Podcasts about Shining

he show prepares for the inevitable fact that HK might not survive his camping adventure, but it doesn't stop Tony, HK, and Brundo from moving forward! The guys cover Saturday Nights Main Event and SummerSlam, AEW and Revolution, JCW, and more. Plus, Brundo ends the show with another edition of Blind Rankings. The post Shining Wizards Episode 803: Bimbo at the Bar appeared first on Shining Wizards Network.

Are you shining as a vessel God can use? In this devotion from 2 Timothy 2:20 and Matthew 5:14-16 (KJV), Pastor Roderick Webster of Good News Baptist Church reminds us that God places His treasure in ordinary earthen vessels — men and women He calls to shine in a dark world.You might be asking: What does it mean to be a vessel the Master needs? Does God really want to use someone like me? How do I let my light shine when life feels heavy? Can my good works actually point people to God?Here is what this devotion covers:- God places His treasure of grace and love in earthen vessels — ordinary people like you- All may not preach, but every believer is called to shine in a dark world- Your light illuminates your good works and reflects glory back to the Father- A vessel of honor is one that is purged, sanctified, and prepared for every good work- You are either a vessel of honor or dishonor — the choice is yoursIf this devotion blessed you, please like, leave a comment, and share it with someone who needs to be reminded they are a light. Subscribe so you never miss a word from the Word.#WordsFromTheWord #KJV #BibleDevotion #ChristianLiving #GoodNewsBaptistChurchStay connected with GNBC:

On the #amwriting podcast's Margin Notes, host Jennie Nash talks with Caroline Bicks, Stephen E. King Chair in Literature at the University of Maine and co-host of the Everyday Shakespeare podcast, about her book Monsters in the Archives: A Year of Fear with Stephen King. Bicks describes how she became the first invited into King's Bangor archives after King called to meet her, and how her sabbatical became a year of researching five formative works (including Carrie, Night Shift, The Shining, Salem's Lot, and Pet Sematary) to understand how horror language creates lasting fear. She explains choosing a first-person narrative that blends literary criticism, archival discovery, and her own anxiety, including eerie moments in the archive and insights into King's word-level edits, literary influences, and Shakespearean foundations, especially The Shining's ties to Hamlet.#AmWriting is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.Read the Book* Monsters in the Archives by Caroline BicksTranscriptJennie: [00:00:00] Hi, I'm Jennie Nash, and you're listening to the #amwriting podcast, the place where we help writers of all kinds play big in your writing life, love the process, and stick with it long enough to finish what matters most. Welcome, everyone. This is Margin Notes, the part of the podcast where we're talking about the big decisions writers face in their work and creative lives.I'm here today with a super special guest. I'm so excited to speak with Caroline Bicks. She is the Stephen E. King Chair in Literature at the University of Maine, where she teaches courses in Shakespeare, early modern culture, and horror fiction. And she's the author of all kinds of very cool books ... about Shakespeare, including one on cocktails.Um, and, uh, is the co-host of the Everyday Shakespeare podcast, and we are here today to talk with her about her new book called [00:01:00] Monsters in the Archives: A Year of Fear with Stephen King. Welcome.Caroline: Thank you. Thanks for having me.Jennie: So this is gonna be the strangest interview you've probably ever done. ICaroline: don't know.Because- I've talked to a lot of people around the world about this Stephen King book.Jennie: I couldn't read your book. I, I couldn't read it. I can't read horror. Yeah. Which listeners of this podcast are gonna laugh about, ‘cause I'm actually coaching someone live and they're writing gothic horror, and they're probably like, “All you talk about is horror, Jennie.”But, um, it's actually the reason why I wanted to talk to you, because you made a decision in the writing of this book that I thought was super cool. Mm. Which was you put yourself in it.Caroline: Yeah.Jennie: And you're a scholar.Caroline: Yeah.Jennie: And you've written scholarly books, and you approach this with a scholarly perspective, but you, you really put yourself in it.And, and so [00:02:00] I was reading it for that part of the story and I had to skip over huge chunks of, of the, of the work. Because what you're doing in this book is you're getting at this question of- W- what, what is scary in writing? Like, how does it actually work? How does it act- what is the magic or the function that makes us feel this thing?And you actually feel it yourself while you're going through it, and I found it quite terrifying actually. So, um, that's kinda what I wanted to talk about is how did you make the decision? Well, first of all, you were the first person, I wanna make sure I get this right, ‘cause this is very cool. Yeah. You were the first person who was invited to the archives, the Stephen King archives.Caroline: Yeah. I mean, it's, it's a bit of a story, so I won't spend too much time on it, but just the mo- Oh, no, do. It's good ... when I ch- when I took this position... So I've been a Shakespeare professor my whole adult life, ba- as soon as I graduated from grad school in the late ‘90s, [00:03:00] and I was at Boston College for 15 years.I took this position at University of Maine nine years ago as a Shakespearean. Um, so it is an endowed chair in Stephen King's name because he's our most famous alum. So when I took the position, I, it was because I'm a Shakespearean, not because I'm a horror specialist. Um, I had always been a Stephen King fan since I read him when I was 12, and he scared the beje- Jesus out of me, um, with The Boogeyman story.Jennie: Right.Caroline: Um, so when I took this position though I was told, “You're never gonna meet Stephen King. Don't even make contact with him.” I'm like, “Fine, you know, this is still a great job. I'm excited.” Um- ThanksJennie: for the money. Yeah.Caroline: Thanks for... You know, no, it's a wonderful fund. It was funded by the Harold Alfond Foundation, and it's to support the public humanities, which is an incredible mission.So, um, I get to give money away to people. You know, it's a great, great position, but I was not a horror specialist. And particu- a- and as an adult, I actually wasn't reading horror because it scares me too much. You know? Yeah, yeah. Um, but it had grabbed me when I was a teenager. So it was about four years into the [00:04:00] job when I got a call at home from Stephen King, which just, uh, uh, my jaw hit the floor.And he said, “You know, I think it's time we meet.” I'm like, you know, I, I really fan-girled because I really, I have so much admiration for him and respect. Um, I invited him to come talk to our students. He was brilliant, generous, funny, kind, and I felt so at ease that I felt like I could ask... You know, and I got to know him professionally.We had a good professional relationship that developed from there. When I had a sabbatical year coming up the next year- I could have written another Shakespeare book. I had another one in my head. I've written a bunch of them but I knew that he and Tabitha had just collected all of his manuscripts and put them in a climate-controlled space attached to their home in Bangor, and I thought, “You know, this is an incredible opportunity.I would love to dig in there and be the first one in there, and just read those early drafts of the books that scared me so much when I was a teenager, and try to just explore why. Why were they sticking in my head still?” Um, again, I am not a specialist in... I'm not a cognitive scientist. I'm not a [00:05:00] specialist in horror literature, but I'm obviously highly trained in how to do literary analysis and how to do archival work, not Shakespeare, because we don't have any of his works, but, you know, I, I understand what that process is.So back to your question about why I wanted to bring myself into it, which was, you know, I had been experimenting with first-person storytelling after I got tenure. You know, ‘cause it's a long process, Kate. Right. And most of my writing had been academic writing, but I really had always loved storytelling And I got a piece into the Modern Love column.I started to have some success with publishing my first-person stories, and I was like, “You know, I love this.” So when I had this opportunity to go into his archives, they generously said yes, was amazing. I thought, “You know, I really wanna tell this story. I don't wanna write an academic book. I want this to be the story of a literature scholar, but really the story about a scared kid.”Jennie: Yeah.Caroline: You know, you, you never lose that scare, you know, I don't... This is the thing. Fear has stuck with me with those stories [00:06:00] for 40 years. So I was fascinated, and I just wanted to understand how he had crafted the language so that it was sticking in my head still. Because when I was talking to people around, you know, whenever you mention Stephen King to people, you know, if they've read him, they remember specific lines and specific words, and I was like, “That's an extraordinary, um, 50 years on to have that power.”So, um- Well- Anyway. Yeah. Go ahead. I, I could talk about this forever, so you tell me- Oh, no, it's- ... where you wanted to pick up from this.Jennie: It's so good. Well, I have to tell you this funny anecdote, which is that my college roommate was from Bangor, Maine, and babysat his kids in that house.Caroline: Oh, that's insane.Jennie: So when I went to visit her, she drove me by that house.There you go. And I was like, “Oh, hell no- Yeah ... would I ever babysit in that house.” Like, it's-Caroline: It's ‘cause it's like a gothic, it's like straight out of Haunting of Hill House ...Jennie: actually, and like these spiderweb gates that, and you describe that in the [00:07:00] book and, and the- Yeah ... archives are in that house. They'reCaroline: in the house.They're attached to the back. I know. And it, it was so, it was, it was insane. It was like a full-on 360 experience writing this book. Um, and I, I knew, like, so I did the research for a year. I didn't even know if this would be a book. I just knew I wanted to have the opportunity to be in there because it, I knew it was a great opportunity, and I was so curious, you know?Yeah. So I, I came out of the year with just tons of notes and observations, but I didn't have a book, you know? Yeah. And then I started experimenting with writing a chapter, and I just, the storytelling just came forward and then when I got an agent and she, you know, s- I, I, I was able to get a contract based on a proposal and that one chapter I had written and I was really fortunate to have a fabulous editor, David Ebershoff, at Hogarth, who is just such a wonderful writer himself, and he really encouraged me to bring my voice in and bring my story in even [00:08:00] more.Um, so that's- And- ... that's the story of that.Jennie: Was it hard for you as a scholar to do that?Caroline: You know what? It was so freeing and so fun that it actually wasn't, you know? Because I, I knew this wasn't going to be an academic book, so once I let go of that- Yeah ... um, I was like, wow, I have the, and yet I have this skill set I can bring forward, and I knew that's what would make this unique.Um, but I can combine my two favorite ways of writing, ‘cause I do actually love writing literary criticism. Like it's, I get a thrill out of it. I wouldn't be doing it this long if I didn't get a thrill out of it, but I also love telling my own stories and drawing a reader in. And so for me it was like just a circus carnival.Like it was so fun to be able to do it. Once I had the permission and I had a contract, I was like, fine, you know? I, I, who am I writing this book for? I'm writing it for me, you know? Like this is just something I wanna do because I'm so passionate [00:09:00] about it and I, and I love Stephen King. And, um, once I got into it that way and wasn't thinking about who's gonna criticize me for this, like how will academics view this, I was like, I don't care.I just don't care. I know I've got a great story to tell that people are gonna love to read because there's so many people that love not just Stephen King, but people who love reading about how great books get written, you know? Yeah. And so that was the audience I had in my mind when I, when I was crafting it.It was really, in my mind, anybody who cares about books and writing. It doesn't have to be... So when you say, you're not the first person who's said to me, “I can't read your book,” or, “I can't read-” Oh, I'm so glad. “... Stephen King books,” you know, and I'm like, “That's okay. You can skip, you know, the parts that really scare you,” because there's plenty about just like that first chapter I wrote about Pet Sematary, just his sticky notes back and forth with his copy editor, which is so fun I think.You know, it's just like, wow.Jennie: Totally. Yeah. But the thing that you do is you- Allow yourself to confront that fear-Caroline: Yeah ...Jennie: [00:10:00] that, that I feel that the people can't, that can't read horror feel. You know, anybody that even allows themselves to be scared feels. And-Caroline: Yeah ...Jennie: and you, you do some very specific things, um, which I, I found fascinating, including tracking down on eBay the original copy of that book you read as a- Yeah, I wanted-as a teenager.Caroline: Yeah, that was part of the process for me, was I wanted to make sure I was reading... So before I would go into the archives for each work, and I'd spent like two... I only picked five, because I wanted to... First of all, I knew I wanted to make this personal. Um, and those were the five that scared me the most when I was a teenager.So I grew up in the ‘70s and the ‘80s as a teenager, so for me, it was in real time when the books were coming out practically. So it was- Yeah ... Carrie, Night Shift, The Shining, Salem's Lot, Pet Sematary. Um, I'm forgetting one of course. Uh, but I went -Jennie: The other one.Caroline: The other one. Had a huge impact on me. [00:11:00] So it was those five, and I, I knew those were the ones I was gonna do a deep dive into, and that I wanted to really re-engage with, and bring my whole self to.So I wanted to find the copies that I had read in the ‘70s and the early ‘80s. And fortunately, it's pretty easy to find them. Uh, so yeah, but eBay sometimes I had to go on, or go into a used bookstore and, you know, find the like actual 1979 paperback, you know.Jennie: Um- I mean, that- Um ... I just, there's some, there's so much to say about that because-Caroline: YeahJennie: like, I just, um- We, we just had a new bookcase built, um, which is something I've wanted to do well for eight years in this house. But it's a thing I've always wanted to have, which is like a grand bookcase, and it just was finished last week, and we had all the books packed up in storage, and we brought all the books back.Then we went through this discernment process of what goes [00:12:00] on those shelves. And I, you know, I had all those books from when I was a kid, even when I was a kid-kid, and they're yellow, and moldy and falling apart, and the covers aren't on, and they're taped and-Caroline: Yeah ...Jennie: eh, but I cannot let them go-Caroline: Yeah ...Jennie: because those...that was the object.Caroline: That's the object. This is what I feel sad for kids now, because they're not gonna have those same memories, um, of books. Yes. You know? And I don't think they stick in your head the same way if you don't have the full sensory embodied experience with a book.Jennie: Right. You know? Even when you open...I read on Kindle, which I love for so many reasons. Yeah. But you don't even see the cover.Caroline: You don't see the cover, right. And for me, it's so much. Like, I remember going to the Scholastic Book Fair and being like- Yes ... “I'm getting Summer of My German S- Soldier because Christy McNichol's on the cover,” you know?Yes. Yes. So yeah, that was part of the journey for me was I did wanna just [00:13:00] reconnect with those books again, try to h- and as much as you can, you know, reexperience the feelings of f- like The Shining, I actually... the only one I still have from 1977 is the actual Shining that I read. Um, and that's, for me, that woman in room 217.Well, I know you haven't read it ‘cause you're probably... What? But, um, it, that particular one I still have from, from when I was growing up. Um, and I love that I still have it, and it still has the photo... You know, it's the version that has the photo inserts that includes the Kubrick film photos. Oh, okay.Jennie: Okay.Yeah, yeah.Caroline: And I read it before I saw the film, so I remember being- 15 reading it and then seeing the pictures and being like you know? And that's part of the experience, but it wasn't, it's different than seeing the film, you know? And I really, I wanted to write this book as a love letter to language and to books, and not to film.Like, there's, that's a whole other category I think that enters people's brains in totally different ways. It's a very different experience. For me it's about, like going back to your original question [00:14:00] about like why, why, why do stories cause fear, and like what's the value perhaps in that? Yeah. That was something I came to after this long journey really, and talking to people and thinking about why.And also by understanding and reading more about Stephen King's books and talking to him about them, and realizing for him how much these stories are rooted in personal experiences or fears of grief and loss. And- Yes ... that was really profound for me. And like The Night Shift, which is the ur-text that I start with, ‘cause that's the one I read when I was 12, and that's his first collection of short stories.It came out in 1978. It's 20 short stories. But he ends it with a story about his mother dying, and it's, I mean, it's thinly veiled autobiography. It's about a man who's watching his mother die in the hospital. Um, but it's clearly a mirror of his own experience losing his mother when he was 26. And I'm like, wow, what's that doing in a collection of horror stories?[00:15:00] And it's like, what? ‘Cause that is of course, at least for me and I think for a lot of people, that's the core fear we first have, is that where's mommy, right? Yeah. Right? You lose the person who's in charge of taking care of you, and if you're lucky, does it well and with care. Um, but even if it's not, like Carrie, you know, the more I was looking through the Carrie drafts, I was like, right, he's really homing in on Carrie calling out for her mother even though her mother's terrible and abusive to her, right?So it's, there's just this, I don't know. It's a long way around to say I think horror, and he writes about this really eloquently, is a way for us to metabolize our deepest fears. Um, and to look at trauma not head-on but sideways. Um, and he writes about that, um, a number of different places in a really powerful way.He's just such an extraordinary human. You know, he's been thinking about this and for so long.Jennie: Yeah. Yeah. So, so your willingness to [00:16:00] confront that, those particular fear, fears in your own self and on behalf of the reader, really puts you in it. I mean, like you, there's a really lovely moment where you are reading I think it's, I think it's Pet Sematary, reading the actual book, and you have to turn it over so you- Yeahdon't see, like on your nightstand so you don't see the cover. I'mCaroline: scared, I'm scared of the cover, right, still.Jennie: Yeah.Caroline: Yeah.Jennie: And then there's moments, se- several where you're driving And you're sort of holding your breath while you drive past a place that he writes about or, or- Mm-hmm ... you know, um, well you have to tell the story, I'm sure every interviewer asks you about the, um, the doorknob in the archive.You have to, like, I was-Caroline: Yeah, not too many people have asked me about that, but I'm like, that to me was the scary moment-Jennie: Wait, shut up ... the most, theCaroline: most sturdy. I'm like, wh- uh, why did that happen? But of course, I mean, there's a reason why it happened. It's, it's, it [00:17:00] automatically locks if, you know, the, if you- Okaydon't lock it So let's, let's play- So but it just happened that we were inside the archive room. It was me and, and Julie Ugli, who is their assistant, who was helping me through this whole process. And I know, and I was, like, literally holding the first page of the first draft of The Boogeyman, the story that had scared me so badly when I was 12, about a monster that comes out of closets, and we're like in this room.And the, the archive room, it actually, it almost feels like a closet. It's not huge at all. You know, it's just-Jennie: Yeah ...Caroline: top to bottom, ceiling to floor stacked shelving with, you know, boxes of materials. And yeah, and we were in there, and I'm holding the first page, and the lock closes on its own. It just goes...And I'm like, I'm looking at Julie, I'm like, “What is, what's happening?” We don't have our cell phones with us. I'm like, “Are we stuck in here? Like, what's gonna happen?”Jennie: In the scary archive- In this, I was terrified ... in the back of the scary house. Like-Caroline: I know, I know. It was like, you can't make this stuff up.That's why I was like, I [00:18:00] couldn't wait, when I finally got a chance to write the book and sit down and write, I was like, I can't wait to tell these stories, because they just... I, I'm not a fiction writer. Like, I, I have such mad respect for- I don't know about that ... well, I've m- We'll see I don't know. I have mad respect for people who can write fiction.For me, I only can write what I know and exper- So I'm like, ah. But these stories were just so amazing. Or like when I was reading The Shining, like the first draft of The Shining, which is crazy. I mean, it's so different from the published version. And like getting to the woman in room 217, and like reading th- and literally my head w- like I thought I was having a stroke.Like it was like, like... And it's like, and then I find an interview where Stephen King writes about how he was scared to go back to that scene when he was revising it, the book, because he was dreading it. And I was like, oh, my God, have I just like had some kind of telepathic experience with Stephen King?Like- Right ... across time, space, and yeah, it was amazing.Jennie: Well, yeah. I mean, [00:19:00] it's just, um, uh, I actually made myself go through the whole book skipping giant chunks.Caroline: I feel so badly I put you through this.Jennie: I know. I, I feel like why, I kept saying, “Why? Why did I think this was a good idea?” Um, and it- I mean, even just tangentially, I, I don't know.It's interesting. I have, I'm sure you have this too, anybody who reads a lot or spends a lot of time with words, you have a capacity to sort of pay half attention, if that makes sense.Caroline: Mm-hmm.Jennie: Um, like you c- could sort of look at it without letting it all the way in. Yeah. But I, I just was, I just was riveted by the thread of, of your story and your putting yourself through that as a scholar and a human.But, but then some really cool things happen, and I, and I have flagged, um... Do you, [00:20:00] w- would you mind reading a tiny piece? It's- No, not at all ... it's on page 82, and it's the p- the paragraph that starts, “These manuscripts.”Caroline: Yeah.Jennie: That would be amazing.Caroline: Absolutely. So this is actually the moment I just described to you, where my head was like, I got...Oh, actually, I had just discovered the last 150 pages of the original Shining manuscript in a random folder in the archives, and I was like, “What is this doing here?” And I was getting obsessive about the manuscripts at this point, clearly- Yeah. Yeah ... just like the main character in The Shining, Jack Torrance, who gets obsessed with the manu- with the papers in the basement of the Overlook Hotel.But here we go. “These manuscripts are definitely getting into my head, and not just its rational part. In his memoir, when King describes books as being a uniquely portable magic, he doesn't specify what kind of magic. What if manuscripts can absorb and store more than just ink and words? [00:21:00] What if their pages can pass on dark energy along with dark stories?Ghosts have more than one way of making sure their stories are heard, of ensuring that the past is not forgotten, but rather pressed into our minds, even if we wrench our heads off the pillow and refuse to listen.” And that last is a reference to my, I used to see a ghost when I was five, and I write about that in the book too.Jennie: I mean, when I read that, I was like, “That's, that's me.” Like, these ghosts and horrors are pressing themselves into my mind, and I'm refusing to listen, and they still, they still do. And, um, King's stories in particular are so iconic, you can't really escape them. Like, you, you know the scenarios, you know the characters, you know-Caroline: YeahJennie: you know. And, and so it was interesting for me reading this book that that described my [00:22:00] experience where I was both repelled and magnetized at the same time.Caroline: That's beautiful the way you just put that. I mean, I think that is exactly our relationship also, of course, to our own fears. You know, again, what makes these stories endure, and I didn't go into this book thinking like, “This is a book about promoting Stephen King,” and, you know- Rightlike, I don't work for Stephen King. I just want to put that out there. Right. He, you know, he graciously agreed to let me go into the archives. He's been very generous about answering all my questions I had about the manuscripts, but he never at any point was like, “You can't say this,” or, “This is how you're supposed to say this.”So, but what I came away with after this process was exactly what you're describing, why we need these stories, why they endure, actually, is because they tap into our very real human fears. It's not about the monsters. It's about the grief and loss that's coming for all of us if we live long enough, you know?So you, and you have to at some point confront that, you know? So if it's- Yeah ... you can [00:23:00] try to run away from it, but it's coming, and that's part of being human. That's the human experience, obviously. Not to be glib, but it's like-Jennie: Yeah ...Caroline: you will experience loss. You will experience grief. And if these stories help you metabolize that or have a cathartic experience with that feeling without having to actually experience your worst fear, right?Um, like Aristotle says, it's cathartic, right? It's you watch a play, a, a tragedy because you experience a catharsis.Jennie: And did you, did you get to that in your own process?Caroline: That's a really good question. Um- You know, I, I think I became more aware of it. You know, I am, you know, and I write about this very openly in the book, that I was an extremely anxious little kid, um, which is part of why I think the boogeyman triggered me in the particular way it did, you know.Um, and that I grew into a pretty [00:24:00] anxious adult, you know? Yeah. I think anxiety is one of those things that, you know, I... Again, I was born in the ‘60s, so we didn't have this language for this back then. Like, my parents wouldn't have known to call me an anxious child, you know? Right. They probably would've said, “Oh, she's shy,” or, “She's whatever.”Um, so I think I, you know, like, and I as an adult, I think I've, I've found ways to manage it pretty well, but I am definitely a control freak. Like, that's part of how I manage it. I shouldn't use that language, but you know, it's like I, I like to just control what I can control, and that makes me feel that I can put the anxiety at bay.So I will say I think it's been interesting for me, Nick, now when I have those moments that are my worst fear moments that sometimes still will creep up on me just even though when I think I've figured it out, like doom s- doom scenarios. I tend to go to doom scenarios. So, like, if I can't reach... Uh, I will say Life360 has been, like, the best invention on the planet for me-with my two kids [00:25:00] and my husband. I'm like, “I know exactly where everyone is.” Yeah. It has saved me a lot of worry. Sometimes Life360 doesn't work, or sometimes a person still doesn't answer the phone, and then I have to manage my anxie- And then it's like... So I will say it's been interesting going through this process and having to confront or revisit the core of what scares me and, like, why that impacts, you know, why certain moments come forward for me still.So I think, yeah, I think it has helped me to a degree. Like, I can recognize it more clearly now. I'm like, “Oh, right, that's why I'm scared of that,” you know? Um-Jennie: That's so cool.Caroline: Yeah.Jennie: And it feels like that's the, the, um, the transformation in the book is you're exploring how that actually works and the language and the stories.Mm-hmm. But you're, you're also exploring how it works in your own self, how it did when you were young, how it does now- Yeah ... these moments when you're scared. So it- Mm-hmm ... there's such [00:26:00] a depth to it and, I mean, I just, uh, even in my half reading of it, I just loved it. Thank you. And, um, there's something that happens That's kind of crazy, which is, so you're a Shakespeare scholarCaroline: Mm-hmmJennie: And I ha- I, I know from reading Steve, a- about Stephen King, from reading his book On Writing, of course, and, um, interviews and such that, uh, I'm, I'm probably gonna say this in a disrespectful way, and I don't mean it to be so, but the, the easiest way I can describe it is that he's always had sort of a chip on his shoulder that he's just a popular writer and not taken seriously in a literary way.Mm. I don't know if that's, if that is fair to say, but that's how I'm saying it. Uh,Caroline: yeah.Jennie: And, um, what, what I found incredible was that [00:27:00] here comes this Shakespeare scholar into his archives doing proper scholarly archiver, arch- archival work, and there's this moment when you begin to see Shakespearean themes in his, in his work, and you can't ignore it, and particularly in, in Carrie and- Yeahparticularly around exactly the thing you were wrestling with, which is like a young girl's- I don't know, sense of, of not being fitting in the world or, um-Caroline: Yeah ...Jennie: right? And so that, um, there's, on page, since you have the book in your hand, um, I think it's pageCaroline: 202. Mm-hmm.Jennie: And it refers back to that passage you just read about portable magic.It's the one that's I remembered.Caroline: [00:28:00] Right. Okay. So this is going back to when I first was, um, I was in the final round of the job for the Stephen E. King Chair in Literature, and I was working on a book about Shakespeare's, the girls in Shakespeare's plays and world and teenage girls and their cognition.Like, the how were people during Shakespeare's day thinking about girls' brains? Yeah. So I'd been working on this for 10 years. Um, and then I was getting ready to give my job talk. This was the first time Stephen King and Shakespeare came together for me, and it was getting ready, and this, again, this is an authentic story, like write what you know.So I was getting ready for the job talk. I remembered that King's 1974 novel, Carrie, featured a 16-year-old girl whose telekinetic powers are unleashed when she gets her first period in the school shower. I started rereading it, and within a few pages came across an uncanny phrase. When she's walking home after being dismissed early, Carrie feels her brain flexing in a new way, [00:29:00] as if her powers have been waiting below the surface for her to reach, quote, “mental puberty.”I couldn't have wordsmithed this dynamic cognitive change better myself. In the last part of my job talk, I used the phrase to connect the brain work of Juliet Capulet, who's described as being two weeks away from seeing the change of 14 years, to Carrie's newly activated adolescent mind. It felt like a moment of pure portable magic between Stephen King, Shakespeare, and me.Jennie: Ugh, so beautiful.Caroline: Oh, thank you. Yeah. I mean, that was just so gobsmacking. Like, when that happened, I was like, I ca- I can't believe it, but yeah.Jennie: And then, now I may be getting some of the things wrong here, but then you- You realize, is it Carrie that, that you realize he was, you thought he was emulating a play, a Shakespeare play?Caroline: I think you're thinking of Shining. I mean, definitely at the end of the Carrie [00:30:00] chapter I return to, I did notice echoes of Macbeth, and I was convinced that that must have been what he was thinking about. And, and what's funny is, so one of the conversations I got to have with him, I mean, he's so generous with his time, one of my last conversations with him was about the end of Carrie, and that's a book that he actually doesn't like very much.You know, it was his first published novel, he was 26, and he's like, “I think that was written by a young man who thought he knew more than he did.” So he's, it's not a book that he goes back to. He recognizes it's important, and it's important to him, but, ‘cause it started his whole career, his whole trajectory.Um, but he didn't particularly, he hasn't returned to it. Yeah. So that was a fun chance for me to sort of talk to him and say, “Hey, you know what? I think you should maybe go back,” ‘cause it's it's, there's a lot of Shakespeare in there. Anyway, but the Shining chapter, what was fascinating, so there's this first draft, which I, I write a lot about, called The Shine, that's in the archives, with a totally different ending.Um, and when I looked at it, [00:31:00] he'd also divided it into acts and scenes, like Roman numeral acts and little- Mm ... Roman numeral scenes. And I was like, “This, what is this? This is like a Shakespeare play.” Like, that's what it looked like. And then sure enough, I found out he was imagining, he was thinking of a Shakespeare tragedy when he wrote The Shining.And that was the first moment where I was like, “What? This is insane.” Like, this- Yeah ... like, ob- obviously that became, for me, the story I wanted to tell about that particular set of manuscripts, was sort of uncovering, like, what's the Shakespeare play? Like, what's the tragedy? And I didn't wanna ask him because I didn't want- I wanted to go in with my mind clear, like, of any outside influence.I just wanted to see what my Shakespeare brain, because I'm so embedded in Shakespeare. I also have a Shakespeare podcast I do with my best friend. Like, we're, I'm always thinking about Shakespeare and how it relates to everyday life. You know, and so I'm like, “Well, how does it relate to The Shining?” Which is, like, an ur-American text.Like, this, like, say what you want about horror, [00:32:00] like- I'd be shocked if people don't know what The Shining's about, even if they haven't read it even if they haven't seen the film. Like, you probably know something about The Shining, right? Right. So I was like, if there's a Shakespeare tragedy at the foundation of this, you know.And here's the thing about Stephen King that I came to learn, again, reading all of his notes and finding these edits, and I did find traces of Macbeth in the first draft of The Shine, um, that he ended up taking out. So I was like, “Oh, is it Macbeth? It feels like it could be Macbeth.” There's so many things it has in common with it, with hallucinations and with baby bashing.And, you know, all of these horrible things that are in Macbeth are certainly in that book. Um, but I really wanted to go in, like, just on an adventure, like, see what I saw. So I didn't ask him which chi- tragedy until I was fully done with all my research and I felt like I had it all done. And that's when he drops that he was thinking of Hamlet.And once he said that, of course, it became so ... I mean, I [00:33:00] had seen traces, there were references to Ophelia that also didn't make it into the final published draft. So you wouldn't know this. This is the beauty of archival work, like you're gonna see things that other people will never know about unless you tell the story.That's why I felt so passionate about this. Like, “I need to tell people-” Yeah ... “that Ophelia was in the first draft, that he was thinking of Ophelia.” ‘Cause of course, you know, again, even if you don't know The Shining, the woman in the tub, the woman in the bathtub, like a drowned woman in a tub, like ah, Ophelia.Yeah. Like Ophelia's another one of those ur, like she's so, she's such a part of our cultural air, right? I mean, like no matter what country you're in. Right. There's a reason Taylor Swift has a whole, you know, song The Fate of Ophelia. Like people know what that means. Um, so I was like, “Oh my gosh, this is, this is incredible.This is even deeper than I thought it was gonna be.” Um, but also it made me appreciate how much that book is about intergenerational trauma. Um, and it's not ... So he doesn't like the Kubrick film [00:34:00] for reasons that, you know, a couple different reasons. One is that it flattens out the character of Jack Torrance, and Jack Torrance is an abused child himself, and he passes on that abuse to his son, Danny, right?Um, but you wouldn't know that from Kubrick's film. While Hamlet, of course, is about a father's ghost coming forward. Like, “The past is a ghost,” King writes, which is so f- powerful, right? Um, here's this ghost saying, “You need to kill for me.”Jennie: Yeah.Caroline: Yeah. And that's what happens to Jack. Yeah, so anyway, that's a long way to say that wasEach chapter was my favorite in different ways, but that one I loved being able to do the deep Shakespeare dive.Jennie: And was that ... You know, so I started that question by saying I, I had heard or understood or maybe inferred that, um, you know, King himself had this sort of desire- Okay ... to be taken more seriously.Was that, that must have been, I don't know, powerful for both you and him, uh, to [00:35:00] come to that? Not like, “Oh, you're the only person that's ever made him feel that way” or-Caroline: Yeah,Jennie: no,Caroline: I agree ... or agree with that, but. Like I, yeah. And, um, I mean, I will say I think part of the reason he was always really ... I mean, first of all, he's just so generous, and any writer who's ever worked with him has the same experience.Like he just gives his time. He just loves writing and writers so much that he will just, he'll just t- like any email I would send him, he'd write back in like an hour with a response. The part about how he feels about academia, you know, and I never directly asked him that because I didn't wanna ... You know, if he wanted to bring it up, great.But I think- Yeah ... my, after going on this journey with him, he clearly loves talking about- literature. He's the most well-read person I've ever met. I'm just gonna say that hands down. Like, the guy reads- Really? ... cons- constantly and if you read his early works, like even when he was 17, he wrote The Long Walk, okay, which just came out as a film, [00:36:00] and in that, he's citing T.S.Eliot, he's cit- he's citing Poe at 17. Okay? So he's, he, he, this, he comes by this honestly. He's not just trying to seem smart. Like, he literally is constantly reading and it's clear when you read his manuscripts or when you read his published books, he's making references to all, whether it's Shirley Jackson or Wallace Stevens or, you know, uh, he's so capacious in his knowledge of literature.And, like, just a couple months ago, he sent me an email, I don't, I can't remember, we were talking about something about Salem's Lot, and he was like, “Yeah, when I was writing Salem's Lot,” which again, this is 1975 when he's writing Salem's Lot, so that's a long time ago. He's like, “I was really into James Dickey's poetry.”Jennie: Whoa.Caroline: You know, who was an American no, you know, poet laureate. Uh, he's like, “And I was reading everything I could read of, of his and then I read Deliverance, and then I went back to his poetry, and that really impacted how I wrote the chapters [00:37:00] about the Lot,” which if you've read Salem's Lot, has some very lyrical, poetic chapters about the town, like, “The town knew about darkness.The town had its secrets and knew how to kept it.” And then he, like, sends me the entire poem that he was thinking about that James Dickey wrote. So I mean, it's, he's, and it's not performative. He's not, like, he has nothing. He doesn't need to prove anything to me, you know?Jennie: Right, to anyone, yeah.Caroline: He just literally loves, he loves literature.Like, this guy, he loves poetry. I mean, he actually writes poetry. He wrote poetry as an undergraduate. Uh, it was actually the core start for him of The Stand, was a poem he wrote called The Dark Man one day when he was, like, hungover in the school, like, cafeteria. Like, so it's like he, he's been thinking about literature and living with literature and, uh, since he was a teenager, if not earlier.His mom brought him, uh, Bram Stoker out of the public library when he was nine, so I mean, the guy- Whoa ... ‘cause he asked for it. He asked for Dracula. [00:38:00] I wasn't reading Dracula when I was nine. Were you? I mean-Jennie: No,Caroline: no. I was reading Little House on the Prairie. I mean-Jennie: Yeah. Yeah, exactly. Wow. Wow. So- I mean, this book, again, it's called Monsters in the Archives: My Year of Fear with Stephen King by Carolyn Bicks.It's just incredible, whether you're a King fan, whether you're a horror fan, um, but for sure for all writers, which are all our listeners. If you can, if you can bear it.It's very specific, um, a very specific- specific exploration of, of how good writing works really. Yeah. Right. And, and how you... You know, there's always that perennial question of how do you get emotion on the page? How do you make your reader feel something? And you, you show it very specifically, and I wanted so badly [00:39:00] to, to get into the details, and I, and I, I just, I just couldn't.Um, maybe someday, but, um, I just, I just can't recommend it enough for, for, um, this audience and, um, you know, anyone who's interested in any of these things we've talked about.Caroline: Thank you so much. I really appreciate that. And I will say, like, the Pet Sematary chapter, which is the first one, that was the first day I was in the archives.One of the things I discovered about him day one was how much attention he pays to word sounds. So I think for any writer interested in sort of doing a deep dive into, like, how one word change, right- Yeah ... can make a difference, you know? Yeah. And I didn't appreciate that about his writing until I went in there and saw his notes to the copy editor where he's like, “Nope, the word's clitter, not clatter.This is why.” You know? Like,Jennie: he's- There's a, um- Yeah ... yeah, there's a book I love, it's probably right behind me, um, called The Artful Edit by Susan Bell, in which she [00:40:00] shows examples of that kind of very careful change in, um, The Gre- The Great Gatsby and The English Patient and various works of, of literature, and your, your whole book is like that.It's, it's just amazing. Um- Thank you ... so is the next book gonna be the Shakespeare one you had thought of before? Or are you gonna- ... go in the, in the personal direction?Caroline: You know, it's such a good question. I think right now I'm just taking a break, you know, because I'm the kind... Like, I immerse myself in a project, and this has been so all-consuming.Um, and I'm back to doing my Everyday Shakespeare podcast, which I love and I missed. Um, so I'm doing that. And I, I really don't like to think too far ahead about what I'm going to write. I like to have it come organically.Jennie: Yeah.Caroline: Um, so I could go back into the archives. I could write another one of these kinds of books, but I don't know if that's the [00:41:00] right thing for me right now.Jennie: Yeah.Caroline: Um, I want to make sure whatever I write next- You know, I loved writing this book so much. It's my favorite... I mean, it's, it was such a powerful experience for me, um, because I could bring my personal experiences into it and my scholarly self into it. I don't... You know, it's gonna be hard to recreate that.Yeah. I think it can be done, but I don't wanna force it. Yeah. So I'm gonna wait and see what the next, what the next oneJennie: is. Don't you, don't you love the interviewer who's like, “Hey, congratulations. You wrote a book. What, what's your nextCaroline: one?” What are you working on now? What are you doing now? I know. And I get that.I'm like-Jennie: So mean ...Caroline: I'm just, I'm just reading books I wanna read. I'm doing my laundry. I'm getting to know my dog again. You know?Jennie: Oh, wow. Well, thankCaroline: you. But, you know, it's a fair question. Yeah.Jennie: Yeah, yeah. Thank you for coming and chatting about this, and for writing such a cool book. And- Thank you ... um, I'm looking forward to seeing what you do next.Caroline: Thank you, Jennie. It was a [00:42:00] pleasure.Jennie: Well, for our listeners, until next time, stop playing small and write like it matters.The #amwriting podcast is produced by Andrew Perilla. Our intro music, aptly titled Unemployed Monday, was written and played by Max Cohen. Andrew and Max were paid for their time and their creative output because everyone deserves to be paid for their work This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

In this episode of the Inside Out Podcast, Brent and Andrew highlight Citipoint's Kids Camp. Brent and Andrew share some of their memories related to Kids Ministry.

The Daily Quiz - Entertainment, Society and Culture Today's Questions: Question 1: How does that Latin phrase 'Tempora mutantur et nos mutamur in illis' translate into English? Question 2: Which influential historical person created the scientific method and was a key figure in the scientific revolution of the enlightenment? Question 3: Who created the TV show 'Family Guy'? Question 4: In which year was Up first released in the cinema? Question 5: Who performed the theme song to the James Bond film Quantum of Solace? Question 6: What is the national animal of Scotland? Question 7: What charity organization works to protect the rights of indigenous and tribal peoples? Question 8: What sort weapon was used by Jack Torrance in The Shining? This podcast is produced by Klassic Studios Learn more about your ad choices. Visit megaphone.fm/adchoices

Curved Toplines and Hearts of Gold: Tarwathie Dandie Dinmont Terriers Veteran breeder Kay Simpson of Tarwathie Dandies shares the precise combination of physical structure and gentle disposition that defines this rare, historic breed: Dandie Dinmont Terrier Diaries are part of the Pure Dog Talk Clubhouse ... Shining a Spotlight on the Legends, History and Future of the Breed [caption id="attachment_16846" align="alignleft" width="300"] Several of Kay's recent Dandies.[/caption] Temperament First and Foremost:In a group known for fiery attitudes, the Dandie Dinmont stands out as a uniquelylaid-back, non-aggressive terrier. Kay ranks temperament as the absolutenumber one priorityin her breeding program.The Defining Head:Widely regarded as a "head breed," a correct Dandie must feature alarge, perfectly proportioned headwith expressive eyes, specific ear placement and strong jaw.The Curvaceous Topline:Unlike a flat-backed dachshund, a true Dandie requires adistinctive curved toplinerising from the shoulders, arching over the loins, and dropping gently to the tail. This curve is structurally vital to prevent back issues, according to Kay.Turned-Out Front Legs:In Kay's telling, true Dandies do not have perfectly straight front legs. Theirfront legs must be slightly turned outto allow them to push dirt to the side rather than under their bellies when going to ground.The "Tarwathie" Backstory:The mythical kennel name was chosen by Kay's late husband. He discovered it in a document describing amythical location on the outskirts of Scotland, right off the island. Because the place was entirely mythical, they knewno other breeder would ever have it, making it the perfect unique identity for their line.Strategic Breeding for Fertility:While the typical Dandie Dinmont litter is a small three to four puppies, Kay actively fought the breed's declining numbers byfavoring and selecting highly fertile bitch lines. Rather than spending time on bitches that only produced one or two puppies, she bred prolific mothers who consistently deliveredlitters of five to seven puppies. This strategic focus on maternal fertility has successfully helped to increase the breed's population and public visibility.

SUPPORT YANKEE ARNOLD MINISTRIES WITH YOUR DONATION HEREhttps://yankeearnold.com/donate/REGISTER FOR DR. ARNOLD'S ONLINE CLASSES AT FLORIDA BIBLE COLLEGE OF TAMPA HEREhttps://www.floridabiblecollege.usOR EMAIL BOB GILBERT registrar@floridabiblecollege.usEMAIL DR. ARNOLD HEREyankee@yankeearnold.comVISIT OUR BOOKSTORE HEREhttps://yankeearnold.com/store/

Have a comment? Text us!The Bible tells us to "shine like stars in the universe."Not everyone is called to be a missionary, but each Christian is called to share the Gospel, the Good News of Jesus Christ.We may not have the words, but we should all have the actions. Living such good lives that we set an example for Christ can do more than a thousand words.God draws people to Himself and it is up to us to show them the way to Him, through Jesus Christ. We can do this by shining bright and showing them Jesus by how we live.Watch Christine's Revelation Study video: https://www.youtube.com/watch?v=ecV-Gfutd_U Music by Good_B_Music from Pixabay==========Visit our Website: https://coffeewithjesus.info/Follow us on Facebook: https://www.facebook.com/cwj2011/View us on YouTube:  https://www.youtube.com/channel/UCKsQBybBdPxlSxvmWYfcMzQView us on Rumble: https://rumble.com/c/CoffeeWithJesusCheck out our Substack: https://coffeewjesus.substack.com/Unless otherwise noted, Intro music written and performed by Todd Uebele. Copyright Coffee With Jesus, 2020, all rights reserved.

Feuchtfröhlich begießen die Bastarde ihren zweiten Geburtstag. Mit zur großen Party bringen wir neben Schnäpsen, Bier, Messern, Live-Brainstorming und Gras auch ein Thema, bei dem wir ins Schwärmen und Schwafeln kommen: Wieso lieben wir eigentlich Filme? Obwohl wir immer wieder abdriften und den Faden verlieren, besprechen wir für euch in dieser Episode auch vier Filme, die Merkmale enthalten, die unsere Liebe für Filme widerspiegeln: Call Me By Your Name (2017), Shining (1980), Star Wars: Episode V - Das Imperium schlägt zurück (1980) und Suspiria: In den Krallen des Bösen (1977).

Pastor David continues our series through The Sermon on the Mount with his exposition of Matthew 5:13-16.OUTLINE(v13)  the purposes of Christian SALT;(vv14-15) the placement of Christian LIGHT;(v16) the result of our light SHINING.(v13) the purposes of Christian SALT;Colossians 4:6,Matthew 5:11,Luke 14:34-35,Romans 12:2(vv14-15) the placement of Christian LIGHT;Ephesians 5:11-16,John 8:12,Luke 8:16(v16)the result of our light SHINING.Colossians 1:10-13 (CSB),John 15:8 (CSB),1 Peter 2:12,2 Corinthians 8:21,Philippians 2:14-15,1 Peter 3:15Redeemer Church Member Covenant,(paragraph 6)

A 12-year-old girl of Vietnamese-Australian heritage has taken out the Best Female Fighter award and first place in the pre-teen tanding division at the 2026 Victorian Pencak Silat Championship. Kaila has no Indonesian ancestry. The martial art found its way into her life through her uncle from Bali. - Kaila Lloyd, gadis berusia 12 tahun keturunan Vietnam-Australia, meraih gelar Best Female Fighter dan juara pertama kategori tanding pre-teen di Kejuaraan Pencak Silat Victoria 2026. Ia tidak punya hubungan darah dengan Indonesia. Pencak silat masuk ke hidupnya lewat pamannya yang berasal dari Bali.

Series: Growing in the Grace and Knowledge of God (2 Peter)Service: Sun AMType: SermonSpeaker: Terry Francis

summaryIn this episode, Singer Songwriter and Bass Player for the Gorillaz, Seye Adelekan shares his powerful journey from addiction to sobriety, highlighting the importance of self-love, community, and mental health. Seye has become and advocate for musicians and their mental health through various programs such a Music Minds Matter in the UK. Seye talks about the how sobriety has enhanced his life in so many areas, from his creativity to his connections. Seye was in the darkest place with his alcohol consumption, drinking wine first thing in the morning and alcohol stealing so much of what was good in his life. He eventually got into a rehab program and he slowly rebuilt his life. We also talk about meeting life on life's terms, the ability to go from playing stadium gigs in front of 10's of thousands of people and coming down from shows in much healthier ways. He also shares lots of tips for early sobriety, including placing time limits on your socials engagements and being with cravings. This is an amazing episode, full of so much wisdom from this wonderful human. Links below Music Minds Matter - Help Musicians UKSeye Adelekan - InstagramFor more resources such as coaching or to join the next HIQA challenge go towww.iquitalcohol.com.auFollow HIQA insta @howiquitalcohol Music for Podcast intro and outro written by Danni Carr performed by Mr CassidyIf you are struggling with physical dependancy on alcohol consider contacting a local AA meeting or a drug and alcohol therapist. Always consult a GP before Hosted on Acast. See acast.com/privacy for more information.

Are you constantly comparing yourself to others? How can we break free from the comparison trap? In this episode, Katie explores the taboo inner thoughts of comparison, jealousy and insecurity that keep us disconnected from ourselves and each other. Then she shares a simple, powerful Tantric practice to free yourself from comparison and cultivate genuine sisterhood! Thank you to our dear friends at Banyan Botanicals for sponsoring this episode! Click here to learn more about Katie's favorite Organic Grass-Fed Ghee and to try it for yourself. Use the discount code KATIES15 for 15% off your first Banyan purchase! In this episode about comparing yourself to others, you'll hear: ~ An invitation to book a call with one of our coaches if you'd like to learn more about our Ayurveda School! ~ What does it actually mean to be a "girls girl?" ~ Why comparing yourself to others is so common ~ Shining a light on unconscious survival strategies ~ The Vedic concepts of Sampradaya, Swasta and Tapas ~ How to ego keeps score ~ Jealousy as helpful information ~ The positive and negative aspects of gossip ~ Comparison is the enemy of our soul ~ Rosalyn L. Bruyere quote, "The one with the biggest aura wins." ~ The limitless supply of prana and love ~ A tantric practice to free yourself from comparison to others ~ How to do shadow work around comparing yourself to others ~ Letting your energy speak ~ Join our free DIY Goddess Beauty Lab Webinar on July 16th!   Connect with Katie and The Shakti School: ~ Learn more about Ayurveda School! ~ Sign up for our free mini-course about Women's Wisdom and Ayurveda! ~ Follow The Shakti School on Instagram and Facebook ~ Read Katie's latest book, Glow-Worthy!   Find the full show notes here: https://theshaktischool.com/ep-248-comparing-yourself-to-others/

Bonsoy Blitzed Presents... Pure. Quewey. Nerdism. Shining a light on the events and up-and-coming superstars doing it for Australia on the Chang and the Q! Today we speak with Kobie Clements, the orb-threading, kerrupt flipping Long Reef wild unit who just won the first Q of the year in Shiheung South Korea. Very hmaaaaaad!See omnystudio.com/listener for privacy information.

Visionary. Connector. Builder. Those words describe Katina Strauch, 79.When we spoke with Katina, she was recovering from a broken leg, talking with us from her bed on her smartphone. Despite the setback, she remains what she has always been: an active writer, researcher, lifelong learner, and trusted consultant to the Charleston Conference—the influential global gathering for the scholarly communications community that she founded more than four decades ago.What began as a meeting of just 20 people has grown into an annual conference that attracts thousands of academic librarians, publishers, booksellers, vendors, and information professionals from around the world. In the late 1970s, major research libraries had opportunities to meet through the Association of Research Libraries, but there was no place where smaller academic libraries, publishers, and vendors could come together as equals to exchange ideas and solve shared challenges. Katina recognized that gap and imagined something entirely new: an informal, collaborative conference where every voice mattered.At the time, she was on the tenure track and looking for a meaningful way to establish her professional reputation. Rather than pursuing a traditional academic path, she created a gathering that transformed an industry. By inviting antiquarian book librarians, publishers, vendors, and librarians into the same conversation, she built a community that continues to shape scholarly communication today.Reflecting on its impact, Katina simply says, "It's had a huge impact."The Charleston Conference recently entered a new chapter when it was acquired by the nonprofit Annual Reviews, helping ensure that Katina's remarkable legacy will continue for generations to come."Smaller academic libraries, publishers, and vendors now could come together as equals." - Katina StrauchConnect with Katina:Email: katina.strauch@gmail.comBook: Doing the Charleston (2025) – Katina's memoir chronicling the creation and evolution of the Charleston Conference alongside her career as a librarian.Thanking our Platinum Sponsor—AARP Illinois, a nonprofit, nonpartisan organization dedicated to empowering people 50 and older to choose how they live as they age. With nearly 1.7 million members in Illinois, AARP volunteers advocate for better health, financial security, and stronger communities. Visit AARP.org/IL to learn more.Shining the light on Age-Wise Collective—check out Boomer Banter withWendy Green—it's in a new chapter, with shorter solo episodes focused on her personal caregiving journey and the search for purpose in later life. Going deeper, her Substack, Thriving Through Time, by Boomer Banter is where she really opens up. Find everything on Wendy's website, heyboomer.biz.

Cathy and Todd discuss Apple TV’s Widow’s Bay, the 10-episode horror-comedy that has a 98% on Rotten Tomatoes and an early season two renewal. They discuss its “Parks and Rec meets Stephen King” premise and its numerous horror movie homages including Carrie, The Wicker Man, The Shining, Jaws, Halloween, and more. It’s small-town bureaucracy, ancient sea-gods, a resurrected Boogeyman, and sunset cocktails all in one, and they knew they needed to discuss this one-of-a-kind show. Subscribe to Cathy's weekly Zen Moment and upgrade to hear a weekly Zen Moment podcast hosted by Cathy and Todd! Some Ways to Support Us Sign up for Cathy's Substack Order Restoring our Girls Links shared in this episode: For the full show notes, visit zenpopparenting.com. This week's sponsor(s): Avid Co DuPage County Area Decorating, Painting, Remodeling by Avid Co includes kitchens, basements, bathrooms, flooring, tiling, fire and flood restoration. MenLiving – A virtual and in-person community of guys connecting deeply and living fully. No requirements, no creeds, no gurus, no judgements Todd Adams Life & Leadership Coaching for Guys Other Ways to Support Us Follow us on social media Instagram YouTube Facebook Buy and leave a review for Cathy’s Book Zen Parenting: Caring for Ourselves and Our Children in an Unpredictable World

Summer horror gets bloody, claustrophobic, cursed, and undead in this episode of This Week in Horror History, covering the week of July 6 through July 12. This time, we're digging into splatter-film history, cursed-camera video games, one of the scariest cave movies ever made, Netflix's summer-camp slasher revival, Italian zombie cult madness, and the return of the Tall Man. Inside this episode:July 6, 1963 — Blood Feast reportedly plays Peoria, IllinoisHerschell Gordon Lewis changes horror forever with a cheap, outrageous, blood-soaked shocker often credited as a key turning point in splatter cinema and grindhouse gore. July 8, 2022 — MADiSON releasesA haunted-house horror game turns an instant camera into a cursed object, making every photo feel like an invitation for the nightmare to come closer.July 8, 2005 — The Descent opens theatrically in the UK and IrelandNeil Marshall sends a group of friends into an unmapped cave system where grief, betrayal, darkness, and something much worse are waiting below.July 9, 2021 — Fear Street Part Two: 1978 releases on NetflixThe Fear Street trilogy heads to Camp Nightwing for a brutal summer-camp slasher packed with cursed-town mythology, teen terror, and R.L. Stine nostalgia with real bite.Deep-Cut Spotlight — Burial GroundAndrea Bianchi's Italian zombie cult favorite unleashes ancient Etruscan dead, a cursed country estate, crumbling corpses, and some of the strangest undead chaos of the early 1980s.Horror Birthdays This Week:Shelley Duvall, Kevin Bacon, Anjelica Huston, and Fred Gwynne all enter the birthday roll, bringing connections to The Shining, Friday the 13th, Tremors, The Witches, The Addams Family, The Munsters, and Pet Sematary. Weekly Recommendation — Phantasm IIAngus Scrimm's Tall Man returns in a bigger, weirder, more action-heavy sequel filled with silver spheres, funeral-home dread, road-trip nightmare energy, and late-80s cult horror atmosphere.Plus, Weekly Spooky heads into the woods with “Branch Manager” by Gary D up in Ontario, Canada — aka Blue Fire Raging — where exhausted telemarketers escape into Algonquin Park only to discover that the forest is listening, moving, and hungry. From Blood Feast and MADiSON to The Descent, Fear Street Part Two: 1978, Burial Ground, and Phantasm II, this week in horror history proves that summer horror can trap you underground, curse your camera, resurrect the dead, send you to camp, and still leave room for one more silver sphere flying down the hallway.

Brundo and HK touch on everything in the past week of wrestling. Sheamus is leaving and where should he land. Summerslams shaping up and are you disappointed with Oba's decision. AEW one wizard loves it and one doesn't. JCW is as bad as MLW is as good. And so much more. If you enjoy The Shining Wizards Wrestling Podcast please subscribe & follow on Youtube at www.Youtube.com/TheShiningWizards. Support the show... The post The Shining Wizards 801: Ring a Bell with Your Bone appeared first on Shining Wizards Network.

LESSON 188The Peace Of God Is Shining In Me Now.Why wait for Heaven? Those who seek the light are merely covering their eyes. The light is in them now. Enlightenment is but a recognition, not a change at all. Light is not of the world, yet you who bear the light in you are alien here as well. The light came with you from your native home, and stayed with you because it is your own. It is the only thing you bring with you from Him Who is your Source. It shines in you because it lights your home, and leads you back to where it came from and you are at home.This light can not be lost. Why wait to find it in the future, or believe it has been lost already, or was never there? It can so easily be looked upon that arguments which prove it is not there become ridiculous. Who can deny the presence of what he beholds in him? It is not difficult to look within, for there all vision starts. There is no sight, be it of dreams or from a truer Source, that is not but the shadow of the seen through inward vision. There perception starts, and there it ends. It has no source but this.The peace of God is shining in you now, and from your heart extends around the world. It pauses to caress each living thing, and leaves a blessing with it that remains forever and forever. What it gives must be eternal. It removes all thoughts of the ephemeral and valueless. It brings renewal to all tired hearts, and lights all vision as it passes by. All of its gifts are given everyone, and everyone unites in giving thanks to you who give, and you who have received.The shining in your mind reminds the world of what it has forgotten, and the world restores the memory to you as well. From you salvation radiates with gifts beyond all measure, given and returned. To you, the giver of the gift, does God Himself give thanks. And in His blessing does the light in you shine brighter, adding to the gifts you have to offer to the world.The peace of God can never be contained. Who recognizes it within himself must give it. And the means for giving it are in his understanding. He forgives because he recognized the truth in him. The peace of God is shining in you now, and in all living things. In quietness is it acknowledged universally. For what your inward vision looks upon is your perception of the universe.Sit quietly and close your eyes. The light within you is sufficient. It alone has power to give the gift of sight to you. Exclude the outer world, and let your thoughts fly to the peace within. They know the way. For honest thoughts, untainted by the dream of worldly things outside yourself, become the holy messengers of God Himself.These thoughts you think with Him. They recognize their home. And they point surely to their Source, Where God the Father and the Son are one. God's peace is shining on them, but they must remain with you as well, for they were born within your mind, as yours was born in God's. They lead you back to peace, from where they came but to remind you how you must return.They heed your Father's Voice when you refuse to listen. And they urge you gently to accept His Word for what you are, instead of fantasies and shadows. They remind you that you are the co-creator of all things that live. For as the peace of God is shining in you, it must shine on them.We practice coming nearer to the light in us today. We take our wandering thoughts, and gently bring them back to where they fall in line with all the thoughts we share with God. We will not let them stray. We let the light within our minds direct them to come home. We have betrayed them, ordering that they depart from us. But now we call them back, and wash them clean of strange desires and disordered wishes. We restore to them the holiness of their inheritance.Thus are our minds restored with them, and we acknowledge that the peace of God still shines in us, and from us to all living things that share our life. We will forgive them all, absolving all the world from what we thought it did to us. For it is we who make the world as we would have it. Now we choose that it be innocent, devoid of sin and open to salvation. And we lay our saving blessing on it, as we say:The peace of God is shining in me now.Let all things shine upon me in that peace,And let me bless them with the light in me.- Jesus Christ in ACIM

Nicolò Petruzzella"La diga"Maylis De Kerangal, Joy SormanPrehistorica Editorewww.prehistoricaeditore.ittraduzione di Elena Vozzi e Nicolò PetruzzellaTomi Motz, ingegnere solitario, viene incaricato dalla sua impresa di controllare l'impianto della diga di Seyvoz, la cui edificazione, negli anni Cinquanta, ha comportato la creazione di un lago artificiale e inghiottito il villaggio di montagna che si trovava là.Durante quattro giorni, Tomi ispeziona in lungo e in largo la zona. Sotto l'effetto di uno strano magnetismo, la sua missione è perturbata da una serie di disturbi sensoriali e psichici. Attorno a lui, il reale sembra dileguarsi: tutto vacilla, i luoghi e i comportamenti, i giorni e le notti, forse persino la sua stessa ragione.Avventurandosi fino alla frontiera del fantastico, questo romanzo scritto a quattro mani sonda le tracce di una catastrofe. Maylis De Kerangal e Joy Sorman vi fanno risuonare una memoria sommersa ma persistente, e affiorare stratificazioni temporali agganciate alle pieghe dello stesso paesaggio.Il romanzo nasce dalla storia della diga idroelettrica e dal lago artificiale di Chevril che nel 1952 inghiottì il ridente villaggio montano di Tignes, sacrificato sull'altare della modernità durante la ricostruzione nazionale del dopoguerra. Un disastro causato dall'uomo ed emblematico della recente storia industriale, francese e non solo - non senza evocare al lettore italiano il Vajont. Per dare vita al romanzo le autrici hanno trascorso parecchio tempo presso il lago di Chevril cercando di coglierne l'essenza; hanno poi scelto di restituirne la memoria, attraverso il registro del fantastico per farla riecheggiare, e riportarla in superficie.La collaborazione fra le loro voci non si dà come semplice somma, bensì in quanto fusione: una lingua comune, una terza lingua nata dai loro due alfabeti che crea un'opera inconfondibile, dal potente fascino evocatore.Se le autrici arrivano a esprimersi secondo una lingua comune, nel romanzo sono due i piani temporali che si alternano nella narrazione.La narrazione al presente funge da struttura del romanzo: lo avvolge in un'angoscia diffusa, nutrita da immagini antiche, non senza evocare atmosfere degne dell'hotel di Shining e ambientazioni montuose alla “Twin Peaks”, dove il malessere non nasce dalla distanza dalla realtà, bensì da una paranoia.La narrazione al passato riporta al momento della costruzione della diga di Seyvoz, alla vita immobile e rituale degli abitanti del paese, che si vedono comunicare l'esproprio delle proprietà in vista del programmato allagamento del villaggio. Allo scopo di tratteggiare un ricordo lacerante e vivido, le autrici fanno appello a un linguaggio scolpito da un lessico tecnico, il più vicino possibile ai corpi, agli operai delle dighe o agli abitanti de villaggio: un affresco dato per pennellate, frammenti di vita, che si stagliano sullo sfondo di una catastrofe (in)evitabile.§Figlia di un capitano, Maylis De Kerangal è nata nel 1967 a Tolone e ha trascorso l'infanzia nella città portuale di Le Havre. Autrice di svariati romanzi e racconti, ha ricevuto numerosi premi letterari in patria e all'estero, tra i quali spiccano il Prix Médicis, il Prix France Culture/Télérama, il Grand Prix de Littérature de l'Académie Française e il Gregor Von Rezzori.Nata a Parigi nel 1973, Joy Sorman è scrittrice e giornalista. Ha vinto con il suo primo romanzo Boys, boys, boys, manifesto per un femminismo virile, il Prix de Flore nel 2005. È autrice di numerosi libri, pubblicati in Francia da Gallimard, Le Seuil, Flammarion.§Elena Vozzi e Nicolò Petruzzella sono traduttori, editor e redattori. Da diversi anni lavorano insieme nell'ambito della redazione editoriale, e traducono a quattro mani dal francese e dall'inglese per numerose case editrici.Elena Vozzi e Nicolò Petruzzella sono traduttori, editor e redattori. Da diversi anni lavorano insieme nell'ambito della redazione editoriale, e traducono a quattro mani dal francese e dall'inglese per numerose case editrici.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/

Today, something new under the sun - at least in the U.S.: A now FDA approved sunscreen option long in use overseas, arrives next year.  Meanwhile, are you overpaying for sunscreen just because of a fancy brand name? Consumer Reports released its annual sunscreen rankings, and the results again prove you don't have to spend a fortune to protect your skin. Also, Clark dives into the reality of modern side hustles. A TikTok influencer recently went viral after testing different side hustles every day for 100 days to make $100 a day, learning that only three were actually worth sticking with. The truth is, if a side hustle is incredibly easy to start, there are no effective barriers to entry. When anyone can do a job, the organizer doesn't have to pay you well. If you want to make a meaningful, steady income, you need a side hustle that leverages education, training, or special skills that set you apart from the crowd. However, if you just need quick, one-time cash, look no further than your own home—just like Christa, who came out of her closet with cash assets!  Plus, Christa shares your #AskClark questions and Clark gives his take. All this and more on the July 6, 2026, episode of The Clark Howard Show. Submit your questions: Ask Clark. Best Sunscreens: Segment 1 Ask Clark: Segment 2 Smart Side Hustles: Segment 3 Ask Clark: Segment 4 Mentioned on the show: 21 Best Sunscreens of 2026, Lab-Tested and Reviewed Consumer Reports: Sunscreen Ratings & Reviews  Monarch Money Review: Is This Budgeting Tool Worth the Price? Why You Should Keep Old Credit Card Accounts Open - Clark Howard How and When To Cancel a Credit Card - Clark Howard 30 Easy Side Hustle Ideas The Only Reason You Should Make an Improvement to Your Home What's the Best Way To Send Money Overseas? - Clark Howard AutoSlash Review: How To Save on a Rental Car - Clark Howard HotelSlash: #1 Site for Cheap Hotel Rates Clark.com resources: Episode transcripts Community.Clark.com  /  Ask Clark Clark.com daily money newsletter Consumer Action Center Free Helpline: 636-492-5275 Learn more about your ad choices. Visit megaphone.fm/adchoices

James and Marcus have a lovely weekend of watching house show matches from two of their favourite promotions Sendai Girls and Marigold to see if the house show experience lives up to the big events!

Larry Fessenden’s The Last Winter (2006) BRRRRRR! It’s so cold outside! Wait, what? The thermometer reads 102? What’s the date? Ah, forget the date; this is a brain freeze for you because we decided to cool you off with some freezing cold horror films just in time for the summer heat wave! YES! Cold themes are the icy wet blanket that puts you at unease. Friend of the Podcast, Ian Parker joins the Scariest Things, as we put our parkas on for a discussion of some frozen horror treats. Enjoy! Think of this as mid-summer air conditioning by way of podcast. Granted, we considered this episode much earlier in the year, but with so many PHFF interviews, it got pushed further into the summer months! So, let this discussion help cool you with shivers down your spine! Themes of isolation, where the environment itself adds to the danger of just being outside, never mind the killer or monster waiting for you out there. It’s that extra addition that makes just getting around in a horror movie difficult. Almost every variant of horror is represented with the overlay of freezing temperatures. Serial Killer / Psychopath? Check. Vampires? Multiple times. Zombies? Uh huh. Aliens and monsters? Plenty of them. It’s freezing PLUS scary antagonist. Frozen horror is often a melancholy affair. With the exception of perhaps Werewolves Within, these movies tend to be quite serious. The colors are desaturated and high contrast. The music is often spare, with hints of wind blowing in the background. The other partner of ice-cold horror is darkness. Many times the location will be in fringe or polar latitudes, limiting the amount of daylight. Characters subjected to freezing to death are different than those burning up in the desert. This is still a constitution check, though It’s less about exhaustion and more about willpower. That, and there might be a vampire waiting for you. They seem to be OK with freezing temperatures. Also, if you are making this a theme within your movie, you will want to have plenty of the activity outside. There are films that use bad weather to limit the locations (Think Pontypool (2008) or Climax (2018)). For this episode, we want the characters to endure the cold. Get out there! Don’t be a sissy! Just keep moving. That’ll keep you warm. The Podcast: Freezing Cold Horror: Episode 212 For this episode, we avoided repeating ourselves with Holiday Horror, particularly Christmas-themed horror, as we have already done that in Episode 114: Ho Ho Horror. Another similar theme, if you like this stuff, is Episode 172: Canadian Horror. Harbinger Down (2015) True Detective: Night Country (2025) The Last Winter (2006) Wintertide (2023) Ice Cream Man (1995) The Black Phone 2 (2025) Cold Prey (2006) Dreamcatcher (2003) Devil Times Five (1974) The Lodge (2019) Wind Chill (2007) Frozen (2010) Snow Beast (1977) The Shining (1980) The Thing From Another World (1951) The Thing (1982) The Thing (2011) 30 Days of Night Black Mountain Side (2014) The Terror (2021) Blood Glacier (2013) The Yeti (2026) Shriek of the Mutilated (1974) Werewolves Within (2021) Breaking Surface (2020) Dead Snow (2009) Dream Eater (2024) Alien vs. Predator (2004) Let the Right One In (2008) Frankenstein (2025)

The Nightwave Special w/Dirk Deafner: For-tee Tree (Episode 43, FirstNameBrooks Guest Mix) Show: The Nightwave Special Artist: Dirk Deafner Guest: FirstNameBrooks Air Date: 5 July 2026 Genre: Deep House / Deep Tech / Tech House / House Welcome my Night Vibe Tribe! I have yet another guest mix for you; this time, from Los Angeles deep house DJ FirstNameBrooks! He is an amazing resident DJ with 'Certified Groovers', a house music collective and event based in Los Angeles that brings that authentic house music sound to Southern California. FirstNameBrooks blesses us with his deep, moody, and groovy grooves to The Nightwave Special; a perfect fit! Enjoy! "The Nightwave Special”, hosted by Dirk Deafner, is a music show dedicated to capturing the essence of the night through a blend of sexy, moody, and occasionally upbeat electronic tracks. The program features a diverse mix of genres, all chosen to complement the nocturnal atmosphere. Whether you're preparing for a night out, winding down after an event, driving through the city streets, or hosting a cozy gathering at home, The Nightwave Special sets the perfect mood. Feel the night, feel the vibes…this is, The Nightwave Special. Tracklist: 1.Outer Limits Acapella 2.Mica (UK), 未知 (Wèi Zhī)- Velvet Phase 3.Franck Roger- You're In Love 4.Nils Hess, Nathan Coles- Butty Rider (Original Mix) 5.Jay Tripwire- Fever Rising (Original Mix) 6.Terry Francis-Reggae's House 7.Niko Maxen-Callisto 8.Hipp-E, Dizzy- Chilli Drizzle (Original Mix) 9.Hipp-E- Down On Me (Original Mix) 10.JTC- Valley Road (We Are 1) (Original Mix) 11.PARAMIDA- Space Ride (Original Mix) 12.Mateo Dufour- Break It Up (Original Mix) 13.JACKMASTER- Toni (Jackmaster Edit) 14.CJ Bolland, Armand Van Helden-Sugar Is Sweeter (Armand Van Helden's Drum 'n' Bass Mix) 15.Shining_scene_at_the_bar Acapella Originally broadcast on Data Transmission Radio. Listen live and explore the archive: https://radio.datatransmission.co

July 2, 2026- Assemblymember Jeffrey Dinowitz, a Bronx Democrat, makes the case for collecting information about binding arbitration results between customers and businesses.

Shining Through Suffering, July 1, 2026 by Bible Baptist Church - Brookings, SD

Christian Sprenger, ASC on balancing horror and comedy in Widow's Bay with lighting, practical effects, and years of trust built with producer Hiro Murai. Podcast highlights include: -How Christian's 11-year creative partnership with executive producer and director Hiro Murai has built a shared shorthand, allowing him to pitch unconventional ideas with total trust. -Why the team resisted moody, shadow-heavy horror lighting in favor of bright, high-key images inspired by Jaws and The Shining. Contrast and realism do the dramatic work instead of obvious genre inspirations. -The team's commitment to practical effects over VFX shortcuts and how that craft translates to audiences. -How Episode 6 became a deliberate break in format, and what it took to convince guest director Ti West to shoot within those constraints. Find Christian Sprenger: https://www.sprengerdp.com/ Instagram: @casprenger Widow's Bay is streaming on Apple TV. SHOW RUNDOWN: 02:05 Close Focus 14:19-01:11:22 Christian Sprenger Interview 01:12:43 Short Ends 01:17:26 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

Amanda Holmes reads James Agee's “Sure on This Shining Night.” Have a suggestion for a poem by a (dead) writer? Email us: podcast@theamericanscholar.org. If we select your entry, you'll win a copy of a poetry collection edited by David Lehman. This episode was produced by Stephanie Bastek and features the song “Canvasback” by Chad Crouch. Hosted on Acast. See acast.com/privacy for more information.

Writing has been a guiding force in Nancy Morgan's life, woven together with her love of language, travel, and cross-cultural learning. Across a career in teaching, curriculum design, media production, and study-abroad leadership, writing has remained at the heart of her work.Now retired, Nancy has turned more deeply to writing as a way to explore life's complex and difficult questions. Drawing on personal experience, she writes fictionalized accounts about the impact of dysfunction, homelessness, and mental illness on family relationships. Curious about the emotional truths beneath the surface, Nancy strives to “get into the soul of her characters.” Homelessness, a central theme in her writing, is also at the heart of her volunteer work and social commitment.At the center of Nancy's life is family. She describes her husband, two daughters, and seven grandchildren as her greatest source of joy and grounding. Today, Nancy says simply and gratefully, “I love the life I am living.”“Stories can help us understand what families often struggle to say out loud.” - Nancy MorganConnect with NancyEmail: nancybattistamorgan@gmail.comThanking our Platinum Sponsor—AARP Illinois, a nonprofit, nonpartisan organization dedicated to empowering people 50 and older to choose how they live as they age. With nearly 1.7 million members in Illinois, AARP volunteers advocate for better health, financial security, and stronger communities. Visit AARP.org/IL to learn more. Shining the light on Age-Wise Collective—check out Boomer Banter with Wendy Green—it's in a new chapter, with shorter solo episodes focused on her personal caregiving journey and the search for purpose in later life. Going deeper, her Substack, Thriving Through Time, by Boomer Banter is where she really opens up. Find everything on Wendy's website, heyboomer.biz.

We celebrate our 800th Episode with a fun show with lots of interaction from the fans. We answer a ton of questions, wrestling & non wrestling, have some laughs & just enjoy the milestone. It's not our normal show, but we have a great time celebrating 800. If you enjoy the show remember to subscribe at the link below & check out our Patreon. www.Youtube.com/TheShiningWizards www.patreon.com/wizardspodcast The post The Shining Wizards 800: The Varsity Team vs The Good Doctor appeared first on Shining Wizards Network.

Send us Fan MailMore than 200 million people around the world are infected with schistosomiasis, one of the neglected tropical diseases. It is caused by parasitic worms and prevalent in Africa, the Middle East, South America and Asia with close to 800 million people at risk for infection. If we in the U.S. are not in immediate threat of contracting the disease, why should we want to know more about it? To answer that and to explain more about the disease –– how people are infected, who is at risk, what the symptoms are and how it's currently treated –– is Afzal Siddiqui, Ph.D., a Grover E. Murray Distinguished Professor, director of the TTUHSC Center for Tropical Medicine and Infectious Diseases and chair of the Department of Immunology and Molecular Microbiology in TTUHSC's School of Medicine. Siddiqui also shares with us his decades-long work as part of a team developing a vaccine, updates us on the progress of the clinical trials and how work done on this vaccine could be useful to develop other vaccines as well. About SchistoShield®

•K. Jeanette grew up in Darlington, SC in the United Methodist Church as a little girl.  She sang in the children's choir at the ageof 5, and was an usher, she joined the youth choir as a teenager, then later became the director. She is the CEO of the Edith Mae King Foundation that assist victims of domestic violence, breast cancer and elderly care. Sheorganizes an annual Sneaker Ball for the youth in the community in efforts to fundraise for a student at the local high school.•Her Testimony: “SHINE” is a song dedicated to her mom. K Jeanette's mom used to sing an old spiritual gospel song called, "Shine on me".  When her mother got sick, K. Jeanette pleaded with God to do just what she sang about. K. Jeanette  believes her mother SHINES from heaven now. So, this song is just praising God for Shining on her mother and now she needs Him to SHINE on her!•Download her single releases “Shine” and "Jesus Is My Friend" which is available on all digital outlets.•A “Top Gospel Music Podcast” Badge has been AWARDED from Feedspot which has named Let's Talk: Gospel Music Gold one of the Top 10 Gospel Music Podcasts on the web! •LET'S TALK: GOSPEL MUSIC GOLD RADIOSHOW AIRS EVERY SATURDAY 9:00 AM CST / 10:00 AM EST ON WMRM-DB INTERNET RADIO STATION  AND WJRG RADIO INTERNET RADIO STATION 12:00 PM EST / 11:00 AM CST •There is a Let's Talk: Gospel Music Gold Facebookpage ( @LetsTalk2GMG ) where all episodes are posted as well.   •The Podcast and Radio shows are heard anywhere in theWorld on the Internet! •ANSONIA'S BOOK RELEASES•"If We Can Do It, You Can Too!"•“Legacy of James C. Chambers And his Contributions to Gospel Music History”•2026 MiPA Award winning "Molding a Black Princess"Order Information https://www.unsungvoicesbooks.com/asmithgibbs

Harold Kuntz, of Fox 4, joined The Drive to discuss how Kansas City has shined on the brightest of stages during the World Cup.

Not only will the world tempt us to keep our faith quiet, it will also tempt us to abandon it altogether - to compromise. Culture will try to dictate your identity. Society may pressure you to conform. Even your circumstances will tempt you to believe that God isn't present. However, scripture speaks a better word. Isaiah 43 tells us God stays with those in “deep waters” or in the “fires of oppression. Pastor Ryan Akers illustrates the faithfulness of God teaching from Daniel 3 and encourages the church to shine brightly in dark places. Click here for message notes.Click here for discussion questions for this episode.Find us on:YouTube: YouTube.com/TheHarborInstagram: Instagram.com/TheHarbor_lifeFacebook: Facebook.com/TheHarbordotlifeWebsite: https://www.TheHarbor.lifeWatch/listen on The Harbor AppNew episode every week!

Prayer for Shining the Light for her Daily Spiritual Espresso published on June 28, 2026 which you can access here: https://powerofloveministry.net/coming-out-into-the-light/ Learn more about your ad choices. Visit megaphone.fm/adchoices

3:17:28 – Frank in New Jersey, plus the Other Side. Topics include: A beautiful day in reality, Ready Player One (2018), Polybius, pop culture of the past, new art, Overwatch, The Shining (1980), Buckaroo Banzai (1984), Fortnite, House of the Dragon, kiss synchronicity, Carthusian monks, helicopters, Into Great Silence (2005), later on, unquiet night, car repair fail, […]

We conclude the Nicholson themed week with the Stephen King double feature of THE SHINING and DOCTOR SLEEP:   In both a re-edit and new portion, we were so fortunate to have all kinds of guests who summed up the various praise, themes and critiques in their OWN voice.   Due to Kubrick's internal thoughts and his external approach, were the fans always going to be in-fighting amongst themselves and Stephen King's fans?   What sets Kubrick apart from all the Lars Von Trier copycats?   David Lynch never shied away but why do we still not understand Kubrick's true intent?   And why are fans so bonkers with the whole "Wendy is actually crazy" theory?         GUESTS: Cliff Stevenson & A-aron Landerville (Predator Movie Minute, Gonzo Movie Minute), Karen & Joseph (Bonsai Movie Crew), Jenny Ambrose & Lucas Dickinson    

3:17:28 – Frank in New Jersey, plus the Other Side. Topics include: A beautiful day in reality, Ready Player One (2018), Polybius, pop culture of the past, new art, Overwatch, The Shining (1980), Buckaroo Banzai (1984), Fortnite, House of the Dragon, kiss synchronicity, Carthusian monks, helicopters, Into Great Silence (2005), later on, unquiet night, car repair fail, […]

We've looked at several different members of the court during the reign of Uno no Sarara, aka Jitou Tennou.  Today we start to look at her life, who she was, and what she did.  In this first part we'll touch on some of her big accomplishments, including building the Fujiwara capital, patronage of Ise Shrine, and even the publication of the Kiyomihara law code.   For more, check out the podcast blogpost:  https://sengokudaimyo.com/podcast/episode-152   Rough Transcript: Welcome to Sengoku Daimyo's Chronicles of Japan.  My name is Joshua, and this is episode 152: Queen Uno no Sarara, Part 1 It was rare that something would pull people from the fields at the height of the season, but it wasn't every day that people of Iga had the opportunity to watch a true royal procession.  They gathered on either side of the street as the parade passed through town.  There were horses and carts, but also just numerous men carrying various bags and provisions.  There were also military guards, decked out in their finest—just in case anyone got any ideas.  There were also various nobles and government officials, riding with her.  The outfits and color would have been striking, particular to those who had little business with the court.  And at the height of it all was a covered palanquin.  Nobody could see the royal presence inside through the screens, though later they would talk about getting a peek of her hair or her robes.  It didn't matter, the procession itself was enough of a spectacle for all to see. Not everyone was pleased.  A few of the more dour elders complained about how much of a disruption and a distraction it was.  They would at least be somewhat mollified by the news that, for enduring the disruption, they would at least get a break on their taxes that year.  The procession was headed east, to the land of Ise.  Apparently they were going to pay their respects at the shrine there.  Did you know that it was dedicated to the ancestor of the royal family itself?  The actual sun goddess herself, Amaterasu.  Some of the elders shook their heads.  They remembered when everyone had been focused on Mt. Miwa, to the west.  And what about this Buddha that had shown up from overseas?  There were temples to him popping up all over the place.  They weren't so sure about all of this, but they knew their local kami and their local priests, who helped with the local harvests, and that was enough for them.  The court and their fancy learning could figure out what the country needed, but they were going to stay focused on the day to day, instead. Here we are, in the reign of Uno no Sarara, widow of Ohoama and mother to the late Prince Kusakabe, known to history as Jitou Tennou.  We've actually been in Uno's reign for several episodes now, but while we've talked about how that reign began and the roles a lot of other people played in that beginning, this episode I would finally like to start focusing on her—who she was, where she came from, and what she did.  Since that covers a lot of ground, we are going to cover some of her history up to this reign, and we'll be mostly focusing on two major updates—the creation of the new capital of Fujiwara, aka Fujiwara-kyou, and the increased royal patronage of Ise, which is thought to have been responsible for the ascendancy of Amaterasu as the paramount kami of the pantheon of Shinto kami. So let's start at the very beginning. It is traditionally held that Uno no Sarara was born around 645 to Naka no Oe and Soga no Ochi no Iratsume.  Ochi was the daughter of Soga no Kurayamada no Ishikawa no Maro, cousin to the powerful Soga no Iruka.  Naka no Oe's marriage to Ochi no Iratsume and her sister, Mehi no Iratsume, had been part of a strategic alliance with Ishikawa no Maro, who helped him overthrow his cousins and institute the Taika Reforms.  We talked about all of that back in Episode 106, as well as subsequent podcasts after that covering the next several reigns. So 645 is about the earliest Uno no Sarara may have been born, the very start of the Taika era, when her father began instituting a lot of changes based on continental practices. She would have grown up in the inner buildings of the Asuka court during this  time of immense change.  She was probably a bit young when the Toyosaki palace was first built, though she may have remembered when the court abandoned it and moved back to Asuka.  Unfortunately, when she was only five years old, tragedy struck.  Ishikawa no Maro, who had been made the Udaijin, or Minister of the Right, was slandered by his own brother, Soga no Himuka, and in return, Naka no Oe sent a force to have him punished.  When he saw he could not get away, Uno no Sarara's grandfather, Ishikawa no Maro, took his own life.  The Nihon Shoki—written, I should note, at least partly under the direction of Maro's granddaughter—claims that evidence came to light demonstrating his innocence, and he was posthumously exonerated.  Maro's daughter, Miyatsuko no Iratsume, was so saddened by all of this that we are told she died of a broken heart. Miyatsuko no Iratsume appears to be another name for Ochi no Iratsume, and if so, it would mean that Uno no Sarara lost both her mother and grandfather when she was only five years old due to the actions of her own father.  This sounds to me like it should be some kind of villain origin story. From there, she was likely taken care of by her aunts and other women in the palace, at least until 657.  It was about that time, at the age of 13, that she was married off to her uncle, Prince Ohoama. We don't have a precise age for Ohoama, but he was likely no more than 5 years younger than Uno's father, Naka no Oe, and some estimates suggest he was in his late 20s or early 30s, taking to wife his 13 year old niece. I can't help but think, here, of the Heian period novel, the Tale of Genji, where the titular character, Genji, finds Lady Murasaki and marries her at the age of 10.  Uno no Sarara would have grown up in her uncle-husband's home, and she was still young when the entire realm was placed on a war footing.When the court moved to Kyushu in 661 for the prosecution of the war on the continent, Uno no Sarara went with her husband, and a year later gave birth to their son, Prince Kusakabe.  She was probably about 18 years old at the time.   I suspect that means She  probably knew about her grandmother, Takara Hime, passing away, something that the inner circle of the royal family had attempted to keep relatively quiet for fear of disrupting the war effort.   Soon after her own son was born, news came back that the forces on the continent had lost.  Baekje had fallen, and Yamato could be next.  She would have traveled with her husband and the rest of the court back to Asuka and, eventually, up to Ohotsu, where her father now ruled with his brother as his right-hand man and heir to the throne. At this time, Uno no Sarara was no stranger to politics.  While her husband was in line for the throne, she knew that her brothers were also potential claimants, once they came of age. The Nihon Shoki disqualifies them through their parentage, but we see that didn't stop the Afumi court from rallying behind Prince Ohotomo.  There was also the royal princes Kawashima and Shiki.  Prince Takeru would have technically been a potential threat as well, had he not died, tragically, at only eight years of age. Now, technically, some may have been more in line than others, but Uno no Sarara knew how her own father had jumped the line, displacing her late uncle, Furubito no Oe, and it was clear something similar might happen this time around.  There were also likely a few indications that not everything was great between her father and her husband, although you would hardly know it from the number of her siblings that were also residing in the north chambers of his residence. Things came to a head in 671.  At this point, Uno no Sarara was in her late 20s with a 10 year old son, and it was looking, for a moment, like her father, despite his illness, might have Ohoama killed to pave the way for Naka no Oe's own son, Uno's brother, Ohotomo.  When Ohoama surprised everyone and stepped down, taking the tonsure, she was the only one to follow him.  We don't know if this is because she was that loyal to her husband, or because she had no other options.  If her mother had taken her own life after her grandfather's death, she may have had nobody but her father, Naka no Oe, to turn to, and he was clearly doing poorly.  If she stayed, then she would be relying on the goodwill of Prince Ohotomo and others while looking after the nine year old son and heir of Ohoama, who was clearly persona non grata at court. In contrast, one of Ohoama's other consorts, Munakata no Amago no Iratsume would have had the Munakata family to fall back on, should she need it, and her son, Prince Takechi, was a bit older.  In addition, Uno's  sister, Ohota no Himemiko had passed away earlier, in 667, and it is unclear who cared for her son, Prince Ohotsu, who was only a year younger than Uno's son, Kusakabe.  However, he, too, appears to have remained at the Afumi court with his caretakers. So Uno no Sarara went to Yoshino with her husband.  From this point on, Yoshino would become an important place for her, and during her own reign she would frequently make visits to the palace there, sometimes just for a couple of days at a time. After Naka no Oe's death, and the entire conflict of the Jinshin no Ran that kicked off in 672, Uno stayed by her husband's side.  She and Kusakabe made the incredible overnight journey from Yoshino to the other side of the Kii Peninsula, eventually setting up in Mie.  Ohoama would continue on towards Fuwa pass, where his son Takechi was already stationed with loyal soldiers.  Before that, however, he is mentioned as turning towards Ise—towards Amaterasu.  The implication seems to be that he was praying for victory.  It is also notable that a large part of his support was coming from the East and from areas around Ise. Little is mentioned of Uno's role in the record of the Jinshin no Ran, but in the opening to her reign there is a mention that she addressed the troops and mingled with the throng, until at last they formed a plan.  This seems to indicate that she was involved in the planning, at least, for the prosecution of the war.  On the one hand she was placed well behind the front lines.  On the other hand, she was well positioned to assist with logistics.  Troops and supplies from the north could come down and be redirected to the south depending on what was needed, and communications would likely be more secure through that area fully controlled by Ohoama's troops.  It is easy enough to imagine Uno no Sarara taking a role, even if it isn't explicitly mentioned.  The fact that she is mentioned as much as she is suggests to me that she had plenty to contribute to the war effort. As the war of 672 came to a close, Ohoama had to move from a war footing to one of peacetime governance.  As he ascended to the throne in 673, Uno no Sarara was made his queen.  And in light of the recent issues, Ohoama appears to have leaned heavily on her and other members of the royal family for support. And so Uno no Sarara was not just a delicate flower sitting in the hinter palace, waiting on her husband.  She was an active participant in the government.  When Ohoama called the various princes down to Yoshino and had them swear to uphold and support each other, she was included in their number.  And the Chronicles explicitly mention that when the princes swore to uphold each other, Ohoama swore he would also support them, and then Uno no Sarara made her oath like his.  That is interesting in that she isn't included in the five princes, but rather with the sovereign, her husband.  It appears she approached this from the point of view of a ruler already.  Or perhaps she was not considered to be in the line of succession, and the focus was on upholding the various princes.  Either way, we see how that eventually turned out. Later, when starting the project for what is believed to be the Kiyomihara codes, she was seated on the dais with her husband, indicating that she certainly was involved in various matters of state.  She also gave and received presents from the various nobles, including suits of clothing, gold, and more.  When Ohoama grew ill, and could not carry out the functions of the government alone, he deferred matters to her and to the Crown Prince, presumably meaning her son, Prince Kusakabe. Now Kusakabe is recorded as being made Crown Prince, and thus heir to the throne, however, it has also been suggested that this might not have been the case.  Some have suggested that Prince Ohotsu may have been the actual Crown Prince, and that he wasn't plotting against Kusakabe and his mother, but rather it was the other way around, with Uno no Sarara clearing him off the field to make room for her son. Ohotsu, remember, was the son of Ohoama by way of Ohota-hime, who was a full sister to Uno no Sarara.  That meant that, from a strict bloodline perspective, Ohotsu had just as much of a claim to the throne as did Kusakabe, but Kusakabe was a year older—or so the Nihon Shoki, compiled under the reign of Uno and her successors, would have us believe.  We are also told that Uno was formally designated as Ohoama's queen—but again we have that from the Nihon Shoki, which is more than a little bit biased.   Personally, I feel this theory that Uno no Sarara plotted to have Ohotsu removed without anything else stretches some of what we know, but it does illustrate that Uno no Sarara had a vested interest in ensuring that the crown went to her own progeny.  I'd be more inclined to believe that there was some movement a foot, even if it was perhaps not quite as treasonous as the response to it would warrant. And this catches us up with much of what we know.  Ohotsu was executed, but then Kusakabe passed away, and so Queen Uno no Sarara became Tennou in her own right.  Things hadn't gone exactly to plan, but she still had her grandson, Prince Karu, the late Kusakabe's son, whose mother, Princess Abe, was a younger-half sister to Uno no Sarara.  Abe was the daughter of Naka no Oe and Mehi no Iratsume, making Abe another grand-daughter of Soga no Kuramayada no Ishikawa no Maro.  She was also 17 years Sarara's junior and only a year older than the late Kusakabe.  By all accounts, it seems that Abe and Sarara got on well together, though she is not as prominent in the narrative that we have in the Nihon Shoki.  Still, she had an important role, not in terms of governance, but in terms of ensuring that the line continued.  She was in charge or protecting and raising young Prince Karu until he was ready to take the throne.  In so doing, she would no doubt have had a front row seat to Queen Uno's own efforts. Since Uno no Sarara had already been so involved with the government, it should come as no surprise that she continued many of the efforts attributed to her husband.  In fact, you'll often find references to Temmu and Jitou side-by-side to describe what happened because very few things can be attributed to just one of the two, especially given how long some of these projects seem to have taken.  That said, there were some differences.  While Ohoama, aka Temmu Tennou, had relied primarily on members of the royal family following the Jinshin no Ran, Uno was much more likely to rely on trusted nobles, whose position at court was largely held thanks to the patronage of the royal family.  Having nobles running things again, rather than handing over power to those of the Princely class, may have provided opportunities for those noble houses to once again flex and grow their political muscle, but it was either that or hand that same power over to other princes with claims to royal descent—princes who might encourage the court that it would better if they, themselves, were to succeed the Queen, rather than the young prince, her own actual bloodline.  Even the loyal Prince Takechi, who seems to have supported her and Prince Karu as best he could, could easily have become a threat.  This could be one of the reasons she held on to power as long she did.  It was, after all, a deliberate choice on her part.  She could have had someone else step in as regent, but she chose not to. We've talked about Uno's dealings with Silla and the continent at this time. That was back in Episode 148, when we talked about how Ohoama was mourned and how Yamato dealt with the early missions.  We discussed, thenhow she berated the Silla envoys for not adhering to protocol and turning them away.  She also met with Emishi and Hayato embassies, which only helped to cement Yamato's place as the central hegemony over the archipelago and all those living on the islands.  At first, this was just an extension of what she and Kusakabe had been doing since Ohoama had first grown ill and handed over the reins of government.  But then Kusakabe died—and life went on.  Later, Kusakabe would be remembered as Okanomiya Tennou and the Nagaoka Tennou.  While not counted in the formal lineage, he was still granted the title "Tennou" posthumously, likely to help legitimize his son and that lineage.  And yet, despite this, there is no report of a eulogy or anything similar upon his death.  Even Royal Prince Ohotsu, when he was killed for threatening Kusakabe's own ascendance, is given a fairly wordy entry full of praise for his virtues and how he was remember.  For Kusakabe we get silence.  Things just move on. Indeed, just two weeks after the Crown Prince's death, we get orders talking about given people four holidays each month.  It seems a rather banal announcement coming the same week that the Crown Prince passed away. And banal it may be, but I do want to pick at it a bit.  I think it helps us understand even more the life at that time.  In most of the world, today, we have become accustomed to the western concept of a week with seven days, including two holidays every week—though we just refer to it as the weekend.  Saturday and Sunday began as holy days—the Sabbath in Jewish and then Christian tradition.  Even Judaism only had a single day of rest every seven days.  Many cultures did not have the concept of a weekend.  After all, there wasn't anything particularly special about one day or the other.  A lunar month is just under 30 days—alternating between 29 and 30 days depending on various factors.  Five would fit into that much better than four seven day weeks and two more days.  Or divide it into two 15 day periods, more or less.  Or three weeks of ten days each.  In fact, that is what was popular in the Tang dynasty at the time—though a seven day week had crept in through Buddhism, which had been picked up on the Indian subcontinent thanks to Hellenic influences.  This seven day week, which is now used in modern times, was originally used more by astronomers.  The days corresponded to the Sun, the Moon, and the visible planets. The point is, there's no such thing as a natural weekend.  At some point, the Tang court introduced a rest period every five days for court officials.  In Yamato, it seems that they introduced four holidays.  Specifically, the local governors were to give laborers—those conscripted as corvee labor—four days every month.  It doesn't mention if they are spaced out, or at what intervals, and it was specifically for laborers.  I should probably also mention that, at this time, there wasn't a concept of a "9-to-5" job.  Sure, the court operated on a schedule that may have fit fairly well in our modern life, other than its extremely early start due to the lack of cheap, safe artificial light sources.  Most people, however, especially in the agricultural sectors, were likely working from sunrise to sunset, when necessary.  There was no concept of overtime or a forty hour work week.  You worked when you needed to work, and that was it.  No time cards, just life, punctuated by holidays, festivals, market days, and whatever else needed to happen.  Oddly, in our modern, more regular work schedule we work both more and less, in some ways, than our ancestors did.   Our labor often goes into things beyond our job—everything from taking care of our home to various hobbies that we enjoy. Giving laborers time off from their endeavors was no doubt something they appreciated, but I don't know how much of an impact it had on things long term.  A more interesting endeavor comes a few months later.  That is when Uno had a royal commission come together as commissioners of "good words".  We mentioned this before, especially when talking about Kose no Tayasu, who had been part of this commission, though he was the lowest ranked of the bunch.  At the top it was headed by Prince Shiki, a half-brother to Uno, and one of those who had pledged his loyalty with other members of the royal family down in Yoshino, though at the time Shiki was only about 11 years old.  He was the son of Koshi no Michi no Kimi no Iratsume, and a brother to Prince Osakabe.  In 689, when he took charge of this commission from his half-sister, he would have been in his 22nd year, so this was probably one of his first major assignments. We don't have a finished product that we can point to from this project, so there isn't a clear idea of exactly what the commission did.  Aston believed that they were attempting to determine auspicious words to be used by the court.  By this one could infer that they were looking into the way to draw up formal language for edicts, or how to formally address the sovereign and members of the court.  However, others have suggested that this was more about finding stories and other such things and writing them down.  If that is the case, this may have been a continuation of—or perhaps an addendum to—the history project started during the reign of Ohoama.  The words, or stories, that the commission wrote down were likely used by later Chroniclers, though there is no specific work that is clearly attributed to their efforts.  So in the end we can't exactly know for sure.  What we can see is that Uno no Sarara was continuing to make tweaks and changes to things—and in particular in how things were stated, remembered, and passed down to posterity, one way or another.  This is also part of what we see later that same month, when the 22 books of what we now call the Kiyomihara Law Codes were also published.  Like the history project, this was also begun during the reign of Ohoama, and Uno had continued to see it through.  It appears to have been just the law itself, not necessarily the punishments which made up the other half of the Ritsuryou, but it is still significant.  Unfortunately, we don't know exactly what was in it—the earliest law code that we have good evidence for is the Taihou code, which would come over a decade later—but we have seen some of the edicts and orders and we can make some assumptions based on later law codes as well as the language used to even define the court and how things ran.  Much of what was written had likely been promulgated, previously, and a lot of this may have been more documenting the changes they had already put in place. There is also the Afumi law code, but there are even more questions about that one.  This is possibly the first one written down to this level of detail.  Though it would be superseded, later, it was still an impressive work. As in past reigns, we see things both monumental and mundane.  A month after the law codes were finished, we see about orders to the Mayors of the Left and Right to set up places for Archery—literally glossed as "Ikusa", or "war", but likely because the two had a common root and archery and war were closely intertwined.  As for the Mayors of the Left and Right, this is the first time we are seeing those terms, and I suspect they are also part of the reforms that Uno no Sarara and her late husband had been implementing. The Mayors of the Left and Right of the Capital are known as Kyoushiki or, alternatively, as Misato-zukasa.  They were like kokushi, or governors, except they oversaw the capital city.  Now remember, the quote-unquote "capital city" in use at this point is Asuka—it is the Kiyomihara palace and environs.  There were other streets, buildings, and such around, but nothing terribly organized.  Most family estates were off in their own lands or strongholds.  At the same time, the court was building out a new, permanent capital.  It was taking time—and likely had been put on hold during the three year mourning period for the late Ohoama Ohokimi.  It required that they survey and transform an immense and populated area into a new and impressive capital in the area known today as Kashihara.  This work took years—they likely had to divert labor to build the late sovereign's mausoleum, or misasagi, and there were droughts and other reasons why they may have had to pause work.  And yet, it continued, nonetheless. The main ideal for a capital city was based off of continental models.  While Luoyang may have been the more active capital, the western capital of the Tang dynasty, at Chang'an—modern Xi'an—appears to have been a more quintessential capital city layout, and may have been what the Yamato capital was attempting to mimic—though they may have also been relying on the theoretical Confucian model, as well.  In fact, I tend to think that the Confucian model was closer to this first attempt at a permanent capital.  Early on, excavations assumed that the palace structures were towards the northern end of the city, but further investigations have suggested that the scale of Fujiwara-kyo was much more ambitious, and some maps of the area place the palace towards the center of the city.  Either way, there were several key things about the capital and how it mimicked the continental models.  One of the primary things that Yamato had appropriated from across the strait was the north-south orientation of the palace, with the main audience hall facing south, so as to get the sun.  This meant that, from the point of view of the sovereign in that hall, the left side would be the east and the right side would be to the west.  And so the capital city was divided into a left and right, east and west, and each half had its own administrator responsible for taxation, public safety, and general law and order.  They were, as I said, similar to the governors of the various provinces in the scope of their powers, except that they oversaw the capital city. The building of the Fujiwara capital is perhaps one of the most obvious changes that Uno no Sarara was overseeing.  As I've mentioned before, it was a physical manifestation of court.  The three sacred mountains which were included within the boundaries of the capital were woven into the myths and legends that would find their way into the Nihon Shoki and the Kojiki.  The size and scale of the earthworks and the stones laid as foundation demonstrate that this was clearly meant to be a permanent capital, overturning the idea that there would be a huge change every time a sovereign passed away.  Instead, there would be consistency.  The order of the state would go on. Later we'll talk about reasons why the Fujiwara capital was abandoned.  For now, though, let's look at what we see about its construction. In 690, the same year that Uno ascended to the throne, Royal Prince Takechi, Ohoama's oldest son, inspected the site where the new Fujiwara palace was to be placed.  Two months later, Uno no Sarara came out to see it for herself.  I imagine this as being the point where the land had been cleared, and they could see the mountains and the placement and get an idea of the overall size of what they were looking for.  With royal approval, the project continued. A year later, in 691, officials were sent to perform the Chin-sai, the pacification ceremony, for the new capital.  Today, this is a common ceremony, known as a Jichin-sai, or Earth Pacification Ceremony, done before undertaking a construction project.  Theoretically it is before breaking ground on the project, though there is often some amount of preparation that has to be done in preparation.  The idea for the Jichin-sai is to effectively negotiate with the spirits of the land before disturbing the area, a recognition that the process of construction is going to alter the natural landscape.  As such, one wants to propitiate the spirits and the kami that are on the land to ensure that the construction is successful.  This was likely a much older ritual, but this is the first mention we have of it in the record.  This ceremony was also apparently directed at the new capital as a whole, while a year later another ceremony was held specifically for the new palace complex.  In the intervening time we see the court laying out the roads and giving land for the various mansions of court nobles, like Tajihi no Shima's four chou of land—roughly ten acres.  Those of Jikikwoni rank and above were given two chou, and those from Jikidaisan down were given one chou.  Those of Gon rank on down would get land dependant on the number of inhabitants in their fiefs.  First class fiefs would get one chou, while second class would warrant a half chou and at the bottom they would get one quarter chou.  This was apparently the land that they were being given in the capital to build their personal residences.  Other land was given out for markets, temples, and other necessary facilities, but this whole city really was being built from scratch. Shortly after the pacification ceremony for the palace, officials were sent out to the major shrines of the time.  This included the great gods, the Ohokami, of Ise, Yamato, Sumiyoshi, and Kii.  So not just the local kami, but also the larger kami who were seen as the kami of the archipelago more generally. It would still take another year to build the palace.  Uno visited the site a few times during the construction, with her last visit just a quick outing on the 8th month of 693.  At that point it was likely ready, though she wouldn't formally move into the new palace until the first month of 694.  Before that, though, there was one other thing that had to happen.  In the 2nd month of 693 they had to rebury the bodies. That's right.  The Fujiwara capital occupied a huge swath of the plain of what is now known as Kashihara.  And that plain had been settled for centuries—all through the kofun period.  And those kofun, and possibly even older funkyubo, the older mixed-use burial mounds—would have been destroyed in the making of the new capital.  There also may have been plain pit burials that were dug up while laying out roads and foundations.  I don't know that there was anything approaching the size of the larger, keyhole shaped mounds, but we have no way to know for certain how many were there that had to be destroyed or moved.  I also have not seen any indications of any mass reburial site—whether they opened an existing tomb or simply dug a pit in the ground somewhere.  I imagine that such a find would be incredible, but unless archaeologists stumble upon it, I guess we'll never know.  Still, it is interesting, and almost poetic as we move further and further from the kofun period, this feels like the final nail in the proverbial coffin, if you'll forgive the pun.  Indeed, when Uno no Sarara finally passes away, she will become one of the first sovereigns to be cremated, with her ashes and burnt remains then deposited in the existing tomb with her husband, Ohoama, rather than having a new mounded tomb built.  Buddhist style cremation would eventually become commonplace throughout the archipelago, though sovereigns would still have special mausoleums built for their memory, it really was a change from the ancient practices. From 694 onward, the court would meet at the new Fujiwara Palace.  Compared to previous palaces, I can only imagine how impressive this one must have seemed.  Based on what we can tell, it was likely built much more in the continental style.  Previous palaces had largely been in the style of the archipelago, with what we believe was plain wood and a thatched roof.  The Fujiwara palace was likely a mix, but with more of the continental style than the previous Kiyomihara place.  It also dwarfed its predecessor, at over twice the size.  It was actually much closer in size and shape to the Toyosaki palace, in Naniwa.  At the southern end of the palace was the Suzaku mon, the Suzaku gate, followed by the choshu-den'in, a courtyard with two buildings, one in the east and one in the west, where officials could wait and prepare for the day.  From there they would be let into the Chodoin, a large court yard with four buildings on the east and west, and four more at the southernmost point.  These would be where the various departments, or bureaus, would operate.  There were also gates in the east and west of the Chodoin for easier access.  To the north was another gate, leading to the Daigokuden, the main audience hall.  This would have been quite the impressive and imposing structure—the main focus of the palace.  It was in its own walled enclosure, and would have been the seat of the sumera Mikoto, or Tennou.  It was both inside and apart from the Dairi, the inner palace.  This was the actual residence of the sovereign and the royal family.  The dairi itself occupied more land than the entire Kiyomihara palace.  None of the buildings exist, but we can see their footprint from the large foundation stones and there are numerous rooftiles and other architectural features that fell off or were removed and then buried, purposefully or not, allowing us to get some idea of the size and scale of the project. And yet, it appears that this palace may not have been completed when they moved in.  The entire city was likely still under construction, in fact.  The main pieces were in place, but to build an entire city from scratch took a lot of work.  Most of the buildings would have been built with more traditional—and less labor intensive—practices.  You didn't need a false second story gallery some thirty feet off the ground, even if you were the Minister of the Right.  It was enough to have a relatively simple mansion with gardens, servants quarters, and everything else needed to keep you comfortable.  That in and of itself was going to put a strain on labor and other resources. And so it looks like some parts of the galleries and other features may not have been finished even while Uno no Sarara was there.  In fact, it may not have been fully finished by the time they moved again.  The Fujiwara capital, the first permanent capital city, was only occupied from 694 until about 710—less than two decades.  This massive project, taking multiple years and how many people to create, would be abandoned several years later.  The buildings would be torn down and moved to the new site—Heijou-kyou, in modern Nara city.  And yet, the impact of Fujiwara kyou would remain. Besides making changes to the physical landscape, Uno no Sarara was also focused on the spiritual landscape as well.  Both Ohoama and Uno not only supported the Buddhist temples, building new temples and leveraging the ceremonies, but they also supported the traditional kami.  During the Jinshin no Ran, Ohoama turned and addressed the kami of Ise before heading to the Fuwa barrier.  Later we see a greater focus on Ise Shrine, with Saigu, the royal princesses sent to Ise Shrine as the Shrine priestess, being heavily reported.  In fact, the position seems to have not been commented on much until this reign, and there is some thought that Ohoama and Uno actually instituted the practice—or at least made it a formal part of the court and the royal household.  This is combined with their support of the Jingikan, the state governmental body responsible for dealing with kami matters.  At this time it appears to have been even more powerful, in many ways, than the other bureaus or departments of the Great Council of State, the Dajokan. There are plenty who argue that the preeminence of Ise was born in this period.  Early Yamato worship focused more on the deity of Mt. Miwa:  Ohomononushi.  Sun worship seems to have also been baked into the rituals of the ethnic Wa people, but that wasn't necessarily focused on Amaterasu—and Amaterasu was not necessarily seen as a feminine goddess.  Early worship appears to focus on the deities such as Takabi Musubi, and similarly named deities.  These are deities that show up in court ritual, and presumably date back to well before this period.  Thanks to the fact that we get alternate stories in the Nihon Shoki, we occasionally see them take a more central role in events, such as the descent of the Heavenly Grandson, but at the same time we also see that the main throughline of the Nihon Shoki and the Kojiki has placed Amaterasu more front and center in the narrative.  Ama Terasu effectively translates to something like "The Shining of Heaven".  In neither the Japanese nor Sinitic language is she particularly gendered most of the time, and this may have been a more generic name for the concept of a sun deity.   I believe it is also somewhat telling that the Ichi-no-miya, the First Shrine, or primary shrine, of Ise is not Ise Shrine, but rather Tsubaki Grand Shrine, which is the home of Sarutahiko Ohokami.  Even in the Nihon Shoki, there is a narrative regarding the yata no kagami, the great mirror, that it was moved from its original location in the Nara Basin over to Ise and the shrine was then established there, marking the shrine as a relative late-comer to the region rather than marking a particularly ancient spot.  The Great Kami of Ise then appears to have taken on some of the shine, pun intended, of Sarutahiko, who is no longer seen as a sun-deity, and is even placed in the way of the Heavenly Grandchild's descent—perhaps a subtle nod to some of the tensions between the worship of one over the other. Besides sending the Shrine Princess, the Saigu, to Ise, the sovereigns themselves made plans to go, in person.  Ohoama made preparations, including purifying himself, but his trip was cancelled due to a sudden death in the palace.  He is never recorded as making the trip, after that.  Uno no Sarara, however, did make the trip, in 692. This was clearly quite the production, and requires several entries in the Nihon Shoki.  The first entry is in the 2nd month of the year, when she makes her intentions clear.  The Court officials were set to task to prepare all the necessary clothing for the trip, which was about 3 weeks out.  This likely also meant preparing the road, ensuring that there would be food, and a place for Uno no Sarara and her entourage to stay when they reached Ise.  The preparations clearly had an impact, as Miwa no Ason no Takechimaro, a Chunagon, or Middle Counselor, presented a memorial to remonstrate with her majesty on the trip.  He noted that they were in the middle of the agricultural season—roughly April or May by modern standards—and a royal trip would have an outsized impact on the areas where she would be traveling through.  His remonstration was heard, and overruled.  Uno no Sarara was determined to go.  As she delegated the Prince Hirose, Tahema no Mabito no Chitoko, and Ki no Ason no Yumibari to all look after the palace while she was away, Miwa no Takechimaro reiterated his remonstration and then took a drastic step:  He offered to her his cap—basically he offered to resign his rank.  This was quite the step, and not from nobody. Miwa no Takechimaro was from a prominent family.  As their name suggests, they were connected to Mt. Miwa, and the worship, there.  Based on what evidence we have, he was probably born around 657 CE, and when he was about 16 years old he was fighting on the side of Ohoama in the Jinshin no Ran.  In particular, he was involved in the fighting near Hashihaka kofun, and then moved over to attack the Afumi forces on the Middle Road.  There is evidence after that of him making his way up through the ranks, and was even one of those who offered a eulogy for Ohoama.  As Chunagon, he was in a fairly powerful position in court, and giving up his court rank would mean not just a loss in status, but also giving up the income associated with that rank. And this remonstration may be why we are told that the court commuted taxes, including forced labor, for the lands that she passed through, and she recognized the local Kuni no Miyatsuko with cap-rank.  She also remitted taxes for those who had been conscripted to help from elsewhere, such as her baggage handlers, the people who built the temporary palace for her to stay in, in Ise, etc.  So even if the procession to Ise had an impact, she seems to have done her best to lessen the blow. As for Takechimaro, we don't see him again in the Nihon Shoki, but he does show up later.  He would become the governor of Nagato, and then later he is given positions such as the Mayor of the Sakyou, or Left Capital.  So it would seem that either his resignation wasn't accepted, or that he was re-hired at some later point.  He would pass away in 706 CE. By the way, there is one other notable feature about him, and you may have caught it as I went over all of this.  That was the name of his uji, or clan:  Miwa, or Ohomiwa.    This means he had a connection to—and possibly a vested interest in—promoting the worship at Mt. Miwa, the traditional Yamato cultic center.  Nothing is outright stated, but it makes sense that someone from Miwa might be a little bit concerned with the extra attention being given to the shrine at Ise around this time—so there is that, as well. Regardless of his intentions, it certainly seems that from that point on Ise Shrine and the deity worshipped there, Amaterasu Ohokami, would be tied to the imperial line from the late 7th century onward.  Clearly the royal patronage of the shrine stepped up, and for the most part we do see a fairly regular stream of Saigu, with one slight exception:  There doesn't appear to have been one during Uno no Sarara's reign.  Ohoku no Himemiko had been sent down during the reign of Ohoama, but she was the sister to Prince Ohotsu, and appears to have returned after his death.  The position appears to have remained vacant until after Uno no Sarara's reign.  It makes me wonder if she wasn't "filling in" for the Saigu, in a way.  That could, in part, explain her travels there. There also may not have been a good candidate at the time, but I find that less believable—perhaps there was no candidate that Uno trusted given the precarious position her own bloodline was in at the moment.  Still, after her reign, the position of Saigu would be regularly filled by a member of the royal family through the end of the Heian period.  It was interrupted by the Genpei wars, and then the practice fell into decline during the period of the Kamakura bakufu.  Late Edo period pro-imperialists tried to restore the practice, but it didn't catch back on. Despite the apparent importance of the shrine to the royal family, it would also remain somewhat aloof.  The priests of the shrine would provide the sacred mirror for ascension ceremonies, but it would be very rare for any sitting sovereign to actually pay a visit to the shrine, and, as I mentioned before, Amaterasu was not one of the deities reflected in the inner court rituals.  Still, she would come to be seen as the dominant kami of the Shinto pantheon, and even today, many shrines will hold space for her as well as the primary deity; home shrines, or kamidana, will often include ofuda for Amaterasu as a central point of worship, with kami associated with one's local shrines as well. So there you have just a little taste of what Uno no Sarara was up to.  Whether she had intended to be in this position or had it thrust onto her, she was no shrinking violet.  She took control of the ship of state and set a course that would continue to influence the archipelago down to the modern day.  The reforms that started with her father and husband she continued and made manifest in the physical and spiritual world.  And this is only the beginning.  There is more to talk about regarding Uno no Sarara's reign, and her eventual abdication, but for that, we will have to wait until Part 2. 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.

“He has a sugar face!” our vet exclaimed as she gave our young dog his annual checkup. “A sugar face?” I asked. “It’s a term used for retrievers whose faces turn prematurely white,” she replied, smiling. “It’s just a sign of the sweetness inside.” Reflecting on that moment later, I thought about what shows up on my face when others meet me. Do they catch a glimpse of “the sweetness inside,” the transforming power of Jesus’ love in my heart and life? The Bible tells of the breathtaking moments when Moses came down from Mount Sinai after spending days in God’s presence. Moses “was not aware that his face was radiant because he had spoken with the Lord,” so radiant that the people “were afraid to come near him” (Exodus 34:29-30). To avoid frightening them further, Moses “put a veil over his face” and removed it when “he went in to speak with the Lord” (vv. 33, 35). Moses was of course literally speaking with God “face to face” (33:11), a unique moment in the Bible. But Scripture also reminds us that we who know God through Christ “are being transformed into his image with ever-increasing glory” (2 Corinthians 3:18). His presence within us can be winsome to others—a work of God’s love. Our faces may not shine like Moses’ did, but as we spend time in God’s presence, He’ll become increasingly evident in us.

In this episode, Keenan and Kyle dive into a wide-ranging conversation covering NBA draft excitement, recent NBA and World Cup observations, and the historical significance of Knicks' championships. They analyze player rankings and legacy debates, and speculate on future MVPs, offering deep insights into the basketball landscape. The brothers dive into NBA draft prospects, team rebuilds, NFL predictions, and Drake's musical trajectory, providing insights into trends in the sports and music industries.00:00 Introduction and Technical Difficulties05:28 Importance of Knicks Championship in Recent History14:02 Comparing Jalen Brunson to NBA Legends21:35 Evaluating Player Popularity and Marketability29:49 The Impact of the NBA Draft33:42 Reviving Historic Teams: The Chicago Bulls36:13 Anticipating Big Trades on Draft Night39:52 The Return of True Hoopers49:26 NFL Insights and Predictions59:34 Drake's Musical Legacy and Future01:12:14 Closing Thoughts and Future DiscussionsFOLLOW THE BROTHAS ONInstagram -https://www.instagram.com/warnerbrothaspodcast/TikTok - https://www.tiktok.com/@thewarnerbrothaspodcastFacebook - https://www.facebook.com/warnerbrothaspodcastX - https://x.com/warnerbrospodYouTube - https://www.youtube.com/@thewarnerbrothaspodcast

It's Wrestling Talk & Talk About Wrestling as the Shining Wizards return to talk about the upcoming WWE Night of Champions PLE, AEW Forbidden Door, MLW Fusion, JCW Lunacy, NXT Great American Bash & more. We then do something a little different as we Re Book the 1993 King of the Ring with the losers of the qualifying matches. We take the field of 7 (someone got a BYE) &... The post The Shining Wizards 799: Love Doing It to 3 Guys appeared first on Shining Wizards Network.

Andrew needs backup that the angsty chefs need to take it down a notch. Johnny needs backup that there needs to be more rules when it comes to the marketing of horror movies. Enjoy!Support the showRemember to sign up for the Patreon for Post-Show Banter! https://patreon.com/thecavalrypodcast?utm_medium=unknown&utm_source=join_link&utm_campaign=creatorshare_creator&utm_content=copyLink

Director/Producer Hiro Murai whose new show is Apple TV's “Widow's Bay,” joins host Ben Mankiewicz. They discuss why he and Donald Glover collaborate so well and how their initial approach to making “Atlanta” was unsustainable. Murai and Ben debate the value of surrealism in art and Murai reveals that he once pitched himself to direct a Beyonce video but completely understands why he didn't get the gig. His answers to the Super 8 span Japanese films like Miyazaki's “My Neighbor Totoro” and Takeshi Kitano's “Sonatine” to the Albert Brooks comedy “Modern Romance” and Kubrick's “The Shining.” Films Mentioned: Rosemary's Baby Eraserhead Cool Runnings The Shining Terminator 2: Judgement Day AKA T2 Elevator To The Gallows Boogie Nights No Country For Old Men Jurassic Park Modern Romance La Chimera 2001: A Space Odyssey Ran My Neighbor Totoro Tampopo The Sound of Music Reds Learn more about your ad choices. Visit podcastchoices.com/adchoices

Jon & Sam talk U.S. Open and betting lines. Also, Vols baseball gets some recruits! ---------- TalkSports is LIVE Weekdays from 8-11 a.m. on Fox Sports Knoxville/ Fanrun Radio. Check Out our Socials: "@FOXSportsKnox" on Twitter/X, "FanrunSports" on Instagram and Youtube Jon- @Jon__Reed on "X" Cody- @Cody__McClure on "X" Sam- @_beard11 on "X" Bubba- @BrandonShown on "X"

Discover the real Atlantis in this deep dive into Plato's Timaeus and Critias. Jason Quitt unveils how the fall of the Pole Star in 9,600 BCE matches the "destruction" of the lost city.Video Episode: https://youtu.be/qahzHZ5JG_oFor thousands of years people have searched for the lost city of Atlantis, scouring the ocean floor and the far corners of the earth for a sunken continent, but what if Atlantis was never a place at all? In this episode, returning guest Jason Quitt joins Chance to unveil the central thesis of his brand new book, The Shining Island, in the very first long-form conversation recorded about it. Together they walk through Plato's two Atlantis dialogues, the Timaeus and the Critias, and make the case that the entire story is a celestial allegory, a creation myth written in the stars. The destruction of Atlantis, dated by Plato to 9,600 BCE, lines up with a moment when there was no pole star to guide humanity. This is a deep, dense, and genuinely mind-expanding conversation about the oldest story ever told, the story of the stars.Remote Biofield Tuning sessions with Chance are available via Zoom. Learn more and book at https://www.innerversepodcast.com/biofield-tuningFull archives, extended episodes, and member community at https://www.innerversepodcast.com/plusWatch the extended episode of this podcasthttps://www.innerversepodcast.com/plus/jason-quitt-atlantisPatreon: https://www.patreon.com/innerverse/posts/real-atlantis-of-161284133Substack: https://innerversepodcast.substack.com/p/jason-quitt-shining-islandYoutube: https://youtu.be/zpysvZRJogsLINKSJason Quitt: https://thecrystalsun.com/https://www.innerversepodcast.com/episodes/jason-quitt-shining-islandSUPPORT INNERVERSE WITH AFFILIATESKyle Denton's Potent Plant Medicines – Tippecanoe Herbs (use coupon code 'innerverse'): https://www.tippecanoeherbs.comThe World's Best Tuning Fork: https://biofieldtuningstore.com/collections/the-sonic-slider-collection?ref=innerverseFlower Elixirs by LotusWei: https://www.lotuswei.com/innerverse Hosted on Acast. See acast.com/privacy for more information.

We hear from The CBS Radio Mystery Theater on this week's episode of The Horror. From March 15, 1977, here's their story, The Shining Man. Listen to more from The CBS Radio Mystery Theater https://traffic.libsyn.com/forcedn/e55e1c7a-e213-4a20-8701-21862bdf1f8a/TheHorror1284.mp3 Download TheHorror1284 | Subscribe | Spotify | Support The Horror

Adam and Josh step into the uncanny world of eerie, empty spaces to ask whether 2026 is the year of liminal horror. First up: YouTube curiosity turned box office phenom Backrooms. Then, Exit 8, an inspired video game adaptation from Japan that’s equal parts Groundhog Day and The Shining. Plus, Massacre Theatre. This episode is presented by⁠ Regal Unlimited⁠⁠, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code FILMSPOT26 to take 15% off. (Timecodes reflect the raw transcript audio tracks and may vary slightly with ads.) Intro (00:00:00-00:01:55) Backrooms: (00:01:56-00:30:36) Backrooms: Spoiler Talk (00:30:37-00:40:11) Filmspotting Family (00:40:12-00:47:22) Exit 8 (00:47:23-01:00:26) Filmspotting Fest II / Poll (01:00:27-01:05:22) Massacre Theatre (01:05:23-01:11:55) Credits/Releases (01:11:56-01:15:44) Links: -Filmspotting Fest II: June 27-28, 2026 https://www.filmspottingfest.com -Movie Deathmatch Podcast: Close Encounters vs. E.T. https://www.filmspotting.net/episodes Feedback: -Email us at feedback@filmspotting.net⁠⁠ ⁠⁠⁠⁠-Ask Us Anything⁠⁠⁠⁠ and we might answer your question in bonus content. Support: Join the Filmspotting Family for bonus episodes and archive access. https://filmspottingfamily.com Filmspotting Shop for T-shirts and more. https://www.filmspotting.net/shop⁠⁠⁠ Follow: -Watch Filmspotting on YouTube: https://youtube.com/filmspotting -Adam/Filmspotting: Letterboxd | Instagram | Facebook | Bluesky -Josh/LarsenOnFilm: Letterboxd | Instagram | Facebook | BlueskySee omnystudio.com/listener for privacy information.