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<v Speaker 1>Welcome. This is Marsha for RADIOI, and today I will

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<v Speaker 1>be reading National Geographic magazine dated June twenty twenty five,

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<v Speaker 1>which is donated by the publisher as a reminder. Radio

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<v Speaker 1>Eye is a reading service intended for people who are

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<v Speaker 1>blind or have other disabilities that make it difficult to

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<v Speaker 1>read printed material. Please join me now for the first

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<v Speaker 1>article titled the Future of Fashion is Farm to Closet

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<v Speaker 1>by Claudia Cawb. For her part, Riadini Flesh admires the

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<v Speaker 1>French brand Visa, which makes sneakers out of organic cotton

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<v Speaker 1>and Amazonian rubber like Visa, which rebranded the shopping frenzy

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<v Speaker 1>of Black Friday to Repair Friday. Suka Chita encourages customers

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<v Speaker 1>to return their clothing for mending or re dyeing, and

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<v Speaker 1>the brand offers a lifetime repair guarantee. As Riadini Flesh

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<v Speaker 1>sees it, these kinds of ventures offer new ways for

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<v Speaker 1>people to understand that there's an alternative to extractive faction.

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<v Speaker 1>I never consider ourselves to have competitors, she says, it's

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<v Speaker 1>about changing the paradigm. One of her latest efforts transpired

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<v Speaker 1>in November twenty twenty four, when Suka Sita opened a

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<v Speaker 1>pop up boutique at an upscale mall, its second location

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<v Speaker 1>in Jakarta. While the garments for sale range from an

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<v Speaker 1>indigo shirt decorated with geometric stars to a yellow dress

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<v Speaker 1>whose color is derived from Java's golden gilawe plant, one

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<v Speaker 1>of the store's primary purposes is to showcase a traveling

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<v Speaker 1>exhibition about Sukasita's supply chain. Glass containers hold soil from

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<v Speaker 1>the villager's farms. The life cycle of a cotton plant

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<v Speaker 1>is on display, and a video features interviews with the

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<v Speaker 1>ibis showing the invisible love and labor behind each product.

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<v Speaker 1>One of the most striking presentations explains how the brand's

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<v Speaker 1>garments are specifically made to return to the earth rather

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<v Speaker 1>than wind up in landfills. A display case lined with

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<v Speaker 1>soil shows a single cut of Sukasita cotton as it

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<v Speaker 1>degrades progressively over the course of six weeks, ultimately returning

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<v Speaker 1>into tiny fragments that can be used in compost. Riadini

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<v Speaker 1>Flesh hopes to take the exhibition international, sharing it at

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<v Speaker 1>more pop up stores in part to inspire other brands.

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<v Speaker 1>She's also tracking how well her practices are working by

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<v Speaker 1>earning fair labor and environmental impact certifications from watchdog groups

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<v Speaker 1>like NEST, a nonprofit that verifies ethical work standards, and

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<v Speaker 1>the Science Based Targets Initiative, a climate action organization that

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<v Speaker 1>measures greenhouse gas emissions. Recently, Sukasita became the first fashion

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<v Speaker 1>company in Indonesia to secure b Corp certification as a

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<v Speaker 1>business that is committed to transparency and account of BBILIT.

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<v Speaker 1>The brand's approach signals a remarkable mix of business acumen

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<v Speaker 1>and social purpose. By not just scaling for profit, but

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<v Speaker 1>also scaling impact, says Sarah Schwimmer, who runs b lab Global,

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<v Speaker 1>the nonprofit behind the certification, she is demonstrating a new

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<v Speaker 1>way forward. Shwimmer says, over the past four years, the

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<v Speaker 1>brand has opened four additional craft schools, launched a spin

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<v Speaker 1>off materials platform so that others can source Sukasita's regenerative materials,

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<v Speaker 1>and established partnerships with eleven villages. The company plans to

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<v Speaker 1>cap rather than grow that number so it can boost

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<v Speaker 1>the resources it provides to each location. So far, Sukasita

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<v Speaker 1>has helped communities transform roughly one hundred eighteen acres of

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<v Speaker 1>previously commercial farm land, which has had a direct impact

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<v Speaker 1>on more than fifteen hundred lives. There By twenty thirty,

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<v Speaker 1>it expects to ramp up to more than twenty four

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<v Speaker 1>hundred acres in reach up to ten thousand people. One

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<v Speaker 1>thing Sukusita will do will not do is follow traditional

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<v Speaker 1>seasonal fashion calendars or over exert the artisans or the

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<v Speaker 1>land it manages. If demand for our product's sky rockets

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<v Speaker 1>and the elements won't allow it, the company will simply

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<v Speaker 1>be sold out. You cannot have infinite growth on a

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<v Speaker 1>finite planet. Riadini Flesh says it is wisdom shared by

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<v Speaker 1>the Ibis, who also taught Randini Flesh a philosophy that

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<v Speaker 1>inspires her every day. Urip Iku urup. We live to

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<v Speaker 1>bring light next expeditions on safari, there's no telling what

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<v Speaker 1>might crush your path, and in South Africa's Greater Kruger Area,

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<v Speaker 1>rhinos have right of way. But there's a lot more

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<v Speaker 1>than walk wildlife watching to the newest land itinerary from

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<v Speaker 1>Northern Geographic Expeditions. The Nine Days Southern Africa Living History

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<v Speaker 1>and Legendary Species Journey begins with a visit to a

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<v Speaker 1>vibrant neighborhood of Cape Town and a walk in Table

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<v Speaker 1>Mountain National Park. After taking in turbulent seascapes at the

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<v Speaker 1>Cape of Good Hope and a colony of endangered African penguins.

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<v Speaker 1>Guests head to Sabi Sabi Private Game Reserve ordering Kruger

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<v Speaker 1>National Park and home to some four hundred species of wildlife.

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<v Speaker 1>A bush lodge is base camp for three days of

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<v Speaker 1>safaris and talks with trackers, rangers and national geographic experts.

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<v Speaker 1>The trip ends in Zombia at the foot of Victoria Falls,

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<v Speaker 1>near where elders of the Lea people share their traditions

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<v Speaker 1>during a village tour. That rhino encounter might not even

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<v Speaker 1>make your top five list. Next Explorers of the Year

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<v Speaker 1>Pablo Poppy Garcia Borboroglu and Bertie Gregory. As a boy

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<v Speaker 1>growing up in Argentina's Buenos Aires Province, Pablo Poppy Garcia

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<v Speaker 1>Borboroglu was enchanted by his grandmother's tales of her youthful

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<v Speaker 1>visits to the teeming penguin colonies of Argentine Patagonia. He

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<v Speaker 1>was a nineteen year old tour guide when he first

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<v Speaker 1>glimpsed one, and it dawned on him then how important

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<v Speaker 1>it was to share with others his sense of awe,

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<v Speaker 1>inspiring them to protect penguins and their habitats a hemisphere away.

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<v Speaker 1>Bertie Gregory came to a similar realization as a teenage

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<v Speaker 1>wildlife photographer roaming the English countryside. Today, at thirty one,

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<v Speaker 1>he's an accomplished wildlife filmmaker and leads storyteller behind the

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<v Speaker 1>new National Geographic series Secrets of the Penguins, on which

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<v Speaker 1>he worked with Warboroglu, now a marine biologist and founder

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<v Speaker 1>and President of the Global Penguin Society. For their efforts,

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<v Speaker 1>Warbaro Blue and Gregory have been named the twenty twenty

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<v Speaker 1>five Rolex National Geographic Explorers of the Year. Pope Garcia,

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<v Speaker 1>Barbaro Blue and Bertie Gregory exemplify the power of collaboration

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<v Speaker 1>in exploration, says National Geographic Society CEO Jill Tiefenthaler. By

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<v Speaker 1>uniting crown breaking conservation science with me master storytelling, they

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<v Speaker 1>not only deepen our understanding of penguins, but galvanize global

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<v Speaker 1>action to protect them. Barbaro Blue's initiatives to create protected

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<v Speaker 1>areas for penguins have helped conserve some thirty two million

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<v Speaker 1>acres of habitat on land at sea. Now fifty five,

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<v Speaker 1>he takes inspiration from the bird's resilience the way they

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<v Speaker 1>swim hundreds or even thousands of miles for food, avoid

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<v Speaker 1>predators and pollution, and survive in environments increasingly affected by

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<v Speaker 1>climate change. When you see penguins making that big effort,

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<v Speaker 1>he reflects, you say, how can I give up? Warbaro

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<v Speaker 1>Glue and Gregory shared a spotlight in last month's Secret

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<v Speaker 1>of the Penguins cover story, and there's more on their

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<v Speaker 1>adventures with penguins at Nationalgeographic dot com. Being recognized as

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<v Speaker 1>an Explorer of the Year alongside his filmmaker friend Boubaroglue

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<v Speaker 1>says is fantastic, a great combination of different kinds of

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<v Speaker 1>explorers and expertise. When you see penguins making that big

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<v Speaker 1>effort for Baro Glue reflects, you say, how can I

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<v Speaker 1>give up? At first, Gregory says he was hesitant to

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<v Speaker 1>make a documentary about penguins. The Emmy winning host of

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<v Speaker 1>the Disney Plus series Animals Up Close, who was shot

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<v Speaker 1>for iconic series like Planet Earth and Frozen Planet, knew

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<v Speaker 1>that filming in penguins harsh habitats would be tough, and

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<v Speaker 1>worried the species was already plenty documented. If you're going

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<v Speaker 1>to make a series called Secrets of the penguins. He says,

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<v Speaker 1>you've got to show people something they've never seen before.

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<v Speaker 1>But Gregory embraced the challenge to film one of the

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<v Speaker 1>series three episodes. He camped for more than two months

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<v Speaker 1>near an Emperor penguin colony in Antarctica's at Kabay. He

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<v Speaker 1>was documenting a critical phase in a penguin's life cycle,

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<v Speaker 1>when juveniles abandoned by their parents are left to figure

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<v Speaker 1>out how to become a proper adult penguin, getting themselves

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<v Speaker 1>to the ocean to swim and hunt. He succeeded spectacularly

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<v Speaker 1>in capturing behaviors never before filmed, including footage of hundreds

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<v Speaker 1>of young Emperor penguins entering the sea by base jumping

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<v Speaker 1>off a fifty foot cliff. I really think it's going

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<v Speaker 1>to blow people's minds, he says. I thought I knew

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<v Speaker 1>what penguin's limits were. I was wrong. This article by

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<v Speaker 1>Renee Ebersol next the candy colored beauty of sea urchins.

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<v Speaker 1>These tiny animals protect coral reefs, but they need protection too.

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<v Speaker 1>Beneath sea urchins, exterior spines, rounded skeletons called tests are

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<v Speaker 1>jewels of color, texture, and symmetry. There are hundreds of

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<v Speaker 1>urchin species, and they're found in every ocean on Earth,

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<v Speaker 1>from the intertidal zone to more than four miles below

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<v Speaker 1>the surface. In twenty eighteen, Anders Holland, a research associate

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<v Speaker 1>at the Australian Museum in Sydney, began photographing urchin skeletons

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<v Speaker 1>that had washed up on beaches or been collected by

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<v Speaker 1>divers and tho on fishing or research vessels. He created

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<v Speaker 1>the composite image over a course of a week in

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<v Speaker 1>twenty twenty four, using seventy six individual photographs. The project

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<v Speaker 1>comes at a perilous moment for these creatures. Since twenty

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<v Speaker 1>twenty two, sea urchins have been plagued by a scuticlotiniate,

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<v Speaker 1>a single celled pathogen that eats away at the animal's

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<v Speaker 1>soft tissue and makes their spines fall off. A mass

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<v Speaker 1>die off that started in the Caribbean that year has

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<v Speaker 1>since spread east, likely through the Mediterranean, into the Red

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<v Speaker 1>Sea and Indian Ocean. In some survey locations, researchers found

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<v Speaker 1>thousands of dead urchins. The animal's survival is vital to

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<v Speaker 1>the health of reefs, where they eat algae that can

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<v Speaker 1>smother coral. It's one of the many reasons Halan is

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<v Speaker 1>committed to capturing their beauty. They are really quite ingeniously evolved.

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<v Speaker 1>This by Hicks Wogan. The next articles from March April

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<v Speaker 1>twenty twenty four National Geographic History Magazine. Three thousand year

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<v Speaker 1>old tombs surprises scholars in Peru. A high priest's grave

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<v Speaker 1>dates to an earlier era than expected, yielding a new

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<v Speaker 1>understanding of the history of the ancient Andes. Archaeologists in

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<v Speaker 1>northern Peru have discovered a three thousand year old burial.

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<v Speaker 1>Inside it lay one of the first priests in ancient

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<v Speaker 1>Andean history, a man who lived well before the time

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<v Speaker 1>of the Inca. The discovery was made in the Paco

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<v Speaker 1>Pampa Archaeological Complex, a forty acre site of monumental and

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<v Speaker 1>ceremonial structures that was active between twelve hundred and seven

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<v Speaker 1>hundred BC. Over nearly twenty years, the project of archaeological

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<v Speaker 1>Investigation has discovered numerous fines at Paco Pampa. The latest one,

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<v Speaker 1>a skeleton of an ancient religious leader interred there around

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<v Speaker 1>one thousand BC, has been named the Priests of Pacopampa

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<v Speaker 1>because of his tomb's contents. Buried with him were three

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<v Speaker 1>stamps or seals The first seal resembles a jaguar, indicating

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<v Speaker 1>the priest's status as a leader who could harness the

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<v Speaker 1>animal's spiritual power. The second one depicts a human face,

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<v Speaker 1>and the third is in the shape of a hand.

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<v Speaker 1>Scholars believe people dipped the seals in paint and then

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<v Speaker 1>stamped the images on the priest's skin. The find is

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<v Speaker 1>extremely important, says Yuji Seiki, who leads researchers from Japan's

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<v Speaker 1>National Museum of Ethnology and Peru's National University of San

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<v Speaker 1>Marcos Deep Connections. The discovery of the priest is helping

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<v Speaker 1>archaeologists at Pacopampa pinpoint when a powerful priestly class first

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<v Speaker 1>appeared in the region. Seiki explains that Pacopampa was at

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<v Speaker 1>one time a pilgrimage center where people from near and

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<v Speaker 1>far came together to participate in religious rights. These group

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<v Speaker 1>rituals are credited with creating the social conditions that allowed

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<v Speaker 1>the earliest Andian civilizations to rise, says Siki. Similar burials

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<v Speaker 1>such as the tomb of the Lady of Pacopampa found

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<v Speaker 1>in two thousand and nine and the Tomb of the

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<v Speaker 1>Serpent Jaguar Priests found in twenty fifteen, have important connections

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<v Speaker 1>to the priest of Pacopampa, whose tomb may be as

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<v Speaker 1>many as three hundred years older. Saiki believes that these

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<v Speaker 1>later spiritual leaders made their relationship with ancestral elites visible

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<v Speaker 1>through their burials. I consider this to be evidence of

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<v Speaker 1>the incorporation of ancestor worship into the succession of power.

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<v Speaker 1>Worshiping ancestors was of central importance to later Andian cultures

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<v Speaker 1>in the region, such as the Wari ad five hundred

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<v Speaker 1>two one thousand, the Tiawanaku circa a d. Six hundred

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<v Speaker 1>to one thousand, and ultimately the Inca circa a d.

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<v Speaker 1>Twelve hundred to fifteen thirty three. Excavations continue at the

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<v Speaker 1>Pacopampa complex, with new discoveries on the horizon. In twenty

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<v Speaker 1>twenty two, a priestly tomb the site was uncovered. Some

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<v Speaker 1>believe it could be even older than the priest of Pacopampa,

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<v Speaker 1>but analysis of the tomb and its contents is still

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<v Speaker 1>under way. This article by Braden Phillips next Portsia, loyal

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<v Speaker 1>Heroine of the Republic, a woman of firm political convictions.

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<v Speaker 1>Porsia was the steadfast wife and staunch ally of Brutus

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<v Speaker 1>and a key supporter of his murderous plot against Julius Caesar.

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<v Speaker 1>When Julius Caesar seemed increasingly likely to embrace authoritarian rule,

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<v Speaker 1>two men emerged as the Roman Republic's fiercest defenders, Cato

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<v Speaker 1>the younger, who led resistance to Caesar in the Senate,

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<v Speaker 1>and his nephew Marcus Junius Brutus, who led the conspiracy

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<v Speaker 1>to assassinate Caesar. But there was another key player in

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<v Speaker 1>the tumultus events surrounding Caesar's end, a woman who would

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<v Speaker 1>come to embody strength under pressure an unwavering loyalty. Her

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<v Speaker 1>name was Porsia, daughter of Cato and wife of Brutus.

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<v Speaker 1>Porscha Catonis circa seventy three to forty three BC was

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<v Speaker 1>the only woman who was privy to the plot. As

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<v Speaker 1>the Roman historian Cassius Dio described her. PUSH's courage, logical mind,

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<v Speaker 1>and willingness to sacrifice were celebrated by Roman historians and

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<v Speaker 1>centuries later immortalized in William Shakespeare's fifteen ninety nine Tragedy

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<v Speaker 1>Julius Caesar. Many factors shaped to this extraordinary person, but

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<v Speaker 1>two stand out. The volatile political climate and the teachings

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<v Speaker 1>of her father. Growing up Stoic. Much of what is

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<v Speaker 1>known about Portia comes largely from Greek historian Plutarch in

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<v Speaker 1>his books about Brutus and Cato, and from Cassius Dio's

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<v Speaker 1>Roman History, along with mentions and other works. In all

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<v Speaker 1>ancient references, she is remembered as the member of younger

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<v Speaker 1>Cato's family who is most committed to her father's cause.

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<v Speaker 1>According to Judith P. Hallett, Professor Emerita of Classics at

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<v Speaker 1>the University of Maryland, an author of Fathers and Daughters

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<v Speaker 1>in Roman Society, Women and the Elite Family, Porsia's father,

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<v Speaker 1>Cato the Younger, so named to distinguish him from his

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<v Speaker 1>great grandfather Cato the Elder, was an old Guard aristocrat

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<v Speaker 1>and Republican. A devotee of Stoic philosophy, Kato put virtue

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<v Speaker 1>and civic responsibility above all else, an uncompromising idealism that

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<v Speaker 1>deeply influenced his daughter. Early in the second century i d.

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<v Speaker 1>Plutarch wrote that Portia was addicted to philosophy and praised

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<v Speaker 1>her sober living and greatness of spirit in keeping with

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<v Speaker 1>the Stoic rejection of luxury and commitment to justice. Based

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<v Speaker 1>on his depiction, Porsia is often regarded as the first

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<v Speaker 1>female Stoic marriages and divorces. As a very young woman,

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<v Speaker 1>Portio was wed to a political ally of her father.

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<v Speaker 1>She and Marcus Calpurnius Bibulus would have due children together

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<v Speaker 1>before their relationship became complicated by a distinctive Roman practice.

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<v Speaker 1>In addition to arranged marriages, elite Romans also practiced arranged divorces,

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<v Speaker 1>ending one match in favor of another that was more advantageous.

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<v Speaker 1>Portia was about twenty when one such proposal came her way.

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<v Speaker 1>Another of her father's allies, Quintus Hortensius Hortalus, asked to

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<v Speaker 1>marry her. The aging childless widower wanted Portia as his

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<v Speaker 1>wife in order to have an heir with her. After

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<v Speaker 1>she gave birth, you promised to return her to Bibulus.

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<v Speaker 1>Bibulus was not a fan of this proposal and refused it.

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<v Speaker 1>Cato also disliked the idea of breaking his contract with Bibulus.

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<v Speaker 1>To avoid alienating Hortensius, Cato agreed to divorce his own wife,

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<v Speaker 1>Marcia and offered her instead. Hortensius agreed, and the plan

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<v Speaker 1>went ahead. After Hortensia's death, Cato would remarry Marcia. Portia's

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<v Speaker 1>high profile family was deeply involved with the Roman Civil

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<v Speaker 1>War that began in forty nine BC. When Caesar refused

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<v Speaker 1>to yield his armies and territories to the Republic. Rome

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<v Speaker 1>split into two factions, one led by Caesar and the

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<v Speaker 1>other led by Pompei. The conservative Cato and Bibelius both

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<v Speaker 1>aligned with pompe and found themselves on the losing side

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<v Speaker 1>of the war. Bibelius, leader of Pompey's fleet on the Adriatic,

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<v Speaker 1>died of illness around forty eight BC. Cato took his

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<v Speaker 1>own life in Utica modern day Tunisia when Caesar's troops

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<v Speaker 1>won the nearby Battle of Thopsus in forty six BC.

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<v Speaker 1>In Rome, Portia watched as Caesar amassed power. Rather than

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<v Speaker 1>resign herself to a dictatorship, she continued to believe in

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<v Speaker 1>the Old Republic. In forty five BC, she married Marcus

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<v Speaker 1>Junius Brutus, a one time alli of Caesar who would

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<v Speaker 1>famously turn against him during the war. Brutus sided with Pompey,

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<v Speaker 1>but in the after meepa the war, Caesar pardoned him

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<v Speaker 1>and even made him governor of Cisilpine Gaul northern Italy.

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<v Speaker 1>Brutus's sympathies for the Old Republic, however, had not waned.

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<v Speaker 1>Marrying Cato's daughter and divorcing his wife Claudia. To do

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<v Speaker 1>so was a way to reaffirm his commitment plans and plots.

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<v Speaker 1>In the months that followed, Brutus, along with other senators,

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<v Speaker 1>alarmed by Caesar's ambition, embarked on a plot to assassinate him.

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<v Speaker 1>Although politics was primarily a male domain in Roman culture,

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<v Speaker 1>Pusia pledged to aid her husband because of her family's beliefs.

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<v Speaker 1>According to Plutarch, she noticed a change in her husband

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<v Speaker 1>and questioned him. When Brutus wouldn't answer, she wounded her

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<v Speaker 1>own thigh with a knife. The act was a plead

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<v Speaker 1>that her husband show her trust and respect. Brudus, I

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<v Speaker 1>am Cato's daughter, and I was brought into thy house,

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<v Speaker 1>not like a mere concubine to share thy bed and

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<v Speaker 1>board merely, but to be a partner in thy joys

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<v Speaker 1>and a partner in thy troubles. Her resolve prompted Brudus

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<v Speaker 1>to reveal his plan to assassinate Caesar. Moreover, wrote Plutarch,

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<v Speaker 1>she inspired him to see his plot to the end.

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<v Speaker 1>When he he saw the wound. Brutus amazed and lifted

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<v Speaker 1>his hands to heaven, prayed that he might succeed in

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<v Speaker 1>his undertaking and thus show himself a worthy husband of Portia.

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<v Speaker 1>After Caesar's death on March fifteenth, forty four BC, Brudus

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<v Speaker 1>fled Rome to avoid the wrath of caesar loyalists, while

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<v Speaker 1>Porsia remained in the capital. She followed her husband's fortunes

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<v Speaker 1>as he fought to defend the republic against Octavian, Caesar's

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<v Speaker 1>heir in alliance with Mark Antony. Finally, Porsia received the

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<v Speaker 1>news that Brutus had been defeated in the Battle of

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<v Speaker 1>Philippi forty two BC, and, like her father, Cato, had

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<v Speaker 1>taken his own life. What happened next is not known

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<v Speaker 1>for certain. The more dramatic ending has a devastated Porsia

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<v Speaker 1>killing herself, either by swallowing hot coals or inhaling carbon monoxide.

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<v Speaker 1>In one version, the poet Marshal Route that Porsia, seeking

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<v Speaker 1>a weapon to enter life they had hidden by attendants, exclaimed,

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<v Speaker 1>you know not yet that death cannot be denied. I

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<v Speaker 1>had supposed that my father had taught you this lesson

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<v Speaker 1>by his fate. She spoke, and with eager mouth swallowed

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<v Speaker 1>the blazing coals. Plutarch tells a similar story symbol of strength.

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<v Speaker 1>One key piece of evidence, however, puts Porsche's suicide in doubt.

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<v Speaker 1>The Roman statesman and orator Cicero wrote a letter to

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<v Speaker 1>Brudus in forty three BC lamenting Porsche's death, which means

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<v Speaker 1>that Porsia died before her husband. Cicero's words implied that

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<v Speaker 1>she died of natural causes. The legend of a violent

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<v Speaker 1>suicide appeared later, but took root in the popular imagination.

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<v Speaker 1>Plutarch has Brutus say of his wife, though she lacks

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<v Speaker 1>the strength of men, she is as valiant and as

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<v Speaker 1>active for the good of her country as the best

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<v Speaker 1>of us. William Shakespeare in particular, found great inspiration in

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<v Speaker 1>the character of Porsia through his reading of Plutarch. In

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<v Speaker 1>addition to the historical character of Porsche in Julius Caesar,

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<v Speaker 1>her name also appears in The Merchant of Venice fifteen

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<v Speaker 1>ninety six to ninety eight, in which it is given

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<v Speaker 1>to the brilliant woman determined to assert her herself in

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<v Speaker 1>a male world by impersonating a lawyer. As a symbol

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<v Speaker 1>of bravery and devotion. Portia has resonated through history. Abigail Adam's,

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<v Speaker 1>wife of John Adams, the second U S President and

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<v Speaker 1>first US Vice President, signed letters to him as Portia

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<v Speaker 1>in recognition of the patriotic sacrifice of Brutus's stoic wife.

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<v Speaker 1>This by Juan Louis Posadas. Next medieval times gave birth

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<v Speaker 1>to modern fashion. Draped, shapeless garments were replaced by taller, pointier,

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<v Speaker 1>and tighter clothes in fourteenth century Europe, when newly rich

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<v Speaker 1>merchants vied with nobles to be in vogue. Plague, famine

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<v Speaker 1>in war blighted the fourteenth century, but the period was

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<v Speaker 1>also marked by an exciting revolution in fashion. Out went

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<v Speaker 1>the beggy, amorphous robes that had been swathing people for centuries,

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<v Speaker 1>and in came startlingly lean bodykindus styles that revealed the

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<v Speaker 1>silhouette silhouette, at least for men. The sweeping transformation in

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<v Speaker 1>European elite clothing is regarded by many historians as the

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<v Speaker 1>birth of modern Western fashion. Aristocratic men and wealthy merchants

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<v Speaker 1>started downing short, tight doublets, brightly colored woolen tights, and

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<v Speaker 1>elaborate hoods with date dangling tails. Footwear that had long

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<v Speaker 1>been hidden under robes was now revealed to the public gaze.

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<v Speaker 1>These pointed leather shoes were known for their extremely long toes.

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<v Speaker 1>Although the change was less marked for women, a shift

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<v Speaker 1>in feminine style was also notable. They still wore dresses

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<v Speaker 1>that concealed their legs, but the garments came in more

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<v Speaker 1>colors and fabrics. The greatest change for women sat atop

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<v Speaker 1>their heads, known as henyans. These head dresses could be

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<v Speaker 1>a short, flat cap or a tall, pointy cone, veils

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<v Speaker 1>often draped off the back, while the hat itself added

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<v Speaker 1>height and accentuated the wearer's forehead. Tailored for individuals. Advanced

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<v Speaker 1>as in garment construction played an essential part in changing

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<v Speaker 1>the fashions. Earlier, textile manufacturer was shaped by rectangular looms,

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<v Speaker 1>producing large, square, angular material that did not conform to

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<v Speaker 1>the contours of the body. But in the fourteenth century,

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<v Speaker 1>wealthy men's clothing started to be made from smaller, separate

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<v Speaker 1>pieces of fabric, which allowed greater construction and more variety

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<v Speaker 1>in design. Designers began to shift from draping fabric to cutting, sewing,

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<v Speaker 1>and tailoring it. The idea of clothing, which for the

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<v Speaker 1>first time was truly custom made to fit an individual's body.

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<v Speaker 1>Implies a new relationship between the clothing and the wearer,

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<v Speaker 1>said Laurel A. Wilson, a researcher in the history of

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<v Speaker 1>fashion at the Center for Medieval Studies at Fordham University.

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<v Speaker 1>Wilson points to the thirteen thirties as the pivotal decade

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<v Speaker 1>of change. That's when various social and economic factors helped

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<v Speaker 1>redefine fashion. An emerging merchant class was seeking social recognition,

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<v Speaker 1>while above them aristocrats were evolving gradations of status, both

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<v Speaker 1>to distinguish themselves from other aristocrats and from the ever

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<v Speaker 1>wealthier merchant class beneath them. These status wars were expressed

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<v Speaker 1>through their clothes. Tailors were in demand, and soon they

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<v Speaker 1>grew too expensive for people in the lower social orders.

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<v Speaker 1>This sea change in fashion quickly conquered Western Europe, likely

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<v Speaker 1>because of a sheared court culture. Expanding choice gave rise

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<v Speaker 1>to markets and industries in specialized fabrics, ornaments, and garments.

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<v Speaker 1>Along with Europe's well established woolen's industry, Exotic fabrics like silk,

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<v Speaker 1>damask and velvet, previously imported, were now manufactured in Italy

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<v Speaker 1>and Northern Belgium, with access to greater choice and growing commercialization,

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<v Speaker 1>came another mainstay of modern fashion, rapid change. During the

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<v Speaker 1>fourteenth century, men's fashion change as rapidly as decade by decade,

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<v Speaker 1>when before it was over the course of century. Wilson

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<v Speaker 1>explained that system is still with us, only to a

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<v Speaker 1>greater extreme. Constance's artorial change was not to everyone's liking,

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<v Speaker 1>especially those with more conservative outlooks. In the thirteen forties,

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<v Speaker 1>the anonymous English author of the Westminster Chronicle took offense

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<v Speaker 1>at changing various deformities of clothing yearly and abandoning the

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<v Speaker 1>ancient honesty of long loose garments. The deformities was a

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<v Speaker 1>reference to the variety of tailoring short, tight, dagged, cut,

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<v Speaker 1>laced and tied with unbuttoned everywhere, with sleeves and tippets

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<v Speaker 1>of surcoats and hoods too long in their clothes and shoes.

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<v Speaker 1>Such work, he concluded, belonged more to torturers and demons

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<v Speaker 1>than men. In the thirteen forties, the French chronicler Jean

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<v Speaker 1>de Vinet added his voice to a chorus of indignation

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<v Speaker 1>at the shortness and tightness of men's clothing, noting that

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<v Speaker 1>men cannot bend or kneel without showing their underwear and

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<v Speaker 1>while was inside it. Later in the fifteenth century, medieval

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<v Speaker 1>fashion was centered on the courts of the Dukes of Burgundy,

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<v Speaker 1>based mainly in the wealthy cities of Flanders modern day Belgium.

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<v Speaker 1>As the biggest cloth making area in Western Europe, Flanders

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<v Speaker 1>drove fashion trends. Philip the Good thirteen ninety six to

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<v Speaker 1>fourteen sixty seven, the most important of the Burgundian dukes,

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<v Speaker 1>made sumptuous black his signature color. In wearing it, he

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<v Speaker 1>combined style and spectacle with an expression of mourning for

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<v Speaker 1>his father, killed in France in fourteen nineteen. His sister

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<v Speaker 1>Anne was also a fashion icon, regularly depicted wearing the

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<v Speaker 1>day's latest passions. Printed in fourteen thirty, the Bedford Book

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<v Speaker 1>of Ours shows Anne at prayer while wearing a long

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<v Speaker 1>gown known as a hupeland, made of a richly colored

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<v Speaker 1>fabric covered with intertwined red branches, green leaves, and blue

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<v Speaker 1>fruit against a yellow background. This conclude's readings from National

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<v Speaker 1>Geographic Magazine and National Geographic History for today. Your reader

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<v Speaker 1>has been Marsha. Thank you for listening, Keep on listening

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<v Speaker 1>and have a great day,
