Podcasts about Avignon

Justin Hibbard continues our series on the 21 Ecumenical by examining the history between the Councils of Vienne and Constance. Why did the papacy move from Rome to Avignon? Who were the seven French Popes that make up the Avignon Papacy? And how did the return of the papacy to Rome lead to the Great Western Schism where three men claimed to be the rightful Pope? SOCIAL LINKS* Follow Why Catholic on Instagram.* Subscribe to Why Catholic on YouTube.* Follow Justin on Facebook.SOURCES:* The Ecumenical Councils of the Catholic Church: A History by Joseph Kelly* Nine Popes in Avignon* Catholic Answers: Was Avignon the Babylon of the West* Video: General Councils 11: The Council of Constance - Fr Timothy Matkin - St Francis Dallas* Unam Santam - Pope Boniface VIII* Video: The Palace of the Popes in AvignonPREVIOUS EPISODES IN THIS SERIES* Episode 146: Introduction to the 21 Ecumenical Councils* Episode 147: The World that Led to the Council of Nicaea* Episode 148: The First Council of Nicaea (325)* Episode 149: From Nicaea to Constantinople* Episode 150: The First Council of Constantinople (381)* Episode 151: The Council of Ephesus (431)* Episode 152: The Council of Chalcedon (451)* Episode 153: The Second Council of Constantinople (553)* Episode 154: War Among the Monotheists* Episode 155: The Third Council of Constantinople (680-681)* Episode 156: The Second Council of Nicaea (787)* Episode 157: Reflections on the First Seven Ecumenical Councils* Episode 158: The Fourth Council of Constantinople (869-870)* Episode 159: The Great Schism* Episode 160: The First Lateran Council (1123)* Episode 161: The Second Lateran Council (1139)* Episode 162: The Third Lateran Council (1179)* Episode 163: The Fourth Lateran Council (1215)* Episode 164: The First Council of Lyon (1245)* Episode 165: The Second Council of Lyon (1274)* Episode 166: The Council of Vienne (1311-1312) Get full access to Why Catholic? at whycatholic.substack.com/subscribe

2025 será lembrado como um marco para a cultura brasileira. Entre as celebrações do Brasil na França, que selaram 200 anos de relações diplomáticas, o país ocupou palcos globais e conquistou prêmios históricos: do Oscar à Palma de Ouro, passando pelo Leão de Prata, uma presença massiva no Festival de Avignon e homenagens literárias. A arte nacional reafirmou sua força e diversidade, enquanto nos despedimos de ícones que moldaram gerações, como Lô Borges, Jards Macalé e Sebastião Salgado. O ano da temporada cultural cruzada entre Brasil e França instaurou um deslocamento silencioso e profundo: narrativas vindas das bordas — do corpo insurgente, das florestas e viadutos, das memórias insistentes — tomaram o centro dos palcos e telas. Em vez de grandiloquência, um pulso firme: o país se viu e se deixou ver, de Hollywood à Amazônia, de Veneza a Madureira. Em janeiro, Fernanda Torres ergueu o Globo de Ouro por Ainda Estou Aqui, e o gesto abriu a temporada com um aviso ao mundo, mostrando uma história brasileira que reivindica lugar sem pedir licença. Leia tambémFernanda Torres faz história para o cinema brasileiro nos Globos de Ouro Cinema: o país que lembra e resiste Em fevereiro, a Berlinale se tingiu de azul profundo com O Último Azul, de Gabriel Mascaro, que recebeu o Urso de Prata do Grande Prêmio do Júri e ainda dois prêmios paralelos. “É muito bonito. A gente passou por um ano muito especial do Ainda Estou Aqui, percorrendo o mundo, que traz o primeiro Oscar para o Brasil”, disse ele à RFI. “Quando a gente achou que era um episódio isolado, aí vem O Último Azul no Festival de Berlim e ganha o Urso de Prata, um grande prêmio do júri. E quando a gente ensaiou que talvez pudesse ter mais um acidente de percurso, aí vem O Agente Secreto e confirma nossa força no Festival de Cannes. É um ano muito lindo para o cinema brasileiro.”  Leia também“Um país sem memória é um país sem presente e sem futuro”, diz Walter Salles ao lançar o filme “Ainda estou aqui” em Biarritz Março assentou a realidade sobre o sonho: Ainda Estou Aqui, de Walter Salles, tornou-se o primeiro filme brasileiro a vencer o Oscar de Melhor Filme Internacional. Salles falou do cerne ético e histórico da obra: “Um país sem memória é um país sem presente e sem futuro. Isso, pra mim, sempre esteve bastante claro enquanto documentarista”. E recordou o processo: “Nesse filme, que a gente começou a fazer em 2017, ou seja, antes daquela virada que, eu confesso, eu não esperava, de 2018 para 2022, o presente começou a se tornar muito próximo daquele daquele passado que a gente estava retratando no filme, ou queria retratar no filme. Isso nos mostrou o quanto a democracia é uma matéria frágil.” Em maio, Cannes registrou o Brasil no alto de um dos festivais mais prestigiados do cinema mundial: O Agente Secreto, de Kleber Mendonça Filho, levou a Palma de Ouro de direção, e Wagner Moura foi consagrado como melhor ator. Mendonça nomeou a natureza política do gesto: “Eu acredito que o agente secreto é uma crônica em longa-metragem de um momento da história do Brasil que eu pessoalmente ainda lembro, porque eu era uma criança. Mas, ao mesmo tempo, eu acho que tem muita pesquisa histórica.” O diretor sublinhou a ética do real: “No momento em que as coisas estão ao contrário, se você diz que a água é molhada, você se torna um resistente. Eu gosto muito também dessa ideia. Eu acho que a resistência muitas vezes é você manter o olhar na realidade”. Leia também“O Agente Secreto” é um filme “absolutamente brasileiro”, define Wagner Moura em Cannes Moura devolveu o espelho ao público: “Eu acho muito importante que o público fora do Brasil veja aquilo, mas acho mais importante ainda que nós, brasileiros, nos vejamos. Eu não consigo entender ainda a lógica de quem não acha que o governo devia apoiar a cultura.” Em setembro, o filme foi escolhido para representar o Brasil no Oscar de 2026; em dezembro, vieram três indicações ao Globo de Ouro, incluindo melhor ator. O Agente Secreto foi  também incluído nas shortlists da Academia Norte-Americana para o Oscar, figurando entre os 15 pré-selecionados (pré-indicados), inclusive na categoria de Melhor Filme Internacional para a cerimônia de 2026, avançando para a fase final de votação antes da lista oficial de indicados. Teatro e literatura: corpo, escrita e viadutos Enquanto o cinema redesenhava mapas, o teatro afirmava o corpo como arquivo e ferida. Em julho, Carolina Bianchi recebeu o Leão de Prata na Bienal de Veneza, reconhecimento que a situou no epicentro da dança e performance contemporâneas. Bianchi celebrou e definiu o alcance: “Foi uma felicidade tremenda e uma sensação de surpresa inigualável ganhar um prêmio como o Leão de Prata. Acho que é um prêmio que reconhece não só a minha trajetória, mas também uma trajetória coletiva com a minha companhia Cara de Cavalo.” Leia tambémFestival de Avignon: 'A Noiva e o Boa Noite Cinderela', ou como explodir no próprio corpo as fronteiras do teatro Segundo ela, trata-se de "um caminho de mais de dez anos, vindo de uma cena completamente independente no Brasil". Desde 2023, ela se apresenta na Europa com os dois primeiros capítulos da trilogia Cadela Força. "Acho que o prêmio também reconhece esse trabalho continuado, esse trabalho coletivo continuado, de um espetáculo que mistura muitas linguagens dentro da linguagem teatral para falar sobre traumas, sobre a relação com a história da arte, com a violência, com a violência poética, e amparado na escritura, na literatura. Então, é uma alegria enorme, profunda, e é bonito ver essa história sendo reconhecida dessa maneira.” Leia tambémTeatro brasileiro é homenageado no Festival de Avignon, o maior evento de artes cênicas do mundo No Festival de Avignon, na França, na mostra paralela do maior evento cênico do mundo, Zahy Tentehar — primeira atriz indígena a receber o Prêmio Shell — estrelou Azira'i – Um Musical de Memórias, dirigido por Duda Rios. Rios descreveu o choque poético de migração de público e contexto: “As pessoas aplaudem muito, se emocionam. A gente fica muito feliz, porque tem um contexto do espetáculo que, para um público brasileiro, a gente não imaginava essa internacionalização do espetáculo. Mas a gente vê que ele chega da mesma maneira, com a mesma potência. As pessoas estão se emocionando, se comovendo, rindo menos do que no Brasil, mas elas se comovem e se conectam com o espetáculo.”  Leia tambémFlup celebra diáspora negra e traz literatura como 'aquilombamento' para 'reencantar' o debate decolonial Na literatura, o viaduto de Madureira recebeu a Flup — Festa Literária das Periferias — com uma homenagem à Conceição Evaristo, cujo conceito de “escrevivência” reorganiza a forma de narrar o cotidiano negro e periférico. Evaristo falou à RFI de direito e de encontro, direto do Rio de Janeiro: “A mensagem que eu deixaria primeiro é pensar a literatura como um direito. Cada vez mais também se conectar um com o outro para a gente perceber o aspecto coletivo das nossas histórias, sem anular a nossa individualidade.”  Despedidas e heranças Leia tambémLô Borges, o menino da esquina que virou música: artista deixa legado que ultrapassou fronteiras O ano também nos cobrou liturgias da ausência. Lô Borges e Jards Macalé partiram, e a música brasileira reconheceu a orfandade de gerações que aprenderam a pensar o país pelo acorde. Na fotografia, a França recebeu a retrospectiva monumental de Sebastião Salgado, nas Franciscaines, em Deauville — uma cartografia de quatro décadas de mundo. Leia tambémJards Macalé volta à Europa para celebrar 50 anos de seu disco de estreia com turnê por 7 países Antes de falecer, em maio, Salgado, diante da plateia e muito emocionado, foi ao núcleo de seu método, na ocasião, em entrevista exclusiva à RFI: “Você só fotografa com a sua herança, com tudo que está dentro de você. As minhas fotografias têm céus dramáticos, carregados. Isso vem de onde eu nasci, vem da chegada da época de chuva, naquelas montanhas de Minas Gerais, em que meu pai me levava para a montanha mais alta da nossa fazenda para festejar as nuvens incríveis. Para ver o raio de sol passar através dessas nuvens, ver a chuva caindo. Aquelas imagens ficaram em mim, e o dia que eu comecei a fotografar, elas já estavam aí. Naquela fração de segundo, aquele milésimo de segundo que eu aperto, é a minha herança que está fotografando.”  Leia tambémRetrospectiva na França celebra 40 anos de trabalho do fotógrafo brasileiro Sebastião Salgado    

Kitty Reads Holiday Lit for Peace: Alphonse Daudet – The Pope's Mule (Part 2) plus The Next Peacelands This episode concludes the story begun in Episode 175! We return to Alphonse Daudet's classic short story The Pope's Mule—a charming, historic satire about pride, patience, and delayed revenge set during the Christmas season in Avignon, France. Kitty reads the final portion, where the long-awaited moment of truth arrives. Catch up: If you haven't heard the start of this tale, please go back one episode to Episode 175 Kitty O'Compost continues warming up for The Peace Experimentsthe forthcoming Peace Is Here series exploring peace, AI, and the commons. For this special holiday edition of The Next Peacelands, Avis Kalfsbeek changes her focus from the factual grounding of warzones and arms suppliers to highlight the spiritual organizations and networks actively building peace around the world. Get the Winter Holiday Reading list with links to the full stories: www.aviskalfsbeek.com/holiday  Get the Avis's books: www.AvisKalfsbeek.com Music: “The Red Kite” by Javier “Peke” Rodriguez Bandcamp: https://javierpekerodriguez.bandcamp.com Spotify: https://open.spotify.com/artist/3QuyqfXEKzrpUl6b12I3KW Intro Music: PulseBox on Pixabay Upcoming series: The Peace Experiments Alphonse Daudet – The Pope's Mule onProject Gutenberg  https://gutenberg.org/cache/epub/73621/pg73621-images.html

Kitty Reads Holiday Lit for Peace: Alphonse Daudet – “The Pope's Mule” (Part 1) plus The Next Peacelands This episode features a holiday reading from Alphonse Daudet's classic short story The Pope's Mule—a charming, historic satire about pride, patience, and delayed revenge set during the Christmas season in Avignon, France. Kitty reads an excerpt that highlights Daudet's light touch and his talent for character-driven humor. Kitty O'Compost continues warming up for The Peace Experiments  the forthcoming Peace Is Here series exploring peace, AI, and the cultural commons. For this special holiday edition of The Next Peacelands, Avis Kalfsbeek changes her focus from the factual grounding of warzones and arms suppliers to highlight the spiritual organizations and networks actively building peace around the world. Get the Winter Holiday Stories Reading list with links to the full stories: www.aviskalfsbeek.com/holiday  Get Avis's books:AvisKalfsbeek.com Music:“The Red Kite” by Javier “Peke” Rodriguez Bandcamp:https://javierpekerodriguez.bandcamp.com Spotify:https://open.spotify.com/artist/3QuyqfXEKzrpUl6b12I3KW Intro Music:PulseBox on Pixabay Upcoming series:The Peace Experiments ( Alphonse Daudet – “The Pope's Mule” on Project Gutenberg  https://gutenberg.org/cache/epub/73621/pg73621-images.html 

Which French wine region banned flying saucers from landing in its vineyards and why is the rule still there? How did the devastating February 1956 frost reshape the southern Rhône into the vineyard landscape we know today? What sets the northern Rhone apart from the south in terms of grapes and winemaking style? In this episode of the Unreserved Wine Talk podcast, I'm chatting with Matt Walls, author of The Smart Traveller's Wine Guide to the Rhone Valley. You can find the wines we discussed at https://www.nataliemaclean.com/winepicks.   Giveaway Two of you are going to win a copy of Matt Walls' terrific new book, The Smart Traveller's Wine Guide to the Rhone Valley. To qualify, all you have to do is email me at natalie@nataliemaclean.com and let me know that you've posted a review of the podcast. I'll choose two people randomly from those who contact me. Good luck!   Highlights How did a family picnic become a memorable introduction to the northern Rhone? How did a visit to a small producer in Crozes Hermitage turn into an unforgettable travel mishap? Why does Châteauneuf du Pape have a rule specifically forbidding the landing of flying saucers in vineyards? How is the Rhone Valley laid out geographically and what distinguishes the northern Rhone from the southern Rhone? How much wine does the Rhone produce each year compared to other regions in France? What was the moment that made Matt fall in love with Hermitage wines? What was it like for Matt to move his family from London to a village near Avignon? How does the culture of Rhone winemakers differ from regions like Bordeaux or Champagne? What practical advice does Matt have for getting the most out of visits to Rhone wineries? What makes The Smart Traveler's Wine Guide to the Rhone Valley different from other wine books? What unexpected part of his research led Matt to fall in love with Lyon?   Key Takeaways Within the Châteauneuf-du-Pape, the cahiers des charges, which is basically the rulebook on how you're allowed to make wine within the appellation, has a statement that says, "Winemakers may not use their vineyards to land flying saucers." This was put in in the 1960s, when there was a big panic about flying saucers and little green men. I think it's easier just to leave it there than to go through the whole rigmarole for getting it removed. The devastating February 1956 frost was a turning point in how people lived, worked, and farmed in the southern Rhone. Before that point, it was very much a kind of polycultural land. Individual estates would have olives, grapevines, fig trees, carrots, wheat, and so it was a mixed agriculture. But after 1956, this really wiped out the olive trees. People needed something that would give them a crop immediately in order for them to survive and chose grapevines. One of the big differences between the northern Rhone and the southern Rhone is that the northern Rhone, they only use one red grape variety, which is Syrah. In the south, they have a whole smorgasbord of different grape varieties and the culture there is to blend. Also they have quite a single-vineyard way of working. The estates tend to be very small in the northern Rhone compared to the southern Rhone.   About Matt Walls Matt Walls is an award-winning freelance wine writer, author and consultant who contributes to various UK and international publications such as Club Oenologique and Decanter, where he is a contributing editor. He also judges wine and food competitions, develops wine apps and presents trade and consumer tastings. Matt is interested in all areas of wine, but specialises in the Rhône Valley – he is Regional Chair for the Rhône at the Decanter World Wine Awards.           To learn more, visit https://www.nataliemaclean.com/368.

Son admiration pour Diamʹs, ses années de danse au conservatoire dʹAvignon, sa collaboration avec Youssoupha, ses nouveaux titres réunis sur son troisième album " Millenium ", Suzanne nous en cause comme de ses combats féministes et de sa fatigue des plateformes musicales.

Ça se passe à Avignon et ça concerne aussi un animal, pas un loup cette fois mais un cacatoès, cousin du perroquet qui se distingue par sa crète. En gros vous prenez Eric Ciotti, vous lui mettez une coiffe à plumes du carnaval de Rio et vous avez un cacatoès. Là, c'est une cacatoès qui s'appelle Gisèle. Et il y a une semaine, elle disparaît...Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Get ahead of 2026's biggest releases this year. We highlight ten must-read backlist books from authors with upcoming titles, so you have your best library day.What could be better than a discussion on 2026's biggest releases? We wanted to do something fun (and genuinely helpful) to help you plan next year's TBR. Today, Jessica Bearak is back, and she's bringing her idea to pair readers with books we don't want slipping through the cracks. We've gathered ten brilliant backlist titles from authors with major books arriving next year, so you can reserve your library holds, fill your Kindle, and feel delightfully ahead of the curve before celebrating their next book. Think of it as your literary pre-game for the year ahead.In this fun conversation, we discuss:

Le titre du tableau de Picasso induit souvent en erreur : Les Demoiselles d'Avignon ne renvoient absolument pas à la célèbre ville du sud de la France. Rien, dans l'histoire du tableau ou dans l'intention de l'artiste, ne renvoie à Avignon. L'origine véritable du titre est bien plus surprenante et profondément liée à la jeunesse de Picasso à Barcelone.En 1907, lorsque Picasso peint ce tableau révolutionnaire, il cherche à représenter les prostituées d'une maison close située dans la rue d'Avinyó, une rue populaire du quartier gothique de Barcelone. À l'époque, cette rue était connue pour ses bordels, que le jeune Picasso fréquentait régulièrement avec ses amis artistes. Le tableau s'appelait d'ailleurs d'abord « Le Bordel d'Avinyo », un titre beaucoup plus explicite mais jugé trop scandaleux par ses proches. L'appellation “Demoiselles” est une façon euphémisée de désigner ces femmes, et la transformation d'“Avinyó” en “Avignon” serait venue d'un malentendu ou d'un choix délibéré de ses amis marchands pour adoucir le sujet.En réalité, la déformation du nom a permis de détourner l'attention du public d'un titre jugé trop cru et choquant au début du XXᵉ siècle. Le mot “Avignon” sonnait plus neutre, presque poétique, tout en conservant une résonance étrangère. Avec le temps, ce nom s'est imposé et est devenu indissociable du tableau, même si son lien géographique est totalement erroné.Mais au-delà du titre, ce tableau marque une rupture fondamentale dans l'histoire de l'art. Picasso y représente cinq femmes nues, aux corps anguleux, aux visages inspirés des masques africains et de l'art ibérique, un choc visuel radical pour l'époque. La perspective traditionnelle est abandonnée, les formes sont disloquées, les corps comme taillés dans la pierre. Ce style préfigure ce qui deviendra le cubisme, mouvement fondé avec Georges Braque et qui bouleversera tous les codes de la peinture occidentale.Aujourd'hui, Les Demoiselles d'Avignon est conservé au Museum of Modern Art (MoMA) de New York, où il est considéré comme l'un des tableaux les plus importants du XXᵉ siècle. Et malgré son titre trompeur, son ancrage demeure bien celui de la Barcelone de Picasso, et non de la Provence française.Ainsi, les Demoiselles ne sont pas d'Avignon… mais d'Avinyó, rue discrète d'où partit une révolution artistique. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Découvrez le deuxième podcast live de L'Amour de L'art enregistré en public le 6 novembre 2025 avec Jean-Michel Othoniel à Avignon, en partenariat avec la Collection Lambert dans le cadre des Jeudis de la Collection Lambert. À l'occasion de ses expositions Othoniel Cosmos ou les Fantômes de l'Amour à Avignon, Un chant d'amour à la Collection Lambert et New Works à la galerie Perrotin à Paris, Jean-Michel Othoniel s'est entretenu avec le Directeur Artistique et Commissaire d'exposition Stéphane Ibars.Les Jeudis de la Collection Lambert mettent à l'honneur des artistes dans le cadre de discussions ouvertes à tous et à toutes. Intitulées The artist is present elles sont autant d'occasions de rencontre avec les artistes de notre temps. Le podcast L'Amour de l'Art invite des artistes à parler d'autres artistes. Musique, littérature, cinéma, arts visuels, théâtre... Ils et elles nous partagent, de manière très personnelle, leur regard sur ces œuvres qui les fascinent. Le titre L'Amour de l'Art rend hommage à Pierre Bourdieu qui écrivait dans l'ouvrage éponyme « la culture n'est pas un privilège de nature : il suffirait que tous possèdent les moyens d'en prendre possession pour qu'elle appartienne à tous. » Né dans les années 60 à Saint-Étienne, Jean-Michel Othoniel grandit face aux réalités de son environnement industriel. Il a aussi accès à la magnifique collection du Musée d'art moderne de Saint-Étienne. À l'âge de dix ans, il croise le travail du minimaliste américain Robert Morris, une expérience qui le marquera durablement. Dans cet épisode enregistré en public le 6 novembre 2025 à Avignon, Jean-Michel Othoniel s'entretient avec Stéphane Ibars au sujet de l'art minimal qui continue de le fasciner. L'Amour de l'Art est un podcast de la galerie Perrotin Introduction et post production : Vanessa Clairet Stern Interview conduite par : Stéphane Ibars Prise de son, réalisation et sound design : Seb Lascoux Langue : Française Identité graphique : Perrotin Musique : CDM MusicHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Rogier (@Santos_Travelmaster) trapte in 30 dagen de Groene Weg naar Avignon en koppelde door over de Katharen-Baskenroute naar Bayonne/Biarritz: 2.372 km en 23.302 hoogtemeters. We hebben het over zijn dagritme (vroege start, ~80 km/dag), kamperen, eten uit de supermarkt plus Adventure Food, en navigatietips (zet Google op Auto om gesloten zandpaden te vermijden). Materiaal: Santos Travel Master 2.9 met Pinion, brede banden, MSR-solotent. Praktisch terug met de fietsbus. Verder: hoogtepunten langs de Rhône, Lourdes en de Atlantische eindsprint. Foto's en links naar route-info en GPX staan op Fietskriebels (link volgt) .

Il y a un peu plus d'un an débutait à Avignon le procès du siècle : celui de Dominique Pélicot et de ses 50 co-accusés. Un procès hors-norme au retentissement mondial, qui a surtout vu la naissance d'une icône : Gisèle Pélicot… Pendant des années, son mari l'a droguée pour la livrer, inconsciente, à des dizaines d'inconnus. Le jour, Dominique Pélicot menait une vie de tranquille retraité. Mais le soir, après s'être assuré que sa femme était lourdement endormie, il se transformait en mari pervers et manipulateur….Gisèle Pélicot ne s'est jamais aperçue de rien…. Jusqu'à ce que les enquêteurs lui montrent les enregistrements réalisés par son mari pendant les agressions…Alors, comment toute cette terrible affaire a-t-elle commencé ? Qu'a-t-on découvert pendant ces longues journées d'audience ? Et surtout, le « monstre de Mazan » a-t-il livré tous ses secrets ? La réponse dans ce podcast exceptionnel proposé par Jacques Pradel.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

A peça “The Brotherhood”, da encenadora brasileira Carolina Bianchi, foi apresentada em Paris, no final de Novembro, no âmbito do Festival de Outono. Este é o segundo capítulo de uma trilogia teatral em torno dos feminicídios e violências sexuais e mostra como uma inquebrantável força masculina tem dominado a história da arte e do teatro, engendrando simultaneamente violência e amor quase incondicional pelos “grandes génios”. “The Brotherhood” é o segundo capítulo de uma obra sísmica, uma trilogia teatral em torno da violência contra as mulheres em que Carolina Bianchi e a sua companhia Cara de Cavalo mostram como o misterioso poder das alianças masculinas tem dominado a história da arte, do teatro e das próprias mulheres. Em 2023, no Festival de Avignon, a encenadora, actriz e escritora brasileira quebrou fronteiras e despertou o teatro europeu para a sua obra com o primeiro capítulo da trilogia “Cadela Força”, intitulado “A Noiva e o Boa Noite Cinderela”. Nessa peça, arrastava o público para o inferno dos feminicídios e violações, a partir da sua própria história, e ingeria a droga da violação, ficando inconsciente durante grande parte do espectáculo. Agora, em “The Brotherhood”, Carolina Bianchi volta a trazer consigo as 500 páginas da sua tese e expõe incontáveis histórias de violência contra as mulheres, glorificadas por Shakespeare, Tchekhov e também tantos dramaturgos e encenadores contemporâneos. Ao mesmo tempo que questiona toda a complexidade que gera a deificação dos “génios” masculinos na história da arte e no teatro, Carolina Bianchi demonstra, com brilhantes laivos de ironia, que os deuses têm pés de barro e que as musas têm uma espada numa mão, mas também uma mão atrás das costas porque - como ela - têm um amor incondicional pelos “mestres”. Este segundo capítulo volta a abrir com uma citação de “A Divina Comédia” de Dante, situando-nos no purgatório e antecipando o inferno. Talvez por isso, uma das primeiras questões colocadas pela actriz-escritora-encenadora é “o que fazemos com esse corpo que sobrevive a um estupro?”, a essa “morte em vida que é um estupro”? O teatro de Carolina Bianchi ajuda a pensar o impensável ao nomear a violência e ao apontar todos os paradoxos intrínsecos ao teatro e à arte: afinal, não é o próprio teatro quem perpetua a “brotherhood”, esse tal sistema que se autoalimenta de impunidade e violência, mas que também se mantém porque “somos todos brotherhood”? Em “A Noiva e o Boa Noite Cinderela”, a principal inspiração de Carolina Bianchi era a artista italiana Pippa Bacca, violada e assassinada. Em “The Brotherhood”, é a poetisa Sarah Kane quem mais a inspira pelo seu amor à poesia e à própria violência. Quase como uma fatalidade, Carolina recorda que Sarah Kane dizia que “não há amor sem violência”. Uma violência que atravessa toda a peça, como um tornado, porque “a violência é uma questão infinita para mim” - explica a encenadora à RFI. Resta saber quanto tempo as placas tectónicas da “brotherhood” no teatro vão conseguir resistir ao tornado Carolina Bianchi.   “The Brotherhood” foi apresentado no Festival de Outono de Paris, de 19 a 28 de Novembro, na Grande Halle de La Villette, onde conversámos com a artista.                                        “O que significa situar-se no teatro depois de voltar do inferno?” RFI: O que é “The Brotherhood” e porque é que lhe consagrou a segunda parte da trilogia “Cadela Força”? Carolina Bianchi, Autora de “The Brotherhood”: “‘Brotherhood' vem de uma expressão da Rita Segato, que é uma antropóloga argentina, que quando eu estava estudando para o primeiro capítulo ‘A Noiva e o Boa Noite Cinderela', eu cheguei a essa nomenclatura. Ela diz ‘brotherhood' para essa essa fraternidade entre homens, em que o estupro é parte de uma linguagem, de uma língua falada entre esses pares. Então, ela coloca o estupro como algo que é uma questão da linguagem com que essa fraternidade conversa, é uma consequência dessa conversa e isso para mim foi muito interessante de pensar porque tem esses aspectos dessa protecção. Fazer parte dessa fraternidade tem coisas maravilhosas e tem coisas terríveis e também acho que o espectáculo revela isso. Essa fraternidade é extremamente nociva, extremamente daninha para os membros dessa fraternidade também, para aqueles que são excluídos da fraternidade, e para aqueles que também fazem parte ela pode ser muito cruel. Acho que a peça busca trazer essa complexidade, é uma situação complexa de como olhar para esse amor que nós temos por essas grandes figuras da arte que se manifestam nesses homens que foram importantes, que são influenciadores, por exemplo, do teatro e em toda parte. O que é que atribui essa fascinação, esse poder e a complexidade que isso tem, as coisas terríveis que isso traz. Acho que é um grande embate com todas as coisas e eu não estou excluída desse embate, dessa contradição. O amor que eu sinto por esses grandes génios também é colocado ali numa posição bastante complexa e vulnerável.” O que faz desse amor que tem pelos “grandes génios”? Como é que, enquanto artista mulher, o mostra e, ao mesmo tempo, o denuncia? Diz que a peça “não é uma denúncia”, mas o que é que se faz com todo esse amor? “Eu acho que essa é uma das grandes perguntas da peça. O que é que a gente faz com todo esse amor? Eu não sei porque continuo habitando esse ponto de sombra, de contradição que é um ponto que me interessa habitar dentro da arte, dentro do teatro. Para mim, é mais sobre essa grande pergunta. Eu não tenho essa resposta. Eu não sei o que a gente faz com esse amor, mas eu acho que poder nomear que esse amor existe e que ele é complexo e que é difícil e que tem consequências e coisas que são dolorosas a partir desse amor foi uma coisa importante para mim. Como eu digo em cena, não é uma peça de denúncia, não é esse o lugar da peça, mas levantar essas questões e olhar do que é feita também essa história da arte. A trilogia toda traz muito essa pergunta: como a arte tem representado ou tem sido um espelho de coisas que, de facto, acontecem na sociedade e mesmo a arte, com toda a sua história de vanguarda e com toda a sua liberdade de certos paradigmas, ela consegue também ainda se manter num lugar de prosseguir com certos tipos de violência.” Em 2023, quando falámos do primeiro capítulo, “A Noiva e o Boa Noite Cinderela”, disse que era “uma antecâmara do inferno, já com um pé no inferno”. Agora abre novamente com uma citação da Divina Comédia. Continuamos no inferno ou estamos antes no purgatório? “Sim. Nesta peça já estamos num purgatório, é acordar no purgatório. Tem uma frase da peça que é: “O que significa situar-se no teatro depois de voltar do inferno?”. Acho que essa frase resume um pouco essa busca de um posicionamento. Eu descreveria a peça como uma grande crise de identidade. Ela parte de uma crise de identidade, como uma jornada nesse purgatório, seguindo um mestre – como Dante segue Virgílio nesse purgatório. O mestre aqui seria um grande encenador de teatro, um grande artista, esses reconhecidos génios como a gente se refere. Acho que seria isso, seria uma jornada dessa tentativa de se situar num contexto do teatro. O teatro não é só um assunto da peça, o teatro é uma forma, é a linguagem como esta peça opera a sua discussão, a sua conversa.” Ao mesmo tempo que o teatro consegue pôr em palavras o que a Carolina descreve como a “fenda” que é a violação, o teatro também perpetua esse sistema de “brotherhood”, o qual alimenta a impunidade e a violência. Por que é que o teatro contribui para a continuação desse sistema e como é que se pode travá-lo? “Aí tem uma pergunta que eu não tenho resposta mesmo e que acho que nem existe: travar uma coisa dessas. Eu acho que sou pessimista demais para conseguir dizer que isso vai acabar. O facto de estar tão imersa nos estudos dessa trilogia vai mostrando que isso, para mim, está longe de terminar. Acho que a gente tem vivido transformações bastante importantes, contundentes, em termos de mudanças mesmo, mas acho que talvez a maior mudança que a gente tem aprendido, falando numa questão de corpos que não estão dentro dessa masculinidade que tem o poder, eu acho que é a questão da autodefesa que a escritora Elsa Dorlin aponta muito bem. Então, acho que uma das estratégias de autodefesa também é conseguir falar sobre certas coisas, é conseguir articular, talvez através da escrita, talvez através desta arte que é o teatro, nomear mesmo certas coisas, trazer esse problema para um lugar de debate. Para mim, a questão das respostas é impossível, é impossível, é impossível. Eu acho que o teatro tem essa história como parte de uma questão da própria sociedade. O teatro começa com esse actor que se destaca do coro, a gente tem a tragédia, a gente tem essa perpetuação dessa jornada heroica, os grandes encenadores, os grandes dramaturgos que eram parceiros dos grandes génios. A gente tem uma história que é feita muito por esses grandes mestres.” Mas, se calhar, as placas tectónicas do teatro podem começar a mudar, nomeadamente com o que a Carolina faz… Um dos intérpretes diz “Somos todos Brotherhood”. A peça e, por exemplo, a parte da entrevista que faz ao encenador “génio” não é a demonstração de que, afinal, não somos todos “brotherhood”? “Aí é que está. Eu acho que não. Eu acho que tem uma coisa que é menos purista nesse sentido do bem e do mal, do lado certo, do lado errado. Eu acho que é justamente isso. Tudo aqui neste trabalho está habitando esse lugar de complexidade, esse lugar de que as coisas são difíceis, é esse pathos que está manchado nesta peça. Então, a questão sobre o reconhecimento, sobre a empatia e também sobre a total distância de certas coisas, ela fica oscilando. Eu acho que a peça traz essa negociação para o público. A gente habita todos esses lugares de contradições. Eu acho que quando aparece esse texto, no final da peça, “tudo é brotherhood”, também se está dizendo muito de onde a sociedade tem as suas bases fincadas e como apenas o facto de ser mulher não me exclui de estar, às vezes, compactuando com esse sistema.” É por isso que se apropria dessa linguagem da “brotherhood”, por exemplo, na forma como conclui a entrevista do encenador “génio”? “Para mim, fazer uma peça sobre a ‘brotherhood', sobretudo usando o teatro como a linguagem principal, tinha a ver também com abrir um espaço para que essa ‘brotherhood' pudesse falar dentro da peça, pudesse se infiltrar dentro da peça e governar a peça. Por isso, essa coisa de uma outra voz que narra a história. Então, para mim, a peça precisava trazer essa ‘brotherhood' como guia, de facto, e não eu tentando lutar contra isso, porque senão acho que isso também revelaria pouco dessa complexidade, desse movimento que a ‘brotherhood' traz. É uma força e uma linguagem e eu precisava falar essa língua, ou melhor, tentar falar essa língua dentro da peça. Acho que isso também revela muito da complexidade minha que aparece ali, não como uma heroína que está lutando contra alguma coisa, mas alguém que está percebendo algumas coisas, mas também se está percebendo a si própria no meio dessa confusão.” Leva para palco essa complexidade, essa confusão. Admite ter sido vítima dessa violência, mas continua atraída por ela e dá a ideia que a violência engendra a violência. Porquê insistir nessa violência que alguém chama de “tornado” dentro da peça? “Porque não tenho outra opção neste momento. Acho que tem uma coisa de uma obsessão com o mal, que combina talvez uma questão para mim de temer muito esse mal, de já ter, em algumas vezes na minha vida, sentido essa força, essa presença, esse mal. Acho que esse mal é algo que temo e, por isso, também me obceca muito. É a linguagem com a qual agora eu consigo articular parte da minha expressão, parte da minha escrita, parte da minha presença. Acho que essa questão da violência é uma questão infinita para mim. Tem uma frase do ‘Boa Noite Cinderela' que é:‘Depois que você encontra a violência, que você sofre uma violência, enfim, você fica obcecada por isso”. Tem uma frase também na própria ‘Brotherhood', quando os meninos estão lendo uns trechos das 500 páginas que me acompanham ali em cena sobre a pesquisa da trilogia, e eles dizem: ‘Bom, então ela escreve: eu não superei o meu encontro com a violência. Eu sou a sua filha'. É impossível. Você fica obcecada.” A Carolina diz, em palco, que já não pode com a palavra violação, com a palavra estupro, que já não pode falar isso… Não pode, mas não consegue parar. É mais uma contradição? “Completamente. Mas isso é muito o jeito que eu opero, é nessa contradição e, ao mesmo tempo, dizendo que se a palavra agora não está carregando essa violência dessa forma, se eu não posso dizer a palavra estupro porque eu estou cansada de me ouvir dizer isso, vem a poesia com a sua forma. E aí a forma do poema é violenta e é isso que eu também estou debatendo ali. Então, é mudar uma forma de escrita e ir para um outro lugar onde essa violência apareça de outras maneiras.” Mas que apareça na mesma? “Não sei porque, para mim, por exemplo, a violência poética é uma outra forma de violência. Se a gente for pensar em termos de linguagem, a forma de um poema tem uma outra maneira de as coisas aparecerem, de a gente descrever as coisas, delas existirem, delas saírem, que é diferente de quando você está trazendo, por exemplo, um material documental para o seu trabalho. São maneiras diferentes de expressar certas coisas. Eu acho que é isso que eu estou debatendo ali no final da peça.” Aí diz que “o melhor caminho para a poesia é o teatro”, citando T.S. Eliot. Porém, também diz que o amor que você precisa não é o teatro que lho pode dar, nem a vida. Gostaria que me falasse sobre o terceiro capítulo da trilogia. Há esperança no terceiro capítulo? “O terceiro capítulo vai falar sobre poesia e escrita que, para mim, são coisas que estão muito perto do meu coração e isso já está apontado no final de ‘Brotherhood'. Sobre a esperança, eu não sei. Eu não sei porque o terceiro capítulo tão pouco vem para concluir qualquer coisa. Vem para ter a sua existência ali. Não sei se, na trilogia, se pode esperar um “grand final”, entende? Acho que a questão da esperança para mim, não sei nem se ela é uma questão aqui. Eu acho que é mais entender o que o teatro pode fazer? O que é que essas linguagens artísticas podem fazer? E, às vezes, elas não fazem muito e outras vezes elas fazem pequenas coisas que também já parecem grandes coisas.” Em si, o que fez? Há uma mudança? “Completamente, Completamente. Acho que a cada espectáculo dessa trilogia é uma mudança enorme porque você fica ali mergulhada em todas essas questões durante muito tempo e vendo a transformação dessas questões dentro da própria peça à medida que a vai repetindo. Porque demanda um tempo para você olhar para aquilo que você fez e ver o que essa coisa faz nas outras pessoas porque você, como directora, pode pensar ‘Ok, eu quero que a peça tenha essas estratégias de comunicação com o público, mas você não sabe, você não tem como saber o que aquilo vai fazer nas pessoas, que sinapses ou que desejos ou que repulsa ou que sensações aquilo vai trazer nas pessoas. Isso, para mim, é um momento interessante do teatro, bonito, essa espécie de ritual em que estamos todos ali, convivendo durante esse tempo, em muitos tempos diferentes - o teatro tem isso, o tempo da plateia, o tempo do palco, são tempos completamente diferentes - e vendo o que acontece.” Uma das questões principais da peça, que anuncia no início, é “o que é que fazemos com esse corpo que sobrevive a um estupro? Essa morte em vida que é um estupro?”. Até que ponto o teatro é, para si, a resposta? “Eu acho que o teatro é uma maneira de se formular a pergunta. Quando a gente vê na peça a pergunta colocada, transmitida por uma pessoa que sou eu, para eu chegar até essa pergunta é muito tempo e é muita elaboração a partir do pensamento do teatro. Então, acho que o teatro me ajuda a conseguir elaborar esses enunciados, essas perguntas, esses enigmas. Eu vejo o teatro como o lugar do enigma, onde o enigma pode existir, onde há coisas que não têm respostas, onde essa complexidade pode existir e pode existir na forma de enigma, de uma forma que não apresenta a solução. Então, acho que o teatro me ajuda a formular as perguntas e isso, para mim, é uma coisa que é muito bonita do teatro, é um lugar de uma honestidade muito profunda, como fazer para se chegar nas perguntas. O teatro é, para mim, o lugar dessa formulação, esse laboratório de formulação dessas perguntas, essas grandes perguntas.” Outra grande pergunta que se ouve na peça é: “Se a brotherhood no teatro desaparece, o teatro que amamos morre com ela? Estamos preparados para ficar sem esse teatro?” A Carolina não está a abrir uma porta para que esse teatro venha a existir? “Não sei se estou abrindo essa porta, mas ao formular essas perguntas, elas também ficam ali, nesse espaço, e agora elas habitam todas essas pessoas que estiveram aqui nestes dias assistindo a este espectáculo. Isso o teatro faz, esse compactuar, essas perguntas, tornar essas perguntas um processo colectivo. Agora essas perguntas deixam de ser perguntas que me assombram e passam a ser perguntas que talvez assombrem algumas pessoas que estiveram aqui. Isso é muito interessante. Mais do que acreditar que você está operando uma grande transformação, eu gosto de pensar num outro ponto, acho que só o facto de abrir essa pergunta, de fazê-la existir agora, colectivamente, isso é um trabalho, esse é o trabalho. Para onde ela vai a partir daqui, nem sei determinar, é um ponto bem nevrálgico do teatro, deixar as coisas ficarem com as pessoas. Eu busco muito esse lugar de não infantilizar o público, de deixar o público ficar com essas perguntas, de deixar o público ficar confuso, perdido. Acho que a gente às vezes ganha muito com isso, ganha muito com a confusão, quando ela é colocada. A gente pode permanecer com o trabalho mais tempo na gente quando ele consegue apontar esses enigmas, quando ele consegue manifestar as coisas de um jeito que a gente precisa pensar, que a gente precisa se debruçar. Nem tudo precisa de estar num tempo de uma velocidade lancinante, onde todas as questões são colocadas e imediatamente resolvidas, até porque essas resoluções, não sei se elas vão ser, de facto, resoluções.”

Lundi 27 Octobre 2025Frédérick HAAS - Musique baroque ? Conférence avec clavecinBelles LettresEn collaboration avec les Pieux Établissements de la FranceMUSIQUEAux XVIIe et XVIIIe siècles, l'Europe se remplit de musique. Partout, la pratique musicale s'organise, se déploie, se structure, portée par la présence de grands fondateurs : Monteverdi, « Inventeur de l'Opéra », Rameau, « Fondateur de l'Harmonie », J.S. Bach, « Père de toute la Musique », et d'autres noms bien connus : Couperin, Vivaldi, Handel, Purcell, Lully…La musique de cette époque, qualifiée entre temps de « musique baroque », a connu un important mouvement de renouveau au XXe siècle et se trouve aujourd'hui plus jouée que jamais. Elle occupe une place importante dans la programmation des salles de concert, des radios, et touche un public éclectique et nombreux. Face à cet engouement, le moment est venu de faire le point : Pouvons-nous précisément définir ce qu'est la musique baroque ? Pourquoi la jouer aujourd'hui ? Sur quoi fonder la régénération des pratiques qui pourront continuer de nourrir la fascination des musiciens et des auditeurs ?Frédérick Haas est claveciniste. Il vit à Avignon et enseigne le clavecin au Conservatoire royal de Bruxelles. Depuis des années, il explore le répertoire et les bibliothèques, rencontre experts et facteurs d'instruments à la recherche des fonctionnements intimes permettant à une musique ancienne de nous toucher aujourd'hui. Sa discographie comprend des oeuvres de F. Couperin, J.S. Bach, D. Scarlatti, J.-H. d'Anglebert, J.J. Froberger, J.-Ph. Rameau.

Rafe tells the tale of a the first part of a recent trip to France to visit the cloistered nuns at ABBAYE NOTRE-DAME DE L'ANNONCIATION, along the way discussing a brief stop in Avignon to see ancient papal dwellings and a meeting with a delightful luthier.*****As always, you can reach the Buf at bufnagle@bufnagle.com*****As you know, this is an independent podcast so your hosts also carry all the expenses of running this podcast. As such, some of you have asked how you can help out. Well, here's the answer: support us on Buy Me a Coffee:https://buymeacoffee.com/bufnagleOn this page, you can do a really nice thing like send us a couple dollars to help cover the cost of recording and hosting and microphones and research and all that. Any little bit really helps! Thank you in advance!!!

Back to @OspreyGames Heirs To Heresy (available Here) Their plan to sneak out having sabotaged Pairaud’s ‘Melt Avignon’ Plan well and truly scuppered the Knights find themselves in a battle they never wanted, Fighting against fellow Templars. Will they all make it through, or will the combat between brothers be too much and see some […]

L'info du matin - Grégory Ascher et Erika Moulet ont évoqué le nouveau phénomène TikTok : les "lits pomme de terre". Le winner du jour - Un visiteur confond une œuvre d'art avec un miroir poussiéreux et la détruit en voulant la nettoyer. - Un administré offre à la mairie le sapin qu'il avait planté enfant. Les savoirs inutiles - Le gallium est un métal étonnant : il fond à 29,76°C. Tenir un morceau dans la main suffit pour le voir se liquéfier, sans danger et sans coller. La chanson du jour - Phil Collins "Against All Odds" 3 choses à savoir sur le beaujolais nouveau Qu'est-ce qu'on fait ? - À Lens, un tournoi de jeux vidéo est organisé samedi au musée du Louvre-Lens. - À Lyon, la SPA propose dès demain un marché de Noël à Brignais au profit des animaux. 2 titres à la suite de Damiano David - Sophie de Bordeaux gagne son séjour à Brooklyn et ses invitations pour le concert de Damiano David au Brooklyn Paramount. Le jeu surprise - Elisabeth de Grisolles (vers Toulouse) remporte un bon d'achat de 500 euros à utiliser sur Spartoo.com. La Banque RTL2 - Virginie de Pernes-les-Fontaines (vers Avignon) gagne 200 euros. - Fabien de Nîmes gagne un I-Companion Touch Pro de Moulinex. Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

In this episode, we discuss one of Pablo Picasso's most controversial pieces: Les Demoiselles d'Avignon. We go over the painting's history and the meaning we each understood from it. We also question whether beauty can be found in such a "vulgar" piece like this one. Join us as we explore an artwork that has changed art into what we know today!

In this episode, three students take a close look at The Studio in Avignon, checking out what it felt like when Picasso worked there back in 1907. Instead of just listing facts, they dig into how the messy attic, jammed with drawings and carvings inspired by African art, fueled the raw vibe of Les Demoiselles d'Avignon. While one focuses on why it shocked people and the fear, another ties it to influence and exploitation, whereas the third links it to the depiction of the women. Because each sees things differently, their chat blends old records, outside influences, and gut reactions to show how the artwork shook up its time. Since the space was so packed with ideas and objects, it ended up sparking a total shift in how artists approached work during the 1900s.

In this Episode, we look into Picasso's art piece Les Demoiselles d'Avignon and dug deep into his decision to not show this painting to the public for awhile. It seems quite strange for one of the best and most influential artists of all time. Our group discusses the motives behind his decision and what exactly this painting that made him reach that decision. Looking into its context, themes, and style to understand Picasso. Join us as we explore what this painting has to offer about Picasso and the world in general (both past and present).

In this episode, we take a deep dive into one of the most controversial paintings in modern art and uncovering questions about sexuality and beauty. Our group explores the history of Les Demoiselles d'Avignon and the scandal that kept it hidden for over a decade. Along the way, we question Picasso's use of African aesthetics and the cultural influence. Join us for a conversation full of discussion and curiosity. Piano Concerto no. 2 - Mvt. 3, Intermezzo by Sergei Prokofiev

Dans ce nouvel épisode je reçois Johann Dionnet dans le cadre du festival international du court métrage Filmoramax, la 5ème édition qui s'est déroulé du 30 septembre au 4 octobre 2025. Johann nous parle de ses premiers kiffes musicaux, de l'importance de la musique au cinéma, du théâtre, sa découverte et son parcours dans le cinéma, son premier long métrage "Avignon", son tournage dans L'amour ouf, Reda Kateb, Philippe Lacheau ...Johann Dionnet sur les réseaux pour suivre son actualité : ➡️ Johann DionnetRetrouvez toutes les infos du festival Filmoramax sur le site : ➡️ Filmoramax L'épisode complet est dispo en audio sur toutes les plateformes de streaming (Spotify, Deezer, Apple Podcast)➡️ https://linktr.ee/FratPacklePodcast Abonne toi à la chaine et aux réseaux sociaux : @alexandrezama & @fratpacklemedia pour du contenu exclusif Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Episodio exclusivo para suscriptores de Se Habla Español en Apple Podcasts, Spotify, iVoox y Patreon: Spotify: https://open.spotify.com/show/2E2vhVqLNtiO2TyOjfK987 Patreon: https://www.patreon.com/sehablaespanol Buy me a coffee: https://www.buymeacoffee.com/sehablaespanol/w/6450 Donaciones: https://paypal.me/sehablaespanol Contacto: sehablaespanolpodcast@gmail.com Facebook: www.facebook.com/sehablaespanolpodcast Twitter: @espanolpodcast Hola, ¿cómo va todo? Por aquí ya nos estamos preparando para el frío, porque hace un año empezó justo en noviembre, aunque más bien en la segunda mitad del mes. Pero bueno, si la temperatura es parecida a la que tuvimos entonces, no está mal. Hizo mucho frío comparado con Madrid, pero nada del otro mundo. Con ropa de abrigo se arregla todo. Así que, me conformo con que este año sea más o menos igual. En cuanto a la noticia de hoy, está relacionada con lo que sucedió hace poco en el Museo del Louvre de París. No sé si lo habrás visto en las noticias. Si no es así, te lo cuento. Bueno, en realidad, te lo iba a contar igualmente. Para eso estoy aquí. Bueno, el caso es que el domingo 19 de octubre, a plena luz del día y mientras el museo del Louvre estaba abierto al público, cuatro ladrones disfrazados de obreros accedieron al interior de una sala del museo utilizando un montacargas. Un montacargas es un ascensor que se utiliza para subir y bajar cosas pesadas, de mucho peso. Pues bien, en apenas siete minutos, los ladrones se llevaron ocho joyas de la Corona francesa, entre ellas una diadema de perlas que perteneció a la emperatriz Eugenia y un conjunto de collar y pendientes de zafiros de la reina María Amelia. Y luego, durante la huida, dejaron caer una corona que resultó dañada. El valor estimado del botín supera los 88 millones de euros. Por si no lo sabes, en este contexto, el botín es la cantidad de dinero robada. Por ejemplo, los ladrones que robaron el banco se llevaron un botín de 1 millón de euros. Volviendo a la noticia del Louvre, la policía francesa ha detenido ya a varios sospechosos. Sin embargo, las joyas aún no han sido recuperadas. Bueno, eso es lo que pasó en París, pero yo siempre suelo hablarte de algo ocurrido en España. Y, como te decía antes, guarda cierta relación con el robo de las joyas francesas, aunque no es igual, ni mucho menos. Te hablo de la desaparición de un cuadro del pintor Pablo Picasso. Y antes de escuchar la noticia, como hago siempre, voy a darte algo de contexto. Y en este caso tengo que hablarte del autor de la obra desaparecida. Pablo Picasso nació en Málaga en 1881, y fue uno de los creadores del cubismo, un estilo que revolucionó el arte en el siglo XX. Además de pintar, también trabajó en escultura, cerámica, grabado y diseño teatral. Vivió gran parte de su vida en Francia y dejó un legado inmenso, con obras muy famosas como el Guernica o Las señoritas de Avignon. La obra de la que hablaremos hoy se titula Naturaleza muerta con guitarra, pintada en 1919. Es una composición de objetos cotidianos, como una guitarra y una botella, representados con formas geométricas y colores planos, típica del estilo cubista. Aunque no es una de sus piezas más conocidas, tiene un gran valor artístico y económico. Por cierto, si alguna vez vienes a España y quieres ver obras de Picasso, puedes visitar el Museo Reina Sofía en Madrid, donde se encuentra el famoso Guernica; el Museo Picasso Málaga, en su ciudad natal, que alberga una colección variada de pinturas, cerámicas y dibujos; el Museo Picasso Barcelona, con más de 4.000 obras, especialmente de su etapa juvenil; y el Museo Thyssen-Bornemisza, también en Madrid, que expone algunas de sus obras dentro de su colección de arte moderno. Y dicho todo esto, ya estamos preparados para escuchar la noticia de Radio Nacional de España. Como te explicaba antes, trata sobre la desaparición del cuadro de Picasso Naturaleza muerta con guitarra. Escucha con atención y te sigo contando cosas. “Estamos ahora en Granada, donde debería estar expuesto un Picasso desaparecido, ‘Naturaleza muerta con guitarra', pintado en 1919, salió de Madrid para ser prestado. La Policía Nacional investiga el extravío o robo, María Martín. Sí, era una de las obras que iban a exhibirse en la muestra ‘Bodegón' de la Fundación Caja Granada, pero nunca llegó. En estos momentos, la Policía Nacional trata de averiguar dónde desapareció este pequeño cuadro de Pablo Picasso datado en 1919 y asegurado en 600.000 euros. Se sabe que el cuadro ‘Naturaleza muerta con guitarra' salió del inmueble del propietario en Madrid, después la pieza se trasladó al almacén de la empresa, que contaba con medidas de seguridad, y días después trasladaron esta y otras obras de arte en un furgón hasta Deifontes, donde los conductores hicieron noche. Se desconoce en qué punto desapareció. Lo que sí se sabe es que no llegó a Granada. La investigación sigue abierta y, por el momento, no hay detenciones.” Un caso extraño, ¿verdad? Bueno, pues luego te cuento qué pasó en realidad, porque entre el día que escuché la noticia y el día de la grabación de este episodio, ya se ha resuelto esa desaparición. Pero antes vamos con las palabras que pueden resultar más complicadas. Expuesto: Que está visible o mostrado al público, especialmente en una exposición o museo. Ejemplos: El cuadro estuvo expuesto en el Museo del Prado durante tres meses. Los documentos confidenciales no deben estar expuestos en lugares públicos. Extravío: Pérdida de algo, especialmente cuando no se sabe dónde está. Ejemplos: El extravío del paquete ocurrió durante el transporte. Se denunció el extravío de una obra de arte muy valiosa. Exhibir: Mostrar algo públicamente para que otros lo vean, especialmente en una exposición. Ejemplos: Van a exhibir esculturas de artistas jóvenes en la galería. El museo exhibe una colección de arte moderno. Muestra: Exposición o presentación de obras, productos o elementos para que sean vistos por el público. Ejemplos: La muestra de fotografía estará abierta hasta el domingo. En la muestra se incluyen obras de Picasso y Dalí. Datado: Que tiene una fecha asignada, especialmente en documentos u obras de arte. Ejemplos: El manuscrito está datado en el siglo XV. El cuadro está datado en 1919, poco después de la Primera Guerra Mundial. Asegurado: Que tiene un seguro que cubre su valor en caso de pérdida o daño. Ejemplos: El coche está asegurado contra robos y accidentes. La obra de arte estaba asegurada en 600.000 euros. Inmueble: Edificio o propiedad que no se puede mover, como una casa o un local. Ejemplos: El cuadro fue retirado del inmueble del propietario en Madrid. Compraron un inmueble en el centro de la ciudad para abrir una tienda. Furgón: Vehículo cerrado y grande usado para transportar mercancías o equipaje. Ejemplos: Las obras fueron trasladadas en un furgón con medidas de seguridad. El furgón llegó a la galería con varias cajas de arte. Hacer noche: Pasar la noche en un lugar durante un viaje. Ejemplos: Los conductores hicieron noche a mitad de camino antes de seguir a Granada. Vamos a hacer noche en Zaragoza y continuar el viaje mañana. Muy bien. Pues ahora tienes que entender todo lo que vamos a escuchar por segunda vez. “Estamos ahora en Granada, donde debería estar expuesto un Picasso desaparecido, ‘Naturaleza muerta con guitarra', pintado en 1919, salió de Madrid para ser prestado. La Policía Nacional investiga el extravío o robo, María Martín. Sí, era una de las obras que iban a exhibirse en la muestra ‘Bodegón' de la Fundación Caja Granada, pero nunca llegó. En estos momentos, la Policía Nacional trata de averiguar dónde desapareció este pequeño cuadro de Pablo Picasso datado en 1919 y asegurado en 600.000 euros. Se sabe que el cuadro ‘Naturaleza muerta con guitarra' salió del inmueble del propietario en Madrid, después la pieza se trasladó al almacén de la empresa, que contaba con medidas de seguridad, y días después trasladaron esta y otras obras de arte en un furgón hasta Deifontes, donde los conductores hicieron noche. Se desconoce en qué punto desapareció. Lo que sí se sabe es que no llegó a Granada. La investigación sigue abierta y, por el momento, no hay detenciones.” Te adelanto que la desaparición se ha resuelto y no han arrestado a nadie. Por lo tanto, ¿qué habrá pasado? Bueno, luego te lo cuento. Así mantengo el suspense, el misterio. Ahora voy a contarte la noticia con otras palabras. En la información nos dicen que en Granada debía presentarse una pintura de Pablo Picasso, pero que nunca llegó al lugar previsto. La obra, titulada Naturaleza muerta con guitarra y realizada en 1919, fue enviada desde Madrid como parte de un préstamo para una exposición artística. La Policía Nacional está intentando esclarecer si se trata de una pérdida accidental o de un posible robo. El cuadro iba a formar parte de una muestra organizada por la Fundación Caja Granada, pero no se encuentra en el sitio donde debía exhibirse. En la noticia nos cuentan que la pieza salió de la vivienda del propietario en Madrid, y que fue trasladada a las instalaciones de una empresa especializada en transporte de arte, una empresa que contaba con sistemas de seguridad, claro. Días después, se cargó el cuadro junto a otras obras en un vehículo cerrado y se dirigieron a una localidad que se llama Deifontes, donde los conductores pasaron la noche. El día que apareció la noticia no se había determinado en qué momento exacto se produjo la desaparición. Lo único confirmado es que nunca llegó a Granada. Seguro que estás dándole vueltas a la cabeza pensando en qué pasó realmente. Pues no te preocupes que te lo cuento en un minuto, justo después de volver a escuchar la noticia. “Estamos ahora en Granada, donde debería estar expuesto un Picasso desaparecido, ‘Naturaleza muerta con guitarra', pintado en 1919, salió de Madrid para ser prestado. La Policía Nacional investiga el extravío o robo, María Martín. Sí, era una de las obras que iban a exhibirse en la muestra ‘Bodegón' de la Fundación Caja Granada, pero nunca llegó. En estos momentos, la Policía Nacional trata de averiguar dónde desapareció este pequeño cuadro de Pablo Picasso datado en 1919 y asegurado en 600.000 euros. Se sabe que el cuadro ‘Naturaleza muerta con guitarra' salió del inmueble del propietario en Madrid, después la pieza se trasladó al almacén de la empresa, que contaba con medidas de seguridad, y días después trasladaron esta y otras obras de arte en un furgón hasta Deifontes, donde los conductores hicieron noche. Se desconoce en qué punto desapareció. Lo que sí se sabe es que no llegó a Granada. La investigación sigue abierta y, por el momento, no hay detenciones.” Venga, te lo cuento ya. En realidad, el cuadro de Picasso no desapareció y tampoco fue un robo, sino simplemente un olvido. La obra no llegó a ser cargada en el camión de transporte. De hecho, el cuadro se quedó dentro del edificio del propietario, porque los encargados de recogerlo lo olvidaron allí. Subieron al camión otras obras, pero no esa. Y el asunto se resolvió porque una vecina entró al edificio, vio un paquete en el suelo y se lo subió a su casa pensando que era de Amazon. Así de sencillo. Qué cosas pasan, ¿verdad? En este caso, el cuadro de Picasso no se perdió. Pero a lo largo de la historia, muchas obras de arte han sido robadas o han desaparecido misteriosamente. Uno de los robos más famosos fue el de La Gioconda, también conocida como La Mona Lisa, de Leonardo da Vinci. En 1911, un empleado del Museo del Louvre se llevó la pintura escondida bajo su abrigo. El cuadro fue recuperado dos años después, pero durante la investigación incluso se llegó a interrogar a Picasso como sospechoso. Otro caso emblemático es el de El grito, del noruego Edvard Munch. Esta obra fue robada dos veces: la primera en 1994 y la segunda en 2004. Afortunadamente, en ambas ocasiones se pudo recuperar. También está el robo en el Museo Gardner de Boston, en 1990, donde desaparecieron once obras maestras de artistas como Rembrandt, Vermeer y Degas, valoradas en más de 100 millones de euros. Hasta hoy, muchas de esas piezas siguen sin aparecer. Incluso el propio Picasso ha sido víctima de robos auténticos. En 2010, su obra La paloma con guisantes verdes fue sustraída en París y aún no ha sido recuperada. Bueno, por suerte, la noticia de hoy ha terminado con final feliz, y espero que te haya servido para aprender cosas nuevas del español y del artista Pablo Picasso. Y antes de despedirme, vamos a repasar las palabras y expresiones que hemos visto hoy en detalle: Expuesto: Que está visible o mostrado al público, especialmente en una exposición o museo. Extravío: Pérdida de algo, especialmente cuando no se sabe dónde está. Exhibir: Mostrar algo públicamente para que otros lo vean, especialmente en una exposición. Muestra: Exposición o presentación de obras, productos o elementos para que sean vistos por el público. Datado: Que tiene una fecha asignada, especialmente en documentos u obras de arte. Asegurado: Que tiene un seguro que cubre su valor en caso de pérdida o daño. Inmueble: Edificio o propiedad que no se puede mover, como una casa o un local. Furgón: Vehículo cerrado y grande usado para transportar mercancías o equipaje. Hacer noche: Pasar la noche en un lugar durante un viaje. Si alguna vez haces noche en Madrid, recuerda que puedes ver algunas obras de Picasso en varios museos de la capital. No dejes pasar esa oportunidad. Por mi parte, es todo por hoy. Te agradezco mucho que sigas ahí apoyándome y te espero la próxima semana con más contenido exclusivo solo para ti. Adiós. Escucha este episodio completo y accede a todo el contenido exclusivo de Se Habla Español. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/171214

Back to @OspreyGames Heirs To Heresy (available Here) With Carlos captured the Knights have to decide how they are going to press forward. What about the Moral question… Do they leave Pairaud and his knights to attempt their plan without George’s help? Is there any of the other knights they can swing to their side. […]

durée : 00:11:33 - L'Avant-scène - par : Aurélie Charon - La chorégraphe Fanny de Chaillé travaille avec quinze jeunes comédiens et comédiennes qui sortent de l'école de théâtre de la Manufacture à Lausanne pour son spectacle "Avignon, une école", qui retrace l'histoire du Festival d'Avignon. - réalisation : Alexandre Fougeron - invités : Fanny de Chaillé Metteuse en scène, performeuse

durée : 00:25:07 - Julie Fuchs, soprano (1/5) - par : Nicolas Lafitte - À 40 ans, la soprano Julie Fuchs se livre au fil de cinq épisodes au micro de Nicolas Lafitte. Elle raconte son parcours, de son enfance à Avignon à ses projets récents, évoquant ses émotions, ses succès, ses doutes et les rencontres qui ont marqué sa carrière internationale. - réalisé par : Béatrice Trichet Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:25:07 - Julie Fuchs, soprano (2/5) - par : Nicolas Lafitte - À 40 ans, la soprano Julie Fuchs se livre au fil de cinq épisodes au micro de Nicolas Lafitte. Elle raconte son parcours, de son enfance à Avignon à ses projets récents, évoquant ses émotions, ses succès, ses doutes et les rencontres qui ont marqué sa carrière internationale. - réalisé par : Béatrice Trichet Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:25:07 - Julie Fuchs, soprano (3/5) - par : Nicolas Lafitte - À 40 ans, la soprano Julie Fuchs se livre au fil de cinq épisodes au micro de Nicolas Lafitte. Elle raconte son parcours, de son enfance à Avignon à ses projets récents, évoquant ses émotions, ses succès, ses doutes et les rencontres qui ont marqué sa carrière internationale. - réalisé par : Béatrice Trichet Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:25:07 - Julie Fuchs, soprano (4/5) - par : Nicolas Lafitte - À 40 ans, la soprano Julie Fuchs se livre au fil de cinq épisodes au micro de Nicolas Lafitte. Elle raconte son parcours, de son enfance à Avignon à ses projets récents, évoquant ses émotions, ses succès, ses doutes et les rencontres qui ont marqué sa carrière internationale. - réalisé par : Béatrice Trichet Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:25:07 - Julie Fuchs, soprano (5/5) - par : Nicolas Lafitte - À 40 ans, la soprano Julie Fuchs se livre au fil de cinq épisodes au micro de Nicolas Lafitte. Elle raconte son parcours, de son enfance à Avignon à ses projets récents, évoquant ses émotions, ses succès, ses doutes et les rencontres qui ont marqué sa carrière internationale. - réalisé par : Béatrice Trichet Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Plus de 50 000 voyageurs ont vu leur trajet annulé en pleine vacances de la Toussaint

Dans cette édition :Le trafic des TGV est fortement perturbé entre Lyon et Avignon suite à un incendie sur des câbles de signalisation, entraînant de nombreuses suppressions de trains.Le Rassemblement National n'a pas encore pris position sur le vote de la taxe Zucman-Light, qui prévoit un impôt sur les patrimoines de plus de 100 millions d'euros.Deux hommes ont été interpellés dans le cadre de l'enquête sur le vol de joyaux estimés à 88 millions d'euros au musée du Louvre la semaine dernière.Dix personnes sont jugées pour cyberagression à l'encontre de Brigitte Macron, accusées d'avoir propagé la rumeur selon laquelle elle serait née homme.Donald Trump juge inappropriée l'annonce de Vladimir Poutine sur le test réussi d'un missile de croisière à propulsion nucléaire.Notre équipe a utilisé un outil d'Intelligence artificielle via les technologies d'Audiomeans© pour accompagner la création de ce contenu écrit.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Dans cette édition :Un acte de vandalisme sur des câbles de signalisation entre Lyon et Avignon a fortement perturbé le trafic des TGV vers le sud-est et Paris, avec de nombreuses liaisons supprimées et des retards importants.Les députés ont repris les débats sur la partie recette du budget, avec notamment l'amendement sur la taxe Zucman qui sera étudié mercredi, et le texte sur le budget de la Sécurité Sociale qui prévoit 17,5 milliards d'euros d'économies.L'enquête sur le vol de joyaux estimé à 88 millions d'euros au Louvre progresse, avec l'interpellation de deux suspects.Dix personnes sont jugées pour cyberharcèlement à l'encontre de Brigitte Macron, accusées d'avoir fait enfler la rumeur selon laquelle la première dame serait née homme.Donald Trump juge inapproprié l'essai du missile russe à propulsion nucléaire et salue la victoire écrasante du président argentin Ravir Mileï.Notre équipe a utilisé un outil d'Intelligence artificielle via les technologies d'Audiomeans© pour accompagner la création de ce contenu écrit.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Dans cette édition :Le trafic des TGV est fortement perturbé entre Lyon et Avignon suite à un incendie sur des câbles de signalisation, entraînant de nombreuses suppressions de trains.Le Rassemblement National n'a pas encore pris position sur le vote de la taxe Zucman-Light, qui prévoit un impôt sur les patrimoines de plus de 100 millions d'euros.Deux hommes ont été interpellés dans le cadre de l'enquête sur le vol de joyaux estimés à 88 millions d'euros au musée du Louvre la semaine dernière.Dix personnes sont jugées pour cyberagression à l'encontre de Brigitte Macron, accusées d'avoir propagé la rumeur selon laquelle elle serait née homme.Donald Trump juge inappropriée l'annonce de Vladimir Poutine sur le test réussi d'un missile de croisière à propulsion nucléaire.Notre équipe a utilisé un outil d'Intelligence artificielle via les technologies d'Audiomeans© pour accompagner la création de ce contenu écrit.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Back to @OspreyGames Heirs To Heresy (available Here) The Templars have decided that just noping out of Pairaud’s plan to melt the pope is a good idea. First though they need to Locate John of Jerusalem so they can avoid leaving him behind. Unsure who to trust they do not bring any of the other […]

From the Pentagon on 9/11 to keeping service members safe through timely innovation, Dave Harden ‘95 embodies what it means to run toward the fire. SUMMARY In this episode of Long Blue Leadership with host Lt. Col. (Ret.) Naviere Walkewicz '99, hear how adversity, gratitude and courage forged a leader others would follow anywhere. From his harrowing experience during the 9/11 attacks to overcoming childhood adversity and pioneering innovation in the Air Force, Dave Harden shares practical lessons on gratitude, resilience and the importance of running toward challenges rather than away from them. The conversation emphasizes that true leadership is forged in the fire of adversity and that gratitude can transform hardship into fuel for growth.   SHARE THIS EPISODE LINKEDIN | FACEBOOK   DAVE'S LEADERSHIP TAKEAWAYS Leadership is about how we respond in crisis. Everyone has a personal story of 9/11. Muscle memory from training prepares us for challenges. Gratitude shifts our perspective from burden to opportunity. Looking up fosters hope and gratitude. Gratitude can transform lives and relationships. Innovation is crucial for effective leadership. Courage is a choice we make every day. Hardships prepare us for future leadership roles. True leaders run toward the fire, not away from it.   CHAPTERS 00:00 Introduction to Leadership Lessons 01:28 The Impact of 9/11 on Leadership 09:40 Overcoming Childhood Adversity 14:27 The Power of Gratitude 16:56 Innovation in the Air Force 24:43 Transitioning to the Private Sector 31:16 Courage and Leadership Choices   ABOUT DAVE HARDEN BIO Dave Harden is a Class of 1995 graduate of the United States Air Force Academy, where he earned his B.S. in electrical engineering and began a distinguished career in the U.S. Air Force Reserve. He went on to serve at the Pentagon as chief of strategic prioritization for the Air Force and later as the chief architect and chief operating officer of AFWERX, the service's innovation accelerator. Building on that experience, he founded and now leads Outpost Ventures (also known as “The Outpost”), a firm dedicated to guiding dual-use technology companies across the so-called “valley of death” from promising concept to real nation-scale impact. At Outpost Ventures, Harden leverages his deep experience in national security, technology transition and strategic decision-making to help entrepreneurs navigate both government and commercial ecosystems. His blend of military leadership, innovation acumen and venture focus makes him a valued partner for founders tackling the toughest problems at the intersection of defense and industry.   CONNECT WITH DAVE LinkedIn Outpost Ventures CONNECT WITH THE LONG BLUE LEADERSHIP PODCAST NETWORK TEAM Send your feedback or nominate a guest: socialmedia@usafa.org Ted Robertson | Producer:  Ted.Robertson@USAFA.org    Ryan Hall | Director:  Ryan.Hall@USAFA.org  Bryan Grossman | Copy Editor:  Bryan.Grossman@USAFA.org Wyatt Hornsby | Executive Producer:  Wyatt.Hornsby@USAFA.org      ALL PAST LBL EPISODES  |  ALL LBLPN PRODUCTIONS AVAILABLE ON ALL MAJOR PODCAST PLATFORMS     TRANSCRIPT   OUR SPEAKERS Guest, Dave "Big D" Harden '95  |  Host, Lt. Col. (Ret.) Naviere Walkewicz '99 Col. Naviere Walkewicz 0:12 Welcome to Long Blue Leadership, where we explore the lessons of leadership through the lives and stories of Air Force Academy graduates. I'm your host, Naviere Walkewicz, Class of '99. My guest today is Dave Harden, Class of 1995. Dave is widely accepted in the Long Blue Line community for his leadership, service, business acumen and his willingness to run toward the fire. Dave Harden 0:35 When bad things are happening and fires are burning around you, you won't even think for a second, “I need to help someone. I need to do the thing.” Naviere Walkewicz 0:46 From his time as a C-17 pilot to his work at the Pentagon and in the private sector, David's faced both personal and professional moments that shaped not just his career, but his philosophy of leadership. In our conversation, we'll talk about three transformative moments in his journey — from being just 400 feet away from impact during the 9/11 attack on the Pentagon, to overcoming hardships in his childhood, to his work pioneering innovation at the highest levels in government and business. Along the way, we'll hear about the meaning behind his call sign, “Big D,” and engage in practical leadership lessons that have transformed his life and can transform yours. This is a conversation for cadets, aspiring leaders, seasoned business professionals and lifelong learners alike, because leadership isn't just about what we do; it's how we respond when the fire is burning right in front of us. Dave, welcome to Long Blue Leadership. Dave Harden 1:38 Thanks for having me on today. I'm excited to be here.   Naviere Walkewicz 1:41 We are so excited, and I think this is going to be a real conversation that's extremely practical for our listeners, but we're going to jump into a really important moment, and this is one that encourages so many people — 9/11. Can you talk about that experience with us? Dave Harden 1:57 I've been able to speak over the years post the event. Talked to 15,000 people about 10 years after the event and have been able to share this story many times over, and I'm glad to be able to share it here with us today. Everyone knew what happened — kind of the Twin Towers. The first story comes out. I was busy in the thralls of my job at the Pentagon. Actually getting stuff out for President Bush, for him to make statements to some of my work in the Baltics at the time. So I wasn't really paying attention kind of to what was going on at the World Trade Center. Kind of knew what was going on. My beautiful redheaded wife, Angie, was coming to pick me up. So at the time, we had a young daughter, and she was pregnant with what would be my son, but we didn't know that at the time. So she was supposed to pick me up from the ultrasound, and so I rushed outside, and I don't remember the exact timing. Maybe she's supposed to pick me up at 9:15, 9:30, is right around, as we know now, when the plane would come into the Pentagon. So I'm out on the south bridge of the Pentagon, and it winds up being on the side of the impact of the plane would come in. And standing out there, I remember looking, it was a beautiful day, quiet, and if you remember, not a lot of people, there wasn't a lot of videos — not a lot of people actually saw the plane impact. And so those things you never forget. So that day, standing out there, I saw this plane coming. But we're by Reagan National Airport, right? So you're thinking that another plane's coming into Reagan. No big deal. I'm waiting for Angie to pick me up. She winds up being about five, 10 minutes late, and in hindsight, she always said, “If because I was late, you lost your life, I would never forgive myself.” And so I watch the plane come in, and then all of a sudden, it's like, “Holy crap! This plane is pointed right at me.” And so as it's coming straight in, I start running over the bridge. Little did I know Angie was just driving under the bridge at the time. So the plane comes over the top of her car, and as the plane impacts, if you remember, it kind of like actually careened, bounced into a 45-degree angle and then hit the building. So I'm running off the bridge. I'll never forget the sound, the flames, the searing heat as I was kind of running off the bridge, as the plane came in. And you could hear the engines spooled up, because if you remember, kind of like, obviously the terrorists are full throttle. And I remember looking in and seeing the people in the window, and I can't imagine their emotions and what they were going through in their final moments of life. So the explosion happens, I'm running off. I then run back into the bridge, go back into the building, really not thinking, and just like, you know, you're like, “How can I help?” So there's fire, there's smoke, and so we just start trying to get folks out and they start setting up kind of triage stations, both inside the courtyard, you know, at the Pentagon, and on the outside. So do that about 45 minutes, like, an hour helping out. And then enough people got me to kind of stabilize, you know, the situation. And so then, you know, I'm in the mission of finding my wife. So I was fortunate to kind of find her in the parking lot, you know. And obviously we have a moment. And it was interesting, because from her vantage point, she just was kind of blocked by the bridge. She saw the plane, and then they just saw the explosion and the fire, and so she thought I was dead. Naviere Walkewicz 6:03 I can't imagine how she was feeling at that moment. Dave Harden 6:06 So she takes Madison out. She's holding Madison, and she just starts bawling. She's like, “I just lost my husband,” right? And it's amazing, because Madison, who's, I guess, 2 years old, goes, “Mommy, it's OK. God will take care of the fire. God will put it out.” And the power of the words of a 2-year-old, kind of, in that moment, she's like, “All right,” you know, she took a deep breath, like, “Hey, I gotta get my act together.” We're able to get back kind of together, but we live like maybe an hour from the Pentagon. The car was there. We could take all these people, it's chaos, as you can imagine, it felt like a war zone that was just happening. And we get flooded with calls and, this was back — maybe not as much good telecommunications. We're flooded with calls and people. So because of all the adrenaline, everything that happened that day, we finally had a moment to break down, right? And we're just tearing up and crying and in that moment, just such a sense of gratitude for not only being alive, but for my family, for everything that kind of this nation represents, right? It's just a moment that kind of brought everybody together, and everyone has a 9/11 story. Everyone says, “Here I was, or there I was,” on 9/11. Naviere Walkewicz 7:30 After running across the bridge, like when you saw it coming, obviously you're like, “I need to not be in its path.” Can you remember what in you said, “Turn around and go back.” Was it just your background in the military? Like, “We don't run from we go help.” Can you remember? Dave Harden 7:50 It's hard to remember. I think it's instinct in the moment, you know? But I also think for listeners today — and today is about thinking through all those moments, and saying what are the muscle memories of running into the fire that gets you maybe more prepared for that moment?   Naviere Walkewicz 8:10 So you don't freeze.     Dave Harden 8:12 So you don't freeze. I think the Academy helps prepare you for those moments. What you go through — through hardships, and your personal hardships and childhood can help you through those moments, right? So many things make up someone's journey and the fabric of their lives, and who makes them themselves. And you don't always know if you'll have the courage in that moment. You don't always know if you'll have kind of what it takes. But I think, along the way, you can have a muscle memory that prepares you for that, right? And so, you know, might be something — you're overloaded with academics at the Academy, right? It could be you're having a personal crisis, you know, could be in your family. It could be external. It could be, literally, you're getting shot at, right? But I think it's kind of transforming the mentality, or a victim mentality, of, “I have to. This is a burden” to “I get to.” It's not saying, “I have to” anymore, It's saying, “You know what? I'm so thankful that I get to,” right? I get to solve this problem, right? “I get to — I'm lucky that I'm here at the Academy, and I have 25 credits, and I gotta take all these classes.” It's hard to think like that. You're like, “Oh, woe is me. This is such a burden. Oh, this is problem at work. Oh, someone died in the family, there's a crisis.” You have cancer, right? Think about all the things that impact our lives, that are hard. And if we're able to say, “You know what…” Start that muscle memory like, “You know what, I get to overcome this, I'm going to learn a lot going through this hardship, through these tough times. It's going to make me different. It's going to make me stronger. It gives me that instinct and that character.” And when you have enough of those muscle memories, then I think what happens in the moment is you're ready.   Naviere Walkewicz 10:04 Yeah, you act. Dave Harden 10:05 You act.   Naviere Walkewicz 10:06 Did you develop that as a child — that muscle memory, you think? Or what was that like for you then? Dave Harden 10:19 So I was very fortunate. I'll preface this with: I have a family that adopted me, but my early childhood was not a silver spoon. A lot of people look at my life today and they say, “Oh, you were given something. It was easy.” A lot of people feel like that, you know, someone made money. They got inheritance from the family. You know, all those things.   Naviere Walkewicz 10:39 Right. The easy way, right? The easy button. Dave Harden 10:41 The easy road. Easy street.     Naviere Walkewicz 10:43 Yes, you push the button, and it was… yeah. Dave Harden 10:44 So I would say that there was no yellow brick road to this path. And so I was actually born in Avignon, France. And so my birth father was French, my birth mother was American. I don't speak a lick of French, so that's a side note. And so I wind up born a U.S. citizen. Come back to the U.S. when I was 2 — they split up. And, you know, unfortunately, my birth mother just wasn't well and wasn't able to love me, maybe you think like a traditional family. So I suffered extreme abuse as a child, and so much so that the state had to come in at 6 years old and take me away. My original foster parents told me, you know, I think I knew 12 letters of the alphabet at that time because I wasn't going to school; I wasn't doing the things that most kids kind of get to do. If you look at the history of what I went through in the beginnings of my life, normally, that doesn't lead to success. So a lot of people over the years have asked me, “Dave, what was the difference? How'd you come out of that differently?” And you don't always know in the moment, right? You think about it, you reflect all the things that came through. And for me, as I reflect, there's an unyielding faith in God. And I think, as I reflect — some people call it the universe, and I want to be respectful about how people view the energy that we get to experience and the faith that we have. But for me, what I figured out is, I was able to look up when all hell is breaking loose, when your life seems like it's in shambles, when things are going wrong, how do you have a glimmer of hope?   Naviere Walkewicz 12:54 You look up.   Dave Harden 12:55 You look up, right? And what does that mean? Looking up changes your gratitude, your centeredness, and it shifts from a “why me” conversation — “Why is all of this happening to me?” Right? “I'm a bad person. I fail. Things are going wrong. Things are blowing up. Someone just died. I'm getting shot at. I have too much academics. I just lost someone close to me in my life.” But if you can go from like, “Why me?” to “What if? What if things get better?” Naviere Walkewicz 13:45 How did you do that as a young boy? I mean, I'm thinking, you know, 9 years old, you know, you're still learning about yourself. You had maybe a foster family that showed you and displayed maybe some love. Is that where you learned to look up, or was it just something in you, and that was just the way that — I know you said faith. Dave Harden 14:03 Yeah, I think it's both. I've had deep analysis on nurture versus nature and I think it's a little bit of both. My foster parents went on to adopt me, and they come from a Depression, kind of post generation, right? And so I think what they were able to give me is enough structure and safety to become the person who I could become. And I think you need that safety and structure to start with, and then I could learn the things about gratitude and self-esteem and love, right? And those were innate with me. Each of us have this creative being, and we want to see it become alive. But if it gets squashed, If we don't believe in ourselves, if we don't look up, then we're just confronted with all the stuff in front of us. All the crap, all the fire, all the burning in our lives, in our businesses and in our workplaces. And I think going through that experience helped me learn to transform that thinking so that we look up and we look beyond. Naviere Walkewicz 15:23 When I'm looking at you right now, you know how, as we age, we have like lifelines on our face? And when I think about people who tend to look down, their face kind of shows it. But what I see in you when I look across right now are the lines that show that you have looked up. I see when you smile, it is so like, etched in your face, like in a way that is like joy. And I really do think you live that way. How do you share that gratitude and what has been innate in you that's been ignited with others? How have you helped others find that, whether while you're a cadet or in business, etc.? Dave Harden 15:57 Yeah, that's a great question. Everyone says I have about 300% more energy than most people.   Naviere Walkewicz 16:02 I know, I'm trying to hang. I'm trying to keep up with you here!   Dave Harden 16:06 I think that's one way, right, is again, you'll hear me say it over and over again. It's gratitude. Do you wake up in the morning and say, “Hey, what are the three things that I'm just freaking thankful for?” Because it's so easy — you listen to news, it's heavy. It's just, everything's heavy, right? And so I think living a life of gratitude transforms everyone's life and allows you to be a different person, allows you to create those muscle memories that allows you to do something. It's interesting — I get asked a lot of questions, especially having kind of this, you know, successful investment and business career, having flown C-17s, having done AFWERX — I think maybe we'll kind of dive in that a little bit. I've had all these eclectic kind of backgrounds and experiences, and they're like, you know, “How'd that happen? How'd you go from this to this, to this, to this?” And, you know, it's interesting. I think it just winds up, you know, running towards the problem. And I've had people say that over and over again: “You're just a person that, man, I just feel like, you know, you'll always run to the fire.” And so, I think when you do that over and over and over again, then it just transforms the way you think. You're willing to overcome, and hey, “I'll take on this bureaucracy. I'll take on the Air Force and transform it.   Naviere Walkewicz 17:26 Is that where Big D came from? Dave Harden 17:28 It is. So are we gonna have a side shuffle here? Alright. We'll have a side shuffle. As you know, we can dive into it more. I had this opportunity, because of the business background and all these — right moment, right place, right time, had the great honor of being able to build from the ground up with a bunch of other amazing, talented people, what's now known as AFWERX. And that wound up being the anchor innovation arm for the Air Force to bring in new technology and transform the way we're doing business as a service. So that was amazing. We did a shark tank called Spark Tank at Mark Cuban, George Steinbrenner in there. Transform the culture, identify innovation superheroes, is what we call it.   Naviere Walkewicz 18:19 I love that.   Dave Harden 18:20 So, where's your cape? Where are you innovating? How can we go make that happen quicker? And that's what we were able to do. But it was funny when we kind of started, you know, I was like, 30 days — they wanted to facilitate all the four-star generals in the Air Force in this, like, 30-year planning. So I was only supposed to be at the Pentagon for 30 days…   Naviere Walkewicz 18:40 And you're a reservist during this, right?   Dave Harden 18:42 I'm a reservist during that time — lieutenant colonel reservist.  And so I wound up… this turns into four years now of my life. I get sucked back into the five-sided building, which was a great honor. But as you know, it's a lot of like, you know, cyber locks and behind-closed-doors kind of stuff at the Pentagon. Everyone goes to their little room and cubicle, and that's where your magical work happens. So here's this business guy who happens — I liked to wear flight suits as much as I can. Every once in a while they make me wear blues in the Pentagon. So, walking around the five-sided building. Well, as you can imagine, cell phone service is not the best at the Pentagon. So, you can imagine, I'm trying to connect businesses. I'm trying to think about different ways to do stuff, right? So that's not sitting at my desk working on the NIPRNet. Naviere Walkewicz 19:38 There's no magic happening from your seat in the cubicle. Dave Harden 19:40 So, I'm wandering around the halls, and I have to, like, triangulate — “Where the hell am I going to get a cell phone signal?” Might be the courtyard. I've got my hand in the air. If I put aluminum foil on this, you know, the little longer thing. There's one window by the second corridor, you know? So anyhow, that's the exercise. So literally, for like, six months, every month, without fail, someone's pulling me into their office because I'm not following protocol. Naviere Walkewicz 20:14 Oh my goodness. You're like, “Do you know what I'm standing up?” Dave Harden 20:16 Didn't care. They didn't care. They're like, “You're screwing off. You're doing other stuff. You're doing outside business. You're always in the hall. You're never at your office.” You know, “Blah, blah, blah, blah, blah,” right? So I just got read the riot act. “Terrible officer not doing the things you're supposed to be doing.” A maverick. So anyhow, eventually all these big things started happening. We're transforming the way the Air Force Association…   Naviere Walkewicz 20:49 The light goes bing.   Dave Harden 20:51 Right. And, like, these new capabilities, and I'm like, actually connecting people, like, I pull people by their office and say, “You need to walk down to this other corridor. Meet this person.” Because this is the connection we need to get stuff done. Now we're just running around the halls of the Pentagon, either on the phone or shuffling people around, and eventually they're like, “Oh, wow. This is making a difference. Things are happening. And so in that process, I got the call sign Big D, which, on this podcast, could be funny. So we'll keep it PG-13 here on this network. But you know, it was for the deal making. So it's like they knew that big deals were gonna get done with Big D because I was gonna be on the phone, come hell or high water, I was gonna be in the halls of the Pentagon making it happen. Because it was too important. It was too important to get technology quicker out that people needed.   Naviere Walkewicz 21:54 Why did you feel that way? Dave Harden 21:55 So many transformative things kind of in my life come back to service. So I remember, I was actually flying in Afghanistan, C-17. I'm sure you know. Afghanistan is a big bowl, so you gotta get over the 24,000-foot mountains, dive in really quickly. And so at the time we would do that with night vision goggles. You try to find a couple little infrared lights in the basin somewhere, coming down really quick and hoping you find them and you're landing in the right spot. And so, pretty intense environment, as you can imagine. And a lot of threats coming in and coming out. So triple-A. Folks, you know, with Toyota pickup trucks with missiles on the back, launching off the shoulders. And so, leaving out of that bowl, we wound up being a target, like sometimes you are. But on this day, as we were kind of turning out, we have kind of a missile warning system that's in the middle and so it starts going off and kinda tells where, in general, it's coming from. But basically, you know maybe it's a false alert, but more than likely not, it's something's coming at you. So what happens next is kind of like super-slow motion, like you're watching a movie, and so it's like, Fourth of July. Because you have a bunch of systems on the plane, so you have flares, and so it's like, boom. So now it's super bright, and you're taking the actions you need and have kind of been trained to do. But there's some additional systems on there. So they have added basically a laser system, and the laser system is trying to find the warhead, mess up the guidance system, because it's looking for your engines, it wants the heat on the engines. So this is all going on but it happens really quick, but it happens really slow when you're in the moment. And so I just remember when it happened, it's super quiet on the flight deck. Because you have load master, you have another pilot, you have the crew. Essentially, you have three seconds between knowing whether you're alive or you're dead. And so you can imagine the moment when all this stuff goes off, and in the back of my mind, it's essentially a three-Mississippi count. So you go “one Mississippi, two Mississippi, three Mississippi,” and you're either alive or you're dead. So that quiet moment in between is quite the reflection of life. I'm here with you today, so obviously all the stuff that was supposed to work, worked. And in the reflection of that moment, that technology, which was developed years before, saved my life. And yet, we were stuck and faced a bureaucracy that took five years, 10 years to get technology to the front that had bloated requirements and just outdated acquisition processes. And so I was motivated to say, “We have to do something different to get that technology to the front line, to save lives and the work that people do every day to transform the way they get to do business.” And so that's always been the driving force. It's been my driving force to this day, was that that technology to our nation quicker must be accomplished, and the way you do that is you identify the innovation superheroes inside our service and in our businesses and in our entrepreneurs that can be brought together to bring about that change. Naviere Walkewicz 26:04 So that's really incredible how a moment in time literally had set the stage for your passion. You were leading AFWERX, you got it across the line, and amazing technology has been made available to our warfighters, to our processes. Why did you then — or maybe it's on a grander scale — move into the private sector, where you're actually doing this, still with the same kind of vision of what you're trying to accomplish, but without maybe some of the red tape? Why did you move on from AFWERX? Dave Harden 26:38 That's a great question. So I love this because I love the concept of the airman citizen. I think it's really important, because I went to pilot training. So in pilot training, we're all competing, like, you know, “You gotta be No. 1. You get the plane you want.” You know, all this stuff. A lot of ego flying around, right? And then there's this group, and they were, like, kind of little bit older. Like, “Oh, I'm in this Guard unit, and as soon as we finish pilot training, I'm gonna fly a C-130. I'm gonna fly this...” They already knew what they were gonna fly. I'm like, “How the hell?” I didn't know about the Guard and Reserve. I knew nothing about it, right?   Naviere Walkewicz 27:20 Wow OK. That's true. Many people don't know…   Dave Harden 27:22 Already in service, right? And it was this amazing discovery. One, they became, like, my best friends. I'm like, these are really cool people. But it was the beginning of this journey. It was like an enlightenment of this airman citizen, like I could still serve our country, right? And so I did wind up going into the Reserve, flying out Charleston, South Carolina, flying C-17s while I did business. So I was able to grow all the stuff I did in business and consult the oil industry and write books and speak around the world and run tech companies while still serving and contributing to the nation. And so I just wound up with a unique skill set — kind of business and military and bringing that all together at a moment in time at the Pentagon. And so that all came together and it was a natural extension. And then say, “OK, we've built this kind of ecosystem. How do we now go on the outside and help cut through the red tape? How do we bring capital. How do we identify the entrepreneurs and take this amazing land and amazing minds that we have and turn them towards our nation's most challenging problems and run towards the fire?” That the nation needs to survive for our children, our grandchildren and the democracy that we hold dear. And so I was grateful for each of those chapters, right? I was grateful for the chapter to build something; I'm grateful for the chapter now in the business world to make a difference. And I see that manifest in different ways. You and I earlier, we're kind of talking a little bit — on the business end there's hardships, there's difficulties, there's fires. And you hear that phrase all the time: “All we do is put out fires all day.” So that's a little bit different context. But sometimes there's bigger fires, you know. I remember we were faced — we lost a $9 million contract. And its people's lives, you know? There are single moms that work for you, and there's, you know, people that you've been loyal to the company for a long time. And sometimes just businesses don't become feasible. So you have a big fire. The landscape transforms. COVID hits. The timing just changes and is off. And so we sat in that moment, and it's emotional, because you're like, “I gotta let 25% of the company off. It's gonna impact families. It's gonna impact lives. And I remember this day, part of our culture was being grateful, being thankful. And you lose track of that because the budget, make payroll, all the all these business things, you know? How's this gonna look? The ego here, right? All these emotions come in, and then taking that moment to take a pause, to look up, to realign, to give thanks, and then to lean into that fire. I remember we kind of gathered up, and I said, “You know what? This is gonna be hard, and people gonna be let go. Can we take a moment just to — there's so many people in here that have stepped up last minute, made things happen, been a part of your life.” And that next hour where people just sat around the table and said, “You know what? John did this for me. Lori did this for me. Man, you know, they stayed up all night and kind of got this proposal done.” Someone's like, “Oh, I needed a surgery and my doctor sucked. They were personally there for me and helped me with that.” It was an hour of gratitude that even in the despair, even in the business environment of having let people go, there was a sense of like culture and gratitude and awareness that doesn't make it easier — you know, you lose your job. It doesn't make some of the fires easier to put out, but we leaned into the fire in a way that helped us get through it from a business perspective. And I always remember that moment, because it really… we just took that step back and it transformed the entire conversation. And so for listeners out there: I say whatever you're going through, you have that same opportunity to take a step back, to have that moment of gratitude, pause and then lean in like hell. Solve that problem. You have an opportunity to really solve what's in front of you, to run into the fire. It might be drastic like 9/11. Like, we're saving somebody's life. But it might be something smaller, but equally as meaningful. Naviere Walkewicz 32:42 I'd like to ask you something because based off of something you said earlier, and I think it was this whole concept of gratitude and having gone through, many hardships in your childhood, in business, etc. How have you been able to stay— and maybe humble is not the right word — but you seem really rooted. It's not about position or title. You seem just really rooted in a humanity and caring about people. Am I right in seeing that? And how do you do that? Dave Harden 33:12 Well, thanks for feeling that energy and then responding to it and asking me that question. At the end of day, it's about relationships and connections. And you're right. That comes from early childhood, right? When you have the experiences that you had, for me, I knew more than anything, that family was important for me. In fact, that was part of my decision, like at the Naval Academy, because it's like, I think I like my time at Naval Academy. I don't know if the Navy would just be a higher negative impact on family.   Naviere Walkewicz 33:43 Because you'd be underway for months. Dave Harden 33:45 Right. For a year, or whatever. So I think, imagine making that decision at 17. Because that thought was always there. I think Angie is swinging by for the 30th reunion here at the studio here in a little bit. So I have a beautiful red-headed wife that we've gone through ups and downs, gone through challenges, right? But here we sit at 30 years…    Naviere Walkewicz 34:13 Congratulations, that's amazing.   Dave Harden 34:14 Yes, thank you so much. It's an inspiration for me, right? Because her parents got married at the Cadet Chapel. A little tie back here to the Air Force Academy. We got married three days after graduation. So, you know, I don't know. Maybe that's cliche, but maybe it's kind of a need and a legacy thing which I lean towards, right? And so my kids inspire me every day. You know my wife inspires me every day. Meeting you and the connections and relationships that I get to get across business, across being in the trenches, being in those fires, forge the relationships, that go across boundaries. And too often times things are transactional. It's like, “Hey, I'm in this position,” and then you have their phone number and their email, and then they change positions, and you never hear from them again. And that's not what life is about. That's not the richness of life. That's not how you inspire people. You inspire people by connecting with them and being thankful for them, right? And so that inspiration comes from my childhood, from seeing death firsthand, from losing people in my life and being able to say, “You know what, if we can transform, if we can pause, if we can look up, right, and see the faith and the ‘what if' and not say, ‘Why is this happening to me? But what can I do with it? What can I do for others? How can I connect in a meaningful way?' you will transform your life, you'll transform your leadership, and you'll transform the people around you, because they'll be inspired to be superheroes in their own right. Naviere Walkewicz 36:03 Well, I certainly believe I could probably foreshadow what you might say in this next one. But I want to ask you this because, you know, there's something about putting into practice what you say, and obviously it has served you well in all facets of your career. What are you doing every day, Dave, to be better, whether it's in leadership, it's in relationships, but what are you doing personally every day to be better? Dave Harden 36:29 You know, I think I have a core philosophy. And you might have heard it before. Can I get better by 1% today? So if you wake up in the morning and you're like, “Can I get better by 1% today?” What does that mean? How do I do that? And I think it starts at the beginning of the day by saying… It's easy to be like, “Oh, I'm running late. My alarm went off. I'm tired. I gotta do laundry. I gotta get this job. I gotta get the kids. You gotta… Stack it up and you're like… You can be overwhelmed. The news. You know, something just happened. Within the first 30 minutes, you're overwhelmed for your day. Your day's done. Naviere Walkewicz 37:16 Right. Go back to bed. Try again. Dave Harden 37:18 It sucks. Why me? Fires are burning all around me. Naviere Walkewicz 37:20 Where do I go? Right. Dave Harden 37:23 So even if you just take a couple minutes and you're just like, “What are the three things that I'm thankful for today?” it recenters your gratitude journey, right? And then throughout the day, I call it the gratitude debrief. And if you're familiar with anything that's like fighter pilots after your mission— what did we learn? And, you know, getting after that, but a lot of people don't have a gratitude debrief. And what I described for you in that business crisis, what I described for you sitting there with your family after — my family after 9/11, it was a gratitude debrief. What went right today? Who did I appreciate that I need to thank? I guarantee if you come at it from that perspective, you're going to see more opportunity. People are going to want to do business with you, because you're the type of person that is grateful, and they want to reach out, they want to network for they want to do that one other thing, right? And when you're in that mental space, when bad things are happening and fires are burning around you, you won't even think for a second “I need to help somebody. I need to do the thing.” And at that moment when it becomes instantaneous, when it's the thing you just do, you know you're centered in that place of gratitude. Naviere Walkewicz 38:55 So Dave, thank you for sharing that — what you're doing every day? What about what some of our listeners, no matter where in their journey they are… You know, we talked about the pause, look up. But what can they be doing every day to be better? Dave Harden 39:08 I think you get back to what we were talking about earlier, which was kind of that stepping into the fire, that leaning in. And I think you know what I've learned, and at the end of the day, what our listeners can take away is, at the end of the day, courage is a choice. I think courage is actually a choice, because you're building all these… I gave you some tools, muscles, and you just don't know what's going to happen in that moment in time. But in that moment in time — there's a great book that I just thought of. It was called Moments of Truth. It's a great book, and it talks a little bit about your brand, your business brand, and it's really built with all these little moments of truth, right? Because it could be your interaction. It could be we came out on the airline today for the 30th reunion So, how did that customer in a certain, you know, interaction? Did they solve my problem? Did they lean in? Did they take care of me? And each of those moments of truth add up to a brand. You, the listeners, have to decide what's their brand going to be. Is it going to be running towards the fire or running away from fires? So whether it's a real fire or proverbial fire, you're going to be ready for that moment. At the end of the day, that's what we believe. Your hardships in life, your Academy experience, your service, your business life, if done correctly, prepare you for and allow you to lead others through. Naviere Walkewicz 40:54 This time together has been… it's inspiring me. I mean, I have just felt the energy and I felt your hardship and how you continue, how you put into practice, your pause, your look up, you know, be grateful. And I want to tell you I'm grateful for you in this time we've had today, because it's been… it really has made a difference, and I'm looking forward to debriefing tonight when I fly home with my son about what went right today. So thank you for that. I think that's really useful.   Dave Harden 41:18 Awesome. Thank you so much. Yes, I appreciate it.   Naviere Walkewicz 41:20 Absolutely. Well, as our conversation with Dave Harden comes to a close, I'm reminded that leadership is often forged in the fire. Dave's journey from the Pentagon on 9/11 to overcoming adversity in his childhood to pioneering innovation in some of the toughest environments reminds us that true leaders don't run away from the fire. They run toward it. Dave's story reminds us that hardship is inevitable, but gratitude transforms hardship into fuel when you meet your next fire, literally or figuratively. Pause, look up, give thanks and step forward. We know that's how leaders grow in the Long Blue Line, and how you become the kind of person others want to follow anywhere. Thank you for joining us on this episode of Long Blue Leadership. I'm Naviere Walkewicz, Class of '99. Until next time.   KEYWORDS Leadership, 9/11, gratitude, innovation, Air Force, personal growth, adversity, private sector, courage, resilience.       The Long Blue Line Podcast Network is presented by the U.S. Air Force Academy Association & Foundation    

La periodista Raquel Villaécija visita el Comando Norte para hablar de "La vergüenza", su crónica de las intensas semanas que pasó en el tribunal de Avignon cubriendo el caso Pelicot. Explica lo que supuso que Giséle abriera las puertas de ese juicio, y que es posible que el caso, siendo muy sórdido, fuese particularmente bien cubierto por la cantidad de mujeres periodistas que, como Raquel, se sintieron personalmente implicadas y pasaron muchas horas viendo el juicio. Por otro lado, era imprescindible ver los vídeos para que no cupiera duda alguna de que aquello eran violaciones, y también era importante que Giséle se sintiera acompañada por las periodistas y no se enfrentara sola a esos 50 hombres y a su ex marido. Es fascinante que Gisele, que pasó de ser una víctima a una heroina del feminismo e icono del debate sobre consentimiento, estuviera defendida por dos hombres, mientras que Dominique escogiera a una mujer como su abogada, una mujer que terminó estando en el mismo bando que Giséle puesto que su objetivo, más que defender al agresor era conseguir que el resto de los acusados admitiera que ellos también eran unos violadores. Como dice Raquel, "uno también se define por la defensa que elige", y las defensas de muchos acusados fueron muy agresivas con la víctima. Afortunadamente, sus argumentos (que ella no estaba del todo inconsciente, que sabía lo que su marido hacía, que estaba alcoholizada...) quedaron completamente desacreditados por las evidencias, como reflejó la sentencia.Raquel Villaécija confiesa que hay una parte de sí misma que sigue ahí, en ese tribunal, inmersa en los debates que suscitó el caso. 

Ce qui m'a le plus frappé chez lui, c'est son refus de choisir entre le beau et le grandiose.Thomas Jolly ne veut pas plaire, il veut éblouir.Un enfant de La Rue-Saint-Pierre, en Normandie, qui montait des spectacles dans sa chambre à 5 ans.Un ado harcelé, mais déjà persuadé qu'on peut survivre grâce à l'imaginaire.Des années plus tard, il signe la cérémonie d'ouverture des Jeux Olympiques de Paris. Un milliard et demi de regards. Et, en retour : un torrent d'amour, d'éloges mais aussi de haine.Lui, il encaisse. Il répond par la beauté.Parce qu'il croit que créer, c'est résister.Ce qu'on a voulu comprendre dans cet épisode de PAUSE, ce n'est pas seulement comment on conçoit un spectacle planétaire, c'est pourquoi on choisit encore de croire à la beauté, quand le monde préfère juger.Dans cet épisode de PAUSE, il parle sans détour du vertige de la grandeur, de la violence des critiques, de cette voix d'enfant qu'il refuse de faire taire.Un échange sur la démesure, la vulnérabilité, la liberté d'inventer. Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Tourist Avignon food and La magie du pain

Back to @OspreyGames Heirs To Heresy (available Here) With George being led off to do research on the “blow up Avignon” plan, the others decide to do some sleuthing. It also seems like cracks are appearing in the loyalties of the other group of Templars. Please Note about halfway through we ended up getting some […]

Tourist Avignon walking around the city streets

Wie lebt man mit Männern, wenn das Risiko, Gewalt zu erfahren, allgegenwärtig ist? Das fragt sich auch die Autorin und Philosophin Manon Garcia in ihrem neu erschienenen Buch „Mit Männern leben“. Sie hat den kompletten Prozess in Avignon zum Fall Gisèle Pelicot journalistisch begleitet und verarbeitet ihre Wahrnehmungen in dem Buch.Bei der Berliner Buchpremiere konnten Özge und Katharina kurz mit ihr sprechen und auch Stimmen aus dem Publikum sowie von der Rechtsanwältin Christina Clemm einsammeln. Sie saß ebenfalls mit auf der Bühne und konnte von ihren 30 Jahren Erfahrung als Verteidigerin von Opfern sexueller, queerfeindlicher und rassistischerGewalt berichten.Aktuelle Werbepartner und weitere Infos zum PodcastDanke an alle, die den Lila Podcast unterstützenNoch immer hört ihr Feminismus auf Sparflamme. Darum freuen wir uns weiterhin über jede Unterstützung.Ihr habt selbst sexualisierte Gewalt erlebt? Hier findet ihr UnterstützungHilfetelefon (in 18 Sprachen)Hilfe-Portal sexueller MissbrauchLinks und HintergründeManon Garcia: „Mit Männern leben“ Christina Clemm: „Gegen Frauenhass“STRG_F: Das Vergewaltiger-Netzwerk auf Telegram Krautreporter: „Es gibt einen Zusammenhang zwischen Männern, die vergewaltigen und Männern, die keine Wäsche waschen“ARD: Das vergessene Opfer. Der Fall Pelicot aus der Perspektive der TochterZEIT: Können wir noch mit Männern leben? Population and Societies: „Sexual violence against children and adolescents: Family abuse is seldom discussed“Eine vollständige Liste der Quellen, weitere Buchempfehlungen und das Transkript zur Folge findet ihr hier. Hosted on Acast. See acast.com/privacy for more information.

Back to @OspreyGames Heirs To Heresy (available Here) Having talked to Pairaud the Templars have a difficult conversation about whether they should help to.. Melt… Avignon. Strangely they don’t seem too sold on the plan… Cult 578 – Heirs To Heresy – The Chalice of Fear – The Question Of Avignon – Session 2 Please […]

Under 1300-talet befann sig påvarna i Avignon, det här tillståndet fann många förkastligt. Petrus var begravd i Rom, då borde påven husera i Rom! När en återflytt blev aktuell och ny påve skulle väljas 1378, ja då började kaoset känt som "den stora schismen" eller "den västliga schismen". Det skulle bara finnas en påve, en fader för de rättroende själarna, men plötsligt fanns två! Kulmen nåddes när de blev tre stycken, och det växte fram påvar som huvuden på en hydra. Hur situationen skulle lösas engagerade snart hela Europa, från universitet till bönder och kejsare.Bli prenumerant i form av "Grimbergs utvalda" och få ett extra avsnitt i månaden samt fritt från reklam och sponsorinslag. Gå in på länken nedanhttps://historiepodden.supercast.com/ Hosted on Acast. See acast.com/privacy for more information.

Clement established his court in Avignon, supported by France, Scotland, and several other European states. Urban VI, meanwhile, retained control of Rome and was recognized by England, much of Germany, and parts of ...

Canal Voces De La Noche: https://bit.ly/3MRYH2Q

Ellen Lampert-Greaux is the creative director for Live Design and LDI, an annual conference and trade show for entertainment design and technology professionals. She was on the five-person team that founded LDI in 1988, and has produced the conference and worked on special events for the show since its debut, working on all aspects from programming and promotion to operations, registration, and the attendee experience. She has also produced additional events for the Live Design/LDI franchise such as their Master Classes series for lighting, projection, audio, scenic design; the Envision Symposium; Backstage Las Vegas; and XLIVExLDI. She is also a triple award-winning writer - editor for Live Design (FOLIO: EDDY Award in 2021, 2022, and 2023) who specializes in entertainment design and technology, writing regularly for livedesignonline.com, as well as a freelance writer on technology and architectural lighting. She is also a co-host ( a Lumen sister) on the Light Talk podcast.She attended NYU where she was an English major, and Temple University for a BFA in television/film production. She earned her MFA in arts administration from Brooklyn College and was the publicity director of the Brooklyn Academy of Music (1979-1986). She is a theatrical press agent and a member of ATPAM/IATSE, as well co-founder in 1996 and co-director of the St. Barth Film Festival in the French West Indies, having run a similar festival in Avignon, France (1984-1993). She speaks fluent French and translates articles for magazines from French to English. This conversation explores the evolution and impact of LDI since its inception in 1988, highlighting the commitment of Light Switch to enhance experiences through design. The discussion covers various training opportunities, innovative events, and the importance of inclusivity and networking within the entertainment industry. The future of LDI is also addressed, emphasizing its role in fostering mentorship and professional growth.This Episode is brought to you by Lightswitch

“Could a marriage involving conjoined twins be valid in the Church?” This intriguing question opens a discussion that also explores the origins of rock and roll, the phrases “up north” and “down south,” and the nature of baptismal water in relation to transubstantiation. Join The CA Live Club Newsletter: Click Here Invite our apologists to speak at your parish! Visit Catholicanswersspeakers.com Questions Covered: 00:50 – What are the origins of rock and roll? 03:53 – Could a marriage involving conjoined twins be valid in the Church? 16:37 – Where did the phrases “up north” and “down south” originate? 30:34 – If we believe in transubstantiation, why don't we believe baptismal water becomes the Holy Spirit? 34:06 – Could God create a duplicate soul in Heaven for companionship? 46:04 – Why would God create earthquakes if they cause destruction? 52:35 – What would have happened to the papacy if the pope never returned from Avignon?