Podcasts about portraits

From the 1720s to the 1940s, parents in the kingdom and later colony of Dahomey (now the Republic of Benin) developed and sustained the common practice of girl fostering, or "entrusting." Transferring their daughters at a young age into foster homes, Dahomeans created complex relationships of mutual obligation, kinship, and caregiving that also exploited girls' labor for the economic benefit of the women who acted as their social mothers. Drawing upon oral tradition, historic images, and collective memories, Jessica Reuther pieces together the fragmentary glimpses of girls' lives contained in colonial archives within the framework of traditional understandings about entrustment. Placing these girls and their social mothers at the center of history brings to light their core contributions to local and global political economies, even as the Dahomean monarchy, global trade, and colonial courts reshaped girlhood norms and fostering practices. In The Bonds of Kinship in Dahomey: Portraits of West African Girlhood, 1720–1940 (Indiana UP, 2025) Reuther reveals that the social, economic, and political changes wrought by the expansion of Dahomey in the eighteenth century, the shift to "legitimate" trade in agricultural products in the nineteenth century, and the imposition of French colonialism in the twentieth all fundamentally altered—and were altered by—the intimate practice of entrusting female children between households. Dahomeans also valorized this process as a crucial component of being "well-raised"—a sentiment that continues into the present, despite widespread Beninese opposition to modern-day forms of child labor. Dr. Jessica Reuther is an associate professor of African and world history at Ball State University in Muncie, Indiana, USA. She came to Ball State after earning her PhD in African History from Emory University in Atlanta, GA, in 2016. Dr. Reuther is a historian of Africa, specializing in Atlantic West Africa and French West Africa from the 16th century to the present. She has conducted archival and oral history research in Benin, Senegal, France, Switzerland, and the United States. You can learn more about her work here. Afua Baafi Quarshie is a Ph.D. candidate in history at the Johns Hopkins University. Her research focuses on mothering and childhood in post-independence Ghana. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

From the 1720s to the 1940s, parents in the kingdom and later colony of Dahomey (now the Republic of Benin) developed and sustained the common practice of girl fostering, or "entrusting." Transferring their daughters at a young age into foster homes, Dahomeans created complex relationships of mutual obligation, kinship, and caregiving that also exploited girls' labor for the economic benefit of the women who acted as their social mothers. Drawing upon oral tradition, historic images, and collective memories, Jessica Reuther pieces together the fragmentary glimpses of girls' lives contained in colonial archives within the framework of traditional understandings about entrustment. Placing these girls and their social mothers at the center of history brings to light their core contributions to local and global political economies, even as the Dahomean monarchy, global trade, and colonial courts reshaped girlhood norms and fostering practices. In The Bonds of Kinship in Dahomey: Portraits of West African Girlhood, 1720–1940 (Indiana UP, 2025) Reuther reveals that the social, economic, and political changes wrought by the expansion of Dahomey in the eighteenth century, the shift to "legitimate" trade in agricultural products in the nineteenth century, and the imposition of French colonialism in the twentieth all fundamentally altered—and were altered by—the intimate practice of entrusting female children between households. Dahomeans also valorized this process as a crucial component of being "well-raised"—a sentiment that continues into the present, despite widespread Beninese opposition to modern-day forms of child labor. Dr. Jessica Reuther is an associate professor of African and world history at Ball State University in Muncie, Indiana, USA. She came to Ball State after earning her PhD in African History from Emory University in Atlanta, GA, in 2016. Dr. Reuther is a historian of Africa, specializing in Atlantic West Africa and French West Africa from the 16th century to the present. She has conducted archival and oral history research in Benin, Senegal, France, Switzerland, and the United States. You can learn more about her work here. Afua Baafi Quarshie is a Ph.D. candidate in history at the Johns Hopkins University. Her research focuses on mothering and childhood in post-independence Ghana. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

From the 1720s to the 1940s, parents in the kingdom and later colony of Dahomey (now the Republic of Benin) developed and sustained the common practice of girl fostering, or "entrusting." Transferring their daughters at a young age into foster homes, Dahomeans created complex relationships of mutual obligation, kinship, and caregiving that also exploited girls' labor for the economic benefit of the women who acted as their social mothers. Drawing upon oral tradition, historic images, and collective memories, Jessica Reuther pieces together the fragmentary glimpses of girls' lives contained in colonial archives within the framework of traditional understandings about entrustment. Placing these girls and their social mothers at the center of history brings to light their core contributions to local and global political economies, even as the Dahomean monarchy, global trade, and colonial courts reshaped girlhood norms and fostering practices. In The Bonds of Kinship in Dahomey: Portraits of West African Girlhood, 1720–1940 (Indiana UP, 2025) Reuther reveals that the social, economic, and political changes wrought by the expansion of Dahomey in the eighteenth century, the shift to "legitimate" trade in agricultural products in the nineteenth century, and the imposition of French colonialism in the twentieth all fundamentally altered—and were altered by—the intimate practice of entrusting female children between households. Dahomeans also valorized this process as a crucial component of being "well-raised"—a sentiment that continues into the present, despite widespread Beninese opposition to modern-day forms of child labor. Dr. Jessica Reuther is an associate professor of African and world history at Ball State University in Muncie, Indiana, USA. She came to Ball State after earning her PhD in African History from Emory University in Atlanta, GA, in 2016. Dr. Reuther is a historian of Africa, specializing in Atlantic West Africa and French West Africa from the 16th century to the present. She has conducted archival and oral history research in Benin, Senegal, France, Switzerland, and the United States. You can learn more about her work here. Afua Baafi Quarshie is a Ph.D. candidate in history at the Johns Hopkins University. Her research focuses on mothering and childhood in post-independence Ghana. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

From the 1720s to the 1940s, parents in the kingdom and later colony of Dahomey (now the Republic of Benin) developed and sustained the common practice of girl fostering, or "entrusting." Transferring their daughters at a young age into foster homes, Dahomeans created complex relationships of mutual obligation, kinship, and caregiving that also exploited girls' labor for the economic benefit of the women who acted as their social mothers. Drawing upon oral tradition, historic images, and collective memories, Jessica Reuther pieces together the fragmentary glimpses of girls' lives contained in colonial archives within the framework of traditional understandings about entrustment. Placing these girls and their social mothers at the center of history brings to light their core contributions to local and global political economies, even as the Dahomean monarchy, global trade, and colonial courts reshaped girlhood norms and fostering practices. In The Bonds of Kinship in Dahomey: Portraits of West African Girlhood, 1720–1940 (Indiana UP, 2025) Reuther reveals that the social, economic, and political changes wrought by the expansion of Dahomey in the eighteenth century, the shift to "legitimate" trade in agricultural products in the nineteenth century, and the imposition of French colonialism in the twentieth all fundamentally altered—and were altered by—the intimate practice of entrusting female children between households. Dahomeans also valorized this process as a crucial component of being "well-raised"—a sentiment that continues into the present, despite widespread Beninese opposition to modern-day forms of child labor. Dr. Jessica Reuther is an associate professor of African and world history at Ball State University in Muncie, Indiana, USA. She came to Ball State after earning her PhD in African History from Emory University in Atlanta, GA, in 2016. Dr. Reuther is a historian of Africa, specializing in Atlantic West Africa and French West Africa from the 16th century to the present. She has conducted archival and oral history research in Benin, Senegal, France, Switzerland, and the United States. You can learn more about her work here. Afua Baafi Quarshie is a Ph.D. candidate in history at the Johns Hopkins University. Her research focuses on mothering and childhood in post-independence Ghana. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-studies

Writers Bob Leonard and Jason Walsmith share stories from their new series Portraits of Hunger in Iowa, documenting Iowans facing food insecurity and homelessness. Also, a conversation with members of the Des Moines Gamer Symphony Orchestra ahead of their first-ever honor orchestra concert.

durée : 00:03:56 - Chroniques littorales - par : Jose Manuel Lamarque - Jean-Charles Orsucci, le maire de Bonifacio est devenu le nouveau président de l'Anel, l'Association Nationale des Elus des Littoraux... Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Katja Hackmann und Christoph Borgans sprechen mit dem Filmemacher und Hochschullehrer Thomas Schadt über die aktuell sehr erfolgreiche Dokumentation "BABO" und über die Gründe für die erstaunliche Popularität dieses Portraits eines Rappers auf Netflix.

Waldy and Bendy lament the direction the BBC is heading when it comes to arts programs, and Bendy talks to Andrew Graham-Dixon about his new Vermeer book. The Waldy and Bendy Awards return, looking at the ugliest royal portraits.   Show Notes: https://zczfilms.com/podcasts/waldy-bendy/season-5-episode-9/  Watch on YouTube: https://youtu.be/k_wUZtHwVXg 

Ombline Roche vous embarque dans un voyage musical à travers les années 70 et 80, en revisitant les plus grands tubes et les parcours d'artistes légendaires comme Claude Nougaro, Véronique Sanson et Alain Bashung. Entre extraits de concerts et archives d'Europe 1, ce podcast ravive l'ambiance festive et nostalgique de ces décennies marquantes.À retenir :Portraits d'artistes emblématiques des années 70-80Extraits d'émissions et de concerts cultesImmersion dans l'univers musical d'Europe 1Notre équipe a utilisé un outil d'Intelligence artificielle via les technologies d'Audiomeans© pour accompagner la création de ce contenu écrit.Tous les jours, entre 14h et 15h, Ombline Roche vous fait revivre la musique des années 1950 à la fin des années 1980 !Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Annie Leibovitz is one of the most prolific and acclaimed portrait photographers of her time. Her working relationship with Martha dates back to the time that Annie photographed Martha with a cow for the memorable “Got Milk” campaign. In this wide-ranging conversation, Martha and Annie go down memory lane and discuss some of her biggest photos from John Lennon and Yoko Ono to Barbra Streisand and Jane Goodall. Annie Leibovitz has just released the second volume of her iconic book Women,which features over 250 Portraits of contemporary women. Martha and Annie bond over their love of photography, passion for their work, and their endless drive. See omnystudio.com/listener for privacy information.

Thank you to Polygon for supporting this podcast.  

Send us a textMark Loughney's art has been exhibited at the Museum of Modern Art (“MoMa PS-1”), and published in The New Yorker and The Atlantic.  His black-and-white ink drawings evoke a mix of M.C. Escher and Salvadore Dali, with surreal landscapes and bizarre figures.  But Loughney is also well known for his series of prison portraits.  They're prison portraits, not only because they depict prisoners, but also because they were drawn when Loughney himself was serving a 10-year sentence as an inmate at Pennsylvania State Correctional Institution – Dallas.  That is where Loughney's portraiture blossomed, and his exhibitions began.  

Als Kind wird er wegen seines impulsiven Verhaltens aus der Musikschule geworfen, heute hören knapp 150.000 Menschen seine Musik auf Spotify monatlich. (superfly.fm)

What if the true measure of school success isn't just test scores—but the full humanity and future readiness of every learner?On this episode of Voices for Excellence, Dr. Michael Conner sits down with Dr. Tonia Causey-Bush, a transformational instructional leader and Assistant Superintendent of Educational Services at Banning Unified School District in California. Renowned for her vision, humility, and unapologetic commitment to equity, Dr. Causey-Bush is helping to redesign what student success looks like—grounded in community, innovation, and future-ready learning.Together, Dr. Conner and Dr. Causey-Bush explore how portrait models—like Banning's “Portrait of a Learner”—aren't just glossy graphics. They're living blueprints for systems change, guiding how leadership development, instructional coherence, and human-centered learning come alive in every classroom. Dr. Causey-Bush shares how Banning has evolved their competencies over time, deeply aligning them with teachers, students, and community voices—and why this work must outlast any one leader.They also take on the disruptive realities of AI, its rapid emergence into K-12 systems, and how equity-minded leaders can embrace innovation without losing sight of ethical use, critical thinking, and authentic student agency. Most powerfully, Dr. Causey-Bush reminds us that sustaining innovation begins with humility—and that true leadership means being a perpetual student of the profession.What You'll Learn in This Episode:Why environment matters: Shaping classrooms and systems with the right emotional and academic “soil” for students to grow.How systemic succession builds futures: Creating district-wide frameworks that evolve with time and leadership.Human-centered AI: Embracing innovation through an equity lens without losing the essence of critical thinking.Data as dialogue: Using assessment not as punishment but as a window into student needs and instructional alignment.Instructional leadership at all levels: Shifting mindset so every educator—especially teachers—is an instructional leader.Dr. Causey-Bush's reflections are a powerful call to action: to stay flexible in our approaches, credible in our work, and always humble in the face of what students truly need. Through her leadership and Dr. Conner's mission-driven platform, this conversation urges us to reimagine systems that don't just serve some, but inspire all.Subscribe and share to continue driving the future of education for all.

We welcome Paul Lorei '77, owner of Lorei Portraits, to celebrate 35 years in business and a lifetime of storytelling through the lens. Paul's journey began with a $35 assignment and a camera and has grown into a decades-long career capturing life's mostmeaningful moments for hundreds of thousands of families. In this episode of the podcast, he shares how faith, family, and perseverance have guided him through every season. Paul talks to us about building a business rooted in connection and creativity, how faith and family have shaped his outlook onlife, lessons from 35 years of entrepreneurship and artistry, and of course, the impact of his Cathedral Prep experience and legacy.

Renato Ramolivaz e Valentina Facciano (di AISM VdA) ci parlano di PortAIts, mostra fotografica itinerante che da lunedì 10 novembre sarà visitabile nella nuova sede dell'Università della Valle d'Aosta.

Helfried Carl im Gespräch mit Jean Asselborn, Margaretha Kopeinig und Michael MertenJEAN ASSELBORN – DIE TOUR SEINES LEBENSBiografie und Roadstory zugleich: Michael Merten hat den passionierten Radfahrer Jean Asselborn elf Tage durch Frankreich begleitet und zeichnet seinen Aufstieg vom Arbeiterkind zum dienstältesten EU-Außenminister nach.Jean Asselborn verkörpert wie kaum ein anderer die Standhaftigkeit kleiner Staaten in der europäischen Politik – mit unerschütterlichem Einsatz für Demokratie, Menschenrechte und ein solidarisches Europa. Seine klare, oft unbequeme Stimme machte ihn zu einem moralischen Kompass in Zeiten wachsender Spaltung und populistischer Strömungen.Der Politjournalist Michael Merten zeichnet das bewegte Leben eines Mannes nach, der in fast zwei Jahrzehnten als Chefdiplomat die europäische Politik geprägt und leidenschaftlich für eine EU gekämpft hat, die ihre humanitären Wurzeln nicht vergisst. Das Besondere daran: Michael Merten hat den langjährigen Luxemburger Außenminister und passionierten Radfahrer Jean Asselborn 1.000 Kilometer quer durch Frankreich begleitet.Einleitende Worte:Heinz Fischer, Bundespräsident a.D., langjähriger persönlicher Freud Jean AsselbornsGespräch:Jean Asselborn, luxemburgischer Jurist und Politiker; Minister für auswärtige und europäische Angelegenheiten sowie für Immigration und Asyl 2013-2023; zuvor ab 2004 Außenminister und Vizepremier; Abgeordneter im Parlament 1984-2004; dort Fraktionschef der LSAP 1989-1997; Parteivorsitzender 1997-2004Margaretha Kopeinig, Journalistin, Autorin zahlreicher Bücher zum Thema österreichische Innen- und Außenpolitik und Europa sowie Biografien über u.a. Jean-Claude Juncker, Martin Schulz, Jean Asselborn und Franz Vranitzky. Mehrere Journalisten-Preise.Michael Merten, Jahrgang 1983, arbeitete schon während seines Studiums der Geschichte und Politikwissenschaft als Journalist. Seit 2019 ist er Redakteur beim „Luxemburger Wort“, wo er die letzten Jahre der Ära Asselborn aus der Nähe erlebte. Sein Schwerpunkt liegt auf der internationalen Politik sowie auf Reportagen und Portraits.Moderation: Helfried Carl, ehemaliger Büroleiter der Nationalratspräsidentin und ehemaliger österreichischer Botschafter in der Slowakei, seit 2019 Partner des von ihm mitbegründeten Innovation in Politics Institute in Wien und Gründer der Initiative European Capital of Democracy.

Cours Halakha Time du Lundi 10 Novembre 2025 (durée : 4 minutes) donné par Rav Emmanuel BENSIMON.

Cours Halakha Time du Lundi 10 Novembre 2025 (durée : 4 minutes) donné par Rav Emmanuel BENSIMON.

Samādhi is the Sanskrit word for a state of peaceful, integrated absorption the mind can reach through meditation. And people's faces in meditation have been a source of fascination (and distraction) for documentary filmmaker Hartley Woolf since he began his own Buddhist practice. “I can't help but enjoy taking in all the different expressions around me in the shrine room,” he says, “and wondering what's going on inside the mind behind.” Join us for a delightful conversation between an artist and some of his subjects (Bhadra, Eugene Furniss and Maitrijyoti) as we explore the beautiful intimacy of this unique art project. In the most mindful way, Hartley sets out to capture something of the mystery of meditation, expressed in the faces of a diverse set of humans trying to be present with their experience. The result is an extraordinary book of portrait photography and we are privileged to hear reflections after the fact from some of those sitting and from the artist himself. Self-consciousness and self-perception, what we look for in people's faces and expressions, the vulnerability of meditating with others and of being witnessed – this conversation flows, you might say, like the breath, opening into a space of genuine shared gratitude for a memorable shared experience of sitting in stillness, and being in relationship. Produced and presented by Candradasa, edited by Zac Pomphrey and Candradasa *** "When I began this project, it was simply about capturing the subtlety of human facial expression. It quickly became about much more than that, however: my emotional connection to the sitter in that moment; the impact the lights, camera and my presence had on their meditation; the very act of watching for those subtle changes and deciding when to press the shutter. All these things became just as interesting—if not more so. I saw all kinds of emotions play out on my sitters' faces. They may not have all reached such advanced states as samādhi, but I did see a lot of vulnerability, pleasure, discomfort, and courage. I'm very grateful to them all for allowing me (and you) into their intimate worlds of practice for a brief moment." Hartley Woolf Show Notes Order ‘Portraits of Samadhi' by Hartley Woolf (Hardback) Revisting the Romantics by Vishvapani (free with sign-up) Alfoxton Park Retreat Centre A Renovating Virtue: Hartley's film about the Alfoxton project Listen to The Intimacy of Art and the Dharma on painting as practice Eisenstein on co-creating films as art  |  A Dialectic Approach to Film Form by Sergei Eisenstein  Hartley Woolf's website  |  Follow Hartley on Instagram *** Visit The Buddhist Centre Live (events year-round on Buddhism, mindfulness, meditation, and culture) Come meditate with us online six days a week! Theme music by Ackport! Used with kind permission.

durée : 00:04:00 - Chroniques littorales - par : Jose Manuel Lamarque - Arnaud Goron est le capitaine du « Trois Mâts barque « Le Français », un bâteau amarré à La Rochelle jusqu'à lundi ou mardi prochain... Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

This month sees the opening of an important exhibition at the Melbourne Holocaust Museum - a collection of large portraits of survivors painted by artist Anita Lester.

Although they cater to different senses, photography and music share much in common. In both these arts, timing, rhythm, and mood are key. It's been a while since we've mixed photography and music on the show, so we're particularly excited about today's chat with two photographers who share a passion for documenting musicians and their fans—in particular, devotes of punk and indie rock. From early memories of being truly moved by music to practical tips about photo access, image rights and restrictions, plus the complexities of organizing your work for a book, the conversation doesn't miss a beat. So, turn up the volume as Bootsy Holler reminisces about dropping into the Seattle music scene in the early 1990's to capture the raw energy of her favorite bands, now compiled in the book Making It: An Intimate Documentary about the Seattle Indie, Rock and Punk Scene. And Chris Ortiz describes how the house parties he captured at a punk commune in Kansas served as the foundation for his skills as a music photographer with a keen eye for differentiating himself in the photo pit. As Chris points out when it comes to preparing for a show. "It goes back to knowing that music and knowing the band, and being able to sit back and say, Yes, I am a fan of the band, but I also am professional, so this is what I'm going to look for when the band comes out." Guests: Bootsy Holler & Chris Ortiz Episode Timeline: 3:20: Bootsy Holler recalls her early days dropping into the Seattle music scene, photographing garage bands and dive bars. 9:41: Chris Ortiz talks about his start in photography, and his time photographing house parties at a punk rock commune in Lawrence, Kansas. 12:01: The difference between documenting live music and making portraits of musicians, where you need to develop a rapport with your subjects.  17:32: A tip of the hat to Chris as a longtime podcast superfan, plus what he's learned from listening to our 10-year archive of shows.   20:20: Bootsy's early stylistic influences and its effect on her art and music photography. 25:54: The earliest memory of being truly moved by music and the songs Bootsy and Chris were listening to when they truly got it. 31:56: Applying the inner feels of music to photographing a concert and connecting with the rhythm to grab key moments. 39:00: Negotiating access, shooting from the photo pit vs the side of the stage, plus differentiating your pictures from other photographers' work. 48:00: Episode Break 48:56: Chris talks more about current dynamics for gaining access when shooting music and concerts.  53:44: Current limits on concert photo usage and restrictions on contracts offered by some artists and entertainment companies. 58:28: Legal parameters related to pictures in Bootsy's book, plus the difference between concert pictures and portrait situations. 1:02:26: Bootsy's nine-year process of assembling a book, working with a designer for big picture decisions, plus leaving room to break the rules. 1:08:09: Finding publishers, choosing between options, plus the importance of owning the rights to your images. 1:10:20: Bootsy and Chris name the band at the top of their bucket lists to photograph.   Guest Bios: Bootsy Holler has spent 30 years capturing the essential personality and emotions of her subjects. Best known for her work as a portraitist, Bootsy's journey began with intimate depictions of herself and friends at the center of Seattle's pivotal music scene during the early 1990s. These formative years at both ends of the lens cemented her style as well as the methodology behind her empathic and journalistic approach. Bootsy's work has been recognized by the Society of Photographic Journalism and twice selected for the Critical Mass Top 50. Her photos have been exhibited and published internationally and are included in the permanent collection of the Grammy Museum. In 2019 she published the monograph, TREASURES: objects I've known all my life. Most recently, her book Making It: An Intimate Documentary about the Seattle Indie, Rock and Punk Scene, was released by Damiani books. Stay Connected: Website: https://bootsyholler.com/  Instagram: https://www.instagram.com/bootsyholler/  Facebook: https://www.facebook.com/shop.BootsyHoller/  YouTube: https://www.youtube.com/@BootsyHoller    Chris Ortiz has enjoyed a relationship with photography since age six, when he learned the basics from his stepfather. He's specialized in music and documentary subjects since 1998, shooting with both digital and medium format black and white film. After earning a bachelor's degree in art history, Chris obtained an MFA in photography from the Savannah College of Art and Design. Select documentary projects include Portraits of Latinx Identity, and We Are All We Have Tonight, featuring portraits and personal narratives from punk rock enthusiasts, describing each subject's connection to the scene. Additionally, Chris works as news editor for the Prescott Daily Courier, covering area news and events.  Stay Connected: Website: https://www.chris-ortiz.com/  Instagram: https://www.instagram.com/fastboyent/   Credits: Host: Derek Fahsbender Senior Creative Producer: Jill Waterman Senior Technical Producer: Mike Weinstein Executive Producer: Richard Stevens  

Scientists in Egypt have unearthed an exceptionally rare collection of mummy portraits. These ancient artworks, dating back to the Roman era, were found at a burial site in the city of Alexandria. These stunning portraits, painted on wooden panels, were placed on the faces of mummies to depict the deceased in lifelike detail. The colors and intricate details of the portraits are remarkably well-preserved, offering a vivid glimpse into the lives of individuals from this bygone era. This discovery provides valuable insights into the art, culture, and customs of ancient Egypt and the fusion of Roman and Egyptian traditions. Learn more about your ad choices. Visit megaphone.fm/adchoices

Portraits of Irish writers is the title of his fantastic book!

Ever since I heard the Argentine saxophonist Gato Barbieri back in the Seventies, I've been fascinated by musicians from South America who found their way to jazz.Lately there seems to be a strong showing of contemporary musicians from various Latin American countries who not only play jazz but also mix certain Latin American folk traditions into their sound.So, this week I spoke with six of them: vocalist Claudia Acuña from Chile, Argentine vocalists Sofia Rei and Roxana Amed, Mexican vocalist Magos Herrera, guitarist/vocalist Camila Meza and tenor saxophonist Melissa Aldana.Each has a story about identity, living the jazz dream and how they came to jazz.Hopefully you'll use this roadmap to start your own journey into jazz, if you haven't already.- FelixMusic heard in this episode:Claudia Acuña - “Prelude To A Kiss”Sofia Rei - “El Gavilán”Gato Barieri - “To Be Continued”Roxana Amed - “Corazón delator”Mangos Herrera - “Luz de Luna”Camila Meza - “Utopia”Melissa Aldana - “A Purpose”Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Ever since I heard the Argentine saxophonist Gato Barbieri back in the Seventies, I've been fascinated by musicians from South America who found their way to jazz.Lately there seems to be a strong showing of contemporary musicians from various Latin American countries who not only play jazz but also mix certain Latin American folk traditions into their sound.So, this week I spoke with six of them: vocalist Claudia Acuña from Chile, Argentine vocalists Sofia Rei and Roxana Amed, Mexican vocalist Magos Herrera, guitarist/vocalist Camila Meza and tenor saxophonist Melissa Aldana.Each has a story about identity, living the jazz dream and how they came to jazz.Hopefully you'll use this roadmap to start your own journey into jazz, if you haven't already.- FelixMusic heard in this episode:Claudia Acuña - “Prelude To A Kiss”Sofia Rei - “El Gavilán”Gato Barieri - “To Be Continued”Roxana Amed - “Corazón delator”Mangos Herrera - “Luz de Luna”Camila Meza - “Utopia”Melissa Aldana - “A Purpose”Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

This week, I had the pleasure of talking with Shawna Pearce, a fine art photographer who creates charming heirloom portraits that weave together storytelling, history, and emotion. She also love love loves teaching other creatives how to master the art of editing and storytelling so they, too, can create their own legacy images.Shawna started her career about 15 years ago photographing newborns and soon discovered her passion for creating children's fine art portraits that truly celebrate each family's story. She describes an heirloom as something that represents who you are — a story within a story — and her portraits are designed to become part of a family's legacy.We talk about:The meaning of heirloom portraits — how Shawna blends storytelling with art so the photograph itself becomes an heirloomHer award-winning portrait of a mother and four daughters— the planning, inspiration, and how 90% of that image was captured in-cameraHer creative process — including clothing tips and props to bring her artistic vision to lifeYou can feel the heart in everything she creates, and her approach is such a wonderful reminder that portraits can hold layers of meaning that last for generations.Grab Shawna's gift of a fun collection of composite elements at shawnapearcestudios.com/lucishawna@shawnapearcestudios.comCheck out my gifts on marketing at www.lucidumascoaching.comConnect with Photography Business Coach Luci Dumas: Website Email: luci@lucidumas.comInstagram FacebookYouTubeNew episodes drop every week — make sure to subscribe so you never miss an inspiring guest or a powerful solo episode designed to help you grow your photography business.

Get a FREE Posing eBook from The Portrait System here: https://the-portrait-system.lpages.co/podcast-pose-funnel/Today on the Portrait System Podcast, host, photographer and educator Nikki Closser interviews personal branding photographer Elle Yeon. Starting from zero and within a year and half, Elle built a 6 figure photography business and went from charging $0 to now $3000 a session. Listen in as Elle walks us through how she did it, how she prices her services, markets and more. Don't miss out on this incredibly educational interview!PODCAST LISTENER SPECIAL!! If you want to get started with the Portrait System, get a special discount using code “POD7” to get one month access for just $7 here https://theportraitsystem.com/pricing/IG https://www.instagram.com/theportraitsystem/YouTube https://www.youtube.com/c/theportraitsystemSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In the midst of intense brokenness, it can be extremely difficult to feel the presence of the Lord. Today's "First Monday Story"is a sweet reminder to recognize that even in the most heartbreaking of circumstances, the Lord is with you.   Joni Cheney, from our community group in Fairhope, Alabama, joyfully expresses her faith and walk with the Lord during the most difficult time of her life. In this hope-filled story, Joni will point you to the unwavering truth found in Deuteronomy 31:8:  "The LORD himself goes before you and will be with you; he will never leave you nor forsake you. Do not be afraid; do not be discouraged." Deuteronomy 31:8   Links: For more information on the Anna Todd Cheney Memorial Foundation, contact Joni at Cheneyfamily3@gmail.com   Listen to a similar story:  Brooke Preus- Ep. 291: "Finding Purpose in Suffering- Walking Through a Child's Cancer Diagnosis and Remission" Give to StoryTellers Live in honor of Joni and any of our past storytellers!!    Become a Patreon Insider to access bonus content.   Join us live on Thursday, November 6th, at 7:00 PM at Samford University Wright Center for a night of worship and fellowship with Ellie Holcomb, presented by Portraits of Hope!  Register here and use promo code ELLIE10 for 10% off at checkout!   Shop for our When God Shows Up Bible Study series~ Stories of Hope, Stories of Freedom, Stories of Faith. Are you interested in one-on-one coaching with our very own Robyn Kown!?  Click HERE!   Check out all of our live speaking engagement opportunities on our website.   Sign up to receive StoryTellers Live's weekly newsletter for updates and details on our live gatherings.

From Genesis to Revelation, God reveals Himself as our Shepherd — the One who guides, provides, and protects. But in a world full of false shepherds, online voices, and endless noise, how do we stay close to the real One?

Eli Valley is a critically acclaimed political cartoonist whose latest book is Museum of Degenerates: Portraits of the American Grotesque. Co-hosts: Jonathan Friedmann & Joey Angel-Field Producer-engineer: Mike Tomren Eli's websitehttps://www.elivalley.com/ Museum of Degenerateshttps://orbooks.com/catalog/museum-of-degenerates/ Diaspora Boyhttps://orbooks.com/catalog/diaspora-boy/ Amusing Jews Merch Storehttps://www.amusingjews.com/merch#!/ Subscribe to the Amusing Jews podcasthttps://www.spreaker.com/show/amusing-jews Adat Chaverim – Congregation for Humanistic Judaism, Los Angeleshttps://www.humanisticjudaismla.org/ Jewish Museum of the American Westhttps://www.jmaw.org/ Atheists United Studioshttps://www.atheistsunited.org/au-studios

durée : 00:29:05 - Les Bonnes Choses - par : Caroline Broué - Portrait de Dimitri Droisneau, chef triplement étoilé à la tête de La Villa Madie, à Cassis. Dans sa maison face à la mer, il célèbre la Méditerranée à travers une cuisine sans apparat, où chaque assiette est pensée comme un écosystème. - réalisation : Jean-Christophe Francis - invités : Dimitri Droisneau Chef du restaurant 3 Étoiles La Villa Madie à Cassis

durée : 00:29:05 - Les Bonnes Choses - par : Caroline Broué - Portrait de Dimitri Droisneau, chef triplement étoilé à la tête de La Villa Madie, à Cassis. Dans sa maison face à la mer, il célèbre la Méditerranée à travers une cuisine sans apparat, où chaque assiette est pensée comme un écosystème. - réalisation : Jean-Christophe Francis - invités : Dimitri Droisneau Chef du restaurant 3 Étoiles La Villa Madie à Cassis

This episode we start to get more into the material culture of the period with court fashion, as we look at the court robes that went along with the updated court ranks.  Granted, we only have a few resources, but from those it does seem like we can construct at least a plausible idea of what the court may have looked like at this time. For more discussion, check out the blogpost:  https://sengokudaimyo.com/podcast/episode-137   Rough Transcript Welcome to Sengoku Daimyo's Chronicles of Japan.  My name is Joshua and this is Episode 137:  Courtly Fashion. In the New Year's ceremony, the court officials lined up in front of the Kiyomihara Palace, arranged by their relative court rank, dressed in their assigned court robes.  The effect was impressive—the rows of officials painting the courtyard like the bands of color in a rainbow, albeit one with only a couple of hues.  The fact that they were all wearing the same style of dress and black, stiffened gauze hats only added to the effect.  The individual officers were all but lost in what was, at least in outward form, a single, homogenous machine of government, just waiting for the command of their monarch to attend to the important matters of state. We are covering the reign of Ohoama no Ohokimi, aka Ama no Nunahara oki no mabito no Sumera no Mikoto, aka Temmu Tennou.  Last episode we went over the changes he had made to the family titles—the kabane—as well as to the courtly rank system.  For the former, he had consolidated the myriad kabane and traditional titles across Yamato into a series of eight—the Yakusa no Kabane.   These were, from highest to lowest: Mabito, Asomi, Sukune, Imiki, Michinoshi, Omi, Muraji, and Inaki.  By the way, you might notice that "Mabito" actually occurs in Ohoama's posthumous name:  Ama no Nunahara oki no mabito, which lends more credence to the idea that that kabane was for those with a special connection to the royal lineage. Besides simplifying and restructuring the kabane, Ohoama also reformed the court rank system.  He divided the Princely ranks into two categories:  Myou, or Bright, and Jou, or Pure.  For the court nobles the categories were:                Shou – Upright                Jiki – Straight                Gon – Diligent                Mu – Earnest                Tsui – Pursue                Shin – Advancement Each category was further divided into four grades (except for the very first princely category, Myou, which was only two).  Each grade was then further divided into large, "dai", or broad, "kou". And this brings us to our topic today. Along with this new rank system, Ohoama's administration also instituted a new set of court sumptuary laws. Some are vague in the record—we can just make assumptions for what is going on based on what we know from later fashion choices.  Others are a little more clear.  We'll take a look at those sumptuary laws, particularly those that were directly associated with the new court rank system, but we'll also look at the clothing styles more generally. To start with, let's talk about what we know about clothing in the archipelago in general.  Unfortunately, fabric doesn't tend to survive very well in the generally acidic soils of the Japanese archipelago.  Cloth tends to break down pretty quickly.  That said, we have fragments here and there and impressions in pottery, so we have some idea that there was some kind of woven fabric from which to make clothing out of. And before I go too far I want to give a shout out to the amazing people at the Kyoto Costume Museum.  They have a tremendous website and I will link to it in the comments.  While there may be some debate over particular interpretations of historical clothing, it is an excellent resource to get a feel for what we know of the fashion of the various periods.  I'll also plug our own website, SengokuDaimyo.com, which has a "Clothing and Accessory" section that, while more geared towards Heian and later periods, may still be of some use in looking up particular terms and getting to know the clothing and outfits. At the farthest reaches of pre-history, we really don't have a lot of information for clothing.  There is evidence of woven goods in the Jomon period, and we have Yayoi burials with bits of cloth here and there, but these are all scraps.  So at best we have some conjecture as to what people were wearing, and possibly some ability to look across the Korean peninsula and see what people had, there. There are scant to no reliable records from early on in Japanese history, and most of those don't really do a great job of describing the clothing.  Even where we do get something, like the Weizhi, one has to wonder given how they tended to crib notes from other entries. There is at least one picture scroll of interest: Portraits of Periodical Offering of Liang, or Liáng -Zhígòngtú.  It is said to have been painted by Xiao Yi in the early 6th century, and while the original no longer exists there is an 11th century copy from the time of the Song Dynasty.  The scroll shows  various ambassadors to the Liang court, including one from Wa.  The Wa ambassador is shown with what appears to be a wide piece of cloth around his hips and legs, tied in front.  His lower legs are covered in what we might call kyahan today: a rather simple wrap around leg from below the knee to the foot.  He has another, blue piece of cloth around his shoulders, almost like a shawl, and it is also tied in front.  Then there is a cloth wrapped and tied around his head. It's hard to know how much of this depiction is accurate and how much the artist was drawing on memory and descriptions from things like the Weizhi or Wei Chronicles, which stated that the Wa people wore wide cloths wrapped around and seamlessly tied As such, it may be more helpful to look at depictions actually from the archipelago: specifically, some of the human-figured haniwa, those clay cylinders and statues that adorned the burial mounds which gave the kofun period its name.  Some of these haniwa are fairly detailed, and we can see ties, collars, and similar features of clothing. These haniwa primarily seem to cluster towards the end of the Kofun period, in the later 6th century, so it is hard to say how much they can be used for earlier periods, though that is exactly what you will typically see for periods where we have little to know evidence.  I'm also not sure how regional certain fashions might have been, and we could very much be suffering from survivorship bias—that is we only know what survived and assume that was everything, or even the majority. Still, it is something. Much of what we see in these figures is some kind of upper garment that has relatively tight sleeves, like a modern shirt or jacket might have, with the front pieces overlapping create a V-shaped neckline.  The garment hem often hangs down to just above the knee, flaring out away from the body, and it's held closed with ties and some kind of belt, possibly leather in some cases, and in others it looks like a tied loop of cloth.  There is evidence of a kind of trouser, with two legs, and we see ties around the knee.  In some cases, they even have small bells hanging from the ties.  Presumably the trousers might have ties up towards the waist, but we cannot see that in the examples we have. We also see individuals who have no evidence of any kind of bifurcated lower garment.  That may indicate an underskirt of some kind, or possibly what's called a "mo"—but it could also be just a simplification for stability, since a haniwa has a cylindrical base anyway.  It is not always obvious when you are looking at a haniwa figure whether it depicts a man or woman: in some cases there are two dots on the chest that seem to make it obvious, but the haniwa do come from different artisans in different regions, so there is a lot of variability. We also see evidence of what seem to be decorative sashes that are worn across the body, though not in all cases.  There are various types of headgear and hairstyles.  Wide-brimmed and domed hats are not uncommon, and we also see combs and elaborate hairstyles depicted.  On some occasions we can even see that they had closed toed shoes.  For accessories, we see haniwa wearing jewelry, including necklaces (worn by both men and women), bracelets, and earrings.  In terms of actual human jewelry, early shell bracelets demonstrate trade routes, and the distinctive magatama, or comma shaped jewel, can be found in the archipelago and on the Korean peninsula, where it is known as "gogok".  Based on lines or even colored pigment on the haniwa, it appears that many of these outfits were actually quite heavily decorated.  Paint on the outfits is sometimes also placed on the face, suggesting that they either painted or tattooed themselves, something mentioned in the Wei Chronicles.  We also have archaeological examples of dyed cloth, so it is interesting that people are often depicted in undyed clothing.  There is one haniwa that I find particularly interesting, because they appear to be wearing more of a round-necked garment, and they have a hat that is reminiscent of the phrygian cap: a conical cap with the top bent forward.  These are traits common to some of the Sogdians and other Persian merchants along the silk road, raising the possibility that it is meant to depict a foreigner, though it is also possible that it was just another local style. If we compare this to the continent, we can see some immediate difference.  In the contemporaneous Sui dynasty, we can see long flowing robes, with large sleeves for men and women.  The shoes often had an upturned placket that appears to have been useful to prevent one from tripping on long, flowing garments.  Many of these outfits were also of the v-neck variety, with two overlapping pieces, though it is often shown held together with a fabric belt that is tied in front.  The hats appear to either be a kind of loose piece of fabric, often described as a turban, wrapped around the head, the ends where it ties together trailing behind, or black lacquered crowns—though there were also some fairly elaborate pieces for the sovereign. As Yamato started to import continental philosophy, governance, and religion, they would also start to pick up on continental fashion.  This seems particularly true as they adopted the continental concept of "cap rank" or "kan-i". Let's go over what we know about this system, from its first mention in the Chronicles up to where we are in Ohoama's reign. As a caveat, there is a lot we don't know about the details of these garments, but we can make some guesses. The first twelve cap-ranks, theoretically established in 603, are somewhat questionable in their historicity, as are so many things related to Shotoku Taishi.  And their names are clearly based on Confucian values:  Virtue, Humanity, Propriety, Faith, Justice, and Wisdom, or Toku, Nin, Rei, Shin, Gi, and Chi.  The five values and then just "Virtue", itself. The existence of this system does seem to be confirmed by the Sui Shu, the Book of Sui, which includes a note in the section on the country of Wa that they used a 12 rank system based on the Confucian values, but those values were given in the traditional Confucian order vice the order given in the Nihon Shoki.   The rank system of the contemporaneous Sui and Tang dynasties was different from these 12 ranks, suggesting that the Yamato system either came from older dynasties—perhaps from works on the Han dynasty or the Northern and Southern Dynasty, periods—or they got it from their neighbors, Baekje, Silla, and Goguryeo.  There does seem to be a common thread, though, that court rank was identifiable in one's clothes. As for the caps themselves, what did they look like?  One would assume that the Yamato court just adopted a continental style cap, and yet, which one? It isn't fully described, and there are a number of types of headwear that we see in the various continental courts. Given that, we aren't entirely sure exactly what it looked like, but we do have a couple of sources that we can look at and use to make some assumptions.  These sources l ead us to the idea of a round, colored cap made of fabric, around the brim that was probably the fabric or image prescribed for that rank.  It is also often depicted with a bulbous top, likely for the wearer's hair, and may have been tied to their top knot.     Our main source for this is the Tenjukoku Mandala Embroidery (Tenjukoku-mandara-shuuchou) at Chuuguuji temple, which was a temple built for the mother of Prince Umayado, aka Shotoku Taishi.    This embroidery was created in 622, so 19 years after the 12 ranks would have been implemented. It depicts individuals in round-necked jackets that appear to have a part straight down the center.  Beneath the jacket one can see a pleated hem, possibly something like a "hirami", a wrapped skirt that is still found in some ceremonial imperial robes.  It strikes me that this could also be the hem of something like the hanpi, which was kind of like a vest with a pleated lower edge.  Below that we see trousers—hakama—with a red colored hem—at least on one figure that we can see.  He also appears to be wearing a kind of slipper-like shoe. As for the women, there are a few that appear to be in the mandala, but it is hard to say for certain as the embroidery has been damaged over the years. That said, from what we can tell, women probably would have worn something similar to the men in terms of the jacket and the pleated under-skirt, but then, instead of hakama, we see a pleated full-length skirt, or mo.  We also don't have a lot of evidence for them wearing hats or anything like that. The round necked jacket is interesting as it appears to be similar to the hou that was common from northern China across the Silk Road, especially amongst foreigners.  This garment  came to displace the traditional robes of the Tang court and would become the basis for much of the court clothing from that period, onwards.  The round necked garment had central panels that overlapped, and small ties or fastenings at either side of the neck to allow for an entirely enclosed neckline.  This was more intricate than just two, straight collars, and so may have taken time to adopt, fully. The next change to the cap-rank system was made in 647, two years into the Taika Reform.  The ranks then were more directly named for the caps, or crowns—kanmuri—and their materials and colors.  The ranks translate to Woven, Embroidered, Purple, Brocade, Blue, Black, and finally "Establish Valor" for the entry level rank. The system gets updated two years later, but only slightly.  We still see a reference to Woven stuff, Embroidery, and Purple, but then the next several ranks change to Flower, Mountain, and Tiger—or possibly Kingfisher.  These were a little more removed from the cap color and material, and may have had something to do with designs that were meant to be embroidered on the cap or on the robes in some way, though that is just speculation based on later Ming and Qing court outfits. Naka no Ohoye then updates it again in 664, but again only a little.  He seems to add back in the "brocade" category, swapping out the "flower", and otherwise just adds extra grades within each category to expand to 26 total rank grades. And that brings us to the reforms of 685, mentioned last episode.  This new system was built around what appear to be moral exhortations—Upright, Straight, Diligent, Earnest, etc.  And that is great and all, but how does that match up with the official robes? What color goes with each rank category?  Fortunately, this time around, the Chronicle lays it out for us pretty clearly. First off we are given the color red for the Princely ranks—not purple as one might have thought.  Specifically, it is "Vermillion Flower", hanezu-iro, which Bentley translates as the color of the "Oriental bush" or salmon.  In the blogpost we'll link to a table of colors that the founder of Sengoku Daimyo, Anthony Bryant, had put together, with some explanation of how to apply it.  I would note that there is often no way to know exactly what a given color was like or what shades were considered an acceptable range.  Everything was hand-dyed, and leaving fabric in the dye a little longer, changing the proportions, or just fading over time could create slightly different variants in the hue, but we think we can get pretty close. From there we have the six "common" ranks for the nobility.  Starting with the first rank, Upright, we have "Dark Purple".  Then we have "Light Purple".  This pattern continues with Dark and Light Green and then Dark and Light Grape or Lilac.  Purple in this case is Murasaki, and green here is specifically Midori, which is more specifically green than the larger category of "Aoi", which covers a spectrum of blue to green.  The grape or lilac is specifically "suou", and based on Bentley's colors it would be a kind of purple or violet. The idea is that the official court outfits for each rank would be the proper color.  And yes, that means if you get promoted in rank, your first paycheck—or rice stipend—is probably going to pay for a new set of official clothes.  Fortunately for the existing court nobles at the time, in the last month of 685, the Queen provided court clothing for 55 Princes and Ministers, so they could all look the part. And the look at court was important.  In fact, several of the edicts from this time focus specifically on who was allowed—or expected—to wear what.  For instance, in the 4th month of 681, they established 92 articles of the law code, and among those were various sumptuary laws—that is to say, laws as to what you could wear.  We are told that they applied to everyone from Princes of the blood down to the common person, and it regulated the wearing of precious metals, pearls, and jewels; the type of fabric one could use, whether purple, brocade, embroidery, or fine silks; and it also regulated woollen carpets, caps, belts, and the colors of various things. And here I'd like to pause and give some brief thought to how this played into the goals of the court, generally, which is to say the goal of creating and establishing this new system of governance in the cultural psyche of the people of the archipelago.  From the continental style palaces, to the temples, and right down to the clothing that people were wearing, this was all orchestrated, consciously or otherwise, to emphasize and even normalize the changes that were being introduced.  When everything around you is conforming to the new rules, it makes it quite easy for others to get on board. The court had surrounded themselves with monumental architecture that was designed along continental models and could best be explained through continental reasoning.  Even if they weren't Confucian or Daoist, those lines of reasoning ran through the various cultural and material changes that they were taking up.  Sure, they put their own stamp on it, but at the same time, when everything is right in front of you, it would become that much harder to deny or push back against it. And when you participated in the important rituals of the state, the clothing itself became a part of the pageantry.  It reinforced the notion that this was something new and different, and yet also emphasized that pushing against it would be going against the majority.  So court uniforms were another arm of the state's propaganda machine, all designed to reinforce the idea that the heavenly sovereign—the Tennou—was the right and just center of political life and deserving of their position.  Getting back to the sumptuary laws and rank based regulations: It is unfortunate that the record in the Nihon Shoki doesn't tell us exactly how things were regulated, only that they were, at least in some cases.  So for anything more we can only make assumptions based on later rules and traditions.  A few things we can see right away, though.  First is the restriction of the color purple.  Much as in Europe and elsewhere in the world, getting a dark purple was something that was not as easy as one might think, and so it tended to be an expensive dye and thus it would be restricted to the upper classes—in this case the princely and ministerial rank, no doubt.  Similarly brocade and fine silks were also expensive items that were likely restricted to people of a particular social station for that reason. The mention of woolen rugs is particularly intriguing.  Bentley translates this as woven mattresses, but I think that woolen rugs makes sense, as we do have examples of woolen "rugs" in Japan in at least the 8th century, stored in the famous Shousouin repository at Toudaiji temple, in Nara.  These are all imported from the continent and are actually made of felt, rather than woven.  As an imported item, out of a material that you could not get in the archipelago, due to a notable lack of sheep, they would have no doubt been expensive. The funny thing is that the carpets in the Shousouin may not have been meant as carpets.  For the most part they are of a similar size and rectangular shape, and one could see how they may have been used as sleeping mattresses or floor coverings.  However, there is some conjecture that they came from the Silk Road and may have been originally meant as felt doors for the tents used by the nomadic steppe peoples.  This is only conjecture, as I do not believe any of these rugs have survived in the lands where they would have been made, but given the size and shape and the modern yurt, it is not hard to see how that may have been the case.  Either way, I tend to trust that this could very well have meant woolen rugs, as Aston and the kanji themselves suggest, though I would understand if there was confusion or if it meant something else as wool was not exactly common in the archipelago at that time or in the centuries following. The last section of the regulations talks about the use of caps and belts.  The caps here were probably of continental origin:  The kanmuri, or official cap of state of the court nobles, or the more relaxed eboshi—though at this time, they were no doubt closely related. In fact, a year later, we have the most specific mention to-date of what people were actually wearing on their heads: there is a mention of men tying up their hair and wearing caps of varnished gauze.  Earlier caps related to the cap rank system are often thought to be something like a simple hemisphere  that was placed upon the head, with a bulbous top where the wearer's hair could be pulled up as in a bun. The kanmuri seems to have evolved from the soft black headcloth that was worn on the continent, which would have tied around the head, leaving two ends hanging down behind.  Hairstyles of the time often meant that men had a small bun or similar gathering of hair towards the back of their head, and tying a cloth around the head gave the effect of a small bump.  This is probably what we see in depictions of the early caps of state.  Sometimes this topknot could be covered with a small crown or other decoration, or wrapped with a cloth, often referred to as a "Tokin" in Japanese.  But over time we see the development of hardened forms to be worn under a hat to provide the appropriate silhouette, whether or not you actually had a topknot (possibly helpful for gentlemen suffering from hair loss).  And then the hat becomes less of a piece of cloth and more just a hat of black, lacquered gauze made on a form, which was much easier to wear.  At this point in the Chronicle, the cap was likely still somewhat malleable, and would made to tie or be pinned to that bun or queue of hair.  This explains the mention of men wearing their hair up.  This pin would become important for several different types of headgear, but ties were also used for those who did not have hair to hold the hat on properly. Two years after the edict on hats, we get another edict on clothing, further suggesting that the court were wearing Tang inspired clothing.  In 685 we see that individuals are given leave to wear their outer robe either open or tied closed. This is a clue that this outer robe might something akin to the round-necked hou that we see in the Tenjukoku Mandala, where the neck seems to close with a small tie or button.  However, we do see some examples, later, of v-necked garments with a tie in the center of the neck, so that may be the reference..  Opening the collar of the formal robes was somewhat akin to loosening a necktie, or unbuttoning the top button of a shirt.  It provided a more relaxed and comfortable feeling.  It could also be a boon in the warm days of summer.  Leaving it closed could create a more formal appearance. The courtiers also had the option of whether or not to wear the "Susotsuki", which Bentley translates as "skirt-band".  I believe this refers to the nai'i, or inner garment.  This would often have a pleated hem—a suso or ran—which would show below the main robe as just a slight hem.  Again, this is something that many would dispense with in the summer, or just when dressing a bit more casually, but it was required at court, as well as making sure that the tassles were tied so that they hung down.  This was the uniform of the court.  We are also told that they would have trousers that could be tied up, which sounds like later sashinuki, though it may have referred to something slightly different.  We are also given some regulations specifically for women, such as the fact that women over 40 years of age were allowed the discretion on whether or not to tie up their hair, as well as whether they would ride horses astride or side-saddle.  Presumably, younger women did not get a choice in the matter.  Female shrine attendants and functionaries were likewise given some leeway with their hairstyles. A year later, in 686, they do seem to have relaxed the hairstyles a bit more: women were allowed to let their hair down to their backs as they had before, so it seems that, for at least a couple of years, women under the age of 40 were expected to wear their hair tied up in one fashion or another. In that same edict, men were then allowed to wear "habakimo".  Aston translates this as "leggings" while Bentley suggests it is a "waist skirt".  There are an example of extant habakimo in the Shousouin, once again, and they appear to be wrappings for the lower leg.  It actually seems very closely related to the "kyahan" depicted all the way back in the 6th century painting of the Wo ambassador to Liang. Even though these edicts give a lot more references to clothing, there is still plenty that is missing.  It isn't like the Chroniclers were giving a red carpet style stitch-by-stitch critique of what was being worn at court.  Fortunately, there is a rather remarkable archaeological discovery from about this time. Takamatsuzuka is a kofun, or ancient burial mound, found in Asuka and dated to the late 7th or early 8th century.  Compared to the keyhole shaped tombs of previous centuries, this tomb is quite simple: a two-tiered circular tomb nestled in the quiet hills.  What makes it remarkable is that the inside of the stone burial chamber was elaborately painted.  There are depictions of the four guardian animals, as well as the sun and the moon, as well as common constellations.  More importantly, though, are the intricate pictures of men and women dressed in elaborate clothing. The burial chamber of Takamatsuzuka is rectangular in shape.  There are images on the four vertical sides as well as on the ceiling.  The chamber is oriented north-south, with genbu, the black tortoise, on the north wall and presumably Suzaku, the vermillion bird, on the south wall—though that had been broken at some point and it is hard to make out exactly what is there. The east and west walls are about three times as long as the north and south walls.  In the center of each is a guardian animal—byakko, the white tiger, on the west wall and seiryuu, the blue—or green—dragon on the east.  All of these images are faded, and since opening of the tomb have faded even more, so while photos can help, it may require a bit more investigation and some extrapolation to understand all of what we are looking at. On the northern side of both the east and west wall we see groups of four women.  We can make out green, yellow, and red or vermillion outer robes with thin fabric belt sashes, or obi, tied loosely and low around the waist.  There is another, lightly colored—possibly white, cream or pink—that is so faded it is hard to make out, and I don't know if that is the original color.  These are v-necked robes, with what appear to be ties at the bottom of the "v".  Around the belt-sash we see a strip of white peaking out from between the two sides of the robe—most likely showing the lining on an edge that has turned back slightly.  The cuffs of the robe are folded back, showing a contrasting color—either the sleeves of an underrobe or a lining of some kind.  Below the outer robe is a white, pleated hem—possibly a hirami or similar, though where we can make it out, it seems to be the same or similar color as the sleeves.  Under all of that, they then have a relatively simple mo, or pleated skirt.  The ones in the foreground are vertically striped in alternating white, green, red, and blue stripes.  There is one that may just be red and blue stripes, but I'm not sure.  In the background we see a dark blue—and possibly a dark green—mo.  At the base of each mo is a pleated fringe that appears to be connected to the bottom of the skirt.  The toe of a shoe seems to peek out from underneath in at least one instance.  They don't have any obvious hair ornaments, and their hair appears to be swept back and tied in such a way that it actually comes back up in the back, slightly.  They appear to be holding fans and something that might be a fly swatter—a pole with what looks like tassels on the end. In comparison, at the southern end of the tomb we have two groups of men.  These are much more damaged and harder to make out clearly.  They have robes of green, yellow, grey, blue, and what looks like dark blue, purple, or even black.  The neckline appears to be a v-necked, but tied closed, similar to what we see on the women.  We also see a contrasting color at the cuff, where it looks like the sleeves have turned back, slightly.  They have belt-sashes similar to the women, made of contrasting fabric to the robe itself.  Below that we see white trousers, or hakama, and shallow, black shoes.  On some of the others it is suggested that maybe they have a kind of woven sandal, but that is hard to make out in the current image.  On their heads are hats or headgear of black, stiffened—probably lacquered—gauze.  They have a bump in the back, which is probably the wearer's hair, and there is evidence of small ties on top and larger ties in the back, hanging down.  Some interpretations also show a couple with chin straps, as well, or at least a black cord that goes down to the chin.  They carry a variety of implements, suggesting they are attendants, with an umbrella, a folding chair, a pouch worn around the neck, a pole or cane of some kind, and a bag with some kind of long thing—possibly a sword or similar. The tomb was originally found by farmers in 1962, but wasn't fully examined until 1970, with an excavation starting in 1972.  The stone at the entryway was broken, probably from graverobbers, who are thought to have looted the tomb in the Kamakura period.  Fortunately, along with the bones of the deceased and a few scattered grave goods that the robbers must have missed, the murals also survived, and somehow they remained largely intact through the centuries.  They have not been entirely safe, and many of the images are damaged or faded, but you can still make out a remarkable amount of detail, which is extremely helpful in determining what clothing might have looked like at this time—assuming it is depicting local individuals. And there is the rub, since we don't know exactly whom the tomb was for.  Furthermore, in style it has been compared with Goguryeo tombs from the peninsula, much as nearby Kitora kofun is.  Kitora had images as well, but just of the guardian animals and the constellations, not of human figures. There are three theories as to who might have been buried at Takamatsuzuka.  One theory is that it was one of Ohoama's sons.  Prince Osakabe is one theory, based on the time of his death and his age.  Others have suggested Prince Takechi.  Based on the teeth of the deceased, they were probably in their 40s to 60s when they passed away. Some scholars believe that it may be a later, Nara period vassal—possibly, Isonokami no Maro.  That would certainly place it later than the Asuka period. The third theory is that it is the tomb of a member of one of the royal families from the Korean peninsula—possibly someone who had taken up refuge in the archipelago as Silla came to dominate the entire peninsula.  This last theory matches with the fact that Takamatsuzuka appears to be similar to tombs found in Goguryeo, though that could just have to do with where the tomb builders were coming from, or what they had learned. That does bring up the question of the figures in the tomb.  Were they contemporary figures, indicating people and dress of the court at the time, or were they meant to depict people from the continent?  Without any other examples, we may never know, but even if was indicative of continental styles, those were the very styles that Yamato was importing, so it may not matter, in the long run.     One other garment that isn't mentioned here is the hire, a scarf that is typically associated with women.  It is unclear if it has any relationship to the sashes we see in the Kofun period, though there is at least one mention of a woman with a hire during one of the campaigns on the Korean peninsula.  Later we see it depicted as a fairly gauzy piece of silk, that is worn somewhat like a shawl.  It is ubiquitous in Sui and Tang paintings of women, indicating a wide-ranging fashion trend.  The hire is a fairly simple piece of clothing, and yet it creates a very distinctive look which we certainly see, later. Finally, I want to take a moment to acknowledge that almost everything we have discussed here has to do with the elites of society—the nobles of the court.  For most people, working the land, we can assume that they were probably not immediately adopting the latest continental fashions, and they probably weren't dressing in silk very much.  Instead, it is likely that they continued to wear some version of the same outfits we see in the haniwa figures of the kofun period.  This goes along with the fact that even as the elite are moving into palaces built to stand well above the ground, we still have evidence of common people building and living in pit dwellings, as they had been for centuries.  This would eventually change, but overall they stuck around for quite some time.  However, farmers and common people are often ignored by various sources—they aren't often written about, they often aren't shown in paintings or statues, and they did often not get specialized burials.  Nonetheless, they were the most populous group in the archipelago, supporting all of the rest. And with that, I think we will stop for now.  Still plenty more to cover this reign.  We are definitely into the more historical period, where we have more faith in the dates—though we should remember that this is also one of the reigns that our sources were specifically designed to prop up, so we can't necessarily take everything without at least a hint of salt and speculation, even if the dates themselves are more likely to be accurate. Until then, if you like what we are doing, please tell your friends and feel free to rate us wherever you listen to podcasts.  If you feel the need to do more, and want to help us keep this going, we have information about how you can donate on Patreon or through our KoFi site, ko-fi.com/sengokudaimyo, or find the links over at our main website,  SengokuDaimyo.com/Podcast, where we will have some more discussion on topics from this episode. Also, feel free to reach out to our Sengoku Daimyo Facebook page.  You can also email us at the.sengoku.daimyo@gmail.com.  Thank you, also, to Ellen for their work editing the podcast. And that's all for now.  Thank you again, and I'll see you next episode on Sengoku Daimyo's Chronicles of Japan.  

durée : 00:04:00 - Chroniques littorales - par : Jose Manuel Lamarque - Jean-Philippe Giordano, rencontré récemment à Bonifacio. Nous étions face au Cap Saint-Antoine, dans ce lieu surnommé le Vaisseau échoué, tout près du Bonnet du marin. Devant nous, la pointe sud de la Corse… et juste en face, le cap nord de la Sardaigne, Capo Testa... Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Get a FREE Posing eBook from The Portrait System here: https://the-portrait-system.lpages.co/podcast-pose-funnel/Today on this special re-release of Portrait System Podcast, host, photographer and educator Nikki Closser interviews Dallas-based maternity photographer Danielle Jenkins. Danielle tells us all about her business journey and how she markets and prices herself to achieve an over $4000 sales average.PODCAST LISTENER SPECIAL!! If you want to get started with the Portrait System, get a special discount using code “POD7” to get one month access for just $7 here https://theportraitsystem.com/pricing/IG https://www.instagram.com/theportraitsystem/YouTube https://www.youtube.com/c/theportraitsystemSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Today's episode wraps up our three-week "Religion to Relationship" series, and, once again, it focuses our eyes on the beauty of God's grace and how this gift plays a key role in our relationship with Him. Courtney Ballard, from our Tupelo, Mississippi community, grew up as a pastor's kid, always aware of God and His existence, and working hard to be the "angel child" others expected her to be. However, this self-imposed title created a life pattern for Courtney of living for people and their applause, rather than living for God alone. She soon found herself at a crossroads—would she choose God's grace or her own efforts and good intentions? Listen and find out what the Lord revealed! ____________________________________ VERSE OF THE WEEK: "Without faith it is impossible to please God, because anyone who comes to him must believe that he exists and that he rewards those who earnestly seek him." Hebrews 11:6 CHALLENGE OF THE WEEK: This week be self-aware of the intentions in your heart and ask - am I living out of God's grace or am I living for the applause of people? Links: Listen to this song by Lauren Daigle- Losing My Religion Listen to a similar story: Courtney Doyle- Ep. 71: Removing the Masks Download a phone background of the weekly verse HERE! (click the link and hold down on the photo to save to your phone) Give to StoryTellers Live in honor of Courtney or any of our past storytellers!! Become a Patreon Insider to access bonus content~ including a Story Within the Story with Courtney! Join us live on Thursday, November 6th at 7:00 PM at Samford University Wright Center for a night of worship and fellowship with Ellie Holcomb presented by Portraits of Hope! Register here and use promo code ELLIE10 for 10% off at checkout! Shop for our When God Shows Up Bible Study series Check out all of our live speaking engagement opportunities on our website. Sign up to receive StoryTellers Live's weekly newsletter for updates and details on our live gatherings.

In this episode of F-Stop Collaborate and Listen, host Matt Payne sits down with creative duo Chris Fulcher and Savannah Woods, whose striking photography blends art, storytelling, travel, and editorial imagery. The conversation delves into their evolution from hands-on photographers to creative directors running a full media agency, their dynamic as a couple collaborating on projects, and the inventive use of lighting, fire, and AI/Photoshop in their bold, cinematic work. Chris and Savannah discuss how they navigate creative conflict, support each other both professionally and personally, and maintain balance while often living on the road. The episode features behind-the-scenes stories of their most unique shoots—including proposals, editorial campaigns, and elaborate light-painting photography—while offering insight into the technical and creative decisions shaping their vibrant, larger-than-life images. Watch on YouTube Resources and Links: Sensorio Field of Light (Paso Robles, CA) TeamLab WPPI – Wedding & Portrait Photographers International Sin City Creative Group Support the show on Patreon Referenced Artists and Shows: Jack Studios (Jacqueline at Jack Studios, Connecticut) Rifstick Boogie (Instagram) Anima (DJ) Las Vegas Sphere Severance (Apple TV)

We all want justice. We want someone to make things right. But what happens when the Judge of all the earth turns His gaze toward us?

What can a portrait tell us about a person? This audio guide will help you to connect with any portrait of your choice in a museum or gallery. Just find an image of someone that you're drawn to, pop your headphones on and press play. Narrated by Louise Thompson of Mindful Museums, this Mindful Museum Audio Guide will help you to slow down and relax, as well as connect more deeply with what you see.Brought to you by Art Fund and Mindful Museums. Follow Art Fund on Instagram @artfund or on TikTok @artfund.Art Fund's National Art Pass makes enjoying the benefits of visiting museums and galleries even easier – offering free and half-price entry to hundreds of amazing museums and galleries across the UK. Find out more on the Art Fund website. Hosted on Acast. See acast.com/privacy for more information.

We live in a world filled with both light and darkness, and it is in our darkest times that we need the greatest compassion. Written by a Buddhist monk from Medieval (Heian Period) Japan, this horror story brings us a woman who transforms into a demon known as an Oni. Yet the demon-woman's story challenges us to find hope, even in the darkness of her life.Mosaic Family Services is dedicated to serving survivors of human rights abuses from around the world and within the community of North Texas. https://mosaicservices.org/Mythos & Logos are two ancient words that can be roughly translated as “Story & Meaning.”Support the channel by subscribing, liking, and commenting to join the conversation!Patreon: https://www.patreon.com/c/mythosandlogos00:00 Introduction & Charity Announcement00:29 Screen Map of Japan00:39 Tsuina of Yoshida Shrine00:49 Dōjōji by Kōgyo Tsukioka01:20 A Woman Scorned01:37 Map of Japan, Jotokuji Temple, Momoyama Period02:10 The Demon of Mount Togakushi by Tsukioka Yoshitoshi02:46 The Demon Within02:50 Kyōri no bijin by Mizuno Toshikata03:09 Yamanba by Itō Seiu03:33 Companion In Solitude 閑居友 2:3 A Deeply Resentful Woman Becomes A Demon While Alive04:26 Apologies for the missed edit! The text leaves whether she receives the memorial unclear. Ironic considering when the sound cuts out!04:28 Transforming Suffering04:52 Jien, Collection of Portraits of Famous Writers in Chinese Literature05:06 Chapter 27 of the Lotus Sutra, Arthur M Sackler Museum, Harvard University05:31 Buddha and Bodhisattvas, Mogao Caves05:47 Lotus Sutra, Chapter 206:42 Chapter 20 of the Lotus Sutra, Jigage E Shō Zokuhen06:46 Devadatta Falling Into Hell by Katsushika Hokusai06:51 Chapter 12 of the Lotus Sutra, Metropolitan Museum of Art07:15 Wild Mountain Woman in a Cloak of Leaves by Hokkei07:58 Zhiyi Statue, Mii-dera Onjo-ji, photographed by Hyppolyte de Saint-Rambert, licensed under Creative Commons08:05 The Profound Meaning of the Lotus Sutra08:14 Compassion in Darkness08:24 Oni Chanting the Name of the Buddha by Shibata Zeshin08:49 Kujō Yoshitsune by 菱川師宣09:22 Namanari Noh Mask, photographed by Takiyama Ichiemon, licensed under Creative Commons09:25 Ooeyama Emaki09:29 Chapters 12 and 14 of the Lotus Sutra, Metropolitan Museum of Art09:52 OutroAll works of art are in the public domain unless otherwise noted.Ambiment - The Ambient by Kevin MacLeod is licensed under a Creative Commons Attribution license.

Get a FREE Posing eBook from The Portrait System here: https://the-portrait-system.lpages.co/podcast-pose-funnel/Today's guest on this special re-release of Portrait System Podcast is Yagazie Eguare who runs a studio with a team of photographers in Lagos, Nigeria. Yagazie has a $2500 sales average, and this episode, she goes in depth about her journey and her business. If you want to learn about her unique story and get educated about the business of photography, then this podcast is for you!PODCAST LISTENER SPECIAL!! If you want to get started with the Portrait System, get a special discount using code “POD7” to get one month access for just $7 here https://theportraitsystem.com/pricing/IG https://www.instagram.com/theportraitsystem/YouTube https://www.youtube.com/c/theportraitsystemSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This week, we're turning up the voices that define Celtic music. From Niamh Dunne's haunting “Ballyneety's Walls” to Mànran's fiery “Mire,” from timeless ballads to modern folk songs—every track in this episode is sung from the heart. Discover the storytellers and voices that keep Irish and Scottish tradition alive, on the Irish & Celtic Music Podcast #731  -  -  Subscribe now! Niamh Dunne, Mànran, McFloosey, Téada, Ed Miller, Jesse Ferguson, Olivia Bradley, Don Gabbert, The Inland Seas, Skyrie, Marc Gunn, SeeD, Loveridge, Andrew D. Huber + the Gecko Club, Eclectic Revival, Screaming Orphans, Ainsley Hamill GET CELTIC MUSIC NEWS IN YOUR INBOX The Celtic Music Magazine is a quick and easy way to plug yourself into more great Celtic culture. Enjoy seven weekly news items with what's happening with Celtic music and culture online. Subscribe now and get 34 Celtic MP3s for Free. VOTE IN THE CELTIC TOP 20 FOR 2025 This is our way of finding the best songs and artists each year. You can vote for as many songs and tunes that inspire you in each episode. Your vote helps me create this year's Best Celtic music of 2025 episode. You have just three weeks to vote this year. Vote Now! You can follow our playlist on YouTube to listen to those top voted tracks as they are added every 2 - 3 weeks. THIS WEEK IN CELTIC MUSIC 0:06 - Niamh Dunne "Ballyneety's Walls" from Portraits 3:25 - WELCOME 5:39 - Mànran "Woah" from To the Wind 9:08 - McFloosey "The Briar and the Rose" from Fiacre's Fell 12:41 - Téada "Song: An Spailpín Fánach" from Ainneoin na stoirme / In spite of the storm 15:27 - Ed Miller "The Last Trip Home" from Many's The Fine Tale 19:09 - FEEDBACK 22:29 - Jesse Ferguson "The Raggle Taggle Gypsy" from Ten 25:53 - Olivia Bradley "A Gaelic Blessing" from Misty Morning Shore 27:39 - Don Gabbert "Devlish Mary" from Donovan's Fancy 29:42 - The Inland Seas "Cold Blows the Wind" from Crown of Clover 33:41 - Skyrie "Exiled" from Hunger Road 38:09 - THANKS 40:19 - Marc Gunn "Tae the Begging" from St Patrick's Day 44:37 - SeeD "We Will Fly" from FAE 48:59 - Loveridge "The Safety of Home" from As the Crow Flies 53:06 - Andrew D. Huber + the Gecko Club "Kickin' Whiskey" from Sailor's Rescue 56:41 - Eclectic Revival "Six String Salute" from Life & Love 1:01:01 - Screaming Orphans "Darlin' Girl from Clare" from Paper Daisies 1:04:12 - CLOSING 1:05:19 - Ainsley Hamill "Leave Her Johnny" from FABLE 1:08:55 - CREDITS Support for this program comes from International speaker, Joseph Dumond, teaching the ancient roots of the Gaelic people. Learn more about their origins at Sightedmoon.com Support for this program comes from Cascadia Cross Border Law Group, Creating Transparent Borders for more than twenty five years, serving Alaska and the world. Find out more at   www.CascadiaLawAlaska.com Support for this program comes from Hank Woodward. Support for this program comes from Dr. Annie Lorkowski of Centennial Animal Hospital in Corona, California. The Irish & Celtic Music Podcast was produced by Marc Gunn, The Celtfather and our Patrons on Patreon. The show was edited by Mitchell Petersen with Graphics by Miranda Nelson Designs. Visit our website to follow the show. You'll find links to all of the artists played in this episode. Todd Wiley is the editor of the Celtic Music Magazine. Subscribe to get 34 Celtic MP3s for Free. Plus, you'll get 7 weekly news items about what's happening with Celtic music and culture online. Best of all, you will connect with your Celtic heritage. Please tell one friend about this podcast. Word of mouth is the absolute best way to support any creative endeavor. Finally, remember—our planet's future is in our hands. The overwhelming evidence shows that human activity is driving climate change, from record  -  breaking heat waves to rising sea levels. But the good news? We have the power to fix it. Every choice we make—reducing waste, conserving energy, supporting clean energy, and lobbying our political leaders—moves us toward a more stable climate. Start a conversation today. The facts are out there, and the future is ours to shape. Promote Celtic culture through music at http://celticmusicpodcast.com/. WELCOME THE IRISH & CELTIC MUSIC PODCAST * Helping you celebrate Celtic culture through music. I am Marc Gunn. I'm a Celtic musician and also host of Folk Songs & Stories. This podcast is for fans of Celtic music. We are here to build a diverse Celtic community and help the incredible artists who so generously share their music with you. If you hear music you love, please email artists to let them know you heard them on the Irish and Celtic Music Podcast. Musicians depend on your generosity to release new music. So please find a way to support them. Buy a CD, Album Pin, Shirt, Digital Download, or join their community on Patreon. You can find a link to all of the artists in the shownotes, along with show times, when you visit our website at celticmusicpodcast.com. Email follow@bestcelticmusic to learn how to subscribe to the podcast and you will get a free music - only episode. You'll also learn how to get your band played on the podcast. Bands don't need to send in music, and you will get a free eBook called Celtic Musicians Guide to Digital Music. It's 100% free. Again email follow@bestcelticmusic IRISHFEST ATLANTA Join us at IrishFest Atlanta on Nov 7 - 9, 2025. You'll enjoy exclusive concerts with Open the Door For Three with Special Guest dancer Kevin Doyle on Friday and Teada on Saturday night. Plus enjoy music from Kathleen Donohoe, O'Brian's Bards, Olivia Bradley, Roundabouts, The Kinnegans, The Muckers, Irish Brothers, Celtic Brew, Station 1 2 3 and special set from Inara and Marc Gunn. There are music and dance workshops, Irish cooking competitions, IrishTea, Irish Films, and of course, LOTS of Irish dancing. Celebrate your Irish heritage at IrishFest Atlanta in November. Bring a friend! Learn more at IrishFestAtlanta.com THANK YOU PATRONS OF THE PODCAST! Because of generous patrons like you, the Irish & Celtic Music Podcast releases new episodes nearly every single week. Your support doesn't just fund the show—it fuels a movement. It helps us share the magic of Celtic music with thousands of new listeners and grow a global community of music lovers. Your contributions pay for everything behind the scenes: audio engineering, stunning graphics, weekly issues of the Celtic Music Magazine, show promotion, and—most importantly—buying the music we feature from indie Celtic artists. And if you're not yet a patron? You're missing out! Patrons get: Early access to episodes Music - only editions Free MP3 downloads Exclusive stories and artist interviews A vote in the Celtic Top 20 Join us today and help keep the music alive, vibrant, and independent.

Get a FREE Posing eBook from The Portrait System here: https://the-portrait-system.lpages.co/podcast-pose-funnel/Today, on this special re-release of The Portrait System Podcast, host Nikki Closser interviews California-based photographer Nadine Sachiko Hsu. Nadine is a former race car driver turned photographer and went from doing $150 photoshoots to running a 3000 sq ft studio where she builds sets for her clients. Listen in as Nadine dives deep into how she runs her business and how she turns one-time clients into lifelong clients.PODCAST LISTENER SPECIAL!! If you want to get started with the Portrait System, get a special discount using code “POD7” to get one month access for just $7 here https://theportraitsystem.com/pricing/IG https://www.instagram.com/theportraitsystem/YouTube https://www.youtube.com/c/theportraitsystemSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Today's podcast places us in the middle of our three-week series “Religion to Relationship”, and it's a story many of us can fall victim to - “if I'm just good enough for God, I'll earn His favor and His blessing over my life.”   Rachel Temple, from our Pinehurst, North Carolina community, shares her story of growing up under the pressures of having a mother who was an alcoholic and a father who was an enabler, and subsequently succumbing to the role of caretaker in her family while believing the lie that if she could do all the right things for God life would be easier. This theological misunderstanding led Rachel down a path of comparison, depression, insecurity, and despair until the Lord met her and asked, “Will you be defined by your victimhood or by My grace?” - a question that, as you'll hear, changed the trajectory of Rachel's life. _______________________________________________________________________________   VERSE OF THE WEEK: “Teach me knowledge and good judgment, for I trust your commands. Before I was afflicted I went astray, but now I obey your word. You are good, and what you do is good; teach me your decrees.” Psalm 119:66-68   CHALLENGE OF THE WEEK: Where are you comparing the goodness of God in your life to the goodness of God in the lives of others? This week shift your thoughts to gratitude and the gift of God's unmerited grace.  ______________________________________________________________________________________   Links:   Breaking Free by Beth Moore   Listen to this song by Lauren Daigle- Losing My Religion   Listen to a similar story:  Ep. 30- Amy Williams: Faith Above Works   Download a phone background of the weekly verse HERE!  (click the link and hold down on the photo to save to your phone)   Give to StoryTellers Live in honor of Rachel and all of our past storytellers!!    Become a Patreon Insider to access bonus content~ including a Q & A with Rachel from the Raleigh community.    Register for our Finding God in the Details: A Guide to Discerning His Voice and Discovering Your Story workshops being offered online on October 29th at 9:30-12:30 CST and in-person on November 12th at 5:30-8:00 PM CST   Join us live on Thursday, November 6th at 7:00 PM at Samford University Wright Center for a night of worship and fellowship with Ellie Holcomb presented by Portraits of Hope!  Register here and use promo code ELLIE10 for 10% off at checkout!   Shop for our When God Shows Up Bible Study series   Check out all of our live speaking engagement opportunities on our website.   Sign up to receive StoryTellers Live's weekly newsletter for updates and details on our live gatherings.