Podcasts about Adelphi

"Il velo di Lucrezia" di Carla Maria Russo e "La trama dell'invisibile" di Anna Katarina FrolichUna storia di passioni, ma anche di costrizioni e di disperata ricerca della libertà. Nel romanzo "Il velo di Lucrezia" (Neri Pozza), Carla Maria Russo ricostruisce la storia, in parte vera e in parte romanzata, del pittore Filippo Lippi, vissuto a Firenze nella prima metà del Quattrocento. Una storia di passioni perché fin da piccolo Filippo, rimasto orfano e cresciuto da una zia, manifesta una forte passione per il disegno e la pittura. Ma è anche una storia di costrizioni perché, alla morte della zia Filippo viene "offerto" al convento dei carmelitani. Parallelamente alle vicende di Filippo si seguono quelle di Lucrezia, chiusa anche lei in un convento a Prato con la sorella Spinetta, per decisione del fratello. Ma se Spinetta si adatta, Lucrezia è insofferente alle rigide regole religiose perché anche lei è animata da passioni profonde e intense e cerca la sua libertà. Filippo e Lucrezia sono destinati a incontrarsi e Lucrezia, dalla bellezza abbacinante, diventerà la sua musa.Nella seconda parte parliamo di "La trama dell'invisibile" (Mondadori) in cui Anna Katarina Frolich racconta la nascita della storia d'amore fra la stessa scrittrice e Roberto Calasso, fondatore, insieme ad altri, della casa editrice Adelphi, che poi ha diretto per diversi anni. Il primo incontro avviene alla Fiera del Libro di Francoforte, una delle manifestazioni di riferimento per l'editoria internazionale. Era il 1995 e Anna Katarina Frolich era poco più che ventenne, mentre Calasso aveva trent'anni in più di lei. Da quel momento nasce una frequentazione e poi una storia d'amore che porterà alla nascita di due figli, anche se Calasso rimarrà comunque sempre sposato con un'altra donna. Un memoir dal quale emerge un ritratto intimo e in parte inedito di Calasso, così come si accende un faro sulla sua idea di letteratura.

In this special episode of Unstoppable Mindset, I had the privilege of sitting down with the remarkable Ivan Cury—a man whose career has taken him from the golden days of radio to groundbreaking television and, ultimately, the classroom.   Ivan began acting at just four and a half years old, with a chance encounter at a movie theater igniting a lifelong passion for storytelling. By age eleven, he had already starred in a radio adaptation of Jack and the Beanstalk and went on to perform in classic programs like Let's Pretend and FBI in Peace and War. His talent for voices and dialects made him a favorite on the air.   Television brought new opportunities. Ivan started out as a makeup artist before climbing the ranks to director, working on culturally significant programs like Soul and Woman, and directing Men's Wearhouse commercials for nearly three decades. Ivan also made his mark in academia, teaching at Hunter College, Cal State LA, and UCLA. He's written textbooks and is now working on a book of short stories and reflections from his extraordinary life.   Our conversation touched on the importance of detail, adaptability, and collaboration—even with those we might not agree with. Ivan also shared his view that while hard work is crucial, luck plays a bigger role than most of us admit.   This episode is packed with insights, humor, and wisdom from a man who has lived a rich and varied life in media and education. Ivan's stories—whether about James Dean or old-time radio—are unforgettable.     About the Guest:   Ivan Cury began acting on Let's Pretend at the age of 11. Soon he was appearing on Cavalcade of America, Theatre Guild on the Air,  The Jack Benny Program, and many others.  Best known as Portia's son on Portia Faces Life and Bobby on Bobby Benson and The B-Bar-B Riders.    BFA: Carnegie Tech, MFA:Boston University.   Producer-director at NET & CBS.  Camera Three's 25th Anniversary of the Julliard String Quartet, The Harkness Ballet, Actor's Choice and Soul! as well as_, _The Doctors and The Young and the Restless. Numerous television commercials, notably for The Men's Wearhouse.   Taught at Hunter, Adelphi, and UCLA.  Tenured at Cal State University, Los Angeles.  Author of two books on Television Production, one of which is in its 5th edition.    Ways to connect with Ivan:       About the Host:   Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog.   Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards.   https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/   accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/       Thanks for listening!   Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below!   Subscribe to the podcast   If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can subscribe in your favorite podcast app. You can also support our podcast through our tip jar https://tips.pinecast.com/jar/unstoppable-mindset .   Leave us an Apple Podcasts review   Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts.       Transcription Notes:   Michael Hingson ** 00:16 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us.   Michael Hingson ** 01:20 Well, hi everyone, and welcome to another episode of unstoppable mindset where inclusion, diversity and the unexpected meet. And the fun thing is, most everything really deals with the unexpected. That is anything that doesn't have anything to do with diversity or inclusion. And our guest today, Ivan Cury, is certainly a person who's got lots of unexpected things, I am sure, and not a lot necessarily, dealing with the whole issue of disabilities, inclusion and diversity, necessarily, but we'll see. I want to tell you a little bit about Ivan, not a lot, because I want him to tell but as many of you know who listen to unstoppable mindset on a regular basis. I collect and have had as a hobby for many years old radio shows. And did a radio program for seven years, almost at UC Irvine when I was there on kuci, where every Sunday night we played old radio shows. And as it turns out, Ivan was in a number of those shows, such as, let's pretend, which is mostly a children's show. But I got to tell you, some of us adults listened and listened to it as well, as well as other programs. And we'll get into talking about some of those things. Ivan has a really great career. He's done a variety of different things, in acting. He's been in television commercials and and he is taught. He's done a lot of things that I think will be fun to talk about. So we'll get right to it. Ivan, I want to thank you for being here and welcome you to unstoppable mindset. Thanks. Thanks. Good to be here. Well, tell us a little bit about kind of the early Ivan growing up, if you will. Let's start with that. It's always good to start at the beginning, as it were,   Ivan Cury ** 03:04 well, it's sorry, it's a great, yes, it's a good place to start. About the time I was four and a half, that's a good time to start. I walked past the RKO 81st, street theater in New York, which is where we lived, and there was a princess in a in a castle kept in the front of this wonderful building that photographs all over the place. Later on, I was to realize that that Princess was really the cashier, but at the time, it was a princess in a small castle, and I loved the building and everything was in it. And thought at that time, that's what I'm going to do when I grow up. And the only thing that's kind of sad is it's Here I am, and I'm still liking that same thing all these years later, that's that's what I liked. And I do one thing or another, I wound up entertaining whenever there was a chance, which really meant just either singing a song or shaking myself around and pretending it was a dance or thinking it was a dance. And finally, wound up meeting someone who suggested I do a general audition at CBS long ago, when you could do those kinds of things I did and they I started reading when I was very young, because I really, because I want to read comics, you know, no big thing about that. And so when I could finally read comics, I wound up being able to read and doing it well. And did a general audition of CBS. They liked me. I had a different kind of voice from the other kids that were around at the time. And and so I began working and the most in my career, this was once, once you once they found a kid who had a different voice than the others, then you could always be the kid brother or the other brother. But it was clear that I wasn't a kid with a voice. I was the kid with the Butch boy. So who? Was who, and so I began to work. And I worked a lot in radio, and did lots and lots of shows, hundreds, 1000s,   Michael Hingson ** 05:07 you mentioned the comics. I remember when we moved to California, I was five, and I was tuning across the dial one Sunday morning and found KFI, which is, of course, a state a longtime station out here was a clear channel station. It was one of the few that was the only channel or only station on that frequency, and on Sunday morning, I was tuning across and I heard what sounded like somebody reading comics. But they weren't just reading the comics. They were dramatized. And it turns out it was a guy named David Starling who did other shows and when. So I got his name. But on that show, he was the funny paper man, and they read the LA Times comics, and every week they acted them out. So I was a devoted fan for many years, because I got to hear all of the comics from the times. And we actually subscribed to a different newspaper, so I got two sets of comics my brother or father read me the others. But it was fun reading and listening to the comics. And as I said, they dramatize them all, which was really cool.   Ivan Cury ** 06:14 Yeah, no doubt I was one day when I was in the studio, I was doing FBI and peace and war. I used to do that all the time, several it was a sponsored show. So it meant, I think you got $36 as opposed to $24 which was okay in those days. And my line was, gee, Dad, where's the lava soap. And I said that every week, gee, Dad, where's the lava soap. And I remember walking in the studio once and hearing the guy saying, Ah, this television ain't never gonna work. You can't use your imagination. And, yeah,   Michael Hingson ** 06:52 well, except you really don't use your imagination near especially now I find that everything is way too spelled out, so you don't get to use your imagination.   Ivan Cury ** 07:03 Radio required you to use your radio required you to use it. Yeah, and, and if you had a crayon book at the time, well, and you were 12 or No, no, much younger than that, then it was and that was what you did, and it was fun.   Michael Hingson ** 07:17 So what was the first radio program that you were   Ivan Cury ** 07:20 it was very peculiar, is it New Year's Eve, 19 four? No, I don't know. I'm not sure. Now, it was 47 or 48 I think it was 48 Yeah, I was 11, and it was New Year's Eve, and it was with Hank Severn, Ted Cott, and I did a Jack and the Beanstalk. It was recording for caravan records. It became the number one kids record. You know, I didn't, there was no he didn't get residuals or anything like that. And the next day I did, let's pretend. And then I didn't work for three months. And I think I cried myself to sleep every night after that, because I absolutely loved it. And, you know, there was nothing my parents could do about this, but I wanted, I wanted in. And about three months later, I finally got to do another show. Peculiarly. The next show I did was lead opposite Helen Hayes in a play called no room for Peter Pan. And I just looked it up. It was May. I looked it up and I lost it already. I think, I think I may know what it is. Stay tuned. No, now, nope, nope, nope, ah, so that's it was not. This was May 1949, wow. What was it? Well, yeah, and it was, it was a the director was a man named Lester O'Keefe, and I loved Barry Fitzgerald, and I find even at a very early age, I could do an Irish accent. And I've been in Ireland since then. I do did this, just sometimes with the people knowing that I was doing it and I was it was fine. Sometimes they didn't, and I could get it is, it is pretty Irish, I think, at any rate, he asked me father, who was born in Russia, if we spoke Gaelic at home, we didn't. And so I did the show, and it was fine. Then I did a lot of shows after that, because here was this 11 year old kid who could do all this kind of   Michael Hingson ** 09:24 stuff. So what was no room for Peter Pan about,   Ivan Cury ** 09:27 oh, it was about a midget, a midget who is a young man, a young boy who never grows up, and there's a mind. He becomes a circus performer, and he becomes a great star, and he comes back to his town, to his mother, and there's a mine disaster, and the only one who can save them is this little person, and the kid doesn't want to do it, and it's and there's a moment where Helen Hayes, who played the lead, explained about how important it is the to give up your image and be and be. Man, be a real man, and do the thing, right thing to do. And so that was the   Michael Hingson ** 10:04 story. What show was it on? What series?   Ivan Cury ** 10:07 Electric Theater, Electric Theater, Electric Theater with Ellen Hayes, okay,   Michael Hingson ** 10:10 I don't think I've heard that, but I'm going to find it.   Ivan Cury ** 10:14 Well, yes, there's that one. And almost very soon afterwards, I did another important part with Walter Hughes, Walter Hamden. And that was on cavalcade of America, Ah, okay. And that was called Footlights on the frontier. And it was about, Tom about Joseph Jefferson, and the theater of the time, where the young kid me meets Abraham Lincoln, Walter Houston, and he saves the company. Well, those are the first, first shows. Was downhill from there. Oh, I don't   Michael Hingson ** 10:50 know, but, but you you enjoyed it, and, of course, I loved it, yes, why?   Ivan Cury ** 11:00 I was very friendly with Richard lamparsky. I don't even remember him, but he wrote whatever became of series of books. Whatever became of him was did a lot, and we were chatting, and he said that one of the things he noticed is that people in theater, people in motion pictures, they all had a lot of nightmare stories to tell about people they'd work with. And radio actors did not have so much of that. And I believe that you came in, you got your script, you work with people you like, mostly, if you didn't, you'd see you'd lose, you know, you wouldn't see them again for another Yeah, you only had to deal with them for three or four hours, and that was in the studio. And after that, goodbye.   Michael Hingson ** 11:39 Yeah, what was your favorite show that you ever did?   Ivan Cury ** 11:42 And it seems to me, it's kind of almost impossible. Yeah, I don't know,   Michael Hingson ** 11:51 a lot of fun ones.   Ivan Cury ** 11:54 I'll tell you the thing about that that I found and I wrote about it, there are only five, four reasons really, for having a job. One of them is money, one of them is prestige. One of them is learning something, and the other is having fun. And if they don't have at least two, you ought to get out of it. And I just had a lot of fun. I really like doing it. I think that's one of the things that's that keeps you going now, so many of these old time radio conventions, which are part of my life now, at least Tom sometimes has to do with with working with some of the actors. It's like tennis. It's like a good tennis game. You you send out a line, and you don't know how it's going to come back and what they're going to do with it. And that's kind of fun.   Michael Hingson ** 12:43 Well, so while you were doing radio, and I understand you weren't necessarily doing it every day, but almost, well, almost. But you were also going to school. How did all that work out   Ivan Cury ** 12:53 there is, I went to Professional Children's School. I went to a lot of schools. I went to law schools only because mostly I would, I would fail geometry or algebra, and I'd have to take summer session, and I go to summer session and I'd get a film, and so I'd leave that that session of summer session and do the film and come back and then go to another one. So in all, I wound up to being in about seven or eight high schools. But the last two years was at Professional Children's School. Professional Children's School has been set up. It's one of a number of schools that are set up for professional children, particularly on the East Coast. Here, they usually bring somebody on the set. Their folks brought on set for it. Their professional school started really by Milton Berle, kids that go on the road, and they were doing terribly. Now in order to work as a child Lacher in New York and probably out here, you have to get permission from the mayor's office and permission from the American Society of Prevention of Cruelty to Children. And you needed permits to do it, and those both organizations required the schools to show to give good grades you were doing in school, so you had to keep up your grades, or they wouldn't give you a permit, and then you couldn't work. PCs did that by having correspondence. So if a kid was on the road doing a show out of town in Philadelphia or wherever, they were responsible for whatever that week's work was, and we were all we knew ahead of time what the work was going to be, what projects had to be sent into the school and they would be graded when I went, I went to Carnegie, and my first year of English, I went only, I think, three days a week, instead of five, because Tuesdays and Thursdays Were remedial. We wrote We were responsible for a term paper. Actually, every week, you we learned how to write. And it was, they were really very serious about it. They were good schools   Michael Hingson ** 14:52 well, and you, you clearly enjoyed it. And I know you also got very involved and interested in poetry as you went along. Too do. Yes, I did well, yeah, yeah. And who's your favorite poet?   Ivan Cury ** 15:07 Ah, my favorite poets. If that is hard to say, who my favorite is, but certainly they are more than one is Langston, Hughes, Mary, Oliver, wh Jordan, my favorite, one of my favorite poems is by Langston Hughes. I'll do it for you now. It's real easy. Burton is hard, and dying is mean. So get yourself some love, and in between, there you go. Yes, I love that. And Mary Oliver, Mary Oliver's memory, if I hope I do, I go down to the shore, and depending upon the hour, the waves are coming in and going out. And I said, Oh, I am so miserable. Watch. What should I do? And the sea, in its lovely voice, says, Excuse me, I have work to do.   Michael Hingson ** 15:56 Ooh. That puts it in perspective, doesn't   Ivan Cury ** 16:00 it? Yes, it certainly does.   Michael Hingson ** 16:03 So So you, you went to school and obviously had good enough grades that you were able to continue to to act and be in radio, yes, which was cool. And then television, because it was a television Lacher, yeah, yeah. It's beginning of television as well. So I know one of the shows that you were on was the Jack Benny show. What did you do for Jack? Oh, well,   Ivan Cury ** 16:28 I'm really stuffy. Singer is the guy who really did a lot of Jack Benny things. But what happened is that when Jack would come to New York, if there was a kid they needed, that was me, and so I did the Benny show, I don't know, two or three times when he was in New York. I, I did the Jack Benny show two or three times. But I was not so you were, you were nice, man. It came in. We did the show. I went   Michael Hingson ** 16:51 home. You were a part time Beaver, huh?   Ivan Cury ** 16:54 I don't know. I really don't know, but I was beaver or what? I don't remember anything other than I had been listening to the Jack Benny show as a kid. I knew he was a star and that he was a nice man, and when he came into the studio, he was just a nice man who who read Jack Benny's lines, and who was Jack Benny, and he said his lines, and I said my lines, and we had a nice time together. And there wasn't any, there wasn't any real interplay between us, other than what would be normal between any two human beings and and that was that. So I did the show, but I can't talk very much about Jack Benny.   Michael Hingson ** 17:32 Did you? Did you primarily read your scripts, or did you memorize them at all?   Ivan Cury ** 17:37 Oh, no, no, radio. That was the thing about radio. Radio that was sort of the joy you read. It was all about reading. It's all about reading, yeah. And one of the things about that, that that was just that I feel lucky about, is that I can pretty well look at a script and read it. Usually read it pretty well with before the first time I've ever seen it, and that's cold reading, and I was pretty good at that, and still am.   Michael Hingson ** 18:06 Did you find that as you were doing scripts and so on, though, and reading them, that that changed much when you went in into television and started doing television?   Ivan Cury ** 18:22 I don't know what you mean by change.   Michael Hingson ** 18:24 Did you you still read scripts and   Ivan Cury ** 18:26 yeah, no, no, the way. I mean the way intelligent show usually goes as an actor. Well, when I directed television, I used to direct a lot of soap operas, not a lot, but I directed soap operas, but there'd be a week's rehearsal for a show, danger, I'm syndicated, or anything, and so there'd be a week's rehearsal. The first thing you do is, we have a sit down read, so you don't read the script, and then you holding the script in your hand walk through the scenes. Sometimes the director would have, would have blocking that they knew you were going to they were going to do, and they say, here's what you do. You walk in the door, etc. Sometimes they say, Well, go ahead, just show me what you'd like, what you what it feels like. And from that blocking is derived. And then you go home and you try to memorize the lines, and you feel perfectly comfortable that as you go, when you leave and you come back the next day and discover you got the first line down. But from there on, it's dreadful. But after a while, you get into the thing and you know your lines. You do it. Soap opera. Do that.   Michael Hingson ** 19:38 The interesting thing about doing radio, was everything, pretty much, was live. Was that something that caused a lot of pressure for you?   Ivan Cury ** 19:51 In some ways, yes, and in some ways it's lovely. The pressure is, yes, you want to get it right, but if you got to get it but if you get it wrong, give it up, because it's all over. Uh, and that's something that's that isn't so if you've recorded it, then you start figuring, well, what can I do? How can I fix this? You know, live, you do it and it's done. That's, that's what it is, moving right along. And this, this comment, gets to be kind of comfortable, you know, that you're going to, there may be some mistakes. You do the best you can with it, and go on one of the things that's really the news that that happens, the news, you know, every night, and with all the other shows that are live every day,   Michael Hingson ** 20:26 one of the things that I've noticed in a number of radio shows, there are times that it's fairly obvious that somebody made a flub of some sort, but they integrated it in, and they were able to adapt and react, and it just became part of the show. And sometimes it became a funny thing, but a lot of times they just worked it in, because people knew how to do that. And I'm not sure that that is so much the case certainly today on television, because in reality, you get to do it over and over, and they'll edit films and all that. And so you don't have that, that same sort of thing, but some of those challenges and flubs that did occur on radio were really like in the Jack Benny shows and burns and Allen and Phil Harris and so on. They were, they just became integrated in and they they became classic events, even though they weren't necessarily originally part of the plan.   Ivan Cury ** 21:25 Absolutely, some of some of them, I suspect some of them, were planned and planned to sound as if they would just happen. But certainly mistakes. Gosh, good mistakes are wonderful. Yeah, in all kinds of I used to do a lot of live television, and even if we weren't live television, when we would just do something and we were going to tape it and do it later, I remember once the camera kind of going wrong, video going wrong. I went, Wait a minute. That's great. Let's keep it wrong like that, you know. And it was so is just lovely that that's part of the art of improvisation, with how   Michael Hingson ** 22:06 and and I think there was a lot more of that, certainly in radio, than there is on television today, because very few things are really live in the same   Ivan Cury ** 22:17 sense. No, there. There are some kinds of having written, there are some type formats that are live. The news is live, the news is live. There's no, you know, there are. There used to be, and there may still be some of the afternoon shows, the kind of morning and afternoon shows where Show and Tell Dr whatever his name is, Dr Phil, yeah, it may be live, or it's shot as live, and they don't, they don't really have a budget to edit, so it's got to be real bad before they edit. Yeah. So do a show like that called Woman of CBS. So there are shows that are live, like that, sport events are live. A lot of from Kennedy Center is live. There are, there are lots of programs that are live, concerts, that are that you are a lot of them. America's Got Talent might as well be live. So there's a lot of that. And certainly things go wrong in the ad lib, and that's the way, because, in fact, there's some lovely things that happen out of that, but mostly, you're absolutely right. Mostly you do show it's recorded. You intend to edit it, you plan it to be edited, and you do it. It's also different when you shoot multiple camera, as opposed to single camera, yeah, single camera being as you say, again and again and again, multiple camera, not so much, although I used to direct the young and the restless, and now there is a line cut which is almost never used. It's it's the intention, but every shot is isolated and then cleaned up so that it's whatever is, whatever is possibly wrong with it gets clean.   Michael Hingson ** 24:03 Yeah, it's, it's a sign of the changing times and how things, everything   Ivan Cury ** 24:09 is bad. It's just, it's different. In fact, that's a kind of question I'm really puzzled with right now for the fun of it. And that is about AI, is it good or bad?   Michael Hingson ** 24:20 Well, and it's like anything else, of course, it depends. One of the one of my, my favorite, one of my favorite things about AI is a few years, a couple of years ago, I was at a Christmas party when there was somebody there who was complaining about the fact that kids were writing their papers using AI,   Ivan Cury ** 24:43 and that's bad   Michael Hingson ** 24:44 and and although people have worked on trying to be able to detect AI, the reality is that this person was complaining that the kids were even doing it. And I didn't think about it until later, but I realized. Is one of the greatest blessings of AI is let the students create their papers using AI. What the teachers need to do is to get more creative. And by that I mean All right, so when children turn in and students turn in their papers, then take a day and let every student take about a minute and come up and defend the paper they wrote. You're going to find out really quickly who really knew the subject and who just let ai do it and didn't have any interaction with it. But what a great way to learn. You're going to find out very quickly. And kids are going to figure out very quickly that they need to really know the subject, because they're going to have to defend their   Ivan Cury ** 25:41 papers. Yeah, no, I think that's fine. I I don't like the amount of electricity that it requires and what it's doing to our to our needs for water, because it has to be cooled down. So there's some physical things that I don't like about AI, and I think it's like when you used to have to go into a test with a slide rule, and they you couldn't use your calculator. When I use a calculator, it's out of the bag. You can't put it back anymore. It's a part of our life, and how to use it is the question. And I think you're absolutely right. I don't even need to know whether. I'm not even sure you need to check the kids if they it. How will you use? How will we get to use? Ai, it is with us.   Michael Hingson ** 26:30 Well, but I think there's a the value of of checking and testing. Why I'm with you. I don't think it's wrong. I think, no, no, but I think the value is that it's going to make them really learn the subject. I've written articles, and I've used AI to write articles, and I will look at them. I'll actually have a create, like, eight or nine different versions, and I will decide what I like out of each of them, and then I will add my part to it, because I have to make it me, and I've always realized that. So I know anything that I write, I can absolutely defend, because I'm very integrally involved in what I do with it, although AI has come up with some very clever ideas. Yeah, I hadn't thought of but I still add value to it, and I think that's what's really important.   Ivan Cury ** 27:19 I did a I've been writing stuff for a while, and one of the things I did, I wrote this. I wrote a little piece. And I thought, well, what? What would ai do if they took the same piece? How would they do it? So I put it in and said, rewrite it. They did. It was kind of bland. They'd taken all the life out of it. It wasn't very Yeah. So then I said, Well, wait a minute, do the same thing, write it as if it were written by Damon Runyon. And so they took it and they did that, and it was way over the top and really ugly, but it I kind of had fun with what, what the potential was, and how you might want to use it. I mean, I think the way you using it is exactly right. Yeah, it's how you use it, when, when you when, I'm just as curious, when you do that, when you said, you write something, and you ask them to do it four or five times or many times. How do you how do you require them to do it differently.   Michael Hingson ** 28:23 Well, there are a couple different ways. One is, there are several different models that can use to generate the solution. But even leaving aside such as, Oh, let's see, one is, you go out and do more web research before you actually do the do the writing. And so that's one thing and another. I'm trying to remember there were, like, six models that I found on one thing that I did yesterday, and but, but the other part about it is that with AI, yeah, the other thing about AI is that you can just tell it you don't like the response that you   Ivan Cury ** 29:09 got. Aha, okay, all right, yep,   Michael Hingson ** 29:13 I got it. And when you do that, it will create a different response, which is one of the things that you want. So, so so that works out pretty well. And what I did on something, I wanted to write a letter yesterday, and I actually had it write it. I actually had it do it several times. And one time I told it to look at the web to help generate more information, which was pretty cool, but, but the reality is that, again, I also think that I need to be a part of the the solution. So I had to put my my comments into it as well, and, and that worked out pretty well. Okay, right? Yeah, so I mean, it's cool, and it worked. Right? And so the bottom line is we we got a solution, but I think that AI is a tool that we can use, and if we use it right, it will enhance us. And it's something that we all have to choose how we're going to do. There's no no come, yeah, no question about that. So tell me you were successful as a young actor. So what kind of what what advice or what kind of thoughts do you have about youth success, and what's your takeaway from that?   Ivan Cury ** 30:36 The Good, yeah, I There are a lot of things being wanting to do it, and I really love doing it, I certainly didn't want to. I wanted to do it as the best way I could Well, I didn't want to lose it up, is what it really comes down to. And that meant figuring out what it is that required. And one of the things that required was a sense of responsibility. You had to be there on time, you had to be on stage, and you may want to fidget, but that takes to distract from what's going on, so sit still. So there's a kind of kind of responsibility that that you learn, that I learned, I think early on, that was, that's very useful. Yeah, that's, that's really, I think that's, I wrote some things that I had, I figured, some of these questions that might be around. So there, there's some I took notes about it. Well, oh, attention to details. Yeah, to be care to be watch out for details. And a lot of the things can be carried on into later life, things about detailed, things about date. Put a date on, on papers. When, when did, when was this? No, when was this note? What? When did this happen? Just keeping track of things. I still am sort of astonished at how, how little things add up, how we just just noted every day. And at the end of a year, you've made 365 notes,   Michael Hingson ** 32:14 yeah, well, and then when you go back and read them, which is also part of the issue, is that you got to go back and look at them to to see what   Ivan Cury ** 32:23 right or to just know that they're there so that you can refer to them. When did that happen?   Michael Hingson ** 32:28 Oh, right. And what did you say? You know, that's the point. Is that when I started writing thunder dog, my first book was suggested that I should start it, and I started writing it, what I started doing was creating notes. I actually had something like 1.2 megabytes of notes by the time we actually got around to doing the book. And it was actually eight years after I started doing some, well, seven years after I started doing writing on it. But the point is that I had the information, and I constantly referred back to it, and I even today, when I deliver a speech, I like to if there's a possibility of having it recorded, I like to go back and listen, because I want to make sure that I'm not changing things I shouldn't change and or I want to make sure that I'm really communicating with the audience, because I believe that my job is to talk with an audience, not to an audience.   Ivan Cury ** 33:24 Yeah, yeah. I we say that I'm reading. There are three books I'm reading right now, one of them, one of them, the two of them are very well, it doesn't matter. One is called who ate the oyster? Who ate the first oyster? And it's a it's really about paleon. Paleological. I'm saying the word wrong, and I'm paleontological. Paleontological, yeah, study of a lot of firsts, and it's a lovely but the other one is called shady characters by Keith Houston, and it's a secret life of punctuation symbols and other typographical marks, and I am astonished at the number of of notes that go along with it. Probably 100 100 pages of footnotes to all of the things that that are a part of how these words came to be. And they're all, I'm not looking at the footnotes, because there's just too many, but it's kind of terrific to check out. To be that clear about where did this idea come from, where did this statement come from? I'm pleased about that. I asked my wife recently if you could be anything you want other than what you are. What would you want to be? What other what other job or would you want to have? The first one that came to mind for me, which I was surprised that was a librarian. I just like the detail. I think that's   Michael Hingson ** 34:56 doesn't go anywhere. There you go. Well, but there's so. There's a lot of detail, and you get to be involved with so many different kinds of subjects, and you never know what people are going to ask you on any given day. So there's a lot of challenge and fun to that.   Ivan Cury ** 35:11 Well, to me also just putting things in order, I was so surprised to discover that in the Dewey Decimal System, the theater is 812 and right next to it, the thing that's right next to it is poetry. I was surprised. It's interesting, yeah, the library and play that out.   Michael Hingson ** 35:29 Well, you were talking about punctuation. Immediately I thought of EE Cummings. I'll bet he didn't pay much attention to punctuation at all. I love him. He's great, yeah, isn't he? Yeah, it's a lot of fun. An interesting character by any standard. So, so you, you progressed into television, if, I guess it's progressing well, like, if we answer to Fred Allen, it's not, but that's okay.   Ivan Cury ** 35:54 Well, what happens? You know, after, after, I became 18, and is an interesting moment in my life, where they were going to do film with Jimmy Dean, James Dean, James Dean. And it came down and he was going to have a sidekick, a kid sidekick. And it came down to me and Sal Mineo. And Sal got it, by the way. Case you didn't know, but one of the things was I was asked I remember at Columbia what I wanted to do, and I said I wanted to go to college, and my there was a kind of like, oh, yeah, right. Well, then you're not going to go to this thing, because we don't. We want you to be in Hollywood doing the things. And yes, and I did go to college, which is kind of great. So what happened was, after, when I became 18, I went to Carnegie tech and studied theater arts. Then I after that, I studied at Boston University and got a master's there, so that I had an academic, an academic part of my life as well, right? Which ran out well, because in my later years, I became a professor and wrote some   Michael Hingson ** 36:56 books, and that was your USC, right? No, Cal State, Lacher State, LA and UCLA. And UCLA, not USC. Oh, shame on me. But that's my wife. Was a USC graduate, so I've always had loyalty. There you go. But I went to UC Irvine, so you know, okay, both systems, whatever.   Ivan Cury ** 37:16 Well, you know, they're both UC system, and that's different, yeah, the research institutes, as opposed to the Cal State, which   Michael Hingson ** 37:23 are more teaching oriented, yeah,   Ivan Cury ** 37:26 wow, yeah, that's, that's what it says there in the paper.   Michael Hingson ** 37:30 Yes, that's what it says. But you know, so you went into television. So what did you mainly do in the in the TV world?   Ivan Cury ** 37:44 Well, when I got out of when I got through school, I got through the army, I came back to New York, and I, oh, I got a job versus the Girl Scouts, doing public relations. I I taught at Hunter College for a year. Taught speech. One of the required courses at Carnegie is voice and diction, and it's a really good course. So I taught speech at Hunter College, and a friend of mine was the second alternate maker man at Channel 13 in New York. He had opera tickets, so he said, Look standard for me, it's easy, men seven and women five, and telling women to put on their own lipstick. So I did. I did that, and I became then he couldn't do it anymore, so I became the second alternate make a man. Then it didn't matter. Within within six months, I was in charge of makeup for any t which I could do, and I was able to kind of get away with it. And I did some pretty good stuff, some prosthetic pieces, and it was okay, but I really didn't want to do that. I wanted to direct, if I could. And so then I they, they knew that, and I they knew that I was going to leave if, if, because I wasn't going to be a makeup I didn't. So I became a stage manager, and then an associate director, and then a director at Channel 13 in New York. And I directed a lot of actors, choice the biggest show I did there, or the one that Well, I did a lot of I also worked with a great guy named Kirk Browning, who did the a lot of the NBC operas, and who did all of the opera stuff in for any t and then I wound up doing a show called Soul, which was a black variety show. But when I say black variety show, it was with James Baldwin and but by the OJS and the unifics and the delphonics and Maya Angelou and, you know, so it was a black culture show, and I was the only white guy except the camera crew there. But had a really terrific time. Left there and went and directed for CBS. I did camera three. So I did things like the 25th anniversary of the Juilliard stringer check. Quartet. But I was also directing a show called woman, which was one of the earliest feminist programs, where I was the only male and an all female show. And actually I left and became the only gringo on an all Latino show called aqui I ahora. So I had a strange career in television as a director, and then did a lot of commercials for about 27 years, I directed or worked on the Men's Warehouse commercials. Those are the facts. I guarantee it.   Michael Hingson ** 40:31 Did you get to meet George Zimmer? Oh, very, very, very often, 27 years worth, I would figure, yeah.   Ivan Cury ** 40:39 I mean, what? I'm enemies. When I met him, he's a boy, a mere boy.   Michael Hingson ** 40:45 Did you act during any of this time? Or were you no no behind the camera once?   Ivan Cury ** 40:50 Well, the only, the only acting I did was occasionally. I would go now in a store near you, got it, and I had this voice that they decided, Ivan, we don't want you to do it anymore. It just sounds too much like we want, let George do this, please.   Michael Hingson ** 41:04 So, so you didn't get to do much, saying of things like, But wait, there's more, right?   Ivan Cury ** 41:10 No, not at all. Okay, okay. Oh, but you do that very well. Let's try.   Michael Hingson ** 41:13 Wait, there's more, okay. Well, that's cool. Well, that was,   Ivan Cury ** 41:18 it was kind of fun, and it was kind of fun, but they had to, it was kind of fun to figure out things. I remember we did. We had a thing where some of those commercial we did some commercials, and this is the thing, I sort of figured out customers would call in. So we recorded their, their call ins, and I they, we said, with calls being recorded. We took the call ins and I had them sent to it a typist who typed up what they wrote that was sent to New York to an advertising agency would extract, would extract questions or remarks that people had made about the stuff, the remarks, the tapes would be then sent to who did that? I think we edited the tapes to make it into a commercial, but the tags needed to be done by an announcer who said, in a store near you were opening sooner, right? Wyoming, and so those the announcer for the Men's Warehouse was a guy in in Houston. So we'd send, we'd send that thing to him, and he'd send us back a digital package with the with the tags. And the fun of it was that was, it was from, the calls are from all over the world. The the edits on paper were done in New York, the physical work was done in San Francisco. The announcer was in Houston. And, you know? And it's just kind of fun to be able to do that, that to see, particularly having come from, having come from 1949 Yeah, where that would have been unheard of to kind of have that access to all that was just fun, kind   Michael Hingson ** 42:56 of fun. But think about it now, of course, where we have so much with the internet and so on, it'd be so much easier, in a lot of ways, to just have everyone meet on the same network and   Ivan Cury ** 43:09 do now it's now, it's nothing. I mean, now it's just, that's the way it is. Come on.   Michael Hingson ** 43:13 Yeah, exactly. So. So you know, one of the things that I've been thinking about is that, yes, we've gone from radio to television and a whole new media and so on. But at the same time, I'm seeing a fairly decent resurgence of people becoming fascinated with radio and old radio and listening to the old programs. Do you see that?   Ivan Cury ** 43:41 Well, I, I wish I did. I don't my, my take on it. It comes strictly from that such, so anecdotal. It's like, in my grandkids, I have these shows that I've done, and it's, you know, it's grandpa, and here it is, and there it's the bobby Benson show, or it's calculator America, whatever, 30 seconds. That's what they give me. Yeah, then it's like, Thanks, grandpa. Whoopie. I don't know. I think maybe there may there may be something, but I would, I'd want some statistical evidence about well, but   Michael Hingson ** 44:19 one of the things I'm thinking of when I talk about the resurgence, is that we're now starting to see places like radio enthusiasts to Puget Sound reps doing recreations of, oh yes, Carl Omari has done the Twilight Zone radio shows. You know, there are some things that are happening, but reps among others, and spurred back to some degree, yeah, spurred back is, is the Society for the Prevention, oh, gosh,   Ivan Cury ** 44:46 not cruelty children, although enrichment   Michael Hingson ** 44:49 of radio   Ivan Cury ** 44:50 drama and comedy, right? Society, right? Yeah, and reps is regional enthusiasts of Puget Sound, Puget   Michael Hingson ** 44:58 Sound and. Reps does several recreations a year. In fact, there's one coming up in September. Are you going to   Ivan Cury ** 45:04 that? Yes, I am. I'm supposed to be. Yes, I think I Yes. I am.   Michael Hingson ** 45:08 Who you're going to play? I have no idea. Oh, you don't know yet.   Ivan Cury ** 45:12 Oh, no, no, that's fun. You get there, I think they're going to have me do a Sam Spade. There is another organization up there called the American radio theater, right? And I like something. I love those people. And so they did a lot of Sam Spade. And so I expect I'm going to be doing a Sam Spade, which I look forward to.   Michael Hingson ** 45:32 I was originally going to it to a reps event. I'm not going to be able to this time because somebody has hired me to come and speak and what I was going to do, and we've postponed it until I can, can be the one to do it is Richard diamond private detective, which is about my most favorite radio show. So I'm actually going to play, able to play Richard diamond. Oh, how great. Oh, that'll be a lot of fun. Yeah. So it'll probably be next year at this point now, but it but it will happen.   Ivan Cury ** 45:59 I think this may, yeah, go ahead. This may be my last, my last show I'm getting it's getting tough to travel.   Michael Hingson ** 46:07 Yeah, yeah, I don't know. Let's see. Let's see what happens. But, but it is fun, and I've met several people through their Carolyn Grimes, of course, who played Zuzu on It's A Wonderful Life. And in fact, we're going to have her on unstoppable mindset in the not too distant future, which is great, but I've met her and and other people, which I   Ivan Cury ** 46:34 think that's part of the for me. That really is part of the fun. Yeah, you become for me now it has become almost a sec, a family, in the same way that when you do show, if you do a show regularly, it is, it really becomes a family. And when the show is over, it's that was, I mean, one of the first things as a kid that was, that was really kind of tough for every day, or every other day I would meet the folks of Bobby Benson and the B Barbie writers. And then I stopped doing the show, and I didn't see them and didn't see them again. You know, I Don Knotts took me to I had the first shrimp of my life. Don Knotts took me to take tough and Eddie's in New York. Then I did another show called paciolini, which was a kind of Italian version of The Goldbergs. And that was, I was part of that family, and then that kind of went away. I was Porsche son on Porsche faces life, and then that way, so the you have these families and they and then you lose them, but, but by going to these old events, there is that sense of family, and there are also, what is just astonishing to me is all those people who know who knows stuff. One day I mentioned Frank Milano. Now, nobody who knows Frank Milano. These guys knew them. Oh, Frank, yeah, he did. Frank Milano was a sound. Was did animal sounds. There were two guys who did animal sounds particularly well. One was Donald Baines, who I worked with on the first day I ever did anything. He played the cow on Jack and the Beanstalk and and Frank, Don had, Don had a wonderful bar room bet, and that was that he could do the sound effects of a fish. Wow. And what is the sound effect of a fish? So now you gotta be required. Here's the sound effect of a fish. This was what he went $5 bets with you. Ready? Here we go.   Michael Hingson ** 48:41 Good job. Yeah, good job. Yeah. It's like, what was it on? Was it Jack Benny? They had a kangaroo, and I think it was Mel Blanc was asked to do the kangaroo, which is, of course, another one where they're not really a sound, but you have to come up with a sound to do it on radio, right?   Ivan Cury ** 49:06 Yes. Oh my god, there were people who want I could do dialects, I could do lots of German film, and I could do the harness. Was very easy for me to do, yeah, so I did love and I got to lots of jobs because I was a kid and I could do all these accents. There was a woman named Brianna Rayburn. And I used to do a lot of shows in National Association of churches of Christ in the United States. And the guy who was the director, John Gunn, we got to know each other. He was talking about, we talked with dialects. He said Briana Rayburn had come in. She was to play a Chinese woman. And she really asked him, seriously, what part of China Do you want her to come from? Oh, wow. I thought that was just super. And she was serious. She difference, which is studied, studied dialects in in. In college not long after, I could do them, and discovered that there were many, many English accents. I knew two or three cockney I could do, but there were lots of them that could be done. And we had the most fun. We had a German scholar from Germany, from Germany, and we asked him if he was doing speaking German, but doing playing the part of an American what would it sound like speaking German with an American accent? You know, it was really weird.   Michael Hingson ** 50:31 I had a history teacher, yes, who was from the Bronx, who spoke German, yeah, and he fought in World War Two. And in fact, he was on guard duty one night, and somebody took a shot at him, and so he yelled back at them in German. The accent was, you know, I took German, so I don't understand it all that well, but, but listening to him with with a New York accent, speaking German was really quite a treat. The accent spilled through, but, but they didn't shoot at him anymore. So I think he said something, what are you shooting at me for? Knock it off. But it was so funny, yeah, but they didn't shoot at him anymore because he spoke, yeah, yeah. It was kind of cool. Well, so with all that you've learned, what kind of career events have have sort of filtered over into what you do today?   Ivan Cury ** 51:28 Oh, I don't know. We, you know. But one of the things I wanted to say, it was one of the things that I learned along the way, which is not really answering your question until I get back to it, was, I think one of those best things I learned was that, however important it is that that you like someone, or you're with somebody and everything is really terrific. One of the significant things that I wish I'd learned earlier, and I think is really important, is how do you get along when you don't agree? And I think that's really very important.   Michael Hingson ** 52:01 Oh, it's so important. And we, in today's society, it's especially important because no one can tolerate anyone anymore if they disagree with them, they're you're wrong, and that's all there is to it. And that just is so unfortunate. There's no There's no really looking at alternatives, and that is so scary   Ivan Cury ** 52:20 that may not be an alternative. It may not be,   Michael Hingson ** 52:23 but if somebody thinks there is, you should at least respect the opinion,   Ivan Cury ** 52:28 whatever it is, how do you get along with the people you don't   Michael Hingson ** 52:32 agree with? Right?   Ivan Cury ** 52:35 And you should one that you love that you don't agree with, right? This may sound strange, but my wife and I do not agree about everything all the time, right?   Michael Hingson ** 52:43 What a concept. My wife and I didn't agree about everything all the time. Really, that's amazing, and it's okay, you know? And in fact, we both one of the the neat things, I would say, is we both learned so much from each other when we disagreed, but would talk about it, and we did a lot of talking and communicating, which I always felt was one of the most important things about our marriage. So we did, we learned a lot, and we knew how to get along, and we knew that if we disagreed, it was okay, because even if we didn't change each other's opinion, we didn't need to try to change each other's opinion, but if we work together and learn to respect the other opinion, that's what really mattered, and you learn more about the individual that way,   Ivan Cury ** 53:30 yeah, and also you have you learn about giving up. Okay, I think you're wrong, but if that's really what you want exactly, I'll do it. We'll do it your way?   Michael Hingson ** 53:42 Yeah, well, exactly. And I think it's so important that we really put some of that into perspective, and it's so crucial to do that, but there's so much disagreement today, and nobody wants to talk to anybody. You're wrong. I'm right. That's all there is to it. Forget it, and that's just not the way the world should be.   Ivan Cury ** 53:59 No, no. I wanted to go on to something that you had asked about, what I think you asked about, what's now I have been writing. I have been writing to a friend who I've been writing a lot of very short pieces, to a friend who had a stroke and who doesn't we can't meet as much as we use. We can't meet at all right now. And but I wanted to just go on, I'm and I said that I've done something really every week, and I'd like to put some of these things together into a book. And what I've been doing, looking for really is someone to work with. And so I keep writing the things, the thing that I wrote just today, this recent one, had to do with I was thinking about this podcast. Is what made me think of it. I thought about the stars that I had worked with, you know, me and the stars, because I had lots. Stories with with people who are considered stars, Charles Lawton, Don Knotts, Gene crane, Maya, Angelou, Robert Kennedy, the one I wrote about today. I wrote about two people. I thought it'd be fun to put them together, James Dean and Jimmy Dean. James Dean, just going to tell you the stories about them, because it's the kind of thing I'm writing about now. James Dean, we worked together on a show called Crime syndicated. He had just become really hot in New York, and we did this show where there were a bunch of probably every teenage actor in New York was doing this show. We were playing two gangs, and Jimmy had an extraordinary amount of lines. And we said, What the hell are you going to do, Jim? If you, you know, if you lose lines, he's, this is live. And he said, No problem. And then what he said is, all I do is I start talking, and then I just move my mouth like I'm walking talking, and everybody will think the audio went out. Oh, and that's, that's what he was planning on doing. I don't know if he really is going to do it. He was perfect. You know, he's just wonderful. He did his show. The show was great. We were all astonished to be working with some not astonished, but really glad to just watch him work, because he was just so very good. And we had a job. And then stories with Jimmy Dean. There were a couple of stories with Jimmy Dean, the singer and the guy of sausage, right? The last one to make it as fast, the last one was, we were in Nashville, at the Grand Ole Opry Opperman hotel. I was doing a show with him, and I was sitting in the bar, the producer and someone other people, and there was a regular Graceland has a regular kind of bar. It's a small bar of chatter, cash register, husband, wife, team on the stage singing. And suddenly, as we were talking, it started to get very quiet. And what had happened is Jimmy Dean had come into the room. He had got taken the guitar, and he started to sing, and suddenly it just got quiet, very quiet in the room. The Register didn't ring. He sang one song and he sang another song. His applause. He said, Thank you. Gave the guitar back to the couple. Walked off the stage. It was quiet while a couple started to sing again. They were good. He started to sing. People began to chatter again. The cash register rang, and I, I certainly have no idea how he managed to command that room to have everybody shut up while he sang and listened to him. He didn't do anything. There was nothing, you know, no announcement. It wasn't like, oh, look, there's Jimmy. It was just his, his performance. It was great, and I was really glad to be working with him the next day well.   Michael Hingson ** 57:56 And I think that having that kind of command and also being unassuming about it is pretty important if you've got an ego and you think you're the greatest thing, and that's all there is to it. That shows too, yeah?   Ivan Cury ** 58:08 Well, some people live on it, on that ego, yeah, and I'm successful on it, I don't think that was what. It certainly   Michael Hingson ** 58:17 wasn't, no, no, no, and I'm not saying that. I'm sure it wasn't that's my point. Yeah, no, because I think that the ultimate best people are the ones who don't do it with ego or or really project that ego. I think that's so important, as I said earlier, for me, when I go to speak, my belief is I'm going to to do what I can to help whatever event I'm at, it isn't about me at all. It's more about the audience. It's more about what can I inspire this audience with? What can I tell the audience and talk with the audience about, and how can I relate to them so that I'm saying something that they want to hear, and that's what I have to do. So if you had the opportunity to go back and talk to a younger Ivan, what would you tell him?   Ivan Cury ** 59:08 Cut velvet? No, there you go. No, what? I don't. I really don't. I don't know.   Michael Hingson ** 59:18 Talk Like a fish. More often   Ivan Cury ** 59:20 talk like a fish. More on there. Maybe. No, I really don't know. I don't know. I think about that sometimes, what it always seems to be a question, what? Really it's a question, What mistakes did you make in life that you wish you hadn't done? What door you wish Yeah, you would open that you didn't? Yeah, and I really don't, I don't know. I can't think of anything that I would do differently and maybe and that I think there's a weakness, because surely there must be things like that. I think a lot of things that happen to one in life anyway have to do with luck. That's not, sort of not original. But I was surprised to hear one day there was a. It. Obama was being interviewed by who was by one of the guys, I've forgotten his name that. And he was talking about his career, and he said he felt that part of his success had been a question of luck. And I very surprised to hear him say that. But even with, within with my career, I think a lot of it had to do with luck I happen to meet somebody that right time. I didn't meet somebody at the right time. I think, I think if I were to do so, if you would, you did ask the question, and I'd be out more, I would be pitching more. I think I've been lazy in that sense, if I wanted to do more that. And I've come to the West Coast quicker, but I was doing a lot of was in New York and having a good time   Michael Hingson ** 1:00:50 Well, and that's important too, yeah. So I don't know that I changed, I Yeah, and I don't know that I would find anything major to change. I think if somebody asked me that question, I'd say, tell my younger self that life is an adventure, enjoy it to the fullest and have fun.   Ivan Cury ** 1:01:12 Oh, well, that's yes. That was the I always believe that, yeah, yeah. It's not a question for me, and in fact, it's one of the things I told my kids that you Abraham Lincoln, you know, said that really in it, in a way a long time ago. He said that you choose you a lot of what you way you see your life has to do with the way the choices you make about how to see it, right? Yeah, which is so cool, right? And one of the ways you might see it says, have fun,   Michael Hingson ** 1:01:39 absolutely well, Ivan, this has been absolutely fun. We've been doing it for an hour, believe it or not, and I want to thank you for being here. And I also want to thank everyone who is listening for being with us today. I hope you've enjoyed this conversation, and I'd love to hear what your thoughts are. Please feel free to email me. I'd love to hear your thoughts about this. Email me at Michael h i at accessibe, A, C, C, E, S, S, i, b, e.com, so Ivan, if people want to reach out to you, how do they do that?   Ivan Cury ** 1:02:10 Oh, dear. Oh, wait a minute, here we go. Gotta stop this. I curyo@gmail.com I C, u, r, y, o@gmail.com There you go. Cury 1r and an O at the end of it, not a zero. I curyo@gmail.com Yeah.   Michael Hingson ** 1:02:30 Well, great. Well, thank you again, and all of you wherever you're listening, I hope that you'll give us a great review wherever you're listening. Please give us a five star review. We appreciate it, and Ivan, for you and for everyone else listening. If you know anyone else who ought to be a guest on our podcast, love to hear from you. Love an introduction to whoever you might have as a person who ought to come on the podcast, because I think everyone has stories to tell, and I want to give people the opportunity to do it. So once again, I want to thank you, Ivan, for being here. We really appreciate it. Thanks for coming on and being with us today. Thank you.   1:03:10 You have been listening to the Unstoppable Mindset podcast. Thanks for dropping by. I hope that you'll join us again next week, and in future weeks for upcoming episodes. To subscribe to our podcast and to learn about upcoming episodes, please visit www dot Michael hingson.com slash podcast. Michael Hingson is spelled m i c h a e l h i n g s o n. While you're on the site., please use the form there to recommend people who we ought to interview in upcoming editions of the show. And also, we ask you and urge you to invite your friends to join us in the future. If you know of any one or any organization needing a speaker for an event, please email me at speaker at Michael hingson.com. I appreciate it very much. To learn more about the concept of blinded by fear, please visit www dot Michael hingson.com forward slash blinded by fear and while you're there, feel free to pick up a copy of my free eBook entitled blinded by fear. The unstoppable mindset podcast is provided by access cast an initiative of accessiBe and is sponsored by accessiBe. Please visit www.accessibe.com . AccessiBe is spelled a c c e s s i b e. There you can learn all about how you can make your website inclusive for all persons with disabilities and how you can help make the internet fully inclusive by 2025. Thanks again for Listening. Please come back and visit us again next week.

Passages: Psalm 119 WATCH THE VIDEO HERE: https://youtu.be/TfvsIxi8snw  To learn more about Adelphi, visit us at: adelphibaptist.com

Ottavio Fatica"Londra"Louis-Ferdinand CélineAdelphiwww.adelphi.itTraduzione di Ottavio FaticaA cura di Régis TettamanziAll'inizio di Londra Ferdinand, alter ego di Céline, appena sceso dalla nave su cui si era imbarcato alla fine di Guerra, si ritrova nel mondo della mala londinese, o meglio di quella francese, fuggita in massa per scampare alle trincee. Una contro-società chiusa in sé stessa, con le sue regole inumane, da tutti accettate stoicamente. Ma che cos'è Londra? Un manuale di sopravvivenza a uso dei disertori, un inno dolente alla prostituzione, un'elegia alla città che i giornali dell'epoca definivano «il più grande mercato di carne umana del mondo»: mai così diversa, stralunata, affascinante nel suo superbo squallore. Céline squaderna una galleria di personaggi eroici nella turpitudine, alcuni già incontrati in Guerra come la prostituta Angèle e il maggiore Purcell (qui trasformato in folle inventore), o il bombarolo dostoevskiano Borokrom, i due papponi rivali Cantaloup e Tregonet, e il medico ebreo Yugenbitz, «pura bontà», quello che Céline avrebbe voluto diventare. Tutti dal destino segnato, popolano giorno e notte grandi arterie e angiporti, androni e locali malfamati, parchi e latrine.La violenza, l'intensità quasi insopportabile di questa prosa dimostrano che il romanzo ci è pervenuto in una versione non purgata, che mai avrebbe potuto vedere la luce negli anni Trenta, quando è stato scritto, e resta materia incandescente ancora oggi. Perché Céline, lo sappiamo, vuole arrivare «fino a dove c'è l'origine di tutto». E per farlo ha bisogno di trovare la giusta dose di delirio, di far suonare il suo organetto nella nebbia, sul selciato infido della City, verso l'acqua che lo ha sempre tentato, verso il Tamigi: «È la notte del mondo che scorre, sotto i ponti. Si alzano come braccia per farla passare».Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Teresa LussoneLeggere, tradurre, amare Irène Némirovskyhttps://www.festadelracconto.it/Festa del Racconto, CarpiVenerdì 3 ottobre 2025, ore 17:00"Leggere, tradurre, amare Irène Némirovsky"con Cinzia Bigliosi e Teresa Lussoneconduce Gaia Manzini. Letture di Betti Pedrazzi«Quando abbiamo finito di leggere le due prime parti di Suite francese», scrive Pietro Citati, «resta in noi una strana sensazione di letizia. Non sappiamo se essa dipenda dalla gioia nascosta sotto le tragedie della vita; o dalla felicità fisica di raccontare senza fine». Pubblicato postumo in Francia nel 2004 e tradotto in italiano da Adelphi nel 2005, il romanzo incompiuto di Irène Némirovsky fu subito acclamato come un capolavoro e diede il via alla scoperta di una scrittrice straordinaria e amatissima. Accompagnate dalle letture di Betti Pedrazzi e guidate dalle curiosità di Gaia Manzini, Cinzia Bigliosi e Teresa Lussone, entrambe traduttrici e fini conoscitrici dell'opera della scrittrice francese di origine ucraina, raccontano la «loro» Némirovsky.Irène Némirovsky"Il carnevale di Nizza e altri racconti"Traduzione a cura di Teresa LussoneAdelphiwww.adelphi.itCome fa una giovane donna di appena trent'anni, qual era all'epoca Irène Némi­rovsky, a scavare così profondamente nel­l'animo umano? si chiese Bernard Grasset, il suo primo editore, leggendo questi racconti. Come fa a capire, e a descrivere in modo così empatico e al tempo stesso spietato, non solo le lusinghe e le illusioni della giovinezza, ma anche la nostalgia de­gli amori perduti, il rimpianto delle vite non vissute, l'acredine delle esistenze sba­gliate, le ferite dell'ambizione frustrata, l'angoscia della solitudine, lo sgomento per i segni che lascia sul corpo il passare degli anni, la ferocia che si annida nel cuore de­gli uomini? Le prove giovanili di Némi­rovsky continuano a riempirci di stupo­re non meno di quelle della maturità: le quattro «scenette», per cominciare, di sa­pore quasi lubitschiano, dove due aspiran­ti attricette di incantevole amoralità met­tono in opera comici e insieme patetici tentativi di trovare un uomo molto ricco che le mantenga; i tre «film parlati» – in realtà vere e proprie narrazioni, condotte con la mano sapiente di uno sceneggiato­re navigato, in grado di dare indicazioni su inquadrature, stacchi, dissolvenze, mon­taggio; gli struggenti Una colazione in settembre e Le rive felici; il truculento affresco finlandese dei Fumi del vino... Fino al sor­prendente I giardini di Tauride, che appa­re qui in volume per la prima volta, e che, costellato di appunti in cui Némirovsky ri­flette sulla forma stessa del racconto, ci consente di gettare un'occhiata indiscreta nel suo laboratorio.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Passages: Acts 12:1-5 WATCH THE VIDEO HERE: To learn more about Adelphi, visit us at: adelphibaptist.com

Passages: John 3:31-36 WATCH THE VIDEO HERE: https://youtu.be/ATtkUS3OchY?si=UONu3ufa_Sj4G91R  To learn more about Adelphi, visit us at: adelphibaptist.com

Dalle macerie delle città tedesche di Sebald, alla “ragion di stato” tedesca, fino alla guerra di Trump contro la storia dello schiavismo negli Stati Uniti: quando la memoria rischia l'anestesia. Articoli e libri citati: W.G.Sebald, Storia naturale della distruzione (Adelphi); The History of Slavery Cannot Be Erased, 21 agosto 2025, https://www.damemagazine.com/2025/08/21/the-history-of-slavery-cannot-be-erased/; Israel and the delusions of Germany's ‘memory culture', 30 gennaio 2025, https://www.theguardian.com/news/2025/jan/30/israel-and-the-delusions-of-germanys-memory-culture. Gli inserti audio della puntata sono tratti da: British and American bombers hit transportation lines in Dresden, Critical Past, 30 maggio 2014; Trump: Smithsonian too focused on ‘how bad slavery was', Good Morning America, 20 agosto 2025; Sebald interview on Bookworm, canale Youtube Craig Smith, 20 gennaio 2019. Learn more about your ad choices. Visit megaphone.fm/adchoices

Passages: Acts 17:16-34 WATCH THE VIDEO HERE: https://youtu.be/pnhti5TpaA4  To learn more about Adelphi, visit us at: adelphibaptist.com  

Passages: Acts 8:26-40 WATCH THE VIDEO HERE: To learn more about Adelphi, visit us at: adelphibaptist.com

Passages: Jeremiah 31:3 WATCH THE VIDEO HERE: To learn more about Adelphi, visit us at: adelphibaptist.com

Alessandro Fusacchia"Festival del Pensare Contemporaneo"Vite SvelatePiacenza, 11>14 Settembre 2025www.pensarecontemporaneo.itTorna a Piacenza il Festival del Pensare Contemporaneo per la sua terza edizione da giovedì 11 a domenica 14 settembre 2025. L'obiettivo del Festival è guidare il pubblico alla scoperta del sé, individuale e collettivo, per riaffermare la propria presenza nel mondo, attraverso visioni, dialoghi e sfide stimolanti. Il tema di quest'anno, “Vite Svelate. Esporsi/Scoprirsi”, continua il viaggio iniziato con “Vivere la Meraviglia”, guidandoci dallo stupore alla scoperta più intima della vita.Promosso da Rete Cultura Piacenza, il Festival è curato per il terzo anno da Alessandro Fusacchia, con la direzione filosofica di Andrea Colamedici e Maura Gancitano di Tlon.Il tema “Vite Svelate” invita a un'introspezione profonda, esplorando la vulnerabilità non come debolezza, ma come forza e resistenza in un'epoca che ci vuole invulnerabili. Il Festival porta a Piacenza voci stimolanti, ponendo un focus urgente sulle nuove generazioni: il loro disagio esistenziale è visto non come un problema da risolvere, ma come un punto di partenza per nuove forme di consapevolezza e cura.La musica inaugurerà questa nuova edizione del Festival del Pensare Contemporaneo attraverso i concerti filosofici previsti per giovedì 11 settembre alle 18:30 in piazza Cavalli. Si esibiranno sul palco per una serata di musica e parole: N.A.I.P., Nayt, Anna Castiglia, Giulia Mei, Francesco Bianconi dei Baustelle ed Emma Nolde. Vite Svelate proseguirà poi fino a domenica 14 settembre con 80 eventi in programma, molti di questi in contemporanea, con fino a cinque appuntamenti in parallelo, in 14 location diffuse. Riconfermato anche il Premio Internazionale “Pensare Contemporaneo”, istituito dai promotori del Festival e diretto a personalità di rilievo che grazie agli studi, le opere e la divulgazione hanno saputo influenzare in maniera significativa a livello internazionale il pensiero e la visione sulla società contemporanea. Quest'anno la commissione premierà lo scrittore cileno Benjamín Labatut, autore di libri come Maniac (Adelphi, 2023) e Quando abbiamo smesso di capire il mondo (Adelphi, 2021). Labatut terrà una lectio su “Vite Svelate” durante la cerimonia di chiusura e di assegnazione del premio domenica 14 settembre alle 21 al Palazzo Gotico. Per la terza edizione, il Festival ha confermato alcuni partenariati, tra questi, quello con il Forum Disuguaglianze Diversità, per realizzare appuntamenti congiunti anche sull'Europa e tra le università: l'Università Cattolica del Sacro Cuore, il Politecnico di Milano, l'Università degli studi di Parma e il Conservatorio Nicolini di Piacenza. Torna, inoltre, la proiezione internazionale del Festival, grazie ad un accordo strategico con il think tank brussellese Friends of Europe.Novità di quest'anno è il coinvolgimento della Fondazione Una Nessuna Centomila, di cui Fiorella Mannoia è presidente onoraria, che in sinergia con il Comune di Piacenza avvierà un dialogo con i centri antiviolenza del territorio.La realizzazione del Festival del Pensare contemporaneo è resa possibile grazie a un gruppo di sponsor e mecenati importanti, di rilievo nazionale oltre che locale, a partire dal main sponsor Banca Generali, seguito da Coop San Martino, Gas Sales, Confindustria Piacenza, Consorzio di Bonifica Piacenza, Conad Centro Nord, ALS, Arcadia, ENI, Moncler, CA Indosuez, Poste Italiane, Douglas Chero, Novo Nordisk e Trenitalia in qualità di Official green carrier, oltre a numerosi altri sostenitori.Parteciperanno al Festival: il poeta e paesologo Franco Arminio con suo figlio Livio Arminio, la scrittrice Chiara Barzini, la giornalista e divulgatrice scientifica Silvia Bencivelli, il cantautore e frontman del gruppo musicale Baustelle Francesco Bianconi, lo scrittore Enrico Brizzi, la scrittrice Teresa Ciabatti, la sociologa Francesca Coin, lo scrittore Nicola H. Cosentino, l'economista e ex senatore Carlo Cottarelli,  l'attivista Marina Cuollo, la giornalista e scrittrice Concita De Gregorio, il sociologo Derrick De Kerckhove, lo scrittore Paolo Di Paolo, il graphic designer Riccardo Falcinelli, il filosofo Maurizio Ferraris, il giornalista James Fontanella-Khan, l'architetto e designer Massimiliano Fuksas, la scrittrice Lisa Ginzburg, il direttore generale dell'ICCROM Aruna Gujral, la pubblico ministero Disa Jironet, l'esploratore e scrittore Erling Kagge, lo scrittore Benjamín Labatut, lo scrittore Björn Larsson, lo scrittore Vincenzo Latronico, lo storico e sociologo Marc Lazar, lo psichiatra e saggista Vittorio Lingiardi, il Cross Cultural Entrepreneur and Strategist Liel Maghen, l'ex membro del Parlamento europeo Magid Magid, la filosofa Claire Marin, la scrittrice Melania Mazzucco, la direttrice del Cimitero Acattolico Yvonne Mazurek, l'artista musicale Giulia Mei, il giornalista Luca Misculin, il musicista e compositore N.A.I.P., il rapper Nayt, l'artista musicale Emma Nolde, la scrittrice Valeria Parrella, lo scrittore Alcide Pierantozzi, il violinista e compositore Alessandro Quarta, il ballerino Giacomo Rovero, la caporedattrice del Kyiv Independent Olga Rudenko, la giornalista Cecilia Sala, lo scrittore Antonio Scurati, il consulente per gli Affari istituzionali e della Pubblica amministrazione Vincenzo Sofo, lo storico dell'arte e divulgatore Jacopo Veneziani. IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Passages: Matthew 3:1-2 + Matthew 4:12-17 + Mark 1:14-15 WATCH THE VIDEO HERE: https://youtu.be/CAGwsZp5zEU  To learn more about Adelphi, visit us at: adelphibaptist.com

PTF is joined by Mikee P for this week's Adelphi segment looking at racing for Saturday (Aug. 30) at Saratoga on closing weekend. JK joins the show later for a look at Saturday's racing at Kentucky Downs before Mikee P wraps the show alongside Will Humphrey with analysis of racing at Colonial Downs on Saturday.

PTF is joined by Mikee P for this week's Adelphi look at Saratoga's Saturday races on a jam-packed card for closing weekend and later talks with JK for the Sunday racing action at Kentucky Downs. Mikee P then takes over hosting duties for the Colonial Downs segment with Will Humphrey providing his expertise for the race card on Saturday.

PTF is joined by Mikee P for this week's Adelphi segment looking at racing for Saturday (Aug. 30) at Saratoga on closing weekend. JK joins the show later for a look at Saturday's racing at Kentucky Downs before Mikee P wraps the show alongside Will Humphrey with analysis of racing at Colonial Downs on Saturday.

Passages: Philippians 4:6 WATCH THE VIDEO HERE: https://youtu.be/WLsOxKuY6kU  To learn more about Adelphi, visit us at: adelphibaptist.com

PTF kicks off the show with Nick Tammaro as they look back at one of Woodbine's biggest days, the King's Plate. One of the performances they discuss was She Feels Pretty's win in the Grade 1 E. P. Taylor, a Win-and-You're-In Race for the Breeders' Cup Filly and Mare Turf.Next up on the show we look back at last week's New York bred sale in Saratoga. Matt Cutair tells us what went down, describes the Adelphi Racing Club purchases, and gives us insight into the various runners Adelphi will have in the next couple of weeks. This is inside information you don't want to miss.Last but not least, Kim Weird drops by with an update from Therapeutic Horses of Saratoga. She'll tell us how to win Travers box seats for just $20You can also learn more about Pickle for the Ponies and buy tickets here.

PTF kicks off the show with Nick Tammaro as they look back at one of Woodbine's biggest days, the King's Plate. One of the performances they discuss was She Feels Pretty's win in the Grade 1 E. P. Taylor, a Win-and-You're-In Race for the Breeders' Cup Filly and Mare Turf.Next up on the show we look back at last week's New York bred sale in Saratoga. Matt Cutair tells us what went down, describes the Adelphi Racing Club purchases, and gives us insight into the various runners Adelphi will have in the next couple of weeks. This is inside information you don't want to miss.Last but not least, Kim Weird drops by with an update from Therapeutic Horses of Saratoga. She'll tell us how to win Travers box seats for just $20You can also learn more about Pickle for the Ponies and buy tickets here.

Passages: Psalms WATCH THE VIDEO HERE: https://youtu.be/vrclYeOXbNM  To learn more about Adelphi, visit us at: adelphibaptist.com

Passages: James 2:14-26 WATCH THE VIDEO HERE: https://youtu.be/Bd9Db0YPUMg  To learn more about Adelphi, visit us at: adelphibaptist.com

Passages: Psalm 119:97-105 WATCH THE VIDEO HERE: https://www.youtube.com/watch?v=d_O9sHR7PcY  To learn more about Adelphi, visit us at: adelphibaptist.com

Passages: John 16 & Romans 6 WATCH THE VIDEO HERE: https://youtu.be/GR2E6Msk4nc?si=yPgejwb3LXn0krSS  To learn more about Adelphi, visit us at: adelphibaptist.com

Lorenza Di Lella"Proprietà privata"Julia DeckPrehistorica Editorewww.prehistoricaeditore.ittraduzione "Proprietà privata" a cura di Francesca Scala e Lorenza Di LellaEva è un'urbanista parigina che lavora attorno alla “nozione di spazio incerto” che coltiva sul balcone del suo appartamento. Col marito Charles, professore universitario afflitto da depressione e che vive rinchiuso sedato nella sua camera, decide di lasciare Parigi per prendere casa in un ecoquartiere di periferia.“Era tempo di comprare. La nostra scelta cadde su un piccolo comune in pieno slancio, sicuri di fare un buon investimento. Già svariati mesi prima di traslocare avevamo preso le misure dei mobili. Non vedevamo l'ora di vivere finalmente a casa nostra. E forse avremmo potuto realizzare quel sogno se, una settimana dopo esserci insediati, i Lecoq non si fossero trasferiti dall'altra parte del muro.”Annabelle, del resto, è la vicina indesiderabile, quella che non conosce pudore, che prende in prestito lo zerbino, che ascolta e spia, e che provoca un po' tutti, soprattutto gli uomini. Con questa presenza invadente, unitamente a quella del gatto rosso dei Lecoq – che entra nella casa degli altri quando vuole – la vita che si preannunciava idilliaca diventa un vero incubo. Tanto che Charles Caradec, marito di Eva, la narratrice di questo romanzo crudele, non regge. Quando progetta di uccidere Pel di carota, la sua vita e quella di tutta la comunità degenera.Al di là del cinismo che attraversa queste pagine, del sorriso che suscita, si prova una sorta di terrore davanti a questo quadro iperrealista della nostra epoca. La penna appuntita di Julia Deck non fa sconti.Julia Deck, nasce a Parigi nel 1974 da padre francese, artista plastico, e madre britannica, traduttrice. Julia Deck ha studiato Lettere alla Sorbona, e la sua tesi verteva su La principessa di Cléves. Lavora per un anno nell'editoria a New York. Dopo essere stata responsabile della comunicazione in diversi gruppi editoriali, nel 2005 si dedica completamente alla scrittura. In Francia è pubblicata dalle leggendarie Edizioni di Minuit. Sigma è il suo secondo romanzo tradotto in Italiano, dopo Viviane Elisabeth Fauville recentemente pubblicato da Adelphi.Lorenza Di Lella, traduce dal francese romanzi, racconti e saggi. Ha tradotto, fra gli altri, a Georges Simenon, Emmanuel Carrère, Teresa Cremisi, Boileau e Narcejac, B. Quiriny, Michel Tremblay, Julia Deck. Nel 2012, insieme a G. G. Greco, ha ricevuto il premio Procida per la traduzione del Barone sanguinario di V. Pozner. È redattrice della collana «Gli Eccentrici» delle Edizioni Arcoiris di Salerno. Lorenza Di Lella insegna traduzione letteraria dal francese nei corsi dell'Agenzia Letteraria Herzog.Francesca Scala si è laureata all'Università di Bologna con una tesi in filologia romanza sul corpus del troviero Jehan de Renti, per poi specializzarsi a Firenze nel 2000 in traduzione letteraria alla SETL (Scuola Europea di Traduzione Letteraria). Ha tradotto per 20 anni, prevalentemente per Coconino Press-Fandango, romanzi a fumetti contribuendo a fare conoscere e apprezzare al pubblico italiano maestri della BD francese quali Jacques Tardi, Jacques de Loustal, Baru, David B. (Il grande male) e Manu Larcenet (Lo scontro quotidiano). Tra gli autori a cui ha dato voce in ambito saggistico, Thierry Fabre (Mesogea), Marc-Alain Ouaknin (Atlante) e Georges Simenon (Adelphi); in ambito narrativo-letterario, Julien Green (Vertigine, Nutrimenti, 2017, con Lorenza Di Lella, Giuseppe Girimonti Greco, Ezio Sinigaglia e Filippo Tuena, è stato vincitore del premio Bodini 2017), Linda Lê (Clichy), Lydie Salvayre (Prehistorica Editore), Teresa Cremisi, Georges Simenon, Emmanuel Carrère, Inès Cagnati, Boileau e Narcejac (Adelphi) e Dany Laferrière (Tutto si muove intorno a me, 66thand2nd, 2015, con G. Girimonti Greco, è stato finalista al premio Stendhal 2016). Nel 2024 ha curato per la Sala Borsa di Bologna la prima rassegna di incontri che la biblioteca abbia mai dedicato alla traduzione letteraria. È iscritta a Strade, Sindacato di Traduttrici e Traduttori Editoriali.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Passages: Psalm 16:1-11 WATCH THE VIDEO HERE: https://youtu.be/1Fli4ouDjwM To learn more about Adelphi, visit us at: adelphibaptist.com

Cristiana Mennella"L'ultimo dei chiurli"Fred BodsworthAdelphi www.adelphi.itL'ammaliante, perigliosa odissea di un piccolo eroe tragico: uno degli ultimi esemplari di chiurlo eschimese.Traduzione di Cristiana MennellaIntorno alla metà del Novecento il chiurlo eschi­mese è stato dichiarato estinto. Questo piccolo, in­classificabile libro racconta l'odissea di uno degli ultimi esemplari, che a ogni primavera, mosso dal­l'istinto, dall'Antartide fa rotta verso l'Artide per accoppiarsi – e per garantire la sopravvivenza del­la specie. Una condizione tragica, la sua, giacché mai ha conosciuto i suoi simili, sterminati per pu­ro diletto a partire dall'Ottocento. L'ultimo dei chiurli parte così per un viaggio che ha del mira­coloso: Patagonia, Paraguay, Honduras, Messico, Stati Uniti, Canada... Supera catene montuose e vulcani, burrasche e tempeste di neve; copre mi­gliaia di chilometri in pochi giorni, senza riposare né sfamarsi; sorvola foreste, fiumi, laghi, paludi; si libra sull'oceano come sulle Ande e sulla pampa. Ma se finora ha sempre affrontato la spedizione da solo, questa volta ha la ventura di imbattersi in una femmina della sua specie, con cui involarsi verso il luogo da lui scelto per riprodursi: pochi conte­si metri di terreno spoglio nel Nord più estremo. Sempre che il Destino, nei panni esecrabili dell'uo­mo, non si metta di traverso. Al lettore non resterà allora che accompagnarli, complice e rapito, nella loro perigliosa, irrinunciabile missione, sull'ala di una prosa che per audacia, anelito e resilienza sa essere all'altezza di quel volo prodigioso.Fred Bodsworth è stato uno scrittore, giornlista e naturalista canadese. Ha collaborato con alcune testate giornalistiche importanti del suo Paese. Dal 1964 al 1967 è stato anche presidente della Federazione dei naturalisti dell'Ontario. Nel 2002 ha ricevuto il premio Matt Cohen per i suoi scritti.In Italia ricordiamo il libro L'ultimo dei chiurli, edito nel 2025 da Adelphi.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Passages: John 14:16-17 WATCH THE VIDEO HERE: https://youtu.be/1Fli4ouDjwM To learn more about Adelphi, visit us at: adelphibaptist.com

Davide Tortorella"La vita normale"Yasmina RezaAdelphiwww.adelphi.it"La vita normale", traduzione a cura di Davide Tortorella.«Per me il tribunale è un luogo di osservazione come un altro, come la strada, o la mia camera da letto» ha risposto Yasmina Reza quando le è stato chiesto perché, da quindici anni, segua processi, oscuri o clamorosi, in giro per la Francia. «Colui che crediamo altro da noi non lo è» afferma Reza, che, lasciando ai cronisti giudiziari il loro mestiere e alla giustizia di cercare (invano?) un senso nel caos, preferisce fare un passo di lato – e ogni volta spiazza il lettore. Senza curarsi di proclamare verità universali e concentrandosi invece su «frammenti di umanità» – un gesto, una frase, una postura, un dettaglio dell'abbigliamento –, Reza riesce a cogliere, nelle esistenze degli imputati, dei testimoni e delle vittime, qualcosa che non di rado alla giustizia sfugge, e che a quelle esistenze ci accomuna. È «la vita normale», che segue come un'ombra la sua controparte assassina, sovrapponendosi continuamente a essa. Come nel caso della donna che, un mattino di novembre, «incalzata, spinta da una forza senza nome», esce di casa per andare su una spiaggia ad abbandonare sua figlia alle onde, e poi torna a chiudersi nell'opacità della sua esistenza, «presente senza esserlo, come a strapiombo su sé stessa». A lei e ad altri fantasmi è dedicato questo libro. Fantasmi che irrompono sulla scena accanto a quelli dell'autrice, che ha la capacità, propria solo dei grandi scrittori, di insinuarsi nella psiche del lettore senza lasciargli il tempo di comprendere ciò che ha appena letto.«Yasmina Reza appartiene senza alcun dubbio alla famiglia dei grandi ironisti, tra Kafka, Bellow e Bashevis Singer» («Livres Hebdo»).Yasmina RezaDrammaturga, scrittrice, attrice e sceneggiatrice francese, le cui opere teatrali sono state adattate e rappresentate in molti Paesi e hanno ricevuto svariati premi. Figlia di un ingegnere iraniano e di una violinista ungherese di origine ebraica, comincia la sua carriera teatrale come attrice, partecipando a rappresentazioni di opere contemporanee e di classici di Molière e Marivaux. La prima pièce da lei scritta, Conversations après un enterrement, rappresentata per la prima volta nel 1987, la vale il Premio Molière come miglior autore; La traversée de l'hiver vince invece il Molière come miglior spettacolo regionale.Il successo internazionale arriva con l'opera successiva, Art (1994; Einaudi 2006), tradotta e rappresentata in oltre trenta lingue, per cui la Reza viene nuovamente premiata con il Molière per il miglior autore, il Premio Laurence Olivier e l'Evening Standard Award come miglior commedia (1997) e il Tony Award per il miglior spettacolo (1998); il romanzo Babylone, pubblicato da Flemmarion, ha vinto invece il premio Renaudot (2016).Tra le sue pubblicazioni: Al di sopra delle cose (Archinto 2000), Una desolazione (Bompiani 2003), Uomini incapaci di farsi amare (Bompiani 2006), L'alba, la sera o la notte (Bompiani 2007), Il dio del massacro (Adelphi 2011), Da nessuna parte (Archinto 2012), Felici i felici (Adelphi 2013), Babilonia (Adelphi 2017), «Arte» (Adelphi 2018), Bella figura (Adelphi 2019), Anne-Marie la beltà (Adelphi 2021), Serge (Adelphi 2022), La vita normale (Adelphi 2025).Davide Tortorella è traduttore, editor e autore televisivo. Per la tivù ha curato molti programmi di varietà e intrattenimento tra cui la rubrica libraria A tutto volume. Ha tradotto dall'inglese e dal tedesco Kenneth Anger, Botho Strauss, Susan Sontag, Groucho Marx, Alan Bennett e Vladimir Nabokov, ed è stato editor per la casa editrice Leonardo.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Passages: Romans 8:28 & 2 Corinthians 5:17 WATCH THE VIDEO HERE: https://youtu.be/1Fli4ouDjwM To learn more about Adelphi, visit us at: adelphibaptist.com

Another loaded Players Podcast for Saturday, July 26. PTF grabs Nick Tammaro for the Adelphi-sponsored Saratoga Pick 6 on Saturday featuring the return of the Derby and Belmont winner Sovereignty in the Jim Dandy. Pete continues the fun with the Pick 6 at Del Mar with Dean Keppler the most popular inthemoneypodcast.com analyst. Mikee P grabs the ball and puts it over the goal line with Eric Solomon and the late Pick 4 at Monmouth along with some Haskell wrap up.

Another loaded Players Podcast for Saturday, July 26. PTF grabs Nick Tammaro for the Adelphi-sponsored Saratoga Pick 6 on Saturday featuring the return of the Derby and Belmont winner Sovereignty in the Jim Dandy. Pete continues the fun with the Pick 6 at Del Mar with Dean Keppler the most popular inthemoneypodcast.com analyst. Mikee P grabs the ball and puts it over the goal line with Eric Solomon and the late Pick 4 at Monmouth along with some Haskell wrap up.

Passages: Revelation 4:10-11; 5:9-14 WATCH THE VIDEO HERE: https://youtu.be/msWbdIVhy0o?si=xD0XgERf9vEBr2xQ  To learn more about Adelphi, visit us at: adelphibaptist.com

Passages: Matthew 7:13-14 WATCH THE VIDEO HERE: https://youtu.be/RECJfb2yZ3Q?si=ryrvuczlxvARwqtM  To learn more about Adelphi, visit us at: adelphibaptist.com

Huge Saturday Players Podcast this weekend with the Haskell at Monmouth Park. PTF and JK dive headfirst into stakes action for 2025 Haskell Invitational Day at Monmouth Park! The 2025 Haskell became even more exciting with Journalism, the 2025 Preakness winner and fan favorite, who was foiled in the 2025 Kentucky Derby & 2025 Belmont Stakes, heading into the starting gate. Mikee P grabs inthemoneypodcast.com NYRA analyst Nick Tammaro for the Pick 6 at Saratoga sponsored by Adelphi Racing Club. PTF and JK come back to finish off the show with Opening Saturday at Del Mar.

Huge Saturday Players Podcast this weekend with the Haskell at Monmouth Park. PTF and JK dive headfirst into stakes action for 2025 Haskell Invitational Day at Monmouth Park! The 2025 Haskell became even more exciting with Journalism, the 2025 Preakness winner and fan favorite, who was foiled in the 2025 Kentucky Derby & 2025 Belmont Stakes, heading into the starting gate. Mikee P grabs inthemoneypodcast.com NYRA analyst Nick Tammaro for the Pick 6 at Saratoga sponsored by Adelphi Racing Club. PTF and JK come back to finish off the show with Opening Saturday at Del Mar.

Welcome to Future Disco Radio – your ultimate soundtrack, anytime, anywhere! This week, we're thrilled to welcome the incredible Adelphi Music Factory to the show! Fresh off the back of their 'Paris in the Sky EP' on the label. Catch us live every Friday at 3 PM GMT / 10 AM EST for the freshest house and disco, handpicked by the world's top DJs and producers. Whether you're kicking off your weekend or need a midday energy boost, we've got the perfect vibe for you. Expect next-level guests, cutting-edge sounds, and nonstop musical bliss. Future Disco Radio, where the future of music meets the timeless rhythms of house and disco.

Passages: Deuteronomy 6:4-5 WATCH THE VIDEO HERE: https://youtu.be/-b6R4nEYlz4?si=dwXR1jrR7ThGDXfG  To learn more about Adelphi, visit us at: adelphibaptist.com

Passages: Luke 6:46-49 WATCH THE VIDEO HERE: To learn more about Adelphi, visit us at: adelphibaptist.com

Loaded ITM Players Podcast with PTF opening the show with coverage of Colonial Downs and the opening of the Summer Meet with Dave Zenner - Director of Racing at Colonial Downs and then inthemoneypodcast.com handicapper Michael Domabyl looking at races for Saturday. PTF grabs Nick Tammaro for the Adelphi Saratoga Saturday Pick 6. Mikee P and Ray Cotolo look at Woodbine's Late Pick 4 on Saturday and the show finishes with a return from DD to cover the late Pick 4 from Monmouth.

Loaded ITM Players Podcast with PTF opening the show with coverage of Colonial Downs and the opening of the Summer Meet with Dave Zenner - Director of Racing at Colonial Downs and then inthemoneypodcast.com handicapper Michael Domabyl looking at races for Saturday. PTF grabs Nick Tammaro for the Adelphi Saratoga Saturday Pick 6. Mikee P and Ray Cotolo look at Woodbine's Late Pick 4 on Saturday and the show finishes with a return from DD to cover the late Pick 4 from Monmouth.

DAVID GAUSA presents SUTIL SENSATIONS RADIO / N#476 TRACKLIST JULY 11th 2025 / 11 JULIO 2025 Nick Lampos 'The Chain' - Early Days Shakedown 'At Night' (Anyma x Layton Giordani Remix) - Defected Calvin Harris feat. Clementine Douglas 'Blessings' (Max Styler Remix) - Columbia GENESI 'Right Now' (taken from 'Hyper' EP) - Diynamic Adelphi Music Factory feat. A.D.O.R. 'Heat from the Fire' (taken from 'Paris in the Sky' EP) - Future Disco Prospa & Josh Baker ft. RAHH 'You Don't Own Me' - CircoLoco Records Rossi. x Jazzy 'High On Me' - Chaos Stryv, Malachiii, Adam Port 'Positions' - Interscope --- TRACK OF THE WEEK / TEMA DE LA SEMANA Toman 'Verano En NY' - Solid Grooves --- THE TECH HOUSE ZONE Beltran feat. Nick Cave 'Tussi Blinder' - Beltools Tom Zeta 'Es Torrent' (taken from 'All Stars 08' VA/EP) - Maccabi House Rafael 'U Make Me' - Maccabi House Chris Lorenzo, Max Styler, Audio Bullys 'London's On Fire' - Black Book --- Duke Dumont 'I Need You Now' - EMI Peter Love 'Quema Quema' (taken from 'KIBOU' VA/Compilation Album) - POLIMNIA RECORDS --- THE LAIDBACK ROOM / LA SALA 2 Catching Flies 'Care 4 U' - Cercle Bedouin, Robin M feat. SKYE 'Heavy On My Mind' - Human By Default --- DAVID GAUSA IN THE MIX: #CANELAFINA TAKEOVER Black Coffee, Jimi Jules 'Trippy Yeah' - Innervisions Kanye West 'I Wonder' (Gordo, Cees & CS Remix) - Unreleased/White Vanco ft. AYA 'Ma Tnsani (Yalla Habibi)' - Afro Republik RUFUS DU SOL 'Break My Love' (Samm Remix - taken from 'Inhale / Exhale' Remixed, Vol. 2) - Rose Avenue / Reprise Johannes Brecht 'Dreamin' (Club Mix) (taken from 'Love Peace' EP) - Diynamic Pete Tong & AVG 'Places & Spaces' - Places & Spaces Samantha Loveridge 'Backtrack Blow Up' (CamelPhat Remix) - When Stars Align --- THE CLASSIC / EL CLASICO Duke Dumont 'Ocean Drive' - EMI --- If you want to know more about DAVID GAUSA, visit: Si quieres saber mas de DAVID GAUSA, visita: http://www.davidgausa.com http://instagram.com/davidgausa http://www.facebook.com/davidgausa http://twitter.com/davidgausa http://soundcloud.com/davidgausa http://www.mixcloud.com/davidgausa http://www.youtube.com/davidgausa http://www.sutilrecords.com http://www.facebook.com/sutilrecords

Passages: Psalm 32:11 WATCH THE VIDEO HERE: To learn more about Adelphi, visit us at: adelphibaptist.com

Passages: Isaiah 53 WATCH THE VIDEO HERE: https://youtu.be/ypeMdMaz0QA  To learn more about Adelphi, visit us at: adelphibaptist.com

Players Podcast jumps into July 4th weekend with Adelphi Racing sponsored Saratoga Content with PTF and Nick Tammaro discussing the Pick 6 for Saturday, July 5. Mikee P grabs Jackson Muniz for the Late Pick 4 at Woodbine Saturday and DD for the Late Pick 4 at Monmouth.

Players Podcast jumps into July 4th weekend with Adelphi Racing sponsored Saratoga Content with PTF and Nick Tammaro discussing the Pick 6 for Saturday, July 5. Mikee P grabs Jackson Muniz for the Late Pick 4 at Woodbine Saturday and DD for the Late Pick 4 at Monmouth.

Passages: Jonah 2:1-10 WATCH THE VIDEO HERE: https://youtu.be/jKezWG6ZJ2U  To learn more about Adelphi, visit us at: adelphibaptist.com

Passages: John 6:35 & 1 John 2:28 WATCH THE VIDEO HERE: To learn more about Adelphi, visit us at: adelphibaptist.com

Nick Tammaro and Joe Migliore host New York Racing Association Senior VP of Racing and Operations Andrew Offerman on the latest episode of Backstretch Edge. The new Belmont, as well as more racing at Saratoga, are the main topics, while the future of New York racing dominates the conversation.

Send us a textIn this episode, the In the Crease boys recount the great weekend of championship lacrosse - giving their breakdown of the Tampa and Adelphi game. We then sit down with a couple of the Adelphi coaches and some players (Braden Donnellan, Vincent McDermott, Nick O'Shea, Kyle Lewis, Dylan Renner and Michael D'Alessandro) for a  Champions interview.   Finally, we tip our caps to the players who were selected as USILA All Americans. Congrats, boys!Also, be sure to check out our sponsors:- The D2 Showcase at: www.d2lax.com- Shad Aromatic Coffee Lids and Cups at: www.shadexperience.comIf you like what we are doing, subscribe on your favorite podcast platform and help us spread the word of the great things happening in D2 Men's Lacrosse!Follow us at: Instagram: @in_the_crease_d2_lax Facebook: In the Crease with Danny and Kevin Twitter: @D2_Lax_podcast

Just in time for Mother's Day, we are celebrating two, very special mothers this week…educator, mother (of 8), grandmother (of 13) and dear friend, Barbara Forste, and her daughter, award-winning actress, producer and publisher, Sarah Jessica Parker. Barbara Forste is a lifelong supporter of the arts and of literacy and education. She worked in market research for Procter & Gamble, as a second grade teacher, and as a child-wrangler at the Metropolitan Opera, the New York City Opera and the American Ballet Theater. She is a co-founder and director of The Children's Circle, a national association for the education of young children. Her very busy daughter, Sarah Jessica Parker, has worked in theater since 1976 from the title role in Annie, to most recently with her husband, Matthew Broderick, in the revival of Neil Simon‘s comedy play, Plaza Suite. From theater to television and film, Sarah Jessica is known most widely for her portrayal of Carrie Bradshaw in Sex and the City and its sequel, And Just Like That; as well as the films based on the show, Sex and the City, and Sex and the City 2. Sarah Jessica is the publisher of SJP Lit, her own imprint in partnership with Zando Books. She recently executive produced the documentary, The Librarians, a film highlighting librarians across the country who have been fighting against book bans. It will be available for streaming soon.  Adelphi University hosted us at their annual Writers & Readers Festival this year where we were delighted to hold this conversation in front of a live audience of students, teachers, readers and writers. The Writers & Readers Festival was founded by Adelphi alumna and bestselling novelist Alice Hoffman. This is a conversation about how mothers can pass down their love of reading to change their children's lives and ours.  Learn more about your ad choices. Visit megaphone.fm/adchoices