Podcasts about Weaving

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

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.

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/communications

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

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.

Every week Dawn interprets listener dreams. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Tanabata, or the Star Festival, comes from an old story about two lovers represented by the stars Vega and Altair.Orihime was a weaving princess, and Hikoboshi was a cowherd. They fell in love and became so wrapped up in each other that they stopped doing their work. So Orihime's father separated them on opposite sides of the Milky Way, only allowing them to meet once a year, on the seventh day of the seventh month.According to the story, magpies form a bridge across the Milky Way so the two can cross and finally be together again.So underneath all the colorful decorations, Tanabata is really a story about longing, separation, and the hope of being reunited with something you love.The tradition of writing wishes comes from another part of the festival's history. People write them on colorful strips of paper called tanzaku and hang them from bamboo branches.Originally, these wishes were often about getting better at something. Weaving. Calligraphy. Different skills and crafts. Over time, people started writing down all kinds of wishes.So it's not really just the Japanese version of making a wish.It's also about asking yourself:What do I really want?What do I want to get better at?And what kind of future am I hoping to move toward?

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

Abrimos con los tres discos favoritos de Mundofonías en julio del 2026, con el buen flamenco de Raúl Cantizano & Sebastián Cruz, el arrebatador arte del japonés Remon Nakanishi y las conexiones itali-balcánicas del Nubras Ensemble. Sacamos después pasaje en un expreso global que nos lleva por Escandinavia, Bretaña, Norteamérica, Irlanda, Colombia, México y Taiwán, descubriendo en cada estación sabrosas novedades discográficas. We open with Mundofonías' three favourite albums in July 2026, with fine flamenco from Raúl Cantizano & Sebastián Cruz, the captivating artistry of Japanese artist Remon Nakanishi and the Italian-Balkan connections of the Nubras Ensemble. We then board a global express that takes us through Scandinavia, Brittany, North America, Ireland, Colombia, Mexico and Taiwan, discovering delightful new releases at every station. Favoritos de julio July favorites – Raúl Cantizano & Sebastián Cruz - Cañaílla de la Isla (alegrías) - Inmediato – Remon Nakanishi - Kuroishi yosare 4416 - Yoakegarasu no wataru made / Till the ravens rise at dawn – Nubras Ensemble - Tarantora - Nubras Expreso global Global express – Cuadra Collective - Sökland - Väst – Ital Express - Re 'm eus evet - Mekanik ho tansoù – Medusa Quartet - Pompey ran away / Paddy's trip to Scotland / Elzic's farewell - Weaving gold in broken places – Aïtawa - La contra - Pasaje – Cabezas de Cera - La otra orilla - Metaensamble – Sherwin Yang - Cadence of Formosa - New panorama of Taiwanese opera

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.

Over the Summer I've curated a mini series of some of my favourite episodes from the podcast so far. We revisit old episodes that have stayed rent-free in my brain! In this episode I chat to Emma Worrollo who has created Playful Den. Emma is an expert in the theory of play. Play is one the most natural human states we long to be in. But the journey to the adult-side is full of social conditioning and expectations which make us lose touch with our inner child. We forget how to play. We start feeling awkward about being silly. And somewhere in the process our dreams can start to seem childish or no longer relevant. We move away from who we once felt determined and destined to be. Play can bring that piece of you back.  We chat about how we can be more playful in our businesses, how to balance work and play, how to resist turning all of our hobbies into business and we also talk about Emma's experiences running her own small business.    Key Takeaways Play is Powerful Embracing playfulness in life and business opens the door to creativity, resilience, and genuine happiness. Experiment Boldly Small businesses have the unique freedom to try new things, pivot quickly, and learn from every experiment; so don't be afraid to play and fail. Redefine Failure When you approach work with a playful mindset, failure becomes just another step in the creative process, not something to fear. Protect Your Joy Not every hobby needs to become a business; sometimes, keeping something just for fun is the best way to nurture your creativity. Stay True to Yourself Building a business around your values and passions can be deeply rewarding, even if it means taking the less conventional path. Connection Fuels Growth Engaging with your community and sharing your journey authentically can lead to surprising opportunities and meaningful impact.   Episode Highlights 01:23 – Emma's background: from agency founder to play advocate 03:54 – The organic growth of The Playful Den and the decision to go all-in 07:19 – Monetizing a passion: Patreon, courses, and business pivots 10:17 – Branding, launching services, and experimenting with products 12:56 – Why small businesses can be braver and more playful 16:12 – Overcoming fear of failure and the Play-Doh mindset 19:32 – Marketing, newsletters, and building an engaged community 21:50 – The rewards and challenges of running a playful business   You can find out more by visiting: Playful Den's website Playful Den's Instagram Playful Den's Patreon People Who Play Podcast   I would love to hear what you think of this episode, so please do let me know on Instagram where I'm @‌lizmmosley or @‌buildingyourbrandpodcast and I hope you enjoy the episode! This episode was written and recorded by me and produced by Lucy Lucraft lucylucraft.co.uk If you enjoyed this episode please leave a 5* rating and review!

Many corporate marketing teams see poor campaign performance because their digital content gets lost in an online landscape filled with repetitive automated templates.Govind Balakrishnan, Senior Vice President of the Express Product Group at Adobe, breaks down how to build high-performance creative pipelines by balancing automated layout tools with distinct human voice.He shares his framework for navigating modern consumer attention trends, utilizing fast generative prototyping systems to build clear video proof-of-concepts, and deploying natural language design interfaces to streamline multi-market asset production.Key discussion topics include:Using advanced design platforms to free up creative strategy time for human teams.Weaving unique perspectives and brand identities into automated content production chains.Running fast prototyping video generation tests to de-risk marketing spend.Managing content quality goals as digital media distribution channels grow more crowded.Modifying creative design fields using direct two-way conversational text commands.Govind Balakrishnan is the Senior Vice President of the Express Product Group & Digital Media Services at Adobe, leading engineering and cloud ecosystem consolidation.Connect & Optimize Your Creative Workflows:Follow Govind Balakrishnan on LinkedIn: https://www.linkedin.com/in/govindbalakrishnan/Explore Adobe Express Features: https://www.adobe.com/express/Automate Performance Marketing Channels with Strike Social: https://strikesocial.com/guaranteed-paid-social-media-ads-outcomes/Connect with Host Dylan Conroy: https://www.linkedin.com/in/dylanconroy/

Join us in Part 4 of this roadtrip series where my cousin Cheryl and I continue tracing her ancestry to Choctaw Chief Mushulatubbee. Cheryl and I visited The Ranch at Latham in Stigler, Oklahoma, where Chief Mushulatubbee once lived on what is now the lands of Choctaw, Jonathan Watson. I wanted to take a step back and explore the remarkable life and history of Mushulatubbee one of Choctaw Nation's most influential leaders - from his rise as a respected warrior and chief to the difficult choices surrounding removal, the Trail of Tears, and his leadership in Indian Territory. Join us as we uncover the history, the complexities, and the enduring legacy of Chief Mushulatubbee... and the mystery surrounding his final resting place. Yakoke for following along as our journey through Choctaw history continues! Also, I'd like to give a shout out to the excellent research of Greg O'Brien, Ph.D., professor of history at the University of North Carolina Greensboro as you'll hear quotes from his work throughout this episode.

In this episode of Million Dollar Flip Flops, Rodric sits down with Merry Korn, speaker, workshop facilitator, author, and founder of a social impact company she grew to 1,300 employees before a successful exit.Merry shares the powerful story behind her upcoming book, Fired to Inspired, and how being fired at 46—single, with two kids heading to college—became the darkest and most transformational moment of her life.From that moment of uncertainty, Merry built a for-profit social impact company that gave hiring priority to people with the greatest barriers to employment, including disabled veterans, people with disabilities, and people living in deeply impoverished communities.This is a moving conversation about clarity, courage, purpose, and what it really takes to turn pain into meaningful work.In This Episode, You'll LearnHow Merry turned being fired into the beginning of her life's workWhy clarity is essential before taking actionHow informational interviews can open unexpected doorsWhy purpose and profit can work togetherHow Merry built a company that employed people with major barriers to workWhy you do not need to know everything before you startHow courage and vision help you move through uncertaintyWhy thinking bigger allows you to serve more peopleHighlights & Timestamps[00:00] Clarity before actionMerry explains why clarity matters and compares life without clarity to getting on an elevator without knowing your floor.[01:00] Meet Merry KornMerry introduces herself as a speaker, facilitator, author, and founder who grew and sold a 1,300-employee company.[02:00] Fired to InspiredMerry shares the story behind her upcoming book and the terrifying moment of being fired at 46.[03:00] Finding purpose through crisisRodric and Merry discuss how people often spend more time planning purchases than designing their lives.[04:00] Should hobbies become businesses?Merry and Rodric explore whether passion and profit should always mix.[06:00] The dark night of the soulMerry shares how losing her job led her to prayer, surrender, and a surprising intuitive message.[08:00] Informational interviewsShe explains how reaching out to medical association CEOs opened the door to her next chapter.[09:00] Hiring people with disabilitiesMerry shares the story of hiring a quadriplegic woman who sold $140,000 in sponsorships within six weeks.[10:00] From projects to government contractsMerry explains how she shifted from short-term project work to long-term government contracts.[11:00] Growing to 1,300 employeesShe shares how one strategic hire helped her grow from 20 employees to 340, and eventually to 1,300.[12:00] The challenges of growthMerry talks about betrayal, uncertainty, heartbreak, and why entrepreneurs must keep going anyway.[13:00] Nobody really knows what they are doingRodric and Merry discuss why so many people stop because they assume others have it all figured out.[14:00] Think really bigMerry shares advice from Jack Kemp: the bigger you think, the more people you can touch.[15:00] Fired to Inspired resourcesMerry shares the three free workbooks connected to her book: Embracing Courage, Finding Your Life Purpose, and The Holy Grail of Informational Interviews.[18:00] From purpose to executionMerry leaves the next guest a powerful question about moving from knowing your purpose to actually executing.[19:00] What it takes to get startedMerry answers that getting started takes clarity, vision, and courage.[20:00] Weaving a meaningful lifeMerry closes by reflecting on Rodric's own path and the importance of building a life filled with what you love.Notable Quotes“You have to have clarity on what you really want to do.” – Merry Korn“Without clarity, it's like getting on an elevator and not knowing what floor to get off.” – Merry Korn“Don't wait until you know what you're doing. Just do it.” – Merry Korn“Think really, really big, because the bigger you think, the more people you will touch.” – Merry Korn“You have to know where you're going and what your ultimate dream is.” – Merry Korn“Find the clarity and have the courage to move forward.” – Merry KornConnect with Merry Korn

What happens when an entrepreneur suddenly begins to perceive energy, receive intuitive visions, and step into a completely different reality of healing and awareness? In this deeply personal and unscripted conversation, medical intuitive practitioner Patrice Krysztofiak joins us to explore the intersection of health, consciousness, and personal transformation. Through his work in intuitive perception, energy clearing, and holistic insight, Patrice supports individuals in understanding the deeper connection between their well-being, emotional patterns, and awakening journey.You can find show notes, resources and more at: https://tinyurl.com/bd73wr2d Enrollment is now open for our September Microdosing Facilitator Certification Training! This 12-week program will teach you everything you need to know to become a confident microdosing guide.Enroll now at www.microdosingforhealing.com

Fluent Fiction - Hindi: Weaving Respect: How Ananya's Charisma Won Her a Priceless Sari Find the full episode transcript, vocabulary words, and more:fluentfiction.com/hi/episode/2026-07-02-22-34-01-hi Story Transcript:Hi: गर्मी की तपती धूप में, उत्तर भारत के छोटे से कस्बे का लोकल बाजार अपनी पूरी रौनक में था।En: In the scorching summer sun, the local market of a small town in northern India was in full swing.Hi: यहाँ की गलियाँ रंगीन दुकानों और हथकरघा वस्तुओं से सजी थीं।En: The lanes here were adorned with colorful shops and handicraft items.Hi: बाजार की हर तरफ से मोलभाव की आवाजें आ रही थीं और रंगीन कपड़े धूप में चमक रहे थे।En: Bargaining voices could be heard from every corner of the market, and the colorful clothes were shining in the sunlight.Hi: अनन्या, एक युवा महिला, बाजार की इस भीड़ में अपनी पसंदीदा पारंपरिक बुनकरियों को देखने आई थी।En: Ananya, a young woman, had come to see her favorite traditional weavings amidst the market crowd.Hi: उसे हमेशा से ही हस्तनिर्मित वस्त्र पसंद थे, लेकिन इस बार उसका बजट थोड़ा तंग था।En: She always loved handmade garments, but this time her budget was a bit tight.Hi: उसकी नजर एक खूबसूरत और हाथ से बुनी साड़ी पर पड़ी।En: Her eyes fell on a beautiful, handwoven sari.Hi: साड़ी के रंग और डिज़ाइन उसकी नज़र में बस गए थे।En: The colors and design captured her attention.Hi: राघव और सार्थक, उसके दोस्त, उसके साथ थे।En: Raghav and Sarthak, her friends, were with her.Hi: "अनन्या, यह साड़ी तुम्हारे लिए है," राघव ने कहा। जबकि सार्थक ने भी सहमति में सिर हिलाया।En: "Ananya, this sari is for you," Raghav said, while Sarthak nodded in agreement.Hi: अनन्या दुकानदार के पास गई और पूछा, "भाई साहब, इस साड़ी की कीमत कितनी है?"En: Ananya approached the shopkeeper and asked, "Bhai sahab, how much does this sari cost?"Hi: दुकानदार ने मुस्कुराते हुए कहा, "दो हजार रुपये, बहनजी।"En: The shopkeeper smiled and said, "Two thousand rupees, sister."Hi: अनन्या का दिल धड़क उठा।En: Ananya's heart skipped a beat.Hi: यह कीमत उसके बजट से कहीं ज्यादा थी।En: The price was far beyond her budget.Hi: अनन्या ने विनम्रता से कहा, "भाई साहब, साड़ी तो बहुत सुंदर है, पर मेरे पास इतने पैसे नहीं हैं।En: Ananya politely said, "Bhai sahab, this sari is very beautiful, but I don't have that much money.Hi: क्या आप थोड़ा कम नहीं कर सकते?"En: Can't you reduce the price a little?"Hi: दुकानदार ने सोचा, फिर कहा, "बहनजी, यह साड़ी बहुत मेहनत से बनी है।En: The shopkeeper thought for a moment, then said, "Sister, this sari is made with a lot of hard work.Hi: थोड़ी सी भी छूट देने में मैं नुकसान में चला जाऊँगा।"En: Giving even a little discount would put me at a loss."Hi: अनन्या ने समझाया, "मैं आपकी मेहनत की पूरी कदर करती हूँ।En: Ananya explained, "I truly appreciate your hard work.Hi: पर मेरा बजट भी सीमित है।En: But my budget is limited.Hi: क्या आप इसे पंद्रह सौ में दे सकते हैं?"En: Could you give it to me for fifteen hundred?"Hi: काफी देर तक बातचीत और बहस के बाद, दुकानदार अपनी जगह पर खड़ा रहा।En: After a long conversation and debate, the shopkeeper remained firm.Hi: लेकिन अनन्या का genuine सम्मान और खरीदी की इच्छा देखकर उसका दिल पिघल गया।En: But seeing Ananya's genuine respect and desire to purchase, his heart melted.Hi: उसने कहा, "ठीक है बहनजी, आपके लिए पंद्रह सौ में दे देता हूँ।"En: He said, "Alright, sister, I'll give it to you for fifteen hundred."Hi: अनन्या के चेहरे पर खुशी की लहर दौड़ गई।En: A wave of happiness spread across Ananya's face.Hi: उसने साड़ी खरीद ली।En: She bought the sari.Hi: अनन्या ने राहत की सांस ली और दुकानदार को धन्यवाद कहा।En: Ananya breathed a sigh of relief and thanked the shopkeeper.Hi: बाजार की भीड़ में वापस आते समय उसने सीखा कि कभी-कभी असली कदर सम्मान और दृढ़ता में होती है।En: As she returned to the market crowd, she learned that sometimes true value lies in respect and persistence.Hi: यह अनुभव अनन्या के लिए नया था, लेकिन यह उसके लिए एक मूल्यवान सबक था।En: This experience was new for Ananya, but it was a valuable lesson for her.Hi: उसने न केवल एक सुंदर साड़ी खरीदी बल्कि कलाओं के प्रति अपने प्रेम को और भी बढ़ाया।En: Not only did she purchase a beautiful sari, she also deepened her love for the arts. Vocabulary Words:scorching: तपतीadorned: सजीbargaining: मोलभावamidst: बीच मेंgarments: वस्त्रbudget: बजटdesign: डिज़ाइनnodded: सिर हिलायाshopkeeper: दुकानदारsmiled: मुस्कुरातेskip a beat: धड़क उठनाpolitely: विनम्रताreduce: कमhard work: मेहनतdiscount: छूटloss: नुकसानappreciate: कदरconversation: बातचीतfirm: स्थिरgenuine: असलीrespect: सम्मानmelted: पिघल गयाsigh of relief: राहत की सांसpersistence: दृढ़ताvaluable: मूल्यवानlesson: सबकarts: कलाएँcapture: बस गए थेlimited: सीमितdebate: बहस

As we celebrate the  summer solstice, its time to enjoy abundant sunshine, warm temperatures and activities such as swimming, beach adventures and the great outdoors.   However, summer includes challenges such as heat, and too much cold due to air conditioning!! Great ready to deal with insect bites, poison ivy , heat exhaustion, electrolyte depletion, muscle cramps, sunburn, swimmer's ear and bloodshot eyes from too much chlorine in the pool!    Drug stores offer chemical and synthetic options for some of these ailments, but what about Natural Alternatives??   Weaving natural remedies into our care routines offers a gentle, effective means to soothe these common troubles without relying solely on synthetic products.   Join The  Natural Nurse and Dr. Z…naturally, as they discuss helpful hints and natural remedies to keep you and your family thriving this summer!!  

Join us for Part 3 of our Choctaw heritage road trip as my cousin Cheryl and I continue tracing her ancestry to Choctaw Chief Mushulatubbee. This episode takes us to The Ranch at Latham in Shady Point, Oklahoma, where Choctaw, Jonathan Watson shares the history of his family's land property that was once home to the great Choctaw Chief Mushulatubbee. While this land is rich with Choctaw history, it's also one of eastern Oklahoma's most unforgettable event destinations. Nestled near the beautiful Kiamichi Mountains, you'll get a glimpse of why The Ranch at Latham has become such a sought-after venue for weddings and special events. Blending western charm, breathtaking scenery, and authentic Oklahoma hospitality, it's truly a place where history and celebration come together. And of course, since it's owned by one of my fellow Choctaws, I have to give it a shoutout - be sure to check it out at https://www.ranchatlatham.com! In this episode, you'll get a firsthand look at Jonathan's family property, including historic Choctaw and Civil War-era gravesites that remain on the land today, along with a sneak peek at Chief Mushulatubbee's old stomping grounds. It's an incredible opportunity to stand where history happened and experience the stories that continue to live on through the land itself. Be sure to join us for Part 4, where we explore even more of the places, history, and enduring legacy of Cheryl's ancestor, Choctaw Chief Mushulatubbee.

This week on Life Along the Streetcar, Tom Heath sits down with three of Tucson's standout muralists — Jessica Gonzales, Camila Ibarra, and Pen Macias — to discuss their collaborative mural, “Threads of Tucson, Woven by Women.” Located in the El Presidio neighborhood, the mural celebrates the women, traditions, cultures, and communities that have helped shape Tucson's story. Jessica, Camila, and Pen share how the project came together, what it was like to merge three artistic voices into one seamless piece, and how the mural incorporates Indigenous, Mexican, and neighborhood history through textiles, food traditions, Mission Garden, the Santa Cruz River, monsoon imagery, and even hidden references to the Stork's Nest maternity ward. They also talk about the trust required in collaboration, using augmented reality goggles to scale the design, and why this project became a milestone in their creative careers. Life Along the Streetcar explores the people, places, and stories shaping Tucson's urban core — from Sentinel Peak to the University of Arizona. Learn more at LifeAlongTheStreetcar.org.

In this deeply personal episode, your host shares a raw and honest update from her third postpartum journey and the profound lesson it gifted her: the power of receiving. From navigating a difficult pregnancy at 41 with a FIFO husband, running businesses, and raising two older children, she opens up about the friends who showed up without being asked, the "meal train" that moved her to tears, and why hyperindependence is not the flex we think it is. Weaving in research from the Blue Zones documentary, specifically the Power Nine framework, this episode explores why your social circle may be the most underrated key to a long, thriving life, and how to finally open yourself to the love, support, and abundance you deserve. Whether you've been burned before, tend to do everything yourself, or simply struggle to let people in, this episode is your invitation to soften without losing your strength.

The Author Events Series presents Barbara McQuade | The Fix: Saving America from the Corruption of a Mob-Style Government In Conversation with Zane Memeger In The Fix, McQuade draws on her decades of experience as a federal prosecutor to reveal 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. With clarity, precision, and moral force, she exposes the tactics of today's far-right MAGA system: information warfare, aggressive retribution, conformism enforced by fear, and pervasive dismantling of legal checks and balances necessary to defend the public interest and uphold justice. Weaving together courtroom stories, real-time political analysis, and cautionary lessons from history and democratic backsliding abroad, McQuade makes the case that the threats we face are not future possibilities-they're already here. Yet The Fix is not just a warning; it is a call to action. In the book's final chapters, McQuade outlines common-sense reforms and strategies that can reclaim the rule of law and recenter democracy with the power of the people. Accessible, eye-opening, and grounded in constitutional faith, The Fix is essential reading for everyone concerned about the future of America-and ready to work together to take a stand for it. Barbara McQuade is a professor at the University of Michigan Law School, where she teaches criminal law and national security law. She is also a legal analyst for NBC News and MSNBC. From 2010 to 2017,  McQuade served as the U.S Attorney for the Eastern District of Michigan. She was appointed by President Barack Obama, and was the first woman to serve in her position. McQuade also served as vice chair of the Attorney General's Advisory Committee and co-chaired its Terrorism and National Security Subcommittee. She and her husband live in Ann Arbor, Michigan, and have four children. Zane Memeger is the Executive Director of the Pennsylvania Innocence Project; a non-profit organization focused on exonerating those convicted of crimes they did not commit and helping the wrongfully convicted transition to freedom. Because you love Author Events, please make a donation when you register for this event to ensure that this series continues to inspire Philadelphians. Books will be available for purchase at the library on event night! All tickets are non-refundable. (recorded 6/2/2026)

AI is transforming healthcare workflows, but what is the best way to integrate it into physician workflows? Join Thea Campbell and Hari Bala as they discuss how to bring AI into clinical workflows to reduce clinician burden and create scalable, secure solutions for the future of healthcare.

Followed by spoken-word poetry from Dreaming Bear, Ram Dass and Uma Reed explore how the union of Bhakti and Vedanta leads to unchanging bliss and eternal awareness.Recorded in 2008 at Studio Maui, this mini-series features Ram Dass and guests from his satsang. Check out the first two episodes of this mini-series on episodes 245 and 255 of the Be Here Now Network's Guest Podcast.Help us celebrate 10 years of Be Here Now Network and support the next chapter of Ram Dass Here and Now. Gifts are matched dollar for dollar through June 30. Learn more and give here: BHNN 10th Birthday FundraiserToday's podcast is brought to you by BetterHelp. Give online therapy a try at betterhelp.com/beherenow and get on your way to being your best self.In this episode, Uma Reed and Ram Dass share insights on:Weaving together the paths of Bhakti and Vedanta Connecting to our blissful nature and a joy that is unchangingRam Dass's mushroom trip at Tim Leary's house: seeing the roles vs. the soulStripping everything away until you are pure awareness and loveSpoken word with Dreaming BearLoving all of each other the way we love our belovedGiving yourself permission to become wild and undomesticatedAbout Uma Reed:Uma was first exposed to Hindu devotional chanting in the early 1970s, while studying meditation and spiritual practices with Ram Dass and various other teachers. Kirtan was a practice that touched her deeply, and as a devotee of Neem Karoli Baba, she often participated in kirtan gatherings with fellow devotees, as well as in other ashrams and spiritual communities. For years she held kirtan in her home, and for the past dozen years or so, she has led kirtan formally in yoga studios, spiritual centers, and retreat settings. She has taught workshops and led kirtan on numerous retreats and in satsang with Ram Dass and other spiritual teachers in the U.S. and abroad.About Dreaming Bear: Dreaming Bear is a master word-smith delivering his fervent message with extraordinary verbal dexterity and relevance. He's a nomadic bard, a hip mystic and modern-language Sufic style philosopher-poet. If you'd like to experience a living combination of Spaulding Gray, Rumi, Jack Kerouac, Robin Williams, Shel Silverstein, Michael Talbot and Thich Nhat Hanh, you owe it to yourself to see Dreaming Bear. The foundation for Dreaming Bear's work as a transformational epic orator and poetic storyteller is deeply attuned to the natural world. His work as a university teacher/researcher was further defined by years spent living 'off the grid'. While in a deep communion with what the Hawaiians call the a'ina, or life force of the land, he began to take his artistry to a new level and developed many of the works that have proven to be inspiring to so many. Find out more about Nature's Poet Laureate by reading a book of his poetry. “You will always exist. Isn't that reassuring? You always exist.” –Ram DassSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Global brand Patagonia has been been developing its relationship with Zentera Wool - the company formerly known as New Zealand Merino. 

In recognition of Men's Health Month, we feature former Pittsburgh Steeler turned certified personal trainer Jawon Chisholm. He shares what it really takes to stay physically and mentally strong after leaving professional sports, and how that journey shapes his work coaching everyday men. We explore the challenges men face when starting or restarting a fitness journey, the mission behind his “Struggle to Succeed” program, and how his growing “Run with Jawon” event is building community through health. Jawon also opens up about the adversity and life experiences that continue to fuel his commitment to helping others succeed.Lancaster County is launching a new way to recognize community connection and impact. In this episode, we talk with Tracy Cutler of the Lancaster County Community Foundation and Araba Sapara-Grant of the Aspen Institute about “The Weaver Awards,” a new initiative supported by Aspen's Weave program. The awards aim to honor local residents who are strengthening relationships and building a more connected community. Nominations are open now through July 24. Learn how the partnership came together, why social connection matters, and how you can get involved.

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!

Rest to Return, a podcast for a restless world. Kohenet Keshira haLev Fife is your host. This series is rooted in Shabbat, an ancient Jewish practice that teaches us how to belong to time. Here, rest is a sacred rhythm woven into who we are. We continue by gathering around a single question: What is my sacred purpose? You can find more info about Tzedek Lab here. Settled back into his room, my dad was a bit frail…but he could still kiss us and us that he loved us! The list of 39 melachot can be found here. Olam haBah is often translated as “the world to come” and is used in reference to the afterlife. In this context, I'm using it to describe “the world as it could be” which includes dignity, equity, and liberation. The idea that each person is a letter in the Torah is rooted in Megaleh Amukot (Va'etchanan 186:1). I learned about the concept of “ratzon” from my teacher, colleague, and friend David Jaffe, Founder and Executive Director of Kirva. Rabbi Tarfon's quote comes from Pirkei Avot 2:16. One source for Rabbi Simcha Bunim's teaching is Tales of The Hasidim Later Masters by Martin Buber. The Mary Oliver line comes from her poem, entitled “The Summer Day”. This quote has been misattributed to Courtney Carver. It is instead referenced by Carver in her book, Gentle: Rest More, Stress Less and Live the Life You Actually You Want. The quotation itself comes from Psychologist Nicola Jane Hobbs who teaches, “Instead of asking, 'Have I worked hard enough to deserve rest?' ask, 'Have I rested enough to do my most loving, meaningful work?'"” The practice in this episode was inspired by a practice that I learned from Rabbi David Jaffe, Founder of Kirva, and it is one that I've enjoyed practicing with each Cohort of “Dismantling Racism from the Inside Out” that I have the privilege of co-facilitating for People of Colour, alongside Yehudah Webster. The next cohort begins in Fall 2026 and you can find more info here. This episode is brought to you by the Institute for Jewish Spirituality. Rest to Return exists because we believe slowing down is a spiritual act. IJS believes that too. For over two decades, IJS has been helping people go deeper, through Jewish mindfulness meditation, contemplative prayer, sacred text study, and embodied practice. Their offerings range from online courses and silent retreats to immersive cohort programs for seekers of all experience levels, clergy, and spiritual leaders who are ready to live and lead from a more grounded place. Kohenet Keshira haLev Fife is part of IJS's core faculty, and the wisdom you'll hear in this series is very much in that spirit. If this podcast is stirring something in you, IJS is a place to go further. Explore their programs, and more ways to learn and practice with Keshira, at jewishspirituality.org, including: View the latest offerings from IJS in our program catalog Join Keshira on retreat this August: Returning Anew Learn more about Keshira's latest class at IJS on Mindful Speech as a Spiritual Practice Learn more about Shevet, IJS's community for younger adults (20s-30s) IJS has several online free practices with Keshira and our other faculty including our live Daily Sit, our weekly Shevet Sit for younger adults (under 40), and monthly Affinity Sits for Jews of Color, LGBTQ+, and individuals with disabilities. Click here for more information. Join our mailing list to be notified about our upcoming fall courses, including Keshira's Earth, Moon, Mindfulness year-long class.

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!

Richard Weaver was a twentieth century American scholar and rhetorician whose writings were praised by the likes of Russell Kirk, William F. Buckley, Willmoore Kendall, and Frank Meyer.  But nowadays Weaver is either derided as a racially charged Southern sympathizer or accused of preparing the way for the MAGA movement and authoritarianism.  If he's discussed at all. Joining Saving Elephants host Josh Lewis is Michael Lucchese, whose latest essay in Law and Liberty defends Weaver's contributions to the intellectual Right and argues his writings are still instructive for the conservative today.  This episode explores Weaver's actual views on the South and racism, his battles with the neo-gnostics of his day, his peculiar admiration for libertarians and Abraham Lincoln, and his greatest foe, William of Occam. Check out Michael's essay on Weaver, Turning the Clock Back Also, check out the book he edited compiling a collection of Russell Kirk's observations on America's founding, On America: How to Understand the Legacy of 1776   About Michael Lucchese From Pipe Creek Consulting Michael Lucchese is the founder and CEO of Pipe Creek Consulting, a communications firm based in Washington, D.C. He is also an associate editor of Law & Liberty and a contributing editor to Providence. He has been elected to membership in the Academy of Philosophy and Letters, the Ciceronian Society, and the Philadelphia Society, and serves on the board of the Institute for Christianity and Common Life, which publishes Mere Orthodoxy. Previously, he was a Krauthammer Fellow with the Tikvah Fund, a visiting scholar at Liberty Fund, and an aide to U.S. Senator Ben Sasse. His writing on national security, the conservative movement, and the American Founding has been published widely at outlets such as the Wall Street Journal, the Washington Post, National Review, and the Washington Examiner. He graduated from Hillsdale College with a B.A. in American Studies, and is an alumnus of the Hudson Institute Political Studies Program.

If you've ever felt hijacked by grief at the worst possible moment, Episode 438 of the Grief and Happiness Podcast is for you. Grief guide Sylvia Wolfer reveals why exhaustion, fogginess, and emotional overwhelm are real biological responses to loss — not weakness — and shares the simple scheduling technique that helped her stop being ambushed by grief and finally feel in control. If grief has ever felt bigger than you, this episode will change the way you see it.In This Episode, You Will Learn:(00:50) Sylvia's personal journey through compound and unattended grief (04:55) Why grief research became Sylvia's lifeline — and the two gifts it gave her (05:46) Reclaiming agency: the scheduling technique that puts you back in control of grief (08:14) Why grief never goes away — and why we wouldn't want it to (11:10) What living in Buddhist countries taught Sylvia about impermanence and loss (13:55) How Western culture leaves us unprepared for grief (18:34) The physical reality of grief: what loss does to your brain, body, and energy (22:37) Why hydration and basic body care are powerful emotional tools (25:17) Grief as a wound: why it needs intentional care, not just time (28:11) The power of showing up for grievers — and how small acts of kindness change everythingSylvia Wolfer is a grief guide, mindfulness practitioner, and movement teacher whose work sits at the intersection of neuroscience, mindfulness, and gentle movement. Having lost both parents and two siblings — her father and younger brother before she turned seventeen, and her older brother just before COVID lockdown — she brings profound personal lived experience to her practice. That final loss became a turning point: rather than continue living at the mercy of unattended grief, Sylvia dove into the science of loss and emerged with a framework to help others rebuild steadiness and agency. She offers 1:1 sessions, self-paced courses, and online Pilates, and has been featured across multiple grief-focused platforms worldwide.In this episode, Sylvia shares how immersing herself in grief research gave her two transformative gifts: the reassurance that her responses were entirely normal, and a sense of belonging to a universal human experience. She introduces the practice of grief agency — acknowledging a wave when it rises but consciously choosing when to tend to it, so grief no longer arrives as an ambush. She also explores the physical reality of loss, explaining how grief keeps the body in a state of high alert and why tending to basics like hydration, sleep, and movement is a foundational emotional strategy. Weaving in Buddhist perspectives on impermanence, she reflects on why Westerners are so often blindsided by loss, and closes with a warm validation of community and the life-changing power of not leaving grievers alone in their silence.Connect with Sylvia Wolfer:WebsiteLinkedInInstagramPodcast: Sylvia's VoiceLet's Connect: WebsiteLinkedInFacebookInstagramTwitterPinterestThe Grief and Happiness AllianceBook: Emily Thiroux Threatt - Loving and Living Your Way Through Grief Hosted on Acast. See acast.com/privacy for more information.

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!

Send us Fan Mail"Shire" and "guild" refer to a wide variety of subjects, ranging from Tolkien's fictional hobbit homeland to real-world administrative districts in the UK, video game factions, and even historic trades. But, today we are talking about CNCH, otherwise known as Conference of Northern California Handweavers. Don't let the name fool you.  According to their website, The Conference of Northern California Handweavers, Inc. was founded in 1953 to further the art and appreciation of the craft of handweaving.  Today the member Guilds of CNCH embrace all fiber arts associated with weaving.  Our membership includes not only weavers, but also dyers, basketmakers, and spinners.Today, Susan is going to tell us all about the guild, the yearly conference, and what all they offer. So, sit back and enjoy The Shire!Links:https://www.cnch.org/about-2/https://www.cnch.org/https://en.wikipedia.org/wiki/Shirehttps://en.wikipedia.org/wiki/GuildSupport the show

At the root of our suffering is longing — the yearning for something more, something missing. But awakening isn't an experience that arrives. It's a reorientation, a kind of seeing, into the way things actually are: whole, complete, nothing left out. Join Holly for meditative guidance rooted in non-dual wisdom that invites you into this recognition — that what you've been searching for has always been here.Holly Erin Copeland, MA, is a certified NeuroMeditation teacher, Bio-tuning Practitioner, human potential coach, Reiki master, and sound healer who helps awaken the deep heart's infinite love and wisdom and the radiant clarity of the natural mind.https://www.heartmindalchemy.com"Inner Rewilding: A Scientist's Journey Into Being" is the story of one woman's journey from depletion to remembrance – and an invitation into your own. Weaving memoir with mysticism, science with soul, Holly maps a path from frustration and despair to profound peace and unshakeable joy. https://www.amazon.com/Inner-Rewildin...Enlightened World Network is your guide to inspirational online programs about the spiritual divinity, angels, energy work, chakras, past lives, or soul. Learn about spiritually transformative authors, musicians and healers. From motivational learning to inner guidance, you will find the best program for you.Check out our website featuring over 200 spirit-inspired lightworkers specializing in meditation, energy work and angel channelinghttp://www.enlightenedworld.onlineEnjoy inspirational and educational shows at    / enlightenedworldnetwork  To sign up for a newsletter to stay up on EWN programs and events, sign up here: https://lp.constantcontactpages.com/s...Enlightened World Network is now available on Apple Podcast, Google Podcast, Podbean, Spotify, and Amazon Music.Link to EWN's disclaimer: https://enlightenedworld.online/discl...#buddhistmeditation #nonduality#lightworkers #nondual #hollyerincopeland

What if the Atonement was about more than paying for sin? In this thought-provoking conversation, Meghan Farner and Meg Rittmanic explore a symbolic and deeply spiritual interpretation of Christ's Atonement through the lens of Heavenly Mother, divine adoption, sacred coverings, and spiritual rebirth.Drawing from scripture, ancient symbolism, early Christian writings, temple imagery, and the recurring motif of weaving, Meg presents a framework that sees Christ not only as Savior, but as Life-Giver—one whose sacrifice creates a path for humanity to be spiritually adopted into the family of God.Together, they examine the symbolism of birth, labor, garments, the Lamb of God, the temple veil, wisdom traditions, and the divine feminine. This episode is also an open invitation for collaborative discernment as Meg gathers feedback on concepts from her forthcoming book.In this episode:Heavenly Mother as the divine weaverThe connection between birth, death, and resurrectionReframing the meaning of the Lamb of GodAdoption versus birth as spiritual metaphorsSacred garments, coverings, and covenant identityEarly Christian teachings on ascension and divine inheritanceThe feminine dimensions of Christ's AtonementThe role of wisdom traditions in spiritual transformationShare your thoughts in the comments: Does the idea of spiritual adoption deepen your understanding of the Atonement? How do these symbols resonate with your faith journey?Timestamps00:00 Introduction to Hidden Wisdom & Guest Meg Rittmanic01:27 Meg's Journey Discovering Heavenly Mother06:02 Studying Divine Feminine Symbolism Across Traditions07:35 Why This Discussion Needs Community Discernment10:50 Weaving, Creation & the Womb in Scripture15:32 Heavenly Mother as the Cosmic Weaver19:08 The Atonement as Spiritual Labor & Birth23:36 Birth Imagery, Death & Resurrection26:46 Reframing the Lamb of God31:16 Adoption Into the Family of God36:04 Garments, Coverings & Covenant Identity40:12 Heavenly Mother, Wisdom & Sacred Nourishment41:03 Becoming Children of God44:36 Adoption, Agency & Eternal Progression47:58 Layers of Transformation & Spiritual Ascension52:53 False Coverings vs. True Identity55:41 Questions for Collective Discernment57:09 Final Reflections & Closing ThoughtsMeg Rittmanic is the host of the In Her Image podcast, where she explores and celebrates Heavenly Mother through scripture, scholarship, symbolism, and lived spiritual experience. Over the past eight years, she has undertaken an extensive personal study of the divine feminine, reading hundreds of books and researching wisdom traditions across cultures. She is currently completing a book focused on Heavenly Mother, sacred symbolism, and spiritual transformation. If you feel called to better understand and embody your divine femininity, consider if our next cohort of Return to the Garden is for you! We gather starting September 28th. Hidden Wisdom initiates truth-seekers into the Mysteries, guiding listeners toward a lived experience of the Divine that awakens and transforms faith—without dismantling family or community. Pursue your Journey: ✨ Hidden Wisdom App – Join for FREE and enjoy pathway programs, community, expansive library, and more!

(Spirit Rock Meditation Center)

Weaving together the koan anecdotes, the awakening poems of early Buddhist women, and the living support of sangha, in this talk Kisei invites practitioners who feel stuck or afraid to ask for help — from the ancestors, from each other, and from the mystery itself. ★ Support this podcast ★

"Carolina Caroline" is a 2025 American romantic crime thriller film directed by Adam Carter Rehmeier and written by William Thomas Dean IV, starring Samara Weaving, Kyle Gallner, Jon Gries, and Kyra Sedgwick. The film follows A young woman who joins a charming con man on the run, leaving a trail of crime and passion as they hustle through the Southeast in search of her estranged mother. It had its world premiere in the Centerpiece program of the 2025 Toronto International Film Festival, where it received positive reviews for its chemistry between its two leads, Rehmeier's look at the American deep South, and its fusion of the romance and crime genres, creating a "Bonnie and Clyde" story for a new era. Weaving, Gallner, and Rehmeier were all kind enough to spend some time talking with us about their work and experiences making the film, which you can listen to below. Please be sure to check out the film, which is now playing in theaters from Magnolia Pictures. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

In this Wednesday Night Dharma Talk preceding the weekend retreat Planting Life, longtime teacher and master gardener Wendy Johnson calls the community “to plant life together in utterly dangerous times.” Weaving traditional ecological knowledge, Dogen's Instructions to the Cook, and more than fifty years of earth dharma practice, Wendy plants us deep in our seats, reminding us planting is: “not… Source

Among four-shaft weavers, A Handweaver's Pattern Book is commonly referred to by just the author's name—Davison—or as “the green book,” a reference to the iconic cover of many of the book's printings. Since Marguerite Porter Davison first published it in 1944, it has been a foundational reference, the first book that many weavers buy and the one they keep close at hand. Packed with drafts and photographs for overshot, twill, crackle, and dozens of other structures, it's the weaver's answer to The Joy of Cooking: a starting point for design, a resource for understanding a structure, and a map for exploration. Although it remained in print for decades, it became unavailable in 2005, and the weaving community felt the loss. For the past several years, a group of nearly 100 weavers and other volunteers has been working to bring it back. Weavers from guilds from coast to coast have nearly finished reweaving all of the book's samples—more than 1,200 of them—in color. Technical reviewers have created contemporary drafts. The original instructions for sinking-shed looms have been adapted to the jack looms more common in most weavers' studios. Despite the updates, the project's north star has been to honor Davison's voice and intentions. The updated edition, to be published by Schiffer Craft, is expected in summer 2027. Leading the effort is Caroline Cooley Browne, who happens to be Marguerite Porter Davison's granddaughter. Davison died when Caroline was a baby, but she grew up hearing stories from her mother of warping looms in Marguerite's attic studio, of train rides to the printer, of the woman who traveled to numerous guilds because she loved being with other weavers. When the copyright to the 1951 edition eventually came to Caroline through her family, she knew what to do with it, and she enlisted a team of eager volunteers to help bring the new edition to life. In this episode, Caroline is joined by Donna Johnson of the Whidbey Weavers Guild, who coordinates volunteers for the guild's sample weaving, and Anita Osterhaug, who connected the project with the publisher and has been part of the technical steering committee. Together they talk about the logistical undertaking of standardizing hundreds of samples across dozens of weavers, the technical decisions involved in updating the book, and what it has felt like to be part of the next chapter of something this important. Listen in to hear why the green book has never gone out of fashion, what surprised the weavers as they worked through structures they'd never tried before, and what Marguerite Porter Davison's granddaughter hopes she would think of the whole endeavor. Links Visit the page dedicated to The Big Weave on the Bainbridge Artisan Resource Project (BARN) website and sign up for updates. When the project is finished, the WIFs will be available through BARN. This episode is brought to you by: Treenway Silks is where weavers, spinners, knitters and stitchers find the silk they love. Select from the largest variety of silk spinning fibers, silk yarn, and silk threads & ribbons at TreenwaySilks.com. You'll discover a rainbow of colors, thoughtfully hand-dyed in Colorado. Love natural? Treenway's array of wild silks provide choices beyond white. If you love silk, you'll love Treenway Silks, where superior quality and customer service are guaranteed. “Hi, I'm Gabi van Tassell from Bluebonnet Crafters, and I'm the inventor of TURTLE pin looms. Pin looms are small, handheld looms that quickly weave self-contained fabric pieces like squares, hexagons, and more. Weave them with almost any yarn you have on hand, then combine them into projects of any size. They make a wonderful companion for any fiber lover, at home or on the go. I'd love for you to visit us at turtleloom.com to explore the full loom catalog, patterns, and more. Hope to see you there.”

James Bryan Smith has a Things Above conversation with Liz Hall and Kelly Kapic about their book, “When the Journey Hurts.” Transform Your Suffering with Tools from Theology, Psychology, and Spiritual Formation We don't like pain. So, we find creative ways to go around it. We try to ignore, minimize, or deny our suffering, but we’re still left hurting. The twisting and defiling work of sin on this world is overwhelming and shatters our assumptions about ourselves and our place in the world. And yet, the path forward is through suffering. Our afflictions present an opportunity to encounter God and allow him to redeem our suffering. Drawing on six years of research, When the Journey Hurts untangles common misconceptions about suffering, instead helping you find meaning in it. The authors integrate theology, psychology, and spiritual formation to provide actionable steps and tools that teach you how to suffer well in relationship with God and others. This book introduces seven key practices to help you uncover meaning in your suffering, equipping you to engage with suffering in a healthy, faithful way: Identifying with Christ’s suffering Lament Surrender Forgiveness Gratitude Memento mori (remembering our mortality) Weaving our story of suffering into God’s story Interested in donating to the Things Above Podcast? Donate here! Recent Episodes: 1. No Condemnation 2. Spiritual World 3. Conversation with Dr. Kelly Flanagan 4. The Gospel Is Bigger 5. God Is Joyous The post Conversation with Liz Hall and Kelly Kapic appeared first on Apprentice Institute.