Podcasts about Esso

" A gente envelhece todo santo dia". Remata Lo Prete. "Temos que envelhecer com uma certa dose de libidinagem". Ronaldo Fraga. Só aqui já dá pra ter uma ideia do que foi este episódio do Tantos Tempos. Renata Lo Prete, 60 anos, quase 40 anos de estrada no jornalismo. Vencedora do Prêmio Esso. Âncora do Jornal da Globo e uma das vozes mais importantes da mídia brasileira. Ronaldo Fraga, 57 anos. Primeiro representante da moda brasileira a receber a medalha da ordem do mérito cultural do Ministério da Cultura. Um papo leve e ao mesmo tempo inspirador sobre carreiras, filhos, cultura e os desafios da idade. Discutimos o etarismo nos seus diversos disfarces e ao mesmo tempo fomos tentar enteder o papel da inteligência artificial na nossa inteligência real de carne e osso. Tá imperdível. O Podcast Tantos Tempos é uma ideia original da Orson Podcast com produção da RFN Audiovisual e Lucha Libre Audio. Gravado na RFN Audiovisual em São Paulo. Apresentação: Candice Pomi @beyond.age Idealização e roteiro: Carol Soutello, Aaron Sutton e Paulinho Corccione Direção de arte/direção de produção: Raul Ferreira Neto Coordenação de Audio: Paulinho Corcione e Thacio Palanca Produção Executiva: Cristina Horowicz Produção de convidados : Sula Vlachos Conte pra gente o que achou do episódio

250407PC: Hilft im Handelskrieg EU-Patriotismus?Mensch Mahler am 07.04.2025 Donald Trump schürt den Handelskonflikt und nervt die Weltwirtschaft mit Zöllen. Hilft es, US-Produkte zu meiden und möglichst nur noch "europäisch" zu kaufen?Boykott kann eine Lösung sein – aber sie ist immer ein zweischneidiges Schwert. Beispiel Russland: Schattenflotte, Umgehen der Boykottmaßnahmen, Vorteile für die Länder, die aus der internationalen Solidarität ausscheren, Schaden für die eigenen Volkswirtschaft.Tatsächlich lässt sich sehr vieles, was Amerikaner anbieten, durch Hersteller aus Europa ersetzen.Von einem einst riesigen US-Wirtschaftszweig sind nur drei große Autobauer übriggeblieben: Ford, General Motors und Tesla. Würde hierzulande niemand mehr US-Autos kaufen, wären in Deutschland mehr als 40.000 Arbeitsplätze in Gefahr.Tanken muss man nicht bei den US-Anbietern Jet und Esso. Briten, Polen, Franzosen und Italiener bieten genügend Sprit und Zapfsäulen. Bei Jet und Esso ginge es in Deutschland um einen Jahresumsatz von rund 15 Milliarden Euro. Aber auch um grob geschätzte 10.000 Jobs allein an deren Tankstellen.Ist Fastfood amerikanischer Art notwendig? Sicher nicht. Rund und sieben Milliarden Euro setzen US-Ketten jährlich in Deutschland um. Allein fünf Milliarden entfallen auf McDonald's. Gefolgt von Burger King, Subway, KFC und Starbucks. Und der Coca-Cola-Konzern (Fanta, Sprite, Mezzo Mix, Lift, Fuze Tea, Apollinaris, Vio) setzt hierzulande rund drei Milliarden Euro pro Jahr um.Ja, man kann Adidas statt Nike kaufen, Diesel und Pepe statt Levi's und Lee. Man kann bei anderen Versandhändlern bestellen als bei Amazon. Neben Amazon Prime bieten die US-Konzerne Disney, Netflix, Comcast (WOW), Paramount und Apple Video-Inhalte in Deutschland an. Ein Verzicht auf die Nutzung von Angeboten der US-Plattform-Konzerne Meta (Facebook, Instagram, Whatsapp), Alphabet (Google, Youtube) und Elon Musks X (Twitter) ist möglich. Weitaus schwieriger wäre die Abkehr von US-Betriebssystemen für Computer und Smartphones.Ohne Android (Alphabet) und Apples OS funktioniert heute kaum noch ein Smartphone; ebenso wenig medizinische Behandlungen ohne die Produkte von Pfizer, Johnson & Johnson oder Merck (US)."Buy from EU" ist sicher ein guter Gedanke. Aber bei allem gesunden Verbraucherpatriotismus: Wirtschaftliche Abschottung mindert tendenziell Wettbewerb und Fortschritt, erhöht Preise und kann zu steigender Arbeitslosigkeit führen. Und: Nicht jede amerikanische Firma agiert wie die von Elon Musk und jene von ein paar anderen US-Milliardären. Ein differenzierter Blick auf die Haltung lohnt sich – für alle Beteiligten. Dies- und jenseits des Atlantiks. Hosted on Acast. See acast.com/privacy for more information.

My Story  Talk 12 Brasenose College Oxford 1959-62 (Part 3) Welcome to Talk 12 in our series where I am reflecting on God's goodness to me throughout my life. This is now the third talk about the years I spent at Oxford. So far we have talked about life at Oxford, its academic programme, and my spiritual experience while I was there. Today I'm going to share with you my developing relationship with Eileen, our decision to get married shortly after I graduated, and how the Lord led us straight into pastoral ministry rather than going to Bible college first. Keeping in touch Throughout the two years after Eileen and I met, we had seen each other almost every day. Clearly, this could not continue while I was at Oxford, but we kept in touch as much as was then humanly possible. Of course, in those days there were no mobile phones. In fact, access to landlines was not easy, and anyway, it was extremely expensive. So Eileen and I kept in touch with each other by writing letters four or five times a week. We also managed to see each other every two weeks. As I have mentioned already, the terms at Oxford were only 8 weeks long, so by going home for the weekend after four weeks, and by Eileen travelling up to see me for the weekend after weeks two and six, we were able to see each other on a fortnightly basis. This was very clear evidence of Eileen's commitment to me as the journey on our Lambretta scooter through the busy traffic of central London was by no means easy. Obviously, we made the most of those precious weekends. On Saturdays we would often explore the surrounding countryside on our scooter or even travel further afield visiting pretty Cotswold villages like Bibury and Bourton on the Water. Or in the summer we loved getting into one of the punts moored by Magaden Bridge and heading up the Cherwell where we picnicked on the home-made sausage rolls and egg and bacon pie that Eileen had brought with her from home. On Sundays, of course, we went to church together before Eileen made the 60-mile journey back home to be ready for work on Monday. Of course, during the college vacations (which totalled half the year), the situation was completely different. I was able to see Eileen every day again. During the week, this was in the evenings as Eileen was at work during the daytime. And I was too, at least during the weeks that the schools had their holidays. As the Oxford terms were far shorter than the school terms I was able to earn some extra money by teaching in a local secondary school, which was to prove valuable for my future ministry as I was gaining experience in teaching children of a different age group from those I had taught in the years before I went to Oxford. But apart from working hours, Eileen and I saw each other every evening and every weekend. Sundays were taken up with church twice in the day, and midweek we regularly attended the Tuesday night prayer meeting, the Thursday night Bible study, and the Friday night youth meeting. We were desperate to learn more about our Pentecostal experience and the way the Pentecostal churches did things. In fact, whatever we were doing, our relationship with each other was from the start intimately connected with our relationship with the Lord and his will for our lives, even when we went on holiday. As I have already mentioned, our first holiday together was at a Christian Endeavour Holiday Home in Devon in 1959 just before I went up to Oxford. The following year we decided to explore the Lake District together. We travelled the three-hundred-mile journey on our scooter, stopping overnight in Aintree with one of Eileen's aunts, before finally arriving at a CE Home in Kents Bank near Grange-over-Sands. We had each visited the area before, but never together, and that fortnight was a wonderful opportunity to enjoy fellowship with other Christians as well as marvelling at the beauty of God's creation as we made daily trips into different parts of the Lakes. In 1961 we decided to go further afield and to spend four weeks touring France and northern Spain. So we exchanged our 125cc Lambretta for a new 175 which we trusted would cope well with the distances we would be travelling laden with two tents and all the paraphernalia required for camping. However, the moment we set off we both had some misgivings as the weight of luggage at the rear of the scooter made it harder to handle the machine safely, but undaunted we proceeded with caution and arrived safely at Southend airport where we had booked a flight on a cargo plane to northern France. Our first night in France was spent in a cow field with the kind permission of the farmer. We were both experienced campers, Eileen with the Girl Guides and I with the Boys' Brigade, but we had never before been woken by the sound of cows champing round our tent pegs and we quickly agreed to depart as soon as possible, particularly as there were no ‘facilities' available! We determined that after that we would make sure to check into proper camping sites. We travelled down the western side of France, stopping first at Paris for the weekend, camping in the Bois de Boulogne and visiting the thousand-strong Assemblies of God Church in the Rue du Sentier led by pastor André Nicole. Little did I know it then, but that was to be the first of many visits to French assemblies later in my ministry and sparked my interest in what the Holy Spirit was doing in European countries. In Angouleme we discovered that our GB plate had fallen off and, knowing that we were legally required to display one, we visited a garage there and asked if they knew where we could get a replacement. It was then that I realised how inadequate my A Level French course had been. Although we had studied numerous French authors, it was of little practical use to us now as no one had told us how to say the alphabet in French! Finally, by writing the letters down I managed to let them know what I wanted and learnt that in French GB is pronounced Jay-Bay. They told us that they could make us one, but it would take a couple of days. As a result, we had to travel further each day than originally planned which meant that we were both rather saddle-sore at the end of each day. We crossed the Spanish border between Biarritz and San Sebastian and immediately discovered that what we were doing was culturally unacceptable. Eileen was getting hoots and wolf-whistles from passing motorists because she was wearing trousers and not riding side-saddle! Of course, this would have been extremely dangerous bearing in mind the distances we were travelling each day and, at the risk of causing offense, we decided that we had no option but to carry on as we were. Extremely tired when we reached Burgos we decided to spend the night in a hotel and enjoy the luxury of proper beds. We did the same in Madrid for two or three nights before heading for Barcelona by way of Zaragoza. But before we reached Barcelona our scooter broke down on a mountain road and reluctantly I had to leave Eileen by the roadside with the scooter while I hitched a lift in a Citroen deux-chevaux into a village called Jorba to get help. It took two days to get the scooter fixed and by the time we eventually reached our campsite at Rosas, on the Mediterranean just north of Barcelona, it was already dark. A day or so later we arrived in Perpignan in southern France, intending to travel on up the eastern side of France on our way back home. But the scooter broke down again, and after two days camping at the back of an Esso station, we were compelled to return to England by train, leaving our scooter to be brought home courtesy of the RAC. Fortunately, it was still under warranty and was repaired by Lambretta after it finally arrived back in England some six weeks later. That holiday was the last we were to have together before we were married the following year and, in some ways, was a preparation for it. Like the holiday, married life is wonderful, but not without its unexpected events, delays, and difficulties. We were learning to face problems together, to be patient with each other, and to trust in the Lord to bring us through. Perhaps that's why I tend to advise young couples, wherever possible, to go on holiday together before deciding to get married. But that brings me to how I decided to propose to Eileen. Engagement and Marriage It was during my first term at Oxford. We had been ‘going out' together for two years, seeing each other almost every day. But we had never talked about marriage. I think that must have been because I was very conscious of how serious marriage is. Divorce in those days was far less common than it is today and for me, as a Christian, it would not have entered my head. I knew that marriage would be for life. What's more, I knew God had called me to serve him, and choosing the right partner was vitally important. So I was reluctant to commit myself. But just before I went to Oxford my father had a word with me. You'd better make your mind up about that girl, David. It would not be fair to keep her waiting for three years while you're at Oxford, if your intentions are not serious. Of course, I knew he was right. I had to make up my mind. The problem was, I didn't want to give her up, but I didn't want to marry her if she wasn't the right one for me. Finally I did what I should have done much sooner. I decided to pray about it. I got down on my knees in my bedroom at Oxford and told the Lord my dilemma. I told him that I would gladly marry Eileen if she was God's choice for me, but if not, I would give her up. And as soon as I said that prayer I received an overwhelming peace and an assurance that Eileen was the girl I was to marry. So, the next time I was home from Oxford, after a long and passionate kiss, I said to her, You will marry me, won't you, darling? Yes, those were my exact words! To which she replied, Oh yes! Of course I will. So we decided to get engaged the following summer after my first year at Oxford, knowing that the earliest we could expect to marry would be after I had graduated. After gaining her father's consent, we organised a wonderful garden party to celebrate our engagement on 2nd July, 1960, and eventually were married by Pastor Alfred Webb at Bethel Full Gospel Church, Vicarage Road, Dagenham, on 28th July, 1962. And the specially invited organist for the occasion was none other than Laurie N. Dixon, LRAM, the friend through whom I had first heard about the baptism in the Holy Spirit.    Our move to Colchester After our honeymoon in Cornwall, we moved directly into our first home, a bungalow in Colchester, where I had accepted the invitation to take over the pastorate of the small AoG church there. Colchester will be the subject of our next talk, but first I need to explain why we did not consider ministry in a Baptist church and why I did not go to Bible College as originally planned. With regard to the Baptists, the explanation is simple. Once we had been baptised in the Spirit, neither of us had attended our Baptist churches apart from perhaps an occasional visit. This was largely because the minister of Hornchurch Baptist was not sympathetic to a Pentecostal understanding of scripture, and the new minister of Elm Park Baptist had stated that the Pentecostals' exegesis of Acts was entirely unwarranted. Against this, my parents had told me that Leslie Moxham, our former Baptist minister at Elm Park, had noticed such a difference in me since I was baptised in the Spirit that he had said, If the baptism in the Spirit can make that much difference to David, I want it too. Leslie was later baptised in the Spirit and eventually became an AoG minister working with my friend Colin Blackman in the Tunbridge Wells assembly. And although, as we were to discover later some Baptists were beginning to get involved in the Charismatic Renewal, it was evident to us that our future lay with the Pentecostals rather than with the Baptists. But why didn't I go the Bible College before taking on a church? The answer is that I tried to. Early in 1962 I applied to London Bible College. There was a section on the application form where you were required to give an account of your experience of Christ. So I mentioned not only how I had become a Christian, but also how Jesus had baptised me in the Holy Spirit. My interview lasted about an hour, most of which was taken up with what I believed about speaking in tongues. Was it for today? And if it was, was it for everyone? As a result, I received a letter a few days later saying that they felt I would do better to apply to a Pentecostal bible college! Interestingly, their rejection of my application is mentioned in Ian Randall's history of LBC, Educating Evangelicals. The AoG Bible College was then at Kenley in Surrey. Its principal was Donald Gee. I had had a brief conversation with him after a meeting at the East Ham Easter Convention, and he had promised to send me the application form. But this never arrived. I also heard it rumoured that the lady teaching English at Kenley, on hearing that an Oxford graduate might be coming, had, presumably jokingly, commented that he'll be probably teaching me! This, together with the fact that some of my Pentecostal friends were telling me that I didn't need to go to Bible college, because I had got it – whatever that meant! – caused me to wonder if that was the direction I should be heading. So I said to the Lord, If you really don't want me to go to Bible College, let someone offer me the pastorate of a Pentecostal church. And within a week, I had my answer. I received a letter from the Colchester assembly asking if I would be their pastor. There was a bungalow available for rent for six and a half guineas a week (£6.51) towards which they were prepared to contribute £5.00. Apart from that, they could offer nothing, and it was understood that I would need to seek full time secular employment. But that's something for next time.  

In campo ceramico, si definisce top glaze lo smalto scaricato come ultima applicazione sul supporto ceramico ancora crudo.Esso può assolvere diverse funzioni ma in larga misura è da un lato utile a proteggere la decorazione sottostante e dall'altro a conferire alla superficie precise caratteristiche tecniche ed estetiche.L'episodio si concentra su questa tipologia di smalti indagando da vicino le funzioni e le caratteristiche reologiche (ma non solo) che la sospensione deve possedere in funzione della modalità applicativa e del materiale ceramico che si desidera produrre.

Die Rohde-Gruppe, das Korbacher Traditionsunternehmen im Tief-, Straßen- und Gleisbau, sucht Auszubildende im Bereich Straßenbau. In der aktuellen Ausgabe des Podcasts BEI UNS AM DIEMELSEE sprechen die Mitarbeiter Jürgen Ohm und Malte Widder über die Ausbildung und Entwicklungsmöglichkeiten bei Rohde. Der Werbespruch von Esso aus den 70ern „Es gibt viel zu tun, packen wir es an“ bleibt besonders relevant für die Branche.

O Autores e Livros Dose Extra desta semana traz uma conversa com o jornalista gaúcho Daniel Scola, autor do livro Aluno da Tempestade. Na obra, ele relembra a luta contra um tumor raro e revisita acontecimentos que marcaram seus mais de 30 anos de carreira no jornalismo. Embora tenha participado de coberturas históricas, como as eleições presidenciais nos Estados Unidos em 2004 e 2008, o terremoto no Chile em 2010 e o tsunami no Japão em 2011, a notícia que mais impactou Daniel Scola foi a descoberta de um câncer na cabeça, em 2021. Raro entre adultos, o meduloblastoma é um tumor maligno que afeta o equilíbrio do corpo e, no caso do jornalista, comprometeu também sua fala. Assim, no auge dos 30 anos de carreira, a principal voz do rádio no Rio Grande do Sul precisou deixar os microfones para enfrentar uma verdadeira odisseia em busca da cura. Agora, os medos, tensões e angústias de quem enfrentou duas cirurgias, 33 sessões de radioterapia e seis ciclos de quimioterapia em menos de um ano são narrados em primeira pessoa no livro Aluno da Tempestade. Neste lançamento, publicado pela Citadel Grupo Editorial, o autor vai além da luta pela saúde física e resgata momentos marcantes de sua trajetória jornalística. Entre os raios e trovões que transformaram sua vida em uma imensa tempestade, Daniel Scola compartilha os aprendizados que deixaram o “velho Scola” para trás, dando lugar a uma nova versão de si mesmo. Mais do que um intenso relato sobre o enfrentamento de um câncer na cabeça, esta obra carrega a esperança de que seu testemunho possa ajudar outras pessoas — um reconhecimento que, para o autor, equivale a receber um “Prêmio Esso”, o Oscar do jornalismo brasileiro.

From the archives - an updateToday we bring you an episode from the archives with Dr Patrick Hart. Patrick took action in August 2022 to demand an end to new licences and consents for oil and gas projects in the UK, something which has subsequently become government policy. He disabled petrol pumps at an Esso garage on the M25 on the 24th August 2022.On August 24, 2022, he disabled petrol pumps at an Esso garage near the M25. He was found guilty of Criminal Damage in October 2024 and appeared before Judge Mills at Chelmsford Crown Court on January 7 of this year.Dr. Hart has already been fined in civil court for this action, as the Thurrock Esso petrol station is subject to a private injunction. He has also been referred for a disciplinary hearing by the General Medical Council (GMC) and will face a tribunal. In the past 12 months, the GMC has suspended two doctors from the medical register following convictions for non-violent climate protests. Dr. Hart now faces penalties in three separate proceedings for the same incident.Before sentencing Dr Hart said:“Right now, the greatest health threat to all of us is the unfolding climate catastrophe. It is the greatest health threat we have ever faced. All healthcare workers have a responsibility to protect the health of their patients. If we do not stand up to the oil and gas executives who are wreaking havoc on our climate and the politicians who enable them, if we do not end the burning of fossil fuels, then we will have failed as a profession and the health systems that we have developed over centuries will collapse. I will continue to fight against the death sentence of fossil fuels for as long as I have strength in me. I have no greater duty as a doctor at this moment in history.”Original copy:Just Stop Oil protestors have been disrupting business as usual since April 2022. A Daily Mail article called them “a deranged criminal eco-terrorist cult”. But who are the people behind the headlines? Neil sits down with Dr Patrick Hart, a local GP who has been putting his career and liberty on the line through direct action protests, including the smashing and spray painting of a petrol station. Dr Hart believes we have run out of time for purely legal ways of pulling the world back from what the UN has called “the brink of climate catastrophe”. But are these tactics effective? Are protestors losing public sympathy? Does that matter? Listen in for a conversation far and away from the soundbites of Good Morning Britain

250208 - Honda Civic Hybrid et la Esso 67-X by Derrière le Volant

Former Breakfast Club host Angela Yee talks growing up on hip-hop music in Brooklyn, attending college and starting out working under Divine at Wu Tang Records, moving on to start the Breakfast Club with DJ Envy and Charlamagne, she shares some memorable moments while at the Breakfast Club , interviewing Jay-z she also details what took place between Maino & Suge Knight on her podcast and What led to Math Hoffa appearing on the set of Lip Service during a taping with Bag fuel's Esso and Hyneken. Executive Producer of This monumental interview Gossip Viv

Insegnare nella Scuola Domenicale è un compito che richiede un certo impegno, una solida preparazione e un cuore ben disposto verso il Signore e la Sua Parola. Esso reca onore, ma anche una profonda consapevolezza della responsabilità educativa. Difatti, ciascun insegnante è chiamato a collaborare con Dio nella formazione spirituale dei bambini, dei ragazzi e dei meno giovani della chiesa, facendo conoscere loro la profondità e la bellezza della Bibbia.Soltanto quando considera la Sua chiamata al servizio come una vera e propria vocazione, il monitore vedrà maturare i frutti del proprio operato. Scopri i libri dedicati alla scuola domenicale qui: https://www.adimedia.it/shop/category/scuola-domenicale-linee-guida-per-monitori-19

Happy New Year! Hynaken & Esso of Bag Fuel join the ladies of Lip Service this week and discuss trending topics, the double standard of consent, and much more. Math Hoffa even pops up on the crew and things get heated...enjoy!See omnystudio.com/listener for privacy information.

As the week progresses, the NYTimes crosswords get tougher, and here on a Friday, things can get really sticky. Today's was about a 7-8 out of 10 on the stickiness scale, but the cluing was still entertaining. We had 15D, John, in Portuguese, JOAO (ok, now we know); 32A, The symbol of America's first transcontinental railroad, THEGOLDENSPIKE;  and 46D, Member of the golden horde, TATAR. We also liked the joint appearance of 9D, Spanish 101 verb, SER, and 37D, French 101 verb, ETRE -- vive la différence!There are a scant 2 days left to get your entry in for our Triplet Tuesday Contest. Deets here, act now, operators are standing by!Show note imagery: DOLMA (48D, Dish whose name is Turkish for "stuffed")We love feedback! Send us a text...Contact Info:We love listener mail! Drop us a line, crosswordpodcast@icloud.com.Also, we're on FaceBook, so feel free to drop by there and strike up a conversation!

Special guest co-hosts Esso & Hynaken of the Bag Fuel podcast stop by to talk about their newest member. Also, what do you do with a gift you don't like? See omnystudio.com/listener for privacy information.

Special guest co-hosts Esso & Hynaken of the Bag Fuel podcast stop by to talk about their newest member. Also, what do you do with a gift you don't like? See omnystudio.com/listener for privacy information.

Der DAX verlor heute 0,3 % und schloss bei 20.246 Punkten, nachdem er mittags noch sein Tageshoch bei 20.356 Punkten erreicht hatte. Der EUROSTOXX50 gab leicht um 0,1 % auf 4943 Stellen nach. Im DAX gehörte E.ON zu den schwächsten Werten, die Aktie verlor 3,2 % und fiel auf neue Jahrestiefs. Der Ifo-Geschäftsklimaindex sorgt für Ernüchterung: Mit 84,7 Punkten ist er auf den niedrigsten Stand seit Mai 2020 gefallen. Auch die Geschäftserwartungen der Unternehmen gaben nach. Vor der US-Zinsentscheidung der Fed und Jerome Powells Rede herrscht Zurückhaltung. Kurzmeldungen: Mercedes-Benz erhält die Genehmigung für hochautomatisiertes Fahren bis 95 km/h. Merck übernimmt die HUB Organoids Holding zur Stärkung der Zellforschung. Thyssenkrupp Nucera meldet EBIT-Verluste, während die Werfttochter TKMS Interessenten wie Rheinmetall anzieht. Esso darf in Niedersachsen Lithium suchen, und Ford ruft weltweit 769.000 Dieselfahrzeuge zurück. Börsenweisheit des Tages von Benjamin Graham: "Der Markt ist wie ein Pendel, das ewig zwischen Optimismus und Pessimismus schwingt."

TESTO DELL'ARTICOLO ➜ https://www.bastabugie.it/it/articoli.php?id=8015TUTTO IL MONDO A NOTRE DAME, MALGRADO IL NUOVO LOOK di Stefano Chiappalone 1500 persone all'interno e 4mila all'esterno, 170 vescovi non solo francesi, due cardinali dall'estero (il newyorkese Timothy Dolan e il libanese Béchara Raï) e 40 capi di Stato: l'attenzione mondiale per la riapertura di Notre Dame la sera di sabato 7 dicembre è stata pari all'universale sconcerto del 2019, quando nel rogo dell'edificio rischiava di sparire un simbolo caro non solo ai parigini. Mantenuta la promessa quasi messianica di ricostruire il tempio - ma con l'accortezza di aver indicato «cinque anni» al posto degli evangelici «tre giorni» - il presidente Emmanuel Macron si è goduto un momento di indiscutibile grandeur proprio grazie a un simbolo di quell'Europa che fu cristiana, con buona pace della laicité.Macron bagnato, Macron fortunato: la pioggia di sabato sera ha fatto sì che il suo discorso si tenesse all'interno del tempio invece che all'esterno, come inizialmente previsto. Così che a tratti gli officianti sembravano due, il presidente e l'arcivescovo Laurent Ulrich, sin dall'esterno della cattedrale dove Macron ha accolto la "processione" dei leader mondiali, tra cui - limitandoci solo a qualche nome - Sergio Mattarella e Giorgia Meloni, il principe William del Galles, il presidente ucraino Volodymyr Zelens'kyj, la first lady USA Jill Biden e il neoeletto Donald Trump, nonché un ritardatario Elon Musk. Calorosamente accolto da Macron e seduto tra lui e la première dame Brigitte, Trump è stato inoltre coinvolto in un mini-vertice all'Eliseo con Zelens'kyj. All'esterno, secondo il rituale, l'arcivescovo di Parigi ha battuto per tre volte alla porta chiusa della cattedrale e per tre volte il coro ha risposto intonando il salmo 121. La prima voce risuonata dalla cattedrale è stata quella di un altro "Emmanuel": la grande campana seicentesca che, ironia della sorte, ha lo stesso nome del presidente francese.IL GRANDE ASSENTEGrande assente il Papa, che ha inviato un messaggio letto dal nunzio apostolico mons. Celestino Migliore. All'Angelus di ieri neanche un cenno. Tra una settimana Francesco sarà in Corsica, ma per sabato invece di andare a Notre Dame aveva programmato il concistoro per la creazione di nuovi cardinali, passato in secondo piano, quasi un evento ecclesiale di routine. L'attenzione mediatica era tutta su Parigi, dove in fin dei conti l'assenza del Pontefice non ha tolto nulla all'impatto dello storico evento. Un altro segno di quanto fosse effimero quell'"effetto Bergoglio" di cui si favoleggiava agli albori del pontificato. «Il danno di immagine» semmai è per Francesco, commenta il vaticanista Luis Badilla: «Il Papa poteva almeno evitare di umiliare Parigi e i tanti francesi che non capiscono il Pontefice. In Francia, così si vive il "no" a Notre-Dame a prescindere di quale sia vero pensiero del Pontefice».Ieri mattina la prima Messa con la consacrazione del discusso nuovo altare ciotoliforme. L'arcivescovo Ulrich vi ha deposto le reliquie di Santa Marie Eugénie Milleret, Santa Madeleine Sophie Barat, Santa Catherine Labouré, SanCharles de Foucauld e il beato Vladimir Ghika. Quindi ne ha unto la mensa, partendo dalle cinque croci agli angoli e al centro per poi cospargere l'intera superficie. Poco prima nell'omelia aveva elogiato il manufatto, opera (così come cattedra, battistero, tabernacolo e altri arredi) del designer Guillaume Bardet, a partire dal materiale: «il bronzo, entra in un dialogo franco con l'edificio in pietra, è la prima scossa che ci coglie». Esso «forma con l'ambone, in uno scambio senza confusione, la mensa della Parola e quella dell'Eucaristia. Per quanto riguarda le linee di entrambi i mobili, la loro purezza, la loro semplicità, sono estremamente accessibili».E qui finisce la gloria della "rinnovata" Notre Dame. Perché la «scossa» evocata da mons. Ulrich effettivamente «ci coglie», ma per tutt'altre ragioni. Non che fosse tanto meglio il distrutto altare moderno di Jean Touret del 1989. Laddove il gotico funge da finestra proiettata al di là, il modernariato di ieri e l'ingombrante minimal di oggi finiscono per fare da schermo che ci rinchiude al di qua. E oscura anche il gruppo scultoreo dell'antico altar maggiore del 1723, la cui Pietà oggi appare quasi un compianto sugli arredi liturgici appena inaugurati. Paradossalmente c'è anche un altare di foggia classica: è incluso nel nuovo reliquiario della corona di spine realizzato da Sylvain Dubuisson, ma servirà solo per appoggiarvi le candele. Il Santissimo Sacramento dovrà invece accontentarsi del ciotolone e del tabernacolo di Bardet.LE POLEMICHEIl restauro di Notre Dame è stato accompagnato da polemiche sulla "pazza voglia" di dare un taglio al passato che ha unito il presidente Macron e l'arcivescovo Ulrich - e lanciata a suo tempo dal predecessore mons. Michel Aupetit, il primo a proporre arredi dal taglio moderno e nuove vetrate. A queste ultime si è opposta la Commission nationale du patrimoine et de l'architecture (facente capo al Ministero della Cultura), tanto più che quelle ottocentesche di Eugène Viollet-le-Duc sono scampate all'incendio. Un anno fa Didier Rynkner, fondatore de La Tribune de l'Art, ha lanciato una petizione sottoscritta ad oggi da oltre 242mila persone, per evitare che vengano destinate al museo e rimpiazzate. Ma Ulrich e Macron proseguono per la loro strada e il 21 novembre si è riunita la commissione incaricata di valutare i progetti per le nuove vetrate. [...]In attesa di conoscere il vincitore "godiamoci" i paramenti realizzati per l'occasione, su cui spiccava il piviale multicolore indossato sabato sera da mons. Ulrich, che qualcuno ha già ribattezzato il piviale della Lidl. Più precisamente si tratta di paramenti in stile Benetton, e non per modo di dire: l'artefice è infatti lo stilista Jean-Charles de Castelbajac, già direttore artistico proprio del colosso dell'abbigliamento (e già arruolato dall'arcidiocesi per la Gmg parigina del 1997). Tra i segni distintivi di Castelbajac c'è «l'amore per il pop e per l'arcobaleno» nonché una predilezione per la street-art. Almeno i paramenti non si potevano affidare alle care "vecchie" suore? Si sono invece scomodati e a caro prezzo designer e stilisti, il che sa tanto di grandeur ecclesiastica più che della «nobile semplicità» rivendicata da mons. Ulrich.Ma gli occhi di tutti erano giustamente concentrati su Notre Dame rinata dalle fiamme, non certo sui "capolavori" di Bardet e Castelbajac. Sono quelle sacre e imponenti vestigia di una civiltà che fu cristiana ad aver radunato i grandi della terra, che non avrebbero mai preso un aereo per vedere il nuovo altare-ciotolone e gli altri immancabili tributi al "culto" della contemporaneità.Nota di BastaBugie: Lorenza Formicola nell'articolo seguente dal titolo "La nuova Notre Dame celebra la Francia che rinnega sé stessa" parla della cattedrale di Parigi "reinventata" dopo l'incendio del 2019. L'altare è un'enorme ciotola che in perfetto stile woke soffoca il mistero cristiano e il gotico francese. Di sacro resta solo la laicité.Ecco l'articolo completo pubblicato su La Nuova Bussola Quotidiana il 6 dicembre 2024:Cinque anni dopo l'incendio che rischiò di cancellarla durante la Settimana Santa del 2019, la cattedrale di Notre Dame riaprirà le sue porte. La struttura ricostruita e la guglia che ha ripreso il suo posto nel cielo di Parigi: chapeau!Il 7 dicembre è previsto l'evento di riapertura. [...] E Dio in tutto questo? È  certamente il grande assente. Un accessorio. Ridotto a utile pretesto di uno spettacolo in cui, che si tratti di una cattedrale, nessuno più lo ricorda. Malgrado sia il principale luogo di culto cattolico di Parigi, chiesa madre dell'arcidiocesi, nel cuore della capitale della nazione che fu la "figlia primogenita della Chiesa". [...]Sono 846 i milioni di euro raccolti e utilizzati per la ricostruzione in un atto mondiale di filantropia. Ed è già polemica per la cifra pazzesca se si pensa all'impoverimento gravissimo delle altre cattedrali e chiese francesi.  La corsa alle donazioni arrivò con la promessa che la cattedrale sarebbe stata ricreata esattamente com'era, il che non era affatto scontato. Infatti tutto è stato smentito.Per un presidente ossessionato dalla questione della legittimità e dal rapporto tra la nazione e le sacralità che le ruotano attorno - laica e storica, meno spesso religiosa -, Notre Dame da ricostruire e reinventare è diventata materiale per essere ricordato dai posteri, come Mitterrand con la Piramide al Louvre, e Pompidou con il Centro che porta il suo nome.Infatti, solo una manciata di giorni dopo, con la cenere ancora calda ed Édouard Philippe ancora primo ministro, si annunciò una cattedrale che sarebbe stata «porta del nostro tempo».  Macron e i suoi vennero presi in parola e fu un profluvio di pazze idee: un progetto proponeva di sostituire il tetto con un serra ariosa, un altro con una piscina, un altro ancora prevedeva il tetto sostituito con una serra, e poi la cappella ecologica e le pareti rivestite di canapa.Una collezione di tentativi per trasformare la cattedrale in uno show-room sperimentale, una cosa che non s'è mai vista prima. Un po' come se Disney, i profeti wokisti, e i discepoli di Greta dovessero entrare tutti insieme a Notre Dame. Qualcuno è entrato. Qualcun altro è rimasto fuori.E mentre la controversia sull'opportunità di installare vetrate moderne in sei grandi campate della cattedrale non è ancora finita, nel senso che no

La Gentilezza è un Comando Spirituale, ed è testimonianza vivente del livello spirituale raggiunto da un Viaggiatore dello Spirito. La pratica della Virtù Superiore della Gentilezza deve essere compresa in accordo all'Insegnamento della Scienza Iniziatica. La Gentilezza è ciò che emana un artista marziale alla piena potenza della sua Arte; la Gentilezza è ciò che emana un Samurai dello Spirito quando il suo Stato di Essere ha superato la soglia delle prime Percezioni dell'Unità Spirituale di tutti gli esseri umani. Coltivare INTENZIONALMENTE Gentilezza in accordo alla Scienza Iniziatica è un Esercizio Spirituale che apre il Chakram del tuo Cuore. Esso ti accompagna alla porta della Percezione della essenziale appartenenza di tutti gli esseri umani ad un unico Campo di Energia Vivente, ad un unico ESSERE Spirituale. Come cellule di un solo ESSERE; come foglie di un solo immenso albero. In questo podcast approfondiamo il senso della coltivazione della Virtù Superiore della Gentilezza nel nostro Cammino Spirituale; che cosa la Gentilezza NON E', e dunque cosa evitare; e lo scopo superiore sotteso a questa coltivazione. Il testo di questo podcast è disponibile a questo link: [..] Sfondo musicale: Panning The Sands, di Patrick O'Hearn ~ https://www.patrickohearn.com

In aflevering 9 van de PZC Voetbal Podcast schuift voetbaltrainer Marcel Lourens aan, die in 2022 bij Kloetinge stopte met een kampioenschap. Samen met PZC-journalisten Juriën Dam en Jan Dagevos bespreekt hij het voetbalnieuws.Dagevos was bij de topwedstrijd van Hoek en merkte na het verlies toch weer enige onrust bij de achterban. Ook was hij een dag eerder bij de zaalvoetballers van Groene Ster Vlissingen, waar ze de bezoekers tegenwoordig niet eens een drankje meer aan kunnen bieden. ,,Dan moeten ze naar de Esso."Lourens is momenteel trainer in ruste, en of hij ooit nog terugkeert weet hij zelfs niet. Wel volgt hij het voetbal nog op de voet. Anekdotes over onder meer spelers die zich verslapen voor een avondtraining en een aangeschoten voetballer bij een voetbalquiz rollen over tafel. En natuurlijk gaat het nog over zoon Dano, die momenteel écht aan het doorbreken is als profvoetballer bij ADO Den Haag. En hoezo noem je je zoon Dano?Support the show: https://krant.nlSee omnystudio.com/listener for privacy information.

Il brano odierno è caratterizzato dall'urgenza di riconoscere il tempo presente, il tempo di Dio. “Quando voi vedete una nuvola salire da ponente dite: viene la pioggia, e così accade. Stolti! E come non sapete comprendere questo tempo?” Conoscete bene ciò che è utile per la vita di ogni giorno, ma non ciò che è necessario per la vita dello spirito. Sapete discernere 'il volto' del cielo e della terra, ma non quello del Figlio dell'uomo. Il discepolo vive alla luce del giudizio di Dio. Esso si rivela nel mistero pasquale di Gesù, che si battezza nel fuoco dello Spirito, dopo che lui stesso è passato attraverso le acque della morte. Questa è la sua venuta, già realizzata sulla croce, che giudica il mondo per salvarlo. Per questo è necessario riconoscere il tempo presente come il momento per la conversione. L'invito a riconciliarsi presto e a fondo con quelli con cui non siamo in pace, è a portata di tutti. “Quando vai con il tuo avversario davanti al magistrato, lungo la strada procurati di accordarti con lui”. Ciò vuol significare che l'uomo deve afferrare l'attimo ultimo a lui offerto per la sua salvezza, non lasciandoselo sfuggire. Questo rimprovero di Cristo è bruciante e in primo luogo interessa precisamente i credenti. Noi siamo coloro che hanno lo sguardo di Dio; la nostra fede non significa soltanto guardare Dio, ma guardare con gli occhi di Dio la realtà del mondo e della nostra personale esistenza. Il segno per eccellenza è sempre Cristo, con il suo mistero pasquale. Egli mi salva a misura che, leggendo gli eventi della mia esistenza e confrontandoli con la sua Parola, lascio che la Parola stessa porti frutto in me e nel mio tempo. Tocca a noi saper giudicare questo tempo, come dice Gesù, e giudicare da noi ciò che è giusto.

Ullisses Campbell é um jornalista, escritor e roteirista brasileiro. Foi vencedor do “Prêmio Esso” e é autor de livros biográficos sobre Suzane von Richthofen, Elize Matsunaga, Flordelis e Maníaco do Parque, envolvidos em casos criminais notórios. No programa de hoje Ullisses contará do seu novo livro “Francisco de Assis, o maníaco do parque”, um dos crimes mais marcantes do Brasil.

Comentarista da Globo News, um dos fundadores do jornal Extra e vencedor de 3 prêmios Esso de jornalismo, o botafoguense assumido virou meme na internet por "desafiar" o palmeirense Guga Chacra, no fim de um programa do canal de notícias e mostrar a camisa do clube. Num papo leve e descontraído, Octavio fala da paixão pelo Botafogo, reflete sobre as diferenças entre política e esporte, comenta o novo momento da história da instituição e revela: "Não assisto aos gols. Fico de costas e espero a vibração da torcida para comemorar". DÁ O PLAY!

In this podcast, we bring you exclusive insights from the 43rd Congress of the European Society of Surgical Oncology (ESSO... The post ESSO 43 highlights appeared first on VJOncology.

Seit fast zehn Jahren klafft eine Baulücke auf der Hamburger Reeperbahn, wo einst die Esso-Häuser standen. Ein geplanter Neubau mit bezahlbaren Wohnungen lässt weiter auf sich warten. Die Initiative „Planbude“ ist nun aus dem Projekt ausgestiegen. Neubig, Magdalena www.deutschlandfunkkultur.de, Länderreport

In che direzione va la storia (Colossesi 1:13-16)? https://www.tempodiriforma.it/wp/in-che-direzione-va-la-storia-colossesi-113-16/ Persone ideologicamente contrapposte sono convinte di “stare dalla parte giusta della storia” perché persuase che il futuro apparterrà sicuramente a coloro che si battono per i valori in cui credono. Altri ritengono che non vi saranno vincenti o perdenti, ma, se ci sarà un futuro, solo un immane disastro nel quale pochi sopravvissuti dovranno faticosamente ricostruire su altre basi. Utopie e distopie, però, sono futili perché per questo mondo si realizzeranno con certezza solo gli eterni e rivelati propositi di Dio incentrati in ciò che sinteticamente è delineato in Colossesi 1:13-16, il testo biblico che oggi esamineremo. Esso è l'unica discriminante per chi vuole stare dalla parte giusta della storia.

Moin, auf St. Pauli gibt es heute kreativen Protest: Mit einem Megafon-Chor! Dabei ist der Anlass eher frustrierend. Auf dem Gelände der früheren Esso-Hochhäuser tut sich immer noch nichts. Dabei war das Projekt Paloma-Viertel mal mit so viel Hoffnung gestartet. Auch kreativ, aber außerdem noch konstruktiv sind unsere Kultur-Tipps fürs Wochenende :-) Viel Spaß beim Hören wünscht Ole ---------------------------------------------------------------------------------- Was war heute in Hamburg los? Maiken Nielsen und Ole Wackermann werfen im wöchentlichen Wechsel zum Tagesende einen Blick auf die News und das aktuelle Stadtgeschehen. Das sind die Nachrichten heute mit Ole Wackermann am Freitag, 04.10.2024 +++ EU-Kommission billigt Einstieg der Reederei MSC bei der HHLA+++ Die EU-Kommission gibt grünes Licht für den geplanten Einstieg der Schweizer Reederei MSC beim Hamburger Hafenbetreiber HHLA. Nach Angaben der Wirtschaftsbehörde hat die Wettbewerbskommission keine Bedenken dagegen, dass MSC knapp die Hälfte an der HHLA übernehmen kann.

Roberto Iannuzzi"Il 7 ottobre tra verità e propaganda"L'attacco di Hamas e i punti oscuri della narrazione israelianaFazi Editorewww.fazieditore.itIl brutale attacco sferrato da Hamas il 7 ottobre 2023 contro le comunità di Israele attorno alla Striscia di Gaza ha rappresentato uno spartiacque nella storia israelo-palestinese. Quella scintilla ha innescato una guerra ancora più violenta a Gaza, a sua volta all'origine di una gravissima crisi regionale. Ma cosa è realmente accaduto quel giorno? Davvero l'intelligence israeliana era all'oscuro del piano palestinese? E perché i segnali premonitori sono stati ignorati? Quel 7 ottobre hanno avuto luogo feroci combattimenti tra le forze armate israeliane e i miliziani palestinesi. Il terribile bilancio di 1139 morti israeliani è stato attribuito alla furia di Hamas. Ma quante di quelle vittime sono rimaste uccise nel fuoco incrociato tra israeliani e palestinesi? Quante sono morte a causa dello sproporzionato uso della forza da parte dell'esercito di Tel Aviv, che ha fatto ricorso a carri armati ed elicotteri da combattimento anche in contesti urbani? Gli uomini di Hamas sono stati accusati di spaventose atrocità, decapitazioni, mutilazioni, stupri. Ma quante di quelle accuse erano reali, e quante invece il tentativo di ingigantire gli orrori perpetrati dai palestinesi per giustificare l'inconcepibile distruzione che la successiva campagna militare israeliana avrebbe scatenato sui civili di Gaza?In Occidente, i mezzi di informazione hanno dato voce soprattutto alla narrazione israeliana. Questo libro cerca di rispondere ai principali interrogativi sugli eventi del 7 ottobre, mettendo in luce i punti oscuri della versione ufficiale del governo Netanyahu e rivelando retroscena finora largamente ignorati. Esso delinea un quadro d'insieme delle circostanze in cui è maturato l'attacco di Hamas, tratteggiando una rapida storia del gruppo e descrivendo la situazione a Gaza e il contesto geopolitico regionale all'origine della successiva destabilizzazione che quel tragico giorno ha provocato.Roberto IannuzziAnalista di politica internazionale, ha scritto di questioni legate al tramonto dell'attuale ordine mondiale su testate italiane e straniere. È stato a lungo ricercatore presso l'UNIMED (Unione delle Università del Mediterraneo), dove ha approfondito temi riguardanti il mondo arabo e la politica americana nella regione. È autore di due libri: Geopolitica del collasso. Iran, Siria e Medio Oriente nel contesto della crisi globale (Castelvecchi Editore, 2014) e Se Washington perde il controllo. Crisi dell'unipolarismo americano in Medio Oriente e nel mondo (Castelvecchi Editore, 2017). Cura la newsletter «Intelligence for the People».IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Il ven. Olivier Rossi, monaco della Fondazione Sangha in questo nuovo ciclo di podcast ci accompagna alla scoperta del Sutra del Cuore.Puoi scaricare il testo qui >>> Sutra del Cuore È uno dei testi più brevi e profondi del Buddhismo Mahayana, trattasi dell'essenza della Prajnaparamita (Sutra della Perfezione della Saggezza), il secondo giro della ruota del Dharma di Buddha Shakyamuni. Esso ci conduce al significato più profondo della vacuità (śūnyatā), e su come la forma ed il vuoto siano relazionati. Con il Mantra "Gate Gate Paragate Parasamgate Bodhi Svaha", Buddha indicò i cinque sentieri di realizzazione, per raggiungere  l'Illuminazione.In questo primo episodio, di una serie che ci accompagnerà per diversi mesi, il monaco Olivier ci introduce a questo prezioso testo.Buon ascolto, riflessione e meditazione!Ti è piaciuto questo podcast?Lasciaci un'offertahttps://monasterobuddhista.it/dona/Scopri di più sul Monasterohttps://monasterobuddhista.it/il-monastero/ ______________Ven. Olivier Rossi è nato in Francia nel 1969, ha partecipato al Masters Program presso l'Istituto Lama Tzong Khapa in Italia dal 1998 al 2005 sotto la guida del Ven. Ghesce Jampa Gyatso del Sera Jay Jhadrel Khamtsen e ha preso l'ordinazione nel giugno 1998. Fa parte della Fondazione Sangha di Pomaia.Su consiglio del suo insegnante ha assunto l'incarico di assistente dell'insegnante per il Basic Program residenziale presso l'ILTK dal 2005 al 2007, per il Masters Program dal 2008 al 2013 e ancora per il Masters Program nel 2015-2016.Ha condotto numerosi ritiri e corsi di fine settimana nei centri FPMT in Europa e India.Dal 2020 risiede presso il centro Munì Gyana di Palermo, dove attualmente insegna il Basic Program residenziale e corsi brevi di un fine settimana.

Chico Otavio é escritor e jornalista profissional desde 1985, tendo passado pela redação da Última Hora e pela sucursal de O Estado de São Paulo antes de ingressar no Globo, onde trabalhou de 1997 a 2023. Chico sempre foi repórter. Conquistou seis vezes o Prêmio Esso, em categorias distintas, entre outras premiações. É professor de Jornalismo da PUC-Rio e ajudou a fundar a Associação Brasileira de Jornalismo Investigativo, a Abraji. AJUDE-NOS A MANTER O CANAL ICONOGRAFIA DA HISTÓRIA: Considere apoiar nosso trabalho, participar de sorteios e garantir acesso ao nosso grupo de Whatsapp exclusivo: https://bit.ly/apoiaoidh Se preferir, faz um PIX: https://bit.ly/PIXidh Siga nosso canal de CORTES: https://www.youtube.com/@IconografiadaHistoria-cortes Siga-nos em todas as redes: https://linktr.ee/iconografiadahistoriaoficial Livros: Massacre em Vigário Geral: https://www.amazon.com.br/Massacre-Vig%C3%A1rio-Geral-escancarou-corrup%C3%A7%C3%A3o/dp/8501921025 Queda livre: A história de Glaidson e Mirelis, faraós dos bitcoins: https://www.amazon.com.br/Queda-livre-hist%C3%B3ria-Glaidson-bitcoins/dp/658751846X/ref=tmm_pap_swatch_0?_encoding=UTF8&qid=&sr= Mataram Marielle: Como o assassinato de Marielle Franco e Anderson Gomes escancarou o submundo do crime carioca: https://www.amazon.com.br/Mataram-Marielle-Assassinato-Anderson-Escancarou/dp/6555600381/ref=tmm_pap_swatch_0?_encoding=UTF8&dib_tag=se&dib=eyJ2IjoiMSJ9.u4bhsfQvZ90VeBNsqpUaCCgfdNMgfflb5KDxGL4akx4kZdfRk88BHh4Onu9RCCNsOKmMWmGzWz1R-5nlJM1UCM9jC9bKbWAVzo9x0BECUVtlgkwSB87UZLR2-NQ1pu2g-hUS_m31uhI0sn4bOxixW1JmUspPGjYrgfLEfUpgd9qKyavcaL4fPV0fyWGN1GaPGmXoOOuZtTR1wNy5fpvXD1XLwdAX3w7WktbyyYbqDzk.2BNExekzQ7QclgbPuyIAC5bTpjNp2h7cUb9IzliMd98&qid=1718662565&sr=1-1 Os porões da contravenção: https://www.amazon.com.br/Os-por%C3%B5es-contraven%C3%A7%C3%A3o-Aloy-Jupiara/dp/8501106445/ref=sr_1_1?crid=28NVPYTM4RUR1&dib=eyJ2IjoiMSJ9.dGa3WQ6kZExKAah4fwBQDgf-gXZAaX9R8fVEqYGK7VMAwZTtHosNExR3p76WGrjVcWdkm9tz5VBhkci1PD_xIZcLVWux0yAqyEdTTFvALpsRjyUaC0N_6PgXu-2h-JjwXe8jGmPzMcJ9lWhVaeMXrd2zOfjFkcYFAf1XR8cnNntJ9iUFF0pbkBEeseq5ZHuQT_dlVHextX70bRcvKu6PLe7ZBLUDtm2-p04-Z9xwkCmDpK-DAysYhc6udJPOuUjrfsobWnicutsLm10HeNGQXnKGnFD6mJg8XublahWub68.vZdlKwAPpRl_v2GTpAh4ynhxssqVHkFqcPHyKhtvCwA&dib_tag=se&keywords=poroes+da+contraven%C3%A7%C3%A3o&qid=1718662911&sprefix=poroes+da+c%2Caps%2C238&sr=8-1 --- Support this podcast: https://podcasters.spotify.com/pod/show/iconocast/support

Sie war so was wie der Dorfplatz des Kiezes. Abhängen an der „Esso“: Absoluter Kult. Nachdem die Tanke unweit des Spielbudenplatzes abgerissen wurde, suchten die Leute einen anderen Ort. Und fanden ihn. Nur sehr viel kleiner. Den Kiosk „Mittenmang“ an der Davidstraße, liebevoll die „kleine Esso“ vom Kiez genannt. Für Chefin Mareike Dere (54) eine große Ehre, mit der sie nicht gerechnet hätte. Verließ sie den Laden anfangs doch keinen Abend, ohne zu weinen. Die flippige Frau mit dem wilden Lockenkopf berichtet vom Ärger um die Kioske auf dem Kiez und was sich ändern müsste. Von komasaufenden Kunden, solchen, die blankziehen und der einen Frau, die sie nicht vergessen wird. Die Kiosk-Chefin erzählt vom Geschäft in der gegenüberliegenden Herbertstraße, der Teenie-Droge Lachgas, Engländern im Peniskostüm und dem historischen Schatz, der sich unter dem Kiosk verbirgt. Und sie verrät, warum sie anfangs jeden Tag weinen musste, ihr Glück nun aber gefunden hat.

O convidado do programa Pânico dessa quarta-feira (10) é Tarso Araujo. Ele é jornalista, documentarista e consultor, especialista em saúde e políticas de drogas. Escreve reportagens sobre o tema, já venceu os prêmios Abril de Jornalismo, Esso de Jornalismo e o Prêmio Gilberto Velho de Mídia e Drogas. É autor dos livros Almanaque das Drogas - um Guia Informal para o Debate Racional, (Leya, 2012) e Guia sobre Drogas para Jornalistas (Catalize, 2017). Em 2014, criou a campanha Repense, de conscientização sobre o uso medicinal da cannabis, e dirigiu uma série de curtas sobre o mesmo tema, além do longa Ilegal, sobre um grupo de mães que luta para tratar a epilepsia de seus filhos com produtos da planta. Foi fellow da Open Society Foundations no curso de especialização em políticas de drogas da ONG Release (Inglaterra) e, como palestrante, já participou de dezenas de eventos públicos e congressos científicos, inclusive na Faculdade de Medicina da USP, na Unicamp e na Polícia Federal. Em 2019, coordenou a segunda edição da campanha Repense, voltada aos congressistas brasileiros. Desde 2015, realiza atividades de educação sobre drogas com alunos de ensino fundamental e médio. Trabalhou na indústria de cannabis medicinal e foi diretor da BRCann, Associação Brasileira da Indústria de Canabinoides. Atualmente, é coordenador de comunicação do Instituto Ficus, ONG dedicada ao desenvovimento das regulamentações de Cannabis no Brasil. Como comentarista do programa, teremos Uriã Fancelli, especialista em Relações Exteriores, mestre em política e cultura europeia, autor de 'Populismo e Negacionismo'.

Ti do il benvenuto su Italiano bello, il podcast in italiano semplice pensato per chi vuole imparare l'italiano o semplicemente migliorare. Tutti gli episodi sono disponibili in formato video ⁠⁠⁠⁠⁠⁠⁠⁠sul mio canale YouTube⁠⁠⁠⁠⁠⁠⁠⁠, dove puoi attivare i sottotitoli. Ecco cosa puoi fare dopo aver ascoltato l'episodio:

On this day in 1964, the first Tim Horton Donuts shop opened in Hamilton, Ontario.See omnystudio.com/listener for privacy information.

DJ Clue, Esso, and Combo talk Knicks and much more at Power 105.1 in New York City! | Combo's Court Go to PrizePicks and use code "Combo" for a first deposit match up to $100 here: prizepicks.onelink.me/ivHR/COMBO Learn more about Good Drills here: good-drills.samcart.com/referral/pAzE…EDqUnDd8aFZgA

Sometimes it's just a pleasure to sit back and listen.  This is one of those moments - for me, certainly, but hopefully for you too.  I had the pleasure of sitting and chatting with two icons of the industry - Sean Conboy and the inimatable nonagenarian, Stuart Clark who is not only still shooting at the age of 97 but is a considerable racontour (you can hear me and Sean laughing in the background throughout!) Stuart started his career in 1941, so his stories are not only entertaining but are fascinating as they cover every photography development from glass plate through to the state of the art digital wizardry we're facing today. This interview is worth listening to every one of its 90 or so minutes! Enjoy!   Cheers P. If you enjoy this podcast, please head over to Mastering Portrait Photography, for more articles and videos about this beautiful industry. You can also read a full transcript of this episode. PLEASE also subscribe and leave us a review - we'd love to hear what you think! If there are any topics, you would like to hear, have questions we could answer or would like to come and be interviewed on the podcast, please contact me at paul@paulwilkinsonphotography.co.uk.    Transcript [00:00:00] Paul: So there are so, so many things I love about being in this industry, the things we get to do, and in particular, this podcast, and one of the many things is having these moments that you're about to hear, where I get to sit and chat with someone I've known for a very long time, Sean Conboy, fantastic photographer, and just a wonderful human being. [00:00:20] And someone he introduced me to, a guy called Stuart Clark.  [00:00:23] Now Stuart is 98 years old in July this year. Self proclaimed as one of the oldest working photographers in the country, and I'm not sure that anyone's going to argue with that. He started training as a photographer in 1940. That makes this, he's been working as a photographer for 84 years. [00:00:46] And the whole of this interview is taking place in what was, his photography studio in a little town just outside Leeds. It's his front living room, but it's huge. It's got a high ceiling and you can imagine how the lighting would have been hot, continuous lights and families just having the best time with someone who I learned very quickly, is a storyteller and a raconteur, uh, just a wonderful, a wonderful human being. There are lots of things to listen out for in the following interview, and let me draw your attention to just a few. Uh, listen out for the flash powder story. It's very funny. Uh, the story of, uh, People retouching, lots of retouching stories from the 1940s and billiard ball complexions. [00:01:31] . Doing multiple jobs in a day. He used to do three or four jobs in a day, and have the timing so accurate that could include photographing a wedding. He learned his craft. He's great. [00:01:42] He's spent time creating images for press, looking for alternative, alternative images and looking for PR images that no matter how much a sub editor crops them, the brand or at least the story is still very much intact. He talks about the utter love of the job and appreciating what a privileged position photographers like ourselves are in every day of the week. [00:02:07] He talks a little about the role of agencies and how they now manage messages from companies in a way that probably they never did. He talks about relationships and he talks about being positive and persistence. He also talks about the role of the Institute. [00:02:24] Finally, he talks a little bit about photographers always being the fag end of everything, but in the end, what he talks about really, It's the love of his job and the love of his clients.  [00:02:35] Why am I telling you all of this upfront? Well, this is a long interview, but the sound of Stuart's voice and the history that it represents, as well as the fact that he's more current than an awful lot of photographers who I know right now who are much younger, uh, but just, there's something in his, his entire manner that is captivating and enthralling, informative and useful. And so, although it's a long interview, I thought I'd just explain a little bit about why I found it so appealing and why I've left the edit almost entirely intact. I've removed a few lumps and bumps where we all managed to hit a microphone as we're gesticulating. [00:03:16] So picture the scene, there's myself, Sean and Stuart sitting, in armchairs and on couches. [00:03:27] And if you're wondering why it took me quite so long, this interview is actually, it goes back to February of this year, and why it took me quite so long to get it out, it was partly because there was a lot of of lumps to remove and partly because it was this trip, this interview, this podcast that I was returning home from when the Land Rover blew up. [00:03:46] And frankly, I think there's a little bit of trauma there with a six and a half thousand pound bill to re, to replace and repair piston number two. I think my heart just, I needed a minute just to not recall it every single time I try to edit this particular podcast down. It's a wonderful interview. Please enjoy. [00:04:06] I know it's quite long, um, but what an absolute legend. I'm Paul and this is the Mastering Portrait Photography Podcast.  [00:04:32] So, firstly, Stuart, thank you for welcoming us into your home. We've driven quite a long way, uh, to come and see you. Sean, uh, recommended we speak to you, because the number of stories you have make even his collection of stories look Insignificant. [00:04:48] And as we all know, Sean, The Footnote Conboy has more stories than any man I've ever met up until probably this, this moment in time. So to kick the conversation off, how did you become a photographer? [00:05:05] Stuart: It was an unfortunate or fortunate chain of events because, um, I was at the Leeds College of Art in 1940, 41, and I had the desire and intention of being a commercial artist, which is now referred as graphic designer and at that time, being wartime, there was little advertising being done, and so, uh, perhaps I was not sufficiently talented, but I finished up working for a firm who were essentially photoengravers, but they had a commercial photography studio as well, and they were short of somebody to join them, and I went in there and became virtually an apprentice photographer. This was very interesting because at that time, again, there was very little commercial photography advertising being done, and so all our efforts, or most of our efforts, were centred on war work, which involved going round the factories and, uh, Photographing for record purposes, the input of the particular company. And in those days, I can tell you that that was not a very comfortable proposition because we were on total blackout, and therefore, all the fumes in the factory, whatever they were, had very little chance of escaping, so you've got the fumes and the heat, and then of course we were only Illuminating scenes with flash powder, which was an added hazard, and, and so Photography outside in the factories was not very pleasant, but inside the factory, or in the studio, we were also doing war work, and that was to photograph silhouettes, scale models of all aircraft of both the enemy and, uh, and, uh, Home, uh, Aircraft for identification purposes, so that the air gunners were not shooting our own planes down in action. And another very interesting thing which I have always remembered was that the four, or the eight cannons In the Spitfire, that was four in each wing, were harmonized to converge at a point away from the Spitfire so that the Fire, the maximum fire point was when those two lots of cannons converged. [00:08:34] The only reference that the pilots had was a silhouette which we had photographed, so that he could visualize that silhouette in the, aiming sight of his  [00:08:50] guns.  [00:08:51] Paul: a very early heads up display.  [00:08:53] Stuart: Indeed.  [00:08:54] Paul: Yeah. [00:08:55] Stuart: And, so, that was quite an important element, I think, of our war work for the Air Ministry. [00:09:03] The main factory was engraving the, conical, rangefinder cones for 25 pound howitzers. [00:09:14] Paul: Right. [00:09:15] Stuart: And at the time of leaving school, everybody had to be doing war work.  [00:09:21] And so I went to the company on the pretext of doing war work of that nature, rather than going round snapping. [00:09:31] Paul: Right. [00:09:32] Sean: Stuart, could you also, um, I mean you've told me many great tales about your time actually in the, uh, armed services film unit, i think that might be quite interesting,  [00:09:42] Stuart: Well, I was called up and because of my interest in mechanical things and gadgetry and so forth, I finished up in the Royal Army Service Corps. But a friend of my mother's husband suggested that I applied for a trade test in photography. And one day I was called up to the orderly room and they said, We've got the movement order here for you. Um, to go to Pinewood Studios, of all places. I don't know what this is about, but anyway, here's your movement order. So, I went down to Pinewood, and we had a trade test, and I think I finished up, uh, top of the, the, uh, examination. But then I was returned to unit at Catterick, and I was up there for another few months, and then I was posted. And eventually, after about six weeks of the posting, I got another movement order to go back to Pinewood Studios, where I started my course in cinephotography, [00:11:06] and still photography. Now, this was the last course. before Pinewood closed down and the unit closed down. I'm talking about Pinewood closing down, Pinewood was the headquarters of the Army Film and Photographic Unit from when it was formed in October 41. [00:11:35] The course included preparation for action photography, essentially. when the course started, the war was still on in Central Europe. but before the course finished, it, uh, the war finished. [00:11:58] And The Japanese War was still going on until September of the same year, which was 45. But we were still being trained, and when the course finished, we had very little to do but just wait to see what happened. And so from September to, um, December of that year, we were just hanging about in the studios. [00:12:30] We were then posted to the Far East, in fact to Malaya, where the No. 9 unit was formed. Having been moved by Batten's headquarters, Mountbatten's headquarters, from Ceylon to Singapore, thought that it would be probably much more congenial there than in Ceylon, India. [00:12:57] So number nine was there and it's interesting to note that right at this moment an exhibition is being produced for the photographer's gallery on Bert Hardy's life and Bert Hardy at the time that I there was, in fact, the stills captain in charge of all the still photography in Malay Command. Or the, not Malay Command, the Far East Command, because we had outstations in Java and Hong Kong, and even, uh, one guy, uh, was in, um, in Hiroshima. So that was the formation of the, the, uh, Far East, Southeast Asia Command photographic, uh, outfit. until it closed down, uh, in September, August September of 46, and we are then dispersed Some went to the Imperial War Museum, the Imperial, uh, war, graves Commission, et cetera, and six of us went back to Vienna, where we joined number 9, Public Relations, because unit had been disbanded completely. So, there in, uh, in Austria, we were doing what they call Local Boy Stories, and we made a couple of films on the Irish regiments and also the East Yorkshire, not the East Yorkshire, the Yorkshire regiments who were guarding and on guard duties at the palace, Shurnbran Palace, which everybody has heard of, and um, and so that carried on until, uh, the Until I was demobbed in 1947, December. came home and went back to the company I originally started with because they were compelled to take people for 12 months. And at the end of that time, I decided to leave I had a bit of a a difference of opinion with the studio manager, who was RAF, and I was Army, and I was a sergeant as well, and I don't think he was quite that when he was in the RAF photographic section, but there was a resentment anyway. [00:16:02] of my presence.  [00:16:03] So, I went to the firm called C. R. H. Pickards, who were one of the finest industrial, uh, and leading industrial photographic units, companies, in the north of England. [00:16:24] It was there, then, that I began to learn industrial photography. And we photographed all sorts of various things, from factory engineering, factories, products and so forth, lathes, milling machines, railway engines, all manner of things. And that's where I cut my teeth on industrial photography. [00:16:56] Sean: And, and Stuart, what sort of, um, equipment would you be using in those days? not  [00:17:01] Stuart: so ha!  [00:17:02] Sean: but how  [00:17:03] would you be lighting these spaces in those days  [00:17:05] Stuart: um The equipment that we were using was always, almost always, whole plate, six a half, eight by, eight and a half, six a half, uh, folding field cameras. when I started, we [00:17:29] were on glass plates. But then the advent of film came in. And this was obviously much lighter stuff to carry around. And every, exposure had to count. Now in today's terms, where you press the button and pick the best out of however many, all we used to do was a duplicate at the most. So we used to There was a variation in the exposure or the aperture setting, and that was the only difference the two exposures. [00:18:19] So what we used to do was develop one side of the, uh, the double dark slides, see what they were like, if they wanted a little bit more or a bit less development, that was applied to second side. And, don't know whether you've ever heard of the expression of, um, developing by, uh, vision. But we used to have a very dim green light, and the sensitive film. [00:18:59] was not, uh, sensitive to the green light.  [00:19:03] Paul: All right.  [00:19:04] Stuart: But you had to be in the darkroom for ten minutes for your eyes to become adjusted, and you could then see absolutely every detail of the, the development process. And when the highlights started to you, to, To show a dark mark through the back of the antihalation backing, then the development was just about right, if but if you wanted a little bit more contrast, then you just pushed it on. If it had been a dull day, a dull, miserable day, then you pushed the development on a little bit further. [00:19:49] Sean: And  [00:19:49] Stuart: you've asked  [00:19:50] Sean: be, how would you be lighting some of these scenes? I'm very intrigued at that  [00:19:53] Stuart: I  [00:19:53] Sean: that  [00:19:53] Stuart: about to say that. [00:19:54] Um, for big areas, we used to use flash powder. And a little bit of flash powder goes a long way, believe me. But it was pretty dangerous stuff. And um, I remember we photographed a wedding on one occasion at the Majestic Hotel Harrogate. And there were 450 people. at the reception and they wanted a photograph to show as many of the people as possible. So we put the whole plate camera on a table stood up there with tray into which I poured flash powder. [00:20:38] Now then, this was actuated. with a percussion cap, like we used to have in little [00:20:46] hand pistols for toys. and when you pulled the release catch, that ignited the cap, [00:20:56] that ignited the flash powder. [00:21:00] So, the exposure was only going to be once. One exposure. [00:21:07] And so, the photographer I was with, he said, right everybody. Look this way, and I want to be making sure that everybody keeps still. [00:21:21] I'm going to count five for you, but don't move until I've finished counting. [00:21:29] So the idea was to take the sheath out of the slide. With having put a cap over the lens, shutter, just an open lens with a cap or a lid on the front. [00:21:46] And the technique was to take the cap off hold it in front of the lens, so that that allowed the vibration or any vibration in the camera to settle down and then take the exposure. the idea was count 1, 2, 3, 4, then take the cup off. And on four I ignited the flash gun and then the cup went on and the guy that I was worth put the sheath back and said, right, let's get out of here quick. The reason for that was that you got the brightness, got the, the buildup of the available lights. then it's just topped off, illuminated with the flash, not a very big one, I hasten to add. But the significance of flash powder was that there was a flame which simply went upwards.  [00:23:00] And that was it, that was all there was to be seen. But, it produced smoke, which used to go into, onto the ceiling, and it would roll across the ceiling, carrying with it the grains of the flash powder, which had obviously changed colour from [00:23:24] silver [00:23:25] To yellow, that was okay. But when the waiters came to move the, uh, soup plates, what they found was a white circle on a yellow  [00:23:47] cloth. [00:23:51] And you can also visualize the fact that a lot of people had a lot of. Little flash powder grains in their hair  [00:24:01] as well. well. By the time that [00:24:04] By the time that this happened, we were halfway back to Leeds.  [00:24:08] Sean: Very good.  [00:24:09] Stuart: But this this was the scourge of flash powder because you could only take one shot. Because the place used to, the whole of the place, the factory, if you using a large amount of powder, made a lot of smoke, and it just collected on the ceiling and it obscured it, the vision. So, we used to use photo floods, these were overrun pearl lamps, we used to have six on a button. And if the subject was still, we could go around on a long lead and paint scene with light. And that was, and that became established, So flash balder started to go, [00:25:08] Paul: Right. [00:25:10] Stuart: but you see, at this time, flash bulbs hadn't really got going. [00:25:17] The GEC flash bulbs, which were foil filled, were about the only thing that was available. Um, in this, in this country. And they were sympathetic. [00:25:31] And the GEC Warehouse in Leeds on one occasion, uh, a consignment of, um, bulbs came, [00:25:43] Uh, [00:25:44] in a, in a case, and, uh, one of the attendants decided that he would test them to see whether they were all alright. [00:25:54] So [00:25:54] he fired one. [00:25:57] and 50 flashbulbs, because [00:26:01] they had to be in contact with each other. If they were separate, it didn't work, but when you put them side by side, they were sympathetic. [00:26:11] Paul: What [00:26:11] happens?  [00:26:13] Stuart: Well, the whole lot  [00:26:14] went  [00:26:14] off. A whole box full of, um, flashbulbs, and they weren't cheap at that time.  [00:26:22] So  [00:26:23] really,  [00:26:23] that was, that was the basic equipment which we used to [00:26:29] use. [00:26:31] And [00:26:32] it was all, [00:26:33] it [00:26:34] was all, uh, 8x6. [00:26:37] Sometimes it was 10x8. [00:26:41] The, uh, the railway engines, which we used to photograph for the Hunsley's Engine Company [00:26:47] and hudderswell Clark's in Leeds, we always used to use 10x8 for those. Now it was interesting there because we used to have a particular date for going to photograph them. And [00:27:04] they were all finished up in black, white and grey paint. Because that served the cost of retouching the finished print. [00:27:15] There was very little photography done at that time. Apart from views and so forth. But anything that meant a machine, a lathe the, or whatever, it always had to go to the process retoucher who airbrushed the reflections or put one or two, put a shadow in or whatever it is. It was a highly skilled, uh, process. Uh, process, retoucher with white lines and so forth. But the interesting thing about these two railway engine companies was. that they only painted them on one side, the side that was being photographed. [00:27:59] Paul: And [00:28:01] Stuart: we used to go back to the studio, develop them straight away, yes, the negatives are alright, as soon as that happened, then they would strip all the black, white, and grey paint off and finish up in the customer's required, required colours. [00:28:23] Paul: Wow. [00:28:25] So, so the bit that strikes me is retouching has been part of this art  [00:28:30] Sean: a long time. Well,  [00:28:33] Paul: I mean, think about [00:28:33] it, right? Because we, there's a lot of debate about retouching and post production. That rages. Even now, but when you think about a manufacturer only painting one side of a train, they're painting it colours that repro well, and then it's being handed on to a retoucher, retouching's been going on for a very long time.  [00:28:51] Stuart: Well of course, everything at that time was, was, um, retouched, and most portraits finish up with complexions like billiard balls. There were no shadows, etc.  [00:29:03] Paul: haha, It's like nothing's changed!  [00:29:07] Stuart: Indeed. Indeed, and, and when people speak now in condemnation of, oh well you can see the retouching and so forth, well the only thing that you have to do now is to make sure that it doesn't show. But, it was, really when Photoshop and the like came in on the scene, this was manna from heaven. [00:29:32] Paul: Yeah. [00:29:33] Stuart: Because it cut out the need to do the work on the actual print. To retouch transparencies was a rather different process altogether. [00:29:48] And it was  [00:29:49] Sean: difficult process to be [00:29:50] Stuart: Oh yes, and very highly skilled. And the firm that I worked for, Giltrous Brothers, who were the photo engravers, they used to retouch twenty, twenty [00:30:02] four, twenty glass plates. Whereby, when you talk about printing today, and I think the, uh, top of the range, uh, Epson, Uh, printer works in, uh, we're printing 11 colors, but the, limited edition photolitho, uh, illustrations were, uh, certainly on, on 13 colors [00:30:36] And from 13 separate plates. All of which were retouched. [00:30:42] Paul: So [00:30:42] the plates were retouched separately?  [00:30:45] Stuart: correct?  [00:30:45] Oh yes.  [00:30:46] Paul: Wow. [00:30:48] Stuart: So [00:30:48] Paul: each of these plates is a black and [00:30:49] white plate that's going to take one color ink? [00:30:52] Sean: Correct. I understood the [00:30:52] Paul: the process right? [00:30:53] Sean: Yeah.  [00:30:54] Stuart: process, right? Retouches were earning more than photographers at any time.  [00:31:01] Sean: It's most interesting to hear this, Stuart, because you come into my era when I was learning photography and the discipline of the transparency, the 4x5 and 8 inch transparency, and of course there, retouching was an anathema because if we retouched the transparency, we started to lose some quality. [00:31:17] Stuart: Yes. we to, it was a period of photography, I think, more than ever, when we had to get everything right in the camera because the client demanded the transparency. Whereas the processes you were using enabled this retouching method, which is very, very interesting. [00:31:29] There are certain elements, as you well know, with your, even with your skills, whereby there are elements which cannot be lit out or exposed out or  [00:31:43] whatever. And there has to be some artwork, or whatever you call it, retouching done. And at the end of the day, most of the photography which, which I was taking and involved with, was going to be reproduced. And so if it was retouched at source, before it got to the retouchers on the reproduction, uh, side. [00:32:11] of the plate making, then that was, it was as we wanted it rather than what they thought it should be.  [00:32:20] Paul: As ever photographers being control freaks.  [00:32:24] Stuart: Well, after something like two to three years at Picards, by which time I got a fair amount of idea of what's going on.  [00:32:37] Um, I decided that, um, I ought to seek pastures new and became a staff photographer for the 600 Group Of Companies just on the west side of Leeds. And there I photographed secondhand machinery, which they used to recondition and I photographed the, lathes and milling machines, drilling machines and that sort of thing, and they were then printed on and they, all these were taken on the half plate camera, which is half the size of a whole plate camera, obviously, um, and, um. they were made on 6x4 glossy prints, and these were distributed by the appropriate department to potential buyers. And I was there for three and a half years. But I'd got to the stage where I'd photographed everything that didn't move, and I was becoming rather dissatisfied with life. So I  [00:33:49] Paul: Do you mind if I ask how old are you at this point? [00:33:53] Stuart: this point? Well, let me see, I would be about, twenty, twenty four, twenty, what, twenty five. Right. Twenty five, six.  [00:34:03] Paul: Right. [00:34:04] Stuart: I was dissatisfied because I didn't think I was getting anywhere. [00:34:09] Sean: So you were, you were ambitious, really, to take your photography on to another level and, and have more control, would you say, over what you were doing [00:34:16] Stuart: you could say that, yes. just say to work for yourself, Stuart?  [00:34:20] Sean: The Thing is that the, the company that I worked for. was part of the A. H. Leach corporate, uh, company at Brighouse, which was, uh, a very big organization with studios in Cambridge, Manchester, Glasgow. Um, and the prospects of moving to any one of those places was stalemate because they were well staffed was no flexibility for moving, and so I thought, well the only way to see whether I am a capable photographer was to make it on my own, see if I could make it on my own. And in fact started the business in some premises now occupied by the local library. down at the bottom end of the village. [00:35:19] Stuart: But this was going on for some time, two or three years, and then the question of getting married. [00:35:27] came into the reckoning, and this house in which we're sitting now became available, and very suitable because the front room lounge in which we now sit became my portrait studio. [00:35:46] And across the top of the window, which is facing opposite you, was a bank of Kodak, um, lighting with five, four 500 watt lamps in each for general illumination. [00:36:04] And So then I had a spotlight which is, was behind you for lighting the hair and then a fill in light on this side. And by this time, we'd moved on to two and a quarter square, real film cameras, 12 on 120. [00:36:22] I hadn't really at that stage got into, back into the industrial scene because I was doing social photography, weddings and portraits, to build up a reserve of capital to move on to buying more advanced equipment. [00:36:44] And the changes at that time were considerable. 5x4 were on the, on the fringe. At the time that I'm speaking of, German 9x12 plate cameras were still being used for press photography. And there they were, on the touchline at Heddingley, these, the local press photographers, with box of 9x12 single shot plates freezing to death, and um, and that's it, one off shots. [00:37:26] But I missed the point earlier on, I think, of saying that uh, every shot had to count. And, over the years, that has influenced me considerably, because I've always made sure that everything was right before I took the exposure. [00:37:48] And whatever the, whatever the occasion was, whether it was an industrial scene or a social scene, you look at the subject before you, to begin with, and then start looking round and see what's happening in the background. Because, if you do that, it saves retouching, and that's an absolute classical instance of today, where people, when Photoshop came, what about so and so? [00:38:22] Oh, don't bother about that, I'll take it out. I can take it out in Photoshop, and I've heard speakers come to the Institute and talk about, Oh, I do this and do that, and I've said, well, how long does it take you to do that? Oh, well, a couple of hours or so, like that. It could have all been addressed in the taking, and that would have been eliminated. [00:38:51] And when you talk about 2 or 3 hours retouching, well how much do you charge for, oh well I'll throw it all in. [00:39:00] And the number of people who I've heard say that, oh well I'll just include it. I think they've got a bit wise to it now because Uh, any extramural activities are chargeable by the hour, and, uh, and it's certainly in need of that, but what I would say to any in, up and coming photographer, they need to sure of what it is that they're taking to avoid having to retouch it afterwards, albeit that in today's terms, [00:39:40] With the relaxation of dress and disciplines and so forth, Um, I don't think it quite matters. And so, I think as far as today is concerned, I would find it difficult to go back to being a photographer in today's terms. Because, I can sit in a restaurant or in a room, somebody's room or whatever, and I'm looking at the, the vertical lines of the structure to, to see whether that line lines up with that, and it's surprising how often I can see lines that are out, even buildings. [00:40:27] I could see buildings that, that were not, um, vertical. completely vertical and line up with the I sit there looking at the streets and doors and windows and it's very, it's very difficult to get out of that discipline into the much more free and relaxed attitude towards photography today. [00:40:56] I don't know whether I, whether you would agree with that or not. [00:41:00] Sean: Stuart, I would agree with what you're saying and it's like the photographer's eye, your whole life has been trained by your eye viewing scenes and viewing situations and it's quite impossible to turn that off really. [00:41:10] That's part of you and how you see things, so no, I couldn't agree with you more. So Stuart, tell me, you obviously, the room we're in now was your studio, and you're in here, you're now married, you're doing more social photography, as you said, and obviously starting to make money. Where did the business go from there? [00:41:29] What was your sort of next stage really? Because I believe you had another studio then in the village, is that correct?  [00:41:35] Stuart: The children grew up and we were running out of room space, [00:41:40] So an opportunity came in the main street down the road to take over a building, um, which I was able to use the ground floor and turn it into a studio, a reception studio and darkroom. And, uh, during that time, I was doing, um, mainly social photography, but also, I had got associated with the local newspaper which circulated in this area, and I virtually, without being on the strength, I virtually became the staff photographer for the whole of the circulation area. [00:42:32] So on a Saturday in the summer, it was not unknown for me to do perhaps 11 cover 11 eventualities such as garden parties, a flower show, etc. and also fit in a complete wedding. So, [00:43:00] Paul: So,  [00:43:00] Stuart: so [00:43:01] my time, my, my mind used to work like a, like [00:43:07] a clock, uh, a precision clock, because it was, it was timed to the nth degree. Um, what time is the, uh, what time is the wedding? How long will the service be? Where's the reception? And I had a mental, uh, mental, uh, memo of the distance from here to there, and the length of time it takes to get from, from there to there. [00:43:36] And, as far as the, as the newspaper is concerned, I tried to take a different picture. at each occasion, so that we don't want the same picture of women serving tea, uh, for the WI, the church of this and that and the other. Um, I tried to make a different picture. So that training and experience fitted me in good stead for when the industrial scene tailed off. [00:44:15] Sean: I've just, uh, I've just, um, picked a photograph up here. [00:44:18] Stuart's got quite a number of his photographs in the room with us here. It's a very nice PR, press type shot here of Harry Ramsden's Fish and Chips shop, and it's got a very 1980s mobile phone and the world famous in this part of the world, Nora Batty which some of you may know from a famous last of the summer wine tv show and i think this is to do with the flotation of Harry Ramsden because it became quite a successful company didn't it so talk a little bit about this photograph Stuart it's very captivating and i think very very well executed [00:44:50] Stuart: Well, the story as you've already identified, I'm surprised that you have, because that was when they went public. And, uh, the, story was the Harry Ramsden fish restaurant, which, it was the center of all activities, just on the outskirts of Leeds, and they, as you said, they got Nora Batty there, who was a very leading personality at the time, and, of course, telephones, you can see the size of that, that mobile telephone, which is about the size of a half of a brick. Um, this was the, um, the story. And the essential thing was to locate the seed of the picture with the name of the, the company. across the top of the, the print or the format. [00:45:46] Sean: And if I could just butt in there Stuart just to say sorry to do this but I think it's important to get this across that I've just picked this image up and the story has come straight across to me. We've got the mobile phone. You've got the Financial Times, which is holding the fish and chips. You've got the sort of banker type chap behind her. [00:46:02] It just shows the skill that's gone into that picture, that an image is telling that story to me all these years later. Because I presume this photograph is 30 or 40 years old, Stuart. Am I correct there?  [00:46:12] Stuart: It's quite a long time. And the essential thing about that picture, uh, Sean, is that however much a sub editor chops it down. There was always be something of the story there, because the nearest or the furthest down that they could chop it would be across the top of the bloke's head, but it would still say Harry on the left hand side. [00:46:42] And, and, that was the, the art of, at that time, of getting the story across for public relations. Include the company's name or the brand in the background somewhere so that it had to be seen and it couldn't be taken out.  [00:47:03] Paul: I ask you a question? Have you always loved being a [00:47:06] Stuart: being a photographer? Oh, absolutely.  [00:47:09] I wouldn't do anything else. Um, had a very enjoyable life in every aspect of it. And I'll tell you one thing about it, and Sean will agree with me on this. Photography, photographers are in a very privileged position, and they don't realize how much so. Because so often, they are in, at the ground floor of activity. A conference, a confidential conference projecting the aims of the company. [00:47:46] I was in a company when I was in the conference actually, when the whole of the regional bank managers were in a conference at Harrogate, and they were told then, that we were going to dispose of the buildings, our assets, and I photographed several banks which were up for sale and they were simply being sold off. The managers didn't know. What's the photograph for? Oh, it's just for the estate. I knew what they were, why they were selling it. It was going on the market. [00:48:25] You know all these little convenience grocery shops and so on, on filling stations, I was in the conference there for all the ESSO managers in the region, when the the project was put to them that we're going to put these little kiosks, or whatever it is, and, and, and there I was. Um, and we were privy to information that was light years ahead of the actual official announcement. [00:48:59] Paul: Yeah. [00:48:59] Stuart: Metahall, for instance, um, I was in the conference when they were talking about what their footprint was needed to be to make that viable. And there are several instances such as that. And you do get it to a more personal level, where we've got, uh, injuries, personal injuries to photograph. [00:49:26] Oh well, what about Snow? [00:49:29] Well, [00:49:29] And you just can't get involved with passing that or repeating that information. [00:49:35] Paul: Yeah. [00:49:36] Stuart: It's confidential. And as I said, photographers are so often right in the heart of things. And I'm sure, Sean, that in today's terms, you'll be more exposed to it than I was with them. [00:49:51] Sean: Well, very much so Stuart. [00:49:52] Very much so. Yeah. I mean, it's, I can't tell you how many NDAs I've signed in my career, so, yeah, absolutely. Absolutely.  [00:50:00] So Stuart, so you've now got the studio, the, the biggest studio now on in the, in the, in the village here. And you're obviously doing your social, your weddings, you're obviously doing a lot of PR. [00:50:11] Did you start to do, did the industrial photography come back a little bit more as well? [00:50:15] Stuart: Yes But I was, I was extremely fortunate and the odd thing about it was that the connection came through the, uh, the work of the local paper because three miles from here was the control room for the Central Electricity Generating Board and they were having an open night and the local paper was invited to to cover the, the event. So I went along and took a few photographs of whatever was going on and had a bit of a look around the place and subsequently then I was approached by their, their public relations department for the northeast region. Would I take a photograph of something else?  [00:51:13] From that stemmed the work, which really became the mainstay of my activities with the Central Electricity Generating Board. [00:51:26] Again, I wasn't on the staff, but I was vir, virtually became the staff photographer for the Northeast Region. And the amazing thing is that here I was, photographing power stations, the grand openings of power stations, starting with Thorpe Marsh, which was the, down in Doncaster, which had two 400 megawatt sets, which were the f The Forerunner, they Thorpe Marsh was really the testbed for the, um, the 400 megawatt stations which followed. [00:52:13] And there again, this was being in on the ground floor whenever there was a fault down there or whatever. or a problem, um, I was called in to, to, to take the photographs.  [00:52:27] Sean: So [00:52:28] Stuart, would you say that, um, he's very interesting listening to this about how your business built. Would you say that networking was a great part of building your business? [00:52:37] Stuart: Networking, well they call it networking now, and it's, it's contacts really. And I think, I'm sure that you'll agree that being in the right place at the right time, and that really applies to anything, the theatrical world, et cetera, and, not necessarily knowing the people, the right people, but getting on with them, and being able to mix with people, and behave in a way that people expect you to. So  [00:53:10] Sean: Would you have any sort of advice or tips for a young photographer or somebodnew breaking into photography and how to. build a business? Have you anything to add there at all?  [00:53:22] Stuart: I think that in today's terms, it is extremely difficult for photographers. And I'll tell you why, because I think that the opportunities which I just mentioned are remote, probably remote in the extreme. Social photography is something else, and the, the website, and all the various media opportunities, with which I am unfamiliar and have no knowledge of because I've not had the need to do it. But I am aware because I look at what people are doing. And that's another instance of success. Of keeping an eye on what other people are doing. If you admire anybody's particular work, then that sets the example and the criteria to work to. But as far as going back to contact is concerned, I have the distinct impression now that not only photography, but everything now stems from public Relations and I don't know whether you've noticed it or not, but if there's, if there are any problems, on the one hand, of people's behavior or their activities, or whatever it may be, adversely or favorably, and the promotion of brands and industries and business, it all seems to stem now very much from the agencies.  [00:55:12] If you read question of the so and so company are going to introduce this product or [00:55:22] service or whatever it is, or they've taken over a business. the [00:55:27] statements attributed to the managing director or chief executive or accountant or whatever it is, right across the board, a great many of the people that are being quoted, I would suggest, are not capable of speaking and thinking the way that the statement appears in print. And it raises sometimes, a lot of suspicion as to just what is behind this thing. This business with the post office. It's full of it. And so the point that I'm making is that advertising agencies, that's another one, the advertising agencies are in direct contact with the, um, with the brand or the company. [00:56:24] And so the opportunities of the photographers, in my judgment, are minimized because of the hold. that the advertising agencies have on the job.  [00:56:43] And  [00:56:43] they,  [00:56:45] they will say who they want and who should be employed. They may think them best or otherwise. And it also then comes down to, rights, and I bet you are right in the thick of this, that, uh, you are the, the favorite bloke on the, on the block, and whilst ever that person is engaged in that company, your situation is secure. But suddenly, if he goes to pastures new, and they've already got their established photographers, as far as you're concerned, you've lost that company. [00:57:28] Sean: Very  [00:57:28] Stuart: company.  [00:57:29] Sean: very true. Yeah, yeah.  [00:57:30] Stuart: Is it true? [00:57:31] Paul: But there's always opportunities with these things, I mean, in the end, there are more photographs being created today than ever historically, I think you're right about the structures of advertising agencies, though this isn't my world, when someone moves on, there's an opportunity, and there's always the opportunity to stay as well, there is risk, of course there's risk, but equally, you could be the guy he takes with you. [00:57:54] So how do you make that happen? [00:57:56] Sean: Well, I think it's very apt because I've had two or three key clients in my career that have moved numerous times, you know, seriously big companies and they've taken me with them, yeah. And not only that, in some cases, they've taken me to their new company. And it's gone well. They've then moved on to another company and taken me with them, but the company they've left still retains me. [00:58:19] So there's a benefit that way. But I think it's really, I greatly believe in the, in the networking, keeping in touch with people, making an effort at all times. And I think, I know we've got today's digital world and there's lots of advantages to that, but also personal contact I think is still really, really important. [00:58:38] Relationships and personal contact. [00:58:40] Stuart: What you are saying is, is correct. And I remember an uncle of mine who was a milkman and, had a, a big dairy, and he once said to my mum, oh, well, it's so and so, he's come again, a rep has come. It's been three times, so really it deserves an order. [00:59:03] There's a  [00:59:04] lot  [00:59:05] Paul: in [00:59:05] Stuart: a lot in [00:59:06] truth in that, backs and it backs up what you were just saying, of keeping in contact, and, of course as far as advertising is concerned, or mail shots. the first one they take no notice of and throw away. The second one, oh well, there's another one from this so and so. The third one, it is usually reckoned that the person will be activated by that And so, as you said, keeping in contact is very important. [00:59:42] But I'm bound to say that breaking in a lot of it is by accident, but certainly the persistence of contact is very important. [00:59:56] And when you consider, you see, over the years we have thought of Only the Institute, or I have, and I've done, I've put a lot of time and work into it, as other people have, without which we might have been a lot more better off or a lot wealthier than we in fact are. [01:00:20] Sean: Stuart, did, did, when we say the institute, it's the British Institute Professional Photography we're talking about here. And I, I'm a member too, and that's how I met Stuart through the institute. Through your long career as a photographer, how important did you find the, The Institute and the ability to mix and talk and, and, and work, you know, get information from other photographers, I suppose. [01:00:41] How important did you find that  [01:00:44] Stuart: Photographers, um, are, as you know, very, very much individualists. they work a lot on their own, and when you consider that there are probably 7 or 10, 000 practicing photographers in this country, and so few of them belong to anything.  [01:01:10] It makes you wonder how all those people survive. but, it really comes back to, to, uh, what we were saying earlier, of contact, those people must be in contact with other people. [01:01:29] Their reputation goes before them, obviously, and when you consider the situation with the Royals, for instance, who, from time to time, have official photographs taken, um, by names that I've never heard of, where you would perhaps expect that they are members of the, this organization, the Royal Photographic Society, as a case in point. Um, these people are not members of them and so how they I'm not talking about the Litchfields, I'm talking about the other people who officially, officially photograph, uh, in recent times, the, um, William and Kate's family, the, their birthday or whatever anniversary it was. So, those people, um, are plowing their own furrow. [01:02:33] But going back to the the meaning of the institute, whereby people are individual, the opportunity over the past years was for all these individuals to rub shoulders with each other and the networking that went on then. For instance, you go to a meeting and you're chatting away, and a couple of blokes have a common, common interest, uh, uh, or they're equal practitioners, but suddenly, one of them comes up with a problem that he can't answer, and so he's able to phone this guy in Nottingham, or wherever, because he is not in competition down the street. He can't ask the guy down the street how to tackle the question, but the man in Nottingham will willingly bare his soul for you, and keeping in contact with, um, with other people to solve problems where they have them is incredibly useful, in my judgment.    NOTE: to see the rest of the transcript, head over to https://masteringportraitphotography.com (it exceed the normal limit for podcast texts!)

When you face a challenge, do you hang on for the ride or simply give up, no matter the danger of a worst-case outcome?This week's song was released in December 1964 by country music band Buck Owens and the Buckaroos. In 1999, it was inducted into the Grammy Hall of Fame. Buck once said he got the idea for the song because he heard a slogan for Esso (gas station): "Put a tiger in your tank.”In the song, he's dating a woman who is dragging him through life and running him absolutely ragged. He knows it's going to end poorly but is helpless to stop it. What would you do if you were in the same situation? “I've Got a Tiger by The Tail” describes what it's like to associate with something so powerful and potentially dangerous, and yet somehow you have to solve the difficult problem as there's no way to let go of that tail. The phrase derives from the Chinese proverb, “He who rides the tiger is afraid to dismount.”Join me and Nashville recording artist Blu Waters, the voice behind the songs we feature in each episode. The same songs guide the reading from my soon-to-be-published book I'm Just a Country Song: Three Chords and Only My Truth.“To be ourselves exiles us from others. And yet to comply with what others want causes us to be exiled from ourselves.” - Darlene ChambersIn This Episode:- What sparked Buck Owens to write the song “I've Got a Tiger by The Tail”?- Have you ever had a “tiger” relationship that you were afraid to let go of for fear that the outcome would be worse than hanging on for dear life?- Let's sing along with Blu as she sings “I've Got a Tiger by The Tail”- Lyrics and chapter reading- Teaser and quiz for episode 9 (“The Dance”)Connect with Blu Waters:Website - https://www.chooseyourblu.com/Facebook - https://web.facebook.com/iambluwaters/Instagram - https://www.instagram.com/iambluwaters/TikTok - https://www.tiktok.com/@iambluwatersYouTube - https://www.youtube.com/@iambluwatersConnect with Darlene Chambers:Website - https://fullcircles.biz/Facebook - https://www.facebook.com/darlene.chambers.37625/YouTube - https://www.youtube.com/@ImJustaCountrySong

Ahhh, to England and St George (yes, we know he was Turkish), time of Moyes to go, Hamas should work for Esso, the unsafe streets of London, the incompetence of the Met Police and other rather rants rather than musing this episode!

Guests: Morley Scott, Former Longtime Oilers Colour Analyst and Current Play-by-Play Voice, Edmonton Elks, 630 CHED. Joel Lenius, Head Coach, Edmonton Jr. Oilers Team White , 2024 Esso Cup. Learn more about your ad choices. Visit megaphone.fm/adchoices

FAURÉ: Promethée, Op. 82 (Acto III) (20.08). E. Berger (rec.), J. Castellat (rec.), F. Soulie (rec.), R. Esso (sop.), V. Millot (sop.), L. Vignon (mez.), G. Flechter (ten.), Conj. Vocal “Ariege Pyrenees”, Grupo Vocal “Equinoxe”, Harmonie Regionale Junior de midi Pyrenees. Dir.: D. Dondeyne. Shylock, Op. 57 (Suite de la música incidental homónima) (17.22). B. Nurns (ten.), Orq. Sinf. de Basilea. Dir.: I. Bolton. Inscription sur le sable (Le jardin clos, Op. 106) (1.58). E. Ameling (sop.), D. Baldwin (p.).Escuchar audio

FAURÉ: Promethée, Op. 82 (Acto I, Acto II) (47.12). E. Berger (rec.), J. Castellat (rec.), F. Soulie (rec.), R. Esso (sop.), V. Millot (sop.), L. Vignon (mez.), G. Flechter (ten.), Conj. Vocal “Ariege Pyrenees”, Grupo Vocal “Equinoxe”, Harmonie Regionale Junior de midi Pyrenees. Dir.: D. Dondeyne.Escuchar audio

Benvenuti ai 4 Vangeli-letture in 1 anno 5 gg a settimanaOggi: Parabola del seme26 Diceva ancora: «Il regno di Dio è come un uomo che getti il seme nel terreno, 27 e dorma e si alzi, la notte e il giorno; il seme intanto germoglia e cresce senza che egli sappia come. 28 La terra [infatti] da se stessa porta frutto: prima l'erba, poi la spiga, poi nella spiga il grano ben formato. 29 E quando il frutto è maturo, subito vi mette la falce perché l'ora della mietitura è venuta».Il granello di senape30 Diceva ancora: «A che paragoneremo il regno di Dio, o con quale parabola lo rappresenteremo? 31 Esso è simile a un granello di senape, il quale, quando lo si è seminato in terra, è il più piccolo di tutti i semi che sono sulla terra; 32 ma quando è seminato, cresce e diventa più grande di tutti gli ortaggi; e fa dei rami tanto grandi che alla sua ombra possono ripararsi gli uccelli del cielo».33 Con molte parabole di questo genere esponeva loro la parola, secondo quello che potevano intendere. 34 Non parlava loro senza parabola; ma in privato ai suoi discepoli spiegava ogni cosa.Support the show

Dans cet épisode, je reçois Sophie Cluzel. J'ai rencontré Sophie lors de la première édition de la Legend Ladies Night en Septembre dernier. Je connaissais son engagement politique, un peu moins son parcours personnel et sa philosophie de vie que j'ai pu appréhender au cours de cet épisode. Après une enfance heureuse et épanouie à Marseille, entourée par ses parents et ses deux frères, Sophie intègre une école de commerce, cursus au cours duquel elle en profitera pour faire de nombreux stages à l'étranger qui lui ouvriront l'esprit sur les autres et sur le monde. À la fin de son cursus et fraichement diplômée, Sophie part en Floride ou elle est supposée rester un mois qui se transformeront finalement en trois années formidables ou elle travaillera en binôme sur un chantier naval, projet à très forte dimension entrepreneuriale.  De retour en France, Sophie conservera une dimension internationale importante en travaillant pour Esso comme cheffe de secteur ou elle oscillera entre Londres et Paris avant de totalement changer d'environnement en arrivant chez Decan, leader du linge de maison ou elle fera la rencontrera l'un de ses mentors, Yves Carcelle futur patron de LVMH. Dans cet épisode, Sophie nous raconte comment elle construit sa vie de famille en parallèle d'une trajectoire professionnelle ambitieuse. Elle mettra pourtant un terme à ce parcours lors de la naissance de son 4ème et dernier enfant, Julia, dont elle découvre qu'elle est atteinte de trisomie 21 à la naissance. Si cette annonce reste pour Sophie un tsunami, sa force de vie et sa volonté de continuer à aller de l'avant prennent vite le dessus. Sophie et son mari choisissent de normaliser tant que possible l'enfance de Julia, notamment en l'intégrant dans une école publique, comme ses autres frères et soeurs. Elle fera des rencontres exceptionnelles qui l'amèneront et crée sa première association: "Grandir à l'école" militant activement pour que les enfants porteurs d'une trisomie puissent être intégrés au sein de l'école publique au même titre que les autres. Car c'est par là, Sophie en est convaincue, que démarre l'inclusion de toutes et de tous. Au fur et à mesure, son engagement la fera rentrer dans la vie publique, jusqu'à devenir Secrétaire d'État chargée des Personnes handicapées de 2017 à 2022, sous la première présidence d'Emmanuel Macron. Avec Sophie, nous avons parlé de ses engagements bien sur, mais aussi de comment faire exister ses convictions en tant que femme politique et de l'importance de la communication. Nous avons également abordé la manière dont Sophie gérait le regard des autres et plus globalement de comment nous pouvons contribuer à éduquer le regard d'une société sur la différence. Aujourd'hui, Sophie n'est pas en reste de projet et accompagne, entre autre, les Cafés Joyeux dans leur implémentation au coeur des entreprises, pour faire de la différence la norme et aboutir à une société réellement inclusive. Une femme engagée, ambitieuse, résiliante qui montre que la vie prendra toujours le dessus. Belle écoute ! NOTES DE L'ÉPISODE: Le podcast vous plaît ? Prenez 30 secondes pour le noter 5 étoiles sur Apple podcast ou Itunes, et commentez si vous le souhaitez, c'est très précieux pour moi !

In this episode I have a rerun of part 2 of my chat with Lindsay Scott, The PMO Mob Collector. Lindsay Scott co-founded Arras People in 2002 following a career at Esso and Hewlett Packard. Following her graduation from Manchester University, Lindsay went onto work within the recruitment arm of Esso before leaving to join Hewlett Packard. At Hewlett Packard, she worked within the professional services consulting division, first as a Project Co-ordinator and then the Project Office Manager for the division. It was during her time at Hewlett Packard, recruiting for a project office of 20+ members that Lindsay came face to face with the issues of recruiting good project management professionals.  When the opportunity came along to set up her own business she knew there was definitely a place in the UK recruitment market for a recruitment agency that really understood its subject matter.  Lindsay manages the marketing and sales function at Arras People today; in addition, she still occasionally recruits for PMO roles (because she can't resist!) and provides careers clinics for PMO professionals. Lindsay also carries out speaking engagements on project management careers topics and can be contacted through Arras People for more information.  For more information about Lindsay take a look at the following links: Website:: arraspeople.co.uk or pmoflashmob.org Linkedin: www.linkedin.com/in/pmolindsay Twitter: www.twitter.com/arraspeople Blog: arraspeople.co.uk/camel-blog --- Send in a voice message: https://podcasters.spotify.com/pod/show/sundaylunchpm/message

In this episode I have a rerun of part 1 of my chat with Lindsay Scott, The PMO Mob Collector. Lindsay Scott co-founded Arras People in 2002 following a career at Esso and Hewlett Packard. Following her graduation from Manchester University, Lindsay went onto work within the recruitment arm of Esso before leaving to join Hewlett Packard. At Hewlett Packard, she worked within the professional services consulting division, first as a Project Co-ordinator and then the Project Office Manager for the division. It was during her time at Hewlett Packard, recruiting for a project office of 20+ members that Lindsay came face to face with the issues of recruiting good project management professionals.  When the opportunity came along to set up her own business she knew there was definitely a place in the UK recruitment market for a recruitment agency that really understood its subject matter.  Lindsay manages the marketing and sales function at Arras People today; in addition, she still occasionally recruits for PMO roles (because she can't resist!) and provides careers clinics for PMO professionals. Lindsay also carries out speaking engagements on project management careers topics and can be contacted through Arras People for more information.  For more information about Lindsay take a look at the following links: Website:: arraspeople.co.uk or pmoflashmob.org Linkedin: www.linkedin.com/in/pmolindsay Twitter: www.twitter.com/arraspeople Blog: arraspeople.co.uk/camel-blog --- Send in a voice message: https://podcasters.spotify.com/pod/show/sundaylunchpm/message

See omnystudio.com/listener for privacy information.

Oggi: A cosa paragonare il Regno dei cieli?18 «Voi dunque ascoltate che cosa significhi la parabola del seminatore! 19 Tutte le volte che uno ode la parola del regno e non la comprende, viene il maligno e porta via quello che è stato seminato nel cuore di lui: questo è quello seminato lungo la strada. 20 Quello seminato in luoghi rocciosi è colui che ode la parola e subito la riceve con gioia, 21 però non ha radice in sé ed è di corta durata; e quando giunge la tribolazione o persecuzione a motivo della parola, è subito sviato. 22 Quello seminato tra le spine è colui che ode la parola; poi le ansiose preoccupazioni mondane[c] e l'inganno delle ricchezze soffocano la parola, che rimane infruttuosa. 23 Quello invece seminato nella terra buona è colui che ode la parola e la comprende; egli quindi porta del frutto e rende il cento, il sessanta e il trenta per uno».24 Egli propose loro un'altra parabola, dicendo: «Il regno dei cieli può essere paragonato ad un uomo che aveva seminato buon seme nel suo campo. 25 Ma, mentre gli uomini dormivano, venne il suo nemico e seminò della zizzania in mezzo al grano e se ne andò. 26 Quando l'erba germogliò ed ebbe fatto frutto, allora apparve anche la zizzania. 27 E i servi del padrone di casa vennero a dirgli: “Signore, non avevi seminato buon seme nel tuo campo? Come mai, dunque, c'è della zizzania[d]?” 28 Egli disse loro: “Un nemico ha fatto questo”. I servi gli dissero: “Vuoi che andiamo a coglierla?” 29 Ma egli rispose: “No, affinché, cogliendo la zizzania, non sradichiate insieme ad essa anche il grano. 30 Lasciate che tutti e due crescano insieme fino alla mietitura; e, al tempo della mietitura, dirò ai mietitori: ‘Cogliete prima la zizzania, e legatela in fasci per bruciarla; ma il grano, raccoglietelo nel mio granaio'”».31 Egli propose loro un'altra parabola, dicendo: «Il regno dei cieli è simile a un granello di senape che un uomo ha preso e seminato nel suo campo. 32 Esso è il più piccolo di tutti i semi; ma, quand'è cresciuto, è maggiore degli ortaggi e diventa un albero; tanto che gli uccelli del cielo vengono a ripararsi tra i suoi rami».33 Disse loro un'altra parabola: «Il regno dei cieli è simile al lievito che una donna prende e nasconde in tre misure di farina, finché la pasta sia tutta lievitata».34 Tutte queste cose disse Gesù in parabole alla folla e senza parabole non diceva loro nulla, 35 affinché si adempisse quello che era stato detto per mezzo del profeta:«Aprirò in parabole la mia bocca; proclamerò cose nascoste fin dalla fondazione {del mondo}».36 Allora [Gesù], lasciata la folla, tornò a casa; e i suoi discepoli gli si avvicinarono, dicendo: «Spiegaci la parabola della zizzania nel campo». 37 Egli rispose [loro]: «Colui che semina il buon seme è il Figlio dell'uomo; 38 il campo è il mondo; il buon seme sono i figli del regno; la zizzania sono i figli del maligno; 39 il nemico che l'ha seminata è il diavolo; la mietitura è la fine dell'età presente; i mietitori sono angeli. 40 Come dunque si raccoglie la zizzania e si brucia con il fuoco, così avverrà alla fine dell'età presente. 41 Il Figlio dell'uomo manderà i suoi angeli, che raccoglieranno dal suo regno tutti gli scandali e tutti quelli che commettono l'iniquità, 42 e li getteranno nella fornace ardente. Lì ci sarà pianto e stridor di denti. 43 Allora i giusti risplenderanno come il sole nel regno del Padre loro. Chi ha orecchi [per udire] oda.Support the show

As a fan it was only right I interviewed Esso & Hynaken. They've been in this game way longer than most your favorite podcasters. They gave alot of game on how to truly build you brand. How you should deal with different guest. Why chasing click bait is bad for you and so much more. You honestly have to watch because this description could never give it justice. If you enjoy please subscribe and like and hit that bell!!

Hynaken and Esso from 'Bag Fuel' join the ladies of Lip Service to kick off 2024 with a bang! The guys open up about their experiences at Diddy's parties, their bedroom kinks, and much more. Who would've thought golden showers and foot-jobs were so popular...enjoy! See omnystudio.com/listener for privacy information.

Il s'appelle Ultimate chez BP, Excellium chez Total, ou encore Supreme+ chez Esso... Les carburants "premium" sont-ils vraiment plus intéressant en terme de consommation et pour préserver le moteur de sa voiture ? Les explications complètes de Christophe Bourroux pour RTL.

Benvenuti ai 4 Vangeli-letture in 1 anno 5 gg a settimanaOggi: Parabola del seme26 Diceva ancora: «Il regno di Dio è come un uomo che getti il seme nel terreno, 27 e dorma e si alzi, la notte e il giorno; il seme intanto germoglia e cresce senza che egli sappia come. 28 La terra [infatti] da se stessa porta frutto: prima l'erba, poi la spiga, poi nella spiga il grano ben formato. 29 E quando il frutto è maturo, subito vi mette la falce perché l'ora della mietitura è venuta».Il granello di senape30 Diceva ancora: «A che paragoneremo il regno di Dio, o con quale parabola lo rappresenteremo? 31 Esso è simile a un granello di senape, il quale, quando lo si è seminato in terra, è il più piccolo di tutti i semi che sono sulla terra; 32 ma quando è seminato, cresce e diventa più grande di tutti gli ortaggi; e fa dei rami tanto grandi che alla sua ombra possono ripararsi gli uccelli del cielo».33 Con molte parabole di questo genere esponeva loro la parola, secondo quello che potevano intendere. 34 Non parlava loro senza parabola; ma in privato ai suoi discepoli spiegava ogni cosa.Support the show

Esso and Hynaken of BAGFUEL join for this episode which was recorded at Gotham Podcast Studios in NYC. The music business, landscape of podcasting, and basketball were all discussed in this conversation. Follow @BAGFUEL on Instagram! Follow @OneTwoCombo on Instagram!