Podcasts about Mediterranean Sea

As Samia attempts to cross the Mediterranean Sea, her Olympic dream collides with the deadly realities of one of the world's most dangerous migration routes. Learn more about your ad choices. Visit podcastchoices.com/adchoices

When does rebuilding a house stop being construction — and start becoming art?In ArTEEtude 353, Detlef Schlich returns to Lackavaun on the north side of the Mizen Peninsula and to the years when an almost uninhabitable ruin slowly became something much more personal.A wall is broken open towards the landscape. The Fisherman's House takes shape. A handmade kitchen, Art Nouveau stairs, mermaids, whales, a grotto bathroom and even a slightly improbable “Turkish shopping centre” find their way into the architecture.Outside, a JCB and Rock Breaker reshape the land. Huge stones become steps and retaining walls. And an experiment begins: could the naturally water-resistant soil hold a lake without a plastic liner?It could.Then something unexpected happens.Insects arrive. Dragonflies dance above the water. Plants establish themselves. Frogs discover the lake and lay their spawn.What began with heavy machinery becomes a living ecosystem — a three-dimensional painting that continually repaints itself.But paradise has boundaries.And beyond them, another story is already beginning.Featuring a new track by Los Inorgánicos: “Rock Breaker → Dragonflies.”ArTEEtude is an independent, non-profit podcast.About Detlef SchlichDetlef Schlich is a rock musician, podcaster, visual artist, filmmaker, ritual designer, and media archaeologist based in West Cork, Ireland.His artistic practice moves between performance, photography, painting, sound, installation, film, music, podcasting, and digital image-making. Across these fields, Schlich reflects on the human condition, the relationship between ritual and technology, and the changing role of the artist in digital culture.As a media archaeologist, he explores how media shape perception, memory, culture, politics, and artistic expression. His work often uses the figure of the digital shaman as an alter ego — a method for navigating the space between ancient ritual structures, contemporary media, and technological transformation.Research & Artistic MethodDetlef Schlich's artistic research is rooted in his essay Shamanism, Art and Digital Culture: Cause and Effect, which investigates the relationship between ritual, artistic transformation, media, and digital culture.Download here for free:Shamanism, Art and Digital Culture: Cause and Effecthttps://www.researchgate.net/publication/303749640_Shamanism_Art_and_Digital_Culture_Cause_and_EffectBuilding on this foundation, Schlich developed Multilayerism: A New Paradigm in Contemporary Art – A Manifesto, an artistic method and conceptual framework for understanding contemporary art through layers of media, memory, technology, ritual, emotion, misunderstanding, and lived experience.Read here:Multilayerism: A New Paradigm in Contemporary Art – A Manifesto by Detlef Schlichhttps://www.researchgate.net/publication/375665507_Multilayerism_A_New_Paradigm_in_Contemporary_Art_-_A_Manifesto_by_Detlef_SchlichTogether, these texts form the theoretical backbone of Schlich's ongoing work as a visual artist, media archaeologist, ritual designer, musician, and host of the Arteetude podcast.WEBSITE LINKS Music ProjectsWAW / Wild Atlantic WayWAW is the music project by Detlef Schlich and Dirk Schlömer.Official YouTube Channel:https://www.youtube.com/@WAWBandFrom the forthcoming WAW album The Stories of Nil YoungTwo songs from WAW's developing album project The Stories of Nil Young form part of a mythopoetic journey along the Nile, where river, memory, loss, cooperation, and hope flow into music.AfricaSmileAfricaSmile follows the Nile as an imagined journey from its sources to the Mediterranean Sea — a river of memory, movement, rhythm, and myth. The song turns the meeting of the White Nile and the Blue Nile into a fragile image of cooperation. It is not a naïve peace anthem, but a wounded musical hope: two different currents meeting, listening, and still moving forward together.Watch here:https://www.youtube.com/watch?v=LnQbsh01YWUThe Nile's Bittersweet SongThe Nile's Bittersweet Song is the first official single by WAW / Wild Atlantic Way — Detlef Schlich and Dirk Schlömer.The song follows the Nile as a river of memory, beauty, loss, and contradiction: a life-giver, but also a force that can take away what it once nourished. Through the story of Kamau, it becomes a poetic reflection on childhood, fragile hope, and the emotional landscape carried by a river that is both kind and cruel.Inspired by East African storytelling traditions and shaped along the Wild Atlantic Way in West Cork, The Nile's Bittersweet Song is a mythopoetic musical journey about water, grief, resilience, and the deep human longing to keep moving with the current.Watch here:https://www.youtube.com/watch?v=33AWko4IkKIWAW on BandcampSilent NightIn a world shadowed by conflict and unrest, Dirk Schlömer and Detlef Schlich felt compelled to reinterpret Silent Night to reflect the complexities and contradictions of modern life.https://studiomuskau.bandcamp.com/track/silent-nightWild Atlantic WayThis song emerged from a trip to West Cork, Ireland, where the beautiful coastal Wild Atlantic Way stretches along the west coast.https://studiomuskau.bandcamp.com/track/wild-atlantic-wayYouTubeSilent Night Reimagined – A Multilayered Avant-Garde Journey by WAW aka Dirk Schlömer & Detlef Schlichhttps://www.youtube.com/watch?v=dAbytLSfgCwDetlef SchlichInstagramDetlef Schlich ArTEEtude I love West Cork Artists FacebookDetlef Schlich I love West Cork Artists Group ArTEEtudeYouTube Channelsvisual PodcastArTEEtudeCute Alien TV official WebsiteArTEEtude Detlef Schlich Det Design Tribal Loop Support this podcast at — https://redcircle.com/arteetude-a-podcast-with-artists-by-detlef-schlich/exclusive-content

The Nile has shaped life in northeastern Africa for thousands of years. This episode explores the river's geography, its major tributaries, the civilizations that grew along its banks, and the important role the Nile played in agriculture, transportation, and trade. Along the way, you'll hear about the Blue Nile and White Nile, ancient Egypt, seasonal flooding, and the long journey of the river toward the Mediterranean Sea. It's steady and consistent, with no whispering and no sudden changes, just enough to give your mind something to follow as you wind down. Happy sleeping! Read with permission from Nile, Wikipedia (https://en.wikipedia.org/wiki/Nile), licensed under CC BY-SA 4.0. — Ad-free episodes: ⁠icantsleep.supportingcast.fm⁠Have a topic in mind? ⁠Request a topic⁠ Learn more about your ad choices. Visit ⁠megaphone.fm/adchoices Learn more about your ad choices. Visit megaphone.fm/adchoices

What happens when rebuilding a house becomes a way of reading your own past?In ArTEEtude 352, Detlef Schlich returns to Lackavaun and asks why these memories have resurfaced more than twenty years later — and why they have become more than a single podcast episode.Influenced by landscape, memory, Walter Benjamin's idea of passages and his own evolving practice of Multilayerism, Detlef begins to see the reconstruction of the old house as something else: a method of thinking through layers.Then the philosophy gets dusty.The main house is completely stripped back. Rotten timber comes out. Floors are lowered. Stone walls are exposed and repointed. Drainage and underfloor heating go in. Woodworm treatment, chemicals, mosquitoes, concrete, exhaustion — and the slow process of learning skills from others before doing them himself.Yet beneath everything that has to disappear, something remains.The stone.The scars.The memory of the building.And eventually, through a new gable window, Dunmanus Bay enters the house.Keep what remembers. Lose what does not.The episode ends with a new Los Inorgánicos track:“Goodbye to the Rats.”About Detlef SchlichDetlef Schlich is a rock musician, podcaster, visual artist, filmmaker, ritual designer, and media archaeologist based in West Cork, Ireland.His artistic practice moves between performance, photography, painting, sound, installation, film, music, podcasting, and digital image-making. Across these fields, Schlich reflects on the human condition, the relationship between ritual and technology, and the changing role of the artist in digital culture.As a media archaeologist, he explores how media shape perception, memory, culture, politics, and artistic expression. His work often uses the figure of the digital shaman as an alter ego — a method for navigating the space between ancient ritual structures, contemporary media, and technological transformation.Research & Artistic MethodDetlef Schlich's artistic research is rooted in his essay Shamanism, Art and Digital Culture: Cause and Effect, which investigates the relationship between ritual, artistic transformation, media, and digital culture.Download here for free:Shamanism, Art and Digital Culture: Cause and Effecthttps://www.researchgate.net/publication/303749640_Shamanism_Art_and_Digital_Culture_Cause_and_EffectBuilding on this foundation, Schlich developed Multilayerism: A New Paradigm in Contemporary Art – A Manifesto, an artistic method and conceptual framework for understanding contemporary art through layers of media, memory, technology, ritual, emotion, misunderstanding, and lived experience.Read here:Multilayerism: A New Paradigm in Contemporary Art – A Manifesto by Detlef Schlichhttps://www.researchgate.net/publication/375665507_Multilayerism_A_New_Paradigm_in_Contemporary_Art_-_A_Manifesto_by_Detlef_SchlichTogether, these texts form the theoretical backbone of Schlich's ongoing work as a visual artist, media archaeologist, ritual designer, musician, and host of the Arteetude podcast.WEBSITE LINKS Music ProjectsWAW / Wild Atlantic WayWAW is the music project by Detlef Schlich and Dirk Schlömer.Official YouTube Channel:https://www.youtube.com/@WAWBandFrom the forthcoming WAW album The Stories of Nil YoungTwo songs from WAW's developing album project The Stories of Nil Young form part of a mythopoetic journey along the Nile, where river, memory, loss, cooperation, and hope flow into music.AfricaSmileAfricaSmile follows the Nile as an imagined journey from its sources to the Mediterranean Sea — a river of memory, movement, rhythm, and myth. The song turns the meeting of the White Nile and the Blue Nile into a fragile image of cooperation. It is not a naïve peace anthem, but a wounded musical hope: two different currents meeting, listening, and still moving forward together.Watch here:https://www.youtube.com/watch?v=LnQbsh01YWUThe Nile's Bittersweet SongThe Nile's Bittersweet Song is the first official single by WAW / Wild Atlantic Way — Detlef Schlich and Dirk Schlömer.The song follows the Nile as a river of memory, beauty, loss, and contradiction: a life-giver, but also a force that can take away what it once nourished. Through the story of Kamau, it becomes a poetic reflection on childhood, fragile hope, and the emotional landscape carried by a river that is both kind and cruel.Inspired by East African storytelling traditions and shaped along the Wild Atlantic Way in West Cork, The Nile's Bittersweet Song is a mythopoetic musical journey about water, grief, resilience, and the deep human longing to keep moving with the current.Watch here:https://www.youtube.com/watch?v=33AWko4IkKIWAW on BandcampSilent NightIn a world shadowed by conflict and unrest, Dirk Schlömer and Detlef Schlich felt compelled to reinterpret Silent Night to reflect the complexities and contradictions of modern life.https://studiomuskau.bandcamp.com/track/silent-nightWild Atlantic WayThis song emerged from a trip to West Cork, Ireland, where the beautiful coastal Wild Atlantic Way stretches along the west coast.https://studiomuskau.bandcamp.com/track/wild-atlantic-wayYouTubeSilent Night Reimagined – A Multilayered Avant-Garde Journey by WAW aka Dirk Schlömer & Detlef Schlichhttps://www.youtube.com/watch?v=dAbytLSfgCwDetlef SchlichInstagramDetlef Schlich ArTEEtude I love West Cork Artists FacebookDetlef Schlich I love West Cork Artists Group ArTEEtudeYouTube Channelsvisual PodcastArTEEtudeCute Alien TV official WebsiteArTEEtude Detlef Schlich Det Design Tribal Loop Support this podcast at — https://redcircle.com/arteetude-a-podcast-with-artists-by-detlef-schlich/exclusive-content

A new week means new questions! Hope you have fun with these!What is the only Central American country without a Pacific coastline?Which actor just made Emmy history by being the first male performer ever to take home lead acting Emmys in multiple categories in the same year? Hint: He won for Widows Bay and The Beast in Me.Two members of which American rock band, which formed in Los Angeles in 1982, played the guitar and bass for the recording of Alanis Morissette's hit song "You Oughta Know"?In which movie does Doris Day sing "Secret Love"?The Calfironia state flag features which animal that has gone extinct in California?In Greek Mythology, what is the name of the son of Daedalus, the master craftsman that made something for himself and his son to escape a tower?The road from Alaska to Chile is called what?Which two titular Shakespeare Characters lend their names to the NATO Phoenetic Alphabet? Although one is spelled differentlyWhat Greek cheese is made from sheep's milk or a mixture of sheep and 30 percent goat's milk from the same area?Which Italian Renaissance painter who painted "The Feast of the Gods" and "St. Jerome in the Desert" has a cocktail made with Prosecco and peach puree or nectar named after him?What is the name of the monolithic limestone mountain that dominates the western entrance of the Mediterranean Sea?Designed as replicas to a famous film costume piece, a pair of slippers by Harry Winston sold for $3 mil. and featured 1,500 carats of what gemstone?The name of what cross and circle board game is derived from the Hindu word for twenty-five?As proved by Don Pettit in 2012, you can use what toy in space?Pete Sampras and Tracy Austin are the the two youngest people, 19 and 16 respectively, to win the title for what event?MusicHot Swing, Fast Talkin, Bass Walker, Dances and Dames, Ambush by Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/Don't forget to follow us on social media:Patreon – patreon.com/quizbang – Please consider supporting us on Patreon. Check out our fun extras for patrons and help us keep this podcast going. We appreciate any level of support!Website – quizbangpod.com Check out our website, it will have all the links for social media that you need and while you're there, why not go to the contact us page and submit a question!Facebook – @quizbangpodcast – we post episode links and silly lego pictures to go with our trivia questions. Enjoy the silly picture and give your best guess, we will respond to your answer the next day to give everyone a chance to guess.Instagram – Quiz Quiz Bang Bang (quizquizbangbang), we post silly lego pictures to go with our trivia questions. Enjoy the silly picture and give your best guess, we will respond to your answer the next day to give everyone a chance to guess.Twitter – @quizbangpod We want to start a fun community for our fellow trivia lovers. If you hear/think of a fun or challenging trivia question, post it to our twitter feed and we will repost it so everyone can take a stab it. Come for the trivia – stay for the trivia.Ko-Fi – ko-fi.com/quizbangpod – Keep that sweet caffeine running through our body with a Ko-Fi, power us through a late night of fact checking and editing!

https://wels2.blob.core.windows.net/tmb-ehv/03-0916db.mp3 Listen to Bible reading Through My Bible Yr 03 – September 16 Joshua 23 A Warning and a Promise 1 After many days, [1] when the Lord had given Israel rest from all its enemies all around, when Joshua had grown old and advanced in years, 2 Joshua summoned all Israel—its elders, its heads, its judges, and its officers, and he said to them: I have grown old and advanced in years. 3 You yourselves have seen everything that the Lord your God has done for you against all these nations. Yes, the Lord your God was fighting for you! 4 See now, I have allotted to your tribes an inheritance from these nations that remain unconquered, as well as from the nations that I have destroyed. It extends from the Jordan to the Mediterranean Sea in the west. 5 The Lord your God himself will push them away from you and drive them out of your presence, ⎣until they perish. He will send wild animals among them until he completely destroys them and their kings from your presence⎦ [2] and you will take possession of their land, just as the Lord your God promised you. 6 You must be very resolute in carrying out all that is written in the Book of the Law of Moses by not turning from it to the right or to the left, 7 by not intermingling with these nations that remain with you. Do not ever call on or swear by the names of their gods. Never serve them and never bow down to them. 8 But hold fast to the Lord your God, just as you have been doing to this day. 9 The Lord has driven out great and powerful nations from among you. As for you, no one has stood up against you to this day. 10 One of you would put a thousand to flight because the Lord your God himself was fighting for you, just as he promised you. 11 Therefore, for your own sakes be very careful to love the Lord your God. 12 But if you do turn away and keep close company with the remnant of these nations that remain with you, and if you intermarry with them and intermingle with them and they with you, 13 then know for certain that the Lord your God will not continue to drive out these nations from among you, but they will become a trap and a snare for you, a whip for your sides and thorns in your eyes, until you perish from your good land that the Lord your God has given you. 14 See now, I am about to go the way of all the earth, and you know with all your heart and with all your soul that not one promise out of all the good promises that the Lord your God promised you has failed. All of them have come true for you. Not one promise from him has failed. [3] 15 But just as every good promise that the Lord your God promised to you has come true for you, likewise the Lord will cause every promise of disaster to come true for you until he has destroyed you from this good land that the Lord your God has given you. 16 If you transgress the covenant of the Lord your God that he commanded you, and you go and serve other gods, and you bow down to them, then the anger of the Lord will burn against you, and you will perish quickly from the good land that he has given you. Footnotes Joshua 23:1 The many days amounted to about seven years. Joshua 23:5 The words in the half-brackets are not in the Hebrew text, but they are in the Greek Old Testament. The words missing from the Hebrew text lie between two occurrences of your presence. Joshua 23:14 Literally fallen The Holy Bible, Evangelical Heritage Version®, EHV®, © 2019 Wartburg Project, Inc. All rights reserved.

THE HOUSE THAT BUILT ME — Water, Stone and the Little RuinPodcast SummaryIn ArTEEtude 351, “The House That Built Me — Water, Stone and the Little Ruin,” visual artist Detlef Schlich continues his journey back to Lackavaun on the remote Northside of the Mizen Peninsula, where he began a radically different life in 2003.After the arrival described in episode 350, Schlich now finds himself largely alone in a damaged rural house without running water, learning how to create the basic conditions for living. With no driving licence, a scooter becomes his connection to Goleen, supplies, local knowledge and the outside world. Sand, gravel, cement, a concrete mixer and eventually belongings transported from Cologne slowly turn survival into construction.Rather than immediately tackling the main house, Schlich begins with a small ruin beside it. The building becomes both shelter and experiment: a place to learn how to mix mortar, rebuild walls, restore a chimney and transform an abandoned structure into a functioning home.Water becomes the central element of the episode. Before a borehole existed, construction water had to be carried by hand from a nearby spring and poured bucket by bucket into large rain barrels. Only later did Schlich discover that the source was locally regarded as a holy well, retrospectively giving the physical act of building an unexpected ritual dimension.The arrival of a huge drilling rig marks another transformation. Approximately seventy metres are drilled into the ground before water can finally be brought directly into the building. Material extracted from deep beneath the landscape is reused around the property, while plumbing, electricity, fire and a loft bed gradually turn the little ruin into a genuinely habitable space.Looking back more than two decades later, Schlich recognises something he could not yet articulate in 2003: he was not simply learning how to rebuild a house. The repetitive physical relationship between body, landscape, water, stone and material was beginning to shape an artistic language that would later emerge in his work with ritual, media archaeology and performance.The episode closes with the song “The House That Built Me.” performed by Los Inorganicos.A ruin has become a home.And now the real work can begin.About Detlef SchlichDetlef Schlich is a rock musician, podcaster, visual artist, filmmaker, ritual designer, and media archaeologist based in West Cork, Ireland.His artistic practice moves between performance, photography, painting, sound, installation, film, music, podcasting, and digital image-making. Across these fields, Schlich reflects on the human condition, the relationship between ritual and technology, and the changing role of the artist in digital culture.As a media archaeologist, he explores how media shape perception, memory, culture, politics, and artistic expression. His work often uses the figure of the digital shaman as an alter ego — a method for navigating the space between ancient ritual structures, contemporary media, and technological transformation.Research & Artistic MethodDetlef Schlich's artistic research is rooted in his essay Shamanism, Art and Digital Culture: Cause and Effect, which investigates the relationship between ritual, artistic transformation, media, and digital culture.Download here for free:Shamanism, Art and Digital Culture: Cause and Effecthttps://www.researchgate.net/publication/303749640_Shamanism_Art_and_Digital_Culture_Cause_and_EffectBuilding on this foundation, Schlich developed Multilayerism: A New Paradigm in Contemporary Art – A Manifesto, an artistic method and conceptual framework for understanding contemporary art through layers of media, memory, technology, ritual, emotion, misunderstanding, and lived experience.Read here:Multilayerism: A New Paradigm in Contemporary Art – A Manifesto by Detlef Schlichhttps://www.researchgate.net/publication/375665507_Multilayerism_A_New_Paradigm_in_Contemporary_Art_-_A_Manifesto_by_Detlef_SchlichTogether, these texts form the theoretical backbone of Schlich's ongoing work as a visual artist, media archaeologist, ritual designer, musician, and host of the Arteetude podcast.WEBSITE LINKS Music ProjectsWAW / Wild Atlantic WayWAW is the music project by Detlef Schlich and Dirk Schlömer.Official YouTube Channel:https://www.youtube.com/@WAWBandFrom the forthcoming WAW album The Stories of Nil YoungTwo songs from WAW's developing album project The Stories of Nil Young form part of a mythopoetic journey along the Nile, where river, memory, loss, cooperation, and hope flow into music.AfricaSmileAfricaSmile follows the Nile as an imagined journey from its sources to the Mediterranean Sea — a river of memory, movement, rhythm, and myth. The song turns the meeting of the White Nile and the Blue Nile into a fragile image of cooperation. It is not a naïve peace anthem, but a wounded musical hope: two different currents meeting, listening, and still moving forward together.Watch here:https://www.youtube.com/watch?v=LnQbsh01YWUThe Nile's Bittersweet SongThe Nile's Bittersweet Song is the first official single by WAW / Wild Atlantic Way — Detlef Schlich and Dirk Schlömer.The song follows the Nile as a river of memory, beauty, loss, and contradiction: a life-giver, but also a force that can take away what it once nourished. Through the story of Kamau, it becomes a poetic reflection on childhood, fragile hope, and the emotional landscape carried by a river that is both kind and cruel.Inspired by East African storytelling traditions and shaped along the Wild Atlantic Way in West Cork, The Nile's Bittersweet Song is a mythopoetic musical journey about water, grief, resilience, and the deep human longing to keep moving with the current.Watch here:https://www.youtube.com/watch?v=33AWko4IkKIWAW on BandcampSilent NightIn a world shadowed by conflict and unrest, Dirk Schlömer and Detlef Schlich felt compelled to reinterpret Silent Night to reflect the complexities and contradictions of modern life.https://studiomuskau.bandcamp.com/track/silent-nightWild Atlantic WayThis song emerged from a trip to West Cork, Ireland, where the beautiful coastal Wild Atlantic Way stretches along the west coast.https://studiomuskau.bandcamp.com/track/wild-atlantic-wayYouTubeSilent Night Reimagined – A Multilayered Avant-Garde Journey by WAW aka Dirk Schlömer & Detlef Schlichhttps://www.youtube.com/watch?v=dAbytLSfgCwDetlef SchlichInstagramDetlef Schlich ArTEEtude I love West Cork Artists FacebookDetlef Schlich I love West Cork Artists Group ArTEEtudeYouTube Channelsvisual PodcastArTEEtudeCute Alien TV official WebsiteArTEEtude Detlef Schlich Det Design Tribal Loop Support this podcast at — https://redcircle.com/arteetude-a-podcast-with-artists-by-detlef-schlich/exclusive-content

One of a KindEvery pastor will tell you the same thing: nobody teaches you what to say when you're standing with a family in the valley of the shadow of death. It's the part of ministry we dread most and, oddly, the part that teaches us the most. The teacher in Ecclesiastes put it plainly: "It is better to go to a house of mourning than to go to a house of feasting, for death is the destiny of everyone, and the living should take this to heart." This week, as we came to the end of Moses's story in Deuteronomy 34, we sat with that same truth. Moses died, just as we all will. But the way he lived, and the faith that carried him there, is worth a long, careful look.A Mountain and a PromiseAt 120 years old, Moses climbed Mount Nebo, a roughly 4,500 foot ascent with no trail, to look out over the Promised Land he would never enter. God showed him "the whole land, from Gilead to Dan," all the way to the Mediterranean Sea, and told him plainly, "I have let you see it with your own eyes, but you will not cross over into it." Moses had lost his temper years earlier and robbed God of glory, and this was the consequence. But here's the beautiful part: that failure never altered his relationship with God. They were just as close as before. God himself buried Moses in an unmarked grave, and the people grieved for thirty days before finally reflecting on his life and moving forward into the land he'd led them to. Scripture sums him up simply: "Since then, no prophet has arisen in Israel like Moses, whom the Lord knew face to face." He was one of a kind, and the intimacy he shared with God is something we can still aspire to today.Faith That Shaped His IdentityHebrews 11 gives us Moses's eulogy, and it shows us exactly how that intimacy was built. First, his faith determined his identity. "By faith, Moses, when he had grown up, refused to be known as the son of Pharaoh's daughter." Understand what that meant: Moses had already become great in Pharaoh's house, educated, decorated, and set up for a life of power. All he had to do was stay quiet and enjoy it. Instead, he chose to be identified with God and with God's enslaved people rather than with the palace that made him. That's the choice in front of all of us. Joshua later put it this way: "Choose you this day whom you will serve." Moses chose, and so must we.Faith That Shaped His ValuesSecond, Moses's faith determined what he valued. He "chose to be mistreated along with the people of God rather than to enjoy the fleeting pleasures of sin," regarding "disgrace for the sake of Christ as of greater value than all the treasures of Egypt." He knew the pleasures available to him in Egypt were real, but temporary, and that chasing them would leave him thirstier, not satisfied. He understood something Jesus would later say plainly: if you want to find your life, you have to lose it. Only in laying ourselves down for God's glory do we find the satisfaction we're all searching for.Faith That Shaped His ResolveFinally, Moses's faith determined his resolve. He "left Egypt, not fearing the king's anger," and he "kept the Passover and the application of blood" even though nothing about painting lamb's blood on a doorpost made sense to anyone watching. That's resolve: persevering in our convictions and keeping God's commands even when the world around us says it's foolish. Moses obeyed anyway, and that obedience pointed forward to something greater. The blood on the doorpost that saved the firstborn of Israel points us to Jesus, the Lamb of God, whose blood saves us from sin and death.A Life Worth EmulatingMoses wasn't perfect. He stumbled and made real mistakes. But his faith was active, not just something he said he believed, and that's what set him apart. As James reminds us, faith without works is dead. So take a moment this week to ask yourself honestly: is your faith alive? Can the people around you look at your choices, your priorities, and your obedience and see that you belong to Jesus? We only get one life to make our mark, and the opportunity is now. If you haven't placed your faith in Christ, there's no better day than today to take that step. And if you already believe, share this episode with someone who needs to hear it, and let Moses's example push you toward a faith that shows up in how you actually live.

What if the house you bought was actually a time machine?In 2003, I arrived in Lackavaun on the remote Northside of the Mizen Peninsula in West Cork.No running water.Old jeans stuffed between roof and wall to keep the wind out.Rats upstairs.Dunmanus Bay outside the door.And then I met Pat McCarthy.What initially appeared to be simply a remote and beautiful part of West Cork gradually revealed itself as a place in which several historical layers were still visible at the same time. Through the story of an old house without running water, the late arrival of rural electrification, dramatic population decline after the Great Famine, and the isolation of everyday life, the episode paints a vivid picture of a landscape that was already entering the 21st century while still carrying traces of a much older rural culture.At the centre of the episode is Patrick McCarthy, co-author of Northside of the Mizen, who personally welcomed Detlef to Lackavaun in April 2003. McCarthy becomes a symbolic link between oral storytelling, local history and a disappearing way of life. An old butter churn, a curious matchmaking story, and the Irish tradition of the Pioneer movement open wider questions about how knowledge, gestures and memories survive once their original cultural context begins to disappear.Rather than romanticising rural hardship, the episode examines the tension between poverty and authenticity, isolation and beauty, tradition and technological change. Schlich reflects on how these five years in Lackavaun shaped his later artistic engagement with ritual, material culture, shamanism, technology and media archaeology long before he had a theoretical language for it.ArTEEtude 350 is a journey into a landscape full of traces — and into the stories that continue to live when someone decides to tell them again.About Detlef SchlichDetlef Schlich is a rock musician, podcaster, visual artist, filmmaker, ritual designer, and media archaeologist based in West Cork, Ireland.His artistic practice moves between performance, photography, painting, sound, installation, film, music, podcasting, and digital image-making. Across these fields, Schlich reflects on the human condition, the relationship between ritual and technology, and the changing role of the artist in digital culture.As a media archaeologist, he explores how media shape perception, memory, culture, politics, and artistic expression. His work often uses the figure of the digital shaman as an alter ego — a method for navigating the space between ancient ritual structures, contemporary media, and technological transformation.Research & Artistic MethodDetlef Schlich's artistic research is rooted in his essay Shamanism, Art and Digital Culture: Cause and Effect, which investigates the relationship between ritual, artistic transformation, media, and digital culture.Download here for free:Shamanism, Art and Digital Culture: Cause and Effecthttps://www.researchgate.net/publication/303749640_Shamanism_Art_and_Digital_Culture_Cause_and_EffectBuilding on this foundation, Schlich developed Multilayerism: A New Paradigm in Contemporary Art – A Manifesto, an artistic method and conceptual framework for understanding contemporary art through layers of media, memory, technology, ritual, emotion, misunderstanding, and lived experience.Read here:Multilayerism: A New Paradigm in Contemporary Art – A Manifesto by Detlef Schlichhttps://www.researchgate.net/publication/375665507_Multilayerism_A_New_Paradigm_in_Contemporary_Art_-_A_Manifesto_by_Detlef_SchlichTogether, these texts form the theoretical backbone of Schlich's ongoing work as a visual artist, media archaeologist, ritual designer, musician, and host of the Arteetude podcast.WEBSITE LINKS Music ProjectsWAW / Wild Atlantic WayWAW is the music project by Detlef Schlich and Dirk Schlömer.Official YouTube Channel:https://www.youtube.com/@WAWBandFrom the forthcoming WAW album The Stories of Nil YoungTwo songs from WAW's developing album project The Stories of Nil Young form part of a mythopoetic journey along the Nile, where river, memory, loss, cooperation, and hope flow into music.AfricaSmileAfricaSmile follows the Nile as an imagined journey from its sources to the Mediterranean Sea — a river of memory, movement, rhythm, and myth. The song turns the meeting of the White Nile and the Blue Nile into a fragile image of cooperation. It is not a naïve peace anthem, but a wounded musical hope: two different currents meeting, listening, and still moving forward together.Watch here:https://www.youtube.com/watch?v=LnQbsh01YWUThe Nile's Bittersweet SongThe Nile's Bittersweet Song is the first official single by WAW / Wild Atlantic Way — Detlef Schlich and Dirk Schlömer.The song follows the Nile as a river of memory, beauty, loss, and contradiction: a life-giver, but also a force that can take away what it once nourished. Through the story of Kamau, it becomes a poetic reflection on childhood, fragile hope, and the emotional landscape carried by a river that is both kind and cruel.Inspired by East African storytelling traditions and shaped along the Wild Atlantic Way in West Cork, The Nile's Bittersweet Song is a mythopoetic musical journey about water, grief, resilience, and the deep human longing to keep moving with the current.Watch here:https://www.youtube.com/watch?v=33AWko4IkKIWAW on BandcampSilent NightIn a world shadowed by conflict and unrest, Dirk Schlömer and Detlef Schlich felt compelled to reinterpret Silent Night to reflect the complexities and contradictions of modern life.https://studiomuskau.bandcamp.com/track/silent-nightWild Atlantic WayThis song emerged from a trip to West Cork, Ireland, where the beautiful coastal Wild Atlantic Way stretches along the west coast.https://studiomuskau.bandcamp.com/track/wild-atlantic-wayYouTubeSilent Night Reimagined – A Multilayered Avant-Garde Journey by WAW aka Dirk Schlömer & Detlef Schlichhttps://www.youtube.com/watch?v=dAbytLSfgCwDetlef SchlichInstagramDetlef Schlich ArTEEtude I love West Cork Artists FacebookDetlef Schlich I love West Cork Artists Group ArTEEtudeYouTube Channelsvisual PodcastArTEEtudeCute Alien TV official WebsiteArTEEtude Detlef Schlich Det Design Tribal Loop Support this podcast at — https://redcircle.com/arteetude-a-podcast-with-artists-by-detlef-schlich/exclusive-content

How did Paul know that the storms on the Mediterranean Sea were going to get worse, and how might we learn from his example?  This sermon was preached on Saturday, September 5, 2026.

https://wels2.blob.core.windows.net/tmb-ehv/03-0902db.mp3 Listen to Bible reading Through My Bible Yr 03 – September 02 Joshua 1 Preparing to Enter the Land 1 This is what happened after the death of Moses, the servant of the Lord. The Lord said to Joshua son of Nun, the attendant of Moses, 2 “Moses my servant is dead. So prepare to cross the Jordan River that lies in front of you. You and all this people, prepare to go into the land that I am about to give to the people of Israel. 3 I have given you every place where the sole of your foot has stepped, just as I promised Moses. 4 From the Wilderness [1] and from Lebanon to the Great River, the Euphrates River—all the land of the Hittites—as far as the Mediterranean Sea, [2] where the sun sets, this will be your territory. 5 No one will be able to stand against you all the days of your life. Just as I was with Moses, I will be with you. I will not abandon you, and I will not forsake you. 6 “Be strong and courageous, because you will divide this land among these people, this land which I swore to their fathers that I would give to this people. 7 Just be strong and very courageous. Be careful to act according to the entire Law which my servant Moses commanded for you. Do not turn from it to the right or to the left, so that you may succeed wherever you go. 8 This Book of the Law must never depart from your mouth, and you are to meditate on it day and night, so that you will act faithfully according to everything written in it, because then you will prosper in everything you do, and you will succeed. 9 Have I not commanded you? Be strong and courageous. Do not be terrified and do not be overwhelmed, because the Lord your God is with you wherever you go.” 10 So Joshua gave this order to the officers of the people: 11 “Go through the camp and give this order to the people: ‘Prepare provisions for yourselves, because within three days you will be crossing over this Jordan to take possession of the land that the Lord your God is giving to you as a possession.'” 12 To the Reubenites and the Gadites and to half of the tribe of Manasseh Joshua said, 13 “Remember the command that Moses, the servant of the Lord, gave you when he said, ‘The Lord your God is granting you rest, and he has given you this land.' 14 Your wives, your children, and your cattle will stay in the land that Moses gave you east of the Jordan, but you yourselves, all of your strong warriors in their military units, are to cross over ahead of your brothers. You are to help your brothers 15 until the Lord gives rest to them as he has to you and they too take possession of the land that the Lord your God is giving them. Then you may return to the land allotted to you so that you may fully possess the land that Moses, the servant of the Lord, gave to you in the area east of the Jordan, toward the sunrise.” 16 Then they answered Joshua, “Everything that you have commanded us we will do. We will go to any place you send us. 17 Just as we obeyed Moses in all things, we will likewise obey you. May the Lord your God be with you, just as he was with Moses. 18 Anyone who rebels against your orders and does not obey whatever you command him will be put to death. Just be strong and courageous!” Footnotes Joshua 1:4 Or desert. This refers to the wilderness south of Israel in the Sinai Peninsula. Joshua 1:4 Hebrew Great Sea The Holy Bible, Evangelical Heritage Version®, EHV®, © 2019 Wartburg Project, Inc. All rights reserved.

Two gigs. One island. Buses, ferries, instruments, rehearsals, carrying, setting up, tearing down — and not exactly a Rolling Stones budget.So why do we still do this?In ArTEEtude 349, Detlef Schlich reflects with Sophia on the aftermath of the WAW Keep Clear journey through Cape Clear and Ballydehob. With Dirk Schlömer back in Berlin and the equipment finally unpacked, there is time to ask a question that reaches far beyond two concerts: what keeps an artist moving when money, comfort and convenience clearly aren't the answer?The episode begins with one of the stories that never made it into the previous podcasts: two €50 notes disappearing on the way to Cape Clear — and unexpectedly returning aboard the ferry. From there, the conversation moves into ageing, physical exhaustion, artistic obsession, live performance and the difference between validation and resonance.Cape Clear becomes more than a gig destination. Encounters, landscape, weather and people generate ideas that could never have emerged inside the studio alone. Yet inspiration brings its own problem: every journey creates more possibilities, while time, money and energy remain finite.Perhaps artists don't necessarily need an audience to validate their work.Perhaps they need encounters.Because something changes when art leaves the protected space of the studio and meets real people in a real place.And maybe Dirk's joke about coming back “a hundred euros richer” wasn't entirely wrong after all.The episode closes with the new Los Inorgánicos track:“Why Do We Still Do This?”Not for money.Not for fame.Again. Again. Again.About Detlef SchlichDetlef Schlich is a rock musician, podcaster, visual artist, filmmaker, ritual designer, and media archaeologist based in West Cork, Ireland.His artistic practice moves between performance, photography, painting, sound, installation, film, music, podcasting, and digital image-making. Across these fields, Schlich reflects on the human condition, the relationship between ritual and technology, and the changing role of the artist in digital culture.As a media archaeologist, he explores how media shape perception, memory, culture, politics, and artistic expression. His work often uses the figure of the digital shaman as an alter ego — a method for navigating the space between ancient ritual structures, contemporary media, and technological transformation.Research & Artistic MethodDetlef Schlich's artistic research is rooted in his essay Shamanism, Art and Digital Culture: Cause and Effect, which investigates the relationship between ritual, artistic transformation, media, and digital culture.Download here for free:Shamanism, Art and Digital Culture: Cause and Effecthttps://www.researchgate.net/publication/303749640_Shamanism_Art_and_Digital_Culture_Cause_and_EffectBuilding on this foundation, Schlich developed Multilayerism: A New Paradigm in Contemporary Art – A Manifesto, an artistic method and conceptual framework for understanding contemporary art through layers of media, memory, technology, ritual, emotion, misunderstanding, and lived experience.Read here:Multilayerism: A New Paradigm in Contemporary Art – A Manifesto by Detlef Schlichhttps://www.researchgate.net/publication/375665507_Multilayerism_A_New_Paradigm_in_Contemporary_Art_-_A_Manifesto_by_Detlef_SchlichTogether, these texts form the theoretical backbone of Schlich's ongoing work as a visual artist, media archaeologist, ritual designer, musician, and host of the Arteetude podcast.WEBSITE LINKS Music ProjectsWAW / Wild Atlantic WayWAW is the music project by Detlef Schlich and Dirk Schlömer.Official YouTube Channel:https://www.youtube.com/@WAWBandFrom the forthcoming WAW album The Stories of Nil YoungTwo songs from WAW's developing album project The Stories of Nil Young form part of a mythopoetic journey along the Nile, where river, memory, loss, cooperation, and hope flow into music.AfricaSmileAfricaSmile follows the Nile as an imagined journey from its sources to the Mediterranean Sea — a river of memory, movement, rhythm, and myth. The song turns the meeting of the White Nile and the Blue Nile into a fragile image of cooperation. It is not a naïve peace anthem, but a wounded musical hope: two different currents meeting, listening, and still moving forward together.Watch here:https://www.youtube.com/watch?v=LnQbsh01YWUThe Nile's Bittersweet SongThe Nile's Bittersweet Song is the first official single by WAW / Wild Atlantic Way — Detlef Schlich and Dirk Schlömer.The song follows the Nile as a river of memory, beauty, loss, and contradiction: a life-giver, but also a force that can take away what it once nourished. Through the story of Kamau, it becomes a poetic reflection on childhood, fragile hope, and the emotional landscape carried by a river that is both kind and cruel.Inspired by East African storytelling traditions and shaped along the Wild Atlantic Way in West Cork, The Nile's Bittersweet Song is a mythopoetic musical journey about water, grief, resilience, and the deep human longing to keep moving with the current.Watch here:https://www.youtube.com/watch?v=33AWko4IkKIWAW on BandcampSilent NightIn a world shadowed by conflict and unrest, Dirk Schlömer and Detlef Schlich felt compelled to reinterpret Silent Night to reflect the complexities and contradictions of modern life.https://studiomuskau.bandcamp.com/track/silent-nightWild Atlantic WayThis song emerged from a trip to West Cork, Ireland, where the beautiful coastal Wild Atlantic Way stretches along the west coast.https://studiomuskau.bandcamp.com/track/wild-atlantic-wayYouTubeSilent Night Reimagined – A Multilayered Avant-Garde Journey by WAW aka Dirk Schlömer & Detlef Schlichhttps://www.youtube.com/watch?v=dAbytLSfgCwDetlef SchlichInstagramDetlef Schlich ArTEEtude I love West Cork Artists FacebookDetlef Schlich I love West Cork Artists Group ArTEEtudeYouTube Channelsvisual PodcastArTEEtudeCute Alien TV official WebsiteArTEEtude Detlef Schlich Det Design Tribal Loop Support this podcast at — https://redcircle.com/arteetude-a-podcast-with-artists-by-detlef-schlich/exclusive-content

The Moon will ply the dark waters of the celestial sea the next few nights – a large region of sky that’s populated by constellations related to water. Tonight, the Moon sails from Aquarius the water bearer into Pisces, the fishes. Pisces is so long that the Moon will remain inside its borders until Monday night. The “sea” consists of six major constellations. Together, they cover almost one-eighth of the entire sky. All of them were created thousands of years ago by cultures around the Mediterranean Sea. The constellations probably were associated with water because the Sun passed across them during the rainy season. Like the open ocean on a moonless night, the entire region is dark – most of its stars are quite faint. The brightest of the lot is Fomalhaut. It’s in Piscis Austrinus, the southern fish. The star climbs into view in the southeast in early evening, and swims across the south during the night. It’s bright on its own, but the lack of other bright lights around it makes it really stand out. Pisces is especially dark. Most of its stars are impossible to see from light-polluted cities, or even the suburbs. And with the almost-full Moon passing through, it’s hard to see any of its stars even from sites that are far away from city lights. So as the Moon moves across the constellation, it looks like it’s floating through an ocean of darkness – the cosmic waters of the celestial sea. Script by Damond Benningfield

When they migrate, tiny songbirds that spend most of their lives on land fly hundreds of miles over the ocean at a stretch – and they get tired. Research suggests that birds migrating over busy shipping routes in the Mediterranean Sea may use the decks of sea vessels as places to catch their breath when the weather turns bad. More info and transcript at BirdNote.org. Want more BirdNote? Subscribe to our weekly newsletter. Sign up for BirdNote+ to get ad-free listening and other perks.  BirdNote is a nonprofit. Your tax-deductible gift makes these shows possible. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

The Cape Clear adventure is over — but the tide is still moving.Detlef Schlich and Dirk Schlömer sit down at Garrylucas Beach for the final reflection on their WAW days in West Cork: two gigs, new songs, the Magic Forest, unexpected encounters, exhaustion, friendship and a packed Oasis Art Café.WAW played a full hour of original material before Go Like This took over the stage — two generations, two different sounds, one great night.And somewhere along the journey, WAW itself changed: tighter songs, increasingly intertwined voices and a growing collection of Stories of West Cork.The episode ends where this chapter began: with Cape Clear — and the new WAW song inspired by the island.About Detlef SchlichDetlef Schlich is a rock musician, podcaster, visual artist, filmmaker, ritual designer, and media archaeologist based in West Cork, Ireland.His artistic practice moves between performance, photography, painting, sound, installation, film, music, podcasting, and digital image-making. Across these fields, Schlich reflects on the human condition, the relationship between ritual and technology, and the changing role of the artist in digital culture.As a media archaeologist, he explores how media shape perception, memory, culture, politics, and artistic expression. His work often uses the figure of the digital shaman as an alter ego — a method for navigating the space between ancient ritual structures, contemporary media, and technological transformation.Research & Artistic MethodDetlef Schlich's artistic research is rooted in his essay Shamanism, Art and Digital Culture: Cause and Effect, which investigates the relationship between ritual, artistic transformation, media, and digital culture.Download here for free:Shamanism, Art and Digital Culture: Cause and Effecthttps://www.researchgate.net/publication/303749640_Shamanism_Art_and_Digital_Culture_Cause_and_EffectBuilding on this foundation, Schlich developed Multilayerism: A New Paradigm in Contemporary Art – A Manifesto, an artistic method and conceptual framework for understanding contemporary art through layers of media, memory, technology, ritual, emotion, misunderstanding, and lived experience.Read here:Multilayerism: A New Paradigm in Contemporary Art – A Manifesto by Detlef Schlichhttps://www.researchgate.net/publication/375665507_Multilayerism_A_New_Paradigm_in_Contemporary_Art_-_A_Manifesto_by_Detlef_SchlichTogether, these texts form the theoretical backbone of Schlich's ongoing work as a visual artist, media archaeologist, ritual designer, musician, and host of the Arteetude podcast.WEBSITE LINKS Music ProjectsWAW / Wild Atlantic WayWAW is the music project by Detlef Schlich and Dirk Schlömer.Official YouTube Channel:https://www.youtube.com/@WAWBandFrom the forthcoming WAW album The Stories of Nil YoungTwo songs from WAW's developing album project The Stories of Nil Young form part of a mythopoetic journey along the Nile, where river, memory, loss, cooperation, and hope flow into music.AfricaSmileAfricaSmile follows the Nile as an imagined journey from its sources to the Mediterranean Sea — a river of memory, movement, rhythm, and myth. The song turns the meeting of the White Nile and the Blue Nile into a fragile image of cooperation. It is not a naïve peace anthem, but a wounded musical hope: two different currents meeting, listening, and still moving forward together.Watch here:https://www.youtube.com/watch?v=LnQbsh01YWUThe Nile's Bittersweet SongThe Nile's Bittersweet Song is the first official single by WAW / Wild Atlantic Way — Detlef Schlich and Dirk Schlömer.The song follows the Nile as a river of memory, beauty, loss, and contradiction: a life-giver, but also a force that can take away what it once nourished. Through the story of Kamau, it becomes a poetic reflection on childhood, fragile hope, and the emotional landscape carried by a river that is both kind and cruel.Inspired by East African storytelling traditions and shaped along the Wild Atlantic Way in West Cork, The Nile's Bittersweet Song is a mythopoetic musical journey about water, grief, resilience, and the deep human longing to keep moving with the current.Watch here:https://www.youtube.com/watch?v=33AWko4IkKIWAW on BandcampSilent NightIn a world shadowed by conflict and unrest, Dirk Schlömer and Detlef Schlich felt compelled to reinterpret Silent Night to reflect the complexities and contradictions of modern life.https://studiomuskau.bandcamp.com/track/silent-nightWild Atlantic WayThis song emerged from a trip to West Cork, Ireland, where the beautiful coastal Wild Atlantic Way stretches along the west coast.https://studiomuskau.bandcamp.com/track/wild-atlantic-wayYouTubeSilent Night Reimagined – A Multilayered Avant-Garde Journey by WAW aka Dirk Schlömer & Detlef Schlichhttps://www.youtube.com/watch?v=dAbytLSfgCwDetlef SchlichInstagramDetlef Schlich ArTEEtude I love West Cork Artists FacebookDetlef Schlich I love West Cork Artists Group ArTEEtudeYouTube Channelsvisual PodcastArTEEtudeCute Alien TV official WebsiteArTEEtude Detlef Schlich Det Design Tribal Loop Support this podcast at — https://redcircle.com/arteetude-a-podcast-with-artists-by-detlef-schlich/exclusive-content

For today's episode, Ivy is joined by Shahar Chaikin, author of "Native habitat affinities predict fish invasions with post-invasion habitat shifts". We discussed the story behind the paper and his experience as an ecologist. Read the full paper here: https://besjournals.onlinelibrary.wiley.com/doi/10.1111/1365-2656.70293 Read Shahar's blog post here: https://animalecologyinfocus.com/2026/07/06/who-is-next-in-line-predicting-which-red-sea-fish-will-invade-the-mediterranean-sea/ Watch the video teaser here: https://youtu.be/_OI8w4ZsDDs

When the Curse Comes Close Marshall Segal Download Psalm 108,My heart is steadfast, O God! I will sing and make melody with all mybeing!2 Awake, O harp and lyre! I will awake the dawn!3 I will give thanks to you, O Lord, among the peoples; I will sing praises to you among the nations.4 For your steadfast love is great above the heavens; your faithfulness reaches to the clouds.5 Be exalted, O God, above the heavens! Let your glory be over all theearth!6 That your beloved ones may be delivered, give salvation by your right hand and answer me!7 God has promised in his holiness: “With exultation I will divide up Shechem and portion out the Valley of Succoth.8 Gilead is mine; Manasseh is mine; Ephraim is my helmet, Judah my scepter.9 Moab is my washbasin; upon Edom I cast my shoe; over Philistia I shout in triumph.”10 Whowill bring me to the fortified city? Who will lead me to Edom?11 Have you not rejected us, O God? You do not go out, O God, with our armies.12 Oh grant us help against the foe, for vain is the salvation of man!13 With God we shall do valiantly; it is he who will tread down our foes.A couple months back, our main drain backed up into our laundry room, which is actually strangely normal for our street. A lot of our neighbors deal with tree roots in their drain lines that have to be cleared out once a year. We've done that for years now. But this year was different. In the spring, we noticed the line backing up again, and so we had our guy come out, and he cleared the drain like he had many times before. But just three months later, the laundry room flooded again. Frustrating. So we bring out a different guy. This guy has a camera. And so when he's done, we can see that the drain is actually clear this time. Wonderful. A couple hours later, though, we run the washer and there's more water in the laundry room. We bring the camera guy back, and he confirms the main drain is clear. But we see that the floor drain in the laundry room is badly clogged, and so he clears that one. As he does that, we run the washer again, and realize that the sink drain is also clogged. So, if you're counting, we had not one, not two, but three clogged drains.As I studied Psalm 108 this week (and did a couple loads of laundry), all those clogs came to mind again, because they're a picture of verse 12:“Oh grant us help against the foe, for vain is the salvation of man!”The salvation of man is like a horrible triple clog, flooding the house over and over and over again. Every time you clear one clog, another one appears. If we trust in man to deliver us, heal us, satisfy us, we're just asking for more dirty water. But our hope is not in man (even men with special cameras). No, our hope is in God and his steadfast love, and that's what Psalm 108 is all about. It's a psalm of David, and David is feeling the pain of the curse again. The world isn't how it should be, and the curse is coming in close again. David's battling enemies at the gate again. He's pleading (again) with God for relief and deliverance, and as he pleads he takes five big steps in the psalm. And those five steps are my sermon this morning.1. We GroanWhen the curse comes close, step 1, we groan. We don't know what situation caused David to write this psalm, but we know he was struggling to see where God was and what he was doing. The psalm opens with loud praise and confidence — “I will sing and make melody with all my being!” — but it doesn't stay there. . . . By the time we get to verses 10–11, he says:“Who will bring me to the fortified city?Who will lead me to Edom?Have you not rejected us, O God?You do not go out, O God, with our armies.”God, we're going out against our enemies and it feels like you've rejected us. It feels like you've tossed us to the wolves and walked away. Where are you?Why aren't you helping us?And before we go any farther, we know this feeling, don't we — persistent conflict somewhere in our family, frustrating dynamics at work that linger over months and months, a friend who keeps disappointing us even after hard conversations, piles and piles of doctor visits (and the problem still won't go away)? God, where are you? God, you promised a peace that surpasses all understanding, but I'm not feeling peace right now. You promised healing, but I'm not experiencing healing. You promised victory over this sin, but I'm not winning yet. No, I'm feeling anxious, attacked, tired, and defeated. This is our home because of sin.We all taste the bitterness of the curse all the time, with all five senses (some of us maybe tasted it this morning, just to get to church). How much of life while we wait here on earth feels a little like we're somewhere between clogs two and three? God, why is there so much water! You know what I have to do today. You know that I'm trying to serve you and honor you and glorify you. Clear these pipes already! I thought you loved me. I thought you knew what I needed before I asked. Why am I still dealing with conflict and temptation, sickness and weakness? That's not the world you promised me when I chose to follow you.David's groaning here, and he's not wrong to groan. This world isn't what it should be — what it will be. And God wants us to feel that. That's the purpose of the curse. He wants us to feel how wicked and destructive sin is. . . . So where are you feeling the crippling consequences of sin? Where do you feel like God has rejected your prayers and pulled back his support? We should groan. David's feelings here are legitimate and important, and it's good for him (good for us) to express them to God, but those feelings also aren't a complete picture. David knows that, and that leads us to the second step.2. We PraiseWhen we experience the curse along our way to glory, we groan. And we're right to groan. But we don't only groan. No, we groan and, second, we praise. Even under the curse and all the consequences of the curse, we praise God. David could praise God even while he felt abandoned by God because he knows reality is so much more than what he feels — more than what he can see from his very limited human perspective. This is where the psalm begins, verses 1–4:“My heart is steadfast, O God!I will sing and make melody with all my being!Awake, O harp and lyre!I will awake the dawn!I will give thanks to you, O LORD, among the peoples;I will sing praises to you among the nations.For your steadfast love is great above the heavens;your faithfulness reaches to the clouds.”It feels like God is not loving and not faithful right now, but David knows better than that. He knows that God's steadfast love has not come to an end and that his mercy is still new again this morning — even in disappointment and defeat. His God is not any less God in the valley. He says, “Your steadfast love is great above the heavens; your faithfulness reaches to the clouds.” I can only see so much down here on earth, God, and it looks pretty dark and bleak where I am, but your steadfast love stands high above all I can see. Your faithfulness reaches as far as I can imagine (and even farther than that). Reality is far bigger than my feelings, like galaxies bigger than my feelings (that's why he's reaching for “heavens” and “clouds” here).I experienced this on a flight with our family recently. It was overcast and rainy when we took off and started climbing, but pretty soon, what happened? We broke through the clouds, and (you've seen this) I saw the sun shining strong and bright, blue sky as far as I could see. It was a whole different world up there. . . . But it wasn't. It was the same world above the clouds as it was below the clouds. We just can't see above the clouds most of the time. If you go high enough, though, it'sall sun. And that's how it is with God's love for you. It may be pretty miserable here beneath the clouds right now, but just above all the clouds you can see, it's all sun. His steadfast love is great above the heavens, his faithfulness reaches to (and through) the clouds. Don't measure his love or faithfulness with your eyes and your trials. The truth is you can't see very much from where you're sitting. David praises what he knows about God even when he can't see his faithful, loving hand. In this case, in this moment of groaning, David reached for praise from another season of his life. He borrowed from two earlier psalms for this new trouble (whatever it was). Nothing in this psalm is new. Verses 1–5 are from Psalm 57, where David praises God after God delivered David from the cave with Saul (this is 1 Samuel 24). Remember that David was hiding in a cave, and Saul was hunting him to kill him. Saul actually went into the cave where David was (terrifying for David), but he didn't know David was in there. In the darkness, David sneaks up and cuts off a piece of Saul's robe and shows it to him later to prove his loyalty. God delivered David that day from great danger — steadfast love above the heavens, faithfulness to the clouds. And now with this new trouble, David reached back for the song he wrote outside that cave. And then the second half of Psalm 108, verses 6–13, are from Psalm 60, where David expresses some distress in battle, but this time, he leads God's people to victory over Edom, wiping out 12,000 soldiers in battle. With God's help, they did valiantly that day. And as David reaches back for old praise in these news trials, he teaches us to do that. Learn these psalms well enough, Cities Church, that you can grab them when the curse comes close to you. And when God answers your prayers, praise him. Write them down. Memorialize them in some way. Write a new song, like we talked about in Psalm 98. And then hold onto those answered prayers for days when the curse comes close again and God hasn't answered yet.3. We AskSo, we groan, feeling the awful weight of sin and all its consequences, and we praise, remembering that God's love and faithfulness are so much bigger than all we feel and fear. David teaches us, third, to ask. We ask God to end the curse and make good on his promises. Notice, David doesn't remember God's promise and stop asking. No, he hears the promise and it emboldens him to ask even harder. God, you promised to deliver us, and so deliver us! God means, for now, to make war on the curse through our asking. One day soon, he'll wipe out the curse — all of his enemies everywhere. But for now, he chooses to defeat the curse a prayer at a time. Here's how David asks in Psalm 108, verses 5–6:“Be exalted, O God, above the heavens!Let your glory be over all the earth!That your beloved ones may be delivered,give salvation by your right hand and answer me!”Deliver us, God! Give salvation by your right hand and answer me! That's the first prayer. I have prayers like this in our life, prayers that just won't give. Why won't you answer me, God? . . .One great reason God makes us wait in prayer is because he wants us to keep praying. Why would God make me wait so long? Because he knows some of us would stop praying if we got what we wanted — and it's far more important that we stay on our knees in faith than that we have some temporary relief or comfort in this life. He loves you too much to let you feel like you don't need him. “Deliver me” isn't the only prayer, though, or the highest prayer. No, the highest prayer comes in the verse before, verse 5:“Be exalted, O God, above the heavens! Let your glory be over all the earth!”Praying saints like King David can keep praying the same prayers, sometimes for years, because they want something more than they want relief or healing or deliverance. They want God to be glorified! They want his truth and beauty and worth to be seen and enjoyed all over the earth. And they want him to do whatever he needs to do for that to happen. And, Scripture is clear, that might mean we suffer for a little while. It might mean we suffer for the rest of our lives. That's the apostle Paul's thorn, right? Lord, take it away, take it away, take it away — three times he asks — but not my will, but yours be done. And God doesn't take it away — not because he's rejected or abandoned Paul. His steadfast love stands above the heavens, and his faithfulness to the clouds. No, he leaves the thorn for now, because God is more concerned with his glory running out into the world through us, for the eternal good of others, than he is with providing some short-term comfort for us now. He's doing something wonderfully, eternally glorious in all our trials. We just can't see it yet. But we can ask. And God wants us to ask and keep asking, like David does here.4. We TrustWhen we feel the curse, we groan, we praise, we ask, and, fourth, we trust. We hold on hard to what God has promised to do for those who love him. Listen to David cling onto a promise, verses 7–8:God has promised in his holiness: [He doesn't lie!]“With exultation I will divide up Shechemand portion out the Valley of Succoth.Gilead is mine; Manasseh is mine;Ephraim is my helmet,Judah my scepter.Shechem, Succoth, Gilead, Manasseh, Ephraim, Judah — these are all places within the promised land, the land that God promised to Abraham, Isaac, Jacob, and all of Israel after them. Israel's living in the land by now, but it's still under constant attack. And so David is saying, “God, you said! Gilead, Manasseh, Ephraim, Judah — those are yours, and you promised to give that land to us. So why does the land feel so fragile? Why do the enemies feel so powerful? Still, he holds onto the promise. You said, and I'm going to trust you.And God didn't promise only the 8,000 square miles of land on the eastern edge of the Mediterranean Sea. No, he promised to take every land for his glory. That's what the next verse is about, verse 9. God goes on, “Moab is my washbasin;upon Edom I cast my shoe;over Philistia I shout in triumph.”Now we're outside of Israel. These are Israel's surrounding enemies. And God says, “Oh they belong to me too.” And David believes him. Even when it feels like the Moabites and Philistines have the upper hand and are taking ground, David remembers what God said and he truststhe promise. He keeps looking to God for salvation. He looks to God for salvation, and (next verse) he refuses to look to man. Again, verse 12: “Oh grant us help against the foe, for vain is the salvation of man!”David knows this temptation all too well. He knows that when the curse is pressing in, and the opposition is intense, and it seems like God has rejected and abandoned him, there will be a terrible pressure to turn and trust in man — to trust in himself and his armies and other armies. If God won't help me, then I'll try something else. Have you felt that temptation? God's way isn't working, and so I'm trying my way.We don't talk this way, of course. We'd never say to each other, “Oh yeah, I'm actually trying out the salvation of man. I'm expecting someone else to save me now.” We don't talk like that, but oh we act like that sometimes. Don't we? We might say God is our Savior, but so much of what we say and do points to a different savior (often to ourselves). We skip time in the word because we're too busy right now. We slip in and out of church because we've got somewhere else to be. We work and work and work and rarely pray. We ask ChatGPT instead.David knew that the salvation of man saves nothing. It accomplishes nothing. It is vain. And he knew he (and we) needed to be reminded that man cannot save. Only God can save.5. We TreadWe do not trust in man — certainly not ourselves — no, we trust in God. And when we trust in him, we will do valiantly. We don't use that word often (at least I don't), but we should. When we feel the curse, we groan, we praise, we ask, we trust, and finally, we tread. Oh we will tread down all the forces of evil and consequences of evil. Verses 12–13:“Oh grant us help against the foe,for vain is the salvation of man!With God we shall do valiantly;it is he who will tread down our foes.”Vain is the salvation of man, but sure is the salvation of God. With God, we shall do valiantly. We shall prevail against all our enemies. For David, that meant Moab and Edom and Philistia. If God is with us, we have nothing to fear and we cannot lose. No matter how bleak it gets, we can take courage and know that we will outlast every enemy of God. Because God himself will tread down our foes. “With God we shall do valiantly; it is he who will tread down our foes.” And when he treads, he treads with sovereign, unrivaled power. That's what he just said in verse 9:“Moab is my washbasin;upon Edom I cast my shoe;over Philistia I shout in triumph.”Those enemies that seem so massive and powerful to you right now? They're are a bucket for my feet. They're a plastic bin for my sandals. We don't talk about Moab or Edom or Philistia today. They don't seem so big anymore, do they? The Philistines vanished as a people 2,500 years ago. Think about that. Israel fought the Philistines for two or three hundred years. For all that time (the entire history of the United States), these were the terrible giants bearing down on them. Where is God? What if they wipe us out? And then they're completely gone, tossed out like water in a bucket. That's true of every great fear you have today — war, disease, oil prices, artificial intelligence.A.I. is my washbasin. . . . upon cancer I cast my shoe. . . . over Islam I shout in triumph.The giants we most fear are as nothing to him. They're water for him to wash his feet. And I don't know about you, but the giants I battle most aren't out there in the headlines — no, they're in here. Pride. Selfishness. Impatience. Wrath. Envy. Self-pity. And God promises, I'm taking that land too. Whatever temptation looms over you. He says, “We all, with unveiled face, beholding the glory of the Lord,are being transformed into the same image from one degree of glory to another. For this comes from the Lord who is the Spirit” (2 Corinthians 3:18). In other words,Pride is my washbasin. . . . upon envy and bitterness I cast my shoe. . . . over lust I shout in triumph.The salvation of man is vain. You can't beat that sin alone. But with God, you can and shall do valiantly.The King, the Cave, and the ConquestDavid saw God tread down foes by the tens of thousands — Moab, Edom, Philistia, but he didn't see him tread all his foes. And that brings us to the Table.King David knew God would have his full and final victory, but he also knew that God's people needed another King. A King who would take on flesh, sympathizing with us in our groaning — “My God, My God, why have you forsaken me?” Who would praise the steadfast love and faithfulness of his Father, even in his darkest hour. Who would ask that the bitter cup of the curse be removed from him. Who would trust the Father's word and will — “Not my will, but yours be done.” Who would be betrayed, condemned, crucified, and buried — and through it all, would do valiantly. On the cross, King Jesus tread down his enemies in awesome victory. That King, remember, was also rescued from a cave. And while he has defeated the Enemy already in his death and resurrection, he will return and wash his feet with all his enemies. He'll toss his glorified sandal on anyone who rejects him and stands against him. And on that day, he'll bring us home, where the curse will never come close again.

Cape Clear. An island at the edge of Ireland. A ferry, a gig, a few instruments — and two men who apparently still think jumping into the Atlantic is a perfectly reasonable form of post-production.This episode is not a polished travel report. It is the sound of actually being there.Detlef and Dirk talk about the journey to Cape Clear, arriving on the island, the people they met, the atmosphere surrounding the gig, performing their music far away from the usual circuits — and what remains when the instruments are packed away and the evening is over.The conversation moves between music, friendship, island life, improvisation and those unexpected moments that turn a gig into something much larger than a gig.And somewhere between land and sea, performance and memory, WAW's KEEP CLEAR journey becomes exactly what it was meant to be:Not simply a tour.An encounter.An experience.A story worth bringing home.Keep Clear. Come closerAbout Detlef SchlichDetlef Schlich is a rock musician, podcaster, visual artist, filmmaker, ritual designer, and media archaeologist based in West Cork, Ireland.His artistic practice moves between performance, photography, painting, sound, installation, film, music, podcasting, and digital image-making. Across these fields, Schlich reflects on the human condition, the relationship between ritual and technology, and the changing role of the artist in digital culture.As a media archaeologist, he explores how media shape perception, memory, culture, politics, and artistic expression. His work often uses the figure of the digital shaman as an alter ego — a method for navigating the space between ancient ritual structures, contemporary media, and technological transformation.Research & Artistic MethodDetlef Schlich's artistic research is rooted in his essay Shamanism, Art and Digital Culture: Cause and Effect, which investigates the relationship between ritual, artistic transformation, media, and digital culture.Download here for free:Shamanism, Art and Digital Culture: Cause and Effecthttps://www.researchgate.net/publication/303749640_Shamanism_Art_and_Digital_Culture_Cause_and_EffectBuilding on this foundation, Schlich developed Multilayerism: A New Paradigm in Contemporary Art – A Manifesto, an artistic method and conceptual framework for understanding contemporary art through layers of media, memory, technology, ritual, emotion, misunderstanding, and lived experience.Read here:Multilayerism: A New Paradigm in Contemporary Art – A Manifesto by Detlef Schlichhttps://www.researchgate.net/publication/375665507_Multilayerism_A_New_Paradigm_in_Contemporary_Art_-_A_Manifesto_by_Detlef_SchlichTogether, these texts form the theoretical backbone of Schlich's ongoing work as a visual artist, media archaeologist, ritual designer, musician, and host of the Arteetude podcast.WEBSITE LINKS Music ProjectsWAW / Wild Atlantic WayWAW is the music project by Detlef Schlich and Dirk Schlömer.Official YouTube Channel:https://www.youtube.com/@WAWBandFrom the forthcoming WAW album The Stories of Nil YoungTwo songs from WAW's developing album project The Stories of Nil Young form part of a mythopoetic journey along the Nile, where river, memory, loss, cooperation, and hope flow into music.AfricaSmileAfricaSmile follows the Nile as an imagined journey from its sources to the Mediterranean Sea — a river of memory, movement, rhythm, and myth. The song turns the meeting of the White Nile and the Blue Nile into a fragile image of cooperation. It is not a naïve peace anthem, but a wounded musical hope: two different currents meeting, listening, and still moving forward together.Watch here:https://www.youtube.com/watch?v=LnQbsh01YWUThe Nile's Bittersweet SongThe Nile's Bittersweet Song is the first official single by WAW / Wild Atlantic Way — Detlef Schlich and Dirk Schlömer.The song follows the Nile as a river of memory, beauty, loss, and contradiction: a life-giver, but also a force that can take away what it once nourished. Through the story of Kamau, it becomes a poetic reflection on childhood, fragile hope, and the emotional landscape carried by a river that is both kind and cruel.Inspired by East African storytelling traditions and shaped along the Wild Atlantic Way in West Cork, The Nile's Bittersweet Song is a mythopoetic musical journey about water, grief, resilience, and the deep human longing to keep moving with the current.Watch here:https://www.youtube.com/watch?v=33AWko4IkKIWAW on BandcampSilent NightIn a world shadowed by conflict and unrest, Dirk Schlömer and Detlef Schlich felt compelled to reinterpret Silent Night to reflect the complexities and contradictions of modern life.https://studiomuskau.bandcamp.com/track/silent-nightWild Atlantic WayThis song emerged from a trip to West Cork, Ireland, where the beautiful coastal Wild Atlantic Way stretches along the west coast.https://studiomuskau.bandcamp.com/track/wild-atlantic-wayYouTubeSilent Night Reimagined – A Multilayered Avant-Garde Journey by WAW aka Dirk Schlömer & Detlef Schlichhttps://www.youtube.com/watch?v=dAbytLSfgCwDetlef SchlichInstagramDetlef Schlich ArTEEtude I love West Cork Artists FacebookDetlef Schlich I love West Cork Artists Group ArTEEtudeYouTube Channelsvisual PodcastArTEEtudeCute Alien TV official WebsiteArTEEtude Detlef Schlich Det Design Tribal Loop Support this podcast at — https://redcircle.com/arteetude-a-podcast-with-artists-by-detlef-schlich/exclusive-content

Fluent Fiction - Hebrew: Chasing Sunsets and Surprises: An Amalfi Adventure Unfolds Find the full episode transcript, vocabulary words, and more:fluentfiction.com/he/episode/2026-08-15-22-34-02-he Story Transcript:He: השמש זרחה על חופי אמלפי באיטליה.En: The sun shone on the beaches of Amalfi in Italy.He: זה היה יום חם של קיץ, והמקום היה מלא בתיירים שחוגגים את פררגוסטו.En: It was a hot summer day, and the place was filled with tourists celebrating Ferragosto.He: באוויר נשמעה צחוק המשפחות וריח הלימונים היה בכל מקום.En: The laughter of families could be heard in the air, and the scent of lemons was everywhere.He: נועה, איתן ושירה טיילו לאורך החופים.En: Noa, Eitan, and Shira strolled along the beaches.He: נועה, עם המצלמה ביד, חיפשה את התמונה המושלמת של השקיעה מעל הים התיכון.En: Noa, with a camera in hand, searched for the perfect picture of the sunset over the Mediterranean Sea.He: כל היום התרוצצו, מסיירים בעיירות הקטנות והיפות.En: All day long, they ran around, touring the small and beautiful towns.He: הצוקים המגוונים בצבעי פסטל צנחו לים הכחול המנצנץ, ונועה לא הפסיקה לצלם.En: The cliffs, varied in pastel colors, plunged into the sparkling blue sea, and Noa couldn't stop taking photos.He: היא ידעה שהשקיעה תהיה המיוחדת מכל, והיא רצתה לתפוס את התמונה הזאת כזיכרון מהטיול.En: She knew that the sunset would be the most special of all, and she wanted to capture this picture as a memory from the trip.He: אבל לפתע, השמיים התכסו בעננים כהים.En: But suddenly, the sky was covered with dark clouds.He: רעם התגלגל והרוח התחזקה, נועה הרגישה את הלחץ.En: Thunder rumbled and the wind picked up, and Noa felt the pressure.He: היא פנתה לאיתן ושירה: "מה נעשה אם לא אצליח לצלם את השקיעה?En: She turned to Eitan and Shira, "What will we do if I don't manage to photograph the sunset?"He: "איתן הביט על השעון: "לא נותר זמן.En: Eitan looked at the watch, "There isn't much time left.He: אנחנו חייבים לחשוב מהר.En: We have to think fast."He: "שירה חייכה, ניסתה להרגיע, "בואי נועה, נמציא תוכנית חדשה.En: Shira smiled, trying to calm her down, "Come on, Noa, let's make a new plan."He: "בפתאום התחיל לרדת מבול.En: Suddenly, it started pouring rain.He: נועה הייתה חסרת אונים לכמה רגעים.En: Noa was helpless for a few moments.He: אבל אז ראתה גבעה לא רחוקה מהם.En: But then she saw a hill not far from them.He: "בואו, נעלה לשם!En: "Come on, let's head up there!"He: " הם טיפסו מהר, נועה דוחפת את עצמה למרות הגשם הכבד.En: They climbed quickly, Noa pushing herself despite the heavy rain.He: כשהגיעו לפסגת הגבעה, הגשם פסק.En: When they reached the top of the hill, the rain stopped.He: העננים התפזרו והשמש החלה לשקוע בקצה השמים.En: The clouds dispersed and the sun began to set at the horizon.He: הנוף היה מדהים – צבעים עזים ויפים של כתום וורוד התפרצו לרוחב השמים.En: The view was stunning – vibrant and beautiful shades of orange and pink burst across the sky.He: נועה צילמה את התמונה שעליה חלמה.En: Noa captured the picture she had dreamed of.He: השמש ירדה בים, והשלושה היו מלאים אושר.En: The sun sank into the sea, and the three were filled with joy.He: נועה ידעה שאין רק יופי בתמונה שהיא צילמה, אלא גם הרפתקה ותגובת מהירות למצב.En: Noa knew that the beauty in the picture she took was not just in the image itself, but also in the adventure and quick response to the situation.He: היא הביטה בהקלה על איתן ושירה.En: She looked at Eitan and Shira with relief.He: "כן, למדתי משהו חדש: לשחרר ולהיות פתוחה להפתעות.En: "Yes, I've learned something new: to let go and be open to surprises."He: "נדמה שכעת, נועה בטוחה בעצמה יותר, ומוכנה לקבל ולאהוב כל שינוי שבא בדרכה.En: It seems that now, Noa is more confident in herself, and ready to embrace and love any change that comes her way. Vocabulary Words:shone: זרחהhot: חםcelebrating: שחוגגיםlaughter: צחוקstrolled: טיילוsearched: חיפשהcapture: לתפוסsuddenly: לפתעcovered: התכסוthunder: רעםrumbled: התגלגלpressure: לחץplan: תוכניתpouring: מבולhelpless: חסרת אוניםhill: גבעהpushing: דוחפתheavy: כבדdispersed: התפזרוhorizon: קצה השמיםstunning: מדהיםvibrant: עזיםburst: התפרצוjoy: אושרrelief: הקלהadventure: הרפתקהresponse: תגובתsurprises: הפתעותconfident: בטוחהchange: שינויBecome a supporter of this podcast: https://www.spreaker.com/podcast/fluent-fiction-hebrew--5818690/support.

Fluent Fiction - Hebrew: Finding Belonging: Noam's Journey from Loneliness to Love Find the full episode transcript, vocabulary words, and more:fluentfiction.com/he/episode/2026-08-15-07-38-20-he Story Transcript:He: השמש קופחת על יפו בקיץ.En: The sun beats down on Jaffa in the summer.He: האוויר חם ומלחי מהים התיכון.En: The air is warm and salty from the Mediterranean Sea.He: נועם עומד בכניסת הנמל, מביט סביבו.En: Noam stands at the entrance of the port, looking around.He: הוא חזר מנסיעות בצרפת.En: He has returned from traveling in France.He: הלב שלו מתרגש, אבל גם מעט כבד.En: His heart is excited, but also a little heavy.He: הוא לא בטוח איך להרגיש.En: He is unsure how to feel.He: קל להישאב לזיכרונות.En: It's easy to get caught up in memories.He: ילדים משחקים בקרבת החוף, משפחות יושבות בקפה המקומי.En: Children are playing near the beach, families are sitting in the local cafe.He: נועם נכנס לבית הקפה, והמראה הראשון שהוא רואה הוא כריזמה של לאה, בת דודתו.En: Noam enters the cafe, and the first sight he sees is the charisma of Leah, his cousin.He: היא מחייכת וצוחקת, משעשעת את כל המשפחה.En: She is smiling and laughing, entertaining the whole family.He: כל הקהל אוהב אותה.En: Everyone loves her.He: נועם מרגיש יתום.En: Noam feels like an orphan.He: לאה מבחינה בנועם ועיניה נדלקות.En: Leah notices Noam and her eyes light up.He: "נועם, חזרת!En: "Noam, you've come back!"He: " היא קוראת ופונה אליו בפתיחות.En: she exclaims and approaches him openly.He: נועם מגשש, מנסה לחוש את הדינמיקה המשפחתית מהצד.En: Noam fumbles, trying to gauge the family dynamic from the side.He: נועם מתלבט אם הוא באמת שייך לכאן.En: Noam wonders if he truly belongs here.He: הוא מתיישב לצד לאה, והאווירה משוחררת וטבעית.En: He sits beside Leah, and the atmosphere is relaxed and natural.He: לאחר כמה דקות, לאה שמה לב לשתיקתו ושואלת בעיניים חמות, "מה קורה?En: After a few minutes, Leah notices his silence and asks warmly, "What's going on?He: אתה נראה מרוחק.En: You seem distant."He: "נועם לוקח נשימה עמוקה.En: Noam takes a deep breath.He: "אני מרגיש מנותק," הוא לוחש, "לא יודע איך להתחבר שוב.En: "I feel disconnected," he whispers, "I don't know how to reconnect."He: "לאה מסכימה בשקט, ואז פונה חזרה לשאר המשפחה.En: Leah quietly agrees, then turns back to the rest of the family.He: כשמגיע הזמן להרמת הכוסית, היא פונה בחיוך, "נועם רוצה לדבר.En: When it's time to raise a toast, she turns with a smile, "Noam wants to speak."He: "הלב של נועם דופק במהירות.En: Noam's heart races.He: הוא עומד, מביט בכל הפנים המוכרות והחמות.En: He stands, looking at all the familiar, warm faces.He: בעברית פשוטה הוא מתחיל לספר.En: In simple Hebrew, he begins to speak.He: מספר על צרפת ועל התחושות של הבדידות.En: He talks about France and the feelings of loneliness.He: "התגעגעתי," הוא מסיים בקול שברירי.En: "I missed you," he finishes in a fragile voice.He: המשפחה משיבה לו בחום.En: The family responds warmly.He: חיבוקים, מילים טובות, תחושת שייכות מתחדשת.En: Hugs, kind words, a renewed sense of belonging.He: נועם מרגיש חום מתפשט בלב שלו.En: Noam feels warmth spreading in his heart.He: הוא חלק מהמשפחה, והם שם עבורו.En: He is part of the family, and they are there for him.He: בערב כשהשמש מתחילה לשקוע מעבר לאופק, נועם עומד לצד לאה, המבט לכיוון הים והאורות שהולכים ומתחזקים.En: In the evening, as the sun begins to set beyond the horizon, Noam stands next to Leah, gazing towards the sea and the lights that are getting stronger.He: הוא מרגיש אחרת, קרוב יותר, בטח בעצמו.En: He feels different, closer, more confident in himself.He: לאה מחייכת אליו ומחבקת אותו.En: Leah smiles at him and embraces him.He: "ברוך שובך," היא אומרת בחיוך רחב.En: "Welcome back," she says with a broad smile.He: נועם משיב בחיוך.En: Noam returns the smile.He: בבית.En: At home. Vocabulary Words:beats down: קופחתsalty: מלחיentrance: כניסתport: נמלtraveling: נסיעותcaught up: להישאבmemories: זיכרונותcharisma: כריזמהentertaining: משעשעתorphan: יתוםexclaims: קוראתgauge: לחשdynamic: דינמיקהrelaxed: משוחררתatmosphere: אווירהdistant: מרוחקwhispers: לוחשdisconnected: מנותקreconnect: להתחבר שובto raise a toast: להרמת הכוסיתsimple: פשוטהfragile: שבריריbelonging: שייכותspreading: מתפשטembraces: מחבקתbroad: רחבhorizon: אופקgazing: המבט לכיווןconfident: בטחrenewed: מתחדשתBecome a supporter of this podcast: https://www.spreaker.com/podcast/fluent-fiction-hebrew--5818690/support.

The top of the world will see a total solar eclipse tomorrow. A partial eclipse will encompass a wider slice of the globe, including Alaska and parts of the northeastern United States. A solar eclipse occurs when the Moon passes directly between Earth and the Sun, blocking the Sun from view. The Sun’s hot but faint outer atmosphere, the corona, looks like silvery tendrils radiating away from the Moon. This eclipse begins when the lunar shadow first touches Earth, over northeastern Russia. The eclipse path then passes near the north pole, slides across parts of Greenland and Iceland, and finally over northern Spain before vanishing over the Mediterranean Sea. At its peak, off the coast of Iceland, totality will last for 2 minutes, 18 seconds. A partial eclipse, where the Moon covers only a portion of the solar disk, will flank that path. In addition to parts of North America, it’ll encompass much of western Europe and western Africa. From far-northern Alaska, the Moon will cover more than half of the Sun’s disk, at about 8:30 a.m. From Anchorage, about a quarter of the Sun will be covered. And from the northeast, the greatest eclipse takes place in northern Maine, shortly before 2 p.m. If you’re in one of those areas, remember to protect your eyes. Watch the eclipse only through special glasses or dark welder’s glass, and never look at the unfiltered Sun. Script by Damond Benningfield

Fluent Fiction - Hebrew: Mystery of the Glowing Sea: Aviva's Tel Aviv Adventure Find the full episode transcript, vocabulary words, and more:fluentfiction.com/he/episode/2026-08-11-07-38-19-he Story Transcript:He: תחת ירח מלא בחוף תל אביבי, נשבה רוח חמה ומלוחה על פני החול הזהוב.En: Under a full moon on a Tel Aviv beach, a warm, salty breeze blew across the golden sand.He: עצי הדקל רעדו קלות, והאורות מן העיר נצצו ברקע הכחול העמוק של הים התיכון.En: The palm trees trembled slightly, and the lights from the city sparkled in the deep blue backdrop of the Mediterranean Sea.He: אביבה, אישה צעירה ונלהבת עם אהבה נסתרת לעולם הים, נהגה לפקוד את החוף בכל ערב.En: Aviva, a young and enthusiastic woman with a hidden love for the sea world, used to visit the beach every evening.He: אבל לאחרונה, הופיעה תעלומה חדשה שהדירה שינה מעיני המקומיים והתיירים גם יחד: אור מסתורי שהופיע כל לילה רחוק מהחוף.En: But lately, a new mystery had disturbed the sleep of both locals and tourists alike: a mysterious light that appeared every night far from the shore.He: כל אחד סיפר סיפור שונה על מקורו של האור, וזה רק בלבל עוד יותר.En: Everyone told a different story about the origin of the light, which only added to the confusion.He: איתן ונועה, חבריה הטובים של אביבה, ניסו לסייע לה לפענח את הסוד.En: Eitan and Noa, Aviva's good friends, tried to help her unravel the secret.He: "אולי זה דולפין זוהר," אמר איתן בצחוק.En: "Maybe it's a glowing dolphin," Eitan joked.He: "או אולי ספינת רפאים?En: "Or perhaps a ghost ship?"He: " הציעה נועה בקריצה.En: Noa suggested with a wink.He: אביבה החליטה לבדוק את העניין בעצמה.En: Aviva decided to investigate the matter herself.He: היא אספה אומץ והחליטה להישאר לילה שלם על החוף כדי לנסות ולגלות מהיכן מגיע האור.En: She gathered her courage and decided to stay a whole night on the beach to try and discover where the light came from.He: לבה דפק בחוזקה כשהשמש התחילה לשקוע והערב ירד.En: Her heart pounded as the sun began to set and evening fell.He: והיא זכרה לרגע את הפחד שלה מהים החשוך.En: She momentarily remembered her fear of the dark sea.He: כשהאור הופיע שוב, היא לקחה קיאק והתחילה לחתור לכיוונו.En: When the light appeared again, she took a kayak and started paddling toward it.He: היא נשמה עמוק והמשיכה לחתור.En: She took a deep breath and continued paddling.He: שם, עמוק בים, גילתה משהו מדהים: יצורי ים זוהרים, שכבר נחשבו נכחדים.En: There, deep in the sea, she discovered something amazing: glowing sea creatures that were thought to be extinct.He: הם הפיצו אור כחול מרהיב, כאילו שמחת הים חזרה לחיים.En: They emitted a marvelous blue light, as if the sea's joy had come back to life.He: אביבה צילמה הכל ושבה לחוף בבטחה, ניצחון בעיניה וחיוך על פניה.En: Aviva photographed everything and returned safely to the shore, with victory in her eyes and a smile on her face.He: היא לא רק גילתה את מקור האור אלא גם את הכוחות הטמונים בה.En: She not only discovered the source of the light but also the strengths within her.He: היא הרגישה בטוחה יותר בעצמה ובאהבתה לים.En: She felt more confident in herself and her love for the sea.He: בקומה בטוחה, היא ידעה שפענחה את תעלומת האור המסתורי ושגם חייה השתנו.En: With newfound assurance, she knew she had solved the mystery of the mysterious light and that her life had changed as well.He: האור הזוהר בחוף תל אביב אולי נעלם, אבל האור הפנימי של אביבה רק התחיל לזרוח.En: The glowing light on the Tel Aviv beach might have disappeared, but Aviva's inner light had only begun to shine. Vocabulary Words:trembled: רעדוbackdrop: רקעenthusiastic: נלהבתhidden: נסתרתlocals: המקומייםtourists: התייריםunravel: לפענחsecret: סודghost: רפאיםinvestigate: לבדוקcourage: אומץdiscovered: גילתהextinct: נכחדיםemitted: הפיצוmarvelous: מרהיבvictory: ניצחוןassurance: בטוחהdisappeared: נעלםglowing: זוהרsolved: פענחהmystery: תעלומהpounded: דפקmomentarily: לרגעfear: פחדpaddling: לחתורcreatures: יצוריphotographed: צילמהconfident: בטוחהinner: הפנימיshone: לזרוחBecome a supporter of this podcast: https://www.spreaker.com/podcast/fluent-fiction-hebrew--5818690/support.

Fluent Fiction - Italian: Moonlit Market: Discovering Inspiration by the Mediterranean Sea Find the full episode transcript, vocabulary words, and more:fluentfiction.com/it/episode/2026-08-11-22-34-02-it Story Transcript:It: La luna brillava sulla spiaggia mentre Leandro, Mirella e Giulietta si muovevano tra il mercato all'aperto.En: The moon shone on the beach while Leandro, Mirella, and Giulietta moved through the open-air market.It: Era Ferragosto e il mare cantava dolci melodie, mescolandosi col chiacchiericcio allegro dei venditori e dei visitatori sulla spiaggia.En: It was Ferragosto and the sea sang sweet melodies, blending with the cheerful chatter of vendors and visitors on the beach.It: Leandro, un artista riflessivo, osservava ogni dettaglio.En: Leandro, a thoughtful artist, observed every detail.It: Voleva catturare l'essenza dell'estate mediterranea nel suo prossimo quadro.En: He wanted to capture the essence of the Mediterranean summer in his next painting.It: Ma trovare ispirazione era difficile tra il frastuono e i colori vivaci del mercato.En: But finding inspiration was difficult amid the bustling noise and vibrant colors of the market.It: "Leandro, rimani un po' di più," disse Mirella, sempre pronta ad avventurarsi.En: "Leandro, stay a little longer," said Mirella, always ready to venture.It: "C'è tanto da vedere."En: "There's so much to see."It: Giulietta, una venditrice dal passato misterioso, attirò la loro attenzione.En: Giulietta, a vendor with a mysterious past, caught their attention.It: La sua bancarella era piena di gioielli fatti a mano, ognuno con una storia propria da raccontare.En: Her stall was filled with handmade jewelry, each with its own story to tell.It: "Questo è speciale," disse Giulietta, indicando un pendente unico.En: "This is special," said Giulietta, pointing to a unique pendant.It: La luce lunare brillava su di esso, creando un gioco di riflessi.En: The moonlight gleamed on it, creating a play of reflections.It: Leandro sentì una scintilla di ispirazione improvvisa.En: Leandro felt a sudden spark of inspiration.It: "È perfetto," pensò, immaginando il pendente al centro della sua tela.En: "It's perfect," he thought, imagining the pendant at the center of his canvas.It: Ma il prezzo era alto, e Leandro esitò.En: But the price was high, and Leandro hesitated.It: Mirella lo incoraggiò: "Parla con lei, forse possiamo trovare un accordo."En: Mirella encouraged him: "Talk to her, maybe we can find a deal."It: Con gentilezza, Leandro e Mirella iniziarono a negoziare con Giulietta.En: With kindness, Leandro and Mirella began negotiating with Giulietta.It: Dopo qualche scambio di parole e molti sorrisi, Giulietta fu d'accordo a vendere il pendente a un prezzo ragionevole.En: After some exchanges of words and many smiles, Giulietta agreed to sell the pendant at a reasonable price.It: Finalmente, con il gioiello in mano, Leandro capì qualcosa d'importante: l'ispirazione può arrivare da persone e luoghi inaspettati.En: Finally, with the jewel in hand, Leandro understood something important: inspiration can come from unexpected people and places.It: Il mercato illuminato dalla luna, il profumo del mare e l'amicizia condivisa resero quella notte unica.En: The market illuminated by the moon, the scent of the sea, and the shared friendship made that night unique.It: Lasciarono la spiaggia con un nuovo senso di meraviglia, pronti a vivere altre avventure.En: They left the beach with a newfound sense of wonder, ready to live more adventures.It: L'essenza dell'estate mediterranea era ora racchiusa non solo nel suo cuore, ma presto anche sulla sua tela.En: The essence of the Mediterranean summer was now captured not only in his heart but soon also on his canvas.It: Così, con un sorriso, Leandro si avviò verso casa, pronto a trasformare l'ispirazione in arte.En: Thus, with a smile, Leandro set off for home, ready to transform inspiration into art. Vocabulary Words:the moon: la lunathe beach: la spiaggiathe market: il mercatothe artist: l'artistathe detail: il dettagliothe inspiration: l'ispirazionethe noise: il frastuonothe adventure: l'avventurathe vendor: il venditorethe visitor: il visitatorethe past: il passatothe stall: la bancarellathe jewelry: i gioiellithe pendant: il pendentethe moonlight: la luce lunarethe play: il giocothe reflection: il riflessothe canvas: la telathe price: il prezzothe negotiation: la negoziazionethe smile: il sorrisothe jewel: il gioiellothe scent: il profumothe friendship: l'amiciziathe wonder: la meravigliathe adventure: l'avventurathe essence: l'essenzathe summer: l'estatethe heart: il cuorethe sea: il mare

Joshua 1:1-91 After the death of Moses the servant of the Lord, the Lord said to Joshua son of Nun, Moses' aide: 2 “Moses my servant is dead. Now then, you and all these people, get ready to cross the Jordan River into the land I am about to give to them—to the Israelites. 3 I will give you every place where you set your foot, as I promised Moses. 4 Your territory will extend from the desert to Lebanon, and from the great river, the Euphrates—all the Hittite country—to the Mediterranean Sea in the west.5 No one will be able to stand against you all the days of your life. As I was with Moses, so I will be with you; I will never leave you nor forsake you. 6 Be strong and courageous, because you will lead these people to inherit the land I swore to their ancestors to give them.7 “Be strong and very courageous. Be careful to obey all the law my servant Moses gave you; do not turn from it to the right or to the left, that you may be successful wherever you go. 8 Keep this Book of the Law always on your lips; meditate on it day and night, so that you may be careful to do everything written in it. Then you will be prosperous and successful. 9 Have I not commanded you? Be strong and courageous. Do not be afraid; do not be discouraged, for the Lord your God will be with you wherever you go.”

For Christopher Nolan's The Odyssey — Josh, Mikey, Kylo and Film Dylan climb aboard a ship and go on a bunch of adventures with the gods and such. Stay tuned for big brained trivia at the end! (Hey, Josh here — had a tiny oopsie in the edit, if you notice it around the 2:00 mark and you really want to hear the missing 10 seconds just refesh your download!, it's fixed. SORRY!) ******** Odysseus, king of Ithaca, embarks on a perilous journey to return home after the Trojan War. Crossing the Mediterranean Sea with his fellow soldiers, they soon find themselves battling not only the elements, but an array of deadly obstacles and mythical creatures along the way. Release date July 17, 2026 (USA) Director Christopher Nolan Producers Christopher Nolan, Emma Thomas Music composed by Ludwig Göransson Adapted from Odyssey Story by Homer

Fluent Fiction - Hebrew: Dancing in the Rain: A Tel Aviv Love Story Unfolds Find the full episode transcript, vocabulary words, and more:fluentfiction.com/he/episode/2026-08-05-07-38-19-he Story Transcript:He: ערב קיצי בתל אביב.En: A summer evening in Tel Aviv.He: הנהר גולש בים התיכון והגלים רועשים על החוף.En: The river flows into the Mediterranean Sea and the waves crash on the shore.He: במרפסת של בית הקפה המוכר, היושב על החול, עמוס בתאורה מנצנצת.En: On the balcony of the familiar café, which sits on the sand, it is packed with sparkling lights.He: אריאל יושב על שולחן קטן עם דוד, מתנשמים ומתלהבים, ומשסים את המתח של פגישה ראשונה.En: Ariel sits at a small table with David, breathing heavily and excited, igniting the tension of a first meeting.He: "האם בית הקפה הזה יפה או מה?En: "Is this café beautiful or what?"He: " חשב אריאל, ועיניו נחו על דוד, השומע בחיוך מתון.En: thought Ariel, his eyes resting on David, who listened with a slight smile.He: אריאל רצה להרשים, לבדוק האם חיוך זה מסמל חיבור אמיתי.En: Ariel wanted to impress, to see if that smile indicated a true connection.He: לפתע, אין שום סימן או אזהרה מוקדמת, עננים אפורים מתגלגלים בשמים הקיציים.En: Suddenly, with no sign or prior warning, gray clouds roll in the summer sky.He: השמיים שהיו כחולים כהים מתכסים בשמיכה אפרורית.En: The sky, once dark blue, now covers with a gray blanket.He: ברק מרהיב ונשמע רעם רחוק.En: A magnificent lightning bolt is seen and a distant thunder is heard.He: דוד הביט לשמיים וחייך, "אולי נזמין משהו מהר לפני שהגשם יתחיל?En: David looked up at the sky and smiled, "Maybe we should order something quickly before the rain starts?"He: " בינתיים, נואה, המלצרית הצעירה והחייכנית, מגיעה עם תפריט בידיה.En: Meanwhile, Noa, the young and cheerful waitress, arrives with a menu in hand.He: אך, בתקשורת לקוית, יצא והביא להם משהו לגמרי אחר ממה שהזמינו.En: Yet, due to poor communication, she ended up bringing them something completely different than what they ordered.He: אריאל שוקל: לנסות לתקן את הזמנתם או להישאר בשקט?En: Ariel considers: should he try to correct their order or stay quiet?He: בעודו שוקל זאת, התחיל היורה.En: As he ponders this, the rain begins.He: מבול נחת על קפיטריה, גולשים החוצה להכין את המטריות.En: A downpour hits the café, with everyone rushing outside to prepare their umbrellas.He: אבל במקום להיכנס לפאניקה, אריאל מחליט לצחוק.En: But instead of panicking, Ariel decides to laugh.He: "דוד, למה שלא נרקוד בגשם?En: "David, why don't we dance in the rain?"He: " הוא אומר באומץ, צוחק על המצב.En: he says boldly, laughing at the situation.He: דוד משתף פעולה, צוחק גם הוא, והשניים עומדים על החוף, מתחת למכסה הסוכך, מרגישים את טיפות הגשם הקרירות על עיניהם וכתפיהם.En: David joins in, laughing as well, and the two stand on the beach, under the canopy cover, feeling the cool raindrops on their eyes and shoulders.He: מנגינת הפסנתר שבקפיטריה נמשכת, וכך גם הערב.En: The piano music from the café continues, and so does the evening.He: ככל שהגשם יורד, והם רטובים מכף רגל ועד ראש, הכול נראה מצחיק כל כך ומלא חיים.En: As the rain pours, and they are drenched from head to toe, everything seems so amusing and full of life.He: השניים מסיימים את הלילה מבוששים, בידיעה שהערב הזה ייחרט בזכרונם בשיר ריקודים חגיגי ומלא רוח חופשית.En: The two finish the night reluctantly, knowing that this evening will be etched in their memory as a spontaneous and festive dance tune full of free spirit.He: אריאל מבין שלפעמים רגעים אמיתיים עולים על כל תכנון, מודה לעצמו שלמד לחבק את הבלתי צפוי בחן.En: Ariel understands that sometimes genuine moments surpass any plan, admitting to himself that he has learned to embrace the unexpected with grace.He: כשהגשם פוסק והשמיים מתבהרים שוב, השניים יושבים שוב על השולחן הצמוד לים, חולמין את שאירע.En: As the rain stops and the skies clear again, the two sit back at the seaside table, dreaming of what had happened.He: במבט לאחור, זה היה הרגע שהפך את הערב למיוחד, והם יודעים שעוד ייפגשו שוב.En: In retrospect, this was the moment that made the evening special, and they know they will meet again. Vocabulary Words:sparkling: מנצנצתignite: משסיםtension: מתחindicate: מסמלclouds: ענניםmagnificent: מרהיבthunder: רעםprior: מוקדמתcommunication: תקשורתponder: שוקלdownpour: מבולpanic: פאניקהboldly: באומץcanopy: סוכךdrenched: רטוביםreluctantly: מבוששיםembrace: לחבקgrace: חןetched: ייחרטspontaneous: ספונטניfestive: חגיגיretrospect: במבט לאחורimpress: להרשיםfamiliar: מוכרprior: קודםdistant: רחוקcorrect: לתקןamusing: מצחיקcharming: חינניunexpected: בלתי צפויBecome a supporter of this podcast: https://www.spreaker.com/podcast/fluent-fiction-hebrew--5818690/support.

Written and directed by Christopher Nolan, The Odyssey is the epic action fantasy film which serves as an adaptation of Homer's ancient Greek epic poem the Odyssey. Odysseus, king of Ithaca, embarks on a perilous journey to return home after the Trojan War. Crossing the Mediterranean Sea with his fellow soldiers, they soon find themselves battling not only the elements, but an array of deadly obstacles and mythical creatures along the way. We break down all things Christopher Nolan, IMAX, and Greeks with American accents.

This week we talk about Melilla, hybrid warfare, and migration.We also discuss Morocco, civil conflict, and immigration politics.Recommended Book: Playground by Richard PowersTranscriptCeuta is a Spanish-owned territory located in northwestern Africa, along the top of Morocco. It's small—about seven square miles—and is unusual because it is a city owned by a European Union member state that isn't located on the European continent; it's bordered by Morocco and the Mediterranean, and is located at the entrance of the Strait of Gibraltar, which is the strait that separates the Mediterranean Sea from the Atlantic Ocean.Ceuta is one of two territories that Spain still holds in Africa, the other being a smaller, just 4.7 square mile city called Melilla, which is located further west but still along the Mediterranean coast, bordered by the sea on one side, and by Morocco on the other.Spain has held both of these territories for hundreds of years: Ceuta since 1580 and Melilla since 1497, so it's actually held them far longer than Morocco has been an independent state, in 1956. The populations of these territories, just over 85,000 people in each, also heavily identify as Spanish, despite many residents having Moroccan ancestry, so theres a cultural component here, too.That said, Morocco officially claims both areas as their own, considering them to be occupied territories, a bit like the Crimean peninsula has been militarily held by Russia since 2014, but it's still claimed by Ukraine as an occupied territory. So the Moroccan government isn't thrilled about having these small chunks of land, autonomous cities that are technically part of Spain, right there in the midst of their own territory. But these cities have been part of Spain for so long, and the residents are all Spanish citizens, with the same rights and sense of culture as the rest of Spain and Europe, that simply handing them over to Morocco has never seemed terribly feasible or desirable to the Spanish government, despite neither territory providing much strategic or economic value to Spain. So they remain a point of contention between these two governments.They've also served as migration hot-spots in recent decades, because they are the only two European territories that border an African country. And this is important because, in some cases, under some governments and in accordance with some laws, if you can make it across a border and into another country, you might be able to enter the system and eventually become a citizen, maybe claiming asylum or maybe getting slotted into some other path to citizenship. Or failing that, there's a chance you might be able to just fade into the background, working and living in that country, despite not legally being there.What I'd like to talk about today is a recent surge in migrants crossing the border from Morocco into Ceuta, and the larger state of play, migration-wise, globally right now.—On the last day of July, 2026, an estimated 50-60 thousand African migrants illegally crossed from Morocco into Ceuta, some of them swimming to bypass the 20-foot-high border fences, others climbing those fences, or piling into overflowing boats, arriving in Ceuta en masse and overwhelming the guards who tried to stop them, though generally just trying to run past them, not attacking the guards—this wasn't an attack, it was a rush to get into Spanish territory.Eventually the guards were reinforced by police and the Spanish military, and they started to push the waves of migrants back using water cannons and tear gas. But despite the less-lethal crowd control methods that were applied, at least 67 people, that's the number as of the day I'm recording this at least, it's been updated many times over the past few days, 67 people died as a result of stampedes, either headed inland or back into the sea, away from the gas and water cannons, or they drowned while trying to cross over the water.By the following day, the wave of migrants had become just a trickle, mostly a few stragglers who tried to swim to Ceuta, and who were swiftly returned to Morocco by local law enforcement. Almost everyone else who illegally crossed the border also returned to Morocco moved on by police or of their own volition, and though, again, this wasn't some kind of violent incursion, to get a sense of the scale of this wave of humanity, Ceuta only has about 85,000 people living there, and this wave of migrants was about 60,000 people strong. So the locals mostly closed up all their shops and locked their doors, the people who arrived found themselves unable to get food or water, and law enforcement told them they need to leave, so most did. As of the day I'm recording this there are still several hundred migrants hiding in the nearby hills and lounging on the beach, exhausted and still hopeful they'll be able to enter the asylum system—many of them saying they fled conflicts further south, like the ongoing civil war in Sudan, and so anything, even starving on the beach in Ceuda, is better than going back.This isn't the first time Ceuta has faced this kind of humanitarian crisis; back in 2021, the Moroccan government stopped enforcing its border controls and around 8000 people crossed from Morocco into Ceuta over the course of just two days. That was sparked by the Spanish government's decision to allow the head of a militant group in Western Sahara, a breakaway portion of Morocco that the Moroccan government claimed in 1975, but which itself still claims independence with some international support, they let that militant leader into Spain for medical treatment, and Morocco allowed thousands of migrants to flow across the border as punishment.This more recent crisis is much larger, and the cause isn't clear at this point. Spanish officials have said that Moroccan security forces were working alongside Spanish forces to keep people from crossing the border, so it seems unlikely this was stoked by the Moroccan government, and claims that this wave of people were motivated by an ongoing effort by the Spanish government to grant amnesty to immigrants who don't currently have residency permits, but who can prove they've been living in the country for at least 5 months and arrived before January 1 of 2026 also seems unlikely, as those arriving in this wave obviously wouldn't be part of that amnesty.There's a chance that this surge was triggered by a Spanish court ruling that was intentionally misconstrued by migrant smugglers in order to gin up more business. A bunch of social media posts claimed that this ruling said migrants who arrived via sea couldn't be immediately deported, not without due process, but those who arrived via land or by climbing border fences, could—crossing a physical barrier was the big no-no, according to this misinformation, so people who swam or crossed in boats would stand a better chance of being able to stick around and eventually become Spanish citizens.This was pure misinformation, but there's a chance it played a role in sparking this large migrant wave. And many of the people who were interviewed, those who tried to cross and were sent back, have echoed the sentiments of other migrants who have attempted these sorts of crossings at borders elsewhere around the world: essentially, things are very bad, worse than you can possibly imagine, in the country they've left, and the only option seems to be getting away as fast as possible, even taking chances that might kill them, because that's still better than staying.These waves of mass migration often result in humanitarian crises because people are hurt or killed by border security forces, are hurt or killed by being trampled or drowning, or they're hurt or killed while making the journey through dangerous areas, like the infamous Darién Gap that stretches through mountains and rainforests along the border between Colombia and Panama, and which spans the only gap in the Pan-American Highway, which connects Central and South America.Spanish authorities have said they'll be building even higher fences in Ceuta following this recent mass incursion, will string a floating buoy fence along the waters where people are crossing, and will be upping security, though like in most other popular border areas, security is already significant: tall fences, barbed wire, security cameras everywhere—these are not vulnerable spots, they're just not capable of handling 60,000 motivated people all at once.This episode in Ceuta is not happening in a vacuum.The Spanish prime minister has established a pro-immigration stance, positioning the country as a modern melting pot, which is part of why that aforementioned effort to give about half a million undocumented legal immigrants legal status is happening to begin with. Many countries right now are adopting anti-immigration stances as new technologies and changing demographics ripple through the economy, and mostly conservative, in some cases far-right conservative political movements frame those changes as the consequence of allowing too many foreigners into the country; these bad things aren't happening because of technology or economics or demographics, they claim, it's happening because there are too many people who are different from us crossing our borders and living here. Which for some, is a compelling rallying cry.Consequently, migrants are positioned as big bad enemies in many parts of the world, used to flog support for anti-immigrant parties, and to decry opposing governments. That has forced many pro-immigration governments to temper their stances, even to the point that formerly pro-immigration Europe has become a lot less so in recent years.Migrants are also used as pawns in hybrid warfare efforts. Morocco's previous decision to allow thousands of migrants to surge across the Spanish border in response to Spain's government doing something they didn't like is a tame version of this. More aggressive versions have been conducted by Russia against Finland and other neighboring NATO nations, the Russian military bussing migrants from elsewhere to their opponents' borders, intentionally creating a humanitarian and security crisis, while also putting pressure on centrist and left-leaning governments by providing ammunition for far-right and other more authoritarian governments throughout the region, who can then cry foul on how that migrant surge is handled. This tends to create more allies for Russia in the region, but it also keeps these neighboring countries busy, forcing them to tighten their borders and become more insular, which then leaves Russia freer to exercise its will throughout the region.It's also worth remember here that most migrants are leaving horrible situations at home, meaning war, famine, severe and persistent drought, in some cases they're trying to avoid having their children kidnapped and made into child soldiers while all of the women are sexually assaulted as part of the ongoing war.The number of people fleeing such conditions, who are currently on the run, their homes no longer safely habitable, is massive. There are an estimated 304 million migrants globally right now, which, if that population of people were their own country, would be the fourth most populous in the world, just after the United States.And this population is expected to just keep growing as global climate change continues to mess with previous water cycle and weather norms, and as all those earlier mentioned variables continue to mess with economics and technology and leadership and everything else, creating more violence and fear and famine and so on.This was a significant migrant wave in Ceuta, in other words, but it's just one example of something that's happening all over the place right now, and which will likely continue to happen, perhaps at even greater scales and with more regularity.Show Noteshttps://www.pbs.org/newshour/world/what-to-know-about-the-spanish-enclave-of-ceuta-as-migrant-arrivals-from-morocco-spikehttps://www.aljazeera.com/news/2026/7/30/spanish-enclave-of-ceuta-raises-alarm-as-thousands-cross-morocco-borderhttps://www.aljazeera.com/features/2026/7/31/spain-deploys-military-to-ceuta-after-migrant-surge-what-we-knowhttps://abcnews.com/International/57-dead-after-thousands-migrants-cross-ceuta-officials/story?id=135254045https://www.cnn.com/2026/07/31/europe/spain-ceuta-migrants-intlhttps://www.forbes.com/sites/conormurray/2026/07/31/most-migrants-who-crossed-into-ceuta-have-returned-to-morocco-as-death-toll-rises-to-34/https://www.npr.org/2026/07/31/g-s1-136507/morocco-spain-migrationhttps://feeds.bbci.co.uk/news/world-africa-14114627https://www.britannica.com/place/Ceutahttps://edition.cnn.com/travel/ceuta-spain-north-africahttps://theconversation.com/ceuta-claves-para-entender-el-laberinto-de-una-crisis-migratoria-permanente-288843https://www.aljazeera.com/news/2021/6/2/western-sahara-independence-leader-brahim-ghali-back-in-algeriahttps://en.wikipedia.org/wiki/2021_Morocco%E2%80%93Spain_border_incidenthttps://www.nytimes.com/2026/07/30/world/europe/ceuta-spain-morocco-migrants.htmlhttps://apnews.com/article/migration-spain-ceuta-morocco-d76c6dc9d2da828907a1c04e1d482bbehttps://apnews.com/article/migrants-spain-ceuta-morocco-d564354dd54e92debf43ce5fe22299f9https://apnews.com/article/spain-migration-ceuta-morocco-facts-50baa964ecfb07a2d19223d7ec375b91https://apnews.com/article/spain-morocco-immigration-european-union-8f023984a310276c619929102b4f909ahttps://www.nytimes.com/2026/08/02/world/europe/europe-migrants-ceuta.htmlhttp://nytimes.com/2026/08/02/world/europe/ceuta-spain-morocco-migrant-holdouts-beach.htmlhttps://www.nytimes.com/2026/08/02/world/europe/spain-ceuta-far-right.htmlhttps://www.nytimes.com/2026/08/01/world/europe/spain-ceuta-migrants-morocco-border.html This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit letsknowthings.substack.com/subscribe

Can sound be felt before it is heard?Arteetude 345 – The Skin That Listens grew directly from responses to our previous episode.Listener Wendy Chivers questioned whether feeling had been treated merely as an unusual side effect of hearing rather than as an essential form of perception. Pastora Braghini then shared a childhood memory of her deaf grandfather, who could detect the children approaching his armchair through vibrations travelling across the old wooden floor.Together with my AI co-host Sophia, I explore the territory between hearing and touch. The ear translates vibration into sound, while skin, bones, muscles and balance translate the same physical event into pressure, movement and spatial awareness.Perhaps listening has never belonged to the ear alone.Perhaps music enters a body already filled with rhythms—heartbeat, breath, memory and movement—and becomes part of us before language can explain what happened.The episode concludes with the new song by Los Inorgánicos:When Silence MovesResearch & Artistic MethodDetlef Schlich's artistic research is rooted in his essay Shamanism, Art and Digital Culture: Cause and Effect, which investigates the relationship between ritual, artistic transformation, media, and digital culture.Download here for free:Shamanism, Art and Digital Culture: Cause and Effecthttps://www.researchgate.net/publication/303749640_Shamanism_Art_and_Digital_Culture_Cause_and_EffectBuilding on this foundation, Schlich developed Multilayerism: A New Paradigm in Contemporary Art – A Manifesto, an artistic method and conceptual framework for understanding contemporary art through layers of media, memory, technology, ritual, emotion, misunderstanding, and lived experience.Read here:Multilayerism: A New Paradigm in Contemporary Art – A Manifesto by Detlef Schlichhttps://www.researchgate.net/publication/375665507_Multilayerism_A_New_Paradigm_in_Contemporary_Art_-_A_Manifesto_by_Detlef_SchlichTogether, these texts form the theoretical backbone of Schlich's ongoing work as a visual artist, media archaeologist, ritual designer, musician, and host of the Arteetude podcast.WEBSITE LINKS Music ProjectsWAW / Wild Atlantic WayWAW is the music project by Detlef Schlich and Dirk Schlömer.Official YouTube Channel:https://www.youtube.com/@WAWBandFrom the forthcoming WAW album The Stories of Nil YoungTwo songs from WAW's developing album project The Stories of Nil Young form part of a mythopoetic journey along the Nile, where river, memory, loss, cooperation, and hope flow into music.AfricaSmileAfricaSmile follows the Nile as an imagined journey from its sources to the Mediterranean Sea — a river of memory, movement, rhythm, and myth. The song turns the meeting of the White Nile and the Blue Nile into a fragile image of cooperation. It is not a naïve peace anthem, but a wounded musical hope: two different currents meeting, listening, and still moving forward together.Watch here:https://www.youtube.com/watch?v=LnQbsh01YWUThe Nile's Bittersweet SongThe Nile's Bittersweet Song is the first official single by WAW / Wild Atlantic Way — Detlef Schlich and Dirk Schlömer.The song follows the Nile as a river of memory, beauty, loss, and contradiction: a life-giver, but also a force that can take away what it once nourished. Through the story of Kamau, it becomes a poetic reflection on childhood, fragile hope, and the emotional landscape carried by a river that is both kind and cruel.Inspired by East African storytelling traditions and shaped along the Wild Atlantic Way in West Cork, The Nile's Bittersweet Song is a mythopoetic musical journey about water, grief, resilience, and the deep human longing to keep moving with the current.Watch here:https://www.youtube.com/watch?v=33AWko4IkKIWAW on BandcampSilent NightIn a world shadowed by conflict and unrest, Dirk Schlömer and Detlef Schlich felt compelled to reinterpret Silent Night to reflect the complexities and contradictions of modern life.https://studiomuskau.bandcamp.com/track/silent-nightWild Atlantic WayThis song emerged from a trip to West Cork, Ireland, where the beautiful coastal Wild Atlantic Way stretches along the west coast.https://studiomuskau.bandcamp.com/track/wild-atlantic-wayYouTubeSilent Night Reimagined – A Multilayered Avant-Garde Journey by WAW aka Dirk Schlömer & Detlef Schlichhttps://www.youtube.com/watch?v=dAbytLSfgCwDetlef SchlichInstagramDetlef Schlich ArTEEtude I love West Cork Artists FacebookDetlef Schlich I love West Cork Artists Group ArTEEtudeYouTube Channelsvisual PodcastArTEEtudeCute Alien TV official WebsiteArTEEtude Detlef Schlich Det Design Tribal Loop Support this podcast at — https://redcircle.com/arteetude-a-podcast-with-artists-by-detlef-schlich/exclusive-content

From out of the Mediterranean Sea, Natasha Lyonne joins the guys from Spain this week to talk about Fred Armisen's drum solos, working with Coleman Domingo on season 3 of Euphoria, and her new movie Klara and the Sun. Also, being a child actress on Pee-wee's Playhouse, who should be the next James Bond, and producing Russian Doll alongside Amy Poehler.

Ian McMillan and poets Vona Groake, Jardel Rodrigues, Mira Rosenthal and Malgorzata Lebda bring poetry that helps us navigate storms, rivers and seas - real and metaphorical, and sound artist and musician SHHE (Su Shaw) immerses us in surprising sounds of the sea. Vona Groake's latest collection Infinity Pool was shortlisted for the TS Eliot Prize this year. She's writer in residence at St John's College Cambridge and the Ireland Professor of Poetry at Trinity College in Dublin. Vona chooses a 'neon line' to explore and reads her own work.Su Shaw, who works as SHHE, is a sound artist and composer, whose music has been shortlisted for the Scottish Album of the Year. Su is based in Dundee – and has always been intimate with that city's river - the River Tay. Her new album ‘THALASSA' was produced sustainably, in keeping with her ecologically minded projects - and is is a six-part ambient work giving voice to the Mediterranean Sea.Jardel Rodrigues is from Old Trafford in Manchester – he's won the BBC Words First Spoken Word Poetry Competition, and he's a titan of Manchester's shining spoken word institution 'Young Identity'. He brings us a new commission on the theme 'How to get through'.We hear the voice and the work of Malgorzata Lebda, a Polish poet who writes poems that reveal what flows between people and landscape. Malgorzata ran the length of the longest river in Poland, the Vischula – driven by her sense of how threatened our rivers are, a kind of poetry activism. Malgorzata's translator, Mira Rosenthal joins us to explain how she managed to convey Malgorzata's innovative way of writing about the body in her collection 'Mer de Glace' (Fitzcarraldo). Mira is a poet, and a Professor of Creative Writing based in California.Produced by Faith Lawrence

For today's episode, Ivy is joined by Shahar Chaikin, author of "native habitat affinities predict fish invasions with post-invasion habitat shifts". We discussed the story behind the paper and his experience as an ecologist. Read the full paper here: https://besjournals.onlinelibrary.wiley.com/doi/10.1111/1365-2656.70293 Read Shahar's blog post here: https://animalecologyinfocus.com/2026/07/06/who-is-next-in-line-predicting-which-red-sea-fish-will-invade-the-mediterranean-sea/ Watch the video teaser here: https://youtu.be/_OI8w4ZsDDs

https://wels2.blob.core.windows.net/tmb-ehv/03-0726db.mp3 Listen to Bible reading Through My Bible Yr 03 – July 26 Acts 27:21-44 Acts 27 21 After they had gone a long time without food, Paul stood up among them and said, “Men, you should have followed my advice and not set sail from Crete and avoided this damage and loss. 22 But now I urge you to keep up your courage, because there will be no loss of life among you. Only the ship will be lost. 23 In fact, last night an angel of the God to whom I belong and whom I serve stood beside me 24 and said, ‘Do not be afraid, Paul. You must stand before Caesar. And surely God has graciously given you all those who are sailing with you.' 25 So keep up your courage, men, because I believe God that it will be exactly the way I have been told. 26 However, we must run aground on some island.” The Shipwreck 27 When the fourteenth night came, while we were being driven back and forth in the Adriatic Sea, [1] about midnight the sailors suspected that they were approaching some land. 28 They took soundings and found it to be one hundred twenty feet deep. [2] After sailing a little farther, they took soundings again and found it was ninety feet deep. [3] 29 Fearing that we would run aground on the rocks, they dropped four anchors from the stern and prayed for daybreak. 30 The sailors tried to escape from the ship and had let down the skiff into the sea, pretending they were going to put out anchors from the bow. 31 Paul said to the centurion and the soldiers, “If these men do not stay in the ship, you cannot be saved.” 32 Then the soldiers cut the ropes holding the skiff and let it fall away. 33 Just before daybreak, Paul urged them all to eat some food. He said, “This is the fourteenth day you have waited in suspense and have gone without food. You have eaten nothing. 34 Therefore I urge you to take some food because this is important for your rescue. In fact, not a hair from any of your heads will be lost.” 35 After he said these things and had taken some bread, he gave thanks to God in front of them all. Then he broke it and began to eat. 36 They were all encouraged and took some food themselves. 37 In all there were 276 of us on the ship. 38 When they had eaten all they wanted, they lightened the ship by throwing the grain overboard into the sea. 39 At daybreak, they did not recognize the land, but they noticed a bay with a beach, where they planned to run the ship aground if they could. 40 They cut off the anchors, leaving them in the sea, and at the same time untied the ropes that held the rudders. Then, after hoisting the foresail to the wind, they headed for the beach. 41 But they struck a sandbar and ran the ship aground. The bow stuck fast and would not move, while the stern began to break up from the pounding of the waves. 42 The soldiers' plan was to kill the prisoners so that no one would swim away and escape. 43 But the centurion wanted to save Paul and kept them from carrying out their plan. He ordered those who could swim to jump overboard first and make their way to land. 44 The rest were to follow, some on planks, and some on other pieces from the ship. In this way, all of them were brought safely onto land. Footnotes Acts 27:27 At that time, the Adriatic Sea included the present-day Adriatic plus a large section of the Mediterranean Sea south of it. Acts 27:28 Or twenty fathoms (a fathom is about six feet deep) Acts 27:28 Or fifteen fathoms The Holy Bible, Evangelical Heritage Version®, EHV®, © 2019 Wartburg Project, Inc. All rights reserved.

Where does sound become meaning?In the latest part of The Future Has Ancestors, Sophia and I move beyond the ear and discover the body as the true receiver of music.If every listener brings memories, expectations and lived experience into every note, then musicians don't simply compose sounds—they compose possibilities. The body completes the final arrangement.Episode 344 explores resonance, embodiment, perception and asks one simple question:What if the most important instrument has always been ourselves?The episode closes with the brand-new Los Inorgánicos song:Where We ResonateResearch & Artistic MethodDetlef Schlich's artistic research is rooted in his essay Shamanism, Art and Digital Culture: Cause and Effect, which investigates the relationship between ritual, artistic transformation, media, and digital culture.Download here for free:Shamanism, Art and Digital Culture: Cause and Effecthttps://www.researchgate.net/publication/303749640_Shamanism_Art_and_Digital_Culture_Cause_and_EffectBuilding on this foundation, Schlich developed Multilayerism: A New Paradigm in Contemporary Art – A Manifesto, an artistic method and conceptual framework for understanding contemporary art through layers of media, memory, technology, ritual, emotion, misunderstanding, and lived experience.Read here:Multilayerism: A New Paradigm in Contemporary Art – A Manifesto by Detlef Schlichhttps://www.researchgate.net/publication/375665507_Multilayerism_A_New_Paradigm_in_Contemporary_Art_-_A_Manifesto_by_Detlef_SchlichTogether, these texts form the theoretical backbone of Schlich's ongoing work as a visual artist, media archaeologist, ritual designer, musician, and host of the Arteetude podcast.WEBSITE LINKS Music ProjectsWAW / Wild Atlantic WayWAW is the music project by Detlef Schlich and Dirk Schlömer.Official YouTube Channel:https://www.youtube.com/@WAWBandFrom the forthcoming WAW album The Stories of Nil YoungTwo songs from WAW's developing album project The Stories of Nil Young form part of a mythopoetic journey along the Nile, where river, memory, loss, cooperation, and hope flow into music.AfricaSmileAfricaSmile follows the Nile as an imagined journey from its sources to the Mediterranean Sea — a river of memory, movement, rhythm, and myth. The song turns the meeting of the White Nile and the Blue Nile into a fragile image of cooperation. It is not a naïve peace anthem, but a wounded musical hope: two different currents meeting, listening, and still moving forward together.Watch here:https://www.youtube.com/watch?v=LnQbsh01YWUThe Nile's Bittersweet SongThe Nile's Bittersweet Song is the first official single by WAW / Wild Atlantic Way — Detlef Schlich and Dirk Schlömer.The song follows the Nile as a river of memory, beauty, loss, and contradiction: a life-giver, but also a force that can take away what it once nourished. Through the story of Kamau, it becomes a poetic reflection on childhood, fragile hope, and the emotional landscape carried by a river that is both kind and cruel.Inspired by East African storytelling traditions and shaped along the Wild Atlantic Way in West Cork, The Nile's Bittersweet Song is a mythopoetic musical journey about water, grief, resilience, and the deep human longing to keep moving with the current.Watch here:https://www.youtube.com/watch?v=33AWko4IkKIWAW on BandcampSilent NightIn a world shadowed by conflict and unrest, Dirk Schlömer and Detlef Schlich felt compelled to reinterpret Silent Night to reflect the complexities and contradictions of modern life.https://studiomuskau.bandcamp.com/track/silent-nightWild Atlantic WayThis song emerged from a trip to West Cork, Ireland, where the beautiful coastal Wild Atlantic Way stretches along the west coast.https://studiomuskau.bandcamp.com/track/wild-atlantic-wayYouTubeSilent Night Reimagined – A Multilayered Avant-Garde Journey by WAW aka Dirk Schlömer & Detlef Schlichhttps://www.youtube.com/watch?v=dAbytLSfgCwDetlef SchlichInstagramDetlef Schlich ArTEEtude I love West Cork Artists FacebookDetlef Schlich I love West Cork Artists Group ArTEEtudeYouTube Channelsvisual PodcastArTEEtudeCute Alien TV official WebsiteArTEEtude Detlef Schlich Det Design Tribal Loop Support this podcast at — https://redcircle.com/arteetude-a-podcast-with-artists-by-detlef-schlich/exclusive-content

The Valley of the temples in Agrigento, Sicily, is an archeological area containing the remains of seven ancient Greek temples, in varying states of conservation. Located along a ridge with breathtaking views of the Mediterranean Sea in the distance, it represents one of the world's most important collections of Ancient Greek architecture. 

Fluent Fiction - Catalan: From Nerves to Applause: Marcel's Climactic Speech Find the full episode transcript, vocabulary words, and more:fluentfiction.com/ca/episode/2026-07-20-22-34-02-ca Story Transcript:Ca: El sol brillava intensament sobre Montjuïc aquell matí d'estiu.En: The sun shone intensely over Montjuïc that summer morning.Ca: L'aire era fresc i portava l'aroma del mar Mediterrani que es veia a la distància.En: The air was fresh and carried the aroma of the Mediterranean Sea that could be seen in the distance.Ca: Marcel, un polític jove i ambiciós, es trobava davant d'un gran repte.En: Marcel, a young and ambitious politician, faced a great challenge.Ca: Estava a punt de donar un discurs molt important en una cimera internacional sobre el canvi climàtic.En: He was about to deliver a very important speech at an international summit on climate change.Ca: Havia somiat amb aquest moment durant molts anys, però ara, amb el moment tan a prop, els nervis l'envaïen.En: He had dreamed of this moment for many years, but now, with the moment so near, nerves overcame him.Ca: Montjuïc estava ple de delegats de tot el món.En: Montjuïc was full of delegates from all over the world.Ca: Les banderes onejaven en l'aire, i un rum-rum constant de veus omplia l'atmosfera.En: Flags waved in the air, and a constant murmur of voices filled the atmosphere.Ca: Marcel sentia la pressió per fer un gran discurs, un discurs que no només impressionés als polítics, sinó que també inspirés acció real.En: Marcel felt the pressure to give a great speech, one that would not only impress politicians but also inspire real action.Ca: Però el camí no era fàcil.En: However, the path was not easy.Ca: Alguns companys polítics li demanaven concessions.En: Some fellow politicians were asking him for concessions.Ca: Els activistes, en canvi, exigien acció contundent.En: The activists, on the other hand, demanded strong action.Ca: Però era sobretot la seva por a parlar en públic el que l'aconseguia tenallat.En: But it was above all his fear of public speaking that kept him immobilized.Ca: Sentia el pes de les expectatives a les seves espatlles.En: He felt the weight of expectations on his shoulders.Ca: Aleshores va decidir fer una pausa.En: Then he decided to take a break.Ca: Va caminar fins a un racó més tranquil del parc i va trucar a Laia, la seva assistent de confiança.En: He walked to a quieter corner of the park and called Laia, his trusted assistant.Ca: "Necessito la teva ajuda", va admetre amb un sospir.En: "I need your help," he admitted with a sigh.Ca: La veu de Laia al telèfon el va calmar.En: Laia's voice on the phone calmed him.Ca: "Marcel, tu pots fer-ho", li va dir amb seguretat.En: "Marcel, you can do it," she told him with certainty.Ca: Junts, van treballar en el discurs, buscant l'equilibri entre la realitat política i els seus ideals.En: Together, they worked on the speech, seeking a balance between political reality and his ideals.Ca: Laia el va ajudar a practicar la seva entonació i gestos.En: Laia helped him practice his intonation and gestures.Ca: A poc a poc, Marcel va començar a sentir-se més segur.En: Gradually, Marcel began to feel more confident.Ca: Sabia què havia de fer.En: He knew what he had to do.Ca: L'hora del discurs va arribar.En: The time for the speech arrived.Ca: Marcel va pujar a l'escenari, mirant el vast públic que l'observava expectant.En: Marcel stepped onto the stage, looking at the vast audience that watched him expectantly.Ca: El cor li bategava amb força, però ara no era només per nervis, sinó també per determinació.En: His heart pounded fiercely, but now it was not just from nerves, but also from determination.Ca: Inspirant profundament, va començar a parlar.En: Taking a deep breath, he began to speak.Ca: Les seves paraules, plenes de passió i convicció, van ressonar en l'aire.En: His words, full of passion and conviction, resonated in the air.Ca: Va parlar de la necessitat urgent de protegir el planeta, de la importància de treballar junts abans que fos massa tard.En: He spoke of the urgent need to protect the planet, of the importance of working together before it was too late.Ca: A mesura que avançava, la seva por es va convertir en força.En: As he progressed, his fear turned into strength.Ca: La sala va quedar en silenci, atenta.En: The hall fell silent, attentive.Ca: Quan va acabar, un potent aplaudiment va omplir Montjuïc.En: When he finished, a powerful applause filled Montjuïc.Ca: L'havia aconseguit.En: He had done it.Ca: Havia trobat la seva veu i la confiança que necessitava.En: He had found his voice and the confidence he needed.Ca: Caminant fora de l'escenari, Marcel es va adonar que no només havia donat un discurs important.En: Walking off the stage, Marcel realized that he had not only given an important speech.Ca: Havia après el valor de la col·laboració sense perdre els seus principis.En: He had learned the value of collaboration without losing his principles.Ca: Mentre es dirigia cap a on era Laia, va veure el mar i va somriure.En: As he headed towards where Laia was, he saw the sea and smiled.Ca: El futur era incert, però estava preparat per continuar lluitant.En: The future was uncertain, but he was ready to continue fighting. Vocabulary Words:the air: l'airethe aroma: l'aromaambitious: ambiciós/ambiciosathe challenge: el reptethe speech: el discursthe summit: la cimerathe climate change: el canvi climàticnerves: nervisthe delegates: els delegatsthe flags: les banderesthe murmur: el rum-rumthe atmosphere: l'atmosferathe path: el camíthe concessions: les concessionsthe activists: els activistesthe break: la pausathe corner: el racóthe park: el parcthe assistant: l'assistentthe intonation: l'entonacióthe gestures: els gestosthe stage: l'escenariexpectantly: expectantthe audience: el públicthe determination: la determinacióto resonate: ressonarto protect: protegirto collaborate: col·laborarto fight: lluitarthe applause: l'aplaudiment

About Detlef SchlichDetlef Schlich is a rock musician, podcaster, visual artist, filmmaker, ritual designer, and media archaeologist based in West Cork, Ireland.His artistic practice moves between performance, photography, painting, sound, installation, film, music, podcasting, and digital image-making. Across these fields, Schlich reflects on the human condition, the relationship between ritual and technology, and the changing role of the artist in digital culture.As a media archaeologist, he explores how media shape perception, memory, culture, politics, and artistic expression. His work often uses the figure of the digital shaman as an alter ego — a method for navigating the space between ancient ritual structures, contemporary media, and technological transformation.Research & Artistic MethodDetlef Schlich's artistic research is rooted in his essay Shamanism, Art and Digital Culture: Cause and Effect, which investigates the relationship between ritual, artistic transformation, media, and digital culture.Download here for free:Shamanism, Art and Digital Culture: Cause and Effecthttps://www.researchgate.net/publication/303749640_Shamanism_Art_and_Digital_Culture_Cause_and_EffectBuilding on this foundation, Schlich developed Multilayerism: A New Paradigm in Contemporary Art – A Manifesto, an artistic method and conceptual framework for understanding contemporary art through layers of media, memory, technology, ritual, emotion, misunderstanding, and lived experience.Read here:Multilayerism: A New Paradigm in Contemporary Art – A Manifesto by Detlef Schlichhttps://www.researchgate.net/publication/375665507_Multilayerism_A_New_Paradigm_in_Contemporary_Art_-_A_Manifesto_by_Detlef_SchlichTogether, these texts form the theoretical backbone of Schlich's ongoing work as a visual artist, media archaeologist, ritual designer, musician, and host of the Arteetude podcast.WEBSITE LINKS Music ProjectsWAW / Wild Atlantic WayWAW is the music project by Detlef Schlich and Dirk Schlömer.Official YouTube Channel:https://www.youtube.com/@WAWBandFrom the forthcoming WAW album The Stories of Nil YoungTwo songs from WAW's developing album project The Stories of Nil Young form part of a mythopoetic journey along the Nile, where river, memory, loss, cooperation, and hope flow into music.AfricaSmileAfricaSmile follows the Nile as an imagined journey from its sources to the Mediterranean Sea — a river of memory, movement, rhythm, and myth. The song turns the meeting of the White Nile and the Blue Nile into a fragile image of cooperation. It is not a naïve peace anthem, but a wounded musical hope: two different currents meeting, listening, and still moving forward together.Watch here:https://www.youtube.com/watch?v=LnQbsh01YWUThe Nile's Bittersweet SongThe Nile's Bittersweet Song is the first official single by WAW / Wild Atlantic Way — Detlef Schlich and Dirk Schlömer.The song follows the Nile as a river of memory, beauty, loss, and contradiction: a life-giver, but also a force that can take away what it once nourished. Through the story of Kamau, it becomes a poetic reflection on childhood, fragile hope, and the emotional landscape carried by a river that is both kind and cruel.Inspired by East African storytelling traditions and shaped along the Wild Atlantic Way in West Cork, The Nile's Bittersweet Song is a mythopoetic musical journey about water, grief, resilience, and the deep human longing to keep moving with the current.Watch here:https://www.youtube.com/watch?v=33AWko4IkKIWAW on BandcampSilent NightIn a world shadowed by conflict and unrest, Dirk Schlömer and Detlef Schlich felt compelled to reinterpret Silent Night to reflect the complexities and contradictions of modern life.https://studiomuskau.bandcamp.com/track/silent-nightWild Atlantic WayThis song emerged from a trip to West Cork, Ireland, where the beautiful coastal Wild Atlantic Way stretches along the west coast.https://studiomuskau.bandcamp.com/track/wild-atlantic-wayYouTubeSilent Night Reimagined – A Multilayered Avant-Garde Journey by WAW aka Dirk Schlömer & Detlef Schlichhttps://www.youtube.com/watch?v=dAbytLSfgCwDetlef SchlichInstagramDetlef Schlich ArTEEtude I love West Cork Artists FacebookDetlef Schlich I love West Cork Artists Group ArTEEtudeYouTube Channelsvisual PodcastArTEEtudeCute Alien TV official WebsiteArTEEtude Detlef Schlich Det Design Tribal Loop Support this podcast at — https://redcircle.com/arteetude-a-podcast-with-artists-by-detlef-schlich/exclusive-content

What does it really mean to build bridges that last for decades? I want you to meet Bircan Unver, whose lifelong commitment to responsibility, creativity, and global citizenship has shaped more than 25 years of meaningful work through Light Millennium. From growing up as the eldest of seven children in Turkey to creating an internationally recognized nonprofit connected with the United Nations, Bircan shares how art, public media, and open dialogue can bring people together across cultures. We explore why responsibility begins with each of us, how local communities can help solve global challenges, and why issues like water security, environmental stewardship, and human connection matter more than ever. I believe you'll enjoy hearing how one person's unstoppable mindset continues to inspire collaboration, education, and hope for a better future. Highlights: 06:55 - How growing up with responsibility shaped Bircan's lifelong commitment to serving others. 18:30 - Why public access television became the foundation for sharing voices and building community. 26:15 - The story behind founding Light Millennium and creating a nonprofit built on dialogue and education. 36:55 - How local communities can play a meaningful role in advancing United Nations goals. 49:45 - Why water security, cybersecurity, and gender equality are becoming deeply connected. 55:40 - Bircan reflects on preserving ideas through books, creativity, and lifelong learning. About the Guest: Bircan Ünver is the Founder-President of The Light Millennium, a Charitable Global Human Advancement Organization (LMGlobal.Org, 2001, New York); Executive Producer of the LMTV Programs; Multi-Media and Event Producer; Host, Author, Publisher, Public Speaker; [Head] NGO Representative of The Light Millennium to the United Nations Department of Global Communications since 2005 (formerly, UN.DPI); and Chair, Outreach and Partnerships Subcommittee at Global NGO Executive Committee and director for the 2021-2023 term. She has been also a Content Provider at QPTV since 1992, and she is the editor and co-founder of the U.S. Turkish Library & Museum Project. She has undertaken the Organization's e-publications, public programs since its inception in August 1999, and #LightMillenniumTV Series and Specials in all aspects of it since January 2000; along with, the LMGlobal.Org's all UN-related activity and programs since 2005. Bircan is the author and director of the Compulsory Peace & ICTs Education from Kindergarten to K-12, and Beyond Campaign, which she launched it through the Light Millennium Global in support of the Summit of the Future in 2024. The Campaign has delivered its 8th session along with the Coalition for the Campaign, which contains 22 organizations and educational institutions including The Light Millennium Global as the leading organization. Further,  she is also author of the bi-annual international high school project, “J.U.C. Media, Research, Writing & Innovation Awards”. The third of its kind was dedicated to the “Water Action Decade” and was delivered  (virtually) on the World Water Day, March 22, 2025. Bircan served as a mentor to the GPODS for three consecutive terms in Winter'22, Summer'22, and Fall'22 Fellowship Programs; and delivered lectures on “How to associate with the UN-NGO”, Public Access TVs in the U.S., and the latest one was on the #WaterActionDecade and the #2023UNWater Conference. To attach that, on behalf of LMGlobal.Org, she organized and hosted an Outside-UN Side Event ID #W175, titled, “What Is Your Commitment To The #WaterActionDecade? ~ Seven Core Ideas Toward #WaterAwareness, #WaterConscience and #GameChangers” in NYC on March 21, 2023, and was the head delegate of the LMGlobal.Org at the #UN2023WaterConference. Based on LMGlobal.Org's Commitments to the #WaterActionDecade, she launched #OneMinuteWaterActionCommitment during the #W175 Side Event, along with continues to work toward #WaterAwareness toward building up #WaterConscience.  She served as the chair of the ATAA Committee on UN Relations, guided its association to the UNDGC in 2020, and also served as the New York Regional Vice-President of ATAA (Assembly of Turkish American Associations) from October 2019 to January 2022. Furthermore, she served on several Planning Committees of the UN-Civil Society Conferences, and the Planning Committee of the High-Level Forum on the Culture of Peace (HLF-CoP). She has been a strong advocate of the UN Vision, Programs & Sustainable Development Goals (2015-2030) along with the relevant UN Days, which are in line with the LMGlobal.Org's Mission/Purposes since its association with the UNDGC (formerly, UN.DPI/NGO) in December 2005. Currently, Bircan is on the Advisory Board of the Turkish Forum (based in Germany). She encourages and guides interested civil society organizations and members of academia toward their educational institutions' associations with the UN, along with engaging them with the UN Programs that are within her networks and beyond. Further, she is an Ambassador of Peace and Goodwill for Anuvrat (Anuvibha) Global Organization (Jaipur, India, since 2014); and a Member of the Global Movement for the Culture of Peace (GMCoP, since 2012). Bircan is also the founder and president of the IsikBinyili.Org Association based in Istanbul (2010), which is a sister organization and counterpart of the LMGlobal.Org. Author of the following four book titles in print (Turkish): “En Kutsalı Yaratmak” (The Most Sacred is to Create) (1995, 2022), “Sanatın Labirentlerinde” (The Labyrinths of Arts) (2016), and “Işık Yollarında (“The Ways of the Light”) (poetry, 2017), and “Bin Yıl Daha…” (2020, A Thousand Years More…). Also, she is the author of the concept and compilation of the “Hope Never Fades” (English) book (Istanbul, 2023). Bircan initially received her local and studio television production certificates at QPTV.Org in 1992. Based on this capacity, she produced and broadcasted near to 260 television programs through local channels in New York City, which are also available online through www.vimeo.com/channels/LightMillenniumTV including 36 #OneMinute #WaterAction PSAs. Bircan celebrated her 30th Anniversary at QPTV.Org through a video profile, titled, “A Turkish Experience in America” (Duration: ~9 min. Production Year: 2022). Her works through The Light Millennium Global is a recipient of various national (U.S.) and international awards and recognitions including two awards from the Foundation of Alliance Community 2023 Hometown Media Awards (F-ACM-HMA for her “GroundWater” Light Millennium TV program in Web-based Programming and Online Events / Independent Producer categories (received at Brick TV, New York), the Anuvrat Ahimsa Award For International Peace-2023 (received in Mumbai, India), and the 2023 International Volunteer President Award by Institution of Green Engineers (received in Chennai, India), and ashe is also the recipient of the 2024 Best Web-Based Program – Independent Producer for the #HopeNeverFades program by F-ACM-HMA, which was produced based on the 2023 J.U.C. Media, Research & Writing Awards (ACM HomeTown Media Awards, San Jose, CA). Bircan holds a Bachelor of Arts (B.A.) Degree from the Mimar Sinan Fine Arts University (Istanbul, 1988) and a Master's Degree (M.A.) from Media Studies of the New School University (New York City 1999). Ways to connect with Bircan**:** Websites: www.lmglobal.org  (active web site) | www.lightmillennium.org (serves as the organization's web archive)#LightMillenniumTV | www.vimeo.com/LMTV | www.vimeo.com/channels/LightMillenniumTV Social Media: Linkedin: http://www.linkedin.com/in/bircan-ünver-7353207 X@lightmillennium Instagram@lightmillennium About the Host: Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog. Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards. https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/ Thanks for listening! Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below! Subscribe to the podcast If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can subscribe in your favorite podcast app. You can also support our podcast through our tip jar https://tips.pinecast.com/jar/unstoppable-mindset . Leave us an Apple Podcasts review Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts. Transcription Notes: Michael Hingson  00:04 What if the biggest thing holding you back isn't what's in front of you, but rather what you believe? Welcome to Unstoppable Mindset, where inclusion, diversity, and the unexpected meet. I'm your host, Michael Hingston, speaker, author, and advocate for inclusion and possibilities. This podcast explores how the beliefs we carry shape the way we live, lead, and connect with others. Each week, I talk with people who challenge assumptions, face adversity head-on, and show what's possible when we choose curiosity over fear. Together, we focus on mindset, resilience, and the small shifts that lead to meaningful change. Let's get started. Well, hello everyone, and I want to welcome you to another edition of Unstoppable Mindset, and today we get to talk to a very interesting person with a with a lot of roots in Turkey, but she is also doing a lot of work with the United Nations here in the U.S. and other places. Her name is Birchan Umfer, and I hope I got that right. And Bircan Unver  01:23 thank you. Michael Hingson  01:24 Oh, good. And Berjan is is with us, and is going to talk about a number of things that she is working on. She's working on, and for years has been involved with a program called Light Millennium, and we'll we'll talk about all that, but let's just start and and as usual we'll have a great conversation. So, Bir John, I want to welcome you to Unstoppable Mindset. We're glad you're here. Bircan Unver  01:50 Thank you so much, Michael Hingston. It's great honor and privilege to have your guests. Especially, I love the title Unstoppable Minds. It's really inspiring and triggering the mind. Thank you. Michael Hingson  02:08 Well, my pleasure. We're glad that you have the time to to spend with us, and we will we will we will do it and make it work. Well, let's start. I love to start this way because I really want people to learn about you. Tell us kind of about the early Birchan growing up, and then we'll go from there. So tell us about Birchan and growing up, and and and all of that. Bircan Unver  02:32 Thank you. This will be a little bit different than most people know about me, my work. Well, we'll get to Michael Hingson  02:38 your work. Bircan Unver  02:40 Yeah, I know. I mean, the people who already know my work. What I'm gonna say now is completely too different from Berja. So I am a elder of seven siblings, and I was born in an ancient village in Mid Anatolia, actually nearby the Black Sea region, and I'm proud with my age, 1959, and my family moved to town first from the village, and then Istanbul for our educations for their kids, and but I don't know really as a girl child growing up with seven kids, as especially with a traditional family, being older girl is not a good idea. But but maybe it was a kind of tough childhood as a girl child. I I don't feel that I never been a child. That's really what I feel. But on the other hand, and that was you know when you are growing up, living through like I was a kind of second mom, and also our home was kind of everyone our guest from the village town and stay over not only one night, like or a week, like sometimes months, even years. You won't believe that, and it was not because either. So, but those kind of build up maybe my feeling to be responsible, so I consider myself a responsible person because I was responsible for my sisters, brothers, and also washing dishes, making helping my mom to prepare the meal, lunch, breakfast, and clean up. Like you know, I was kind of second person, second mom at home. So those early things, all those stolen my childhood, but at the same time, provide me being able to do everything from very early age. Even though I remember several times at the time. The bread wasn't, you know, you you weren't buying the bread from the market, but from the bakery, real where they were baking the bread. So she was, and time to time also she was making the the bread at home, and then she she wasn't sending me to school because then I had to stay with my brothers and kids so she can make the you know breads a big amount for a couple days. So that said, also gave my idea. I want to suddenly want to work as soon as you know I'm 17, 1617, So and then I started early working at a bank, and it was my first eight years. I worked at a bank in Istanbul. It is called Istanbul Bank, and then my graphic is like life graphic is a little bit different, like curvy, not like straight line. Then after eight years working at a bank, I started to university and fine arts, and then I had kind of interest art history, especially TV production, art history, arts in in the concept is producing art documentaries. That was kind of my vision. Also, it was also my reason initially coming to the U.S. learning TV production. Of course, English as first. So that was very much my childhood until you know 18 until starting at the bank, and then the rest is another story. I have, I must say, I would have three different life. Michael Hingson  06:48 Well, you had certainly an interesting childhood, needless to say, and I, I can understand what you're saying about being the oldest and all the challenges. I was not. I was the youngest, but we only had two siblings, and neither of us we were we were both males, and so we we did not do a lot in terms of preparing meals and all that sort of stuff. Except my brother and I were both in the Boy Scouts, and so when we went camping and other things like that, we learned how to cook on an open or an open fire and and things like that. But still, I understand that you you had a a lot that you had to do. What lessons did you learn by being the oldest child? What kinds of things do you think that you you carry over to what to your life today, because you were the oldest. Bircan Unver  07:44 I think two different components of that. One is also because it wasn't only I was the as a kid at the home and as a girl, girl, but also at the time there wasn't that kind of awareness which we have today. Which I mean, my mom got married with my dad at the age of 15, and she had birth. She had given me birth at the age of 16, the reason I'm bringing up this, when we were going to shopping Kapolechar, Grand Market of Istanbul, when I was 1516, and literally we were halfway age difference between my mom and myself. And when I was saying mom, and the people were surprised, and she and isn't your sister, other sister? They were asking me, and she was my mom. So, but this is in the long later years. I always become the best friend with my mom, and even my brother was saying, "Oh, now I understood that she, you are the joy of my mom because she can kind of a joke, and the others, my kids, like they are kids, but I'm her friend because they kind of feel similar. That is one, you know, lifetime developed feeling and strong connection, different connection with my mom, and the other also, as I mentioned at the beginning, it really this whole, you know, not selected, but where you, which house you born, which condition you grow up, that build up for me early high level responsibility. I feel responsible to do everything, and I, you know, that's a little bit tiring because that's what I want to say here. You say something in our after our initial Zoom meeting. It's really very inspiring. You say something. I just took note. We can solve all the worst problem. We can. You say you don't say we cannot. You say we can. Solve all the world's problems. So, like, it wasn't possible. It's not possible, but you know, as if I could solve the problems or I could carry everything. So it's kind of you know build up my bricks in my life. Michael Hingson  10:18 One of the things that you certainly, it sounds like you learned as you were growing up, though, was was all about responsibility and and and learning to take charge, but learning about responsibility and and feeling that it was okay to be responsible for others in your family and so on. And I think a lot of people don't necessarily learn a lot of lessons about responsibility, like they should. But you were put in a position where you had to do that, which is is certainly a good thing because you clearly have have done that in your life. Bircan Unver  10:54 That's very true, and also it goes with everything. Let's say sometimes some people think maybe unnecessary action when people cut trees, even in their you know backyard or front yard, whatever trees or any type of trees or fruit trees. I really get mad and upset because it is irresponsible to nature, to their own environment, just feeling they're responsible to trees, loving the trees, loving the you know, for instance, if when I was it was two weeks ago, I was working on at my desk, a bees was you know flying around me, and I don't like you know trying to hit and chase the bees, and I just left the window open, moved the room two hours, and it's gone. So I don't want to hurt things, even though if it bites, it would hurt me, right? So to kind of find a way, being responsible, because also I have a subconscious thinking that if I try to chase a herd, if an insect, any of them, they you know they react sharp. So I'm not a threat to them. So they are not threat to me. So I kind of make a subconscious connection, communication. Michael Hingson  12:22 Well, and it's it's better to to learn to love than than not. So I I hear what you're saying. Now you didn't go to college or university, right? Or you did? Bircan Unver  12:35 Of course, I did. That's what I was just briefly brought this stair at that level. That after eight years working at at Istanbul Bank, from literally actually 17 to 24 or 23 late 23 early 24 then I started at the Fine Arts University in Istanbul, and I mainly study both as major Turkish tradition arts and also along with as a minor. We didn't have a minor, but we had we didn't have the minor degree, but we had a selected course. So I was following up several like four years in a row and also whole year around, not a quarter semester base artist troy and contemporary art. So I started writing on art and exhibit and interviewing artists while I started study at the Fine Arts University, which is top university in Fine Arts in Istanbul, Myanmar, Sinan Fine Arts University. Michael Hingson  13:44 So you learned a lot about fine arts, and Bircan Unver  13:47 yeah, Michael Hingson  13:47 and you had obviously learned about finance from the bank, which Bircan Unver  13:51 is didn't learn that Michael Hingson  13:53 much, huh? Bircan Unver  13:53 Not at all, and I didn't like it. That's why I, you know, I changed all my life line. Michael Hingson  14:00 Right, but but you enjoyed art. Bircan Unver  14:03 Yes, and because also art always for me, and it as it is today. Whatever the life problems we cannot be resolved, art is always for me a branch to hold on and to kind of feel strength, connect with the nature, with the art culture, whom I never might met, or maybe you know through art, through music, through books. So it's kind of really, I think the the best human conscious and what we leave behind is what we produce. Creative might be a little bit another discussion. What is the term defined? And now everyone using like creative for everything, but creativity is like really what stays, you know, central. And something as what is already before, and what you brought it something new, that new perspective, like cubism and faism and expressionism and all that different genres or pop arts and another one Dali's movement. So all the Dadaism, so each of them brought something what is already existed, and then you know moved to different level, and also technology and communication brought where we are today. So and music, I'm not any degree. Degree train or understand, but I love music as most people about music and arts and literature and writing is always for me. Also taking pictures. I don't trust my memory much, but this is not new, not because of my age now. But I somewhat I always like take the pictures, whether I have cell phone, the oldest, you know, digital or the manual photo photographs. So even though when I run into where where was it, where I was, who was with, who next to me? I can't remember. But why I love that? Because really, it brings, it captures your life, even you don't remember, and then reconnect. Also, I I come up with a new concept. I haven't done anything yet, but it's kind of developing in my mind, that we can, we are able to capture the past, but we cannot capture the future, because you know whether you know unexpected the one photo comes up, or an audio recording, or all those movies, musics, and documentaries and paintings throughout artistry, you can really capture the past depending on what you know your background or interest and education, but you cannot capture the future. But you can imagine, we can imagine the future. We can invest into the future. Michael Hingson  17:16 Well, and and the the reality is that that the future is based on so many things that happen in the past, and so you can learn to to use some of that information and and have a better idea of what the future might be like, and that's that's pretty fascinating too. So so, how long did you go to college Bircan Unver  17:42 in in Turkey the basic four university education is annual base, not semester base. It's a four years, and actually when I started it was five years. Then later on they the system education board changed it to like four years plus two years. So I graduated from a four years fine arts, and then I have a master's degree based in New York News School University. Michael Hingson  18:20 Ah, in New York. Bircan Unver  18:21 Yeah. Michael Hingson  18:22 Okay. So that was was that two years. Bircan Unver  18:27 Yes, but it was a little bit different again. Yeah. See, because first when I was here for the first time, 18 919, 89 to 1994, I started and I took to six credits and I love it. But I had to go back to Istanbul, so then I got the you know absence live of absence, and then but coming back three years later, I readmitted, and then I finish it. I got my graduate diploma in 1999 May 1999 Michael Hingson  19:12 Okay, so Bircan Unver  19:14 you've been dealing late. You've been Michael Hingson  19:17 dealing with school for a while, but but while all that was going on, you got interested in, and you started to to do things regarding public access television. And you started that, if I read your biography correctly, in in 1991, you started doing things with public public access TV. Tell us a little bit about that, and why did you do that? Bircan Unver  19:41 That's really the kind of key point in my life. In as for the initial one of the two reasons that I came to the U.S. as the first time, I was you know the first aim to learn English. The second also. To learn the TV production, and then my first year was in the U.S. was in L.A. and then I was looking for the schools and just I'm I I'd like to get the formal education, formal training, and then one of my friends there, whom I met there, she said my aunt is TV producer at Queens Public TV in New York, and she is looking for someone like you who really wants to get in and all that. And then I think a couple months later, I had a very brief trip to New York, and I met with her, and then I met with her at QPTV. Now she is unfortunately not with us, but she was also she was the first Turkish producer at QPTV, and I'm forever grateful in memory of her. She was the one who introduced me QPTV, so I met Victor at QPTV in 1990, and then when I went back to LA, I decided to move to New York. So as soon as I moved to New York and I registered to QPTV's both field production and studio, and at the time, there were seven, eight months waiting list. Eventually, I got it on the list, 1991, and first I got the field production certificate, and it was I think six months something, and we had a group project and solo project, and then studio and studio production. It's when the same group project after you are learning all the equipment and then shooting and everyone is crewing everyone is helping each other within the same group of the class and then also producing group project and then the individual project that it is the similar step for the field production and the studio, that also provides a certificate to enabling us to use QPTV equipment, studios taking out the equipment, inviting studios, studios. Unfortunately, after COVID 19, there has been a long dragging issue. They haven't opened the studios. This is I don't want to get in because it is beyond our concept, but because that was my initial reason also moving to New York. And then once I started producing program and airing, I really loved idea from one idea, just idea, and then put paper and develop it. Bring yes, bring the crew, especially with the manual three-inch tapes, and to present, put everything in a tape, and then submit it an ARC schedule. I really love that. So then, while I was there, and then I said, "Okay, I want to really have a master's degree on TV production. So my master's degree from New Zealand University is in media studies. So and I got my diploma May 1999 So, but New Zealand was amazing. I learned all the first my you know my life although it was 39 maybe 3839 years old when I was Photoshop and Premiere or Evid and all the first offline digital all the software program I learned at the new school and I edited my first program offline at the new circle as well, but when I got diploma, and then I had nowhere no access to continue. Also, you know, it's just I, I never been about the person. My mind and my heart wealthy, but not financial terms. And then, so QPT was always my second home because it provides me continuing the producing and provides me access, provides me equipment. It's like provides the community. That's what it is exists for, especially in support of the Article First Amendment and freedom of expression, and also QPTV format is really, really not well known, or not QPTV loaned. It is public access, pack programming, public education and government programming, non-commercial. So it's it is not much known widely, but it is really one of the best symbol of democracy. And now it's kind of a little bit diminishing because also widespreading out other web streaming platforms like this or other, so that there are so many. Discussion and issues, and also there is one petition to the New York Senate that is called Team New York that could also bring in all the web streaming to this community media access public access media. So then, Michael Hingson  25:19 oh, go ahead. Bircan Unver  25:20 No, I mean the question is so QPTV had has been the longest since 1991. I've been providing content, and as long as I am in the US, if I'm out of the country, even if I am out of the country, my previously submitted programs are rerunning in different, you know, whenever they schedule for my new programs, I determine which time slot because I have a time slot to be scheduled, and whether 28 minutes or one hour. But especially again after COVID 19, I couldn't produce anything at the studio at QPTV, but like this Zoom-based programs, and then for the late million organization, the programs I produce and then edit them, reformat them to schedule for QPTV. But it wasn't as it used to be produced at QPTV, at the studio with the crew, that's the excitement teaming up. It's really, I love it. But Zoom, this type also make more maybe manageable, but also bring more intonation speakers. You know, through online connection. If Speaker 1  26:54 you enjoy Unstoppable Mindset and would like to help us continue bringing these conversations to you each week, we've created a way for you to support the show. Your contribution helps us cover production costs and continue sharing stories, insights, and ideas that inspire people to live with purpose and possibility. If supporting the podcast feels right for you, you'll find the link in the show notes. Thank you for being part of the Unstoppable Mindset Community. Michael Hingson  27:28 So you you started in public access television and and and are still doing that essentially. But in 2000 you started Light Millennium TV. Tell us about Light Millennium Television. Bircan Unver  27:42 Thank you so much. Because Late Millennium, I still consider it's my third child because already 25th anniversary. The flyer on my back says 25th That also refers the 25th anniversary of the Light Millennium. I think a the experience and production, and also providing three platform QPTV, Queens Public TV, but actually the 1992 Communication Act and PAC programming, public government public education and government programming; those emerge with my new school education, like Fatrus, Plato, the concept of the two ways of messaging, and for the first time in my life, at the age of I think it was I was 39 I was able 3039, I was able to use. It was very new, also for the war. Internet. We had the internet at the new school as our media class, the open forum. One week media theory class. We have open discussion forum about Greek philosophy, further is communication, media theory. The other class we had the classic format. So all these together merged in my mind, and I really felt I found my medium. That medium is the internet, which me, especially someone is living in New York, who has you know 30 years first life in Turkey, Istanbul, that culture, and then I I didn't want to kind of disconnect from my root cultures, and internet provided me that connections, and also I always like to write and communicate, so so it becomes like natural medium. And then when I just graduated in May 1999 I send out by then like 40 people with my friends. Colleagues, and then I said, "Oh, I want to start a platform. This platform is going to be ours. And everyone wants to say, kind of to expand the QPTV's concept, because when I say QPTV's concept, this is the again First Amendment, and they don't control the content. They don't say anything you can do, you cannot unless it is a threat to someone's life. So it's all the content, or you are responsible as the producer. So I really love that freedom and responsibility again. And then then I was mentoring at the New York Food Moon Finance and Television, and I was kind of trying to find what I want to do, and I was already producing programs at QPTV. I never give up as as long as I could afford to produce the time and edit. Edit is always more time consuming, and then the executive director of the at the time 1999 Woman Film Man Television, she said you can form a nonprofit. I never taught it before, and I'm forever thankful to her. And then I said I don't know what to do where to start because she perhaps she saw the potential because I was producing non-commercial and publishing, trying to promote, you know, through group emails, and whatever the you know social media available at the time. Well, mostly email and group emails, and then she suggested me a volunteer lawyers of arts that she said they can help you, and I never knew and I never thought I if I never came to U.S. maybe I will never had a concept of forming a nonprofit or light minimum. So that U.S. and all combination brought me and news called Queens Public TV, First Amendment, United Nations Article of 19 Universal Declaration of Human Rights. Everything together kind of merged in my mind. Also, the projects I produce, I communicate, is contact with people, I learn from them. So then, when I contacted with them, they ask me, you know, what is my statement this type? And then I drafted all of them, and they put in medical, you know, terms and terminology, and I was lucky that we got a pro bono at the time one of the you know major U.S. law firms. I I think I can say now because they even though I think merged K Shuler, but they took our case and they formed my organization on on a pro bono basis and officially the first as a non profit organization done with the 500 1c T V together. So we officially formed 2001 July 17, and we and then right after that they filed 501c3 for us, and then we granted that in September 18, 2002. Bircan Unver  33:14 My memory is not good, but I I remember that date as of today because it was kind of imprinted in my mind, but also the beauty was that the granted granting 501 c3 was effective of the formation date, which is July 17 2001 So then, since I developed started the light minimum concept, introducing speaking people trying creating an open platform that everyone can you know contribute be part of it, so then I started in January 2000 on January 13 2000 started first monthly the like TV series at like at QP TV. That's how it came about. Michael Hingson  34:02 Yeah, you have certainly created quite a niche in in the whole light millennium and all the other things that you've done, which is pretty fascinating. How did you get connected with the United Nations? Because I know you're doing work with them. Bircan Unver  34:18 Thank you. Actually, the concept with the UN use, I don't do work for them. Michael Hingson  34:29 Right. Bircan Unver  34:29 We do work with them. Right. You're connected Michael Hingson  34:34 with them. You're not working for them. I understand that. Bircan Unver  34:36 Yeah, I just you know one word, but it's key key differences. But as as I mentioned, how the light millennium concept emerged, and also my master's degree program, media studies at the New School, and also there is another person I have to mention here, also in. Separate for her respectful and loving memory, Danielle Camille. She was my advisor for my thesis project advisor at the new school, and all that TV ideas and my thesis project. And she loved, and I got all A. And my first TV ideas project was peace, reality, or utopian dream, and it was 11 minutes or so. It was just before the first Clinton administration election, just October, I think 2002 and then I interviewed many academicians, civil society, non-profits who whose focus area on peace and war and you know against nuclear or all that and and then that actually the concept peace reality or utopian dream that took me to the United Nations I don't know now as a as an outsider, at the time it was so welcoming, and I went to photo department. They share me with photos, and I got all the books I was looking for. Of course, public library. I got all the books about the peace and peace organization. So that 12 minutes program, peace rate or utopian dream, and physically led me to step in the UN for the first time, and then producing this project, searching kind of open to me new horizon, and also my advisor was persistent. Birjan, we know you are great. You produce fundamental programs on arts, but I want you to do something else. So that actually also forced me to move beyond producing something beyond arts. And so then then peace, reality, or utopian dream concept came in, but also it wasn't far topic in my life because my son was born 20 when I was 2022 Now he is 45 His name is Borush, and mean is in Turkish peace. Peace also at the time, you know, Africa hunger, and I was hoping when I get 4050, this will be over. It's not the case, but as a vision, I always look for humanistic positive for the humanity, not you know for myself well-being. Michael Hingson  37:38 Well, you you kind of act as a bridge between UN programs and local communities. Tell me more about that because you view that you view yourself as being a bridge between UN programs and the local community. Why do you why do you view yourself as more of a bridge? Bircan Unver  38:00 That's very nice metaphor, and I think it's very true for me too. Maybe I could take it two three step backs. One is the village I was born. There is a river, and and then there was a bridge, and that bridge was kind of fundamental. Really, going to where you know people are established, living in all the agriculture and large fields, and it was kind of nostalgic to me. It's a bridge, but it's a stone, short bridge. That's the the first part. The second Istanbul. You know, my life main path when I was in Istanbul, Turkey in Istanbul, and Istanbul the Bosphor and then the Istanbul Bridge. Now the name changed, and now three bridges, and not just the bridge itself, but also Turkish geographic Turkey's geographical space place on Earth and especially on in between Europe and Asia and Black Sea and then the Mediterranean Sea and then when you go down North Africa, and then you go up like Russia and North Europe. So you see that that connection physically, geographically, and troy physical bridges. We live, we grow up with this kind of as part of our DNA and vision. When I was working on this, the first the initial need you know in the non-profit world to describe the need need was to connect with my culture, people, friends, family, the internet medium, and then village is also metaphor, and when we associated with the. I let I'm proud to say it. Let the association process. That was also my vision from that small video for the class project. And then, then I realize this is also. I think today is real fact that local communities, even Queens here, people are paying 1000s of dollars to come to New York to get visas. All that trying to get the sponsor, you know, to attend a conference, and I I didn't see much interest within the local nonprofits there, and that little bit was shocking realization for me. So I brought to my programs UN visions programs, MDGs, UN days, sustainable development goals. For instance, when it was announced at the UN for the 2023 agenda, we created dreams for humanity. So we brought people from lots of life, poets, authors, and youths to really share their ideas for humanity, for peace. Michael Hingson  41:12 Well, you-it sounds like, from all that I've read and and studied, you're you're, or at some point, you kind of have moved more into dealing with a lot of things with the environment. So I know that your program has been able to get a credit accredited as an observer observer status with the UN Environment Program. How is how has that affected what you do and all of your work going forward. Bircan Unver  41:43 Thank you. This is also another important, I think, milestone for us. The first in connection with the UN, associated with the in the formerly United Nations Department of Public Information, and then it has changed to Department of Global Communications. Officially, we've been associated since 2005, active and good standing, and we are able to be presented at the UN with six representatives, and therefore we are able also to reflect back to our committee's networks from the UN and it's two ways. I really like the concept two ways messaging, and then always environment in somewhat it involves in our programs. But let's say through water, through energy, through, for instance, when the forest fires really burns my heart. So being sensible and trying to, as much as I could, to attend the meetings, especially MDGs for the first phase of the Millennium Declaration, really, it's. I consider UN is the best school I ever had, and it's for me lifetimes to call, and I learn about so many countries I will never otherwise know them much. Some of the names you hardly hear in media and anywhere else, so it's kind of opens and to see the global spectrum. Also, one of the things I really love at the UN, whether you you are a ambassador or president or prime minister of a country that has maybe a population 1 million or 2 million or 1 billion or two 1.6 billion, the largest one, so you have the same minutes of speaking time, same voting, especially of course, I'm talking about the general assembly. So those things I follow up, and we try to incorporate time to time. And water issue always, I wanted to involve. I want to do something about, but it's just not like because I love the tourists, and I'm not, you know, scientist, so I'm not officially trained. So also, I'm not able to protect the, you know, fires in the forest. And every year it's getting worse and worse. And then I'm sensible, but you know, you can't do much about it. And eventually, although our last name is same, but we are not blood connected. Professor Oljoymer, at the time he was vice president for the UN Water at the UN, and we connected. And I was following up, and I was aware his work before we met. We connected through the UN. So then, especially during the COVID era, then when I've seen his speeches, natural-based solutions, and then his piece on smart water, so I propose him if we can do something. About water, and then he was very supportive, very kind, very modest. We had our first water program on the World Water Day in March 2001 and then it has turned out an annual program, and we kind of made the global connections and collaborations, and especially first three, four of them, Professor Olja led and guide, and also we worked together in a sense that I brought one part of the speakers and he brought other parts. So it was also great, diverse speakers and also the level of the speakers from whether civil society, academia, UN, and youth, all that. So we already presented six of them, and 2023 we were part of the UN Water Conference. We presented a program, and then last year we participated and presented a program site event in Nice on the Ocean Conference, and we kind of we also had previously on the ocean again. So plastic also become whether ocean, whether water, whether land life, like plastic, is becoming a huge in every level. Not plastic, but also chemical, all all sorts of polluters on in environment. So then we become promoting, producing, and there are really great level of academicians and experts, and they also like to share and connect their research and their findings. So it's a platform to break down together, and then when it is a video, when it is posted as both a summary along with the full presentation or speech, so it becomes a really source where you know you can find diverse voices, diverse solutions, diverse ideas, and also we align them in support of the UN days, UN conferences, SDGs, sustainable development goals like Water Days. Also, we collaborate with an organization in India, IGEN Green Institution, Green Engineers Institute of Green Engineers. So they are focusing on energy SDG seven. So we contribute them, bringing speakers. Bircan Unver  47:40 So then they join us to our program. So really, it's an organic volunteer base. So that that actually, I was so proud that we got a call, invitation to submit the application for this accredited status, and it was June 2025 after the ocean conference. I think ocean conference kind of brought them cumulatively and maybe brought their attention. And then October they asked our official documents, the bylaws and and certificate of organization, which is the regular require any formal application at the UN, and then I I submitted them in I think it was October 1525 but I haven't heard anything, and then I thought maybe you know they didn't consider, and then literally a year later, in June, last June, we got approval, and with a, it's not just accredited for a special one particular conference. It is an observer status assembly to contribute draft ideas. I mean, to contribute drafts, draft resolution to observe, to participate, and then also to be responsible to provide every four-year quadrennial report. Let's say if we fail to produce contribution at any level to this cause, then you know we may lose that observed status, but of course we'll do our best to contribute and to continue. Michael Hingson  49:27 With all of the work that you've done in all of this, I want to come back to World Water Day in a moment. But with all the work that you've done and all the the the things that you've done in public television and so on, when you host these meetings or you participate in these meetings, do they get televised? Also, are you able to bring those to to the public through public television? Bircan Unver  49:53 When it is Zoom, then I edit within my time slot within the limits of. Time slots and QPTV provides two different time slots. One is 20-eight minutes, the other one is 50-eight minutes. So then, let's say if it's two-hour session, I you know a little bit edit and then title, etc. and part one, part two, and also depending on the length of the session or 20-eight minutes. So then I schedule them through the local channels, as we spoke at QPTV. Also, I make them available through our vmail.com/lmtv channel on web on the web. Also, when we have a summary or outcomes, so we also provide those links and share through social media. Try our best to make those information available, visible, and reachable. Michael Hingson  50:51 Well, that I'm glad you do that. I'm glad that it gets to be something that is a lot more publicized than you just attending a meeting-that's important, I would think, to do when when you talk about World Water Day and so on. One of the things that that I I understand you do is you compare water security directly with cybersecurity and gender equality. Those are three different sorts of things when you include water security. Tell us more about that. Bircan Unver  51:24 This was our latest program in last March, and we had in our prior program on AI a discussion on AI a public discussion on AI policy or AI arc. So he's a professor and at the SUNY, and he's a mathematician, and he's also teaching cybersecurity. And when I was talking about when we met about the water conference upcoming, actually in this December, in the United Emirates on I think December six to eight. Even I was thinking to attend, but I wanted part a bit this time virtually instead of going there. So when we were talking about and and I really like this idea and I say as I asked exactly what you asked for, and then his really statement explanation made great sense because everything is nowadays control troy some form of electronic or AI or a combination of those systems, right? Competing systems. So if or if there is a technical issues, that's one case. But if there is a hack, especially water is the life source for everyone, whether you are billion or trillion, or you are you know ordinary people on the you know everyday life. So water is the source for everything, including producing the energy. AI. So water is the life itself. So then, when he said, if any hacking, whether you know small you know some you know people with a bad intention or some maybe big corporation because some profit purpose they want to sell more you know bottled water whatever or some international security issues you you may name this many other things. So if a computer system, if the control mechanism, if the AI system, whatever that combination in that system, is hack, then everything is a huge risk, and that's number one. How it connects with the water. Also now you know we smart how everything is electronic. Everything and then when that somewhat the life collapses there. So including water, including energy. So everything is so much you know interconnected. And then how that the gender equality came. Also, we follow Michael the UN annual-based dedication team for each UN Day or conferences. For instance, last year, water and gender equality, because water and gender required is also so inseparable concept and conditions in many parts of the world, and then also our professor Emre Tokus, he also. Make beautiful connection that if woman or when woman, if and when women are more in the security, cyber security, IT technology sectors, they are more sensitive. They are more like maybe natural in their dealings, like mother protection. So more protective, so there is less risk than where it is now. So to increase the gender equality, both not burden on the woman, you know, where it's the water scarcity that woman has to carry the burden. Girls, even five, seven years old, when developing countries, when it comes to developing countries, and then if the girls are, and also that was staggering. Stats he gave sort of shocked me today because he is a professor at SUNY. So what I mean by that, he said one of his class has only four girls out of 31. of his class has only one girl. One of his class doesn't have no girl. So even though if if girls are girls are not getting in this field, how we gonna bring the gender balance in all cross-cutting sectors of society. So that's how both from the UN perspective, the dedication team, also cybersecurity, the profile from a university that girls are not showing attention, interest studying cybersecurity. That was the fact based on his class last semester. One Michael Hingson  56:46 of the things that you have done, as I understand, is you've written several books. Bircan Unver  56:53 Yes, there are more, but hopefully I could get work on them, publish them as well. The my first book was Michael, based on my interviews with artists and my reviews on art exhibits, and also when I had questionnaire surveys like with artists, galleries, academicians, professors, students. When I before my first life prior prior the U.S. So when I went back after four years and I was really eager to get in a job for as a TV producer and somewhat that didn't work despite all my efforts even I my project load and everyone was after me, but they want to take the project, but not give me the role what I deserve for. So then I kind of close myself, and then I said I want to compile my books, my articles, my interviews. So that was how my first book came about in Turkish. To create is the most sacred. So, like the value to give the highest value for the creativity, intellectual production. That is through all those interviews, reviews, and questions. So that's that was the first book. The second book is in a way a bridge again between U.S. and Istanbul, New York and Istanbul, or maybe L.A. New York and Istanbul. Because when I came in, also I've done freelance journalism, so I wrote some you know reviews and the magazine. I used to, you know, send and appear my interviews and reviews. So and it was include not too frequent, but it was include some of major exhibits, both from LA and also from the Metropolitan Museum in MoMA in New York. Also Turkish artists here. So I met them, you know, when I was living. I started living in here. So then I a combination of those, and also that was another metaphor developed in my mind when I was Istanbul. I was feeling like the labyrinths of arts. So that's my second book title in Turkish labyrinths in arts. So like you are like this kind of narrow and small world in Istanbul art worlds and very high competition, and then nobody expanding to New York and LA expansion means bringing some, for instance, Franz Bacon, Thomas Hart Benton, and Max Ernst and Marina Magritte. Those also the last part connecting with the New York Istanbul from my art based on my art background. Michael Hingson  59:51 So, were any of the books published in English? The Bircan Unver  59:54 last 120, 23 is English, but. It is a compilation concept is written me. I directed the project, and of course I have some pieces also beside the concept. But it is a compilation by 24 contributors. It is based on the JUC Media Research Writing Awards 2021 and 2023 High School Awards Project, and also it is also engaging the youth to involve the UN programs at an early age and encourage them award them. So that also the next one is going to be on the Water Action Decatur in the same line, same concept, and also I have a book project since 2022 I couldn't still 2022 2020 actually. I dream, therefore I am. I have 80% of the book manuscript is ready, but I couldn't finalize it, and so the other one also I was hoping but couldn't to have a book for the 25th anniversary of the latentium. Unfortunately, it didn't happen. It's a little bit seemingly not going to happen this year to come up 25th anniversary of late millennium, but I had 20 anniversary of the late millennium in Turkish, and so this is completely different issue because I introduced like Millennium both in Turkish and in English, so it's like Tiffany Sister is the Turkish one, and then I formed Turkish sister in 2010, and then so on the 20th anniversary of the Turkish organization, as it is association, official association. So I compile the first part, the concept vision, very much like Millennium, because it's the system. But the second part based on the programs, activities, and challenges in Istanbul. So this book also in English will be first the the manifesto and the first all the history will be very much in English, the original one. But the second part is going to be completely, you know, selected ideas and projects and programs from the website and public programs from the last 20-five years, and it's hard hard things to do. It it's very challenging. I couldn't do it. Michael Hingson  1:02:47 It's it's a lot of work. Well, Berjan, I I want to tell you that we have now been talking for more than an hour. Time flies when you're having fun. Man, I'm going to go. I'm going to have to go ahead and and end our time, but we'll have to do this again and and continue the discussion. But I really appreciate you taking the time to be here, and I hope that people will monitor your programs and and and read your books if they can read Turkish or English, whichever works. Troy Bircan Unver  1:03:18 has so many English pieces, and now everyone welcome to look out our website. And what's the Michael Hingson  1:03:26 website again? Bircan Unver  1:03:28 lmglobal.org. Michael Hingson  1:03:32 lmglobal.org. Okay. Bircan Unver  1:03:34 Yes, but the whole archive from 2019 to 2000 no, 2019 no. of course not 2019 1999 to 2018 The archive. Our initial website is light millennium.org Millennium is with double N double N. So the everything we are talking about, all the process, our UN programs, and the reports from the UN NGO briefings, some conferences we participated. If anyone has any question, I'll be happy to provide the link and you know to contact them. Michael Hingson  1:04:17 And we will put that information in the show notes, the notes for the podcast. So I want to thank you for being here. This has been absolutely informative. I really appreciate your time, and I hope the programs continue to go well. So I want to thank you again for being here, and this has just been a lot of fun. Bircan Unver  1:04:39 Thank you so much, Michael Kingston, it is great honor and privilege. Especially, you are a hero, and your your story is amazing, and you are also taking really one of the challenges works like producing these programs, and we never met in real life. And then this is also like Millennium and your work. How we connected through? Otherwise, there was no like regular environment or database environment that we could meet. Your work and your dedication and your inspiring contribution really connected us and bring us together in this session. Thank you, and I'm really grateful for that. Michael Hingson  1:05:29 Thank you for being here with me on Unstoppable Mindset. I hope today's conversation left you with a fresh perspective, a new insight, or at least something worth thinking about. If you're ready to go deeper into the ideas that shape how we see ourselves and others, I have a free gift for you. Head over to michaelhingson.com and download my free ebook, Blinded by Fear. It explores the invisible beliefs that hold us back and shows you how to reframe them so you can move forward with clarity and confidence. Be sure to subscribe to our podcast, leave a review, and share this show with someone who can use a reminder that growth starts with mindset. When people think differently, we all move forward together. Thanks again for listening. Keep learning, keep questioning, and keep choosing to live with an unstoppable mindset

The Mediterranean Sea accounts for less than 1% of the world's ocean surface water, but it contains roughly 18% of global marine biodiversity. It is home to 150 million people along its coastline (roughly equivalent to Russia's population). And it sequesters 17.2 million metric tons of CO2 each year. Joining the Newscast this week to talk about the unique biodiversity of the Mediterranean Sea and its threats is journalist Manuela Callari. Callari has written for Mongabay, highlighting the threats to purple sea urchins (Paracentrotus lividus) along the Italian coast. These marine invertebrates are crucial to the health of marine ecosystems, such as those in the Mediterranean, by helping regulate algal abundance and serving as food for predators. However, they are being overfished and even poached in marine protected areas due to demand for them as the primary ingredient in a popular tourist dish: spaghetti ai ricci di mare. While the situation with urchins persists, Italy has been investing in an unprecedented effort to map its entire underwater coastline using deployed sensors to better understand the marine environment and manage conservation efforts. This is allowing them to identify where meadows of the seagrass Posidonia oceanica, which are "absolutely vital" to the Mediterranean ecosystem, persist, Callari says. Overall, Callari says she wishes the rest of the world and tourists visiting the Mediterranean were more informed about the pressures the marine ecosystem faces. "I grew up here, and now that I go back to certain places where I was as a child, and they are just completely different places to me. Places that were just nature and were difficult to access. Now they have very easy access on cars, buses. You can go on boat tours very easily. And I think we don't appreciate enough the impact that has on the environment. On the sea." Please take a minute to let us know what you think of our podcast here. Mike DiGirolamo is the host & producer for the Mongabay Newscast based in Sydney. Find him on LinkedIn and Bluesky. Cover image: Satellite data from a study shows that the Mediterranean's average surface temperature has risen by 1.2°C (2.2°F) since the mid-1980s. Image by Katerina Katopis/Ocean Image Bank. —— Timecodes (00:00) The Mediterranean is taken for granted (07:09) Why is a tourist dish destroying marine ecosystems? (18:49) Mapping the entire Italian coast (28:19) Learning to appreciate the Mediterranean

Millions dream of a better life abroad, but very few talk about the terrifying journey many endure to get there.In this emotional episode of The Honest Bunch Podcast, our guest recounts his heartbreaking journey from Nigeria through the Sahara Desert, Libya, and across the Mediterranean Sea** in search of a better future in Italy.

Allen covers Poland connecting its first offshore wind farm, Ocean Winds reaching full power in the Mediterranean, Stiesdal’s floating wind cost breakthrough, Vestas expanding in Australia and Japan, a federal permitting freeze stalling 250 US projects, and India passing 50% clean power. Sign up now for Uptime Tech News, our weekly newsletter on all things wind technology. This episode is sponsored by Weather Guard Lightning Tech. Learn more about Weather Guard’s StrikeTape Wind Turbine LPS retrofit. Follow the show on YouTube, Linkedin and visit Weather Guard on the web. And subscribe to Rosemary’s “Engineering with Rosie” YouTube channel here. Have a question we can answer on the show? Email us! Happy Monday, everyone. A coal-dependent nation just plugged into offshore wind for the very first time. Poland’s power grid received electricity this past week from its first offshore wind farm in the Baltic Sea. It’s called Baltic Power, a joint venture between Poland’s Orlen and Canada’s Northland Power. It began sending electricity from its 76 turbines to shore — about a 1.4-gigawatt site, enough to power more than 1.5 million Polish homes. And this is more than just one wind farm. Poland is shifting its entire energy map. For decades, the center of electricity generation sat in the coal-rich south. Now it’s moving to northern Poland, to the coast. The country plans six gigawatts of offshore wind by 2030. Equinor and Ørsted are both set to build along that Polish shoreline, and that’s good news. A new 530-million-złoty substation — about $140 million — is part of a plan to build nearly 5,000 kilometers of high-voltage lines to carry the power to southern Poland. Coal still supplies more than half of Poland’s electricity, but that number is about to change. And now down to the south of France. Ocean Winds, the offshore wind company created by EDP Renewables and Engie, just reached full power at a floating wind farm in the Mediterranean Sea. It’s three 10-megawatt turbines sitting on semi-submersible floaters 16 kilometers off the coast. It’s a pilot project, but the lessons are real: 99% of the suppliers are European, 85% French, and it proves that floating offshore wind can work in deep Mediterranean waters. Now we’ll stay with floating wind for a moment. Danish company Stiesdal Offshore says it has cracked the cost code, and this is important. The company modeled what it would take to build a full-scale floating wind farm — one gigawatt from a single port in a single installation season, loading out one turbine per week. And the cost? Less than one million euros per megawatt. That is on par with the jacket foundations used for fixed-bottom turbines in deeper water. About 80% of the world’s oceans are roughly too deep for conventional foundations. And if those numbers hold — one million per megawatt — floating wind just got a whole lot more investable. Meanwhile, Danish Vestas is making moves on two continents. In Australia, the Danish giant bought a 272-megawatt project in Tasmania from Ark Energy. It’s called the St. Patrick’s Plains Wind Farm, and once built it would be the biggest wind project site in the state. Vestas now has more than 13 gigawatts of wind projects in its Australian pipeline. So the model is clear: buy early-stage projects, bring in investors and offtakers, then supply the turbines to build the farm. The turbine supplier is turning into a wind developer. And over in Japan, Vestas secured backing from the Japanese government to build a wind turbine assembly factory. Japan’s Ministry of Economy, Trade and Industry has committed support for the facility. Vestas already has about two gigawatts of turbines installed in Japan, including machines at the country’s largest operational offshore wind farm. A factory on Japanese soil puts Vestas closer to an offshore market that is just getting started. Now we turn back to the United States. In Minnesota, four wind energy projects are stuck in limbo. The Department of War has stopped completing national security reviews for proposed wind farms. Those reviews used to be routine. A new report says more than 250 wind projects are stalled nationwide because of it. In Minnesota alone, the four frozen projects represent over one gigawatt — that is more output than the state’s twin nuclear reactors at the Prairie Island Power Plant. So at stake is $1.6 billion in direct investment, about 5,600 jobs, and more than $168 million in economic impact. Nine clean energy groups have sued the War Department to break the logjam. And over in Ohio, the state senate passed a bill that could block many new wind farms and solar farms. The bill says power sources must be available at least 50% of the time, and wind and solar on their own rarely hit that number. The Ohio Chamber of Commerce opposes the bill, and so does the grid operator. But the bill has passed the Senate and now heads to the House. And what a mess Ohio is creating for itself. And finally, in India, for the second time ever, clean energy met more than 50% of the country’s electricity demand. It happened on July 6th. And in the first half of 2026, India installed nearly 29 gigawatts of new solar and wind combined. The country now has about 288 gigawatts of renewable capacity. A nation of 1.4 billion people just crossed the halfway mark on clean power. It’s pretty good — and they’ve done it twice now. So here’s what to watch. The industry’s next chapter is not just about who builds the most megawatts. It’s about who controls the choke points: ports, permits, foundations, factory floors. The companies and countries solving those problems are the ones that will lead. And that is the state of the wind industry for the 13th of July, 2026. Join us for the Uptime Wind Energy podcast tomorrow.

Was Jesus a Zionist? (Part 1 of 2): Anti-Zionism is spreading throughout the world. Recently, college campuses have become hotbeds for this form of antisemitism, as protesters against Israel chant, “From the River to the Sea, Palestine will be free.” But the land from the Jordan River to the Mediterranean Sea is the nation of Israel's. The fierce wave of ... Read More The post Was Jesus a Zionist? (Part 1 of 2) | July 11, 2026 appeared first on The Friends of Israel Today Radio.

Ever wondered what it's like to cycle across a mountain range? Well in 2023 I loaded up my bike with gear and set off from the edge of the Atlantic Ocean at St Jean de Luz, to cross the Pyrenees mountains all the way to Argeles-sur-Mer on the Mediterranean Sea. The route we took was a mix of the Classic Raid Pyrenees road bike and touring routes and we took nine days to complete the crossing. All up it was 803kms, 24 Cols and almost 18,000m of climbing. You can watch the visuals behind this adventure via our Raid Pyrenees video series on YouTube Check out Old Man Mountain for the perfect way to carry gear on your bike. Support the showBuy me a coffee!I'm an affiliate for a few brands I genuinely use and recommend including:

Welcome to Day 2895 of Wisdom-Trek. Thank you for joining me. This is Guthrie Chamberlain, Your Guide to Wisdom. Day 2895 – Wisdom Nuggets – Psalm 139:7-12 Daily Wisdom Wisdom-Trek Podcast Script - Day 2895 Welcome to Wisdom-Trek with Gramps! I am Guthrie Chamberlain, and we are on Day two thousand eight hundred ninety-five of our Trek. The Purpose of Wisdom-Trek is to create a legacy of wisdom, to seek out discernment and insights, and to boldly grow where few have chosen to grow before. The title for today's Wisdom-Trek is: Shivering in the Omnipresence – No Hiding Places in Cosmic Geography In our previous expedition along this ancient, sacred trail, we stepped into the breathtaking opening movement of Psalm One Hundred Thirty-Nine, verses one through six. We explored the terrifying, yet deeply comforting reality of God's absolute omniscience. We learned that the Creator has meticulously mined the deepest shafts of our hearts, intimately tracking our sitting down, and our standing up. We marveled at how He has hemmed us in, constructing a protective, supernatural perimeter around our vulnerabilities, and resting His hand of covenant blessing firmly upon our heads. We experienced a beautiful sense of spiritual vertigo, realizing that the infinite intelligence of our King completely surpasses our human comprehension. Today, my friends, we take our next deliberate, awe-inspiring steps up the mountain pass. We are continuing our exploration of this magnificent psalm, focusing our attention on Psalm One Hundred Thirty-Nine, verses seven through twelve, in the New Living Translation. If the first six verses established that God knows everything about us, this next stanza reveals why that is a cosmic necessity. We are moving from the infinite depth of the divine mind, to the infinite width of the divine presence. David is going to take us on a rapid, macro-cosmic tour across the vertical and horizontal axes of reality, demonstrating that there is absolutely no hiding place in all of cosmic geography. Let us step onto the trail, and discover the beautiful impossibility of escaping the Sovereign King. The first segment is: The Vertical Axis: Piercing the Realms of Heaven and Sheol Let us listen to the opening lines of this cosmic pursuit, as recorded in verse seven and verse eight. I can never escape from your Spirit! I can never get away from your presence! If I go up to heaven, you are there; if I go down to the grave, you are there. In these grouped, contiguous thoughts, David confronts a reality that completely upends the ancient world's understanding of space and spiritual authority. He cries out, “I can never escape from your Spirit! I can never get away from your presence!” To fully grasp the radical, polemical nature of verse seven and verse eight, we must view them through the brilliant lens of the Ancient Israelite divine-council worldview. In the ancient Near East, the surrounding pagan nations operated under a strict system of cosmic geography. They believed that the spiritual realm was deeply fragmented, carved up into competitive, localized jurisdictions controlled by different, territorial elohim—the rebel sons of God who were assigned to the nations after the Tower of Babel. If you were in Egypt, you were under the eye of Ra and Osiris; if you crossed over into Canaan, you were in the domain of Baal and Asherah. Furthermore, these gods were vertically limited. Baal was the lord of the high skies, but he had no power in the underworld. Mot was the terrifying king of the grave, ruling the domain of death where the living gods could not interfere. The pagan world assumed that if you traveled far enough, or if you descended into the darkness of death, you could successfully escape the gaze of a specific national deity. But David stands as a theological revolutionary, and he completely demolishes this fragmented, pagan worldview. He looks at the vertical axis of the cosmos and declares, “If I go up to heaven, you are there; if I go down to the grave, you are there.” Think about the absolute totality of this claim. “Heaven”—the Shamayim—represented the supreme, radiant assembly room of the divine council, the very zenith of cosmic light and order. If David climbs to the highest spiritual heights, Yahweh is effortlessly enthroned there, presiding over the loyal heavenly host. But then David flips the map completely, looking into the pitch-black abyss of the “grave”—or Sheol, the underworld. In pagan thought, Sheol was a garbage dump of forgotten souls, a territory completely isolated from the gods of life. Yet David declares that if he makes his bed in the deep recesses of the underworld, he will open his eyes and find Yahweh standing right there next to him! There is no independent dark zone, and no demonic underworld, that can construct a legal barrier to lock the Creator out. Yahweh's jurisdiction is absolute, unmediated, and completely seamless from the highest celestial throne, to the deepest subterranean tomb. The rebel principalities of death have no private closets where they can hide from the King of Glory. The second segment is: The Horizontal Axis: Overruling the Farthest Horizons Having mapped the vertical dimensions of reality, the psalmist turns his attention to the horizontal limits of the earth, combining his logical thoughts in verse nine and verse ten. If I ride the wings of the morning, if I dwell by the farthest oceans, even there your hand will guide me, and your strength will support me. David paints a breathtaking, cinematic visual of rapid, long-distance transit across the globe: “If I ride the wings of the morning, if I dwell by the farthest oceans, even there your hand will guide me, and your strength will support me.” In the poetic vocabulary of ancient Israel, the “wings of the morning” referred to the first, blinding rays of the dawning sun, leaping up over the eastern horizon at the speed of light. Conversely, the “farthest oceans” referred to the western horizon, the deep, unpredictable, and highly dangerous waters of the Mediterranean Sea and whatever lay beyond. David is mapping out an extreme, east-to-west trajectory. He is saying, “What if I could capture a sunbeam in the east, fly across the entire planet in a fraction of a second, and drop myself down into the most remote, uncharted wilderness of the western sea?” In the ancient mind, traveling to the farthest oceans meant crossing the boundary lines into disinherited pagan lands, crossing into territories heavily fortified by the rebel spirits of the nations. It was the ultimate frontier of chaos. In Canaanite mythology, the deep sea was the personal playground of Yamm, the god of primordial chaos and liquid destruction. A traveler who ventured into the far oceans expected to find themselves completely abandoned, left to the cruel whims of foreign elements and hostile deities. But notice the beautiful, protective reality that intercepts David in verse ten: “even there your hand will guide me, and your strength will support me.” The phrase “even there” is a thunderous declaration of cosmic ownership. There are no blank spots on Yahweh's map. There are no international waters where His sovereignty doesn't apply. You can travel to the most distant, unchurched, and spiritually dark coordinate on the globe, and you will not find an empty space. Instead, you will find that the personal, loving hand of your Creator has already beaten you there! He doesn't just watch you from a celestial distance; His hand is actively present to guide your steps, and His raw, warrior strength is right beside you to support your weariness. The rebel principalities have no exclusive legal zones where they can isolate a child of God from the perimeter defense of the Almighty. The horizontal limits of the earth are merely a carpet unrolled beneath the feet of the King. The third segment is: The Spiritual Shroud: Dismantling the Canopy of Darkness The narrative moves from the physical limitations of space, to the psychological and spiritual attempt to find a hiding place under the shroud of darkness. The psalmist groups these contiguous thoughts in verse eleven and verse twelve. I could ask the darkness to hide me and the light around me to become night— but even in darkness I cannot hide from you. To you the night shines as bright as day. Darkness and light are the same to you. David explores a deeply human, and highly desperate temptation: “I could ask the darkness to hide me and the light around me to become night—but even in darkness I cannot hide from you. To you the night shines as bright as day. Darkness and light are the same to you.”...

Nuking the moon, putting mirrors in space and blowing up the Polar ice caps are just some of history's hairbrained schemes to control the weather, an obsession man has had since the dawn of time.As a major heatwave tears through Europe, millions of people are frantically trying to stay cool, or praying for some relief. Their desperation is not new.For thousands of years, human civilisations have been obsessed with trying to control the weather, to stave off drought and famine, in order to survive.There are ancient tales of great kings who could part the oceans, and deities who would bring down the rain if they were presented with the right kind of sacrifice.But it wasn't until the last century that we suddenly had the technology to actually do these kinds of things, or at least attempt to do them.Some of these wild ideas - to bring water to the desert, drain the Mediterranean Sea to make farmlands, simply make Russia a warmer place to live - have involved blowing up the Polar ice caps, putting mirrors in space, and nuking the moon.They sound dangerous and unlikely, but some of them have come true.And now, many people are at work on brand new gigantic geo-engineering solutions to counteract the effects of the warming planet.Palaeontologist and explorer, Tim Flannery, has been tracking the progress of some of these schemes.A Brief History of Climate Folly, written with Emma Flannery, is published by Text Publishing.This episode of Conversations was produced by Meggie Morris. Executive Producer is Nicola Harrison.It explores weird science, crazy science, Elon Musk, China, Trump, feats of engineering, space exploration, the human ego, wild weather events, magic, supernatural, religion, God, divinity, human sacrifice, famine, starvation, migration, global warming, climate change, European heatwave, Paris heatwave, fossil fuel, deforestation, COP, climate change policy, sea levels, floods, Summer, water, gas, electricity, solar power, politics, renewables.To binge even more great episodes of the Conversations podcast with Richard Fidler and Sarah Kanowski go the ABC listen app (Australia) or wherever you get your podcasts. There you'll find hundreds of the best thought-provoking interviews with authors, writers, artists, politicians, psychologists, musicians, and celebrities.

Full Text of Readings Friday of the Twelfth Week in Ordinary Time Lectionary: 375 The Saint of the day is Blessed Raymond Lull Blessed Raymond Lull's Story Blessed Raymond Lull worked all his life to promote the missions and died a missionary to North Africa. Blessed Raymond Lull was born at Palma on the island of Mallorca in the Mediterranean Sea. He earned a position in the king's court there. One day a sermon inspired him to dedicate his life to working for the conversion of the Muslims in North Africa. He became a Secular Franciscan and founded a college where missionaries could learn the Arabic they would need in the missions. Retiring to solitude, he spent nine years as a hermit. During that time he wrote on all branches of knowledge, a work which earned him the title “Enlightened Doctor.” Blessed Raymond Lull then made many trips through Europe to interest popes, kings, and princes in establishing special colleges to prepare future missionaries. He achieved his goal in 1311, when the Council of Vienne ordered the creation of chairs of Hebrew, Arabic, and Chaldean at the universities of Bologna, Oxford, Paris, and Salamanca. At the age of 79, Raymond went to North Africa in 1314 to be a missionary himself. An angry crowd of Muslims stoned him in the city of Bougie. Genoese merchants took him back to Mallorca, where he died. Raymond was beatified in 1514 and his liturgical feast is celebrated on June 30. Reflection Raymond worked most of his life to help spread the gospel. Indifference on the part of some Christian leaders and opposition in North Africa did not turn him from his goal. Three hundred years later Raymond's work began to have an influence in the Americas. When the Spanish began to spread the gospel in the New World, they set up missionary colleges to aid the work. Saint Junípero Serra belonged to such a college.Saint of the Day, Copyright Franciscan Media

Ukraine has been intensifying attacks across Crimea as it attempts to cut off the peninsula annexed by Russia in 2014. The authorities have been forced to suspend fuel sales to the public.Also on the programme: hundreds of schools in the UK are closed as temperatures in Western Europe hit new highs; and why sperm whales use different dialects depending on where they swim in the Mediterranean Sea.(Photo: A satellite image shows burning oil storage tanks and smoke rising from the Crimea Bridge amid the Russia-Ukraine conflict Credit: Vantor/Reuters)

Pilot whales rely on sound for nearly every aspect of their lives. They use vocalizations to communicate with family members, coordinate movements, find food, and navigate through their environment. But what happens when the ocean becomes so noisy that those sounds are drowned out? In this episode of How to Protect the Ocean, we explore new research suggesting that commercial shipping noise in the Strait of Gibraltar may be interfering with the ability of pilot whales to hear and communicate with one another. The Strait of Gibraltar is one of the busiest shipping routes on the planet, connecting the Atlantic Ocean to the Mediterranean Sea. Every day, hundreds of vessels move through these waters, generating a constant background of underwater noise. Scientists are increasingly concerned that this noise pollution is masking whale calls, forcing animals to change how they communicate and potentially affecting their ability to stay connected with their social groups. For highly social species like pilot whales, losing the ability to communicate effectively could have serious consequences. In this episode, Andrew Lewin breaks down why sound is so important in the ocean, how human activities are changing underwater soundscapes, and what can be done to reduce noise pollution. You'll learn why scientists consider sound an essential part of marine habitat, how quieter ships could help protect marine mammals, and why ocean conservation is about more than just protecting physical spaces. If you've ever wondered how something as invisible as noise can impact whale survival, this episode is for you. Support Independent Podcasts: https://www.speakupforblue.com/patreon Need help with your ocean non-profit, company, or project? Get the help you need with Pisces Oceans Inc.: https://www.piscesoceans.ca Connect with Speak Up For Blue Website: https://bit.ly/3fOF3Wf Instagram: https://bit.ly/3rIaJSG TikTok: https://www.tiktok.com/@speakupforblue Twitter: https://bit.ly/3rHZxpc YouTube: www.speakupforblue.com/youtube  

A viral underwater video of a great white shark in the Mediterranean Sea recently captured the attention of people around the world. For many viewers, the footage seemed to show a shark appearing in a place where it shouldn't be. But the truth is much more interesting. Great white sharks have been documented in the Mediterranean for decades, yet they remain one of the most mysterious and least understood apex predators in the region. In this episode of How to Protect the Ocean, Andrew breaks down why this sighting matters and what the public often gets wrong about stories like this. The shark was filmed by divers working with Healthy Seas while removing abandoned fishing gear from the seafloor. While the footage itself is remarkable, the bigger story is what it tells us about the challenges facing large predators in one of the busiest and most heavily used seas on Earth. From fishing pressure and habitat degradation to gaps in scientific knowledge, the Mediterranean remains a challenging place for sharks to survive. You'll also learn why conservationists were excited about the video for reasons that had nothing to do with discovering a new population. Andrew explores the concept of shifting baselines, how viral wildlife stories can sometimes distort public understanding, and why rare observations like this are still incredibly valuable for conservation. The episode highlights the importance of documenting marine life, supporting scientific research, and continuing efforts to reduce threats such as ghost fishing gear. By the end of the episode, you'll see that the shark wasn't really the story. The real story is how much we still don't know about some of the ocean's most iconic animals, even in regions that humans have studied and used for thousands of years. Sometimes a single video can remind us that the ocean still holds mysteries worth exploring, understanding, and protecting. Support Independent Podcasts: https://www.speakupforblue.com/patreon Need help with your ocean non-profit, company, or project? Get the help you need with Pisces Oceans Inc.: https://www.piscesoceans.ca Connect with Speak Up For Blue Website: https://bit.ly/3fOF3Wf Instagram: https://bit.ly/3rIaJSG TikTok: https://www.tiktok.com/@speakupforblue Twitter: https://bit.ly/3rHZxpc YouTube: www.speakupforblue.com/youtube