Podcasts about Rime

Tous les matins à 7h15, le parti pris argumenté d'un invité sur un sujet d'actualité, avec les témoignages et les réactions des auditeurs de RMC en direct au 3216.

So we've got the wand! Now we just need to find out the rest of the clues and then do this Arcane Octad! All before Auril can get down here! Also before Avarice figures it out as well. No biggie! If anyone can do it, it's our heroes! I wonder what this woman encased in ice is all about though? Very intriguing, wouldn't you say Max Hedman?Sound effects courtesy of Zapsplat(if you have made it this far into the description, comment something about how Luke is an unfair DM, that'll really get him)

Episode 87 Dover Beach by Matthew Arnold Mark McGuinness reads and discusses ‘Dover Beach' by Matthew Arnold. https://media.blubrry.com/amouthfulofair/media.blubrry.com/amouthfulofair/content.blubrry.com/amouthfulofair/87_Dover_Beach_by_Matthew_Arnold.mp3 Poet Matthew Arnold Reading and commentary by Mark McGuinness Dover Beach By Matthew Arnold The sea is calm tonight.The tide is full, the moon lies fairUpon the straits; on the French coast the lightGleams and is gone; the cliffs of England stand,Glimmering and vast, out in the tranquil bay.Come to the window, sweet is the night-air!Only, from the long line of sprayWhere the sea meets the moon-blanched land,Listen! you hear the grating roarOf pebbles which the waves draw back, and fling,At their return, up the high strand,Begin, and cease, and then again begin,With tremulous cadence slow, and bringThe eternal note of sadness in. Sophocles long agoHeard it on the Aegean, and it broughtInto his mind the turbid ebb and flowOf human misery; weFind also in the sound a thought,Hearing it by this distant northern sea. The Sea of FaithWas once, too, at the full, and round earth's shoreLay like the folds of a bright girdle furled.But now I only hearIts melancholy, long, withdrawing roar,Retreating, to the breathOf the night-wind, down the vast edges drearAnd naked shingles of the world. Ah, love, let us be trueTo one another! for the world, which seemsTo lie before us like a land of dreams,So various, so beautiful, so new,Hath really neither joy, nor love, nor light,Nor certitude, nor peace, nor help for pain;And we are here as on a darkling plainSwept with confused alarms of struggle and flight,Where ignorant armies clash by night. Podcast Transcript This is a magnificent and haunting poem by Matthew Arnold, an eminent Victorian poet. Written and published at the mid-point of the nineteenth century – it was probably written around 1851 and published in 1867 – it is not only a shining example of Victorian poetry at its best, but it also, and not coincidentally, embodies some of the central preoccupations of the Victorian age. The basic scenario is very simple: a man is looking out at the sea at night and thinking deep thoughts. It's something that we've all done, isn't it? The two tend to go hand-in-hand. When you're looking out into the darkness, listening to the sound of the sea, it's hard not to be thinking deep thoughts. If you've been a long time listener to this podcast, it may remind you of another poet who wrote about standing on the shore thinking deep thoughts, looking at the sea, Shakespeare, in his Sonnet 60: Like as the waves make towards the pebbled shore,So do our minutes hasten to their end; Arnold's poem is not a sonnet but a poem in four verse paragraphs. They're not stanzas, because they're not regular, but if you look at the text on the website, you can clearly see it's divided into four sections. The first part is a description of the sea, as seen from Dover Beach, which is on the shore of the narrowest part of the English channel, making it the closest part of England to France: The sea is calm tonight.The tide is full, the moon lies fairUpon the straits; – on the French coast the lightGleams and is gone; the cliffs of England stand,Glimmering and vast, out in the tranquil bay. And as you can hear, the poem has a pretty regular and conventional rhythm, based on iambic metre, ti TUM, with the second syllable taking the stress in every metrical unit. But what's slightly unusual is that the lines have varying lengths. By the time we get to the third line: Upon the straits; – on the French coast the light There are five beats. There's a bit of variation in the middle of the line, but it's very recognisable as classic iambic pentameter, which has a baseline pattern going ti TUM, ti TUM, ti TUM, ti TUM, ti TUM. But before we get to the pentameter, we get two short lines: The sea is calm tonight.Only three beats; andThe tide is full, the moon lies fair – four beats. We also start to notice the rhymes: ‘tonight' and ‘light'. And we have an absolutely delightful enjambment, where a phrase spills over the end of one line into the next one: On the French coast the light,Gleams and is gone. Isn't that just fantastic? The light flashes out like a little surprise at the start of the line, just as it's a little surprise for the speaker looking out to sea. OK, once he's set the scene, he makes an invitation: Come to the window, sweet is the night-air! So if there's a window, he must be in a room. There's somebody in the room with him, and given that it's night it could well be a bedroom. So this person could be a lover. It's quite likely that this poem was written on Arnold's honeymoon, which would obviously fit this scenario. But anyway, he's inviting this person to come to the window and listen. And what does this person hear? Well, helpfully, the speaker tells us: Listen! you hear the grating roarOf pebbles which the waves draw back, and fling,At their return, up the high strand,Begin, and cease, and then again begin,With tremulous cadence slow, and bringThe eternal note of sadness in. Isn't that just great? The iambic metre is continuing with some more variations, which we needn't go into. And the rhyme is coming more and more to the fore. Just about every line in this section rhymes with another line, but it doesn't have a regular pattern. Some of the rhymes are close together, some are further apart. There's only one line in this paragraph that doesn't rhyme, and that's ‘Listen! You hear the grating roar'. If this kind of shifting rhyme pattern reminds you of something you've heard before, you may be thinking all the way back to Episode 34 where we looked at Coleridge's use of floating rhymes in his magical poem ‘Kubla Khan'. And it's pretty evident that Arnold is also casting a spell, in this case to mimic the rhythm of the waves coming in and going out, as they ‘Begin, and cease, and then again begin,'. And then the wonderful last line of the paragraph, as the waves ‘bring / The eternal note of sadness in'. You know, in the heart of the Victorian Age, when the Romantics were still within living memory, poets were still allowed to do that kind of thing. Try it nowadays of course, and the Poetry Police will be round to kick your front door in at 5am and arrest you. Anyway. The next paragraph is a bit of a jump cut: Sophocles long agoHeard it on the Aegean, and it broughtInto his mind the turbid ebb and flowOf human misery; So Arnold, a classical scholar, is letting us know he knows who Sophocles, the ancient Greek playwright was. And he's establishing a continuity across time of people looking out at the sea and thinking these deep thoughts. At this point, Arnold explicitly links the sea and the thinking:                                     weFind also in the sound a thought,Hearing it by this distant northern sea. And the thought that we hear when we listen to the waves is what Arnold announces in the next verse paragraph, and he announces it with capital letters: The Sea of FaithWas once, too, at the full, and round earth's shoreLay like the folds of a bright girdle furled. And for a modern reader, I think this is the point of greatest peril for Arnold, where he's most at risk of losing us. We may be okay with ‘the eternal note of sadness', but as soon as he starts giving us the Sea of Faith, we start to brace ourselves. Is this going to turn into a horrible religious allegory, like The Pilgrim's Progress? I mean, it's a short step from the Sea of Faith to the Slough of Despond and the City of Destruction. And it doesn't help that Arnold uses the awkwardly rhyming phrase ‘a bright girdle furled' – that's not going to get past the Poetry Police, is it? But fear not; Arnold doesn't go there. What comes next is, I think, the best bit of the poem. So he says the Sea of Faith ‘was once, too, at the full', and then: But now I only hearIts melancholy, long, withdrawing roar,Retreating, to the breathOf the night-wind, down the vast edges drearAnd naked shingles of the world. Well, if you thought the eternal note of sadness was great, this tops it! It's absolutely fantastic. That line, ‘Its melancholy, long, withdrawing roar,' where the ‘it' is faith, the Sea of Faith. And the significance of the line is underlined by the fact that the word ‘roar' is a repetition – remember, that one line in the first section that didn't rhyme? Listen! you hear the grating roar See what Arnold did there? He left that sound hovering at the back of the mind, without a rhyme, until it came back in this section, a subtle but unmistakeable link between the ‘grating roar' of the actual sea at Dover Beach, and the ‘withdrawing roar' of the Sea of Faith: Its melancholy, long, withdrawing roar, Isn't that the most Victorian line ever? It encapsulates the despair that accompanied the crisis of faith in 19th century England. This crisis was triggered by the advance of modern science – including the discoveries of fossils, evidence of mass extinction of previous species, and the theory of evolution, with Darwin's Origin of Species published in 1859, in between the writing and publication of ‘Dover Beach'. Richard Holmes, in his wonderful new biography of the young Tennyson, compares this growing awareness of the nature of life on Earth to the modern anxiety over climate change. For the Victorians, he writes, it created a ‘deep and existential terror'. One thing that makes this passage so effective is that Arnold has already cast the spell in the first verse paragraph, hypnotising us with the rhythm and rhyme, and linking it to the movement of the waves. In the second paragraph, he says, ‘we find also in the sound a thought'. And then in the third paragraph, he tells us the thought. And the thought that he attaches to this movement, which we are by now emotionally invested in, is a thought of such horror and profundity – certainly for his Victorian readers – that the retreat of the sea of faith really does feel devastating. It leaves us gazing down at the naked shingles of the world. The speaker is now imaginatively out of the bedroom and down on the beach. This is very relatable; we've all stood on the beach and watched the waves withdrawing beneath our feet and the shingle being left there. It's an incredibly vivid evocation of a pretty abstract concept. Then, in the fourth and final verse paragraph, comes a bit of a surprise: Ah, love, let us be trueTo one another! Well, I for one was not expecting that! From existential despair to an appeal to his beloved. What a delightful, romantic (with a small ‘r') response to the big-picture, existential catastrophe. And for me, it's another little echo of Shakespeare's Sonnet 60, which opens with a poet contemplating the sea and the passing of time and feeling the temptation to despair, yet also ends with an appeal to the consolation of love: And yet to times in hope my verse shall stand,blockquotePraising thy worth, despite his cruel hand. Turning back to Arnold. He says ‘let us be true / To one another'. And then he links their situation to the existential catastrophe, and says this is precisely why they should be true to each other: for the world, which seemsTo lie before us like a land of dreams,So various, so beautiful, so new,Hath really neither joy, nor love, nor light,Nor certitude, nor peace, nor help for pain; It sounds, on the face of it, a pretty unlikely justification for being true to one another in a romantic sense. But actually, this is a very modern stance towards romantic love. It's like the gleam of light that just flashed across the Channel from France – the idea of you and me against an unfeeling world, of love as redemption, or at least consolation, in a meaningless universe. In a world with ‘neither joy, nor love, nor light,' our love becomes all the more poignant and important. Of course, we could easily object that, regardless of religious faith, the world does have joy and love and light. His very declaration of love is evidence of this. But let's face it, we don't always come to poets for logical consistency, do we? And we don't have to agree with Matthew Arnold to find this passage moving; most of us have felt like this at some time when we've looked at the world in what feels like the cold light of reality. He evokes it so vividly and dramatically that I, for one, am quite prepared to go with him on this. Then we get the final three lines of the poem:We are here as on a darkling plainSwept with confused alarms of struggle and flight,Where ignorant armies clash by night. I don't know about you, but I find this a little jarring in the light of what we've just heard. We've had the magnificent description of the sea and its effect on human thought, extending that into the idea of faith receding into illusion, and settling on human love as some kind of consolation for the loss of faith. So why do we need to be transported to a windswept plain where armies are clashing and struggling? It turns out to be another classical reference, to the Greek historian Thucydides' account of the night battle of Epipolae, where the two armies were running around in the dark and some of them ended up fighting their own side in the confusion. I mean, fine, he's a classical scholar. And obviously, it's deeply meaningful to him. But to me, this feels a little bit bolted on. A lot of people love that ending, but to me, it's is not as good as some of the earlier bits, or at least it doesn't quite feel all of a piece with the imagery of the sea. But overall, it is a magnificent poem, and this is a small quibble. Stepping back, I want to have another look at the poem's form, specifically the meter, and even more specifically, the irregularity of the meter, which is quite unusual and actually quite innovative for its time. As I've said, it's in iambic meter, but it's not strictly iambic pentameter. You may recall I did a mini series on the podcast a while ago looking at the evolution of blank verse, unrhymed iambic pentameter, from Christopher Marlowe and Shakespeare's dramatic verse, then Milton's Paradise Lost and finally Wordsworth's Tintern Abbey. ‘Dover Beach' is rhymed, so it's not blank verse, but most of the techniques Arnold uses here are familiar from those other poets, with variations on the basic rhythm, sometimes switching the beats around, and using enjambment and caesura (a break or pause in the middle of the line). But, and – this is quite a big but – not every line has five beats. The lines get longer and shorter in an irregular pattern, apparently according to Arnold's instinct. And this is pretty unusual, certainly for 1851. It's not unique, we could point to bits of Tennyson or Arthur Hugh Clough for metrical experiments in a similar vein, but it's certainly not common practice. And I looked into this, to see what the critics have said about it. And it turns out the scholars are divided. In one camp, the critics say that what Arnold is doing is firmly in the iambic pentameter tradition – it's just one more variation on the pattern. But in the other camp are people who say, ‘No, this is something new; this is freer verse,' and it is anticipating free verse, the non-metrical poetry with no set line lengths that came to be the dominant verse form of the 20th century. Personally, I think you can look back to Wordsworth and see a continuity with his poetic practice. But you could equally look forward, to a link with T. S. Eliot's innovations in ‘The Love Song of J. Alfred Prufrock' and The Waste Land. Eliot is often described as an innovator in free verse, which is true up to a point, but a lot of his writing in that early period isn't strictly free verse; it's a kind of broken up metrical verse, where he often uses an iambic metre with long and short lines, which he varies with great intuitive skill – in a similar manner to Arnold's ‘Dover Beach'. Interestingly, when ‘Dover Beach' was first published, the reviews didn't really talk about the metre, which is ammunition for the people who say, ‘Well, this is just a kind of iambic pentameter'. Personally, I think what we have here is something like the well-known Duck-Rabbit illusion, where you can look at the same drawing and either see a duck or a rabbit, depending how you look at it. So from one angle, ‘Dover Beach' is clearly continuing the iambic pentameter tradition; from another angle, it anticipates the innovations of free verse. We can draw a line from the regular iambic pentameter of Wordsworth (writing at the turn of the 18th and 19th century) to the fractured iambic verse of Eliot at the start of the 20th century. ‘Dover Beach' is pretty well halfway between them, historically and poetically. And I don't think this is just a dry technical development. There is something going on here in terms of the poet's sense of order and disorder, faith and doubt. Wordsworth, in the regular unfolding of his blank verse, conveys his basic trust in an ordered and meaningful universe. Matthew Arnold is writing very explicitly about the breakup of faith, and we can start to see it in the breakup of the ordered iambic pentameter. By the time we get to the existential despair of Eliot's Waste Land, the meter is really falling apart, like the Waste Land Eliot describes. So overall, I think we can appreciate what a finely balanced poem Arnold has written. It's hard to categorise. You read it the first time and think, ‘Oh, right, another conventional Victorian melancholy lament'. But just when we think he's about to go overboard with the Sea of Faith, he surprises us and with that magnificent central passage. And just as he's about to give in to despair, we get that glimmering spark of love lighting up, and we think, ‘Well, maybe this is a romantic poem after all'. And maybe Arnold might look at me over his spectacles and patiently explain that actually, this is why that final metaphor of the clashing armies is exactly right. Friend and foe are running in first one direction, then another, inadvertently killing the people on the wrong side. So the simile gives us that sense of being caught in the cross-currents of a larger sweep of history. With all of that hovering in our mind, let's go over to the window once more and heed his call to listen to the sound of the Victorian sea at Dover Beach. Dover Beach By Matthew Arnold The sea is calm tonight.The tide is full, the moon lies fairUpon the straits; on the French coast the lightGleams and is gone; the cliffs of England stand,Glimmering and vast, out in the tranquil bay.Come to the window, sweet is the night-air!Only, from the long line of sprayWhere the sea meets the moon-blanched land,Listen! you hear the grating roarOf pebbles which the waves draw back, and fling,At their return, up the high strand,Begin, and cease, and then again begin,With tremulous cadence slow, and bringThe eternal note of sadness in. Sophocles long agoHeard it on the Aegean, and it broughtInto his mind the turbid ebb and flowOf human misery; weFind also in the sound a thought,Hearing it by this distant northern sea. The Sea of FaithWas once, too, at the full, and round earth's shoreLay like the folds of a bright girdle furled.But now I only hearIts melancholy, long, withdrawing roar,Retreating, to the breathOf the night-wind, down the vast edges drearAnd naked shingles of the world. Ah, love, let us be trueTo one another! for the world, which seemsTo lie before us like a land of dreams,So various, so beautiful, so new,Hath really neither joy, nor love, nor light,Nor certitude, nor peace, nor help for pain;And we are here as on a darkling plainSwept with confused alarms of struggle and flight,Where ignorant armies clash by night. Matthew Arnold Matthew Arnold was a British poet, critic, and public intellectual who was born in 1822 and died in 1888. His father was Thomas Arnold, the famed headmaster of Rugby School. Arnold studied Classics at Oxford and first became known for lyrical, melancholic poems such as ‘Dover Beach', ‘The Scholar-Gipsy', and ‘Thyrsis', that explore the loss of faith in the modern world. Appointed an inspector of schools, he travelled widely and developed strong views on culture, education, and society. His critical essays, especially Culture and Anarchy, shaped debates about the role of culture in public life. Arnold remains a central figure bridging Romanticism and early modern thought. A Mouthful of Air – the podcast This is a transcript of an episode of A Mouthful of Air – a poetry podcast hosted by Mark McGuinness. New episodes are released every other Tuesday. You can hear every episode of the podcast via Apple, Spotify, Google Podcasts or your favourite app. You can have a full transcript of every new episode sent to you via email. The music and soundscapes for the show are created by Javier Weyler. Sound production is by Breaking Waves and visual identity by Irene Hoffman. A Mouthful of Air is produced by The 21st Century Creative, with support from Arts Council England via a National Lottery Project Grant. Listen to the show You can listen and subscribe to A Mouthful of Air on all the main podcast platforms Related Episodes Dover Beach by Matthew Arnold Episode 87 Dover Beach by Matthew Arnold Mark McGuinness reads and discusses ‘Dover Beach' by Matthew Arnold.Poet Matthew ArnoldReading and commentary by Mark McGuinnessDover Beach By Matthew Arnold The sea is calm tonight.The tide is full, the moon lies... Recalling Brigid by Orna Ross Orna Ross reads and discusses ‘Recalling Brigid’ from Poet Town. From The Rime of the Ancient Mariner by Samuel Taylor Coleridge Episode 85 From The Rime of the Ancient Mariner by Samuel Taylor Coleridge Mark McGuinness reads and discusses a passage from ‘The Rime of the Ancient Mariner' by Samuel Taylor Coleridge.Poet Samuel Taylor ColeridgeReading and commentary by Mark McGuinnessFrom...

Soprano, artiste incontournable de la scène française.Originaire de Marseille, il débute dans le groupe Psy 4 de la Rime avant de se lancer dans une carrière solo.Soprano est reconnu pour ses textes engagés, son énergie communicative et sa capacité à rassembler sur scène un public de tout âges. Ses concerts ne se limitent pas à la musique : il est entouré de danseurs, acrobates et performeurs, et propose des shows immersifs où la scénographie, les chorégraphies et la performance collective prennent toute leur place.Dans cet échange nous allons découvrir son regard sur le travail d'équipe, la scène et l'énergie qui l'entoure.

These steps are pretty confusing to me. Why would the people of Ythryn design a system like this? Or maybe it's the nature of the magic that requires it? I'm not certain, but it's too much. I'd have stopped once I found out there were eight steps to this thing. I guess that's why I'm not part of this group, right Max Hedman?Sound effects courtesy of Zapsplat.(Also, if you read this description leave a comment on the podcast saying “Wow, great job Luke!”)

Invité :Thierry Breton, ancien commissaire européen au Marché Intérieur, auteur de Les dix renoncements qui ont fait la France (Ed. Plon / Buchet-Chastel, octobre 2025)Chroniqueurs :Hadrien Mathoux, directeur adjoint de la rédaction de MarianneLouis Hausalter, journaliste politique au FigaroXenia Fedorova, journaliste et chroniqueuse sur CNewsVictor Eyraud, journaliste politique à Valeurs ActuellesAlexandre Malafaye, fondateur du think tank SynopiaHébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Rêve FM, la radio étudiante de l'ESSEC et Radio KPMG réalisent ensemble Café & Chocolat, une émission qui met l'entreprise et l'éducation sur la même longueur d'onde.Aujourd'hui, une mutation profonde s'opère chez les jeunes diplômés, qui refusent de choisir entre réussite et engagement. Mais comment passer de l'intention à l'action, conjuguer performance économique et utilité sociale, sans tomber dans le piège du "purpose washing" ?Cette émission explore ces questions à travers :Le témoignage d'Oscar Lustin, cofondateur de Domani, diplômé d'HEC et de Sciences Po, qui a créé une entreprise sociale réinventant l'habitat pour personnes âgéesNotre coup de cœur cinéma : L'Étranger de François Ozon, une adaptation du roman de Camus qui, à travers le noir et blanc et le regard sur la vieillesse, interroge notre capacité à prendre soin de nos aînés

Not these things again! Who designed these creatures?! Whoever did needs to be smote. I hope it was Auril, because she needs to be smote anyway. Hopefully our heroes make it out of this situation so they can actually fight her. Also I figured she'd be here by now, what gives? Very weird how empty this city seems to be. Right, Max Hedman?Sound effects courtesy of Zapsplat.

The haul has been secured, but how will they get it back to Bryn Shander? And what of the goblins?

A single author op-ed

Our guest reveals pioneer leaders’ differing views on Singapore’s Aug 9, 1965 split from Malaysia. Synopsis: The Straits Times’ chief columnist Sumiko Tan speaks to Janadas Devan, senior adviser at the Ministry of Digital Development and Information, on how the The Albatross File: Inside Separation sheds fresh light on the decisions that led to Singapore’s independence. Edited by Susan Sim, the 488-page volume is co-published by Straits Times Press and the National Archives of Singapore, and was launched by Senior Minister Lee Hsien Loong on Dec 7 alongside an exhibition at the National Library. Mr Janadas, who coordinated the book, explains that Singapore’s 1963 merger with Malaysia was fraught from the outset, with the 1964 race riots further straining ties. Finance Minister Dr Goh Keng Swee kept a private file he code-named “Albatross”, a reference to the bird in Samuel Taylor Coleridge’s famous 1798 poem, The Rime of the Ancient Mariner, symbolising the burden of the troubled merger. Documents inside the file range from an early Cabinet memo by Prime Minister Lee Kuan Yew to the final Separation Agreement, and includes Dr Goh’s handwritten notes of his meetings with Malaysian leaders. Mr Janadas highlights how merger with Malaysia was a fundamental aim of Mr Lee’s People’s Action Party. It is something young Singaporeans today might find hard to understand, he acknowledges. But the merger was problematic, and proposals for a looser federation eventually collapsed, derailed by unclear terms and British anxieties as Indonesia’s Confrontation was then raging. Dr Goh led the talks for Singapore, navigating sensitive issues and political tensions. Within the Singapore leadership, views differed on whether Singapore should — or could — make it alone. Dr Goh pushed for going separate ways as the best option, while ministers Toh Chin Chye and S. Rajaratnam opposed separation once they learnt of it. Mr Lee was deeply torn, but ultimately authorised the move. Within a few years, Singapore's leaders concluded that Separation was the best outcome for Singapore. Mr Janadas also reflects on his father, Mr Devan Nair, who was the only PAP MP voted into the Malaysian Parliament at the time. When the two sides separated, his father decided to stay on in Malaysia, only returning to Singapore in 1969. Highlights (click/tap above): 5:11 The political climate of the 1960s 7:59 Why young Singaporeans may struggle to understand why the PAP pushed for merger with Malaysia 9:32 Early trouble after merger in 1963; Umno lost 3 seats it contested in Singapore GE to PAP’s Malay candidates 13:13 Was a looser federation ever an option? 17:23 The role of the British as Singapore and Malaysia leaders tried to work through their disagreements 18:35 What did Lee Kuan Yew mean by making life intolerable for the Malaysian leadership? 27:35 Diverging views: Lee always wanted a looser federation but Dr Goh felt separation was the answer 32:45 How Mrs Lee says that the closest her husband came to a nervous breakdown was August 9th, 1965 39:03 Janadas on how his father, Devan Nair, refused to accept Separation at first, before being convinced by Lee to eventually return 44:32 Do Singaporeans today underestimate how fragile the nation’s early years were? Buy the book: The Albatross File: Inside Separation (Standard/Collector’s Editions) https://www.stbooks.sg/products/the-albatross-file-inside-separation-collectors-edition Book tickets to the exhibition opening Dec 8 at the National Library Building: https://thealbatrossfile.nlb.gov.sg Host: Sumiko Tan (sumiko@sph.com.sg) Read Sumiko’s articles: https://str.sg/Jbhe Sign up for ST’s weekly Asian Insider newsletter: https://str.sg/sfpz Produced and edited by: Fa’izah Sani Executive producer: Ernest Luis Follow Asian Insider Podcast on Fridays here: Channel: https://str.sg/JWa7 Apple Podcasts: https://str.sg/JWa8 Spotify: https://str.sg/JWaX Feedback to: podcast@sph.com.sg SPH Awedio app: https://www.awedio.sg --- Follow more ST podcast channels: All-in-one ST Podcasts channel: https://str.sg/wvz7 Get more updates: http://str.sg/stpodcasts The Usual Place Podcast YouTube: https://str.sg/theusualplacepodcast --- Get The Straits Times app, which has a dedicated podcast player section: The App Store: https://str.sg/icyB Google Play: https://str.sg/icyX --- #STAsianInsiderSee omnystudio.com/listener for privacy information.

Our guest reveals pioneer leaders’ differing views on Singapore’s Aug 9, 1965 split from Malaysia. Synopsis: The Straits Times’ chief columnist Sumiko Tan speaks to Janadas Devan, senior adviser at the Ministry of Digital Development and Information, on how the The Albatross File: Inside Separation sheds fresh light on the decisions that led to Singapore’s independence. Edited by Susan Sim, the 488-page volume is co-published by Straits Times Press and the National Archives of Singapore, and was launched by Senior Minister Lee Hsien Loong on Dec 7 alongside an exhibition at the National Library. Mr Janadas, who coordinated the book, explains that Singapore’s 1963 merger with Malaysia was fraught from the outset, with the 1964 race riots further straining ties. Finance Minister Dr Goh Keng Swee kept a private file he code-named “Albatross”, a reference to the bird in Samuel Taylor Coleridge’s famous 1798 poem, The Rime of the Ancient Mariner, symbolising the burden of the troubled merger. Documents inside the file range from an early Cabinet memo by Prime Minister Lee Kuan Yew to the final Separation Agreement, and includes Dr Goh’s handwritten notes of his meetings with Malaysian leaders. Mr Janadas highlights how merger with Malaysia was a fundamental aim of Mr Lee’s People’s Action Party. It is something young Singaporeans today might find hard to understand, he acknowledges. But the merger was problematic, and proposals for a looser federation eventually collapsed, derailed by unclear terms and British anxieties as Indonesia’s Confrontation was then raging. Dr Goh led the talks for Singapore, navigating sensitive issues and political tensions. Within the Singapore leadership, views differed on whether Singapore should — or could — make it alone. Dr Goh pushed for going separate ways as the best option, while ministers Toh Chin Chye and S. Rajaratnam opposed separation once they learnt of it. Mr Lee was deeply torn, but ultimately authorised the move. Within a few years, Singapore's leaders concluded that Separation was the best outcome for Singapore. Mr Janadas also reflects on his father, Mr Devan Nair, who was the only PAP MP voted into the Malaysian Parliament at the time. When the two sides separated, his father decided to stay on in Malaysia, only returning to Singapore in 1969. Highlights (click/tap above): 5:11 The political climate of the 1960s 7:59 Why young Singaporeans may struggle to understand why the PAP pushed for merger with Malaysia 9:32 Early trouble after merger in 1963; Umno lost 3 seats it contested in Singapore GE to PAP’s Malay candidates 13:13 Was a looser federation ever an option? 17:23 The role of the British as Singapore and Malaysia leaders tried to work through their disagreements 18:35 What did Lee Kuan Yew mean by making life intolerable for the Malaysian leadership? 27:35 Diverging views: Lee always wanted a looser federation but Dr Goh felt separation was the answer 32:45 How Mrs Lee says that the closest her husband came to a nervous breakdown was August 9th, 1965 39:03 Janadas on how his father, Devan Nair, refused to accept Separation at first, before being convinced by Lee to eventually return 44:32 Do Singaporeans today underestimate how fragile the nation’s early years were? Buy the book: The Albatross File: Inside Separation (Standard/Collector’s Editions) https://www.stbooks.sg/products/the-albatross-file-inside-separation-collectors-edition Book tickets to the exhibition opening Dec 8 at the National Library Building: https://thealbatrossfile.nlb.gov.sg Host: Sumiko Tan (sumiko@sph.com.sg) Read Sumiko’s articles: https://str.sg/Jbhe Sign up for ST’s weekly Asian Insider newsletter: https://str.sg/sfpz Produced and edited by: Fa’izah Sani Executive producer: Ernest Luis Follow Asian Insider Podcast on Fridays here: Channel: https://str.sg/JWa7 Apple Podcasts: https://str.sg/JWa8 Spotify: https://str.sg/JWaX Feedback to: podcast@sph.com.sg SPH Awedio app: https://www.awedio.sg --- Follow more ST podcast channels: All-in-one ST Podcasts channel: https://str.sg/wvz7 Get more updates: http://str.sg/stpodcasts The Usual Place Podcast YouTube: https://str.sg/theusualplacepodcast --- Get The Straits Times app, which has a dedicated podcast player section: The App Store: https://str.sg/icyB Google Play: https://str.sg/icyX --- #STAsianInsiderSee omnystudio.com/listener for privacy information.

In this episode I am once again joined by Duncan Barford, occult practitioner, counsellor, and author of “Occult Experiments in the Home”. Duncan begins with an analysis of the 2016 film, “A Dark Song”, which he believes is the most accurate depiction of occult practice in cinema. Duncan details the plot, breaks down its depictions of ritual, and shares his own emotional reaction to the film's climax. Duncan then shifts gear and gives a detailed explanation of the infamous Abramelin ritual, a multi-month ritual considered by many to be the most ambitious working a magician can attempt. Duncan gives a survey of the major written accounts of those who have attempted it including Aleister Crowley, Lionel Snell, and William Bloom; reveals why the ritual has such a high failure rate; and shares what he believes is the key to success. Duncan also analyses the esoteric structure of Coleridge's poem “Rime of the Ancient Mariner” and interprets it as a description of the spiritual path, proposes an equivalency between success in the Abramelin and Buddhist stream entry, and reveals why he believes the study of history is an obstacle to magickal success. … Video version: https://www.guruviking.com/podcast/ep336-the-magick-of-abramelin-duncan-barford-3 Also available on Youtube, iTunes, & Spotify – search ‘Guru Viking Podcast'. … Topics include: 00:00 - Intro 01:28 - The Magick of A Dark Song 02:45 - The film 04:41 - The Abramelin Ritual 07:23 - Cinematic depictions of magick 08:04 - Spoiler warnings and the plot 08:24 - Hiring the magician 10:03 - Sophia's motive for the ritual 11:36 - A deep understanding of how ritual works 14:40 - Describing the magickal working 17:04 - Meeting the Holy Guardian Angel 21:01 - The practitioner's journey 25:58 - Characer arcs 30:03 - The key of devotion 33:02 - The esoteric structure of Coleridge's “Rime of the Ancient Mariner” 33:34 - The cycle of insight 38:37 - Crisis, breakthrough, ordeal, union 43:38 - Unsettling themes 44:12 - Interventus Caninus 44:57 - What next after absolution? 45:33 - What is the point of the Abramelin Ritual? 46:46 - Reflecting on the ending of the film 49:39 - Crowley, Snell, Bloom, and Katz - those who attempted the Abramelin 49:54 - Mysterious history of the Abramelin Ritual 52:39 - Recensions of the Abramelin 53:56 - Duncan describes the Abramelin text and ritual 01:00:20 - Why does the Abramelin ritual have such a high failure rate? 01:02:12 - Meeting Lionel Snell 01:04:51 - A tarot reading and why history is an obstacle to real magick 01:06:53 - Daniel Ingram's revision of traditional fire kasina meditation 01:11:00 - Crowley's attempts at the Abramelin ritual 01:14:37 - Other accounts 01:16:40 - William Bloom's attempt 01:20:45 - Secret to success with the Abramelin Ritual 01:24:13 - How to increase the success rate of rituals 01:29:18 - Are you ready to attempt the Abramelin? 01:31:52 - Stream entry and Abramelin 01:34:35 - Duncan reflects on his past claims to attainment 01:37:16 - Questioning pragmatic dharma assumptions and the vogue of stream entry 01:41:00 - Insider vs outsider views 01:42:13 - Does magick really work? 01:43:31 - A story of powerful magickal effects 
… Watch previous episodes with Duncan Barford: - https://www.guruviking.com/search?q=barford To find our more about Duncan Barford, visit: - https://www.duncanbarford.uk/ … For more interviews, videos, and more visit: - https://www.guruviking.com Music ‘Deva Dasi' by Steve James

Well we've finally made it to Ythryn and I'm feeling a bit sad. At least Bastion got some form of closure. I hope he can find some kind of life after this adventure. What say you, Max Hedman?Sound effects courtesy of Zapsplat.

durée : 00:31:39 - Les Nuits de France Culture - par : Albane Penaranda, Mathias Le Gargasson, Antoine Dhulster - Par Sophie Nauleau - Avec Joël-Claude Meffre (poète, auteur de "Tique", Propos 2 Editions) - réalisation : Rafik Zénine, Vincent Abouchar, Emily Vallat

This week is all poetry—our first all-poetry week of the Immersive Humanities project! After struggling through young Werther, I decided I needed to step back and understand Romanticism as a movement. I offer a brief review of the history leading up to Romanticism; after all, most movements are reactions against what precedes them. The printing press and Protestant Reformation blew open European thought, leading to centuries of philosophical upheaval. Empiricists like Bacon and Hume insisted that knowledge must be tested; rationalists like Descartes and Spinoza trusted pure reason. Kant eventually tried to unite both. Their world gave rise to the Enlightenment—and then came the Romantics, pushing back with emotion, imagination, and nature.That's the world our poets wrote in. This week I used Pocket Book of Romantic Poetry and read Blake, Wordsworth, Coleridge, Byron, Shelley, and Keats (skipping Novalis and Hölderlin). I loved some poems, disliked others. Blake's mystical, anti-Christian tone left me cold. Wordsworth's childhood wonder won me over. Coleridge's Rime of the Ancient Mariner shocked me--it's gripping, almost epic. Byron was brilliant, scandalous, and endlessly readable. His Prisoner of Chillon might have been my favorite poem of the week. Shelley felt dreamlike and visionary, while Keats, to me, seemed talented but young. What did the world lose when he died?Reading these poets in their historical context changed everything. They're passionate, experimental, and surprisingly radical—not quaint! We are missing out when we resort to tired anthologies to get to know these poets--something that I didn't expect to feel so strongly about! Paired with Beethoven's Pastoral Symphony and Chopin's preludes, this week was a revelation.LINKTed Gioia/The Honest Broker's 12-Month Immersive Humanities Course (paywalled!)My Amazon Book List (NOT an affiliate link)That cool Medieval Science Book The Genesis of Science by James HannamCONNECTThe complete list of Crack the Book Episodes: https://cheryldrury.substack.com/p/crack-the-book-start-here?r=u3t2rTo read more of my writing, visit my Substack - https://www.cheryldrury.substack.com.Follow me on Instagram - https://www.instagram.com/cldrury/ LISTENSpotify - https://open.spotify.com/show/5GpySInw1e8IqNQvXow7Lv?si=9ebd5508daa245bdApple Podcasts -

Wow, a lot happened last time. I can understand if you need a little breather. Why not read this description to ease your mind? Reading something from a friendly perspective can help, or so I've been told. I think Logic did the right thing. I don't think our heroes had a fight in them. It would have been hard fought, and they would have lost. It couldn't have been avoided. Also those Nothic were very cryptic, weren't they? I don't know how much I can trust something with only one eye that speaks cryptically like that. The fate of a nothic is a sad one, though. I think this has been enough reading, don't you Max Hedman? I think our friends here can rest easy!Sound effects courtesy of Zapsplat.

Some audio issues in this one sorry. Oobok's body is found and with tracks leading to the south the crew move to catch up with who or what has taken the sled and its haul.

Episode 86 Recalling Brigid by Orna Ross Orna Ross reads ‘Recalling Brigid' and discusses the poem with Mark McGuinness. https://media.blubrry.com/amouthfulofair/media.blubrry.com/amouthfulofair/content.blubrry.com/amouthfulofair/86_Recalling_Brigid_by_Orna_Ross.mp3 This poem is from: Poet Town: The Poetry of Hastings & Thereabouts edited by Richard Newham Sullivan Available from: Poet Town is available from: The publisher: Moth Light Press Amazon: UK | US Recalling Brigid by Orna Ross Queen of queens, they called herin the old books, the Irish Mary.Never washed her hands, nor her headin sight of a man, never lookedinto a man's face. She was goodwith the poor, multiplied food,gave ale to lepers. Among birds,call her dove; among trees, a vine.A sun among stars. Such was the sort of womanpreferred as the takeover was made:consecrated cask, throne to His glory,intercessor. Brigid said nothing to any of this,the reverence, or the upbraidings.Her realm is the lacuna,silence her sceptre,her own way of life its own witness. Out of desire, the lure of lustor the dust of great deeds,she was distorted:to consort, mother-virgin,to victim or whore. I am not as womanlya woman as she.So I say: Let us see.Let us say how she is the one. It is she who conceivesand she who does bear.She who knitted us in the womband who will cradle our tomb-fraying. Daily she offers her arms,clothes us in compassion,smiles as we wrigglefor baubles. Yes, it is she who lifts you aloftto whisper through your ears,to kiss your eyes,to touch her coolingcheek to your cheek. Interview transcript Mark: Orna, where did this poem come from? Orna: Hi Mark. Yeah, so it's one of a collection that I'm working on, around Irish women from history and myth. And these are women that I grew up with, as a young person, receiving a sort of a typical Irish education, if you like. Orna: And so some of them are saints, some of them are mythological people. Well, saints are also mythological people! Some of them are historical figures who've been mythologized. And I just wanted to go back in and do my own exploration of each of these women because everybody else had. So I've been gathering these poems over a long time, but it actually started with this one. It started with Brigid. And Brigid is a figure from ancient Irish mythology. And she was Christianized into a Roman Catholic saint. She is the patron saint of Ireland. One of. You've probably heard of the other one. Patrick. You probably haven't heard of this one: Brigid. And, so many things have been projected on her. And it's interesting to read what, what survives of what is written about her because what's written earlier on in time is quite different to what's written later on. And she continues to be an inspiration. Her feast day is the first day of spring in Ireland, which in Ireland is the first day of February. It's much earlier than it is in England. And she's just an interesting, personification of the female virtues as they've been perceived over time. Mark: So you said she was written about differently in earlier times to more recent times, which I think is pertinent to how you're exploring that in the poem. So maybe you could just give us a brief summary of that. Orna: Yes. So I, the poem refers to ‘the takeover'. And by that, I kind of mean the Christian, but hand in hand with Christian goes the patriarchal, takeover of old images of women in general. And Brigid is part of that. So earlier, renditions about her tend to focus on her as a healer, as a wise woman, as a very compassionate person, ‘ale to lepers' is one of the, images in the poem. Whereas later versions tend to emphasize her holiness and her saintliness and, her goodness and I suppose what we would typically think is a good, religious, icon. So it's interesting just to read how that changes and differs as we go. And she also then had her detractors, which is where we get to the ideas, about women generally that are in the poem – the consort, mother, victim, whore, those kinds of ideas. You see them brushing against Brigid over time, but she comes through intact actually, as a woman in her own right. And these don't tend to stick to her as they have stuck to others. Mark: And sometimes when poets use mythological figures like this, there's a kind of a critique of, ‘Well, that's a little bit old fashioned, it's poetry with a capital P'. But reading this and listening to you, it kind of really underlines to me that mythology and religion are really quite present in Ireland. Orna: Oh, gosh, yes! The past is very present in Ireland still, in lots of ways. And. It's interesting. I suppose it's something to do with being a small island on the very edge of, in inverted commas, civilization. Although the Irish like to think they civilized Europe during the dark ages by sending our saints and our scholarship, our images of people like Brigid, the truth is that old ways lingered on a long time, and particularly the part of Ireland where I grew up. So, I grew up in County Wexford down in the small bottom right-hand corner, the very southeast tip of Ireland. Around it, there is a river and a small hill that kind of cuts that area off. And around County Wexford in general, there are larger hills and a big river that cuts Wexford off. So they tended to travel by sea more than road, people from that part of the world. And it was the first part of Ireland to be conquered the Norman conquest and, Old English lingered there right up until, well, there are still words that are used in Wexford that aren't used elsewhere. Carols and songs as well. So other parts of Ireland and, obviously England, had moved on, it but kind of got stuck there. So I'm just kind of pointing up the fact that yes, things stayed, passed on in an oral kind of culture and an oral tradition. And hedge schools and such like, long after such things had faded away in other parts of Europe. Mark: And you say Old English rather than Irish was lingering? Orna: That's right. And, because they had, well, the Normans came to England first Hastings, actually where I live now. One of the reasons I'm here, I think is that I felt a lot of similarities between here and Wexford and I think the Norman invasion in both places, it was part of that. So yeah, a hundred years after the Normans landed in Hastings, they were brought over to Wexford by an Irish chieftain to help him win one of his battles with another Irish chieftain. So English came with the Normans to Ireland. Mark: Right. And this is another amazing thing about Ireland, is the kind of the different layers, like archaeological layers of language. You've got Irish, you've got Old English, you've got Norman French, you've got Latin from the church, you've got Norse from the Vikings and so on. It's incredibly rich. Orna: Yes. More diverse, I think. And again, because of its cut off nature, these things lasted longer, I think, because that's also true of England, but the overlay is stronger and so they don't make their way through. Mark: Right, right. And the ghosts can peep through. So, okay, that's the historical cultural context. What does Brigid mean to you and why did you choose her as the first figure in this sequence? Orna: She chose me, I think. I very much feel this poem, you know, some poems are made and some arrive and this one arrived. I wanted to do something to celebrate her. That was all I knew because it was the first day of spring, which I always loved, that first day of February. You know, when winter is really beginning to bite and you feel, I mean, there is no sign of spring except some crocuses maybe peeking up and, uh, a few spring flowers making a little promise. But usually the weather is awful, but it's the first day of spring and it's, been a really important day for me from that point of view. And then the fact that it does, you know, the fact that Patrick is such a great big deal everywhere and Brigid isn't known at all. So that's kind of where I started and I just knew I'd like to write a poem. And then it was one of those ones that I, if I had set out to write a poem about Brigid, I don't think this is what I would have written. It just arrived. And I found that I was thinking about lots of things and as the first poem of this sequence, I wanted to say some of the things about womanhood in the poem, and I, well, I realised I did, because that's what emerged. So for me, it's very much about that kind of quiet aspect of, so, you know, we've got feminism, which talks very much about women's rights to do whatever it is they want to do in the outer world. But for me, she, in this poem, represents the inner, the quiet virtues, if you like, always there for us. We're not always there for them, but they're always there and active in our lives all the time, and I wanted to celebrate that in the poem. So that's what, you know, I got, the rough draft just came pouring out, and that's what I found myself wanting to bring out. Mark: And the title, ‘Recalling Brigid', you know, I was thinking about that word ‘recalling', because it could mean ‘remembering', but it could also mean ‘calling' or ‘summoning'. Orna: Yes, deliberately chosen for both of those meanings, yes, very well spotted there, poetry reader. Mark: Well, you know, this is a very ancient function of poetry, isn't it? And it's where it kind of shades into charm or spells, to summon, or invoke a spirit or some kind of otherworldly creature or being. Orna: Absolutely. I think you've got the heart of what the poem is trying to do there. It is about calling forth, something, as I say, that's there, that we're all, you know, is there for all of us in our lives, but that we're not always aware of it. And our culture actively stifles it, and makes it seem like it's less important than it is. And so, yes, very much exactly all the words, the beautiful words you've just used there. I was hoping this poem would tap into that. Mark: Very much. And, you know, the beginning, ‘Queen of Queens, they called her'. So presumably this is in the old pre-Christian days, ‘they called her'. So there's that word ‘calling' again, and you give us the kind of the gloss, ‘in the old books, the Irish Mary'. And then you introduce the takeover: ‘such was the sort of woman / preferred as the takeover was made:' And then you get the other version. And then you've got: ‘Brigid said nothing to any of this,' which I think is really wonderful that she keeps – so you've gone from ‘they' in the past, ‘what they called her'. And then Brigid keeping her own counsel about this. She said nothing to any of this, ‘the reverence, or the upbraidings'. And then we get you where you say, ‘I am not as womanly / a woman as she. / So I say: let us see. / Let us say how she is the one. // It is she who conceives, and she who does bear.' Lovely, beautiful repetitions and shifts in there. So you really, you step forward into the poem at that point. Orna: I really wanted to, to place myself in relation to, to her and to all the women in this collection. Which isn't out yet, by the way, it's not finished. So I've got another three to go. No, I really wanted to place myself in relation to the women in the poems. That was an important part of the project for me. And I do that, you know, lots of different ways. But this poem, the first one is very much about, I suppose, calling out, you know, the ‘recalling' that you were talking about there a few moments ago, calling out the qualities. That we tend to overlook and that are attributed to Brigid as a womanly woman. And so, yeah, that's, that's what I was saying. I'm more of a feminist woman who is regarded by some as less womanly. so there is a, that's an interesting debate for me. That's a very interesting, particularly now at this time, I think, it's very interesting to talk about, you know, what is a feminist and what is feminism. And I personally believe in feminisms, lots of different, you know, it's multiple sort of thing. But these poems are born of a, you know, a feminist poet's sensibility without a doubt. So in this first one, I just wanted to call out, you know, the womanly virtues, if you like. Mark: Yeah. So I get a sense of you kind of starting as a tuning fork for different ideas and voices, calling her different things. And then you shift into, ‘Let us see. / Let us say…' I love the description earlier on where you said it's a celebration because by the end of the poem, it really is. It's all her attributes, isn't it? ‘It is she who conceives / and she who does bear.' And so on. Again, how easy was it for you to let go and, and, and step into that? Because it's kind of a thing that it's a little bit, it's not what we associate with modern poetry, is it? Orna: No, not at all. Not at all. But I had to ages ago, give up on modern poetry. If I wanted to write poetry, I had to drop so much, so much that I learned, you know, English Lit. was my original degree. And, you know, I, I was in love with poetry from a very young age. So, I learned everything I could about everything. And then I had to drop it all because I didn't write, I didn't write any poems between the end of my teens and my early forties when I lost a very dear friend. And then when I went on, shortly afterwards to, develop breast cancer. So those two things together unlocked the poetry gates and poems came again. And the kind of poems that came, very often were not, poems that they're not fashionable in that sense. You know, they're not what poetry tends to be. And from that point, in our time, if you like, some are, some, some do come that way, but an awful lot don't. And, for that reason, I'm just so entirely delighted to be able to self-publish because they speak to readers and say they communicate. And to me, that's what matters. And I don't have to worry about being accepted by a poetry establishment at all. I don't spend any time whatsoever thinking about that. I work at the craft, but I, it's for myself and for the poem and for the reader, but not to please anybody that, you know, would be a gatekeeper of any kind. Mark: Well, some listeners will know this – you are very much known as a champion of opportunity and diversity in publishing for writers and self-publishing, independent publishing, however you call it. But I think what I'd like to focus on here is the fact that, you know, by writing a poem like this, you highlight the conventions that we have in modern poetry. And it's easy to see the conventions of the past, but maybe not so much the ones in the present. And I love the fact that you've just sidestepped that or ignored that and written the poem that came to you. Orna: Yes. Yes, very much did and do. And like I said, I don't spend, I did at one time spend time thinking about this, but I spend absolutely no time now thinking about this at all. Mark: That's so refreshing to hear! [Laughter] Orna: No, it's, it's great. It's certainly a liberation. I think very much about the poem and what the poem needs and wants from me. And I make mistakes. I, you know, I don't do well on some poems. I go back, rewrite, sometimes years later, sometimes after they're published. so yeah. It's not that I don't think about form or structure or, you know, all of the things that poets think about but I only think about the master, you know, is the poem itself or the reader possibly or the communication between the bridge between me and the reader, something like that. But yeah, it's liberating for sure. Mark: And how did that play out in this poem? I mean, how close is this to the original draft that came to you? Orna: It's one of the poems that's closest to the original. It kind of arrived and I didn't want to play with it too much at all. So yeah, it, I just left it be. I let it be what I wanted to be because for me there are echoes in this poem as well of Old Irish poetry and ways of writing. you know, that if you, I don't know if you've ever had the pleasure of reading Old Irish poetry in translation? Mark: Yes. Orna: So, you know, that sense of I'm reading something from a completely different mind. It's, it isn't just that the, you know, the structures are different or whatever. It's like the whole mind and sensibility is something else. And that was one of the things I wanted to slightly have to retain in this poem. You know, I felt that it, it carries some of that forward and I wanted to, to leave it there as an echo. Mark: Yeah. Quite a lot of those Old Irish poems have a kind of a litany, a list of attributes of the poet or their beloved or the divine being that they're evoking. And that comes across very strongly here. Orna: Yeah, definitely. That's sort of a list of, which to the modern ear can sound obvious and, you know, just not poetry really. So yeah, I think that's one of the qualities that it carries. Mark: And I love the kind of the incantatory repetitive thing. Like I was saying about the, ‘So I say: let us see. / Let us say', and then ‘It is she… It is she… she who', you know, it just carries you along. It's got a hypnotic quality to it. Orna: Yes. And the she part, you know, the emphasizing the feminine, I suppose, touch of the divine feminine, but very much the physical feminine, and activities as well. So, you know, women held the role of birth and death very much in Irish culture again, up to really quite recently. I remember that, in my own youth and okay, I am getting on a bit, but, it's still, you know, it was quite late in time where, women did the laying out for burial. They did the keening of the, the wake, all of that. I remember very well. so at the beginning and end of life at the thresholds, if you like, that was a woman's job. And, that was lost, I think in the takeover. But I still think all the emotional labour around those thresholds are still very much held by women, you know, silently and quietly. And yeah, Brigid doesn't shout about it, but in this poem, I want to call it. Mark: Yeah. Recall it. Okay. And then let's go back to Hastings, which we touched on earlier, because this, okay. It's, it's going to be in your collection. It's been published in a wonderful anthology poetry from Hastings called Poet Town. Tell us a bit about that book and how you came to be involved. Orna: Yeah. So I heard about it and, Richard [Newham Sullivan] wonderful, poet and, publisher and general literary person. He now lives in New York, but he grew up in Hastings and lived here for many years. And it was a kind of a homesickness project he told me later, for him just. But he carried the idea in his mind for a very long time. He wanted to, he knew that there was an incredible, poetic history in Hastings, which people were not aware of. So Hastings is very well known. Hastings and St. Leonard's, where I live, both are very well known as arty kind of towns. Visual arts are very, very visible here, and all sorts of marvellous things going on, and music as well, there's brilliant Fat Tuesday music festival every year, but there's also, there's classical music, music in the pubs, music coming out your ears, literally. But very little about the literary life that goes on here, and lots of writers living here. And so Richard wanted to just bring forward the poetry side of that. And so he decided it's a passion project for him. He decided to, he worked with the publisher, a small publisher here, in Hastings for it. It's Moth Light Press. And he set out to gather as many living poets into one collection as he could. And this is where I was interested because as, I'm a historical novelist as well, so history is big for me, and I was really interested in the history, you know, the history and the poets who had lived here. There were quite a few. It's not every day you find yourself in an anthology with Lord Byron and Keats, and, two Rossetti's! So that was a joy, discovering all the poets who, had a connection to Hastings back to, I think he went back to the early 1800s with it. So, yeah, it's been a huge success, and, people are loving the book, and it has really brought poetry, brought pride, I think, to the poetry community in the town, which is lovely. Mark: Yeah, I'm really enjoying it, and I love the fact that it's got the old and the new. Because, of course, that's what I do here on A Mouthful of Air. I always think the ghosts of poetry past are always present in the work of the living. I hadn't realized what a deep and rich poetic history Hastings had. So, yeah, Poet Town, a great anthology. Do check that out while you're waiting for Orna's sequence to come to light. And Orna, thank you so much for sharing such a remarkable poem and distinctive take on the poet's craft. And I think this would be a good point to listen to the poem again, and appreciate your praise and celebration once more. Orna: Thanks so much, Mark, for having me. I really enjoyed it. Thank you. Recalling Brigid by Orna Ross Queen of queens, they called herin the old books, the Irish Mary.Never washed her hands, nor her headin sight of a man, never lookedinto a man's face. She was goodwith the poor, multiplied food,gave ale to lepers. Among birds,call her dove; among trees, a vine.A sun among stars. Such was the sort of womanpreferred as the takeover was made:consecrated cask, throne to His glory,intercessor. Brigid said nothing to any of this,the reverence, or the upbraidings.Her realm is the lacuna,silence her sceptre,her own way of life its own witness. Out of desire, the lure of lustor the dust of great deeds,she was distorted:to consort, mother-virgin,to victim or whore. I am not as womanlya woman as she.So I say: Let us see.Let us say how she is the one. It is she who conceivesand she who does bear.She who knitted us in the womband who will cradle our tomb-fraying. Daily she offers her arms,clothes us in compassion,smiles as we wrigglefor baubles. Yes, it is she who lifts you aloftto whisper through your ears,to kiss your eyes,to touch her coolingcheek to your cheek. Poet Town: The Poetry of Hastings & Thereabouts ‘Recalling Brigid' is from Poet Town: The Poetry of Hasting & Thereabouts, published by Moth Light Press. Available from: Poet Town is available from: The publisher: Moth Light Press Amazon: UK | US Orna Ross Orna Ross is an award-winning poet and novelist. Her poetry, rooted in Irish heritage and mindfulness practice, explores love, loss, creativity, and spiritual renewal through a female lens. As founder-director of the Alliance of Independent Authors (ALLi), she champions creative freedom for poets and writers. Her forthcoming collection, And Then Came the Beginning—Poems of Iconic Irish Women, Ancient and Modern—is available for pre-order at OrnaRoss.com/TheBeginning. A Mouthful of Air – the podcast This is a transcript of an episode of A Mouthful of Air – a poetry podcast hosted by Mark McGuinness. New episodes are released every other Tuesday. You can hear every episode of the podcast via Apple, Spotify, Google Podcasts or your favourite app. You can have a full transcript of every new episode sent to you via email. The music and soundscapes for the show are created by Javier Weyler. Sound production is by Breaking Waves and visual identity by Irene Hoffman. A Mouthful of Air is produced by The 21st Century Creative, with support from Arts Council England via a National Lottery Project Grant. Listen to the show You can listen and subscribe to A Mouthful of Air on all the main podcast platforms Related Episodes Recalling Brigid by Orna Ross Orna Ross reads and discusses ‘Recalling Brigid’ from Poet Town. From The Rime of the Ancient Mariner by Samuel Taylor Coleridge Episode 85 From The Rime of the Ancient Mariner by Samuel Taylor Coleridge Mark McGuinness reads and discusses a passage from ‘The Rime of the Ancient Mariner' by Samuel Taylor Coleridge.Poet Samuel Taylor ColeridgeReading and commentary by Mark McGuinnessFrom... Alchemy by Gregory Leadbetter Episode 84 Alchemy by Gregory Leadbetter Gregory Leadbetter reads ‘Alchemy' and discusses the poem with Mark McGuinness.This poem is from: The Infernal Garden by Gregory LeadbetterAvailable from: The Infernal Garden is available from: The publisher: Nine Arches...

durée : 00:05:20 - C'est une chanson - par : Frédéric Pommier - Jusqu'au 11 janvier 2026, on peut voir au théâtre de la Contrescarpe à Paris son adaptation pour la scène du roman de Romain Gary "La Promesse de l'aube". Au micro de Frédéric Pommier, le comédien & metteur en scène Tigran Mekhitarian évoque "Comme une bouteille à la mer" du groupe Psy 4 de la Rime. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Okay so those guys came out of nowhere. Maybe they'll know where the hostages are? I hope we can find them soon. I worry for poor little Toe's life. He's truly the best of us, wouldn't you agree Max Hedman?Sound effects courtesy of Zapsplat.

A stand-off in a snowy campsite with a man suspected of murder. It was all over before it begun.

Oh, so Bastion is like GETTING his memories back. That's good…I hope. What if we find out Bastion's master was actually evil? Or Bastion is some kind of time bomb? I'm not sure I like this dungeon anymore. Max Hedman, can you please play me something to soothe my soul?Sound effects courtesy of Zapsplat.

It all starts with the group face-to-face with a man suspected of murdering 3 people. It also ends that way, but I promise laughs and dice rolls happen between those two points.

In the start of our second arc of Season 7, the second team of Knights including Delleth, Jerrick, Sarsa, Saeleas, and Randall, head up to the northern town of Rimeharbor where they learn that people are going missing and learn some cold hard truths about one of their own.  Featuring Carlos Guzman-Verduga as Delleth Jen Stopper Crespo as Sarsa Matt Messerman as Saeleas Jeff Frank as Randall Zach Stones as Jerrick  and  Chris Daily as the DM   All the links: linktr.ee/rolledtable See Character Art on Instagram @rolledtable and our Discord Art by Chris Daily @dungeonheads Music by Weston Gardner @arcaneanthems Support their patreons! And third party creators!

What a nasty, nasty vampire. Good thing our Bastion had sunlight! It truly came in clutch. It's almost like he was made for this dungeon..which would be impossible. What do you mean this is where he's from? Oh man, this must be a blast from the past for him. You got any songs to go with that, Max Hedman?Sound effects courtesy of Zapsplat.

With a new campaign about to begin we felt it was best to go over some game rules, introduce the characters, and set the scene for Rime of the Frostmaiden.

The post From The Rime of the Ancient Mariner by Samuel Taylor Coleridge appeared first on A Mouthful of Air.

In this episode Greggy welcomes Ryan from Indiana to the podcast to talk about his Rime of the Frostmaiden campaign and the Talespire VTT.Links to things we talked about: https://store.steampowered.com/app/720620/TaleSpire/https://talestavern.com/Yes! Michigan! with Mitch and with Greggy

Oh Finger, what can I say about you? Not much really. You seemed like a good guy, and I'm sorry you had to go the way you did. Perhaps this is what Bastion needs to push himself forward. I guess we shall soon find out, eh? Mad Hedman, let's play a song in remembrance of a real one.Sound Effects courtesy of Zapsplat.

The October 28 edition of the AgNet News Hour tackled the global marketplace head-on, as hosts Nick Papagni and Josh McGill examined how trade policy, retail pricing, and foreign imports continue to shape the future of California farming. From beef and blueberries to almonds and freight logistics, the hour underscored that California's agriculture industry is both resilient and under siege. The program opened with updates on the Argentine beef dispute. The hosts replayed comments from Ethan Lane of the National Cattlemen's Beef Association, who discussed concerns that Argentine imports could drive down U.S. cattle prices just as producers begin recovering from pandemic-era losses. Lane emphasized that while the Trump administration's beef stabilization plan offers promise—focusing on herd rebuilding, processing expansion, and grazing access—import balance is crucial. “We can't afford to flood the market with foreign beef while our ranchers are still healing,” he said. Later in the show, Papagni caught up with Issa Kanda of FMC at the CAPCA Conference in Reno. Kanda described 2025 as “challenging but optimistic,” noting stable prices for walnuts and almonds, and a record pistachio crop. He highlighted FMC's portfolio of pest control tools for permanent crops, including Rime fungicide, which has shown 99% control of the new Red Leaf Blotch disease in almonds. “We can't let our guard down,” Kanda said. “Timing, scouting, and precision applications are everything.” At the FIRA USA Ag Automation Show in Woodland, the focus turned to innovation and labor challenges. Cameron Allison of Wild Goose Farms, a major blueberry grower from Florida, said he attended to explore automation that could offset rising labor costs. “Blueberries are still handpicked in most of the country,” Allison said. “We're racing to develop machines that can pick ripe fruit and leave the green ones. It's the next frontier.” He added that competition from Mexico and Peru continues to undercut U.S. growers, and urged stronger lobbying and retail accountability to keep domestic fruit viable. Papagni and McGill followed up with a passionate discussion on the role of retailers in the crisis. “You can't expect California farmers to compete with countries where water, labor, and safety standards are nowhere near ours,” McGill said. Papagni added that it's time for grocery chains to support domestic producers through fair pricing and seasonal sourcing campaigns. “If you can charge a premium for local or organic, you can do the same for California-grown,” he said. The hosts agreed that while foreign trade can fill seasonal gaps, the system is unbalanced. “We can't keep importing cheaper fruit and meat year-round and expect our own farmers to survive,” Papagni said. “It's not about protectionism — it's about fairness.”

The Rime of the Ancient Mariner by Samuel Taylor Coleridge (1798) vs The Raven by Edgar Allan Poe (1845)

Okay, I did NOT see that coming. Finger becoming a vampire? Or at least I assume he's a vampire if he's sucking on rats. He could just really have a thing for rat blood. It's good that Bastion was the one to find him though, no? As a person without blood he's pretty much the most qualified to handle such a creature. What do you think, Max Hedman? Spooky, right?Sound effects courtesy of Zapsplat.

Talk about a deus ex machina (am I using that correctly?) there at the end. Though I guess our heroes could have mopped up the remainder of the Reghed nomads. At least now we have more Tall Tree! This party is getting pretty big! I hope this doesn't mean combat will take longer though. What say you, Max Hedman?Sound effects courtesy of Zapsplat.

Arianna Di Pietro"Mamma ti volo bene"Ape Juniorwww.apejunior.it"Per nove mesi ho guidato fiera una magnifica mongolfiera. Nel cielo del mondo volava sospinta da un soffio profondo: la mia fiamma amore di mamma". Cinquanta rime per raccontare la maternità con uno sguardo unico e sempre curioso. Rime che parlano di una donna che resta fedele a sé stessa, che non smette di cercare, di imparare, di guardare il mondo con gli occhi di bambina. Perché i figli, presto o tardi, prendono il volo, ma anche le loro mamme possono imparare a volare. Non per perdersi, ma per ritrovarsi più ricche, più sagge e al tempo stesso più leggere. Una raccolta da sfogliare e risfogliare, condividere, leggere ad alta voce e portare per sempre nel cuore. Età di lettura: da 6 anni.Arianna Di Pietro, madrelingua di “filastrocchese” fin da piccola, nasce a Roma nel 1985. Nel 2010, consegue la laurea specialistica in Lettere e Filosofia presso l'università La Sapienza di Roma e, in seguito, un master in glottodidattica per l'insegnamento dell'italiano per stranieri presso l'università per stranieri di Siena. Parallelamente, si diploma in “Drammaturgia, recitazione e messa in scena” presso l'Accademia Teatrale dell'Orologio, dove inizia un percorso autoriale che la porta a riadattare per il teatro grandi classici della letteratura come “Le mille e una notte”, “I racconti di Edgar Allan Poe” e “Macbeth” per bambini. Tra il teatro e l'insegnamento, non trascura la sua passione per la mitologia, nata sui banchi del liceo classico, finché, nel 2020, pubblica in self-publishing “Storie in rima dei Supereroi di prima”, la sua prima raccolta di filastrocche sui miti greci per bambini.  “Tocco il cielo con un mito” è la sua prima opera edita.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Recorded Tuesday, 23rd of September 2025. Ben Jonson's claim that "Greek was free from Rime's Infection" has echoed for centuries, although rejected by some. Leon Wash (Classics) revisits the debate, sharing striking evidence of rhyme in ancient Greek, including a poem about beer among the Celts. Learn more at www.tcd.ie/trinitylongroomhub

Je najvyšší čas sa rozhodnúť či tento štát chceme. Ak ho naozaj chceme, je najvyšší čas začať na tom pracovať, hovorí šéf Inštitútu sociálnej kohézie Pavol Kosnáč. Z čoho pramení narastajúca polarizácia spoločnosti a prečo sme tak málo odolná spoločnosť?Miera polarizácie slovenskej spoločnosti dramaticky narastá. Naopak, miera dôvery rapídne mizne. Atentát na premiéra, predtým dvojnásobná vražda pred LGBTI klubom v Bratislave, ale už sú tu i vraždy- či vynútené samovraždy, na školách.Kde sa to celé zastaví a čo to o nás vlastne vypovedá? Vieme kto sme a kam chceme smerovať? No a hlavne, chceme to vôbec vedieť?Chýba nám to, čomu Fíni hovoria "Sisu", teda odolnosť, vnútorná sila a odhodlanie čeliť náročným situáciám. Vedomie toho, kto sme a čo stojí za to brániť, hovorí šéf Inštitútu DEKK. Nemáme žiadny spoločný príbeh, za ktorým by sme stáli my všetci, celé spoločenstvo. No a nielenže sa na takomto príbehu vôbec nevieme zhodnúť, ale my ho dnes už ani nehľadáme. Víťazia polarizačné algoritmy sociálnych sietí, krátkozraká konfrontačná politika a klanová mentalita. Takto odolná spoločnosť nevyzerá, tvrdí Pavol Kosnáč.Aka veľka je miera polarizácie našej spoločnosti a prečo u nás rastie počet ľudí, ktorí sú ochotní siahnuť až ku krvavým a násilným riešeniam? Čo ich k tomu vedie a do akej miery sa démonizácia oponentov prelieva do každodennej reality? No a kde je tá povestná hranica zlomu, v ktorej sa to môže pretaviť až do občianskej vojny? Kto to živí a kto nesie kľúčovú zodpovednosť, ale najmä: Ako to zastaviť a zvrátiť?Na Slovensku približne každý tretí človek rozviazal osobné vzťahy kvôli názorovým nezhodám a zhruba polovica rodín sa doma o kontroverzných témach radšej ani nerozpráva pretože by to mohlo viesť až k rozpadu ich rodinných väzieb, tvrdí Kosnáč.Počúvate Ráno Nahlas, pekný deň a pokoj v duši praje Braňo Dobšinský.

Je najvyšší čas sa rozhodnúť či tento štát chceme. Ak ho naozaj chceme, je najvyšší čas začať na tom pracovať, hovorí šéf Inštitútu sociálnej kohézie Pavol Kosnáč. Z čoho pramení narastajúca polarizácia spoločnosti a prečo sme tak málo odolná spoločnosť?Miera polarizácie slovenskej spoločnosti dramaticky narastá. Naopak, miera dôvery rapídne mizne. Atentát na premiéra, predtým dvojnásobná vražda pred LGBTI klubom v Bratislave, ale už sú tu i vraždy- či vynútené samovraždy, na školách.Kde sa to celé zastaví a čo to o nás vlastne vypovedá? Vieme kto sme a kam chceme smerovať? No a hlavne, chceme to vôbec vedieť?Chýba nám to, čomu Fíni hovoria "Sisu", teda odolnosť, vnútorná sila a odhodlanie čeliť náročným situáciám. Vedomie toho, kto sme a čo stojí za to brániť, hovorí šéf Inštitútu DEKK. Nemáme žiadny spoločný príbeh, za ktorým by sme stáli my všetci, celé spoločenstvo. No a nielenže sa na takomto príbehu vôbec nevieme zhodnúť, ale my ho dnes už ani nehľadáme. Víťazia polarizačné algoritmy sociálnych sietí, krátkozraká konfrontačná politika a klanová mentalita. Takto odolná spoločnosť nevyzerá, tvrdí Pavol Kosnáč.Aká veľká je miera polarizácie našej spoločnosti a prečo u nás rastie počet ľudí, ktorí sú ochotní siahnuť až ku krvavým a násilným riešeniam? Čo ich k tomu vedie a do akej miery sa démonizácia oponentov prelieva do každodennej reality? No a kde je tá povestná hranica zlomu, v ktorej sa to môže pretaviť až do občianskej vojny? Kto to živí a kto nesie kľúčovú zodpovednosť, ale najmä: Ako to zastaviť a zvrátiť?Na Slovensku približne každý tretí človek rozviazal osobné vzťahy kvôli názorovým nezhodám a zhruba polovica rodín sa doma o kontroverzných témach radšej ani nerozpráva pretože by to mohlo viesť až k rozpadu ich rodinných väzieb, tvrdí Kosnáč.Počúvate Ráno Nahlas, pekný deň a pokoj v duši praje Braňo Dobšinský.

Okay so like I'm not the only one mad about those kobolds, right? Like I feel like that was just unfair. Personally. Where did these three come from, anyway? I mean I guess the mine. But still. Bastion wasn't even there for those quests! Why was he punished?? Max Hedman, can you make it make sense to me?Sound effects courtesy of Zapsplat.

So Auril is the absolute worst, we can all agree on that. Gods she makes me so angry. Why does she even want the Dale? No one wants to worship her here. Go somewhere else! There are plenty of people who will worship you…just not here! Max Hedman this makes me so mad. I really could just explode.Sound effects courtesy of Zapsplat

What a blow! Finally! Good news for ONCE!! Gods I am so excited I could just scream. Without her Roc, Auril can't make the rime, right?? This is monumental. Max Hedman, break out the brandy! We're celebrating tonight!Sound effects courtesy of Zapsplat.

Oh boy… this is the moment we have been waiting for folks. Auril is front and center and ready to fight. I wish our heroes had gotten more of a rest, but it is what it is at this point. I have faith that they will pull through! They've beaten everything thrown at them so far…well majority of them have at least. What do you think, Max Hedman? Want to place bets?Sound effects courtesy of Zapsplat.

Aujourd'hui, Abel Boyi, éducateur et président de l'association "Tous Uniques Tous Unis", Barbara Lefebvre, professeure d'histoire-géographie, et Emmanuel de Villiers, chef d'entreprise, débattent de l'actualité autour d'Alain Marschall et Olivier Truchot.

These tests are so brutal. I get that Auril is an evil goddess, but come on! Also these all seem very dependent on time frame. What happens if someone comes here in a week? Do they repeat these same tests? Probably not I would imagine. But then what are the tests?? It's all so confusing. Right, Max Hedman?Sound effects courtesy of Zapsplat.

To get live links to the music we play and resources we offer, visit www.WOSPodcast.comThis show includes the following songs:Lauralie - Think About Woman FOLLOW ON SPOTIFYJessica Woodlee - Exit Interview FOLLOW ON SPOTIFYLibby Ember - Alibi FOLLOW ON SPOTIFYShairis - Eden Never Saw FOLLOW ON SPOTIFYClancy - i killed my therapist FOLLOW ON SPOTIFYKailey Conner - Existential Dread FOLLOW ON SPOTIFYSobi - Superstar FOLLOW ON SPOTIFYMozaandNancie - Goodbye FOLLOW ON SPOTIFYJemily Rime - I Don't Think About You FOLLOW ON SPOTIFYLittle Warrior - A Thousand Deaths (By Different Knives) FOLLOW ON SPOTIFYNatalie Groves - Time to Choose Myself FOLLOW ON SPOTIFYClare Cordell - Big Girl FOLLOW ON SPOTIFYLauren Spring - Self Soother FOLLOW ON SPOTIFYBENTO - Paralyzed FOLLOW ON SPOTIFYdaisy - WILD CHILDS FOLLOW ON YOUTUBEFor Music Biz Resources Visit www.FEMusician.com and www.ProfitableMusician.comVisit our Sponsor Profitable Musician Newsletter at profitablemusician.com/joinVisit our Sponsor Cathy Wood at cathywoodmusic.comVisit our Sponsor 39 Streams of Income at profitablemusician.com/incomeVisit www.wosradio.com for more details and to submit music to our review board for consideration.Visit our resources for Indie Artists: https://www.wosradio.com/resourcesBecome more Profitable in just 3 minutes per day. http://profitablemusician.com/join

I…I don't know what to say. These tests were bad. Auril is not a good goddess. If our heroes weren't heroes I'd be fine with everything. But they are. And those tests were ostensibly non-heroic. It's just a lot to take in I think. Max Hedman, let's go somewhere to contemplate everything.Sound effects courtesy of Zapsplat.

This week, join Kate as she returns to form (2+ hour early BTI5-style rambling) by going through an old PowerPoint she found on her computer about Taylor Swift's evolution from diary-style songwriter to mythological storyteller through increasingly complex literary references. From "Love Story" fairytale princess to The Albatross and Cassandra the cursed prophet, how has Taylor deliberately written herself into literary archetypes as both artistic strategy and psychological self-defense? TLDR; a chaotic TS deep dive with a (hopefully) entertaining payoff about why our "crazy" fan behavior might actually be anthropologically normal.Topics covered:The difference between symbolic self-portraiture and literal autobiographyGreek gods vs. monotheistic religious figures (and why it matters for fandom behavior)Guillermo del Toro's quote about Taylor's "deep interest in fable and myth"Why "Mastermind" is more about childhood loneliness than strategic planning"The Albatross" and the Rime of the Ancient MarinerWhy treating artists like gods can be dehumanizing in the name of protectionFinding self-acceptance and/or collective empowerment at pop concertsA bathroom floor monologue about fairytales and personal authorityAnd so much more!Enjoy!TRACK FIVE CHICAGO is on Saturday, July 19. Get your tix here!Order Kate's NYT Bestselling book, One in a Millennial here!Text or leave a voicemail for Kate at 775-HEY-BETH!To pick up my amika favorites, go to loveamika.com/bethereinfive. And for the rest of July, amika is giving Be There in Five listeners a one-time use code for 20% off your first order. Yes, that is TWENTY PERCENT OFF from now through July 31. Just go to my page at loveamika.com/bethereinfive and use code BETHEREINFIVE at checkout. Thanks to amika for supporting the show!Get ready for Cozy Days! Don't miss your chance to score Cozy Earth's biggest discount of the year. From July 11–13, head to cozyearth.com and use code BETHEREINFIVE to get 45% off best-selling, temperature-regulating sheets, apparel, and more. Don't forget, this deal ends on July 13! For better sleep and a cooler summer, what's stopping you? Sleep cooler, lounge lighter, stay cozy at Cozy Earth.(if you listen after July 13, you can get 40% off with code BETHEREINFIVE!)For a limited time get 40% off your first box PLUS get a free item in every box for life. Go to Hungryroot.com/bethereinfive and use code bethereinfive. That's Hungryroot.com/bethereinfive, code bethereinfive to get 40% off your first box and a free item of your choice for life.Head to nordstrom.com to build your Marc Fisher Footwear wish list now, and shop premium styles at an exceptional value online and in-store starting July 12th!Get healthy, glowing skin for summer with clean, vegan face and body care from OSEA. Get 10% off your first order sitewide with code BETHEREINFIVE at OSEAMalibu.com. You'll get free samples with every order, and free shipping on orders over $60. Head to OSEAMalibu.com and use code BETHEREINFIVE for 10% off.Don't settle for less than evidence-based support. Get 25% off your first month at ritual.com/BETHEREINFIVE. Start Ritual or add Essential Prenatal to your subscription today. That's ritual.com/BETHEREINFIVE for 25% off.