Podcasts about Campo

Campo, a jeweler who supplied chains to major rappers, reveals how greed pulled him into a massive money-laundering operation, and how prison ultimately forced him to turn his life around and build a better future. ⁣ ⁣ Watch our previous video with Campo - https://youtu.be/gT_KV06xXiY⁣ ⁣ Campo's links - ⁣ http://www.youtube.com/@WeWatchThis ⁣ Instagram @Campomadeit⁣ TikTok @campothagod⁣ ⁣ Do you want to be a guest? Fill out the form https://www.insidetruecrimepodcast.com/apply-to-be-a-guest⁣ ⁣ Let Rocket Money help you reach your financial goals faster. Join at https://RocketMoney.com/COX⁣ ⁣ Shop my merch: https://www.etsy.com/shop/MatthewCoxCollection⁣ ⁣ Send me an email here: insidetruecrime@gmail.com⁣ ⁣ Do you extra clips and behind the scenes content?⁣ Subscribe to my Patreon: https://patreon.com/InsideTrueCrime ⁣ ⁣ Check out my Dark Docs YouTube channel here -⁣ https://www.youtube.com/@DarkDocsMatthewCox⁣ ⁣ Follow me on all socials!⁣ Instagram: https://www.instagram.com/insidetruecrime/⁣ TikTok: https://www.tiktok.com/@matthewcoxtruecrime⁣ ⁣ ⁣ Do you want a custom painting done by me? Check out my Etsy Store: https://www.etsy.com/shop/coxpopart⁣ ⁣ Listen to my True Crime Podcasts anywhere: https://anchor.fm/mattcox ⁣ ⁣ Check out my true crime books! ⁣ Shark in the Housing Pool: https://www.amazon.com/dp/B0851KBYCF⁣ Bent: https://www.amazon.com/dp/B0BV4GC7TM⁣ It's Insanity: https://www.amazon.com/dp/B08KFYXKK8⁣ Devil Exposed: https://www.amazon.com/dp/B08TH1WT5G⁣ Devil Exposed (The Abridgment): https://www.amazon.com/dp/1070682438⁣ The Program: https://www.amazon.com/dp/B0858W4G3K⁣ Bailout: https://www.barnesandnoble.com/w/bailout-matthew-cox/1142275402⁣ Dude, Where's My Hand-Grenade?: https://www.amazon.com/dp/B0BXNFHBDF/ref=tmm_pap_swatch_0?_encoding=UTF8&qid=1678623676&sr=1-1⁣ ⁣ Checkout my disturbingly twisted satiric novel!⁣ Stranger Danger: https://www.amazon.com/dp/B0BSWQP3WX⁣ ⁣ If you would like to support me directly, I accept donations here:⁣ Paypal: https://www.paypal.me/MattCox69⁣ Cashapp: $coxcon69⁣ ⁣ Chapters: ⁣ 00:00 - Pill Mill Era⁣ 08:58 - Highway Near Disaster⁣ 19:35 - A Wake Up Call⁣ 27:00 - Learning The Game⁣ 32:15 - Rick Ross's Jeweler⁣ 39:00 - Music Industry Connections⁣ 49:30 - Beverly Hills Success⁣ 1:02:00 - Greed Takes Over⁣ 1:04:35 - The First Red Flags⁣ 1:08:40 - Federal Raid Morning⁣ 1:15:45 - Facing Decades Inside⁣ 1:23:30 - New Attorney Strategy⁣ 1:26:40 - Life After Prison Learn more about your ad choices. Visit megaphone.fm/adchoices

Picolé De Limão é um quadro do canal Não Inviabilize. Aqui você ouve as suas histórias misturadas às minhas!Use a hashtag #Livre e comente a história no nosso grupo do telegram: https://t.me/naoinviabilizePUBLICIDADE LA GUAPAParticipe da Campanha “Sabores do Mundo em Campo” da La Guapa. São 12 empanadas inspiradas em 12 países diferentes. E junho é o mês da Empanada Brasileira!Baixe o app, faça seu pedido já e usando GUAPONEI, você ganha 15% de desconto. Link: https://smart.link/h9o6mmz3rm6juQUER OUVIR MAIS HISTÓRIAS? BAIXE NOSSO APLICATIVO EM SUA LOJA APPLE/GOOGLE, CONHEÇA NOSSOS QUADROS EXCLUSIVOS E RECEBA EPISÓDIOS INÉDITOS DE SEGUNDA A SÁBADO: https://naoinviabilize.com.br/assineEnvie a sua história bem detalhada para naoinviabilize@gmail.com, seu anonimato será mantido, todos os nomes, profissões e locais são trocados para preservar a sua identidade.Site: https://naoinviabilize.com.brTranscrição dos episódios: https://naoinviabilize.com.br/episodiosYoutube: https://youtube.com/naoinviabilizeInstagram: https://www.instagram.com/naoinviabilizeTikTok: https://www.tiktok.com/@naoinviabilizeX: https://x.com/naoinviabilizeFacebook: https://facebook.com/naoinviabilizeEdição de áudios: Depois O Leo Corta MultimídiaVinhetas: Pipoca SoundVoz da vinheta: Priscila Armani

Mix of the Week #641 is "Campo Sancho Mix" by Dicky Trisco Follow and include @dicky-trisco in your track ID requests CAMPO SANCHO 2026 - July 24th-26th 2026 -https://www.sanchopanza.org Line-up - Friday July 24 Snare & Hi Hat: Tonno Disko, Ruby Savage, Dicky Trisco Middle Row: Jimpster, Lisa Loud, Si Kurrage and Mr Shiver, Junior, Beatbodger Upwoods (Curated by Camp Bliss): Stompa Phunk, Serge Santiago & David Parr, Pop Up to Get Down, Big Red Al, Woodzy (Live), The Swigs, Scott Booth (Live) Line-up - Saturday 25th July Snare & Hi Hat: Laurent Garnier, Luke Una Middle Row: Sancho Panza, Heidi Lawden, Decius (Live), Roy the Roach, Anouck, Teo Upwoods: An Alfos 9 Hour Special, Sean Johnston, Tom Sharkett (Live) Line-up - Sunday 26th July Snare & Hi Hat: Sancho Panza, Freddy Love Middle Row: Greg Wilson, Tia Cousins, Girls of the Internet (Soundsystem), Tom Sharkett, Marco de Marseille Upwoods (Curated by Music for Swimming Pools): Pete Herbert, Nancy Noise, Phil Mison, Andy Wilson -- ✉️ DC Email list: eepurl.com/dN23Jw

Veinte años después, el Real Madrid volvió a celebrar elecciones. El choque entre el actual presidente y su joven contendiente dio vidilla a los programas deportivos durante las dos semanas de la campaña. Artistas invitados (por orden de aparición): Juanma Castaño, Enrique Riquelme, Ángel García Muñiz, [Cabecera: Jesús Gallego, Joseba Larrañaga, Quique Iglesias, Juan Antonio Alcalá, Inma Rodríguez, Paco García Caridad, Julio Maldonado 'Maldini', Antonio Romero, Paco González, David Bernabeu, José Álvarez, Roberto Gómez, Juanma Castaño, Fernando Burgos, Felipe del Campo, José Joaquín Brotons, José Damián González, José Manuel Monje] Florentino Pérez, Jesús Gallego, Miguel 'Látigo' Serrano, Edu Pidal, Santiago Segurola, Siro López, Roberto Palomar, Lluís Flaquer, Edu Aguirre, Antonio Romero, Enrique Ortego, Antonio Sanz, Raúl Varela, Emilio Pérez de Rozas, Antón Meana, Julio Pulido, José Ramón de la Morena, Pablo Pinto, José Mourinho, Rocío Martínez, Alfredo Relaño, María José Hostalrich, Manolo Lama, Gonzalo Miró, Miguel Ángel Díaz, Isaac Fouto, Yon Cuezva, David Bernabeu, Elías Israel, Edu García, Santi Giménez, Fernando Burgos, Alberto Pereiro, Nacho Peña, Paul Tenorio, Alberto Santacruz, Zinedine Zidane, Javi Amaro, Manu Carreño, George Weah, Pipi Estrada, Joseba Larrañaga, Iker Jiménez, Cayetano Ros, Guillermo Uzquiano, Isaac Avilés, Josep Pedrerol, Mónica Marchante, Jorge Segura, Javier Tintó, José Damián González, Tomás Roncero, Jaime Rodríguez, Juan Antonio Alcalá, Carmen Colino, Juanma Rodríguez, Carlos Vicente Gómez 'Chitu', Nacho Labarga, Álvaro Arbeloa. Fuentes: El larguero (Ser), El partidazo de Cope, A diario (Radio Marca), Radioestadio noche (Onda Cero), Carrusel deportivo (Ser), Tiempo de juego (Cope), El chiringuito de jugones (Mega). Learn more about your ad choices. Visit megaphone.fm/adchoices

Hoy por Hoy Matinal Campo de Gibraltar

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Hoy por Hoy Matinal Campo de Gibraltar

Te compartimos la meditación del día tomada de Mt 9, 36-10, 8.Para más recursos para encontrarte con Dios en la oración, visita nuestra página web www.meditaciondeldia.com, nuestra tienda www.meditaciondeldia.com/tienda/ o síguenos en Instagram @meditaciondeldia_ y compártenos tu opinión!Conviértete en donante de Meditación del Día en este enlace: https://bit.ly/DonarMdDMaría Reina de los Apóstoles, ¡enséñanos a orar!Este podcast es parte de JuanDiegoNetwork.com¡Gracias por escucharnos!

See omnystudio.com/listener for privacy information.

Conversamos con el agricultor Marcos Garcés y la ganadera Ana Corredoira sobre el Programa Cultiva, una iniciativa del Ministerio de Agricultura que permite que jóvenes agricultores o ganaderos que están empezando pasen unos días de intercambio en explotaciones agrarias donde pueden aprender nuevas técnicas o innovar en sus oficios. Se suman a la conversación Julio Yagüe, apicultor que ha participado en este proyecto acogiendo a jóvenes en su explotación; y Mateu Basomba, agricultor cerealista de Lleida que ha realizado el intercambio en más de tres ocasiones.

Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/radio-rossonera--2355694/support.

Antenados #325 - Danilo Gobatto conversa com a atriz Beth Goulart, que está em cartaz em São Paulo, no Teatro Moise Safra, com o espetáculo “Simplesmente eu, Clarice Lispector”. Assistido por mais de 1 milhão e 300 mil pessoas em 298 cidades do país, o espetáculo retorna a capital paulista após 16 anos. O monólogo é um mergulho profundo na vida, obra e mistério de Clarice Lispector, uma das vozes mais revolucionárias da literatura brasileira. No palco, a palavra de Clarice ganha corpo e presença, revelando a autora que nos ensinou a olhar para dentro e a sentir a intensidade da existência. Beth Goulart relembra ainda os momentos marcantes da carreira e os personagens de sucesso. Vinda de uma família de atores, incluindo os pais Nicette Bruno e Paulo Goulart, a avó Eleonor Bruno e os irmãos Paulo Goulart Filho e Bárbara Bruno, estreou no teatro em 1974 na peça ‘O Efeito dos Raios Gama Sobre as Margaridas do Campo', quando ganhou o Troféu APCA de Atriz Revelação. Foi nessa peça que atuou pela primeira vez com a mãe e a irmã. Apresentação, produção e edição: Danilo Gobatto. Sonorização: Cayami Martins

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Hora 14 Campo de Gibraltar

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Hoy por Hoy Matinal Campo de Gibraltar

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– Farsul defende renegociação ampla de dívidas rurais e contesta bancos.

Danny Segura y Rodrigo del Campo analizan y dan sus predicciones para la cartelera de UFC Freedom 250 (UFC White House).

Danny Segura y Rodrigo del Campo analizan y dan sus predicciones para la cartelera de UFC Freedom 250 (UFC White House).

Nella nuova puntata di Backdoor Call abbiamo parlato dei playoff di tutti i campionati partendo dall'Italia e analizzando le sconfitte delle semifinali e le difficoltà che hanno incontrato. Poi piccola preview delle finali, una stortura del campionato spagnolo e una carrellata sui principali playoff fino alle NBA Finals.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/backdoor-podcast--4175169/support.

Baixe o material deste episódio: https://forms.gle/jRn3d5HTKcDhRwFx9Seja bem-vindo ao Geopolítica em Campo, o podcast dedicado a analisar o mundo através das quatro linhas.Por aqui, geopolítica, história, cultura e atualidades são exploradas a fundo, revelando as relações de poder que movem o planeta.Se você deseja uma visão ainda mais aprofundada sobre a geopolítica mundial e assuntos da atualidade – seja você estudante, educador, professor ou entusiasta – considere apoiar o nosso trabalho. Nossos assinantes têm acesso a aulas e materiais exclusivos dentro do curso Geopolítica e Atualidades, um conteúdo riquíssimo e aprofundado.Acesse https://pay.hotmart.com/P104984502P?checkoutMode=10 e junte-se a nós!Neste episódio...a nossa equipe analisa o complexo Grupo I, focando nos tabuleiros geopolítico e futebolístico da França. Debatemos o papel do país como potência nuclear e os nós comerciais do acordo União Europeia-Mercosul, que esbarram no forte protecionismo do agro francês frente ao mercado brasileiro. Também passamos pelos impactos da crise de influência francesa na África francófona, especialmente no fornecimento de urânio do Sahel e o avanço estratégico da Rússia na região. Por fim, entramos em campo para entender como a diversidade de atletas com ascendência colonial transformou a seleção francesa em uma gigante do futebol a partir de 1998. Ajuste os fones e venha com a gente! Bom episódio!

O Fala Carlão apresenta, no Canal do Boi, uma conversa direto da Agrishow com Roberto França, Diretor de Agronegócios do Bradesco, e Leonardo Pereira de Freitas, Diretor Comercial do Bradesco Seguros. Roberto fala sobre a importância de estar ao lado do produtor, entender a operação e acompanhar de perto os grandes eventos do agro. A conversa também passa pelas plataformas especializadas do Bradesco, hoje 18, com plano de chegar a 25. Leonardo destaca o crescimento do Bradesco Seguros e o papel das soluções voltadas a um agronegócio cada vez mais profissional, tecnológico e estratégico.

Nesta edição especial do Agrolink News, a gerente de Marketing de Cultivos da BASF Soluções para Agricultura, Graziela de Morais, aborda os desafios da Safra de Trigo 2026 no Brasil. Em um cenário de maior cautela do produtor, com margens mais apertadas e riscos climáticos, a entrevista destaca a importância do manejo técnico para garantir eficiência e proteção da lavoura. Entre os temas estão manejo fitossanitário, controle de doenças e integração de tecnologias para fortalecer a produtividade do trigo.

Santa Catarina registra alta histórica de quase 16% no Valor da Produção Agropecuária. Especialista alerta para os desafios impostos por custos elevados, crédito restrito e riscos climáticos. Exportações de bovinos vivos ganham força com avanços sanitários que também reduziram perdas no setor. Governo avalia aumentar a mistura de etanol na gasolina para 32%. Tempo: ciclone extratropical provoca temporais no Sul e chuva intensa em áreas de SP e MS.

Quando o assunto ultrapassa as quatro linhas do campo de futebol, entra em cena outro tipo de juiz. Quer um exemplo? Durante uma partida, um jogador agrediu física e verbalmente o árbitro. A Justiça desportiva analisou a infração esportiva e aplicou a punição. Mas o caso não parou por aí e chegou ao Superior Tribunal de Justiça (STJ), que entendeu que a situação ia além das regras do jogo, pois a agressão também atingiu a honra e a imagem do árbitro. O resultado? Foi mantida a condenação do atleta ao pagamento de indenização por danos morais (REsp 1.762.786). Em clima de Copa do Mundo, a Secretaria de Comunicação Social do STJ, por meio da Coordenadoria de TV e Rádio, preparou uma série de reportagens especiais intitulada O futebol e o STJ: do campo ao tribunal para mostrar as disputas além do campo, desde a violência nos estádios até as apostas esportivas. No primeiro episódio, você vai ver que, apesar das siglas semelhantes, o STJ e o Superior Tribunal de Justiça Desportiva (STJD) não jogam no mesmo time. Agora, você acompanha a primeira reportagem O que o futebol foi fazer no STJ? Confira outras reportagens especiais na playlist do canal do STJ no Youtube.

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Hoy por Hoy Matinal Campo de Gibraltar

Daniele e Francesca ci accompagnano verso la prima partita dei Mondiali 2026 che vedrà le nazionali del Messico e del Sudafrica contendersi i primi 3 punti dei gironi. Nel mentre, si avvicina la chiusura fiscale della stagione 2026-27 della Serie A e si accende dunque anche il calciomercato. Fuori dal mondo del calcio, l'ennesimo successo di Kimi Antonelli al GP di Monaco e il sogno sfiorato da Flavio Cobolli al Roland Garros nella finale persa contro il tedesco Zverev.

En el audio de hoy haremos una ruta por el antiguo reino de León. Comenzando con una parada en Medina del Campo, Tordesillas y Rueda, continuaremos con nuestra visita a Astorga, León, Valencia de Don Juan, Jimenez de Jamuz, Ponferrada, El Bierzo, Las Médulas y Braganza en Portugal. Finalmente narraremos la mística visita a San Pedro de La Nave, Zamora y Toro. Música: Dementia Praecox Angelorum-Atrium Musicae de Madrid

Your tuned into Indigenous in Music with Larry K, and this week, joining us, we're honored to welcome Ayden Gray, the artist behind Sinematic. His debut album Metamorphosis is out, written, composed, and produced entirely on his own. He is currently featured in our current issue of the SAY Magazine. Read all about Sinematic at our place on the web at www.indigenousinmusicandarts.org/past-shows/sinematic Also enjoy music from Sinematic, First Floor Highway, Donita Large, Xit, Curtis Clear Sky and the Constellations, Mano Negra, Kind of Sea, iskwe, Physics, The Bloodshots, Dj Bitman, Logan Staats, western medicine show, Shawnee Kish, Melody McArthur, Liv Wade, Puddy Waters, OPLIAM, Wamptronica, Chantil Dukart, Campo, Kinky The Northstars, J.A.M. RematriNation and much more. Visit us at www.indigenousinmusicandarts.org to explore our programs, celebrate culture, and connect with powerful voices shaping our communities. Step inside Two Buffalo Studios, browse our SAY Magazine Library, and meet the incredible Artists and Entrepreneurs who are making an impact today.

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Acceso anticipado para Fans - ** VIDEO EN NUESTRO CANAL DE YOUTUBE **** https://youtube.com/live/mhDQP3LHEJU +++++ Hazte con nuestras camisetas en https://www.bhmshop.app +++++ Hoy José Antonio López Fernández, uno de los historiadores militares más rigurosos de nuestro canal, nos trae un análisis detallado y documentado sobre Francisco López Ballesteros, el teniente general asturiano que se convirtió en uno de los grandes defensores de Andalucía durante la Guerra de la Independencia. Desde su nacimiento en Brea (Aragón) en 1771 hasta su nombramiento como Capitán General de Andalucía en 1812, recorremos su trayectoria: la Guerra del Rosellón, la invasión de Portugal, su papel en Asturias en 1808-1809, la integración en el Ejército de la Izquierda del Marqués de la Romana, la batalla de Alba de Tormes y, sobre todo, sus operaciones en Extremadura y Andalucía. El corazón del episodio está en 1811-1812: • Su nombramiento como Comandante General del Campo de Gibraltar • Los combates de Alcalá de los Gazules y Jimena de la Frontera • El 1er Combate de Bornos (5 de noviembre de 1811) • La heroica defensa del Asedio de Tarifa (noviembre 1811 – enero 1812) frente a las columnas francesas de Leval, Barrois y Pêcheux • La Batalla de Bornos del 1 de junio de 1812 • Y su persecución del Ejército de Soult hasta su negativa a obedecer a Wellesley y su detención en Granada en octubre de 1812 Un relato preciso de unidades, mandos, movimientos y decisiones que nos muestran cómo la tenacidad española, incluso en inferioridad numérica, fue clave en la guerra contra Napoleón. ¿Qué encontrarás en este episodio? • La carrera completa de Ballesteros con datos de primera mano • Desglose táctico del Asedio de Tarifa y las dos batallas de Bornos • Orden de batalla español y francés • Lecciones de liderazgo y estrategia que trascienden el siglo XIX ✅ Suscríbete y activa la campana para no perderte nada. SUSCRÍBETE a @BELLUMARTISHISTORIAMILITAR y @BELLUMARTISACTUALIDADMILITAR para no perderte ningún programa y únete a nuestra comunidad de apasionados por la historia militar, la geopolítica y los conflictos del mundo. Apóyanos para seguir creando contenido riguroso e independiente: Patreon: https://www.patreon.com/bellumartis PayPal: https://www.paypal.me/bellumartis Bizum: 656 778 825 Síguenos también en redes: Instagram: https://www.instagram.com/bellumartis Twitter / X: https://twitter.com/Bellumartis Bellumartis Historia Militar — Porque entender el pasado es prepararse para el futuro. ¿Qué opinas de la figura de Ballesteros? ¿Quieres que José Antonio vuelva con otro tema de la Guerra de la Independencia? ¡Déjanos tus comentarios, os leemos! #HistoriaMilitar #GuerraDeLaIndependencia #Ballesteros #AsedioDeTarifa #BatallasDeBornos #Bellumartis #JoseAntonioLopezFernandez #PeninsularWar Escucha este episodio completo y accede a todo el contenido exclusivo de BELLUMARTIS PODCAST. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/618669

La Federación Nacional de Cafeteros (FNC) ya está preparando las Elecciones Cafeteras 2026, un proceso en el que más de 500.000 productores elegirán a sus representantes a los comités municipales y departamentales, así como a los delegados al Congreso Nacional de Cafeteros.

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

Ante la inminente llegada del fenómeno de El Niño, los campesinos deben comenzar de inmediato a tomar medidas preventivas para enfrentar la temporada de intenso verano y evitar la pérdida de sus cosechas.

Welcome to Future Disco Radio – your ultimate soundtrack, anytime, anywhere! This week, we're thrilled to welcome Girls of the Internet, for a wonderful hour of house and disco. Catch us live every Friday at 3 PM GMT / 10 AM EST for the freshest house and disco, handpicked by the world's top DJs and producers. Whether you're kicking off your weekend or need a midday energy boost, we've got the perfect vibe for you. Expect next-level guests, cutting-edge sounds, and nonstop musical bliss. Future Disco Radio, where the future of music meets the timeless rhythms of house and disco. For more info on our releases, radio shows & parties - futuredisco.net/

Nella puntata di mercoledì 3 giugno, ospiti Chiara Albanese (giornalista Bloomberg) e Antonio Polito (giornalista Corriere della Sera). In studio Chiara Piotto e Pietro Forti. Nessuno escluso è il primo talk show di Will, live sul nostro canale YouTube ogni mercoledì sera dalle 20 alle 21. Condotto da Chiara Piotto con i nostri autori di politica Pietro Forti e Carlo Notarpietro, oltre a tanti ospiti con profili e prospettive diverse, già noti o da notare. Con Nessuno escluso vogliamo superare il modo spesso noioso in cui si parla di politica in Italia, creando un nuovo spazio dove parlarne in modo chiaro e non noioso, mettendo al centro i temi che ci riguardano da vicino e invitando tutti a far parte del dibattito, nessuno escluso. Grazie al formato live, potrete partecipare a ogni puntata scrivendoci le vostre domande, a cui risponderemo in diretta. Learn more about your ad choices. Visit megaphone.fm/adchoices

Transmitiendo en vivo desde la hermosa República Dominicana, durante el Fashion Week de Casa de Campo, hoy queremos hablar de esas costumbres que aparecen mágicamente cuando los latinos nos vamos de vacaciones. Porque una cosa es salir de viaje... y otra muy distinta es la versión de nosotros que sale cuando llegamos al hotel. Aplaudir cuando aterriza el avión.Llevar ropa para 15 días aunque el viaje sea de un fin de semana.Hacer "sándwiches de emergencia" con el desayuno del hotel.Apartar seis sillas en la piscina aunque solo se use una.Servirse tres platos en el buffet "por si acaso".Tirarle fotos a la comida desde cinco ángulos diferentes.Llevarse los shampoos, jabones y hasta las pantuflas del hotel.Querer recuperar en una semana todo lo que se pagó por el paquete todo incluido.Comprar recuerdos que terminan guardados en un clóset por años.Pedir música de tu país en cada bar aunque estés en otro destino.Hacer un live para presumir la vista del hotel mientras la tarjeta de crédito llora en silencio. Queremos escuchar confesiones reales: ¿Cuál es la chusmería más grande que has hecho durante unas vacaciones? ¿Qué cosas hacen los latinos cuando viajan que te dan vergüenza... pero también te hacen reír?See omnystudio.com/listener for privacy information.

Transmitiendo en vivo desde la hermosa República Dominicana, durante el Fashion Week de Casa de Campo, hoy nos acompaña el querido Raúl de Molina para una conversación llena de anécdotas, risas y confesiones. Hablamos de las chusmerías que hacemos los latinos cuando estamos de vacaciones: desde pelear por las sillas de la piscina hasta llevarnos comida del buffet "por si acaso". Además, Raul nos cuenta cómo son realmente sus mañanas antes de salir al aire, cuáles son sus rutinas diarias y qué ocurre detrás de cámaras en el exitoso programa El Gordo y La Flaca. ¿Cómo se preparan para el programa?¿Qué no ve el público cuando las cámaras están apagadas?¿Cuáles han sido los momentos más divertidos e inesperados en el set? Una conversación relajada, divertida y llena de historias que muestran el lado más humano de una de las figuras más queridas de la televisión hispana. ¡No te la pierdas!See omnystudio.com/listener for privacy information.

Brian Taylor, Beau Estes, Tim Silvers, Brenton SandersonSee omnystudio.com/listener for privacy information.

Neste episódio do CaniveteCast, Paulo Ozaki conversa com os produtores Ernei Ferrari e Aguimar Marques no dia de campo do 12º Simpósio da Nutripura sobre a transformação da pecuária nas últimas décadas. A conversa passa por gestão de fazenda, manejo de pastagens, genética, silagem, equipe, assistência técnica e tomada de decisão com base em informação. Mais do que falar de produção, o episódio mostra como a pecuária de corte deixou de ser apenas criação de gado para se tornar uma atividade cada vez mais estratégica, profissional e orientada por resultado no agro brasileiro. PARTICIPE DO 12º SIMPÓSIO NUTRIPURA Desde 2002, o Simpósio Nutripura é um evento consolidado para atualização, troca de experiências e acesso ao que há de mais atual na pecuária brasileira. Convidamos você a fazer parte desse evento e conectar-se com um público altamente qualificado — formado por produtores, especialistas e pesquisadores do setor. Para saber mais acesse: https://nutripura.com.br/simposio/ PARCEIRO DESTE EPISÓDIO Este episódio foi trazido até você pela Nutripura Nutrição e Pastagem! A Nutripura, que tem como base valores como honestidade, qualidade e inovação nos produtos e excelência no atendimento, atua há mais de 20 anos no segmento pecuário, oferecendo os melhores produtos e serviços aos pecuaristas. Fique ligado nos artigos que saem no Blog Canivete e no podcast CaniveteCast! Com certeza é o melhor conteúdo sobre pecuária que você irá encontrar na internet. Nutripura: O produto certo, na hora certa. Site: http://www.nutripura.com.brBlog Canivete: https://www.nutripura.com.br/pub/blog-canivete/Instagram: https://www.instagram.com/nutripura/Facebook: https://www.facebook.com/Nutripura/LinkedIn: https://www.linkedin.com/company/nutripura/YouTube: https://www.youtube.com/user/TvNutripura INTERAJA COM O AGRO RESENHAInstagram: http://www.instagram.com/agroresenhaTwitter: http://www.twitter.com/agroresenhaFacebook: http://www.facebook.com/agroresenhaYouTube: https://www.youtube.com/agroresenhaCanal do Telegram: https://t.me/agroresenhaCanal do WhatsApp: https://bit.ly/arp-zap-01 E-MAILSe você tem alguma sugestão de pauta, reclamação ou dúvida envie um e-mail para contato@agroresenha.com.br FICHA TÉCNICAApresentação: Paulo OzakiProdução: Agro ResenhaConvidados: Ernei Ferrari e Aguimar MarquesEdição: Will OliveiraSee omnystudio.com/listener for privacy information.

Na live de hoje do Mundo Freak, vamos falar sobre o caso que tomou conta das redes nos últimos dias: o influenciador Mayk Leão, de Campo Largo, no Paraná, que viralizou após divulgar imagens de um suposto OVNI sobre uma serra próxima ao sítio onde mora.Segundo o relato, o objeto tinha muitas luzes, teria reaparecido à noite e não se parecia com avião ou drone. Depois da repercussão, o caso ganhou novas camadas: barulhos estranhos vindos da mata, comportamento incomum dos animais da propriedade, problemas no Instagram, supostas ameaças e até a circulação de um documento atribuído à ABIN.Ao longo da live, a gente debate as principais teorias em torno do episódio: fenômeno atmosférico, drone, tecnologia desconhecida, hipótese extraterrestre, encobrimento governamental, investigação ufológica e até a possibilidade de tudo ter sido um golpe de marketing impulsionado pela repercussão nas redes. Também entra na discussão a resposta da FAB.Se você gosta de ufologia, casos brasileiros, teorias da conspiração, mistérios recentes, análise de vídeos virais e debates sobre o que pode ser real, exagerado ou manipulado, essa live é para você.▶ Assista e participe no chat com a sua teoria sobre o caso Mayk Leão.

Este episodio también se podría haber titulado 'Palos de ciego', ya que nuestros queridos periodistas han demostrado no saber por dónde les venía el aire con lo que ellos mismos denominan el "casting" para el banquillo del Real Madrid. Artistas invitados (por orden de aparición): Siro López, Paco González, Juanma Castaño, Roberto Palomar, Santiago Cañizares, Joseba Larrañaga, [Cabecera: Jesús Gallego, Joseba Larrañaga, Quique Iglesias, Juan Antonio Alcalá, Inma Rodríguez, Paco García Caridad, Julio Maldonado 'Maldini', Antonio Romero, Paco González, David Bernabeu, José Álvarez, Roberto Gómez, Juanma Castaño, Fernando Burgos, Felipe del Campo, José Joaquín Brotons, José Damián González, José Manuel Monje] Manolo Lama, Ricardo Reyes, Raúl Varela, Josep Pedrerol, Diego Plaza, Alfredo Relaño, José Ramón de la Morena, Roberto Morales, Iñaki Cano, Juanma Rodríguez, Didier Deschamps, Alberto Pereiro, Edu Pidal, Sergio Fernández, Cristóbal Soria, Santiago Segurola, Florentino Pérez, Paco Rabadán, Roberto Gómez, Antonio Romero, Melchor Ruiz, Guillermo Uzquiano, Mónica Marchante, Dani Senabre, María Trisac, Miguel 'Látigo' Serrano, José Luis Sánchez, Abraham Romero, Alexis Martín-Tamayo 'Mister Chip', Álex Silvestre, Juan Antonio Alcalá, Alberto Arauz, Miguel Ángel Díaz 'Miguelito', Javier Herráez, José Mourinho, Javi Amaro, Ricardo Sierra, Ricardo Rosety, Ramón Álvarez de Mon, José Félix Díaz, Miguel Ángel Toribio, Álvaro Arbeloa, Manu Carreño, Jesús Gallego, José Luis Corrochano, Arancha Rodríguez, David Sánchez, Irene Junquera, Javier Tintó, Paco Buyo, Antón Meana, Edu Aguirre, Felipe del Campo, Axel Torres, Alberto Fernández, Rafael Alkorta, Cristina Bea, Tomás Guasch, Pedro Martín, Antonio Sanz. [Bonus track: Juanma Castaño, Damiá Vidagany, Isaac Fouto, David Sánchez, Roberto Palomar] Fuentes: El partidazo de Cope, La tribu (Radio Marca), El chiringuito de jugones (Mega), Carrusel deportivo (Ser), El primer palo (Es Radio), Radioestadio noche (Onda Cero). Learn more about your ad choices. Visit megaphone.fm/adchoices

O sistema prisional foi concebido originalmente como um instrumento de reabilitação e de isolamento social voltado para a manutenção da ordem pública. No entanto, em diversas regiões do mundo, essa estrutura básica colapsou completamente. Existem complexos penitenciários onde o Estado simplesmente deposita indivíduos considerados irrecuperáveis, resultando em cenários onde a brutalidade substitui qualquer processo de reabilitação e a humanidade é colocada à prova sob o rigor absoluto da sobrevivência. Neste programa, a Brasil Paralelo apresenta uma análise detalhada e documentada sobre algumas das realidades prisionais mais severas e perigosas do planeta. Investigamos as condições extremas do Campo 14 em Kaechon, na Coreia do Norte, onde vigora o sistema de punição hereditária por três gerações; a Colônia Penal n.º 6, conhecida como Golfinho Negro, na Rússia, destinada ao isolamento definitivo de criminosos de alta periculosidade; o colapso por superlotação no Presídio de Muhanga, em Ruanda; e o histórico de descontrole institucional que marcou o complexo de La Sabaneta, na Venezuela. O panorama expõe os limites da hostilidade estrutural e o impacto do colapso da ordem interna.

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