Podcasts about persia

In this episode of Ethnocynology, David talks about the book he's writing, reflects on the recent passing of his dog and his uncle, and what those have in common. With an upcoming trip to Mexico to research dogs in ancient and classical Mexican culture, David weaves in themes of dogs as spiritual constants and symbols of death around the world, including ancient Persia and China. He also asks the audience to consider how dogs and death may go hand in hand in their own lives.TranscriptsFor a rough transcript head over to: https://www.archaeologypodcastnetwork.com/ethnocynology/30Links:davidianhowe.comDavidianhowe.com/storeArchPodNetAPN Website: https://www.archpodnet.comAPN on Facebook: https://www.facebook.com/archpodnetAPN on Twitter: https://www.twitter.com/archpodnetAPN on Instagram: https://www.instagram.com/archpodnetAPN ShopAffiliatesMotion Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Nehemías es un personaje bíblico del Antiguo Testamento, recordado principalmente por su papel como líder y reformador del pueblo judío después del exilio en Babilonia. Vivió en el siglo V a. C., durante el dominio del Imperio Persa. Era copero del rey Artajerjes I de Persia, un puesto de gran confianza en la corte. Al conocer la difícil situación de Jerusalén y sus murallas destruidas, pidió permiso al rey para regresar y ayudar a reconstruir la ciudad. Reconstruyó las murallas de Jerusalén en un tiempo récord de 52 días, pese a la oposición de pueblos vecinos. Además de la reconstrucción física, Nehemías impulsó una renovación espiritual junto con Esdras, el sacerdote y escriba. Reorganizó la vida civil, corrigió injusticias sociales y fortaleció la observancia de la Ley de Moisés. Su historia se narra en el Libro de Nehemías, que forma parte del Antiguo Testamento. En la tradición judía y cristiana, Nehemías es considerado un ejemplo de liderazgo, fe, perseverancia y confianza en Dios.

The art of intercession is beyond our traditional concept of prayer. It calls us into a deep and profound comprehension of a sacrificial way of lifestyle that collaborates with the forces of heaven to bring about reformation and transformation to society. It flows from a selfless heart, fully and wholly devoted to God's kingdom purposes and prophetic mandate for man and creation. When we intercede, we step into a sacred calling, standing in the gap in relentless love and courage, aligning earthly realities with the divine will to shift the course of human affairs for individuals, communities, and entire nations.At its core, intercession is an act of love; it's an intentional, Spirit-led intervention on behalf of others. It's the moment when a human heart aligns with God's heart, pleading for His mercy, justice, and purposes to manifest in the earth. Whether it's for a family member, a city, or an entire nation, intercession carries the weight of heaven's redemptive plan. The Bible is filled with examples of intercessors who changed the course of history through their relentless, heartfelt prayers: Daniel, Nehemiah, Abraham, Moses, and countless others who stood before God on behalf of broken people and wayward nations.Consider Daniel's story in Babylon (Daniel 10). From the moment he began to pray, God dispatched an answer, but a spiritual adversary, the prince of Persia, hindered the response for 21 days. Daniel's persistence in prayer, coupled with angelic intervention, ultimately broke through the resistance. This account reveals a critical truth: intercession is not just a spiritual exercise; it's a confrontation with unseen forces that seek to oppose God's will. It requires tenacity, spiritual insight, and a deep understanding of the agencies at play in the spiritual realm.Intercession is heaven's ordained mechanism for transformation. If a nation is to experience revival, renewal, or restoration, it begins with a people who understand the ministry of intercession. These intercessors are the forerunners of change, the ones who labor in prayer to align earthly realities with heaven's purposes. But to be effective, intercession demands more than fervent prayers; it requires a clear understanding of the spiritual dynamics involved and a heart fully surrendered to God's redemptive plan.

In spring 334 BC, a young Macedonian king sets out to conquer the Persian Empire.Tristan Hughes and Dr Adrian Goldsworthy explore Alexander the Great's early campaigns, from the daring crossing into Asia to incredible victories. They discuss Alexander's strategic genius, respect toward Persian royalty, and how these triumphs forged his path to legend.MOREThe PersiansListen on AppleKing MidasListen on AppleListen on SpotifyPresented by Tristan Hughes. Audio editor is Aidan Lonergan, the producer is Joseph Knight. The senior producer is Anne-Marie Luff.All music courtesy of Epidemic SoundsThe Ancients is a History Hit podcast.Sign up to History Hit for hundreds of hours of original documentaries, with a new release every week. Sign up at https://www.historyhit.com/subscribe. You can take part in our listener survey here: https://insights.historyhit.com/history-hit-podcast-always-on Hosted on Acast. See acast.com/privacy for more information.

Watch the bonus section on Ishmael and the roots of Islamic terror - https://j-tv.plus/ishmael-the-biblical-roots-of-islamic-terror/A fascinating conversation with Rabbi and Historian Ken Spiro. 0:00 Intro 2:08 An astonishing Talmudic prophecy about Iran 4:50 Why is Persia a significant force in Biblical destiny? 15:05 The four empires/"beasts" in Jewish history 23:18 - Persia, Amalek and Purim 26:21 The apocalyptic ideology of Iranian regime 27:50 Esau, Rome and the USA 33:50 Roots of Anti-Israel Christians 38:20 The reconciliation of Esau and Israel 42:59 Ishmael and the roots of Islamic terrorSee more from Ken Spiro at https://kenspiro.com/

Guest: Jonathan Schanzer. Schanzer analyzes Iran's stalling tactics in negotiations via Oman, noting the pressure from a US armada while questioning Oman's neutrality as a mediator.1560 PERSIA

As a longtime New York Giants football fan, it's hard for me to tell a story where a Dallas Cowboys player is the hero, but this one I couldn't resist. Charles Lowery tells the story of a visit by then Cowboys quarterback Troy Aikman to visit this young patient's ward in a children's cancer hospital. T.J. was one of those patients, a young boy who was dying of cancer. After visiting with him, Troy promised that he would score a touchdown in that boy's honor. As he was leaving, T.J.'s mom took the quarterback aside and told him that the boy didn't have long to live. Well, the promise stood. The following week was the Cowboys' first preseason exhibition game, and they didn't even play Troy that week. But T.J., of course, was glued to that whole game hopefully. The next week the Cowboys played in Mexico City, putting starters like Troy Aikman in for only the first quarter. The Cowboys had driven to their opponents' 20-yard line where Troy dropped back to launch a pass - only to tuck the football and, much to everyone's surprise, run the ball in for a touchdown - and then to be tackled in the end zone by these two monster defenders. Well, some Dallas sports writers were all over Aikman because he did what he's not supposed to do as a quarterback. He risked injury like that in what they called a meaningless game. They should have talked to T.J.'s mom. She said, "Troy knew it wasn't a meaningless game; not when he was playing for someone who was dying." I'm Ron Hutchcraft and I want to have A Word With You today about "Every Day, Every Play Matters." You know, it really is true. There is no such thing as a meaningless anything when you do it for someone who's dying, which in terms of God and eternity, many of the people all around us are doing. The Bible clearly says that anyone who "does not have the Son of God does not have life" (1 John 5:12) and that they are "without God and without hope in this world" (Ephesians 2:12). That includes anyone in your personal world who has not had their sins forgiven by faith in the Christ who died for them: coworkers, neighbors of yours, fellow students, people at the gym, at the club, teammates, family members. But Jesus has placed you where you are, right next to those folks, so they could have a chance at Him, a chance at heaven. And He's depending on you to tell them - to play your position each day as if you were playing for someone who's dying. You are. The Biblical story of Esther is, in a way, the story of everyone who belongs to Christ. She is the Jewish girl who, by God's design, became the Queen of Persia with no one knowing she was a Jew. Then, through the treachery of an anti-Semitic aide to the king, a decree was issued that mandated the death of every one of her people. For Esther to appeal to the king would mean the very real risk of her own life. But her godly cousin gives her this haunting challenge, "Who knows but that you have come to royal position for such a time as this?" That's Esther 4:14, and it's our word for today from the Word of God. And she realizes she is in that position to save dying people, and she risks everything to rescue them. Now, something very exciting, very enlarging happens to your life when you realize that what you do every day doesn't have to be "everyday stuff." It's relationships and opportunities to point someone where you are to life in Christ. So nothing you do is meaningless, not when you do it to help someone who's spiritually dying. And the life of a church or a ministry is suddenly electrified when the leaders and the members there decide to do what they do, not just to make themselves comfortable and blessed, but to rescue the dying people all around them in their community. It changes everything. There's a lot at stake in whether you are a silent follower of Christ or one who breaks your silence to tell them about the Jesus who is their only hope. My friend, this is life-or-death. And it means that the way you play really, really matters.

You can send a text, include contact info to get a response. A scientific expedition, led by Jean Bruguière and Guillaume Olivier.  Now they truly were scientists, but they were also diplomats secretly working for France.  Jean was an expert on molluscs, snails, shellfish and barnacles. He is credited with the discovery of 34 species of the same including a chiton named after Spinoza.  Olivier, by contrast, was a brilliant spy and diplomat, credited with toppling several middle eastern governments.  No, he was rather an expert on beetles, also a discoverer of new species, and a discoverer of new species of lizards as well.So, of course, you would expect great interest from a warrior from the central Asian steppes, this warrior would be following the progress of invertebrate science very closely.  Well, no, but what did the people of the middle east and the subcontinent and the far east know about Europe and the wider world?  They were not travelers.  They lived in almost impossible to understand (for us) ignorance about the wider world and their place in it.  For this 3 episode arc about the wider world in the Napoleonic Wars, the general fact of illiteracy and innumeracy, and lack of knowledge about the wider world will be an issue we run into again and again.

Big Idea: An unseen hand moves the queen.Esther 1:1-9I. God sets rules of the gameEsther 1:1-3These events took place during the days of Ahasuerus, who ruled 127 provinces from India to Cush. In those days King Ahasuerus reigned from his royal throne in the fortress at Susa. He held a feast in the third year of his reign for all his officials and staff, the army of Persia and Media, the nobles, and the officials from the provinces.II. The board is set   Esther 1:4-5He displayed the glorious wealth of his kingdom and the magnificent splendor of his greatness for a total of 180 days. At the end of this time, the king held a week-long banquet in the garden courtyard of the royal palace for all the people, from the greatest to the least, who were present in the fortress of Susa.III. The King makes the first move    Esther 1:6-9White and blue linen hangings were fastened with fine white and purple linen cords to silver rods on marble columns. Gold and silver couches were arranged on a mosaic pavement of red feldspar, marble, mother-of-pearl, and precious stones. Drinks were served in an array of gold goblets, each with a different design. Royal wine flowed freely, according to the king's bounty. The drinking was according to royal decree: “There are no restrictions.” The king had ordered every wine steward in his household to serve whatever each person wanted. Queen Vashti also gave a feast for the women of King Ahasuerus's palace.Next Steps: Believe: Today, I surrender my soul to King Jesus.Become: Today, I will stop fighting against the hand of God.Be Sent: This week, I will demonstrate my peace in God's plan.Growth Group Questions: On a scale of 1-10, how well did you trust God's invisible hand last week?How can you recognize God's sovereignty in the small events of your daily life?How often do you turn to Jesus first during times of uncertainty?How can we maintain faith in God's sovereignty during challenging life situationsHow do you see God's hand in unexpected people or situations in your own life?How does your faith cause you to stand up for what is right, even when it's difficult?Pray for the Holy Spirit to help you trust that God is at work around you, even when you don't see it.

Daniel 11:1-37b. Historical events covered were Persia, Greece, Alexander's four successor generals. The "wilfull king" Herod the Great was partially covered. All of this is the first part of Daniel's Fourth and Last Vision.

More than 5,000 years ago, a revolutionary script emerged in the fertile lands of Mesopotamia that would transform how people counted, governed, worshipped and told stories. This was cuneiform, the world's earliest known writing system.In this episode of The Ancients, Tristan Hughes is joined by Dr Irving Finkel to uncover how cuneiform actually worked and how you would write it yourself. From humble beginnings as simple pictograms tracking beer and grain, to the wedge-shaped signs that recorded myths, laws and epic tales long before the Bible, this episode explores how cuneiform spread across Sumer, Babylon, Assyria and Persia — and why these clay tablets remain one of archaeology's richest windows into the ancient world.MORENoah's Ark and the FloodListen on AppleListen on Spotify The World's Oldest LettersListen on AppleListen on Spotify Watch this episode on our NEW YouTube channel: @TheAncientsPodcastPresented by Tristan Hughes. Audio editor is Aidan Lonergan. The producer is Joseph Knight. The senior producer is Anne-Marie Luff.All music courtesy of Epidemic SoundsThe Ancients is a History Hit podcast.Sign up to History Hit for hundreds of hours of original documentaries, with a new release every week. Sign up at https://www.historyhit.com/subscribe. You can take part in our listener survey here:https://insights.historyhit.com/history-hit-podcast-always-on Hosted on Acast. See acast.com/privacy for more information.

Four classical Jewish sources, spanning nearly two thousand years, foretell a cataclysmic war involving Persia (Iran) at the End of Days. These are not vague allusions. They are specific, detailed, and converging on the very geopolitical reality unfolding before our eyes. 1. Pesikta Rabbati, Piska 36 “Rabbi Yitzchak said: The year in which the King Mashiach is revealed, all the kings of the nations will provoke one another. The King of Persia will provoke the King of Arabia…and the entire world will be thrown into panic and confusion.” 2. Talmud Bavli, Yoma 10a The Gemara records a dispute regarding a prophesied war between Persia and Rome at the End of Days. One opinion holds that Persia will fall to Rome; the other holds that Rome will fall to Persia. The passage establishes that a decisive confrontation between these two civilizations must precede the arrival of Mashiach. 3. Tosafot, Avodah Zarah 2b The succinct 7 line Tosafot o details how Edom will squash Persia. Their downfall clears the stage for Redemption as this final event precedes Mashiach's imminent arrival 4. Kli Paz — Rav Shmuel Laniado (1603–1657), Commentary on Isaiah 34:6 Writing over four hundred years ago, this great Mekubal of Aleppo identified “Bozrah” in Isaiah's prophecy as the Hormuz. He declared that a “great slaughter” (Iran) would take place there at the End of Days, and sealed his words with a blessing: “Happy is the one who understands this sign before the Redemption.” On this show, Tamar speaks with Reb Doniel Stochel, author of the upcoming book: 'THE FINAL REDEMPTION' as he takes us through prophetic sources of what we might expect, especially concerning Iran, and the Final Redemption. You can visit his website at: TheFinalRedemption.net And you can find out more about keeping and celebrating Shabbat (the Sabbath) at: https://www.chabad.org/library/article_cdo/aid/484168/jewish/The-Shabbat-Basics.htm and https://aish.com/48971511/ The Tamar Yonah Show 08FEB2026 - PODCAST

(Host: Lucy)  Alexander was heir to a small kingdom, and became ruler of multiple worlds, uniting the Greek archipelago with the territories of Persia, and creating an empire that spanned continents, reaching across the Mediterranean into Egypt as well as to the edge of the Himalayas. Now. How did the eastern Mediterranean – and central Asia – transform from the world of Athens and Persia to the world of Alexander?   For further reading suggestions and more, please visit: https://www.footnotinghistory.com

When our kids were living at home I couldn't believe people actually paid to go to the circus. We had a circus right there! It was free - a three-ring circus. Now the most exciting issue was usually, "What am I going to wear today?" And then that cry by various experiments with different combinations until some outfit finally looks right. Does that sound familiar? Of course it's always punctuated by these discussions of who's wearing whose shirt, or whose pants, or whatever. Actually, whether you go to school or to work, what to wear is kind of a challenging choice. Unless of course you're one of the lucky ones; you just wear a uniform. You don't have any decision to make; somebody else made it for you. You have to consider the weather, and what season it is, and what mood you're in, and what people you're going to see, and do the colors match, which is hopeless for me. Well, in the process, you might overlook the one item you have to wear to school or to work every day. I'm Ron Hutchcraft and I want to have A Word With You today about "Joy Looks Good On You." Now, there's some intriguing detail in the biblical saga of Nehemiah. You may remember he's the man that led the Jews back to Jerusalem to rebuild the wall of Jerusalem in 52 days after they'd been away for 100 years. Now, he was cup bearer to the king, and that king by the way was the King of Persia. He was quite a ways from where he needed to end up in Jerusalem. But Nehemiah had a tremendous burden on his heart. And he had a desire to tell the king his burden, but he wasn't sure how to open the conversation. Well, in our word for today from the Word of God, which is in Nehemiah 2, beginning in verse 1, it's interesting to see how the king actually initiates the discussion. And it ends with him giving Nehemiah everything he needs for this rebuilding project. And you know why the king initiated it? Because Nehemiah didn't wear to work what he usually did. Here's our word for today. "When wine was brought for the king, I took the wine..." Nehemiah is speaking here. "...and gave it to the king. I had not been sad in his presence before. So the king asked me, 'Why does your face look so sad when you're not ill? This could be nothing but sadness of heart.' Well, I was very much afraid, but I said to the king, 'May the king live forever. Why should my face not look sad when the city where my fathers are buried lies in ruins and its gates have been destroyed by fire.' And the king said to me, 'What is it you want?'" Well, the rest is history. From there it was the rebuilding of the wall of God's city. In essence the king is saying, "Nehemiah, where's your smile? You always wear it to work. Where is it today?" Nehemiah was known for his positive attitude on the job - his joy, his smile. So much so that it was an event for Nehemiah not to be smiling at work. Now, for many of us it would be an event that we were smiling when we're in the middle of our daily responsibilities. But if you're a Christian, you get your joy from your invironment, not your environment - from Christ inside you. No one should ever ask you, "Hey, how come you're so happy today?" Like it's unusual? That should be routine. Maybe they might ask you why you're so down today, because that would be unusual. Most of us just plod mechanically through our school day, our work day, our household responsibilities. Sometimes we're like expressionless drones. And often we're complaining and whining like everybody else. But consider Nehemiah's working wardrobe - a predictable smile, a contagious joy, and a consistent positiveness in the midst of daily drudgery. In our world, that is an attention getter, and that wardrobe is always in style. Wear joy to your work place every day. You'll knock 'em dead!

War is imminent again in the Middle East. This time between the USA and Iran. The American Navy is already in position in the Gulf of Persia. In view of an impending disaster, Iran says it wants to start new talks with the USA tomorrow in the Omani capital Muscat. The agenda remains unclear and whether the whole thing will actually take place. Law professor Markus Wagner from Wollongong University is an attentive observer of the tense situation. - Im Mittleren Osten droht schon wieder Krieg. Diesmal zwischen den USA und dem Iran. Die amerikanischen Marine ist im Golf von Persien schon in Position. Angesichts einer drohenden Katastrophe will der Iran nach eigenen Angaben morgen in der omanischen Hauptstadt Maskat neue Gespräche mit den USA aufnehmen. Unklar bleibt die Tagesordnung und ob das Ganze wirklich auch stattfindet. Rechtsprofessor Markus Wagner von der Wollongong Universität ist ein aufmerksamer Beobachter der angespannten Situation.

Friday Bible Study (1/30/26) // Ezra 7:1-10 (ESV) // Ezra Sent to Teach the People // 1 Now after this, in the reign of Artaxerxes king of Persia, Ezra the son of Seraiah, son of Azariah, son of Hilkiah, 2 son of Shallum, son of Zadok, son of Ahitub, 3 son of Amariah, son of Azariah, son of Meraioth, 4 son of Zerahiah, son of Uzzi, son of Bukki, 5 son of Abishua, son of Phinehas, son of Eleazar, son of Aaron the chief priest— 6 this Ezra went up from Babylonia. He was a scribe skilled in the Law of Moses that the Lord, the God of Israel, had given, and the king granted him all that he asked, for the hand of the Lord his God was on him.7 And there went up also to Jerusalem, in the seventh year of Artaxerxes the king, some of the people of Israel, and some of the priests and Levites, the singers and gatekeepers, and the temple servants. 8 And Ezra[a] came to Jerusalem in the fifth month, which was in the seventh year of the king. 9 For on the first day of the first month he began to go up from Babylonia, and on the first day of the fifth month he came to Jerusalem, for the good hand of his God was on him. 10 For Ezra had set his heart to study the Law of the Lord, and to do it and to teach his statutes and rules in Israel.Footnotesa. Ezra 7:8 Hebrew heWebsite: https://mbchicago.org FOLLOW US Facebook:   / mbc.chicago   Instagram:   / mbc.chicago   TikTok:   / mbc.chicago   Podcasts: Listen on Apple, Spotify & others TO SUPPORT US Zelle to: info@mbchicago.org Website: https://mbchicago.org/give Venmo: https://venmo.com/mbchurch DAF Donations: https://every.org/mbc.chicago PayPal: https://paypal.com/donate/?hosted_but... #Ezra #DanielBatarseh #BibleStudy #mbchicago #mbcchicago #Bible #versebyverse #church #chicago #livechurch #churchlive #chicagochurch #chicagochurches #sermon #bibleexplained #bibleproject #bibleverse #bookbybook #oldtestament #explained

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. Envisioning Hopeful Futures Host Miko Lee speaks with two Bay Area artists, activists, and social change makers: Tara Dorabji and Cece Carpio. Both of these powerful people have been kicking it up in the bay for a minute. They worked in arts administration as community organizers and as artist activists.   LINKS TO OUR GUESTS WORK Tara Dorabji Author's website New book Call Her Freedom Find more information about what is happening in Kashmir Stand With Kashmir Cece Carpio  Tabi Tabi Po running at Somarts   SHOW Transcript Opening Music: 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. I'm your host Miko Lee, and tonight I have the pleasure of speaking with two Bay Area local artists, activists, and social change makers, Tara Dorabji and Cece Carpio. Both of these powerful people have been kicking it up in the bay for a minute. They worked in arts administration as community organizers and as artist activists. I so love aligning with these multi hyphenated women whose works you can catch right now. First up, I talk with my longtime colleague, Tara Dorabji Tara is an award-winning writer whose first book Call Her Freedom just came out in paperback. And I just wanna give a little background that over a decade ago I met Tara at a workshop with the Great Marshall Gantz, and we were both asked to share our stories with the crowd. During a break, Tara came up to me and said, Hey, are you interested in joining our radio show, Apex Express? And that began my time with Apex and the broader Asian Americans for Civil Rights and Equality community. So if you hear a tinge of familiarity and warmth in the interview, that's because it's real and the book is so great. Please check it out and go to a local bookstore and listen next to my chat with Tara. Welcome Tara Dorabji to Apex Express.  Tara Dorabji: Thank you so much for having me. It's wonderful to be with you, Miko. Miko Lee: And you're actually the person who pulled me into Apex Express many a moon ago, and so now times have changed and I'm here interviewing you about your book Call Her Freedom, which just was released in paperback, right? Tara Dorabji: Yep. It's the one year book-anniversary. Miko Lee: Happy book anniversary. Let's go back and start with a little bit for our audience. They may have heard you, if they've been a long time Apex listener, but you as an artist, as a creator, as a change maker tell me who are your people and what legacy do you carry with you? Tara Dorabji: Who are my people? My people I would say are those who really align with truth. Truth in the heart. That's like at the very core of it. And I'm from the Bay Area. I've been organizing in the Bay a long time. I started out organizing around contaminated sites from nuclear weapons. I've moved into organizing with young people and supporting storytelling. So arts and culture has been a huge part of it. Of course, KPFA has been a big part of my journey, amplifying stories that have been silenced, and I think in terms of legacy, I've been thinking about this more and more. I think it goes into two categories for me. One are the relationships and who remembers you and and those deep heart connections. So that's one part. And then for my artistry, it's the artists that come and can create. On the work that I've done and from that create things that I couldn't even imagine. And so I really think that's the deepest gift is not the art that you're able to make, but what you create so that others can continue to create. Miko Lee: Thank you so much for sharing the deep kind of legacy and sense of collaboration that you've had with all these different artists that you've worked with and it's, your work is very powerful. I read it a year ago when it first came out, and I love that it's out in paper back now. Can you tell our audience what inspired Call her Freedom. Tara Dorabji: Call Her Freedom is very much inspired by the independence movement in Indian occupied Kashmir. And for me it was during the summer uprisings when, and this was way back in, In 2010-2009, after the Arab Spring and for the entire summer, Kashmir would be striking. It would shut down from mothers, grandmothers, women, children in the street. This huge nonviolent uprising, and I was really drawn to how it's both one of the most militarized zones on earth. And how there was this huge nonviolent uprising happening and questions about what it could look like, even like liberation beyond the nation state. And so I was really drawn to that. My dad's from Bombay, from Mumbai, that's the occupying side of it, and ethnically we're Parsi. So from Persia a thousand years ago. And so I think for me, at a personal level, there's this question of, okay, my people have been welcomed and assimilated for generations, and yet you have indigenous folks to the region that are under a complete seizure and occupation as part of the post-colonial legacy. And so I went and when I went to Kashmir for the first time was in 2011, and I was there. Right when the state was verifying mass graves and was able to meet with human rights workers and defenders, and there was a woman whose husband had disappeared and she talked to me about going to the graves and she told me, she said I wanted to crawl in and hug those bones. Those are the lost and stolen brothers, sons, uncles, those are our people. And another woman I spoke to talked about how it gave her hope for the stories to carry beyond the region and for other people to hear them. And so that became a real core part of my work and really what call her freedom is born from. Miko Lee: Thank you for sharing and I know that you did a film series and I wonder if you could about Kashmir and about what's going on, and I think that's great because so many times we in American media don't really hear what's going on in these occupied lands. Can you talk a little bit about how the interconnectedness of your film series and the book and was that part of your research? Was it woven together? How did you utilize those two art forms?  Tara Dorabji: I think we're both accidental filmmakers. That might be another way that our cross, our paths cross. In terms of medium. So for me, I was actually working with Youth Speaks the Brave New Voices Network at that time and doing a lot of short form. So video content, three minutes, 10 minutes, six minutes. And it was playing really well and what I was seeing coming outta kir by local filmmakers was beautiful, gorgeous, highly repressed work generally, longer form, and not always immediately accessible to an audience that didn't have context, that hadn't been, didn't understand. And my thinking was this was a gap I could fill. I had experience, not as a filmmaker, but like overseeing film teams doing the work, right? And then here are some of the most silent stories of our time. So when I went back to do book research in 2018, I was like, Hey, why don't I make some short form films now? I didn't even know what I was getting into. And also I think. When you go in as a novelist, you're absorbing your hearing and it takes time. There's no clock. It was, it's been the hardest project to get from start to finish. And I couldn't be like, okay, Miko, like I've done it once. Now this is how you do it. And when people trust you with their story, there's an urgency. So throughout the whole project, I was always seeking form. So my first trip went straight to KPFA radio. Took the stories, project sensor, took the stories, and so I wanted to build on that. And so the documentary films provided a more some are, I'm still working on, but there was some immediacy that I could release, at least the first film and the second film, and also I could talk about how can this work dovetail with campaigns happening on the ground and how can my work accelerate what human rights defenders are doing? So the first film here still was released with the first comprehensive report on torture from the region. And so it gave that report a whole different dimension in terms of conversation and accessibility. It was a difficult film but necessary, and because I had to spend so much time with. It was a difficult film but necessary, and because I had to spend so much time with transcribing, watching the footage over and over again, it really did inform my research from the B-roll to sitting and hearing the content and also for what people were willing to share. I think people shared in a different way during video interviews than when I was there for novel research. So it worked really well. And what I am, I think most proud of is that the work was able to serve what people were doing in a really good way, even though it's really difficult work.  Miko Lee: It built on the communication strategies of those issues like the torture report and others that you're working on.  Tara Dorabji: Exactly. And in that way I wasn't just coming and taking stories, I was applying storytelling to the legal advocacy strategies that were underway. And, you make mistakes, so it's not like there weren't difficulties in the production and all of that. And then also being able to work with creatives on the ground and at times it just. You, it became increasingly difficult, like any type of money going out was too heavily scrutinized. But for a time you could work with creatives as part of the projects in the region and then that's also super exciting.    [00:11:18] Miko Lee: Yeah. Can you talk a little bit more, I heard you say something about how the, when people are telling your story for the novel versus telling the story for the video that the cadence changes. Can you share a little bit more about what you mean by that?    Tara Dorabji: Yeah, I think when I'm doing novel research, it's very expansive, so I'm dealing with these really big questions like, what is freedom? How do you live in it? How do you, how do you choose freedom when your rights are being eroded? And so that conversation, you could take me in so many different directions, but if I am focused on a very specific, okay, I'm doing a short documentary film around torture, we're gonna go into those narratives. Or if I'm coming with a film medium, like people just see it differently and they'll speak and tell their stories differently than with a novel. It's gonna be fictionalized. Some of it might get in there or not. And also with a novel, I don't ever, I don't take people and apply them to fiction. I have characters that like, I guess come to me and then they're threaded through with reality. So one character may hold anecdotes from like dozens of different people and are threaded through. And so in that way you're just taking like bits and pieces become part of it, but. You don't get to see yourself in the same way that you do with the film. So in some ways. It can be safer when the security environment is as extreme as is as it is right now. But there's also this real important part of documentary film where it's people are expressing themselves in their own words, and I'm just curating the container.  Miko Lee: Was there an issue like getting film out during the time that you were doing the documentary work? Because I've heard from other folks that were in Kashmir that were talking about smuggling film, trying to upload it and finding different, did you have to deal with any of that, or was that before the hardest crackdown? Tara Dorabji: I mean there were, there's been series, so 2019 was abrogation where there was a six month media blockade. And so just your ability to upload and download. And so that was after I had been there. The environment was there was challenges to the environment. I was there for a short time and you just come and you go. You just do what you're gonna do and you be discreet. Miko Lee: And what is going on in Kashmir now?  Tara Dorabji: The situation is really difficult. One of the lead leads of the report on torture and coordinator from the human rights group that put, that helped put out that report has been incarcerated for four years Koran Perve. Miko Lee: Based on what?  Tara Dorabji: His human rights work. So they've just been detaining him and the United Nations keeps calling for his release.  Miko Lee: And what do they give a reason even?  Tara Dorabji: They, it's yeah, they give all kinds of trumped up charges about the state and terrorism and this and that. And also. One of the journalists and storyteller and artists in the first film that I released, Iran Raj, he's been incarcerated for two years. He was taken shortly after he was married, the press, the media has been dismantled. So there was, prolific local press. Now it's very few and it's all Indian State sponsored narrative propaganda coming through. ] Miko Lee: How are concerned folks here in the US able to get any news about what's happening in Kashmere, what's really going down?  ara Dorabji: It's really hard. Stand with cashmere is a really good source. That's one. There's cashmere awareness. There's a few different outlets that cover what happens, but it's very difficult to be getting the information and there's a huge amount of repression. So I definitely think the more instagram orgs, like the organizations that go straight to the ground and then are having reels and short information and stories on Instagram is some of the most accurate information because the longer form journalism. It is just not happening right now. In that way people are being locked up and the press is being dismantled and people running, the papers are being charged. It's just horrendous. Entire archives are being pulled and destroyed. So hard. Really hard. So those, Stand With Kashmir is my go-to source, and then I see where else they're looking.  Miko Lee: So your book Call Her Freedom is a fictionalized version, but it's based around the real situation of what's been going on in Kashmir. Can you share a little bit more about your book, about what people should expect and about what you want them to walk away with understanding.  Tara Dorabji: It's a mother daughter story. It's a love story. It's about love and loss and families, how you find home when it's taken. And the mom is no Johan. She's a healer. She's a midwife. She has a complex relationship with her daughter and she haunts the book. So the story told from multiple points of view, we never get and ignore the mom's head, but. She comes back as she has a lot to say. And I think it's interesting too because in this village that's largely run by men, you have these two women living by themselves and really determining their own fate. And a lot of it has to do with both nors ability to look at ancient healing practices, but also a commitment that her daughter gets educated. And so she really like positions her daughter in between the worlds and all the while you have increasing militarization. And Aisha starts as a young girl just starting school. And then at the end of the story, she's a grandmother. We get to see her relationships evolve, her relationship with love evolve, and a lot of the imperfections in it. And one of the things in writing this is when you're dealing. Living in occupation, there's still the day-to-day challenges that so many of us endure. And you have these other layers that are horrific.  Miko Lee: Yeah. And I'm wondering how much of yourself as a mother you embedded into the book as a mother, as an activist, as a mother of daughters, how much of yourself do you feel like you put into the book?  Tara Dorabji: A ton. It's my heart and spirit in there. And there were some really, there's this scene where the mom does die, and I actually wrote that before my mom passed away. And I do remember like after my mom died, going through and editing that part. And it was just like. It was really, it was super intense and yeah, I mean it definitely made me cry and it was also like the emotion was already there, which was interesting for me to have written it before but then have it come back and a full circle, I think.  Miko Lee: So did you change it after you experienced your own mom dying?  Tara Dorabji: It was soft edits. In my second novel, there's a scene and it, that one completely changed 'cause I didn't hit the emotion. Emotional tenor, right? It's funny, but in this one it was pretty good. I was like, I did pretty good on that one. But yeah, so it was just like tinkering with it a little. I think also my daughters were about four when I started.  Miko Lee: Oh, wow.  Tara Dorabji: And it came out as, when they're 18. So the other part was I was able to use their age references constantly throughout it because. I could just map to what it's like being a mom of a kid that age. So I did ob yeah, definitely used my own. So it's an amalgam and also it's fictionalized. So in the book, it's not Kashmir, it's Poshkarbal there's right a village. And so trying to take people out of something that they can identify as reality, but then at the same time, you can see the threads of reality and create a new experience. Miko Lee: So since you brought that up, tell us about the next book that you're working on right now.  Tara Dorabji: Yes, it's still very much in a draft form, but takes place here in the Bay Area. Similar themes around militarization, family secret love, lineage loss, and part of it's in Livermore Home to one of the world's nuclear weapons lab. Mm-hmm. Part of it's in San Francisco, so exploring into the future tech, AI, and. There's an underpinning around humans' relationship to technology, and I think at this point. We know that technology isn't gonna solve the crisis of technology. And so also looking at our relationship to land and culture and lineage. So there's, it's about, now I'm looking at about a hundred year span in it.  Miko Lee: Wow. Really?  Tara Dorabji: Yeah. Contained with the geography of the Bay Area  Miko Lee: Toward the future. Toward the past? Tara Dorabji: both past and future Miko Lee: Whoa. Interesting.  Tara Dorabji: Yeah.  Miko Lee: I'm reading Empire of AI right now. I don't know if you're familiar with that, but, oh, the AI stuff is so deeply disturbing about humanity. You're really thinking about where we're going, so I'm curious to find out your fictionalized versions of the impact.  Tara Dorabji: It's a major change we're going through. Yeah, and you and I grew up in a time when we didn't have cell phones and we used maps, and Yeah. If I was gonna meet you, I had to be there and we'd have to make a plan in advance and yeah. It's just shifting so rapidly. So we went  Miko Lee: through that. Even how to read a, how to read a clock like my girls, I had to show them as adults how to read a clock. Wow, I didn't realize these things. Our world is so digitized that even the most basic, that concepts ha how are shifting and even fine motor skills. Like most young people do not have good, fine motor skills.  Tara Dorabji: Yeah.  Miko Lee: Because they're just used to being on their phone all the time.  Tara Dorabji: Yes, and the, and I would give it is during the rain over the holidays, there is just always a family out with a small child in their yellow rain boots. And the kid like reaching into the tree, grabbing, smelling it dad or mom holding them. And so there are these anchors.  Miko Lee: Yeah.  Tara Dorabji: And even though humanity is accelerating in this one way, that's very scary and digitize. It's like the anchor of the earth in our community and our relationships still is holding us. Some of, you know, there's still that pull. And so I think that how people form their communities in the future and the way that. The choices that are gonna be made are just gonna become increasingly difficult. We faced it in our generation, parenting around cell phones, social media. We're seeing that impact of the suicidality, all of those things coming up. And that's gonna accelerate. So I do think it's, definitely a major change in transition some dark times, but also some really beautiful possibilities still rooting in our communities and in the world.  Miko Lee: And because we both work in movement spaces, I'm really curious I heard you talk a lot about connection and land and I'm just curious in your book. I got this vibe and I know a lot of the work that we do in the community. I'm wondering if you could speak a little bit on the land back movement internationally. In so many of those spaces, women are at the forefront of that. I wonder if you could talk a little bit about that.  Tara Dorabji: That's one of the most exciting things happening right now is the land back movement. In my younger days when I was studying what determines a woman's quality of life internationally at a scale, it's, it was really came down to land ownership. So in societies where land ownership went to women, they were able, and it was like. Outpaced by far, education and those other things is like that access to the land and the resource in that way. And land back is an acceleration of that, and I think particularly when we're looking at a lot of questions around philanthropy, spun downs, how it's done. When you transition an asset back into the community as land and land stewardship, right? Because then there's like the ownership for the stewardship and yeah, the different ways that it's done. But that is a lasting impact for that community. And so often when you're investing in women. Then it goes not just in terms of their quality of life, but the children, right? And the whole community tends to benefit from that. And I think even looking at Kir in the, one of the things that always has fascinated me is Kashmir during, it was independence was a carve up by the British, so that's a post-colonial strategy to keep people fighting. That has been very successful in the subcontinent. Kashmir had  Miko Lee: all over the world.  Tara Dorabji: Exactly. And Kashmir had a semi-autonomous status. That's what was really stripped in 2019, was that article from the Constitution. And so in the very early days when their autonomy was stronger, they started some pretty revolutionary land reforms. And so there was actually clauses where the people that were working the land could have it. And people Kashmiris were transferring land. To two other cashmeres. And so it was this radical re resource redistribution and you have a really strong legacy of feminism and women protesting and leading in Kashmir and I think that part from my perspective is that was a threat. This fear of redistribution of resources, land distribution other areas started to follow suit and the nation state didn't want that to happen. They wanted a certain type of concentration of wealth. And so I think that was one of the factors that. There were many, but I do think that was one that contributed to it. So I do think this idea of land backed land reform is extraordinarily important, and particularly looking at our own relationship with it. How do we steward it? How do we stop stripping the land? Of its resources and start realigning our relationship to it where humans are supposed to be the caretakers. Not the ones taking from.  Miko Lee: Thank you for sharing. I was thinking so much about your book, but also about the movement that we live in and the more positive visions of the future. Because right now it's devastating all the things that are happening in our communities. So I'm trying to be a bit hopeful and honestly just to keep through it make sure that we get through each day. Given so many of our brothers and sisters are at risk right now I'm wondering what gives you hope these days?  Tara Dorabji: Yeah, a lot of things do, I think like when I do try to take the breaths for the grief and the devastation because that loss of life is deep and it's heavy and it's real and it's mounting. So one, not to shy away from feeling it. Obviously not, it's hard. You don't want to 24 7, but when it comes in to let it come in and move through. And for me it's also this idea of not. It's just like living in hope. How do you live each moment and hope? And so a big part of it for me is natural beauty, like just noticing the beauty around me and filling myself up in it because that can never be taken away. And I think also in some of the most violent acts that are being committed right now, the way people are meeting them with a pure heart.  Miko Lee: Yeah.  Tara Dorabji: It's like you can't stop, like that's unstoppable is like that beauty and that purity and that love. And so to try to live in love, to try to ground in hope and to try to really take in the beauty. And then also like how do we treat each other day to day, and really take the time to be kind to one another. To slow it down and connect. So there are, these are tremendously difficult times. I think that reality of instability, political violence, assassination, disappearances, paramilitary have come visibly. They've been in the country, but at a, in the US at a more quiet pace, and now it's so visible and visceral  Miko Lee: And blatant. Yeah. It's just out there. There's no, they're not hiding about it. They're just out there saying out there, roaming the streets of Minnesota right now and other states to come. It's pretty wild.  Tara Dorabji: Yeah. And I think that the practice is not to move in fear. The grief is there, the rage and outrage can be there. But the love and the beauty exists in our communities and and in the young people. Miko Lee: Yeah.  Tara Dorabji: And our elders too. There's so much wisdom in our, in the elders. So really soaking up those lessons as much as possible.  Miko Lee: Thank you so much for chatting with me and I hope everybody that checks out your book call Her Freedom, which has gotten some acclaim, won some awards, been out there, people can have access to it in Paper Book. We'll put a link in our show notes so people can have access to buy it from an independent bookstore.  Tara Dorabji: Thank you so much. Wonderful to catch up and thank you for all your work on Apex as well.  Miko Lee: Thank you. Next up, take a listen to “Live It Up” by Bay Area's Power Struggle.    MUSIC “Live It Up” by Bay Area's Power Struggle.  Next up I chat with Visual artist, cultural strategist and Dream Weaver, Cece Carpio about her solo exhibition that is up and running right now at SOMArts through March. Welcome, Cece Carpio to Apex Express.   [00:33:37] Cece Carpio: Thank you for having me here.   [00:33:39] Miko Lee: I am so excited to talk with you, and I wanna start with my very first question that I ask all of my guests, which is, who are your people and what legacy do you carry with you? [00:33:52] Cece Carpio: That's a packed question and something I love. just in terms of where I come from, I was born and raised in the Philippines, small little farming village town, and migrated as my first so ground in the United States here in San Francisco. So my peoples consists of many different beings in all track of. The world whom I met, who I've loved and fought with, and, relate with and connect with and vision the world with. So that includes my family, both blood and extended, and the people who are here claiming the streets and claiming. Claiming our nation and claiming our world to make sure that we live in the world, that we wanna envision, that we are visioning, that we are creating. I track along indigenous immigrant folks in diaspora. black, indigenous people of color, community, queer folks, and those are folks that resonate in, identify and relate, and live, and pray and play and create art with.  [00:35:11] Miko Lee: Thank you so much. And do you wanna talk, chat a little bit about the legacy that you carry with you? [00:35:16] Cece Carpio: I carry a legacy of. Lovers and fighters, who are moving and shaking things, who are creating things, who are the healers, the teachers, the artists and it's a lot of load to carry in some extent, but something I'm very proud of, and those are the folks I'm also rocking with right now. I think we're still continuing and we're still making that legacy. And those are the people that are constantly breathing on my neck to make sure that I'm doing and walking the path. And it's a responsibility I don't take lightly, but it's also a responsibility I take proudly. [00:35:58] Miko Lee: Thank you for sharing. We are talking today because you have an exhibit that's at SOMArts Space, your first solo exhibit, and it's running all the way through March 29th, and it's called Tabi Tabi Po: Come Out With the Spirits! You Are Welcome Here First, tell me about the title and what that evokes for you. [00:36:18] Cece Carpio: Yes, so Tabi Tabi Po is a saying from the Philippines that essentially. Acknowledge, like it's most often used when you walk in the forest. And I think collectively acknowledge that there are other beings and spirits there beyond ourselves. So it's asking for permission. It's almost kind of like, excuse me, we're walking your territory right now. And, acknowledging that they're there and acknowledging that we're here or present and that, we're about to. Coexist in that space for that moment. So can we please come through? I think this is also not just like my open idea and choosing this title is not that we're only just coming through, but we're actually coming out to hang out for a little while and see what's happening here and kick it. Opening up space and welcoming folks who wants to come out and play with us and who wants to come and share the space.  [00:37:15] Miko Lee: Ooh. I really love that. I feel that when I walk in the forest to this ancestors that are with us. That's beautiful. This is your first solo exhibit, so I'm wondering what that feels like. You have been a cultural bearer for a really long time, and also an arts administrator. So what does it feel like to have your first solo exhibit and see so much of all of your work all around?  [00:37:36] Cece Carpio: Well, I'm a public artist. Most of the stuff that I've been doing the last decade has been out in public, creating murals and installations and activations, in different public spaces, and went somewhere. Specifically Carolina, who is the curator at SOMA have asked me to do this. To be honest, I was a little bit hesitant because I'm like, oh, it's a big space. I don't know. 'cause I've done group exhibitions in different parts of the years, but most of the stuff I do are affordable housing to like public activations to support the movement. Then I kind of retracted back and it's like, maybe this is the next step that I wanna explore. And it was a beautiful and amazing decision to work alongside so Mars and Carolina to make this happen 'cause I don't think it would've happened the way we did it in any other space, and it was amazing. Stressful that moments because I was still doing other projects and as I tried to conceive of a 2000 square footage gallery and so my district in San Francisco. But it was also the perfect opportunity. 'cause my community, my folks are here and. We are saying that it's a solo exhibition, but it really did take the village to make it all happen, and, which was one of my favorite part because I've been tracking this stem for so long and he is like folks on my back and I wanted to tell both my stories and our stories together. It was very opening, very humbling. Very vulnerable and exciting. All at the same time, I was able to talk or explore other mediums within the show. I've never really put out my writing out into public and is a big part and component of the exhibition as well as creating installations in the space. Alongside, what I do, which is painting mostly. But to be honest, the painting part is probably just half of the show. So it was beautiful to play and explore those different parts of me that was also playing with the notion of private and public, like sharing some of my own stories is something as I'm still trying to find ease and comfort in. Because as a public artist, I'm mostly translating our collective stories out, to be a visual language for folks to see. So this time around I was challenged a little bit to be like, what is it that you wanna share? What is it that you wanna tell? And that part was both scary and exciting. And, and he was, it was wonderful. It was great. I thought he was received well. And also, it was actually very relieving to share parts and pieces of me out with my community who have known for a long time. There were still different parts of that there were just now still learning. [00:40:39] Miko Lee: What did you discover about yourself as you're kind of grappling with this public versus private presentation? [00:40:45] Cece Carpio: What I learned about myself through this process is I can actually pretty shy. I mean, I might be, you know, um, contrary to like popular belief, but it was definitely, I'm like, Ooh, I don't know. I don't know. My folks who had been standing close with me, just like, this is dope. And also just in the whole notion that, the more personal it is, the more universal it becomes and learning that, being able to share those part of me in a way of just for the pure sake of sharing, actually allows more people to resonate and relate, and connect, which at this moment in time is I thing very necessary for all of us to know who our peoples are when this tyranny, trying to go and divide us and trying to go and separate us and trying to go and erase us. So I think there's something really beautiful in being able to find those connections with folks and spaces and places that otherwise wouldn't have opened up if you weren't sharing parts and pieces of each other.   [00:42:00] Miko Lee: That's so interesting. The more personal, kind of vulnerable you make yourself, the more it resonates with folks around the world. I think that's such a powerful sentiment because the, even just having a gallery, any piece of artwork is like a piece of yourself. So opening up a huge space like Somar, it's, that's like, come on in people. Thank you for sharing with us. To your point about the shocking, horrible, challenging, awful times that we live in. As we talk right now, which is Saturday, January 31st, there protests going on all around the country. I'm wondering if you can talk a little bit about what it means to be a visual artist, a cultural bearer in a time of fascism and in a time of struggle. [00:42:43] Cece Carpio: Well, if you go and see the exhibition, that's actually very much intertwined. My practice has always been intertwined with, creating a vision in solidarity with our communities who are believing and fighting for another world that's possible. My practice of this work has been embedded and rooted with the movement and with organizations and people who have the same goals and dreams to, bring in presence and existence of just us regular, everyday people who are still fighting to just be here to exist. So just to your question of, but what it means to do this work at this time. I think it is the imagination. It is the creativity that allow us to imagine something different. It is the imagination, it is the dreams that allow us to create that. Other world that we wanna envision when, everything else around us is telling us another way that's not really the best for ourselves and for our peoples and for the future generations that's gonna be carrying this load for us. And with this. In so many ways, a lot of my. my creating process, my making process has always carried that, and even myself, immigrating to this place that was once foreign is figuring out where I can belong. My art practice has not only been a way in which I express myself, but it has been the way in which I navigate the world. That's how I relate to people. That's how I am able to be part of different groups and community. And it's also how I communicate. , And that's always been, and still is a very big portion of my own practice.   [00:44:37] Miko Lee: Can you share a little bit more about your arts practice, especially when we're living in times where, people are trying to get a paycheck and then go to the rally, and then maybe phone banking and organizing and there's so many outside pressures for us to just continue to move on and be in community and be in movement work. I'm wondering how do you do it? Do you carve out times? Is it in your dreams? Where and how do you put yourself in your arts practice. [00:45:04] Cece Carpio: I don't think there is a wrong or right way of doing this. I think being an artist, it is not only about being creative on what, a paint on the walls, it is about being creative on how you live your life. I don't know if there's a formula and it's also been something that, to be honest, it's a real conversation. I mean, most of us artists. We're asking each other that, you know, like You do it. How do you figure out, like how do you add hours in your day? How do you continue doing what it is that you love and still fall in love with it when we're under capitalism trying to survive, all these different things. Everyone has a different answer and everyone has different ways of doing it. I'm just kind of figuring it out as I go, you know? I'm an independent artist. It is the center of the work that I do, both as a livelihood and as a creative practice, as a spiritual practice, as a connective practice. This is what I do. For me it is just like finding my peoples who wants to come and trek along. Finding folks who wants to support and make it happen. Beyond painting on walls, I'm also an educator. I've taught and pretty much most of the different levels of, what this nation's education system is like and still do that in practice, in both workshops, , sometimes classrooms, community group workshops and folks who wants to learn stern, both technical and also like conceptual skills. I consider myself also a cultural strategist, within a lot of my public activation and how I can support the movement is not just, creating banners or like little cards, but actually how to strategize how we utilize art. To speak of those things unspoken. But to gather folks together in order to create gateways for, other everyday folks who might not be as involved with, doesn't have time or availability or access to be involved to make our revolution irresistible. Many different cultural strategist comes together and we produce public art activations to make it both irresistible, but also to provide access, to folks who otherwise probably would just walk by and have to go to their everyday grind to just make it on this work. As long as I see it aligned within kind of divisions that we have together to consistently rise up and get our stories known and become. Both a visual translator but also a visual communicator in spaces and places sometimes, you know, unexpected, like for example, within the protest when protest is over, like what are left behind within those spaces where we can create memories. And not just like a moment in time, but actually how do we mark. The space and places we share and that we learn from and that we do actions with. We can make a mark and let it be seen.   [00:48:05] Miko Lee: Thank you for that. I'm wondering, as you're talking about your profound work, and how you move through the world, I'm wondering who are some of the artists that inspire you right now?  [00:48:17] Cece Carpio: So many, so many folks. Artists at this moment have been becoming vital because of the intensity of our political climate that's happening. There's so many artists right now who are. doing a lot of amazing, amazing things. I definitely always have to give shout out to my mama, Esra, which is one Alicia, who's just consistently and prolifically still creating things. And she, I've been doing and collaborating with her for many, many years. What I think I really love and enjoy is that she's continuously doing it and like it gives us more hunger to like, all right, we gotta catch up. it's amazing and  [00:48:58] Miko Lee: beautiful. Amazing work.  [00:49:00] Cece Carpio: Yes, and I've been very fortunate and been very lucky to be part of an artist Has been such an inspiration , and a collaborator and in the many process of the different works that we do. So some of the crew members definitely shout out to my brother Miguel to, folks like Frankie and Sean Sacramento. Then we have span over in New York, like we've, we're now spreading like Voltron. ‘ve been very lucky to have some amazing people around me that love doing the same things who are my family. We're continuing to do that. So many more. It's really countless. I feel like I definitely have learned my craft and this trait by. Both being out there and making happen and then meeting folks along the way who actually are in the same path. And it's such a beautiful meeting and connection when that happens. Not only just in path of creating work, but, and path of we down to do something together. There's so many, there's so many. It's so nameless.  [00:50:05] Miko Lee: Thank you for sharing some of them, some of the artists that helped to feed you, and I'm sure you feed them. You just have finished up an artist in residence with the Ohlone people. I'm wondering if you could talk a little bit about what that experience was like being an artist in residence there. [00:50:21] Cece Carpio: It has been an amazing, and the relationship continues. Karina actually gave the spirit plate on the opening, which is such a big honor because I consider her, both a mentor and a comrade and, and  [00:50:34] Miko Lee: Karina Gold, the Chair of the Ohlone tribe.  [00:50:38] Cece Carpio: Yes. And who I have such admiration for, because if. Both integrity and also the knowledge that she carries and the work that she's doing and how she opens it up for different folks. How she walks is such a big part of how that collaboration started in the first place. As an indigenous immigrant that's been consistent. Like what does even mean to be indigenous in the land that's not yours, you know? Just the notion of what is our responsibility as stewards of this land to live on stolen land? I had this specific skill that I wanted to share, and they were more than willing, and open to dream together of what that could look like and was able to do. Many different projects and different sites , of land that's been returned to indigenous hands. It was such an honor to be part of that. Creating visual markers and visual acknowledgement in spaces that, you know, kind of telling the autobiographical stories of those spaces and how it was returned, what our divisions, and to work alongside the young people, the various different communities she believes and wanted to take part of the movement. I learned as much or if not more. I share my knowledge of like how to paint a mural or all the different skills. So it was very much a reciprocal relationship and it's still a continuous relationship that we're building. It's gonna be an ongoing fight, an ongoing resistance, but an ongoing victory. They've already have shared and won and have shown and shared with us the experiences of that. It's been very rejuvenating, regenerating, revitalizing, and in all those different ways, being able to bear witness to that, but taking small part in pieces, and certain projects to uplift and support that and also just to learn from the many different folks, and people from both Sego and the communities that they've able to like. Create and build through the time, I mean through the young time actually that they've been here, but definitely still growing.  [00:52:46] Miko Lee: Thank you. Your show is up until the end of March. What do you want folks to feel after they go see Tabi Tabi Po  [00:52:55] Cece Carpio: Mostly are gonna feel whatever they wanna feel. I'm kind of curious to know actually, what is it that people are feeling and thinking, but I think Enchantment, I wanna recapture that feeling of Enchantment in a time and moment where. It can be very frustrating. It can be very, depressing. Seeing the series of event in this nation and just uncaring, and like the pickable violence that's imposed to our peoples. I wanna be able to give folks a little bit of glimpse of like, why we are fighting and why we were doing this for and even see the magic in the fight. I think that's a big part of the story that's being told and that the, knowing that we're still writing a story as we go. Within this exhibition, there's a lot of spaces of me sharing parts of my story, but a big part of that is also spaces for folks to share theirs. That exchange of magic is something that we can use as ammunitions, we can use as tools to keep us going in times that is very, very trying.  [00:53:59] Miko Lee: The magical exchange to make the revolution irresistible.  [00:54:03] Cece Carpio: Let's do it. Let's go.  [00:54:05] Miko Lee: Sounds great. We're gonna put links to the show at SoMarts we'll put them on our Apex Express, um, page, and I'm wondering what's next for you? [00:54:14] Cece Carpio: We will also have programs that coincides alongside the various stories that we're telling with this exhibition to welcome for other community members, other artists, other cultural bearers, other fighters to come and join us, and be part of it and tell stories, heal time. Imagine a magical future to celebrate the victories and wins as big and small as they come. So that is gonna be happening. What's nice for me is, actually it's going simultaneously is I'm still painting. I'm going to be in support of painting a new space opening for a Palestinian owned bakery. They're opening up a new space back in their hometown right here in Oakland. And Reem is a close friend, but also a very frontline fighter. 'cause you know, genocide is still happening right now. I wanna be able to support that and also support her. Another public art installation is actually gonna be unveiling within next month over at soma. In the district of Soma Filipino with the Jean Friend Recreation Center. I'm actually trying to carve out more time to write. I'm still exploring, definitely like in the infants stages of exploring it, but falling in love with it. At some point in time within this show, . Wanna be able to actually get it published, in a written form where both the images can accompany some of the written work , and wanna see like its duration last beyond the exhibition show. There's always the streets to come and protest to happen and contributing to that work that we do to reclaim what is ours, the world that is ours.  [00:55:53] Miko Lee: Thank you so much. You're doing so many things so powerfully, so beautifully, so articulately and I guess the best way for folks to follow up is on your Instagram. [00:56:04] Cece Carpio: Yeah, I'm still actually operating in myself.  [00:56:06] Miko Lee: Okay. Okay. Well thank you so much for your work, everything that you do in the community, so powerful, and thanks so much for speaking with us today. Thank you. Thanks so much for listening to our show tonight. Please go check out Cece's exhibition Tabi Tabi Po at SoMarts and go to a local bookstore to get the paperback version of Tara's Call Her Freedom. Support artists who are paving the way towards a vision for a new future. They are working to make the revolution irresistible. Join us. [00:56:41] Closing Music: Please check out our website, kpfa.org/program/apex Express to find out more about our show and our guests tonight. We thank 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, Miata Tan, Preeti Mangala Shekar and Swati Rayasam. Tonight's show was produced by me Miko Lee, and edited by Ayame Keane- Lee. Have a great night.     The post APEX Express – 2.5.26-Envisioning Hopeful Futures appeared first on KPFA.

The Antiquities of the Jews, Vol 3(Part 2)Support Us: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://libri-vox.org/donateTranslated by ⁠William Whiston (1667 - 1752)⁠Antiquities of the Jews was a work published by the important Jewish historian Flavius Josephus about the year 93 or 94. Antiquities of the Jews is a history of the Jewish people, written in Greek for Josephus' gentile patrons. Beginning with the creation of Adam and Eve, it follows the events of the historical books of the Hebrew Bible, but sometimes omits or adds information. (Summary by Wikipedia)Volume 3 contains Books 11-15; it begins with the return of the Babylonian exiles under Cyrus, king of Persia and ends with King Herod rebuilding the temple (c. 559 BC - 20 BC).Genre(s): History, AntiquityLanguage: EnglishKeyword(s): ⁠history⁠ (899), ⁠Israel⁠ (32), ⁠Jews⁠ (14), ⁠Hebrews⁠ (13), ⁠Josephus⁠ (7), ⁠Judea⁠ (5)Group: ⁠The Antiquities of the Jews⁠Support Us: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://libri-vox.org/donate

The Antiquities of the Jews, Vol 3(Part 1)Support Us: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://libri-vox.org/donateTranslated by William Whiston (1667 - 1752)Antiquities of the Jews was a work published by the important Jewish historian Flavius Josephus about the year 93 or 94. Antiquities of the Jews is a history of the Jewish people, written in Greek for Josephus' gentile patrons. Beginning with the creation of Adam and Eve, it follows the events of the historical books of the Hebrew Bible, but sometimes omits or adds information. (Summary by Wikipedia)Volume 3 contains Books 11-15; it begins with the return of the Babylonian exiles under Cyrus, king of Persia and ends with King Herod rebuilding the temple (c. 559 BC - 20 BC).Genre(s): History, AntiquityLanguage: EnglishKeyword(s): history (899), Israel (32), Jews (14), Hebrews (13), Josephus (7), Judea (5)Group: The Antiquities of the JewsSupport Us: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://libri-vox.org/donate

This month on Journal Updated we talk about Resident Evil, Warframe, the Rogue Prince of Persia, and the hit Gamecube launch title Luigi's Mansion! In Diary Updated, we talk about work, our online presences, church feelings, therapy, and more!

The Antiquities of the Jews, Vol 2 (Part2)Support Us: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://libri-vox.org/donate⁠Flavius Josephus (37 - c. 100)⁠Translated by ⁠William Whiston (1667 - 1752)⁠Antiquities of the Jews was a work published by the important Jewish historian Flavius Josephus about the year 93 or 94. Antiquities of the Jews is a history of the Jewish people, written in Greek for Josephus' gentile patrons. Beginning with the creation of Adam and Eve, it follows the events of the historical books of the Hebrew Bible, but sometimes omits or adds information. (Summary by Wikipedia)Volume 2 contains Books 6-10; it begins right after the death of Eli the priest and the capture of the Ark and ends with the prophecies of Daniel in Persia.Genre(s): History, AntiquityLanguage: EnglishKeyword(s): ⁠history⁠ (899), ⁠Israel⁠ (32), ⁠Jews⁠ (14), ⁠Hebrews⁠ (13), ⁠Josephus⁠ (7), ⁠Judea⁠ (5)Group: ⁠The Antiquities of the Jews⁠Support Us: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://libri-vox.org/donate

The Antiquities of the Jews, Vol 2 (Part 1)Support Us: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://libri-vox.org/donateFlavius Josephus (37 - c. 100)Translated by William Whiston (1667 - 1752)Antiquities of the Jews was a work published by the important Jewish historian Flavius Josephus about the year 93 or 94. Antiquities of the Jews is a history of the Jewish people, written in Greek for Josephus' gentile patrons. Beginning with the creation of Adam and Eve, it follows the events of the historical books of the Hebrew Bible, but sometimes omits or adds information. (Summary by Wikipedia)Volume 2 contains Books 6-10; it begins right after the death of Eli the priest and the capture of the Ark and ends with the prophecies of Daniel in Persia.Genre(s): History, AntiquityLanguage: EnglishKeyword(s): history (899), Israel (32), Jews (14), Hebrews (13), Josephus (7), Judea (5)Group: The Antiquities of the JewsSupport Us: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://libri-vox.org/donate

For years, video game adaptations had a reputation, and not a good one.In Episode 86 of Co-op Chronicles, Blacklabel, Geisha, and Azzilee take a deeper look at why video game movies and shows struggled for so long… and why some adaptations are finally starting to work.Using Iron Lung as a timely case study, we explore how expectations, tone, restraint, and audience trust shape whether an adaptation succeeds or falls apart. We also break down what worked in modern successes like The Last of Us, Arcane, Cyberpunk: Edgerunners, and Prince of Persia and why other adaptations stumbled by over-explaining, chasing accuracy, or failing to understand what made the original game matter.This isn't a ranking episode... it's a conversation about why translating feeling matters more than copying plot, and why some games may never be meant for the screen at all.If you've ever wondered why some adaptations “feel right” while others feel hollow, this episode explains why.

Many a transformative event can be traced to the influence of one person. Mordecai was one such person in the lives of the Jews living in Persia. By inspiring Queen Esther, Mordecai turned a blasting into a blessing; he changed a national catastrophe into national continuity for the Jews.I. A National Tragedy (3:13-15)II. An Expected Anxiety (4:1-3)III. A Strategic Opportunity (4:10-14)IV. An Inspired Bravery (4:15-16)Talk with God: Reflect on God's work in your life (recently or across several years) and thank Him for His providence in guiding your steps (see Proverbs 16:9).Talk with others: Encourage a fellow believer or your Connect Group by reminding them the Lord has a plan in every difficult situation they face this week.Talk with kids: What was special about the temple?

Linktree: ⁠https://linktr.ee/Analytic⁠Join The Normandy For Additional Bonus Audio And Visual Content For All Things Nme+! Join Here: ⁠https://ow.ly/msoH50WCu0K⁠In this segment of Notorious Mass Effect, Analytic Dreamz breaks down Ubisoft's 2026 major reset—a sweeping organizational, operational, and portfolio overhaul announced to reclaim creative leadership and restore sustainable growth under CEO Yves Guillemot.Ubisoft has restructured into five decentralized Creative Houses, each with full ownership over specific genres and brands: Vantage Studios (CH1) scales AAA franchises like Assassin's Creed, Far Cry, and Rainbow Six; CH2 focuses on competitive/co-op shooters including The Division, Ghost Recon, and Splinter Cell; CH3 handles live-service titles such as For Honor, The Crew, Riders Republic, Brawlhalla, and Skull & Bones; CH4 drives immersive fantasy and narrative games with Anno, Might & Magic, Rayman, Prince of Persia, and Beyond Good & Evil; CH5 targets casual/family-friendly experiences like Just Dance, mobile hits, and licensed titles.This shift addresses escalating AAA costs, market competition, and trends toward mobile and Games-as-a-Service, prioritizing open-world adventures and GaaS-native experiences while investing in player-facing generative AI.The reset includes significant cuts: employee count reduced to 17,097 (from 20,729 in 2022, a net loss of 3,633), selective studio closures (including Halifax and Stockholm), and a "final" €200 million savings push, with €234 million more planned over two years. Six games canceled (including Prince of Persia: The Sands of Time remake and unannounced titles), seven delayed (potentially impacting Assassin's Creed projects and Beyond Good & Evil 2), and four new IPs in development (including March of Giants).Financially, expect short-term hits in FY2026-2027: €386 million gross margin reduction, €650 million R&D depreciation, and €350 million net bookings drop. A mandatory five-day in-office policy has sparked internal unrest and backlash against leadership.Analytic Dreamz explores the implications for Ubisoft's future, from agile decision-making and long-term sustainability to employee sentiment and investor reactions in this in-depth analysis.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsPrivacy & Opt-Out: https://redcircle.com/privacy

Of course, no one writes Biblical Fiction like Tessa Afshar, and her new book in the Queen Esther's Court series has such a cool premise.  Listen in as we talk about her fun research and a bit of Persian culture and history!  note: links may be affiliate links that provide me with a small commission at no extra expense to you.  I think one of the coolest parts of our conversation had to do with Tessa taking pottery classes with her husband and how it gave her context for her character as well for Scripture! The Royal Artisan by Tessa Afshar Sazana of Persia creates exquisite pottery that graces Susa's finest tables, but her master, Lord Haman, does not know her secret: Sazana is one of the Jews he has vowed to eradicate. When Haman discovers her true identity, he forces her into indentured servitude. But at Haman's sudden downfall, Queen Esther becomes the new master of the pottery workshop, restoring Sazana to her rightful place. Yet her troubles are not over as Haman's sons are enraged by his death, and the queen assigns one of her men to root out any threats. Sazana is shocked to discover the identity of the queen's agent is none other than Jadon, the man who left her heart in ruins years ago. But despite his presence, danger still lurks, and when Sazana and Jadon become entangled in the hunt for an ancient artifact, so much more than their own hearts and lives depends on the success of their mission. Experience the thrill and intrigue of secrets and romance within Queen Esther's royal domain in this biblical fiction tale that will appeal to fans of ancient history, The Chosen, House of David, Francine Rivers, and Angela Hunt. Don't miss the first interview about this series HERE. Learn more about Tessa on her WEBSITE and follow her on GoodReads and BookBub. Don't miss the book at 30% off with FREE shipping from BakerBookHouse.com. Like to listen on the go? You can find Because Fiction Podcast at: Apple Castbox Google Play Libsyn RSS Spotify Amazon and more!

Jogamos as primeiras horas de Resident Evil Requiem, nos perdemos entre os mecanismos de TR-49 e tentamos nos encontrar em Perfect Tides: Station to Station. No Xbox Developer Direct, o anúncio de Kiln e as novidades de Fable, Forza Horizon 6 e Beast of Reincarnation. Na reestruturação da Ubisoft, o cancelamento do remake de Prince of Persia e mais! Comece seu dia com a INSIDER #insiderstore Nosso cupom: JOGABILIDADE 00:10:53: Xbox Developer Direct 2026 00:12:27: Kiln 00:20:13: Forza Horizon 6 00:25:54: Beast of Reincarnation 00:37:28: Fable 00:54:57: Cancelamentos e adiamentos na Ubisoft 01:20:43: Detalhes sobre a terceira parte do remake de Final Fantasy VII 01:29:13:Tengu jogou Resident Evil Requiem 01:51:13: TR-49 02:15:08: Perfect Tides: Station to Station 02:36:54: Perguntas dos ouvintes 02:49:55: Finalmentes: SPOILERS de Terror em Silent Hill: Regresso para o Inferno 02:58:32: Spoilers do JOGO Silent Hill 2 Contribua | Twitter | YouTube | Twitch | Contato

Tony: -Time to buy Ubisoft Stock? https://www.eurogamer.net/ubisofts-reset-wipes-34-off-its-share-price-the-lowest-in-15-years -Xbox Developer Direct: https://news.xbox.com/en-us/2026/01/22/xbox-developer-direct-2026-recap/ Jarron:  -An ode to the PS VITA -OhSnap MCON review -Goodbye to Prince of Persia remake: https://www.theverge.com/news/865060/ubisoft-prince-of-persia-sands-of-time-remake-canceled-reorganization Owen: -Rockstar Studio blows a gasket https://www.gamerbolt.com/this-week-in-gaming-news-january-19th-january-25th-2026/ -Does it seem smart to challenge Arc Raiders at this point? Bungie set to release or re-release Marathon extraction shooter. https://www.gamerbolt.com/this-week-in-gaming-news-january-19th-january-25th-2026/#h-marathon-gets-a-release-date Lang: -GPD win5 review! One month later. https://youtu.be/gqB4-DFhauM?si=LZGreN03FAm4MSRc

I just watched a documentary on Alexander the Great and tried to do what I always do — turn world domination into punchlines. From conquering Persia before age 30 to having the confidence of a guy who's never bombed on stage, Alexander might be the original “main character energy.”In this episode of Reality is Optional, I break down the wildest moments from the documentary and try to find the comedy in ancient warfare, ego, legacy, and what happens when you think you're unstoppable.We've got:Alexander tutored by Aristotle; conquering most of the known world before 32; elite military strategy and questionable emotional decisions; what happens when your army is tired but you're still chasing glory; and why every comic secretly thinks they're Alexander at an open mic.History meets stand-up. Empires fall. Jokes rise.#AlexanderTheGreat#HistoryComedy#DocumentaryCommentary#AncientHistory#StandUpPodcast

Jason gives you a quick overview of Context for the Islamic Republic of Iran, Part 2.Read the essay here: https://historywiththeszilagyis.org/hwts282Find us on X:The Network: @BQNPodcasts The Show: @HistorySzilagyi. Chrissie: @TheGoddessLivia.  Jason: @JasonDarkElf.Send topic suggestions via Twitter or on our Facebook page History with the Szilagyis.History with the Szilagyis is supported by our patrons: PatiSusan Capuzzi-De ClerckLaura DullKris HillBetty LarsenVince LockeJoin these wonderful supporters by visiting patreon.com/historywiththeszilagyis. The BQN Podcast Collective is brought to you by our listeners. Special thanks to these patrons on Patreon whose generous contributions help to produce this podcast and the many others on our network! BQN Podcasts are made possible by the generous contributions of listeners like you. We extend our heartfelt gratitude to our Patreon patrons, whose support has been instrumental in producing the network!Chad RidingMei MMischiefCaitG. Haukur GuðmundssonJoe SaporitoMartin MarigomenJaxDaniel EvansLars Di ScenzaSamuel JohnsonJenediahRyan DamonWilliam J. JacksonJonathan SnowJerry AntimanoBe Tellarite, Not TellaWrongShalimar LuisStevenSusan L. DeClerckDavidJason AndersonMatt HarkerDavid WillettCarl WondersVera BTim CooperPeter HongTom Van ScotterJim McMahonJustin OserThad HaitChristina De Clerck-SzilagyiJoe MignoneYou can join this illustrious list by becoming a patron here: https://www.patreon.com/BQN

Doesn't it feel like we've all been here before? Have we gotten stuck on the old treadmill of time? Perhaps it's a leak from the hourglass of the canceled Prince of Persia game. As such we're stuck reliving not a particular moment or day, but a few years. Or maybe it's just that history rhymes. Either way, we do have a revist within the manga. Up again is Tim with more Taboo Tattoo. We're still with Seigi who has magical void powers that are triggered by Blood. We also meet the princess of tattoland who is not a gothic porn star from the two thousands. The pace continues moving too … Continue reading "Manga Pulse 551: Imaginary Tattoo"

This week, Chancletamangu makes his triumphant return to talk all about Highguard's release, Prince of Persia's cancellation, and much more!  Check out Youtube.com/@wetalkaboutgames for more of Mando's content! Timecodes What we're playing - 6:02 Highguard release and shadowdrop - 22:53 Prince of Persia: Sands of Time and 5 other Ubisoft games cancelled - 41:38 News spotlight - 51:34   Follow us! www.dropindropoutpod.com Bluesky, YouTube, IG, Threads and TikTok @spotlightgamespod Twitch.tv/spotlightgamespod Join our discord! https://discord.gg/Vxvp2sX64Z Email the show: mail@spotlightgames.net RSS Feed: https://spotlightgames.libsyn.com/rss Spotlight Games Theme by Chike Okaro @bassicfun Thanks for listening!

Could 2026 be the Year of XBox? They're off to a strong start with a fresh look at Forza Horizon 6, Fable, Kiln and Beast of Reimagination Reincarnation. We're also chatting about the new trailer for the Super Mario Galaxy Movie, the aborted Prince of Persia remake, and reviewing Memories In Orbit.

This week on The Gaming Duo, we break down everything shown at Xbox Developer Direct 2026—and yeah, this one actually hit. From a full gameplay deep dive on Fable to Forza Horizon 6 finally heading to Japan, we go game by game through Xbox's most focused showcase yet.We talk big surprises like Beast of Reincarnation from Game Freak, Double Fine's wonderfully weird Kiln, and whether Xbox's gameplay-first approach signals real momentum heading into 2026. Plus, we dig into High Guard—what it is, how it could launch, and whether it's a sleeper hit in the making.On the news side, we unpack Ubisoft canceling multiple projects, including Prince of Persia, and what that says about the company's future, legacy IPs, and creative risk-taking.Is Xbox finally delivering on its promises? Which game stole the show? And how important is 2026 for Xbox's future?Episode 270 starts… NOW.Discord Link: https://discord.gg/B7YYMvZtZ2

In this episode, we zoom into the royal palace of Persia, where things are a little… awkward. There's a king with big feelings, an empty throne, and a plan to find a brand-new queen. Enter a young girl with a secret name, a caring cousin, and a whole lot of waiting. Beauty treatments? Fancy robes? Whispers in palace hallways? Yep—all of that happens here.But beneath the glitter and crowns, something much bigger is going on. Why does Esther have to stay hidden? And how did an ordinary girl end up wearing a crown?

Ep 511 - Xbox's annual Developer Direct offers a strong look at four promising new games for 2026. Square Enix cashes out with one more Life is Strange. Ubisoft cancels Prince of Persia, and we check out the December sales charts. Become a patron to get the extended cut: https://www.patreon.com/posts/extended-forza-6-148917620 00:00 - Intro 02:37 - Life is Strange: Reunion 16:53 - Ubisoft Cancellations and Restructuring 35:17 - Forza Horizon 6 39:52 - Beast of Reincarnation 45:36 - Kiln 52:09 - Fable 01:00:53 - A Word from Our Sponsors 01:04:00 - December Sales Report 01:18:26 - My One Thing 01:27:41 - L&R: Germany's Top Selling of 2025 01:32:06 - L&R: The Best Button 01:37:54 - L&R: Outside the Box 01:44:00 - Bets 01:52:46 - Closing Go to https://www.shopify.com/allies for a one-dollar-per-month trial period to grow your business–no matter what stage you're in. This episode brought to you by “INTERIMAGERY” the new album by songwriter/producer Jens Goedhart https://linktr.ee/JensGoedhart Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week - Kevin and Sam recap the Xbox Developer Direct! Breaking down first looks at Forza Horizon 6, Fable, Kiln and Beast of Reincarnation. In other news - Ubisoft has cancelled the long in development Prince of Persia remake amidst turmoil at the publisher. Time Stamps:0:00 Intro & Whatcha Playing12:00 Xbox Developer Direct Reactions52:00 Ubisoft in Turmoil Support Us on Patreon: https://www.patreon.com/SaveTheGameMediaFollow Us:STGM: https://bsky.app/profile/savethegamemedia.bsky.socialKevin: https://bsky.app/profile/themuff1nmon.bsky.socialSam: https://bsky.app/profile/samheaney.bsky.socialJoin our Discord: https://discord.gg/89rMmfzmqwSupport our Extra Life: https://www.extra-life.org/participant/SaveTheGameMediaAll music created by the amazing Purple Monkey: https://linktr.ee/pme.jib#Xbox #Fable #Forza #ForzaHorizon6 #Kiln #DeveloperDirect #Ubisoft #PrinceofPersia

En esta nueva entrega de Calamares en su Tinta, analizamos la nueva oleada de protestas que sacude a la República Islámica de Irán desde finales de 2025. ¿Qué está pasando realmente en las calles iraníes? Más allá de la crisis económica, hay un grito de insatisfacción política que tiene raíces profundas en la historia moderna del país. Acompáñanos en este recorrido histórico y geopolítico donde desglosamos:

====================================================SUSCRIBETEhttps://www.youtube.com/channel/UCNpffyr-7_zP1x1lS89ByaQ?sub_confirmation=1==================================================== DEVOCIÓN MATUTINA PARA ADOLESCENTES 2026“LA VUELTA AL MUNDO EN 365 DIAS”Narrado por: Mone MuñozDesde: Buenos Aires, ArgentinaUna cortesía de DR'Ministries y Canaan Seventh-Day Adventist Church26 DE ENEROUN HÉROE INCRÉDULO«Somos hechos justos a los ojos de dios por medio de la fe» (Romanos 3:28).Tomás dudó cuando todos creían. La India tiene 1.200 millones de habitantes, y allí se hablan 22 idiomas. La incredulidad de Tomás nunca fue olvidada. Más de 900 mil indios mueren intoxicados por agua no potable. Tomás no ha sido usado como un buen ejemplo a lo largo de los siglos. La India representa un gran desafío en la lucha contra el analfabetismo, la pobreza y la desnutrición.¡«Cálmate», puedes estar diciendo, «¿qué tiene que ver una cosa con la otra?».Tu confusión comprensible delata mi posible desorientación. Pero te aseguro que todo tiene sentido. No es porque Tomás haya sido indio (porque no lo era) ni porque la India sea incrédula (porque no es así).En realidad, aunque parezca increíble, debo contarte algo importante y sorprendente: ese Tomás, el gran héroe misionero, ¡fue quien llevó el cristianismo por primera vez a la india! ¿Puedes creerlo?Por desgracia, la Biblia no cuenta sobre el resto de la vida de este «discípulo de la duda» después del momento en el que creyó, cuando se atrevió a tocar las heridas del Maestro. A primera vista, nadie tendría una muy buena impresión de él luego de este descarado desvío de la ruta apostólica. Pero ¿sabes algo? Un error en la vida jamás significará el fin de toda una vida de utilidad. Los pecadores son restaurados y los incrédulos también tienen otra oportunidad. La historia contiene relatos consistentes de que Tomás, luego de evangelizar a Babilonia, Persia y Etiopía, finalizó su ministerio llevando esperanza al corazón de la exótica india. Este discípulo también murió como un mártir de fe atravesado por una lanza en la costa de Malabar, en el litoral indio. ¿No es increíble?Cuando sueñes con visitar la India, acuérdate de Tomás, el curioso discípulo cuya grandeza de fe se volvió a encender luego de un momento fallido de pequeñez. ¿Y tú? ¿Te has sentido alguna vez el peor de los peores sin alternativa? No lo pienses más y levanta la cabeza. Tomás reescribió su historia al lado del mismo Jesús al que había cuestionado.Dios no lo borró de sus grandes planes divinos. Lo mismo sucede con nosotros, Podemos «perder la pelota», pero no es el fin del partido. Si Dios reforma todo, todavía habrá muchas cosas buenas para escribir.¡Todavía puedes ser un gran héroe de la fe! ¡Un héroe de la fe como el gran Tomás! 

Merriam-Webster's Word of the Day for January 23, 2026 is: astrolabe • A-struh-layb • noun An astrolabe is a compact instrument used to observe and calculate the position of celestial bodies before the invention of the sextant. // The new astronomy exhibit featured various gadgets and instruments, including an extensive collection of astrolabes. See the entry > Examples: “‘Renaissance Treasures' includes two contemporary navigational devices, a planispheric astrolabe from Persia and a pocket compass (think of them as beta-version GPS), as well as two Mercator globes. One dates from 1541 and shows the surface of the Earth. The other dates from 1551 and shows the heavens ...” — Mark Feeney, The Boston Globe, 9 May 2025 Did you know? “Thyn Astrolabie hath a ring to putten on the thombe of thi right hond in taking the height of thinges.” Thus begins a description of an astrolabe in A Treatise on the Astrolabe, a medieval user's guide penned by an amateur astronomer by the name of Geoffrey Chaucer. Chaucer is best known for his Middle English poetic masterpiece The Canterbury Tales, but when his nose wasn't buried in his writing, Chaucer was stargazing, and some of his passion for the heavens rubbed off on his son Lewis, who had displayed a special “abilite to lerne sciences touching nombres and proporciouns.” Chaucer dedicated his treatise to the 10-year-old boy, setting his instructions not in the usual Latin, but in “naked wordes in Englissh” so that little Lewis could understand. When he got older, Lewis may have learned that the word astrolabe traces to the Late Greek name for the instrument, astrolábion.

Victory monuments told one story; Persian strategy told another. We pull back the curtain on how the Achaemenid Empire absorbed defeat at Salamis, Plataea, and Mycale yet remained a decisive force by changing methods, not goals. Instead of chasing glory with grand invasions, Artaxerxes I prioritized containment, stability, and leverage—allowing satraps in Lydia and Phrygia to steady the western frontier while a smaller, cautious fleet protected trade and preserved options.From there, influence replaced occupation. We dig into the mechanics of Persian soft power: subsidies that traveled faster than armies, patronage that bent city councils, and diplomacy that rewarded neutrality over risk. Athens saw restraint and assumed weakness, expanding across the Aegean under the Delian League. Sparta turned inward, certain the danger had passed. Both misread endurance for absence, creating the very fractures Persia needed to shape outcomes from a distance.Across the decade after Mycale, the empire learned to turn Greek rivalry into a strategic asset. Gold outlasted galleys, and patience outperformed spectacle. By the mid-fifth century, Persian support and timing influenced wars it never fought, ensuring that no single polis could dominate unchecked. If you're curious how superpowers pivot after failure—and how soft power, satrapal governance, and maritime caution can reset a geopolitical game—this story offers a clear, surprising blueprint for durable influence.Enjoy the episode? Follow, share with a history-loving friend, and leave a review telling us where you see this long-game strategy echoed in today's world.Support the show

Friday Bible Study (1/16/26) // Ezra 6:13-22 (ESV) // The Temple Finished and Dedicated // 13 Then, according to the word sent by Darius the king, Tattenai, the governor of the province Beyond the River, Shethar-bozenai, and their associates did with all diligence what Darius the king had ordered. 14 And the elders of the Jews built and prospered through the prophesying of Haggai the prophet and Zechariah the son of Iddo. They finished their building by decree of the God of Israel and by decree of Cyrus and Darius and Artaxerxes king of Persia; 15 and this house was finished on the third day of the month of Adar, in the sixth year of the reign of Darius the king.16 And the people of Israel, the priests and the Levites, and the rest of the returned exiles, celebrated the dedication of this house of God with joy. 17 They offered at the dedication of this house of God 100 bulls, 200 rams, 400 lambs, and as a sin offering for all Israel 12 male goats, according to the number of the tribes of Israel. 18 And they set the priests in their divisions and the Levites in their divisions, for the service of God at Jerusalem, as it is written in the Book of Moses.Passover Celebrated19 On the fourteenth day of the first month, the returned exiles kept the Passover. 20 For the priests and the Levites had purified themselves together; all of them were clean. So they slaughtered the Passover lamb for all the returned exiles, for their fellow priests, and for themselves. 21 It was eaten by the people of Israel who had returned from exile, and also by every one who had joined them and separated himself from the uncleanness of the peoples of the land to worship the Lord, the God of Israel. 22 And they kept the Feast of Unleavened Bread seven days with joy, for the Lord had made them joyful and had turned the heart of the king of Assyria to them, so that he aided them in the work of the house of God, the God of Israel.Website: ⁠⁠⁠⁠⁠⁠https://mbchicago.org⁠⁠⁠⁠⁠⁠ FOLLOW USFacebook: ⁠⁠⁠⁠⁠⁠  / mbc.chicago  ⁠⁠⁠⁠⁠⁠Instagram: ⁠⁠⁠⁠⁠⁠  / mbc.chicago  ⁠⁠⁠⁠⁠⁠ TikTok: ⁠⁠⁠⁠⁠⁠  / mbc.chicago  ⁠⁠⁠⁠⁠⁠ Podcasts: Listen on Apple, Spotify & others TO SUPPORT US Zelle to: info@mbchicago.org Website: ⁠⁠⁠⁠⁠⁠https://mbchicago.org/give⁠⁠⁠⁠⁠⁠ Venmo: ⁠⁠⁠⁠⁠⁠https://venmo.com/mbchurch⁠⁠⁠⁠⁠⁠ DAF Donations: ⁠⁠⁠⁠⁠⁠https://every.org/mbc.chicago⁠⁠⁠⁠⁠⁠ PayPal: ⁠⁠⁠⁠⁠⁠https://paypal.com/donate/?hosted_but...⁠⁠⁠⁠⁠⁠

Originally published in 2021, I'm replaying this remarkable interview in solidarity with the courageous women of Iran and to offer you historical context for the protests unfolding today. Retired preschool teacher Mitra Jordan reflects on the life and legacy of her mother, Sattareh Farman Farmaian - widely regarded as the mother of social work in Iran and author of Daughter of Persia (highly recommended). Sattareh was raised in a royal harem as one of 36 children born to the ruling prince of the Qajar dynasty. She earned a degree in sociology from the University of Southern California, worked for the United Nations in Iraq, and then returned to Iran to found the country's first school of social work. Under her leadership, the school flourished, training hundreds of social workers and launching programs in family planning, women's education, and orphan care, with strong support from Farah Diba, wife of Shah Mohammad Reza Pahlavi. In 1979, the Islamic Revolution led by Ayatollah Khomeini forced Sattareh, at age 58, to abandon her life's work and flee Iran. She rebuilt her career in the United States, passing her exams and becoming a practicing social worker in Los Angeles. Mitra shares the lessons her mother lived by: the importance of education and self-reliance, the courage to follow one's own path, the refusal to be defined by your circumstances, and the often-overlooked mental benefits of physical exercise. You will find "Daughter of Persia" by Sattareh Farman Farmaian here.  Subscribe to Ana's new "Mama Loves…" newsletter here.  To contact Ana, to be a guest, or suggest a guest, please send your mail to: info@thankyoumama.net For more about "Thank You, Mama", please visit: http://www.thankyoumama.net Connect with Ana on social media: https://www.instagram.com/anatajder/ https://www.facebook.com/ana.tajder

Driven by powerful winds, the fire raged for days. The historian Tacitus describes a chaotic scene filled with screams and citizens running for their lives. In the end, nearly two-thirds of Rome had been destroyed by the ad 64 blaze. The Roman emperor Nero falsely accused believers in Jesus of starting the fire. He hated Christians and selected them to be the scapegoat for the disaster—one that was rumored to have been ordered by Nero himself! Nehemiah also faced the blistering heat of false accusation. He’d been a servant to the king of Persia but was allowed to return to Jerusalem with other Israelites to repair its walls (Nehemiah 2:1-10). When the wall was repaired, however, enemies accused the Israelites of “planning to rebel” and making Nehemiah “their king” (6:6 nlt). How did they respond to false accusations? By declaring and living out their innocence (v. 8), courageously standing in God’s power (v. 11), and praying fervently to God (v. 14). Their enemies were ultimately “frightened and humiliated” as they “realized [the wall reconstruction] had been done with the help of . . . God” (v. 16). At times, we’ll be falsely accused by others in this life. But as God provides the strength we need, we can forgive our accusers and “live such good lives” that, though “they accuse [us] of doing wrong, they may see [our] good deeds and glorify God” (1 Peter 2:12).

Let Rocket Money help you reach your financial goals faster.Join at RocketMoney.com/KINDAFUNNY Go to Factormeals.com/kindafunny50off and use code kindafunny50offto get 50% off your first box, plus Free Breakfast for 1 Year. Come to our In Review Live Show in SF! January 28th!!!Get tickets at Kindafunny.com/SketchFest We finally have our live-action Kratos, our first look at Sophie Turner as Lara Croft, and what's going on with the Prince of Persia and Black Flag remakes? Thank you for the support! Run of Show - - Start - Ryan Hurst Cast As Kratos In Prime Video's ‘God of War' - Rosy Cordero @ Deadline - ‘Tomb Raider' First Look: Sophie Turner Becomes Lara Croft as Filming Starts on Prime Video's Reboot Series - Giana Levy @ Variety - Ubisoft Reuploads Assassin's Creed Black Flag Soundtracks as Remake Announcement Looms - Tom Henderson @ Insider Gaming - Ad - Meta Layoffs Hit Batman: Arkham Shadow Studio Camouflaj, Game Projects Canceled - Nathan Grayson @ Aftermath - Eidos Montreal is Developing an Unannounced ‘AAAA' Game in Unreal Engine 5 - Tom Henderson @ Insider Gaming - Life is Strange reveal is officially coming - @LifeIsStrange on twitter - Sonic - Wee News! - SuperChats & You‘re Wrong Learn more about your ad choices. Visit megaphone.fm/adchoices

Guest: General Blaine Holt (retired). Holt discusses potential U.S. intervention to support Iranian protesters, emphasizing strikes on command nodes rather than ground troops. While the U.S. maintains air superiority, putting special operators on the ground carries high risk. The Iranian people face a critical window of days to succeed before facing stunning reprisals.1920 PERSIA

FICTIONS IN SYRIA AND THE RISKS OF INTERVENTION Colleagues Bill Roggio and Husain Haqqani. The discussion focuses on the Syrian conflict, criticizing the US for maintaining "fictions" about local actors and security forces. Haqqani warns against military intervention in Iran, citing past failures like Vietnam and Iraq, noting that military force cannot solve misunderstood political problems. NUMBER 21908 PERSIA

PREVIEW FOR LATER TODAY REBELLION SPREADS IN IRAN'S SISTAN AND BALUCHISTAN PROVINCES Colleague Malcolm Hoenlein. Malcolm Hoenlein reports on the Moarisun Popular Front, a new coalition supporting rebellion in Sunni majority provinces. With reporting limited by internet blackouts, demonstrations have spread to every province, with protesters even taking over police stations as the regime faces significant and widespread unrest.1902 PERSIA

THE THEATER OF CHAOS IN PERSIA AND VENEZUELA Colleagues Gaius and Germanicus, Friends of History Debating Society, Londinium, 92 AD. From a wine bar in Londinium, Gaius and Germanicus analyze modern geopolitical tensions through a Roman lens. They discuss unrest in "Persia" (Iran) and Venezuela, noting that Roman armies traditionally fail in Persia. Germanicus argues the US administration employs a strategy of "Wagnerian" drama and "chaos"—similar to 19th-century British imperial meddling—to manage global transitions without direct war. They observe that while "theater" and subversive "wet work" are being used to shift US strategy away from Eurasia, these melodramas, particularly in Venezuela, lack a clear "Act Two" or resolution. NUMBER 11940