on your favorite podcast app Just search for “Ephesiology” Our Podcasters Michael CooperProfessor | Missiologist | AuthorMichael is the missiologist in residence with East West where he focuses on equipping and empowering church leaders in evangelism, discipleship, leadership, and catalyzing church planting movements in the most difficult to reach places on the planet. He is the author of Ephesiology: The Study of the Ephesian Movement as well as many other books and academic articles. He has lectured at universities around the world and serves as affiliate faculty at Kairos University where he facilitates the degree programs in partnership with Ephesiology Master Classes.Andrew JohnsonMinistry Lead, West Village ChurchAndrew is a proud husband, father and pastor who desires all to know the one true King. He is honored to serve at West Village Church in Victoria, BC. Previously, he's ministered in Houston, Chicago, Indy, Flagstaff and Tempe in a variety of church contexts. Andrew has a BA in Christian Ministry from Trinity International University and an MA from Phoenix Seminary. He is currently a Doctor of Ministry student at Kairos University and is the co-host of the Ephesiology Podcast. When not at work, he's an avid disc golfing, vinyl playing, Spider-Man following/collecting fellow. Go Pacers. Do you enjoy the Ephesiology Podcast? If the Stones Could Speak How Archaeology Reveals the Church's Mission with Dr. Michael T. Cooper Date: Thursday, 21 May 2026Time: 16:00 PDT | 19:00 EDT | Next Day 04:30 IST | 07:00 PHT | 09:00 AEST What if the stones could speak? Join us for an evening that explores how archaeology brings the mission of the early church into focus. Through artifacts, inscriptions, and ancient cities, discover how the name of Jesus was spread in a world of competing gods and empires and what that means for the church's mission today. A live Zoom seminar with Dr. Cooper followed by Q&A Register on Zoom Pick up Dr. Cooper’s latest book Religions, politics, and education shaped the cultural world of Asia Minor where a new faith emerged that would change history. Gods, Emperors, Philosophers, and a New Movement uncovers how the earliest Christians navigated—and often disrupted and adapted—the dominant forces of their age. Drawing on decades of research, fieldwork, and teaching, Michael T. Cooper takes readers beneath the surface of Ephesos, Smyrna, Pergamon, and other cities to reveal how temples, inscriptions, and civic spaces illuminate the missionary impulse of the first Christians. Far from being silent, the archaeological record testifies to their resilience, creativity, and bold proclamation of the gospel in a world saturated with competing loyalties. This is more than history. By examining how the early church encountered powerful religious traditions, political ideologies, and systems of education, today's missionaries and church leaders gain fresh vision for gospel engagement in their own pluralistic and contested contexts. The dynamics that shaped mission in the first centuries—identity, power, worldview, and cultural disruption—remain central to how the good news advances today. This book is an invitation to rediscover the mission of God in the archaeological record and to discern its enduring relevance for faithful witness in the twenty-first century. Buy on Amazon Partner with the Pod The Ephesiology Podcast comes to you from a desire to engage in community conversations about the intersection of theology and culture. We do not believe such dialogue should come with a cost so the podcast will always be free. However, if you've benefited from the Ephesiology Podcast, would you consider a nominal $5 per month donation? All proceeds from the podcast go toward helping bring needed theological education to the majority world through our Ephesiology Master Class initiative to end a theological famine. We'd be honored to partner with you to continue providing solid biblical, theological, and missiological content for listeners around the world. Donate Empowering Future Church Leaders Imagine a world where passionate, equipped Christian leaders spread God's Word in areas with the greatest need—leaders grounded in both deep theology and practical ministry skills, trained to make a lasting impact in their communities. Through your support, this vision can become a reality for students from countries like Malawi, Tanzania, Kenya, Nepal, and India who are eager to teach and multiply disciple-makers in their own regions. Learn More Ephesiology: A Study of the Ephesian Movement If you want to understand principles for the growth of Christianity in the first century, the place to begin is the city of Ephesus. In this winsome study, Ephesiology offers readers a comprehensive view of the empowering work of the Holy Spirit in the most significant city of the New Testament, and compels us to ask the question: how can we effectively connect Christ to our culture? “Masterfully handling the book of Ephesians and using its content as a definitive guide, Michael Cooper lays a theologically strong foundation that is both corrective and directive to disciple making movements. The principles he gleans from the book of Ephesians and related texts, help to ensure the on-going multiplication and maturation of a movement. Because these are supra-cultural principles, they are applicable anywhere in the world.” Marvin J. Newell, Staff Missiologist, Missio Nexus, Author of Crossing Cultures in Scripture Buy This Now! Educating to Shift the Tracks of History To shift the tracks of history requires leaders who are equipped to critically assess and engage the contours of contemporary culture. As a new initiative in collaboration with the Movement Leaders Collective, Kairos University, and Ephesiology, we deliver just-in-time theological education focused on issues important to you, mxAcademy is designed as the theological and missiological foundation to unlock your potential as a movement leader and catalytic thinker. mxAcademy is a dynamic and innovative educational experience rooted in mDNA.We dream of a church fully equipped, fully mature, fully mobilized, and fully alive. A church that lives and breathes the Good News of Jesus! Learn More Join a Community Conversation at Ephesiology Master Classes Areopagus Symposium Taking its inspiration from the historical and philosophical legacy of Athens, Greece, the Areopagus Symposium focuses on intellectual and philosophical topics related to Christology, missiology, and ecclesiology. We invite scholars, theologians, and practitioners from diverse backgrounds to engage in a profound exploration of the theological landscape at the intersection of these vital disciplines. Sign up for an Ephesiology Master Classes account and gain free access to the Areopagus Symposium. Check it out! The Ephesiology Podcast and Ephesiology Master Classes are ministries of TELOS.GO, a registered 501c3 non-profit agency committed to imaginatively missional ways of engageing culture, church planting, and theological education. Your donation to the podcast is tax deductible.

This is the final episode of our Greek Pantheon series (sad times), we explore the deities who exist on the edges of Olympus. Those who challenge, disrupt, or quietly sustain. We dive into Dionysus, god of sacred chaos, release, and creative freedom, and Hestia, goddess of the hearth, home, and stillness. Then we explore powerful “wild card” figures: Nyx, the primordial force of night. Circe, the solitary witch of transformation. Eos, goddess of dawn and new beginnings. Finally we speak about Pan, the embodiment of wild instinct and the origin of panic itself.Together, we unpack their myths, symbolism, and how their energies might show up in your life from creative urges and shadow work to rest, ritual, and reclaiming your wildness.Order Molly's book Mundane Magic A Lazy Witch's Guide to Hacking Your Brain, Building a Daily Practice, and Getting Stuff DoneJoin our Patreon for bonus episodes, magical downloads, and unhinged side quests: https://www.patreon.com/demystifymagic

Researcher, author, and PhD candidate Chiara Baldini has spent two decades tracing the roots of ecstatic culture in Europe — from the rituals of Dionysus all the way back to Bronze Age Crete and the ancient Minoans, a civilization that thrived for over a thousand years before classical Greece. In this conversation, Chiara makes a compelling case that the Minoans may have been the only advanced civilization of their era not built on domination — their palaces functioning as community spaces rather than elite residencies, their frescoes showing priestesses, dolphins, and bull-jumping athletes rather than kings and conquest. She explores what their art, architecture, and animist relationship to nature might offer us now — not as a culture to imitate, but as proof that patriarchy is not inevitable, and that a radically different set of values has thrived before. Chiara Baldini is a scholar, author, speaker and freelance curator from Florence (Italy). She investigates the evolution of the ecstatic cult in the West, particularly in Minoan Crete, ancient Greece, and Rome, contributing to anthologies, psychedelic conferences, and festivals. She was a member of the Boom Festival team since 2010 and the curator of Boom's cultural area Liminal Village from 2014 to 2023. She has co-curated the anthology “Psychedelic Mysteries of the Feminine.” She is currently a PhD candidate at the California Institute of Integral Studies (CIIS). She lives in Portugal and she expresses her deep love for music by playing as DJ Clandestina. Topics 00:00 Welcome 02:02 Reconnecting with Chiara and Recent Life Changes 03:31 Dionysus and Ecstatic Traditions 06:38 Going Back to the Minoans 10:07 Bronze Age Patriarchy and War 18:02 Minoan Palaces and Community Life 21:18 Frescoes Dolphins and Priestesses 26:34 Seal Rings and Undeciphered Script 32:18 Bull Jumping and Gender Fluidity 37:20 Why Minoans Matter Today 44:31 Modern Crete LARPing and Animism 49:30 Courses, Books and Closing Resources & Links Chiara Baldini Website & contact Instagram: @iamalwayschiara Academia Facebook Soundcloud Psychedelic Mysteries of the Feminine (co-edited with Maria Papaspyrou and David Luke) — available via Inner Traditions Dionysus: Rave, Ritual and Revolution — online course (advaya) Minoan Crete course — online course (advaya) Power Without Patriarchy: Minoan Crete — online course (Morbid Anatomy) Dionysus course — Morbid Anatomy Psychedelic Mysteries of the Feminine (co-edited with Maria Papaspyrou and David Luke) — available via Inner Traditions Chiara's earlier SAND talk (2019) Books mentioned The Chalice and the Blade — Riane Eisler — the foundational text on dominator vs. partnership societies, essential context for this conversation Key figures discussed Arthur Evans — Wikipedia — British archaeologist who excavated Knossos beginning in 1900, named the Minoan civilization, and controversially reconstructed the palace The Prince of the Lilies fresco — the contested Knossos fresco Chiara discusses as an example of Evans projecting masculine elite identity onto ambiguous fragments Knossos Palace, Crete — the largest Bronze Age archaeological site on Crete, centerpiece of Minoan culture Institutions mentioned CIIS — California Institute of Integral Studies — where Chiara is completing her PhD in Philosophy, Cosmology and Consciousness Boom Festival — transformational arts festival where Chiara curated the Liminal Village cultural area for over a decade Connect with more talks and films from the SAND film Series The Eternal SongSupport the mission of SAND and the production of this podcast by becoming a SAND Member

Fluent Fiction - Catalan: Athens Market Miracle: Marina's Festival Triumph Find the full episode transcript, vocabulary words, and more:fluentfiction.com/ca/episode/2026-03-30-07-38-19-ca Story Transcript:Ca: Els rajos del sol de primavera il·luminaven l'efervescent mercat d'Atenes antiga.En: The rays of the spring sun illuminated the bustling market of ancient Athens.Ca: El mercat bullia de vitalitat.En: The market was teeming with vitality.Ca: La multitud avançava entre els estands plens de mercaderies.En: The crowd moved among the stands filled with goods.Ca: Es barrejaven les riques olors de fruita fresca amb l'aroma de terra del fang cuit.En: The rich scents of fresh fruit mingled with the earthy aroma of baked clay.Ca: Al bell mig d'aquesta bulliciosa escena, Guillem, un jove comerciant, es preparava per al gran festival en honor a Dionís.En: In the midst of this bustling scene, Guillem, a young merchant, was preparing for the grand festival in honor of Dionysus.Ca: Al costat de Guillem, Marina, la seva impacient aprenent, observava amb atenció.En: Next to Guillem, Marina, his impatient apprentice, watched intently.Ca: "Aquest festival és molt important per a mi, Marina.En: "This festival is very important to me, Marina.Ca: Hem de vendre tot el què tenim," li deia Guillem mentre ordenava les seves peces de ceràmica.En: We must sell everything we have," Guillem said as he arranged his ceramic pieces.Ca: Guillem era conegut per la seva fina ceràmica, i confiava que aquesta ocasió asseguraria el seu futur.En: Guillem was known for his fine ceramics, and he trusted that this occasion would ensure his future.Ca: Marina volia impressionar tant a ell com als visitants del festival amb la seva creació.En: Marina wanted to impress both him and the festival visitors with her creation.Ca: El mercat estava ple de comerciants rivals.En: The market was full of rival merchants.Ca: Tots intentaven atraure els atenesos amb les seves ofertes i discursos persuasors.En: All of them tried to attract the Athenians with their offers and persuasive speeches.Ca: "Marina, prepara't per a moments difícils," va advertir Guillem, però amb un esguard afable va afegir: "Avui demostraràs el que vals.En: "Marina, prepare yourself for tough moments," Guillem warned, but with a friendly glance, he added, "Today, you will prove what you're worth."Ca: "Marina va mirar la seva obra més apreciada.En: Marina looked at her most valued work.Ca: Era una peça innovadora, amb formes esculpides que evocaven notes musicals, una al·legoria apropiada per a Dionís, déu del vi i del teatre.En: It was an innovative piece, with sculpted forms that evoked musical notes, an appropriate allegory for Dionysus, god of wine and theater.Ca: Sabia que podria causar controvèrsia.En: She knew it might cause controversy.Ca: Els més conservadors del mercat preferien els dissenys tradicionals.En: The market's more conservative customers preferred traditional designs.Ca: Però ella volia mostrar el seu potencial.En: But she wanted to show her potential.Ca: Quan el mercat estava en plena activitat, Marina va decidir arriscar-se.En: When the market was in full swing, Marina decided to take a risk.Ca: Va col·locar la seva peça al millor lloc de l'estand.En: She placed her piece in the best spot of the stand.Ca: La peça semblava captar immediatament l'atenció d'un atenès influent, que es va acostar per observar-la de prop.En: The piece seemed to immediately capture the attention of an influential Athenian, who came closer to observe it closely.Ca: Guillem i Marina van retenir la respiració mentre aquell home d'aparença imponent inspeccionava la ceràmica.En: Guillem and Marina held their breath as that imposing-looking man inspected the ceramics.Ca: Els moments van semblar eterns fins que ell va aixecar una cella amb un somriure de satisfacció.En: The moments seemed eternal until he raised an eyebrow with a smile of satisfaction.Ca: "Heu capturat l'esperit de la festa, jove dama," va dir amb un to de reconeixement.En: "You have captured the spirit of the festival, young lady," he said with a tone of acknowledgment.Ca: Això va ser suficient per a que altres curiosos s'apropessin, atrets per la novetat i la fama de l'ateneu.En: This was enough for other curious onlookers to approach, drawn by novelty and the fame of the Athenian.Ca: Amb aquest petit però crucial elogi, la reputació de Marina va començar a germinar.En: With this small yet crucial praise, Marina's reputation began to blossom.Ca: Les vendes es van accelerar, i Guillem es va adonar que la seva decisió havia estat encertada.En: Sales picked up, and Guillem realized that his decision had been the right one.Ca: Al cap del dia, no quedava ni una sola peça a l'estand.En: By the end of the day, not a single piece remained on the stand.Ca: Ja quan el sol es ponia darrere de l'Acròpolis, Guillem va mirar a Marina, orgullós.En: As the sun set behind the Acropolis, Guillem looked at Marina, proud.Ca: "Em fas feliç, Marina.En: "You make me happy, Marina.Ca: Has superat totes les expectatives.En: You have exceeded all expectations."Ca: " Marina, radiant de confiança, va somriure.En: Marina, radiant with confidence, smiled.Ca: Ara sabia que el seu lloc entre els artistes d'Atenes era ben merescut.En: She now knew that her place among the artists of Athens was well-deserved.Ca: Així, aquell festival de primavera no només va ser una celebració pels déus, sinó també pel futur de dos ceramistes, ara units per la confiança mútua i el talent reconegut.En: Thus, that spring festival was not only a celebration for the gods but also for the future of two ceramists, now united by mutual trust and recognized talent. Vocabulary Words:the ray: el raigthe spring: la primaverabustling: efervescentthe merchant: el comerciantthe apprentice: l'aprenent / l'aprenentaimpatient: impacientto ensure: assegurarthe crowd: la multitudthe aroma: l'aromato mingle: barrejar-seearthy: de terrathe stand: l'estandthe piece: la peçapersuasive: persuadorinnovative: innovadorathe allegory: l'al·legoriato evoke: evocarmusical: musicalsto risk: arriscar-seto capture: capturarthe satisfaction: la satisfaccióthe praise: l'elogito blossom: germinarto prove: demostrarthe expectation: l'expectativathe trust: la confiançarecognized: reconegutconservative: conservadorsto deserve: merèixerthe controversy: la controvèrsia

In this episode of Chronicles, Luca discusses The Bacchae by Euripides. He explores the mythological origins of Dionysus, the founding of Thebes, and the clash between Dionysian chaos and Apollonian order.

To access extended episodes of Historical Homos, join our Patreon. Our community awaits with legs open and lips parted

Melanie Reinhart joins me once more to speak into and from the 12th house of the wheel of houses. The episode itself is a wonderful example of how that which we talk about can sometimes be 'conjured up' by our speech. This is something that Gregory Bateson called a 'metalogue' - a word introduced to me by Melanie many moons ago. Our metalogue was a disruption from the gods of technology who seemed to think that some of what we shared was best kept in silence. And so we were kicked off the call at a particularly poignant moment in this one. None-the-less, the essence of the house was thoroughly explored. And we share with you whatever the deities allow us to reveal. This completes our 'series within a series' on the water houses - those elusive and hard to grasp places of reality. I'm forever grateful to Melanie for her generosity of spirit in sharing her depth of wisdom with us on the podcast. The image for the podcast cover is from Patron of the show, Lucy Dodd. It's a piece she calls "Sun Moon and Mermaid" made with, in her words, 'Iron oxide and Copper ink, blue spirulina, cochineal and some other stuff.' She completed it just as our Iron John episodes were released. REFERENCESAuthors & ThinkersGregory Bateson → Concept of metalogue → https://en.wikipedia.org/wiki/Gregory_BatesonCarl Jung → Concept of the numinous → https://en.wikipedia.org/wiki/NuminousDane Rudhyar → The Astrological Houses: The Spectrum of Individual Experience (also published as New Mansions for New Men)David Abram → Cultural perception / reality frameworks → https://en.wikipedia.org/wiki/David_AbramC. A. Meier → Ancient Incubation and Modern Psychotherapy (republished as Healing Dream and Ritual)Brian Clark → Rewilding the psyche (concept referenced)Mythological Sources & FiguresHyginus → Fabulae (mythographical fragments)Dionysus → Greek god of ecstasy, twice-born myth → https://www.theoi.com/Olympios/Dionysos.htmlAsclepius → Greek god of healing and incubation temples → https://www.theoi.com/Ouranios/Asklepios.htmlAriadne → Associated with Dionysus, labyrinth, and Corona BorealisRiver Lethe & Mnemosyne → Rivers of forgetfulness and memory in the underworldChiron & Chariklo → Centaur healer and his consort (associated with weaving/spinning)Join the Newsletter!Podcast Musician: Marlia CoeurPlease consider becoming a Patron to support the show!Go to OnTheSoulsTerms.com for more.

Melissa Auf der Maur is an acclaimed musician, photographer, curator, and producer, best known as the former bassist of rock bands Hole and The Smashing Pumpkins. Her new memoir Even the Good Girls Will Cry covers those heady rockstar times of the 1990s, and is out now. She has also released two solo albums, Auf der Maur (2004) and Out of Our Minds (2010), the latter of which is part of a larger project that also includes a comic book and a short film. Melissa's photographs have been exhibited internationally, including at the Montreal Museum of Fine Arts, and have appeared in such publications as Spin, Elle, Nylon, and American Photo. Born and raised in Montreal, Canada, in 2010 she co-founded Basilica Hudson, a multidisciplinary art center in Hudson, NY, where she now lives.On this episode, Melissa discusses how she became a rockstar by literally following her dreams, her lifelong relationship to magic, and the “soul constellation” that links her with Courtney Love, Billy Corgan, Dave Grohl, and Kurt Cobain.Pam also talks about Dionysus and her ritual for the Rocky Horror Show on Broadway, and answers a listener question about cultivating a magical library.Check out the video of this episode over on YouTube (and please like and subscribe to the channel while you're at it!)Our sponsors for this episode are Snowy Owl Arts + Tea House, Wheel of Fate, Weiser Books, The Moonbeaming podcast, BetterHelp, Blessed Be Magick, and Mithras CandleWe also have print-on-demand merch like Witch Wave shirts, sweatshirts, totes, stickers, and mugs available now here, and all sorts of other bewitching goodies available in the Witch Wave shop.And if you want more Witch Wave, please consider supporting us on Patreon to get access to detailed show notes, bonus Witch Wave Plus episodes, Pam's monthly online rituals, and more! That's patreon.com/witchwave

As we enter in the spring, we enter into the season of Dionysus, Maenads and mystery cults!Today the girls are chit chatting and embodying the energy of Dionysus, is he an Olympian and more!Chapters:(0:00) Styx Senate Updates, Damnatio Memori Begins!(4:33 )Is Dionysus an Olympian?(12:38)  We're in our Dionysus Era!(45:14) Dionysus and Hekate at Lagina, More Styx Senate

If you are an aspiring wine nerd, Xinomavro is a wine you just gotta know. Why is that you ask? Well, Xinomavro is often compared to the great Italian wines Barolo and Barbaresco made from the Nebbiolo grape, as well as the great French wines made from Pinot Noir in Burgundy, so that is pretty high praise for a wine you've probably never heard of. Xinomavro is known for its powerful structure (that's wine nerd talk for things like tannins and acidity) and a unique savory aromatic profile (that is also wine nerd talk for aromas and flavors like olive and tomato that you don't find in just any wine), and so while it is often compared to Nebbiolo and Pinot Noir for its complexity and elegance, it is its own unique and powerful wine experience. The area of Nauossa where Xinomavro is most famously from has its roots in Greek mythology, and in fact it is said to be the mythical birthplace of the Greek goddess Semele who is the mother of Dionysus, who is, of course, the Greek god of wine. Again, this is why this wine is a must-know for wine nerds. We tried two different styles of Xinomavro, one younger and fresher, the other more rich and complex, and we found them both to be more than worth seeking out. Wines reviewed in this episode: 2023 Thymiopoulos Young Vines Xinomavro, 2022 Kir-Yianni Naoussa Cuvee VillagesSend us a Text Message and we'll respond in our next episode!Contact The Wine Pair Podcast - we'd love to hear from you!Visit our website, leave a review, and reach out to us: https://thewinepairpodcast.com/Follow and DM us on Instagram: https://www.instagram.com/thewinepairpodcast/Send us an email: joe@thewinepairpodcast.com

The 12th and final house of astrology is often given a bad wrap. It's considered the house of hidden enemies and of our own undoing. It rules over places we'd rather not be such as prisons, hospitals and asylums.And yet, deep in this oceanic place in our charts we may meet the gods themselves. Figures from the collective unconscious who shape shift and morph, reveal and conceal themselves into and out of our minds. It's a place that has associations with Neptune, Jupiter and Pisces; the deepest places of the ocean where our surface world probes can't reach. A place where Saturn, brooding and moody as he is, is in his Joy. Yes, that's right, Saturn has a joyful place. In order to enter this house we need to leave our conscious tools at the door. We need to journey away from the known world on a wonderful sea journey with fantastic companions. Hercules' 12th labour, Ariadne abandoned on Naxos and Hephaestus, the wounded goldsmith whose workshop is in a cave under the sea, will help us get a better feel for this place. Help us take a good look around and see what it is that we might be missing about this much maligned house, and what secret treasures it might be already, right now, shaping and re-shaping in the forge. Podcast Cover: "Mercury Confiding the Infant Bacchus to the Nymphs of Nysa" by François Boucher.Sources & References Mentioned in This EpisodeCarl Jung – Modern Man in Search of a SoulJames Hillman – The Myth of AnalysisArnold Mindell – Process-Oriented PsychologyMircea Eliade – The Forge and the CrucibleWalt Whitman – Song of Myself, from Leaves of GrassRoberto Calasso – The Marriage of Cadmus and Harmony The Delphic Maxims (including “Know Thyself”) https://en.wikipedia.org/wiki/Delphic_maximsMythological Figures & Stories ExploredHeracles and Cerberus • The Labours of Heracles Theseus and the Minotaur Ariadne and Dionysus on Naxos Hephaestus and the forge beneath the sea The Golden Net of Ares and Aphrodite Cronus and the Golden AgeAdditional Astrological ThemesThe Twelfth House • Neptune and the Oceanic Realm Saturn's Joy in the Twelfth House The Water Houses: 4th, 8th and 12th The Ascendant as Threshold (the “door-slab” of the chart)Join the Newsletter! Podcast Musician: Marlia CoeurPlease consider becoming a Patron to support the show!Go to OnTheSoulsTerms.com for more.

Help keep our podcast going by contributing to our Patreon! ⁠⁠ Dionysus was a god of revolutions. He featured prominently in two out of three major Roman slave rebellions. Why is that? And why was that aspect of Dionysus forgotten? In this episode, we'll focus on what happened after Dionysus won his place as a god on Mount Olympus--how people worshiped him on earth, and what made him so dangerous to the Roman status quo. Sponsors and Advertising This podcast is a member of Airwave Media podcast network. Want to advertise on our show? Please direct advertising inquiries to advertising@airwavemedia.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

After a brief encounter with a Republic deserter, the crew heads to Dionysus to steal an arms shipment bound for the Navy.  featuring: Rodney- The Referee Steve- Vonlan Quis, a relic of a more civilized age.  Bryan- Fastol Hullbreaker, a burned secret agent Matt- Graccus Sirperch, a former pirate and all around lout Jay- The Hound, a bounty hunter regarded as the second best shot in the subsector.   Music: Action and Adventure by Shane Ivers - https://www.silvermansound.com

If you think the worst thing that can happen while skiing is trying not to scream while the ski patrol figures out why your leg's bending that way, we have a lot to teach you about skiing. Spoiler: mountains can cook and kill people. Don't say this podcast doesn't teach you things. On today's episode:  you will learn why Frankenstein was more graceful on stolen corpse feet than you are in snowboots; you'll learn why diagonal tunnels basically act as nature's secret logistical flamethrowers; and we'll see how a $40 appliance permanently derailed a $30-million-a-year alpine operation and changed European history.And if you were listening on Patreon… you would hear about the industrial accident that unearthed the entire history of humanity in Western Europe; you would hear about all the terrible things that happened to the last King of England to die in battle before and after he actually died (spoiler: most of the injuries were after); and if you don't know the story, we'll tell you how Dionysus gave Damocles PTSD.This is one of those bad day at work/bad holiday episodes where everything that could have helped along the way was too expensive, and the one thing that was supposed to help someone was so cheap, it killed almost everybody. We're going to learn a lot about just how weird and active fire can be. Most people picture fire like this: Flames burn, heat rises, you step back. That's fine, if it's burning in a free and open space. You have no chance of being suffocated by it, and it's easy to play keep away with. In an open-air fire, heat rises and disperses, oxygen flows in from every which way, and the smoke just carries away on the breeze. In today's fire, not so much. We will be facing less of a camp fire and more of a blow torch. This episode also marks our return to the European Alps, where we will discover an entirely different way of being afraid of mountains, so that's fun! And as long as we're learning to be afraid of new things, we're also going to look at how everything around us, from the things we sit on to the clothes we wear, all break down into vaporized toxins that will absolutely make for not so good think before shutting you off for good. This is also an episode that extends our philosophy that any “vehicle” could double as a coffin, and funicular is a vehicle we've never explored before.Become a supporter of this podcast: https://www.spreaker.com/podcast/doomsday-history-s-most-dangerous-podcast--4866335/support.

Greek Gods | Paranormal Podcast In this Greek gods episode timed with the Winter Olympics, we explore the fascinating world of Greek mythology starting with the origin story of the three most powerful gods—Zeus, Poseidon, and Hades—who were born to the Titan Cronus and his wife Rhea during the Golden Age, though Cronus attempted to eat all his children after a prophecy warned he'd be overthrown by his sons, leading Zeus to eventually free his brothers and defeat their father. We discuss the 12 great Olympians including Zeus (the serial cheater who ruled the sky), Hera (his perpetually angry sister-wife and goddess of marriage), Athena (the brilliant goddess of wisdom who burst fully formed from Zeus's head), Dionysus (the fun-loving god of wine and theater who was gestated in Zeus's thigh after his mother exploded), and several compelling minor gods like Hecate (goddess of magic and crossroads) and Pan (the half-goat satyr god of wilderness). We share captivating myths including Hades kidnapping Persephone with pomegranate seeds that created the seasons, Prometheus stealing fire for humanity and suffering eternal punishment, and the tragic tale of Arachne, who challenged Athena to a weaving contest with devastating consequences.

Today we're back talking about the infamous mystery cult for Persephone and Demeter - the Eleusinian Mysteries! Who can join this mystery cult, why were the ancient peoples celebrating and what are our thoughts on the discussion of reconstruction of mystery cults?Chapters:(0:00) Introduction(2:10) The Eleusinian Mysteries(23:50) Reconstructing Mystery Cults (Modern Practice)(30:00) Connecting to Eleusis in the Modern Day(51:39) Dionysus, Antonius, and Rome

What happens when personal destiny meets the wider world of friends, teams, and the public square? We dive into the Eleventh House as the arena where your hard‑won calling turns into collective contribution, guided by Aquarius's twin rulers—Saturn, who sets the frame, and Uranus, who refreshes it. Along the way, we unpack how projection travels from siblings to partners to society, why the traits you disown often show up as “the group,” and how to retrieve that gold without losing yourself.We lean on myth and psychology to make it practical. Jupiter, in joy here, models leadership that holds tension without collapsing into control or chaos. Athena shows how to carry real achievement into service with clarity. Hermes, the psychopomp, translates Twelfth‑House visions into language the public can actually use. And the dance of Apollo and Dionysus reveals why cultures need both order and creative disruption to stay alive. From festivals that loosen roles to structures that protect dissent, the message is simple: give the trickster a seat and the rules a spine.You'll also hear how Hercules and the Argonauts illustrate an Eleventh‑House upgrade to leadership—when the central hero steps aside, the system wakes up and many gifts emerge. We explore participation mystique in both its light and shadow: the ecstasy of healthy belonging versus the danger of melting into the mass. Expect grounded cues for spotting the difference and for building teams that are resilient, creative, and humane. If you're ready to turn personal genius into public good—without burning out or blending in—this conversation will meet you where you are and stretch you where you're going.If this sparked something, subscribe, leave a quick review, and share it with a friend who leads or longs to belong. Your support helps more thoughtful listeners find the show.* the above was autogenerated by Buzzsprout's AI.The podcast art is oil painted on canvas by Leonid Ilyukhin - Apollo and Dionysus.I mentioned a book by Arnold Mindell called Sitting in the Fire (but I mistakenly called it Standing in the Fire. Also an option but not the correct name of the book). This book is well worth looking into if you'd like to find out more about how Process Oriented Psychotherapy works with groups. Truly visionary stuff for our times. Join the Newsletter! Podcast Musician: Marlia CoeurPlease consider becoming a Patron to support the show!Go to OnTheSoulsTerms.com for more.

You are cordially invited to a gathering of the Olympians.In the next chapter of Psychopompos - a new mythology, Zeus has invited the family over for a party no one will ever forget.Content Warning: Explicit Language, Violence.For more information about the story and podcast, a full transcript of this episode, or if you like what you heard and want to donate to this project, visit our site:www.psychopomp-cast.com.Cast:-Brandon Boler as Zeus-Anya Clingman as Calliope-Elizabeth Ellis as Hera & Chorus-Dave Fink as Hephaestus & Chorus-Tate A. Geborkoff as Ares, Thanatos & Chorus-Miguel Long as Ganymede & Chorus-Valerie Lyvers as Athena, Dionysus, Triplicate Voice & Chorus-RjW Mays as Demeter & Chorus-Shayne Patrick as Poseidon & Chorus-Adam Qutaishat as Hermes & Chorus-Julian “joolz” Stroop as Aphrodite, Nyx & Chorus-Ryan Tang as Apollo & Chorus-Marie Tredway as Artemis & Chorus-Theo Zucker as ErisCrew:-Tate A. Geborkoff - Author, Producer-Rachel Staelens - Director, Producer-Brandon Boler - Producer-Joe Palermo - Director of Sound-Roy Freeman - Musical Director & Composer

The team journeys to the anarchist world of Calypso where they encounter an old friend of Hound, Gert Ehrnie, a successful arms dealer. Gert informs the crew that their contact on Bamberg is a fraud but likes the idea of stocking some heavier weapons. She asks the crew to obtain the weapons from a supply train on the deeply loyalist world of Dionysus.  featuring: Rodney- The Referee Steve- Vonlan Quis, a relic of a more civilized age.  Bryan- Fastol Hullbreaker, a burned secret agent Matt- Graccus Sirperch, a former pirate and all around lout Jay- The Hound, a bounty hunter regarded as the second best shot in the subsector.   Music: Action and Adventure by Shane Ivers - https://www.silvermansound.com

Bridget, Caitlin, and Hilda discuss "Tender Cruelty," book 9 in Katee Robert's Dark Olympus series. Longtime listeners know Hilda's feelings on this series, but what do Bridget and Caitlin think? Did this book live up to what they were hoping for? Well, listen now and find out.  Join our Patreon for exclusive behind-the-scenes content and let's be friends!Instagram > @Booktokmademe_podTikTok > @BooktokMadeMe

What if the most transformative thing you can do for your writing craft and author business is to face what you fear? How can you can find gold in your Shadow in the year ahead? In this episode, I share chapters from Writing the Shadow: Turn Your Inner Darkness Into Words. In the intro, curated book boxes from Bridgerton's Julia Quinn; Google's agentic shopping, and powering Apple's Siri; ChatGPT Ads; and Claude CoWork. Balancing Certainty and Uncertainty [MoonShots with Tony Robbins]; and three trends for authors with me and Orna Ross [Self-Publishing with ALLi Podcast]; plus, Bones of the Deep, Business for Authors, and Indie Author Lab. This show is supported by my Patrons. Join my Community at Patreon.com/thecreativepenn  Joanna Penn writes non-fiction for authors and is an award-winning, New York Times and USA Today bestselling author of thrillers, dark fantasy, and memoir as J.F. Penn. She's also an award-winning podcaster, creative entrepreneur, and international professional speaker. What is the Shadow? The ‘creative wound' and the Shadow in writing The Shadow in traditional publishing The Shadow in self-publishing or being an indie author The Shadow in work The Shadow in money You can find Writing the Shadow in all formats on all stores, as well as special edition, workbook and bundles at www.TheCreativePenn.com/shadowbook Writing the Shadow: Turn Your Inner Darkness Into Words The following chapters are excerpted from Writing the Shadow: Turn Your Inner Darkness Into Words by Joanna Penn. Introduction. What is the Shadow? “How can I be substantial if I do not cast a shadow? I must have a dark side also if I am to be whole.” —C.G. Jung, Modern Man in Search of a Soul We all have a Shadow side and it is the work of a lifetime to recognise what lies within and spin that base material into gold. Think of it as a seedling in a little pot that you're given when you're young. It's a bit misshapen and weird, not something you would display in your living room, so you place it in a dark corner of the basement. You don't look at it for years. You almost forget about it. Then one day you notice tendrils of something wild poking up through the floorboards. They're ugly and don't fit with your Scandi-minimalist interior design. You chop the tendrils away and pour weedkiller on what's left, trying to hide the fact that they were ever there. But the creeping stems keep coming. At some point, you know you have to go down there and face the wild thing your seedling has become. When you eventually pluck up enough courage to go down into the basement, you discover that the plant has wound its roots deep into the foundations of your home. Its vines weave in and out of the cracks in the walls, and it has beautiful flowers and strange fruit. It holds your world together. Perhaps you don't need to destroy the wild tendrils. Perhaps you can let them wind up into the light and allow their rich beauty to weave through your home. It will change the look you have so carefully cultivated, but maybe that's just what the place needs. The Shadow in psychology Carl Gustav Jung was a Swiss psychologist and the founder of analytical psychology. He described the Shadow as an unconscious aspect of the human personality, those parts of us that don't match up to what is expected of us by family and society, or to our own ideals. The Shadow is not necessarily evil or illegal or immoral, although of course it can be. It's also not necessarily caused by trauma, abuse, or any other severely damaging event, although again, it can be. It depends on the individual. What is in your Shadow is based on your life and your experiences, as well as your culture and society, so it will be different for everyone. Psychologist Connie Zweig, in The Inner Work of Age, explains, “The Shadow is that part of us that lies beneath or behind the light of awareness. It contains our rejected, unacceptable traits and feelings. It contains our hidden gifts and talents that have remained unexpressed or unlived. As Jung put it, the essence of the Shadow is pure gold.” To further illustrate the concept, Robert Bly, in A Little Book on the Human Shadow,uses the following metaphor: “When we are young, we carry behind us an invisible bag, into which we stuff any feelings, thoughts, or behaviours that bring disapproval or loss of love—anger, tears, neediness, laziness. By the time we go to school, our bags are already a mile long. In high school, our peer groups pressure us to stuff the bags with even more—individuality, sexuality, spontaneity, different opinions. We spend our life until we're twenty deciding which parts of ourselves to put into the bag and we spend the rest of our lives trying to get them out again.” As authors, we can use what's in the ‘bag' to enrich our writing — but only if we can access it. My intention with this book is to help you venture into your Shadow and bring some of what's hidden into the light and into your words. I'll reveal aspects of my Shadow in these pages but ultimately, this book is about you. Your Shadow is unique. There may be elements we share, but much will be different. Each chapter has questions for you to consider that may help you explore at least the edges of your Shadow, but it's not easy. As Jung said, “One does not become enlightened by imagining figures of light, but by making the darkness conscious. The latter procedure, however, is disagreeable and therefore not popular.” But take heart, Creative. You don't need courage when things are easy. You need it when you know what you face will be difficult, but you do it anyway. We are authors. We know how to do hard things. We turn ideas into books. We manifest thoughts into ink on paper. We change lives with our writing. First, our own, then other people's. It's worth the effort to delve into Shadow, so I hope you will join me on the journey. The creative wound and the Shadow in writing “Whatever pain you can't get rid of, make it your creative offering.” —Susan Cain, Bittersweet  The more we long for something, the more extreme our desire, the more likely it is to have a Shadow side. For those of us who love books, the author life may well be a long-held dream and thus, it is filled with Shadow. Books have long been objects of desire, power, and authority. They hold a mythic status in our lives. We escaped into stories as children; we studied books at school and college; we read them now for escape and entertainment, education and inspiration. We collect beautiful books to put on our shelves. We go to them for solace and answers to the deepest questions of life. Writers are similarly held in high esteem. They shape culture, win literary prizes, give important speeches, and are quoted in the mainstream media. Their books are on the shelves in libraries and bookstores. Writers are revered, held up as rare, talented creatures made separate from us by their brilliance and insight. For bibliophile children, books were everything and to write one was a cherished dream. To become an author? Well, that would mean we might be someone special, someone worthy. Perhaps when you were young, you thought the dream of being a writer was possible — then you told someone about it. That's probably when you heard the first criticism of such a ridiculous idea, the first laughter, the first dismissal. So you abandoned the dream, pushed the idea of being a writer into the Shadow, and got on with your life. Or if it wasn't then, it came later, when you actually put pen to paper and someone — a parent, teacher, partner, or friend, perhaps even a literary agent or publisher, someone whose opinion you valued — told you it was worthless. Here are some things you might have heard: Writing is a hobby. Get a real job. You're not good enough. You don't have any writing talent. You don't have enough education. You don't know what you're doing. Your writing is derivative / unoriginal / boring / useless / doesn't make sense. The genre you write in is dead / worthless / unacceptable / morally wrong / frivolous / useless.  Who do you think you are? No one would want to read what you write. You can't even use proper grammar, so how could you write a whole book? You're wasting your time. You'll never make it as a writer. You shouldn't write those things (or even think about those things). Why don't you write something nice? Insert other derogatory comment here! Mark Pierce describes the effect of this experience in his book The Creative Wound, which “occurs when an event, or someone's actions or words, pierce you, causing a kind of rift in your soul. A comment—even offhand and unintentional—is enough to cause one.” He goes on to say that such words can inflict “damage to the core of who we are as creators. It is an attack on our artistic identity, resulting in us believing that whatever we make is somehow tainted or invalid, because shame has convinced us there is something intrinsically tainted or invalid about ourselves.” As adults, we might brush off such wounds, belittling them as unimportant in the grand scheme of things. We might even find ourselves saying the same words to other people. After all, it's easier to criticise than to create. But if you picture your younger self, bright eyed as you lose yourself in your favourite book, perhaps you might catch a glimpse of what you longed for before your dreams were dashed on the rocks of other people's reality. As Mark Pierce goes on to say, “A Creative Wound has the power to delay our pursuits—sometimes for years—and it can even derail our lives completely… Anything that makes us feel ashamed of ourselves or our work can render us incapable of the self-expression we yearn for.” This is certainly what happened to me, and it took decades to unwind. Your creative wounds will differ to mine but perhaps my experience will help you explore your own. To be clear, your Shadow may not reside in elements of horror as mine do, but hopefully you can use my example to consider where your creative wounds might lie. “You shouldn't write things like that.” It happened at secondary school around 1986 or 1987, so I would have been around eleven or twelve years old. English was one of my favourite subjects and the room we had our lessons in looked out onto a vibrant garden. I loved going to that class because it was all about books, and they were always my favourite things. One day, we were asked to write a story. I can't remember the specifics of what the teacher asked us to write, but I fictionalised a recurring nightmare. I stood in a dark room. On one side, my mum and my brother, Rod, were tied up next to a cauldron of boiling oil, ready to be thrown in. On the other side, my dad and my little sister, Lucy, were threatened with decapitation by men with machetes. I had to choose who would die. I always woke up, my heart pounding, before I had to choose. Looking back now, it clearly represented an internal conflict about having to pick sides between the two halves of my family. Not an unexpected issue from a child of divorce. Perhaps these days, I might have been sent to the school counsellor, but it was the eighties and I don't think we even had such a thing. Even so, the meaning of the story isn't the point. It was the reaction to it that left scars. “You shouldn't write things like that,” my teacher said, and I still remember her look of disappointment, even disgust. Certainly judgment. She said my writing was too dark. It wasn't a proper story. It wasn't appropriate for the class. As if horrible things never happened in stories — or in life. As if literature could not include dark tales. As if the only acceptable writing was the kind she approved of. We were taught The Prime of Miss Jean Brodie that year, which says a lot about the type of writing considered appropriate. Or perhaps the issue stemmed from the school motto, “So hateth she derknesse,” from Chaucer's The Legend of Good Women: “For fear of night, so she hates the darkness.” I had won a scholarship to a private girls' school, and their mission was to turn us all into proper young ladies. Horror was never on the curriculum. Perhaps if my teacher had encouraged me to write my darkness back then, my nightmares would have dissolved on the page. Perhaps if we had studied Mary Shelley's Frankenstein, or H.P. Lovecraft stories, or Bram Stoker's Dracula, I could have embraced the darker side of literature earlier in my life. My need to push darker thoughts into my Shadow was compounded by my (wonderful) mum's best intentions. We were brought up on the principles of The Power of Positive Thinking by Norman Vincent Peale and she tried to shield me and my brother from anything harmful or horrible. We weren't allowed to watch TV much, and even the British school drama Grange Hill was deemed inappropriate. So much of what I've achieved is because my mum instilled in me a “can do” attitude that anything is possible. I'm so grateful to her for that. (I love you, Mum!) But all that happy positivity, my desire to please her, to be a good girl, to make my teachers proud, and to be acceptable to society, meant that I pushed my darker thoughts into Shadow. They were inappropriate. They were taboo. They must be repressed, kept secret, and I must be outwardly happy and positive at all times. You cannot hold back the darkness “The night is dark and full of terrors.” —George R.R. Martin, A Storm of Swords It turned out that horror was on the curriculum, much of it in the form of educational films we watched during lessons. In English Literature, we watched Romeo drink poison and Juliet stab herself in Zeffirelli's Romeo and Juliet. In Religious Studies, we watched Jesus beaten, tortured, and crucified in The Greatest Story Ever Told, and learned of the variety of gruesome ways that Christian saints were martyred. In Classical Civilisation, we watched gladiators slaughter each other in Spartacus. In Sex Education at the peak of the AIDS crisis in the mid-'80s, we were told of the many ways we could get infected and die. In History, we studied the Holocaust with images of skeletal bodies thrown into mass graves, medical experiments on humans, and grainy videos of marching soldiers giving the Nazi salute. One of my first overseas school field trips was to the World War I battlegrounds of Flanders Fields in Belgium, where we studied the inhuman conditions of the trenches, walked through mass graves, and read war poetry by candlelight. As John McCrae wrote: We are the Dead. Short days agoWe lived, felt dawn, saw sunset glow,Loved and were loved, and now we lie, In Flanders fields. Did the teachers not realise how deeply a sensitive teenager might feel the darkness of that place? Or have I always been unusual in that places of blood echo deep inside me? And the horrors kept coming. We lived in Bristol, England back then and I learned at school how the city had been part of the slave trade, its wealth built on the backs of people stolen from their homes, sold, and worked to death in the colonies. I had been at school for a year in Malawi, Africa and imagined the Black people I knew drowning, being beaten, and dying on those ships. In my teenage years, the news was filled with ethnic cleansing, mass rape, and massacres during the Balkan wars, and images of bodies hacked apart during the Rwandan genocide. Evil committed by humans against other humans was not a historical aberration. I'm lucky and I certainly acknowledge my privilege. Nothing terrible or horrifying has happened to me — but bad things certainly happen to others. I wasn't bullied or abused. I wasn't raped or beaten or tortured. But you don't have to go through things to be afraid of them, and for your imagination to conjure the possibility of them. My mum doesn't read my fiction now as it gives her nightmares (Sorry, Mum!). I know she worries that somehow she's responsible for my darkness, but I've had a safe and (mostly) happy life, for which I'm truly grateful. But the world is not an entirely safe and happy place, and for a sensitive child with a vivid imagination, the world is dark and scary. It can be brutal and violent, and bad things happen, even to good people. No parent can shield their child from the reality of the world. They can only help them do their best to live in it, develop resilience, and find ways to deal with whatever comes. Story has always been a way that humans have used to learn how to live and deal with difficult times. The best authors, the ones that readers adore and can't get enough of, write their darkness into story to channel their experience, and help others who fear the same. In an interview on writing the Shadow on The Creative Penn Podcast, Michaelbrent Collings shared how he incorporated a personally devastating experience into his writing:  “My wife and I lost a child years back, and that became the root of one of my most terrifying books, Apparition. It's not terrifying because it's the greatest book of all time, but just the concept that there's this thing out there… like a demon, and it consumes the blood and fear of the children, and then it withdraws and consumes the madness of the parents… I wrote that in large measure as a way of working through what I was experiencing.” I've learned much from Michaelbrent. I've read many of his (excellent) books and he's been on my podcast multiple times talking about his depression and mental health issues, as well as difficulties in his author career. Writing darkness is not in Michaelbrent's Shadow and only he can say what lies there for him. But from his example, and from that of other authors, I too learned how to write my Shadow into my books. Twenty-three years after that English lesson, in November 2009, I did NaNoWriMo, National Novel Writing Month, and wrote five thousand words of what eventually became Stone of Fire, my first novel. In the initial chapter, I burned a nun alive on the ghats of Varanasi on the banks of the Ganges River. I had watched the bodies burn by night on pyres from a boat bobbing in the current a few years before, and the image was still crystal clear in my mind. The only way to deal with how it made me feel about death was to write about it — and since then, I've never stopped writing. Returning to the nightmare from my school days, I've never had to choose between the two halves of my family, but the threat of losing them remains a theme in my fiction. In my ARKANE thriller series, Morgan Sierra will do anything to save her sister and her niece. Their safety drives her to continue to fight against evil. Our deepest fears emerge in our writing, and that's the safest place for them. I wish I'd been taught how to turn my nightmares into words back at school, but at least now I've learned to write my Shadow onto the page. I wish the same for you. The Shadow in traditional publishing If becoming an author is your dream, then publishing a book is deeply entwined with that. But as Mark Pierce says in The Creative Wound, “We feel pain the most where it matters the most… Desire highlights whatever we consider to be truly significant.” There is a lot of desire around publishing for those of us who love books! It can give you: Validation that your writing is good enough Status and credibility Acceptance by an industry held in esteem  The potential of financial reward and critical acclaim Support from a team of professionals who know how to make fantastic books A sense of belonging to an elite community Pride in achieving a long-held goal, resulting in a confidence boost and self-esteem Although not guaranteed, traditional publishing can give you all these things and more, but as with everything, there is a potential Shadow side. Denying it risks the potential of being disillusioned, disappointed, and even damaged. But remember, forewarned is forearmed, as the saying goes. Preparation can help you avoid potential issues and help you feel less alone if you encounter them. The myth of success… and the reality of experience There is a pervasive myth of success in the traditional publishing industry, perpetuated by media reporting on brand name and breakout authors, those few outliers whose experience is almost impossible to replicate. Because of such examples, many new traditionally published authors think that their first book will hit the top of the bestseller charts or win an award, as well as make them a million dollars — or at least a big chunk of cash. They will be able to leave their job, write in a beautiful house overlooking the ocean, and swan around the world attending conferences, while writing more bestselling books. It will be a charmed life. But that is not the reality. Perhaps it never was. Even so, the life of a traditionally published author represents a mythic career with the truth hidden behind a veil of obscurity. In April 2023, The Bookseller in the UK reported that “more than half of authors (54%) responding to a survey on their experiences of publishing their debut book have said the process negatively affected their mental health. Though views were mixed, just 22%… described a positive experience overall… Among the majority who said they had a negative experience of debut publication, anxiety, stress, depression and ‘lowered' self-esteem were cited, with lack of support, guidance or clear and professional communication from their publisher among the factors that contributed.” Many authors who have negative experiences around publishing will push them into the Shadow with denial or self-blame, preferring to keep the dream alive. They won't talk about things in public as this may negatively affect their careers, but private discussions are often held in the corners of writing conferences or social media groups online. Some of the issues are as follows: Repeated rejection by agents and publishers may lead to the author thinking they are not good enough as a writer, which can lead to feeling unworthy as a person. If an author gets a deal, the amount of advance and the name and status of the publisher compared to others create a hierarchy that impacts self-esteem. A deal for a book may be much lower than an author might have been expecting, with low or no advance, and the resulting experience with the publisher beneath expectations. The launch process may be disappointing, and the book may appear without fanfare, with few sales and no bestseller chart position. In The Bookseller report, one author described her launch day as “a total wasteland… You have expectations about what publication day will be like, but in reality, nothing really happens.” The book may receive negative reviews by critics or readers or more publicly on social media, which can make an author feel attacked. The book might not sell as well as expected, and the author may feel like it's their fault. Commercial success can sometimes feel tied to self-worth and an author can't help but compare their sales to others, with resulting embarrassment or shame. The communication from the publisher may be less than expected. One author in The Bookseller report said, “I was shocked by the lack of clarity and shared information and the cynicism that underlies the superficial charm of this industry.” There is often more of a focus on debut authors in publishing houses, so those who have been writing and publishing in the midlist for years can feel ignored and undervalued. In The Bookseller report, 48 percent of authors reported “their publisher supported them for less than a year,” with one saying, “I got no support and felt like a commodity, like the team had moved on completely to the next book.” If an author is not successful enough, the next deal may be lower than the last, less effort is made with marketing, and they may be let go. In The Bookseller report, “six authors—debut and otherwise—cited being dropped by their publisher, some with no explanation.” Even if everything goes well and an author is considered successful by others, they may experience imposter syndrome, feeling like a fraud when speaking at conferences or doing book signings. And the list goes on … All these things can lead to feelings of shame, inadequacy, and embarrassment; loss of status in the eyes of peers; and a sense of failure if a publishing career is not successful enough. The author feels like it's their fault, like they weren't good enough — although, of course, the reality is that the conditions were not right at the time. A failure of a book is not a failure of the person, but it can certainly feel like it! When you acknowledge the Shadow, it loses its power Despite all the potential negatives of traditional publishing, if you know what could happen, you can mitigate them. You can prepare yourself for various scenarios and protect yourself from potential fall-out. It's clear from The Bookseller report that too many authors have unrealistic expectations of the industry. But publishers are businesses, not charities. It's not their job to make you feel good as an author. It's their job to sell books and pay you. The best thing they can do is to continue to be a viable business so they can keep putting books on the shelves and keep paying authors, staff, and company shareholders. When you license your creative work to a publisher, you're giving up control of your intellectual property in exchange for money and status. Bring your fears and issues out of the Shadow, acknowledge them, and deal with them early, so they do not get pushed down and re-emerge later in blame and bitterness. Educate yourself on the business of publishing. Be clear on what you want to achieve with any deal. Empower yourself as an author, take responsibility for your career, and you will have a much better experience. The Shadow in self-publishing or being an indie author Self-publishing, or being an independent (indie) author, can be a fantastic, pro-active choice for getting your book into the world. Holding your first book in your hand and saying “I made this” is pretty exciting, and even after more than forty books, I still get excited about seeing ideas in my head turn into a physical product in the world. Self-publishing can give an author: Creative control over what to write, editorial and cover design choices, when and how often to publish, and how to market Empowerment over your author career and the ability to make choices that impact success without asking for permission Ownership and control of intellectual property assets, resulting in increased opportunity around licensing and new markets Independence and the potential for recurring income for the long term Autonomy and flexibility around timelines, publishing options, and the ability to easily pivot into new genres and business models Validation based on positive reader reviews and money earned Personal growth and learning through the acquisition of new skills, resulting in a boost in confidence and self-esteem A sense of belonging to an active and vibrant community of indie authors around the world Being an indie author can give you all this and more, but once again, there is a Shadow side and preparation can help you navigate potential issues. The myth of success… and the reality of experience As with traditional publishing, the indie author world has perpetuated a myth of success in the example of the breakout indie author like E.L. James with Fifty Shades of Grey, Hugh Howey with Wool, or Andy Weir with The Martian. The emphasis on financial success is also fuelled online by authors who share screenshots showing six-figure months or seven-figure years, without sharing marketing costs and other outgoings, or the amount of time spent on the business. Yes, these can inspire some, but it can also make others feel inadequate and potentially lead to bad choices about how to publish and market based on comparison. The indie author world is full of just as much ego and a desire for status and money as traditional publishing. This is not a surprise! Most authors, regardless of publishing choices, are a mix of massive ego and chronic self-doubt. We are human, so the same issues will re-occur. A different publishing method doesn't cure all ills. Some of the issues are as follows: You learn everything you need to know about writing and editing, only to find that you need to learn a whole new set of skills in order to self-publish and market your book. This can take a lot of time and effort you did not expect, and things change all the time so you have to keep learning. Being in control of every aspect of the publishing process, from writing to cover design to marketing, can be overwhelming, leading to indecision, perfectionism, stress, and even burnout as you try to do all the things. You try to find people to help, but building your team is a challenge, and working with others has its own difficulties. People say negative things about self-publishing that may arouse feelings of embarrassment or shame. These might be little niggles, but they needle you, nonetheless. You wonder whether you made the right choice. You struggle with self-doubt and if you go to an event with traditional published authors, you compare yourself to them and feel like an imposter. Are you good enough to be an author if a traditional publisher hasn't chosen you? Is it just vanity to self-publish? Are your books unworthy? Even though you worked with a professional editor, you still get one-star reviews and you hate criticism from readers. You wonder whether you're wasting your time. You might be ripped off by an author services company who promise the world, only to leave you with a pile of printed books in your garage and no way to sell them. When you finally publish your book, it languishes at the bottom of the charts while other authors hit the top of the list over and over, raking in the cash while you are left out of pocket. You don't admit to over-spending on marketing as it makes you ashamed. You resist book marketing and make critical comments about writers who embrace it. You believe that quality rises to the top and if a book is good enough, people will buy it anyway. This can lead to disappointment and disillusionment when you launch your book and it doesn't sell many copies because nobody knows about it. You try to do what everyone advises, but you still can't make decent money as an author. You're jealous of other authors' success and put it down to them ‘selling out' or writing things you can't or ‘using AI' or ‘using a ghostwriter' or having a specific business model you consider impossible to replicate. And the list goes on… When you acknowledge the Shadow, it loses its power Being in control of your books and your author career is a double-edged sword. Traditionally published authors can criticise their publishers or agents or the marketing team or the bookstores or the media, but indie authors have to take responsibility for it all. Sure, we can blame ‘the algorithms' or social media platforms, or criticise other authors for having more experience or more money to invest in marketing, or attribute their success to writing in a more popular genre — but we also know there are always people who do well regardless of the challenges. Once more, we're back to acknowledging and integrating the Shadow side of our choices. We are flawed humans. There will always be good times and bad, and difficulties to offset the high points. This too shall pass, as the old saying goes. I know that being an indie author has plenty of Shadow. I've been doing this since 2008 and despite the hard times, I'm still here. I'm still writing. I'm still publishing. This life is not for everyone, but it's my choice. You must make yours. The Shadow in work You work hard. You make a living. Nothing wrong with that attitude, right? It's what we're taught from an early age and, like so much of life, it's not a problem until it goes to extremes. Not achieving what you want to? Work harder. Can't get ahead? Work harder. Not making a good enough living? Work harder. People who don't work hard are lazy. They don't deserve handouts or benefits. People who don't work hard aren't useful, so they are not valued members of our culture and community. But what about the old or the sick, the mentally ill, or those with disabilities? What about children? What about the unemployed? The under-employed? What about those who are — or will be — displaced by technology, those called “the useless class” by historian Yuval Noah Harari in his book Homo Deus? What if we become one of these in the future? Who am I if I cannot work? The Shadow side of my attitude to work became clear when I caught COVID in the summer of 2021. I was the sickest I'd ever been. I spent two weeks in bed unable to even think properly, and six weeks after that, I was barely able to work more than an hour a day before lying in the dark and waiting for my energy to return. I was limited in what I could do for another six months after that. At times, I wondered if I would ever get better. Jonathan kept urging me to be patient and rest. But I don't know how to rest. I know how to work and how to sleep. I can do ‘active rest,' which usually involves walking a long way or traveling somewhere interesting, but those require a stronger mind and body than I had during those months. It struck me that even if I recovered from the virus, I had glimpsed my future self. One day, I will be weak in body and mind. If I'm lucky, that will be many years away and hopefully for a short time before I die — but it will happen. I am an animal. I will die. My body and mind will pass on and I will be no more. Before then I will be weak. Before then, I will be useless. Before then, I will be a burden. I will not be able to work… But who am I if I cannot work? What is the point of me? I can't answer these questions right now, because although I recognise them as part of my Shadow, I've not progressed far enough to have dealt with them entirely. My months of COVID gave me some much-needed empathy for those who cannot work, even if they want to. We need to reframe what work is as a society, and value humans for different things, especially as technology changes what work even means. That starts with each of us. “Illness, affliction of body and soul, can be life-altering. It has the potential to reveal the most fundamental conflict of the human condition: the tension between our infinite, glorious dreams and desires and our limited, vulnerable, decaying physicality.” —Connie Zweig, The Inner Work of Age: Shifting from Role to Soul The Shadow in money In the Greek myth, King Midas was a wealthy ruler who loved gold above all else. His palace was adorned with golden sculptures and furniture, and he took immense pleasure in his riches. Yet, despite his vast wealth, he yearned for more. After doing a favour for Dionysus, the god of wine and revelry, Midas was granted a single wish. Intoxicated by greed, he wished that everything he touched would turn to gold — and it was so. At first, it was a lot of fun. Midas turned everything else in his palace to gold, even the trees and stones of his estate. After a morning of turning things to gold, he fancied a spot of lunch. But when he tried to eat, the food and drink turned to gold in his mouth. He became thirsty and hungry — and increasingly desperate. As he sat in despair on his golden throne, his beloved young daughter ran to comfort him. For a moment, he forgot his wish — and as she wrapped her arms around him and kissed his cheek, she turned into a golden statue, frozen in precious metal. King Midas cried out to the gods to forgive him, to reverse the wish. He renounced his greed and gave away all his wealth, and his daughter was returned to life. The moral of the story: Wealth and greed are bad. In Charles Dickens's A Christmas Carol, Ebenezer Scrooge is described as a “squeezing, wrenching, grasping, scraping, clutching, covetous, old sinner.” He's wealthy but does not share, considering Christmas spending to be frivolous and giving to charity to be worthless. He's saved by a confrontation with his lonely future and becomes a generous man and benefactor of the poor. Wealth is good if you share it with others. The gospel of Matthew, chapter 25: 14-30, tells the parable of the bags of gold, in which a rich man goes on a journey and entrusts his servants with varying amounts of gold. On his return, the servants who multiplied the gold through their efforts and investments are rewarded, while the one who merely returned the gold with no interest is punished: “For whoever has will be given more, and they will have an abundance. Whoever does not have, even what they have will be taken from them.” Making money is good, making more money is even better. If you can't make any money, you don't deserve to have any. Within the same gospel, in Matthew 19:24, Jesus encounters a wealthy man and tells him to sell all his possessions and give the money to the poor, which the man is unable to do. Jesus says, “It is easier for a camel to go through the eye of a needle than for someone who is rich to enter the kingdom of God.” Wealth is bad. Give it all away and you'll go to heaven. With all these contradictory messages, no wonder we're so conflicted about money! How do you think and feel about money? While money is mostly tied to our work, it's far more than just a transactional object for most people. It's loaded with complex symbolism and judgment handed down by family, religion, and culture. You are likely to find elements of Shadow by examining your attitudes around money. Consider which of the following statements resonate with you or write your own. Money stresses me out. I don't want to talk about it or think about it. Some people hoard money, so there is inequality. Rich people are bad and we should take away their wealth and give it to the poor.  I can never make enough money to pay the bills, or to give my family what I want to provide. Money doesn't grow on trees.  It's wasteful to spend money as you might need it later, so I'm frugal and don't spend money unless absolutely necessary. It is better and more ethical to be poor than to be rich. I want more money. I read books and watch TV shows about rich people because I want to live like that. Sometimes I spend too much on things for a glimpse of what that might be like.  I buy lottery tickets and dream of winning all that money.  I'm jealous of people who have money. I want more of it and I resent those who have it. I'm no good with money. I don't like to look at my bank statement or credit card statement. I live off my overdraft and I'm in debt. I will never earn enough to get out of debt and start saving, so I don't think too much about it. I don't know enough about money. Talking about it makes me feel stupid, so I just ignore it. People like me aren't educated about money.  I need to make more money. If I can make lots of money, then people will look up to me. If I make lots of money, I will be secure, nothing can touch me, I will be safe.  I never want to be poor. I would be ashamed to be poor. I will never go on benefits. My net worth is my self worth. Money is good. We have the best standard of living in history because of the increase in wealth over time. Even the richest kings of the past didn't have what many middle-class people have today in terms of access to food, water, technology, healthcare, education, and more. The richest people give the most money to the poor through taxation and charity, as well as through building companies that employ people and invent new things. The very richest give away much of their fortunes. They provide far more benefit to the world than the poor.  I love money. Money loves me. Money comes easily and quickly to me. I attract money in multiple streams of income. It flows to me in so many ways. I spend money. I invest money. I give money. I'm happy and grateful for all that I receive. The Shadow around money for authors in particular Many writers and other creatives have issues around money and wealth. How often have you heard the following, and which do you agree with? You can't make money with your writing. You'll be a poor author in a garret, a starving artist.  You can't write ‘good quality' books and make money. If you make money writing, you're a hack, you're selling out. You are less worthy than someone who writes only for the Muse. Your books are commercial, not artistic. If you spend money on marketing, then your books are clearly not good enough to sell on their own. My agent / publisher / accountant / partner deals with the money side. I like to focus on the creative side of things. My money story Note: This is not financial or investment advice. Please talk to a professional about your situation. I've had money issues over the years — haven't we all! But I have been through a (long) process to bring money out of my Shadow and into the light. There will always be more to discover, but hopefully my money story will help you, or at least give you an opportunity to reflect. Like most people, I didn't grow up with a lot of money. My parents started out as teachers, but later my mum — who I lived with, along with my brother — became a change management consultant, moving to the USA and earning a lot more. I'm grateful that she moved into business because her example changed the way I saw money and provided some valuable lessons. (1) You can change your circumstances by learning more and then applying that to leverage opportunity into a new job or career Mum taught English at a school in Bristol when we moved back from Malawi, Africa, in the mid '80s but I remember how stressful it was for her, and how little money she made. She wanted a better future for us all, so she took a year out to do a master's degree in management. In the same way, when I wanted to change careers and leave consulting to become an author, I spent time and money learning about the writing craft and the business of publishing. I still invest a considerable chunk on continuous learning, as this industry changes all the time. (2) You might have to downsize in order to leap forward The year my mum did her degree, we lived in the attic of another family's house; we ate a lot of one-pot casserole and our treat was having a Yorkie bar on the walk back from the museum. We wore hand-me-down clothes, and I remember one day at school when another girl said I was wearing her dress. I denied it, of course, but there in back of the dress was her name tag. I still remember her name and I can still feel that flush of shame and embarrassment. I was determined to never feel like that again. But what I didn't realize at the time was that I was also learning the power of downsizing. Mum got her degree and then a new job in management in Bristol. She bought a house, and we settled for a few years. I had lots of different jobs as a teenager. My favourite was working in the delicatessen because we got a free lunch made from delicious produce. After I finished A-levels, I went to the University of Oxford, and my mum and brother moved to the USA for further opportunities. I've downsized multiple times over the years, taking a step back in order to take a step forward. The biggest was in 2010 when I decided to leave consulting. Jonathan and I sold our three-bedroom house and investments in Brisbane, Australia, and rented a one-bedroom flat in London, so we could be debt-free and live on less while I built up a new career. It was a decade before we bought another house. (3) Comparison can be deadly: there will always be people with more money than you Oxford was an education in many ways and relevant to this chapter is how much I didn't know about things people with money took for granted. I learned about formal hall and wine pairings, and how to make a perfect gin and tonic. I ate smoked salmon for the first time. I learned how to fit in with people who had a lot more money than I did, and I definitely wanted to have money of my own to play with. (4) Income is not wealth You can earn lots but have nothing to show for it after years of working. I learned this in my first few years of IT consulting after university. I earned a great salary and then went contracting, earning even more money at a daily rate. I had a wonderful time. I traveled, ate and drank and generally made merry, but I always had to go back to the day job when the money ran out. I couldn't work out how I could ever stop this cycle. Then I read Rich Dad, Poor Dad by Robert Kiyosaki, a book I still recommend, especially if you're from a family that values academic over financial education. I learned how to escape the rat race by building and/or accumulating assets that pay even when you're not working. It was a revelation! The ‘poor dad' in the book is a university professor. He knows so much about so many things, but he ends up poor as he did not educate himself about money. The ‘rich dad' has little formal education, but he knows about money and wealth because he learned about it, as we can do at any stage in our lives. (5) Not all investments suit every person, so find the right one for you Once I discovered the world of investing, I read all the books and did courses and in-person events. I joined communities and I up-skilled big time. Of course, I made mistakes and learned lots along the way. I tried property investing and renovated a couple of houses for rental (with more practical partners and skilled contractors). But while I could see that property investing might work for some people, I did not care enough about the details to make it work for me, and it was certainly not passive income. I tried other things. My first husband was a boat skipper and scuba diving instructor, so we started a charter. With the variable costs of fuel, the vagaries of New Zealand weather — and our divorce — it didn't last long! From all these experiments, I learned I wanted to run a business, but it needed to be online and not based on a physical location, physical premises, or other people. That was 2006, around the time that blogging started taking off and it became possible to make a living online. I could see the potential and a year later, the iPhone and the Amazon Kindle launched, which became the basis of my business as an author. (6) Boring, automatic saving and investing works best Between 2007 and 2011, I contracted in Australia, where they have compulsory superannuation contributions, meaning you have to save and invest a percentage of your salary or self-employed income. I'd never done that before, because I didn't understand it. I'd ploughed all my excess income into property or the business instead. But in Australia I didn't notice the money going out because it was automatic. I chose a particular fund and it auto-invested every month. The pot grew pretty fast since I didn't touch it, and years later, it's still growing. I discovered the power of compound interest and time in the market, both of which are super boring. This type of investing is not a get rich quick scheme. It's a slow process of automatically putting money into boring investments and doing that month in, month out, year in, year out, automatically for decades while you get on with your life. I still do this. I earn money as an author entrepreneur and I put a percentage of that into boring investments automatically every month. I also have a small amount which is for fun and higher risk investments, but mostly I'm a conservative, risk-averse investor planning ahead for the future. This is not financial advice, so I'm not giving any specifics. I have a list of recommended money books at www.TheCreativePenn.com/moneybooks if you want to learn more. Learning from the Shadow When I look back, my Shadow side around money eventually drove me to learn more and resulted in a better outcome (so far!). I was ashamed of being poor when I had to wear hand-me-down clothes at school. That drove a fear of not having any money, which partially explains my workaholism. I was embarrassed at Oxford because I didn't know how to behave in certain settings, and I wanted to be like the rich people I saw there. I spent too much money in my early years as a consultant because I wanted to experience a “rich” life and didn't understand saving and investing would lead to better things in the future. I invested too much in the wrong things because I didn't know myself well enough and I was trying to get rich quick so I could leave my job and ‘be happy.' But eventually, I discovered that I could grow my net worth with boring, long-term investments while doing a job I loved as an author entrepreneur. My only regret is that I didn't discover this earlier and put a percentage of my income into investments as soon as I started work. It took several decades to get started, but at least I did (eventually) start. My money story isn't over yet, and I keep learning new things, but hopefully my experience will help you reflect on your own and avoid the issue if it's still in Shadow. These chapters are excerpted from Writing the Shadow: Turn Your Inner Darkness Into Words by Joanna Penn  The post Writing The Shadow: The Creative Wound, Publishing, And Money, With Joanna Penn first appeared on The Creative Penn.

Daily Dose of Hope January 19, 2026   Scripture: I Thessalonians 5   Prayer:  A prayer from Martin Luther King, Jr... Thou Eternal God, out of whose absolute power and infinite intelligence the whole universe has come into being, we humbly confess that we have not loved thee with our hearts, souls and minds, and we have not loved our neighbors as Christ loved us. We have all too often lived by our own selfish impulses rather than by the life of sacrificial love as revealed by Christ. We often give in order to receive. We love our friends and hate our enemies. We go the first mile but dare not travel the second. We forgive but dare not forget. And so as we look within ourselves, we are confronted with the appalling fact that the history of our lives is the history of an eternal revolt against you. But thou, O God, have mercy upon us. Forgive us for what we could have been but failed to be. Give us the intelligence to know your will. Give us the courage to do your will. Give us the devotion to love your will. In the name and spirit of Jesus, we pray. Amen.   Welcome back to the Daily Dose of Hope, the devotional and podcast that goes along with the New Hope Church daily Bible reading plan.  We are currently journeying through Paul's letters.  Right now, we are walking through I Thessalonians.   Today, we read I Thessalonians 5.   Paul is focusing on the end times not to scare people or bully people into accepting Jesus.  Rather, these words were intended to provide comfort to his congregations.  He is reiterating some of Jesus' teaching here – how the Lord's return will come like a thief in the night.  Paul doesn't quote the Gospels directly but we can see here in this letter, that Jesus' teaching was part of Paul's teaching.    Paul tells them to be alert and sober.  This would have been in contrast to many in the area.  Dionysus, the god of wine, was worshiped in Thessalonica, and his late night parties were known for being wild and crazy events.  The Thessalonians, then, needed to reject those false gods to serve the living God.  In doing so, they will be children of the light/day, awake, alert, watchful.   Jesus' return and their identity as people of the light/day are intended to be words of encouragement to them.  They have nothing to fear when the Lord comes but will actually excel even more.  There is much to be excited for and they are to encourage one another with this hope.   This is fascinating to me.  We don't typically encourage each other by remembering that Jesus will return.  Unfortunately, popular media and Hollywood have made people, even Christians, afraid of Jesus' return.  And we have nothing to be scared of!  For the Thessalonians, this was the ultimate hope.  It was a reminder that this world, and the persecutions and hardships they faced, were temporary.  But they would eventually be with Jesus forever.   Does this give you hope?  Why or why not?   Blessings, Pastor Vicki  

Faun discusses a transformative experience under an elder tree at a crossroads, experiencing The Hat Man as a teenager and a childhood memory of a transparent young girl . Faun came on pilgrimage to Britain and met some of us at the MFSP patreon community meet up in Glastonbury. They had many synchronicities and profound experiences during their journey: an archetypal-looking pilgrim who kept appearing and a person whom appeared to be channelling Dionysus on Glastonbury Tor. In the BONUS EXCLUSIVE FULL-LENGTH VIDEO VERSION on Patreon we hear about the powerful qualities of Elder and Faun shares a further experience with Orbs and a malevolent manifestation which took place in her mothers bedroom. Music in this episode: Fae Transit by Sam McLoughlin https://folkloretapes.bandcamp.com/album/fae-transit ⭐️ JOIN THE MODERN FAIRY SIGHTINGS COMMUNITY ⭐️ ⁠⁠⁠https://www.patreon.com/c/themodernfairysightingspodcast/membership⁠⁠⁠ If you're looking for exclusive bonus material, monthly zoom chats with like-minded folks, access to the Discord chat channels, quiet meditation gatherings and meeting other members, join us at: ⁠⁠⁠ https://www.patreon.com/c/themodernfairysightingspodcast/membership⁠⁠⁠ S U P P O R T If you'd prefer to support the Modern Fairy Sightings with a one off donation, you can ‘buy me a coffee' and I'd be very grateful

Our critical review of The Secrets of Greek Mysticism by George Lizos, and why this book is so problematic in its ideologies, from starseed propaganda to Mr. Lizos's rejection of scholarship.Why have online “influencers” promoted this book to their audiences? Many of their critiques focus on surface-level issues, such as the absence of Hades or Hekate, Xenia and Dionysus while missing the far more serious problem: this book aligns itself with New Age propaganda and ancient alien beliefs, ultimately leading people astray in their understanding of ancient Greek history, mythology, and ancient Greek religion.Chapters:(00:00) Why are we doing this?(08:04) The starseed propaganda(18:55) Claims all scholars are wrong?(29:35) Greek gods are love and light?(36:03) Zeus isn't a monarch, ascension and soul contracts?(41:35) Misogynistic view on goddesses(44:50) Artemis is “control”?(49:41) Hera is the maiden, mother and crone?(53:12) Hestia is boring and blasé?(58:24) The apple of discord and his theology?(1:00:14) Where is the “mysticism”?(1:09:15) Calling out the “influencers” that promoted this bookCalling all devotees to Styx and Bones that are content creators! Join the Styx and Bones Temple new affiliate marketing program: https://www.crystalmoonclarity.com/affiliate-marketing Check out our Patreon, Styx and Bones Temple's Store, Blogs and more! ⁠⁠⁠https://beacons.ai/styxandboness⁠FOLLOW STYX AND BONES ON SOCIAL MEDIAhttps://www.instagram.com/styxandbonespodcast⁠⁠⁠FOLLOW HIGH PRIESTESS CHELSEA⁠https://www.instagram.com/highpriestesschelsea⁠⁠⁠FOLLOW DR. K⁠⁠⁠https://www.instagram.com/dirtdiaries_⁠⁠⁠

Cats Cradle is inspired by the Greek myth Ariadne and her journey from Crete to Naxos. Like The Fates, she is associated with the symbol of the thread, which she uses to help Theseus kill the Minotaur. Central to Ariadne's story is her deification, her transcendence from mortal to divine through a union with Dionysus. By revisiting this ancient myth, Cats Cradle invites viewers to reflect on how they navigate their own inner labyrinths of identity and transformation. https://www.instagram.com/allysonglennart/ https://www.facebook.com/allyson.glenn.1/ What motivated you to make this film? I was preparing for a solo art exhibition called Date with Hermes: Journeying between Dreams and Reality for the Vorres Museum in Greece (2024). The curator, Dr. Katerina Pizania, suggested I create an animation to connect the Greek myth themes. While the show focused on large-scale paintings and works on paper, the film became a companion piece to my series on Ariadne and Dionysus. From the idea to the finished product, how long did it take for you to make this film? I only had two months to develop the animation for the first exhibition, so the first version was more of an “outline.”Completing the film took a year and a half. How would you describe your film in two words!? Intense! What was the biggest obstacle you faced in completing this film? Time! As a full-time Associate Professor at the University of Saskatchewan, Canada, I worked on the animation during weekends with invaluable help from students and alumni. ---- Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

This week Amanda and Victoria discuss the god Dionysus and the play The Bacchae by Euripides.

My links:My Ko-fi: https://ko-fi.com/rhetoricrevolutionSend me a voice message!: https://podcasters.spotify.com/pod/show/liam-connerlyTikTok: ⁠https://www.tiktok.com/@mrconnerly?is_from_webapp=1&sender_device=pc⁠Email: ⁠rhetoricrevolution@gmail.com⁠Instagram: https://www.instagram.com/connerlyliam/Podcast | Latin in Layman's - A Rhetoric Revolution https://open.spotify.com/show/0EjiYFx1K4lwfykjf5jApM?si=b871da6367d74d92YouTube: https://www.youtube.com/@MrConnerly 

My links:My Ko-fi: https://ko-fi.com/rhetoricrevolutionSend me a voice message!: https://podcasters.spotify.com/pod/show/liam-connerlyTikTok: ⁠https://www.tiktok.com/@mrconnerly?is_from_webapp=1&sender_device=pc⁠Email: ⁠rhetoricrevolution@gmail.com⁠Instagram: https://www.instagram.com/connerlyliam/Podcast | Latin in Layman's - A Rhetoric Revolution https://open.spotify.com/show/0EjiYFx1K4lwfykjf5jApM?si=b871da6367d74d92YouTube: https://www.youtube.com/@MrConnerly 

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Narrator: Thomas Jones

Behind the Wall of Illusion- Sean MacLeodHere are a few things you will discover from this text: How the Beatles expressed a modern take on the ancient Greek god Dionysus, How the title Yellow Submarine brings together male and female symbolism, That John Lennon's first experience with LSD influenced the song ‘Help!', Why the Beatles' hair cultivated spiritual connotations, How the film Magical Mystery Tour foreshadowed John's murder.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-opperman-report--1198501/support.

Who was Dionysus, the son of Zeus, and Greek god of ecstasy, revelry and madness? Why was he so central to the ancient Greeks? What is the story of the Bacchae, the play in which a young man is ripped apart by the handmaidens of the goddess Artemis? What did it mean to be a Bacchae, one of the followers of Dionysus, and what shocking acts did it entail? Why were female cults like this believed to be integral to the survival of Athens? How did Dionysus' cult subvert all the conventions of Ancient Greek society? What hedonistic revels occurred at his festivals every year? And, what hidden secrets about his historical origins have been unlocked by subsequent archaeological discoveries…? Join Tom and Dominic as they discuss one of the most exotic and erotic of the Greek gods: Dionysus, and the origins of The Bacchae, the tragedy that immortalised his story, but also transformed Greek drama, and thereby the world, forever… Try Adobe Express for free now at https://www.adobe.com/uk/express/spotlight/designwithexpress?sdid=HM85WZZV&mv=display&mv2=ctv or by searching in the app store. Learn more at https://www.uber.com/onourway Join The Rest Is History Club: Unlock the full experience of the show – with exclusive bonus episodes, ad-free listening, early access to every series and live show tickets, a members-only newsletter, discounted books from the show, and access to our private Discord chatroom. Sign up directly at therestishistory.com For more Goalhanger Podcasts, head to www.goalhanger.com _______ Twitter: @TheRestHistory @holland_tom @dcsandbrook Producer: Theo Young-Smith Assistant Producer: Tabby Syrett + Aaliyah Akude  Video Producer: Bruno Di Castri + Jack Meek Social Producer: Harry Balden Executive Producers: Jack Davenport + Tony Pastor Learn more about your ad choices. Visit podcastchoices.com/adchoices