Podcasts about Weaving

We live in a moment when the working class is fractured along a great many lines. Gone are the days of solidarity built around a shared experience of factory work that formed the bedrock of Karl Marx's analysis of class struggle – and his vision of emancipation. Meanwhile in the halls of power, elites in our politics have failed for decades now to really grasp what people in Britain care about and need – resorting to lame stand-ins such as ‘Mondeo man' and ‘Stevenage woman', Farage's new favourite: ‘alarm clock Britain'. What are they missing? Lived experience, apart from anything else. On Downstream this week, Ash Sarkar sat down with campaigner and author Jonas Patrick Marvin to discuss his new book ‘The Breaking of the English Working Class'. Weaving autobiographical detail with political theory, Marvin tackles head-on the class forces that have shaped his own life. Why can't people born in London afford to stay and build lives there? Who gets to define themselves as working class, and on what grounds? How should the left respond to rising anti-immigration politics? Why has the working class become so fragmented, and what can be done to repair it?

In this episode, Chris Cochrane guest-hosts for his brother Ray and devotes the whole show to one event: Disney’s D23 2026 fan convention in Anaheim. Friday night delivered Marvel’s new X-Men cast, Adam Driver as Mister Sinister, a fresh Avengers: Doomsday trailer, and a release date for Frozen 3. Saturday turned to the parks, with Villains Land, an Indiana Jones dark ride, the long-awaited Expedition Everest yeti repair, and a Monsters Inc land opening in 2027. – Want to start a podcast? It’s easy to get started! Sign up at Blubrry – Thinking of buying a Starlink? Use my link to support the show. Subscribe to the Newsletter. Email Chris if you want to get in touch! Like and Follow Geek News Central’s Facebook Page. Support my Show Sponsor: Best Godaddy Promo Codes Get 1Password Full Summary Chris Cochrane opens the show and explains why this episode breaks the usual format. Instead of six or eight unrelated stories, the entire episode covers Disney’s D23 convention, which he compares to Apple’s WWDC. For newcomers, he notes that D23 is Disney’s official fan club, named for the company’s founding year of 1923. This year’s event ran two nights at the Honda Center: Friday for movies and television, Saturday for the theme parks. Marvel Finally Casts the X-Men Friday’s headline was the X-Men. The Associated Press put the crowd near 12,000, and Marvel Studios used that stage to name its rebooted team. Christopher Abbott plays Professor Charles Xavier, Inde Navarrette plays Rogue, and Maya Boyd plays Storm. Adam Driver rounds out the group as the villain Mister Sinister. Meanwhile, Samara Weaving, Kit Connor, and Sadie Sink were already known as Emma Frost, Cyclops, and Jean Grey. Jake Schreier directs, and the film arrives May 5, 2028. Chris calls the lineup spot-on casting. He singles out Weaving as a perfect match for the comics, and he points out that Sink already appeared as Jean Grey in Spider-Man: Brand New Day. Navarrette is the least established name, coming off a breakout role in an indie horror film. Boyd, meanwhile, was the name he knew least, with what he believes is a Broadway background. Above all, Chris hopes Marvel does the team justice, and he recommends the animated revival X-Men ’97 on Disney+ as the best place to start. Frozen 3 Gets a Date and a Chaotic Reveal Frozen 3 lands November 24, 2027. That is the Wednesday of Thanksgiving week, the same slot the first two films used. The story centers on Anna and Kristoff’s wedding, which a new villain, an evil Ice Queen, disrupts. Jennifer Lee returns to direct with Trent Correy, and the full voice cast is back. However, the reveal itself fell apart. Kristen Bell and Idina Menzel performed a darker arrangement of “Frozen Heart.” Meanwhile, the audio failed, the video failed, and a set of doors never opened. Menzel asked the crowd whether they should try it again, and Bell simply narrated everything that was supposed to happen. Afterward, Josh Gad sang “Oooh, Samantha,” a new love song for Olaf. Chris is here for it, since Olaf is one of the franchise’s best comic characters. Pixar, Disney Animation, and the Rest of Friday Night Pixar chief Pete Docter laid out a packed slate. Incredibles 3 hits summer 2028 and follows Violet and Dash sneaking out at night to fight crime. Chris hopes that finally shows a grown-up Jack-Jack. Coco 2 follows in November 2029 with Benjamin Bratt returning as Ernesto de la Cruz. That has fans puzzling over how a villain already in the Land of the Dead comes back. Additionally, Pixar showed an original called Ghost Market and a Venice-set cat film called Gatto. On the Disney Animation side, Zootopia 3 is confirmed. The live-action Tangled arrives March 31, 2028 with Kathryn Hahn as Mother Gothel. Chris considers that casting perfect after her turn in Agatha All Along. A live-action Lilo & Stitch sequel, a new Simpsons movie, a Bluey movie, and a Kingdom Hearts anime series round out the list. For Star Wars fans, Ahsoka returns January 20, 2027. Chris also offers a hot take: he prefers Rogue One to the entire sequel trilogy. Consequently, he welcomes original stories like Ryan Gosling’s upcoming Starfighter. Adam Driver Is Mister Sinister Driver appeared by video rather than in person. He told the crowd that he and Kevin Feige had talked for years about joining the Marvel Cinematic Universe. Then he announced he would play Magneto. After a long pause, he corrected himself to Nathaniel Milbury, which is Mister Sinister’s human alias. The gag landed because fans had floated Driver for Magneto for years. For anyone new to the comics, Chris explains that Mister Sinister is a geneticist obsessed with mutant DNA, a manipulator rather than a brawler. The cast met backstage only minutes earlier, so Chris is curious how their chemistry develops. Notably, Christopher Abbott previously worked with Driver on HBO’s Girls. The script comes from Beef creator Lee Sung Jin and The Bear co-showrunner Joanna Calo, two prestige-television names that have Chris excited. Why the X-Men Took Thirty Years to Reach the MCU A business story underlies the casting. In the 1990s, a financially struggling Marvel sold film rights to raise cash. Fox ended up with the X-Men and the Fantastic Four, and Sony took Spider-Man. As a result, Marvel Studios built its connected universe from 2008 onward without some of its most famous characters. The Hugh Jackman era of X-Men films belonged to Fox, with a separate continuity and no crossovers. That changed in 2019, when Disney closed its $71 billion purchase of 21st Century Fox’s film and television studio. Most coverage framed the deal as a streaming play, but it also brought the X-Men home. Chris sums it up neatly: Disney signed the paperwork in 2019, cast the film in 2026, and audiences see it in 2028. Ryan Gosling’s Starfighter, Ghost Rider, and VisionQuest Lucasfilm dated Star Wars: Starfighter for May 28, 2027. Gosling plays Kade Auberon, a pilot from the wrong side of the galaxy tied to the fastest starfighter ever built. Before he walked out, Disney played clips of him as a kid on The Mickey Mouse Club. Gosling said the company changed his life then and is changing it again now. He is also playing Ghost Rider in the Marvel universe. That thrills Chris, since Nicolas Cage last carried the character on the big screen. Meanwhile, the Disney+ series VisionQuest arrives October 14. Paul Bettany returns as Vision and James Spader as Ultron, and the trailer drops the two androids into oddly mundane human situations. Bettany joked that Vision has “rather inconveniently died several times.” Chris agrees the character has been through the wringer since WandaVision. The Avengers: Doomsday Trailer Avengers: Doomsday opens December 18, with Joe and Anthony Russo directing. Robert Downey Jr., Chris Evans, and Hayley Atwell introduced the new footage. It offers the clearest look yet at Downey as Doctor Doom, who fights off Thor and takes his hammer. Evans appears as Captain America holding a baby, and Ian McKellen shows up as a haggard, long-haired Magneto. One quieter shot has Doom staring at a portrait of a lost wife and child. That frames him as a grieving avenger rather than a world-ender. He also commands an army of comic-accurate Sentinels. The cast pulls from the Avengers, the Fantastic Four, and the legacy Fox X-Men, including Patrick Stewart. Hugh Jackman also appeared on screen to say he is willing to return as Wolverine, though that was not a confirmation. Chris, a self-described Marvel nerd, closes with a theory. He suspects the MCU’s Tony Stark was actually Victor von Doom, adopted by the Starks, which would explain the Downey casting. He also predicts the Fox-era X-Men die off in this film and that Thor may be the major casualty. If it happens, he wants credit for calling it. Sponsor: GoDaddy Economy hosting $6.99/month, WordPress hosting $12.99/month, domains $11.99. Website builder trial available. Use codes at geeknewscentral.com/godaddy to support the show. Disney Parks Around the World Saturday’s Disney Experiences showcase covered parks, resorts, and cruise ships, with Neil Patrick Harris hosting. Hong Kong Disneyland gets an Avengers pavilion that reshapes its Stark Expo skyline. Shanghai Disneyland is building the first land devoted entirely to Spider-Man, complete with a new coaster. Since Spider-Man is his favorite hero, Chris hopes to visit once it opens. Closer to home, Avengers Campus at Disney California Adventure is doubling in size with two rides opening in 2028. Avengers: Infinity Defense brings back Jeremy Renner, Anthony Mackie, Chris Hemsworth, and Downey, while Stark Flight Lab adds Brie Larson. A Coco boat ride into the Land of the Dead is also coming, with no height requirement. Chris admits he prefers California Adventure to Disneyland because the rides are better. Overseas, Disneyland Paris will retire its Star Wars Hyperspace Mountain overlay at the end of 2027 and restore the original Jules Verne theme. Paris also gets the first ride ever based on The Lion King. Tokyo Disneyland adds Sugar Rush: Sweet Rescue, the first Wreck-It Ralph ride, plus a Space Mountain launch sequence designed with YouTuber Mark Rober. Finally, Disney Cruise Line announced three more ships, including the Disney Believe in 2027 and an entirely new class in 2029. Back in Anaheim, Tomorrowland is getting reimagined, which Chris welcomes because the land badly needs an update. The Magic Happens parade and the Remember Dreams Come True fireworks are both returning. For the tech crowd, Millennium Falcon: Smugglers Run now has a Fortnite crossover, where in-game missions unlock content on the real ride. Every New Walt Disney World Ride and Land Chris ranks the Florida parks Hollywood Studios first, then Epcot, Animal Kingdom, and Magic Kingdom. Magic Kingdom leads the announcements with Villains Land, now the official name. It features a Maleficent coaster through an enchanted briar and a boat ride through the Evil Queen’s catacombs. Reporting puts its scale near Star Wars: Galaxy’s Edge, and Glenn Close appeared in character as Cruella to announce it. Piston Peak, the Cars area replacing Tom Sawyer Island, adds two more rides, though their exact names remain unsettled. Additionally, the Carousel of Progress gets new scenes and a recast. Jamie Lee Curtis and Bryan Cranston will voice Mom and Dad starting late spring 2027. Chris, invoking Heisenberg, calls Cranston the GOAT. At Animal Kingdom, the Indiana Jones ride now has a name: Indiana Jones and the Myth of the Jade Serpent. It tells an original 1950 story inside a Maya temple, and Harrison Ford personally served as the physical model for the animatronic. Nearby, the Tropical Americas land brings Antonio’s Fiesta de Encanto, with more than fifty animal animatronics and no height requirement. Then comes the fix park regulars have wanted for years. The Expedition Everest yeti broke soon after the ride opened. Rather than fix it, Disney lit it with a strobe for over a decade, earning the nickname disco yeti. Now it is being repaired and returned to full motion. Chris rates Everest among his top five rides anywhere, and he suggests riding it before the fix so you can compare. Over at Epcot, Spaceship Earth gets its first major story rewrite in nearly twenty years, shifting from communication history to human connection. Dreamfinder also returns to Journey Into Imagination, and Disney Experiences chairman Thomas Mazloum introduced that news with two words: “we heard you.” Mazloum added that Disney has more projects underway than at any point in its history. After this rundown, Chris believes him. Monsters Inc Land Opens in 2027 Monstropolis begins opening at Hollywood Studios in early 2027, but in stages. The headline door coaster will not be ready on day one. It is the first suspended coaster in any Disney park. It also uses Disney’s first vertical lift, hauling riders about forty feet straight up before launching them into the door vault. Instead, the land opens with the Glob Theater’s “Welcome to Monstropolis” show and Harryhausen’s, a working sushi restaurant lifted from the first film. The stage show features an original song by Randy Newman, his first ever written for a theme park attraction. Chris also notes that the restaurant name honors stop-motion legend Ray Harryhausen. Wrapping up, Chris names the X-Men casting and the Doomsday trailer as his favorite moments of the weekend. He hopes to cover more movie news on future shows, and he plugs Dune: Part Three, which also opens December 18. Chris signs off with the usual mentions: GNC Insider at geeknewscentral.com/insider, email at geeknews@gmail.com, the newsletter, and modern podcast apps at podcastapps.com. He also thanks GoDaddy for over twenty years of support. The post Huge Announcements From D23!! #1873 appeared first on Geek News Central.

L. Joy is back and she has another lesson for us, the occupants of the Office of the Citizen, that is timely and important. Today's topic: the responsibilities of the people at a time of war/global conflict and how Black political thought has long challenged people to understand freedom as a global struggle. Weaving together everything from Hip-hop culture, to Dubois, PanAfricanism, to Malcom X's international human rights agenda, and Constitutional powers, L. Joy proves that citizens are not powerless. There is plenty of actions to be taken now. 

What do you do when you meet someone who reminds you of yourself? You invite them on your podcast of course. And it feels like you're interviewing yourself.My guest in this episode is Jeannie Assimos, director of creative content for Maine Love Water Co. This is NOT a podcast about water, it's a podcast about how a winding and unique career path leads you to the right places... you just have to trust that things will work out in the end.Jeannie has had one of the most unique and exciting career paths of anyone you'll meet. She has some fun and crazy tales from her time at Entertainment Tonight and eHarmony, being the agent for her celebrity dog and lots more. We go off on a dozen fun tangents but it all leads the listener to some valuable life lessons compliments of Jeannie. Enjoy the pod.For more information & to connect with Jeannie: https://www.linkedin.com/in/jeannie-assimos-4547599/To follow the adventures of her dog Jonny Cash:https://www.instagram.com/jonnytheminpin/

In this episode of The Observatory, Samuel Beautysta joins the show to discuss the ancient art of Zapotec weaving and the living stories carried in each thread. Samuel, a traveling weaver from Oaxaca, Mexico, shares how his curiosity about identity and lineage led him deep into the Benizaa tradition, uncovering the meanings behind patterns, the natural colors drawn from the earth, and the symbols that honor life, death, and ancestry. He reflects on his family's response to his search for knowledge, his experiences traveling and teaching, and how weaving becomes a language that connects cultures and generations. Timestamps[02:31] How Scott and LaRae first met Samuel Bautista[05:36] Samuel's background information on the weaving culture and tradition[13:33] How things unfolded for Samuel after the curiosity of wanting to know who he is[19:02] Samuel's experience in the United Kingdom[20:10] The similarities of Samuel's culture to that of other cultures during his research[25:46] How Samuel's parents reacted to his journey of seeking knowledge about their tradition [29:11] How Samuel discovered the natural colours of weaving[38:43] Samuel's episode on The Reluctant Traveler Show about the Day of the Dead[49:27] Connecting to one another and the Mother Earth[55:34] How Samuel created a community of collaboration and co-creationNotable quotes:“History is always written with an agenda and a hidden power, like governments and institutions. It's up to us to answer questions for ourselves, who we are, our lineage, and our story.” - Samuel Beautysta [11:59]“When we start to discover that we are more similar than we are different, it changes our whole perspective on what our parents taught us.” - LaRae Wright [25:46]“To survive the hottest days of summer, you have to feed your roots, your ancestors, and remember your teachings.” - [43:25]“For us, instead of fearing death, we embraced it and added it to our symbols and rituals.” - Samuel Beautysta [50:38]“All the knowledge is lying dormant within you, just like a seed that is buried in the ground and ready to sprout. ” - Samuel Beautysta [01:07:42]Relevant links:Samuel Beautysta Website: https://dixza.com/Instagram: https://www.instagram.com/sam_dixza/?hl=enFacebook: https://www.facebook.com/dixzarugsSubscribe to the podcast: Apple PodcastsProduced by NC Productions

An interview with musician Roland Orzabal from the band Tears for Fears, discussing his new autobiography, Welcome to Your Life, where he tells his life story through the lens of astrology. In the late 1980s, Roland experienced a profound shift in his worldview, moving from the psychological belief that we are all born as "blank slates" to discovering the stunning accuracy of the natal chart. We discuss his deep dive into the subject and how understanding his Leo Sun and Capricorn stellium helped him navigate the intense pressures of global fame, the complex creative dynamics within Tears for Fears, and his challenging family history. What makes Welcome to Your Life so unique is that it serves as both a deeply personal, unfiltered memoir and an accessible introduction to astrology. During the episode, we pull up Roland's birth chart to track the major transits of his life, from the Jupiter-Saturn conjunctions that aligned with some of his biggest career milestones, to the heavy Pluto and Neptune transits that correlated with periods of profound personal loss, addiction, and eventual healing. Ultimately, this is a conversation about fate, free will, and how astrology provides a hidden language to make sense of our most difficult and triumphant moments. It was an honor to speak with a legendary musician who is also a dedicated, lifelong student of the astrological tradition. This is episode 545 of The Astrology Podcast. Get the Book The book came out on August 4, and it is available now in bookstores everywhere: Welcome to Your Life: Love, Death & Tears For Fears Timestamps 00:00:00 Introduction and Roland's new astrological memoir00:03:16 Discovering astrology and primal therapy in the 1980s00:10:55 Interpersonal astrology and synastry with bandmates00:16:36 Perspectives on fate, free will, and major Pluto transits00:20:57 Looking at Roland's birth chart and key placements00:25:26 The non-linear, Mercury retrograde style of the book00:28:13 The loss of his first wife and the astrology of meeting Emily00:33:02 Jupiter-Saturn conjunctions and signing the first record deal00:35:41 The first Saturn return and the split with Curt Smith00:46:24 Weaving astrological teachings into a mainstream memoir00:50:18 The astrology behind Songs from the Big Chair and The Seeds of Love00:53:40 Progressed Sun in Libra and experiencing a major life shift00:56:09 Thoughts on the Gary Jules cover of "Mad World"00:59:50 Childhood, his parents, and fourth house Uranian themes01:08:16 Neptune squaring the Ascendant and recovering from addiction01:17:31 How birth charts correlate with personal belief systems01:24:41 Major astrological influences: Liz Greene and Richard Tarnas01:28:55 Releasing an album on 9/11 during the Saturn-Pluto opposition01:32:34 Closing remarks01:32:42 End cards Watch the Video Version of This Episode https://www.youtube.com/watch?v=Z7miA6G8eqQ - Listen to the Audio Version of This Episode Listen to the audio version of this episode or download it as an MP3:

"Elders coming back that would have been part of passing forward that inter-generational knowledge, so thats the disruption is important to wider communities"

A mere year later, Samara Weaving is back on Collider Ladies Night. After many conversations in different interview formats, Weaving made her Ladies Night debut for the release of the wonderfully twisted comedy thriller Borderline in March 2025. In most cases, an actor would be lucky to dish out a film or two by the next year, but not Weaving. In just the last three months, she headlined three different movies. Even better? Every single one of them is fantastic.On March 20, Ready or Not 2: Here I Come hit theaters nationwide. Given the fact that the Ready or Not fanbase had been eagerly awaiting a sequel for seven years, the pressure was sky-high for it to deliver, and it did. Directors Matt Bettinelli-Olpin and Tyler Gillett far exceeded expectations with the new film. Soon after that, it was Jorma Taccone's remake of The Trip, Over Your Dead Body. Again, the pressure was on. The Trip came out a mere five years ago. Why do an American remake so soon? Like Ready or Not 2, the Over Your Dead Body team pulled it off. Taccone, Weaving, Jason Segel and the rest of the team managed to light up the screen with an edge-of-your seat genre bender that holds tight to its source material while giving it just enough of a fresh flavor to well justify another go-around with the story.A little over a month after Over Your Dead Body hit theaters, Weaving is giving us yet another gem — Carolina Caroline.From writer William Thomas Dean IV and director Adam Carter Rehmeier, Carolina Caroline stars Weaving as the title character. Caroline works as a gas station attendant in a small Texas town, but is itching for more. When she spots Kyle Gallner's Oliver pulling a clever con on her boss, sparks fly. Caroline packs up and hits the road with Oliver, learning everything she can about pulling off lucrative scams. With each success, their crimes get bigger, making it more and more difficult to keep clear of the authorities.With Carolina Caroline now playing in select theaters, Weaving returned to Collider Ladies Night to discuss her experience making the film, and to explain why this particular chapter of her career feels different. Hosted on Acast. See acast.com/privacy for more information.

We are back from our adventure at The Newbury School of Weaving. We had a fabulous time and have a lot to say, evidenced by an unusually long episode. Plus, our usual project updates. Full notes with photos and links can be found in the podcast section of our shop website: TwoEwesFiberAdventures.com Join the community on Ravelry or become a patron and support the show on our Patreon Page. Subscribe on Apple Podcasts or Subscribe on Android. Marsha's Projects Foundation Blanket: I chose to make the Cross Bar Check blanket using Harrisville wool in the colors Loden Blue and Mustard. Need to make fringe and wash. Dimity, Diaper, Damask Blanket: I wove a blanket using 5 colors of warp and a single color of weft. I wove a bird's eye twill which falls in the Diaper category. Need to make fringe and wash. Trillium Lake by Kay Hopkins: Using Queensland Collection Coastal Cotton Fine. I'm so close to finishing. Finished the second sleeve but there are two to many rows and it looks odd. Need to rip back. Spindrift Shawl by Helen Stewart. Using by handspun from a braid by Alexandra Art of Yarn Mellow Mood Top: by Julia Piro. Using Queensland Collection Eco Twist in the colorway Crimson Canyon. Not going to make it. Can't face another cotton tee right now. Socks: Using Madeline Tosh sock in the colorway Plum Tree. Finished first sock and cast on second. Silver Bags: Sewing bags with pacific cloth to protect silver. Sounds posh.

Scott Peeple's How Many Roads: A Life of Bob Dylan (Reaktion, 2026) chronicles Bob Dylan's rise from apprenticeships in Minneapolis cafés and Greenwich Village folk clubs to international stardom as a breathtakingly original songwriter and singer. Scott Peeples follows Dylan through decades of radical shifts in his writing, recording and performing styles, from the intimate lo-fi Basement Tapes to the musical collage art and apocalyptic blues of the twenty-first century. Spanning Dylan's entire career, How Many Roads illuminates Dylan's deep respect for tradition alongside his artistic restlessness, a combination that extends into his prose writing, filmmaking and visual art. Weaving lucid analyses of Dylan's major albums and live performances into a briskly paced biographical narrative, Peeples offers newcomers and Dylan die-hards alike a fresh perspective on the most compelling and challenging popular performer of our time Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Scott Peeple's How Many Roads: A Life of Bob Dylan (Reaktion, 2026) chronicles Bob Dylan's rise from apprenticeships in Minneapolis cafés and Greenwich Village folk clubs to international stardom as a breathtakingly original songwriter and singer. Scott Peeples follows Dylan through decades of radical shifts in his writing, recording and performing styles, from the intimate lo-fi Basement Tapes to the musical collage art and apocalyptic blues of the twenty-first century. Spanning Dylan's entire career, How Many Roads illuminates Dylan's deep respect for tradition alongside his artistic restlessness, a combination that extends into his prose writing, filmmaking and visual art. Weaving lucid analyses of Dylan's major albums and live performances into a briskly paced biographical narrative, Peeples offers newcomers and Dylan die-hards alike a fresh perspective on the most compelling and challenging popular performer of our time Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Scott Peeple's How Many Roads: A Life of Bob Dylan (Reaktion, 2026) chronicles Bob Dylan's rise from apprenticeships in Minneapolis cafés and Greenwich Village folk clubs to international stardom as a breathtakingly original songwriter and singer. Scott Peeples follows Dylan through decades of radical shifts in his writing, recording and performing styles, from the intimate lo-fi Basement Tapes to the musical collage art and apocalyptic blues of the twenty-first century. Spanning Dylan's entire career, How Many Roads illuminates Dylan's deep respect for tradition alongside his artistic restlessness, a combination that extends into his prose writing, filmmaking and visual art. Weaving lucid analyses of Dylan's major albums and live performances into a briskly paced biographical narrative, Peeples offers newcomers and Dylan die-hards alike a fresh perspective on the most compelling and challenging popular performer of our time Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Scott Peeple's How Many Roads: A Life of Bob Dylan (Reaktion, 2026) chronicles Bob Dylan's rise from apprenticeships in Minneapolis cafés and Greenwich Village folk clubs to international stardom as a breathtakingly original songwriter and singer. Scott Peeples follows Dylan through decades of radical shifts in his writing, recording and performing styles, from the intimate lo-fi Basement Tapes to the musical collage art and apocalyptic blues of the twenty-first century. Spanning Dylan's entire career, How Many Roads illuminates Dylan's deep respect for tradition alongside his artistic restlessness, a combination that extends into his prose writing, filmmaking and visual art. Weaving lucid analyses of Dylan's major albums and live performances into a briskly paced biographical narrative, Peeples offers newcomers and Dylan die-hards alike a fresh perspective on the most compelling and challenging popular performer of our time Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

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Access over 130+ Ad-Free episodes of Calm History by becoming a Silk+ Member (FREE for a limited time!). Birch Mattress: get 20% off sitewide at: https://birchliving.com/calmhistory Weight Loss by Hims: https://hims.com/calmhistory ********************** Become a Silk+ Member (FREE for a limited time!) and enjoy over 600 total episodes from these relaxing podcasts: Calm History (130+ episodes) History Showcase … Continue reading Textile History of Spinning, Weaving, The Luddites, & Sleeping Beauty | Bedtime Sleep Stories about History (not A.I.)

New York Times bestselling author and former U.S. Attorney Barbara McQuade offers an exposé on what she frames as an escalating threat of far-right politics to both national security and American democracy. In The Fix: Saving America from the Corruption of a Mob-Style Government, McQuade draws on her decades of legal experience to argue how systems of organized crime and political opportunism exploit the levers of power — using corruption, cruelty, and chaos as tools to dominate institutions and eliminate accountability. McQuade exposes government tactics like information warfare, aggressive retribution, conformism enforced by fear, and pervasive dismantling of legal checks and balances, thereby attacking public interest and undermining justice in the process. Weaving together courtroom stories, political analysis, and cautionary lessons from history, McQuade makes the case that the threats we face are not merely possibilities — they're already here. The Fix is not just a warning, however. The book is also a call to action. McQuade offers reforms and strategies that she believes can reclaim the rule of law and recenter democracy with the power of the people. The Fix is for everyone concerned about America and for those prepared to take a stand. Barbara McQuade is a professor from practice at the University of Michigan Law School, her alma mater, where she teaches courses in criminal law, criminal procedure, national security, and data privacy. She is also a legal analyst for NBC News and MSNBC, and co-host of the #SistersInLaw podcast. From 2010 to 2017, McQuade served as the US Attorney for the Eastern District of Michigan. She was appointed by President Barack Obama and was the first woman to serve in her position. Earlier in her career, she worked as a sportswriter and copy editor, a judicial law clerk, an associate in private practice, and an assistant US attorney. McQuade is the author of the national bestseller, Attack from Within. She and her husband have four children and live in Ann Arbor, Michigan. Debora Juarez has built a 35-year career focused on legal advocacy and economic development for the most marginalized communities in our state. Debora is an enrolled member of the Blackfeet Nation. After growing up on the reservation, she became the first member of her family to go to college. She completed her undergraduate degree at Western Washington University before attending the Seattle University School of Law. After five years as a public defender, she began working at Evergreen Legal Services (currently The Northwest Justice Project). She served for two years as a pro-tem judge for the King County Superior Court and City of Seattle Municipal Court. Debora was later appointed to serve as a full-time King County Superior Court Judge by Washington State Governor Mike Lowry and later by Governor Gary Locke, as Executive Director of the Governor's Office of Indian Affairs.  Eventually, Debora joined a major Wall Street investment firm and created a first-rate Tribal Practice Group. and ultimately partnered with the Williams Kastner law firm, who welcomed her vision of focusing economic empowerment and development beyond tribal lands. Buy the Book The Fix: Saving America from the Corruption of a Mob-Style Government (Hardcover) Elliott Bay Book Company

Bright on Buddhism - Episode 144 - Who was Saichō? What were some of his views, works, and accomplishments? What is his significance to East Asian Buddhism?Resources:Groner, Paul (2000). Saicho : The Establishment of the Japanese Tendai School. University of Hawaii Press.Abe Ryūichi: Saichō and Kūkai: A conflict of interpretations. Japanese Journal of Religious Studies Vol: 22/1–2, pp. 103–137, 1995.Abe, Ryuichi (1999). The Weaving of Mantra: Kukai and the Construction of Esoteric Buddhist Discourse. Columbia University Press.Groner, Paul (1989). "The Lotus Sutra and Saicho's Interpretation of the Realization of Buddhahood with This Very Body". In Tanabe, George J.; Tanabe, Willa Jane (ed.). The Lotus Sutra in Japanese Culture. Honolulu: University of Hawaii Press.Stone, Jacqueline I. (2003-05-31). Original Enlightenment and the Transformation of Medieval Japanese Buddhism. University of Hawaii Press.Asai Endō 浅井円道, "The Lotus Sutra as the Core of Japanese Buddhism Shifts in Representations of its Fundamental Principle." Japanese Journal of Religious Studies 41/1: 45–64 © 2014 Nanzan Institute for Religion and CultureLopez (Jr.), Donald S.; Stone, Jacqueline I. (2019). Two Buddhas Seated Side by Side: A Guide to the Lotus Sūtra. Princeton University Press.Groner, Paul (2014). "The Lotus Sutra and the Perfect-Sudden Precepts," Japanese Journal of Religious Studies 41/1: 103–131_________________________________If you like our show and would like to support us, we encourage you to give your money or resources to a worthy cause. We can get through this. Our strongest weapon is solidarity. Stay strong and help where you can. Thank you.Do you have a question about Buddhism that you'd like us to discuss? Let us know by emailing us at Bright.On.Buddhism@gmail.com.Credits:Nick Bright: Script, Cover Art, Music, Voice of Hearer, Co-HostProven Paradox: Editing, mixing and mastering, social media, Voice of Hermit, Co-Host

Selected as a finalist for the Wandjuk Marika Memorial 3D Award in the 2026 National Aboriginal and Torres Strait Islander Art Awards (NATSIAA), Lower Southern Arrernte artist Jennifer Kemarre Martiniello OAM translates ancestral lineage and place into masterfully blown glass.

Welcome to Multiverse News, your source for information about all your favorite fictional universes.Tom Holland's fourth outing as Peter Parker/Spider-Man opened to a massively successful box office, shattering the domestic opening record previously held by Avengers: Endgame, and raking in nearly $1 billion globally in its first weekend alone - so while it beat Endgame's North American opening take, it comes in just behind it globally. Not a bad start for Disney and Marvel Studios as the conversation around superhero movies ebbs and flows in the zeitgeist. Those numbers exclude the premium IMAX format, as Spidey couldn't web up those screens due to The Odyssey still holding all IMAX screens.While Marvel is on their Spidey high, other headlines have circled the news this week - some good and some disappointing. On a positive note - Samara Weaving has reportedly been cast as Emma Frost. Horror fans will recognize Weaving from the Ready or Not films. Obsession breakout star Inde Navarette confirmed her meeting with Jake Schreier and she mentioned interest in playing Mystique. And for the bad news, Wonder Man will not get a season two after all - even though it was confirmed earlier this year - and both Kevin Feige and Maershala Ali expressed regret about the Blade film; with Feige admitting he feels like a failure for not getting it off the ground and Ali saying he's done with the project. Last week, DC Studios and HBO's Booster Gold series writer David Jenkins said that the project is no longer moving forward. Shortly after he made this statement, IGN reported that the series will, in fact, be moving forward, but with a new creative team. The New York Times reported that Barbie 2 is currently stalled, with Warner Bros. struggling to come to terms with lead talent Greta Gerwig, Margot Robbie, and Ryan Gosling. The studio has until December to reach a deal before the right revert back to Mattel. Stephen King's 1996 novel Desperation is getting a film adaptation from Final Destination: Bloodlines directing duo Zach Lipovsky and Adam B. Stein. Sam Raimi will also produce the feature, his first time working with King. Sony Pictures has released the first trailer for Jumanji: Open World, which opens in theaters on December 25. The film returns franchise stars Dwayne Johnson, Jack Black, Kevin Hart and Karen Gillan. Amazon MGM Studios is developing a Warhammer 40k animated event series alongside the upcoming live-action version, sources close to the project confirmed to Deadline. Additionally, Henry Cavill, who is set to star, is also on board to be an executive producer.Dave Bautista is in talks to take on the lead role of Kratos in Prime Video's God of War series, replacing Ryan Hurst, who had to drop out of production after he sustained an on set stunt injury. Mary Holland, Star of Ghosts and The Little House on the Prairie, has been cast in a lead role as Sandra in the upcoming DC Studios and HBO Max Superman spin off series that centers on Jimmy Olsen. In a recent interview with Inverse, Jessica Henwick revealed that she declined an offer to reprise her role as Colleen Wing in Daredevil: Born Again season three because she wants to protect the character's perfect ending in Netflix's Iron Fist.

In this thought-provoking episode, Reagan Kramer sits down with Christa Black Singh for Part 2 of an honest conversation about spiritual warfare, healing, and Christ's relentless pursuit of those who have wandered. Drawing from her own journey out of the New Age, Christa shares how God used years of deception, brokenness, and ultimately redemption to reveal His love and transform her life. Together, they explore topics such as generational patterns, bloodlines, DNA, prayer, communion, the "second heaven," spiritual discernment, and why Christians must learn to hear God's voice with wisdom and biblical conviction. The conversation also offers hope for anyone wrestling with unanswered prayers, infertility, trauma, divorce, or prodigal loved ones. Christa explains how her parents' faithful prayers, fasting, and unwavering trust in God became part of her journey back to Christ, reminding listeners that no one is beyond the reach of God's grace. Whether you're searching for deeper spiritual understanding or encouragement to keep believing for breakthrough, this episode is a powerful reminder that Jesus is always pursuing His children, bringing healing, redemption, and hope even in life's darkest seasons. Resources: More from the Revelations Podcast hosted by Reagan Kramer: Website | Instagram | Apple Podcast | Youtube Christa Joy Black: https://www.instagram.com/christablacksingh/ This Episode is brought to you by  Advanced Medicine Alternatives Get back to the active life you love through natural & regenerative musculoskeletal healing: https://www.georgekramermd.com/ Connect with Revelations Podcast If this episode encouraged you, please subscribe, leave a five-star review, and share it with someone who needs hope. Your support helps more people discover the life-changing truth of Jesus Christ. Follow Revelations Podcast for more conversations centered on biblical truth, healing, spiritual discernment, and the redeeming power of God. Chapters 00:00 Introduction to Bloodline Curses and Spiritual Warfare 04:08 The Science of DNA and Ancestral Memory 08:08 The Power of Communion to Restructure Blood and DNA 11:56 God's Sovereignty and Divine Timing in Relationships 13:52 Breaking Generational Curses Through Spiritual Authority 15:55 The Cycles of Sanctification and Consecration 18:01 Walking in Present Joy and Experiencing Heaven 19:59 The Power of Honest Prayer and Confession 22:00 God's Plan for Marriage and Divorce 24:01 Faith in God's Ability Over Outcomes 26:08 The Weaving of God's Goodness in Our Lives 28:03 Divine Timing and Unexpected Encounters 30:00 The Power of Declaration and Intercession 31:54 Understanding the Nuance of Biblical Divorce 34:05 Walking Through Dark Seasons with Jesus 35:55 The Radical Love and Grace of God 38:08 The Journey of Walking Away and Returning to Jesus 40:00 Honest Relationship with God and Breaking Lies 41:54 The Power of Worship, Confession, and Truth 43:57 Closing Prayer and Blessing for Spiritual Breakthroughs  

Rabbi Shlomo Buxbaum's third book is out now!This new addition to the Four Elements series takes a deep dive into Jewish prayer; specifically the deeper meaning behind the daily morning service. R' Buxbaum takes a Kabbalistic approach to the prayer book, the siddur, viewing it as our Sages' roadmap to the soul, providing us with a step-by-step process that allows us to reach an elevated state of consciousness.The Four Elements of Elevated Prayer guides readers through the four main parts of the Shacharis morning service, illuminating how the prayers can become a journey of connection to one's authentic self. Weaving together classic Torah sources, Kabbalistic teachings, and insights into human psychology, Rabbi Buxbaum shows how these parts parallel the four elements—fire, wind, water, and earth—as well as the four stages to spiritual mastery.This book is both for those who have been praying for years and feel that they are ready to go deeper, or for those who are new to Jewish prayer and want to jump in to the deep end! It is for those who have read and mastered Rabbi Buxbaum's first two books, as well as for those who are brand-new to the Four Elements family!You can order the book here:https://www.levx.org/event/the-four-elements-of-elevated-prayer/ or on Amazon, or at Mosaicapress.com, or where ever Jewish books are sold!

Generously sponsored by the Ben Delo Foundation. The final lecture of Ralston College's symposium, AI and the Battle for the Soul, asks a question that turns from the future of artificial intelligence to something far older and more enduring: What does freedom require? Weaving together neuroscience, philosophy, physics, and literature, Dr Iain McGilchrist examines free will, consciousness, and the forms of attention that compose our engagement with the world. Over several decades at the intersection of philosophy and neuroscience, Dr McGilchrist's contributions have transformed contemporary discussions of consciousness, attention, and meaning. At a moment so often dominated by mechanical explanations and computational models, he emphasizes the indispensable role of openness, receptivity, and participation in understanding, arguing that reality exceeds reductionist accounts.  If you would like to support us in this work, please visit ralston.ac/donate. Authors and Works Mentioned in this Episode: Henry Stapp Pierre-Simon Laplace Benjamin Libet Immanuel Kant Plato Socrates Aeschylus' Prometheus Bound Charles Darwin William Blake Carl Jung Albrecht Altdorfer Daniel Phillips  

In this presentation, Arif Abdulhussain reads the famous saying "one who knows his soul knows his Lord" as describing an ontological event, not merely a cognitive one. Weaving together Ibn ʿArabī, al-Qayṣarī, and Mullā Ṣadrā, he builds a constructive argument that self-realisation is the very mechanism by which the Divine comes to know itself through creation.

From our moods to our metabolism, hormones are running the show behind nearly every bodily function. They tell our hearts how quickly to beat, our guts how to process the food we eat, our bones to release calcium, and our muscles to grow new fibers. Yet, most of us don't fully understand how our bodies and their systems work—and more importantly, what to do when they don't. Enter renowned endocrinologist Dr. Gillian Goddard, author of the groundbreaking new book THE HORMONE LOOP: An Empowering Guide to Restoring Hormonal Harmony, from Puberty to Menopause (Harper Influence, ISBN: 9780063455047; $30.00; Hardcover; on sale: 6/2/2026). Dr. Goddard knows firsthand how urgently women need clear, accessible information about their hormonal health. Drawing from years of clinical experience, she presents a definitive and engaging guide to hormonal health at every stage of a woman's life—from puberty to reproductive years to perimenopause to menopause to post menopause. As Dr. Goddard clearly explains, at each of these stages, there are four distinct hormone loops that keep our bodies in balance: the reproductive loop, the thyroid loop, the growth hormone loop, and the adrenal loop. While these loops often operate quietly in the background, each plays a powerful role in our lifelong health. There is no one-size-fits-all solution to the challenges and changes our bodies experience throughout our lives, but hormones often hold the key. Weaving stories from her practice with the latest medical research and featuring helpful charts and illustrations, THE HORMONE LOOP breaks down the problems that commonly arise throughout our lives and offers a clear rubric for how to have better conversations with our doctors. THE HORMONE LOOP is an essential and long overdue book that equips women with the knowledge and confidence to become their own powerful, self-advocates, and also empower mothers to help their daughters navigate the often- confusing stage of puberty.

The Chat Tonight Dreams &Dream Weaving Alien Races Lost City's That Predate Known Civilization United Public Radio & UFO Paranormal Radio www.uprntalkradio.com

The rise of “heritage” foods—that is, the reinvention of traditional foods—has enjoyed a high profile thanks to the oft-praised efforts of chefs such as Sean Brock and René Redzepi. But Lily Kelting observes the popularity of heritage foods as something more: a global movement in response to climate catastrophe and the rise of right-wing, populist movements that center a return to the past as part of their ideology. Weaving ethnography, discourse analysis, critical theory, and sensory, embodied critique, Kelting tracks and critiques the boom of traditional food revival movements in the American South, Denmark, and India. Ultimately, Kelting argues that the heritage culinary professionals wish to revive is equal parts nostalgia and invention: They engage, subvert, and ignore food histories in their creation of new food movements. As Kelting documents our contemporary moment, she shows how the conversations surrounding these new food movements leave out people already keeping their traditions alive. Against Heritage: The Reinvention of Traditional Foods (University of North Carolina Press, 2026), then, serves as a reparative revaluation of the work of the cooks largely excluded from the contemporary media conversation about heritage revival. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The rise of “heritage” foods—that is, the reinvention of traditional foods—has enjoyed a high profile thanks to the oft-praised efforts of chefs such as Sean Brock and René Redzepi. But Lily Kelting observes the popularity of heritage foods as something more: a global movement in response to climate catastrophe and the rise of right-wing, populist movements that center a return to the past as part of their ideology. Weaving ethnography, discourse analysis, critical theory, and sensory, embodied critique, Kelting tracks and critiques the boom of traditional food revival movements in the American South, Denmark, and India. Ultimately, Kelting argues that the heritage culinary professionals wish to revive is equal parts nostalgia and invention: They engage, subvert, and ignore food histories in their creation of new food movements. As Kelting documents our contemporary moment, she shows how the conversations surrounding these new food movements leave out people already keeping their traditions alive. Against Heritage: The Reinvention of Traditional Foods (University of North Carolina Press, 2026), then, serves as a reparative revaluation of the work of the cooks largely excluded from the contemporary media conversation about heritage revival. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

The rise of “heritage” foods—that is, the reinvention of traditional foods—has enjoyed a high profile thanks to the oft-praised efforts of chefs such as Sean Brock and René Redzepi. But Lily Kelting observes the popularity of heritage foods as something more: a global movement in response to climate catastrophe and the rise of right-wing, populist movements that center a return to the past as part of their ideology. Weaving ethnography, discourse analysis, critical theory, and sensory, embodied critique, Kelting tracks and critiques the boom of traditional food revival movements in the American South, Denmark, and India. Ultimately, Kelting argues that the heritage culinary professionals wish to revive is equal parts nostalgia and invention: They engage, subvert, and ignore food histories in their creation of new food movements. As Kelting documents our contemporary moment, she shows how the conversations surrounding these new food movements leave out people already keeping their traditions alive. Against Heritage: The Reinvention of Traditional Foods (University of North Carolina Press, 2026), then, serves as a reparative revaluation of the work of the cooks largely excluded from the contemporary media conversation about heritage revival. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

The rise of “heritage” foods—that is, the reinvention of traditional foods—has enjoyed a high profile thanks to the oft-praised efforts of chefs such as Sean Brock and René Redzepi. But Lily Kelting observes the popularity of heritage foods as something more: a global movement in response to climate catastrophe and the rise of right-wing, populist movements that center a return to the past as part of their ideology. Weaving ethnography, discourse analysis, critical theory, and sensory, embodied critique, Kelting tracks and critiques the boom of traditional food revival movements in the American South, Denmark, and India. Ultimately, Kelting argues that the heritage culinary professionals wish to revive is equal parts nostalgia and invention: They engage, subvert, and ignore food histories in their creation of new food movements. As Kelting documents our contemporary moment, she shows how the conversations surrounding these new food movements leave out people already keeping their traditions alive. Against Heritage: The Reinvention of Traditional Foods (University of North Carolina Press, 2026), then, serves as a reparative revaluation of the work of the cooks largely excluded from the contemporary media conversation about heritage revival. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

The rise of “heritage” foods—that is, the reinvention of traditional foods—has enjoyed a high profile thanks to the oft-praised efforts of chefs such as Sean Brock and René Redzepi. But Lily Kelting observes the popularity of heritage foods as something more: a global movement in response to climate catastrophe and the rise of right-wing, populist movements that center a return to the past as part of their ideology. Weaving ethnography, discourse analysis, critical theory, and sensory, embodied critique, Kelting tracks and critiques the boom of traditional food revival movements in the American South, Denmark, and India. Ultimately, Kelting argues that the heritage culinary professionals wish to revive is equal parts nostalgia and invention: They engage, subvert, and ignore food histories in their creation of new food movements. As Kelting documents our contemporary moment, she shows how the conversations surrounding these new food movements leave out people already keeping their traditions alive. Against Heritage: The Reinvention of Traditional Foods (University of North Carolina Press, 2026), then, serves as a reparative revaluation of the work of the cooks largely excluded from the contemporary media conversation about heritage revival. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/food

The rise of “heritage” foods—that is, the reinvention of traditional foods—has enjoyed a high profile thanks to the oft-praised efforts of chefs such as Sean Brock and René Redzepi. But Lily Kelting observes the popularity of heritage foods as something more: a global movement in response to climate catastrophe and the rise of right-wing, populist movements that center a return to the past as part of their ideology. Weaving ethnography, discourse analysis, critical theory, and sensory, embodied critique, Kelting tracks and critiques the boom of traditional food revival movements in the American South, Denmark, and India. Ultimately, Kelting argues that the heritage culinary professionals wish to revive is equal parts nostalgia and invention: They engage, subvert, and ignore food histories in their creation of new food movements. As Kelting documents our contemporary moment, she shows how the conversations surrounding these new food movements leave out people already keeping their traditions alive. Against Heritage: The Reinvention of Traditional Foods (University of North Carolina Press, 2026), then, serves as a reparative revaluation of the work of the cooks largely excluded from the contemporary media conversation about heritage revival. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/south-asian-studies

#infinity #manifesting #equinox Join us in weaving coherence into all of the chaotic aspects of ourselves, our relationships and the sytems and expressions upon this planet.You wil need two small rocks/crystals, shells or similar to walk around. Enjoy people- lets do this- its up to us now!!!!!!!!!!!!!!!!For online courses, in-person retreats and MP3 meditations go to www.sarita-sol.comLIVE WEEKLY ONLINE MEDITATIONS CLASSES WITH ME....JOIN ANYTIMENow available on the Patreon site.https://www.patreon.com/Sarita_Sol/membershipOnce in Patreon join as a 'Light Warrior Patron'website: www.sarita-sol.comFind me on telegram: t.me/Sarita_Sol

Andrew Durbin's The Wonderful World That Almost Was unravels, for the first time, the intertwined stories and work of two boundary burning, paradigm-tilting, never more relevant American artists, Peter Hujar and Paul Thek. Weaving together deft art criticism with moving portraits of both men's inner lives, and assembled with exhaustive research, Durbin's book is an ode to a lost but still-living world—and two men who defined it. You can buy a copy of The Wonderful World That Almost Was from the London Review Bookshop. Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Design Business Freedom. I'm Melissa Galt, and in this fan-favorite episode, you'll learn how to create an interior design welcome kit that builds trust, communicates your value, and helps potential clients feel confident choosing your firm. A strong welcome kit is more than a collection of attractive pages. It is a strategic interior design marketing tool that introduces your team, explains your process, showcases relevant results, and sets clear expectations before the client signs an agreement. In This Episode You Will Learn: Choose the right welcome kit format for each potential client, including digital, printed, or elevated boxed presentations. Use your welcome kit as a pre-sale marketing tool that warms up qualified prospects and positions your interior design firm as the best choice. Present your interior design process in five to seven clear, client-friendly steps without overwhelming prospects with unnecessary details. Build persuasive case studies that connect past projects with the specific needs, goals, and project type of each potential client. Create an interior investment guideline that helps Design Business Freedom listeners set realistic expectations around furnishings, design fees, procurement, shipping, and project investment. While one word can truly grow your profits, mastering more will lead to a full business and personal transformation. Get them all in my book "The Language of Success: 35 Words to Boost Your Worth and Wealth". You'll be pleasantly surprised at the effectiveness of these word swaps and the increased confidence you'll feel in business and life.  Timestamps: (00:04) Welcome to this Design Business Freedom fan favorite (01:27) How a strategic welcome kit can win clients (01:54) Why printed welcome kits create lasting impact (03:31) Designing a tactile, sensory client marketing experience (04:40) Matching the welcome kit to client opportunity (05:17) Using welcome kits before the client commits (06:55) Essential information to include about your firm (08:38) Simplifying your interior design process for clients (11:15) Replacing confusing design terminology with client-friendly language (12:08) Creating a polished, graphic, memorable presentation (14:31) Weaving testimonials and social proof throughout your kit (15:02) Building a versatile library of project case studies (19:12) Setting expectations with an estimated project timeline (21:39) Creating a clear interior investment guideline (30:08) Reviewing every component of a winning welcome kit Key Takeaways: Your welcome kit should be delivered before the contract is signed when its purpose is to market your firm and help win the project. Clear, client-friendly language builds more confidence than technical interior design terminology. Interior designers should tailor case studies, testimonials, and investment information to the needs of each qualified prospect. A strong Design Business Freedom welcome kit turns completed projects into reusable marketing assets that attract better clients and bigger opportunities. About Melissa Galt: Melissa Galt is an award-winning business coach, marketing consultant, speaker, and interior designer with more than 30 years of experience helping interior designers build profitable, scalable, and sustainable businesses. Through Design Business Freedom, Melissa shares proven Interior Design Business strategies, Interior Design Marketing insights, leadership training, pricing expertise, and growth systems designed to help designers attract better clients, increase profitability, and create lasting success. Connect with Melissa Instagram Facebook Linkedin Website  

Book Club Podcast: What lesser-known treasures do Yarn Barn fiber artists love to share? Susan and Melissa share some of their favorites in weaving, spinning, and knitting. Liz Gipson drops by to talk about one of her books that Susan and Melissa adore. Book-loving crafters generally have a few special titles tucked on the shelf between the major must-have references: a self-published monograph, a slim paperback, or an in-depth look at an esoteric technique. In this episode, Susan Bateman and Melissa Parsons return with more hidden gems from the shelves at Yarn Barn of Kansas. Special guest Liz Gipson also joined us to talk about her own book on choosing yarn. Multishaft Weaving Weaving Designs by Bertha Gray Hayes: Miniature Overshot Patterns by Norma Smayda, Gretchen White, Jody Brown, and Katharine Schelleng This delightful collection of overshot patterns are refreshingly short-repeat and often asymmetrical, a playful and inspiring way to experiment with a traditional structure. Melissa's so enthusiastic about the book that she loves to introduce it to any weaver. Krokbragd: How to Design & Weave by Debbie Greenlaw Friendly and accessible, this introduction to the colorful Scandinavian weft-faced structure covers both rigid-heddle and multishaft looms. The book includes several projects, including an irresistibly cute farm sampler. Krokbragd: Contemporary Weaving with Colour by Angie Parker A more technical take on krokbragd, this is aimed at weavers who already have some experience under their belt, with a more contemporary design sensibility and beautiful photography throughout. M's + O's: A Contemporary Look at a Traditional Weave Structure on 4-shafts by Suzi Ballenger This brand-new 70-page monograph invites weavers to take a fresh look at an underexplored structure. Ballenger's examples and designs show M's and O's with contemporary style and unexpected laciness. Although M's and O's isn't generally Melissa's favorite structure, this book inspires her to take another look. Inkle & Tablet Weaving In Celebration of Plain Weave by Annie MacHale With a color theory explanation specifically for inkle weaving and information on designing beautiful bands, this spiral-bound color study is a must for bandweavers even before you get to the 200 pattern charts. Melissa and Susan especially love MacHale's asymmetrical designs. Please Weave a Message by Linda Hendrickson An entire book of graphed-out alphabets for tablet weaving, using as few as 24 to 52 cards, perfect for weaving a name or message into a keepsake band—especially good for handwoven gifts! Rigid Heddle Textures and Patterns for the Rigid Heddle Loom by Betty Davenport Decades ahead of its time and now in its eleventh printing, this book walks rigid-heddle weavers through pickup, deflected weft, and other structures well beyond plain weave. A Weaver's Guide to Yarn by Liz Gipson Teacher Liz Gipson gathered her thoughts on yarns into a practical framework for choosing your materials by need rather than guesswork, including a fiber checklist and a helpful “decoding yarn information” section. Written especially for rigid-heddle weavers, this is a book Melissa would hand to every beginning weaver. A special guest this episode, Liz joined the conversation to talk about how reader questions and teaching experience helped her write the book that weavers need. Finishing Finishes in the Ethnic Tradition by Suzanne Baizerman and Karen Searle Rescued from out of print, this illustrated guide goes far past the overhand knot, gathering fringe, wrapped-edge, and embellishment techniques from weaving traditions worldwide. Knitting Barbara Walker's Treasury Series (A Treasury of Knitting Patterns, A Second Treasury of Knitting Patterns, Charted Knitting Designs: A Third Treasury, and A Fourth Treasury of Knitting Patterns) Full of ideas to design and customize plain knitting projects, Barbara Walker's iconoc treasuries give knitters permission to create. These four hefty stitch dictionaries include hundreds of charted designs you can drop into a project of your choosing. The Knitter's Handy Book of Patterns by Ann Budd Written to pair perfectly with a stitch dictionary, this book turns "I love this yarn but have no pattern for it" into a finished sweater, sock, or hat. Ann Budd offers designs for gauges from 3 to 7 stitches per inch and child to adult sizes. Reversible Knitting by Cecelia Campochiaro A stitch dictionary where every pattern looks as good from the back as the front! This collection of motifs is ideal for scarves, blankets, and anything meant to be seen from both sides. The Wonder of Wool: A Knitter's Guide to Pure Breed Sheep by Justine Lee and Jess Morency Dramatic black-and-white sheep portraits pair with breed-by-breed spinning and knitting notes in this exploration of British heritage wools. The book also includes full patterns built around specific wools. Spinning A Spinner's Dozen: 14 Darn Useful Tools by Stephenie Gaustad A charming hand-illustrated case for the spinning tools worth hunting down in antique stores, this is Stephenie Gaustad's fun and gentle nudge to explore the old spinning ways and discover how the right tool buys you more time for the parts of spinning you actually love. Listen to the Wool: A Why-to Guide for Joyful Spinning by Josefin Waltin Less a technical manual than an invitation to slow down, this book encourages readers to embrace your mistakes as markers on your craft journey. It might make you a better spinner—even if you don't change your yarn after reading. Listen to our chat and tell us: What are your favorite craft books that more people should know about? This episode is brought to you by: Learning how to weave but need the right shuttle? Hooked on knitting and in search of a lofty yarn? Yarn Barn of Kansas has been your partner in fiber since 1971. Whether you are around the corner from the Yarn Barn of Kansas, or around the country, they are truly your “local yarn store” with an experienced staff to answer all your fiber questions. Visit yarnbarn-ks.com to shop, learn, and explore.

In this interview, we speak with Laura B. McGrath, an Assistant Professor of English at Temple University and the author of Middlemen: Literary Agents and the Making of American Fiction (Princeton University Press, 2026). Her writings have appeared in the Los Angeles Review of Books and The Atlantic. Middlemen rewrites literary history from the perspective of one of its most important but least visible figures: the literary agent. Chronicling the story of agents in the United States from the 1950s to today, Laura McGrath uncovers their critical role in the making of American literature. From the famed three-martini lunch to the Frankfurt Book Fair, Middlemen takes readers behind the scenes to show how agents influence what we read. Along the way, it explains why many debut novelists never publish another book, why agents champion short story collections even though they sell poorly, how agents advocate for writers of color in a system that values whiteness, and why there are so many New York novels. Weaving together original archival research, data analysis, and interviews with scores of agents and other publishing professionals, Middlemen demonstrates that agents—eighty percent of whom are in fact women—are much more than “middlemen.” As intermediaries between author and publisher, agents act as advocates, matchmakers, negotiators, and tastemakers, and they must balance artistic values with the commercial imperatives of publishing conglomerates. The book describes the decisive role agents have played in celebrated novels—from Jack Kerouac's On the Road to Colson Whitehead's The Intuitionist—but also in the creation of entire literary categories like the debut novel, the story collection, postmodernism, multiethnic fiction, and world literature. Featuring profiles of agents past and present such as Sterling Lord, Lynn Nesbit, Candida Donadio, Marie Brown, and Andrew Wylie, along with perspectives from agents at all stages of their careers, Middlemen is an entertaining and eye-opening account of how literary fiction—and the literary canon—is made. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In this interview, we speak with Laura B. McGrath, an Assistant Professor of English at Temple University and the author of Middlemen: Literary Agents and the Making of American Fiction (Princeton University Press, 2026). Her writings have appeared in the Los Angeles Review of Books and The Atlantic. Middlemen rewrites literary history from the perspective of one of its most important but least visible figures: the literary agent. Chronicling the story of agents in the United States from the 1950s to today, Laura McGrath uncovers their critical role in the making of American literature. From the famed three-martini lunch to the Frankfurt Book Fair, Middlemen takes readers behind the scenes to show how agents influence what we read. Along the way, it explains why many debut novelists never publish another book, why agents champion short story collections even though they sell poorly, how agents advocate for writers of color in a system that values whiteness, and why there are so many New York novels. Weaving together original archival research, data analysis, and interviews with scores of agents and other publishing professionals, Middlemen demonstrates that agents—eighty percent of whom are in fact women—are much more than “middlemen.” As intermediaries between author and publisher, agents act as advocates, matchmakers, negotiators, and tastemakers, and they must balance artistic values with the commercial imperatives of publishing conglomerates. The book describes the decisive role agents have played in celebrated novels—from Jack Kerouac's On the Road to Colson Whitehead's The Intuitionist—but also in the creation of entire literary categories like the debut novel, the story collection, postmodernism, multiethnic fiction, and world literature. Featuring profiles of agents past and present such as Sterling Lord, Lynn Nesbit, Candida Donadio, Marie Brown, and Andrew Wylie, along with perspectives from agents at all stages of their careers, Middlemen is an entertaining and eye-opening account of how literary fiction—and the literary canon—is made. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In this interview, we speak with Laura B. McGrath, an Assistant Professor of English at Temple University and the author of Middlemen: Literary Agents and the Making of American Fiction (Princeton University Press, 2026). Her writings have appeared in the Los Angeles Review of Books and The Atlantic. Middlemen rewrites literary history from the perspective of one of its most important but least visible figures: the literary agent. Chronicling the story of agents in the United States from the 1950s to today, Laura McGrath uncovers their critical role in the making of American literature. From the famed three-martini lunch to the Frankfurt Book Fair, Middlemen takes readers behind the scenes to show how agents influence what we read. Along the way, it explains why many debut novelists never publish another book, why agents champion short story collections even though they sell poorly, how agents advocate for writers of color in a system that values whiteness, and why there are so many New York novels. Weaving together original archival research, data analysis, and interviews with scores of agents and other publishing professionals, Middlemen demonstrates that agents—eighty percent of whom are in fact women—are much more than “middlemen.” As intermediaries between author and publisher, agents act as advocates, matchmakers, negotiators, and tastemakers, and they must balance artistic values with the commercial imperatives of publishing conglomerates. The book describes the decisive role agents have played in celebrated novels—from Jack Kerouac's On the Road to Colson Whitehead's The Intuitionist—but also in the creation of entire literary categories like the debut novel, the story collection, postmodernism, multiethnic fiction, and world literature. Featuring profiles of agents past and present such as Sterling Lord, Lynn Nesbit, Candida Donadio, Marie Brown, and Andrew Wylie, along with perspectives from agents at all stages of their careers, Middlemen is an entertaining and eye-opening account of how literary fiction—and the literary canon—is made. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

This episode we are taking a quick break from our overall story of Uno no Sarara (aka Jito Tenno) and we are focusing on Ise Shrine and Amaterasu, the Sun Goddess. There is a lot, for a bit more, check out our podcast blogpost at:  https://sengokudaimyo.com/podcast/episode-153   Rough Transcript Welcome to Sengoku Daimyo's Chronicles of Japan.  My name is Joshua, and this is Episode 153:  Ise and the Sun Goddess.   In the newly built hall of the Fujiwara Palace, the nobles of the court were gathered for a grand banquet.  Snow-white walls were off-set by bright crimson pillars and trim, highlighted by bright green windows.   The nobles themselves were a rainbow of colors, arranged as they were by rank.   At the head of it all, on a dais, sat the Queen herself, Uno no Sarara.  However, the attention was no longer on her.  Instead, it was on another figure, standing in front of the assembled audience.  A quiet spread throughout the hall, the court listening as Hieda no Are began to tell the story of the Sun Goddess in the Plain of High Heaven.  They listened to the story of her and Susano'o, and of the backward flayed horse.  They heard the tale of the Heavenly Rock Cave, and of all that came after, including the sending of the August Grandchild, Ninigi.  They listened to the story—the story of Yamato.   Last episode, we talked in more detail about Uno No Sarara—starting from her early years as the daughter of Naka no Ohoe, granddaughter of Soga no Kurayamada, and child-bride to her uncle, Ohoama.  I'll admit we didn't look too hard at that last bit, and I don't have enough information to confirm what exactly "marriage" entailed in that context, but it is still something that I find tremendously creepy and, unfortunately, anything but unique.  So I'm not going to dive too much further into it right now but… ew. We talked about how she gave birth to her son, Kusakabe, in Kyushu, during the war on the continent, and how she eventually left for Yoshino with her husband when he retired from court, presumably to outsmart his court rivals, who were positioning him to be taken out.  She also is said to have played a part in the planning and execution of the resulting Jinshin no Ran, later helping her husband govern the realm.  And now, she was on the throne, overseeing the completion of many of the projects started in the reign of her husband.  This included the completion of the Kiyomihara code, the Fujiwara palace, and the support given to the institution of Ise Grand Shrine. This episode, I want to dive into that last topic: the emphasis in Uno no Sarara's reign on  Ise Shrine and its focus, the Great God, Amaterasu no Ohokami.  Although the Chronicles talk about Amaterasu as one of the founding deities of the Yamato royal line, there is plenty of evidence that this story was grafted into the tales at a later date, and that worship of Amaterasu, at least as anything more than a minor deity, likely also started relatively late.  Some have even suggested that Ise Shrine itself wasn't even built until the late 7th century.  So, all of this focus on Ise and Amaterasu appears to be part of the larger effort to structure the physical, cultural, and spiritual landscape of the new Yamato state. Last episode we mentioned how, according to the Nihon Shoki,   Ohoama turned to worship towards Ise.  Well, specifically, he worshipped Amaterasu Ohokami.  So let's take a moment and talk about what we know of the history of this Great God of Heavenly Brightness. Unfortunately, most of that history is based on what we know of the kami from works like the Nihon Shoki, the Kojiki, and the Sendai Kuji Hongi, all of which came out in the 8th century or so.  As such, it can be hard to know what things were actually like, earlier on, as opposed to what was added or removed later. Much of what I'm going to be talking about, today, I'm going to be pulling from a book written in 2017 by Mark Teeuvwen [Tayvin?] and John Breen titled "A Social History of the Ise Shrines", as well as Michael Como's work "Weaving and Binding: Immigrant Gods and Female Immortals in Ancient Japan", published in 2009, along with other sources.  In their book, Breen and Teeuwen point out that for those who do not take the events of the Nihon Shoki and Kojiki at face value, there are two primary theories for the origin of the worship of Amaterasu: an early theory and  a late theory.  The early theory places the development of the worship of Amaterasu in the 5th and 6th centuries, during the reigns of such figures as Wakatakeru no Ohokimi, aka Yuuryaku Tennou.  The Late Theory places the development in the 7th century, largely at the feet of such figures as Ohoama and Uno no Sarara herself.  We'll take a look at the evidence and see what it says. I would note that compared to the official history, both of these would be very late theories.  According to Ise Grand Shrine even today, Amaterasu arrived in Ise in the 26th year of Ikume Iribiko, aka Suinin Tennou, as stated in the Nihon Shoki, which corresponds to 4 BCE if you take the dating of the Nihon Shoki to be accurate. Of course, we've already spent plenty of time talking about the problems with the Nihon Shoki prior to the 6th century CE, as well as how the political nature of the text affected what it contained. So to kick things off, let's address the biggest question of all: why don't we believe that Amaterasu no Ohokami was always the primary deity of the pantheon of Yamato, at the very least, if not all of the Wa people of the archipelago?  After all, isn't she a sun goddess, and isn't sun worship fairly well documented among the ancient Japanese?  Just take a look at words like "Hiko" and "Hime", referring to rulers as sun man and sun woman.  Also note that early on, worship seems to have centered around places such as mountaintops, which focused worship towards the sky and the highest point.  In fact, as wet rice paddy agriculture became the dominant economic factor driving the engine of the archipelago in the Yayoi and early kofun period, early shrines were very likely about bringing the spirit of the mountain from the mountaintop and giving them a home amongst the rice fields.. And then we have the stories.  Don't the ancient stories all tell about Amaterasu as the ruler of Takama no Hara, the Heavenly Plain?  And isn't it her grandchild that then descends to the earth to pacify the Land of the Reed Plains—aka the Japanese archipelago? Well let's take a look at those same stories, which we've covered in earlier episodes of the podcast.  The first deities mentioned in the Chronicles are deities like Ama no Minaka Nushi, Lord of the August Middle of Heaven; Takami Musubi, High August Growth; and Kami Musubi, Divine August Growth.  There are other deities, like Kuni Toko Tachi, but they are barely mentioned again. Later we get Izanagi and Izanami, the masculine and feminine, who create the world and give birth to numerous deities from that point on.  Among the children of Izanagi are said to be Amaterasu, Tsukiyomi, and Susano'o.  Amaterasu, Heaven's Brightness, represents the sun while Tsukiyomi represents the dark of the moon.  Susano'o is then the god of the storms and seas, and was sent to the Nether Land, the Ne no Kuni. Right away we see that there are numerous different stories listed in the Nihon Shoki for just about everything.  Only the Kojiki gives everything as a single, coherent narrative, but surely the readers in the 8th century would have known some of these other stories, and thus the Nihon Shoki gives the alternates as well. Now the main narrative of the Kojiki and the Nihon Shoki tells us that Ama-terasu no Oho-kami was born to rule over everything.  In the Nihon Shoki, Izanagi and Izanami specifically mention that divine destiny in Amaterasu's creation—although actually, in that part of the text, the deity they are creating is named Oho-hiru-me no Muchi; the Great Sun Female Holder.  And in the next entry they call Amaterasu: Ama-terasu Oho-hiru-me.  Tsukiyomi, the deity of the moon, is made to be her consort, and they are supposedly sent to rule the plain of Heaven, Takama no Hara. The problem is that there are other entries that suggest that Takama no Hara already had a ruler:  Taka-mi-Musubi.  Reading the sections on Taka-mi-Musubi, we see a deity who is said to have produced 1500 children, himself—no mention of Izanagi and Izanami.  Some of his children are mentioned as Omohi-kane:  the Thought-Combining deity, and Sukuna-bikona: the Little-Prince-Named deity. Amatsu Hiko Hiko Ho Ninigi no Mikoto, the August Heavenly Prince, Prince Ho-ninigi, is not just a grandson of Amaterasu no Ohokami, but also a grandchild of Taka-mi Musubi.  In at least one story, Takami Musubi is the one who wants Ninigi no Mikoto to become the ruler of the Central Land of the Reed Plains.  Towards that end, he gathers the various kami and chooses someone to go down and prepare the way—Ama-ho-hi no Mikoto—who was to quote-unquote "expel and subdue" the evil gods of that land.  We covered this story in episode 21 and 22.  When that doesn't work, he gathers them again, sending others to try and do the same.  Eventually he sends Takemikazuchi and Futsunushi down.  All of this sounds like Taka-mi Musubi, whose name appears to refer to being the "high" deity, was the one in charge. In addition, we have the court ritual from sources like the Engi Shiki, which illustrates the deities that were invoked for the protection of the palace and the royal family.  These were:  Kami-musubi, Takami-musubi, Iku-musubi, Taru-musubi, Tamatsume-musubi, Oomiya-no-me, Oomiketsu-no-kami and Kotoshironushi.  One might notice a lot of the "musubi" names among the deities, and a distinct lack of appeal to Amaterasu.  If Amaterasu were the central deity and ancestral deity of the royal family, why is she not invoked in the rituals of the court itself? The thought, here, is that these rituals are likely much older than the worship of Amaterasu, and while Amaterasu would come to prominence in the stories that the court would tell, it was much more difficult for them to rearrange the traditional rituals to put her front and center.  Those rituals were maintained by ritualist families like the Nakatomi, and they weren't likely to change the rituals willy-nilly, even for a sovereign.  That was playing with supernatural fire, after all—if you changed the rituals, would they still even be effective?  Granted, rituals do change, so it isn't a perfect argument; perhaps it was just not considered to be important enough to make the change since it was not something that anyone except the court ritualists needed to worry themselves over.  Either way, it appears that we do have a list of deities that may have been the deities of the ruling elite prior to the rise of Amaterasu and Ise shrine more generally. We have a few other clues of what was going on in the narrative.  For instance, we see the story from the reign of Mimaki Iribiko, aka Sujin Tennou, also called the First Sovereign of Yamato, despite the legendary figures inserted prior to his reign.  It is in this chapter that we see a note that Ama-terasu no Oho-kami and Yamato no Oho-kuni-dama, which is to say the Spirit of the Country of Yamato, were both worshipped together in the hall—that is in the royal palace itself.  And yet apparently Mimaki Iribiko feared these deities residing with him in the palace, and he had their worship moved to locations outside of the palace.  Amaterasu's worship was given to Toyosuki-iri-bime, one of Mimaki Iribiko's daughters, and established in the district of Shiki, in Yamato.  Yamato no Ohokunidama, on the other hand, was given over to Nunaki-iri-bime no Mikoto, another daughter through a different wife. but we are told that she was lean, and her hair was falling out, and so she couldn't perform the rites.  Turning our attention back to Ama-terasu—in the reign of Ikume-Iribiko, aka Suinin Tennou, son and heir of Mimaki Iribiko, the worship of Ama-terasu would pass from Mimaki Iribiko's daughter, Nunaki Iri Bime to Ikume Iribiko's daughter, Yamato Hime.  She would move the worship site from Shiki to Uda, in the shadow of Mt. Miwa, and then proceed over to the upper banks, or Kawakami, of Isuzu, in the district of Watarai.  Here, in one of the alternate stories about this episode, we get the Great God of Yamato—Ohoyamato no Ohokami—speaking through a medium to warn the sovereign that he had better be careful.  Mimaki Iribiko had not been quite thorough enough in his worship, so he had not had a long life, and if Ikume Iribiko didn't do the same, he would suffer a similar fate. And so, in a record eerily similar to what we see in the previous reign, the worship of the "Great God of Yamato", the Oho-Yamato no Oho-kami, is given to Nunaki-waka-hime—as opposed to Nunaki-Iri-bime—who also fails in the task because of her emaciated body.  This also introduces Fukayu nushi, an ancestor of the Nakatomi, who was the one who divined what should be done. There is so much to unpack in these stories.  For one, the kami bring power, but also danger.  One can try to placate the kami, but it isn't like a ritual will always work, and the story is of the sovereign being actively afraid of what they might do, so they were removed from the palace.  Then there is the fact that we see two seemingly similar names—Ohoyamato no Ohokami and Yamato no Kunidama both seem like we are talking about the same spirit of Yamato, though some would point out that one is the spirit of the country and one is the great kami of the country, so, clearly different. Both are also being given to someone named "Nunaki—something-something—Hime", and in both cases Nunaki seems to fail in her task because she is apparently not hot enough for the kami.  She's described as too thin and emaciated or balding.  We aren't given the lineage of Nunaki Waka Hime, but Nunaki Iri Bime is connected with the land of Owari.  Nunaki Iri-bime is said to be the daughter of Mimaki Iribiko and Ohoama Hime, ancestor of the Owari no Muraji.  Owari was the land that supported Ohoama during the Jinshin no Ran. Finally, in both cases, we see the worship of the spirit of Yamato being given over to someone name "Nagochi", later identified as Nagochi no Sukune, ancestor of the Yamato no Atahe. One more note—closely on the heels of moving these two kami out of the palace, we see that the court brings in the worship of Oho-mono-nushi, the god of Mt. Miwa, under Ohotataneko, the ancestor of the Miwa clan. So the stories here account for Ama-terasu being moved to Watarai and why she isn't worshipped in the palace.  It also places Oho-mono-nushi at the center of worship in Yamato.  Oho-mono-nushi and Miwa continue to dominate the narrative from here on out, with a few notable exceptions, such as with Okinaga Tarashi Hime, aka Jingu Tennou and her mythical conquest of the Korean peninsula.  I'm sure that had no political implications at all given everything that had happened with Baekje, Silla, and the Tang dynasty in the latter half of the 7th century.  Other than scenes like that, however, the Miwa clan and worship of the Miwa deity appear frequently in the narrative.  It is clear that Mt. Miwa, and its deity, were important, and when Breen and Teeuwen hypothesize that when Naka no Ohoe, which is to say Tenji Tennou, took the drastic step of moving the capital up to Ohotsu, in the land of Afumi, he also brought the Miwa deity with him.  Those Afumi court rituals were conducted under the auspices of the Nakatomi, and particularly the auspices of Nakatomi no Kane, who would become one of the chief opponents of Ohoama during the Jinshin no Ran in 672.  After that conflict, Ohoama and his wife, Uno no Sarara, were building new traditions using Ise and constructing new legends.  Legends that would be under their control and influence and which would further bolster their rule from the city that they had designed to fit inside of this newly constructed cosmological framework. And yet this also brings up what seems like an obvious question.  If Ise Shrine and the worship of Amaterasu were so central to Ohoama and Uno's plans, then why would they put it so far away?  Proponents of the "early" theory of the development of Amaterasu and Ise Shrine suggest that the answer lies in the text of the Chronicles.  That there is some truth to the idea that there was worship in Yamato and that, for various reasons, it moved out to Watarai district early on and developed into Ise Shrine.  Those who hold to the "late" theory of development see all of those stories as later inserts meant to explain away why Ise Shrine was so far away—and perhaps why Amaterasu was not included in the cool-kami club of court ritual.   Teeuwen and Breen mention a few of the theories, from Naoki Koujiro stressing Ise as a strategic gateway between Yamato and Eastern Japan to Tanaka Takashi proposing that the movement of Amaterasu to Ise is actually a stand-in for one or more military campaigns to that area to bring it under Yamato control. And before we move too much further in the narrative, let's talk about how Ise is physically and geographically situated.  Ise is part of modern Mie prefecture, on the eastern edge of the Ki peninsula.  It is at the southern end of a series of adjoining alluvial plains that follow the coastline north to the modern prefectures of Aichi and Gifu—the ancient provinces of Owari and Mino.  The capital of Ise Province used to be in Suzuka, near the the two Tsubaki shrines which both lay claim to the title of Ise no Ichinomiya, the First shrine of the land of Ise, and the pass that served as one of three major routes from eastern Japan into the Home Provinces and beyond.  This puts Ise about as far away as you can get from the capital of the province without going over the mountains, themselves.  It also puts it a good deal south of most major travel routes.  If you are going to Ise shrine then it is pretty clear you were going to Ise shrine, as there isn't a lot of evidence for anything else in the area. The Shrine itself is actually made up of two primary shrine complexes.  There is the Naiku, the inner shrine, and the Geku, or outer shrine.  The Naiku, or inner shrine, is probably the area most people think about.  It is at the foot of the mountains where the Shimamichi River joins the Isuzu River and both flow out of the mountains.  The Naiku contains the shrine to Amaterasu no Ohokami, and is famous for its layout, where there are actually two shrine enclosures, one next to the other.  The main shrine is then rebuilt in the empty enclosure every 20 years, at which point the worship is moved to the new shrine, the old shrine is torn down, and the cycle is started once again. The Outer Shrine, or Geku, is further north, and probably not as well known to foreigners.  The Geku is said to enshrine the spirit of Toyouke-bime, a kami dedicated to food.  According to the traditions of the Geku itself, Toyouke-bime was enshrined in the Geku at the command of Wakatakiru no Ohokimi, aka Yuuryaku Tennou, based on a dream. Regarding the history of why the Shrines—both Inner and Outer—are located here, archaeological evidence doesn't give us a lot to suggest that these might be the case.  Despite the presence of the Miya River near Ise Shrine, we haven't found evidence of a large harbor or port, like we might expect if it was the jumping off point for crossing Ise Bay—or even the center of another large polity.  Instead, the areas to the north—around Fujikata and Matokata inlets, for instance—show much more evidence of occupation and, presumably, use.  Heck, the modern district of Fujikata is in the town of "Tsu", which literally means "port".  And the capital area of Suzuaka and the Ichinomiya of Tsubaki Grand Shrine is even farther north, still.  So who, if anybody, was living down in the area of Ise Shrine?  If we look at the progression of tomb mounds in the area in previous centuries, we see that they start in the Matokata region in the 5th century and work their way down towards the south, with late 5th century tombs found in the district of Taki, the district bordering on Watarai and modern Ise City to the northwest.  It is also where you can find the Saikuu, the site of the old purification palace for the Shrine Princesses.  Grave goods seem to show close ties with Yamato, in the Nara basin.  While the tombs expanded to the south through the 5th century, they appear to have stopped altogether in the 6th century—or at least we haven't found any.  This may indicate that the political situation had changed and there was no group in the area that could organize the labor for such an undertaking.  Whether that was because Yamato was taking it as corvee labor or just that population had dwindled due to war, famine, or something else, I don't know that we could say. Around the year 600, at the opening of the 7th century, we do see a large grave mound erected in the core area of what would later become Ise Shrine, on the east side of the Miya River, overlooking what would become the Geku, the Outer Shrine of the Ise complex.  For those who aren't aware, Ise Grand Shrine is a large complex of shrines, and it is divided into two main areas.  The "inner shrine", or Naiku, is where most people go, and it is the site of the famous shrine building that is supposed to be rebuilt every 20 years.  The Geku is the "outer shrine" complex, technically dedicated to Toyouke hime, a kami of agriculture.  The kofun overlooking the outer shrine is known as the Takakurayama kofun.  This is a round kofun, about 35 to 40 meters in diameter, with a horizontal stone chamber.  It is the largest in the Ise region.  It has been mentioned in records going back to at least the Kamakura era, and even though most of the grave goods are gone, there is evidence that it was richly appointed.  Given its shape and location, there were even those in later centuries who connected it with the Heavenly Rock Cave in which Amaterasu hid according to the ancient stories. The fact that there was nothing around this area and suddenly we see a giant tomb mound is pretty puzzling.  Why was it built here?  Is it connected to the founding of the Outer Shrine in some way, or is that just coincidental?  Teeuwen and Breen point out that it is pretty rare for a large tomb mound to be build in the precincts of an active shrine, which suggests that whatever was happening there, that area was not part of the shrine grounds.  That said, I have to wonder if the ritual worship at the kofun might not have later been transformed or coopted into something else.  There also is no other indication that the Outer Shrine area was used for ritual purposes any earlier than the kofun would have been built.  In contrast, around the Inner Shrine area, several kilometers away, there are caches of beads dated to the 5th, 6th, and 7th centuries in a small valley where a brook runs down from Mt. Asama, not too far from the current shrine complex.  Teeuwen and Breen suggest that this may relate to the "upper reaches of the Isuzu River", mentioned in the Chronicles, and that it may have had to do with rituals related to water supply—hence being found at the point where the water was coming down from the mountains.  And yet, despite these finds, there really aren't any large scale archaeological remains that have been discovered east of the Miya river, though there are modest signs of dwelling and habitation, and some minor burials mounds. Compare this to Tsubaki shrine, the home of Saruta Hiko no Kami, and the main shrine of Ise, situated in the ancient capital of Ise no Kuni.  Downstream from there are numerous tomb mounds and indications of habitation.  So this was probably the center for early sun worship in the region. Teeuwen and Breen conclude that all of this indicates that the region of Taki and areas east of the Miya river were probably more of an outpost—no major powerful chieftains or large polity had set up in the region.  In the late 6th century, some power had to move in to build Takakurayama kofun, but that was an outlier.  Maybe this area just largely fell under Yamato hegemony.  And perhaps that was the key.  Perhaps initially this wasn't a place to center power and authority, but rather it was more like a prison.  It was a place far away from the court, where a deity that was more of a threat could be kept away from the palace and the sovereign.  Perhaps Amaterasu, or whoever the kami was at the time, was placed out here because of the threat they posed, much as the Chronicle seems to suggest—just not necessarily at the time that is suggested. One of the aspects of the mythmaking that we see in the Chronicles appears to be the stress on the Amatsu kami and Kunitsu Kami—the Heavenly deities and the Earthly deities.  The Heavenly deities are those in Takama no Hara, and they are the progenitors of the royal line.  On the other hand are the earthly kami, the Kunitsu Kami, those dwelling on the earthly plane.  In the stories that were recorded in the Nihon Shoki, before the August Grandchild of Takami Musubi and Ama Terasu descended to take control of the Central Land of the Reed Plain, they sent down heavenly kami as warriors to subdue the earthly kami.  On the one hand, this may have been driven by some kind of deep memory of early conquests of the archipelago by various forces.  However, these legends also served another purpose, in that they set up the royal family's right to rule, and appear to establish a de facto hierarchy between those families descended from the Heavenly Kami and those descended from the earthly Kami. Another thing that Teeuwen and Breen point out and that is that Amaterasu is not necessarily a female deity, to start with.  In fact, Amaterasu was probably easily overlain atop the worship of Oho-mono-nushi of Mt. Miwa, at least early on.  To that point, they note stories where Oho-mono-nushi and other deities were commonly depicted as arrows, snakes, or similarly phallic imagery finding or even penetrating women who were thought to have a connection with them.   This suggests a context of these priestesses being married to the kami, and even fits in with early descriptions of individuals like the famous Queen Himiko being a spiritual leader as well as a political one.  If the original Amaterasu was conceived of as a male deity, then this could also explain the tradition of the Saigu, the consecrated shrine princess.  We only see a few royal princesses designated to the position up to this point in the narrative, and, beyond Tokosuki Iri bime and Yamato hime, we don't necessarily learn much more.  One wonders if there weren't other royal princesses likewise sent elsewhere to serve other deities.  We know about Nunaki Iri Hime, and presumably Nunaki Waka Hime.  There was also Yamato Totohi Momoso Hime, who was married to Oho-mono-nushi.  Presumably there were others who just never ended up in the stories that were passed down. The idea of a kami taking a "wife" and connecting that to the idea of women holding these priestly positions seems to fall in line with much of what we see, though, as I said, we only hear occasionally about the appointment of royal princesses to the position until the reign of Ohoama.  That's when we see specifics about appointments, the purification palace in Hase, and other arrangements.  It makes you wonder more than a little bit if Royal Princess Ohoku was, perhaps, the first royal princess to actually be appointed.  It would have been easy enough to add in previous "shrine princesses" into the lineage, especially far enough back that nobody could really fact check it.  We also see Royal Princess Taki journey to Ise with her companions, Princess Yamashiro no Hime and Lady Ishikawa. It is intriguing that this practice was temporarily interrupted during the reign of Uno no Sarara, as I mentioned last episode.  Could this have something to do with a female ruler on the throne and a corresponding lack of urgency about having a female representative at Ise? And in stories about Amaterasu, she is frequently shown with certain masculine qualities.  When she confronts her younger brother, Susano'wo, she is concerned that he might try to take her authority from her, so she meets him decked out in armor, her hair tied up in a typical male fashion, with a bow, ready for a fight.  It would be just as easy to imagine that Amaterasu and Susano'wo were brothers, contending over rulership.  Add to all of that the idea that kami were often personifications of various natural phenomena or ideas, and Japanese is not a naturally gendered language, and there are those that believe that the stories of Amaterasu were not necessarily about a female deity in the beginning, but a male deity, similar to Ohomono Nushi and others, who then took on a feminine persona.  On the other hand there are passages in the old stories recounted in the Chronicles that clearly make Amaterasu out to be a woman. To start with the activities she is associated with, such as weaving, are often associated with women as something they do in the home.  This is a tradition carried over from the continent, along with silk and the techniques to weave it.  In the lands where silk production started, there are silkworm goddesses and the gendered nature of silk production and weaving appears to have come over to Japan as well.  There is also the fact that Amaterasu is said to have another name:  Oho-hiru-me no muchi.  In this case, it would seem to mean something like Great Noontime Female Possessor.  And in the weaving hall it is sometimes Amaterasu that is weaving and sometimes Waka Hirume.  "Hirume" certainly feels like a feminine name. There is the distinct possibility that the stories of Amaterasu as recorded were actually about two or more different kami, so Amaterasu and Ohohirume could have been separate deities having to do with the sun that were rolled into a single kami.  As mentioned before, it is also possible that Amaterasu ended up with some stolen valor taken from the other Ise deity worshiped at Tsubaki, Saruta-hiko no Kami.   Teeuwen and Breen also note that the name "Amaterasu" is hardly unique, noting at least ten other shrines with a kami called "Amateru" or "Amaterasu", mostly in Yamato, but some as far away as Kyushu and Tsushima.  Nine of those shrines were dedicated to Ame no Hoakari, an ancestor deity of the Owari lineage who was also closely tied to metalworking.  It is worth remembering that it was Owari who helped support Ohoama during the Jinshin no Ran, and who may have even fostered Ohoama for a while when he was just a young prince.  All that to say there may have been several different traditions that were all contributing different elements to the story. And then there is the connection between Amaterasu and Uno no Sarara. Herman Ooms, in his book: "Imperial Politics and Sybmolics in Ancient Japan", notes the similarities between Amaterasu and Uno no Sarara, talking about the differences between the Kojiki and the Nihon Shoki, both of which had events that mirrored Uno no Sarara's own life.  According to Ooms, "The Kojiki's Amaterasu is a transparent double of the female tennou Jitou".  He points out that Uno no Sarara, besides her posthumous title of Jitou Tennou, also had a title making reference to Takamanohara:  Takama no Hara Hirono no Hime—the Princess High-Heaven-Plain.  But beyond that, we also see other linkages between the stories.  For instance, it isn't Amaterasu's son, Ame no Oshihomimi who is given the realm, but rather her grandchild, Ninigi.  This parallels the way that Uno no Sarara's son, Kusakabe, didn't ascend to the throne, but instead Uno no Sarara was holding the seat for his son, her grandson.  So one sees how Uno no Sarara could be seen as Amaterasu, and her grandson, Prince Karu, could be seen as Ninigi, the August grandchild.  Teeuwen and Breen also note that during this same time, we see the rise of a new institution: the Jingikan.  Again, we touched on this last episode, so just a quick recap:  The Jingikan was a government organization set up specifically to oversee the shrines, rituals, ceremonies, and other such things pertaining to the kami matters.  It does not appear in the initial stand-up of the new, bureaucratic government, wherein is created the bureaus, ministries, or departments, depending on your chosen vernacular, which make up the Dajokan, the Great Council of State.  Instead, the Jingikan is a separate organization, specifically organized around kami matters. The term "Jingi" is also a shorthand for "Ama-tsu-kami, Kuni-tsu-kami", or the kami of Heaven and the Kami of the earth.  "Ama-tsu-kami", meaning Kami of Heaven, was written with two characters meaning "Heaven" and "Kami", pronounced "Tenjin".  "Kuni-tsu-kami", or the Kami of the Earth, was written as "Earth" and "Earth Spirit", which was then pronounced "Chigi".  By taking the last character of each compound Tenjin-Chigi becomes just Jingi, for short.  Throughout the Chronicles, this term, "Jingi" is thrown around when they want to quickly note all the kami, together, though sometimes it is fully written out as "Tenjin Chigi", as well.  Interestingly, "Tenjin" or "Ama tsu Kami", sometimes appears alone, especially in the chapters on the Age of the Gods.  However, "Chigi" seems to only be used in the whole phrase.  There are a few instances, however, of "Chijin" being used, but they are few. That said, the term "Jingikan", also read as "Kami Tsukasa" or even "Kan Zukasa",  doesn't appear until 690, in the reign of Uno no Sarara.  This probably means that it was part of the reforms encompassed by the Kiyomihara codes.  The head of the Jingikan is known as the Jingihaku or "Kan-zukasa no Kami".  This term actually shows up well in advance of the Jingikan itself, initially referring to an unnamed official or officials in charge of kami worship at the court.  Nakatomi no Kamatari is said to have been offered the position in the first reign of Takara, aka Kougyoku Tennou, though the first confirmed individual appears to be Nakatomi no Ohoshima, during the reign of Uno no Sarara. This appears to be a distinctly Yamato invention in the bureaucratic system.  It leverages the language and structure of the Tang dynasty, but in its own way.  There was a Tang department of shrines, but it was described differently, as befits a different spiritual environment focused on ancestor worship and Confucian and Taoist ideas.  The Jingikan system  seems to have been a deliberate re-organization of the indigenous kami worship, incorporating what was probably traditional roles into the new bureaucratic system.  In so doing, however, it also gave the court greater control, and given that this was happening at the same time as the establishment of various stories and myths around Ise and the foundation more generally, it appears to be part of a concerted and deliberate effort to construct a new narrative. All of this points to them architecting much of what was going on, from the stories to the landscape.  Ohoama likely built the inner shrine as we know it.  If it really was an obscure, out-of-the-way shrine, perhaps that also meant that there weren't any other powerful court factions that were enhanced by it.  And then, over time, the Ise shrine and the deity there could be better incorporated into the overall myths and stories that surrounded the formation of Yamato.  A new Yamato, one that would soon enough be referring to itself as the origin of the Sun:  Nippon, a name often attributed to Ohoama and Uno no Sarara, though not found in the record of their reigns in the Chronicles. Another aspect to all of this, however, is what happened immediately after Uno no Sarara's reign, and into the 8th and early 9th centuries.  In the 8th century—the Nara period—Buddhism started to merge with a lot of the local practices.  This was not uncommon.  Buddhism had been born in a land with myriad deities and styles of worship, and it had the means to incorporate local deities into its cosmological worldview.  Kami were just other beings, stuck in the cycle of rebirth, who, as sentient beings, could equally benefit from the Buddha's teachings.  They became guardians of Buddhist institutions, and the lines between shrines and temples were often blurred.  At the same time, kami worship was also taking on various concepts from continental worship, such that even today we find a lot of what we might consider Taoist practices influencing Shinto worship. Had this continued, worship of the kami may have been completely subsumed into the Buddhist ritual practices, but there were areas where kami worship remained distinct.  One of these was at Ise. Early on, there was an attempt to build a temple at Ise, but it didn't last long.  The temple was eventually moved out of the shrine complex, and then eventually it was removed altogether.  Later writings from the Shrine would include certain Buddhist terms among the things that were taboo within the shrine grounds, considering Buddhism as something of a corrupting or polluting influence.  Shrine Princeses, during their tenure, had to devote themselves to the kami, and though they might retire as nuns, later in life, during their appointment they were to be free of any Buddhist influences.  In many ways this would make Ise a prime example of what would eventually be termed "Shinto", which gave it, and the worship of Amaterasu, a certain pride of place.  Of course, it didn't hurt that it was also intertwined with the State and the founding myths of the nation.  As such, Ise Shrine and its worship would become a template for many others to follow, helping to shape what we know as "Shinto" today. There are still a lot of questions.  We don't exactly know what Uno no Sarara did on her trip to Ise Shrine, and we don't know how things surrounding the worship at Ise and of Amaterasu herself changed in the intervening years between when these events happened and when, about two to three decades later, the Chronicles were finalized and published.  Certainly some of this seems tied to the Fujiwara capital, which was no longer populated at that point, the move to Heijo-kyo, in Nara, occurring between 708 and 710, two years before the Kojiki and a decade before the Nihon Shoki would come out.  And yet, the three sacred mountains that were incorporated into the plan of the Fujiwara Capital, Mt. Kagu, Mt. Miminashi, and Mt. Unebi, seem to continue to be important.  This is especially true of  Mt. Kagu, whose heavenly counterpart, Ame no Kaguyama—literally Heavenly Mt. Kagu— continues to play a major role in the stories surrounding Amaterasu and the Heavenly Rock Cave.  In addition,Mt. Unebi is closely tied to the story of Iware-biko, aka Jimmu, conquering and settling the land—perhaps to draw attention away from the stories about Mimaki and Ikume iribiko, aka Sujin and Suinin, who were both associated more with Mt. Mimoro, aka Mt. Miwa.  So even though the physical presence was moved, by that point we know that foundation of many of these stories were likely laid down around the time that the Fujiwara capital was in operation.  What does seem clear is that, just as there were clear efforts to set up the new State government, including the new capital, the court were also taking control of other levers of power and influence.  We previously talked about how they had created National Temples and included government positions to oversee Buddhist affairs more generally.  With Ise and the creation of the Jingikan, it appears as though that trend continued with the traditional kami worship. Many of the elite families still had connections to their own shrines, with their own kami.  Through the stories collected and written down—with a few editorial additions to help place them in an approved context—they were able to construct a narrative from separate or divergent traditions.  These traditions had already accreted to themselves various stories and culture-ways, some of them with clear links to the continent and others with overlapping portfolios.  The kami, and the ability to intercede with them for their blessings or to avert their wrath, were a form of power that was being structured for the purpose of supporting the new State.  A state now under the control of one Uno no Sarara. And we don't exactly have to wonder about this… the preface of the Kojiki all but says it.  They put the words in the mouth of Ohoama, or, as they call him, the Sovereign of the Kiyomihara Palace.  But the words are pretty clear: "I hear that the Imperial Records and Ancient Writing handed down by the various houses have come to differ from the truth and that many false hoods have been added to them. If these errors are not remedied at this time, their meaning will be lost before many years have passed. This is the framework of the state, the great foundation of the imperial influence. Therefore, recording the Imperial Records and examining the Old Writings, discarding the mistaken and establishing the true, I desire to hand them on to later generations." With that, 28 year old Hieda no Are was given the command to learn all the stories and presumably to recite them for the court.  And several decades later, Oho no Yasumaro was given the task to take Are's stories and write them down.  I imagine that Hieda no Are, or perhaps someone else who had learned the stories well enough, would be called into court or banquets to present some of the stories, or would be asked questions if there was any need for precedence.  Thus creating a single source for truth, according to the administration.  At the same time, the court had a problem.  They couldn't control all of the sources of written material, with all of the various contradictions, so we also would eventually get the more comprehensive—but also less narratively direct—Nihon Shoki as well.  After all, the game of propaganda was being played at many levels, and while the royal household had their motivations—primarily to support the legitimacy of their claim to power and the system within which that claim was validated— other families wanted to ensure that they were properly recorded as having connections to traditional nexuses of power—be that the ancient kami of Heaven or Earth, or their relationship to the royal family.  This is because precedence was important, even as new traditions were being created.  Like the way that the Mononobe and the Nakatomi played important roles in Uno no Sarara's ascension ceremony despite the actual individuals using new or different names, like Isonokami or Fujiwara.  See Episode 151 for the explanation, there.  And new traditions were much easier to justify if you could connect them with older traditions—whether those older traditions were truly ancient or newly made inventions. And all of this suggests that this was not an accident and it wasn't simply being imposed from the top down.  One could be charitable and suggest that those involved felt that this got them closest to what the truth actually was, given that they had now been inculcated in a new worldview and they were trying to view the ancient stories through the interpretive lens of that worldview.  On the other hand, they were ultimately doing it to structure power and authority that favored them and the government they had created.  A government that they hoped would outlast them, and be passed on to their descendants. Next episode, we will continue our discussion of Uno no Sarara's life and reign and the incredible steps she took to ensure that her line would continue to rule Yamato for decades. Until then if you like what we are doing, please tell your friends and feel free to rate us wherever you listen to podcasts.  If you feel the need to do more, and want to help us keep this going, we have information about how you can donate on Patreon or through our KoFi site, ko-fi.com/sengokudaimyo, or find the links over at our main website,  SengokuDaimyo.com/Podcast, where we will have some more discussion on topics from this episode. Also, feel free to reach out to our Sengoku Daimyo Facebook page.  You can also email us at the.sengoku.daimyo@gmail.com.  Thank you, also, to Ellen for their work editing the podcast. And that's all for now.  Thank you again, and I'll see you next episode on Sengoku Daimyo's Chronicles of Japan.

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In this episode of Native ChocTalk, we continue our Choctaw road trip through the historic Latham area, where Chief Mushulatubbee established his community after the Trail of Tears. Joined by my cousin Cheryl and our gracious host, Jonathan Watson (Choctaw) of The Ranch at Latham, we explore the land where Mushulatubbee once lived, led, and helped rebuild the Choctaw Nation in Indian Territory. Together, we take a closer look at the layout of this historic Choctaw settlement, from the Council House, gristmill, and Trahern's Station to Brazil Creek, Council House Spring, and the cemetery where Mushulatubbee is believed to be buried. We also speculate on why Mushulatubbee chose this location, considering its abundant water, fertile land, and position along an important travel route that even attracted visiting dignitaries to this remote part of Indian Territory. Along the way, we discuss Choctaw social dances, traditional regalia, the importance of agriculture and self-sufficiency, and the remarkable resilience of a people determined to preserve their culture while building a new homeland. We wrap up our day with visits to Skullyville Cemetery and the historic Butterfield Overland Mail route, reflecting on the leaders and ancestors whose legacy continues to shape the Choctaw Nation today. For the full experience, we highly recommend watching this episode on YouTube. Search Native ChocTalk – Choctaw Road Trip Part 6 to follow along with the maps, historic sites, and beautiful landscapes that bring these stories to life. Yakoke for joining us on another journey into Choctaw history!

Lawrence Eclarin is Project Leader at Ilocandia Unli Weave Patterns.Ilocandia Unliweave Pattern is a creative enterprise that develops innovative weaving patterns inspired by traditional Ilocano textile designs. The initiative aims to modernize indigenous weaving by creating contemporary patterns that can be adopted by local weavers, textile producers, and fashion designers. Through innovation in pattern development, the enterprise supports cultural preservation and the commercialization of local weaving industries.This episode is recorded at Mariano Marcos State University - Technology Business Incubator in Batac, Ilocos Norte.In this episode:00:00 Introduction01:55 Ano ang Ilocandia Unli Weave Patterns?22:42 What is the startup solving? 32:40 What are stories behind the startup? 51:59 How can listeners find more information?ILOCANDIA UNLI WEAVE PATTERNSFacebook: https://facebook.com/p/Ilocandia-Unli-Weave-Patterns-61552000103646MMSU TBIFacebook: https://facebook.com/bannuartbiTHIS EPISODE IS CO-PRODUCED BY:Symph: ⁠⁠https://symph.co⁠⁠OneCFO: ⁠⁠https://onecfoph.co⁠⁠Yspaces: ⁠⁠https://knowyourspaceph.com⁠⁠Kredit Hero: ⁠⁠https://kredithero.com⁠⁠Twala: ⁠⁠https://www.twala.io⁠⁠GigGenius: ⁠⁠https://gig-genius.io⁠⁠SkoolTek by Edfolio: ⁠⁠https://skooltek.co⁠⁠Red Circle Global: ⁠⁠https://www.redcircleglobal.com⁠⁠CHECK OUT OUR PARTNERS:Ask Lex PH Academy: ⁠⁠https://asklexph.com⁠⁠ (5% discount on e-learning courses! Code: ALPHAXSUP)Pahatid PH: ⁠⁠https://pahatid.ph⁠⁠Digital Workforce Group: ⁠⁠https://digitalworkforce.com⁠⁠Nascent Batteries: ⁠⁠https://nascentbatteries.com⁠⁠Level Up Talent Solutions: ⁠⁠https://lvluptalentsolutions.com⁠⁠Agile Data Solutions (Hustle PH): ⁠⁠https://agiledatasolutions.tech⁠⁠CloudCFO: ⁠⁠https://cloudcfo.ph⁠⁠ (Free financial assessment, process onboarding, and 6-month QuickBooks subscription! Mention: Start Up Podcast PH)ArkoTech: ⁠⁠https://arkotechspacesolutions.com⁠⁠DVCode Technologies Inc: ⁠⁠https://dvcode.tech⁠⁠Argum AI: ⁠⁠http://argum.ai⁠⁠PIXEL by Eplayment: ⁠⁠https://pixel.eplayment.co/auth/sign-up?r=PIXELXSUP1⁠⁠ (Sign up using Code: PIXELXSUP1)School of Profits: ⁠⁠https://schoolofprofits.academy⁠⁠Founders Launchpad: ⁠⁠https://founderslaunchpad.vc⁠⁠Hier Business Solutions: ⁠⁠https://hierpayroll.com⁠⁠Smile Checks: ⁠⁠https://getsmilechecks.com⁠⁠Wunderbrand: ⁠⁠https://wunderbrand.com⁠⁠Uplift Code Camp: ⁠⁠https://upliftcodecamp.com⁠⁠ (5% discount on bootcamps and courses! Code: UPLIFTSTARTUPPH)START UP PODCAST PHYouTube: ⁠⁠https://youtube.com/startuppodcastph⁠⁠⁠⁠Spotify⁠⁠ | ⁠⁠Apple Podcasts⁠⁠Facebook: ⁠⁠https://facebook.com/startuppodcastph⁠⁠Patreon: ⁠⁠https://patreon.com/StartUpPodcastPH⁠⁠PIXEL: ⁠⁠https://pixel.eplayment.co/dl/startuppodcastph⁠⁠Website: ⁠⁠https://startupnetwork.ph⁠⁠This episode is edited by the team at: ⁠⁠https://tasharivera.com

John L Williams in conversation with David Eastaugh  https://www.amazon.co.uk/Heatwave-Summer-Britain-Boiling-Point/dp/1800961715 With temperatures soaring to 35ºC, severe water shortages and a sunburned population queuing at the standpipes, the summer of 1976 was always remembered as Britain's hottest. But the wave that hit the UK that year was also cultural and political, with upheaval on the streets, in parliament, on the cricket pitch and on the radios and TV sets of a nation at a crossroads. Before this blistering summer, Britain seemed stuck in the post-war era, a country where people were all in it together - as long as you were white, male and straight. In July, Tom Robinson writes a song called Glad to be Gay, and by August bank holiday, Black youth are making the police run for their lives in the almighty riot at the Notting Hill Carnival. But with the Labour Prime Minister Harold Wilson suddenly quitting, the pound sinking and the economy tanking, a restless immigrant population and increasing dissatisfaction in the old world order, the weather seemed to boil up the country to the point where the lid blows off. Weaving a rich tapestry of the news stories of the year, with social commentary and dozens of first-person interviews with those that were there at the time, Williams's reappraisal of the summer of '76 is an evocative, sometimes nostalgic but always an unflinching read. Heatwave takes us back to relive the events of that summer and asks - have we really moved on as much as we would have liked?

Welcome to part 5 of this Native ChocTalk series, where my cousin Cheryl and I are taking you deep into Choctaw history as we explore the old stomping grounds of Chief Mushulatubbee in Latham, Oklahoma. In the last episode, I shared about the history of this Choctaw Chief and now with the help of our fellow Choctaw, Jonathan Watson, we walk the land where Mushulatubbee (Cheryl and Jonathan's ancestor) lived after the Trail of Tears. You'll see the Council House Spring, the area of Trahern's Cemetery and Station along the Butterfield Overland Mail route, and the place where Choctaw history was made. Along the way, we uncover stories of resilience, leadership, and community, and explore the long-held oral history surrounding the burial site of Chief Mushulatubbee. This is more than a history lesson - it's a journey through the area where the Choctaw Nation rebuilt its future.

A new exhibit at the Hessel Museum of Art features the work of artist and educator, Marilou Schultz. Combining traditional Navajo weaving techniques to resemble digital technologies, Schultz's work has sought to reflect the historic efforts of Navajo women as part of our collective, technological futures. Schultz and exhibit curator, Candice Hopkins, offer more insight into the inspiration of "Replica of a Chip: The Weaving Technology of Marilou Schultz." Work by Marilou Schultz: "Popular Chip" 2025, courtesy of the Gochman Family Collection Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Many people imagine God's love as something like a kindly grandfather—affable, lenient, and unbothered by sin. But this misunderstanding cheapens love rather than exalts it. God's love is not soft. It is fierce and purposeful. Weaving through Deuteronomy 7, John 3, and 1 John 4, Pastor Chuck Swindoll explores why God chose to love an undeserving people—not because of who they were, but because of who He is. The cross stands as the ultimate proof. Let the depth of God's love move you. Understand it clearly, receive it fully, and let it reshape how you see yourself and others!

Many people imagine God's love as something like a kindly grandfather—affable, lenient, and unbothered by sin. But this misunderstanding cheapens love rather than exalts it. God's love is not soft. It is fierce and purposeful. Weaving through Deuteronomy 7, John 3, and 1 John 4, Pastor Chuck Swindoll explores why God chose to love an undeserving people—not because of who they were, but because of who He is. The cross stands as the ultimate proof. Let the depth of God's love move you. Understand it clearly, receive it fully, and let it reshape how you see yourself and others!