Podcasts about sylph

Working with narcissistic leaders in dance and experiencing dehumanization as a dancer are sad realities that many dancers face, especially in the professional ballet world. In today's episode, we are talking about how dancers can reclaim a sense of agency over themselves and their journeys even in the midst of this broken system. Melody Mennite Principal ballerina formerly with Houston Ballet and currently dancing with Vitacca Ballet. She has toured internationally to perform the classics as well as contemporary work in dance. Some of her classical Principal roles include Odette/Odile, Aurora, Kitri, Sugar Plum Fairy and Clara in The Nutcracker, Cinderella, Manon, Juliet, The Sylph in Bournanville's La Sylphide, Nikya in La Bayadere, Ciao Ciao San in Madame Butterfly, Marie in the ballet Marie, Tatiana and Olga in Onegin, Stephanie and Mary Vetsera in Meyerling, Swanhilda in Coppelia, Valencienne in The Merry Widow, and Lise in La Fille mal Gardee. Melody's most recent international appearance was in the role of Juliet for the Houston Ballet's Romeo and Juliet tour to Melbourne, Australia. During Melody's professional career she has also originated roles in new classical and contemporary productions by choreographers Christopher Wheeldon, Justin Peck, Stanton Welch, Ben Stevenson, Christopher Bruce, Jorma Elo, Cathy Marston, Paul Taylor, Aszure Barton, Nicole Fonte, Annabelle Lopez Ochoa, Olivier Wevers, Oliver Halkowich, Jane Weiner, and Garret Smith as well as in her dual role as dancer/choreographer for several films. Melody enjoys all forms of dance and has extensive training and experience with styles rooted in classical ballet, contemporary, jazz, and hip hop. She is passionate about both learning and teaching what she has learned with others. Ms. Mennite has graced the cover of both Dance Magazine and Dance Europe and is celebrated as the Audrey Hepburn of ballet due to her dynamic acting and a predisposition for comedic roles. As an actor Melody has achieved two award winning performances in film and continues to build this part of her resume. To read the rest of Melody's impressive resume, visit the description of our other recent episode together. Watch this episode on Youtube: https://youtu.be/Xa0Mno0uWlk To learn more about my mindset coaching and speaking services, visit kirstenkemp.com To stay up to date on the latest announcements and blog posts at The Confident Dancer, sign up to be a part of my email newsletter community here: http://eepurl.com/gDmjtz To follow along for daily tips and behind-the-scenes looks at what I'm up to, follow me on Instagram at @kirsten_theconfidentdancer _______________________________________________ WORK WITH ME 1:1! THE CONFIDENT DANCER COACHING PROGRAM: A 1:1 Coaching Program to master the mental side of dance so you can confidently perform to your fullest potential. Perfect for pre-professional, professional, or recreational dancers wanting overcome mental blocks like self-doubt, performance anxiety, perfectionism, comparison, insecurities, etc., and build a truly confident mindset that allows you to perform your personal best with joy. Learn more and apply here: https://kirstenkemp.com/confident-dancer-coaching-program#confident-dancer _________________________________________________ SPEAKING & WORKSHOPS: I offer mindset seminars to equip dancers with the inspiration and practical tools to thrive in their well-being and ability to perform their personal best. These 60-90 minute seminars can be a valuable addition to the holistic support and education of your dancers at your next intensive, year-round program, or professional development opportunity for your company dancers. Learn more and inquire here: https://kirstenkemp.com/speaking-and-workshops#speaking-and-workshops

This month for @quarksandquaaludes on @saturo-sounds

This month for @quarksandquaaludes on @saturo-sounds

Melody Mennite - Principal ballerina formerly with Houston Ballet and currently dancing with Vitacca Ballet. She has toured internationally to perform the classics as well as contemporary work in dance. Some of her classical Principal roles include Odette/Odile, Aurora, Kitri, Sugar Plum Fairy and Clara in The Nutcracker, Cinderella, Manon, Juliet, The Sylph in Bournanville's La Sylphide, Nikya in La Bayadere, Ciao Ciao San in Madame Butterfly, Marie in the ballet Marie, Tatiana and Olga in Onegin, Stephanie and Mary Vetsera in Meyerling, Swanhilda in Coppelia, Valencienne in The Merry Widow, and Lise in La Fille mal Gardee.Melody's most recent international appearance was in the role of Juliet for the Houston Ballet's Romeo and Juliet tour to Melbourne, Australia. During Melody's professional career she has also originated roles in new classical and contemporary productions by choreographers Christopher Wheeldon, Justin Peck, Stanton Welch, Ben Stevenson, Christopher Bruce, Jorma Elo, Cathy Marston, Paul Taylor, Aszure Barton, Nicole Fonte, Annabelle Lopez Ochoa, Olivier Wevers, Oliver Halkowich, Jane Weiner, and Garret Smith as well as in her dual role as dancer/choreographer for several films. Melody enjoys all forms of dance and has extensive training and experience with styles rooted in classical ballet, contemporary, jazz, and hip hop. She is passionate about both learning and teaching what she has learned with others. Ms. Mennite has graced the cover of both Dance Magazine and Dance Europe and is celebrated as the Audrey Hepburn of ballet due to her dynamic acting and a predisposition for comedic roles. As an actor Melody has achieved two award winning performances in film and continues to build this part of her resume. Also from a musical family Ms. Mennite was singing onstage before she ever started training in dance. She has been professionally recorded and released and has performed leading singing roles in regional productions of both West Side Story and Oklahoma. Melody's choreography has been featured on film, in music videos, and on ballet stages throughout the United States. In the last ten years she has been commissioned to create thirteen separate works nationally. Her hobbies include spending time in the outdoors, spending time with her son and two dogs, singing/making music, reading, writing, and practicing new ways to make art. Watch this episode on Youtube! https://youtu.be/9F17DkF13L0 To follow along for daily tips and behind-the-scenes looks at what I'm up to, follow me on Instagram at @kirsten_theconfidentdancer ________________________________________________ THE CONFIDENT DANCER COACHING PROGRAM: A 1:1 Coaching Program to master the mental side of dance so you can confidently perform to your fullest potential. Perfect for pre-professional, professional, or recreational dancers wanting overcome mental blocks like self-doubt, performance anxiety, perfectionism, comparison, insecurities, etc., and build a truly confident mindset that allows you to perform your personal best with joy. Learn more and apply here: https://kirstenkemp.com/confident-dancer-coaching-program#confident-dancer ______________________________________________ ONLINE COURSES: My online course offerings are a wonderful way to learn the practical steps to retraining your mind so you can thrive and excel in your dancing, all at your own pace and for a more affordable price than individual coaching. Whether your goal is to break through fear and nervousness so you can show up confidently in your auditions or you want to release the self-criticism or self-doubt that's been draining all the joy out of dancing lately, The Confident Dancer Course and rotating mini-courses available are designed to help you do just that. Learn more and enroll here: https://kirstenkemp.com/online-course-offerings

We return to Little Solace against our better judgment and become embroiled in sylphic affairs once again. The sylph's Chosen One will soon be born, and they need a parent! We'll have to team up with a Twin Adders-appointed "expert" to resolve this custody dispute. Join us for our final FFXIV A Realm Reborn tribe quest!   You can reach us at: https://discord.gg/SUHTBVMVxj  podreturnffxiv@gmail https://www.patreon.com/Podreturnffxiv   FINAL FANTASY is a registered trademark of Square Enix Holdings Co., Ltd. © SQUARE ENIX CO., LTD. All Rights Reserved. Music from #Uppbeat (free for Creators!): https://uppbeat.io/t/fernweh-goldfish/skippy-mr-sunshine License code: 91CJGK73DTQIXILK https://uppbeat.io/t/danijel-zambo/fairytales License code: PQ1IMSLKP0XTU1IC

April 3, 1860: The first rider was to leave St. Joseph at 5:00 pm. However, the mail had been slowed up in Chicago for transfer to Hannibal, Missouri. A train was stripped down with no passenger cars at Hannibal. Once the mail arrived there, the train rolled across the state at a record speed to St. Joseph. It finally arrived around 7:00 pm and the mail was rushed to the stables where the first rider, Johnny Fry awaited. The mail was placed into the specially made mochilla saddle and at 7:15 pm a cannon was fired alerting everyone Fry was on his way to the river. Cheering crowds waived at Fry as he made his way through streets of St. Joseph. Once at the river, Fry boarded a ferry which took him and his horse Sylph across the river to Kansas where he rode at breakneck speeds for 90 miles before another rider took over. In Sacramento, at noon, the first rider, Harry Roff, took off with the eastbound mail. --- Send in a voice message: https://podcasters.spotify.com/pod/show/loren-alberts/message

A forest elf or ‘sylph' is made homeless by a careless woodcutter. Luckily, he's adopted by a kind couple. But what happens to the dreamy woodcutter who cut down his tree? Will he be punished, or will he marry the princess of his dreams? Listen to Belgian storyteller Rebecca Lemaire tell this delightful tale, and find out. Learn more about your ad choices. Visit podcastchoices.com/adchoices

For the first time in their lives, Tric and Heppa meet an elf not of Estbryn Forest. Scene 8 Scene 9 GM Notes Sir Deoran is the primary protagonist of the South Guard mainline campaign of the Battle for Wesnoth video game. In Scenario 5, he is given the choice to ally with human bandits or with the elf Ethiliel, who has already lent him aid. For the purposes of our story, he made the latter choice. In the video game, she's a Shyde unit, but given what she's experienced in the years since, I have her as a Sylph here, more an attacking unit than a defending one. If you ally with Ethiliel in the South Guard, the campaign ends with Scenario 8a, which has her in conflict with the Elvish Outrider Eltenmir, while the Elvish Marshal Ithelden is supportive of her. In my imaginings, Ithelden was the leader of the Aethenwood council, and once he was taken out of the picture, Eltenmir seized power and exiled Ethiliel for her “betrayal” in siding with the humans against an elf. After that point, there was on-and-off open conflict with the humans, which included the battles Knots and the Beard participated in. Our character art by Del Borovic and the map we refer to (by me!) can be found here. Our music is sampled from Return to Wesnoth by Matthias Westlund (aka West), licensed under CC BY-SA 4.0, part of The Battle for Wesnoth Project. Visit them at wesnoth.org. Need context? Jump to the start of the series!

A poignant volume that introduces a new character to the lore and explores feelings around death and childhood. And it may come as no surprise that even a horror Shoujo manga somehow has to reference ballet, we all seen Black Swan right? Skip plot summaries @ 6:11   Email: WeAppreciateManga@Gmail.com   130: Petshop of Horrors vol. 5 By Akino Matsuri Translation by Tomoharu Iwo and James Lucas Jones Lettering by Nunu Ngien   In the first chapter, ‘Dual' a congressman appears to D asking for the legendary Kirin. At first D denies the existence of such a creature deeming it as a myth, but in truth it is the Kirin who chooses the owner. The Kirin can make the dreams of its owner come true, granting them great power but at an extreme cost. In the end the Kirin chooses the congressman's aide/assistant and so he makes the greatest sacrifice.   In ‘Day Nursery' we are introduced to Leon Orcot's little brother, named Christopher, a mute child who stays at the Petshop under D's care. It comes as a surprise when Christopher sees the pets as humanoids, the same as D and can converse with them telepathically. Christopher has survivor's guilt due to his mom dying from a complicated pregnancy and a feeling of being unloved from his brother Leon. Yet he finds a mother figure in the elderly black bird, Madame Sultana. On the day that Leon is injured he has a near death experience where he dreams of his mother who coincidentally looks like Sultana, or at least the way Christopher sees Sultana. In this realm both Leon and his mother talk about Christopher. On the same day Madame Sultana dies and D can sense the disturbance in the air. Soon enough Leon is apprehensive to be sending Christopher to a specialist school, his stoic nature hides it, but he gives his little brother a hug before he drops him off.   Continued in ‘Darling' Christopher brings in a missing runaway Cat with emerald green eyes and a necklace for a collar, the cat feeling as if she is unloved and only valued for her necklace. The necklace being crown jewels and whomsoever wins the affection of the cat is owner of the jewels and in turn the next heir to the throne. With the cat choosing to stay with D she wishes for a life of a commoner and D trims her fur/ hair at her request, he then claims sovereignty due to possessing the necklace and holds the cat ransom. However, D's plan is to see if the rightful prince Saleem can recognise their cat. But like how a prince recognised Cinderalla, so does the prince recognise his cat. D sees how much the cat and the prince love each other and so he gives the necklace back. Christopher however gets his first taste of jealousy.   The last chapter of this volume reads a lot like, Darren Aronofsky's Black Swan. Jeanne Lecroix, jealous of not being able to play the lead role of Swan Lake spends the afternoon at D's pet shop. There he shows her many of his pets all performing for her, including a bloody cockfight. Through comparing the performance with her abilities, she feels inadequate. Therefore, D gifts her a blade, telling her that with it she will achieve her desire. Later D takes detective Leon to see Swan Lake and we find out that Jeanne has torn apart her rival's black swan costume, it is then decided that Jeanne will play the black swan and her rival Dominique will play the white swan. By the end of the second act Jeanne gets an ovation and it becomes clear that she is wanted for the third act, However Jeanne goes missing, having won the heart of her prince co-star she is never seen again after that performance.   Context:   ·       In Tchaikovsky's Swan Lake the role of both the black swan and the white swan is conventionally played by the same person. This is why in the chapter ‘Dance' Jeanne is jealous of Dominique since it is a dual character role. ·       Depending on the translation you are reading, the country that Saleem is prince of is either fictional or based on the country of Yemen.   Historical, scientific, and cultural references:     ·       A Kirin (Qilin) is based on Chinese mythology, often mistaken for a giraffe in eastern languages but can also be mistaken for a Shishi in the west, the mythical Chinese lion like dog. A Kirin is more like a deer mixed with a dragon in that it has hooves and antlers along with scales. If someone from the Ming dynasty saw a giraffe then they may have mistaken it for a Kirin. They even share the same name. ·       Madame Sultana is a Myna, which is a Starling bird native to India, it can talk like a parrot, even going for lower frequencies of speech than the average parrot. Although symbolically it is more representative of a crow in how it is a pomgeist or conduit for the deceased. ·       The Cat in the chapter ‘Darling' is named Pandora. It means “all giving” and “gifted” named from the Greek creationist myth. ·       The Dying Swan solo dance was created by Mikhail Fokine for Camille Saint-Saëns's ‘The Swan' for the Ballerina Anna Pavlova, having premiered in 1907 as a special occasion piece, It is inspired by the Alfred Tennyson poem of the same name and of course it would be adapted and used for future Swan Lake performances. In the words of Fokine's granddaughter, Isabelle: "The Dying Swan does not make enormous technical demands, but rather enormous artistic ones because every movement and every gesture should signify a different experience, which is emerging from someone who is attempting to escape death." ·       La Syphide is a dance original choreographed by Filipo Taglioni in 1833 but Sadly, the 1836 August Bournonville choreography is the only one to have survived, since Bournonville did not have the rights to the original music thus he created a new version of the dance. It is not to be confused with the 1909 ballet Les Sylphides, another ballet involving a mythical sylph. A Sylph being a spirit of the air. ·       “Pas de deux” is a ballet term for a dance duet. Literally translated from French as “Step of two”   Facebook Instagram Twitter/X Official Website   Email

Baba Yaga, a fearsome entity known for her predatory tendencies in Eastern European folklore, is now attributed to large drones that scoop up injured soldiers in warzones. Her legend has been passed down through generations, evoking terror in the hearts of those who hear her name. She is said to live in a hut on chicken legs and is known to snatch away those who dare cross her path. The idea of equipping drones with pincers, evoking the imagery of Baba Yaga's claws, is an apt metaphor for a terrifying new technological advancement...New! Follow Troubled Minds TV Here! -- https://bit.ly/43I9HHeLIVE ON Digital Radio! http://bit.ly/3m2Wxom or http://bit.ly/40KBtlW http://www.troubledminds.org Support The Show! https://rokfin.com/creator/troubledminds https://patreon.com/troubledmindshttps://www.buymeacoffee.com/troubledminds https://troubledfans.comFriends of Troubled Minds! - https://troubledminds.org/friends Show Schedule Sun-Mon-Tues-Wed-Thurs 7-10pst iTunes - https://apple.co/2zZ4hx6Spotify - https://spoti.fi/2UgyzqMTuneIn - https://bit.ly/2FZOErSTwitter - https://bit.ly/2CYB71U----------------------------------------https://troubledminds.org/the-winds-of-misfortune-airborne-alchemy-and-baba-yagas-return/https://www.thedailybeast.com/chechen-fighters-ukrainian-drones-with-claws-abducting-russian-troopshttps://en.wikipedia.org/wiki/Baba_Yagahttps://www.bbc.com/culture/article/20221118-baba-yaga-the-greatest-wicked-witch-of-allhttps://www.livescience.com/planet-earth/climate-change/we-could-be-16-years-into-a-methane-fueled-termination-event-significant-enough-to-end-an-ice-agehttps://www.grunge.com/216412/the-legend-of-baba-yaga-explained/https://screenrant.com/john-wick-baba-yaga-real-meaning-boogeyman-explained/https://twitter.com/GodysseyPodcast/status/1694377139326374037https://twitter.com/bthomasa/status/1694356686302323039This 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/4953916/advertisement

Sylph is a noun that refers to a slender woman or girl.  Coming from the Latin word sylphi (SILL fee) which refers to a mythic nymph of the woods, our word of the day has been around since the mid 17th century. Example: When I saw the mysterious Sylph in the woods, I thought I was seeing a mythical spirit rise to the sky. But it turned out Erica was just trying out her new silver leotard. 

Vårsäsongen ebbar ut och festivalsäsongen rullar in. Vi hittar ett Freudtema och pratar om vad den lite puckade AI-debatten ofta missar som konsten är bättre på att diskutera. Och så har vi sett Rimini Protokolls robotföreställning "Uncanny Valley" som gästspelat på Konträr, den burleskgroteska medeltidsinspirerade "You want it darker" av Anna Vnuk, Sandra Medina och Lisen Rosell på MDT, Cullbergs "Sylph" av Halla Ólafsdóttir och sist men absolut inte minst "En midsommarnattsdröm" av Benjamin Britten i regi av Tobias Theorell på Kungliga Operan. Medverkande som vanligt: Loretto Villalobos och Cecilia Djurberg (klipp & prod)

Sylph Etherege (From: "The Snow Image and Other Twice-Told Tales")

our group of adventures find themselves in a chase to clear Sylph's name, stop the assassination of the coming ambassador and uncover deeper secrets held within the town... --- Send in a voice message: https://podcasters.spotify.com/pod/show/king-of-vibes/message

Mid-American Review (MAR) Editor-in-Chief Abigail Cloud and Poetry Editor Megan Borocki shed light on the literary magazine landscape, especially for poets. Cloud and Borocki discuss what kind of work MAR publishes, their editorial approach and process, trends they see in the submission queue, submission tips, preferred fonts (spoiler: poets love Garamond), their perspective on cover letters, the realities of rejection, and more. They also critique three poems submitted to Page Count by Ohio writers.   Learn more about Mid-American Review online follow the journal on Twitter. Finally, Page Count extends special thanks to Sara Shearer, Carole Mertz, and a third, unnamed poet for submitting their poems for this episode.   Abigail Cloud is editor-in-chief of Mid-American Review and a teaching professor at Bowling Green State University, from which she holds an MFA. Her first collection, Sylph, was published by Pleaides Press in 2014.   Megan Borocki (they/them) has an MFA in poetry from Bowling Green State University. They are poetry editor for Mid-American Review. Their work has recently appeared in Moon City Review, Olney, and The Hunger.   Mentioned in this episode: Sylph by Abigail Cloud Bowling Green State University's MFA and BFA in Creative Writing programs Winter Wheat: The Mid-American Review Festival of Writing Gordon Square Review The New Yorker The Atlantic Bluets by Maggie Nelson   Page Count is produced by Ohio Center for the Book at Cleveland Public Library. For full show notes and a transcript of this episode, visit the episode page. To get in touch, email ohiocenterforthebook@cpl.org (put “podcast” in the subject line) or follow us on Twitter or on Facebook.

[Book 2 | Episode 8] There's a whole bunch of wild animals loose in a Nantambu zoo! Can our heroes get them back into their cages? Who are these mysterious criminals who let them loose? There's only one way to find out! CAST Dylan as the GM Ejnar as Ironbark, a Conrasu ??? Jeremy as Mila Steelsky, a Sylph ??? Greg as Assela Cuprice, an Ifrit ??? Keven as Saralar, a Thassilonian ??? SOCIAL MEDIA Facebook: https://www.facebook.com/GmBreakout Twitter: https://twitter.com/@gmbreakoutpod Instagram: https://www.instagram.com/gmbreakout Website: www.gmbreakoutpod.com MUSIC Aegis, by Crinkles https://crinklesmusic.bandcamp.com/album/soundtrack-from-a-box-23 Music: Foreverlands, Magic and Might, The Song Of Sirens and The Great Battle by Alexander Nakarada (www.serpentsoundstudios.com)Licensed under Creative Commons BY Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ With thanks to Syrinscape as well for providing music for this Adventure Path!

Filaments...... with tracks by...Abayomy Afrobeat Orquestra, Bobby Ramone, Kwabna, Somatoast, Sylph, Ithaqua, Alpha Centauri, Utility Player & Cyan341, Momi Maiga, Spookyfish, Dolores Riposte, Muflon Dub Soundsystem, Arcologies, Ob.dub Abayomy Afrobeat Orquestra - Eru [NYP Rcords] Bobby Ramone - I Don't Wanna Stand Up [Guerilla Asso] Kwabna - House of Jah (feat. Sly & Robbie) [...]

[Book 2 | Episode 7] Our brand new adventurer's continue to follow up the leads given to them by Teacher Janatimo - Where did those griffons come from? Why did they attack the anadis? What's inside the Hababe Building that the golem was protecting? Find out some of these answers by listening! CAST Dylan as the GM Ejnar as Ironbark, a Conrasu ??? Jeremy as Mila Steelsky, a Sylph ??? Greg as Assela Cuprice, an Ifrit ??? Keven as Saralar, a Thassilonian ??? SOCIAL MEDIA Facebook: https://www.facebook.com/GmBreakout Twitter: https://twitter.com/@gmbreakoutpod Instagram: https://www.instagram.com/gmbreakout Website: www.gmbreakoutpod.com MUSIC Aegis, by Crinkles https://crinklesmusic.bandcamp.com/album/soundtrack-from-a-box-23 Music: Foreverlands, Journey Of Hope, and Dungeons And Dragons by Alexander Nakarada (www.serpentsoundstudios.com)Licensed under Creative Commons BY Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ With thanks to Syrinscape as well for providing music for this Adventure Path!

As time marches on, we see an exchange of power where all things old shall be new, improved and rebranded – that even includes world government run by a race of supermen created by occult alchemy. Tonight on Ground Zero, Clyde Lewis tells you to ‘Know Thy Sylph: Rebranding The Homunculus‘!Originally Broadcast On 10/15/2013

Tricia Carr shares some tips about how to begin telepathically communicating with animals and a special technique and ritual to heal animals with the ascended master, St. Francis. See below for notes on calling the corners for healing.Book an Animal Telepathy + Healing session with Triciahttps://triciacarrcharm.com/work-with-me/animals/Tricia Carr is a spiritual teacher, empathic channel, multidimensional medium, certified hypnotherapist and animal telepath.Join the Charmed Life Mailing List to hear about the next Animal Communication training:https://app.convertkit.com/landing_pages/444740?v=7Book a one-on-one Empathic Channeling session with Triciahttps://triciacarrcharm.com/work-with-me/sessions/Modern Mystic Life Coaching! A spiritual mentor in your pocket! First month only $5.55 with coupon code: 555TRICIARead more: https://triciacarrcharm.com/modern-mystic/Or sign up now: https://buy.stripe.com/3cs2be5hA2IyaJy4gS2022 Channeling Intensive Starts May 9, 2022https://class.lightshineacademy.com/2022ci/To call the corners:I summon the direction of the East, Archangel Raphael, the element of air, nature deva Sylph – bring us your healing lightI summon the direction of the South, Archangel Michael, the element of fire, nature deva Salamander – bring us your healing lightI summon the direction of the West, Archangel Gabriel, the element of water, nature deva Undine – bring us your healing lightI summon the direction of the North, Archangel Uriel, the element of earth, nature deva Gnome – bring us your healing lightTricia Carr:www.triciacarrcharm.comhttps://podcasts.apple.com/us/podcast/charmed-life-with-tricia-carr/id1173744974https://www.facebook.com/TriciaCarrCharmhttps://www.instagram.com/triciacarrcharm/https://www.youtube.com/triciacarr

We wrap up our interview series with Alysia leading us through adventures with the primal village, and the deadly fight to save Garuda. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/campaignsoftheplains/message Support this podcast: https://anchor.fm/campaignsoftheplains/support

Nightwing News Ep #137: Nightwing #48-#50 Welcome back to Nightwing News!  This episode Phil and Kristen review Nightwing #48-#50 (October-December 2000) featuring new villain Sylph, Dick Grayson joins the Bludhaven PD, and the return of Dudley Soames aka Torque. Show notes: Nightwing News Ep #137: Nightwing #48-#50 Find all of our Social Media here: https://linktr.ee/capesandlunatics Find Kristen's book Dick Grayson, Boy Wonder here: https://www.amazon.com/Dick-Grayson-Boy-Wonder-Nightwing/dp/0786497882/ref=sr_1_1?ie=UTF8&qid=1540958908&sr=8-1&keywords=dick+grayson+boy+wonder Follow Phil Perich on Twitter: https://twitter.com/nightwingpdp Follow Nightwing News on Facebook: https://www.facebook.com/pg/NightwingNewsPodcast Follow Nightwing News on Twitter: https://twitter.com/NightwingNews Produced by: Capes and Lunatics Sidekicks Podcast Production Team: Phil Perich Support the Capes and Lunatics Podcast on Patreon www.patreon.com/capesandlunatics Cash App: $CapesandLunatics

Nothing can stand in the way of the Braid and their allies, not even death. MXP Website BuzzsproutSupport the show (https://www.patreon.com/markexperience)

The Braid ventures down into the depths of the catacombs, taking a short cut of course, in search of Sylph's precious artifact.https://www.mxpcrew.com/Support the show (https://podinbox.com/markexperience)

CITR's 24 Hours of Radio Art in a snack sized format. Dark Ambient. Drone. Field Recordings. Noise. Sound Art. Or something.Tonight's show features ALBERT VAN ABBE, THE CENTRAL OFFICE OF INFORMATION, and SYLPH.

In this episode, guest host Kari Hanlin talks with Professor Abigail Cloud, editor of the Mid-American Review, and literary and visual artist Paula J. Lambert. They discuss creative processes in the pandemic, writing as an interdisciplinary practice, and the need for greater diversity in publishing practices.  Announcer: From Bowling Green State University and the Institute for the Study of Culture & Society, this is BG Ideas.Musical Intro:I'm going to show you this with a wonderful experiment.Kari :You're listening to Big Ideas podcast, a collaboration between the Institute for the Study of Culture & Society and The School of Media and Communication at Bowling Green State University.Kari: I am Kari Hanlin, a PhD student in BGSU's rhetoric and writing program, and a graduate assistant for ICS.Kari :Due to the ongoing pandemic, we are not recording in the studio, but remotely via phone and computer. Our sound quality may differ as a result.Kari: As always, the opinions expressed in this podcast are those of the individuals involved and do not necessarily represent those of BGSU or its employees. Bowling Green State University campuses are situated in the Great Black Swamp and the lower Great Lakes region. This land is the homeland of the Wyandotte, Kickapoo, Miami, Pottawatomie, Odawa, and multiple other Indigenous tribal nations, present and past, who were forcibly removed to and from the area. We recognize these historical and contemporary ties in our efforts toward de-colonizing history. And we honor the Indigenous individuals and communities who have been living and working on this land from time immemorial.Kari :Today, we are joined by two guests, Professor Abigail Cloud and Paula J. Lambert.Kari :Abby is the editor in chief of the international literary magazine, Mid-American Review, and a teaching professor in the department of English at BGSU. Her poetry has appeared in the Gettysburg Review, the Cincinnati Review, and other literary journals.Kari :Paula J. Lambert is a literary and visual artist who earned her MFA from BGSU. She has authored two full length poetry collections, several chapbooks, and is a recipient of two Ohio Arts Council Individual Excellence awards. Paula is also a multidisciplinary artist whose work includes collage, assembly, book arts, and more.Kari :So what I'll ask you to do is introduce yourself and any of the key themes of your work to our listeners. And I'll ask Abby to kick us off.Abby:Absolutely.Abby:So I tend to write quite a bit about signs. I'm into this thing right now where I'm investigating our relationship to signs and how we interpret the world around us. So I'm always really interested in the natural world, interested in the woman body and woman's spirit, and also in the body generally in space and how it relates to space time in its own environment.Kari :And then Paula, how would you describe your work?Paula :I think I focus a lot on the juxtaposition of opposites, I guess, looking for the epiphanic moment, trying to understand how things fit together. A lot of my visual artwork is mixed media and collage. So collage is always bringing disparate images together into this new whole. It's something that presents something brand new. And I think I do that a lot in the poetry too. I'm very much interested in bringing poetry and science together. There are so many paired opposites everywhere. The world is full of joy and terror, and there's a constant work, all through my life certainly, all through our lives. That's where my focus is, I guess.Paula :I don't think I summarized as succinctly as Abbey did, but there you go.Kari: I think you both did great. That idea of the juxtaposition between joy and terror, I think is such a fitting way of interacting in the world right now.Kari :And it actually kind of brings me to my next question for you, Paula, because in September of 2020, you published, How to See the World, which is a poetry collection that considers the loneliness of the pandemic, but also how to seek opportunities for interconnection during this time. So how did you write a poetry collection during a pandemic, I think is maybe my first question?Paula :Well, what's kind of crazy is that I actually signed two book contracts during this pandemic, and I have another coming out in January, and I'm actually probably two thirds of the way through a completely new collection. So it's crazy. But really it's kind of, for me, again, personally, it's natural the way I sort of blossomed during this time period, because I've dealt my entire life with really difficult things, with illness. I always feel like that's just what life is, that's not just what my life has been, that's what life is.Paula :I think a lot of us are really good at turning away from it, pretending it's not there, or just looking for distractions out of it. And I've always turned into those things. I'm always looking for the lesson in those things. My whole life has been that way. My whole life full of therapy has been about exploring all those sort of dark places in hard times to find your way back to wellness, and health, and happiness, and joy.Paula :So this was a time for me of just hunkering down and doing more of that. It's been a teaching moment for me to understand all of my own... I'm going to use the word neurodiversity. That's something I haven't been talking much about yet or writing about yet, but I have a very difficult time with sound, and light, and movement. And there's so much I've realized, my whole life, I've put up walls and barriers to navigate my way through the world and to have the opportunity, and for me, the personal joy of being in one place, and not have it to navigate all that so difficult in the world. And to just process my own inner being. It's been joyous for me. Of course, I've had the same difficulties, grief, everyone else has. But again, I've spent my lifetime sort of navigating grief.Kari :Yeah. And I felt like, as I was checking in on research and seeing what you were up to, it was like a new thing was happening so often. I was like, "Oh, wow." Something I noticed when I was reading through your collection... Which is absolutely stunning. I highly encourage everyone to go out there and get it... is that we have these moments of just stillness and this intimate attention to detail from like sanitizing the fruits in the sink to saving the celery stalks that we would not have saved before this time. And it's interesting in that we are kind of working through this experience with you, but also in reading your work, we're being invited to reflect and also confront our own experiences of that weird, mess of grief, and joy, and everything that has happened in the past year.Paula: I was also interacting with a lot of other people and a lot of other ideas through social media, which, Abby Cloud and her little critters have inspired a couple of poems that are in the book. Actually, when Abby posted on Facebook that she found a dead possum in her garage, and it turned into a poem for me. And her little mouse, Hector. The social media for me, took on a real different... I've always had a love-hate relationship with it. But people were looking for community through Facebook. People were talking about, "My God, I'm having memories I haven't had in years. I'm thinking about foods I haven't eaten since I was a kid." And it was such a relief to me that I was not the only one going through those things.Paula: And especially the early days and weeks of the pandemic, it was a relief to say, "I'm not the only one experiencing these nightmares, or these cravings, or these memories." It seemed to be something collectively we were going through. As much as it is a very interior collection, it's very much about community too.Kari: Yeah, absolutely. Yeah, I was very excited for the Hector mention. I was reading through it again this morning, I was like, "I know that mouse through Facebook" Abby:I didn't know Hector was in the book. Oh, I didn't see that. I knew about the possum, but yeah, that's funny. Kari :Yeah. Hector gets a shout out.Kari :So Abby, have you been able to write about the pandemic at all, or just found various elements of the social distancing or the isolation kind of affecting your work, whether it's as a poet, an editor, a teacher, et cetera?Abby:So I, habitually now, in order to really get a lot of writing done, I have to leave. So I have a family farm house in Michigan that I go to and I write there. I just write. The need for isolation, the need for quarantining made that a perfectly reasonable thing to do in the middle of the summer. And I had finished a manuscript earlier, I think maybe January of 2020, but after a few months, I wanted to revisit it. So I also wanted to write another sequence of poems to go in. It's a book that touches on a lot of divination, means of divination, some real and some completely made up. And again, it uses a lot of nature, including lepidoptery especially, but then also just other sort of private means of creating meaning.Abby:And so being in the farmhouse really helped me. There are just little signs and signifiers everywhere, like in the basement was a perfect, complete mouse skeleton just out there on the floor. And that really impressed me, it was an image that impressed itself into my brain. That's the type of material that I really needed to use. And being there in the quiet, I'm disconnected, I'm much more in my brain and that's something that I think a lot of people really struggle with, but I do really well with it. So in a way, the quarantine was part of my own artistic process, I guess, being up there. And I've family up there and I only saw them from afar, like from car to porch, because we didn't want to get near each other. And I think there is a lot of silence in these poems that I wrote while I was up there, which is certainly reflective of the time and of the enforced social silence also.Abby:I haven't written anything about the pandemic specifically, but weirdly I do have a few sort of apocalyptic poems that came before the pandemic, that I think will have additional resonance now. I need to kind of revisit them and see if there's anything that I need to add now, since this book will be a significant representation oaf a time period of writing. So I haven't been able to really write at all since then. I haven't been able to get back into that space, but I definitely had at least a chance to really work and deal with the situation that was happening around me, which was important.Paula :I think creatives generally, we're ready for this. I sent an email out, to a wide circle of friends and said, we, by nature, are the ones who can get through these kinds of times. And we, by nature, are the ones who can help translate things for people who are having a far more difficult time. A lot of times, artists, writers, we live in that silence that Abby just described so beautifully there. It's a really wide open space for us that we're sort of used to navigating, and living in, and reveling in. And for a lot of people that kind of silence is really terrifying. It's really scary. So I think, yeah, we were just sort of made for it in a way that a lot of people are just going to have a lot more trouble with. Kari: Yeah. I think that the idea of silence and people who are writers, and artists, and other creators, in general experience, are somehow more able to sit in that and sit in the uncertainty and the confusion, and kind of be like, "Okay, well, now I'll make a thing because it's what I do." And it's certainly something other people on the podcast have actually talked about in our last season was, "Yeah, we went into shutdown in March and I did a bunch of sculpture" was someone else's experience. So I think, yeah, there's a lot of truth there.Paula :And I really think that helps the world all by itself just to sit in the silence with uncertainty. We were able to witness, and sometimes untangle some things even in our own thoughts and minds and memories. And that by itself has value, I think, without even sculpting anything, or writing anything, or building anything. Abby:Yeah, there doesn't need to be a product, even if it's entirely mental, the journey I think is very worthwhile.Kari: Yeah, as I tell my students, "Thinking is writing, thinking is doing that type of work."Kari :So while the pandemic has certainly affected writing processes for both of you, it seems at least, kind of for the better, with all the exciting work that you've already put out or are planning to. It's also significantly impacted the publishing industry.Kari :So, Abby, you're the editor-in-chief for Mid-American Review, or MAR as it's referred to more informally, and MAR is mostly staffed by graduate MFA students and undergraduate interns here at BGSU. So how did the journals operations and processes change due to the pandemic and that kind of quick shift to remote work last March?Abby:It was the most dramatic change you could possibly imagine. I mean, for usual MAR time, we're in the office every day. I'm there. The managing editor is often there. And then our interns, we always have at least two or three interns in, at any given time. And that became absolutely impossible. Our offices are rated for one person, closed door, and no interaction, have to be sterilized. And you cannot do that with the volume of people that we have in and out of that office. And so that in itself was going to be a challenge. And as soon as the university went into the remote capacity, we kind of just set up meetings during the week, like whenever we could meet. We had kind of a regular time for prose and regular time for poetry, which immediately lost us the ability to be together, to have our genres together. And in an MFA program that, that togetherness is really valuable. And we miss out when we can't cross genre lines.Abby: And so in the fall, we had more preparation, but we still were not sure early enough how our class would be, so we had to have split meetings. This semester I've changed it, so that we have a main Zoom meeting each week. We have the introductory stuff that I talk about or teach something and we just have a conversation. And then we split into breakout rooms and that has made it possible for us to do a little bit more together, to have some conversations together. But we're still not in the same room, kind of passing submissions back and forth. And granted, most of our reading is done online anyway through our submissions manager, but we don't have that ability to pause in our reading and have a chat about something.Abby:But, we're not in the office. I get into the office maybe once every three weeks. So we're heavily delayed, but the delay is what hurts me the most, I think. We have our second 40th anniversary issue, which should have gone out last Spring, I have it. It's at the warehouse, but I need to be able to send it safely because we do the mailing ourselves for cost reasons. And I need to be able to do that and get our envelopes printed and everything in a way that's safe.Abby:So dealing with that has been really tricky and it's just struggling with the volume of work and being in front of a screen literally all the time now, it makes it harder to read submissions online. But it's also allowed us some time for planning the ability to sort of look ahead and think about some things that we can do, special projects.Abby:I think looking ahead has been the healthiest, sort of thinking about plans and we're scheduled for in-person in the fall. We'll see how that works, but I'm so excited to get back to that just with people in the same room and being able to collaborate. And then also making the MAR office, it's always been a safe space. It's a safe space. It was for me when I was a grad student too, 20 years ago. I found a home there and I want to make sure that it's a home for other students. And so I need that to come back. I'm ready for that to come back because I know how foundational it was for me. And I think our grad students and our interns both would really benefit from it. Yeah, completely changed our process. Couldn't be different. Couldn't be more different than it is now, but we'll be able to go back. That's the thing. We've improved somethings, but we'll also be able to bring back the things that make us most comfortable. Kari :Yeah.Kari :Okay, so shifting gears a little bit. So, Paula, you're often involved in what seems to be all parts of writing, publishing, and also performing your work. So can you explain a little bit, like why this kind of active engagement and kind of literal embodiment of poetry is important to you, or how you started doing these types Of tasks?Paula: I want to preface what I say by pointing out or reminding people, my MFA is actually in fiction. And so for most of my life, from the time I was a real little kid till about 10 or 12 years ago, prose was just about all that I did. My life was all fiction. I blame George Looney, partly for the fact that I'm a poet today because he kept nagging at me for years and years, "Paula, you're a poet. You're a poet. Will you please put a chapbook together?" And I finally did, and lo and behold, it got taken the first place I sent it.Paula :And then moving to Columbus, well, before I moved here, I taught at Central State University which is an HBCU, but they were very interested in slam, and spoken word, performance poetry. So we had a program there called Rhymes and Beats, Beats and Rhymes, where we had the jazz studies students providing the music backdrop for the poetry and spoken word, that it was just a beautiful program in a beautiful time. And I was co-directing the writing program at the time. We were working on advanced workshops. And Dave Shevon... Who's since passed away, who's also a BGSU alum, who is my dear friend... He helped with designing some of these advanced workshops. And I said, "We have to, have to incorporate performance in here. We have to." Paula: Coming through the MFA program where we still have the readings at Prout Chapel, if you're writing anything at all, poetry or prose, if you're going to be successful at it, if you're going to publish, at some point you're going to go on a book tour. You have to know how to read your work. You just absolutely have to. And it was always really frustrating to me that that was never really taught, not just in our program, but in any program that I knew of at the time. So when we got into these advanced workshops, I said we have to bring in performance when we do this. And we were able to. So I've worked really hard to bring poetry into places and venues that will surprise people, that bring poetry to people who don't normally read poetry.Paula :I started a series that was at an observatory. It was a celebration of The Nice Guy. And the director at the time, Tom Burns, was really receptive to that because he was an English professor and amateur astronomer, and he was really grateful. He said we need people who can articulate. There are people who can sort of diagram the science of it. But we need people who can articulate the wonder of it, and the beauty of it. And things need to be brought together like that. People need to be excited about all of what poetry is, and all of what it can do. And it's not even all that separate from the story writing that I did for so long and I insisted I was a fiction writer, not a poet. I just insisted on that for years. But poetry does tell stories. Of course, it does. It's just another way of sharing stories and experiences. And we all need that. We all need that just desperately. Stories need to be told, man.Kari :Yeah, absolutely.Kari :So with that, we're going to take a quick break. Thank you for listening to Big Ideas podcast.Announcer:If you are passionate about Big Ideas, consider sponsoring this program. To have your name or organization mentioned here, please contact us at ics@bgsu.edu.Kari:Hello, and welcome back to the BG Ideas podcast.Kari :Today, I'm talking to Abby Cloud and Paula Lambert about all things poetry during the pandemic.Kari :So as we kind of come back from the break and start turning outward beyond individual practices and experiences, it's worth thinking about how the pandemic has both deepened and exposed issues of racial inequality of the United States. And an ongoing issue in the publishing industry, of course, is the overwhelming whiteness of authors and editorial staff. And the industry, as a whole, was found in 2020 to be about nearly 80% white. Conversations around diversity are happening and need to be happening throughout the industry. So this is a question for both of you, what can or should editors of smaller presses and journals do to make publishing more inclusive for writers as well as with staff?Abby:There are so many presses that I admire are doing. One example is Milkweed that has a fellowship to learn more about the industry. And it's very explicit, like this is open to all, but we have a special interest in authors who would otherwise not have these opportunities to work with the press, which includes BIPOC authors, LGBTQ+ authors, and any disability that is frequently disadvantaged. That's just one really great example of that. I think other presses can follow.Abby:The staff question is really difficult because, typically with journals associated with universities, you have, as your staff pool, the students that your university draws. So then it becomes not so much an issue entirely on the journal, but also the issue of your program. And if your program was not attracting candidates of color, or writers of disabilities, or other areas, then you have some thinking to do. You have to figure out how you can change that perception. Certainly faculty of color, like universities have a really hard time, for some reason, understanding how to attract but also retain faculty of color. I think part of it is stuff gets dumped on them all the time, not just aggressions or microaggressions, but also when they know there are like these specific disabled faculty members, those faculty members are always the ones that are going to fill the quota, so to speak, on a university committee.Abby:So like we have a Diversity and Inclusion Committee, we have one in our department, but there's also university one, and it can't just be the same people all the time who are having to fill all of these roles for a university service that counts toward merit, or annual evaluations, or whatever. So I think looking really carefully at the practices of how committees are filled, how you are working with faculty who may be on the receiving end of these extra burdens, like how are we working with those folks and uplifting them, and pushing their voices forward?Abby:I always look at Mid-American Reviews, the VIDA counts that are done, we kind of do our own. But they've been working on an intersectional survey also in the past couple of years, and I'm really anxious to work on that especially because we do also attract predominantly white writers, I think. We do fairly well, I think, with disability and with LGBTQ+ writers, and with staff in those areas. But we definitely need to work on our racial diversity and that's something I'm thinking about literally all the time, and we can do better, and we have to do better.Paula :I would just say, people need to read as widely as possible and listen to as many voices as possible. And my emphasis might be a little bit more on listening because I attend so many open mic shows and so many featured readings. In Columbus, we're really lucky here that there are almost every night... Well, during normal times... almost every night of the week, there's an open mic show somewhere in town that may have featured readers, that may have slams. I worked hard to go to as many of those as I could. You sort of settle into the ones where you feel most comfortable, but it's really important to hear as many voices, to seek that out.Paula: And I think maybe because of my own experiences, having worked at and taught at an HBCU, and even before that, when I worked in the south, taught in rural community colleges, where I had a majority of African-American students, but I became really, really sensitized to going other places, off-campus, where it began to be shocking to me how many places are so white and have so few people of color in the room. And I've observed that so many places where my mind immediately was saying, "Why aren't people either, A, invited to be here, or why aren't they comfortable coming here?" Because it really makes no sense that for this particular activity, whatever it was, it doesn't make sense that this population is here given the general population of the university, the general population of the community. It doesn't make sense that there are so many white people here. Even though a lot of it, I'm sure, was implicit and unintended, or whatever, but that's a bigger problem.Paula :So when I started organizing myself, for a while, I co-hosted an open mic show here in Columbus. And then later, through the press, started hosting, and organizing, and supporting bigger events. And I was very conscious of that, of making sure that there was a balance of readers and voices there, very, very conscious of that. But it wasn't difficult for me to do either because I've been listening to so many voices, and seeking them out, and loving them. And these were, my friends, my colleagues, the people I hang out with normally, the people I read, the people I listen to. And so I had that sort of community of people to draw from and to invite in. If you're not already listening to them... Just listening to people, and you get a sense of just a wide range of voices, and experiences, and pain, and loss, and grief, and struggle, and beauty, and joy.Paula :And if you're listening to that and looking forward in your own personal day to day life, I think it's going to naturally translate. If you just pay attention, it becomes sort of a natural thing, I think, in my experience.Kari: And I think something maybe like, as we head towards a conclusion of our conversation here, is that idea of intentionality that you both mentioned, whether that's the presses and journals themselves and the university affiliations being able to seriously take a hard look, and understand, and question, and critique themselves for what is and isn't in the room, and what's being privileged. As well as even as individuals, such as myself and people who are listening, are we being intentional in the books we read? Are we being intentional in the experiences that we're choosing to read about?Abby:Yeah. And even just simple things like recommendations. I've read some literature from various BIPOC authors in the last year or two, and that has completely changed what I'm recommending to my students. I love the science fiction and fantasy world, and yet, somehow I never heard about Octavia Butler until much more recently than I'd care to admit. And that kind of shocked me when Idid learn about her and her work. I was like, "Why? Why did this never reach my eyeballs before this?" And I think we can be alert to that in our own choices, as you say, and we can then pass those choices onward and make sure that those things that we missed out on, are not further missed out on. You have to kind of create a cycle that perpetuates itself.Kari :So as a final question, as much as I hate to wrap up our conversation, I think many creative writers, and I'm including myself in this, regardless of genre, have heard that writing and reading is a way of escaping the world. And I think poetry as well as prose, but particularly poetry, has a rich history of being a tool that can critique in destabilizing existing patriarchal and inequitable structures like we've been talking about. So it's a big question, but I would like to conclude today's conversation by asking both of you, how you understand poetry as a means of engaging with the world?Paula :Growing up for me, I think reading... I've always been a voracious reader, and I was terribly introverted as a young person. For me, it was a way to escape the world, but it was also a way of experiencing the world, of experiencing other places, other people, other voices. So in as much as it was escape, I was also learning an awful lot about the world. My husband and I were just discussing this the other day because I was telling him, "Oh, I just finished this poem, and man, it was so great to figure out what it was I was trying to write about." And he started laughing and he said, "That's what it is for you, isn't it?" He said, "The poetry helps you figure things out." Yeah, I think it is the way I experience the world.Paula :When I take things that I can't understand, or I can't figure out, or I don't understand why things are the way they are, or sometimes I just... There's a poem in my book about the spring ants... And it's just, yeah, you can look at them and observe them. But, for me, sometimes there's just these little things that carry a numinous quality. There's something else here, there's something bigger. And just trying to figure that out. I've always worked to figure out the world through writing, and writing is what always brings me my peace of mind. Always. Always. Always. It helps me figure things out. It helps me realize, "Oh, here's how things work. Oh, here's why that moment that seems so ordinary, really was so beautiful."Abby:I mean, I take almost a completely opposite approach, not in the the meaning and the actual sort of result, but writing for me is very painful, and not because of the subject matter. It makes me very restless. I'm a terrible person to be around when I'm writing. It's part of the reason I have to go away. And so writing for me is more about finding ways to speak what it's already in my head, like what I've already discovered into the air, like finding a way then to pin it down. Again, it's very similar to lepidoptery, it's weird how it all kind of tumbles together, but actually pinning down that meaning and pinning down the thought.Abby:And it's been sort of more of a recent thing where even when I'm writing about nature, or about ballet, or whatever, it's still making statements. So, for example, my first book, Sylph, is totally structured around the romantic ballets of the late 1800s. I mean, they're very binary. Almost all of them include some sort of what they call a black act by a man. So, Giselle is betrayed by Albrecht, just for example, or the Sylph is betrayed by James. Like there's always this act of betrayal of a man against a woman, often with deadly consequences. And having written those poems and looking back on them now, I'm just like, yeah, this was me dealing with the patriarchy in a big way, like understanding how these things happened and what those ballets actually say about our relationships. And there's been a lot of effort to sort of queer the ballet world lately, to deal with this heavy patriarchy in that universe.Abby:I feel like if I'm reading poetry, I'm reading someone's conception of the world at that moment. And even if it's just in the undercurrents and not overt. Just listened to Camille T. Dungy speak last night about this, about the need for biodiversity in literature the same way as we have in life, like healthiest environment is a biodiverse one and we need that in literature also. I think it's crucial. I think poetry's engagement with the world is crucial and it's important that we recognize that that's what it is. It's how we meet the world and what we do with it, whether our reactions are similar or not, that relationship is of utmost importance to what we do, which I think is why, going back to what we were talking about earlier, that's why poetry can co-mingle with science, and with math, and with dance, and with all of the other fields. We have to have that cross discipline because, again, that's how we create the biodiversity of literature. And I want to see that continue in a more holistic way.Kari :So thank you so much for joining us today, Abby and Paula. Listeners can keep up with other ICS happenings by following us on Twitter and Instagram @icsbgsu and on our Facebook page. You can listen to Big Ideas wherever you find your favorite podcast. And please subscribe and rate us on your preferred platform.Kari :Our producers are Chris Cavera and Krista Vera and Marco Mendoza, with sound editing by Deanna MacKeigan, Ryan Cummings, and Marco Mendoza. This episode was researched and written by Kari Hanlin. Kari :Thank you all for listening.

The march to the castle! Sylpha uses lots of magic. Jaelan backs up Mieve. Sable puts her eagle form to good use. Fairy facts about the Sylph. Music by Todd Ferguson, My Pet Machine on Facebook Logo by Julie at Elaborate Flight of Fancy

The march to the castle! Sylpha uses lots of magic. Jaelan backs up Mieve. Sable puts her eagle form to good use. Fairy facts about the Sylph. Music by Todd Ferguson, My Pet Machine on Facebook Logo by Julie at Elaborate Flight of Fancy

SAMPLER & SANS REPROCHES (Radio Transmission)Playlist N° 1221... GALAXIE RADIO 95.3FMLundi 05 Juillet 2021 - Horaire : 20:00 >> 22:00EBM - SYNTHWAVE - INDUSTRIAL & RELATED MUSICGALAXIE RADIO 95.3FM www.galaxieradio.fr----------------------------------------->[ S&SR Double Selection de la semaine...NATTSKIFTET "Stämplar In" (Progress Productions) THEE HYPHEN "Incidental Tools Of Confusion" (BOREDOMproduct) ] < Artiste - Titre - Version - Format - Production - Label > NATTSKIFTET "Gnissel Och Brus" CD: Stämplar In (Progress Productions) THEE HYPHEN "Into Dirt" CD: "Incidental Tools Of Confusion (BOREDOMproduct) IMPERATIVE REACTION "Intertwined" DIG LP: Mirror (Metropolis) SYLPH "In The Morning Light (TERENCE FIXMER Remix)" DIG SINGLE: In The Morning Light (Mute) LISA PUNG "Ecrase Molle" DIG EP: [Ou est] Aline (Divamania Records) TAMPLE "Glory" DIG LP: Glory (Yotanka) YAN WAGNER "Plein Phare" CD: Couleur Chaos (Yotanka) ORCHESTRAL MANOEUVRES IN THE DARK "Sacred Heart" CD: Architecture & Morality (Virgin) MORGAN KING "From The Fade" DIG SINGLE: From The Fade (Autoproduction) ATTRITION "The Alibi (BELLHEAD Remix)" DIG SINGLE: The Alibi (Autoproduction) METAL DISCO "Rotten To The Core" DIG EP: Rough & Dirty (Werkstatt Recordings) FORETASTE "Pure Madness" CD: Happy End! (BOREDOMproduct) SIGNAL BRUIT "Pentécontère II" CD: Hyperborée (productionB) NOVOCIBIRSK "Baïkal Depths" CD: Télévision 1945 - Volume II (productionB) THEE HYPHEN "This Aching Kiss" CD: "Incidental Tools Of Confusion (BOREDOMproduct) NATTSKIFTET "Nattskift" CD: Stämplar In (Progress Productions) NORMORIA "Who The Hell Are You" DIG EP: Voyage (Autoproduction) IN ABSENTIA "We Are Glass" DIG EP: We Are Glass / Me! I Disconnected From You (Tinnitorturous) CONTAGIOUS ORGASM "Shelter In Place" DIG EP: Through The Cracks Of Entrapment (Ant-Zen) JG AND THE ROBOTS "Robots In Berlin (ft. Jean-Luc DeMeyer)" DIG EP: Robots In Berlin (eMERGENCY heARTS) NOISE UNIT "Body Aktiv" CD: Deviator (Artoffact Records) PARADE GROUND "My Morning Friend" CD: The 15th Floor (VUZ Records) KANGA "Brother" DIG V/A : Post-Punk 2021 (Artoffact Records) LUCIA CIARELLI "Girl Like Me (Special K Mix)" DIG SINGLE: Girl Like Me (Metropolis Records) NOISY DEAFNESS "Washed Away (Radio Edit)" DIG EP: End (ScentAir Records) NINE INCH NAILS "Happiness In Slavery" MCD: Broken (Nothing Records / Interscope Records) SKINNY PUPPY "Rodent" CD: Rabies (Nettwerk) MINISTRY "Deity" CD: The Land Of Rape And Honey (Sire / Warner Music) BITCRUSH "Dead Corners" DIG EP: Dead Corners (Ant-Zen) THE PLANT X IZUMISAN ENSEMBLE "Shaggs Attack" DIG LP: Anthropomorphic (Vicious Records) SCHWEFELGELB "Wie Viel Haut" DIG EP: Der Rest Der Nacht (n-PLEX) PSYCHOSOMATIK "No Time To Lose (Blut Reaktor Remix)" CD: Re/In/Trospective (Autoproduction) THE NEON JUDGEMENT "Awful Day (David Carretta Remix)" CD: Redbox ([PIAS] Recordings) FRONT 242 "Work 242" CD: Front By Front (RRE) PROMO THANKS TO : BOREDOMproduct / productionB (Member U 0176), TERENCE FIXMER for SYLPH, LISA PUNG (Sandie Trash), HIM MEDIA (Charles Provost), YOTANKA RECORDS (Vivien), MORGAN KING (Morgan), ATTRITION (Martin Bowes), WERKSTATT RECORDINGS (Toxic Razor), NORMORIA (Gustav), TINNITORTUROUS (Tommy), ANT-ZEN (Stefan Alt), VUZ RECORDS (Holger Hanraths), ARTOFFACT RECORDS (Jacek), SCENTAIR RECORDS (Vladimir), VICIOUS RECORDS (Lars Kivig), PSYCHOSOMATIK (Michael Roussel) ... PODCAST :ITUNES https://podcasts.apple.com/fr/podcast/sampler-sans-reproches/id1511413205 MIXCLOUD https://www.mixcloud.com/SetSRradio/PODCLOUD https://podcloud.fr/studio/podcasts/sampler-et-sans-reproches DEEZER https://www.deezer.com/fr/show/1181282 GALAXIE RADIO http://galaxieradio.fr/ go to replay Sampler & Sans ReprochesAMAZON MUSIC https://music.amazon.fr/podcasts/9718c2fe-d841-4339-a3e5-82c31d018ed7/SAMPLER-SANS-REPROCHESARCHIVE.ORG https://archive.org/download/sampler.-1221-05.07.2021/Sampler.1221-05.07.2021.mp3

Poetry...

Side quests? What? Yep! Let's do some fun things on the side before coming back to the main story. :) Twitter: htts://twitter.com/yaffpodcast

New York City Ballet's Soloist, Indiana Woodward, joins husband and wife duo, Alison Pothier and Jules Williams , to share how her BUliefs shape her life and her life shapes her BUliefs.  Indiana is a supremely talented Soloist at the NYCB where some of her featured roles include Juliet, in Romeo and Juliet, and the title role of the Sylph in La Sylphide.Links referenced in this episode:https://www.ibulieve.com/https://www.alisonpothier.com/https://www.juleswilliams.com/The Weigh Forward Kindle BookGuest Links:https://indianawoodward.com/https://www.instagram.com/indiana_woodward/?hl=enExcerpt from the original song and composition by Deepak RamapryianSupport the show (https://www.buymeacoffee.com/IBULIEVE)

Our very first patron, Sylph of Breath, joins Bucky with returning host Minty to diagnose the original Mary Poppins movie!! Did you guys remember that this one was a musical? Bucky sure didn't. Tune in for some incredibly hot classpecting analysis this week on Will it Homestuck? Episode edited by Bucky. Content warning for: Swearing, mention of suicide, and a reference to pussy hats. Additionally, we discuss an actor whose last name is technically the d-slur, although it isn't used as such. Suggested Topics: We spent 90% of the episode classpecting and we're not sorry; Mary Poppins is a fae; Doom-Life Axis Discourse; How to Classpect Children: A Handy Guide; Does Mary Poppins Is Gay? Links to donate: Help wrongfully arrested protesters with legal funds - pslweb.org/donate4denver The Okra Project (Black trans food help and resources) - https://www.theokraproject.com/ FOR THE GWORLS (Black trans resources) - https://linktr.ee/ForTheGworlsParty The Bail Project (Nationwide bail assistance for protesters) - https://bailproject.org/ Podcast Links: Patreon: https://www.patreon.com/willithomestuck Twitters: Podcast: https://twitter.com/WillItHomestuck Bucky: https://twitter.com/raddifferent Sylph: https://twitter.com/sylphofbreath12 Join our Discord: https://discord.gg/F226ZVz Ko-Fi: https://ko-fi.com/willithomestuck More information at our carrd: https://willithomestuck.carrd.co/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Faeries and Elemental Devas are real and here to help us! In this episode, Crystal Anne Compton and Tricia Carr discuss channeling. Tricia channels a message from nature spirit realm. In particular, the entity Tricia channels is Sylph – that is, an air elemental devic being – named Celeste. This is part two of four in this series of excerpts from the Lightshine Broadcast with Crystal & Tricia.Crystal Anne Compton is an intuitive channel and spiritual teacher. Tricia Carr is a multidimensional medium and channel, spiritual teacher, clinical hypnotherapist and animal telepath. Join Crystal and Tricia in their twice monthly live broadcast, LIGHTSHINE! 2020 Channeling Intensive with Crystal Anne Compton + Tricia CarrRegistration is open NOW! Starts October 11thhttps://learn.lightworkerslab.com/2020ciThis series of channeled messages:Part One: Channeling Archangel MichaelYouTube: https://www.youtube.com/watch?v=0ggsLI7Xz_QPodcast: https://podcasts.apple.com/us/podcast/ls14-channeling-archangel-michael-crystal-anne-compton/id1173744974Part Two: Channeling Faeries + DevasYouTube:Podcast:Tricia and Crystal teach, heal and give intuitive guidance live in the Lightworkers Lab Facebook group. Join the Lightworkers Lab and watch LIGHTSHINE live: https://www.facebook.com/groups/thelightworkerslab/Crystal Anne Comptonhttps://www.crystalannecompton.com/https://thelightworkerslab.com/Tricia Carr:www.triciacarrcharm.comhttps://podcasts.apple.com/us/podcast/charmed-life-with-tricia-carr/id1173744974https://www.facebook.com/TriciaCarrCharmhttps://www.instagram.com/triciacarrcharm/Mystic Arts Academy with Tricia Carrhttps://triciacarrcharm.com/subscribe

Join me on a Journey with the Elementals, On tonight's episode we will be doing a guided meditation and meeting your personal elemental for Air, so that you may understand who and what you are calling into your sacred space. Traditionally according to many past occultists the Elemental of Air is the Sylph. Was this true for you? --- Support this podcast: https://anchor.fm/feast-of-torches/support

Kuro and Vaan go chasing after the light that they freed from the stain glass window only to get completely side tracked but a sassy little Sylph!MusicIntro by Nick Schommer (You can find him @sendorin1 on twitter)"Level Up" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/"Noise Attack" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/"Wepa" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/"Loopster" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/"Strength of the Titans" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/

Three listener requested themes in consecutive weeks? That's right - Longplay is again at the control of our listeners as we go back to 1989 and one of the first CD based soundtracks... that's also regarded as one of the best as we play all the music from the PC Engine's Ys: Book 1 & 2. Chapters: (00:00:00) - Welcome to Longplay (00:01:11) - Ys: Book I & II - Theme of Adol (00:03:03) - Ys: Book I & II - Fountain of Love (00:03:32) - Ys: Book I & II - The Syonin (00:03:53) - Ys: Book I & II - Tears of Sylph (00:04:12) - This is Longplay (00:11:32) - Ys: Book I & II - First Step Towards Wars (00:13:33) - Ys: Book I & II - Palace (00:15:33) - Ys: Book I & II - Holders of Power (00:17:12) - Ys: Book I & II - Palace of Destruction (00:19:16) - Ys: Book I & II - Beat of Terror (00:21:16) - This is Longplay (00:22:14) - Ys: Book I & II - Feena (00:24:56) - Ys: Book I & II - Devil's Wind (00:25:11) - Ys: Book I & II - The Last Moment of Dark (00:27:32) - Ys: Book I & II - Final Battle (00:29:09) - Ys: Book I & II - Rest in Peace (00:29:38) - Ys: Book I & II - To Make the End of Battle (00:31:32) - This is Longplay (00:32:16) - Ys: Book I & II - Too Full with Love (00:33:56) - Ys: Book I & II - Apathetic Story (00:34:17) - Ys: Book I & II - May I Help You? (00:34:34) - Ys: Book I & II - Feel Blue (00:35:12) - Ys: Book I & II - Ruins of Moondoria (00:37:18) - Ys: Book I & II - Noble District of Toal (00:39:39) - This is Longplay (00:40:27) - Ys: Book I & II - Cavern of Rasteenie (00:42:45) - Ys: Book I & II - Ice Ridge of Noltia (00:44:55) - Ys: Book I & II - Inside of the Ice Wall (00:45:28) - Ys: Book I & II - Moat of Burnedbless (00:47:25) - Ys: Book I & II - Tender People (00:48:32) - Ys: Book I & II - Solomon Shrine (00:50:28) - This is Longplay (00:51:28) - Ys: Book I & II - Subterranean Canal (00:54:26) - Ys: Book I & II - Companile of Lane (00:57:23) - Ys: Book I & II - Pressure Road (00:58:20) - Ys: Book I & II - Don't Go So Smoothly! (01:00:42) - This is Longplay (01:01:39) - Ys: Book I & II - Termination (01:06:36) - Ys: Book I & II - A Still Time (01:08:48) - Ys: Book I & II - Stay With Me Forever (01:11:32) - Ys: Book I & II - See You Again (01:14:44) - Ys: Book I & II - Lilia (01:15:45) - Ys: Book I & II - So Much for Today (01:16:14) - This is Longplay (01:21:46) - Ys: Book I & II - Ys Book 1 Complete ~Opening~

Because of you --- Support this podcast: https://anchor.fm/sidehoediaries2020/support

A movement. The idea alone was a surprise. When I released the tritriplicata into the world, it was a great gift to see poets better than me trying it out. One even mentioned the idea of a new movement. I loved that idea. It reminded me of a TED talk by Derek Sivers about a lone nut dancing in a field. In this episode, I am joined by that poet, Sylph Hemery. Please do yourself a favor, and visit the Medium profile of Sylph Hemery and read her poems and stories. In this chapter, I read the poem Vide, written by Sylph. It deserves special attention. And of course, I mention the TED Talk by Derek Sivers on how to start a movement. If you want to know more about the Tritriplicata, read the story with which I let it loose in the world. Previously, I was joined on the podcast by poets Harley King and Lisa Bolin. Listen to chapters 3 and 4 of Tripple Effect. --- Send in a voice message: https://podcasters.spotify.com/pod/show/trpplffct/message

Patricia Mears, deputy director of The Museum at FIT, explores the history of the tutu in ballet and fashion at The Museum at FIT's 14th annual fashion symposium, Dance & Fashion, held on October 23 & 24, 2014. This symposium explored how dance costume has inspired fashion, and how fashion designers have increasingly been creating dance costumes. Watch the full video with captions on YouTube. The Museum at FIT (MFIT) is the only museum dedicated exclusively to the art of fashion in New York City. https://www.fitnyc.edu/museum

Our heroes make for the port in order to reach M-8's home faster. However a rift has revealed itself and a tough choice needs to be made. Do they enter the rift and close it or make way for the island to save the Sylph.Music Includes"Level Up" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/"Hitman" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/"Latin Industries" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/"Loopster" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/

"The Rest of the Scoop" brings us a Gayle Stewart original called "35,000 Pieces of Mail". It's a story about one tough pony and the daring guy who rode her. Listen in...Stable Scoop Episode 509:Host: Glenn the Geek (see host bios)Rest of the Scoop Story by: Gayle Stewart, get the 100 Horses in History at Barnes and NobleTitle Sponsor: Wintec SaddlesSupport the show (https://www.patreon.com/user?u=87421)

Two covers sent to us of the song 'God' that were played for the first time on our podcast. First is Christian Lewis (@getaclueclew on Instagram) with his solo piano version and then the band Sylph (@SylphBand on Twitter). Thanks to everyone for submitted these covers. Please support their music.// Patreon: www.patreon.com/sadiehawkinspod// Voice Mail: (402) 95-SADIE// Email: sadiehawkinspod@gmail.com// Twitter @sadiehawkinspod// Instagram @sadiehawkinspod

“Our world continued to be matriarchal upon superficial observation, but was subject to a [...] cloaked form of patriarchal tyranny all along.” - Porrim Maryam, Sylph of Space. This episode is about the Homestuck series made by Andrew Hussie. Kira and Kyle further break down this webcomic and talk about the histories of Trolls, an alien species from planet Beforus, or Alternia, depending on the timeline. Please consider supporting us on our Patreon here: https://www.patreon.com/gametheorem . We also have a website here: http://gametheorem.podbean.com . Intro and outro music originally composed by Zach Grill.

The Final Retreat (Sylph Editions, 2018) is a debut novel of Stephen Hough, a world-renowned concert pianist and composer. The novel narrates a story of a priest Joseph Flynn, who undergoes a deep emotional and psychological confusion that arises out of his devotion to religion and his desire to be happy and content in his private life, which goes against traditional and conservative beliefs and principles. Performed at times in a shocking and destabilizing manner, the novel includes references to music and literature, theatricalizing the text that allows space for clashing ideas. The novel has a profoundly provocative energy, inviting the readers to explore the nature of self and existence. One of the key questions that The Final Retreat poses is connected with the pursuit of peace and harmony: the quest, however, is inseparable from struggles and frustrations. What is happiness? And what is the role of the other for the individual’s self-content? These questions are explored through delving into the dreary abyss of loneliness and alienation. The Final Retreat offers an insight into a soul tormented by doubts, fears, and frustrations which become part of the individual’s journey to the self. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Final Retreat (Sylph Editions, 2018) is a debut novel of Stephen Hough, a world-renowned concert pianist and composer. The novel narrates a story of a priest Joseph Flynn, who undergoes a deep emotional and psychological confusion that arises out of his devotion to religion and his desire to be happy and content in his private life, which goes against traditional and conservative beliefs and principles. Performed at times in a shocking and destabilizing manner, the novel includes references to music and literature, theatricalizing the text that allows space for clashing ideas. The novel has a profoundly provocative energy, inviting the readers to explore the nature of self and existence. One of the key questions that The Final Retreat poses is connected with the pursuit of peace and harmony: the quest, however, is inseparable from struggles and frustrations. What is happiness? And what is the role of the other for the individual’s self-content? These questions are explored through delving into the dreary abyss of loneliness and alienation. The Final Retreat offers an insight into a soul tormented by doubts, fears, and frustrations which become part of the individual’s journey to the self. Learn more about your ad choices. Visit megaphone.fm/adchoices

This podcast is a selection by @michele-sinatti, a talented DJ/Producer from Marche, Italy. He is also a team member of the @soulfeederofficial collective and is representing the collective in this mix. st.fkn.michael 'I wanted this mix to be a showcase of what the Soul Feeder collective is about but at the same time I wanted to be personal and somehow try to tell to whoever is going to listen to it something about myself. The first task was easy: the music and the artists supported by the Soul Feeder collective are the ones I love the most and listen to every single day. But to create intimacy? Damn that was hard, and definitely took a lot of time. But in the end I like to think that I was able to do it and that I can see myself in the way this mix constantly turns from placid too aggressive.' Curated and mixed by https://soundcloud.com/michele-sinatti Tracklist: 1. Mana - Crystalline 2. Mesqit - Misfortune 3. Lunice - Century 4. Sega Bodega - Nivea 5. Ziúr - Laughing and Crying Are the Same Things 6. Yikii - destroy everything 7. The Outside Agency - Dark Awakenings (feat. Mindustries) 8. couch chloe - Sylph (prod. by Kablam & coucou chloe) 9. Jlin & Zora Jones - Dark Matter 10. DJ Spinn - Throw It Back (feat. Taso & Mimosa) 11. Igooghost - Mametchi / Usohachi (feat. Mr. Yote) 12. DJ Spinn, DJ Rashad & Sinjin Hawke - Monterrey 13. Petit Singe - Akash Ganga 14. Kelvin T - Cicada禪 15. SKY H1 - Tell Me

This week's episode is all about elves: high elves, aquatic elves, sanguine elves, tough elves, sissy elves, elves who climb on rocks... we explore the depth of their histories and settle our focus on the anchor point of Aevum Quintus. Carter drops some mad worldbuilding in the latter half, so if you've got questions about where slyph (half-elves) come into the picture, he'll tell you all about it. Speaking of, all credit to the musical scoring goes to Josh Silker, who also wrote Land of Heroes our opening song. We've gotten some questions about the WorldAnvil website, and we are happy to tell you that it is on its way! There is a substantial amount of content to migrate from a thousand different hastily-scribbled notes, so it will be a little while yet before we will be ready to release. Until then, there are always more stories to tell! Questions or ideas? Email us at lorekeeperspodcast@gmail.com Website: thelorekeepers.com Twitter: @thelorekeepers

The stirge is a classic Dungeons and Dragons monster to most, but it'll always be a chubby little batsquito to me! If you're enjoying the show, why not consider supporting it on Patreon? You'll get access to lots of new bonus content, including my other podcast, Patron Deities! And don't forget the ongoing second Monster Man contest!

Overview of the Sylph published in Advanced Race Guide.