Podcasts about Biarritz

durée : 00:42:34 - Victorieux à l'extérieur contre le Racing 92, l'Aviron Bayonnais prépare sa prochaine rencontre face au Stade Français. Ce numéro revient sur les temps forts du week-end de rugby et le premier bloc du Biarritz Olympique en Pro D2. Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

El Festival Biarritz América Latina, en el sur de Francia, el músico chileno Eduardo Carrasco, líder del emblemático grupo Quilapayún, fue homenajeado con un Abrazo de Honor. Un informe de María Carolina Piña, desde Biarritz. Eduardo Carrasco tiene hoy 86 años. Y con ímpetu levantó la estatuilla que el Festival Biarritz América Latina le entregó por su aporte a la música y a la lucha contra la opresión. “Una relación muy profunda con el pueblo vasco” El líder del mítico grupo chileno Quilapayún recibió un Abrazo de Honor, y escuchó al público de Biarritz entonar “El pueblo unido jamás será vencido”, una canción contra la dictadura chilena que se volvió un himno planetario. “Para nosotros es muy emocionante porque no es la primera vez que venimos a Biarritz, hemos estado muchas veces acá, en los tiempos en que había en Francia una gran solidaridad y un gran interés por la suerte de nuestro pueblo. Y nosotros veníamos a cantar, siempre tuvimos una relación muy profunda con el pueblo vasco”, explicó Eduardo Carrasco a RFI. “Cantaron el pueblo unido, que ha tenido una especial recepción, no solo entre los franceses, sino que en América Latina, en África, en Asia. La gente más diversa ha tomado esta canción como propia y han transformado esta consigna, ‘el pueblo unido jamás será vencido', como una cosa propia. Así que para nosotros siempre va a ser muy emocionante y, sobre todo, emotivo para muchos pueblos”, subrayó. “Nos encontrábamos en Francia cuando ocurre el golpe” Carlos Quezada, otro de los Quilapayún, recordó ante nuestros micrófonos la ayuda vital que los unió para siempre a Francia: “Nosotros, por casualidad, nos encontrábamos en Francia cuando ocurre el golpe de Estado en Chile. En un momento no sabíamos qué hacer ni dónde vivir. Y en ese momento aparecen los franceses que nos habían invitado a venir acá para cantar, ofreciéndonos toda la ayuda necesaria para que nos instalemos a vivir aquí. Nos ayudan para que nuestras familias que se quedaron en Chile puedan reunirse con nosotros acá. Ese gesto me parece a mí que es lo más maravilloso que puede existir para poder seguir viviendo y también seguir cantando, que era nuestro destino”. Este año el Festival de Biarritz entregará otro Abrazo de Honor al prolífico escritor cubano Leonardo Padura.

durée : 00:39:05 Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

On Tuesday's Morning Focus, Alan Morrissey was joined by Fergal O'Keeffe, an Ennis native and creator of the Travel Tales with Fergal podcast. This time, Fergal told us about his tour of the French Basque Region. Image (c) Clare FM

1–1 mot Fulham, fem poäng på fem matcher och frågetecknen blir allt fler. Hur oroliga ska vi vara egentligen? Och har Rashford blivit ett problem som Carrick inte längre kan blunda för?I det här avsnittet försöker vi reda ut var Manchester United egentligen står efter ännu ett poängtapp. Det blir analys, frustration och en hel del funderingar kring ett lag som fortfarande söker svar.Dessutom försöker Mackan äta sig ur krisen med orimliga mängder smörgåstårta, Gustav är tillbaka från Biarritz och Micke gör sitt bästa för att minnas vad fan som egentligen hände ute på planen.Vi samlar ihop United-läget innan ett rekordlångt landslagsuppehåll väntar. Perfekt tajming...Häng med i det senaste avsnittet av UTD Podden – trevlig lyssning!

durée : 00:40:58 Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:41:14 - Après le succès de l'Aviron Bayonnais face à Clermont avec le bonus offensif (46-24) et la victoire au mental du Biarritz Olympique à Nevers (22-20), 100% Rugby fait le point ce lundi 21 septembre avec Mathieu Acebes et Matthieu Uhila, avant les matchs contre le Racing 92 et Montauban. Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:36:06 Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:41:09 - Analyse de la déroute de l'Aviron Bayonnais qui encaisse 70 points sur le terrain de la Section paloise avec nos consultants du jour et les bons points pour Biarritz qui déroule avec un deuxième bonus offensif. Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Aujourd'hui, je reçois Martin Harriague, danseur et chorégraphe, directeur du Ballet de l'Opéra Grand Avignon et, à partir de janvier 2027, directeur du CCN – Ballet Biarritz.En vingt ans de danse, Martin a franchi de nombreuses étapes, avec un désir : avoir une maison, une compagnie où chercher et développer sa vision de la danse.À quelques mois de sa prise de fonction au Ballet Biarritz, dans la chaleur du festival d'Avignon et en plein marathon des onze représentations de Prométhée, sa création pour le Ballet d'Avignon, il raconte ses doutes, ses nécessités et ce qui l'anime.Une danse ancrée dans un corps virtuose, dans la fougue du travail, et qui n'a pas peur d'être musicale.On l'écoute avec joie.Martin Harriague a déjà été interviewé dans le podcast Tous Danseurs : https://www.tousdanseurs.com/podcast/ep-84-martin-harriague/Joie de pouvoir diffuser ce podcast à l'aube du festival Le Temps d'aimer la danse de Thierry Malandain. Ici pour écouter l'épisode avec Thierry : https://www.tousdanseurs.com/podcast/ep-102-thierry-malandain/

durée : 00:38:05 Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:37:54 - Ce mercredi, 100% Rugby revient sur le parcours de Federico Martín Aramburú, l'ancien joueur du Biarritz Olympique, tué le 19 mars 2022 à Paris alors que le procès s'est ouvert lundi 7 septembre 2026 avec ses anciens coéquipiers du rugby, du foot et ses amis. Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:38:15 Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

San Sebastian e Biarritz com Teresa - Fora da Lei #308

Né en 1960 à Saint-André-de-Seignanx, dans le sud des Landes, Jean grandit avec ses 2 frères dans une famille de métayers. Très tôt passionné de pelote basque, il faudra l'insistance d'un de ses professeurs, année après année, pour qu'il accepte enfin de passer du fronton au terrain de rugby.Formé au Boucau, il honore dès 1982 sa première sélection avec le XV de France dont il devient rapidement un cadre. Quatre ans plus tard, il s'envole vers le Biarritz Olympique, avec qui il disputera la finale du Championnat de France 1992 : entre-temps, sous le maillot frappé du Coq, il remportera 5 fois le Tournoi des Cinq Nations, dont un Grand Chelem en 1987, et disputera la toute première finale de Coupe du Monde la même année, face à la Nouvelle-Zélande.Il achèvera sa carrière du côté de l'Aviron Bayonnais, fort de 62 sélections qui feront de lui le deuxième ligne le plus capé de l'histoire du XV de France.En parallèle du rugby, Jean construit une carrière qui durera plus de trente ans dans l'environnement, et devient père de deux filles avec son épouse Aline.Aujourd'hui jeune retraité, il n'en est pas moins actif, partageant son temps entre l'agriculture, les moments en famille, et des retrouvailles régulières avec ses amis de toujours, ceux des années Boucau et Biarritz.Vous allez le découvrir, j'ai rencontré un homme d'une grande pudeur et d'une sincérité rare, pour qui l'amitié et la transmission comptent plus que tout.Bonne écoute !-----------------------------

durée : 00:38:36 - À la veille de la rentrée de l'Aviron Bayonnais en Top 14 et de la réception de Toulon à Jean-Dauger, 100% Rugby analyse les enjeux de ce premier rendez-vous, avant de se projeter sur le déplacement du Biarritz Olympique à Oyonnax en Pro D2. Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:38:53 - 100% Rugby donne la parole aux supporters de Bayonne et de Biarritz pour aborder les attentes autour des matchs contre Toulon et à Oyonnax. Focus aussi sur le derby de Nationale 2 Mauléon-Saint Jean de Luz avec Sébastien Rouet et Nicolas Acebes. Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:37:10 - Après le succès bonifié du Biarritz Olympique face à Nice (36-5) et avant son déplacement à Oyonnax, 100% Rugby analyse le jeu biarrot. Focus aussi sur l'Aviron Bayonnais à quatre jours de recevoir Toulon à Jean-Dauger pour lancer sa saison de Top 14. Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

One-on-one pod today: Chris is in Colorado, and Jason is in Biarritz, France. We chat about craving Asian flavors on the road, Chris relying on his SoulCycle training on the gravel trails, Jason driving across France in a BMW X2, Jason DJing a friend's wedding, the sea mist of Biarritz, Chris tracking the Colorado bison with his Swarovski binoculars, Chris pondering a career pivot to chocolatier, pod brother Joe Budden finally popping the question, Chris Black getting fired from GQ, and some musical announcements for the inaugural Goneies Awards. twitter.com/donetodeath twitter.com/themjeans howlonggone.com Learn more about your ad choices. Visit megaphone.fm/adchoices

durée : 00:39:46 - L'ailier Nicolas Elissondo est l'invité de 100% Rugby ce lundi 31 août pour revenir sur le succès inaugural contre Nice, le déplacement à Oyonnax, mais aussi raconter son parcours depuis Saint-Palais. L'équipe se projette aussi sur la réception de Toulon pour l'Aviron Bayonnais. Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:31:27 - 100% Rugby plonge dans l'avant-match de l'ouverture de saison de Pro D2 avec la confrontation entre Biarritz et Nice. Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:38:14 - Au programme de 100% Rugby ce mardi 25 août : analyse de la pré-saison de l'Aviron Bayonnais, le mercato, l'effectif, et Jean-Baptiste Aldigé, invité, pour évoquer le début de la Pro D2 avec Biarritz-Nice. Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:39:36 - Le 3ᵉ ligne du Biarritz Olympique, Rémi Bourdeau, et l'entraineur des avants, Jérôme Filitoga, sont les invités de la première de 100% Rugby pour évoquer le début de la saison de Pro D2 contre Nice. Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Viele Pariser Modelagenturen haben im August ihre Offices verlassen, Booker und Agenten sind im Urlaub. Aber wo sind sie stattdessen? Und warum werden Models gerade jetzt plötzlich in Südfrankreich, Nizza oder Biarritz gescoutet? Paris macht Sommerpause – aber das Modelbusiness schläft sicherlich nicht.

Dans cet épisode, je reçois Ludovic Bréant, entrepreneur et investisseur dans l'immobilier et l'hôtellerie, pour une discussion autour de la résilience après un dépôt de bilan et de la reconstruction d'une vie entrepreneuriale plus alignée avec lui-même.Nous avons parlé :Comment un groupe passé de zéro à 80 millions d'euros de chiffre d'affaires en cinq ans a fini par déposer le bilan, à cause d'un secteur qu'il ne maîtrisait pas, la construction bois, frappée par l'effondrement des carnets de commandes.Pourquoi avoir géré jusqu'à 40 sociétés en même temps, dans des secteurs très différents, immobilier, hôtellerie, industrie, a été selon lui l'une des erreurs à l'origine de l'échec.L'anecdote de la chamane rencontrée au Québec, qui lui a dit une phrase simple mais marquante : c'est lui qui avait créé son propre dépôt de bilan.Pourquoi il a quitté La Rochelle pour Biarritz après le dépôt de bilan, pour sa famille, sa femme et lui-même.Comment il a abandonné les études de marché et les reportings pour racheter des établissements à l'instinct, comme cet ancien hôtel fermé depuis plusieurs années, repéré en randonnée.Sa routine du matin, faite de gratitude et de visualisation, et la création prochaine d'un nouveau poste dans ses équipes : le gardien de l'âme du lieu, chargé de veiller au bien-être du personnel dans chaque établissement.Ses trois critères de réussite aujourd'hui : la satisfaction des clients, celle des équipes, et la sienne, en tant que dirigeant.Un témoignage sans filtre sur la chute, la reconstruction, et ce que ça change de choisir l'intuition plutôt que le seul raisonnement.Liens utiles:Ludovic Bréant: https://www.linkedin.com/in/ludovic-br%C3%A9ant-22653774/https://www.instagram.com/ludovicbreant/ https://www.facebook.com/LudovicBreant.Entrepreneur***************************Cet épisode est produit et animé par Solenne Niedercorn, fondatrice de Finscale.

In dieser Episode folgen die beiden 'places to go'-Hosts Kathrin Sander und Inka Schmeling den Spuren Otto von Bismarcks in den französischen Badeort Biarritz. 1862 reiste der "eiserne Kanzler" – 47 Jahre alt, verheiratet und Vater von drei Kindern – hierher, an die französische Atlantikküste. Und verliebte sich dort prompt in die Frau eines Kollegen ... Was daraufhin geschah und natürlich auch, was du heute in Biarritz sehen und erleben kannst, erfährst du in dieser Episode des plazy-Podcasts 'places to go'. (Wiederholung vom 17.7.2024)

// Sommerpausenlike gibt es heute wieder ein kurzes Update von unterwegs – und das brennt wie Hölle! Ich nehme dich kurz mit auf den kleinen Pfad runter vom Zeltplatz an der Steilküste in den kleinen Ort Socoa gleich neben Saint-Jean-de-Luz bei Biarritz. Und dann schalte ich rüber zu Prof. Dr. Volker Busch. Das Gespräch, das ich mit ihm geführt habe, landet als Wiederholung in deinem Ohr, ist aber definitiv zeitlos inspirierend. // Alle Werbepartner des FREI RAUS Podcast und aktuelle Rabatte für Hörer:innen findest du unter https://www.christofoerster.com/freiraus-partner // Hier kannst du den wöchentlichen Newsletter zum Podcast abonnieren: https://www.christofoerster.com/freiraus // Ich freue mich, wenn du den Podcast mit einem kleinen Beitrag unterstützt! Alle Infos dazu ebenfalls auf https://www.christofoerster.com/freiraus // Outro-Song: Dull Hues by Lull (audiio.com)

On this episode of The Agenda Podcast, ACC Head G Lane and Tony Lyall are joined by James McOnie from Biarritz, so is it as cold there as it is in New Zealand right now (00.00)? Next up, we wrap up the Commonwealth Games and get McOnie's highs and lows (08:30), also how will 'Count Dracula the Referee' go adjudicating the All Blacks Vs. South Africa (21:50), and could Ben Stokes be the reason the English cricket team has a drinking problem (32:08)? Finally, it's 'Yours Please', where we hear your feedback, including a very interesting question about what to do in a group situation when you finish first (40:20)... Did you know that we've launched a new Facebook Group called 'The Caravan' JOIN HERE! Brought to you by Export Ultra! Follow The ACC on Instagram or Facebook or TikTok Subscribe to The Agenda Podcast now on iHeartRadio, YouTube, or wherever you get your podcasts! iHeartRadio Apple Spotify YouTube THANKS MATE! See omnystudio.com/listener for privacy information.

Welcome to The Turf Zone podcast. This episode features the article “George & Giles Leading Major Renovation at Lexington” written by Beck Stanley, Executive Director of the Virginia Turfgrass Council. It’s been more than two decades since Lexington, Virginia woke up to the good fortune of golf holes being crafted into its rolling mountain landscape. That drought is ending with the highly anticipated Lester George/Vinny Giles renovation of Lexington Golf & Country Club, one of Virginia's oldest clubs and certainly among its most beautiful layouts. George is following the iconic Ellis Maples, and the VTC was fortunate enough to visit the site in April to see the progress. George inherits good bones at LGCC, better views than any of his previous Virginia projects, and an intact grounds staff that includes Peter Danaher and Kramer Johnson. The Club will unveil in 2027 a new clubhouse, practice facility, the renovated Maples course, and even a new name – Tribrook Club, an homage to its original farmland roots. Tribrook will land in the realm of George's other notable Virginia projects like Kinloch and Ballyhack, probably right between the two. I italicize these courses because they aren't places. They are works of art, and although the former was better received, there is no question Ballyhack has had a major impact on golf tourism in the Roanoke region at the hands of traveling Dormie Club members hellbent on swiping plastic. This Lexington renovation, on the other hand, is a thoughtful collaboration of resources between the Club and Washington & Lee University, mirroring how this is the first historic George/Giles course renovation collaboration. W & L's men's and women's golf teams succeed in the top tier of Division III. Last year, the men's team had the national player and coach of the year and finished fourth. This year, the men finished sixth, and two players tied for third place. The women finished fourth at the NCAA Division III championship, the best performance in the school's history. I sat down with George, Giles, and Superintendent Peter Danaher to discuss the progress, and how golf in Virginia continues to evolve to meet the needs of a growing, diverse game. At the VTC, we are certainly proud to be a part of that evolution as we continue to represent Virginia golf courses and golf professionals, both public and private, and to fight for the interests of the broader turf industry in the General Assembly. What drew us to Lexington's renovation was its Maples history, George's and Giles' participation, and the chance to witness the shaping and renovation process firsthand in a mountainous terrain. The first thing to notice is the tree removal – more than 2/3rds were removed to make way for higher, longer tee boxes and open up broad mountain vistas, but it also restores the original agricultural look of the property, and as so many legislators and industry outsiders forget, turf is agriculture. Golf courses protect land and natural environments, prevent erosion, and steward water resources in a way no housing or commercial development ever could. George and Giles seem to enjoy the nuts and bolts of renovating golf courses, like a Twain character tricking everyone around into thinking that whitewashing a fence is fun. But in reality and beneath that appearance — and far separated from the benevolent forces making such projects happen — are two committed, serious minds collaborating, yearning for legacy, blending engineering and playability with how young players might see this game fifty, a hundred years from now. Of course, that all comes with making the course fun and playable for all skill levels. The many retiree members of Tribrook will appreciate the attention George and Giles have given to making the course adaptable. “The course will be enjoyable from 7,100 yards all the way down to less than 4,000,” George commented. At almost every turn of our tour, both murmured aloud thoughts on making shots longer, landing areas tighter, pushing both the game and the course to be more. Their shapers and project managers from Aspen Corporation were on hand, furiously cutting bunkers with pickaxes and perfecting mounds and visuals. Their professionalism and obsession with detail did not go unnoticed, down to the inch on distance readings and slopes. Adam Bagwell of Aspen was especially tuned in, completely aware of every little nuance of the project and rapid to answer questions as they arose. Giles, the Lynchburg native who played on four Walker Cup teams, captained a winning squad in 1993, won the U.S. Amateur, British Amateur, U.S. Senior Amateur, and countless other tournaments too many to list, has done as much for the game of golf in Virginia as any one man could in a lifetime. Aside from being the low amateur at the Masters in 1968 and the 1973 U.S. Open, he still had all this time on his hands to accrue a valuable vault of stories, my favorites being those about Alvis Hylton, his instructor and head pro at Boonsboro Country Club who he claims, “could always fix my swing.” Hylton went from a worker on the N&W Railroad to golf professional following an accident that injured permanently his left arm, an unlikely sequence of events that led him to Vinny. Figures like Hylton may now be forgotten to most, but we would all be wise to remember him. As we traveled over the raw earth, George immediately took us to the new 6th green. It's a short par 3 with a 30-yard deep tee box, offering wide latitude for staff to set the hole up for competition. George began instructing his Aspen crew to fix minor details on the visual, the barely visible bunker line to the left of the green reminiscent of Seth Raynor's style. “The new sixth hole was created to make room for the new practice facility. It gave us this great opportunity to build a Raynor/McDonald template hole known as a Biarritz. The par 3 is surrounded on both sides by trench bunkers, with an amazing horizon view and swale in the center. The green is seventy paces deep,” George told us. “We have to serve everyone with this design. That means a new look, a new excitement for past, present, and future members. Our changes have done that.” The sun began to set on our visit, and we wrapped up our tour of the grounds before I took the long walk back to where I had parked, by the old clubhouse at the back of a small neighborhood just outside of town. There was a kid in his front yard chipping balls into a small net, and a few had trickled down the road into the asphalt. I walked them back up the hill and asked him what he loved about golf. “It's the best game there is,” he said. “And when I get older, I'm going to play at Washington and Lee.” More info on the Architect: Lester George incorporates his creativity and passion for the game of golf in every golf course design. The blending of his terrain reading ability and his lively interest in the history of golf enables him to visualize imaginative course designs. With over 35 years' experience in the design, renovation and restoration of numerous golf courses throughout the United States and Japan, Lester has been established as a leading golf course architect. Serving as a design coordinator for Golf Services International, Lester worked with other golf course architects studying the intricacies of course design. During this time, he co-founded Virginia Golf Development. Then, in 1991, Lester opened his own firm, Colonial Golf Design, Inc., which has evolved into George Golf Design, Inc. Stanley serves as Executive Director of the Virginia Turfgrass Council. He can be reached via cell at 540-871-9001. You have been listening to The Turf Zone Podcast. Follow The Turf Zone on X, Facebook and LinkedIn for all things turfgrass, featuring podcasts, magazines, events and more. The post George & Giles Leading Major Renovation at Lexington appeared first on The Turf Zone.

Un dimanche matin, lors d'une balade sur une plage de Biarritz, Marc ramasse une drôle de roche. Il ne le sait pas encore, mais ce débris marin va faire basculer son quotidien. Ce qu'il tient entre ses mains est de l'ambre gris. Du jour au lendemain, Marc et sa compagne Christina découvrent les coulisses d'un marché mondial et très fermé, où une simple trouvaille au bord de l'eau prend soudain une valeur inattendue.Cet été, Émotions s'accorde des vacances. Mais pour pimenter votre été, on vous propose de plonger dans les récits les plus obsessionnels du podcast Passages. Laissez-vous embarquer par nos histoires préférées de secrets, d'enquêtes et de mystères à percer. Cet épisode a été initialement diffusé le 16 juillet 2026 dans le flux de Passages. Cet épisode de Passages a été tourné et monté par Elise Costa, la réalisation et le mix sont de Théo Boulenger, Louise Hemmerlé est à la production.Publicités et Partenariats : creative@louiemedia.comVous souhaitez soutenir la création et la diffusion des projets de Louie Media ? Vous pouvez le faire via le Club Louie. Vous pouvez aussi vous abonner à Louie+ sur Apple Podcasts pour écouter les épisodes sans publicités et nos séries en avant-première. Chaque participation est précieuse. Nous vous proposons un soutien sans engagement, annulable à tout moment, soit en une seule fois, soit de manière régulière. Au nom de toute l'équipe de Louie : MERCI ! Suivez Passages sur Apple Podcasts, Spotify, Deezer. Suivez Louie Media sur Instagram, Facebook, et YouTube. Pour avoir des news de Louie, des recos podcasts et culturelles, abonnez-vous à notre newsletter en cliquant ici.Si vous aussi vous voulez nous raconter votre histoire dans Passages, écrivez-nous en remplissant ce formulaire. Mots clés : témoignage - trésor - recherche - enquête - secret - histoires vraies - océan - trouvaille - passion - lubie Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Un dimanche matin, lors d'une balade sur une plage de Biarritz, Marc ramasse une drôle de roche. Il ne le sait pas encore, mais ce débris marin va faire basculer son quotidien. Ce qu'il tient entre ses mains est de l'ambre gris. Du jour au lendemain, Marc et sa compagne Christina découvrent les coulisses d'un marché mondial et très fermé, où une simple trouvaille au bord de l'eau prend soudain une valeur inattendue.Cet épisode de Passages a été tourné et monté par Elise Costa, la réalisation et le mix sont de Théo Boulenger, Louise Hemmerlé est à la production.Publicités et Partenariats : creative@louiemedia.comVous souhaitez soutenir la création et la diffusion des projets de Louie Media ? Vous pouvez le faire via le Club Louie. Vous pouvez aussi vous abonner à Louie+ sur Apple Podcasts pour écouter les épisodes sans publicités et nos séries en avant-première. Chaque participation est précieuse. Nous vous proposons un soutien sans engagement, annulable à tout moment, soit en une seule fois, soit de manière régulière. Au nom de toute l'équipe de Louie : MERCI ! Suivez Passages sur Apple Podcasts, Spotify, Deezer. Suivez Louie Media sur Instagram, Facebook, et YouTube. Pour avoir des news de Louie, des recos podcasts et culturelles, abonnez-vous à notre newsletter en cliquant ici.Si vous aimez les podcasts Transfert, Les pieds sur terre, Profils et que vous avez dévoré Serial Mytho et Loveur Voleur, alors vous allez adorer cette série dans PassagesSi vous aussi vous voulez nous raconter votre histoire dans Passages, écrivez-nous en remplissant ce formulaire. Mots clés : témoignage - trésor - recherche - enquête - secret - histoires vraies - océan - trouvaille - passion - lubieHébergé par Acast. Visitez acast.com/privacy. pour plus d'informations. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

In this episode of Eat Sleep Wine Repeat, Janina heads to Bordeaux, one of the world's most famous wine regions, to uncover a side of Bordeaux that many wine lovers overlook. Beyond the First Growths and headline names, where can you find great value today? How do you know if a fine wine has been stored properly? And why does provenance and traceability matter so much when buying mature Bordeaux? Joined by Michael Saunders, Group CEO of Coterie Holdings, this episode explores the world of Bordeaux fine wine, from First Growths and Cru Bourgeois to En Primeur, mature vintages and hidden gems across the Left and Right Bank. Whether you're looking to learn about wine, deepen your wine education, discover one of the world's greatest wine regions, plan Bordeaux wine travel, or understand how to buy fine wine with confidence, this wine podcast episode is packed with expert insights, practical advice and stories from inside the world of Bordeaux. Shownotes 04:18 – Château d'Yquem 1967 — the bottle that inspired Michael's lifelong passion for Bordeaux and fine wine. 06:24 – Wine is meant to be shared — the lesson Michael learned from legendary Bordeaux winemakers about enjoying wine rather than overthinking it. 10:58 – Breaking into the wine industry — why curiosity matters more than qualifications when building a career in wine. 13:16 – Bordeaux wine today — why this iconic wine region offers more value, accessibility and hidden gems than many wine lovers realise.  15:25 – The Cellar Series explained — how Hallgarten's fine wine programme selects mature Bordeaux with impeccable provenance and traceability. 18:07 – Peak drinking windows — how Robert Mathias MW identifies the perfect moment for mature Bordeaux to be enjoyed. 20:24 – Bordeaux classifications explained — understanding First Growths, Right Bank wines and why classifications still matter today. 22:39 – Where the real excitement is in Bordeaux — terroir expression, plot selection and why innovation is reshaping the region. 24:09 – Michael's Bordeaux recommendation for value: The brilliant Denis Durantou's wines on the right bank. 28:00 – Which Bordeaux vintages are drinking well now? — why 2012, 2013, 2016, 2017 and other overlooked vintages deserve another look. 29:38 – En Primeur explained — how Bordeaux's futures system works and why collectors still buy wine before it's bottled. 32:18 – Large-format bottles — why magnums and double magnums transform both wine aging and the experience of sharing great bottles. 35:55 – Bordeaux wine travel — the city's wine bars, restaurants and the best places to explore across the Left and Right Bank. 37:42 – Planning a Bordeaux road trip — from Saint-Émilion and Pauillac to Arcachon, Biarritz and San Sebastián. 40:05 – Château Margaux — one of Bordeaux's most breathtaking estates and a must-see destination for wine lovers. 41:13 – Why provenance matters — how perfect storage and traceability protect the quality of fine wine. 44:42 – Hallgarten The Cellar Series Fine Wine Tasting — where wine professionals can experience mature Bordeaux with exceptional provenance. Attendance for the 2027 event is by invitation only and exclusive for the wine, retail and hospitality trade. To register your interest, contact events@hnwines.co.uk 45:30 – Where to buy mature Bordeaux — Michael recommends trusted UK merchants including Lay & Wheeler and Tannin & Oak for wines with impeccable provenance and traceability. 48:28 – Cru Bourgeois explained — the fascinating history behind one of Bordeaux's most important quality classifications. 54:40 – Why Cru Bourgeois offers exceptional value — how today's classification helps wine lovers discover outstanding Bordeaux without First Growth prices.

After World War II, American GI colleges sprang up across Europe to educate US soldiers who were still stationed abroad. What was their lasting impact on the local communities, and what did these historic campuses really look like?In this episode of Blue Vote Café, we dive into a fascinating piece of post-war history. Glenn McRae, whose father attended one of these unique institutions, shares his extensive research into the American GI colleges founded in Europe. He is joined by Marc Artzrouni to recount their recent journey to Biarritz, France, where they retraced the footsteps of Glenn's father and visited the sites he would have known.In This Episode:The Legacy of Biarritz American University: We explore how these institutions served as prime examples of American "soft power" at its best and discuss the lasting effects they had on local European communities.Iconic Faculty: Learn about the experts and famous figures affiliated with the university, including the legendary Marlene Dietrich.The Marlboro Connection: Listen for a special shout-out to Marlboro College in Vermont—founded by some of the same people to educate veterans back home on the GI Bill—which also happens to be Rachel's alma mater!

Ep. 189 : 2 x 4 : Toulouse et Bordeaux Règnent !Week-end de finales nationales pour le fleuron du rugby féminin et masculin.Toulouse et Montpellier ont ouvert le bal au Stade de France dans une ambiance électrique et orageuse. Les Toulousains ont sorti une 1ère mi-temps en totale maîtrise dans un stade rouge et noir en ébullition devant les fulgurances de Mauvaka. Avant de se faire très peur en 2ème…Biarritz était le temps d'un dimanche soir la capitale du rugby féminin pour une affiche de rêve : les Bordelaises triples tenantes du titre contre les Auvergnates de Clermont, 1ères au classement et deux fois gagnantes sur les oppositions de la saison.Finalement, pas de nouveau gagnant.e mais bel et bien une double suprématie confirmée de la Garonne sur le reste du monde !N'oubliez pas c'est le Week-End WateRugby à Toulouse ce week-end !Voici l'autre podcast de TK --> L'Année Sobre, un an sans alcool ! https://podcast.ausha.co/l-annee-sobreNotre instagram: Packdepotes_podcastmusique par Manu RodierArt grâce à Albane BorelHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Bun venit la o nouă ediție Vorbitorincii! Astăzi avem un episod plin de povești din călătorii, analize ale realității românești, recomandări culturale de top și un invitat special alături de care pătrundem în cele mai ascunse culise ale investigațiilor jurnalistice. Nu uitați să vă abonați, să dați un like și să ne lăsați părerile voastre în comentarii! ANUNȚ IMPORTANT | VORBITORINCII LA TIMIȘOARA: Sâmbătă, pe 27 iunie, venim la Timișoara împreună cu Cosmin Popa! Mai sunt doar câteva bilete disponibile. Găsiți linkul pentru bilete în comentarii. 00:01:35 - De la Madrid în Țara Bascilor vs. atmosfera de la TIFF. Despre dezamăgiri politice și comunități care inspiră. Radu povestește despre lansarea romanului „Fluturele negru" în spaniolă și vacanța spectaculoasă prin Bilbao, San Sebastian și Biarritz. În replică, Cătălin aduce vibe-ul de la Cluj și TIFF, întâlnirea cu Ovidiu Schumacher și ediția specială cu Nadia Comăneci și Simona Halep. Plus: un gând de admirație pentru Dragoș Pătraru și o reflecție amară asupra crizei guvernamentale actuale. 00:43:32 - Football Leaks, Liverpool și Elena Udrea. 02:51:31 - Spuma Filelor: Recomandări de carte care merită toată atenția dumneavoastră. Volumele analizate în această ediție: „Povestea nemuririi" - Andrei Cornea, „Placebo". Chirurgii în căutarea nemuririi" - Cătălin Vasilescu, „În gură de șarpe" - Cristian Tudor Popescu și „Scriu Iliada" - Pierre Michon. 03:12:49 - Vânătorile Dianei Popescu: Agenda culturală a săptămânii 03:32:03 - Oale, ulcele și tigăi: Tapas și delicii culinare de la Adi Hădean și de la Cluj

SER Viajeros se emite desde Villa Ana, una de las muchas villas preciosas que tiene esta localidad, construida a principios del siglo XX, en la playa de La Almadraba, en la conocida como ruta de las Villas. Se trata de un inmueble histórico que originalmente servía como la casa de los caseros de la vecina Villa María. Una villa restaurada por el ayuntamiento de Benicàssim para acercar la lectura a los residentes y turistas, ofreciendo servicio de préstamo y prensa diaria. Emitir SER Viajeros desde primera línea de playa, en una zona conocida a principios del siglo XX como el "Biarritz del Levante, es todo un lujo. Además, recordamos que esta localidad es Premio Ser Viajeros . Nos acompaña la alcaldesa de Benicàssim, Susana Marqués, con la que conocemos cómo se presenta este verano 2026. Desde este ayuntamiento se hace especial hincapié en la accesibilidad de sus playas: accesos y pasarelas adaptadas para las principales zonas de baño de todo el municipio.En los primeros minutos de programa conversamos también con el Director General de Turismo, Israel Martínez, con el que conocemos el compromiso de Turisme Comunitat Valenciana por un modelo más accesible, inclusivo y competitivo. Y todo esto incluye desde la accesibilidad a lo largo de toda la experiencia turística, espacios públicos como playas, cultura, y también gastronomía. Martínez insiste en que también es un modelo de sostenibilidad social, porque se ha puesto el foco en este punto como una cuestión de convivencia, reputación y competitividad de los destinos.

Bienvenue dans la saison 6 de Canal 16, la radio des Sauveteurs en Mer. Une série inédite de la SNSM dans laquelle sauveteurs et rescapés vous racontent certains des sauvetages les plus emblématiques effectués le long des côtes françaises. Dans ce troisième épisode historique, en 1930 au large de Biarritz, le vapeur Knebworth s'échoue en pleine tempête et se brise en deux. Piégés sur l'épave, les marins n'ont aucune issue. Depuis la falaise, les sauveteurs tentent alors l'impensable grâce à un lance-amarres.Une histoire racontée racontée par Florence de Talhouët, avec la voix de Rebecca Finet. Réalisation son : Nicolas Mollet. Mix : Ben Auriel. Producteur : LACMÉ. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Mercedes González, directora general de la Guardia Civil, comparece en el Senado por su relación con Leire Díaz. Niega conspiraciones contra la UCO y defiende la integridad del cuerpo, aunque su admisión de "dos cafés" con Díaz provoca la petición de dimisión de VOX y PP. José Luis Rodríguez Zapatero está citado en la Audiencia Nacional para declarar sobre el rescate de Plus Ultra y las joyas de su caja fuerte; el juez Calama deniega aplazar su comparecencia. La actualidad política se centra en varios frentes judiciales, incluyendo el caso Ábalos, el juicio al hermano de Pedro Sánchez y posibles medidas cautelares a Begoña Gómez. En el Congreso, PSOE y SUMAR impiden votar una iniciativa del PP y Junts para convocar elecciones generales. Los líderes del G7 se reúnen en Biarritz para tratar la paz en Oriente Medio y la guerra en Ucrania, donde Zelenski pide fabricar baterías antimisiles Patriot. Finalmente, el Hospital 12 de Octubre de Madrid realiza con éxito el primer trasplante ...

Qu'est-ce qui fait la force et la singularité des images d'action sports ? L'IA a-t-elle sa place dans un festival de photo, voire dans le monde de la photographie ? Si oui laquelle ? Enfin, quel est l'impact de la démocratisation de la photo (matériel, connaissances, post-production, diffusion etc) sur notre univers ? 
 Des sujets disséqués en live lors de la 2ème édition du Board Culture Exposure en novembre dernier, au cœur du Casino de Biarritz.
 Autour de la table pour en discuter : Mathias Fennetaux (photographe), Fabrice Laroche (rédacteur en Chef de Fisheye Magazine / Photographe), Kevin Métallier et Greg Poissonnier (les deux organisateurs du festival) ainsi que vos dévoués serviteurs.
 Bonne écoute ! Romain, Rémi & Fred #podcast #surfpodcast > Episode enregistré à Biarritz le 26 octobre 2025 - Egalement disponible sur YouTube, Spotify, Apple Podcasts, et Deezer. Liens dans la bio. Animation : Romain Ferrand / Rémi Chaussemiche
 Production et post-production audio : Fred de Bailliencourt
 Production et post-production vidéo : Jeremy Hugues Faites un don unique ou mensuel à Impact Zone - projet 100% bénévole - via fr.tipeee.com/impactzonesurfpodcast pour contribuer à la production du podcast ✌

Elena Poniatowska, Mexico's most celebrated journalist and one of the most significant literary voices in the Spanish-speaking world, argues in this conversation that the crisis of contemporary journalism is inseparable from the collapse of critical reading—and that both are symptoms of a deeper cultural abandonment. Born in Paris in 1932 to a French-Polish father and Mexican mother, Poniatowska contends that her formation as a writer was shaped by displacement, by learning to listen to those rendered voiceless by history, and by understanding that journalism must be an act of solidarity before it is anything else. Widely credited with helping to establish the genre of testimonio in Latin American letters, she transformed the voices of the marginalised into literature that forced an entire nation to confront its own silence. She maintains that her landmark work La Noche de Tlatelolco was not a journalistic achievement but a moral obligation, and reflects on her decision to refuse the Xavier Villaurrutia Prize, asking who would award the dead. Poniatowska insists that the greatest threat to literature and journalism today is not artificial intelligence but the disappearance of patience—the willingness to sit with a text, a story, or a life long enough for meaning to emerge. At 94, she affirms her belief in the innate goodness of human beings as not a sentiment but a necessity.Elena Poniatowska, la periodista más célebre de México y una de las voces literarias más significativas del mundo hispanohablante, sostiene en esta conversación que la crisis del periodismo contemporáneo es inseparable del colapso de la lectura crítica—y que ambos son síntomas de un abandono cultural más profundo. Nacida en París en 1932 de padre franco-polaco y madre mexicana, Poniatowska afirma que su formación como escritora estuvo marcada por el desplazamiento, por aprender a escuchar a quienes la historia había silenciado, y por comprender que el periodismo debe ser ante todo un acto de solidaridad. Ampliamente reconocida por haber contribuido a establecer el género del testimonio en las letras latinoamericanas, transformó las voces de los marginados en literatura que obligó a una nación entera a confrontar su propio silencio. Sostiene que su obra emblemática La Noche de Tlatelolco no fue un logro periodístico sino una obligación moral, y reflexiona sobre su decisión de rechazar el Premio Xavier Villaurrutia, preguntando quién iba a premiar a los muertos. Poniatowska insiste en que la mayor amenaza para la literatura y el periodismo hoy no es la inteligencia artificial sino la desaparición de la paciencia—la disposición a permanecer con un texto, una historia o una vida el tiempo suficiente para que emerja el significado. A los 94 años, reafirma su creencia en la bondad innata de los seres humanos no como un sentimiento sino como una necesidad.English transcript:SAVAGE MINDS — Elena PoniatowskaJulian Vigo (00:00:15):Welcome to Savage Minds.Julian Vigo (00:00:26):I am your host, Julian Vigo.Julian Vigo (00:00:30):Today's guest is Elena Poniatowska Amor,Julian Vigo (00:00:33):daughter of a French father of Polish origin, Jean E.Julian Vigo (00:00:37):Poniatowski, and Mexican mother Paula Amor.Julian Vigo (00:00:41):She was born in Paris in 1932.Julian Vigo (00:00:46):She has practiced journalism since 1953 at the newspapers El Día, Excélsior, Novedades, and La Jornada.Julian Vigo (00:00:57):She is the first woman to receive the National Journalism Prize.Julian Vigo (00:01:02):Among her works is La Noche de Tlatelolco,Julian Vigo (00:01:05):a classic since its publication, for which she was awarded the Xavier Villaurrutia Prize,Julian Vigo (00:01:12):which she refused, asking who was going to award the dead.Julian Vigo (00:01:17):Her novels and stories include La Flor de Lis,Julian Vigo (00:01:20):De Noche Vienes and Tlapalería,Julian Vigo (00:01:24):Paseo de la Reforma,Julian Vigo (00:01:26):Hasta No Verte Jesús Mío,Julian Vigo (00:01:28):The Life of a Mexican Soldadera,Julian Vigo (00:01:31):Querido Diego Te Abraza Quiela, Tinísima, winner of the Mazatlán Prize in 1992, La Piel del Cielo,Julian Vigo (00:01:40):winner of the Alfaguara Novel Prize in 2001, and El Tren Pasa Primero,Julian Vigo (00:01:48):about the lives of Mexican railway workers,Julian Vigo (00:01:52):winner of the Rómulo Gallegos International Novel Prize in 2007. Leonora won the Premio Biblioteca Breve Seix Barral in 2011. El Universo o Nada (2013) is the biography ofJulian Vigo (00:02:07):astrophysicist Guillermo Haro. Ondas de la Niña Mala is her first poetry collection, andJulian Vigo (00:02:14):her children's books include Boda en Chimalistac, La Vendedora de Nubes,Julian Vigo (00:02:20):El Burro que Metió la Pata, Sansimonsi, illustrated by Rafael Barajas el Fisgón, and ElJulian Vigo (00:02:27):Niño Estrellero by Fernando Robles, and El Charito Cantor by Osvaldo Hernández.Julian Vigo (00:02:34):Her most recent novel, El Amante Polaco, portrays the last king of Poland, Stanisław AugustJulian Vigo (00:02:41):Poniatowski. Translated into 20 languages. Gabi Brimmer and Las Mil y Una, the story ofJulian Vigo (00:02:48):Paulina,Julian Vigo (00:02:49):address social issues.Julian Vigo (00:02:52):After receiving honorary doctorates from UNAM and UAM,Julian Vigo (00:02:57):she was awarded them from the University of Puebla,Julian Vigo (00:03:01):Sonora, Estado de México,Julian Vigo (00:03:04):Guerrero,Julian Vigo (00:03:06):Chiapas, and Puerto Rico.Julian Vigo (00:03:09):She also received honorary degrees from the New School for Social Research in New York,Julian Vigo (00:03:13):Manhattanville College, and Florida Atlantic University in the United States, and fromJulian Vigo (00:03:19):Paris 8,Julian Vigo (00:03:19):La Sorbonne, and Pau-Pyrénées, as well as the Maria Moors Cabot Prize for Journalism atJulian Vigo (00:03:27):Columbia University, New York, in 2004, and from the Universidad Complutense, Madrid, inJulian Vigo (00:03:32):2015.Julian Vigo (00:03:34):She received the French Legion of Honour at the rank of Officer, the Gabriela Mistral Prize from Chile, and inJulian Vigo (00:03:41):2006, the Courage Award from the International Women's Media Foundation.Julian Vigo (00:03:43):In 2013 she was awardedJulian Vigo (00:03:49):the Miguel de Cervantes Prize for literature in the Spanish language, and she received theJulian Vigo (00:03:55):Belisario Domínguez Medal in 2022.Julian Vigo (00:03:58):This is the highest honour granted by the Senate of the Mexican Republic, along with theJulian Vigo (00:04:05):Carlos Fuentes International Prize for Literary Creation in the Spanish Language in 2023.(00:04:12):I welcome Elena Poniatowska to Savage Minds.Julian Vigo (00:04:19):I wanted to begin with a memory I have of you.Julian Vigo (00:04:22):In 1993,Julian Vigo (00:04:25):I think,Julian Vigo (00:04:27):or 94 —Julian Vigo (00:04:28):one of those two years —Julian Vigo (00:04:29):I was in Puebla,Julian Vigo (00:04:31):Cholula,Julian Vigo (00:04:32):teaching at the Universidad de las Américas.Julian Vigo (00:04:35):Yes.Julian Vigo (00:04:36):And you came to give a talk at an observatory — I believe it was Tonantzintla.Elena Poniatowska (00:04:44):Yes, of course.Elena Poniatowska (00:04:46):Yes, I remember it, andJulian Vigo (00:04:49):you made a great impression on me that day. But I must confess that your entire life's work made a great impression on me — not only on me. I wanted to begin with your formation, your life, because you were born in France andJulian Vigo (00:05:12):how do you remember your childhood in France, and what elements of that world did you bring with you when you arrived in Mexico in 1942?Elena Poniatowska (00:05:21):Well, thank you very much for your interest.Elena Poniatowska (00:05:29):I can tell you that I was born in 1932 in Paris, France, because my mother Paula Amor marriedElena Poniatowska (00:05:42):Juan Poniatowski, who held a noble title — that of prince —Elena Poniatowska (00:05:54):because the last king of Poland was Stanisław Poniatowski, who was, I believe, one ofElena Poniatowska (00:06:07):the lovers —Elena Poniatowska (00:06:09):one of the younger lovers of the Empress of Russia, Catherine the Great.Elena Poniatowska (00:06:21):My mother was a woman born also in Paris, of Mexican origin, who leftElena Poniatowska (00:06:32):France because of the Mexican RevolutionElena Poniatowska (00:06:36):and went to live with her parents — Pablo Amor and Elena Iturbe de Amor — inElena Poniatowska (00:06:49):Biarritz, and they later moved to Paris. My mother always spoke Spanish with a French accent. She had two sisters who also lived in France for a long time,Elena Poniatowska (00:07:07):and they were rather Frenchified. She met my father Jean Poniatowski in Paris andElena Poniatowska (00:07:20):married him, and I was born in 1932 in Paris.Elena Poniatowska (00:07:25):I would like to knowJulian Vigo (00:07:31):more about this experience, because as you probably know — especially Americans and Canadians — they think everyone wants to come to their countries. But something they don't know until they travel is that in Mexico, Honduras, and all of Latin America there is a great deal of immigration, people from every country in the world. Why not?Elena Poniatowska (00:08:01):Her mother was in France; my mother was Mexican, born in France. Her family — she had a grandmother, my mother's great-grandmother, who was Russian, and in general her father was educated in England, so they wereElena Poniatowska (00:08:29):Mexicans — Amor is a Mexican surname — but they were very closely tied to Europe. For my mother, living in Europe was very natural becauseElena Poniatowska (00:08:49):she first attended a boarding school in Switzerland, in Lausanne,Elena Poniatowska (00:08:56):and then was in Paris. At a Rothschild ball she met my father JuanElena Poniatowska (00:09:07):Poniatowski and married him in 1931,Elena Poniatowska (00:09:17):or perhaps at the beginning of 1932, because I was born on the 19th of May 1932.Elena Poniatowska (00:09:29):My sister was born in 1933.Julian Vigo (00:09:34):As a child who spoke French and had to learn Spanish, in what way did language become your first tool for survival?Elena Poniatowska (00:09:47):Well, I also know English and French. Language, for me — learning Spanish in Mexico — was obviously about communicating with people in the streetElena Poniatowska (00:09:56):and with friends at school. But French remained my mother tongue, andElena Poniatowska (00:10:03):later I dedicated myself to speaking Spanish with the people at home, with the MexicansElena Poniatowska (00:10:14):I met at school.Elena Poniatowska (00:10:23):Curiously, I attended an English school called the Windsor School, but I learned SpanishJulian Vigo (00:10:38):in the street — one always learns Spanish better in the street. You learn so much from people in Mexico. I found people very warm and open. On the other hand, for Mexicans in my country, it's not the same at all.Julian Vigo (00:10:59):What was the first moment you felt that writing was the only possible way to understand the Mexico around you?Elena Poniatowska (00:11:11):Well, I would never say it was the only possible way.Elena Poniatowska (00:11:17):I think that at twenty,Elena Poniatowska (00:11:22):twenty-one years old, returning from studying at a convent of nuns, I had theElena Poniatowska (00:11:30):good fortune to be able to start writing at a newspaper called, at that time,Elena Poniatowska (00:11:42):Excelsior.Elena Poniatowska (00:11:43):They asked me to submit a daily article,Elena Poniatowska (00:11:48):an interview,Elena Poniatowska (00:11:51):a chronicle, and I did so with enormous enthusiasm and great pleasure, because it allowed meElena Poniatowska (00:12:00):to know Mexico much better, and also to meet great figures of Mexico such asElena Poniatowska (00:12:09):Diego Rivera,Elena Poniatowska (00:12:11):José Clemente Orozco, actresses like Dolores del Río and María Félix, architects likeElena Poniatowska (00:12:20):Luis Barragán, and writers — even writers of my own generation, or slightlyElena Poniatowska (00:12:31):older than me — such as Juan Rulfo,Elena Poniatowska (00:12:38):Rosario Castellanos, Carlos Fuentes, and of course Octavio Paz.Julian Vigo (00:12:46):What a rich life! María Félix — what a figure!Julian Vigo (00:12:52):How was your experience beginning in journalism in the early 1950s in a predominantly male environment?Elena Poniatowska (00:13:05):Well, I was truly very lucky, because people were very kind andElena Poniatowska (00:13:14):even affectionate towards me. No one ever refused me an interview. I was able to reach Alfonso Reyes, Octavio Paz,Elena Poniatowska (00:13:25):the great architect Luis Barragán, José Vasconcelos the philosopher, and all were veryElena Poniatowska (00:13:40):kind and cordial with me, as were important actors like Ignacio LópezElena Poniatowska (00:13:51):Tarso,Elena Poniatowska (00:13:52):and of course those I already mentioned — Dolores del Río, María Félix — and singers, and also many visitors who came from Europe, the United States, or Latin America to perform in Mexico.Elena Poniatowska (00:14:20):Did you know El Indio Fernández?Elena Poniatowska (00:14:23):Yes,Elena Poniatowska (00:14:24):of course —Elena Poniatowska (00:14:25):I interviewed him,Elena Poniatowska (00:14:26):I knew El Indio Fernández, who by ten in the morning was already offering me a tequila, whichElena Poniatowska (00:14:35):I did not drink, as I'm not accustomed to drinking. And also many otherElena Poniatowska (00:14:47):famous actors of that era, like the comedian Cantinflas, whoseJulian Vigo (00:14:56):real name was Mario Moreno. Cantinflas — I know his work. Wow. And you were in Mexico during the same period as Luis Buñuel?Elena Poniatowska (00:15:06):Yes, I ended up with Luis Buñuel — yes, we had a great friendshipElena Poniatowska (00:15:15):because out of affection he came to have lunch at my house several times, so I saw him on manyElena Poniatowska (00:15:24):occasions. We even went together to the prison of Lecumberri to visit, for example, aElena Poniatowska (00:15:33):Colombian who had committed an offence and was imprisoned — his name wasElena Poniatowska (00:15:42):Álvaro Mutis.Julian Vigo (00:15:45):And you have lived through and narrated great social transformations.Julian Vigo (00:15:51):Do you think that today's digital democratisation of public opinion helps social justice, or does it rather dilute real struggles into mere narratives of identity and likes?Elena Poniatowska (00:16:08):Well, I think the Mexican Revolution,Elena Poniatowska (00:16:15):led by a man like Emiliano Zapata, was extraordinary in redistributing the lands and haciendas of Mexico and in giving all MexicansElena Poniatowska (00:16:32):access to better education, better formation, a better life. I consider thatElena Poniatowska (00:16:46):Emiliano Zapata was one of the great heroes of Mexico, even though he personally took away the haciendas of my grandparents, the Amors and the Iturbes.Julian Vigo (00:17:06):What did you learn from the great intellectuals of your youth?Julian Vigo (00:17:08):You mentioned Juan Rulfo, Alfonso Reyes, and many others.Julian Vigo (00:17:15):What influenced your decision to dedicate your life to letters?Elena Poniatowska (00:17:20):No, they did not influence my decision to dedicate myself to letters.Elena Poniatowska (00:17:26):I met them later.Elena Poniatowska (00:17:30):I began as a journalist, a modest journalist, at the newspaper Excelsior in 1953 —Elena Poniatowska (00:17:42):I think 1952 or 1953. Very young. I had come from an education at a convent of nuns inElena Poniatowska (00:17:53):Philadelphia, and I decidedElena Poniatowska (00:17:57):to write chronicles and interviews to get to know Mexico better. I came to know those figures through my work as a journalist, and because I could question themElena Poniatowska (00:18:14):in the language I knew and had learned as a child — at ten years old — which is Spanish. My other languages until then had beenElena Poniatowska (00:18:22):English,Elena Poniatowska (00:18:27):and French, which is my mother tongue.Julian Vigo (00:18:32):You are known for the testimonio.Julian Vigo (00:18:36):At what exact point did you feel that traditional fiction was not sufficient to capture Mexican reality?Elena Poniatowska (00:18:47):As I mentioned, I began by engaging with many valuable MexicansElena Poniatowska (00:18:54):who received me in their homes, gave me their opinions. At the same time as I received what they wished to give me,Elena Poniatowska (00:19:04):I observed how their homes were, how they treated the people around them — their wives, their children, their servants — and all of that helped meElena Poniatowska (00:19:22):to know Mexico better. I also spent a great deal of time in the streets — that is, with the poorest people, whom I was able to reachElena Poniatowska (00:19:34):through my own nature and also with the help of a great Mexican illustrator, Alberto Beltrán. In the street he made sketches of everything the Mexicans did — the newspaper vendors,Elena Poniatowska (00:19:59):the taco sellers,Elena Poniatowska (00:20:03):the women making corn tortillas by hand,Elena Poniatowska (00:20:12):the bakeries, and then the hardware stores where everything was sold — from nails toElena Poniatowska (00:20:22):cleaning cloths — and all of that was a very vital andElena Poniatowska (00:20:32):generous apprenticeship in learning to see the lives of working Mexicans.Julian Vigo (00:20:40):But it is an art — to be able to listen to people, to their voices.Julian Vigo (00:20:53):How did you learn to listen to the voice of the other?Elena Poniatowska (00:20:58):Well, I think it is a natural inclination.Elena Poniatowska (00:21:03):It is not learned.Elena Poniatowska (00:21:05):It is not forced.Elena Poniatowska (00:21:06):It is a way of being.Elena Poniatowska (00:21:10):I am far more interestedElena Poniatowska (00:21:11):in speaking of what others do, how they do it, and who they are, than in speaking of myself, my sensations, my emotions. And I have done this from a very young age, so it has become a habit — it is part of my daily life.Julian Vigo (00:21:36):Do you believe that the testimonio is essentially an act of political resistance?Elena Poniatowska (00:21:44):I think so.Elena Poniatowska (00:21:45):It helps enormously to know the thinking of those who have no power, who are not in power, who do not consider themselves political, who are not leaders — although I did have the great privilege of interviewing leaders and very important figures in Mexico,Elena Poniatowska (00:22:14):such as, for example, the Spanish refugee of the Civil War, Luis Buñuel.Julian Vigo (00:22:26):And how was the process of gathering the voice of Jesusa Palancares?Julian Vigo (00:22:32):How long did it take you to absorb her story?Elena Poniatowska (00:22:38):Well, it was a privilege. I heard her — she was doing laundry in a popular building, a building where many Mexicans lived who had noElena Poniatowska (00:22:56):economic resources. Everything she said caught my attention enormously. I approached her and asked if I could visit her at her home,Elena Poniatowska (00:23:13):which was a very poor house, obviously far from the area where I lived. And so I went toElena Poniatowska (00:23:26):see her once a week. We became friends, and she began telling me her life. And that is howElena Poniatowska (00:23:36):the novel Hasta No Verte Jesús Mío came about. When it was published,Elena Poniatowska (00:23:43):she asked me to give her ten copies to give to her friends —Elena Poniatowska (00:23:52):the bricklayers or the people she had worked with.Julian Vigo (00:24:00):And why did she choose the testimonial genre for Hasta No Verte Jesús Mío?Julian Vigo (00:24:09):It is one of the testimonial novels because —Elena Poniatowska (00:24:16):She didn't really choose it — she didn't. It was I who gathered her words andElena Poniatowska (00:24:27):assembled them in the best way I could. But she did not choose it.Elena Poniatowska (00:24:34):She could not read or write. She did not know how to read or write. But she asked for the books, and I — the cover of the book, what goes on the outside, is the Santo Niño de Atocha, a small Christ child that she liked.Julian Vigo (00:25:08):And I saw it in the street, and so I put it there so she would be happy. But I was asking you about the testimonial genre — in 1969 it was not a common thing in literature.Julian Vigo (00:25:26):How was this novel received?Julian Vigo (00:25:30):I wonder if people were confused.Julian Vigo (00:25:32):Is it a true story or is it fiction?Elena Poniatowska (00:25:35):No, it was very well received. The book was greatly liked.Elena Poniatowska (00:25:41):Immediately many editions came out and it was translated into English and French.Julian Vigo (00:25:51):And I wonder if at that time — less so today — people were confused because they did not know if it was a completely real story or partly real. Because the novel Hasta No Verte Jesús Mío was categorised as a novel.Elena Poniatowska (00:26:16):Yes, that's right, that is what it was.Elena Poniatowska (00:26:19):It is a novel based on a character — a woman who was in the Mexican Revolution, the life of a soldadera. To what extent is Jesusa an invented character or a real woman? I have said it, I have written it many times: Jesusa is a real character. After that I wroteElena Poniatowska (00:26:49):other books about other women who were also real characters. I had the joy of knowing Jesusa in person, but for example Tina Modotti, the main character ofElena Poniatowska (00:27:08):the novel Tinísima, I did not know. And other novels about other women and other characters I also did not know.Julian Vigo (00:27:22):What lessons about the resilience of Mexican women did you learn from Jesusa that remain relevant today?Elena Poniatowska (00:27:31):All the women in Mexico whom I see and engage with and encounter in the streetElena Poniatowska (00:27:41):and who come to my house — they are women who have known how to struggle and continue to struggle. For example, one woman, Rosario Ibarra de Piedra, whose son was disappeared, and who searched all of Mexico — she is obviously one of the heroines who has most caught my attention.Julian Vigo (00:28:10):And especially in recent years — almost thirty years — the femicides and the disappearances of men and women. You are still fighting for your society, and I think literary words have the power to carry reality forward. I am thinking of La Noche de Tlatelolco — that was the first book of yours I read. It is incredible. I have no words. Thank you. It is one of the best books of the twentieth century, and I teach it. It is astonishing. Can you speak about why you began that work, and also for those listening now who do not know the history of what happened in Mexico?Elena Poniatowska (00:29:03):Well, in general I can tell you that I received letters from a prisoner in the jail — Jesús Sánchez García — and I began going to Lecumberri, which was called the Black Palace of Lecumberri. It was no palace — it was a prison with bars and cells. I asked permission from the prison director — I believe his name was Martín del Campo — and he gave it to me. That is how I went to gather life stories from men, and later, at the women's prison, from women who had nothing to do with my own life, who bore no resemblance to what I hadElena Poniatowska (00:30:03):lived or what I would go on to live.Elena Poniatowska (00:30:16):That was an enormous enrichment for me, and a knowledge of an unknown Mexico that also helped me understand MexicoElena Poniatowska (00:30:31):— a Mexico to which I owe a great deal.Elena Poniatowska (00:30:35):I think that everything I am I owe to the voice, and to the gift of their voice, that the poorest Mexicans gave me — those I was able to approach over years and years,Elena Poniatowska (00:30:52):going to the prison and sometimes going to their own very poor homes, called vecindades, which were located in the very neighbourhoods where the prisons were.Julian Vigo (00:31:11):How did you manage the pain and trauma of the testimonies you heard while assembling the book?Elena Poniatowska (00:31:22):Pain is not managed. To manage something is to seek something. Pain is simply assumed and lived. So the pain is in the words written in the book.Julian Vigo (00:31:46):And why did you choose the technique of a collage of voices rather than a linear, chronological narrative for this book?Elena Poniatowska (00:31:57):I have many other books that speak even of personal stories — books that contain much of biography.Julian Vigo (00:32:13):Yes, but it is very interesting how you wove those narratives together in this book. It is very beautiful, in fact.Julian Vigo (00:32:24):Was there any moment during the writing of La Noche de Tlatelolco when you felt fear or censorship?Elena Poniatowska (00:32:33):Well, there was always the dread of entering terrain unknown to me.Elena Poniatowska (00:32:40):Ultimately, I was educated —Elena Poniatowska (00:32:45):I spent time in the United States at a convent to be educated, not to become a nun — it was called the Sacred Heart Convent.Elena Poniatowska (00:33:03):When I came out I was speaking English. My mother tongue is French. And when I left there, my strongest desire was truly to know Mexico — the country I had arrived in at the age of ten, but in which I had received an educationElena Poniatowska (00:33:30):in both English and French, not in Spanish.Julian Vigo (00:33:36):More than fifty years later, what impact do you think that book has on the collective memory of young Mexicans today?Elena Poniatowska (00:33:48):Well, I think that is a question that should be put to them.Elena Poniatowska (00:33:55):What I can say is that I have receivedElena Poniatowska (00:33:59):a great deal of affection from young people — many come to find me at my home, and I give lectures and talks with some frequency. Remember that I am already 94 years old and have lost the use of my left eye, which prevents me from seeing well. So within my limitations,Elena Poniatowska (00:34:27):I remain in contact with the people who want to see me, which for me produces great enthusiasm and which I experience as great support.Julian Vigo (00:34:42):The book you wrote is something very specific — evidently about Mexico — but it is still a book with which everyone can identify. If we look around today, where there are acts of political repression in almost every country in the world in one form or another — and I know your books are translated into many languages — I wonder whether the power of La Noche de Tlatelolco came from the form of the narration itself, not only from the fact that you confronted the government, the police, and justice. You narrated a story of the people seeking justice, yes, but literature itself was also seeking truth within its pages. There are wars everywhere, there is too much sadness. After the lockdown — which was less bad in Mexico than here in Italy — we are living through a very difficult moment. Do you sometimes think of this book as a model for dialogue, for collaboration, for moving forward together, the people united?Elena Poniatowska (00:36:09):Well, what I love about this book is that it has so many voices — many voices gathered from mothers of families, from children of political prisoners. For me it was a great learning experience to go to the prison in Mexico and see a world I did not know, to be accepted in that world, to go frequently to hear and gather the voices of political prisoners and of young people whoElena Poniatowska (00:36:52):didn't even have strong political ideas but were imprisoned because they had stolen something in a market. It meant entering a world I was completely unfamiliar with,Elena Poniatowska (00:37:13):to which I did not belong. And it was an enormous lesson — a very generous lesson — in how the lives of others can be. That is what I have dedicated myself to over many years, because I remain a journalist and continue writing about disasters such asElena Poniatowska (00:37:39):not only the massacre of the 2nd of October, but what the earthquake of 1985 meant for Mexico and the loss, for many Mexicans, of their families and their homes.Julian Vigo (00:37:59):Yes. You documented the earthquake of ‘85 — a moment when the Mexican government was completely paralysed and it was civil society that took control to rescue the city.Julian Vigo (00:38:15):Do you believe that peoples are still alone in the face of tragedy, or is that organic solidarity you described an invincible force?Elena Poniatowska (00:38:29):Yes,Elena Poniatowska (00:38:29):of course.Elena Poniatowska (00:38:30):I believe — that is why I believe in the invincible force of Mexicans, who help and support each other, who run to answer a cry for help. They are the ones who save themselves by saving others. I believe in that truth. It is a truth I lived, that I witnessed,Elena Poniatowska (00:38:57):and for me it is a lesson, a way of life.Julian Vigo (00:39:03):Does it reflect the structural abandonment of the seamstresses, the inhabitants, those who live in vecindades, and the poorest?Julian Vigo (00:39:13):How did you manage, in the midst of the chaos, the dust, and the mourning of those days, to earn the trust of people so that they would share their most painful and raw testimonies?Elena Poniatowska (00:39:30):Well, I have two physical advantages.Elena Poniatowska (00:39:32):I am small in stature. I frighten no one. No one is afraid of me. I can go anywhere. I am not someone who imposes anything at all, and I know how to listen. So by listening to others' voices, I gather them, I keep them, I memorise them,Elena Poniatowska (00:40:03):and then I put them on paper.Elena Poniatowska (00:40:06):That is the most solitary and difficult moment — writing about what happens to others,Elena Poniatowska (00:40:21):their sorrows,Elena Poniatowska (00:40:22):their joys,Elena Poniatowska (00:40:24):their defeats and also their triumphs —Elena Poniatowska (00:40:28):and making books and articles from them. Because I am also a journalist sinceElena Poniatowska (00:40:38):1953. I am now 94 years old.Julian Vigo (00:40:47):You're listening to Savage Minds.Julian Vigo (00:40:49):If you're enjoying the show, take a second to subscribe at savageminds.co.Julian Vigo (00:40:54):Feel free to comment below or drop us a line to share your thoughts.Julian Vigo (00:40:59):Support independent media today.Julian Vigo (00:41:01):Now, let's get back to it.Julian Vigo (00:41:15):Many consider that the earthquake of ‘85 not only brought down buildings but also toppled the myth of the Mexican State's absolute control — marking the true birth of modern citizenship in the country.Julian Vigo (00:41:33):From your perspective as a chronicler —Elena Poniatowska (00:41:40):I think Mexicans have always had enormous character and enormous capacity to defend themselvesElena Poniatowska (00:41:49):in spite of their own poverty, or in spite of the total absence of outside help.Elena Poniatowska (00:42:02):There was in Mexico a Mexican Revolution,Elena Poniatowska (00:42:08):a country conquered by very cruel conquerors, and yet the country has continued to forge ahead and has continued to demonstrate its bravery and courage in allElena Poniatowska (00:42:28):circumstances — one of which was, for example, the earthquake, in which the neighbours themselvesElena Poniatowska (00:42:37):helped each other before the State or the so-called government did anything.Elena Poniatowska (00:42:46):So I think it is a country with many very brave men, women, and children who save themselves, who know how to look after themselves.Elena Poniatowska (00:43:03):Of course there are people who don't know how to do it, and there are people who sometimes end upElena Poniatowska (00:43:12):in prison or in hospital. But in general Mexico is a country of very solidary people, people who help each other and defend themselves.Julian Vigo (00:43:31):What I love about your books in general is that you give voice — you shed light on the lives that are forgotten.Julian Vigo (00:43:42):Do you feel that in this book, for example, or in Nadie Me Verá Llorar, the author's voice becomes more present or closer to her characters than in your earlier works?Elena Poniatowska (00:43:56):No,Elena Poniatowska (00:43:57):I think that element is present in all my works — in Hasta No Verte Jesús Mío, in the book about the 2nd of October, in the earthquake — and it is always present in everything I still do at the newspaper where I work. I am in a certain way a chronicler and aElena Poniatowska (00:44:21):participant in the lives of other Mexicans.Julian Vigo (00:44:27):And I also notice that many of your works are about women — Tinísima, the life of Tina Modotti, a woman who lived so many lives in one. Leonora. And I wanted to ask — before we get to those books — about Querido Diego Te Abraza Quiela. Why did you choose that subject? Not only Diego Rivera but his first wife.Elena Poniatowska (00:44:59):I was moved to learn that in Paris, Angelina Beloff had gone to Mexico to seeElena Poniatowska (00:45:12):Diego Rivera, whom she had supported in Paris. He had lived with her and had livedElena Poniatowska (00:45:22):off her, because she was the one with a salary. He was a very young painter withoutElena Poniatowska (00:45:33):money, without resources. She helped him. And when she went to Mexico, she had also hadElena Poniatowska (00:45:42):the only male child that Diego Rivera ever had, who died of cold in Paris. And when she decided to go to Mexico — in a sense, to get to know the country of her lover — she decided to go to the Palacio de Bellas Artes because she knew that heElena Poniatowska (00:46:11):would be there. And he walked right past her — past the seat, one of those red velvet seats in the Palacio de Bellas Artes, called butacas, in which she was sitting — he walked past and did not even recognise her.Elena Poniatowska (00:46:40):That story struck me deeply, and that is why I decided to write the small book —Elena Poniatowska (00:46:55):it is not a very long book —Elena Poniatowska (00:46:58):called Querido Diego, Te Abraza Quiela.Julian Vigo (00:47:00):In Tinísima, what was it that drew you to the life of Tina Modotti?Elena Poniatowska (00:47:08):In reality it came from a request to make a film. The cinematographerElena Poniatowska (00:47:17):Gabriel Figueroa told me that a film was going to be made about Tina Modotti, the Italian woman who had been in Mexico. So I began interviewing all the people who had knownElena Poniatowska (00:47:38):Tina Modotti. And even when I was invited to France for a conference, I had theElena Poniatowska (00:47:47):opportunity to go to Udine in Italy to meet and get to know the siblings of Tina Modotti —Elena Poniatowska (00:48:00):to see them, interview them, speak with them.Elena Poniatowska (00:48:05):Then when I was told that the film about Tina Modotti in Mexico was no longer going to be made because there was no money, I — who had gone at my own expense to that conference in France and another writers' conference inElena Poniatowska (00:48:37):Italy — decided to launch into writing the novel called Tinísima, because I hadElena Poniatowska (00:48:48):interviewed many old communists whom I had gone to visitElena Poniatowska (00:48:56):in their various homes — generally very modest, very poor homes.Elena Poniatowska (00:49:03):I did not want to let them down, and so the novel Tinísima was published.Julian Vigo (00:49:10):And to what extent does Tina Modotti represent the struggle of the woman artist in the twentieth century?Elena Poniatowska (00:49:19):To the extent that she commits herself —Elena Poniatowska (00:49:23):she takes photographs of Mexico alongside Edward Weston, and then goes alongsideElena Poniatowska (00:49:33):Commander Carlos of the Fifth Regiment to Spain — she goes to the Spanish Civil War and becomes a nurse, caring evenElena Poniatowska (00:49:52):on the ground for the bodies that had fallen on the earth before taking them to the Red Cross — giving them first aid and dedicating herself to saving lives,Elena Poniatowska (00:50:08):or helping to save lives. I believe that many soldiers did not die thanks to the care of this womanElena Poniatowska (00:50:19):who was in the trench following the doctors.Julian Vigo (00:50:25):You have said that the writer must be a bridge.Julian Vigo (00:50:29):Between what worlds do you think it is most necessary to build bridges — or should we be breaking bridges today?Elena Poniatowska (00:50:38):No, I think one should never break a bridge, for anything.Elena Poniatowska (00:50:42):I think one mustElena Poniatowska (00:50:45):communicate — that the most important thing in the life of any human being is dialogue. Peoples too must dialogue with others in order to know each other. I think Mexico must have a dialogue with the United States, and that many Mexicans who have returned fromElena Poniatowska (00:51:09):the United States because TrumpElena Poniatowska (00:51:12):did not want to receive them, has rejected them — well, they nevertheless had, with another nation or with the inhabitants of another nation, knowledge and dialogue.Elena Poniatowska (00:51:28):And that I believe is what is called,Elena Poniatowska (00:51:34):within Catholicism if you like, or within any religion by whatever name it may be called — that is human fraternity. The otherElena Poniatowska (00:51:50):is the one who exists and who awaits you and whom you must help, because perhapsElena Poniatowska (00:51:58):one day you will need him to extend a hand to you.Julian Vigo (00:52:05):Trump is certainly a character, but I see the situation as too tragic for Americans — the United States, still my country — because the reality is that a large part of the Western world has absolutely no idea of the immense cultural, intellectual, and spiritual richness of Mexico.Julian Vigo (00:52:30):For me, it's not only Trump —Julian Vigo (00:52:32):but Americans, Canadians, etc.Julian Vigo (00:52:35):know nothing about the sharpest chroniclers of this country. If you had to open the eyes of an international audience completely unaware of Mexico's depth, what would you say is the most valuable treasure of Mexican identity that the rest of the world is missing?Elena Poniatowska (00:53:01):Well, I must say that many North Americans have come and written about Mexico — anthropologists and sociologists. We have Oscar LewisElena Poniatowska (00:53:17):and many others who have written about the poorest Mexicans, starting in Tepoztlán, a city near Mexico City, following them to the vecindades in the city where they took refuge and found very modest work. So yes, there have been North AmericansElena Poniatowska (00:53:44):who have written about the richness and beauty of Mexico, and their books areElena Poniatowska (00:53:53):translated into Spanish and are admired and appreciated by Mexicans who are grateful that attention is paid to them. So one cannot say that no one who has come from outside has cared about Mexico — in archaeology, in anthropology, as well as figures like Frances Toor, who was a North American woman who created a magazineElena Poniatowska (00:54:39):called Mexico Today and wrote extensively about Mexican customs and lived in Taxco.Elena Poniatowska (00:54:41):For example, a certain William Spratling enriched himself personally but helped many Mexicans inElena Poniatowska (00:54:51):Taxco to learn how to work silver and sell silver. And still today many foreigners and tourists go to buy silver objectsElena Poniatowska (00:55:10):that come from a mine discovered by foreigners — and clearly alsoElena Poniatowska (00:55:20):plundered, one might say, by foreigners.Julian Vigo (00:55:30):Because not everything is entirely good or entirely bad. But I was referring to the fact that — as you know, having been in the United States and many other countries — Trump and far too many people insufficiently educated about Mexico think that all Mexicans want to invade the United States. But the reality is otherwise. In Mexico there was a great cinematic tradition, for example. Mexican cinema has greatly influenced Hollywood — not only today but throughout history. The Oscar statuette itself was modelled on the body of El Indio Fernández. People do not know the depth of Mexican philosophy. I am thinking of Sor Juana, who contributed so much to poetry, theatre, even science — if we think of her letter to Sor Filotea, who was actually Manuel Fernández de Puebla. That dialogue was very important. Western feminists know nothing of these exchanges between those two figures. But for me Mexico has an enormous and very important force in the history of philosophy, science, and feminism. And I am thinking of Octavio Paz's book on Sor Juana Inés de la Cruz, called Sor Juana Inés de la Cruz, or The Traps of Faith. You knew Paz closely. Did you have conversations with him about his perspective on this book — especially regarding the power dynamics of the Church and the silencing she suffered as an intellectual woman?Elena Poniatowska (00:58:09):No, but I think you are mixing very many topics into one question, and it isElena Poniatowska (00:58:18):difficult to answer you because you are speaking of very diverse things that evenElena Poniatowska (00:58:27):happened in different centuries.Elena Poniatowska (00:58:30):Sor Juana — there have always been in Mexico,Elena Poniatowska (00:58:34):before Octavio Paz, people who dedicated themselves to reading,Elena Poniatowska (00:58:40):studying, and getting to know Sor Juana Inés de la Cruz.Elena Poniatowska (00:58:45):I will not add more names to those you mentioned, but there are many studies and many Sor Juana scholars in Mexico, as well as at the University of SantaElena Poniatowska (00:59:01):Barbara, California, in Paris, in France —Elena Poniatowska (00:59:04):there are many studies on the great figures of Mexico — not only The Traps of Faith by the Mexican poet Octavio Paz. So these are studies that will continue and do continue. In California, for example, Sara Poot HerreraElena Poniatowska (00:59:32):is dedicated to studying Sor Juana Inés de la Cruz, along with many other scholars — I don't know if she is still living — whose name was Rivers. All of these are studies that have been carried out in Mexico and outside Mexico.Julian Vigo (00:59:55):No, I was asking specifically about Paz's book because you knew him and —Elena Poniatowska (01:00:03):I knew him,Elena Poniatowska (01:00:04):I admired him, and I also wrote about him. I have a book about him. I admired him,Elena Poniatowska (01:00:12):I knew him, his poetry dazzled me. And he is a man whom I have admired since getting to know him, and whom I also hold with affection.Julian Vigo (01:00:29):I asked about your relationship with him because sometimes it happens to me too — with other writers — one asks or someone asks me, “Why did you do that?” It is a dialogue. Because that book, The Traps of Faith, had something very important — not only for Mexico but it placed the image of Sor Juana before the world. Many people began to ask who this nun was because it is very important. I was asking about the presentation Paz gave of her — whether you had any dialogues with Paz from your own perspective.Elena Poniatowska (01:01:20):Well, yes, of course. But there were others who also spoke at great length about Sor Juana de la Cruz — other Mexicans before Octavio Paz, other Mexicans who, for example, also concerned themselves with indigenous peoples, such as a priest — Ángel María Garibay — who was also a Sor Juana scholar. So there are many studies on Sor Juana Inés de la Cruz and there are Sor Juana scholars in Santa Bárbara, for example, such as Doctor Sara Poot Herrera and others — a woman by the name of Rivers and many more.Julian Vigo (01:02:16):You have dedicated your life to listening and giving voice to those who have none, through the chronicle and literature.Julian Vigo (01:02:26):Today,Julian Vigo (01:02:27):with social media,Julian Vigo (01:02:28):it seems that everyone has a platform for opinions.Julian Vigo (01:02:32):But are we really listening?Julian Vigo (01:02:36):What happens to the power of the word when it becomes a constant noise, as in social media?Elena Poniatowska (01:02:45):I don't know.Elena Poniatowska (01:02:46):I suppose it loses efficacy.Elena Poniatowska (01:02:49):But that depends on the activity of each human being.Elena Poniatowska (01:02:58):There are people — elderly people, for example, people already old — for whom life,Elena Poniatowska (01:03:08):even in institutions, in care homes, means turning the television on from morning until night and being entertained — that is, entertained without making the least effort of criticism or thought in front ofElena Poniatowska (01:03:29):the television.Elena Poniatowska (01:03:31):I have seen that this has been very important in keeping the elderly calm andElena Poniatowska (01:03:41):allowing them to die little by little in institutions called health facilities, where they have thisElena Poniatowska (01:03:52):constant and rather sad entertainment. ButElena Poniatowska (01:03:59):as they say in Mexico: no hay de otra — there is no other option, or no other option has been found, or there are not enough people willing to dedicate themselves to attending to and caring for others. So I see it as an end of lifeElena Poniatowska (01:04:28):for an individual who was once a thinking individual, who knew how to act,Elena Poniatowska (01:04:37):who knew how to elevate himself,Elena Poniatowska (01:04:41):to become a better human being. And I find it sad.Julian Vigo (01:04:46):Today, and for twenty years now, I have noticed as a university professor that students are reading less and less. Today, with so-called artificial intelligence — so-called because intelligence it is not — students are not reading. How can literature or journalism restore the true value and depth of words when we are in a world full of social media, opinions, and videos of a cat doing something funny?Elena Poniatowska (01:05:31):Your question is very difficult because I don't have the answer.Elena Poniatowska (01:05:37):What I can say is that ultimately it depends on the teachers.Elena Poniatowska (01:05:44):It depends on students having a good teacher,Elena Poniatowska (01:05:49):because even I have seen in classes —Elena Poniatowska (01:05:54):in different classes —Elena Poniatowska (01:05:57):that many young people continue looking at their phones while the teacher is writing onElena Poniatowska (01:06:07):the board, or speaking, or giving a class.Elena Poniatowska (01:06:13):So we shall see whether the destiny of young people will depend on what theyElena Poniatowska (01:06:21):learn from their phone. I don't have a phone —Elena Poniatowska (01:06:27):I never bought one,Elena Poniatowska (01:06:28):never got one. Or whether they will be able to go beyond themselvesElena Poniatowska (01:06:37):and beyond above all what the phone wants to give you or teach you or not teach youElena Poniatowska (01:06:46):or distract you from — because ultimately it is a distraction. Yes.Julian Vigo (01:06:53):Writing something to share — in quotation marks — they are sharing nothing in the end. I have noticed that many people are sharing articles they have not read. Young people are embracing identity politics and cancel cultureJulian Vigo (01:07:16):in the absence of any engagement with material reality today.Julian Vigo (01:07:21):That is my fear —Julian Vigo (01:07:23):that the millennials,Julian Vigo (01:07:26):this generation of thirty-year-olds,Julian Vigo (01:07:31):are fixated on pronounsJulian Vigo (01:07:36):but do nothing to help their neighbour.Julian Vigo (01:07:41):They do nothing to fight for living wages.Elena Poniatowska (01:07:46):Well, not all of them.Elena Poniatowska (01:07:49):It's a generalisation, of course.Elena Poniatowska (01:07:54):But I think you are right.Elena Poniatowska (01:07:58):It is a generalisation, because in any case there are human beings who live for others.Julian Vigo (01:08:08):We are in two camps today, because during the lockdown I noticed that many people — even on the right — were fighting for the poor in the United States, where I published. I could not publish a single article questioning the lockdown. That is when I started Savage Minds, because I was asking: what is happening? I no longer recognise this world in which the left is pushing people not to speak. We weren't talking about the lockdown, and the right was speaking very openly. And I see that politically, left and right — there is no longer that dichotomy, so to speak.Elena Poniatowska (01:09:02):Yes,Elena Poniatowska (01:09:03):I thank you greatly for your interest and I thank you enormously for this conversation. I feel animated,Elena Poniatowska (01:09:11):I feel glad to hear what you are saying.Elena Poniatowska (01:09:19):But I do feel that,Elena Poniatowska (01:09:22):as you say,Elena Poniatowska (01:09:23):the speed,Elena Poniatowska (01:09:26):the pace of all events,Elena Poniatowska (01:09:29):the television —Elena Poniatowska (01:09:32):it sets critical thinking and reflection on events to one side,Elena Poniatowska (01:09:41):because everything must be immediate, mustn't it?Elena Poniatowska (01:09:46):That is to say, everything ends in a second. Even the deepest interests sometimes last onlyElena Poniatowska (01:09:56):a few — one might even think, as we say in Mexico,Elena Poniatowska (01:10:01):un ratito — just a little while. There is no continuity in ideas orElena Poniatowska (01:10:12):even in purposes. There is something we all know called habit, and each personElena Poniatowska (01:10:21):lives according to the habits they have established in order to keep going —Elena Poniatowska (01:10:28):to keep existing, if you will. To make it to night, fall asleep, and know that you will wake the following day. Or perhaps you won't wake, because — well, for example, IElena Poniatowska (01:10:45):am a person of 94 years old and I have no certainty that I will see the following morning. ButElena Poniatowska (01:10:55):what I do believe is thatElena Poniatowska (01:10:58):I believe in the innate goodness of every human being.Elena Poniatowska (01:11:03):I have to believe in it, because I need that hope.(01:12:02): Get full access to Savage Minds at www.savageminds.co/subscribe

Cette semaine dans Swing, on plonge au cœur du moment le plus intense et passionnant du calendrier amateur : les championnats de France de Division Interclubs ! Une ambiance à part où le golf se transforme en un véritable sport d'équipe.Nicolas Calvet, joueur professionnel sur l'Alps Tour et vainqueur du Trophée Gounouilhou 2018 avec Biarritz, est avec nous pour évoquer cette semaine spéciale et le plaisir de défendre les couleurs de son club.Thomas Monconduit, footballeur professionnel et capitaine de l'équipe 1 de golf d'Amiens, vient raconter de l'intérieur la superbe semaine vécue par les joueuses amiénoises en Golfers'.À la veille du coup d'envoi du tournoi de Roissy, nous faisons le point sur les dynamiques et ce qu'il faut attendre de cette étape du circuit.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Voici l'essentiel sur la vague de chaleur précoce qui frappe la France. Here is the essential information about the early heatwave hitting France.Concrètement, le pays subit un épisode de chaleur extrême bien avant l'heure, avec des températures qui s'envolent totalement au-delà des normales de saison. Concretely, the country is experiencing an extreme heat episode well ahead of time, with temperatures soaring completely beyond seasonal norms.Alors pourquoi est-ce qu'on a soudainement l'impression d'avoir basculé en plein mois d'août ? So why does it suddenly feel like we've fast-forwarded to the middle of August?Tout vient d'un phénomène qu'on appelle le dôme de chaleur. It all comes from a phenomenon called a heat dome.En fait, de l'air super chaud remonte du Maroc via la péninsule Ibérique, et se retrouve complètement bloqué par un puissant anticyclone. In fact, super hot air is rising from Morocco via the Iberian Peninsula, and finds itself completely blocked by a powerful high-pressure system.Des villes comme Bordeaux, Biarritz et Toulouse ont déjà franchi les 30 degrés, et les prévisions annoncent carrément des pics à plus de 35 degrés localement dans le sud de l'Aquitaine ce vendredi. Cities like Bordeaux, Biarritz, and Toulouse have already crossed 30 degrees, and forecasts are even predicting peaks of over 35 degrees locally in the south of Aquitaine this Friday.Enfin, préparez-vous, parce que cette chaleur écrasante va stagner pendant tout le week-end. Finally, brace yourselves, because this stifling heat is going to linger throughout the weekend.Et surtout, avec le changement climatique en toile de fond, les météorologues nous avertissent que ces épisodes extrêmes vont frapper de plus en plus tôt dans l'année. And above all, against the backdrop of climate change, meteorologists warn us that these extreme episodes will strike earlier and earlier in the year. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

https://daredaniel.com/wp-content/uploads/2026/05/CANON-FODDER_S01_E61.mp3 The Green Ray (1986; Dir.: Eric Rohmer) Canon Fodder Episode 61 After spending several months deciding where to hold the annual Canon Fodder company retreat, Daniel and Corky slouch all the way from Cherbourg to Biarritz to review Eric Rohmer’s The Green Ray. Also known as Le Rayon Vert, the film follows the emotionally messy Delphine on her unsuccessful attempts to take a languorous French vacation. But did your hosts feel that Rohmer’s film Vert‘s so good or were they unable to get their Rayon on? THE GREEN RAY FACTS & FIGURES Sight & Sound 2022 Critics Poll Ranking: #225 [tied] World premiere: Aug. 29, 1986 IMDB synopsis: “It’s July, and Delphine has nowhere to go for the summer. She feels very bored and “empty”, but this won’t last; one day she accidently meets someone who seems to be totally made for her…” CLIPS & CLIPPINGS Theatrical trailer for The Green Ray Delphine in the countryside Hiding from the World NEXT EPISODE’S MOVIE Out of the Past (1947; Dir.: Jacques Tourneur) IMDB synopsis: “A private eye escapes his past to run a gas station in a small town, but his past catches up with him. Now he must return to the big city world of danger, corruption, double crosses, and duplicitous dames.” Our review of Out of the Past comes out Tuesday, May 26! Follow Dare Daniel & Canon Fodder on Facebook and Instagram. Be sure to listen, rate, review and subscribe to the show on Pandora, Apple Podcasts, Spotify, Listen Notes, Castbox and more. New episodes every other Tuesday! Please help support the show by clicking the Donate button on the homepage or find “Support the Show” in the main menu. Read more of Daniel’s movie reviews at Dare Daniel and Rotten Tomatoes. The post Canon Fodder – The Green Ray appeared first on Dare Daniel Family of Podcasts.

En este episodio hablamos del primer desfile crucero de Chanel bajo la dirección de Matthieu Blazy en Biarritz y de cómo esta nueva etapa busca redefinir el lujo para una generación distinta. También exploramos el fenómeno de las “birthday bags” y cerramos con una conversación mucho más personal: la nostalgia universitaria. Recordamos las cosas simples que nos hacían felices en esa época, las rutinas, amistades y pequeños momentos que hoy vemos con cariño y nostalgia. Un episodio entre moda, cultura y memorias compartidas.

Lauren's guest is Daytona Williams, the founder and editor-in-chief of Neptune Papers, which is celebrating its fifth anniversary with a sprawling 468-page issue. They get into the evolution of Neptune, before going deep on the aftermath of Salone del Mobile, Phoebe Philo's media strategy, Chanel's upcoming show in Biarritz, the resort show season, and plenty more. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

New-York, Montréal, Penang, Berlin, Barcelone, Amsterdam... Partout dans le monde, les villes durcissent leurs réglementations pour freiner la prolifération des locations touristiques de courte durée. Principale cible : Airbnb.   En moins de 20 ans, la plateforme est devenue un acteur majeur du tourisme mondial avec une offre dans plus de 150 000 villes, plus de 8 millions d'annonces actives pour un chiffre d'affaires de 11 milliards de dollars en 2024. Au départ, alternative moins chère aux hôtels, permettant une expérience d'hébergement plus authentique pour les voyageurs et un complément de revenu pour les propriétaires, Airbnb s'est petit à petit métamorphosé et avec, les villes visitées. Pour beaucoup de propriétaires, la location courte durée est devenue une aubaine bien plus rentable que la longue durée.   Conséquences pour les habitants, une offre de logements disponibles qui s'amenuise, une hausse des loyers et une cohabitation de plus en plus tendue avec les touristes et les fameux « digital nomads ».   Les capitales ne sont pas les seules concernées. En France, par exemple, des communes de taille moyenne comme La Rochelle, Biarritz ou Nice ont vu leur centre-ville se transformer avec Airbnb. Les épiceries, les cordonneries, les magasins d'optique ou autres quincailleries laissent place à des coffee shops, des commerces de restauration rapide ou des magasins de souvenirs. Néanmoins, pour d'autres communes, l'arrivée d'Airbnb a permis d'améliorer l'offre d'hébergement touristique et de redynamiser la vie locale. Alors quelles sont réellement les conséquences d'Airbnb sur les villes ? Et comment elles s'organisent face à l'explosion du tourisme de plateforme ?   Cette émission est une rediffusion du 15 décembre 2025. Avec : • Chloé Tegny, cheffe de groupe au Département opinion de l'Ifop. Co-autrice avec Jérôme Fourquet et Sylvain Manternach d'une étude pour l'Institut Teram Tourisme 2.0 : anatomie de la France Airbnb parue en octobre 2025   • Francesca Artioli, politiste et urbaniste, maîtresse de conférences à l'École d'urbanisme de Paris de l'Université de Paris-Est Créteil. Co-autrice avec Thomas Aguilera et Claire Colomb de Housing Under Platform Capitalism : The Contentious Regulation of Short-Term Rentals in European Cities (Editions de l'Université de Californie, 2025). Un entretien avec Najet Benrabaa, correspondante de RFI à Medellin en Colombie, où l'expansion de la plateforme Airbnb a transformé le visage de la ville.  En fin d'émission, la chronique Voisins connectés d'Estelle Ndjandjo, sur l'évolution des sociétés africaines mondialisées à travers les écrans, les réseaux sociaux et la technologie. Aujourd'hui, elle s'intéresse aux filtres qui permettent aux utilisateurs noirs d'éclaircir leur peau. Une nouvelle forme de dépigmentation mais virtuelle.  Programmation musicale :   ►Trafic locaux - Limsa d'Aulnay & ISHA ►Perdon - Ruta Calavera.  

Enfant du Sud-Ouest, c'est à Villefranche-de-Lauragais que naît et grandit Laurent.Par un heureux hasard, il n'avait qu'à enjamber la clôture du jardin familial pour accéder au terrain de rugby et rejoindre ses copains. Avec eux, il gravira un à un tous les échelons du club, des jeunes pousses jusqu'à l'équipe première.Très doué, excellent buteur, il s'engage à 20 ans avec l'US Colomiers, avant de devenir international dès l'année suivante. Meilleur réalisateur de la première division en 1996, il choisit alors de donner un nouveau tournant à sa carrière en rejoignant un Biarritz Olympique tout juste de retour parmi l'élite du rugby français.Le choix s'avérera plus que judicieux : Laurent deviendra l'une des pièces maîtresses du BO, jusqu'à offrir en 2002 un Bouclier de Brennus à tout le peuple basque, grâce à un drop entré dans la légende.Auréolé d'un nouveau Brennus trois ans plus tard, il raccroche les crampons en 2005 et choisit de rester, avec sa petite famille, sur la Côte basque. Il se tourne alors vers l'entraînement, notamment à Dax et à Biarritz. En parallèle, il exerce comme professeur de mathématiques, un métier qu'il a toujours tenu à conserver tout au long de sa carrière rugbystique.Je me suis réellement régalé en découvrant mieux Laurent. Très bon vivant, c'est un sacré personnage, pour qui le don de soi et la justice sont des maîtres mots.Bonne écoute !-----------------------------

C dans l'air du 23 mars 2026 - Municipales : qui a (vraiment) gagné ?Au lendemain du second tour des élections municipales, les partis politiques rendent hommage à l'ex-Premier ministre socialiste Lionel Jospin, décédé ce lundi à 88 ans et, se proclament vainqueurs du scrutin de dimanche, le regard tourné vers 2027. Mais qui a vraiment gagné ? Et quels enseignements tirer de ce scrutin ?Plus de 50 millions de Français étaient appelés aux urnes. Pourtant, l'abstention atteint un nouveau record : 42,18 % ce dimanche, soit une hausse de plus de quatre points par rapport à 2014. Jamais, hors période de crise sanitaire, les électeurs ne s'étaient autant détournés d'un scrutin municipal. Parmi ceux qui se sont déplacés, beaucoup ont penché pour le coup de balai. De nombreux maires sortants, toutes étiquettes confondues, ont ainsi été battus, notamment à Brest, Clermont-Ferrand, Avignon, Biarritz, Tulle et Pau, où l'ancien Premier ministre François Bayrou a perdu son mandat.Le Rassemblement national échoue à conquérir des villes clés comme Marseille, Toulon et Nîmes. Son président revendique toutefois la victoire dans près de 70 communes, ainsi qu'à Nice, où son allié Éric Ciotti l'emporte face au maire sortant Christian Estrosi, qui a annoncé son retrait de la vie politique niçoise. Le parti poursuit son implantation locale, avec près de 3 000 conseillers municipaux, soit deux fois plus qu'en 2014. De quoi, sans doute, envisager la constitution d'un premier groupe au Sénat dès septembre prochain.À Paris, où le RN n'était pas en mesure de se maintenir, la liste menée par Sarah Knafo s'était retirée pour tenter de faire perdre la gauche. Dans le même temps, la liste de Pierre-Yves Bournazel avait fusionné avec celle de Rachida Dati. Un pari qui n'a pas porté ses fruits. Emmanuel Grégoire remporte la mairie de la capitale sans alliance avec la candidate LFI Sofia Chikirou. Il rejoint l'Hôtel de Ville en Vélib', entouré de ses soutiens. La gauche conserve également Lyon, Marseille et Lille, mais ses alliances avec La France insoumise entre les deux tours présentent un bilan contrasté, parfois perçu comme repoussoir. Les électeurs ont tranché, soit en faisant basculer certaines communes, soit en s'abstenant.Édouard Philippe, à la tête du parti Horizons, jouait une partie importante. Réélu au Havre, il conserve son ancrage local et peut désormais se projeter vers l'élection présidentielle. Chez Les Républicains, Bruno Retailleau salue pour sa part un résultat qui place son camp en tête en nombre d'élus et de voix.Sur le terrain, si la gauche conserve les grandes métropoles, la droite progresse dans de nombreuses villes moyennes et amorce une recomposition. Dans le tumulte de l'entre-deux-tours, un rapprochement, encore embryonnaire, s'est dessiné entre la droite et l'extrême droite. À Paris, la candidate zemmouriste s'est retirée en faveur de Rachida Dati, qui a évoqué des « convergences ». Ailleurs, le RN a apporté un soutien direct ou indirect à plusieurs candidats LR. Chez une partie de l'électorat de droite, le mot d'ordre semblait être désormais "tout sauf LFI", comme on disait autrefois "tout sauf le FN".Retrouvez nos reportages tournés dans plusieurs villes, notamment à Nice et à Saint-Denis, ainsi que le décryptage de nos experts : - Jérôme JAFFRÉ - Politologue - Chercheur associé au CEVIPOF- Mathilde SIRAUD - Rédactrice en chef du service politique - Le Point - Vanessa SCHNEIDER - Grand reporter - Le Monde - Brice TEINTURIER - Directeur général délégué - Institut de sondages Ipsos, co-auteur de Au-delà des apparences - Des raisons d'être optimistes en France

In Episode 579: Basque Country and Learning French After 50, host Annie Sargent chats with Deborah Pham Van Xua of Feel Good French for a lively chat about two things you'll love: the vibrant Basque Country and the joys of learning French later in life. Ever dreamed of exploring a region where lush green hills meet the Atlantic Ocean? Deborah, a proud native of Bayonne, takes us on a tour of her homeland. She shares the magic of Bayonne's famous festivals, the charm of Biarritz's beaches, and the hidden gems of Saint-Jean-de-Luz. You'll hear about the unique Basque architecture, the flavorful piment d'Espelette, and even the thrill of watching (or playing!) pelote Basque, a sport deeply rooted in local culture. Deborah's insider tips make this episode a must-listen for anyone planning a trip—or just dreaming of one. But this isn't just a travel guide. Deborah also runs Feel Good French, where she helps adults learn French without the stress. If you've ever thought, "I'm too old to learn a new language," think again! Deborah breaks down her simple, effective methods for picking up French after 50. She talks about shadowing techniques, setting realistic goals, and embracing mistakes. Her approach is all about connection, not perfection—perfect for travelers who want to chat with locals, not ace a grammar test. Annie and Deborah dive into the Basque Country's rich history, from its mysterious language to its whaling traditions. They also discuss the best ways to explore the region, whether by bike along the Vélodyssée or on foot through picturesque villages like Espelette. And yes, there's food! Think fresh seafood, cured ham, and those famous Basque peppers. After the interview, Annie shares a surprise from her recent trip to Paris: the city's cycling boom. She describes the bustling bike lanes, cargo bikes zipping through the streets, and even bicycle traffic jams. It's a fascinating look at how Paris is changing—one pedal at a time. This episode is packed with practical tips, cultural insights, and inspiration—whether you're planning a trip to the Basque Country or just want to brush up on your French. If you love France, travel, or learning something new, hit subscribe so you never miss an episode. Join Us in France brings you the stories, tips, and hidden gems that make exploring France unforgettable. Ready to discover the Basque Country and learn French with confidence? Tune in now and start your adventure!