Podcasts about Ode

In this episode, I had the pleasure of speaking with my friend and colleague Dr. Jenn Weaver, a developmental psychologist and associate professor at Boise State University, about the profound impact fathers have on their daughters and, in turn, on the mothers they become. Our conversation was inspired by Jennifer's moving Substack piece, An Ode to Fathers on Mother's Day, which resonated deeply with me as both a father of 2 daughters and a son. We explored how positive father involvement shapes a child's sense of independence, confidence, and emotional well-being. Dr. Weaver shared personal stories about her own father—how his presence, encouragement, and unique parenting style influenced her approach to motherhood and her understanding of intergenerational connections. We also discussed the research, which often focuses on the negative effects of father absence, and highlighted the need for more attention on the positive roles fathers play. Reflecting on my own experiences as a dad, I found myself relating to the idea that fatherhood not only benefits children and families but also transforms fathers themselves. I hope this episode encourages listeners to consider the many ways fathers shape our lives and inspires deeper appreciation for their lasting influence. Please visit Dr. Weaver's Substack, Identity Maternal, and take a look at this article when you can!

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Tonight's Host Miko Lee speaks with authors who have used their personal lives to tell their stories. They both talk and write about trauma, joy and resilience but in two very different ways. First up she chats with Chanel Miller. Many folx might know of Chanel's best selling first book Know My Name which expands on the powerful victim impact letter she wrote to Brock Turner who brutally sexually assaulted her on the Stanford Campus. We talk about her latest work – two delightful books for young people. Then Miko talks with Kazu Haga who weaves his spiritual practice and trauma healing with a deep lineage of nonviolent social change.  In his books, Fierce Vulnerability and Healing Resistance he shares with us his personal journey and offers some insightful visions for our current tumultuous world.  Links to the Author's work: Kazu Haga  Fierce Vulnerability Kinship Lab,  Chanel Miller Chanel Miller The Moon Without Stars Purchase Chanel's books at East Wind Books and Kazu's books at Parallax Press  SHOW TRANSCRIPT APEX Opening: Apex Express. Asian Pacific Expression. Community and cultural coverage. Music and calendar. New visions and voices. Coming to you with an Asian Pacific Islander point of view. It's time to get on board the Apex Express. Miko Lee: Good evening. Welcome to apex express. This is your host, Miko Lee. Join us as you hop along the apex express. Tonight I speak with authors who have used their personal lives to tell their stories. They both talk and write about trauma, joy, and resilience, but in two very different and distinct ways. First up, I chat with Chanel Miller. Many folks might know of Chanel's bestselling first book Know My Name, which expands on the powerful victim impact letter she wrote to Brock Turner, who brutally sexually assaulted her on the Stanford campus. But tonight we talk about her latest work, two delightful books for young people. And then I talk with Kazu Haga, who weaves his spiritual practice and trauma healing with a deep lineage of nonviolent social change. In his books Fierce vulnerability and Healing Resistance, he shares with us his personal journey and offers some insightful visions for our current tumultuous world. First off, listen to my conversation with Chanel Miller. Welcome, author Chanel Miller to Apex Express. Chanel Miller: Thank you so much for having me. It's a delight to be here with you. Miko Lee: I'm really excited to talk to you, and I wanna start with my first question, which I ask all of my guests, which is, who are your people and what legacy do you carry with you? Chanel Miller: Oh, I have so many people. Today, you're my people who continue to help guide me forward. I grew up in the Bay Area and I feel like honestly all of my books are attempts at saying thank you to the people who raised me, the English teachers in my public schools. For helping me stay aligned with myself and never letting me drift too far. And so even though I tell very different stories for different demographics, I think if you look at the root of everything that I write, it's gratitude because they are the people who protected my voice in the first place. Miko Lee: Thank you so much. So we're talking about your third book. Your first book was amazing. Know my name, which is really powerful memoir about surviving sexual assault at Stanford, and this incredible public reclamation of your voice. And then you move from that very personal, internal, very adult work to your second book, which was so lovely and sweet. Magnolia Woo unfolds it all, which was an illustrated book set New York about a little girl and her friend who reunite people with their lost socks. From this all the way to this young person's book and your latest book, the Moon Without Stars, your second, YA novel is based in middle school. So talk to me a little bit about this journey from personal memoir to elementary school to middle school books. Chanel Miller: Yeah, so like you said, the first book was so internal and gutting to write. I knew I needed. Something that would help me breathe a little easier and get in touch with playfulness again. I wrote Magnolia Woo Unfolds it all. It's perfect for kids ages seven to 12. My goal was just to enjoy the process of writing and story making. And it was confusing because I thought if I'm not, you know, during the memoir, I would be like crying while I was writing and it was just taking everything out of me. And I was like, if I'm not actively upset. Is the writing even good? Like, like, you know, does it count? And it turns out, yes, you can still create successful stories and have a good time. So I did that book for myself really. And the kid in me who always wanted to, who was always, writing stories unprompted. Like you said, it was a book about a sock detective and pursuing socks makes no sense. It's almost impossible to return a missing sock in New York City. But I loved the idea of these. This little girl in pursuit of something, even if she doesn't know what the outcome will be. Right. It's just trying even if you're not promised a reward, I love this. And for me it's like I keep attempting to love my reality, right? Attempting to go out into the world with an exploratory lens rather than a fearful one. And so that was very healing for me. After I finished that book, I spent the next year writing this new book, the Moon Without Stars. It's for slightly older kids, like you said in middle school. So my protagonist Luna, is 12 years old and she's biracial like me, goes to middle school in Northern California like I did in Palo Alto. I was just reflecting on my. Upbringing, I would say, and really sitting back and letting memories come to the surface. Trying to see how much, was just unexplored. And then sitting down to, to figure out what it all meant that I remembered all of these things. Miko Lee: So how much of Luna is inspired by Chanel? Chanel Miller: A fair amount, I'd say. And it's not always an intentional, I think fiction deals a lot with the subconscious and you end up writing about yourself on accent luna in the book. She is the campus book doctor, is what I call it. Because when kids are going through something, they'll come to her and she'll prescribe them a book that'll help them for whatever phase of life they're going through. And I know for me from a very young age, I loved reading, writing, and drawing. It's all that I ever wanted to do and I was so mad in school that we had six different subjects and you know, the Bay Area was very tech. Centered, STEM centered. And so I felt all this pressure even through high school to take AP Science classes. In retrospect, I thought, why was I trying so hard to be good at it? Everything. This is impossible. And so for Luna, I own her gifts early. And understand that they were gifts at all. The fact that she loves to read and then she shares her gifts and she takes pride in the things that she's passionate about. She's not ashamed that she's not so hot about math. Miko Lee: So the hating math part is a little Chanel inspired also. Chanel Miller: The hating math part is fully me. I'm sorry to say. Miko Lee: No worries. I think that stereotype about Asians and math is so highly overrated. I'm wondering if there was a Scott for you, a bestie that was also an outcast, if there was someone like that for you when you were growing up. Chanel Miller: Yeah, so in the book, Luna is best friends with Scott. They've been friends since childhood, and as Luna starts to get more attention, their relationship is threatened and it begins to dissolve. I was really interested in how, Luna obviously loves Scott as a friend and she would never. Mean to hurt him, right? It's not inflicting intentional emotional pain, but Scott gets very hurt. I think about how sometimes when we're growing up, we get drawn to certain crowds or paid a kind of attention and we have this longing to be desired to fit in. we sometimes make choices that we're not very proud of, but this is a part of it, right? And so I wanted Luna to reckon with maybe some of the emotional harm she's causing and not run away from it. But also think about like, why am I making these choices and what is important to me? We're all kind of constantly reevaluating our value systems, trying to keep our relationships alive, like this is, starts at a very young age and I wanted her to learn some of the self gifts that maybe I didn't give myself when I was that age. Miko Lee: So in a way, she's a little bit of a remedy for your young self or a gift to your young self. Do you think? Chanel Miller: Oh, that's a nice way of putting it. Yeah, I would definitely say so. I think all writing is, is remedy in some form, at least for me, but I like the, it being a gift to little Chanel. Miko Lee: It's been compared to the classic. Are you there god, it's me, Margaret? What is it like for you to hear that? Chanel Miller: It's an honor, obviously. I think what's most stunning is a lot of the themes that were contested in that book. You know, talking about bodily changes, menstruation like. A lot of that is still kind of hush hush, and I'm surprised by the things that haven't changed , or how our society hasn't completely evolved. I really wanted middle school so hard physically, emotionally, and. It can feel so humiliating that you're trying to solve a lot of your issues in private, and I wanted to take the shame out of it as quickly as possible and just say, this is a universal experience. Everyone goes through these things. It's totally okay to talk about it, even if books get banned. Find a way, find your people. Find a way to have these conversations. Miko Lee: For me, it's so much better than, are you there? God, it's me, Margaret, because it's set in a contemporary. There's a young biracial Asian American girl who's a outcast and really it's about belonging and getting your first period and all the things you have to go through in middle school. That seems really. Relatable for a young woman in our society. I appreciate that. Thank you so much. I read it really quick one night, easily read 'cause it's so lovely. I'm wondering about your process because you illustrated, your last book and then also the cover of this book. And on the cover it's sweet because it has all these cute little zines that she writes about are encapsulated on the cover of the book, which you only realize after you read it. I'm wondering for you as an artist, what comes first in the story, the image or the words? Chanel Miller: That's a great question. Yeah. I like to illustrate my books. Sometimes I'll think of a, something I do wanna draw and then think, how can I build a story around that, or like a visually rich scene. Then I come up with writing to allow myself to draw the thing. Other times I will just write, but I, I will say that when I'm writing, I never have a plot. I'm not an outliner. I am very much an explorer. I'm okay with not knowing for long periods of time where the book is gonna go, what it's about , and how it's gonna end. I don't know any of these things. And luckily I have a very gracious, agent and editor and my editor. I had two editors, Jill and Juan, and they let me just submit chunks of writing for six months. Scenes that didn't go together, that were completely out of order , to show them I'm attempting to build this world and this school full of kids, but I don't know how it's all gonna play out yet. And then after six months, we had enough material to, to begin to identify like who the primary characters were gonna be, what the essential conflict was gonna be. I'm saying this because I want people to know that you don't have to know much before you sit down to write. And the knowing comes with the practice of doing every day, and then slowly things start to reveal themselves. Miko Lee: Oh, I appreciate that. So you don't have a linear timeframe. You kind of just let things come to you. Sometimes they're in images, sometimes they're in words. Chanel Miller: Yes. And then your job is to capture them and be curious about them and then make more until you have enough. Then you can edit, but you edit too early, you're gonna , kill the spirit of the thing. Miko Lee: When do you know you have enough? Chanel Miller: When you fulfill the word count in your contract? No, no, I think it's, it's like you can. Sort of start to feel things click into place or a voice is emerging that's very strong. Even Scott know, Luna's best friend, I didn't have him at the very beginning, I don't think originally. Originally, I think Luna had a sister. It was gonna be a sister book, and then it became a friend. You're just open to it evolving, and then suddenly you're like, oh, I can, I can see this relationship. Can see them existing within the structure. It feels more real to you and at that point you can just go in and start revising Miko Lee: Did you create images for know my name? Chanel Miller: I actually tried to, at the very end, I made a bunch of drawings and I said, can we put these at the start of each chapter? And my editor, who's incredible, she said, you know, when I look at your drawings, they have a different voice than your writing voice. And I was like, that is true. Like, that's a great critique. So instead I went to New York, they were like about to send the book to print and I was like, okay, but I need like one drawing. They said, okay, if you can do it at lunch, like have it done by the end of lunch, we'll put it in the acknowledgement. So I dedicated the book to my family and. I sat at the desk and just did this little, these four little creatures that represented my immediate family and cut it outta my notebook. They scanned it in and sent it off to print with a book. So I did get, I did get it. Miko Lee: And how is the illustrator's voice different from the author's voice? Chanel Miller: The illustrator's voice can be very loose, whimsical, playful, whereas the writing, you know, was so measured and heavy and intentional, and so. I liked that edit, and I also, my editor was confident that I would have more opportunities in the future to write and draw, whereas I felt so vulnerable. It's my first book, it's my only chance to say or do anything, but that's not true. Now I understand like I have time to make all kinds of things. You don't have to shove it all into one project. Miko Lee: And are these, more youth-focused books? Do you feel like that's more a combination of your illustrator and your author voice? Chanel Miller: Totally. The medium like allows you to do both. It kind of asks for images also. Who knows, maybe, I still wanna write, contemporary fiction for adults and maybe I'll adults like visuals too. Absolutely. Miko Lee: Absolutely. Yeah. I'm wondering what you want young readers to walk away with after reading the, your latest book. Chanel Miller: Things smooth out in really unexpected ways. And that you can never truly mess up. Like I messed up so many times growing up or would get a really bad grade. I really would think like, this is the end. Like my future just disappeared. I just can't recover from this, and I always would, and I'm here now, like there, there are so many times I guess, that I thought my life was totally and completely over and, it was never the case. Sure, life could be sour for a bit, or you could be really stressed out, but it's not the end. Different things will change. People will be introduced to help you. Like you just keep showing up in whatever way you can. You won't be stuck in that place. It's been a nice thing to learn, as you get older. I just remember when I felt young, it felt so impossible sometimes, and I promise it's not, Miko Lee: I imagine that with Know my name. Many people came up with you, survivors came up and shared their stories with you, and I'm wondering if that was the same with your second book, if people came up and just told stories about, being a kid detective or what their, if it brought things up for them in a totally different realm. Chanel Miller: Oh yeah, absolutely. In the book, Magnolia's parents are Chinese and, , they're working at a laundromat and a customer comes in and there's, microaggressions happen and, I think with microaggressions you can always. Justify them in your head and say, it's not as bad as explicit violence or something, where it's not a truly a crime. And so you kind of push them to the side, push them to the side, but over time, like they do really stick with you and they're so hurtful and they accumulate and they're not okay to begin with. And I wanted my little character, Magnolia to. Just feel that anger that I often suppress and be like, it's not okay for people to talk to you like that. Like we are allowed to say something about it. It's dehumanizing and it's unacceptable. I wanted to give her the opportunity to confront that emotion and really express what, how it made her feel. Miko Lee: You're just starting your book tour right now. Is that right? For the Moon Without Stars. Chanel Miller: My book comes out January 13th. I'll go on a two week book tour. I'll have two stops in the Bay area. One at, book passage in Cord Madera. One in Los Altos at a church. It's sponsored by Linden Tree Books. We're just doing the event offsite, so if you're in the bay and wanna come say hello, please do that. Miko Lee: Yay. Excited to hear about that. I'm curious, I'm really curious what kind of stories people will tell you about their kind of middle school bully experience or their standing up to bullies and wanting to be in the popular crowd and what's that like? It's such a common middle school experience. Chanel Miller: I'm just really happy that people like have the opportunity to remember, 'cause it's not what we talk about every day. I just love that things are coming up for people and you're like, wow, I never would've thought about that or. I, I, that's why writing is so fun. You get to remember. Miko Lee: It's definitely not what we talk about every day, but definitely that middle school time really, helps shape who we are as adults. That's a really tough time because there's so many hormones going crazy in your body. So many changes that I think a lot of people have big feelings about middle school. Tell us what's next for you. Chanel Miller: I still love writing middle grade like this age is so sweet. It's so rich, emotionally rich. I would like to do something that's, you know, this one was more contemporary realism and I would love to do something that, not pure fantasy, but like breaks the rules of reality a little bit. Just really see where my imagination can go. A little magical realism perhaps. Yeah, absolutely. Miko Lee: I would just encourage you, I really love the Scott and Luna characters and seeing them patch their relationship up in high school as friends and how they can grow. Oh, I think would be a really sweet story also, and how they could explore maybe through magical realism. Some of the, book Doctors Zine World would be fun. Yeah. Yeah. I like those characters, is what I'm saying. I think there's more to come outta those characters and their friendship. Chanel Miller: Oh, that's really sweet. You don't wanna say goodbye to them yet. Miko Lee: Yeah, that's right. Well, it has been a delight chatting with you. Thank you so much for sharing your stories and your work and it's very powerful. Appreciate chatting with you. Chanel Miller: I really appreciate the platform you provide and how you're making room for these genuine conversations. So thank you so much. Jalena Keane-Lee: Next up, listen to blues scholars ode to Yuri Kochiyama. That was Blue Scholars, Ode to Yuri Kochiyama. Miko Lee: Yuri Koyama said, we are all part of one another, and that relates so well to my conversation with author, organizer and teacher Kazu Haga. Welcome, Kazu Haga to Apex Express. I'm so glad to have you with us. Kazu Haga: Yeah, thanks so much for having me. Miko Lee: I'm gonna start with a question that I ask all of my guests because I'm a curious person, and my question is, who are your people and what legacy do you carry with you? Kazu Haga: Oh, wow. Well, when you ask the second question, the immediate response is that I am Japanese. There's a lot of important legacies that come with that. Of course there's so much of my Japanese ancestry that I'm proud of and want to continue to deepen in and understand better. But I'm also aware that, you know, being Japanese, I come from colonizer people, right? And I'm so aware of the. Harm that my ancestors caused to so many people, whether dating back all the way to indigenous. I knew people in Japan, or a lot of the violence that my ancestors committed during the war to Zan Korean communities and Chinese communities and Filipino communities. I feel like in addition to all the beauty and the amazing things that I love about Japanese culture, that's a legacy that I carry with me and a lot of my work has to do with trying to understand what it means to carry that legacy and what it means to try to heal from that legacy and how I take that approach into my own personal life as well as into my activist work. Miko Lee: Thank you so much for recognizing that history and sharing a little bit about your path. I can see so much of how that turns up in your work. So I've had the pleasure of reading your two latest two books. I'm sure there'll be many more to come, I hope. Can you speak a little bit about what inspired you to create healing resistance? Kazu Haga: Yeah, so healing resistance is my interpretation of a set of teachings called kingian non-violence, and it's a philosophy that was based on the teachings of Dr. Martin Luther King. And I have the great privilege to have been mentored by a lot of elders who work very closely with Dr. King and were some of the most instrumental leaders in the civil Rights movement. I started my kind of activist career back in 1999 or something like that when I was 18, 19 years old. And for the longest time, the word non-violence didn't have a lot of meaning to me. But when I was 28 years old, I think I took this two-day workshop on this philosophy called King Non-Violence, and that two-day workshop just completely changed my life forever. I thought after 10 years of doing nothing but social justice movement building work, that I had some idea of what the word non-violence meant and some idea of who Dr. King was. But that two day workshop taught me that I knew nothing about what the word non-violence meant. Since I took that workshop, I feel like I've been on this never ending journey to better understand what it means to practice non-violence and incorporate that as a value into my life. And so healing resistance is, yeah, just my spin on the teachings of Dr. King told through the stories of my life experiences. Miko Lee: I really appreciated how you wove together your personal journey with your, understanding of movement building and how you incorporated that in. I'm wondering, I think it was in this book, but I read both of your books close to back to back, so I might be mixing them up, but I wonder if you could talk a little bit about the salt protestors that happened in India and the two years of training that it took them to be able to stand up and for our listeners, just like really back up and explain what that protest was about, and then the kind of training that it took to get there. Kazu Haga: It was actually more than two years. So, you know, everyone, or a lot of people know about the Salt March. It's the thing that I think a lot of people look to as the thing that really sparked the Indian Independence Movement, similar to the Montgomery Bus boycott in the US Civil Rights Movement. It's when a group of people marched across India all the way to the ocean. Engaged in an act of civil disobedience was, which was to go into the water and make their own salt. Salt is something that had been heavily controlled and taxed by the British Empire, and so the people who lived even on the coast of the ocean were not allowed to make their own salt. And so it was an act of civil disobedience to break a British colonial law saying that we are reclaiming this ancestral cottage industry for ourselves. And one of the reasons why it was so powerful and drew so many millions of people out into the street was because when Gandhi envisioned it. He didn't just put out an open call and said, anyone who wants to join the March can join. Ultimately, that's where they landed. But when the March started, he selected, I think it was about 76 of his followers, and he chose these 76 people and said, you all are gonna start the Salt March. And he chose those 76 people because they had lived in Astrom. And did spiritual practice and engaged in creative nonviolent direct action together for 16 years before they embarked on the salt march. So it was 16 years of kinda like dedicated residential spiritual training , and nonviolent direct action training that allowed these people to become the type of leaders that could draw out millions and millions of people into the street. And so it's one of the things that I really learned about the legacy of nonviolence is the importance of training and understanding that preparing ourselves spiritually to lead a movement that can transform nations is a lifetime of work. And to not underestimate the importance of that training and that rigor. Miko Lee: Thank you so much for correcting me. Not two but 16 years and a really a lifetime to, that's right. To develop the skills. I wonder if you've been following the Buddhist monks that are walking across the US right now. Kazu Haga: Yeah. And the dog, right? Miko Lee: Yeah. Whose dog and that dog. And I wonder what your thoughts are on that. Kazu Haga: I've really come to this place where I understand injustice and state violence, not as a political issue, but as a manifestation of our collective trauma. Like all the forms of state violence and injustice that we see, they happen because collectively as nation states and as communities and as a species, we have unresolved trauma that we haven't been able to heal from. And I think if we can see injustice less as a political issue and more as a manifestation of collective trauma, then perhaps we can build movements that have the sensitivity to understand that we can't just shut down injustice that when you're responding to a trauma response, what you need to do is to try to open things up. Things like spiritual practice and spiritual worldviews, like what, however that word spiritual lands on people. I think that there's a broad understanding of spirituality that doesn't have to include any sort of religious stigma. But when we ground ourselves in spiritual practice, when we ground ourselves in this larger reality that we belong to something so much larger than ourselves as individuals, then a lot more is possible and we're able to open things up and we're able to slow things down in response to the urgency of this moment, which I think is so necessary. When I look at these Buddhist monks spending however months it's gonna take for them to reach Washington dc the patience. The rigor and the slowness. How every step is a prayer for them. And so all of those steps, all of that effort is I think adding to something that has the possibility to open something up in a way that a one day protest cannot. So I'm really inspired by that work. Miko Lee: And it's amazing to see how many people are turning out to walk with them or to watch them. And then on the same hand, or the other hand, is seeing some folks that are protesting against them saying, that this is not the right religion, which is just. Kind of shocking to me. Grew up in a seminary environment. My dad was a professor of social ethics and we were really taught that Jesus is a son of God and Kuan is a daughter of God. And Muhammad, all these different people are sons and daughters of God and we're all under the same sky. So it seems strange that to me, that so many folks are using religion as a tool for. Pain and suffering and injustice and using it as a justification. Kazu Haga: Yeah. It's sad to hear people say that this is the wrong religion to try to create change in the world because I think it's that worldview that is at the heart of what is destroying this planet. Right. It's, it's not this way. It has to be that way and this binary right. Wrong way of thinking. Miko Lee: Yeah. Kazu Haga: But yeah. The first spiritual book I ever read when I was 16 years old was a book by Thích Nhất Hanh called Living Buddha, living Christ. Yes. And in that book he was saying that the teachings of the Buddha and the teachings of Jesus Christ, if you really look at the essence of it, is the same thing. Miko Lee: That's right. Yeah. This brings us to your book, fierce Vulnerability, healing from Trauma Emerging Through Collapse. And we are living in that time right now. We're living in a time of utter collapse where every day it seems like there's a new calamity. We are seeing our government try to take over Venezuela right now and put police forces into Minnesota. It's just crazy what's going on. I wonder if you can just talk a little bit about this book. Clearly it's the Times that has influenced your title and [00:34:00] in influenced you to write this book can be, share a little bit more about what you're aiming to do. Kazu Haga: Yeah, and you know, it's also Greenland and Cuba and Colombia and Panama, and it's also the climate crisis and it's also all of these other authoritarian regimes that are rising to power around the co, around the world. And it's also pandemics and the next pandemics. And we are living in a time of the poly crisis. A time that our recent ancestor, Joanna Macy calls the great turning or the great unraveling so we can get to the great turning where all of these systems are in a state of collapse and the things that we have come to, to be able to rely on are all unraveling. And I think if we are not grounded in. Again, I use this word spirituality very broadly speaking, but if we are not grounded in a sense that we are connected to something so much larger than ourselves as individuals, I think it's so easy to just collapse and get into this trauma response state in response to all of the crises that we are facing, and so fierce vulnerability. It's at the intersection of spiritual practice, trauma healing, and nonviolent action, and understanding that in response to all of these crises that we are facing, we need powerful forms of action. To harness the power necessary to create the transformations that we need to see. And at the same time, can we see even forms of nonviolent resistance as a form of, as a modality of collective trauma healing? And what are the practices that we need to be doing internally within our own movements to stay grounded enough to remember that we are interdependent with all people and with all life. What does it take for us to be so deeply grounded that even as we face a possible mass extinction event that we can remember to breathe and that we can remember that we are trying to create beauty, not just to destroy what we don't like, but we are trying to affirm life. What does that look like? And so if fierce vulnerability is an experiment, like we don't have all the answers, but if I could just put in a plug, we're about to launch this three month. Experiment called the Fierce Vulnerability Kinship Lab, where we'll be gathering across the world. Participants will be placed in small teams, that are regionally based, so you can meet with people in person, hopefully, and to really try to run a bunch of experiments of what is it gonna take to respond to state violence, to respond to these crises in a way that continues to affirm life and reminds us that we belong to each other. Miko Lee: That sounds amazingly powerful. Can you share how people can get involved in these labs? Kazu Haga: People can check it out on my website, kazu haga.com, and it'll link to the actual website, which is convene.community. It's K-I-N-V-E-N-E. It's a combination of the idea of kinship and community. It's gonna be a really cool program. We just announced it publicly and France Weller and Ma Muse and Kairo Jewel Lingo, and it's gonna be a lot of great teach. And we're trying to just give people, I know so many people are yearning for a way to respond to state violence in a way that feels deeply aligned with their most sacred beliefs and their value systems around interdependence, and peacemaking and reconciliation, but also recognizes that we need to harness power that we need to. Step out of the comfort of our meditation cushions and yoga centers and actually hit the streets. But to do so in a way that brings about healing. It's our way of creating some communities where we can experiment with that in supportive ways. Miko Lee: What is giving you hope these days? Kazu Haga: My daughter and the community that I live in. Like when I look up at the world, things are in a state of collapse. Like when I watch the news, there's a lot of things that are happening that can take away my hope. But I think if we stop looking up all the time and just start looking around, if I start looking around in, not at the vertical plane, but at the horizontal plane, what I see are so many. Amazing communities that are being birthed, land-based communities, mutual aid networks, communities, where people are living together in relationship and trying to recreate village like structures. There are so many incredible, like healing collaboratives. And even the ways that we have brought song culture and spirit back into social movement spaces more and more in the last 10, 15 years, there are so many things that are happening that are giving birth to new life sustaining systems. We're so used to thinking that because the crisis is so big, the response that we need is equally big. When we're looking for like big things, we're not seeing movements with millions of millions of people into the in, in the streets. We're not seeing a new nonprofit organizations with billions of dollars that have the capacity to transform the world because I think we keep looking for big in response to big. But I think if we look at a lot of wisdom traditions, particularly Eastern Traditions, Daoism and things like that, they'll tell us that. Perhaps the best way to respond to the bigness of the crises of our times is to stay small. And so if we look for small signs of new life, new systems, new ways of being in relationship to each other and to the earth, I think we see signs of that all over the place. You know, small spiritual communities that are starting up. And so I see so much of that in my life, and I'm really blessed to be surrounded by a lot of that. Miko Lee: I really appreciate how you walk the walk and talk, the talk in terms of teaching and living in a collective space and even how you live your life in terms of speaking engagements and things. Can you share a little bit about the gift economy that you practice and what's that about? Share with our audience what that even means. Kazu Haga: Yeah. I love this question. Thank you. So the gift economy to me is our attempts at building economic structures that learn from how natural ecosystems share and distribute its resources, right? It's an alternative model to the market system of economics where everything is transac. If you look out into nature, nothing is transactional. Right? All of the gifts that a mycelial network gives to the forest, that it's a part of the ecology that it's a part of. It's given freely, but it's also given freely because it knows that it is part of a deeply interdependent ecosystem where it will also receive everything it needs to be nourished. And so there's a lot that I can say about that. I actually working on, my next book will be on the Gift Economy. But one of the main manifestations of that is all of the work that I do, I try to offer as a gift. So I don't charge anything for the work that I do. The workshops that I organize, you know, the Convene three month program that I told you about, it's a three month long program with world renowned leaders and we are asking people to pay a $25 registration fee that'll support the platform that, that we're building, the program on. And. There's no kind of set fee for the teachers, myself, Francis Weller, mam, all these people. And people have an opportunity to give back to the ecosystem if they feel called and if they're able to try to sustain, to help sustain our work. But we really want to be able to offer this as a gift. And I think in the market economy, a three month virtual training with well-known teachers for $25 is unheard of. Of course $25 doesn't sustain me. It doesn't sustain all of the teachers that are gonna be part of this, but I have so much faith that if we give our work freely and have faith that we are doing the work that we're meant to be doing, that the universe will come together to sustain us. And so I am sustained with the generosity of a lot of [00:42:00] people, a lot of donors, a lot of people who come to my workshop and feel called to give, not out of a sense of obligation, but because they want to support me in my work. Miko Lee: Thank you for sharing and I was so impressed on your website where you break down your family's whole annual budget and everything that you spent funds on. Everybody talks about transparency, but nobody really does it. But you're actually doing it. And for reals, just showing something that's an antidote to the capitalist system to be able to say, okay, this is us. This is our family, this is how we travel, this is what we do, and. I found it really charming and impressive in our, it's hard to rebel against a system where everything has been built up so that we're supposed to act a certain way. So appreciate you. Absolutely. Yeah. Showing some alternatives and I didn't know that's gonna be your next book. So exciting. Kazu Haga: Yeah, I just started it. I'm really grateful that I have a partner that is okay with sharing all of our family's finances transparently. That helps because it is a big thing, you know? Yeah. But one of the things that I really learned. But the gift economy is that if there isn't information, if there isn't transparency about what the system's needs are, then it becomes dependent on every individual to figure out. How much they want to give to that system. And I think the gift economy is trying to break outta that the model of individualism and understand that we are interdependent and we live in this rich ecosystem of interdependence. And so if people's needs aren't transparent, then it's hard for people to figure out how they want to engage in that relationship. Miko Lee: Can you share a little bit more the example of Buddhist monks and how they have the basket and. Share that story a bit for our audience. Kazu Haga: Yeah. So historically, in a lot of, particularly south and southeastern, Asian countries, Buddhist monks, they go around, they walk their community every morning, begging, quote unquote for alms. They ask for donations, and the people in that village in that town will offer them bread or rice or whatever it is. That's kind of the food that, that monks and monastics eat. And so if a Buddhist monk is walking around with a bowl and you see that their bowl is already full, you have a sense, oh, this monastic might not need any more food, but the next monastic that comes along might. And so it's this transparent way of saying, oh, this person's needs are met, so let me hold on to the one piece of bread that I have that I can donate today and see if the next person will need it. And so in that way. If I share my finance transparently, you know, if my financial needs for the month or for the quarter are met, then maybe people who attend my workshops will feel like, oh, I don't have a lot of money to give. Maybe I don't need to give to support Kazu Haga, but maybe I can support, the facilitator for the next workshop that I attend. And so, in that way, I'm hoping that me being transparent about where my finances are will help people gauge how they want to be in relationship with me. Miko Lee: Thank you. I appreciate it. You talk a lot about in your work about ancestral technology or the wisdom, our ancestral wisdoms and how powerful that is. It made me think about the day after the election when Trump was elected. I happened to be in this gathering of progressive artists in the Bay Area and everybody was. Incredibly depressed. There was even, should we cancel that day or not? But we pulled together, it was at the Parkway Theater in Oakland and there was an aone leader and she talked about the eighth fire and how we are in the time of the eighth fire and you write about the fires in your book, and I'm wondering if you can talk about the seven fires and the prophecy belt. Kazu Haga: Yeah. So through a strange course of events, I had the incredible privilege early on in my life when I was in my early teens, 11, 12, 13, 14 years old, to spend every summer going to the Algonquin Reservation, Anishnabe Nation, way up in Northern Quebec, and spend my evenings sleeping in the basement of Chief William Commander, who was the holder of the seven Fire Prophecies Wampum Belt. This is a prophecy that told the story of the seventh fire that we are in the time of the seventh fire. And this is a moment in the history of our species where we can remember what it means to be human and to go backwards and to reclaim our spiritual path. If we are able to do that, then we can rebuild a new world, the eighth fire and build a world of lasting peace. But if we are unable to do that and continue down this material journey, that will lead to a world of destruction. And this is, prophecies like this one and similar indigenous prophecies that speak the same exact things are the things that were. Just surrounded, that I was surrounded by when I was younger, and I'm so grateful that even though I didn't really believe this kind of stuff when I was younger, it was like the, you know, crazy hippie newey stuff that my mom was into. I'm so grateful to have been surrounded by these teachings and hearing these teachings directly from the elders whose lives purpose. It was to share these teachings with us because when I look out at the world now, it really feels like we are in a choice point as a species. Like we can continue to walk down one journey, one path, and I could very easily see how it would lead to a world of destruction. But we have an opportunity to remember who we are and how we're meant to live in relationship with each other and to the earth. And I have a lot of faith that if we're able to do that, we can build such a beautiful future for our children. And so I think this is the moment that we're in. Miko Lee: Yeah. Thank you so much. Can you share a little bit about your mom? It seems like she was a rule breaker and she introduced you to so many things and you're appreciating it later as an adult, but at the time you're like, what is this? Kazu Haga: Yeah. You know, she was. She grew up in Japan. We were all born in Japan, but she spent a year overseas in the United States as ex as an exchange student in high school. And she always tells me when she went back to Japan, she was listening to the Beatles, and she shaved her legs and she was this like rebellious person in Japan. But yeah, my mom is never been a political activist in the same way that, that I've become. But she's always been deeply, deeply grounded in spiritual practice. Miko Lee: Mm-hmm. Kazu Haga: And for various reasons have always had deep relationships with indigenous elders in North America and Turtle Island. And so I'm always grateful. I feel like she sowed a lot of seeds that when I was young, I made fun of meditation and I was not into spiritual practice at all. 45 years into my life, I find myself doing all the same things that, that she was doing when I was young, and really seeing that as the foundation of the work that I do in the world today. Miko Lee: And have you, have you talked with her about this? Kazu Haga: Oh yeah. I live with her, so we regularly Oh, I Miko Lee: didn't realize Kazu Haga: that.Yeah, yeah, yeah. So she's read the book and Yeah. We have a lot of opportunities to, to yeah, just talk and, and reminisce and, and wonder at. How life has a tendency to always come back full circle. Miko Lee: Mm. The paths we lead and how they intertwine in some ways. Definitely. Mm, I love that. I let you know before we went on air is that I'm also interviewing the author Chanel Miller in this episode. You shared with me that you are familiar with her work. Can you talk about that? Kazu Haga: Yeah, so, you know, I talk quite a bit in both of my books about how one of the great privileges that I have is to do restorative justice and trauma healing work with incarcerated people, mostly through the prisons in California. And one of the programs that I've had the privilege to be a part of is with the Ahimsa Collective, where we work with a lot of men who have an experience with sexual violence specifically, both as survivors of sexual harm and as perpetrators oftentimes. And in that program we actually used the letter that she wrote and published as an example of the power of what it could mean to be a survivor speaking their truth. And we used to read this letter in the groups with incarcerated people. And I remember the first time I ever read it, I was the one that was reading it out loud. I broke down into tears reading that, that letter, and it was so powerful. And it's one of those written statements that I think has helped a lot of people, incarcerated people, and survivors, oftentimes, they're both the same people, really heal from the scars that they've experienced in life. So yeah, I have a really deep connection to specifically that statement and her work. Miko Lee: Yeah, it's really powerful. I'm wondering, given that how you use art as a tool to heal for yourself. Kazu Haga: You know, I always wished I was a better poet or a better painter or something like that, but I do really feel like there are certain deep truths that cannot be expressed in just regular linear language. It can only be spoken in song or in dance or in poetry. There's something mystical. There's something that, that is beyond the intellect capacity to understand that I think can be powerfully and beautifully expressed through art. I think art and spiritual practice and prayer and things like that are very like closely aligned. And so in that way I, I try to touch the sacred, I try to touch spirit. I try to touch mystery in the things that I can't quite articulate. Just through conversation and giving in a lecture or a PowerPoint presentation, to, yeah, to touch into something more, more important. Miko Lee: And is your spiritual practice built into your every day? Kazu Haga: To the extent possible. One of the traditions that I have really learned a lot from and love is the Plum Village tradition founded by Thich Nhat Hanh. And they're so good at really reminding us that when we wash our dishes, that can be a spiritual practice, right? I'm the father of a young child. And so it's hard to actually sit down and meditate and to find time for that. And so, how can I use. My moments with my daughter when I'm reading her a book as a spiritual practice, how can I, use the time that I'm picking up the toys that's thrown all around the house as spiritual practice. So in that way, I really try to incorporate that sort of awareness and that reminder that I belong to something larger and everything that we do. Miko Lee: After hearing Ty speak one time, I tried to practice the chewing your food 45 times. I could not do it. Like, how does he do Kazu Haga: that? Some food is easier than others. If you eat oatmeal, it's a little harder, but Miko Lee: like that is some kind of practice I cannot do. Kazu Haga: But, you know, I have, a meditation teacher that years ago taught me every time you get inside your car. The moment that you turn the keys and turn on the ignition in your car, just take that moment and see if you can notice the texture of the keys and see if you can really feel your muscles turning to turn the key. And it's in these little moments that if we bring that intention to it, we can really turn what is like a, you know, a mindless moment into something with deep, deep awareness. Hmm. Miko Lee: Thank you for that. That's an interesting one. I have not heard that one before. Kazu Haga: Nowadays I just like push a button so it's even more mind less. Miko Lee: That's right. There's just a button Now. Keys, there's not even the time anymore to do that. That's right. What is it that you'd love folks to walk away with from being familiar with your work? You, there's so many aspects. You have different books that are out, you lead workshops, you're speaking, you are everyday walking through the world, sharing different things. What is one thing you'd love people to understand? Kazu Haga: Between both of my books and all the work that I do, so much of the essence is to try to help us remember. We belong to each other. I think the fear of isolation, the fear that we do not belong, is one of the most common fears that every human being has. Right? At some point in our lives, we felt like we don't belong. And while that is such a real fear, it's also a delusion. Like in an interdependent world, there is nothing outside of belonging, right? And so we already belong. We are already whole, we are already part of the vastness of the cosmos. There is so much power in remembering that we are part of the infinite universe, and I think the delusion that we do not belong to each other is like is the seed that creates the us versus them worldview, and it's that us versus them worldview that is at the heart of what is destroying our planet. In our efforts to create social change, how can we do so in a way that reminds us that even the people that are causing harm is a deeply critical interwoven web of relationships. That we are all in this web of relationship, that there's nobody outside of that, and how can we go about trying to create change in a way that reminds us of that? Miko Lee: Thank you. And my last question is, I'm wondering if there's something that you're learning from your child these days. Kazu Haga: Yeah, the, just the, the pure presence, right? That each moment is so deeply, deeply real, and each moment is to be honored. Like I am amazed at, we were eating asparagus the other day, and she was eating a whole bowl of asparagus, and she desperately needed me to get her the one piece of asparagus that she wanted. She was so frustrated that I couldn't find the one asparagus that she wanted, and so she was crying and screaming and throwing asparagus across the room, and then the moment I was able to find the one asparagus that she wanted, everything is fine. Everything is beautiful. She's smiling, she's laughing, and so just to. Not that we should be like throwing things around if we're not getting exactly what we want, but how can we honor our emotions every moment in a way that in that moment there is nothing outside of that moment. That sort of presence, is something that I really try to embody and try to learn from her. Miko Lee: Thank you so much for sharing with me. I really appreciate reading your books and being in community with you and, we'll put links to your website so that people Awesome. Thank you. Can find out more. And also, I really appreciate that you're having your books published by a small Buddhist press as and encouraging people to buy from that. Kazu Haga: Yeah. Shout out to ax. Miko Lee: Yes, we will absolutely put those links in our show notes. And thank you so much for joining us on Apex Today. Kazu Haga: Thank you so much for having me. Miko Lee: Thank you so much for joining me on this evening conversation with two different authors, Chanel Miller and Kazu Haga, and my little pitch is just to keep reading. Reading is such a critical and important way we learn about the world. I was just reading this thing that said the average Americans read 12 to 13 books a year. And when I checked in with friends and family, they said that could not be true. That they think they know many people who don't read any books. And I am just encouraging you all to pick up a book, especially by an Asian American Pacific Islander author, hear our perspectives, hear our stories. This is how we expand and understand our knowledge around the world. Grow closer to the people in both our lives and people around the world. So yea to reading, yea to Chanel Miller and Kazu Haga. And check out a local bookstore near you. If you wanna find out more information, please check out our website, kpfa.org, black slash programs, apex Express, where I will link both of these authors and how you can purchase their books at your local independent bookstore. Thank you very much. Goodnight. Please check out our website, kpfa.org. To find out more about our show tonight. We think all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world because your voices are important. Apex Express is produced by Ayame Keane-Lee, Anuj Vaidya, Cheryl Truong, Isabel Li, Jalena Keane-Lee, Miko Lee, Nina Phillips, Preeti Mangala Shekar and Swati Rayasam Tonight's show was produced by me, your host, Miko Lee. Thank you so much for joining us. The post APEX Express – 1.15.26 – Chat with Authors appeared first on KPFA.

Gwyn and Ode (+Jax) talk about (mostly) mystery cults in ancient Greece. Special Guest: Jax.

We read and discuss "Ode on a Grecian Urn" by John Keats and poems from her newest book Burn, published in 2025 by Pitt Press.Barbara Hamby was born in New Orleans and raised in Honolulu. Her poems have appeared in The New Yorker, Poetry, American Poetry Review, Ploughshares, Yale Review, and The New York Times. She is the author of seven poetry collections including Holoholo (2021), Bird Odyssey (2018), On the Street of Divine Love: New and Selected Poems (2014), All-Night Lingo Tango (2009), and Babel (2004). Her second book, The Alphabet of Desire (1999) won the New York University Press Prize for Poetry. Her first book, Delirium (1995), won the Vassar Miller Prize, The Kate Tufts Award, and the Poetry Society of America's Norma Farber First Book Award.The John Simon Guggenheim Memorial Foundation honored Barbara as a 2010 Guggenheim Fellow in Poetry. Her short story collection Lester Higata's 20th Century won the 2010 Iowa Short Fiction Award.Barbara edited an anthology of poems, Seriously Funny (Georgia, 2009), with her husband David Kirby. She teaches at Florida State University where she is a Distinguished University Scholar.

Photo by Scott Gruber on Unsplash Published 4 January 2026 e537 with Michael M and Andy – ringing in the new year with the amazing power of music to move and heal, LEGO and retro builds and a whole lot more. Andy, Michael and Michael would like to wish all of our listeners a very happy 2026! Michael M and Andy start off 2026 on a good note – or perhaps better said – a series of good notes. Michael shares some of his vacation reading, beginning with the book, I Heard There Was a Secret Chord by Daniel Levitin. In this book, Levitin highlights the power of music to move and heal, and provides a Linktree to listen to the songs featured in the book, which is included in the show notes below. One particular example from the book was the Ella Fitzgerald recording of Mack the Knife in Berlin, and the magic she created in the moment when she forgot the lyrics. Andy highlights an amazing musical creation moment with Jacob Collier's improvisation with the National Symphony Orchestra. This reminded Michael of Rosamund Stone Zander & Benjamin Zander's book, Art of Possibility, and maestro Zander's TED talk on the power of classical music. Michael also brought up David Byrne's book, How Music Works, and his learning in Puerto Rico on how dancers conduct the musicians as they perform together. Byrne discussed mixtapes in his book, and the modern equivalent of them are the playlist, which is exactly what Levitin's Linktree leads to.  Michael created a mixtape to express musically what he was trying to say in words for his NCSSM convocation speech at the start of the 2025-26 school year.  Andy shares a couple of intriguing ways to create music through retro devices and common household products – all of these are in the links below. Moving to the building part of the episode, Andy and Michael start off with LEGO, and this is about to be a banner year for the company with so many new sets coming on the market. There's a new LEGO Icons building, which has in it a music store and includes a sousaphone player minifig. The cohosts touch on the Star Trek Enterprise set which was also just launched, which includes a minifig of Commander Riker with his trombone. Andy describes the awesomeness that is the LEGO GameBoy with the inventive buttons on the device, and the team then touch on a couple of retro consoles such as the Commodore 64 reboot. The team wraps up this episode with a mention of Andy's grumpiness on the year end Tech Grumps podcast. What music has inspired you in 2025? What builds (LEGO, retro or otherwise) are you planning for 2026? Have your bots

One of our favorite Morning Show interviews from 2025 was with James Parker, author of "Get Me Through the Next Five Minutes: Odes to Being Alive." The various odes in this book include "Ode to Naps," "Ode to Giving People Money," and "Ode to Running in Movies." The book is both thought-provoking and hilarious.

durée : 00:02:14 - L'Humeur du matin par Guillaume Erner - par : Astrid de Villaines - Si le poème n'est pour nous qu'un souvenir d'école, récité devant la classe, alors il est temps de passer de l'autre côté : devenir poète ou poétesse. - réalisation : Phane Montet

Gwyn and Ode (+ Jax!) talk about effigies. Special Guest: Jax.

-- Description --DragonRaid was an attempt to connect with RPG enthusiasts and to use that connection to educate and increase their faith. What did it do right? What did it do wrong? What can we do - as Christian gamers - to ensure our tables are authentic both to the game, itself, and to our identities in Christ?Like what you're hearing? Visit the blog: ⁠https://clericswearringmail.blogspot.com/⁠Want to get in on the conversation, yourself? Send in a voicemail on SpeakPipe: ⁠https://www.speakpipe.com/WhisperingGMPodcast⁠...or join the conversation on Spotify for Podcasters: ⁠https://podcasters.spotify.com/pod/show/the-whispering-gm/message⁠...or come hang out with all of us on Discord: ⁠https://discord.gg/kQnrK4YCCn-- Show Notes --00:00 - Theme00:22 - Mirke the Meek - DragonRaid?!?02:35 - What is DragonRaid?07:27 - Does (or Did) DragonRaid Succeed or Fail?16:50 - Will I be playing DragonRaid? (Spoiler: No.)20:52 - Does Losing Diminish God?26:19 - Gratitude and Direction29:33 - Benediction and Theme-- Links --* Mirke the Meek Podcast: https://open.spotify.com/show/3C2sM7eSEd6uZoyXlLc0Yo Itch.IO: https://mirkethemeek.itch.io/* Ode to '74: https://clericswearringmail.blogspot.com/2023/10/ode-to-74.html* Chubby Funster, Cognitive Load: https://youtu.be/M7h0VaWM3fM

Nuovi amici In sottofondo “You've got a friend” scritta e cantata da Carole King (etichetta Ode, 1971 all rights reserved)

Sicher war Beethoven wohl nicht, wie seine 9. Sinfonie ankommen würde - nicht nur, weil er sie selbst nicht hören konnte, sondern weil sie Grenzen sprengte. Roland erzählt, warum uns die "Ode an die Freude" als Europahymne bis heute zusammenbringt.

El Teatro Odeón de Playa Ancha avanza en un proceso sostenido de recuperación que busca devolverle su rol como espacio cultural y punto de encuentro comunitario. Un trabajo impulsado desde la autogestión y el compromiso con el territorio. En conversación con Pablo Flores, integrante del equipo del teatro, conocimos parte del camino recorrido para volver a poner el Odeón en funcionamiento, los desafíos que ha implicado este proceso y las últimas actividades realizadas en el camino de la rehabilitación. La entrevista completa está disponible en el podcast de Ritoque FM, donde profundizamos en la historia reciente del teatro, su presente y las proyecciones para este espacio clave de Playa Ancha.

Perle noire, diamant noir, les seuls surnoms donnés à la truffe disent bien combien elle est précieuse ; un cadeau de la nature, dont la rareté l'a longtemps réservée au table de luxe. La truffe noire est un champignon de la variété Tuber Melanosporum, il se développe aux pieds des chênes « truffiers » sur certaines terres particulières, aux sols calcaires, limono argileux, de la mauvaise terre « qui ne donne pas ». (Rediffusion) La Tuber mélanosporum est la plus parfumée, la plus délicate, la plus appréciée, et prisée ! La truffe noire signe certains plats iconiques la gastronomie française, comme cette soupe « VGE » servie dans un bol scellé par une pâte feuilletée imaginée par Paul Bocuse et servie au président Valéry Giscard D'Estaing, la brioche truffée et soupe d'artichaut de Guy Savoy ou, bien sûr, la truffe telle que la cuisine Bernard Pacaud à l'Ambroisie. Truffe du Périgord ou de Provence, d'Uzès ou de Richerenches, elle a ses marchés – celui de Richerenche se tient depuis plus de 100 ans, elle a ses amoureux, ses chercheurs d'or, ses amoureux. Mythique, elle espère rester ce mystère qui la rend si belle, d'autant que les truffes chinoises et espagnoles imprègnent huiles, sel et poudre à la truffe, faisant presque oublier la finesse du parfum de la tuber melanosporum.   « À l'ongle, si elle se pèle c'est une brumale, si elle ne se pèle pas, c'est une melanosporum. Son parfum est plus fin, le parfum de la brumale est plus fort, plus entêtant.» Reportage dans le Vaucluse, aux pieds du mont Ventoux, des chênes avec Jacques André et ses chiens, puis en cuisine, avec les conseils et les recettes du chef Éric Briffard, directeur de l'Institut Cordon Bleu à Paris, Meilleur ouvrier de France, une cuisine 3 fois distinguée 2 étoiles au Plaza Athénée, au Georges 5, les Elysées du Vernet. Ode à la truffe. Éditions Sutton. Autour de la truffe noire. - De la truffe, de la pomme de terre et de la cuisine : Délicieux, d'Éric Besnard (2021) - Dans le bois de chêne, dans nos oreilles, Dance with me de William Bailey, un titre de la playlist de RFI.

Perle noire, diamant noir, les seuls surnoms donnés à la truffe disent bien combien elle est précieuse ; un cadeau de la nature, dont la rareté l'a longtemps réservée au table de luxe. La truffe noire est un champignon de la variété Tuber Melanosporum, il se développe aux pieds des chênes « truffiers » sur certaines terres particulières, aux sols calcaires, limono argileux, de la mauvaise terre « qui ne donne pas ». (Rediffusion) La Tuber mélanosporum est la plus parfumée, la plus délicate, la plus appréciée, et prisée ! La truffe noire signe certains plats iconiques la gastronomie française, comme cette soupe « VGE » servie dans un bol scellé par une pâte feuilletée imaginée par Paul Bocuse et servie au président Valéry Giscard D'Estaing, la brioche truffée et soupe d'artichaut de Guy Savoy ou, bien sûr, la truffe telle que la cuisine Bernard Pacaud à l'Ambroisie. Truffe du Périgord ou de Provence, d'Uzès ou de Richerenches, elle a ses marchés – celui de Richerenche se tient depuis plus de 100 ans, elle a ses amoureux, ses chercheurs d'or, ses amoureux. Mythique, elle espère rester ce mystère qui la rend si belle, d'autant que les truffes chinoises et espagnoles imprègnent huiles, sel et poudre à la truffe, faisant presque oublier la finesse du parfum de la tuber melanosporum.   « À l'ongle, si elle se pèle c'est une brumale, si elle ne se pèle pas, c'est une melanosporum. Son parfum est plus fin, le parfum de la brumale est plus fort, plus entêtant.» Reportage dans le Vaucluse, aux pieds du mont Ventoux, des chênes avec Jacques André et ses chiens, puis en cuisine, avec les conseils et les recettes du chef Éric Briffard, directeur de l'Institut Cordon Bleu à Paris, Meilleur ouvrier de France, une cuisine 3 fois distinguée 2 étoiles au Plaza Athénée, au Georges 5, les Elysées du Vernet. Ode à la truffe. Éditions Sutton. Autour de la truffe noire. - De la truffe, de la pomme de terre et de la cuisine : Délicieux, d'Éric Besnard (2021) - Dans le bois de chêne, dans nos oreilles, Dance with me de William Bailey, un titre de la playlist de RFI.

In this episode: Ode (@thatsod.e / @thatsod_e) and Mo "Kid" Licorish (@licorishislegit) discuss a wide range of nerdy, pop culture, and political topics. Topics include:Christmas Movie Tier List

     This week we learn a lessons on loneliness and self-improvement.      Sonya runs her family funeral parlor. She lives an isolated and routine life, above the parlor, with her distant father. The business is slowly going under and she is under a crushing amount of debt owed to a psychotic landlord. Sonya finds an unlikely companion in the unclaimed cadaver of an elderly woman. The third film by Dwein Baltazar and produced by Black Sheep Productions, the Philippine answer to A24, Oda sa Wala (English: Ode to Nothing).     Susan finds no satisfaction with her working class life and yearns for an escape. When her husband and father start to really push her to have a baby, her fear of forever being shackled to the daily monotony drive her to start attending Open University courses on Literature. Her tutor, Dr. Frank Bryant, is jaded by the pretensions of university culture and drowns his misery in public alcoholism. Susan's verve rekindles Frank's passion for literature and Frank's teaching opens  doors to a bohemian life and newly discovered self-confidence for Susan. Lewis Gilbert's reverse Pygmalion with a pair of fantastic lead performances and based on screenwriter Willy Russell's play of the same title, Educating Rita.     All that and Dave drops out, Kevin has a strange interlude, and Tyler stands alone in a neon fog. Join us, won't you?   Episode 444- Corpus Delectus

Radio Stelvio - S08 AFL29 (225) - De KerstspecialKoersklappers: Alex Colman, Jappe TootenLive bij Bike Project in Zwijndrecht: onze unieke terugblik op het wielerjaar 2025. Pogacar was té sterk, dus smeten ex-prof Alex Colman en vlotte analist Jappe Tooten zich door onze rennerpoules en kozen hun runner-up van het wielerjaar. Met interventies van Ward Rigole en Jonas Vergauwen vanuit De Karper in Gent, inclusief een kijk op de strafste vrouw van het jaar!En verder? Vueltas vergelijken met WK's, de koersschoenen van Jappe, niet meer door de regen willen, fitnesstoestellen en de nieuwe fiets van Remco.Steun Radio Stelvio(00:00:00) Intro(00:13:20) Kortnieuws(00:28:30) Ode aan Pogacar(00:30:37) Poules(01:06:44) Beste vrouw van 2025(01:15:46) Finales(01:37:10) NapratenBecome a supporter of this podcast: https://www.spreaker.com/podcast/radio-stelvio--2841595/support.

Vyvaruje se ministr Zůna populistické slepoty Babiše a Okamury? Amerika odplouvá od Evropy, postupně se k ní otáčí zády. Odešel Norman Podhoretz. I jeho doba. České Vánoce okouzlují i ve Francii

Vyvaruje se ministr Zůna populistické slepoty Babiše a Okamury? Amerika odplouvá od Evropy, postupně se k ní otáčí zády. Odešel Norman Podhoretz. I jeho doba. České Vánoce okouzlují i ve FranciiVšechny díly podcastu Názory a argumenty můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Join the Green Room crew as they dive into the incredible journey of UFC fighter Ode Osborne. From his humble beginnings in Jamaica to becoming a standout in the Flyweight division, Ode shares his experiences, struggles, and triumphs in the world of mixed martial arts. He opens up about the sacrifices he's made, the discipline required, and the emotional rollercoaster that comes with being a fighter. Ode's story is not just about fighting; it's about resilience, determination, and the pursuit of greatness. Whether you're a fan of the sport or just looking for inspiration, this episode is packed with valuable insights and motivation. Don't miss out on this captivating conversation!

Gwyn and Ode talk the Victorian era and Victorian Christmas traditions.

A surprise not-totally-festive edition of Radio Clash, where I talk about a bird I think about a lot (the lost Kauaʻi ʻōʻō bird – apologies for the transliteration but those special symbols will likely gum up the works in the feed and tags) and what Christmas means to me now… I play some new and old mashups and original music – some of which is my favourites of the year, but mostly older since I don’t listen to music in the same way anymore. Loving the new Saint Etienne and Lily Allen albums though, and K-Pop Demon Hunters (DERPY 4EVAH!) and new-ish music from B. Dolan, Hallmighty and Lankum. Buckingham Nicks album gets a timely re-release (are they talking again?) so talk about that and the legendary Coffee Plant demos – and visit Aidan Moffat and RM Hubbert’s Christmas Ghost Stories album…and play the last of my choices from Tom Rasmussen’s amazing Body Building album. And some festive? festering? tracks that have been on ice stuck at the North Pole since Xmas two years ago. Joy to the world and all that, there’s a theme about wanting 2026 to be a lot less shit…but not that hopeful, concentrating on what Xmas is supposed to be about, rather than all the capitalism, food and tradition. Peace on earth for all would be a nice place to start? Not So Flappy Bird But I Bet It’s Ghost Is Angry (2:27, 201Mb) Captain Obvious – What Believing Sounds Like (Huntr/x vs Journey) Bill McClintock – Sleigh Bitch –Explicit– (Carpenters and Buckcherry) B Dolan – Fight Naked Lambrini Girls – God’s Country Problem Patterns – Christmas Number One Obscurest Vinyl – The Secrets Your Asshole Keeps Instamatic – Cranes In The Waterfall (Solange vs Stone Roses) Saint Etienne – Sweet Melodies Lewis Scarole – Moonlight Banquet (Mike Oldfield & Maggie Reilly vs Bloc Party) Lankum – Ghost Town Xinon – Merry Christmas Mr Lawrence (One Gameboy Remix) Mike Anthony – Why Can’t We Live Together Tom Rasmussen – Joy Aidan Moffat and RM Hubbert – Weihnachtsstimmung HallMighty – Drive Home Alone For Christmas (The Cars vs. Chris Rea ft Olivia Rodrigo) Jenny Stardust – My Arms Are Just Fuckin’ Stuck Like This Piers Faccini , Ballaké Sissoko – One Half Of A Dream One True Pairing – The World Said No [Domino Recording Co] Black Box Recorder – Do You Believe in God? Ben Folds – Still (Reprise) Lindsey Buckingham & Stevie Nicks – Crystal Minor Arth – This Used To Be My Playgound Love (Air vs Madonna) Aidan Moffat and RM Hubbert – Ode to Plastic Mistletoe Buckingham Nicks – Nomad (aka Candelbright) David Gilmour – Between Two Points (with Romany Gilmour) Tom Rasmussen – This Is How We Walk on the Moon SOPHIE & Hannah Diamond – Always and Forever Lily Allen – Fruityloop tbc aka Instamatic – Happy Novacaine Year (Green Day vs ABBA) tbc aka Instamatic – Chasing Epilogues (Snow Patrol vs Daft Punk)

This week we deviate from our normal format and resurrect our annual Ode to the Holidays with our poet lauret, Tony Bollen.  If you're a regular, you've heard Tony's tributes to both radio and the holidays in the past.  Well this year is a new treat as he brings up an old poem for our Christmas pleasure.  Enjoy! Have a great holiday - and we'll see you back next year!  Media Insultant is produced each Wednesday as Jackson Dell Weaver & Keith Samuels offer comments, ideas and sometimes snarky comments about the current media landscape. They focus on radio and TV primarily - but also any media that is relevent or beneficial to media sales and management. Videos are under the Media Insultant Showcase on Vimeo. Comments are always welcome at jackson@intownmedia.com Thanks for listening!

NB: My confusing mention of Ernest Becker's The Denial of Death mistakenly gave Alice the impression that the book is by Freud. Instead it's just heavily founded in the Freudian vision of human experience. Also, “The Deeper in” is totally not an a cappella song. Also, Matthew was a tax collector, not a moneylender. Other than those, we made no errors whatsoever!SLEERICKETS is a podcast about poetry and other intractable problems. My book Midlife now exists. Buy it here, or leave it a rating here or hereFor more SLEERICKETS, subscribe to SECRET SHOW, join the group chat, and send me a poem for Listener Crit!Leave the show a rating here (actually, just do it on your phone, it's easier). Thanks!Wear SLEERICKETS t-shirts and hoodies. They look good!SLEERICKETS is now on YouTube!For a frank, anonymous critique on SLEERICKETS, subscribe to the SECRET SHOW and send a poem of no more 25 lines to sleerickets [at] gmail [dot] com Some of the topics mentioned in this episode:Dinosaurs in the Hood by Danez SmithThe Ghost of Foghorn Leghorn Speaks of Unrequited Love by Paul GuestJames MerrillGreg WilliamsonGeoffrey HillCapital Improvements: The Initial-Caps Wars by Maryann CorbettThe Fall of Rome by W. H. AudenDonald Duck's Lament by Paul GuestThe Roud Folk Song IndexRoud Folk Song 4933 Conversation with DeathThe Pardoner's TaleEveryman The Unquiet GraveThe Daemon Lover by Shirley JacksonDeath, an Ode by John ForbesMatthew's poem Ankou recently republished in The New StylusWhich is the True One? by Charles Baudelaire The Denial of Death by Sigmund FreudWilliam James Doctor Faustus by Christopher MarloweAlcestisHorace i.iv and iv.viiThe Seventh SealSecret Show Ep 108. How Are We Happy? (on Paradise Lost)The Barron Field ExperienceSecret Show notesAubade by Philip LarkinSo, We'll Go No More a Roving by Lord ByronUntamed Daughter by A.M. JusterOzymandias by Percy Bysshe ShelleyNothing Endures by Countee CulleenAlice in the Looking Glass by A.E. StallingsStopping By Woods on a Snowy Evening by Robert FrostThe Deeper In by The Drive By TruckersThis living hand, now warm and capable by John KeatsTwelfth Night The Raindrop Prelude by ChopinThis is America by Childish Gambino Dance Music by The Mountain GoatsAndrea del Sarto by Robert BrowningBanksy PietaThe Calling of St Matthew by Caravaggio T.O. BrandonFrequently mentioned names:– Joshua Mehigan– Shane McCrae– A. E. Stallings– Ryan Wilson– Morri Creech– Austin Allen– Jonathan Farmer– Zara Raab– Amit Majmudar– Ethan McGuire– Coleman Glenn– Chris Childers– Alexis Sears– JP Gritton– Alex Pepple– Ernie Hilbert– Joanna Pearson– Matt Wall– Steve Knepper – Helena Feder– David YezziOther Ratbag Poetry Pods:Poetry Says by Alice AllanI Hate Matt Wall by Matt WallVersecraft by Elijah Perseus BlumovRatbag Poetics By David Jalal MotamedAlice: In Future PostsBrian: @BPlatzerCameron: Minor TiresiasMatthew: sleerickets [at] gmail [dot] comMusic by ETRNLArt by Daniel Alexander Smith

Po meczu Radomiak Pogoń jeden gniazdowych, gniazdowy to osoba na meczu, która prowadzi i koordynuje doping. Coś jak marszałek Sejmu. Zatem jedne z gniazdowych przekazał piłkarzom szczecińskim ważny komunikat, cytuję: Jeszcze raz dowiemy się, że któryś z was był na baletach i obracał nasze dziewczyny, to wjeżdżamy na trening i was wszystkich roz****dalamy. Nieważne czy biały, czy czarny, czy obrońca, czy napastnik. Jesteście jedną drużyną i wszyscy dostajecie w****dol. Ode mnie tyle, zakończył swój komunikat gniazdowy. Dlaczego o tym mówię, bo to jest przykład jak należy konstruować informację. Mamy tu do czynienia z jasnym, precyzyjnym komunikatem, bez anglicyzmów, nie ma klik bajta typu: ale wam zaraz powiem, i zaczyna od historii Pogoni Szczecin, może coś o ustawie łańcuchowej, a dopiero na końcu konkret.

On Thursday, November 20, the Oregon Department of Education released At-A-Glance School and District Profiles for the 2024-25 school year. The Profiles are designed to provide a consistent set of school and district level information to local communities. They contain previously released assessment data for last school year, previously released graduation data for the class of 2024, and some new data for the 2024-25 school year. Because the state uses consistent sources of data and calculation methods for all schools and districts, its reports are useful for comparison purposes - both between schools and districts and within individual entities on a year-over-year basis. However, data on statewide standardized assessment results in English Language Arts and Mathematics tell a bit of a misleading story of our students' knowledge and skills. A number of students opt out of these tests, and because they are not used for placement, grade promotion, or for any other success measure in school, we have seen students and families place far less importance on them in recent years. For this reason, we have identified other measures for determining students' growth and learning on a rolling basis and are using that data to track progress toward our Strategic Plan goals. For example, we are using HSD-administered assessments called Running Records to measure proficiency in English and/or Spanish reading. You can find the District's and each school's At-A-Glance Profile in the Accountability section of our website. Additional information can be found in ODE's press release and on their At-A-Glance Profiles and Accountability Details webpage. Our featured event is the fall Career and College Pathways Steering Committee meeting that was held on Thursday, November 20, at Hilhi. This amazing group of industry partners, educators, and community leaders plays a key role in helping us create clear and exciting pathway opportunities for every HSD student. Superintendent Travis Reiman kicked off the morning by sharing the latest district data and indicators tied to student success and postsecondary readiness. Melissa Pendergrass, Coordinator of Career and College Pathways, framed the day by emphasizing the value of authentic partnerships and high-quality work-based learning. She spoke about how real world experiences not only benefit students but also create a powerful return on investment for local employers who are building their future workforce. Participants then jumped into a lineup of interactive workshops that explored everything from supervising youth at worksites to designing meaningful hands-on experiences, understanding the long term benefits of investing in youth career development, and more. Conversations were lively, solutions oriented, and full of ideas that will directly support students. HSD extends a huge thank you to everyone who joined us. Your partnership helps ensure that students discover their interests, build real skills, and feel excited about their futures. We look forward to continuing this work together throughout the year.Hot News is produced and emailed to HSD families and staff each week school is in session. Please add the address to your “safe sender” list to make sure you always receive the latest issue. Please also bookmark our district website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠hsd.k12.or.us⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ to stay informed about what's happening in our district and schools.

He prophesied in the time of Joachim, just before the Jewish people were taken into captivity in Babylon. He himself escaped captivity, and after Jerusalem was destroyed, returned to his homeland. Once he was taking some food to his harvesters when an Angel transported him to Babylon to feed the Prophet Daniel in the lions' den, then bore him back to Judea (this is told in the full version of the book of Daniel, ch. 6 LXX). The third chapter of his prophecy is used as the Fourth Ode of the Matins Canon(the Ode is usually sung in full only in monasteries during Lent, but the eirmos of the Fourth Ode, sung in many parishes, usually refers to the Prophet). His holy relics were found through a revelation in Palestine during the reign of Theodosius the Great, and a chapel built there. His name means "Father of the Resurrection."

He prophesied in the time of Joachim, just before the Jewish people were taken into captivity in Babylon. He himself escaped captivity, and after Jerusalem was destroyed, returned to his homeland. Once he was taking some food to his harvesters when an Angel transported him to Babylon to feed the Prophet Daniel in the lions' den, then bore him back to Judea (this is told in the full version of the book of Daniel, ch. 6 LXX). The third chapter of his prophecy is used as the Fourth Ode of the Matins Canon(the Ode is usually sung in full only in monasteries during Lent, but the eirmos of the Fourth Ode, sung in many parishes, usually refers to the Prophet). His holy relics were found through a revelation in Palestine during the reign of Theodosius the Great, and a chapel built there. His name means "Father of the Resurrection."

Você já parou pra pensar quem traduz os livros que você lê e como esse trabalho molda a forma como entende o mundo? Neste episódio, Lívia Mendes e Lidia Torres irão nos conduzir em uma viagem no tempo para entendermos como os textos gregos e latinos chegam até nós. Vamos descobrir por que traduzir é sempre também interpretar, criar e disputar sentidos. Conversamos com Andrea Kouklanakis, professora permanente na Hunter College, Nova York, EUA, e Guilherme Gontijo Flores, professor da Universidade Federal do Paraná. Eles compartilharam suas trajetórias no estudo de línguas antigas, seus desafios e descobertas com o mundo da tradução e as questões políticas, históricas e estéticas que a prática e as teorias da tradução abarcam. Esse episódio faz parte do trabalho de divulgação científica que a Lívia Mendes desenvolve no Centro de Estudos Clássicos e Centro de Teoria da Filologia, vinculados ao Instituto de Estudos da Linguagem e ao Instituto de Estudos Avançados da Unicamp, financiado pelo projeto Mídia Ciência da FAPESP, a quem agradecemos pelo financiamento. O roteiro foi escrito por Lívia Mendes e a revisão é de Lidia Torres e Mayra Trinca. A edição é de Daniel Rangel. Se você gosta de literatura, história, tradução ou quer entender novas formas de aproximar o passado do presente, esse episódio é pra você. __________________________________________________________________ ROTEIRO [música, bg] Lívia: Quem traduziu o livro que você está lendo? Lívia: E se você tivesse que aprender todas as línguas dos clássicos que deseja ler? Aqueles livros escritos em russo, alemão ou qualquer outra língua diferente da sua? Lívia: E aqueles livros das literaturas que foram escritas em línguas que chamamos antigas, como o latim e o grego? Lidia: A verdade é que, na maioria das vezes, a gente não pensa muito sobre essas questões. Mas, no Brasil, boa parte dos livros que lemos, tanto literários quanto teóricos, não chegaria até a gente se não fossem os tradutores. Lidia: Essas obras, que fazem parte de todo um legado social, filosófico e cultural da nossa sociedade, só chegaram até nós por causa do trabalho cuidadoso de pesquisadores e tradutores dessas línguas, que estão tão distantes, mas ao mesmo tempo, tão próximas de nós. [música de transição] Lívia: Eu sou a Lívia Mendes. Lidia: E eu sou a Lidia Torres. Lívia: Você já conhece a gente aqui do Oxigênio e no episódio de hoje vamos explorar como traduzimos, interpretamos e recebemos textos da Antiguidade greco-romana. Lidia: E, também vamos pensar por que essas obras ainda hoje mobilizam debates políticos, culturais e estéticos. Lívia: Vem com a gente explorar o mundo da antiguidade greco-romana que segue tão presente na atualidade, especialmente por meio da tradução dos seus textos. [vinheta O2] Andrea [1:05-2:12]: Então, meu nome é Andrea Kouklanakis e, eu sou brasileira, nasci no Brasil e morei lá até 21 anos quando eu emigrei para cá. Lívia: O “cá” da Andrea é nos Estados Unidos, país que ela se mudou ainda em 1980, então faz um tempo que ela mora fora do Brasil. Mas mesmo antes de se mudar, ela já tinha uma experiência com o inglês. Andrea Kouklanakis: Quando eu vim pra cá, eu não tinha terminado faculdade ainda, eu tinha feito um ano e meio, quase dois anos na PUC de São Paulo. Ah, e mas chegou uma hora que não deu mais para arcar com a responsabilidade financeira de matrícula da PUC, de mensalidades, então eu passei um tempo trabalhando só, dei aulas de inglês numa dessas escolas assim de business, inglês pra business people e que foi até legal, porque eu era novinha, acho que eu tinha 18, 19 anos e é interessante que todo mundo era mais velho que eu, né? Os homens de negócios, as mulheres de negócio lá, mas foi uma experiência legal e que também, apesar de eu não poder estar na faculdade daquela época, é uma experiência que condiz muito com o meu trabalho com línguas desde pequena. Lívia: Essa que você ouviu é a nossa primeira entrevistada no episódio de hoje, a professora Andrea Kouklanakis. Como ela falou ali na apresentação, ela se mudou ainda jovem pros Estados Unidos. Lidia: E, como faz muito tempo que ela se comunica somente em inglês, em alguns momentos ela acaba esquecendo as palavras em português e substitui por uma palavra do inglês. Então, a conversa com a Andrea já é um início pra nossa experimentação linguística neste episódio. Andrea Kouklanakis: Eu sou professora associada da Hunter College, que faz parte da cidade universitária de Nova York, City University of New York. E eles têm vários campus e a minha home college é aqui na Hunter College, em Manhattan. Eh, eu sou agora professora permanente aqui. Lívia: A professora Andrea, que conversou com a gente por vídeo chamada lá de Nova Iorque, contou que já era interessada por línguas desde pequena. A mãe dela trabalhava na casa de uma professora de línguas, com quem ela fez as primeiras aulas. E ela aprendeu também algumas palavras da língua materna do seu pai, que é grego e mais tarde, estudou francês e russo na escola. Lidia: Mas, além de todas essas línguas, hoje ela trabalha com Latim e Grego.Como será que essas línguas antigas entraram na vida da Andrea? Andrea Kouklanakis: Então, quando eu comecei aqui na Hunter College, eu comecei a fazer latim porque, bom, quando você tem uma língua natal sua, você é isenta do requerimento de línguas, que todo mundo tem que ter um requerimento de língua estrangeira na faculdade aqui. Então, quando eu comecei aqui, eu fiquei sabendo, que eu não precisava da língua, porque eu tinha o português. Mas, eu falei: “É, mas eu peguei pensando a língua é o que eu quero, né?” Então, foi super assim por acaso, que eu tava olhando no catálogo de cursos oferecidos. Aí eu pensei: “Ah, Latim, OK. Why not?. Por que não, né? Uma língua antiga, OK. Lívia: A professora Andrea, relembrando essa escolha por cursar as disciplinas de Latim, quando chegou na Hunter College, percebeu que ela gostou bastante das aulas por um motivo afetivo e familiar com a maneira com que ela tinha aprendido a língua portuguesa aqui no Brasil, que era diferente da forma como seus colegas estadunidenses tinham aprendido o inglês, sem muita conexão com a gramática. Lidia: Ela gostava de estudar sintaxe, orações subordinadas e todas essas regras gramaticais, que são muito importantes pra quem quer estudar uma língua antiga e mais pra frente a gente vai entender bem o porquê. [som de ícone] Lívia: sintaxe, é a parte da gramática que estuda como as palavras se organizam dentro das frases pra formar sentidos. Ela explica quem é o sujeito, o que é o verbo, quais termos completam ou modificam outros, e assim por diante. [som de ícone]: Lívia: Oração subordinada é uma frase que depende de outra para ter sentido completo. Ela não “anda sozinha”: precisa da oração principal pra formar o significado total. [música de transição] Lidia: E, agora, você deve estar se perguntando, será que todo mundo que resolve estudar língua antiga faz escolhas parecidas com a da professora Andrea? Lidia: É isso que a gente perguntou pro nosso próximo entrevistado. Guilherme Gontijo: Eu sou atualmente professor de latim na UFPR, no Paraná, moro em Curitiba. Mas, eu fiz a minha graduação em letras português na UFES, na Federal do Espírito Santo. E lá quando eu tive que fazer as disciplinas obrigatórias de latim, eu tinha que escolher uma língua complementar, eu lembro que eu peguei italiano porque eu estudava francês fora da universidade e eu tinha que estudar o latim obrigatório. Estudei latim com Raimundo Carvalho. Lívia: Bom, parece que o Guilherme teve uma trajetória parecida com a da Andrea e gostar de estudar línguas é uma das premissas pra se tornar um estudioso de latim e de grego. Lidia: O professor Raimundo de Carvalho, que o Guilherme citou, foi professor de Latim da Federal do Espírito Santo. Desde a década de 80 ele escreve poesias e é um importante estudioso da língua latina. Ele quem traduziu a obra Bucólicas, do Vírgílio, um importante poeta romano, o autor da Eneida, que talvez você já deva ter ouvido falar. O professor Raimundo se aposentou recentemente, mas segue trabalhando na tradução de Metamorfoses, de outro poeta romano, o Ovídio. Lívia: O Guilherme contou o privilégio que foi ter tido a oportunidade de ser orientado de perto pelo professor Raimundo. Guilherme Gontijo: Eu lembro que eu era um aluno bastante correto, assim, eu achava muito interessante aprender latim, mas eu estudei latim pensando que ele teria algum uso linguístico pras pessoas que estudam literatura brasileira. E quando ele levou Catulo pra traduzir, eu lembro de ficar enlouquecido, assim, foi incrível e foi a primeira vez na minha vida que eu percebi que eu poderia traduzir um texto de poema como um poema. E isso foi insistivo pra mim, eu não tinha lido teoria nenhuma sobre tradução. Lívia: Um episódio sobre literatura antiga traz esses nomes diferentes, e a gente vai comentando e explicando. O Catulo, que o Guilherme citou, foi um poeta romano do século I a.C.. Ele é conhecido por escrever odes, que são poemas líricos que expressam admiração, elogio ou reflexão sobre alguém, algo ou uma ideia. A obra do Catulo é marcada pelos poemas que ele dedicou a Lésbia, figura central de muitos dos seus versos. Guilherme Gontijo: Eu fiz as duas disciplinas obrigatórias de latim, que é toda a minha formação oficial de latim, acaba aí. E passei a frequentar a casa do Raimundo Carvalho semanalmente, às vezes duas vezes por semana, passava a tarde inteira tendo aula de latim com ele, lendo poetas romanos ou prosa romana e estudava em casa e ele tirava minhas dúvidas. Então, graças à generosidade do Raimundo, eu me tornei latinista e eu não tinha ideia que eu, ainda por cima, teria ali um mestre, porque ele é poeta, é tradutor de poesia. Lidia: Essa conexão com a língua latina fez o Guilherme nunca mais abandonar a tradução. Ele disse que era uma forma natural de conseguir conciliar o seu interesse intelectual acadêmico e o lado criativo, já que desde o início da graduação ele já era um aspirante a poeta. Lívia: É importante a gente lembrar que o Guilherme tem uma vasta carreira como autor, poeta e tradutor e já vamos aproveitar pra deixar algumas dicas dos livros autorais e dos autores que ele traduziu. Lívia: Guilherme é autor dos poemas de carvão :: capim (2018), Todos os nomes que talvez tivéssemos (2020), Arcano 13 em parceria com Marcelo Ariel. Ele também escreveu o romance História de Joia (2019) e os livros de ensaios Algo infiel: corpo performance tradução (2017) em parceria com Rodrigo Gonçalves e A mulher ventriloquada: o limite da linguagem em Arquíloco (2018). Se aventurou pelo infanto-juvenil com os livros A Mancha (2020) e o Coestelário (2021), ambos em parceria com Daniel Kondo. E traduziu autores como Safo, Propércio, Catulo, Horácio, Rabelais e Whitman. Lidia: Os poetas Rabelais e Whitman são autores modernos, viveram nos séculos XVI e XIX, já os outros poetas são da antiguidade romana, aquele período aproximadamente entre o século IV a.C. e o século V d.C. Lívia: Então, o Guilherme traduz tanto textos de línguas modernas quanto de línguas antigas. E, a gente perguntou pra ele se existe alguma diferença no trabalho do tradutor quando vai traduzir um texto de uma língua moderna, que está mais próxima de nós no tempo, e quando vai traduzir do latim ou do grego, que são línguas mais distantes temporalmente. Lívia: O Guilherme falou que quando ele vai traduzir de uma língua moderna pra outra língua moderna existem duas possibilidades: traduzir diacronicamente, que é quando o tradutor escreve o texto na língua produzida como se fosse da época mesmo que ele foi escrito. E a outra possibilidade é traduzir deslocando o autor temporalmente, e fazendo a linguagem do texto conversar com a linguagem contemporânea. Lidia: Pode parecer um pouco confuso de início, mas ouve só o exemplo do Guilherme da experiência de tradução que ele teve com o Rimbaud, que é um autor francês. Guilherme Gontijo: Por exemplo, fui traduzir Rimbaud, o Rimbaud do século XIX. Quando eu vou traduzir, eu posso tentar traduzir pensando diacronicamente e aí eu vou tentar traduzir o Rimbaud pra ele parecer um poeta do século XIX em português. E aí eu vou dar essa sensação de espaço temporal pro leitor contemporâneo agora. É, o Guilherme de Almeida fez um experimento genial assim, traduzindo o poeta francês François Villon para uma espécie de pastiche de galego-português, botando a linha temporal de modo que é isso, Villon é difícil para um francês ler hoje, que a língua francesa já sofreu tanta alteração que muitas vezes eles leem numa espécie de edição bilíngue, francês antigo, francês moderno. A gente também tem um pouco essa dificuldade com o galego-português, que é a língua literária da Península ali pra gente, né? Ah, então essa é uma abordagem. Outra abordagem, eu acho que a gente faz com muito menos frequência, é tentar deslocar a relação da temporalidade, ou seja, traduzir Rimbaud, não para produzir um equivalente do Rimbaud, século XIX no Brasil, mas pra talvez criar o efeito que ele poderia criar nos seus contemporâneos imediatos. Lívia: Ou seja, a ideia aqui seria escrever um texto da maneira como se escreve hoje em dia, meio que transpondo a história no tempo. Lidia: Pra quem não conhece, fica aqui mais uma dica de leitura: o poeta francês Arthur Rimbaud, que o Guilherme citou, viveu entre 1854 e 1891 e escreveu quase toda sua obra ainda adolescente. Ele renovou a poesia moderna com imagens ousadas, experimentação formal e uma vida marcada pela rebeldia. Abandonou a literatura muito jovem e passou o resto da vida viajando e trabalhando na África. Lívia: Mas, e pra traduzir da língua antiga, será que esse dois caminhos também são possíveis? Guilherme Gontijo: Quando eu vou traduzir do latim, por exemplo, eu não tenho esse equivalente. Não existe o português equivalente de Propércio. O português equivalente de Propércio como língua literária é o próprio latim. Lívia: Ou seja, o que o Guilherme quis dizer é que não existe uma possibilidade de traduzir um texto latino como ele soava na antiguidade, porque o latim é a língua que originou as línguas modernas latinas, e a língua portuguesa é uma delas, junto com o espanhol, o francês e o italiano. Lidia: Mas, o que pode acontecer é uma classicização dos textos antigos e o Guilherme enfatizou que acontece muito nas traduções que a gente tem disponível do latim pro português. A classicização, nesses casos, é traduzir os textos da antiguidade com o português do século XVIII ou XIX, transformando esses textos em clássicos também pra nós. Guilherme Gontijo:Curiosamente, a gente, quando estuda os clássicos, a gente sempre fala: “Não, mas isso é moderno demais. Será que ele falaria assim?” Acho curioso, quando, na verdade, a gente vendo que os clássicos tão falando sobre literatura, eles parecem não ter esses pudores. Aliás, eles são bem menos arqueológicos ou museológicos do que nós. Eles derrubavam um templo e botavam outro templo em cima sem pensar duas vezes enquanto nós temos muito mais pudores. Então, a minha abordagem atual de traduzir os clássicos é muito tentar usar as possibilidades do português brasileiro, isso é muito marcado pra mim, uma das variedades do português brasileiro, que é a minha, né? De modo ativo. Lívia: Só pra dar um exemplo do que faz a língua soar clássica, seria o uso do pronome “tu” ao invés de “você”, ou, os pronomes oblíquos como “eu te disse” ou “eu te amo”, porque ninguém fala “eu lhe amo” no dia a dia. Lidia: E esse é justamente o ponto quando a gente fala de tradução do texto antigo. Eles não vão ter um equivalente, e a gente não tem como traduzir por algo da mesma época. Guilherme Gontijo: Então, a gente precisa fazer um exercício especulativo, experimental, pra imaginar os possíveis efeitos daqueles textos no seu mundo de partida, né? A gente nunca vai saber o sabor exato de um texto grego ou romano, porque por mais que a gente tenha dicionário e gramática, a gente não tem o afeto, aquele afeto minucioso da língua que a gente tem na nossa. Lívia: Essas questões de escolhas de tradução, que podem aproximar ou afastar a língua da qual vai se traduzir pra língua que será traduzida se aproximam das questões sociais e políticas que são intrínsecas à linguagem. [música de transição] Lidia: Assim como qualquer outro texto, os escritos em latim ou grego nunca serão neutros. Mesmo fazendo parte de um mundo tão distante da gente, eles reproduzem projetos políticos e identitários tanto da antiguidade quanto dos atuais. Andrea Kouklanakis: Eu acho que esse aspecto político e histórico dos estudos clássicos é interessante porque é uma coisa quando você tá fazendo faculdade, quando eu fiz pelo menos, a gente não tinha muita ideia, né? Você tava completamente sempre perdida no nível microscópico da gramática, né? De tentar a tradução, essas coisas, você tá só, completamente submersa nos seus livros, no seu trabalho de aula em aula, tentando sobreviver ao Cícero. Lívia: Como a Andrea explicou, os estudos que chamamos de filológicos, soam como uma ciência objetiva. Eles tentam achar a gênese de um texto correto, como uma origem e acabam transformando os estudos clássicos em um modelo de programa de império ou de colonização. Andrea Kouklanakis: Então, por exemplo, agora quando eu dou aula sobre o legado dos estudos clássicos na América Latina Agora eu sei disso, então com os meus alunos a gente lê vários textos primários, né, e secundários, que envolvem discurso de construção de nação, de construção de império, de construção do outro, que são tecidos com os discursos clássicos, né, que é essa constante volta a Atenas, a Roma, é, o prestígio dos estudos clássicos, né? Então, a minha pesquisa se desenvolveu nesse sentido de como que esses latino afro brasileiros, esses escritores de várias áreas, como que eles lidaram na evolução intelectual deles, na história intelectual deles, como que eles lidaram com um ramo de conhecimento que é o centro do prestígio. Eles mesmo incorporando a falta de prestígio completa. O próprio corpo deles significa ausência total de prestígio e como que eles então interagem com uma área que é o centro do prestígio, sabe? Lidia: Então, como você percebeu, a Andrea investiga como os escritores afro-latino-americanos negociaram essa tradição clássica, símbolo máximo de prestígio, com suas histórias incorporadas a um lugar sem prestígio, marcadas em seus corpos pelo tom de pele. Lívia: Esse exercício que a professora Andrea tem feito com seus alunos na Hunter College tem sido uma prática cada vez mais presente nos Estudos Clássicos da América Latina e aqui no Brasil. É um exercício de colocar um olhar crítico pro mundo antigo e não apenas como uma forma de simplesmente celebrar uma antiguidade hierarquicamente superior a nós e a nossa história. Lidia: Nesse ponto, é importante a gente pontuar que a professora Andrea fala de um lugar muito particular, porque ela é uma mulher negra, brasileira, atuando em uma universidade nos Estados Unidos e em uma área de estudos historicamente tradicional. Lívia: Ela relatou pra gente um pouco da sua experiência como uma das primeiras mulheres negras a se doutorar em Estudos Clássicos em Harvard. Andrea Kouklanakis: Eu também não queria deixar de dizer que, politicamente, o meu entendimento como classista foi mais ou menos imposto de fora pra mim, sobre mim como uma mulher de cor nos estudos clássicos, porque eu estava exatamente na década de final de 90, meio final de 90, quando eu comecei a fazer os estudos clássicos na Harvard e foi coincidentemente ali quando também saiu, acho que o segundo ou terceiro volume do Black Athena, do Bernal. E, infelizmente, então, coincidiu com eu estar lá, né? Fazendo o meu doutorado nessa época. E na época existiam esses chat rooms, você podia entrar no computador e é uma coisa estranha, as pessoas interagiam ali, né? O nível de antipatia e posso até dizer ódio mesmo que muitas pessoas expressavam pela ideia de que poderia existir uma conexão entre a Grécia e a África, sabe? A mera ideia. Era uma coisa tão forte sabe, eu não tinha a experiência ou a preparação psicológica de receber esse tipo de resposta que era com tantos ânimos, sabe? Lidia: Com esse relato, a professora Andrea revelou pra gente como o preconceito com a população negra é tão explícita nos Estados Unidos e como ela, mesmo tendo passado a infância e a adolescência no Brasil, sentiu mais os impactos disso por lá. Lívia: Mas, fora o preconceito racial, historicamente construído pelas nossas raízes de colonização e escravização da população negra, como estudiosa de Estudos Clássicos, foi nessa época que a Andrea percebeu que existia esse tipo de discussão e que ainda não estava sendo apresentada pra ela na faculdade. Andrea Kouklanakis: Depois que eu me formei, eu entrei em contato com a mulher que era diretora de admissão de alunos e ela confirmou pra mim que é eu acho que eu sou a primeira pessoa de cor a ter um doutorado da Harvard nos Estudos Clássicos. E eu acho que mesmo que eu não seja a primeira pessoa de cor fazendo doutorado lá, provavelmente eu sou a primeira mulher de cor. Lidia: Vamos destacar agora, alguns pontos significativos do relato da professora Andrea. [som de ícone] Lívia: O livro que ela citou é o Black Athena, do estudioso de história política Martin Bernal. A teoria criada pelo autor afirmava que a civilização clássica grega na realidade se originou de culturas da região do Crescente Fértil, Egito, Fenícia e Mesopotâmia, ao invés de ter surgido de forma completamente independente, como tradicionalmente é colocado pelos historiadores germânicos. [som de ícone] Lívia: Ao propor uma hipótese alternativa sobre as origens da Grécia antiga e da civilização clássica, o livro fomentou discussões relevantes nos estudos da área, gerando controvérsias científicas, ideológicas e raciais. [som de ícone] Lidia: Em contrapartida às concepções racistas vinda de pesquisadores, historiadores e classicistas conservadores, a professora Andrea citou também um aluno negro de Harvard, o historiador e classicista Frank Snowden Jr.. [som de ícone] Lívia: Entre seus diversos estudos sobre a relação de brancos e negros na antiguidade, está o livro Before Color Prejudice: The Ancient View of Black, em português, Antes do Preconceito Racial: A Visão Antiga dos Negros. Um aprofundamento de suas investigações sobre as relações entre africanos e as civilizações clássicas de Roma e da Grécia e demonstra que os antigos não discriminavam os negros por causa de sua cor. [som de ícone] Lidia: O livro lança luz pra um debate importantíssimo, que é a diferença de atitudes dos brancos em relação aos negros nas sociedades antigas e modernas, além de observar que muitas das representações artísticas desses povos se assemelham aos afro-americanos da atualidade. Andrea Kouklanakis: Mas, então é isso, então essa coisa política é uma coisa que foi imposta, mas a imposição foi até legal porque aí me levou a conhecer e descobrir e pesquisar essa área inteira, que agora é uma coisa que eu me dedico muito, que é olhar qual que é a implicação dos estudos clássicos na política, na raça, na história e continuando dando as minhas aulas e traduzindo, fazendo tradução, eu adoro tradução, então, esse aspecto do estudo clássico, eu sempre gostei. [música de transição] Lívia: O Guilherme também falou pra gente sobre essa questão política e histórica dos Estudos Clássicos, de que ficar olhando pro passado como objeto desvinculado, nos impede de poder articular essas discussões com a política do presente. Guilherme Gontijo: E acho que o resultado quando a gente faz isso é muitas vezes colocar os clássicos como defensores do status quo, que é o que o um certo império brasileiro fez no período de Dom Pedro, é o que Mussolini fez também. Quer dizer, vira propaganda de estado. Lidia: Mas, ao contrário, quando a gente usa os clássicos pra pensar as angústias do presente, a gente percebe que é uma área de estudos que pode ser super relevante e super viva pra qualquer conversa do presente. Lívia: E, na tradução e na recepção desses textos antigos, como será que essas questões aparecem? O Guilherme deu um exemplo pra gente, de uma tradução que ele fez do poeta romano Horácio. [som de ícone] Lidia: Horácio foi um poeta romano do século I a.C., famoso por escrever poesias nos formatos de Odes, Sátiras e Epístolas, e defendia a ideia do “justo meio” — evitar excessos e buscar a medida certa na vida. Guilherme Gontijo: Tô lembrando aqui de uma ode de Horácio, acho que esse exemplo vai ser bom. Em que ele termina o poema oferecendo um vai matar um cabrito pra uma fonte, vai oferendar um cabrito para uma fonte. E quando eu tava traduzindo, vários comentadores lembravam de como essa imagem chocou violentamente o século XIX na recepção. Os comentadores sempre assim: “Como assim, Horácio, um homem tão refinado vai fazer um ato tão brutal, tão irracional?” Quer dizer, isso diz muito mais sobre a recepção do XIX e do começo do XX, do que sobre Horácio. Porque, assim, é óbvio que Horácio sacrificaria um cabrito para uma fonte. E nisso, ele não está escapando em nada do resto da sua cultura. Agora, é curioso como, por exemplo, o nosso modelo estatal coloca a área de clássicas no centro, por exemplo, dos cursos de Letras, mas acha que práticas do Candomblé, que são análogas, por exemplo, você pode oferecer animais para divindades ou mesmo para águas, seriam práticas não não não racionais ou não razoáveis ou sujas ou qualquer coisa do tipo, como quiserem. Né? Então, eu acho que a gente pode e esse é o nosso lugar, talvez seja nossa missão mesmo. Lívia: Como o Guilherme explicou, nós no Brasil e na América Latina temos influência do Atlântico Negro, das línguas bantas, do candomblé, da umbanda e temos um aporte, tanto teórico quanto afetivo, pra pensar os clássicos, a partir dessas tradições tão próximas, que a própria tradição europeia tem que fazer um esforço gigantesco pra chegar perto, enquanto pra gente é natural. Lidia: E não podemos nos esquecer também da nossa convivência com várias etnias indígenas, que possuem comparações muito fortes entre essas culturas. Guilherme Gontijo: Eu diria, eu entendo muito melhor o sentido de um hino arcaico, grego, ouvindo uma cantiga de terreiro no Brasil, do que só comparando com literatura. Eu acho que é relevante para a área de clássicas, não é uma mera curiosidade, sabe? Então, eu tenho cada vez mais lido gregos e romanos à luz da antropologia moderna, contemporaneíssima, sabe? Eu acho que muitos frutos aparecem de modo mais exemplar ou mais óbvio quando a gente faz essa comparação, porque a gente aí tira de fato os clássicos do lugar de clássicos que lhes é dado. [música de transição] Lívia: Pra além dessas discussões teóricas e políticas, a tradução é também um ato estético e existem algumas formas de repensar a presença da poesia antiga no mundo contemporâneo a partir de uma estética aplicada na linguagem e nos modos de traduzir. Lidia: No caso do Guilherme, ele vem trabalhando há um tempo com a tradução como performance. Guilherme Gontijo: E aí eu pensei: “Não, eu poderia traduzir Horácio para cantar”. Eu vou aprender a cantar esses metros antigos e vou cantar a tradução na mesmíssima melodia. Quer dizer, ao invés de eu pensar em metro no sentido do papel, eu vou pensar em metro no sentido de uma vocalidade. E foi isso que eu fiz. Foi o meu o meu doutorado, isso acabou rendendo a tradução de Safo. Lívia: Além das traduções publicadas em livros e artigos, o Guilherme também coloca essas performances na rua com o grupo Pecora Loca, que desde 2015 se propõe a fazer performances de poemas antigos, medievais e, às vezes, modernos, como um modo de ação poética. Lidia: Inclusive a trilha sonora que você ouviu ali no início deste trecho é uma das performances realizada pelo grupo, nesse caso do poema da Ode 34 de Horácio, com tradução do próprio Guilherme e música de Guilherme Bernardes, que o grupo gentilmente nos passou. Guilherme Gontijo: Isso pra mim foi um aprendizado teórico também muito grande, porque você percebe que um poema vocal, ele demanda pra valorizar a sua ou valorar a sua qualidade, também a performance. Quer dizer, o poema não é só um texto no papel, mas ele depende de quem canta, como canta, qual instrumento canta. Lívia: O Guilherme explicou que no início eles usavam instrumentos antigos como tímpano, címbalo, lira e até uma espécie de aulos. Mas, como, na verdade, não temos informações precisas sobre como era a musicalidade antiga, eles resolveram afirmar o anacronismo e a forma síncrona de poesia e performance, e, atualmente, incorporaram instrumentos modernos ao grupo como a guitarra elétrica, o baixo elétrico, o teclado e a bateria. Guilherme Gontijo: Então, a gente tem feito isso e eu acho que tem um gesto político, porque é muito curioso que a gente vai tocar num bar e às vezes tem alguém desavisado e gosta de Anacreonte. Olha, caramba, adorei Anacreonte. É, é, e ela percebe que Anacreonte, ela ouviu a letra e a letra é basicamente: “Traga um vinho para mim que eu quero encher a cara”. Então ela percebe que poesia antiga não é algo elevado, para poucos eleitos capazes de depreender a profundidade do saber grego. Ó, Anacreonte é poema de farra. Lidia: A partir da performance as pessoas se sentem autorizadas a tomar posse dessa herança cultural e a se relacionar com ela. O que cria uma forma de divulgar e difundir os Estudos Clássicos a partir de uma relação íntima, que é a linguagem musical. Guilherme Gontijo: E a experiência mais forte que eu tive nisso, ela é do passado e foi com o Guilherme Bernardes. Lembro que dei uma aula e mostrei a melodia do Carpe Diem, do Horácio. Da Ode. E tava lá mostrando o poema, sendo bem técnico ali, como é que explica o metro, como é que põe uma melodia, etc, etc. E uns três dias depois ele me mandou uma gravação que ele fez no Garage Band, totalmente sintética. De uma versão só instrumental, quer dizer, o que ele mais curtiu foi a melodia. E a gente às vezes esquece disso, quer dizer, um aspecto da poesia arcaica ou da poesia oral antiga romana é que alguém poderia adorar a melodia e nem prestar tanta atenção na letra. E que continuariam dizendo: “É um grande poeta”. Eu senti uma glória quando eu pensei: “Caraca, um asclepiadeu maior tocou uma pessoa como melodia”. A pessoa nem se preocupou tanto que é o poema do Carpe Diem, mas a melodia do asclepiadeu maior. [som de ícone] Lívia: Só por curiosidade, “asclepiadeu maior” é um tipo de verso poético greco-latino composto por um espondeu, dois coriambos e um iambo. Você não precisa saber como funcionam esses versos na teoria. Essa forma poética foi criada pelo poeta lírico grego Asclepíades de Samos, que viveu no século III a.C., por isso o nome, o mais importante é que foi o verso utilizado por Horácio em muitas de suas odes. [música de transição] Lidia: Agora, já encaminhando para o final do nosso episódio, não podemos ir embora sem falar sobre o trabalho de recepção e tradução realizado pela professora Andrea, lá na Hunter College, nos EUA. Lívia: Além do seu projeto sobre a presença dos clássicos nas obras de escritores afro-latino-americanos, com foco especial no Brasil, de autores como Lima Barreto, Luís Gama, Juliano Moreira e Auta de Sousa. A professora também publicou o livro Reis Imperfeitos: Pretendentes na Odisseia, Poética da Culpa e Sátira Irlandesa, pela Harvard University Press, em 2023, e as suas pesquisas abarcam a poesia homérica, a poética comparada e as teorias da tradução. Lidia: A professora Andrea faz um exercício muito importante de tradução de autores negros brasileiros pro inglês, não somente das obras literárias, mas também de seus pensamentos teóricos, pra que esses pensamentos sejam conhecidos fora do Brasil e alcance um público maior. Lívia: E é muito interessante como a relação com os estudos da tradução pra professora Andrea também tocam em um lugar muito íntimo e pessoal, assim como foi pro Guilherme nas suas traduções em performances. Lidia: E ela contou pra gente um pouco dessa história. Andrea Kouklanakis: Antes de falar da língua, é eu vou falar que, quando eu vejo a biografia deles, especialmente quando eu passei bastante tempo com o Luiz Gama. O que eu achei incrível é o nível de familiaridade de entendimento que eu tive da vida corriqueira deles. Por exemplo, Cruz e Souza, né? A família dele morava no fundo lá da casa, né? Esse tipo de coisa assim. O Luiz Gama também quando ele fala do aluno lá que estava na casa quando ele foi escravizado por um tempo, quando ele era criança, o cara que escravizou ele tinha basicamente uma pensão pra estudantes, que estavam fazendo advocacia, essas coisas, então na casa tinham residentes e um deles ensinou ele a ler, a escrever. O que eu achei interessantíssimo é que eu estou há 100 anos separada desse povo, mas a dinâmica social foi completamente familiar pra mim, né? A minha mãe, como eu te falei, ela sempre foi empregada doméstica, ela já se aposentou há muito tempo, mas a vida dela toda inteira ela trabalhou como empregada doméstica. E pra mim foi muito interessante ver como que as coisas não tinham mudado muito entre a infância de alguém como Cruz e Souza e a minha infância, né? Obviamente ninguém me adotou, nada disso, mas eu passei muito tempo dentro da casa de família. que era gente que tinha muito interesse em ajudar a gente, em dar, como se diz, a scholarship, né? O lugar que a minha mãe trabalhou mais tempo assim, continuamente por 10 anos, foi, aliás, na casa do ex-reitor da USP, na década de 70 e 80, o Dr. Orlando Marques de Paiva. Lívia: Ao contar essa história tão íntima, a Andrea explicou como ela tenta passar essa coincidência de vivências, separada por cem anos ou mais no tempo, mas que, apesar de todo avanço na luta contra desigualdades raciais, ainda hoje refletem na sua memória e ainda são muito estáticas. Lidia: Essa memória reflete na linguagem, porque, como ela explicou, esses autores utilizam muitas palavras que a gente não usa mais, porque são palavras lá do século XVIII e XIX, mas o contexto chega pra ela de uma forma muito íntima e ainda viva, por ela ter vivenciado essas questões. Andrea Kouklanakis: Eu não sou poeta, mas eu tô dando uma de poeta, sabe? E quando eu percebo que tem algum estilo assim, a Auta de vez em quando tem um certo estilo assim, ambrósia, não sei do quê, sabe? Eu sei que ela está querendo dizer perfume, não sei o quê, eu não vou mudar, especialmente palavras, porque eu também estou vindo da minha perspectiva é de quem sabe grego e latim, eu também estou interessada em palavras que são em português, mas são gregas. Então, eu preservo, sabe? Lívia: Então, pra Andrea, no seu trabalho tradutório ela procura mesclar essas duas questões, a sua relação íntima com os textos e também a sua formação como classicista, que pensa a etimologia das palavras e convive com essa multiplicidade de línguas e culturas, caminhando entre o grego, o latim, o inglês e o português. [música de transição] [bg] Lidia: Ao ouvir nossos convidados de hoje, a Andrea Koclanakis e o Guilherme Gontijo Flores, percebemos que traduzir textos clássicos é muito mais do que passar palavras de uma língua pra outra. É atravessar disputas políticas, revisitar o passado com olhos do presente, reconstruir memórias coloniais e imaginar novos modos de convivência com as tradições antigas. Lívia: A tradução é pesquisa, criação, crítica e também pode ser transformação. Agradecemos aos entrevistados e a você que nos acompanhou até aqui! [música de transição] [créditos] Livia: O roteiro desse episódio foi escrito por mim, Lívia Mendes, que também fiz a locução junto com a Lidia Torres. Lidia: A revisão foi feita por mim, Lidia Torres e pela Mayra Trinca. Lidia: Esse episódio faz parte do trabalho de divulgação científica que a Lívia Mendes desenvolve no Centro de Estudos Clássicos e Centro de Teoria da Filologia, vinculados ao Instituto de Estudos da Linguagem e ao Instituto de Estudos Avançados da Unicamp, financiado pelo projeto Mídia Ciência da FAPESP, a quem agradecemos pelo financiamento. Lívia: Os trabalhos técnicos são de Daniel Rangel. A trilha sonora é de Kevin MacLeod e também gentilmente cedida pelo grupo Pecora Loca. A vinheta do Oxigênio foi produzida pelo Elias Mendez. Lidia: O Oxigênio conta com apoio da Secretaria Executiva de Comunicação da Unicamp. Você encontra a gente no site oxigenio.comciencia.br, no Instagram e no Facebook, basta procurar por Oxigênio Podcast. Lívia: Pra quem chegou até aqui, tomara que você tenha curtido passear pelo mundo da antiguidade greco-romana e entender um pouco de como os textos antigos chegam até nós pela recepção e tradução. Você pode deixar um comentário, na sua plataforma de áudio favorita, contando o que achou. A gente vai adorar te ver por lá! Até mais e nos encontramos no próximo episódio. [vinheta final]

Welcome to the Knives Templars Podcast—the show where blade enthusiasts, makers, and collectors unite! Each episode dives deep into the art and science of knife making, the stories behind legendary blades, and the vibrant community that keeps the edge sharp in the world of cutlery. Whether you're a seasoned smith, a passionate collector, or just discovering the allure of handmade knives, this podcast is your go-to resource for inspiration, education, and connection.In this engaging conversation, the hosts discuss various topics ranging from marketing strategies to the intricacies of knife making. They share personal experiences, community updates, and culinary adventures, all while emphasizing the importance of negotiation, family gatherings, and the challenges of building a knife shop. In this engaging conversation, the hosts discuss various aspects of knife making, including the challenges faced during competitions, the importance of storytelling in marketing, and the role of AI in the craft. They share personal anecdotes about Thanksgiving traditions, the significance of community in craftsmanship, and the humorous side of their experiences in the industry. The discussion highlights the blend of creativity, technology, and personal connection that defines the knife-making community.A huge thank you to our incredible sponsors who make this show possible:·       EvenHeat Kilns – Precision heat treating for serious makers·       TR-Maker – Innovative tools for next-level knife crafting·       Pop's Knife Supplies – Your one-stop shop for premium materials·       Brodbeck Ironworks – Grinders and gear built for makers·       NJ Steel Baron – Steel that shapes legends·       Phoenix Abrasives – Abrasives that rise to the challenge·       KH Daily Knives – Blades and tools forged with passion·       Clark Iron Forge – Blacksmithing tools that strike true·       The Knifemakers' Guild – Craftsmanship, community, and traditionYou can catch the Knives Templars Podcast on all major platforms—Spotify, Apple Podcasts, Amazon, iHeart, Castbox, and wherever you get your audio fix. Be sure to subscribe, leave a review, and share with your fellow makers. Also see us on Facebook at the Knives Templars!https://knivestemplars.comMusic by ⁠Nicky Nu⁠ from ⁠PixabayChapters00:00 Car Conversations: Cars and Fuel Efficiency01:41 Exciting News: The Return of Ode to Sir Pinto04:45 Chasing Chickens and Celebrating Life Events07:31 Building Dreams: Jason's New Knife Shop13:15 Barbecue Battles: A Culinary Showdown17:06 Building and Erecting: Jason's Steel Structure22:08 Humor and Tools: The Belly Vice Discussion22:37 Building Dreams: The Journey of Construction24:11 Budgeting for Your Workshop: Costs and Considerations26:06 The Value of Time: DIY vs. Professional Help27:45 Tools of the Trade: Building Your Own Equipment28:55 Shop Setup: Maximizing Efficiency and Functionality32:20 Lighting and Ventilation: Creating the Perfect Workspace36:27 Product Recommendations: Tools and Resources for Makers37:51 Cultural Insights: Fun Facts and Food Experiences44:09 Sharpening Techniques and Knife Angles46:56 Material Choices and Aesthetic Qualities47:55 Working with Wrought Iron49:09 Experiences on Forged in Fire52:06 Behind the Scenes of Filming53:53 The Role of Equipment in Knife Making58:43 Unique Challenges in Knife Competitions01:03:53 Marketing Yourself as a Maker01:08:45 The Impact of Automation and AI on Work01:15:37 The Importance of Storytelling in Craftsmanship01:23:03 Learning from Mistakes in Crafting01:34:13 Community and Collaboration in Knife Making01:44:41 Promoting the Craft of Knife Making01:47:39 The Evolution of Knife Making Organizations01:49:48 Climbing the Mountain of Craftsmanship01:53:05 Community and Collaboration in Knife Making01:56:48 Thanksgiving Traditions and Family Gatherings

This Day in Legal History: Mississippi BurningOn November 21, 1964, a federal grand jury convened in Meridian, Mississippi, and indicted 19 men in connection with the murders of James Chaney, Andrew Goodman, and Michael Schwerner—three civil rights workers abducted and killed by the Ku Klux Klan during Freedom Summer. The brutal killings had shocked the nation, but Mississippi officials refused to pursue murder charges, prompting the federal government to step in. Lacking jurisdiction over homicide, federal prosecutors turned to a rarely used provision of the Reconstruction-era Civil Rights Act of 1870, charging the defendants with conspiracy to violate the victims' civil rights.This legal maneuver led to United States v. Price (1967), a pivotal Supreme Court case that affirmed the federal government's authority to prosecute state actors and private citizens working in concert to deprive others of constitutional rights. The Court unanimously held that the Due Process Clause of the Fourteenth Amendment could be enforced through criminal prosecution when state officials or their proxies engaged in unlawful conduct.At trial, seven of the defendants, including a deputy sheriff, were convicted—though none received more than ten years in prison. Several of the most notorious perpetrators, including Edgar Ray Killen, evaded justice for decades. Still, the case marked one of the first successful federal efforts to hold white supremacists accountable for racial violence in the Jim Crow South.The Mississippi Burning case revealed both the limits of federal power—since murder charges were off-limits—and its emerging role as a necessary backstop when local justice systems failed. It signaled a new willingness by the Department of Justice to engage in civil rights enforcement, even in the face of deep local hostility. The grand jury's action on this day helped set legal and moral precedent for future federal interventions in civil rights cases.Google is making a final argument in federal court to avoid a forced breakup of its advertising technology business, as the U.S. Department of Justice (DOJ) wraps up its antitrust case. U.S. District Judge Leonie Brinkema already ruled in April that Google maintains two illegal monopolies in the ad tech space. Now the court is weighing remedies, with the DOJ and several states pushing for the sale of Google's AdX exchange, a key platform where digital ads are auctioned in real time.During an 11-day trial that began in September, the DOJ argued that only a forced divestiture would effectively curb Google's anticompetitive conduct. In response, Google contended that breaking up its ad business would be technically disruptive and harmful to customers. The company also emphasized that it would comply with less drastic remedies.The trial represents one of the most serious legal threats to Google's ad empire to date. While Google has largely avoided major penalties in previous antitrust actions, this case—and others still pending against Meta, Amazon, and Apple—could mark a turning point in federal enforcement against Big Tech.Google has pledged to appeal any adverse ruling, including Judge Brinkema's earlier decision and a separate finding in Washington that declared Google's dominance in online search and advertising unlawful. In that case, Google was not forced to sell its Chrome browser but was ordered to share more data with competitors.The outcome of this trial could have lasting implications for the structure of the digital ad industry and the future of antitrust enforcement in the tech sector.Google aims to dodge breakup of ad business as antitrust trial wraps | ReutersAs the federal government considers limiting state regulation of artificial intelligence, many U.S. states are moving in the opposite direction—introducing legislation to curb algorithmic pricing practices that may be inflating costs for consumers. These laws target the growing use of software that sets prices based on personal data, such as location, browsing history, and past purchases. Critics argue this enables businesses to charge consumers what they're perceived to be willing to pay, not a fair market rate.Former FTC Chair Lina Khan, now advising New York City's incoming administration, is helping shape efforts to leverage state authority to combat such practices. Laws already passed in New York and California prohibit algorithmic collusion in rental markets, and 19 other states are considering similar bills to restrict price-setting based on competitor data.The issue has attracted bipartisan concern. Utah Republican Tyler Clancy plans to introduce legislation aimed at giving consumers more control over the data companies collect and use to personalize prices. Advocacy groups like Consumer Reports warn that AI-driven pricing risks exacerbating inequality, allowing companies to charge different prices based on who they think the buyer is—effectively punishing certain groups of consumers.Meanwhile, President Trump is reportedly considering an executive order that would block state-level AI rules, escalating the tension between federal deregulation efforts and state-led consumer protection initiatives.US states take aim at data-driven pricing to ease consumer pain | ReutersIn a landmark decision, the New Jersey Supreme Court has become the first high court in the U.S. to ban prosecutors from introducing expert testimony that shaking alone can cause the internal injuries typically attributed to Shaken Baby Syndrome (SBS). The 6–1 ruling came in two separate child abuse cases involving fathers accused of harming their infant sons. The court held that the state failed to show sufficient scientific consensus across relevant fields, particularly from biomechanical engineering, to justify presenting SBS as a reliable diagnosis in the absence of external trauma.While SBS has long been used to explain serious injuries like brain swelling and internal bleeding in infants—forming the basis for thousands of abuse prosecutions—the court emphasized that scientific evidence must be broadly accepted and reliable, not speculative or limited to select disciplines. Pediatricians and neurologists largely support the SBS diagnosis, but the court noted that the foundational research stemmed from a 1968 whiplash study, and the biomechanics field has not confirmed that shaking alone, without head impact, can produce the injuries.One of the defendants, Darryl Nieves, had his case dismissed, while the other, Michael Cifelli, remains charged but plans to seek dismissal based on the ruling. The decision opens the door for challenges in past SBS convictions and may limit future prosecutions relying solely on SBS testimony.Justice Fabiana Pierre-Louis wrote that the door isn't permanently closed—if future research can establish consensus, such testimony may be admitted. But for now, the ruling significantly raises the bar for the use of SBS in court. Justice Rachel Wainer Apter dissented, warning that the majority gave too much weight to a single scientific field over others.New Jersey high court first in US to ban Shaken Baby Syndrome testimony | ReutersA piece I wrote for Forbes this week examined how Foreign Bank and Financial Account (FBAR) reporting enforcement has evolved into a penalty system wildly out of sync with the actual harm caused. I opened with the United States v. Saydam decision, where a dual citizen was hit with a $437,000 civil penalty for failing to file FBAR forms—even though the government's tax loss was only about $29,000. There was no fraud, no evasion, and no criminal behavior, yet the punishment looked like something reserved for offshore tax schemers. I argued that this case shows how FBAR has drifted far from its original purpose under the Bank Secrecy Act, which was aimed at serious financial crime, not routine reporting lapses.In the article, I explained how the concept of “willfulness” has morphed into something elastic enough to include recklessness or even simple inattention, giving the IRS license to impose penalties of up to 50% of an account's highest balance per year. That structure means the punishment often bears no relation to any underlying tax obligation. Saydam's case illustrates this perfectly—the government simply took his highest‑balance year, sliced it in half, spread it across the years he didn't file, and ended up with a crushing figure.I also emphasized that the people being hit hardest aren't drug traffickers or money‑launderers; they're ordinary taxpayers with overseas ties—dual citizens, immigrants, retirees—whose “wrongdoing” is usually limited to missing a form. The court's acknowledgment that FBAR penalties are indeed “fines” under the Eighth Amendment should have prompted a stronger proportionality analysis, but instead it set a very forgiving standard for the government, effectively blessing massive penalties for paperwork lapses.In my view, when penalties exceed the actual tax loss by a factor of fifteen, we're no longer talking about a compliance tool—we're talking about a punitive revenue mechanism. The system now incentivizes extracting large sums from people who pose no threat to the tax base. Saydam didn't hide money or lie about his income; he just didn't file a disclosure. Yet he now faces nearly half a million dollars in liability. As I wrote, if this is the precedent, FBAR has stopped being a transparency measure and has become a blunt instrument aimed at immigrant taxpayers.The Rise And Proliferation Of Excessive FBAR PenaltiesThis week's closing theme is by Henry Purcell.This week's closing theme comes from Purcell, the brilliant English Baroque composer often called “the Orpheus Britannicus” for the beauty and depth of his music. Born in 1659 and active during the late 17th century, Purcell's work bridged the gap between Renaissance polyphony and the emerging Baroque style, blending French elegance, Italian expressiveness, and a distinctly English sensibility. Though he died young at just 36, his influence on British music would echo for centuries.While his “Ode to Saint Cecilia”—written for the patron saint of music—is his most direct connection to November 22, the official feast day of Saint Cecilia, Purcell's music is appropriate listening for this week. His compositions often graced the St. Cecilia Day festivals held annually in London, celebrating music itself as a divine art.The Overture in G minor, which closes our episode today, is not among his ceremonial odes but showcases many of his signature strengths: tight contrapuntal writing, a dark, dignified mood, and striking harmonic shifts that feel centuries ahead of their time. The overture begins with a slow, solemn introduction before launching into a more vigorous section, where rhythmic vitality meets melodic restraint.It's a concise, powerful piece that reflects Purcell's talent for writing music that is both emotionally direct and structurally refined. Though originally composed for a larger suite or theatrical context, it stands on its own as a miniature masterwork. As the week draws to a close and Saint Cecilia's Day approaches, Purcell's music reminds us that even in constraint—of time, of scale, of form—there can be grandeur.And with that, enjoy Purcell's Overture in G minor! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe

Have you been feeling like your energy is constantly being siphoned off by outdated systems or unresolved trauma? That stops today.My incredible friend and energetic powerhouse, Andrea Donnelly, returns to the show to unveil her groundbreaking new technology: "Reclaim Your Gold". Andrea is one of the most psychically connected healers I have ever met, and in today's conversation, we dive into how to retrieve the power and 'spiritual gold' (your innate sovereignty) that you may have unknowingly surrendered to the old systems.If you don't know Andrea, she's a Shamanic Healer, Intuitive Mentor, and Creator of the Future Medicine Modality, which she used to heal herself from previously disabling nerve pain and a great deal of complex, intergenerational trauma. Now, she certifies others in Future Medicine and shares it with people around the world looking to reclaim their sovereignty and power as creator beings.I recently stepped into a 30-day container with Andrea as a "guinea pig" for her "Reclaim Your Gold", and the results were undeniable, from a massive influx of new clients and income to profound shifts in my relationships. We go deep into what it means to be a creator being, the literal and energetic "gold" stored in our blood and bones, and why this work is the perfect complement to the Inner Child Healing and breathwork I do in programs like The Metamorphosis.Whether you're a business owner looking to expand or a spiritual seeker ready to exit the matrix, this conversation will help you anchor into your highest timeline and restore your sovereignty.TODAY'S HIGHLIGHTSMy "Ode to Black Friday" sale - Private breathwork sessions to help you identify and heal core wounds permanently.The "Hot Con" of the Matrix - Why societal systems were never designed to work for us and how we are waking up to this reality.Gold in the Blood and Bones: The origin story of Andrea's new modality.Energy Harvesting & "Loosh": How our energy is extracted to fuel the "crazy train" of this realm and "the Anunnaki mining for gold".The Speed of Healing: Why being fully open to the unknown accelerates the healing process and allows miracles to land instantly.Defining Your GoldSynergy with Inner Child Work: How Andrea's energy work compliments the process of reclaiming power from the Mother Wound and reorienting your energy back into yourself.Tangible Client Wins**WAYS TO ENTER MY WORLD**  When you leave a review of the podcast, send us a screenshot and we'll send you a $250 credit, you can apply to anything else in my world.Black Friday Flash Sale Special: Private breathwork sessions available only for 24 hours. You'll receive an email Friday morning to book your private session with me. Not on my email list yet? Sign up here, DM on IG or send me an email.The Metamorphosis is starting again in January. This is my groundbreaking program to rapidly and efficiently clear the familial and ancestral trauma that is blocking you from experiencing the wealth and freedom that you desire.CONTACT ANDREAwearehere2remember.comIG @seawitcheryYouTube @birdtvdotcomUse the code RECLAIM to save $150 for the Golden ReclamationCONTACT ALYSEalysebreathes.comIG @alyse_breathesinfo@alysebreathes.com

Gwyn and Ode talk about many Yule-related things they've discussed before, relay dead-simple recipes for Yuletime treats, and in general have a great time chit-chatting.

SALIERI: Concierto para violín, oboe, violoncello y orquesta en Re Mayor “Triple concierto” (25.27). T. Fueri (vl.), H. Holliger (ob.), T. Demenga (vc.), Camerata Bern. Dir.: T. Fueri. Il mondo alla rovescia (Obertura) (5.03). Orq. Mozart de Mannheim. Dir.: T. Fey. Il genio degli stati: Soneto (2.56). Deh, si piacevole. Ode (5.56). I, Eerens (sop.), U. Eisenlohr (p.).Escuchar audio

Jak se majitelům chovu drůbeže napadaného ptačí chřipkou prokazuje porušení veterinárních pravidel? Odešle končící vláda sněmovně znovu svůj návrh rozpočtu na příští rok? Zavede Izrael trest smrti za terorismus, který by platil ale jen pro Palestince? A jak se architekt Richard Loskot rozhodl oživit pražské hlavní nádraží?

Jak se majitelům chovu drůbeže napadaného ptačí chřipkou prokazuje porušení veterinárních pravidel? Odešle končící vláda sněmovně znovu svůj návrh rozpočtu na příští rok? Zavede Izrael trest smrti za terorismus, který by platil ale jen pro Palestince? A jak se architekt Richard Loskot rozhodl oživit pražské hlavní nádraží?

It's the 3rd Annual KFUO Radio Pie Social! The Rev. Dr. Matthew Clark (Senior Pastor of Ascension Lutheran Church in St. Louis, MO; Co-host of Wrestling with the Basics on KFUO Radio; Card Carrying Member of The American Pie Council) joins Andy and Sarah to talk about pie! They eat varieties of pie and discuss favorite pie memories, favorite pie recipes, and why pie and food are good for connecting with others. ------------------------------------ Ode to Pie by Lisa Clark Apple, pumpkin, peach and cherry Baked inside a flaky crust . . . Choc'late silk and glazed strawberry, Rich black bottom is a must! Cream, meringue, and creamy custard, Crumb and lattice: works of art. With such options, don't get flustered; You could simply choose a tart! Twenty-third of January, Or the fourteenth day of March, Twenty-ninth of February, Underneath the Gateway Arch, Church potluck or at a wedding,  Even on KFUO: Where you're from or where you're heading,  Pie is ev'rywhere you go!  (c) 2025 Lisa M. Clark ------------------------------------ Cranberry Jam Pie from Sarah Gulseth Crust: 1.5 cups almond flour (superfine ground) 3 Tablespoons maple syrup 1 Tablespoon almond butter 1/4 tsp cardamom 1/4 tsp ginger 1/4 tsp salt Filling: 1 12oz bag cranberries (frozen) 2/3 cup maple syrup 1/2 cup water For the crust: Mix dry ingredients, then mix in maple syrup and almond butter. Mix until very stiff. Spread into 9" pie pan. Bake at 375 (regular oven) or 400 (convection bake) for 12 minutes, or until the edges are golden brown. Remove and cool. For the filling: Heat cranberries, maple syrup, and water in a saucepan on high heat until cranberries begin to pop. Turn heat down to medium-low, using a potato masher to smash the cranberries. When cranberries are fully mashed, turn heat to low and simmer while stirring until water is boiled off and the sauce is very thick. Remove from heat, let cool, and put it bowl to keep in refrigerator until ready to use. For serving: Scoop cold cranberry into pie crust and serve. As you grab your morning coffee (and pastry, let's be honest), join hosts Andy Bates and Sarah Gulseth as they bring you stories of the intersection of Lutheran life and a secular world. Catch real-life stories of mercy work of the LCMS and partners, updates from missionaries across the ocean, and practical talk about how to live boldly Lutheran. Have a topic you'd like to hear about on The Coffee Hour? Contact us at: listener@kfuo.org.

Die jüngste Rallye wird von immer weniger Aktien getragen – ein Warnsignal? Die Wirtschaftsjournalisten Dietmar Deffner und Holger Zschäpitz analysieren, ob die Märkte heißgelaufen sind, warum „Big Short“-Legende Michael Burry wieder auf fallende Kurse setzt und was das für Nvidia und Palantir bedeutet. Außerdem blicken sie auf ihre Depot-Positionen von E bis H – mit überraschenden Erkenntnissen. Weitere Themen: -Rentenerhöhung von 3,7 Prozent – warum die staatliche Altersversorgung dringend reformiert gehört -Private Altersvorsorge – warum die Bundesbürger die Zeichen der Zeit noch nicht verstanden haben -Ode an Annelu – wie man Verdoppler-Aktien findet -Milliardenschulden für die KI – warum viele Tech-Konzerne ihre Investitionen nicht mehr allein aus dem laufenden Geschäft finanzieren -Der böse Vermieter – welches Bild die ARD vom Wohnungsmarkt verbreitet -Wider die Generation Faulenzer – wie ein Stadtrat in Thüringen junge Bürgergeld-Empfänger DEFFNER & ZSCHÄPITZ sind wie das wahre Leben. Wie Optimist und Pessimist. Im wöchentlichen WELT-Podcast diskutieren und streiten die Journalisten Dietmar Deffner und Holger Zschäpitz über die wichtigen Wirtschaftsthemen des Alltags. Schreiben Sie uns an: wirtschaftspodcast@welt.de Impressum: https://www.welt.de/services/article7893735/Impressum.html Datenschutzerklärung: https://www.welt.de/services/article157550705/Datenschutzerklaerung-WELT-DIGITAL.html

Gwyn and Ode tell four short spooky stories, and showcase the musical talents of Rhiannon Grey. Happy Halloween, and blessed Samhain! Rhiannon's music video can be found here: Youtube (https://youtu.be/PZLtS31SXUU) And she has graciously made the assets available here: Google Drive (https://drive.google.com/drive/folders/1WKEewNRJIAUl3QBARnI1OzHYDvGxE6rh?usp=sharing)

Was it really a simpler time, way back when? As teenagers, Rich and I pined for those older women who seemed to embody the tidal pulse of desire. For me, it was the Delta song-spinner Bobbie Gentry, whose Ode to Billie Joe, a mystery delivered in honeyed, but troubling tones, captured the world's - and, my imagination; for Rich, it was the slinky seductress Joey Heatherton, who complicated his yearnings by aligning herself with Bob Hope on those USO tours during the Viet Nam war. The way podcast Stack of 45s would work was that Rich or I would nominate a song to be explored and celebrated, then the other would have a chance to bring forward their choice. In this case, my record, Ode to Billie Joe appeared first, and this inspired Rich to find and re-examine Gone by Joey. Enjoyed back to back these episodes bring back some good memories for me. And, hopefully, if you've been with us awhile, you'll enjoy hearing these again, too. And if you're new to the party, you've got a treat ahead of you.

Gwyn and Ode talk about the principles of cosmic horror, how it compares to religious experiences, and whether there's a Cthulu egregore (yeah, probably).

SCRIPTURE- Job 37:5"God's thunders wonderously with His voice; God does great things that we cannot comprehend."REFLECTION- Sr. CharleneMUSIC- "Shout to the Lord" by David Bauer- "Ode to Joy" (Acoustic Guitar) by The O'Neill Brothers GroupNOTES-PRAYER OF LETTING GOTo You do I belong, O God, into Your hands I surrender my life. Pour out Your Spirit upon me that I may love You perfectly, and serve You faithfully until my soul rests in You.

QUOTES FOR REFLECTION The madman jumped into their midst and pierced them with his eyes.“Whither is God?” he cried; “I will tell you.We have killed him—you and I. All of us are his murderers.But how did we do this? How could we drink up the sea?Who gave us the sponge to wipe away the entire horizon?What were we doing when we unchained this earth from its sun?Whither is it moving now? Whither are we moving? Away from all suns?Are we not plunging continually?Backward, sideward, forward, in all directions? Is there still any up or down?Are we not straying, as through an infinite nothing? Do we not feel the breath of empty space?Has it not become colder? Is not night continually closing in on us?”~“The Parable of the Madman” by Friedrich Nietzsche (1844-1900) “How much larger your life would be, if your self could become smaller in it.”~G.K. Chesterton (1874-1936), author and literary critic in Orthodoxy “For even creation reveals Him who formed it, and the very work made suggests Him who made it, and the world manifests Him who ordered it.”~Irenaeus (c.125-c.202), early church leader, in Against Heresies (II.9.1) “Beauty is truth, truth beauty,—that is allYe know on earth, and all ye need to know.” “A thing of beauty is a joy forever:Its loveliness increases; it will neverPass into nothingness; but still will keepA bower quiet for us, and a sleep…An endless fountain of immortal drink,Pouring unto us from the heaven's brink.”~John Keats (1795-1821) from “Ode to a Grecian Urn” and Endymion “Because the face of God is so lovely, my brothers and sisters, so beautiful, once you have seen it, nothing else can give you pleasure. It will give insatiable satisfaction of which we will never tire. We shall always be hungry and always have our fill.”~Augustine (354-430 A.D.), North African church leader and theologian “Glory is the beauty of God unveiled! Glory is the resplendent radiance of His power and His personality…. Glory is the external elegance of the internal excellencies of God. Glory is what you see and experience and feel when God goes public with His beauty!”~C. Samuel Storms (1951-present), theologian and authorSERMON PASSAGEPsalm 191 The heavens declare the glory of God, and the sky above proclaims his handiwork.2 Day to day pours out speech, and night to night reveals knowledge. Isaiah 6 1 In the year that King Uzziah died I saw the Lord sitting upon a throne, high and lifted up; and the train of his robe filled the temple. 2 Above him stood the seraphim. Each had six wings: with two he covered his face, and with two he covered his feet, and with two he flew. 3 And one called to another and said:“Holy, holy, holy is the Lord of hosts;the whole earth is full of his glory!” John 1 1 In the beginning was the Word, and the Word was with God, and the Word was God…. 14 And the Word became flesh and dwelt among us, and we have seen his glory, glory as of the only Son from the Father, full of grace and truth. John 12 41 Isaiah said these things because he saw [Jesus's] glory and spoke of him. 42 Nevertheless, many even of the authorities believed in him, but for fear of the Pharisees they did not confess it, so that they would not be put out of the synagogue; 43 for they loved the glory that comes from man more than the glory that comes from God. John 17 5 And now, Father, glorify me in your own presence with the glory that I had with you before the world existed….24 Father, I desire that they also, whom you have given me, may be with me where I am, to see my glory that you have given me because you loved me before the foundation of the world.Leviticus 10 1 Now Nadab and Abihu, the sons of Aaron, each took his censer and put fire in it and laid incense on it and offered unauthorized fire before the Lord, which he had not commanded them. 2 And fire came out from before the Lord and consumed them, and they died before the Lord. 3 Then Moses said to Aaron, “This is what the Lord has said: ‘Among those who are near me I will be sanctified, and before all the people I will be glorified.'” And Aaron held his peace. 1 Corinthians 3 16 Do you not know that you are God's temple and that God's Spirit dwells in you? 17 If anyone destroys God's temple, God will destroy him. For God's temple is holy, and you are that temple. Romans 118 For the wrath of God is revealed from heaven against all ungodliness and unrighteousness of men, who by their unrighteousness suppress the truth. 19 For what can be known about God is plain to them, because God has shown it to them. 20 For his invisible attributes, namely, his eternal power and divine nature, have been clearly perceived, ever since the creation of the world, in the things that have been made. So they are without excuse. 21 For although they knew God, they did not honor him as God or give thanks to him, but they became futile in their thinking, and their foolish hearts were darkened. 22 Claiming to be wise, they became fools, 23 and exchanged the glory of the immortal God for images resembling mortal man and birds and animals and creeping things.

In a season of Stillness, but I'm still here. ❤️‍

Comedian & podcaster Sam Tripoli chats with Trey Elling, prior to his headlining shows at the Comedy Mothership in Austin, TX. Topics include:Is Kim Kardashian a witch? (0:00)How Sam got to here in standup (3:39)The Comedy Store's "dead" period (7:25)Paul Mooney (10:53)People attacking Austin's comedy scene (21:18)How to beat "the game" (28:45)Ode to our Armenian roots (30:55)

Ben Fountain is far more than just the author of Billy Lynn's Long Halftime Walk, which won RTB hearts and minds (and the National Book Award) long before it became a weird Ang Lee movie. Back in 2020's lockdown, RTB asked Fountain what was consoling and engaging him. American novels, especially those about Americans abroad (Joan Didion. say) have always done something special for him. Marilynne Robinson's and James Baldwin's work make us confront the reality that's happening around us all the time, “a freaking massacre.” He carried the the (fictional but genuine) facts of Baldwin's If Beale Street Could Talk in his head for forty years. Allen Tate, Fugitive poet (and author most famously of the tricky post-Eliotic 1928 “Ode to the Confederate Dead“) Joan Didion, The Last Thing He Wanted (1996; “a masterpiece of tone and mood and character and profound interiority”; the movie, not so much) Joan Didion, Democracy (1984; she goes “straight after the heart of that mystery, what is America?“) Marilynne Robinson. Listeners, do you prefer her incisive nonfiction (“Poetry of Puritanism“) or the deep, torqued interiority of her first novel, Housekeeping ? Zadie Smith on the amazing, terrifying Americanness of Kara Walker Kara Walker's “A Subtlety” (also referenced in our Silvia Bottinelli episode on food art!) James Baldwin, A Letter to My Nephew (1962) James Baldwin, e.g. If Beale Street Could Talk (Ben loves those Library of America volumes…) Another Country (1962) Giovanni's Room (1956) Sewanee Review, The Corona Correspondence Chronicles of Now George Saunders “A Letter to My Students…." Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

#305nd for 9rd of October, 2025 or 3311! (33-Oh-Leven, not Oh-Eleven, OH-Leven)http://loosescrewsed.comJoin us on discord! And check out the merch store! PROMO CODEShttps://discord.gg/3Vfap47ReaSupport us on Patreon: https://www.patreon.com/LooseScrewsEDSquad Update:  (Updated by Bloom 10/2)BGS might be waking up - Kruger 5 posted something from Sirius Gov discord where Phil from FDev Dropped a message that they think they've unstuck things. We shall see.Screwspace 315 systems, controlling 789 systems in Boom, 4 in Investment some paired with civil liberty or Unrest9 conflicts have gone live, only HIP 76575 still lockedMusca Dark region UE-W a3-0 - Deep Skrew One is online! Uraniborg, Volt and some others have been pushing our influence (thanks!) we're less than 4% away from a control war!The Training Challenge for the SquadRoy's Ode to Obl1v1ous and the Broken BGS“O Screws Where Art Thou?”Site with lyrics and song: https://suno.com/s/l30AO0z1ENU2Lv9uWAV file: https://drive.google.com/file/d/1VlmPh7LyM3efIqg4dFQdzhNkmYv2oM7O/view?usp=drive_linkPowerPlay Update: - Cycle 49Cycle 49:Archer with the most new systems with +17Li Yong-Rui with the strongest week again, now for 4 cycles in a rowYong-Rui with the most new strongholds and fortifiedsYong-Rui may overtake Emperor Arissa for P2 in the next couple cycles in the Nicey / KrugerFive boardsKaine and Antal still battling for FDev's P7Looking at the "points per cycle" chart at www.k5elite.com We may be heading to some stagnation in the leaderboards soon if something doesn't change.In the Nicey & KrugerFive boards: once LYR takes P2 and Torval takes P10 from Delaine, if trends continue, it could be a long time before there are any other changesIn the FDev board:Emperor Arissa will pass Mahon for P2 at some point (months out?) and Kaine takes P7, same will occurKruger 5's Power Rankings - https://k5elite.com/ Niceygy's Power Points - https://elite.niceygy.net/powerpointsFind out more in the LSN-powerplay-hub forum channel.Galnet Update: https://community.elitedangerous.com/October Consortium Defends Control of HIP 87621Community Goal requesting Platinum, Osmium and Painite deliveries to Malzberg Vision in Andere - At Tier 5/9 - 3 ½ days left - 15,801 participantsDev News: Ruby Paintjobs are backCongrats to friend of the program Alec Turner for his Stellar screenshotDiscussion:Will the next Elite game feature be something else from the ‘MMO playbook'? (any WoW, Everquest, SWG, or Destiny players in the crew here?) Community Corner:EdAstro exploration density heat map - response to Lave Radio discussionhttps://edastro.com/galmap/Alec Turner invents new photo category -  “rings in front of things”

Gwyn and Ode talk about having already talked about every spooky thing they can think of, and then talk about those things anyway.

The former senator and former Dem has some not-very-nice things to say about Schumer and Obama—as well as progressives—who he blames for hounding Biden to move left and diminishing his will to fight. And while he's proud he helped protect the filibuster while he was in the Senate, Republicans just invoked the nuclear option to get Trump's nominees approved. Plus, what's with all the Confederate flags in West Virginia? And why aren't West Virginians more angry that conditions in the state have not improved since flipping red under Trump? Sen. Joe Manchin joins Tim Miller. show notes Sen. Manchin's new book, "Dead Center: In Defense of Common Sense" Tim's 2021 piece, "An Ode to Saint Joe Manchin" Bulwark Live in DC and NYC at TheBulwark.com/events. Tix for a second Toronto show go on sale for members Tuesday at noon and for everyone else on Wednesday!