Podcasts about thisbe

Welcome to the full Play of the Play On Podcasts Series A Midsummer Night's Dream. A Midsummer Night's Dream is produced by Next Chapter Podcasts and is made possible by the generous support of The Hitz Foundation. Synopsis: The players delight Theseus, Hippolyta, the lovers and the Court with their rendition of “Pyramus and Thisbe”; as Titania, Oberon and all the fairy kingdom bless the realm with their celebration of unity. The Cast: ALEXANDRA HENRIKSON as Helena AMARI CHEATOM as Oberon ARMANDO MCCLAIN as Egeus and Snug CEDRIC LAMAR as Flute CHRISTOPHER LIVINGSTON as Demetrius DAISUKE TSUJI as Puck DAVID FURR as Theseus GOPAL DIVAN as Lysander JAMIE ANN ROMERO as Hermia JEENA YI as Quince JENN HARRIS as Bottom MANILA LUZON as Hippolyta MICHELLE BECK as Titania Creative Team: JEFFREY WHITTY, Playwright CATHERINE EATON, Director and Script Adaptor GEORGE WHITTY, Composer ARJUN G. SHETH and PATRICK BURGESS, Sound Design and Mix SADAHARU YAGI, Engineer LARRY WALSH, Dialog Editor Play On Podcasts Series A Midsummer Night's Dream is produced by Next Chapter Podcasts and is made possible by the generous support of The Hitz Foundation. New episodes go live every Friday. Please subscribe, rate & review on your app of choice. Visit ncpodcasts.com/playonpodcast for bonus content including interviews, images and bios of the full cast & creative team. Visit playonshakespeare.org for more about Play On Shakespeare.

Welcome to the sixth episode of the Play On Podcasts Series A Midsummer Night's Dream. Synopsis: The players delight Theseus, Hippolyta, the lovers and the Court with their rendition of “Pyramus and Thisbe”; as Titania, Oberon and all the fairy kingdom bless the realm with their celebration of unity. The Cast: ALEXANDRA HENRIKSON as Helena AMARI CHEATOM as Oberon ARMANDO MCCLAIN as Egeus and Snug CEDRIC LAMAR as Flute CHRISTOPHER LIVINGSTON as Demetrius DAISUKE TSUJI as Puck DAVID FURR as Theseus GOPAL DIVAN as Lysander JAMIE ANN ROMERO as Hermia JEENA YI as Quince JENN HARRIS as Bottom MANILA LUZON as Hippolyta MICHELLE BECK as Titania Creative Team: JEFFREY WHITTY, Playwright CATHERINE EATON, Director and Script Adaptor GEORGE WHITTY, Composer ARJUN G. SHETH and PATRICK BURGESS, Sound Design and Mix SADAHARU YAGI, Engineer LARRY WALSH, Dialog Editor Play On Podcasts Series A Midsummer Night's Dream is produced by Next Chapter Podcasts and is made possible by the generous support of The Hitz Foundation. New episodes go live every Friday. Please subscribe, rate & review on your app of choice. Visit ncpodcasts.com/playonpodcast for bonus content including interviews, images and bios of the full cast & creative team. Visit playonshakespeare.org for more about Play On Shakespeare.

Paul Celan var askans diktare, men skrev också dikter fulla av färg. Författaren Eva Ström ger en inblick i arbetet med att översätta dem till svenska. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Denna essä sändes första gången i november 2020. När coronapandemin bröt ut 2020 isolerade jag mig. Jag kunde inte längre umgås nära med människor, men under sommaren började jag närma mig träden. Jag vandrade bland dem, fotograferade dem. Bara några hundra meter från mitt hem i Kristianstad upptäckte jag ett jättelikt mullbärsträd som övervakar barnens lekplats, ett träd som jag inte tidigare lagt märke till. Och kanske hade jag inte lagt märke till det om det inte vore för att jag samma sommar också vandrat omkring i den tyskspråkige judiske poeten Paul Celans poetiska universum. Tillsammans med Björn Sandmark arbetade jag med att ge hans tidiga poesi en svensk språkdräkt. Det var som att träda in i mörk kristall, en svart diamant, men efter hand kunde jag urskilja fler och fler kolörer. Celan, askans och mörkrets diktare har skrivit dikter som skimrar av färger. I hans dikter förekommer ord som stenblått och mögelgrönt, flaggrött och kungsblått, lergult  och oljegrönt. Här lyser också mängder av blommor, blommor som vallmo och fingerborgsblomma, syrener och maskros, ögontröst och krusmynta. I ett brev skickat från Paris till väninnan Erica Lillegg i Wien skriver Celan: Jag är bara ett blad, som man varje dag på nytt måste påminna att det finns träd Och i dikterna hittar man även mandelträd och plataner, popplar och cypresser, aspar och karelska björkar och så mullbärsträdet. Det återfinns i en senare samling, Andningsvändning; en bok som jag inte översatte ändå gick jag och grubblade över dikten hela sommaren: Du kan med förtröstan bjuda mig snö Var gång jag skred genom sommaren skuldra vid skuldra med mullbärsträdet skrek dess yngsta blad. Jag läste dikten om och om igen. Varför utövade den en sådan magi över mig, från dess första inledande förtröstan, till skriket i dess yngsta blad?  Var det silkesmaskarna som angrep bladet, för att skapa den vackraste av vävar ? En väv lika skimrande som en dikt? Hade det någon betydelse att Celan på sitt sommarställe i Moisville hade planterat tre stycken mullbärsträd med vita bär i stället för röda? Kanske var det just de där vita mullbären som var den snö han talade om i dikten? Jag läste sägnen om Pyramus och Thisbe, att blodet från deras genom missförstånd åstadkomna dubbla självmord färgade de från början vita bären röda. Samma natt hade jag en dröm. Paul Celan hade kommit till Skåne! Han satt på ett brunnslock i en trädgård och lutade sig framåt, han stödde underarmarna mot benen, han såg glad och avslappnad ut. Så fantastiskt att han tagit sig hit, så underbart att han såg så lycklig ut! Och vilket tillfälle jag hade nu att fråga honom direkt om hans dikt! Jag störtade mig fram i största förväntan. Men just innan jag skulle öppna munnen hejdade jag mig. Paul Celan dog redan i sitt femtionde år, då han dränkte sig i Seine i april 1970. Hans dikt fortsätter att fascinera genom sin gåtfulla utstrålning, med sin kristalliska, nästan skulpturala struktur. Men hur ta sig in i denna svarta diamant? Många som likt mig blivit fångade av hans dikt vill läsa så mycket som möjligt om hans verk och också om hans liv, eftersom de var så djupt förbundna. Meine Gedichte sind meine Vita, sa Paul Celan själv,  Mina dikter är mitt liv. Kanske kan man få några ingångar genom att läsa brevsamlingen  etwas ganz und gar Persöhnliches, (något helt och hållet personligt)  som innehåller 691 brev, där Paul Celan många gånger får anledning att berätta om sig själv och sitt liv. Även om han ofta nämner sin diktning ger han inga tolkningar, men han berättar sin livshistoria som flykting från det forna Östblocket, som tyskspråkig jude från Czernowitz i Rumänien, hans föräldrar dödades av nazisterna. Celan beskriver sin kamp som tyskspråkig diktare i exil, men också lyckliga stunder, i brev riktade till sin älskarinna Ingeborg Bachmann eller till hustrun Gisèle Lestrange. Men trots allt som har skrivits om Celan är det  dikterna man känner hans unika, gåtfulla särprägel, den som man aldrig  riktigt kan utröna, även om man känner förutsättningarna för hans dikt: Förintelsen och det judiska ödet. En av dikterna jag översatte bär den för 2020 så ödesdigra titeln Corona. Det är en kärleksdikt till Ingeborg Bachmann och här ingår de vackra orden som gett diktsamlingen Mohn und Gedächtnis dess titel: Vi älskar varandra som vallmo och minne.  Corona, är latin för krona, men det är också en musikalisk term för en fermat, alltså ett ställe i musiken där man håller ut tonen i en tonsatt vila, kärlekens vila. Under ett år präglat av pandemi gav mig läsningen av Paul Celans dikter just en sådan tonsatt vila, jag upplevde glädjen att få vistas i hans dikter och umgås nära och varsamt med dem, för översättning är framför allt noggrann och uppmärksam läsning. Det menade Celan själv som när människor fann hans dikter svårförståeliga, skrev i ett brev, att man skulle ägna dem uppmärksamhet, likt den uppmärksamhet en blind flicka ägnar den gata hon tar sig över med sin blindkäpp. Celan var själv översättare av ryska poeter som Mandelstam och Jesenin, och han förstod vilket mödosamt och svårt arbete det kunde vara. I ett annat brev säger han att en översättning var som att skeppa något över en flod: man ska därvid beakta inte bara antalet rader utan också roddartagen. I drömmen frågade jag aldrig Paul Celan om vad han menade med sin dikt. För det är inte så man gör. Man läser dikten, man tar den till sig, men man frågar inte. Och med denna insikt vaknade jag. Dikten behöll sina underjordiska flöden intakta, och poeten vaktade leende dess källor. Jag vet inte om de tre mullbärsträden med vita bär i Moisville i Frankrike ännu står kvar, men jag vet att det står ett mullbärsträd i hans dikt och ett i Tivoliparken i Kristianstad. Jag vet inte vet om det har hjälpt mig att förstå dikten bättre, men vill gärna tro det. Och när jag upptäckte det, med sina ännu ljusa mullbär, blev jag lycklig; lika lycklig som Paul Celan såg ut att vara i min dröm när han satt på ett brunnslock i en skånsk trädgård på Österlen. Jag är bara ett blad som man varje dag måste påminna om att det finns träd skrev han i sitt brev, ett utryck fylld av oändlig ensamhet. Jag tänker att alla vi som läser hans dikt är sådana träd, och att också vi är blad på dessa stora träd, och jag hoppas Paul Celan skulle glädja sig åt att förstå hur många vi är som läser hans dikt och finner den livsnödvändig. Eva Ström, författare Litteratur Paul Celan: Etwas ganz und gar Persönliches. Die Briefe 193470. Redaktörer Barbara Wiedemann och Bertrand Badiou. Suhrkamp Verlag AG, 2020. Petra Rychlo (redaktör): Mit den Augen von Zeitgenossen. Erinnerungen an Paul Celan. Suhrkamp Verlag AG, 2020.

Two stories from Greek/Roman mythology this week with the (not remotely) love story of Apollo and Daphne as well as the tale of Pyramus and Thisbe, where we'll see that a wall can bring people together as well as keep them apart. The creature is the Bakru, from Suriname, a mythological creature in the form of a child that stopped on the way to becoming a real boy and you can also hire him to burn down someone's house on Fiverr. -- Sponsors: Warby Parker: Try five pairs of glasses at home for free at http://warbyparker.com/myths Pretty Litter: Pretty Litter: Get 20% off by going to http://prettylitter.com and using the promo code "myths" KiwiCo: Get 30% off your first month plus free shipping on any crate line with code MYTHS at http://kiwico.com Literati: Reimagine what a book club can be. Redeem your free trial at http://literati.com/legends -- Links: Disclaimer: https://myths.link/227 Twitter: https://myths.link/twitter Store: https://myths.link/store Membership: https://www.mythpodcast.com/membership Public domain "Metamorphoses": https://myths.link/metamorphoses Not-public-domain "Metamorphoses": https://myths.link/ovid -- Music: "Sunset Stroll in the Wood" by Podington Bear "Douglas Fir" by Chad Crouch "The Speed of Life" by Podington Bear "Helado" by Blue Dot Sessions "OneEightFour" by Blue Dot Sessions "Kallaloe" by Blue Dot Sessions See omnystudio.com/listener for privacy information.

The book of the words of Tobit, the son of Tobiel, the son of Ananiel, the son of Aduel, the son of Gabael, of the seed of Asiel, of the tribe of Naphtali; Who in the days of Enemessar king of the Assyrians was carried away captive out of Thisbe, which is on the right hand of Kedesh Naphtali in Galilee above Asher. I Tobit walked in the ways of truth and righteousness all the days of my life, and I did many almsdeeds to my brethren and my nation, who went with me into the land of the Assyrians, to Nineveh. And when I was in mine own country, in the land of Israel, while I was yet young, all the tribe of Naphtali my father fell away from the house of Jerusalem, which was chosen out of all the tribes of Israel, that all the tribes should sacrifice there , and the temple of the habitation of the Most High was hallowed and built therein for all ages. And all the tribes which fell away together sacrificed to the heifer Baal, and so did the house of Naphtali my father. And I alone went often to Jerusalem at the feasts, as it hath been ordained unto all Israel by an everlasting decree, having the firstfruits and the tenths of mine increase, and that which was first shorn; and I gave them at the altar to the priests the sons of Aaron. The tenth part of all mine increase I gave to the sons of Levi, who ministered at Jerusalem: and the second tenth part I sold away, and went, and spent it each year at Jerusalem: And the third I gave unto them to whom it was meet, as Deborah my father's mother had commanded me, because I was left an orphan by my father. And when I became a man, I took to wife Anna of the seed of our own family, and of her I begat Tobias. And when I was carried away captive to Nineveh, all my brethren and those that were of my kindred did eat of the bread of the Gentiles: Because I remembered God with all my soul. And the Most High gave me grace and favour in the sight of Enemessar, and I was his purveyor. And I went into Media, and left in trust with Gabael, the brother of Gabrias, at Rages of Media, ten talents of silver. And when Enemessar was dead, Sennacherib his son reigned in his stead; and in his time the highways were troubled, and I could no more go into Media. And in the days of Enemessar I did many almsdeeds to my brethren: I gave my bread to the hungry, And my garments to the naked: and if I saw any of my race dead, and cast forth on the wall of Nineveh, I buried him. And if Sennacherib the king slew any, when he came fleeing from Judæa, I buried them privily; for in his wrath he slew many; and the bodies were sought for by the king, and were not found. But one of the Ninevites went and shewed to the king concerning me, how that I buried them, and hid myself; and when I knew that I was sought for to be put to death, I withdrew myself for fear. And all my goods were forcibly taken away, and there was nothing left unto me, save my wife Anna and my son Tobias. And there passed not five and fifty days, before two of his sons slew him, and they fled into the mountains of Ararat. And Sarchedonus his son reigned in his stead; and he appointed over all the accounts of his kingdom, and over all his affairs, Achiacharus my brother Anael's son. And Achiacharus made request for me, and I came to Nineveh. Now Achiacharus was cupbearer, and keeper of the signet, and steward, and overseer of the accounts: and Sarchedonus appointed him next unto himself: but he was my brother's son. Tobit 1:1‭-‬10‭, ‬12‭-‬22 --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/batyah2Real/support

Ovidius diktning tycks ha närmast evigt liv, men drev honom själv i evig exil. Kristoffer Leandoer reflekterar över "Metamorfosers" ständigt nya skepnader i ljuset av ny forskning. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Kan vi förvandlas? I Ovidius diktverk Metamorfoser sker det hela tiden. På femton sånger hinner han berätta tvåhundrafemtio förvandlingssagor och dessutom sammanfatta trojanska kriget och romarrikets historia. Kvinnor förvandlas till floder och källor, deras armar blir till trädgrenar, på ryggen växer det ut vingar. Stjärnbilder, blommor, vilda djur och tama, kräldjur och fåglar, klippor, havsskum och vattendrag det finns ingen gräns för gudarnas makt, ett ord från dem och människor förlorar både form och talförmåga. Oftast sker det som straff, för att man trotsat gudarnas vilja, men ibland är det en sorts skyddad identitet, en räddning undan övergrepp. Någon gång sker rentav förvandlingen som belöning för lång och trogen kärlek, som när det äkta paret Filemon och Baukis på ålderns höst får stå träd intill varandra han en ek, hon en lind  eller Kadmos och Harmonia förvandlas till ormar, och fridsamt sammanslingrade kan dra sig tillbaka och se fram mot en lugn ålderdom i Illyriens land. De nöjda hör till undantagen, långt vanligare är Ios reaktion inför sin förvandling till kviga: hon flyr från sig själv i förfäran. Ovidius betonar reaktionen snarare än förloppet. Han är intresserad av den subjektiva upplevelsen, hur det känns att förvandlas. Det han vinnlägger sig om är att låta sina gestalter få ge ord åt själva förlusten förlusten av mänsklighet, förlusten av en älskad, förlusten av hemort, av familj. Åtskilliga av dessa förluster kommer han snart att få uppleva i sitt eget liv, men det vet han inte än. Än så länge är förvandlingen en lek. Men vad innebär den? Kan man byta sitt väsen, eller är det bara den yttre formen som fås att bättre spegla ens inre? Ja, påfallande ofta blir den våldsamme en varg, den fogliga ett vattendrag. Men vad som förvandlas är inte det centrala för Ovidius, utan att det sker; att tillvaron förblir instabil och stadd i ständig rörelse. Shakespeare, som sätter stabilitet högst av allt, värjer sig mot tanken på förvandling. När han låter hantverkarna i En midsommarnattsdröm göra teater av Metamorfosers berättelse om Pyramus och Thisbe är det för att få gyckla med den: sitt väsen kan man aldrig dölja hos Shakespeare, på sin höjd förklä det en stund. Med eller utan öron är Botten en åsna som det är förnedrande för en drottning att förälska sig i. Vi är minsann inga gudar. Idag ger den tekniska utvecklingen oss illusionen att vi med silikon och skalpell kan bli våra egna gudar, få vår yttre form att sammanfalla med den föreställning vi har om oss själva, eller åtminstone den föreställning vi vill inge andra. Tidigare var det psykoanalysen, nu är det i stället plastikkirurgi, genetisk ingenjörskonst och hormonbehandlingar som ger Metamorfoser en plats på läslistan i en modern värld där även den egna spegelbilden är ställd inför det ständiga kravet att leverera eller uppdateras. Det påpekar Alessandro Barchiesi i antologin Metamorphic Readings, där redaktörerna Alison Sharrock, Daniel Möller och Mats Malm samlat ett urval av dagens ledande Ovidiusforskning. Man tycker att vi borde veta allt som är värt att veta om ett verk som låg färdigt år 8 efter Kristus. Men det går att hitta nya dimensioner även i en dikt som vätts av studenters svett och tårar i åtminstone åttahundra år, sen medeltiden upptäckte den på nytt. Det går till och med att diskutera vad som hör till själva texten, och vad som lagts till efteråt: det är en möjlighet Ovidius öppnat för själv. I exilen vid Svarta havet, i romarrikets absoluta utkanter, dit han förvisats av kejsar Augustus samma år, försöker Ovidius nämligen hålla alla vägar fria. Han vill så gärna tillbaka till Rom, han är redo att avsvära sig allt, även den dikt som skulle blivit hans biljett till odödligheten. I sina klagosånger från exilen hävdar han nu att Metamorfoser är oavslutad, vilket gör honom fri att beveka kejsaren och ta tillbaka vartenda ord: dikterna speglar / bättre mitt jag, säger han, läs dem, vad deras värde än är / jag menar verket som handlar om hur mänskor förvandlas / och som jag ej hann få klart innan jag gick i exil. I Metamorphic Readings visar Mathias Hanses med hjälp av en hundratjugo år gammal filologisk studie från Österrike hur Ovidius med hjälp av radernas begynnelse- och slutbokstäver lagt in det dolda budskapet jag är en gud i sin dikt. Bara gudar har makten att förvandla, och den makten demonstrerar Ovidius gång på gång i sin dikt. Men att framställa sig som Jupiters like är en sak göra sig till kejsarens like en helt annan, och betydligt farligare. Metamorfoser bidrar till kejsar Augustus självmytologiska bygge, men undergräver det på samma gång diskret: att lyftas till den himmelska sfären var knappast lika mycket värt om man måste dela gudarnas hiss med en simpel versmakare. I klagosången från exilen talar Ovidius om dikten och misstaget, carmen et error, som fått honom förvisad. Det brukar antas att han syftar på Konsten att älska, men jag undrar om det inte snarare var en metamorfos för mycket; metamorfosen av sig själv till gud och därmed till kejsarens like. Kan man alltså förvandlas? Den frysande skalden vid Svarta havet, beredd till vilka eftergifter som helst för att få komma in i värmen igen, är nog övertygad om det. Han tycks som en helt annan person än den jublande självsäkre poet som nyss satte punkt för Metamorfoser med följande ord: Det som är ädlast hos mig skall lyftas högt över stjärnor, / odödligt blir mitt namn och utplånas inte av glömskan. / Överallt i en värld som styrs av Rom skall jag läsas, / och om de ting som förutspås av poeter besannas / kommer, av ryktet buren, min dikt att leva för evigt. Och det är möjligt att hans dikt för egen del har vad vi brukar kalla evigt liv, men sin upphovsman gav den snarare evig exil. Han kastar verket på brasan, men inte får han komma hem för det. Mathias Hanses menar att Ovidius och Augustus namn för evigt är knutna vid varandra i en härva av skuld, förvisning och förgudning. Om Augustus går till eftervärlden, blir det som fursten som förvisade Ovidius, menar Hanses. Det är vackert med en sån tro på skönlitteraturens kraft, men jag undrar om det ändå inte i första hand är en annan, något senare text som kommer att försäkra att Augustus namn aldrig suddas ut ur minnet. En text som är ännu kändare, ännu mer läst och begrundad än Metamorfoser. En text som också gör kejsaren till en bifigur i det egentliga händelseförloppet. Jag tänker givetvis på julevangeliet: Vid den tiden utfärdade kejsar Augustus en förordning om att hela världen skulle skattskrivas. Detta är alltså vad som återstår av världens stora och mäktiga när tiden fått utföra sitt arbete: ett pekfinger. Ett pekfinger som skickar poeter till exil vid Svarta havet, som skickar timmermän till skattskrivning i Betlehem. Det är också en form av förvandling. Och det enda som är säkert om förvandling är att den aldrig blir riktigt klar. Allting ändras, men inget förgår, säger Ovidius. Det gäller inte minst hans egna Metamorfoser. Litteraturen är outtömlig. Just dess förmåga att förvandlas gör att den finns kvar. Ännu efter tvåtusen år tycks dikten rymma lika många sätt att läsa som ett schackbräde rymmer spelmöjligheter. Som om Borges oändliga Babelsbibliotek rymdes i en enda bok. Nog är det tillräckligt skäl för viss optimism. Kristoffer Leandoer, författare och skribent  Första sändning 29-9-2020 Litteratur Alison Sharrock, Daniel Möller, och Mats Malm (red). Metamorphic Readings: Transformation, Language, and Gender in the Interpretation of Ovid's Metamorphoses. Oxford university press, 2020. Publius Ovidius Naso: Metamorfoser. Översättning Ingvar Björkeson. Natur & kultur, 2015.

Show Summary: “Neurotransmitters are basically neuro chemicals in your body that control every aspect of it - your digestion, muscles, mood, and are very related to anxiety, depression, sleep, and peristalsis of your gut. They are involved in every single function of the body.”Dopamine and Serotonin are neurotransmitters and are very powerful. Being deficient in it can make you feel exhausted, unmotivated and can cause anxiety and depression. Medical professionals see it as something critical because it can contribute to hormone dysregulation. Another thing that can trigger depression and anxiety is mold as it is often invisible and misdiagnosed.What's even trickier about this is people often think that they don't have mold in their homes. Surprisingly, it can cause an illness in any organ or our thyroid glands and create symptoms like brain fog. That's why Dr. Ann-Marie Barter believes that every household needs to address this and that more people need to be tested for mold toxicity. In this episode, Dr. Ann-Marie Barter, a Chiropractor and Functional Medicine practitioner in private practice in Denver, Colorado tells us more about hormonal issues, its causes and effects and how we can address it initially. Listen as she breaks down every aspect you need to know about what could be causing your stress, anxiety, depression or some other illnesses. Important LinksGutsy Health WebsiteFearless Health PodcastWebsite for practiceProducts:Dopamine & Serotonin support (Sugar Cravings Support)Serotonin and Gaba support - Relax and calm down (Mood Relief)Magnesium supplements InstagramFacebookExceptional Highlights:Most people are actually deficient with neurotransmitters across the board.Sugar is a legal drug we are all dependent and addicted to, and the food industry is well aware of thisBe careful with mold exposure - Mold is a great imitator. It mimics many diseases and dysfunctions in the bodyShow Highlights: How do you usually address Neurotransmitters when people come to you with health issues?Ann 6:43I think two things are really important to address before you deal with neurotransmitters. The gut - it’s very important. If you have all this gut dysregulation, then guess what? You have to fix that first.What are Catecholamines?Ann 9:09When we're looking at dopamine, basically you’re fight or flight, (which are catecholamines), this helps us run from a bear. But you need to be able to transition between being motivated, focused and feeling worthwhile and hopeful to be unable to run from that bear. Because that pathway for dopamine, is the same as your catecholamines pathways that fight or flight. And you have to be able to transition between the two seamlessly. Support the show (https://www.mygutsyhealth.com/gutsy-family)

“Why do we travel the Prophet’s Path? This is a question raised yearly at this time, as we prepare for our Pilgrimage. Today, a year before the Millennial Celebration, which risks overshadowing the true answer with the spectacle of anniversary, I want to give as direct and clear an answer as I can imagine. When we trace the path that Logos Kantel traveled when they first came to this moon, we retell the story of their arrival, of their miracle working, and of their devotion to progression—the determination to move beyond the draw of conquest. Now, you might say, ‘Gur Sevraq, don’t we retell the stories of the prophet during nearly every service?’ And we do, we do. But a story is not a simple thing. A story can change. It will shape itself around the way we tell it, or when we do. The room a story is told in seeps into the facts of the matter. The voice of the speaker, like the line of an artist, gives form to ambiguity. And, worse, there is no pure retelling. No single great orator who might be able to capture the truth, no metaphor incapable of losing its power, no choir whose songs can always, eternally lift us… or ground us, as need be.  Nothing shapes a story more than the world we are in. It can twist meaning away from us, transport us into a world of stretched mirrors and garbled echoes. And that is why we return to the Path. Whether we walk or ride across the sands, when we travel the route that the Prophet did, we do so as a stylus into clay. We know the world writes on us. And so every year, we gather so that we might write back on it.” An Excerpt from a Sermon by Gur Sevraq, leader of the Church of the Resin Hart, circa 1422 This week on PARTIZAN: Operation Shackled Sun: Act 3: The Stories Told About the Things We Do ///Operation Dossier //Organizations The Curtain of Divinity: Though Kesh is technically governed through an elaborate parliamentary democracy, the truth is that The Curtain of Divinity, a secretive organization inside of the Stel (and with agents across all of the Principality), serves as the actual power behind the throne. Knowledge of the Curtain is carefully guarded, and its membership is even further protected. Currently, the Curtain is most firmly aligned with Kesh and Nideo, and fights in an open war against the Pact of Necessary Venture and Millennium Break. The Pact of Necessary Venture: Though they trace their lineage back to an exploratory committee founded in the late 14th century of the Perfect Millenium, the Pact was not made in earnest until five years ago in 1418 PM, soon after hostilities began between Kesh and Apostolos.  Currently, the Pact has finds its greatest support from members of Columnar and Apostolos. They are in a state of open conflict against the Curtain and Millennium Break. Millennium Break: Dissidents, idealogues, rebels, and mercenaries. Even now, they agree on little, except this: It is time for a new Millennium. GLORY: With the help of advanced Columnar cloning science, the Glory Project (or simply GLORY), claims to have resurrected (and made immortal) heroes of the nation’s past called Eidolons. On Partizan, they field Kleos, Apothesa, Vervain, and the squad’s leader: Laurel, elect of Motion.  Company of the Spade: A veteran mercenary unit founded by space miners who learned how to pilot Hollows in the most dangerous of settings. They’ve been brought to Partizan to combine both types of expertise. //People The Witch in Glass (she/her): A former scion of Kesh who, after knitting a bond with the adversary Perennial, came into control of the body of the Divine Past. Now scours Partizan for the lost, injured, and unsure, recruiting them into her growing city-state. A shaky ally of Millennium Break. Haunted by an old foe. Gur Sevraq (he/them): Once the Leader of the Church of the Resin Heart, now a discontinuous prophet: One self welded to the consciousness of their greatest living rival, the other a representative of everything he once opposed. Once controlled the Divine Future, but that was lost to Stel Nideo after his great fall. Kleos (they/them): Skin is fully like a shiny maroon. Bright red cloak wrapped around neck and hanging back like a cape, totally topless otherwise. Khaki army pant capris, a spear slung over their back, and a heavy sidearm at their waist. Pilots the Epoche. Gucci Garantine (she/her): Defector from Stel Kesh, controller of House Brightline and HORIZON’s efforts on Partizan. Now a powerful member of Millennium Break’s political class, heading the Party of the Masque. //Places Girandole: The massive gas giant around which Partizan orbits. Deep within its gaseous storms rests a secret Portcullis which leads towards the space sector containing the Nobel homeworld and Autonomy Itself. The Reflecting Pool: The city that has emerged inside of the Divine Past’s body, led by the Witch in Glass. Its citizens come from every walk of life on Partizan, all united in the desire to leave the past behind and start a new life. Currently being used as a flagship for the allied forces of Millennium Break and the Witch in Glass. Obelle: A small, seaside town between Apostolos territory to the north and the independent lands of the Prophet’s Path to the south. Once a sleepy agricultural town with tiny small tourist industry, it became the starting place of the now all-consuming war on Partizan when the Divine Past was driven into the sands west of the town. //Divines The Divine Motion (she/her): Long after enemy fuel tanks run empty, Motion continues to power Apostolosian machines of war (like its infamous retinue, the Black Century) and service  (including the massive Barranca Loop that allows Apostolos to regularly launch ships spaceward). Ver’MIllion Blue’s rival. Has taken a new elect, Laurel, a clone of the Apostolosian war hero Cassander Timaeus Berenice, a young, yet intuitive Apostolosian commander known to be attentive and authoritative in equal measure.  The Divine Asepsis (it/its): “Cleansed and purified” Vigil City with its army of micro-mechanical servants until Millennium Break knocked it down for the count… and until Kalmera Broun took some of its parts to study in their free time. //Things The Demiurgos (aka “The Demiurge,” Laurel’s mech): A Pneuma model (see below) which has been modified using cutting edge research and materials, including recovered parts of the supposed “exemplar,” Branched materials, stabilized Perennial Wave particles, and, of course, Motion’s own divine power.  The Blue Channel: Kal’Mera’s Broun’s corvette. Though it’s rated for spaceflight and features a cargo space large enough to hold at least three hollows, it does not have the ability to break escape velocity on its own.  “Autonomy Itself”/“The True Divine”/The God of the Nobel/The God of Logos Kantel (they/them): Granted the power to transform Partizan into a living world to Logos Kantel 1000 years ago. Guided the Nobel and other cultures in the Scutum-Centaurus arm through the course of their history.  Operation Shackled Sun: An ongoing military operation led by Motion and her allies in the Pact of Necessary Venture. Through the use of a web of space stations called The Lattice, the Pact plans to capture the raw energy of the being that is worshipped as “Autonomy Itself.”  Curtain Ideograms: A vast collection of graphic symbols and code words used by the Curtain to communicate information clandestinely. //Additional Notes ACT 1 SCORE Challenge #1: Rescue Kalar and the Figure in Bismuth Roll 1: Kalar: 3d6, 10 Cool (spinnable - SPUN: 13) Roll 2: Figure: 3d6, 15 Doubt (LOCKED) Roll 3: Thisbe: 3d6 11 Cool (Spinnable - LOCKED) Roll 4: Phrygian: 3d6 9 Doubt (Spinnable - LOCKED) Roll 5: Figure, 3d6, 7 Cool (Spinnable - LOCKED) Roll 6: Kalar, 3d6: 11 Doubt (Spinnable - LOCKED) Roll 7: Thisbe: 3d6, 13 Cool (Spinnable - LOCKED) Roll 8: N/A Total Cool: 44 Total Doubt: 35 Act Total: 9 COOL ACT 2 SCORE Challenge #2: Stop the Portcullis Roll 1: Broun: 2d6, 7 Cool (hedged, SPINNABLE - LOCKED) Roll 2: Millie: 3d6, 12 Doubt (hedged, SPINNABLE - LOCKED) Roll 3:SI: 3d6, 7 Cool (hedged, SPINNABLE - LOCKED) Roll 4: Broun:  3d6, 8 Doubt (SPINNABLE - SPUN, LOCKED) Roll 5: Mille: 3d6, 13 Doubt (SPINNABLE - LOCKED) Roll 6: SI: 3d6, 8 Cool (SPINNABLE - LOCKED) Total Cool: 22 Total Doubt: 33 Act Total: 11 DOUBT

With Kalar and the Figure in Bismuth rescued from the Pact and their apparently game-changing intelligence delivered—albeit cut in two and sent to different people—Millennium Break is ready to confront operation Shackled Sun directly.  As such, the Company of the Spade and the Blue Channel lead an a 1-in-1000 attack against the secret Portcullis gate deep within the heart of Girandole. Can the group make it through the chemical clouds of the gas giant, board the enemy station, and stop the Pact’s plan in its track? And more importantly: Win or lose, how will the world see them as they do it? This week on PARTIZAN: The Gate ///Operation Dossier //Organizations The Curtain of Divinity: Though Kesh is technically governed through an elaborate parliamentary democracy, the truth is that The Curtain of Divinity, a secretive organization inside of the Stel (and with agents across all of the Principality), serves as the actual power behind the throne. Knowledge of the Curtain is carefully guarded, and its membership is even further protected. Currently, the Curtain is most firmly aligned with Kesh and Nideo, and fights in an open war against the Pact of Necessary Venture and Millennium Break. The Pact of Necessary Venture: Though they trace their lineage back to an exploratory committee founded in the late 14th century of the Perfect Millenium, the Pact was not made in earnest until five years ago in 1418 PM, soon after hostilities began between Kesh and Apostolos.  Currently, the Pact has finds its greatest support from members of Columnar and Apostolos. They are in a state of open conflict against the Curtain and Millennium Break. Millennium Break: Dissidents, idealogues, rebels, and mercenaries. Even now, they agree on little, except this: It is time for a new Millennium. GLORY: With the help of advanced Columnar cloning science, the Glory Project (or simply GLORY), claims to have resurrected (and made immortal) heroes of the nation’s past called Eidolons. On Partizan, they field Kleos, Apothesa, Vervain, and the squad’s leader: Laurel, elect of Motion.  Company of the Spade: A veteran mercenary unit founded by space miners who learned how to pilot Hollows in the most dangerous of settings. They’ve been brought to Partizan to combine both types of expertise. //People Logos Kantel (they/them): The prophet who, it is said, brought life to the once barren moon of Partizan. For nearly 1000 years, they have been held as prisoner by the Curtain in the depths of a prison underneath the Chasmata Quarry. Now, “rescued” by the Pact of Necessary Venture, they are being led to a secret facility inside of a hidden Portcullis, deep in the depths of Girandole, where they will be able to reach out to their god for aid. Little do they know, the Pact of Necessary Venture is poised to enslave the being that comes through the gate. The Witch in Glass (she/her): A former scion of Kesh who, after knitting a bond with the adversary Perennial, came into control of the body of the Divine Past. Now scours Partizan for the lost, injured, and unsure, recruiting them into her growing city-state. A shaky ally of Millennium Break. Haunted by an old foe. Gur Sevraq (he/them): Once the Leader of the Church of the Resin Heart, now a discontinuous prophet: One self welded to the consciousness of their greatest living rival, the other a representative of everything he once opposed. Once controlled the Divine Future, but that was lost to Stel Nideo after his great fall. Cas’alear Rizah (cas/cas’, they/them): Leader of the Swordbreakers, sibling of the Glorious Princept. Cas has brown skin with dark green hair up in a bun, with a few strands hanging down in front of their face (which is framed with similarly colored scales covering cas’ jawline and neck. Broken sword tattoos under their eyes. Reputation as being beautiful and brave by allies, unflinching and unpredictable by foes. Pilots the notorious Ataraxia. Was badly wounded in the defense against Motion and GLORY in Auspice, and now, through a combination of the Witch in Glass’ gifts and ongoing rehabilitation, is working to return to fighting form. Laurel (they/them): Elect of Motion, new mortal leader of GLORY, and a clone of Cassander Timaeus Berenice, an Apostolosian war hero of the Golden era. Recently selected by Motion as her new elect, catapulting them to leadership. They have served well, with a remarkable propensity for strategic thinking and tactical execution. Pilots the Demiurgos. Vervain (they/them): Member of GLORY, clone of their Apostolosian tragic hero namesake, and a bright reflection of Ver’Million Blue. Using their Divine, the historic Vervain was able to predict enemy movements and turn the tide of battles with uncanny strategic foresight.  Kleos (they/them): Skin is fully like a shiny maroon. Bright red cloak wrapped around neck and hanging back like a cape, totally topless otherwise. Khaki army pant capris, a spear slung over their back, and a heavy sidearm at their waist. Pilots the Epoche. Apothesa (they/them): Former field commander of GLORY’s main Hallow unit. Supposedly a clone of the ancient (perhaps even mythical) eidolon of construction, military action, and history. They have big team-parent energy. Long wavy hair, perfectly kept pilot uniform, stern features, sterner attitude. Pilots the Aporia. //Places Girandole: The massive gas giant around which Partizan orbits. Deep within its gaseous storms rests a secret Portcullis which leads towards the space sector containing the Nobel homeworld and Autonomy Itself. The Reflecting Pool: The city that has emerged inside of the Divine Past’s body, led by the Witch in Glass. Its citizens come from every walk of life on Partizan, all united in the desire to leave the past behind and start a new life. Currently being used as a flagship for the allied forces of Millennium Break and the Witch in Glass. Obelle: A small, seaside town between Apostolos territory to the north and the independent lands of the Prophet’s Path to the south. Once a sleepy agricultural town with tiny small tourist industry, it became the starting place of the now all-consuming war on Partizan when the Divine Past was driven into the sands west of the town. //Divines The Divine Space (it/its): Key to the Portcullis system’s galactic operations, the Divine Space not only can step in to manage the opening and closing of the gates, but more importantly, tracks and monitors everything that moves from one Portcullis to another, giving Stel Orion, the Pact of Necessary Venture, and its elect Rye a serious advantage in all matters strategic and logistical. The Divine Motion (she/her): Long after enemy fuel tanks run empty, Motion continues to power Apostolosian machines of war (like its infamous retinue, the Black Century) and service  (including the massive Barranca Loop that allows Apostolos to regularly launch ships spaceward). Ver’MIllion Blue’s rival. Has taken a new elect, Laurel, a clone of the Apostolosian war hero Cassander Timaeus Berenice, a young, yet intuitive Apostolosian commander known to be attentive and authoritative in equal measure.  //Things The Demiurgos (aka “The Demiurge,” Laurel’s mech): A Pneuma model (see below) which has been modified using cutting edge research and materials, including recovered parts of the supposed “exemplar,” Branched materials, stabilized Perennial Wave particles, and, of course, Motion’s own divine power.  The Blue Channel: Kal’Mera’s Broun’s corvette. Though it’s rated for spaceflight and features a cargo space large enough to hold at least three hollows, it does not have the ability to break escape velocity on its own.  “Autonomy Itself”/“The True Divine”/The God of the Nobel/The God of Logos Kantel (they/them): Granted the power to transform Partizan into a living world to Logos Kantel 1000 years ago. Guided the Nobel and other cultures in the Scutum-Centaurus arm through the course of their history.  Operation Shackled Sun: An ongoing military operation led by Motion and her allies in the Pact of Necessary Venture. Through the use of a web of space stations called The Lattice, the Pact plans to capture the raw energy of the being that is worshipped as “Autonomy Itself.”  The Portcullis System: Once, every 10 days, the Portcullis System activates. A hundred thousand of these massive structures, elongated, city-sized hexagons of stone and circuitry, shudder, shake, and howl all at once. And at the edge of every star system in the Divine Principality, a geyser of liquid energy, red and oppressive, explodes into darkness. Ships emerge from these crimson and white waves. Ships filled with medical supplies and mineral wealth, purveyors of faith and career politicians, censored information and refurbished war machines. The lifeblood of a vibrant, vicious empire. Curtain Ideograms: A vast collection of graphic symbols and code words used by the Curtain to communicate information clandestinely. //Additional Notes ACT 1 SCORE Challenge #1: Rescue Kalar and the Figure in Bismuth   Roll 1: Kalar: 3d6, 10 Cool (spinnable - SPUN: 13) Roll 2: Figure: 3d6, 15 Doubt (LOCKED) Roll 3: Thisbe: 3d6 11 Cool (Spinnable - LOCKED) Roll 4: Phrygian: 3d6 9 Doubt (Spinnable - LOCKED) Roll 5: Figure, 3d6, 7 Cool (Spinnable - LOCKED) Roll 6: Kalar, 3d6: 11 Doubt (Spinnable - LOCKED) Roll 7: Thisbe: 3d6, 13 Cool (Spinnable - LOCKED) Roll 8: N/A   Total Cool: 44 Total Doubt: 35 Act 1 Total: 9 COOL   Hosted by Austin Walker (@austin_walker) Featuring Janine Hawkins (@bleatingheart) Sylvi Clare (@sylvisurfer), Ali Acampora (@ali_west), Art Martinez-Tebbel (@atebbel), Jack de Quidt (@notquitereal), Keith J Carberry (@keithjcarberry) and Andrew Lee Swan (@swandre3000) Produced by Ali Acampora and Austin Walker Music by Jack de Quidt (available on bandcamp) Text by Austin Walker Cover Art by Craig Sheldon (@shoddyrobot)  

Today on The Neil Haley Show, Neil Haley will interview Chris Mulkey of The World Without You. A family gathers to honor the memory of their journalist son, Leo Frankel, who was killed in Iraq the previous year. They are confronted with old hurts, as well as dark secrets, that threaten to tear the fragile threads holding the family together. Leo's mother Marilyn, entrenched in grief, drops a bomb when she announces she's leaving her husband David (Chris Mulkey) who has moved on from his mourning and still holds a grudge against Leo for his decision to go to Iraq and leave his wife and toddler behind. Meanwhile, Leo's widow, Thisbe, struggles to come to terms with how falling in love with a new man will change her dynamic with the family. Personal quarrels and long-held animosity between Leo's siblings plague the family, only being intensified by his memorial, while his sister, Noelle, grapples with the fact that she was the last to see Leo alive during a trip to Jerusalem.

In a hanger on a beach on the Isles of Logos, Kal’Mera Broun, Jesset City, Ver’Million Blue, Thisbe, Eiden Teak, Avar, Ryrira, and Si’Dra Balos stand around a spaceship. In just over a week, if all goes to plan, they will be inside of it and it will be outside of the Partizan system.  First, though, they’ll need to secure a launch platform, get past security checkpoints on and off world, and ensure the safety of not only themselves but the materials they’ll need to actually build something wherever they end up. If, that is, they decide they want to build anything together at all... This week on PARTIZAN: Escape Velocity ///Operation Dossier //Organizations Organization for the Foundation of the Orion Republic (OFOR): A group of growing import in Orion territory, who advocate for Orion’s secession from the Divine Princiipality and re-establishment as a league of democratic, merchant republics. Both OFOR and their opposition, the yet-unnamed Principality loyalist faction, have support across class demographics. Many.corporations and independent guilds see OFOR as an opportunity for additional profit, while others believe that leaving the Principality is a risk too great to take. After Law’s attack on Oxbridge, OFOR has largely relocated in “The Old Old,” a region towards the southern pole of Partizan untouched by Logos Kantel’s miracle. //People Avar (they/them) and Ryrira (she/her): Members of the Church of the Resin heart. Once Gur Sevraq’s chief of security and quartermaster, respectively. Have a child, M’reb. Onboard the Blue Channel. Si’dra Balos (Si/Si’s, they/them): During their time in a communications division of the Apostolosian Navy, Si’dra saw the cost of war first hand. Now they dream of a world where people can connect instead of fight. Onboard the Blue Channel. Jesset City (he/him): Previously worked for Adamant Arms and Manufacturing, Jesset became full time Oxblood Clan lieutenant and then a major figure in Millennium Break. Expert technician, veteran hollow pilot, and Cipher Certified by Stel Nideo. Onboard the Blue Channel. Eiden Teak (he/him): Soldier and commander in the Sable Court. Wears the wounds of past fights on him with a distinct sort of pride, inherited from his time fighting as an Apostolosian soldier: He’s missing right leg under the knee, and a number of his antlers have been snapped and broken. Wears loose olive drab fatigues, marked by the occult insignia and wards of the Court. Onboard the Blue Channel. Fi'nilo Nicol (they/them): Chief Investigator of the Barranca Loop. Expert at uncovering contraband shipments trying to slip through Apostolos’ launch platform. //Places Barranca: To the north of Obelle lies the Apostolosian province of Barranca, where mediterranian subtropical shores give way to a vast latticework of ravines and crags. There, military bases and civilian settlements sit in the crooks and alcoves, shaded by high canyon walls. Rising above it all is the famed Barranca Loop, a massive suspended cable system that runs up above the atmosphere like a giant bridge, and which allows Apostolos to launch ships and cargo into space. Heavily patrolled and under complete control of Stel Apostolos. //Divines The Divine Motion (she/her): Long after enemy fuel tanks run empty, Motion continues to power Apostolosian machines of war (like its infamous retinue, the Black Century) and service  (including the massive Barranca Loop that allows Apostolos to regularly launch ships spaceward). Ver’MIllion Blue’s rival.  //Things The Blue Channel: Kal’Mera’s Broun’s corvette. Though it’s rated for spaceflight and features a cargo space large enough to hold at least three hollows, it does not have the ability to break escape velocity on its own.  The Voice of the Exemplar: Howls and echoes through the canyons of the Barranca, where its power is captured by the Barranca Loop. Modular Base Kit: A collection of materials for the modular construction of an off-world headquarters for Millennium Break. Includes housing, water and air filters, an energy generator, communications equipment, agricultural gear, and basic trade goods (whether to be used as bribes or for the legitimate purchase of land). //Additional Notes Primary Objective: Escape Partizan Secondary Objective: Safely extract with the Modular Base Kit Hosted by Austin Walker (@austin_walker) Featuring Janine Hawkins (@bleatingheart), Sylvia Clare (@sylvisurfer), Ali Acampora (@ali_west),  Produced by Ali Acampora Music by Jack de Quidt (available on bandcamp) Text by Austin Walker Cover Art by Craig Sheldon (@shoddyrobot)

Today on The Neil Haley Show, Neil Haley will interview Chris Mulkey of The World Without You. A family gathers to honor the memory of their journalist son, Leo Frankel, who was killed in Iraq the previous year. They are confronted with old hurts, as well as dark secrets, that threaten to tear the fragile threads holding the family together.  Leo's mother Marilyn, entrenched in grief, drops a bomb when she announces she's leaving her husband David (Chris Mulkey) who has moved on from his mourning and still holds a grudge against Leo for his decision to go to Iraq and leave his wife and toddler behind.  Meanwhile, Leo's widow, Thisbe, struggles to come to terms with how falling in love with a new man will change her dynamic with the family. Personal quarrels and long-held animosity between Leo's siblings plague the family, only being intensified by his memorial, while his sister, Noelle, grapples with the fact that she was the last to see Leo alive during a trip to Jerusalem.

♫ Info + Buy ♫ www.deephouseamsterdam.com/premiere-pyrame-the-fine-line-between-us-local-suicide-remix-thisbe-recordings Local Suicide https://www.facebook.com/localsuicide/ https://www.instagram.com/localsuicide https://soundcloud.com/localsuicide Pyrame https://www.facebook.com/Pyramemusic/ https://www.instagram.com/pyramemusic/ https://soundcloud.com/pyrame Thisbe Recordings https://www.facebook.com/Thisbe-Recordings-103329958089275 https://soundcloud.com/thisberecordings

Artist: Pyrame / Radial Gaze Label: Thisbe Recordings Genre: Electronic Release Date: 16.10.2020 With tracks that will impress from start to finish, Pyrame is releasing 4 remixes - on his very own label Thisbe Recordings - of his newest EP: The Pace of Everything that Lives. With Radial Gaze, Days of Being Wild, Local Suicide and Skelesys all chiming in on the tracklist, be prepared for some dark and intense grooving to come out of this one. Combining the elements of disco, rock, industrial, and techno, these pioneering producers all have their unique ways of approaching Pyrame's passionate themes of relationships, freedom, life, and love. Thisbe Recordings: https://www.facebook.com/Thisbe-Recordings-103329958089275 Soundcloud: https://soundcloud.com/thisberecordings Pyrame: https://www.facebook.com/Pyramemusic Soundcloud: https://soundcloud.com/pyrame Radial Gaze: https://www.facebook.com/radialgaze Soundcloud: https://soundcloud.com/radialgaze Instagram: https://www.instagram.com/radialgaze CONTACT (DHM): Email — deephousemoscow@hotmail.com

Pyramus and Thisbe, a classic love story from Greek mythology that inspired Shakespeare's Romeo and Juliet. Pyramus and Thisbe are a pair of ill fated lovers from the city of Babylon who long to be together, but in mythology, particularly Greek mythology, things rarely go smoothly and their fledgling relationship is tested to breaking point. Here at Raconteur, we bring to life the greatest stories from history and mythology to both entertain and educate. We are also on YouTube! For video versions of each story visit and subscribe https://www.youtube.com/channel/UCU4yfCCgXTUYcSPI0_5rP9w/?sub_confirmation=1 Video version of this story - https://youtu.be/_UkveRsf0Ds Music by Scott Buckley – www.scottbuckley.com.au New stories weekly. Thanks for listening!

On today's episode of “The great love stories”, I am presenting here the summarized story of “Pyramus and Thisbe”, a love story selected from theholidayspot.com. A very touching love story that is sure to move anyone who reads it is that of Pyramus and Thisbe. Theirs was a selfless love and they made sure that even in death, they were together. The tale has its origins in the Roman Mythology. It is best recounted by Ovid and the passion of love that blossomed between the two young lovers enthralls readers even today.

Aah, forbidden love. Don't we all love the tales? Romeo and Juliet. Pyramus and Thisbe. Rachel and Joey... why did they do that? BUT, what if I told you a Vegan and a Butcher fell in love? What would happen? You're about to find out.This week, Sami sits down with her partner Joshua Melara (@hijodereina), a cut-man, Harley rider and former butcher. He currently works for Japanese Knife Imports in Los Angeles. The pair talk passionately about the humanity of eating animals. They touch on his journey as a butcher and how it affects a carnivorous diet, veganism, animal cruelty, slaughterhouses and factory farming.Thanks for listening! To find cooking lessons, chef tips, and the Vegan in a Weekend cook book, visit www.lavenderlunch.com. Lavender Lunch is created by Sami Pollak, produced and engineered by Cameron Tagge, and executive produced by Izzy Pollak. Thank you for joining us on this adventure. Connect with us on Instagram @veganinaweekend

Link to bioRxiv paper: http://biorxiv.org/cgi/content/short/2020.07.27.222976v1?rss=1 Authors: Everetts, N., Worley, M. I., Yasutomi, R., Yosef, N., Hariharan, I. K. Abstract: In both vertebrates and invertebrates, generating a functional appendage requires interactions between ectoderm-derived epithelia and mesoderm-derived cells. To investigate such interactions, we used single-cell transcriptomics to generate a cell atlas of the Drosophila wing disc at two time points during development. Using these data, we investigate gene expression using a multi-layered model of the wing disc and catalogued ligand-receptor pairs that could mediate signaling between epithelial cells and adult muscle precursors (AMPs). We found that localized expression of the FGF ligands, Thisbe and Pyramus, in the disc epithelium regulates the number and location of the AMPs. In addition, Hedgehog ligand from the epithelium activates a specific transcriptional program within adjacent AMP cells, which is critical for proper formation of a subset of the direct flight muscles. More generally, our annotated atlas provides a global view of potential cell-cell interactions between subpopulations of epithelial and myogenic cells. Copy rights belong to original authors. Visit the link for more info

PROPHETEN UND KÖNIGE mit Pastor Mag. Kurt Piesslinger 2.Serie - PROPHETEN DES NORDREICHES Der machtvollste Prophet des Nordreiches - Elia - reformiert das total von Gott abgefallene Land Israel. Die Gottesentscheidung auf dem Berg Karmel endet mit Feuer vom Himmel und einem Regen nach dreieinhalbjähriger Trockenzeit. Elia fährt lebendig gegen Himmel. Eine Auszeichnung der besonderen Art, um das Lebenswerk dieses Propheten zu krönen. 2.1 Elia, der Mann aus Thisbe Als die Götter Phöniziens, Baal und Astarte, im Nordreich Israel total auf dem Vormarsch sind, als der Glaube an den wahren Schöpfergott scheinbar untergegangen ist, in diesem Augenblick wird Elia zum Propheten berufen. Er soll eine Reformation beginnen, die ihresgleichen sucht. König Ahab wird plötzlich im Thronsaal in Samaria vom Propheten Elia mit einer Gerichtsbotschaft konfrontiert. Es wird solange kein Regen mehr fallen, bis Gott durch Elia die Wende der Trockenzeit ankündigt. Der Prophet taucht unter und wird trotz intensiven Nachforschens vergeblich gesucht. Die Dürre wirkt sich verheerend aus, doch Israel bleibt hartnäckig dabei, Baal als den Spender des Regens zu verehren. Gottes Segen!

After a stunning victory in Orzen, the Society of Banners and Bright Returns must now face the cold light of day. Bodies wounded, hollows damaged, and reputations scarred, Broun, Thisbe, and Valence recuperate as best they can. But as the war becomes ever more complicated, and as new expectations are placed on them, tensions raise from a simmer to a boil. This week on PARTIZAN: On the Edge of Fracture ///Operation Dossier //Organizations Stel Kesh: The oldest established power in the galaxy, built around a stuffy (and secretive) aristocracy. They are tied to the Past. History, knowledge, stubbornness. Stel Nideo: Created the largest faith in the empire, and used that influence to shape (and surveil) mass culture. They are tied to the Present. Faith, coercion, stability. Stel Orion: An industrial giant that controls more literal space than any other Stel, yet is also the most fragmented and unstable. They are tied to Space. Wealth, labor, expansion. Stel Columnar: A fence-sitting democracy, made up largely of synthetics on the cutting edge of technology, art, politics, and war. They are tied to the Future. Innovation, style, cowardice. Stel Apostolos: A dynamic and diverse military powerhouse, guided by an iconic, but controversial leader. They are tied to Motion. Speed, change, violence. Scrivener’s Guild: An organization of (armed) clerks who mediate negotiations, draft contracts, and keep records of all industrial, commercial, and private business operations with Orion-aligned organizations. Unhappy with SBBR’s performance. The Oxblood Clan: What started as a group of orphans turned into a labor guild and criminal enterprise with connections across Partizan. Occasionally run rough-and-tumble military ops for extra cash. Allies with SBBR. The Curtain of Divinity: Though Kesh is technically governed through an elaborate parliamentary democracy, the truth is that The Curtain of Divinity, a secretive organization inside of the Stel (and with agents across all of the Principality), serves as the actual power behind the throne. Knowledge of the Curtain is carefully guarded, and its membership is even further protected.  Was originally established to rein in the Principality’s most tyrannical institutions and encourage growth and equity over generations, while hiding the truth of what lied beyond the Scutum-Centaurus Portcullis. Over time, their more noble aims were eroded, and only this final goal remained, along with a much more selfish goal of controlling the state. The Pact of Necessary Venture: Though they trace their lineage back to an exploratory committee founded in the late 14th century of the Perfect Millenium, the Pact was not made in earnest until five years ago in 1418 PM, soon after hostilities began between Kesh and Apostolos. It’s original leadership committee, ████████, ███████, ████████, ███, and ████████ determined that to ensure the future stability of the Principality,the Pact would establish a power base in the Scutum–Centaurus arm, amass a vast fleet using the unexploited resources there, and sweep both princepts out of power, █████████ ███ ████ ████ █ █████████ ███████ ████████████ ████ ████ ███████.  The Nobel: The people and culture from which Valence originates. They live beyond Partizan, in the Scutum-Centaurus arm of the Milky Way, which a past Princept declared was not to be colonized or even explored. But years ago they suffered an attack by the Pact of Necessary Venture, though who specifically ordered the attack is still unknown. The majority of Nobel worship the same God as the Disciples of Logos, though the specifics of each faith remain unique. They are gaseous, telepathic beings who often use mechanical bodies in order to interact with other sorts of people. The Church of Received Asterism: The most widely practiced faith in the galaxy, and one of the earliest major organizations in the Divine Principality, created at the beginning of the Miraculous Millenium, over 3000 years ago. Teaches that Divines, the immortal machines and mechs that helped establish the Principality's hold on the galaxy, reflect the best aspects of the state itself. The divine Strength, in other words, is like a living flag of the Principality's own strength. Organized as a central church, led by a religious leader named a “Cycle,” whose will is enacted across the Principality by their many “Songs,” who rule worlds, star systems, or sometimes entire constellations. The Church of Progressive Asterism: Created as the teachings of the prophet Logos Kantel grew in popularity 1000 years ago, and made a secondary state religion in order to prevent a large schism. Teaches that Divines are true embodiments of their names, and that the citizens and states of the Principality should look to them as guiding stars. The Divine Strength, in other words, is a reflection of strength itself, or maybe "god's strength," and we should aspire to make our strength look like the divine's. Unlike Received Asterism, there is no single central church, but hundreds of smaller sects, schools, and cults, each devoted to individual Divines, grouped sub-pantheons, or otherwise adjusted beliefs. The Disciples of Logos: A small sect, technically of Progressive Asterists, who believe that Progressive Asterism itself operates under a misunderstanding of the prophet Logos Kantel’s words. Membership spans Divinity, but remains miniscule in size compared to even other Progressive Asterist sects. The core tenets and practices of the Disciples of Logos are built around aspiration, actualization, and “progression” from one’s current self (or from society’s current state) to a future one. To encourage that process of change, the Disciples of Logos offer services like tutoring, transport, medical aid, shelter, and counseling to those on their journeys. The Church of the Resin Heart: A Disciples of Logos church on Partizan which claims to be the true inheritor of the prophet’s religious mission. The “resin heart” in question is a 3-foot large object pulled from the sea 400+ years ago and displayed as a relic by the Church. It was originally part of the Exemplar. The Friends of Gur Sevraq: The name given to the current membership of the Church of the Resin heart, who follow the teachings of a new prophet, Gur Sevraq, who has reportedly performed a number of miracles. They teach the value of and need for open communication between regular members of the principality, and dream of a galactic-communications network which would allow people to send messages between worlds in a matter of seconds or minutes instead of days, weeks, or months. With that established, the Friends believe, change and “progression” would sweep through the Principality. The Sable Court: Some say that on dark nights, they have seen these Ashen witches on the eastern edge of Lake Timea, horns and antlers glittering in the light of Girandole. Some even say that a former elect walks among them. Heresy, all of it.  //People Kueen Overture Rooke (she/her): SBBR’s contact at the Scrivener's Guild. A former ace pilot, lead mechanic, and battlefield commander, KO now uses her expertise to dispatch and guide mercenary units across Partizan as a broker in the Scrivener’s Guild. Booker Treequote (he/him): Senior Broker for the Scrivener’s Guild. Called in to audit SBBR’s recent activities. Gur Sevraq (he/them): Leader of the Church of the Resin Heart. Miracle worker. Currently on board Icebreaker Prime. Has possession of the Divine Future, which gives them startling prescience and the ability to imagine futures outside of the confines of the hegemonic and imperialist world around him.  The Tranquil Princept: Made an oath with the God of the Nobel 1000 years ago, promising that the Principality would not go beyond Partizan into the Scutum-Centaurus arm until they had dissolved their empire and become an equitable society. Created the Curtain of Divinity to achieve that goal. Gucci Garantine (she/her): Leader of HORIZON’s efforts on Partizan.. Jesset City (he/him): Oxblood Clan lieutenant, engineer, and pilot. Mourningbride (she/her): An initiate in the Sable Court, and a former Elect.  //Places Oxbridge: Most bridges connect land to land, but the enormous Bridge of the Ox connects ocean ports to the docks of largest freshwater lake on the moon. Under the bridge rests Oxbridge, a dense city of canals and crimson light, and the first large scale Principality settlement to come to the moon, nearly 1000 years ago. Oxbridge is split into three regions: Brightsky West, Underbridge, and Brightsky East. To the East and West, merchants, nobles, and the ever-upwardly mobile live, work, shop and play. But below the bridge’s shadow is an undercity of laborers both local and transient, eking by from job to job, day to day, by the fuel of their effort and the light of the red, phosphorescent “lamps” that give Underbridge its distinct glow, even in daytime.  Connecting it all together are a network of waterways, roads, and secret tunnels.  And above it all is the Bridge of the Ox, the symbol of Orion’s commitment to (and mastery of) brute-force ideology. Orzen: A city in the Pique Ridge. SBBR, HORIZON, and the Oxblood Clan attacked the city in an effort to recover information about Past’s destruction and the Rapid Evening from a Palace archive there. Deep Dish Steak House: A loyal bar. The Prophet’s Sea: A massive ocean that dominates the center of most maps of Partizan. It is said that the sea was made by the prophet Logos Kantel in their first miracle, after walking the length of its radius and climbing a set of hills that would soon become islands. The Prophet’s Path: An autonomous region to the west of the Prophet’s Sea, south of Apostolosian territory and north of Orion. These dusty badlands are dotted with small villages, farms, and other settlements.  Its furthest, most western reaches are untouched by Kantel’s miracle. In order to celebrate the millennial anniversary of Logos Kantel’s arrival, the Church of the Resin Heart is traveling a pilgrimage on the route the prophet once took.  The Isles of Logos: An independent nation built by the followers of the prophet Logos Kantel’s around their very first church. Though only a small handful of islands in the Prophet’s Sea, the Isles keep a standing defense force that rivals any individual unit of the Major Stels. //Divines The Divine, Arbitrage (It/Its): It is said that divinity was too long delayed this anteperennial machine, a god of trade. But the truth is, if it wanted to be divine in the twilight era, it simply would’ve negotiated that deal.  //Things “Autonomy Itself”/“The True Divine”/The God of the Nobel/The God of Logos Kantel (they/them): Granted the power to transform Partizan into a living world to Logos Kantel 1000 years ago. Guided the Nobel and other cultures in the Scutum-Centaurus arm through the course of their history.  A God of becoming, not being, process, not finality. Their origin is unknown, sometimes debated, but rarely considered important to their devotees, who care more about Their current divinity rather than the circumstances by which it was arrived at. The phrases “the True Divine” and “Autonomy Itself” are found in some Progressive Asterists texts and doctrine, but also across heterodox and heretical religious creeds and in the teachings of gnostic and esoteric secret societies.  The Exemplar: “God’s Divine.” Originally built 1000 years ago, now spread in “parts” across the moon. Its beating heart was left in the sea. It’s countless eyes buried under the Memoria Teardrop. Its blood runs through the springs of the Pique Ridge. Its powerful voice echoes through the windswept canyons of the Barranca. And, perhaps, something else trapped below the ice in the northern reaches of Kesh territory in the Verglaz Taiga.

Mitolojika #11 - Pyramus Ile Thisbe

Shakespeare's original comedy, A Midsummer Night's Dream follows young lovers and old lovers into the mystical, natural space of the forest, where the rules don't apply the way they do anywhere else. Continuing the increasing sophistication of his plays of late, Shakespeare comments on both the nature of love and the nature of the theatre. Join us as we discuss one of our favourite of the Bard's comedies! Notes: - The content of 1 Corinthians is partly mixed up by Nick Bottom after his sojourn in the woods; it's one of the most famous parts from the New Testament, and passages from it are routinely recited at weddings (much like Shakespeare's sonnets!) - Joseph Campell's monomyth and later amendments by scholars like David Adams Leeming discuss the mythological underpinnings of the journey all heroic figures take as their stories are told; though not a strictly heroic tale, Midsummer does borrow from these ideas to describe the journey of the lovers from civilization to chaos and back again. - For more discussion about forests and liminal spaces, check out this blog post - Read up on the Coffee Shop AU, a common trope in the world of fanfiction - A funny version of the Tragedy of Pyramus and Thisbe, starring The Beatles, from 1964 for Shakespeare's 400th birthday -- a must watch! - We had the opportunity to chat with John Bernardy of 25YL Site about the thematic links between Midsummer and our old fave, Twin Peaks -- check out our discussion about faeries and Lodges and forested liminal spaces (oh my!) - If you haven't seen the 1999 theatrical version of this play, we recommend it! - ...and if you don't know what Nanaimo Bars are, here's a recipe Ancient Bickerings Of all the pairings and couplings going on in A Midsummer Night's Dream, which couple is our favourite?

In this episode we revisit the past episodes on Plato's theory of soulmates from his Symposium, and the story of Pyramus and Thisbe, the original Romeo and Juliet.CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing.Sources: Plato's Symposium, Ovid's Metamorphoses (see original episodes for translations).Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions See acast.com/privacy for privacy and opt-out information.

In this episode we revisit the past episodes on Plato's theory of soulmates from his Symposium, and the story of Pyramus and Thisbe, the original Romeo and Juliet. CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing. Sources: Plato's Symposium, Ovid's Metamorphoses (see original episodes for translations). Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions Learn more about your ad choices. Visit megaphone.fm/adchoices

Flying solo this episode Bobby talks about the myths of Pyramus and Thisbe and Baucis and Philemon. The first myth is the tragic source of Romeo and Juliet. The second is a story about how love and kindness can reap magnificent rewards.

Before Cymbidium died, he asked the labor machine Thisbe, whose deerlike design drew from the form of his own people’s, for a favor: Deliver a final message to Mourningbride, initiate of the occult group the Sable Court and former Elect. On hearing about this goal, Thisbe’s squad members Broun and Valence encourage her to pursue it, and travel with her deep into Columnar territory to meet with the Hyphan witches of the forest. But when they arrive, they find a less welcoming host than expected... This week on PARTIZAN: Ambush in the Sand ///Operation Dossier //Organizations Stel Columnar: A fence-sitting democracy, made up largely of synthetics on the cutting edge of technology, art, politics, and war. They are tied to the Future. Innovation, style, cowardice. The Sable Court: Some say that on dark nights, they have seen these Ashen witches on the eastern edge of Lake Timea, horns and antlers glittering in the light of Girandole. Some even say that a former elect walks among them. Heresy, all of it.  301st Appraisal Unit:  Before the Columnar commits the resources necessary to take something for their own, this small reconnaissance unit comprised of soldiers, engineers, and academics needs to find it 21st Voluntary Composite Division: Unlike most other Stels, Columnar doesn’t segregate Hallow and Hollow units, and instead assigns Hallow pilots to officer roles in combined arms divisions like this one. Strand Semaphore: Using ancient Hyphan technology, this messenger service is able to send text-based communications to anywhere on-moon, so long as they’ve built an outpost there. //People Mourningbride (she/her): An initiate in the Sable Court, and a former Elect.  Cymbidium (he/him): The deceased Elect of the Divine Past. Gave Thisbe a message to deliver to Mourningbride. Kenzington “Kenzi” Be (she/her): Commanding Officer of the Columnar 301st Appraisal Unit. Has legs that can fold down into tank treds--in some ways, she looks like the humanoid version of Broun’s mech, the Three Cheers! Has a long oval torso and a totally spherical head with dozens of cameras on it that sort of extends from her torso. Cobra Junction (he/him): Humanoid pilot in a flashy, vinyl bomber jacket with gold stripes and is often “smoking” synthetic cigars. This facade reflects an insecurity, as Cobra’s initial assignment was due to his geological expertise, not his aptitude as a pilot. Dina Dash (they/them): Wheeled synthetic who carries a clipboard and has magnification lenses that can independently move lower in front of their optics. //Places The Memoria Teardrop: A range of mountains and high plains, dense with mineral resources. Named for “memoria,” a rare precious material with a high, natural storage capacity.  Vigil City: The capital city of of Columnar on Partizan. Sits on the southern end of the “Teardrop" on a high plateau. The densest city on Partizan, Vigil City is also the most automated city on the moon. Lake Timea: A small lake to the north of the Memoria Teardrop, surrounded on the north side by a dense forest. Home to the Sable Court. Red Soil: A small beach on the northern side of Lake Timea //Things The Perennial Wave: Invisible to the naked eye, the Perennial Wave is made up of a seemingly endless amount of nanomachines which flow out from the center of the galaxy and which deactivate or destroy complex machines and electronics. At any moment, the Wave can be at various degrees of density, which are colloquially referred to as “high tide” and “low tide.” Bing 32: Broun’s floating, cat sized drone able to use a variety of tools. Sable Wards: Through a combination of Memoria and control over the Perennial Wave, the Sable Court is able to create simple, seemingly-invisible wards that alert them of intruders. Zenith-A Kathēkon: Often affectionately called “Cathies” by Apostolosian pilots, these medium sized, humanoid mechs were originally designed to be the Zenith Fund’s answer to the Troop. Specially built for Apostolosian needs (including night, underwater, and orbital combat), the Kathekon is a flexible fighting platform with fully articulating hands, advanced imaging, and jumpjets designed to allow low, fast horizontal hops. While the Troop still makes up the bulk of the Apostolosian hollow forces, you’ll often find Cathies deployed on special ops missions or by unit commanders. Their dark green color, bulbous armor, and large orange “eyes” give them an amphibious look--which is (part of) the reason behind Kesh soldiers referring to their Apostolosian foes as “frogs.” Zenith-C Wedge: Kathekons recolored in the dark blue and gold of Stel Columnar, and maintained with much higher quality (and experimental) materials. Unlike the Kathekon for Apostolos, the Wedge does make up the bulk of the “frontline” hollow squads, and provide security for more vulnerable hollows (and support for more powerful ones). These have flexible armaments. In this case: One wields a flamethrower and an electro-net launcher and one has a heavy machinegun. Both have weaponized, hollow sized chainsaws, as well. Zenith-C Obscura:  Wide shoulders that lead down to treaded legs. Can launch dozens of drones into the air for reconnaissance and observation, which will quickly locate anything nearby, but must remain stationery to do that. Can launch micro missiles at locked targets, has small vulcans for infantry and small armored counter attack--does little to close range mechs. The Divine Asepsis: Vigil City is the densest urban settlement on the moon, and yet, every morning, it is spotless. Give thanks to Asepsis’ swarm of robotic servants. The Divine Vernacular: Sometimes a divine wields a blade, incomparable in sharpness. Sometimes, as in this Stel Nideo divine, it allows thousands to speak instantly, at distance. You decide which is more frightening. //Additional Notes SBBR’s Mission Objectives Drive the 301st away from the the path towards the Sable Court. Secondary objective: Capture their equipment.  Rules of Engagement: Do not trigger any of the Sable Wards which have been placed. 

The events in Obelle were disastrous for many, yet for the Society of Banners and Bright Returns, the nighttime raid on the seaside town went down in the book as a win. Now, they return to their home in the heavily stratified metropolis of Oxbridge in the heart of Stel Orion territory. After getting paid and tending to an unforeseen entanglement, the crew spends some time following leads, satiating their curiosity, and shoring up their reputation around town. This is the first session featuring what Forged in the Dark games call “downtime,” a phase of the game that is focused on what the characters do between missions. Because it’s the first downtime of the season, we spend a little more time than usual going over the rules of play so that everyone can follow along. In the future, we’ll summarize as much of the bookkeeping as possible so that we can stay focused on the drama and decision making that makes these sessions sing! This Week on PARTIZAN: Profit and Loss ///Operation Dossier //Organizations House Bittenbach: “Before all others.” Technically, this is Bittenbach’s motto because  they were the very first noble house in Stel Orion, formed after their founder orchestrated a grand betrayal on behalf of the Principality. Today, though, it is quoted as evidence of the house’s legendary hunger for wealth (and their willingness to break norms to satiate it.) The house’s holdings on Partizan are operated by Burden Bittenbach. They were originally assigned to operate the Obelle mission in SBBR’s place. Carrion Collections: A low ranking scavengers squad with a handful of hollows that operates out of Stel Orion. Called shameless, even (especially) by those who employ them. Has a tense with SBBR due to a dispute over workshop materials. The Isles of Logos: An independent nation built by the original followers of the prophet Logos Kantel’s around their very first church, though it has since become a secular and independent state—something largely unheard of inside of Principality space. Though only a small handful of islands in the Prophet’s Sea, the Isles keep a standing defense force that rivals any individual squad the Major Stels could throw at them.  The Church of the Resin Heart: Among all the sects under the wide umbrella of Progressive Asterism, one group—the Disciples of Logos—is dedicated to the teachings of the movement’s supposed founder, the Prophet Logos Kantel. Though there are a handful of Logos-aligned houses faith across the reaches of the Principality, none is as well organized or important as the Church of the Resin Heart, named for the uncanny, 3-foot tall heart that was recovered from the prophet’s sea many years ago. The Church, also named the Friends of Gur Sevraq in honor of their enigmatic and charismatic leader, are gaining followers as quickly as their leader can perform miracles. They claim the True God is coming, and seek to spread the word as far as they possibly can. The Sable Court: Some say that on dark nights, they have seen Ashen witches on the eastern edge of Lake Timea, horns and antlers glittering in the light of Girandole. Some even say that a former elect walks among them, though whether she is the one they call the Loess, no one knows. It does not matter. Heresy, all of it. //People Midnite Matinee (she/her): The Leporine leader of Carrion Collections knows she’s destined for more. She and her trusty Pack-model light AutoHollow Popcorn (she/her) are going to take what they can get, even if it means stepping on people to get it. Gur Sevraq (he/they): The enigmatic leader of the Church of the Resin Heart. “Liberated” the divine Future from Stel Columnar. Has performed a number of seemingly-verified miracles in recent months.  Mourningbride (she/her): An Ashen born to a high ranking family, Mourningbride was once an elect, but left her post and journeyed to the Sable Court after learning about her people’s ancient history. With his final act, Cymbidum requested that Thisbe deliver a message to Mourningbride. //Places The Low Slate: At its most welcoming, Orion’s territory on Partizan is a large, lowland plain covered with warm riverlands. At its most hostile, these are lunar lowlands, as the cratered and barren southern pole of the moon, the one place untouched by the prophet’s gift and the life that followed. Across the two is everything that makes Orion what it is: the control of vast spaces, agricultural and mineral wealth, a sense of prideful competition between aligned-yet-dueling city-states. Oxbridge: Most bridges connect land to land, but the enormous Bridge of the Ox connects ocean ports to the docks of largest freshwater lake on the moon. Under this massive bridge rests Oxbridge, a dense city of canals and crimson light, and the first large scale Principality settlement to come to the moon, nearly 1000 years ago. Oxbridge is split into three regions: Brightsky West, Underbridge, and Brightsky East. To the East and West, merchants, nobles, and the ever-upwardly mobile live, work, shop and play. But below the bridge’s shadow is an undercity of laborers both local and transient, eking by from job to job, day to day, by the fuel of their effort and the light of the red, phosphorescent “lamps” that give Underbridge its distinct glow, even in daytime.  Connecting it all together are a network of waterways, roads, and secret tunnels.  And above it all is the Bridge of the Ox, the symbol of Orion’s commitment to (and mastery of) brute-force ideology. The Pique Ridge: The mountainous region controlled by Stel Nideo, which rests northeast of Orion territory and west of Stel Columnar’s home on Partizan, the Memoria Teardrop. Lake Timea: A lake and its forested environs which rests towards the northern reaches of Stel Columnar territory. Rumored to be haunted, hexed, or otherwise unholy. //Things AdArm Pack-model AutoHollow: A 20 foot tall, humanoid mech with broad shoulders, fully-articulating hands, and the headshape of a jackal. Designed for flexibility, the Pack can easily change its gear between missions, though it is most often seen wielding an anti-armor rifle. The Pack was designed to offer infantry-scale squads a little extra power or to supplement hollow squads with something maneuverable, reliable, and automated. They’re also exceptional bodyguard units, for those who can afford their upkeep. //Additional Notes The Nobel Fable of the First Wolves: In earlier days, when things were simple, The Nobel would say “The Lord is my shepherd; I shall not want.” And this was true when the Nobel were just the Nobel; but we determined that it was not enough for just The Nobel to be The Nobel, and the World to be the World. The Nobel needed the World; and the World needed the Lord. 
 So our flock roamed, and it grew, but yet we also found ourselves threatened by wolves. And in our short-sightenedness, we assumed the Lord would protect us—and when we suffered losses, we assumed the Lord was telling us to protect ourselves, and we warred with the wolves. 
But then the Lord spoke to the Nobel, and the Lord said “Did you not say that the world needed the Lord? Do you not see, that as I shepherd the Nobel, I too may shepherd the wolves?” And so the Nobel lowered our arms and we learned of the wolves—how they hunted not for sport, but for sustenance; how they had their pack, as we had a flock. And then the wolves became one with the Nobel under the Lord, and we grew; oh, we grew, we grew in a way that we could have never imagined, and we learned one of the most important truths that we still hold dear—only the Lord can see the true path for the Nobel. In this mask, I wear this lesson. It is a reminder of God’s wisdom, God’s grace, and God’s potential not just for the Nobel, but for all the World. The Nobel are far from faultless; in our weakest moments, we assume we are greater than the World. We assume we know best, and that the wolves of the World must crook their knee to us and the Lord to receive the Lord’s gifts. But no. The Nobel are not sheep, to be held above all others, to graze passively in the Lord’s field under God’s watchful eye and protected by God’s fences; we are merely the first wolves that the Lord deigned to be the Lord’s pack. And as we are also wolves, our strength lies in growing our pack. Hosted by Austin Walker (@austin_walker) Featuring Janine Hawkins (@bleatingheart), Ali Acampora (@ali_west), and Andrew Lee Swan (@swandre3000) Produced by Ali Acampora Music by Jack de Quidt (@notquitereal, available on bandcamp) Text by Austin Walker and Andrew Lee Swan (Fable of the First Wolves) Cover Art by Craig Sheldon (@shoddyrobot)

To the west of the small town of Obelle, the Oxblood Clan attempts to secure the landing zone for an inbound VIP. The plan is simple: Recover them and escape east across the sea. To aid them in that task, the Society of Banners and Bright Returns have been sent to take out the nearby Apostolosian militia’s sensors, fuel reserves, and weapon platforms. So far, it’s been light work for the team, with Kal’mera Broun’s artillery-scale flashbang and Thisbe’s powerful mechanical gorilla, Mow, being key to a smash-and-grab that’s given the team control over the enemy’s hollows. But now, as Valence is confronted by a member of an Apostolosian smuggling ring, chaos begins to seep into the mission... This week on PARTIZAN: Obelle, On Fire ///Operation Dossier //Organizations The Red Fennecs: Technically, the Red Fennecs are an Apostolosian logistics and transport squad. In actuality, they’re utilized by their commanding officer, Tes’ili Serikos, as the backbone of a humble smuggling operation.  The Partizan Palace: Across Divinity, the Palace provides citizens with authorized archival information, approved news reports (kept up to date locally by the day, galactically by the week), and art and entertainment determined to be canonical to the Divine Principality. House Whitestar: For generations, House Whitestar was among the smallest vassal families of Stel Kesh’s most powerful noble House (itself called House Kesh). With modest holdings and minimal political influence, it seemed they’d inevitably fade into history. But after the Apostolosian leader Dahlia declared themselves the Glorious Princept, Stel Kesh announced that Cynosure Whitestar-Kesh, a mid-level diplomat, was the true Princept. With his rise, they’ve grown in importance and power. //People Tes’ili Serikos (they/them, tes/tes’): This Apostolosian transport specialist, black marketeer, and Tes’ili Serikos can get just about anything just about anywhere, for a price. Short, round, fuzzy, and good natured… unless you screw tes over.  Cymbidium (he/him): The elect of the Kesh-aligned divine Past. Cymbdium is an Ashen, the descendent culture of the ancient deer-like Hypha people. He is traveling to Partizan for mysterious reasons. Azyet Eyesgrene (she/her): Recorder for the Partizan Palace. (Name unspoken.) //Places The Prophet’s Path: An autonomous region of Partizan running from east from the barren edge of the desert, through the tropical coast, and through the Isles of Logos. Independent towns and cities like Obelle make up the bulk of its continental settlements. Believed to be the area through which the prophet Logos Kantel traveled on their miraculous journey one thousand years ago. //Things The Divine Past: Part floating city, part living library. The Divine Past was built tens of thousands of years before the Divine Principality was created. It stores an untold amount of information about the cultures it has observed, including the Divine Principality itself. The only person who can access this information is its Elect, who wanders its endless halls and travels across Divinity as equal parts librarian, priest, ship captain, and diplomat. Cast: A mirror-coated, humanoid mech that appears like a four-winged angel, with loud jet engines hidden inside of its shiny, metallic wings. Just above its mouth, its head becomes an AWACS-esque flat sensor disc. Largely built for reconnaissance, and deployed by the Palace to gather information and recordings. Avoids conflict, though can defends or stabilize itself with a system of chains and hooks. Ataraxia: A white, purple, and yellow mantid-shaped machine blessed by the divine Commitment and developed by Stel Columnar’s Zenith Fund. Each of its six curved limbs can light up its edges with energy beams. On the ground, it can dance in combat in such a way that any two limbs can be its temporary feet, and when it’s in flight, it becomes a complete whirlwind of violence. Named for the philosophical concept key to ancient Stoicism. Herd: Developed from the basic AdArm Troop design, the Herd’s centaur like silhouette is famous to anyone who has faced off against Apostolos. The Troop’s bipedal legs have been replaced with piston-driven, heavy quad legs that are able to shift between two modes: Movement (with legs paired parallel like an ungulate, allowing for high speed traversal or charges) or combat (spread in a wide cross shape for stability in firing or traversal, moving like a spider). Armed with heavy shoulder cannon, and spears that can be used for both melee combat and as javelin-like explosive projectiles. (Name unspoken.) Yoke: The Oxblood Clan’s unique, further customized Herds. Though they cannot transform into the Herd’s “combat” mode, they have upgrades that allow them to serve a unique command and operations role when deployed in pairs. Their heads feature unique horn sensors which can generate battlefield map data and targeting assistance when two Yokes can provide complete data. Wields a giant fortress shield in left hand, a kanabo in the right, and a vertical missile pod on back. (Name unspoken.) //Additional Notes SBBR’s Mission Objectives: Primary: Support Oxblood’s mission by destroying the Apostolosian fuel depot at point Barnacle and sensor station at point Carp, each outside of Obelle proper. Secondary: Destroy any hallows or hollows at Point Dory, in the Apostolosian base west of the river in Obelle.  Rules of Engagement: No harming civilians or civilian property inside of Obelle--destruction of fields is incidental and acceptable collateral damage. Do not enter Point Albacore under any circumstances. Hosted by Austin Walker (@austin_walker) Featuring Janine Hawkins (@bleatingheart), Ali Acampora (@ali_west), and Andrew Lee Swan (@swandre3000) Produced by Ali Acampora Music by Jack de Quidt (@notquitereal, available on bandcamp) Text by Austin Walker Cover Art by Craig Sheldon (@shoddyrobot)  

It started with as basic a job as they come: The Society of Banners and Bright Returns (SBBR), a rookie outfit based in Oxbridge, was tapped for a contract as a support unit in a rescue op. There was a little town called Obelle on the border between the Apostolosian Barranca and the Prophet’s Path, where damn near the only free folks in the Principality made their home. Some sort of VIP was making landfall just northwest of the spot, and while another crew was doing the pickup, SBBR (which was just the engineer Kal’mera Braun, the alien empath Valence, and that big goddamn robot, Thisbe at the time) had to tilt the scales in favor of a smooth getaway. Drop in, knock out a sensor dish, blow up some reserve fuel, and (if they were feeling especially confident) incap a couple of Troops before they could get up and moving. But SBBR wouldn’t be SBBR if they didn’t find a way to do a milk run in reverse... This week on PARTIZAN: The Seaside Town of Obelle ///Operation Dossier //Organizations The Society of Banners and Bright Returns (SBBR): A daring mercenary outfit that takes on reconnaissance, espionage, sabotage, and theft missions. Independent, but operating under Stel Orion and the Scrivener’s Guild. Scrivener’s Guild: An organization of (armed) clerks who mediate negotiations, draft contracts, and keep records of all industrial, commercial, and private business operations with Orion-aligned organizations. Unhappy with SBBR’s performance. The Oxblood Clan: What started as a group of orphans turned into a labor guild and criminal enterprise with connections across Partizan. Occasionally run rough-and-tumble military ops for extra cash. Allies with SBBR. The Swordbreakers: An Apostolosian squad blessed by the divine Commitment and led by Cas’alear Rizah, the adopted sibling of the Apokine and Princept Dahlia. They’re known across the war as legend killers who punch above their weight.  //People Kal’Mera Broun (they/them, played by Alicia Acampora): SBBR’s in-house technician with a focus in designing and deploying specialized artillery. Apostolosian born, Orion trained. Valence (they/them, played by Andrew Lee Swan): An empath from a culture beyond the Partizan gate, searching for allies for their culture, the Nobel. Serves as “face” for SBBR. Thisbe (she/her, played by Janine Hawkins): A large, humanoid labor robot whose design is based on the ancient Hypha people. Recently unearthed by farmers, and then traded between mercenary units until she wound up in SBBR’s control.  Kueen Overture Rooke (she/her): SBBR’s contact at the Scrivener's Guild. A former ace pilot, lead mechanic, and battlefield commander, KO now uses her expertise to dispatch and guide mercenary units across Partizan. Anchor Afton (she/her): Commander of the Oxblood Clan unit deployed in Obelle. Upper middle age. Silver hair, weathered complexion. Dark eyes. Muscular as shit. Third generation Ox. Jesset City (he/him): On mission as support unit & on-site repairs for Oxblood. Young and eager to make friends. Doesn’t know much about this mission. Pilots a Cloud unit, a “re-appropriated” Apostolosian recon model. Cas’alear Rizah (cas/cas’, they/them): Leader of the Swordbreakers. Cas has brown skin with dark green hair up in a bun, with a few strands hanging down in front of their face (which is framed with similarly colored scales covering cas’ jawline and neck. Broken sword tattoos under their eyes. Reputation as being beautiful and brave by allies, unflinching and unpredictable by foes. Pilots the notorious Hallow, Ataraxia. //Places Obelle: A small, seaside town between Apostolos territory to the north and the independent lands of the Prophet’s Path to the south. Sleepy agricultural town with tiny small tourist industry, as its often used as a resstop for those walking their pilgrimage down the Prophet’s Path. Because it is far from Apostolos’ northern border with Kesh, their military holdings here are diminished. //Things Hallow/Hollow: The (often, but not always humanoid) mechs that serve as the backbone of Divine Principality military units. "Hallows" have received the direct, personal blessing of a Divine (and whatever benefits, material, social, or spiritual that come with that). "Hollows" have not. Both serve their purpose. Three Cheers!: Kal’mera Broun’s hollow, a heavily modified Adamant Arms and Artifice (aka AdArm) machine. Humanoid with the ability to take a mobility form. Equipped for long range volleying. Easily removable/replaceable plates with non-standard rivets. Hippocampus: Valence’s hollow, an AdArm Prototype Loveliness. A small, ovoid cockpit that has two "chicken legs" attached to it. Helicopter blades fold out from inside the cockpit and onto the top of the mech to give it basic flight.  Mow: A recovered Zenith-A Project Eudaimonia prototype model. The build of a gorilla, quadrupedal & topheavy, a saddle horn-like addition on the back, battered but lovingly maintained. AdArm Troop: Designed by The de facto “grunt” mech of the Divine Principality. 55~  feet tall bipedal hollow, mid sized but bulky in aesthetic. Blocky, visible cabling. Head is a rectangular unit (with a long, flat LED-lit single “eye”) that functions as a sensor suite, and attached to its right (above the shoulder) is a heavy cannon. Left arm has actuator/clasper, right has bayonet. Zenith-A Cloud: A small (35 feet, standing) transforming Apostolosian recon and support hollow. Two large, rear jointed legs allow it to leap high into the air and enter flight mode, keeping it safe from harms way and providing additional visuals. Torso has four arms, two of which have high-precision tools for repairs. Remaining two have light weaponry, incl. Anti-infantry machinegun and smoke grenades. //Additional notes SBBR’s Mission Objectives: Primary: Support Oxblood’s mission by destroying the Apostolosian fuel depot at point Barnacle and sensor station at point Carp, each outside of Obelle proper. Secondary: Destroy any hallows or hollows at Point Dory, in the Apostolosian base west of the river in Obelle.  Rules of Engagement: No harming civilians or civilian property inside of Obelle--destruction of fields is incidental and acceptable collateral damage. Do not enter Point Albacore under any circumstances. Hosted by Austin Walker (@austin_walker) Featuring Janine Hawkins (@bleatingheart), Ali Acampora (@ali_west), and Andrew Lee Swan (@swandre3000) Produced by Ali Acampora Music by Jack de Quidt (@notquitereal, available on bandcamp) Text by Austin Walker Cover Art by Craig Sheldon (@shoddyrobot)

Xena breaks our hearts with a funeral dirge, & Gabrielle gets thrown in the stocks for helping a lovestruck prince!MEANWHILE Justine researches the original star-crossed lovers, Pyramus & Thisbe! AND we learn the truth about Mizentius: the Etruscan King/“Contemptor Divum” (DESPISER OF THE GODS)! AAND Hayley tells us about the beautiful Nereid Panope! AAAND about ancient Greek Funerary practices! for visuals on this episode, and every episode, follow us on Instagram @IATOAG_TheXenaPodcast

In this episode we talk two tales of two lovers. Starting out is Pyramus and Thisbe who met through a glory hole?! And later we draw the parallels to the most well known doomed star-crossed lovers story: Romeo and Juliet. That once again proves Shakespeare stole it from the French, who stole it from Italy, who stole it from Greece, who stole it from Babylon. Drunk Mythology is a podcast created by Krista and Christian, recounting the feats and failures of world Mythology, with a few drinks along the way. Drunk Mythology is a podcast created by Krista and Christian, recounting the feats and failures of world Mythology, with a few drinks along the way.

The play revolves around the adventures of four young lovers, a group of amateur actors and their interactions with the fairies who inhabit a moonlit forest. The story takes place in Midsummer and is a complex farce featuring Hermia and Lysander, Helena and Demetrius. Their romantic intrigues are confused and complicated still further by entering the forest where Oberon King of the fairies and his queen Titania, preside. Puck (or Robin Goodfellow) is a major character who is full of mischief and tricks. Other visitors to the enchanted forest include Bottom, the Weaver and his friends Snug, Snout, Quince and Flute, the amateur dramatists who want to rehearse their terrible but hilarious version of the play Pyramus and Thisbe. Recorded on location in 22 acres of Sussex woodland, this production has an all-star cast. Director: Celia de Wolff Music by Stephanie Nunn Titania ..... Lesley Sharp Oberon ..... Toby Stephens Peter Quince ..... Robert Pugh Nick Bottom ..... Roger Allam Puck ..... Freddie Fox Theseus ..... Nicholas Farrell Hippolyta ..... Emma Fielding Lysander ..... Joseph Timms Demetrius ..... Ferdinand Kingsley Hermia ..... Emerald O'Hanrahan Helena ..... Anna Madeley Egeus / Starveling ..... David Collings Philostrate / Snug ..... Nicholas Boulton Fairy ..... Sara Markland Francis Flute ..... Sam Alexander Tom Snout ..... Sam Dale Peaseblossom ..... Jessica Sian Cobweb ..... Jay Carter Moth ..... Tressa Brooks Mustardseed ..... Stuart Walker.

Pyramus and Thisbe, an Ovidian Shakespearean romance. CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing. Sources: Ovid's Metamorphoses translated by Allen Mandelbaum. Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this special holiday gift guide edition of Original Podcasts Episode 32, Satoyama Homestead stewards Sarah and Will share updates from winterizing the bee yard, attempts to reintegrate the chickens, and celebrate the winter bounty of the edible landscape. Will explains insulating the beehives with tar paper to regulate temperature and humidity during the winter. Sarah describes the flock dynamic since Mayapple has achieved empty nester status (correction: her literary reference should be to the Pyramus and Thisbe myth, not Tristan and Isolde!). We then share recipes for stewing hens and venison, highlight scientifically-proven home remedies for the flu recommended by Consumer Reports, and recommend cross-over gifts for the homesteader or aspiring homesteader on your holiday gift-giving list. We end the show with a fun new feature - dramatic, stylized readings of heirloom plant descriptions from 2018 seed catalogs. Links: 'Poultriculture' used in an 1889 Pacific Rural News letter to the editor: https://cdnc.ucr.edu/cgi-bin/cdnc?a=d&d=PRP18890406.2.7.10&e=-------en--20--1--txt-txIN--------1 Pyramus and Thisbe myth: http://www.mythencyclopedia.com/Pr-Sa/Pyramus-and-Thisbe.html Jamie Oliver's Chicken in Milk: http://www.foodnetwork.com/recipes/jamie-oliver/chicken-in-milk-recipe-1951585 Consumer Reports How to Soothe Miserable Cold and Flu Symptoms: https://www.consumerreports.org/drugs/how-to-soothe-miserable-cold-and-flu-symptoms/ Leatherman Multi-Tool: https://www.leatherman.com/ Lancaster Online - Hunter Finds Dead Buck with Massive 12-point Antlers in Lancaster County http://lancasteronline.com/news/local/hunter-finds-dead-buck-with-massive--point-antlers-in/article_06c8623e-c939-11e6-92ed-7bc53d4e7a09.html Gorilla Carts: https://gorillacarts.com/ Find an Army Navy Store near you: https://localarmynavy.com/ High Mowing Organic Seed Catalog: https://www.highmowingseeds.com/ Southern Exposure Seed Exchange: http://www.southernexposure.com/catalog/sese-catalog-2018-for-web.pdf Sow True Seed: https://sowtrueseed.com/

Wesley: Hi, I’m Wesley.Robyne: and I’m Robyne.Wesley: and this is Obstructed View. Robyne: Today we’ll be discussing A Midsummer Night’s Dream presented by the Pearl Theatre Company and the Hudson Valley Shakespeare Festival. Wesley: For those of you who don't know the play, we've added a link to the plot summary as well as a performance. This particular production by the Hudson Valley Shakespeare Festival, used only five performers to tell the whole story. Those Performers are Mark Bedard, Sean McNall, Jason O'Connell, Joey Parson, and Nance Williamson. Robyne: We're gonna start off today discussing design. Our scenic designer was John McDermott, our costume designer was Jessica Wegener Shay, our lighting design was by Eric Southern, and sound design by Mikhail Fiksel. Wesley why don't you start us off?Wesley: The design work was very bare and sparse in terms of the scenic design. You got to see the back wall of the theater, and the stage was bare of any scenic element.Robyne: I found the scenic design to not quite be minimalist but barren.Wesley: The scenic design really tried to fight for the empty space sort of feel and the groundwork, the stage was covered with a bunch of pebbles-Robyne: or sand.Wesley: and there was neon tape, multicolored neon tape placed around the set. And hanging from the rafters in the upstage area, was a blue amorphous curtain like thing -Robyne: Yeah, it took me a while, but I really fell for the scenic design with the exception of that hanging back material, which I didn’t really see a purpose in, other than as a place for them to light. I really liked the bareness of the stage with the concept they were going for, at the same time I didn’t like the concept they went for.Wesley: Fair. I mean for me, the bareness of the stage made sense. I liked actually almost the entirety of the design on principal when I walked into the theater.Robyne: Yeah.Wesley: When I sat down I was excited for the performance we were about to see. I don’t think that the set elements necessarily meshed with the performers and the work they were doing on the same level. I think they were both well done but I didn’t see a unification of the two aesthetics.Robyne: Yeah, I really felt that there was no cohesion between the designs. I got the sense that the lighting, costume, and scenic, were all at least aiming for the same world, but not all in the same realm, if that makes sense, at least product wise. Design-wise, they may have all been on the same page. But the sound design, it was very barren, not in the same sense that the stage was, it was very lacking. There was not a lot of it. A lot of the sound was created by the performers. Which I get, but the choices that were made in the intermission, pre-music, and post show were all very non-cohesive.Wesley: And I do think a lot of that is based off of what I was reading the pearl theatre’s dramaturge about midsummer, which was that this is a dream world where times collide. It’s sort of like from The Frogs “The setting, Ancient Athens, the time, The Present Day.” That sort of dream sense you have when you walk into your house, and for some reason, you know it’s France. And I think they’re trying to get that sort of disjointed feel, however, I think that the design work really spoke for the directorial concept, but it didn’t really add much to the conversation of A Midsummer Night’s Dream.Robyne: Yeah, I just didn’t feel that the Dream aesthetic meshed. I didn’t feel as if I was in a dream. Somewhere between the - I’m really sorry Jessica, I hated those costumes, the jumpsuits with the neon strips, seemed really out of place and only there to be utilized by the lighting designer’s use of the neon lights, the black lights, which were fine every once and again but that’s how they communicated that magic was being done and that felt really kitschy and unstylized, to me, it felt sophomoric really, in it’s “NOW we’re doing magic” feel to it.Wesley: So, I think that this production takes after the Peter Brook 1970’s production of Midsummer Night’s Dream that came to New York City. If you don’t know the Peter Brook production, it was a legendary production in which he put all the actor’s inside of this white box set and using as minimal use of design techniques as possible, told the whole story of A Midsummer Night’s Dream. And a lot of directors since then have taken on Peter Brook’s sort of minimalist aesthetic and deconstructed story telling to create this “Theatre is Magic” kind of feel. The problem is I don’t feel as though the aesthetic, especially in the neon, with the jumpsuits, with the costumes, were brought to the present day. They felt very 1980s, very 1970s, and sort of what post apocalyptic was suppose to feel like in 1983.5:00Robyne: It really felt to me like a hip-hop 80s artist experiment with neons and black lights. And I harp on that in the lighting design because there were moments in that lighting design that were absolutely gorgeous. For the most part, the lighting was fantastic, there were two or three really distinct moments, in the getting lost in the woods scene, -Wesley: Loved it, yeah.Robyne: - that were gorgeous, absolutely gorgeous. And then it just felt like, I almost want to blame the director, Eric Tucker, for these moments of ‘and then I need this to happen,’ and so we had a flash of that neon magic, that was so unnecessary, and could have been conveyed in such a better manner.Wesley: The moments of lighting design that were really articulate about the world these characters are going through were incredible; especially this one scene, as you said, where they’re lost in the woods and everything goes dark, and we just get side lighting and every once in a while they pop up and you see their face then they disappear. It was beautiful. Once again, much like the scenic design, I thought the lighting design was, on it’s own merit, incredible. I enjoyed the neon, I enjoyed those moments of magic. I think a lot of power was given to those magically moments. Most people do Midsummer just for the mechanicals nowadays because they are hilarious and it’s really easy to get involved with them. It was nice of them to makes us care about the plight of Titania, the plight of Oberon, and to put that as sort of ethereal nature into their lighting design. However, there were a couple of choices that felt purely aesthetic for me and that didn’t articulate this world as well as others – the couple bars of neon on the back wall that didn’t transport me the way that when everything went dark as they’re lost in the woods, as you were talking about, that was a transportive moment.Robyne: Absolutely.Wesley: Even when Puck took the lights away, that was a moment of theater magic, for lack of a better term.Robyne: Absolutely, and then you had things like the natural sound of them running over that sandy pebble pit that really, in the darkness, gave you that sense of loss and confusion that was amazing.Wesley: There were just points that really felt as though they were painting, rather than producing a production of Midsummer.Robyne: There was a lot of concept put ONTO this production rather than concept drawn FROM this production.Wesley: The only point that never really meshed for me was the, and I’m once again sorry Jessica, but those costumes just baffled me as to how they fit in this world with these performers. Unless these costumes were suppose to be a commentary on 1980s underground theater troupes, which they kind of got to at the end with the mechanicals play and this sort of self-referential jab. But with how streamlined and how finished and how developed everything else was, to be Midsummer, those remained lagging in unfulfilled concept.Robyne: As we mentioned before, I loved all of the performers.Wesley: Yeah.Robyne: And it really felt like there were two different worlds. I said to Wesley as soon as we stepped out that this production definitely proves that you can do Midsummer with five people; I just don’t know why you would, if you can get a full cast. That being said, there were some phenomenal performances.Wesley: So using this cast of five, their breakdown was – Sean McNall playing Theseus, Peter Quince, and Demetrius, Jason O’Connell playing Puck, Bottom, and Aegeus, Nance Williamson playing Hippolyta, Helena, a fairy, Robin Starveling, and half of Snug the Joiner, Joey Parsons playing Hermia, Titania, and Tom Snout, and Mark Bedard playing Lysander, Oberon, Francis Flute, and Snug the Joiner.Robyne: My main issue with the performances I believe comes from the direction, that there was a lot of gross generalization and stereotypical, archetypal performance for minor characters to distinguish them in the on-stage transitions that happen that could have been much more easily conveyed through costumes. Wesley: Often what happens with double casting much less quadruple or even more casting is that you get broad generalizations in characterization. You don’t really get as much nuance and personality from each of these characters because they’re doing quick changes in front of you and that you need to be able to identify that these are new people every time. It’s fun story telling very often; there are a few times it doesn’t come fully to fruition. I would say everyone in the cast has at least one character they were able to knock out of the park.Robyne: Absolutely. Sean McNall’s Theseus was great.Wesley: Yeah. I really think that Jason O’Connell’s Bottom, especially during Bottom’s Dream was beautiful.10:00Robyne: That is one of the best, if not THE best, performances of Bottom’s Dream I have ever seen. Wesley: Yeah, it really grounded that character, which was needed by that point in time. Nance Williamson, she was a lot of fun in a lot of things. I’m trying to think of what I preferred her in, but I think just her variety really spoke for her. Going from Hippolyta to Helena to Robin Starveling, though I really like her emotional grounding of Helena, personally. Robyne: And the age difference really brought an interesting texture to that casting of the four lovers.Wesley: Yeah, so, the whole cast was of various ages, of various backgrounds, they don’t -Robyne: it was an interestingly diverse cast, in a way that I had not expected it to be. Upon the actors initial entrance I felt that it was a very white cast, but in just a very few moments, that disappeared for me. Their variety and diversity came from other aspects of their personages.Wesley: So also, you have Mark Bedard, who I really enjoyed as Oberon when he was playing with Puck, it really was a good counterbalance there. He was great as Francis Flute and Thisbe, with his little voice, I mean, that was a lot of fun for me. Robyne: I really liked him as Thisbe; I did not care for him as Francis Flute.Wesley: Joey Parsons playing Hermia, Titania, and Tom Snout – I can’t even point out which one was supposed to be the best because they were all so great.Robyne: This was Joey Parson’s show.Wesley: YeahRobyne: She stole it.Wesley: To be fair, she really meshed well with the mechanicals, she meshed well in the fairy world, not a scene stealer by any account; but her Titania was fantastic. It was so well formed.Robyne: Joey really brought out the best in her fellow cast, which is fantastic to see.Wesley: And it’s amazing that I was able to believe her as both the fan girl turned lover in Tom Snout, but at the same time this frightening and incredible magisterial Queen of the fairy world.Robyne: She gave Titania a real depth in not only conveying this thousands-year-old Queen of these immortal beings that have magic, but she at a moment broke when Bottom made a joke, and she giggled at him, and that is almost something you never see. You never see that real softness, it’s usually just a lust for Bottom, rather than the Love-in-Idleness that it’s suppose to be; and Joey really brought that out in this production. Wesley: I believed that she loved him. I believe that she fell for Bottom, not just in a sexual aspect but because she was enamored with him.Robyne: Yeah. That being said, the Puck-Bottom pairing was hard to swallow at times. Puck is a very high-energy character; if not played more mischievous. He kind of comes off as just an ass. Bottom can also be played as a very egotistical ass, which he was in this production as well. But when you have the same actor playing Puck and Bottom, it can really bring out the worst in both those characters. Finding those uniquenesses between the two can be very difficult.Wesley: Puck in particular, because while Bottom learns something and goes through Bottom’s Dream, and we get this moment of grounding with him that then transports us into the mechanicals play; sure there’s a couple of moments with Puck where he swallows his pride next to Oberon, but I wouldn’t say there’s any real point of learning with the character. He remained the mischievous fairy that he was in the beginning.Robyne: and while that can be fine in most productions, I didn’t get a real clear sense that Oberon was in charge of Puck, I didn’t see the fear in Puck of Oberon.Wesley: For me, it was just, they were asking for this particular performance to be too much when they put both Bottom and Puck on him. Those are very high energy, high comedy characters, especially seeing as Jason O’Connell was performing them much like the Genie in Aladdin. Very much the Robin Williams-y, going from impression to impression to impression, which isn’t wrong, it makes sense for Puck, it absolutely makes sense for Puck to be able to do these things. Robyne: Especially with this anachronistic concept to it.Wesley: And to have Bottom play Pyramus like The Godfather.Robyne: Yeah.Wesley: Those are fun things to add in. When those things get meshed together they really can overwhelm the humor and overwhelm the subtlety.One thing that I really did enjoy that sadly began to dissipate near the end of the production was that, when we first entered the fairy world, with Nance Williamson playing the fairy opposite Puck, I got a sense that these were creatures to be feared, and I rarely see that. Fairies are now very often just these pretty figures that go around the stage as an excuse for costumers to show off, and it was nice to see the fairies as something to be feared as part of this pagan world that the forest represents.15:00Robyne: The Fay are, from European tradition, these terrifying creatures that live in the woods and play tricks on people, and steal children to eat them, and have their way with humans in the forests. I kind of got the sense for that in the initial interactions between Oberon and Titania that got really lost towards the end of the production.Wesley: One thing I really want to give them here though is, this is the first production of Midsummer Night’s Dream that I have ever seen in which I cared about the outcome of the Indian child. Robyne: Yes.Wesley: I always forget about the Indian child by the end of the play.Robyne: Titania and Oberon have a very Martha-and-George relationship where new items tend to become weapons. But Joey Parson’s Titania really brought that emotional value of what that child meant to her and I loved that, that is something that gets completely forgotten about in most productions.Wesley: And also, Oberon’s apathy – “I’m bored, I want another member of my posse.” But this sort of surprise at the stakes Titania has regarding what this child means to her, it feels new for both of these characters.Robyne: Yeah.Wesley: And that was a fun entrance into the world of the fairy kingdom. And I think that that is added to by the fact that we get this disjointed staging where we go from all these different levels of worlds and stakes. That’s one thing that I think the director did very well, I think it was done very much in collaboration with this cast, but the disjointed set up, from going from the lovers to the royalty, to the fairy kingdom, to the mechanicals, you really got a sense of all the different layers in this world combining into one.Robyne: One of my issues with this production in particular was the first act felt as if it was a tribulation that was necessary to get to the fun of act two, which consisted of the lovers lost in the woods, the righting of Bottom and Titania, and the happy ending of the rude mechanicals and the nobles – which was the funniest I have ever seen that scene done. The gross juxtaposition of the actors judging their other characters performances was wonderful. That really made the show. Wesley: Well, also for Midsummer the first act has always been a necessary evil. If you read it, that first act, you like fly through it. There is no fat in that first act, it’s setting everything up to get you into the woods.Robyne: This just felt particularly trying.Wesley: Oh, no, it was very laborious and a lot of that had to do with the concept eeking its way into the actors’ position. The first part of the play I was thinking to myself, ‘what is this concept that I’m suppose to be grasping here?’Robyne: Yes.Wesley: Rather than really enjoying the play of the actors and what they were doing. Which, I think, that is what made the first part so laborious.Robyne: Well even that first scene was incredibly trying, where they started and stopped multiple times, with various actors portraying various characters in so many different referential styles. There was a 2001: A Spacy Odyssey entrance, in which they were all apes, and there was a southern accented entrance and we got that it was all referential, but it just set us on a very bad path for the rest of the productionWesley: Right and also for the fact that it was never brought up again really. There was a couple of points at intermission and at the end of the play, but there was never any other time in the meat of the piece where that kind of disjointed, cubist, multiple-referential framework was utilized. Now we got a lot of different forms, we got a lot of anachronisms, which are fine, but never on that level, so it really changed expectations for what was the reality of the piece we were going to see.Robyne: Right it started me off believing I was going to see a cocaine fueled, nightmarish, post-modern, Generation X, production and that’s not at all what we saw.Wesley: No. Now I do want to get back to the mechanicals and what you were saying about their scene. The mechanicals scene was hilarious, and a lot of that came from, and I do agree this is the best I’ve sen this dynamic used, between the nobles watching the work and the mechanicals performing the work. There were a lot of things that made the mechanicals a lot of fun, in particular their sort of self-referential, self-mocking sense of, “This is the Hudson Valley Shakespeare Festival coming to perform for the nobles. And it’s like change, change, change, each of them doing a real grotesque form of doing what they’d spent the whole playing doing, to tell this story. Throughout the whole play though, there was an added sort of sub-plot between Bottom and Joey Parson’s Tom Snout, who plays wall, where they slowly come to love each other or they become enraptured with each other.20:00Robyne: Where, where she becomes enraptured with him and he kind of just goes for it after he’s had the realization that he is lonely.Wesley: He is lonely but also she looks a lot like Titania.Robyne: Oh. Yeah.Wesley: So they added that in. And it’s difficult to add something like that in to a Shakespeare play and help it feel natural and make you feel excited about it. And I felt so excited for them when they started making out on the stage. And I was really enjoying that moment, a lot because I’d learned to love those two actors in those characters.Robyne: Right, my biggest issue, and maybe it’s there as a juxtaposition was the really ridiculous gay sex jokes that were out in with the whole Wall thing, talking and kissing through the wall, which was a guys crotch, it was so unnecessary.Wesley: And it didn’t match the levels that the rest of their staging met. Robyne: There were a number of times where we mixed high-brow with low-brow in this production and it made the low-brow sound so hollow because it wasn’t done well.Wesley: Yeah, there were a lot of gay jokes. There were a lot of poor interactions with the audience. There were a lot of anachronisms that -Robyne: There was that whole sex scene between Titania and Bottom that was not necessary.Wesley: It really felt desperate.Robyne: And Grotesque.Wesley: And it didn’t match what I think Titania felt for Bottom in what we saw in the scenes before.Robyne: yeah, and I’m all for a good Bacchanal but that, again, just rang hollow. Wesley: It seemed like performers trying to make people excited about Shakespeare by appealing to the lowest common denominator, which happens a lot in New York right now. It happens a lot in America right now.Robyne: I got the impression that we were suppose to excuse them for being rude mechanicals, but they didn’t earn that because of their treatment of the language and because of their level of skill was too high. They were not rude mechanicals in the least; they were some wonderful performers.Wesley: If this was suppose to have been possessing them to tell this story, as I think might have been the intention by that sort of epilogueRobyne: Right. There was a time warp epilogue at the end of the piece. After all the nobles retire to bed at midnight, the play rewinds for a second just to jump to the rude mechanicals rehearsing in the forest and Puck poseses them to deliver his final monologue, “if we be friends…” Wesley: “Robin will restore amends.” And then we all applaud and they look stunned at us as if they didn’t know they were performing for an audience this whole time. The difficulty with this is the difficulty with nearly any meta-performance which is, you start to then piece apart, “wait, if this was Puck the whole time, why was Puck using this poetic language? Why was Puck needing this performance to be told? How was this fun for Puck? What was Puck doing?” A lot of cracks came out of the plaster using this framework of the possessed performers.Robyne: And I felt that it was Eric Tucker just not being able to help himself with the direction. He just couldn’t leave well enough alone. He couldn’t trust that the production was doing what it was supposed to do.Wesley: If they would have ended with the mechanicals scene going then to Puck, I would have been happy for the whole cast then deliver Puck’s monologue. But if they would have ended with that sort of simplicity, it would have been a very different feeling leaving the play. But instead, I left a little baffled, and more irritated than curious. Robyne: Yeah, because I loved the ending up until that point and then they finished on that note and I left wondering why. Why? Why? Why did that have to happen?Wesley: And it didn’t excite me in the same way that the performes did.Robyne: And I can’t find a conceptual defense for it.Wesley: No, cause getting us in to intermission, they walked backwards off the set, and then getting us in to act two, they did the same exact thing, walking forward with some more wheel grinding and a lot of it was very impressive in terms of performance.Robyne: yeah, I’m sure that if you had recorded Bottom’s delivery and played it backwards it would be English.Wesley: It would be, probably, perfect verse, but-Robyne: It just didn’t need to exist.Wesley: The rest of it was so strong. The poetry was so strong. And Nance Williamson’s Helena – her delivery of sorrow, trying to chase after Demetrius was enough.Robyne: Yeah.Wesley: The performers put so much care into telling A Midsummer Night’s Dream that Eric Tucker’s concept became too much for it.Robyne: Which is not to say that his direction was terrible.Wesley: No.Robyne: There were moments where, while I did not at all care for what was happening on stage, I really appreciate how structured the, would you say post modern?Wesley: Oh yeah.Robyne: -movement styles were. The creation of Bottom and Bottom being completely lost while bound by his fellow actors – the actual, physical, human actors in this production not the actors in the production of Pyramus and Thisbe – was wonderful.25:00His sense of physicality as an ass, were wonderful. There were moments of the players leaving Athens in an elevator singing “Girl from Impanema,” that worked really well for me. And Just confused me as to why the other anachronistic pieces were not cut when they didn’t work and if they were recognized as not working.Wesley: This must have been very much devised. I can’t imagine that this was just a directing coming in going, “I know exactly how this is going to be staged, I know exactly what you all are going to be doing.” This clearly speaks well for collaborative theater. To have talented, very well seasoned actors playing and this director then parsing out what goes where and how best to tell the story. Those moments, they were cinematic moments with sharp cuts between places – with us being above people, and now below people, and now to the side of people – that were seamless and fun. The problem was when they got overshadowed by a looming concept.Robyne: And to me, directors are responsible for the end performances and it should have been up to him or a producer to have helped clean up those performances, to wipe away some of the stereotypical, archetypal mannerisms and vocal choices; unless that was the initial design, and then to work them further in. And there were things that just really irked me, like Demetrius’s Spanish. Not only his Spanish accent but his actual speaking of Spanish felt completely put on to this production. Egius’s homosexuality felt put on to this production. And I did not care for Snug the Joiner being this weird conjoined twin ‘Other’ thing.Wesley: So for me, Demetrius’s Spanish was enjoyable and made sense for the character, it didn’t seem so put upon. Egius’s homosexuality was just so broad, so unnecessary and didn’t really make sense for the character, I don’t really know howthey got to point B there. I loved Snug the Joiner. I laughed so hard. Just given how this is a world of such mania they’ve made, to have this sort of monster zombie come out, out of nowhere, it made no sense, and I thought it was hilarious. Especially given, always going back to her, Joey Parson’s reaction of “Oh God!” Every time, with terror. I mean, it just makes me laugh, every time. There was some diminishing returns there by the time we got to the final mechanicals’ scene. But we didn’t need that comedy adding in.Robyne: So Wesley, any other thoughts?Wesley: I think in general this is a, off/on production that stars some very incredible performances.Robyne: I completely agree. A Midsummer Night’s Dream runs at the Pearl Theater until October 31st. Wesley, my question is – Is the show worth the $65 ticket for non-members?Wesley: It is if you really enjoy seeing new versions of Shakespeare, but if your interests go anywhere beyond that I would say this is one to miss.Robyne: I would be very pleased if I saw this production at a $20 ticket.Wesley: Yeah, at La Mama. However, given that price, if you have the stakes to see deconstructed Shakespeare, or have made a hobby of seeing Midsummer or Shakespeare performances, this is one probably not to be missed.We hope you enjoy the podcast and that you will share your thoughts with us.Robyne: As always, you can find us and join the conversation on facebook at facebook.com/ObstructedViewPodcast, on twitter @Obstructed_View, on soundcloud at soundcloud.com/obstructedview, on tumblr obstructedviewpodcast.tumblr.com, or at Obstructed-view.comWesley: Special Thanks today goes out Ari Edelson, Alyssa Jenette, and Julian Fleisher for your love and support. This is Wesley.Robyne: And Robyne,Wesley: And remember,Robyne: Dream the Impossible Dream.

The Vibration of Love: What is it? How do we get it? What to do with it?   Storie of divine love, romantic love, family and friend love, loving thine enemies and so on have been some of the most popular stories retold through the thousands of years of recorded history. There has always been a focus on love since the dawn of time, why is that? From Romeo and Juliet, Cleopatra and Marc Antony, Pyramus and Thisbe, Jesus Christ's mission of love, Mother Teresa, etc and your own personal stories of the people you have loved most in your life. They all have a special place of joy, pain and history in our hearts. What if we could transform that pain with what got us there in the first place? What if we could practice Active Loving to heal our lives, and bodies? What if we could use this understanding to attract in not just romantic love, but love in all areas of our lives?    Join us to tonight for a discussion on Active Love to explore all of this and much more! :)  

The loose format of the Quixote allows for the incorporation of different stories and texts, such as the Camacho's wedding, which was going to be a play. The episode, a form of epithalamium based on the myth of Pyramus and Thisbe, states one of the main themes of part two, that art corrects nature. As a way of turning deceit, which would normally lead to disillusionment, into a happy ending, in Camacho's wedding episode art helps nature to attain good ending. González Echevarría claims that in this episode there is a subtext in which marriage is not only a legal institution but also a transcendental metamorphosis of matter, or transubstantiation. The literal blending of bloods that makes marriage indivisible is echoed here through what González Echevarría calls 'the itinerary of blood.' In the interpretation of the myth Cervantes resembles Velázquez in that they both show the inner recesses of representation: they show creation as a layered process that ultimately involves the real.

The loose format of the Quixote allows for the incorporation of different stories and texts, such as the Camacho's wedding, which was going to be a play. The episode, a form of epithalamium based on the myth of Pyramus and Thisbe, states one of the main themes of part two, that art corrects nature. As a way of turning deceit, which would normally lead to disillusionment, into a happy ending, in Camacho's wedding episode art helps nature to attain good ending. González Echevarría claims that in this episode there is a subtext in which marriage is not only a legal institution but also a transcendental metamorphosis of matter, or transubstantiation. The literal blending of bloods that makes marriage indivisible is echoed here through what González Echevarría calls 'the itinerary of blood.' In the interpretation of the myth Cervantes resembles Velázquez in that they both show the inner recesses of representation: they show creation as a layered process that ultimately involves the real.

Listen to the cast of this NRT production to learn more about this William Shakespeare classic story of love, mischief and enchantment. "A Midsummer Night's Dream" is one of the greatest comedy plays by William Shakespeare. The play revolves around the adventures of four young lovers, a group of amateur actors and their interactions with the fairies who inhabit a moonlit forest. The story takes place in Midsummer and is a complex farce featuring Hermia & Lysander and Helena & Demetrius. Their romantic intrigues are confused and complicated still further by entering the forest where Oberon, the King of the Fairies and his Queen, Titania, preside. Puck (or Robin Goodfellow) is a major character who is full of mischief and tricks. Other visitors to the enchanted forest include Bottom the weaver and his friends Snug, Snout, Quince and Flute, the amateur dramatists who want to rehearse their terrible but hilarious version of the play Pyramus and Thisbe. THREE PERFORMANCES: Thursday, April 9 Friday, April 10 Saturday, April 11 All shows are at 8 pm in 111 Forum! Free!! Starring... Anthony Arbaiza Ashley Arbaiza Callie Hanau Alex Jones Adam Bouc Katherine Leiden Ryan Bergman Hilary Caldwell Mark Celeste Lauren Valasa Ted Chylack Katie Bucaro Nicole Wells Eric Furjanic Directed by Andrew Jen Assistant Directed by Laura Herrmann **The show is approximately 2 hours long, with a 10-minute intermission. Poster Design by Ashley Arbaiza

A Mirare recording of the opera Piramus and Thisbe by François Rebel and François Francoeur, and an Alpha release of music by Francoeur with Ensemble Ausonia.

Oregon Shakespeare FestivalCostumes, props, sets, Shakespeare. What goes into putting together the Oregon Shakespeare Festival in Ashland? We tell you some of what we learned on the backstage tour at the Festival (a tour conducted by veteran Festival actor Rex Young), including an inside glimpse of the Elizabethan Stage (America's first Elizabethan theatre), the Angus Bowmer Theatre (named after the Festival's founder) and the New Theatre. Begun in 1935, the Oregon Shakespeare Festival runs 11 shows in three theatres from February through October every year. This year 82 actors protrayed 195 characters in close to 800 shows. Each actor plays 2 to 3 roles and understudies one to two other parts. And for every actor that you see on stage there are 4 people working backstage designing and building the costumes, sets, lights, and making the magic happen. More information about the Oregon Shakespeare Festival Zephyr Haunts Ashland and TumwaterScience Works Museum in Ashland offers hands-on educational (and fun!) exhibits for children, including the paper airplane launcher for flying airplanes they have been taught to make. A special exhibit of toys and games is coming soon, as is a Halloween haunted house which Zephyr helped design - having recently contributed his talents to a much larger attraction called Twilight's Terror in Tumwater, Washington. Romeo and Juliet (The Four Minute condensed comical version) William Shakespeare's classic tragedy about star-crossed lovers from dueling clans has roots in the Greek legend "Pyramus and Thisbe" (which he also invoked in "A Midsummer Night's Dream") and has inspired books, plays, movies and tv shows throughout the ages. Variations of this tale exist in many other cultures as well; a hit song on the radio in the Sixties called "Running Bear and Little White Dove" related a similar story involving Native Americans from warring tribes. "Romeo and Juliet" illustrates Shakespeare's extraordinary ability to transform a borrowed plot into something wholly original, and uniquely his own. And coming up for 2007 our own national tour of "Shakespeare Shazam", an introduction to the Bard's work. We act out passages from such Shakespearean masterpieces as "Romeo and Juliet", "Macbeth", and "Hamlet", in both the original version and modern English. More about Shakespeare Shazam Happy Listening, Dennis, Kimberly and Zephyr