Podcasts about silene

On face value, flower colors would seem to have everything to do with pollination, but it is far more complex than that. The pigments that give flowers the colors we can see can have many different functions and how they evolve is a fascinating realm of research. Join me and Dr. Andrea Berardi as we explore floral coloration in two genera - Silene and Petunia. This episode was produced in part by Austin, Sarah, Ethan, Elle, Steve, Cassie, Chuck, Aaron, Gillian, Abi, Rich, Shad, Maddie, Owen, Linda, Alana, Sigma, Max, Richard, Maia, Rens, David, Robert, Thomas, Valerie, Joan, Mohsin Kazmi Photography, Cathy, Simon, Nick, Paul, Charis, EJ, Laura, Sung, NOK, Stephen, Heidi, Kristin, Luke, Sea, Shannon, Thomas, Will, Jamie, Waverly, Brent, Tanner, Rick, Kazys, Dorothy, Katherine, Emily, Theo, Nichole, Paul, Karen, Randi, Caelan, Tom, Don, Susan, Corbin, Keena, Robin, Peter, Whitney, Kenned, Margaret, Daniel, Karen, David, Earl, Jocelyn, Gary, Krysta, Elizabeth, Southern California Carnivorous Plant Enthusiasts, Pattypollinators, Peter, Judson, Ella, Alex, Dan, Pamela, Peter, Andrea, Nathan, Karyn, Michelle, Jillian, Chellie, Linda, Laura, Miz Holly, Christie, Carlos, Paleo Fern, Levi, Sylvia, Lanny, Ben, Lily, Craig, Sarah, Lor, Monika, Brandon, Jeremy, Suzanne, Kristina, Christine, Silas, Michael, Aristia, Felicidad, Lauren, Danielle, Allie, Jeffrey, Amanda, Tommy, Marcel, C Leigh, Karma, Shelby, Christopher, Alvin, Arek, Chellie, Dani, Paul, Dani, Tara, Elly, Colleen, Natalie, Nathan, Ario, Laura, Cari, Margaret, Mary, Connor, Nathan, Jan, Jerome, Brian, Azomonas, Ellie, University Greens, Joseph, Melody, Patricia, Matthew, Garrett, John, Ashley, Cathrine, Melvin, OrangeJulian, Porter, Jules, Griff, Joan, Megan, Marabeth, Les, Ali, Southside Plants, Keiko, Robert, Bryce, Wilma, Amanda, Helen, Mikey, Michelle, German, Joerg, Cathy, Tate, Steve, Kae, Carole, Mr. Keith Santner, Lynn, Aaron, Sara, Kenned, Brett, Jocelyn, Ethan, Sheryl, Runaway Goldfish, Ryan, Chris, Alana, Rachel, Joanna, Lori, Paul, Griff, Matthew, Bobby, Vaibhav, Steven, Joseph, Brandon, Liam, Hall, Jared, Brandon, Christina, Carly, Kazys, Stephen, Katherine, Manny, doeg, Daniel, Tim, Philip, Tim, Lisa, Brodie, Bendix, Irene, holly, Sara, and Margie.

Editor's note: This piece is slightly different to our normal ones. It's more akin to a blog and written in the first person. However, we deemed it interesting given the writer, where they are, and the wider context. Although I am not an infantryman, I am assigned to an infantry unit here in the USA. At our recent dining out, talk inevitably turned to Saint Maurice. For those who do not know, Saint Maurice is the patron saint of infantrymen. When it came time for the commander to induct a select few into the Order of Saint Maurice, I heard the script - which includes the story of Saint Maurice - as if it was for the first time. Maurice was ordered to have his legionnaires offer pagan sacrifices before battle near the Rhone at Martigny. The Theban Legion refused to participate, and also refused to kill innocent civilians in the conduct of their duty, and withdrew to the town of Agaunum. Enraged, Maximian ordered every tenth man killed, yet they still refused. A second time the General ordered Maurice's men to participate and again they refused. Maurice declared his earnest desire to obey every order lawful in the eyes of God. "We have seen our comrades killed," came the reply. "Rather than sorrow, we rejoice at the honor done to them." I had been in a funk for the preceding few weeks. Like all members of the profession of arms I had been trying to make sense of the changes in Department policy and U.S. foreign policy that had been cascading out of the National Command Authority. Everything seemed to be in flux. Opinions among my peers differed. Nothing seemed to make sense. And then I heard this story and suddenly I felt better. I am not a religious man. And even if I were, the religion of my ancestors did not include the veneration of saints (if you must know, I'm Jewish, but you can only get military inspiration from the stories of the Maccabean Revolt so many times before you need to look further afield for inspiration). But in a time when everyone is talking about "warrior culture" - and not necessarily in a way that made good sense - the story of Saint Maurice seemed like it held some sort of answer. As a good cavalryman, I went straight to the story of Saint George. As a result of his personal bravery, this man - then known as Nestor of Cappodocia - became a member of the Roman Emperor Diocletian's personal bodyguard. In 303 AD, Diocletian issued an edict in Nicodemia, now a part of Turkey, that ordered the destruction of all Christian Churches, sacred writings and books, and outlawing all Christians who did not, on the surface at least, conform to paganry. Upon seeing the edict, Nestor tore it down. For his act and his refusal to abide by the pagan emperor's edict, Nestor was imprisoned, tortured, and executed. Early Christians changed Nestor's name to George, and he became associated with bravery, dedication to faith, and decency. The legend of St. George's defeating the dragon perpetuates the might of the mounted warrior over the forces of evil. It is an Italian legend dating from the 12th Century, and the story goes like this: Near the city of Silene, a frightful dragon came to live in a marshy swamp, and its breath poisoned all who attempted to drive it away. To protect themselves, the citizens offered the dragon two sheep every day. Soon, however, they ran out of sheep, and human sacrifices were then drawn by lot. One day, the lot fell to the king's daughter. She was left in the swamp to face the dragon, and this is where St. George finds her during his travels. In a fierce combat, George defeats the dragon but does not kill it. Instead, he ties the princess' waistband around the dragon's neck and has her lead it back to the city. There he promises to slay the dragon if the people will embrace the Christian faith. This they agree to do, and he kills the dragon. Later, of course, the dragon came to represent the embodiment of evil and hatred rather than an animal, but the moral remained. The heroism and faith of S...

Ever wonder how alcohol is really impacting your hormones, weight gain, energy, and mood? We're breaking it all down. From how alcohol raises cortisol and wrecks your sleep to why it makes your face puffy, your periods heavier, and your energy crash.Silene Brown, FNP, shares why alcohol is so hard on your liver and hormones, especially during perimenopause and menopause. We're talking estrogen, progesterone, testosterone, and why alcohol keeps you stuck feeling tired, inflamed, and moody, even if you're working out and eating clean.We also dig into how alcohol messes with your sex hormones and your libido, what's really happening with your stress hormones, and why quitting (or even cutting back) can change your life, your face, your body, and your brain.Plus, we chat about parasites, detoxing, and what it really means when you're wide awake at 3 am.This conversation is fall of the stuff no one's talking about when it comes to alcohol and hormones.Connect with Silene on Instagram @refresh.beauty.and.wellnessCheck out the Booty Worm Episode CLICK HEREStep into Your Sober Era! Are you ready to embrace a life of clarity and empowerment? Let's embark on this transformative journey together! [Subscribe Now ➔] Sam's Sober Stack | Samantha Parker | Substack Want to Work with The Samantha Parker for Content Management CLICK HERE Grab my Sober Travel Tips Guide HERE Check out My Sober Storefront HERE Follow me on TikTok https://www.tiktok.com/@samanthaparkershow YouTube https://www.youtube.com/@thesamanthaparker Instagram https://www.instagram.com/thesamanthaparker/ Grab $10 off Curious Elixirs https://oken.do/ho7cxduy Shop Ryze Coffee - Grab 15% Off HERE

Está no ar o podcast “(Re)construindo o RH”, que traz novas perspectivas sobre as novas fronteiras da gestão de pessoas. Nosso objetivo é ajudar a tornar o RH mais estratégico e conectado às novas demandas do mercado.No episódio de estreia, recebemos Silene Rodrigues, Diretora Sênior de RH na adidas para uma conversa sobre o tema “A Humanização do RH”.Discutimos como as empresas podem transformar ESG e DEI em ações concretas, construir uma cultura organizacional mais autêntica e equilibrar as expectativas dos negócios com as necessidades dos funcionários.O podcast é apresentado por Santiago Andreuzza, diretor de produtos do CNEX e MIT SMR Brasil, e Lara Silbiger, editora e head de produtos editoriais da MIT SMR Brasil.Inscreva-se na Newsletter (Re)construindo o RH.Conheça editoria (Re)construindo o RH da MIT SMR Brasil.Queremos ouvir sua opinião! Contribua com sugestões e comentários.

Enjoy 196 radio show. What mixed mrs Silene . Next week Kikka Vara will our resident. Peace: DEEP FIELD records team

Enjoy 195 radio show. What mixed mr technicLEGO. Next week Silene will our guest. Peace: DEEP FIELD records team

Conto Erótico - Dando pro Sugar Daddy. Silene é uma universitária tendo problemas com grana e após sugestão de uma amiga entra em um aplicativo que a conecta com sugar daddies, o que ela não contava era ficar doida pelo seu sugar daddy. Vem saber o que rolou nesse conto erótico. O Macetaflix e a Pantynova estão com 10% na loja para o Mês dos Solteiros, e utilizando o cupom MACETAFLIX ao final da compra você ganha mais 10%, mas corre que é só até o fim de Agosto. Site: macetaflix.com Instagram: instagram.com/novapanty Twitter: twitter.com/macetaflix TikTok: tiktok.com/@pantynova Facebook: facebook.com/pantynova Participe do nosso grupo de Telegram, cheio de memes, promoções e fofocas. https://t.me/pantynova

Send us a Text Message.We dive into the fascinating world of women's hormones, health, and wellness with Silene Brown/Silene's journey is about her incredible transformation and the significant impact of using Ozempic for weight loss, which has positively influenced her life. We shed light on the essential aspect of making lifestyle changes while using this medication to prevent weight regain.It's crucial to recognize that this medication may not work for everyone and understand how to incorporate it into one's journey. The reality of side effects and the necessity of proper guidance and coaching when using such medications. As I always emphasize, these medications are tools, not magic pills, and long-term success demands embracing lifestyle changes.We are spilling the tea on fighting the stress of tracking macros and the importance of individuality in finding a healthy eating approach. We underline the significance of being mindful of what we eat, educating ourselves about a healthy lifestyle, and avoiding food obsession.Hormone health is so important and can be why you are not feeling well. Even with regular check-ups from your Western Medicine doctors, you might be out of balance even if the labs return normal.Working with a functional medical provider can help you better understand what is really going on and how lifestyle changes can positively influence your overall well-being.We share our personal experiences and provide valuable advice on focusing on lifestyle and supplementation changes to address hormone levels.There's so much more to uncover in women's health. Join us as we unravel the complexities of hormone health, the significance of lifestyle changes, and the incredible impact of healthy choices on our well-being.Connect with Silene on Instagram @refresh.beauty.and.wellnessConnect with Sam on Instagram or TikTok

In questo nuovo Episodio dell'1% Podcast, Silene Pretto Biologa e Nutrizionista, ci ha parlato dei moltissimi falsi miti presenti nel mondo dell'alimentazione, di cosa rappresenta per le persone la parola DIETA, di quanto una buona alimentazione sia fondamentale per la PRODUTTIVITÀ ed EFFICENZA, di quanto alcune persone siano OSSESSIONATE (negativamente) dalle CALORIE e dal proprio PESO e di tanto altro!

Giovanni Battista Rogeri has often been confused with other makers such as the Rugeri family, because of his name, and Giovanni Paolo Maggini, because of his working style. Trained in the famous workshop of Nicolo Amati in Cremona, Rogeri set out to make a name for himself in Brescia creating a Cremonese Brescian fusion. Learn all about this often mistaken maker in this first episode on the life of Giovanni Battista Rogeri.   This is the story of Giovanni Battista Rogeri the Cremonese trained violin maker who made it big in Brescia and has since been confused with other makers throughout history. Florian Leonhard talks about the influences Rogeri pulled on and exactly why his instruments have for so long been attributed to Giovanni Paolo Maggini.   Transcript    Far, far away in a place called Silene, in what is now modern day Libya, there was a town that was plagued by an evil venom spewing dragon, who skulked in the nearby lake, wreaking havoc on the local population. To prevent this dragon from inflicting its wrath upon the people of Silene, the leaders of the town offered the beast two sheep every day in an attempt to ward off its reptilian mood swings. But when this was not enough, they started feeding the scaly creature a sheep and a man. Finally, they would offer the children and the youths of the town to the insatiable beast, the unlucky victims being chosen by lottery.  As you can imagine, this was not a long term sustainable option. But then, one day, the dreaded lot fell to the king's daughter. The king was devastated and offered all his gold and silver, if only they would spare his beloved daughter.  The people refused, and so the next morning at dawn, the princess approached the dragon's lair by the lake, dressed as a bride to be sacrificed to the hungry animal.  It just so happened that a knight who went by the name of St George was passing by at that very moment and happened upon the lovely princess out for a morning stroll. Or so he thought. But when it was explained to him by the girl that she was in fact about to become someone else's breakfast and could he please move on and mind his own business he was outraged on her behalf and refused to leave her side.  Either she was slightly unhinged and shouldn't be swanning about lakes so early in the morning all by herself, or at least with only a sheep for protection, or she was in grave danger and definitely needed saving. No sooner had Saint George and the princess had this conversation than they were interrupted by a terrifying roar as the dragon burst forth from the water, heading straight towards the girl. Being the nimble little thing she was, the princess dodged the sharp claws.  As she was zigzagging away from danger, George stopped to make the sign of the cross and charged the gigantic lizard, thrusting Ascalon, that was the name of his sword, yep he named it, into the four legged menace and severely wounded the beast. George called to the princess to throw him her girdle, That's a belt type thing, and put it around the dragon's neck. From then on, wherever the young lady walked, the dragon followed like a meek beast.  Back to the city of Silene went George, the princess, and the dragon, where the animal proceeded to terrify the people. George offered to kill the dragon if they consented to becoming Christian. George is sounding a little bit pushy, I know. But the people readily agreed and 15, 000 men were baptized, including the king. St. George killed the dragon, slicing off its head with his trusty sword, Ascalon, and it was carried out of the city on four ox carts. The king built a church to the Blessed Virgin Mary and St. George on the site where the dragon was slain and a spring flowed from its altar with water that it is said would cure all diseases.  This is the story of Saint George and the Princess. It is a classic story of good versus evil, and of disease healing miracles that would have spoken to the inhabitants of 17th century Brescia. The scene depicting Saint George and the Princess is painted in stunning artwork by Antonio Cicognata and was mounted on the wall of the Church of San Giorgio.  Giovanni Battista Rogeri gazed up at this painting as family and friends, mainly of his bride Laura Testini, crowded into the church of San Giorgio for his wedding. Giovanni was 22 and his soon to be wife, 21, as they spoke their vows in the new city he called home. He hoped to make his career in this town making instruments for the art loving Brescians, evidence of which could be seen in the wonderful artworks in such places as this small church. Rogeri would live for the next 20 years in the parish of San Giorgio. The very same George astride an impressive white stallion in shining armour, his head surrounded by a golden halo. He is spearing the dragon whilst the princess calmly watches on clad in jewels with long red flowing robes in the latest fashion. In the background is the city of Brescia itself, reminding the viewer to remember that here in their city they too must fight evil and pray for healing from disease ever present in the lives of the 17th century Brescians. Hello and welcome to the Violin Chronicles, a podcast in which I, Linda Lespets, will attempt to bring to life the story surrounding famous, infamous, or just not very well known, but interesting violin makers of history.  I'm a violin maker and restorer. I graduated from the French Violin Making School some years ago now, and I currently live and work in Sydney with my husband Antoine, who is also a violin maker and graduate of the French school, l'Ecole Nationale de Luthierie in Mircourt. As well as being a luthier, I've always been intrigued with the history of instruments I work with, and in particular, the lives of those who made them. So often when we look back at history, I know that I have a tendency to look at just one aspect, but here my aim is to join up the puzzle pieces and have a look at an altogether fascinating picture. So join me as I wade through tales not only of fame, famine, and war, but also of love. Artistic genius. Revolutionary craftsmanship, determination, cunning and bravery, that all have their part to play in the history of the violin.  Welcome to this first episode on the life of Giovanni Battista Rogeri. After having spent the last few episodes looking at the life of the Ruggeri family, we will now dive into the life of that guy who almost has the same name, but whose work and contribution to violin making, you will see, is very different. And we will also look at just why, for so many years, his work has been attributed erroneously to another Brescian maker. The year was 1642, and over the Atlantic, New York was called New Amsterdam. The Dutch and the English were having scuffles over who got what. Was it New England? New Netherlands? In England, things were definitely heating up, and in 1642, a civil war was in the process of breaking out. On one side there were the parliamentarians, including Oliver Cromwell, and on the other side were the Royalists, who were the supporters of King Charles I. This war would rage on for the next 20 years, and not that anyone in England at this time really cared, but the same year that this war broke out, a baby called Giovanni Battista Rogeri was born in Bologna, perhaps, and for the next 20 years he grew up in this city ruled by the Popes of Italy. He too would witness firsthand wars that swept through his hometown. He would avoid dying of the dreaded plague, sidestep any suspicion by the Catholic church in this enthusiastic time of counter reformation by being decidedly non Protestant. And from an early age, he would have been bathed in the works of the Renaissance and now entering churches being constructed in the Baroque style. Bologna was a city flourishing in the arts, music and culture, with one of the oldest universities in the country.  But for the young Giovanni Battista Rogeri, to learn the trade of lutai, or violin maker, the place he needed to be was, in fact, 155. 9 km northwest of where he was right now. And if he took the A1, well, today it's called the A1, and it's an ancient Roman road so I'm assuming it's the same one, he could walk it in a few days. Destination Cremona, and more precisely, the workshop of Niccolo Amati. An instrument maker of such renown, it is said that his grandfather, Andrea Amati, made some of the first violins and had royal orders from the French king himself.  To be the apprentice of such a man was a grand thing indeed. So we are in the mid 1600s  and people are embracing the Baroque aesthetic along with supercharged architecture and paintings full of movement, colour and expression. There is fashion, and how the wealthy clients who would buy instruments in Cremona dressed was also influenced by this movement. Emily Brayshaw. You've got these ideas of exaggeration of forms and you can exaggerate the human body with, you know, things like high heels and wigs and ribbons and laces. And you've got a little bit of gender bending happening, men wearing makeup and styles in the courts. You know, you've got dress and accessories challenging the concept of what's natural, how art can compete with that and even triumph over the natural perhaps. You've got gloves trimmed with lace as well. Again, we've got a lot of lace coming through so cravats beauty spot as well coming through. You've got the powder face, the, the wig. Yeah. The makeup, the high heels. Okay. That's now. I actually found a lovely source, an Italian tailor from Bergamo during the Baroque era. The Italians like really had incredibly little tailors and tailoring techniques. And during this sort of Baroque era. He grumbles that since the French came to Italy not to cut but to ruin cloth in order to make fashionable clothes, it's neither possible to do our work well nor are our good rules respected anymore. We have completely lost the right to practice our craft. Nowadays though who disgracefully ruin our art and practice it worse than us are considered the most valuable and fashionable tailors.  So we've got like this real sort of shift. You know, from Italian tailoring to sort of French and English tailoring as well. And they're not happy about it. No, they are not happy about it. And this idea that I was talking about before, we've got a lovely quote from an Italian fashion commentator sort of around the mid 17th century. His name's Lam Pugnani, and he mentions the two main fashions. meaning French and Spanish, the two powers that were ruling the Italian peninsula and gradually building their global colonial empires. And he says, “the two main fashions that we have just recorded when we mentioned Spanish and French fashion, enable me to notice strangeness, if not a madness residing in Italian brains, that without any reason to fall in love so greatly Or better, naturalize themselves with one of these two nations and forget that they are Italian. I often hear of ladies who come from France, where the beauty spot is in use not only for women, but also for men, especially young ones, so much so that their faces often appear with a strange fiction darkened and disturbed, not by beauty spots, but rather by big and ridiculous ones, or so it seems somebody who is not used to watching similar mode art”. So, you know, we've got people commentating and grumbling about these influences of Spain and France on Italian fashion and what it means to be Italian. When we sort of think about working people, like there's this trope in movie costuming of like peasant brown,  you know, and sort of ordinary, you know, people, perhaps ordinary workers, you know, they weren't necessarily dressed.  In brown, there are so many different shades of blue. You know, you get these really lovely palettes of like blues, and shades of blue, and yellows, and burgundies, and reds, as well as of course browns, and creams, and these sorts of palettes. So yeah, they're quite lovely. And I'm imagining even if you didn't have a lot of money, there's, I know there's a lot of flowers and roots and barks that you can, you can dye yourself. Yeah, definitely. And people did, people did. I can imagine if I was living back there and we, you know, we're like, Oh, I just, I want this blue skirt. And you'd go out and you'd get the blue skirt. The flowers you needed and yeah, definitely. And people would, or, you know, you can sort of, you know, like beetroot dyes and things like that. I mean, and it would fade, but then you can just like, you know, quickly dye it again. Yeah, or you do all sorts of things, you know, and really sort of inject colour and, people were also, you know, people were clean. To, you know, people did the best they could  keep themselves clean, keep their homes clean. You know, we were talking about boiling linens to keep things fresh and get rid of things like fleas and lice. And people also used fur a lot in fashion. And you'd often like, you know, of course you'd get the wealthy people using the high end furs, but sometimes people would, you know, use cat fur in Holland, for example, people would trim their fur. Their garments and lined their garments with cat fur.  Why not? Because, you know, that's sort of what they could afford.  It was there. Yeah, people also would wear numerous layers of clothing as well because the heating wasn't always so great. Yeah. You know, at certain times of the year as well. So the more layers you had, the better. The more, the more warm and snug you could be. As do we in Sydney. Indeed.  Indeed.  Canadians complain of the biting cold here. I know. And it's like, dude, you've got to lay about us. It's a humid cold. It's awful. It's horrible. It just goes through everything. Anyway. It's awful. Yeah. So at the age of 19, Giovanni Battista Rogeri finds himself living in the lively and somewhat crowded household of Niccolo Amati. The master is in his early 60s and Giovanni Battista Rogeri also finds himself in the workshop alongside Niccolo Amati's son Girolamo II Amati, who is about 13 or 14 at this time.  Cremona is a busy place, a city bursting with artisans and merchants. The Amati Workshop is definitely the place to be to learn the craft, but it soon becomes clear as Giovanni Battista Rogeri looks around himself in the streets that, thanks to Nicolo Amati, Cremona does indeed have many violin makers, and although he has had a good few years in the Amati Workshop, Learning and taking the young Girolamo II Amati the second under his wing more and more as his father is occupied with other matters. He feels that his best chances of making a go of it would be better if he moved on and left Cremona and her violin makers. There was Girolamo II Amati who would take over his father's business. There were the Guarneri's around the corner. There was that very ambitious Antonio Stradivari who was definitely going to make a name for himself. And then there were the Rugeri family, Francesco Rugeri and Vincenzo Rugeri whose name was so familiar to his, people were often asking if they were related.  No, it was time to move on, and he knew the place he was headed. Emily Brayshaw.  So, you've also got, like, a lot of artisans moving to Brescia as well, following the Venetian ban on foreign Fustian sold in the territory. So Fustian is, like, a blend of various things. Stiff cotton that's used in padding. So if you sort of think of, for example someone like Henry VIII, right? I can't guarantee that his shoulder pads back in the Renaissance were from Venetian Fustian, but they are sort of topped up and lined with this really stiff Fustian to give like these really big sort of, Broad shoulders. That's how stiff this is. So, Venice is banning foreign fustians, which means that Cremona can't be sold in these retail outlets. So, Ah, so, and was that sort of That's fabric, but did that mirror the economy that Brescia was doing better than Cremona at this point? Do you, do you think? Because of that? Well, people go where the work is. Yeah. Cause it's interesting because you've got Francesco Ruggeri, this family that lives in Cremona. Yeah. And then you have about 12 to 20 years later, you have another maker, Giovanni Battista Rogeri.  Yeah. He is apprenticed to Niccolo Amati. So he learns in Cremona. And then he's in this city full of violin makers, maybe, and there's this economic downturn, and so it was probably a very wise decision. He's like, look, I'm going to Brescia, and he goes to Brescia. He would have definitely been part of this movement of skilled workers and artisans to Brescia at that time, sort of what happening as well. So, you know, there's all sorts of heavy tolls on movements of goods and things like that. And essentially it collapses. And they were, and they were heavily taxed as well. Yeah, definitely. Definitely. It was the fabulous city of Brescia. He had heard stories of the city's wealth, art, music and culture, famous for its musicians and instrument makers. But the plague of 1630 had wiped out almost all the Luthiers and if ever there was a good time and place to set up his workshop, it was then and there. So bidding farewell to the young Girolamo Amati, the older Nicolò  Amati and his household, where he had been living for the past few years. The young artisan set out to make a mark in Brescia, a city waiting for a new maker, and this time with the Cremonese touch. Almost halfway between the old cathedral and the castle of Brescia, you will find the small yet lovely Romanesque church of San Giorgio. Amidst paintings and frescoes of Christ, the Virgin and the Saints, there stands a solemn yet nervous young couple, both in their early twenties. Beneath the domed ceiling of the church, the seven angels of the Apocalypse gaze down upon them, a constant reminder that life is fragile, and that plague, famine and war are ever present reminders of their mortality. But today is a happy one. The young Giovanni Battista Rogeri is marrying Laura Testini.  And so it was that Giovanni Battista Rogeri moved to Brescia into the artisanal district and finds himself with a young wife, Laura Testini. She is the daughter of a successful leather worker and the couple most probably lived with Laura's family. Her father owned a house with eight rooms and two workshops. This would have been the perfect setup for the young Giovanni to start his own workshop and get down to business making instruments for the people of Brescia. He could show off his skills acquired in Cremona, and that is just what he did. Since the death of Maggini, there had not been any major instrument making workshops in Brescia. Florian Leonhard  Here I talk to Florian Leonhard about Giovanni Battista Rogeri's move to Brescia and his style that would soon be influenced by not only his Cremonese training, but the Brescian makers such as Giovanni Paolo Maggini I mean, I would say in 1732. The Brescian violin making or violin making was dead for a bit,  so until the arrival of Giovanni Battista Rogeri, who came with a completely harmonised idea,  into town and then adopted  features of  Giovanni Paolo Maggini and Gasparo da Salo. I cannot say who, probably some Giovanni Paolo Maggini violins that would have been more in numbers available to him, have influenced his design of creating an arching. It's interesting that he instantly picked up on that arching  because Giovanni Battista Rogeri always much fuller arched. The arching rises much earlier from the purfling up. Right. So he came from the Cremonese tradition, but he adopted the, like, the Brescian arching idea. He, he came from Niccolo Amati and has learned all the finesse of construction, fine making, discipline, and also series production. He had an inside mould, and he had the linings, and he had the, all the blocks, including top and bottom block.  And he nailed in the neck, so he did a complete package of Cremonese violin making and brought that into Brescia, but blended it in certain stylistics and sometimes even in copies with the Brescian style. For a long time, we have had Before dendrochronology was established, the Giovanni Paolo Magginis were going around and they were actually Giovanni Battista Rogeris. Brescia at this time was still a centre flourishing in the arts and despite the devastation of the plague almost 30 years ago, it was an important city in Lombardy and was in the process of undergoing much urban development and expansion.  When Giovanni Rogeri arrived in the city, There were efforts to improve infrastructure, including the construction of public buildings, fortifications and roads. The rich religious life of the city was evident, and continued to be a centre of religious devotion at this time, with the construction and renovation of churches in the new Baroque style.  The elaborate and ornate designs were not only reserved for churches, but any new important building projects underway in the city at this time. If you had yourself the palace in the Mula, you were definitely renovating in the Baroque style. And part of this style would also be to have a collection of lovely instruments to lend to musicians who would come and play in your fancy new pad. Strolling down the colourful streets lined with buildings covered in painted motifs, people were also making a statement in their choice of clothing. Another thing that the very wealthy women were wearing are these shoes called Chopines, which are like two foot tall. And so you've got like this really exaggerated proportions as well. Very tall. I mean. Very tall, very wide. So taking up a lot of space. I'm trying to think of the door, the doorways that would have to accommodate you. Yes. How do you fit through the door? So a lot of the time women would have to stoop. You would need to be escorted by either servants.  And then you'd just stand around. I did find some discussions of fashion in the time as well.  Commentators saying, well, you know, what do we do in northern France? We either, in northern Italy, sorry, we either dress like the French, we dress like the Spanish, why aren't we dressing like Italians? And kind of these ideas of linking national identity through the expression of dress in fashion. So, we're having this But did you want to, was it fashionable to be to look like the French court or the, to look like the Spanish court. Well, yeah, it was, it was fashionable. And this is part of what people are commenting about as well. It's like, why are we bowing to France? Why are we bowing to Italy? Sorry. Why are we bowing to Spain? Why don't we have our own national Italian identity? And we do see like little variations in dress regionally as well. You know, people don't always. Dress exactly how the aristocracy are dressing. You'll have your own little twists, you'll have your own little trimmings, you'll have your own little ways and styles. And there are theories in dress about trickle down, you know, like people are trying to emulate the aristocracy, but they're not always. Trying to do that. Well, yeah, it's not practical if you're living, you know, if you're and you financially you can't either like some of these Outfits that we're talking about, you know with one of these hugh like the Garde in Fanta worn by Marie Theresa that outfit alone would have cost in today's money like more than a million dollars  You can't copy these styles of dress, right? So what you've got to do is, you know, make adjustments. And also like a lot of women, like you, these huge fashion spectacles worn at court. They're not practical for working women either. So we see adaptations of them. So women might have a pared down silhouette and wear like a bum roll underneath their skirts and petticoats and over the top of the stays. And that sort of gives you a little nod to these wider silhouettes, but you can still move, you can still get your work done, you can still, you know, do things like that. So that's sort of what's happening there. Okay, so now we find a young Giovanni Battista Rogeri. He has married a local girl and set up his workshop. Business will be good for this maker, and no doubt thanks to the latest musical craze to sweep the country. I'm talking about opera.  In the last episodes on Francesco Ruggeri, I spoke to Stephen Mould, the composer. at the Sydney Conservatorium about the beginnings of opera and the furore in which it swept across Europe. And if you will remember back to the episodes on Gasparo Da Salo at the beginning of the Violin Chronicles, we spoke about how Brescia was part of the Venetian state.  This is still the case now with Giovanni Battista Rogeri and this means that the close relationship with Venice is a good thing for his business.  Venice equals opera and opera means orchestras and where orchestras are you have musicians and musicians have to have an instrument really, don't they? Here is Stephen Mould explaining the thing that is opera and why it was so important to the music industry at the time and instrument makers such as our very own Giovanni Battista Rogeri. Venice as a place was a kind of Gesamtkunstwerk.  Everything was there, and it was a very, it was a very modern type of city, a trading city, and it had a huge emerging, or more than emerging, middle class. People from the middle class like entertainment of all sorts, and in Venice they were particularly interested in rather salacious entertainments, which opera absolutely became. So the great thing of this period was the rise of the castrato.  Which they, which, I mean, it was, the idea of it is perverse and it was, and they loved it. And it was to see this, this person that was neither man nor, you know, was in a way sexless on the stage singing  and, and often singing far more far more virtuosically than a lot of women, that there was this, there was this strange figure. And that was endlessly fascinating. They were the pop stars of their time. And so people would go to the opera just to hear Farinelli or whoever it was to sing really the way. So this is the rise of public opera. As opposed to the other version. Well, Orfeo, for example, took place in the court at Mantua, probably in the, in the room of a, of a palace or a castle, which wouldn't have been that big, but would have been sort of specially set up for those performances. If I can give you an idea of how. Opera might have risen as it were, or been birthed in Venice. Let's say you've got a feast day, you know, a celebratory weekend or few days. You're in the piazza outside San Marco. It's full of people and they're buying things, they're selling things, they're drinking, they're eating, they're having a good time. And all of a sudden this troupe of strolling players comes into the piazza and they start to put on a show, which is probably a kind of comedia dell'arte spoken drama. But the thing is that often those types of traveling players can also sing a bit and somebody can usually play a lute or some instrument. So they start improvising. Probably folk songs. Yeah. And including that you, so you've kind of already there got a little play happening outside with music. It's sort of like a group of buskers in Martin place. It could be very hot. I mean, I've got a picture somewhere of this. They put a kind of canvas awning with four people at either corner, holding up the canvas awning so that there was some sort of shade for the players. Yeah. That's not what you get in a kid's playground these days. You've almost got the sense. Of the space of a stage, if you then knock on the door of one of the palazzi in, in Venice and say to, to the, the local brew of the, of the aristocracy, look, I don't suppose we could borrow one of your rooms, you know, in your, in your lovely palazzo to, to put on a, a, a show.  Yeah, sure. And maybe charged, maybe didn't, you know, and, and so they, the, the very first, it was the San Cassiano, I think it was the theatre, the theatre, this, this room in a, in a palace became a theatre. People went in an impresario would often commission somebody to write the libretto, might write it himself. Commissioner, composer, and they put up some kind of a stage, public came in paid, so it's paying to come and see opera.  Look, it's, it's not so different to what had been going on in England in the Globe Theatre. And also the, the similar thing to Shakespeare's time, it was this sort of mixing up of the classes, so everything was kind of mixed together.  And that's, that's why you get different musical genres mixed together. For example, an early something like Papaya by Monteverdi, we've just done it, and from what, from what I can gather from the vocal lines, some of the comic roles were probably these street players,  who just had a limited vocal range, but  could do character roles very well, play old women, play old men, play whatever, you know, caricature type roles. Other people were Probably trained singers. Some of them were probably out of Monteverdi's chorus in San Marco, and on the, on when they weren't singing in church, they were over playing in the opera, living this kind of double life.  And That's how  opera  started to take off. Yeah, so like you were saying, there are different levels. So you had these classical Greek themes, which would be more like, you're an educated person going, yes, yes, I'm seeing this classical Greek play, but then you're someone who'd never heard of Greek music. The classics. They were there for the, you know, the lively entertainment and the sweet performers. Yes. So the, the, the Commedia dell'arte had, had all these traditional folk tales. Then you've got all of the, all of the ancient myths and, and, and so forth.  Papaya was particularly notable because it was the first opera that was a historical opera. So it wasn't based on any ancient myths or anything. It was based on the life of Nero and Papaya. And so they were real life a few hundred years before, but they were real. It was a real historical situation that was being enacted on the stage.  And it was a craze. That's the thing to remember is. You know, these days people have to get dressed up and they have to figure out how they get inside the opera house and they're not sure whether to clap or not and all of this sort of stuff and there's all these conventions surrounding it. That wasn't what it was about. It was the fact that the public were absolutely thirsty for this kind of entertainment.  Yeah. And I was seeing the first, so the first opera house was made in in about 1637, I think it was. And then by the end of Monteverdi's lifetime, they said there were 19 opera houses in Venice. It was, like you were saying, a craze that just really took off. They had a few extra ones because they kept burning down. That's why one of them, the one that, that is, still exists today is called La Fenice. It keeps burning down as well, but rising from the ashes. Oh, wow. Like the, yeah, with the lighting and stuff, I imagine it's So, yeah, because they had candles and they had, you know, Yeah, it must have been a huge fire hazard. Huge fire hazard, and all the set pieces were made out of wood or fabric and all of that. Opera houses burning down is another big theme.  Oh yeah, it's a whole thing in itself, yeah. So then you've got These opera troupes, which are maybe a little, something a little bit above these commedia dell'arte strolling players. So, you've got Italy at that time. Venice was something else. Venice wasn't really like the rest of Italy. You've got this country which is largely agrarian, and you've got this country where people are wanting to travel in order to have experiences or to trade to, to make money and so forth. And so, first of all if an opera was successful, it might be taken down to Rome or to Naples for people to hear it. You would get these operas happening, happening in different versions. And then of course, there was this idea that you could travel further through Europe. And I, I think I have on occasion, laughingly. a couple of years ago said that it was like the, the latest pandemic, you know, it was, but it was this craze that caught on and everybody wanted to experience. Yeah. So you didn't, you didn't have to live in Venice to see the opera. They, they moved around. It was, it was touring. Probably more than we think. That, that, that whole period, like a lot of these operas were basically unknown for about 400 years. It's only, the last century or so that people have been gradually trying to unearth under which circumstances the pieces were performed.  And we're still learning a lot, but the sense is that there was this sort of network of performers and performance that occurred.  And one of the things that Monteverdi did, which was, which was different as well, is that before you would have maybe one or two musicians accompanying, and he came and he went, I'm taking them all. And he created sort of, sort of the first kind of orchestras, like  lots of different instruments. They were the prototypes of, of orchestras. And Look, the bad news for your, the violin side of your project, there was certainly violins in it. It was basically a string contingent. That was the main part of the orchestra. There may have been a couple of trumpets, may have been a couple of oboe like instruments. I would have thought that for Venice, they would have had much more exotic instruments.  But the, the, the fact is at this time with the public opera, what became very popular were all of the stage elements. And so you have operas that have got storms or floods or fires. They simulated fires. A huge amount of effort went into painting these very elaborate sets and using, I mean, earlier Leonardo da Vinci had been experimenting with a lot of how you create the effect of a storm or an earthquake or a fire or a flood. There was a whole group of experts who did this kind of stuff. For the people at the time, it probably looked like, you know, going to the, the, the first big movie, you know, when movies first came out in the 20s, when the talkies came out and seeing all of these effects and creating the effects. When we look at those films today, we often think, well, that's been updated, you know, it's out of date, but they found them very, very, very compelling. What I'm saying is the money tended to go on the look of the thing on the stage and the orchestra, the sound of the orchestras from what we can gather was a little more monochrome. Of course, the other element of the orchestra is the continuo section. So you've got the so called orchestra, which plays during the aria like parts of the opera, the set musical numbers. And you've got the continuo, which is largely for the rest of the team. And you would have had a theorbo, you would have had maybe a cello, a couple of keyboard instruments, lute. It basically, it was a very flexible, what's available kind of. Yeah, so there was they would use violines, which was the ancestor of the double bass. So a three stringed  one and violins as well. And that, and what else I find interesting is with the music, they would just, they would give them for these bass instruments, just the chords and they would improvise sort of on those. Chords. So every time it was a little bit different, they were following a Yes. Improvisation. Yeah. So it was kind of original. You could go back again and again. It wasn't exactly the same. And look, that is the problem with historical recreation. And that is that if you go on IMSLP, you can actually download the earliest manuscript that we have of Papaya.  And what you've got is less than chords, you've got a baseline. Just a simple bass line,  a little bit of figuration to indicate some of the chords, and you've got a vocal line. That's all we have. We don't actually know, we can surmise a whole lot of things, but we don't actually know anything else about how it was performed. I imagine all the bass instruments were given that bass line, and like, Do what you want with that. So yeah, it would, and it would have really varied depending on musicians. Probably different players every night, depending on, you know,  look, if you go into 19th century orchestras, highly unreliable, huge incidents of drunkenness and, you know, different people coming and going because they had other gigs to do. Like this is 19th century Italian theatres at a point where, you know, It should have been, in any other country, it would have, Germany had much better organized you know, orchestral resources and the whole thing. So it had that kind of Italian spontaneity and improvised, the whole idea of opera was this thing that came out of improvisation. Singers also, especially the ones that did comic roles, would probably improvise texts, make them a bit saucier than the original if they wanted for a particular performance. All these things were, were open.  And this brings us to an end of this first episode on Giovanni Battista Rogeri.  We have seen the young life of this maker setting out to make his fortune in a neighbouring city, alive with culture and its close connections to Venice and the world of opera. I would like to thank my lovely guests Emily Brayshaw, Stephen Mould and Florian Leonhardt for joining me today.   ​ 

Walking with the Saints l Feast of St. George, Patron Saint of England l April 23 You must have heard story of St. George and the Dragon when you were younger. Well, it was not a fiction; it was a true story. George was a military man who was martyred for refusing to recant his belief in Christianity. He was martyred in Lydda, Palestine, in 303, during the reign and Christian persecution of Emperor Diocletian. He was a member of the Praetorian guards of the Emperor but his position did not spare him a cruel death. The Empress Alexandra of Rome, seeing how he willingly accepted death for the sake of Christ was convinced to become a Christian herself and joined George in being decapitated. St. George became so popular to all the people of his time that several stories have been written about him, some are legends and others are history. We shall content ourselves with what the Christian historians have recorded about him. He was one of the most venerated saints in Christianity. He is honored in England, Ethiopia, Georgia. Catalonia, Spain, Russia. His bones are buried in the Church of St. George, Lod, Israel. In the Greek tradition, George was born of Christian parents. When George was fourteen, his father was also martyred for the faith. His mother brought him back to her homeland in Syria. When his mother died, George travelled to Nicodemia where he joined the Roman army. It was there where he met Diocletian, whom he faithfully served but denounced him upon his refusal to sacrifice to idols. George experienced more than 20 tortures and in the course of these sufferings more than 40, 000 pagans were converted and were baptized. Now we will tell you about the dragon. Tradition tells that there was a fierce dragon in the City of Silene, Libya causing great panic. To prevent the dragon from devastating the people, two sheeps were given it each day for its meals. But when he sheeps were already lacking, they were forced to offer people to the dragon. The persons to be offered were chosen by lot and one time, the king's daughter was the one chosen. No one wanted to take her place. George came to the rescue by slaying the dragon with a sword. The king offered gifts to George, for having saved his daughter's life and having rid their city of the pestilence, but he refused them and instead gave the gifts to the poor. The people were so amazed that they were converted and became Christians. Since the event was so extraordinary, the people prepared works of art like sculptures depicting Gorge battling the dragon. The veneration of St. George continues today especially among Christians, Jews, Muslims and other religions. It spread out widely especially after the Fall of Constantinople. At present, in several countries like modern England, Saint George's Day is among the feasts being celebrated.  In April 2019, on the 504th foundation of the parish, the parish priest of Sao George in Madeira Island, Portugal solemnly received the relics of St. George, long time patron of the parish. It is said that when the local Arabs and other non-Christian people have problems, whether financial, political, family, health, and others, they recourse to St.George for help, since they  honor him as both saint and prophet. St. George is commonly depicted wearing armour as a Roman soldier, mounted upon a white horse. It is of great importance to know that in the year 2003, a Vatican stamp issued on the anniversary of St. George's death depicts St. George atop a white horse killing the dragon. Virtue: piety, humility, bravery, patience, detachment and love for the poor, Prayer: “O God, grant us through the prayer of St. George the strength and constancy to suffer for our holy faith and perseverance like him to the end.”

In partnership with Club Oenologique - the world through the lens of wine and spirits. To mark Earth Day 2024 David is joined by Christopher Carpenter, winemaker for Jackson Family Estates' Napa properties, to talk about leading the transition to organic, as well as regenerative viticulture, cutting carbon and reducing water use. Wines featured: Capensis Wines, Silene 2021 (gold and trophy) Torres 15 Reserva Privada Brandy (gold) Familia Torres Sangre De Toro Rosé 2022 (silver) Yealands The Crossings Light Wave Sauvignon Blanc 2022 (silver) Champagne Lanson Le Blanc De Blancs Brut NV (silver) Learn more about your ad choices. Visit megaphone.fm/adchoices

On April 17, 2004 the body of 15 year old Silene Eaddy was found after she had been murdered and set on fire. Two day before she had disappeared after leaving her home in Columbia, SC. 20 years later her murder is still unsolved. SUPPORT OUR SPONSOR ASTEPRO Visit Asterpro.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Our House of Flame and Shadow deep dive (now on YouTube!) continues with chapters 21-25. We kick off the episode guessing what SJM and Margot Robbie were talking about at their recent coffee date. Could Margot be involved in a future SJM adaption as a producer and/or actress (and who would we cast her as?), or was it just a meet cute for two Fantasy fangirlies? We finally learn Silene's fate after returning to Prythian (and how the trickle-down effect impacted Feyre way back in ACOTAR) + Bryce puts everyone at risk doing her best Aelin impression. Lidia continues to carry the plot in Midgard, risking everything for a male who would rather have his hand chewed off than simply *talk* to her. Plus, we talk potential connections to Maeve, Valg in Prythian and Midgard, Mor's mystery shadows and very confusing family trees. Summon us @DTFaePodcast We like our coffee icy and our books spicy! Oh, and we're totally Down To Fae. A podcast for fantasy romance readers and fans of authors like Sarah J. Maas, Jennifer L. Armentrout, Rebecca Yarros and Carissa Broadbent. Follow along as your delulu hosts discuss your favorite romantasy books in a chapter-by-chapter read, re-read or refresher.

This week's episode (House of Flame and Shadow chapters 16-20) features a breakdown of Silene's lore dump, including liberator-turned-conquerer Theia's unexpected (and disappointing) villain arc; what we learned about music and mommy issues in the Bryce, Nesta & Az bonus chapter; the lengths Ruhn will go to in order to avoid simply *speaking* to Lidia ; and the Ithan/Siggy will they/won't they we didn't see coming. Plus, what the Hel do Illyrians and angels do with their hands while they fly and WHY did Sarah have to make Pollux so damn sexy?? Please read chapters 21-25 for next week's episode. Summon us @DTFaePodcast We like our coffee icy and our books spicy! Oh, and we're totally Down To Fae. A podcast for fantasy romance readers and fans of authors like Sarah J. Maas, Jennifer L. Armentrout, Rebecca Yarros and Carissa Broadbent. Follow along as your delulu hosts discuss your favorite romantasy books in a chapter-by-chapter read, re-read or refresher.

Bridget, Caitlin, and Hilda provide their recap of Sarah J. Maas' "House of Flame and Shadow," book 3 in her Crescent City series. Trying to keep the thoughts and feelings to a minimum, they give you the high level recap of this much anticipated book.  Join our Patreon for exclusive behind-the-scenes content and let's be friends!Instagram > @Booktokmademe_podTikTok > @BooktokMadeMe

Join Bridget, Caitlin, and Hilda to discuss the rest of their thoughts on "House of Flame and Shadow," book 3 in Sarah J. Maas' Crescent City series.  SPOILER WARNING: Their thoughts cover all of the Maasverse, including  Throne of Glass and ACOTAR.  Join our Patreon for exclusive behind-the-scenes content and let's be friends!Instagram > @Booktokmademe_podTikTok > @BooktokMadeMe

Durante a Escola do Amor Responde de hoje, o aluno Terêncio disse aos professores que está lendo o livro “Namoro Blindado”, de autoria do casal, que tem aprendido muito e tem sido muito útil. Contudo, ele está passando por algo no relacionamento e não sabe o que fazer. Terêncio disse que a namorada é muito fechada para expressar o que sente. Ele procura fazer tudo para agradá-la e ser o que ela espera. O problema, segundo o aluno, é que o relacionamento não tem romantismo nenhum por parte da companheira. Ele pediu ajuda de Renato e Cristiane para saber como agir com essa situação. Amor inteligente Ademais, confira a história pessoas que tiveram a vida amorosa transformada após praticarem os ensinamentos obtidos durante as palestras da Terapia do Amor. Por fim, a aluna Silene compartilhou com o casal blindado que está grávida e o namorado se distanciou dela depois que soube da gestação. Inclusive, ele disse que se a aluna continuar com a gravidez ele vai se afastar totalmente dela. Fora isso, ele está grosso e nem compartilhou a situação com a família. Bem-vindos à Escola do Amor Responde, confrontando os mitos e a desinformação nos relacionamentos. Onde casais e solteiros aprendem o Amor Inteligente. Renato e Cristiane Cardoso, apresentadores da Escola do Amor, na Record TV, e autores de Casamento Blindado e Namoro Blindado, tiram dúvidas e respondem perguntas dos alunos. Participe pelo site EscoladoAmorResponde.com Ouça todos os podcasts no iTunes: rna.to/EdARiTunes    --- Send in a voice message: https://podcasters.spotify.com/pod/show/edar/message

Desde el Cole Hermanos García Noblejas Seguimos haciendo amigos increíbles y repletando nuestros programas de voces, sonrisas y libros estupendos. Esta semana hemos hecho nuestro Menudo Castillo 577 desde el CEIP Hermanos García Noblejas de Villaviciosa de Odón, con el estreno de un montón de nuevos compañeros de radio. En este programa estuvieron Raúl, Nico, Silene, Patricia, Carla, Enma, Víctor, Telma, Noa, Amelia... faltaron Dani y Alba, pero estarán en próximas aventuras, seguro. Y qué invitados tuvimos. Estuvo con nosotros Inma Delgado, que es la concejala de Educación, Cultura y Juventud de Villaviciosa de Odón y se atrevió a que le preguntaran sus pequeños vecinos. También tuvimos mucho cómic (claro, esta semana se celebra la Madrid Cómic Pop Up). Para celebrar esta fiesta comiquera quisimos hablar de El Capitán Lenteja, de Jorge Campos (Loqueleo) y con Paco Hernández (De todo un Paco) que acaba de publicar con la editorial Molino el libro ¿Por qué Spiderman es pobre? (Y otras movidas con capa). Un programa genial este Menudo Castillo 577, ¿de verdad vas a dejar que pase de largo sin escucharlo? ¡Ah! No olvides dejar tu comentario, que siempre nos gusta saber qué te parece lo que contamos.

Silene "Erica" Eaddy, a teenager from South Carolina was brutally murdered in 2004. We explore her background growing up in the foster care system and her struggles with identity and rebellion. Silene's case takes a dark turn when she goes missing after sneaking out one evening, and her body is later discovered, showing signs of savage beating and being set on fire. Despite the efforts of law enforcement and a program that featured her case on playing cards in prisons, no substantial leads have emerged. Join us as we examine the limited information available, the theories surrounding her murder, and the ongoing search for justice in Silene's case.If you have any information, please contact the authorities or Crime Stoppers.Sources: https://www.independentmail.com/story/news/local/2022/02/28/anderson-county-unsolved-homicide-1997-case-reopened/6879190001/https://uncovered.com/cases/silene-eaddy#sourceshttps://counteverymystery.blogspot.com/2021/05/murder-of-silene-eaddy.htmlhttps://thehueandcry.com/silene-eaddyhttps://wlos.com/news/local/15-year-old-south-carolina-girl-found-beaten-and-burned-19-years-ago-still-no-suspectshttps://www.wltx.com/article/news/crime/mother-helps-investigators-find-daughters-killer/101-384222494https://dc.statelibrary.sc.gov/bitstream/handle/10827/13974/DPS_Criminal_and_Juvenile_Justice_Trends_2005.pdf?sequence=1&isAllowed=yhttps://www.rcsd.net/cold-case-unit/https://www.facebook.com/845607082220782/photos/a.851920331589457/888305707950919/?type=3https://uncovered.com/cases/silene-eaddy#timelinehttps://www.google.com/maps/dir/Pincushion+Rd+%26+Montgomery+Ln,+South+Carolina+29209/Fountain+Lake+Rd,+Columbia,+SC+29209/@33.9322902,-80.9091022,3167m/data=!3m2!1e3!4b1!4m19!4m18!1m10!1m1!1s0x88f8b15b791e6b97:0xc540310ea395ae13!2m2!1d-80.9071264!2d33.9220508!3m4!1m2!1d-80.9028791!2d33.9384857!3s0x88f8b1639cc2d441:0x55c30f91b6c9abf5!1m5!1m1!1s0x88f8b054d81253b7:0x6b3b605607ae1e73!2m2!1d-80.9455278!2d33.95442!3e0?entry=ttuhttps://wach.com/news/local/15-year-old-south-carolina-girl-found-beaten-and-burned-19-years-ago-still-no-suspectsThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5007362/advertisement

durée : 00:02:43 - Le Jardin de Régine - France Bleu Gascogne

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A young knight called George travels throughout the land looking to help anyone in need. When he arrives near the city of Silene, he is told of a dragon terrorizing the city. He rides to vanquish the dragon. At the same time, the princess of Silene, Cleodolinda, also vows to rid the land of this dragon. How will their paths intertwine? Find out on this week's episode of Fairytales With Granny MacDuff! Don't forget, you can watch Granny MacDuff on YouTube!   https://www.youtube.com/channel/UC0PF... For more Granny, follow her updates at the links below!  https://www.instagram.com/fairytalepodcast/ https://www.storicmedia.com/fairytaleswithgrannymacduffSee omnystudio.com/listener for privacy information.

From esme: Silene flos-cuculi Silene flos-cuculi More on http://songaday.netscrap.com

Welcome to another episode of The Action and Ambition Podcast! Joining us today is Kjeld Schigt, Owner of Kalon Surf, a resort experience for people to relax, learn to surf, and reconnect to nature. Schigt has built Kalon alongside his wife, Silene, and they are enriching the community of Costa Rica and all who visit them. Before starting Kalon, Kjeld lived all over the globe while working for multinational companies such as BP, Heineken, and Unilever. Don't miss a thing on this. Tune in to learn more!

Hi va haver una novel

Hi va haver una novel

On this Episode of the VCA Voice Podcast, Dr. Kerl welcomes Dr. Silene St. Bernard. Dr. St. Bernard is a VCA Regional Medical Director for Southern California and a Diplomate of the American College of Veterinary Preventive Medicine. In this interview, we learn about Dr. St. Bernard's professional journey and interests, her decision to pursue specialization in this area of veterinary medicine, how that shapes her interactions with her hospitals,and why preventive care is important. Visit us on our website VCAVoice.comProduced and recorded by dādy creative

Everything that happens in our lives is a lesson.As I just returned from Mexico, where I experienced many shifts and personal transformation. I think it is perfect timing to bring you this episode.I interviewed Michael Thornhill from Casa Galactica in Peru, where he brings Ayahuasca to help many people.We live in a time where so many of us live disconnected lives.Notice how many people in your circle engage in destructive coping strategies to cope with life.ShoppingGambling NetflixAlcohol/DrugsProcrastination Avoidanceand so much more. There are many forms of escaping our emotions and past wounds.However, have you ever considered that we are not our emotions?Yet, we are so afraid to feel and experience emotions.We get sucked into believing we need external validation. We forget how lovable and enough we are.We live unhappy lives that we struggle to fit in.In this episode, Michael and I discuss the following:

Our card this week is Silene Eaddy, the 3 of Diamonds from South Carolina. Silene Eaddy, who sometimes asked people to call her Erica, was known for her sharp wit. She was last seen walking away from her adoptive mother's home in Columbia, South Carolina in 2004. Her body was found later, having been beaten and burned and left in the woods. If you know anything about Silene Eaddy's horrific murder, please called Dottie Cronise at the Richland County Case Unit at 1-888-CRIME-SC or 803-576-3000. To learn more about The Deck, visit www.thedeckpodcast.com.

A step-by-step guide to building lucid dreaming skills and using dreamwork for personal development and transformation• Provides an extensive inventory of beginning, intermediate, and advanced tools and practices for meaningful lucid dreamwork and shows how dreams can shape our conscious reality if we incorporate them into waking life• Offers guidance to help you overcome mental or physical obstacles, including ways to stop sleep paralysis• Examines supplements to aid lucid dreaming practice and increase the vividness and recall of dreamsDreams offer a gateway into our psyche. Through lucid dreaming--when you have conscious awareness during sleep--you can access and interact with the subconscious mind for greater self-awareness, personal development, and transformation.In this step-by-step guide to dreamwork, Lee Adams provides tools and techniques for encouraging, remembering, and using lucid dreams for personal growth as well as how to have big dreams that leave a lasting impact. Beginning with an overview of the history of lucid dreaming, he shares tried-and-true foundational practices to get you started--practices for before sleep, during sleep, and after dreaming.Drawing upon Jungian depth psychology, recent research in neuroscience, and years of personal dream practice, Adams then offers an extensive inventory of intermediate and advanced methods to support meaningful dreamwork, such as the Wake Induced Lucid Dreams technique (WILD), where you fall asleep while conscious and transport your active awareness into a dream state. He also explores dream companions, symbols of the unconscious mind, dream interpretation, and working with the shadow side of the self. He examines how dreams can shape our conscious reality if we incorporate them or their symbols into waking life. He offers guidance to help you overcome any mental or physical obstacles you may encounter, including ways to stop sleep paralysis. He also examines supplements to aid lucid dreaming practice, improve dream recall, and increase the vividness of dreams, such as Alpha-GPC, 5-HTP, Silene undulata, Mugwort, the mushroom Lion's Mane, and Galantamine.Lee Adams has been actively researching, practicing, and teaching lucid dreaming for more than 20 years. He holds a bachelor's degree in psychology and is currently pursuing a Ph.D. at Pacifica Graduate Institute. He runs the podcast Cosmic Echo as well as the dreamer community taileaters.com. He lives in Port Orchard, Washington.

¡Acabamos la ronda de entrevistas por esta temporada! Esperando a la sorpresita final de junio... Hoy charlamos con dos compañeros, postdoc y predoc: -Samuel Prieto Benítez y Sandra Sacristán Bajo, PhDs en Conservación de Recursos Naturales en la Universidad Rey Juan Carlos de Madrid. ¿Sabéis qué es un “síndrome de polinización”? Mutualismo y parasitismo son dos relaciones que se pueden establecer entre distintas especies y que, normalmente, aparecen contrapuestas... Pero, ¿qué pasa con “Hadena” y “Silene”? ¿Cómo se apañan con esta “relación tóxica”? Por muchas Filomenas y mucho frío que sigamos teniendo en pleno enero, el cambio climático está acelerando la llegada del calor, ¿cómo afecta esto a las plantas que nos rodean? ¿Se puede “acelerar” la selección natural? ☀️

This episode is all about sweet scents and fragrant clouds enveloping your evening garden, plus of course why night flowering plants are good for wildlife. We also talk about a lovely native night-flowerer, the Nottingham Catchfly or Silene nutans. Find all the information we talked about in this episode on our website Ellies Wellies - Night Scents and the Nottingham Catchfly Help us keep the podcast running by making a donation! Every penny goes towards our running costs, and means there are no adverts or sponsors messages to listen to. We're grateful for any donations to PayPal.Me/thewildgdn Watch us on Youtube The Wild GDN Follow us on Facebook or Twitter too, if you are so inclined!

Neste episódio, conversamos com a professora Silene Orlando Ribeiro, sobre o protagonismo indígena na História do Brasil, pois estamos participando das celebrações do "Abril Indígena"! A nossa convidada é graduada, mestre em História pela UFF e doutora em História pela UFRRJ. Em 2015, o livro “Índios, guerreiros, úteis povoadores: um estudo sobre a aldeia de São Pedro de Cabo Frio séculos XVII-XVIII” foi publicado, a obra é fruto da sua dissertação de mestrado. Em 2019, Silene Orlando defendeu a tese “EXÍMIOS REMADORES DO ARSENAL DA MARINHA: recrutamento e trabalho indígena no Rio de Janeiro (1763-1820)". Então, podemos observar que ela vem desenvolvendo pesquisas originais para a compreensão da história dos índios no Brasil. Ela tem atuado há cerca de vinte anos no ensino fundamental e médio, além disso, também é professora do curso de História da Universidade Grande Rio (UNIGRANRIO). Confira!

Ressusciter les morts ? Voilà un projet aussi ambitieux que compliqué à réaliser.Ressusciter une plante, par contre, c'est bien plus abordable.En effet, cet exploit a notamment été réalisé par des chercheurs qui sont parvenus à faire re-pousser des graines "Silene stenophylla" vieilles de plus... de 32 000 ans. See acast.com/privacy for privacy and opt-out information.

En este episodio comentamos y analizamos Devilman Crybaby, anime adaptado por Netflix en conmemoración al aniversario de la franquicia, sin embargo, fácilmente puede ser una de las mejoras adaptaciones, al ser una serie corta, no tiene rellenos, va directo al grano, y te lleva en un carrusel de emociones donde el final es nada predecible y nada alentador, quizás una de las obras que dejan en evidencia la fragilidad de la moral humana, y la falsedad del antropocentrismo. Recuerda que puedes seguirnos en facebook y escucharnos en tu plataforma de podcast favorita. Temas: 1. La creación del anime por el aniversario de Devilman: 00:00 // 2. Impresiones generales y el world building: 13:55 // 3. Fudo Akira: 30:11 // 4. Asuka Ryo: 37:53 5. El Sabbath y la creación de Devilman: 46:59 // 6. El onlyfans de Miki y los peores padres del mundo: 51:54 // 7. Silene y el apetito sexual de Devilman: 01:04:48 // 8. El conflicto Demonios-Humanos: 01:12:41 // 9. El final de Devilman: 01:53:08 // 10. Cierre y recomendaciones: 02:10:09 #DevimanCrybaby #Anime #Podcast

Welcome to Episode Sixty-Two of Lucretius Today. I am your host Cassius, and together with my panelists from the EpicureanFriends.com forum, we'll walk you through the six books of Lucretius' poem, and discuss how Epicurean philosophy can apply to you today. We encourage you to study Epicurus for yourself, and we suggest the best place to start is the book, "Epicurus and His Philosophy" by Canadian professor Norman DeWitt.For anyone who is not familiar with our podcast, please check back to Episode One for a discussion of our goals and our ground rules. If you have any question about that, please be sure to contact us at EpicureanFriends.com for more information. In this Episode 62 we will continue our discussion of perils of romantic love. Our text today is Latin Lines -1141-1208 - of Book Four.Browne 1743These are the misfortunes that attend an amour ever so fortunate and constant; but the miseries of a wretched and disastrous love are innumerable, and obvious to everyone with his eyes open. You had better therefore be upon your guard beforehand, and observe the rules I have laid down to prevent your being caught; for 'tis not so difficult to avoid being drawn into the snares of love as to disengage yourself from the net when you are taken, and to break through the strong knots which Venus ties close upon all her votaries.And though you are entangled and within the net, you may still avoid much of the evil, unless you willfully set yourself against the remedy. First then, you are to take no notice of any imperfections, either of mind or body, you find in the mistress you admire and fondly love. All lovers, blinded by their passion, observe this, and attribute beauties to the fair to which they have no real pretence; and therefore the ugly and deformed we see have their several charms, and secure a sovereign power over their admirers. The lover that has such a forbidding Dowdy for a mistress is laughed at by his companions, who advise him to appease Venus and render her propitious, while they think nothing of their greater misfortunes in placing their esteem upon others less lovely and less beautiful. The black seems brown; the nasty and rank is negligent, the owl-eyed is a Pallas, the sinewy, with her dry skin, is a little Doe, the dwarf, of the Pygmy Breed, is one of the Graces, wit and spirit all over; the large and gigantic is surprising and full of majesty. If she stammers and cannot speak, then she lisps; she is modest if she is dumb; but the Turbulent, the violent and the talkative is all Fire. If she is worn away with a consumption, she is my Slender Love, you may span her in the waist if she is dying with a cough. The two-handed Virago, with her full Duggs, is Ceres herself, a bedfellow for Bacchus; the flat-nosed is my Silene, a little Satyr; the pouting lip is a very Kiss. It would be endless to say all that might be offered upon this subject.But allow your mistress all the advantages of beauty in her face, that charms of love arise from every limb, yet there are others as lovely as she, and time was when you lived without her, and we know she plays the same game that homelier women can do as well. And then she perfumes, rank as she is with filthy smells, that her maids cannot come near her, but make a jest of her when they are not seen. But when the lover is shut out, and all in tears crowns the gates with flowers and garlands, and pours ointments upon the stately pillars, and the wretch warms the very doors with his kisses; yet when he is admitted, and one blast from her armpits strikes full upon him as he enters, he presently seeks for a plausible reason to be gone, and all his long-labored speeches of complaint are forgotten, and he condemns himself of folly for raising such ideas of her beauty, which no mortal could lay claim to. This secret is well known to women of the town, and they act cunningly behind the scenes as it were, and conceal their failings from those whose love they would secure fixed and lasting to themselves. But all to no purpose, for you may easily imagine how things are, and discover all, and prevent their utmost endeavors to deceive you. And if your mistress be of an open temper, and not sullen and reserved, she will not so much as hide her defects, but hope you will allow for imperfections that are common to the whole sex.Nor does the woman always breathe with feigned desire when joined in strict embrace with him she loves, when she holds him close, and on his pressed lips imprints her balmy kisses; for she often does it heartily, and strives to share the common joy, and run the heats with vigor to the goal. Nor for any other reason would birds and herds and wild beasts and cattle and mares bear the weight of the male if they did not burn and rage with equal heat, and so receive with joy the lusty leap. Don't you observe how those whom mutual pleasure has bound fast are tortured as it were in common bonds? How dogs in the street are striving to untie the knot and pull with all their might a different way, yet they stick fast in the strong ties of love? This they would never do if not engaged in mutual joys, which cheat them with delight and hold them fast. The pleasure then is common to them both.

Selene Yeager is Bicycling Magazine’s Fit Chick. Selene has had a prolific career as writer, having authored (or co-authored) dozens of books and a massive amount of articles on cycling, endurance, fitness and a number of other topics. In addition to writing, Silene is an accomplished athlete and now also the host of Hit Play Not Pause, a podcast dedicated to helping female athletes navigate menopause. Learn more about Selene at www.seleneyeager.com or https://livefeisty.com/category/podcasts/hit-play-not-pause/ --- Support this podcast: https://anchor.fm/adventureaudio/support

Terça-feira da 5ª STC - Pe. Marco e Silene

É com muito pesar que informamos o falecimento do professor Mário Duayer, mais uma vítima da Covid-19. Mário foi professor da UFF por quase 40 anos, e atualmente era professor visitante na Faculdade de Serviço Social da Uerj. Grande estudioso de Marx e Marxismo, formou gerações no pensamento crítico e em crítica da economia política. A professora Silene de Moraes Freire, que trabalhou com Duayer no Programa de Pós-Graduação em Serviço Social da Uerj, fala sobre o legado que o professor deixa. Diretamente do Rio de Janeiro para a Rádio Uerj, João Gabriel Peres.

O podcast da professora Silene Trópico discorre sobre Artes, um conteúdo importante na prova do ENEM. Ela é professora da SEDUC PARÁ. Com uma linguagem objetiva ela foca no patrimônio histórico brasileiro e conceitua patrimônio a partir das nossas identidades. Reitera que os saberes culturais são balizados pelas três matrizes: indígenas, negros e europeus. A professora Silene traz dicas importantes e de fácil compreensão e pontua com exemplos o que é patrimônio material e imaterial. A gente aprende que Arte é a linguagem do encantamento de nossas vidas. São dicas preciosas para a preparação do ENEM. Se liga aí!

Today I spoke with Celine Ikeler founder and owner of Karma Baker. Karma Baker is a wonderful little bakeshop that makes only amazing vegan and gluten-free desserts and breads.  After years of creating and developing recipes, she opened Karma Baker, based in a suburb just north of Los Angeles, and after a steadfast local following Karma Baker has now gone national with delivery across the USA. https://Karmabaker.comThis series features conversations I conducted with individuals who have dedicated their work and lives to Vegan research, businesses, art, and society. This podcast series is hosted by Patricia Kathleen and Wilde Agency Media. TRANSCRIPT[00:00:10] Hi, I'm Patricia. And this is Investigating Vegan Life with Patricia Kathleen. This series features interviews and conversations I conduct with experts from food and fashion to tech and agriculture, from medicine and science to health and humanitarian arenas. Our inquiry is an effort to examine the variety of industries and lifestyle tenants in the world of Vigen life. To that end, we will cover topics that have revealed themselves as common and integral when exploring veganism. The dialog captured here is part of our ongoing effort to host transparent and honest rhetoric. For those of you who like myself, find great value in hearing the expertise and opinions of individuals who have dedicated their work and lives to their ideals, you can find information about myself and my podcast at Patricia Kathleen dot com. Welcome to investigating Vigen Life. Now let's start the conversation.  [00:01:13] Hi, everyone, and welcome back. I'm your host, Patricia. And today we are speaking with Celine Eichler. She is the creator and owner of Karma Baker. Welcome, Celine.  [00:01:23] Hi. Thank you so much for having me.  [00:01:25] Absolutely. I'm excited to kind of climb through your shop and everything that you guys offer there for everyone looking to get a hold of Celine or discover more. You can contact her or find out more about her shop on Karma Baker dot com. I'm going to go through a quick bio of Slainte before I start peppering her with questions. But before that, a roadmap for today's podcast and vodcast. For those of you listening and tuning in today, we'll first look at Slainte academic background and professional history to kind of develop a platform for her personal background. And then we'll look at unpacking Karma Baker's history and the origin of the story. And then we'll get into the nuts and bolts of the who, what, when, where, why, how of the business, and then turn to the ethos and the philosophy behind it. And then we will look at goals that simply may have for Karma Baker over the next one to three years. Those are changing dramatically for everyone given the current social and business climate of today. And we'll wrap everything up with advice that Celine may have for those of you looking to get involve patron of her services and store. And also possibly emulate some of her success. A quick bio on Slainte and Karma Baker. She is the original Karma Baker starting about 15 years ago with a desire that everyone should be able to enjoy the bliss that only delicious baked goods can generate. After years of creating and developing recipes, she opened Kofman Baker, based in a suburb just north of Los Angeles. A wonderful little bake shop that only me that makes only amazing vegan and gluten free desserts and breads, no eggs, no dairy and no wheat anywhere in sight. Seline has fast become one of the most successful and influential bakers in Southern California. Now she is offering a wonderful solution for people that are not so lucky to live near Karmah, Baker or one of their many partners. They deliver many of their products to your doorstep without being damaged while maintaining freshness. So if you live in the United States, you can now enjoy the revolution that is Karma Baker and we'll climb through all of those ins and outs and through the services that you offer Silene. But I want to I'm hoping you can start us off with talking about your academic background and early professional life that brought you to the opening Karma Baker.  [00:03:38] Yes, sure. So I started out as an artist. I think a lot of bakers actually are all also artists at heart. I went to art school in San Diego actually, and neighbors. If you and I went right into a career in animation. I worked in animation in Chicago for a little while and then in Los Angeles for about 15 years. I think working on animated movies that the whole digital aspect kind of at the forefront of, you know, when we started using computers at all and especially for digital imaging. So that was really fun. I loved it. It was very creative. And, you know, anything that's innovative and cutting edge, a new and difficult is kind of my thing. So in that day, we were, you know, learning as we went figuring it out as we went creating things to make it work. Right. And now that I look at it, I think it's exactly what I've had to do with the bakery. After my career in animation, I had two kids and ended up finishing my my last movies and my daughter was two and moved out to the suburbs and it just was a mom for. Twelve years I was a home mother baking at home for my kids. No vegan, no allergies in sight really other than my daughter's next door neighbor had a very, very severe allergy to so many things. Wheat, dairy, eggs, soy, certain kinds of fruits and vegetables, all nuts, you know, really, really extreme anaphylactic shock kind of reaction. Yeah. So, you know, scary. Too bake for her. Scary to have her in my kitchen even, you know, that kind of thing. And that opened my mind. My, well, originally opened my heart because I couldn't handle that. She couldn't eat anything. Fine. You know, there was just no food for her. So I started figuring out how to make stuff without eggs and dairy and wheat. Not easy. There's been many before me who have, you know, stumbled into the field over the years.  [00:05:51] But it's definitely a labor of love teaching yourself trial and error, you know, creating out of true necessity, you know, and creating something that wasn't there before to make something else, you know. So that's kind of how I got started.  [00:06:09] It started you off on the trajectory. So once you started baking these things, what was the impetus for kind of switching into?  [00:06:18] You can make things without allergens. It sounds like, you know, an insight of these this little girl. However, there is also like a switch over and like you did you have this gluten free aspect. It wasn't a natural trajectory. Did you just start saying, I can do so much more with so much less? Did you start extracting ingredients because you felt like it? Or was it a goal driven?  [00:06:42] Well, she was allergic to wheat, dairy and eggs, and they were the hardest with baking. So right off the bat, I had, you know, my work cut out for me and Gluten-Free Flours at the time, especially, you know, there were a few mixes, but they didn't have they had the area or they had egg powder or they had nuts or they had been flour. You know, they had something that she couldn't eat. And so that's where that will I'll just make my own blend. Yeah. I don't know why I thought that was a viable option, but it really just, you know, I really had no limits around that. I thought, well, I'll just figure out, you know, there's all these blends. One of them has got to be the right combination that doesn't have some of that other stuff.  [00:07:21] So do you have like of a source that you considered like this, this key source to go to? Because when you start an endeavor like that, it's daunting. Right. Anyone, even people who are really familiar with baking or goods or anything like that, when you start taking away things like flour or getting into flour alternatives from, you know, chickpea to rice to you.  [00:07:41] Then the differences in how they bake and they behave differently and all that you're talking about blends when you start off. Was there a source of like a cookbook or a person or a guide or anything like that? They kind of helped you navigate those early stages.  [00:07:55] I definitely did a lot of searching, you know, Internet searching, looking for blogs. There were people that did a lot of dairy and egg free and then there were people that did gluten free. Nobody was really doing the whole thing, though. You know, that was that was kind of the trick was marrying the two. Because if you're doing gluten free and you have eggs, you're you only have half the battle. You know, the eggs do all of the binding and the lifting and the magic texture. But if you don't have eggs already, that's a little bit tricky and you don't have any lift from gluten, you know. Now you're doing it on your own. So there was one. Erin Mckenna has a check. She has a bakery out in L.A. and I think in New York City. I think with her original, she had a cookbook at the time. And I and I think it was one of the first ones I picked up and was like, what is arrowroot? What is this?  [00:08:49] And so, you know, that her book was probably very helpful in the very beginning of deciphering the different flowers and trying to find, you know, what replaces the bean flour. You know, she and most of her recipes have been flour base, which Sophia or I could not do. So that was a crucial step.  [00:09:11] What brought you to finally? It sounds like you started experimenting and just baking for yourself in a vegan manner. But what brought you to make the leap between is very different to eat vegan and then want to have a vegan business.  [00:09:25] And you were right. It's a different beast.  [00:09:29] What was the final push and when did you launch? Baker OK.  [00:09:34] So I was baking for Sophia out of pleasure. And then I realized that I myself had a runny nose every time I eat. And Sophia's mother's and that's definitely a food allergy. And so we started trying to figure out what it was. You know, maybe it's egg, maybe it's dairy, maybe it's wheat. You know, I had a blood test and that pointed me to five things. Eggs, dairy, all bovine actually is all cow and wheat and not gluten, but wheat. The grain itself and then beans and garlic. So very broad, strange things. And she said, you know, if you get rid of them cold turkey, you might get it back. Your body can learn how to get it back. So I did. I just got rid of all of those. And that's when kind of the baking shift really happened for me, because while I may have been making stuff for Sofia, that was pretty good. I now was the new audience and it needed to be excellent. I don't want to eat a bad cookie. You know, who wants to eat a mediocre cookie? You just want to eat one amazing cookie and be done, you know? So that's when I really kind of upped the production for myself, just really hardcore experimenting and really getting it down. And I created some things that were unbelievable. I couldn't believe I was having such amazing luck. The flour I created lended itself to the vegan aspect of what I was doing. Magically, it was almost like a divine intervention. I just said, you know, I don't know how to do this. So tell me, you know, and I just if I got an idea, I ran with it. You know, kind of constantly putting new things. Play and see. And, you know, the first like four or five things I made were truly like mind-blowing and my friends and family, everyone around me was so like me. This is remarkable. You you you can't not share it. You know, you have to do something. And so at the time I was I was divorcing and, you know, started starting on a new path in life. And I needed to create a business for myself, because that's the first thought I had was I should start a business and then get a job as an entrepreneur that, you know, a very natural thought process, I guess. But I thought, you know, I'll do that. I'm going to start a bakery. I'm going to get this in people's mouths. I'm going to change how they think about, you know, what something without dairy and eggs can taste like. And at first, I wasn't actually interested in a bakery like in the community with a store fronts, that kind of thing. I really just wanted to be quite a bit bigger and reach everybody. The restaurants, cafes, I wanted to be the dessert when they bring out the big cart at the end of your big Italian meal and they say, oh, which one is beginning gluten free? And they would point to mine and say, this is from Kermit Baker. And people say, OK, good, that's what I want, because I've heard that's the best. Right. That was kind of my original. Yeah. You know, the mountain out there for me and sort of with that in mind, I kind of went right to some restaurants and started I started out of my house in January of 2013. And within six months outgrew my own kitchen quickly and rented space at a commercial kitchen that also six months ratatat and and knew immediately. OK. I'm ready to take the plunge and and start my own kitchen. You know, I could tell that that was the direction it was going. The business was almost, you know, the energy behind. It was so forceful. It had a life of its own. I almost couldn't stop it in a way. So then we got the big kitchen that also had a little storefront and and then and grocery stores started coming in and the community started knocking on the window saying, when are you going to open? And. Then I said, oh, my gosh, I want to open that, I just did. You stuck a sign in the door and we became a bakery, kind of with the idea of like an outlet that we'd be baking for restaurants and we would just sell whatever's happening that day. We'd fill in front, you know. And it's different.  [00:14:00] You have. So I mean, I like the angle that you came at.  [00:14:03] I know a lot of small bakeries and things actually always use more times than not start out of reverse. They'll start with their store front and then they'll start approaching restaurants or things of that nature. And so it's cool that you started from that kind of reverse back end moment. And they're two totally different. Be satisfying those different client tells. Well, three, if you're you know, if you're also getting into shipment but going dealing directly with restaurants as opposed to, you know, stores and then also having your own shop front. They have different schedules. They have different needs. Right. Different times of delivery and all those types of things. So managing all three of those. It sounds like it takes three very different hats to do. I kind of want to climb into it because when you get a store front, I think you do more about the philosophical endeavor. You know, when you're going through someone else's restaurant, you're giving them maybe a doctor that you're hoping they convey in addition to it being gluten free and, you know, vegan, you're hoping that they say something about ingredients or they're the love or the attention and the efficacy of that food. But when you have the opportunity to do it yourself, you have your own, you know, bakery. Can you kind of speak to what you tried to infuse the philosophy of the ethos into your staff or the way that it's set up so that you kind of convey your message to the customer?  [00:15:29] Yes. Early early on, when we started hiring employees and I had heard from other people what it's like to work in a kitchen. It didn't sound very nice, but it sounded intense, hardcore, competitive, controlling. It sounded honestly. You know, we've seen lots of shows like Hell's Kitchen and, you know, chopped and, you know, there's so there's so much. Intensity and forcefulness in that environment. And I naively, as I've done everything with this whole business, naively jumped in, but I naively said, we're not going to do that. We're not going to have negative energy. And here we are. We are changing people's minds and hearts and souls around something so delicate and close to their heart. We have to be in our most authentic heart space. We have to have the most best intentions when we are making this food, meaning we have to make sure every every single thing we make is perfect. You know, it tastes perfect, it comes out perfect. And that when we're making it, we're making it with the intention that someone is going to eat it and it they're going to get that with them. There, that's going to come to them.  [00:16:54] So enlightened baking kind of became this philosophy that I started telling my my co chefs and the people who worked in the front. You know, we're doing something differently. Here we are. We are affecting karma. You know, we. And that's the name of the bakery. You know, Karma Baker comes from not so much a karma bakery. You know, we aren't you know, it's not a catchy, fresh catchphrase that, you know, guided us to that name. Karma Baker means that we are taking into account the karmic footprint of the food itself. So where does that butter come from?  [00:17:35] Whereas that egg coming from, what's it been through already before it comes to our door, you know, that that animal that has has a karmic imprint on it, you know? And when we eat that food, it is now in us, you know. And so I notice a lot of people when they go vegan, they calm down. You know, they have a lighter sense about them. You know, I definitely believe it changes you on the inside.  [00:18:04] It changes your DNA, it affects your compassion. And I think. You know, I really think it changes you. You know, it changed me because I didn't go vegan for any reasons other than dietary issues. And and it almost blossomed within me where, you know, I just gave up. You know, beef, eggs and dairy. And within months, I couldn't eat any meat. You know, I couldn't be in the meat aisle at the grocery store. It just changed me into what has happened, you know? Yeah. But that's the kind of thing that, you know, I I tell them our employees. You know, I remind them that there is something much bigger, much deeper, that that's going on in our bakery and in our process.  [00:18:49] And most of them get it. In fact, they're almost a little bit shocked by it because they've never been told. We want you to be happy when you're making food. You know, we want you to feel good when you're working, you know? So that's that's what we all we rest on that idea, that principle. When things are going wrong in the kitchen, we come back to that, you know? Yeah.  [00:19:15] Absolutely. Well, and the majority of vegans that I meet, we're not born into a vegan family. And so I think what's interesting about that is it is an opportunity.  [00:19:24] Anytime there's a conversion into a way of life and veganism as it's that, it's directly addressing the source of fuel that your body lives off of. It spills out into all aspects of one's life. You know, even if it wasn't consciously known to in the beginning. But there's an opportunity with that kind of a conversion for almost a mandate for education. And so what I think is interesting is that people who have become vegan educate themselves, even if they were prolifically, well versed in food and nutrition, they begin to educate themselves even more so wherever they started from. It's this opportunity. And I like to talk to vegans about this because we're especially in the food industries. There's an opportunity to educate anybody. You know, people understanding that it's vegan and probably therefore better for you on some level. How do you address that? You have moments of education, particularly in your in your store. You're talking about, you know, and this education that you give to your employees by just saying, you know, it's the way that we create the food. And it needs to be happiness. It needs to be light and calm and that. Do you take the opportunity to do that with your customers on a conscious level as well? Is there like spots of education or is it just by experience that they're being educated?  [00:20:40] You know, it's a very delicate place to tread. Spreading the vegan philosophy, love and knowledge. Right. It's it's a lot of people are not yet open to being to their food being controlled. Right. So when you when, you know, they say why it why is it big? And some people come in because they're just gluten free and they'll say, you know, why no dig dairy and eggs, you know, and and we'll kind of explain, you know, the philosophy behind it. The one thing that I think speaks to everybody, though, is the environmental impact. And that is the thing that everybody's open to, you know. So. So now we've kind of instead of, you know, pointing to an animal cruelty kind of situation, you know, in explaining the karma bigger name, we we point to, you know, this cupcake is going to save five hundred and fifty gallons of water. They go and they're like. What's that? That's crazy. That's possible how you know and you know, it's Californians especially. We're highly, highly sensitive to our water supply. And and I did not know actually before conspiracy came out that that was even an issue. And I was horrified to find out that people did know about it. People in power and, you know, controlling our food, knew about it and weren't doing anything. So when when I tried to, you know, just reach somebody with that message, they're usually incredibly open and shocked themselves and then open to making tiny changes themselves. You know, because like you said, you know, the bakery is always the one where people say, well, I can not eat me. You know, I can I can eat healthy. But when I want dessert, I wanted to be good, you know? Yeah, I want a banana cream pie and I want ice cream, you know?  [00:22:34] And and that's changing for them because now they've got the opportunity to, you know, maybe I don't need it because of because of this bakery or, you know, that ice cream shop. You know, I think we're all making immense changes.  [00:22:47] Yeah. And I think adults are as equally attached. I think it's masked with children.  [00:22:52] You know, I know I know grown adults. The majority of them adults I know weep for a really great sweet. But they won't say that. They'll say, well, you know, it's the kids like I what am I going to get for the birthday party or the this? They kind of mask it under that as well. And that's fine, too. You know, I think getting children really attached to a great vegan gluten free cupcake is is where you're going to. That's the future.  [00:23:17] You know, it's it's where we're gonna get our market. And I agree with that. I'm wondering.  [00:23:23] I want to talk a little bit about some of the particulars of like the differences between a vegan bakery as you could compare them to your counterparts that are not vegan. So even getting into some of this. My head goes to like the things that you purchase. You know, you got into the arrowroot or talking about things of that nature. Eggs you don't purchase butter you don't you do you think your fridge size is smaller because you're not requiring some of those things that need to live inside a refrigerator and therefore, even like lessening your carbon footprint with how much electricity you're taking up, like how does some of those things change? Do you think for you as compared to a non vegan bakery?  [00:24:05] Well, the first thing when it comes to ingredients is a non vegan gluten free bakery is subsidized by the government. So dairy eggs we eat, they are practically free. They are practically free ingredients. So our ingredients right off the bat. The three major things are fat, our flour and then the multitude of things we use to replace eggs with are not even just double what a traditional bakery is. It is four times as much. So finding our ingredients is the first issue because they are much more natural, much more less processed. They aren't kind of pre pre-made and then sold, you know, a lot of bakeries. For instance, we make our graham cracker crust from scratch.  [00:24:57] So meaning we make the graham crackers and then we find that, you know, a regular bakery goes to a supplier and buys a 50 pound bag of graham cracker crumbs, you know, that has butter, eggs and honey and wheat. Right. For probably about 20 dollars, maybe, maybe less. You know, we are doing it differently. We make our own caramel. We make our own all our own flour blends. We make we make our own sprinkles like we you know, we've had to make and get very creative with finding our ingredients and then getting the price down. So that's probably been our our biggest hurdle really is finding coconut oil in the early days.  [00:25:43] That's our primary fat, you know, finding it in a gallon, finding it in a five gallon, you know, been very difficult. And if you can't find it one or they run out. Yeah, we're a pretty screwed many times, you know. Now we buy it at a fifty five gallon drums. We have them back stores and we have a bunch of own. But you know, and it's we only have one place to buy it from. So hopefully it stays in business.  [00:26:12] The upside is that as vegan and gluten free stuff becomes more mainstream and people are looking for it. The prices come down and the relative competition to make the products comes up. So you have more people who are making vegan caramel say, you know. So those kinds of things, they're not mainstream yet, but they're getting there. So, yeah, as far as fridge space, I would say it's all the same and fortunately it's all there.  [00:26:43] I. I just don't know.  [00:26:44] You know, I know I love that idea. That thinking I've never compared it before.  [00:26:48] We've talked off the record about I worked in as a child well as a 20 year old, which is a child. I worked in bakeries, you know, and in college and things like that. And it is interesting to think of a different universe. I really feel baking is it's it's unto itself. And so it was interesting to think about like, how would that work? I mean, you think of a bakery. It's eggs, sugar, flour. You've removed, too, you know. And so my mind kind of bends even as a vegan as to what that business looks like and the differences between it and and teaching people how to bake that way. You know, bakers there, it's a lifelong profession a lot of the time. And people do that profession forever and send someone to come in and say, I'm a baker and then walk into your place is not going to really know what they're doing for a minute. You know, training everyone up like that, like it's a very unique thing when you're all alone.  [00:27:40] Right.  [00:27:41] I wonder. So can you speak to some of the you do this nationwide endeavor now.  [00:27:47] And I want you to kind of unpack some of that so that everyone listening who does not lived just outside of L.A. can kind of tap into what you're doing and get on and seeing you have a Web site. Is everything accessible there? And what products are you kind of shipping nationwide right now?  [00:28:03] Yeah. Cool. We get we started our Web site five years ago sort of as a potential for shipping online and then also so that people could see our menu and view the ingredients and be familiar with what they're eating and pick up at our store. So we actually had two methods on the Web site for ordering and either picking up or shipping. And the online ordering shipping has always been you know, it's been plugging along. It's been a great experience because we've learned how to ship food the best possible way. We've learned what items do ship and don't ship. We've spent the last year and a half now shipping cakes, so whole birthday cakes all over California and the whole nation. We have a very good success rate with cakes getting there in lovely shape and still delicious and moist and everything, because that is the heartbreak. You know, you can order a birthday cake and everything is on that cake, right? It's the centerpiece. So. So fortunately, we've had a lot of experience working out a lot of the kinks in in shipping and now that this covered crisis has happened.  [00:29:18] Our our online shipping has let me get the number. I feel like it has at least quadrupled. I think it's actually more like 10 times. It's an exponentially growing every week. So we're at about 10 times our normal production for shipping stuff. So we ship cakes now we have five what we call a karma box. So it's a box of specific items. One is our sampler, which is the most popular. It has 10 items that are kind of the bakery's highlights. So our donuts are incredibly popular. Our brownies are very popular. You know, we sell to a lot of the grocery stores around us and in Southern California. So we have a large following just from, you know, the brownies. You know, people still come in and say, I didn't know you were a bakery. I thought, you know. You know. So we sell it. You know, the highlights, the the rockstars from the bakery and in our boxes, brownie box, donut box, cake pops, fun, things like that.  [00:30:20] And then with the virus kind of came a little bit of inspiration, like, you know, everybody wants our cupcakes. And so we decided to pack them in jars, you know, the eight ounce mason jar. And you get the layered cupcake in there, the lid, you know, it Easter was all we kind of launched it. And the you take the lid off and the inside the carrot cake jar is a little bunny diving in. And that was a giant hit. Super cute. Everybody is ordering that as the jars are taking off. And, you know, my favorite thing is the creativity. So I've just designed 12 new flavors of jars to start adding to the mix. They're just they travel so well. They keep so long. And it really is like a true treat. You know, it feels really special.  [00:31:08] It's a feels that feels like add your Everest. I feel bakery and then shipping it. I immediately go to lack of quality control.  [00:31:17] My brain like the issues that I would see the hurdles immediately. Quality control for one. And then add preservatives, infusion to, you know, to get that lifespan and that longevity. Have you been able to navigate that successfully or was it trial and error to get to? Because I know that, you know, on your site, you talk about consistency and the importance of maintaining, you know, that the experience that you really want everyone to have. So how did you kind of address those tips? And was it a learning curve or did you, you know it out the gate?  [00:31:50] Yeah, definitely learning curve. You know, we've always kept in mind that we have one chance to change someone's mind because they're going to take one bite and go, oh, I knew it. This is terrible. Or they're gonna go, oh, wow, this is crazy, you know? So. So, yes, the the integrity in that first bite is everything. So we decided right off the bat to not ship items that we knew we couldn't 100 percent control it, how it would arrive, you know, taste and texture wise. And then the third problem is like it needs to arrive pretty, you know, some of our cupcakes. You know, we tried sending some trial errors, sending out cupcakes that were a bit of a cupcake soup. You know, we had we had a few days like that. But, you know, obviously, you're not going to have a lot of success during that. So, you know, we design things to make them travel. Well, you know, the chocolate our donuts are coat are dipped all the way in chocolate so that when they when they come out of the wrapper, you know, they're sealed completely when they come out of the wrapper. They are not messed up. You know, they look really nice. They keep the keeps the donut fresh inside. You know, the little things like that. We've done sort of curious, how is this product going to get where it needs to go and be the best, you know? So that's been, like I said, five years of, you know, plugging along and calendar and not even taking chances on things that we just knew. That's not going to work and you don't want to go there.  [00:33:22] And I think the word you just used is so perfectly description for it's a curation. You have curated this process. You know, truly is this very thoughtful. And it is an artistic endeavor.  [00:33:32] You know, when you get to this level, particularly, I think all cooking and baking is but on the level that you're functioning on and doing it. It truly is. It's special. It's ah, it's curated. It's thoughtful.  [00:33:44] You know, it's amazing. I want to look at. I know that this has changed a lot and you've brought it up.  [00:33:49] And so you clearly are feeling copacetic with the nature of it, as I think all small businesses have them. We're still all, you know, or everyone is still kind of going through emotions. But you've had a dialog. It sounds like with yourself and even with your company and where it's. Can sintering the pandemic that we're in and the future of it. But I'm hoping you can speak to the goals that you have for the kind of all of the various aspects even underneath it. I don't know if they vary, but for karma baker like for the next one to three years, has the pandemic played into that significantly? Were you already headed there? Can you kind of speak to and do you do that as a company? Do you have three year goals or do you have smaller ones like six month goals?  [00:34:34] Yeah, we have gotten out of the practice of having, you know, two and three, you know, 90 day or one year or three or five year goals. You know, the thing that has happened with our business is that we have you know, we've always had the wholesale going to the grocery stores. We've always had the front and then we've always had the online. And whenever something has happened within the neighborhood, you know, we had giant fires here last year and it practically closed everything down. You know, almost all of Malibu burned down. And we have a ton of customers from Malibu. So our community was missing. But, you know, things like that, we have been able to sort of just move into the direction of what works and and push the business into that place. You know, we always have had this very long flash, short term goal of, you know, giant success. You know, ultimately on the first day when I said, this is what I want to do, I you know, I wanted to be in Starbucks. I want when you go to Starbucks and there's nothing to eat, half of that counter is karma bakers, vegan, gluten free stuff. You know, that's where my head was big. I don't want to be a bakery in L.A.. You know, I want to be a bakery in the world, you know? So I have always had kind of that as my goal out there. And what it takes to get to that goal along the way is a squiggly road, you know, as long as I'm in the same direction on that road. I feel like we are succeeding. And honestly, when Kobe hit and everybody was talking about closing down, all I could think was there is no way we've gone through all this trouble and effort to close down and lose our business from this. It just felt inconceivable that it's not happening. And then and then people started finding us online. So search engines, I don't even know how they'd been finding us, really. But it's it's, you know, dozens of orders every day. You know, it's fantastic. Incredible. Yeah.  [00:36:42] Yeah. Well, I mean, it's that laser view you've got of the Starbucks out there. I think people are that scoped and you can over calls it the secret. Years ago, like you can do whatever you want.  [00:36:53] But I think that that kind of as human beings, you know, that kind of a clear focus and drive is the number one thing. Ninety nine percent of all seeing us, you know, having none of that. That's cool. I like that. That's it's it's it's first time I've spoken to someone that has been that amazingly brave to be like, yeah, it was Starbucks.  [00:37:12] You know, most people get like a little shy.  [00:37:15] They maybe not to themselves, but when they're talking to someone with a podcast, I love that you just audaciousness of putting it out. That's fantastic. So I'm in that same vein.  [00:37:25] I'm wondering if you could speak to the, you know, 2013 you are launching this endeavor. Look, knowing what you know now, what are the top three pieces of advice that you would give? Be good or bad. Stay away from this. Do more of this. What would be the top three pieces that you would give back to yourself?  [00:37:45] So many things. It's almost hard to choose three. And, you know, it's really hard to also because the journey has been the the process.  [00:37:56] And if I took a piece out, I'm not sure we would be where we were, you know, or I don't feel regretful about any of the choices and decisions we've made along the way. I would say, you know, originally, if I could speak to myself, then I would say this is going to be really, really hard. And don't expect it to not be hard. And I would say when you get the most afraid, the most fearful, lean into it and do that more. Whatever that thing is that feels so scary. Pushed through it because that's where change happens.  [00:38:34] You know, that's where when your comfort level gets a little a little shaken, you know, that's when you know, you're doing something bigger than you would have done, you know? Yeah. So we've you know, we've like I said, we've moved into the things. We've kept three avenues of revenue open in order to, you know, move with the water, with the tide. But, you know, maybe I would tell myself to run ahead in one direction and see what happens. Absolutely. You know, sometimes that's kind of where we are right now, you know, with with online shipping. It's it really is the best way for us to reach the most people. And, you know, originally my goal is get this in everyone's mouth, you know, change people's minds. Be there for that person that doesn't have a bakery in your dorm or whose mom can't make a cake or, you know, that's that's who we want to be getting into the mouth. So however we get in their mouth is where I want to go. Right. And the delivery, the online, the, you know, eating at home, the bakery to you. Like I I've always loved that. And I just thought maybe people weren't ready for it, like I was ready for it. So maybe that's changed. And yeah, maybe that's the silver lining.  [00:39:55] It follow suit. You are through and through. You know, leaning into discomfort and all of those things and having this magnificent goal. And I love it. I love all of it. And I'm sure it tastes in your food.  [00:40:07] Everyone's got to jump on. I'm a baker icon. And if for nothing else than to have, you know, this kind of profound person speaking for it and things like that, like you've got taste that nobody nobody can turn that down. You know, you've got to give that a shot. And we are out of time, Celine. But I want to say thank you so much.  [00:40:27] It's been a pleasure. I really appreciate all of your information and your candor today.  [00:40:32] Thank you so much, Patricia. It was wonderful to talk to you. Natalie, thank you for everyone listening.  [00:40:37] We've been speaking with Celine Eichler. And you can find her and all of her delicious food on Karma Baker AdCom until we speak again next time.  [00:40:47] Thank you for tuning in. Stay well, stay safe, eat well and remember to always bet on yourself. 

It's always a good day when you get a new mix from Karl Meier tracklist: 1. CABARET VOLTAIRE "Colours - Thunder Mix" (Plastex/Mute, 1991) 2. DHS "Telephone Sounds" (Tino Corp, 2001) 3. DHS "Hypnosis" (Tino Corp, 2001) 4. DATASSETTE "Polyhedron Navigator" (Central Processing Unit, 2019) 5. SENSE CLUB "Tanzglatte" (Perlon, 2003) 6. SECTOR Y "Sentient" (Booma Collective, 2016) 7. JICHAEL MACKSON "A Snake In Da System" (Ilian Tape, 2010) 8. XES NOIZ "Untitled" (Seven Hills, ? / 2018) 9. STEPHAN G "Shass" (Svek, 1997) 10. BLOTTER TRAX "2.1" (312, 2018) 11. PRIS "Crush" (Non Series, 2020) 12. CH-SIGNAL LABORATORIES (8003 LUCERNE) "Scale 1" (Sandwell District, 2007) 13. BLAWAN "Hapexil Rotator" (Ternesc, 2019) 14. KALON "Haiku - Original Mix" (Sandwell District, 2008) 15. FUMIYA TANAKA "For Second" (Ki/oon, 2006) 16. KONDUKU "Kizilirmak" (Nous'klaer Audio, 2018) 17. SILENE "Jiro" (Fever AM, 2020) 18. BAMBOUNOU "Handd" (Lavibe, 2018) 19. ARCHETYPE "Glyph One" (21/22 Corp., 2002) 20. LITUUS "PRTN:_002/.2 -Len Faki Hardspace Mix II" (LF RMX, 2019) 21. OFF THE MEDS "Belter - Joy O Belly Mix" (Studio Barnhus, 2019) 22. DORISBURG "Risome" (Kontrolleri, 2019) 23. TVO "Dwyer - Bonus Beats" (Stuffrecords, 2009) 24. MOR ELIAN "Farewell To The Snare" (Fever AM, 2019) 25. KONRAD WEHRMEISTER "Kitchenblade" (Hundert, 2019) 26. REFLEC "Caves" (Neighbourhood, 2019) 27. KO-TA "Study 1" (Tikita, 2019) 28. FUMIYA TANAKA "For Set #3A" (Torema, 2001) 29. VSK "Pendulum" (Standards & Practices, 2020) 3 0. BAS MOOY "West-Kruikade" (Mord, 2019) 31. TENSAL "Bihotxak" (Warm-Up Recordings, 2019) 32. REEKO "Regnum Asturorum" (Granulart, 2019) 33. PLANETARY ASSAULT SYSTEMS "Give It Up" (Mote-Evolver, 2019) 34. REFORMED SOCIETY "Headspace - Bambounou Remix" (Uncage, 2019) 35. RHYW "Tap To Resume" (Seilscheibenpfeiler, 2019) 36. LSDXOXO "Hateshopping" (PDA, 2019) 37. FLØRIST "Four Letter Word" (The Trilogy Tapes, 2019) 38. PRIS "Twilight Falls" (Empathy Corp, 2019) 39. STEVE MURPHY "Ray Gun - Bonus Beat" (Lobster Theremin, 2019) 40. ORLANDO VOORN feat. REEL BY REAL "Glass" (E-Beamz, 2019) 41. KALLI "Inner Relief Route" (Only Ruins, 2019) 42. LONDON MODULAR "Exit Strategy" (Electrix, 2020) 43. 214 "Figments" (Klakson, 2020) 44. MESAK "Rotten Osc" (Propaganda Moscow, 2019) 45. PÅR GRINDVIK "Magnolia - Sissel Wincent Remix" (Stockholm Ltd, 2019) 46. ACRONYM "Trickledown" (Utch, 2019) 47. SLAGMANN "Phase 6" (Talismann, 2019) 48. SHLOMI ABER "Installer" (Be As One, 2018) 49. KGIV "Morgan" (*forthcoming* Eye Teeth, 2020) 50. FELIX K "Reverberator" (Nullpunkt, 2020) 51. ALTSTADT ECHO "Watch A Moth Drink Tears" (Semantica, 2019)

O futuro é uma caixinha de surpresas... Mas não pra todo mundo! A gente convidou a taróloga Silene (a famosa @Mythologika) pra falar sobre o universo das previsões. Neste episódio, ela tira as dúvidas dos seguidores, dá as melhores dicas pra você começar 2020 com o astral lá em cima e conta alguns detalhes sobre a profissão dela. Será que Silene sabe onde está Maínna?! Apresentação: Milena (@wwwmlna) & Gabs (@peixotorres)

O futuro é uma caixinha de surpresas... Mas não pra todo mundo! A gente convidou a taróloga Silene (a famosa @Mythologika) pra falar sobre o universo das previsões. Neste episódio, ela tira as dúvidas dos seguidores, dá as melhores dicas pra você começar 2020 com o astral lá em cima e conta alguns detalhes da profissão dela. Será que Silene sabe onde está Maínna?! Apresentação: Milena (@wwwmlna) & Gabs (@peixotorres)

Het is 5 jaar geleden dat een toestel van Malaysia airlines crashte boven Oekraïne en 298 passagiers de dood vonden, waaronder 196 Nederlanders, na 5 jaar van onderzoek en reconstructies zijn er vooral dossiers maar nog geen gerechtigheid. Wat de rol van de pers is geweest bespreken we met nabestaande Silene Fredriksz en de journalisten Gert-Jan Dennekamp en Dolf Rogmans. Presentatie: Frénk van der Linden

And while we’re on the subject, our Mexican campion is the subspecies greggii. So it is Silene laciniata ssp. greggii. Phew!

Alex Jiao is the co-founder and CEO of Silene Biotech, a stem cell biotechnology company. Alex received a degree in Biomedical Engineering from Northwestern and his Ph.D. in bioengineering from the University of Washington. He’s worked as a biomedical engineering researcher at the University of Michigan. Alex led Silene Biotech through the 2017 TechStars Seattle program. Alex is an expert in stem cells and stem cell technology. His startup is dedicated to helping people preserve their stem cells so they can take advantage of emerging opportunities created by advances in the field. By harvesting and preserving their cells today, a 30-year old might be able to use their stem cells to reverse the aging process, cure diseases like arthritis and leukemia, and even regrow vital organs. In this episode, we answer questions on stem cells and stem cell therapy. What are stem cells and IPS cells in the context of regenerative medicine? What can stem cells do for us? How will new technologies like CRISPR make the process better in the future?  Can stem cells cure blindness? Why should you save your stem cells when you’re young? How can you turn blood cells into beating heart cells through reprogramming, like Alex did with his own... How to Live to 200 podcast listeners can get 20% off Silene Biotech, just CLICK HERE to receive your L200 discount. Give it a try today! As part of the episode, we set up a Silene "popup shop" at Pioneer Square Labs where a bunch of us did blood draws and sent our cells off for safe keeping. About Alex Silenebiotech.com Alex Jiao Twitter Show Links Autologous stem cell transplants Cellular regeneration strategies for macular degeneration: past, present and future CRISPR Juno Therapeutics Facebook - New England Journal of Medicine Facebook - Scientific American Athletigen IPS cells Shinya Yamanaka Clinical trials in knee cartilage regeneration Cell Medicine - Panama Stem Cell Clinic Studies on Metformin and Rapamycin Video of Alex's beating heart cells

When the leaves of Fire pink (Silene virginica) emerge in the spring, the plant is unremarkable in appearance.  However, when it begins to bloom, the bright red flowers grab the eye and shout “Look at me!” This next photo shows … Continue reading →

1. Mushy (Italy) - "Scratch my skin" CD "Breathless" (Mannequin) 2. Mostar Sevdah Reunion (Bosnia & Herzegovina) - "Djaurko mila" CD "Tales from a forgotten city" (Snail/World connection) 3. Rio en Medio (USA) - "Storykeepers" CD "Peace sequence" (Womens work) 4. John Parish (UK) - "Katharina" CD "Screenplay" (Thrill jockey) 5. Do (Brazil) - "Para embelezar a noite" CD "Para embelezar a noite" (Platforma) 6. Brigitte Fontaine (France) - "Amour Poubelle" CD "Jai lhonneur detre" (Silene) 7. Brigitte Fontaine (France) - "Les crocs" CD "Jai lhonneur detre" (Silene) 8. Sinwra (Holland/Greece) - "Tin legan Larisa" CD "Sinwra" (Chara) 9. V V Brown (UK) - "I can give you more" CD "Samson & Delilah" (Yoy) 10. Karim Baggili (Jordania/Belgium) - "Arabic circus" CD "Kali City" (Home) 11. La Luz (USA) - "Sure as spring" CD "Its alive" (Hardly art) 12. La Luz (USA) - "Call me in the day" CD "Its alive" (Hardly art) 13. The Gloaming (Ireland/USA) - "Song 44" CD "The Gloaming" (Real world) 14. Trampled under foot (USA) - "Bad bad feeling" CD "Badlands" (TUF/Concord) 15. L.Pierre (UK) - "Harmonic avenger" CD "The island come true" (Melodic) Страница программы на оф. сайте Сообщество программы Вконтакте

This study involved the combination of molecular-cytogenetic data and phylogenetic approaches to infer pathways by which chromosome numbers and sizes may have changed during the course of evolution. The two systems for which I generated new data are the monocot plant family Araceae and Coccinia, a genus of Cucurbitaceae. Araceae have about 3800 species in 118 genera, and chromosome numbers range from 2n = 168 to 2n = 8, the latter the lowest number so far and newly reported in my study. The small genus Coccinia includes C. grandis, with the largest known Y chromosome in plants, as documented in my work. The thesis comprises four published or submitted papers. The first paper reports the result of phylogenetic modeling of chromosome number change along a phylogeny for the Araceae with 113 genera represented. I used a maximum likelihood approach to find the most likely combination of events explaining today’s chromosome numbers in the 113 genera. The permitted events were chromosome gains (i.e. breaks), losses (i.e. fusions), doubling (polyploidization), or fusion of gametes with different ploidy. The best-fitting model inferred an ancestral haploid number of 16 or 18, higher than previously suggested numbers, a large role for chromosome fusion, and a limited role of polyploidization. The sparse taxon sampling and deep age (at least 120 Ma) of the events near the root of Araceae caution against placing too much weight on “ancestral” numbers, but inferred events in more closely related species can be tested with cytogenetic methods, which I did in two further studies (papers 2 and 3). I selected Typhonium, with 50-60 species, a range of 2n = 8 to 2n = 65 chromosomes. The family-wide study had suggested a reduction from a = 14 to 13 by fusion in Typhonium, but had included relatively few of its species. I built a phylogeny that included 96 species and subspecies sequenced for a nuclear and two chloroplast markers, and then selected 10 species with 2n = 8 to 24 on which to perform fluorescence in situ hybridization (FISH) with three chromosomal probes (5S rDNA, 45S rDNA, and Arabidopsis-like telomeres; paper 2). The results supported chromosome fusion in two species where I found interstitially located telomere repeats (ITRs), which can be a signal of end-to-end fusions, and polyploidization in one species where I found multiple rDNA sites. I then extended my cytological work to other lineages of Araceae, selecting 14 species from 11 genera in key positions in the family phylogeny, which I enlarged to 174 species, adding new chromosome counts and FISH data for 14 species with 2n = 14 to 2n = 60 (paper 3). With the new data, I confirmed descending dysploidy as common in the Araceae, and I found no correlation between the number of rDNA sites and ploidy level (which would have pointed to recent polyploidy). I detected ITRs in three further species, all with 2n = 30. I also discovered gymnosperms-like massive repeat amplification in Anthurium. Similar ITRs are only known from Pinus species. Paper 4 presents molecular-cytogenetic data for Coccinia grandis, one of a handful of angiosperms with heteromorphic sex chromosomes. The male/female C-value difference in this species is 0.09 pg or 10% of the total genome. My FISH and GISH results revealed that the Y chromosome is heterochromatic, similar to the Y chromosomes of Rumex acetosa, but different from the euchromatic Y chromosome of Silene latifolia; it is more than 2x larger than the largest other chromosome in the genome, making C. grandis an ideal system for sequencing and studying the molecular steps of sex chromosome differentiation in plants.

The smell as they approached the dragon's den was horrible. George and the princess put George's shield near the sleeping dragon's head to protect themselves from the dragon's fiery snores. They watched the grains of sand fall every second. Suddenly the dragon woke up. Now, Sabra thought, surely the dragon would find them before the sand finished running through the hourglass. The dragon stood up and rubbed his eyes. As soon as the last grain of sand ran through the hourglass, the dragon yawned a great fiery yawn. "Now George!" Sabra shouted. George threw the hourglass up into the dragon's mouth. It shattered on its tongue into a cloud of icy mist. Now our two heroes had made the beast furious. He looked down to see them. Both George and Sabra hid behind the shield. The dragon took a breath to blow fire at them. But, because of the hourglass, only cool ice and soft snow came from the dragon's mouth. It took another deep breath, but the hermit's magic had changed the dragon. His mouth shut tight with ice. He quickly jumped into the warm lake with a huge splash, for his whole body was beginning to freeze. George and Sabra had saved the kingdom. It was Sabra who was the second knight that the old hermit had spoken of. The two returned to the castle to cries of joy and triumph. The grateful people of Silene were no longer prisoners in their own kingdom. The king offered George all he had in thanks, but George didn't want any payment. "I have many more adventures left to face," George told the people. "They are my greatest reward." George shared the story of the dragon of Silene to everyone on his journey. And it is still told today as an example of bravery. That is how George, the brave knight from the land of the fairies, earned his sainthood. // //

This is the tale of Saint George and the dragon.Iit has been told for over 15 centuries. It takes place during a time called the Dark Ages, when kings ruled the land, wizzards cast spells, and monsters roamed free. The queen of fairies had taken young George in as a baby. The fairies raised the child to grow up brave, strong, calm, courteous, quick, and clever. They taught him to be a noble knight. At last the time came when George was old enough to look for his destiny. The queen of fairies called hiim to see her. "Your journey starts today," she told him. "You have many adventures before you. Your fantastic quest will take six years. The world is filled with monsters to be killed, and battles to be won. You'll meet kings and poor men, wizards, witches, evil princes, and kind princesses." "Yes, Your Majesty," George bowed before the queen. He was very fond of her. He was sad to leave the land of the fairies, but he was not afraid. "Always remember one thing," the queen added, tapping his helmet. "You're greatest weapon is your brain." With those words, George set off. He traveled for weeks, through many wonderful kingdoms. But as George approached a place called Silene, he noticed that the land changed from lush and green to dark and desolate. It seemed the ground had been burned. there was no grass, only the darkest mud. The trees were bare and black, and a foul smell filled the air. As George walked through this stark land, he did not see a soul - not a bird, not a squirrel, and certainly not a single person. George finally saw a castle in the distance. A high, solid wall enclosed the castle and the small city around it. The gate was locked. Again, George saw no one around. When he got closer, he saw a young lady. She came silently through the gate. "Excuse me, dear lady," he started to say to her. "Quiet!" she said quickly. "Have you no sense? You should leave and never return." "But I am a brave knight here to help you," George whispered. "Alas, sir," the woman replied, "you are only one man. I'm afraid you cannot help." George looked into her eyes and said, "It is my destiny. I will not go until I have done all I can, even if it costs me my life." // //