Podcasts about Faber

Judd, Jessi, and AJ talk about the chance of the Wild making a move for Vincent Trocheck now that the Olympics roster freeze is over, what would a packagew for him could ook like and other teams that are interested in the center. Boldy, Hugghes, and Faber are set to rejoin the Wild, can they jump back into regular season mode after playing in gold medal game? Plus more!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Judd, Jessi, and AJ talk about the chance of the Wild making a move for Vincent Trocheck now that the Olympics roster freeze is over, what would a packagew for him could ook like and other teams that are interested in the center. Boldy, Hugghes, and Faber are set to rejoin the Wild, can they jump back into regular season mode after playing in gold medal game? Plus more!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Il Welcome Day ospitato al Faber Box non è stato una semplice inaugurazione, ma l'avvio concreto di un progetto che ambisce a diventare un modello per l'intero Alto Vicentino. Faber Lab nasce dalla collaborazione tra Comune di Schio, Distretto Scienza Tecnologia, associazioni di categoria del territorio e Manpower come partner operativo, con il supporto formativo dell'ITS Academy Meccatronico Veneto.

PSV-spitsen breken de ban in plaats van ledematen, Feyenoord ontwijkt wet én Telstar en Ajax-NEC eindigt in een anti-handbaluitslag. Verder was het Varnaval in Breda, slaat Fortuna de club van 27 over en gaat Faber op een zeer tijdelijke sabbatical. Het is maandagavond, op naar een nieuwe aflevering van De Derde Helft met het orakel dat je gewend bent: TIM, SNIJBOON, PEPIJN en GIJS.✉️ Op vrijdag kunnen jullie met ons via Substack vooruitblikken op het aankomende Eredivisie-weekend. Gijs, Tim, Snijboon, Pepijn en RogierPablo zullen hier allemaal één ding delen waar ze naar uitkijken in de aankomende speelronde. https://substack.com/@dederdehelft

Im Juli 2022 wurde das „Yogazentrum Mauer“ gegründet unter der Leitung von Mag. Ines Faber (Yogalehrerin, Ernährungwissenschafterin und dipl. Fasten-&Gesundheitstrainerin) Im Yogazentrum finden regelmäßige Kurse – Yoga und mehr – für jedes Level, Jung & Alt, Anfänger & Fortgeschritten statt. Die wunderschönen Räumlichkeiten bieten Platz zur Einmietung für Ausbildungen, Seminare, Workshops & Kurse. Mag. Ines Faber: "Ich arbeite bereits seit 2011 selbstständig und hauptberuflich als Yogalehrerin und freue mich, dass ich diesen Schritt zu einem eigenen Yogazentrum in Mauer verwirklichen konnte. Ich bin selbst im schönen Mauer aufgewachsen, wo ich auch jetzt mit meinen 2 Kindern lebe. Meine Vision für das Yogazentrum ist, einen Ort zu gestalten und erhalten, wo sich Gesundheitsförderung mit Lebensfreude, Spass an der Bewegung und Kompetenz trifft."

Preacher: Jason Faber

How do you get 7,000 people aligned on a new strategy? Ask Logitech CEO Hanneke Faber, who pulled it off in just 24 hours. The former Dutch national diving champion (yes, really) knows that the best strategies aren't handed down from above. They're co-created with the people who'll bring them to life. And at Logitech, the results speak for themselves: eight consecutive quarters of growth and record margins. In this episode, Hanneke shares how she pulled off a 24-hour strategy sprint, why she tells her team “today is the slowest day of the rest of your life,” and what diving from 33 feet in the air taught her about leadership courage. You'll also learn: How to make your brand sexy (yes, even if you sell mice and keyboards) One popular (but uncommon) employee perk you'll want to steal A powerful framework for balancing work, family, and everything else without burning out Non-cringey ways to create shared experiences for your team Take your learning further. Get proven leadership advice from these (free!) resources: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠The How Leaders Lead App⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠: A vast library of 90-second leadership lessons to stay sharp on the go  ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Daily Insight Emails⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠: One small (but powerful!) leadership principle to focus on each day Whichever you choose, you can be sure you'll get the trusted leadership advice you need to advance your career, develop your team, and grow your business.

A partir de 2026 este podcast va a estar disponible en Spotify únicamente en audio.Si querés ver mi contenido con imagen, sigo publicando en mi canal de YouTube:

Pippo Pollina sta portando il suo nuovo album "Fra guerra e pace" in tour per mezza Europa. In Germania, dove il cantautore siciliano è conosciuto e stimato da più di 30 anni, l'accoglienza è particolarmente calorosa. Luciana Caglioti lo ha intervistato per parlare del suo nuovo lavoro, dei suoi libri, della collaborazione musicale coi figli Faber e Madlaina, ma anche di politica e di un futuro pieno di incognite. Avete domande o suggerimenti? Volete ascoltare un podcast su un tema particolare? Scriveteci a cosmoitaliano@wdr.de Seguiteci anche su Facebook: Cosmo italiano E qui trovate tutti i nostri temi: www1.wdr.de/radio/cosmo/sprachen/italiano/index.html Von Luciana Caglioti.

Welcome episode 76! If you're ever roaming around Gucci Dillons, you've probably seen the cake display case. Did you know the magician, or pastry chef behind the display case is an award winner? Tonight, we head to the Central and Rock Dillons to meet Ginny Faber. Last year, she beat out 2,500+ other Dillons and Kroger locations and was the fan favorite pastry chef with many of her cool creations.  Grab a chair, learn about Ginny's journey and catch Troy Trussell with Live Local, DJ Carbon and Wichita By E.B. have a friendly cupcake decorating contest. Annette Lawless and The Kansas Gastronomist are off this week but should be back in two weeks!  ❤️ Thanks to Trussell Media and The Podcast Room for producing every episode of the Dinner Table.

Hermione Lee is the renowned biographer of Virginia Woolf, Edith Wharton, Penelope Fitzgerald, and, most recently, Tom Stoppard. Stoppard died at the end of last year, so Hermione and I talked about the influence of Shaw and Eliot and Coward on his work, the recent production of The Invention of Love, the role of ideas in Stoppard's writing, his writing process, rehearsals, revivals, movies. We also talked about John Carey, Brian Moore, Virginia Woolf as a critic. Hermione is Emeritus Professor of English Literature at the University of Oxford. Her life of Anita Brookner will be released in September.TranscriptHenry Oliver: Today I have the great pleasure of talking to Professor Dame Hermione Lee. Hermione was the first woman to be appointed Goldsmiths' Professor of English Literature at the University of Oxford, and she is the most renowned and admired living English biographer. She wrote a seminal life of Virginia Woolf. She's written splendid books about people like Willa Cather, Edith Wharton, and my own favorite, Penelope Fitzgerald. And most recently she has been the biographer of Tom Stoppard, and I believe this year she has a new book coming out about Anita Brookner. Hermione, welcome.Hermione Lee: Thank you very much.Oliver: We're mostly going to talk about Tom Stoppard because he, sadly, just died. But I might have a few questions about your broader career at the end. So tell me first how Shavian is Stoppard's work?Lee: He would reply “very close Shavian,” when asked that question. I think there are similarities. There are obviously similarities in the delighting forceful intellectual play, and you see that very much in Jumpers where after all the central character is a philosopher, a bit of a bonkers philosopher, but still a very rational one.And you see it in someone like Henry, the playwright in The Real Thing, who always has an answer to every argument. He may be quite wrong, but he is full of the sort of zest of argument, the passion for argument. And I think that kind of delight in making things intellectually clear and the pleasure in argument is very Shavian.Where I think they differ and where I think is really more like Chekov, or more like Beckett or more in his early work, the dialogues in T. S. Elliot, and less like Shaw is in a kind of underlying strangeness or melancholy or sense of fate or sense of mortality that rings through almost all the plays, even the very, very funny ones. And I don't think I find that in Shaw. My prime reading time for Shaw was between 15 and 19, when I thought that Shaw was the most brilliant grownup that one could possibly be listening to, and I think now I feel less impressed by him and a bit more impatient with him.And I also think that Shaw is much more in the business of resolving moral dilemmas. So in something like Arms and the Man or Man and Superman, you will get a kind of resolution, you will get a sort of sense of this is what we're meant to be agreeing with.Whereas I think quite often one of the fascinating things about Stoppard is the way that he will give all sides of the question; he will embody all sides of the question. And I think his alter ego there is not Shaw, but the character of Turgenev in The Coast of Utopia, who is constantly being nagged by his radical political friends to make his mind up and to have a point of view and come down on one side or the other. And Turgenev says, I take every point of view.Oliver: I must confess, I find The Coast of Utopia a little dull compared to Stoppard's other work.Lee: It's long. Yes. I don't find it dull. But I think it may be a play to read possibly more than a play to see now. And you're never going to get it put on again anyway because the cast is too big. And who's going to put on a nine-hour free play, 50 people cast about 19th-century Russian revolutionaries? Nobody, I would think.But I find it very absorbing actually. And partly because I'm so interested in Isaiah Berlin, who is a very strong presence in the anti-utopianism of those plays. But that's a matter of opinion.Oliver: No. I like Berlin. One thing about Stoppard that's un-Shavian is that he says his plays begin as a noise or an image or a scene, and then we think of him as this very thinking writer. But is he really more of an intuitive writer?Lee: I think it's a terribly good question. I think it gets right at the heart of the matter, and I think it's both. Sorry, I sound like Turgenev, not making my mind up. But yes, there is an image or there is an idea, or there are often two ideas, as it were, the birth of quantum physics and 18th-century landscape gardening. Who else but Stoppard would put those two things in one play, Arcadia, and have you think about both at once.But the image and the play may well have been a dance between two periods of time together in one room. So I think he never knew what the next play was going to be until it would come at him, as it were. He often resisted the idea that if he chose a topic and then researched it, a play would come out of it. That wasn't what happened. Something would come at him and then he would start doing a great deal of research usually for every play.Oliver: What sort of influence did T. S. Elliot have on him? Did it change the dialogue or, was it something else?Lee: When I was working with him on my biography, he gave me a number of things. I had extraordinary access, and we can perhaps come back to that interesting fact. And most of these things were loans he gave them to me to work on. Then I gave them back to him.But he gave me as a present one thing, which was a black notebook that he had been keeping at the time he was writing Rosencrantz and Guildenstern, and also his first and only novel Lord Malquist and Mr. Moon, which is little known, which he thought was going to make his career. The book was published in the same week that Rosencrantz came up. He thought the novel was going to make his career and the play was going to sink without trace. Not so. In the notebook there are many quotations from T. S. Elliot, and particularly from Prufrock and the Wasteland, and you can see him working them into the novel and into the play.“I am not Prince Hamlet nor was meant to be.” And that sense of being a disconsolate outsider. Ill at ease with and neurotic about the world that is charging along almost without you, and you are having to hang on to the edge of the world. The person who feels themself to be in internal exile, not at one with the universe. I think that point of view recurs over and over again, right through the work, but also a kind of epigrammatical, slightly mysterious crypticness that Elliot has, certainly in Prufrock and in the Wasteland and in the early poems. He loved that tone.Oliver: Yes. When I read your paper about that I thought about Rosencrantz and Guildenstern quite differently. I've always disliked the idea that it's a sort of Beckett imitation play. It seems very Elliotic having read what you described.Lee: There is Beckett in there. You can't get away from it.Oliver: Surface level.Lee: Beckett's there, but I think the sense of people waiting around—Stoppard's favorite description of Rosencrantz was: “It's two journalists on a story that doesn't add up, which is very clever and funny.”Yes. And that sense of, Vladimir going, “What are we supposed to be doing and how are we going to pass the time?” That's profoundly influential on Stoppard. So I don't think it's just a superficial resemblance myself, but I agree that Elliot just fills the tone of that play and other things too.Oliver: In the article you wrote about Stoppard and Elliot, the title is about biographical questing, and you also described Arcadia as a quest. How important is the idea of the quest to the way you work and also to the way you read Stoppard?Lee: I took as the epigraph for my biography of Stoppard a line from Arcadia: “It's wanting to know that makes us matter, otherwise we're going out the way we came in.” So I think that's right at the heart of Stoppard's work, and it's right at the heart of any biographical work, whether or not it's mine or someone else's. If you can't know, in the sense of knowing the person, knowing what the person is like, and also knowing as much as possible about them from different kinds of sources, then you might as well give up.You can't do it through impressions. You've got to do it through knowledge. Of course, a certain amount of intuition may also come into play, though I'm not the kind of biographer that feels you can make things up. Working on a living person, this is the only time I've done that.It was, of course, a very different thing from working on a safely dead author. And I knew Penelope Fitzgerald a little bit, but I had no idea I was going to write her biography when I had conversations with her and she wouldn't have told me anything anyway. She was so wicked and evasive. But it was a set up thing; he asked me to do it. And we had a proper contract and we worked together over several years, during which time he became a friend, which was a wonderful piece of luck for me.I was doing four things, really. One was reading all the material that he produced, everything, and getting to know it as well as I could. And that's obviously the basic task. One was talking to him and listening to him talk about his life. And he was very generous with those interviews. I'm sure there were things he didn't tell me, but that's fine. One was talking to other people about him, which is a very interesting process. And with someone like him who knew everyone in the literary, theatrical, cultural world, you have to draw a halt at some point. You can't talk to a thousand people, or I'd have still been doing it, so you talk to particularly fellow playwrights, directors, actors who've worked with him often, as well as family and friends. And then you start pitting the versions against each other and seeing what stands up and what keeps being said.Repetition's very important in that process because when several people say the same thing to you, then you know that's right. And that quest also involves some actual footsteps, as Richard Holmes would say. Footsteps. Traveling to places he'd lived in and going to Darjeeling where he had been to school before he came to England, that kind of travel.And then the fourth, and to me, in a way, almost the most exciting, was the opportunity to watch him at work in rehearsal. So with the director's permissions, I was allowed to sit in on two or three processes like that, the 50th anniversary production of Rosencrantz and Guildenstern at the Old Vic with David Lavoie. And Patrick Marber's wonderful production of Leopoldstadt and Nick Hytner's production of The Hard Problem at the National. So I was able to witness the very interesting negotiations going on between Tom and the director and the cast.And also the extraordinary fact that even with a play like Rosencrantz, which is on every school syllabus and has been for 50—however many years—he was still changing things in rehearsal. I can't get over that. And in his view, as he often said, theater is an event and not a text, and so one could see that actual process of things changing before one's very eyes, and that for a biographer, it's a pretty amazing privilege.Oliver: How much of the plays were written during rehearsal do you think?Lee: Oh, 99% of the plays were written with much labor, much precision, much correction alone at his desk. The text is there, the text is written, and everything changes when you go into the rehearsal room because you suddenly find that there isn't enough time with that speech for the person to get from the bed to the door. It's physics; you have to put another line in so that someone can make an entrance or an exit, that kind of thing.Or the actors will say quite often, because they were a bit in awe—by the time he became well known—the actors initially would be a bit in awe of the braininess and the brilliance. And quite often the actors will be saying, “I'm sorry, I don't understand. I don't understand this.” You'd often get, “I don't really understand.”And then he would never be dismissive. He would either say, “No, I think you've got to make it work.” I'm putting words into his mouth here. Or he would say, “Okay, let's put another sentence or something like that.”Oliver: Between what he wrote at his desk and the book that's available for purchase now, how much changed? Is it 10%, 50? You know what I mean?Lee: Yes. You should be talking to his editor at Faber, Dinah Wood. So Faber would print a relatively small number for the first edition before the rehearsal process and the final production. And then they would do a second edition, which would have some changes in it. So 2%. Okay. But crucial sometimes.Oliver: No, sure. Very important.Lee: And also some plays like Jumpers went through different additions with different endings, different solutions to plot problems. Travesties, he had a lot of trouble with the Lenins in Travesties because it's the play in which you've got Joyce and you've got Tristan Tzara and you've got the Lenins, and they're all these real people and he makes him talk.But he was a little bit nervous about the Lenin. So what he gave him to say were things that they had really said, that Lenin had really said. As opposed to the Tzara-Joyce stuff, which is all wonderfully made up. The bloody Lenins became a bit of a problem for him. And so that gets changed in later editions you'll find.Oliver: How closely do you think The Real Thing is based on Present Laughter by Noël Coward?Lee: Oh, I think there's a little bit of Coward in there. Yes, sure. I think he liked Coward, he liked Wilde, obviously. He likes brilliant, witty, playful entertainers. He wants to be an entertainer. But I think The Real Thing, he was proud of the fact that The Real Thing was one of the few examples of his plays at that time, which weren't based on something else. They weren't based on Hamlet. They weren't based on The Importance of Being Earnest. It's not based on a real person like Housman. I think The Real Thing came out of himself much more than out of literary models.Oliver: You don't think that Henry is a bit like the actor character in Present Laughter and it's all set in his flat and the couples moving around and the slight element of farce?The cricket bat speech is quite similar to when Gary Essendine—do you remember that very funny young man comes up on the train from Epping or somewhere and lectures him about the social value of art. And Gary Essendine says, “Get a job in a theater rep and write 20 plays. And if you can get one of them put on in a pub, you'll be damn lucky.” It's like a model for him, a loose model.Lee: Yes. Henry, I think you should write an article comparing these two plays.Oliver: Okay. Very good. What does Stoppardian mean?Lee: It means witty. It means brilliant with words. It means fizzing with verbal energy. It means intellectually dazzling. The word dazzling is the one that tends to get used. My own version of Stoppardian is a little bit different from, as it were, those standard received and perfectly acceptable accounts of Stoppardian.My own sense of Stoppardian has more to do with grief and mortality and a sense of not belonging and of puzzlement and bewilderment, within all that I said before, within the dazzling, playful astonishing zest and brio of language and the precision about language.Oliver: Because it's a funny word. It's hard to include Leopoldstadt under the typical use of Stoppardian, because it's an untypical Stoppard.Lee: One of the things about Leopoldstadt that I think is—let's get rid of that trope about Stoppardian—characteristic of him is the remarkable way it deals with time. Here's a play like Arcadia, all set in the same place, all set in the same room, in the same house, and it goes from a big hustling room, late 19th-century family play, just like the beginning of The Coast of Utopia, where you begin with a big family in Russia and then it moves through the '20s and then into the terrible appalling period of the Anschluss and the Holocaust.And then it ends up after the war with an empty room. This room, is like a different kind of theater, an empty room. Three characters, none of whom you know very well, speaking in three different kinds of English, reaching across vast spaces of incomprehension, and you've had these jumps through time.And then at the very end, the original family, all of whom have been destroyed, the original family reappears on the stage. I'm sorry to tell this for anyone who hasn't seen Leopoldstadt. Because when it happens on the stage, it's an absolutely astonishing moment. As if the time has gone round and as if the play, which I think it was for him, was an act of restitution to all those people.Oliver: How often did he use his charm to get his way with actors?Lee: A lot. And not just actors. People he worked with, film people, friends, companions. Charm is such an interesting thing, isn't it? Because we shouldn't deviate, but there's always a slightly sinister aspect to the word charm as in, a magic charm. And one tends to be a bit suspicious of charm. And he knew he had charm and he was physically very magnetic and good looking and very funny and very attentive to people.But I think the charm, in his case, he did use it to get the right results, and he did use it, as he would say, “to look after my plays.” He was always, “I want to look after my plays.” And that's why he went back to rehearsal when there were revivals and so on. But he wasn't always charming. Patrick Marber, who's a friend of his and who directed Leopoldstadt, is very good on how irritable Stoppard could be sometimes in rehearsal. And I've heard that from other directors too—Jack O'Brien, who did the American productions of things like The Invention of Love.If Stoppard felt it wasn't right, he could get quite cross. So this wasn't a sort of oleaginous character at all. It's not smooth, it's not a smooth charm at all. But yes, he knew his power and he used it, and I think in a good way. I think he was a benign character actually. And one of the things that was very fascinating to me, not only when he died and there was this great outpouring of tributes, very heartfelt tributes, I thought. But also when I was working on the biography, I was going around the world trying to find people to say bad things about him, because what I didn't want to do was write a hagiography. You don't want to do that; there would be no point. And it was genuinely quite hard.And I don't know the theater world; it's not my world. I got to know it a little bit then. But I have never necessarily thought of the theater world as being utterly loving and generous about everybody else. I'm sure there are lots of rivalries and spitefulness, as there is in academic life, all the rest of it. But it was very hard to find anyone with a bad word to say about him, even people who'd come up against the steeliness that there is in him.I had an interview with Steven Spielberg about him, with whom he worked a lot, and with whom he did Empire of the Sun. And I would ask my interviewees if they could come up with two or three adjectives or an adjective that would sum him up, that would sum Stoppard up to them. And when I asked Spielberg this question, he had a little think and then he said, intransigent. I thought, great. He must be the only person who ever stood up to him.Oliver: What was his best film script? Did he write a really great film.Lee: That one. I think partly the novel, I don't know if you know the Ballard novel, the Empire of the Sun, it's a marvelous novel. And Ballard was just a magical and amazing writer, a great hero of mine. But I think what Stoppard did with that was really clever and brilliant.I know people like Brazil, the Terry Gilliam sort of surrealist way. And there's some interesting early work. Most of his film work was not one script; it was little bits that he helped with. So there's famously the Indiana Jones and the Last Crusade, he did most of the dialogue for Harrison Ford.But there are others like the One Hundred and One Dalmatians, where I think there's one line, anonymously Stoppardian in there. One of the things about the obituaries that slightly narked me was that there, I felt there was a bit too much about the films. Truly, I don't think the film work was—he wanted it to be right and he wanted to get it right—but it wasn't as close to his heart as the theater work. And indeed the work for radio, which I thought was generally underwritten about when he died. There was some terrific work there.Oliver: Yes. And there aren't that many canonical writers who've been great on the radio.Lee: Absolutely. He did everything. He did film, he did radio. He wrote some opera librettos. He really did everything. And on top of that, there was the great work for the public good, which I think is a very important part of his legacy, his history.Oliver: How much crossover influence is there between the different bits of his career? Does the screenwriting influence the theater writing and the radio and so on? Or is he just compartmentalized and able to do a lot of different things?Lee: That's such an interesting question. I don't think I've thought about it enough. I think there are very cinematic aspects to some of the plays, like Night and Day, for instance, the play about journalism. That could easily have been a film.And perhaps Hapgood as well, although it could be a kind of John le Carré type film thriller, though it's such a set of complicated interlocking boxes that I don't know that it would work as a film. It's not one of my favorite players, I must say. I struggle a little bit with Hapgood. But, yes, I'm sure that they fed into each other. Because he was so busy, he was often doing several things at once. So he was keeping things in boxes and opening the lid of that box. But mentally things must have overlapped, I'm sure.Oliver: He once joked that rather than having read Wittgenstein from cover to cover, he had only read the covers. How true is that? Because I know some people who would say he's very clever in everything, but he's not as clever as he looks. It's obviously not true that he only read the covers.Lee: I think there was a phase, wasn't there, after the early plays when people felt that he was—it's that English phrase, isn't it—too clever by half. Which you would never hear anyone in France saying of someone that they were too clever by half. So he was this kind of jazzy intellectual who put all his ideas out there, and he was this sort of self-educated savant who hadn't been to Oxford.There was quite a lot of that about in the earlier years, I think. And a sense that he was getting away with it, to which I would countermand with the story of the writing of The Invention of Love. So what attracted him to the figure of Housman initially was not the painful, suppressed homosexual love story, but the fact that here was this person who was divided into a very pernickety, savagely critical classical editor of Latin and a romantic lyric poet. In order to work out how to turn this into a play, he probably spent about six years taking Latin lessons, reading everything he could read on the history of classical literature. Obviously reading about Housman, engaging in conversation with classical scholars about Housman's, finer points of editorial precision about certain phrases. And what he used from that was the tip of the iceberg. But the iceberg was real.He really did that work and he often used to say that it was his favorite play because he'd so much enjoyed the work that went into it. I think he took what he needed from someone like Wittgenstein. I know you don't like The Coast of Utopia very much, but if you read his background to Coast of Utopia, what went into it, and if you compare what's in the plays, those three plays, with what's in the writing about those revolutionaries, he read everything. He may have magpied it, but he's certainly knows what he's talking about. So I defend him a bit against that, I think.Oliver: Good, good. Did you see the recent production at the Hamstead Theatre of The Invention of Love?Lee: I did, yes.Oliver: What did you think?Lee: I liked it. I thought it was rather beautifully done. I liked those boats rowing around that clicked together. I thought Simon Russell Beale was extremely good, particularly very moving. And very good in Housman's vindictiveness as a critic. He is not a nice person in that sense. And his scornfulness about the women students in his class, that kind of thing. And so there was a wonderful vitriol and scorn in Russell Beale's performance.I think when you see it now, some of the Oxford context is a little bit clunky, those scenes with Jowett and Pater and so on, it's like a bit of a caricature of the context of cultural life at the time, intellectual life at the time. But I think that the trope of the old and the young Housman meeting each other and talking to each other, which I still think is very moving. I thought it worked tremendously well.Oliver: What are Tom Stoppard's poems like?Lee: You see them in Indian Ink where he invents a poet, Flora Crewe, who is a poet who was died young, turn of the century, bold feminist associated with Bloomsbury and gets picked up much later as a kind of Sylvia Plath-type, HD type heroine. And when you look at Stoppard's manuscripts in the Harry Ransom Center in the University of Austin, in Texas, there is more ink spent on writing and rewriting those poems of Flora Crewe than anything else I saw in the manuscript. He wrote them and rewrote them.Early on he wrote some Elliot—they're very like Elliot—little poems for himself. I think there are probably quite a lot of love poems out there, which I never saw because they belong to the people for whom he wrote them. So I wouldn't know about those.Oliver: How consistently did Stoppard hold to a kind of liberal individualism in his politics?Lee: He was accused of being very right wing in the 1980s really, 1970s, 1980s, when the preponderant tendency for British drama was radicalism, Royal Court, left wing, all of that. And Stoppard seemed an outlier then, because he approved of Thatcher. He was a friend of Thatcher. He didn't like the print union. It was particularly about newspapers because he'd been a newspaper man in his youth. That was his alternative university education, working in Bristol on the newspapers. He had a romance heroic feeling about the value of the journalist to uphold democracy, and he hated the pressure of the print unions to what he thought at the time was stifling that.He changed his mind. I think a lot about that. He had been very idealistic and in love with English liberal values. And I think towards the end of his life he felt that those were being eroded. He voted lots of different ways. He voted conservative, voted green. He voted lib dem. I don't if he ever voted Labour.Oliver: But even though his personal politics shifted and the way he voted shifted, there is something quite continuous from the early plays through to Rock ‘n' Roll. Is there a sort of basic foundation that doesn't change, even though the response to events and the idea about the times changes?Lee: Yes, I think that's right, and I think it can be summed up in what Henry says in The Real Thing about politics, which is a version of what's often said in his plays, which is public postures have the configuration of private derangement. So that there's a deep suspicion of political rhetoric, especially when it tends towards the final solution type, the utopian type, the sense that individual lives can be sacrificed in the interest of an ultimate rationalized greater good.And then, he's worked in the '70s for the victims of Soviet communism. His work alongside in support of Havel and Charter 77. And he wrote on those themes such as Every Good Boy Deserves Favour and Professional Foul. Those are absolutely at the heart of what he felt. And they come back again when he's very modest about this and kept it quiet. But he did an enormous amount of work for the Belarus exile, Belarus Free Theater collective, people in support of those trying to work against the regime in Belarus.And then the profound, heartfelt, intense feeling of horror about what happened to people in Leopoldstadt. That's all part of the same thing. I think he's a believer in individual freedom and in democracy and has a suspicion of political rhetoric.Oliver: How much were some of his great parts written for specific actors? Because I sometimes have a feeling when I watch one of his plays now, if I'd been here when Felicity Kendal was doing this, I would be getting the whole thing, but I'm getting most of it.Lee: I'm sure that's right. And he built up a team around him: Peter Wood, the director and John Wood who's such an extraordinary Henry Carr in in in Travesties. And Michael Hordern as George the philosopher in Jumpers. And he wrote a lot for Kendal, in the process of becoming life companions.But he'd obviously been writing and thinking of her very much, for instance, in Arcadia. And also I think very much, it's very touching now to see the production of Indian Ink that's running at Hampstead Theatre in which Felicity Kendal is playing the older woman, the surviving older sister of the poet Flora Crewe, where of course the part of Flora Crewe was written for her. And there's something very touching about seeing that now. And, in fact, the first night of that production was the day of Stoppard's funeral. And Kendal couldn't be at the funeral, of course, because she was in the first night of his play. That's a very touching thing.Oliver: Why did he think the revivals came too soon?Lee: I don't really know the answer to that. I think he thought a play had to hook up a lot of oxygen and attract a lot of attention. If you were lucky while it was on, people would remember the casting and the direction of that version of it, and it would have a kind of memory. You had to be there.But people who were there would remember it and talk about it. And if you had another production very soon after that, then maybe it would diminish or take away that effect. I think he had a sort of loyalty to first productions often. What do you think about that? I'm not quite sure of the answer to that.Oliver: I don't know. To me it seems to conflict a bit with his idea that it's a living thing and he's always rewriting it in the rehearsal room. But I think probably what you say is right, and he will have got it right in a certain way through all that rehearsing. You then need to wait for a new generation of people to make it fresh again, if you like.Lee: Or not a generation even, but give it five years.Oliver: Everyone new and this theater's working differently now. We can rework it in our own way. Can we have a few questions about your broader career before we finish?Lee: Depends what they are.Oliver: Your former colleague John Carey died at a similar time to Stoppard. What do you think was his best work?Lee: John Carey's best work? Oh. I thought the biography of Golding was pretty good. And I thought he wrote a very good book on Thackery. And I thought his work on Milton was good. I wasn't so keen on The Intellectuals and the Masses. He and I used to have vociferous arguments about that because he had cast Virginia Woolf with all the modernist fascists, as it were. He'd put her in a pile with Wyndham Lewis and Ezra Pound and so on. And actually, Virginia Woolf was a socialist feminist. And this didn't seem to have struck him because he was so keen to expose her frightful snobbery, which is what people in England reading Woolf, especially middle class blokes, were horrified by.And she is a snob, there's no doubt about it. But she knew that and she lacerated herself for it too. And I think he ignored all the other aspects of her. So I was angry about that. But he was the kind of person you could have a really good argument with. That was one of the really great things about John.Oliver: He seems to be someone else who was amenable and charming, but also very steely.Lee: Yes, I think he probably was I think he probably was. You can see that in his memoir, I think.Oliver: What was Carmen Callil like?Lee: Oh. She was a very important person in my life. It was she who got me involved in writing pieces for Virago. And it was she who asked me to write the life of Virginia Woolf for Chatto. And she was an enormous, inspiring encourager as she was to very many people. And I loved her.But I was also, as many people were, quite daunted by her. She was temperamental, she was angry. She was passionate. She was often quite difficult. Not a word I like to use about women because there's that trope of difficult women, but she could be. And she lost her temper in a very un-English way, which was quite a sight to behold. But I think of her as one of the most creative and influential publishers of the 20th century.Oliver: Will there be a biography of her?Lee: I don't know. Yes, it's a really interesting question, and I've been asking her executors whether they have any thoughts about that. Somebody said to me, oh, who wants a biography of a publisher? But, actually, publishers are really important people often, so I hope there would be. Yes. And it would need to be someone who understood the politics of feminism and who understood about coming from Australia and who understood about the Catholic background and who understood about her passion for France. And there are a whole lot of aspects to that life. It's a rich and complex life. Yes, I hope there will be someday.Oliver: Her papers are sitting there in the British Library.Lee: They are. And in fact—you kindly mentioned this to start with—I've just finished a biography of the art historian and novelist, Anita Brookner, who won the Booker prize in 1984 for a novel called Hotel du Lac.And Carmen and Anita were great buddies, surprisingly actually, because they were very different kinds of characters. And the year before she died, Carmen, who knew I was working on Anita, showed me all her diary entries and all the letters she'd kept from Anita. And that's the kind of generous person that she was.That material is now sitting in the British Library, along with huge reams of correspondence between Carmen and many other people. And it's an exciting archive.Oliver: She seems to have had a capacity to be friends with almost anyone.Lee: Yes, I think there were people she would not have wanted to be friends with. She was very disapproving of a lot of political figures and particularly right-wing figures, and there were people she would've simply spat at if she was in the room with them. But, yes, she an enormous range of friends, and she was, as I said, she was fantastically encouraging to younger women writers.And, also, another aspect of Carmen's life, which I greatly admired and was fascinated by: In Virago she would often be resuscitating the careers of elderly women writers who had been forgotten or neglected, including Antonia White and including Rosamund Lehmann. And part of Carmen's job at Virago, as she felt, was not just to republish these people, some of whom hadn't had a book published for decades, but also to look after them. And they were all quite elderly and often quite eccentric and often quite needy. And Carmen would be there, bringing them out and looking after them and going around to see them. And really marvelous, I think.Oliver: Yes, it is. Tell me about Brian Moore.Lee: Breean, as he called himself.Oliver: Oh, I'm sorry.Lee: No, it's all right. I think Brian became a friend because in the 1980s I had a book program on Channel 4, which was called Book Four. It had a very small audience, but had a wonderful time over several years interviewing lots and lots of writers who had new books out. We didn't have a budget; it was a table and two chairs and not the kind of book program you see on the television anymore. And I got to know Brian through that and through reviewing him a bit and doing interviews with him, and my husband and I would go out and visit him and his wife Jean.And I loved the work. I thought the work was such a brilliant mixture of popular cultural forms, like the thriller and historical novel and so on. And fascinating ideas about authority and religion and how to be free, how to break free of the bonds of what he'd grown up with in Ireland, in Northern Ireland, the bombs of religious autocracy, as it were. And very surreal in some ways as well. And he was also a very charming, funny, gregarious person who could be quite wicked about other writers.And, he was a wonderfully wicked and funny companion. What breaks my heart about Brian Moore is that while he was alive, he was writing a novel maybe every other year or every three years, and people would review them and they were talked about, and I don't think they were on academic syllabuses but they were really popular. And when he died and there were no more books, it just went. You can think of other writers like that who were tremendously well known in their time. And then when there weren't any more books, just went away. You ask people, now you go out and ask people, say, “What about The Temptation of Eileen Hughes or The Doctor's Wife or Black Robe? And they'll go, “Sorry?”Oliver: If anyone listening to this wants to try one of his novels, where do you say they should start?Lee: I think I would start with The Doctor's Wife and The Temptation of Eileen Hughes. And then if one liked those, one would get a taste for him. But there's plenty to choose from.Oliver: What about Catholics?Lee: Yes. Catholics is a wonderful book. Yes. Wonderful book. Bit like Muriel Spark's The Abbess of Crewe, I think.Oliver: How important is religion to Penelope Fitzgerald's work?Lee: She would say that she felt guilty about not having put her religious beliefs more explicitly into her fiction. I'm very glad that she didn't because I think it is deeply important and she believes in miracles and saints and angels and manifestations and providence, but she doesn't spell it out.And so when at the end of The Gate of Angels, for instance, there is a kind of miracle on the last page but it's much better not to have it spelt out as a miracle, in my view. And in The Blue Flower, which is not my favorite of her books, but it's the book of the greatest genius possibly. And I think she was a genius. There is a deep interest in Novalis's romantic philosophical ideas about a spiritual life, beyond the physical life, no more doctrinally than that. And she, of course, believes in that. I think she believed, in an almost Platonic way, that this life was a kind of cave of shadows and that there was something beyond that. And there are some very mysterious moments in her books, which, if they had been explained as religious experiences, I think would've been much less forceful and much less intense.Oliver: What is your favorite of her books?Lee: Oh, The Beginning of Spring. The Beginning of Spring is set in Moscow just before the revolution. And its concerns an Englishman who runs a print and publishing works. And it's based quite a lot on some factual narratives about people in Moscow at the time. And it's about the feeling of that place and that time, but it's also about being in love with two people at the same time.And, yes, and it's about cultural clashes and cultural misunderstanding, and it is an astonishingly evocative book. And when asked about this book, interviewers would say to Penelope, oh, she must have lived in Moscow for ages to know so much about it. And sometimes she would say, “Yes, I lived there for years.” And sometimes she would say, “No, I've never been there in my life.” And the fact was she'd had a week's book tour in Moscow with her daughter. And that was the only time she ever went to Russia, but she read. So it was a wonderful example of how she would be so wicked; she would lie.Oliver: Yes.Lee: Because she couldn't be bothered to tell the truth.Oliver: But wasn't she poking fun at their silly questions?Lee: Yes. It's not such a silly question. I would've asked her that question. It is an astonishing evocation of a place.Oliver: No, I would've asked it too, but I do feel like she had this sense of it's silly to be asked questions at all. It's silly to be interviewed.Lee: I interviewed her about three times—and it was fascinating. And she would deflect. She would deflect, deflect. When you asked her about her own work, she would deflect onto someone else's work or she would tell you a story. But she also got quite irritable.So for instance, there's a poltergeist in a novel called The Bookshop. And the poltergeist is a very frightening apparition and very strong chapter in the book. And I said to her in interview, “Look, lots of people think this is just superstition. There aren't poltergeists.” And she looked at me very crossly and said they just haven't been there. They don't know what they're talking about. Absolutely factual and matter of fact about the reality of a poltergeist.Oliver: What makes Virginia Woolf's literary criticism so good?Lee: Oh, I think it's a kind of empathy actually. That she has an extraordinary ability to try and inhabit the person that she's writing about. So she doesn't write from the point of view of, as it were, a dry, historical appreciation.She's got the facts and she's read the books, but she's trying to intimately evoke what it felt like to be that writer. I don't mean by dressing it up with personal anecdotes, but just she has an extraordinary way of describing what that person's writing is like, often in images by using images and metaphors, which makes you feel you are inside the story somehow.And she loves anecdotes. She's very good at telling anecdotes, I think. And also she's not soft, but she's not harshly judgmental. I think she will try and get the juice out of anything she's writing about. Most of these literary criticism pieces were written for money and against the clock and whilst doing other things.So if you read her on Dorothy Wordsworth or Mary Wollstonecraft or Henry James, there's a wonderful sense of, you feel your knowledge has been expanded. Knowledge in the sense of knowing the person; I don't mean in the sense of hard facts.Oliver: Sure. You've finished your Anita Brookner biography and that's coming this year.Lee: September the 10th this year, here and in the States.Oliver: What will you do next?Lee: Yes. That's a very good question, though a little soon, I feel.Oliver: Is there someone whose life you always wanted to write, but didn't?Lee: No. No, there isn't. Not at the moment. Who knows?Oliver: You are open to it. You are open.Lee: Who knows what will come up.Oliver: Yes. Hermione Lee, this was a real pleasure. Thank you very much.Lee: Thank you very much. It was a treat. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk

PSV verlengt met Peter Bosz én de landstitel, de fluwelen revolutie van Cruijff werpt nog geen vruchten af, en AZ had geen idee hoe NEC zou spelen. Verder heeft Faber zichzelf streng toegesproken, pakt FC Twente het volgende expected point en zet de opmars van de Spartamars voort. Het is maandagavond, op naar een nieuwe uur durende aflevering van De Derde Helft samen met MICHIEL DE HOOG! ✉️ Op vrijdag kunnen jullie met ons via Substack vooruitblikken op het aankomende Eredivisie-weekend. Gijs, Tim, Snijboon, Pepijn en RogierPablo zullen hier allemaal één ding delen waar ze naar uitkijken in de aankomende speelronde. https://substack.com/@dederdehelft

Sintonía: "The Big Push" (1956) - Cal Green 1.- "Willie and Lillie" (1958) - Bo Diddley 2.- "Whoe Ho Ho" (1956) - Lloyd Price 3.- "Who´s Been Fooling You" (1956) - Big Boy Myles 4.- "I Want You To Know" (1957) - Fats Domino 5.- "Touch and Go" (1958) - Wynona Carr 6.- "Bip A Little-Bop A Lot" (1958) - Joe Penny 7.- "Almost Grown" (1959) - Chuck Berry 8.- "Heebie Jeebies" (1956) - Little Richard 9.- "I´m Gonna Get Married" (1959) - Lloyd Price 10.- "Back In The USA" (1959) - Chuck Berry 11.- "I´m In Love Again" (1956) - Fats Domino 12.- "Aunt Susie" (1960) - Mister P.T. 13.- "Betty Jean" (1960) - Chuck Berry 14.- "Jump Jack, Jump" (1956) - Wynona Carr 15.- "She Knows How To Rock" (1959) - Little Richard 16.- "Hey Hey Loretta" (1958) - Joe McCoy 17.- "Flippin´" - Rene Hall 18.- "Do You Mean It" (1957) - Ike Turner19.- "Rockin´This Joint To-Nite" (1959) - Kid Thomas20.- "What Can I Do" (1957) - Roy Milton21.- "Don´t You Lie To Me - Chuck Berry22.- Rock And Roll In The Groove (1959) - Cledus HarrisonRelación de fechas de emisión de las otras 4 entregas de este coleccionable: 1.- Lo mejor de los CDs 1 y 2 emitido el 24/09/2025 2.- Lo mejor de los CDs 3 y 4 emitido el 15/10/2025 3.- Lo mejor de los CDs 5 y 6 emitido el 01/12/2025 4.- Lo mejor de los CDs 7 y 8 emitido el 05/01/2026Todas las músicas extraídas del cofre (10xCD) "Black Stars Of Rock And Roll" (Intense Media)Todas las músicas seleccionadas por Klaus FaberEscuchar audio

Toni Faber ist ein Weihekollege zum Priester von Josef Grünwidl, beide wurden im Juni 1988 von Kardinal Franz König im Stephansdom geweiht.

SONG YADONG IS READY FOR SUGA!⚡️ Kick off the new year w/ 1st Phorm

In the latest WSITH @talknorthpod live at Splitrocks, @russohockey and @anthonylapanta discuss the #mnwild's choppy play of late, gush over Quinn Hughes and discuss Faber's great play, the Olympics, playoff format and trade deadline.   Next live show: Jan. 26 at 7 at Elsie's.   from Aquarius Home Services Studio (www.aquariushomeservices.com) Supported by: Aquarius Home Services (www.aquariushomeservices.com/)   OnX Maps (www.onxmaps.com/) 

Jim Norton and Matt Serra are joined by Urijah Faber for a wide-ranging conversation about his continued impact on the sport — both as a competitor and a coach.Faber talks about still competing at 46 years old, including his upcoming combat jiu-jitsu and wrestling matchups scheduled for January and February of 2026. The UFC Hall of Famer explains how his mindset has evolved at this stage of his career and why staying active continues to fuel his passion for competition.Urijah also dives into his role coaching Song Yadong and explains why Song's upcoming matchup with Sean O'Malley at UFC 324 could be the perfect moment for the best version of Song to emerge. Beyond the bantamweight title picture, Faber lays out how a win over “Suga” could mark a turning point for Song on a global level — and the start of his rise as a true national icon.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

To celebrate Melvyn Bragg's 27 years presenting In Our Time, five well-known fans of the programme have chosen their favourite episodes. Comedian Frank Skinner has picked the episode on the life and work of the poet Emily Dickinson and recorded an introduction to it. (This introduction will be available on BBC Sounds and the In Our Time webpage shortly after the broadcast and will be longer than the version broadcast on Radio 4). Emily Dickinson was arguably the most startling and original poet in America in the C19th. According to Thomas Wentworth Higginson, her correspondent and mentor, writing 15 years after her death, "Few events in American literary history have been more curious than the sudden rise of Emily Dickinson into a posthumous fame only more accentuated by the utterly recluse character of her life and by her aversion to even a literary publicity." That was in 1891 and, as more of Dickinson's poems were published, and more of her remaining letters, the more the interest in her and appreciation of her grew. With her distinctive voice, her abundance, and her exploration of her private world, she is now seen by many as one of the great lyric poets. With Fiona Green Senior Lecturer in English at the University of Cambridge and a Fellow of Jesus College Linda Freedman Lecturer in English and American Literature at University College London and Paraic Finnerty Reader in English and American Literature at the University of Portsmouth Producer: Simon Tillotson. Reading list: Christopher Benfey, A Summer of Hummingbirds: Love, Art and Scandal in the Intersecting Worlds of Emily Dickinson, Mark Twain, Harriet Beecher Stowe, and Martin Johnson Heade (Penguin Books, 2009) Jed Deppman, Marianne Noble and Gary Lee Stonum (eds.), Emily Dickinson and Philosophy (Cambridge University Press, 2013) Judith Farr, The Gardens of Emily Dickinson (Harvard University Press, 2005) Judith Farr, The Passion of Emily Dickinson (Harvard University Press, 1992) Paraic Finnerty, Emily Dickinson's Shakespeare (University of Massachusetts Press, 2006) Ralph William Franklin (ed.), The Master Letters of Emily Dickinson (University Massachusetts Press, 1998) Ralph William Franklin (ed.), The Poems of Emily Dickinson: Variorum Edition (Harvard University Press, 1998) Linda Freedman, Emily Dickinson and the Religious Imagination (Cambridge University Press, 2011) Gudrun Grabher, Roland Hagenbüchle and Cristanne Miller (eds.), The Emily Dickinson Handbook (University of Massachusetts Press, 1998) Alfred Habegger, My Wars are Laid Away in Books: The Early Life of Emily Dickinson (Random House, 2001) Ellen Louise Hart and Martha Nell Smith (eds.), Open Me Carefully: Emily Dickinson's Intimate Letters to Susan Huntington Dickinson (Paris Press, 1998) Virginia Jackson, Dickinson's Misery: A Theory of Lyric Reading (Princeton University Press, 2013) Thomas H. Johnson (ed.), Emily Dickinson: Selected Letters (first published 1958; Harvard University Press, 1986) Thomas H. Johnson (ed.), Poems of Emily Dickinson (first published 1951; Faber & Faber, 1976) Thomas Herbert Johnson and Theodora Ward (eds.), The Letters of Emily Dickinson (Belknap Press, 1958) Benjamin Lease, Emily Dickinson's Readings of Men and Books (Palgrave Macmillan, 1990) Mary Loeffelholz, The Value of Emily Dickinson (Cambridge University Press, 2016) James McIntosh, Nimble Believing: Dickinson and the Unknown (University of Michigan Press, 2000) Marietta Messmer, A Vice for Voices: Reading Emily Dickinson's Correspondence (University of Massachusetts Press, 2001) Cristanne Miller (ed.), Emily Dickinson's Poems: As She Preserved (Harvard University Press, 2016) Cristanne Miller, Reading in Time: Emily Dickinson in the Nineteenth Century (University of Massachusetts Press, 2012) Elizabeth Phillips, Emily Dickinson: Personae and Performance (Pennsylvania State University Press, 1988) Eliza Richards (ed.), Emily Dickinson in Context (Cambridge University Press, 2013) Richard B. Sewall, The Life of Emily Dickinson (first published 1974; Harvard University Press, 1998) Marta L. Werner, Emily Dickinson's Open Folios: Scenes of Reading, Surfaces of Writing (University of Michigan Press, 1996) Brenda Wineapple, White Heat: The Friendship of Emily Dickinson and Thomas Wentworth Higginson (Anchor Books, 2009) Shira Wolosky, Emily Dickinson: A Voice of War (Yale University Press, 1984) This episode was first broadcast in May 2017. Spanning history, religion, culture, science and philosophy, In Our Time from BBC Radio 4 is essential listening for the intellectually curious. In each episode, host Melvyn Bragg and expert guests explore the people, ideas, events and discoveries that have shaped our world In Our Time is a BBC Studios production

Stijn Schmitz welcomes Marc Faber to the show. Marc Faber is Contrarian Investor and Publisher of the Gloom, Boom, & Doom Report. Their discussion centers on global economic trends, monetary policy, and the impact of continuous money printing by central banks. Faber, a proponent of the Austrian school of economics, critically examines the current financial landscape, highlighting how central banks and financial institutions are incentivized to continuously print money, which leads to uneven price increases across various assets. Faber argues that money printing fundamentally distorts economic systems, with financial institutions benefiting first from monetary expansion while average workers experience declining real wages. He points out that while nominal GDP might show growth, real purchasing power for most people has actually decreased. The conversation explores the historical context of economic cycles, with Faber referencing economists like Kondratiev and discussing how societies rise and decline. The discussion shifts to geopolitical dynamics, particularly the changing global power balance between the United States and emerging powers like China and Russia. Faber suggests that the US is no longer in the dominant position it held post-World War II, with potential competitive challenges emerging from other global powers. Regarding investment strategies, Faber recommends diversification across assets like real estate, precious metals, stocks, and cash. He sees particular potential in gold, silver, and platinum as alternative currencies, and believes these metals can serve as protection against monetary devaluation. He’s especially bullish on platinum, suggesting it might eventually surpass gold in price. Faber’s investment philosophy emphasizes understanding price dynamics over specific company details, advocating for purchasing assets below their intrinsic value. He remains skeptical of government interventions and central bank policies, viewing them as potentially destructive to long-term economic stability. Timestamps: 00:00:00 – Introduction 00:00:51 – Precious Metals Bull Run 00:01:25 – Gold Market History 00:02:31 – Money Printing Effects 00:05:33 – Financial Industry Incentives 00:07:15 – Austrian Economics Overview 00:09:10 – Keynesian Policies Critique 00:14:40 – Economic and War Cycles 00:20:25 – Geopolitical Tensions Rise 00:22:47 – Global Financial System Risks 00:24:00 – Safe Currencies Gold Silver 00:27:12 – Approaching Economic Crises 00:33:02 – Portfolio Diversification Advice 00:35:49 – Silver Platinum Investment Benefits 00:42:05 – Newsletter and Personal Reflections 00:45:44 – Concluding Thoughts Guest Links: Website: https://www.gloomboomdoom.com/ X: https://x.com/gloomboomdoom Dr. Marc Faber was born in Zurich, Switzerland. He went to school in Geneva and Zurich and finished high school with the Matura. He studied Economics at the University of Zurich and, at the age of 24, obtained a Ph.D. in Economics magna cum laude. Between 1970 and 1978, Mr. Faber worked for White Weld & Company Limited in New York, Zurich, and Hong Kong. Since 1973, he has lived in Hong Kong. From 1978 to February 1990, Marc was the Managing Director of Drexel Burnham Lambert (HK) Ltd. In June 1990, he set up his own business, publishing a widely read monthly investment newsletter, “THE GLOOM BOOM & DOOM,” a report highlighting unusual investment opportunities. Dr. Faber is also the author of several books, including “TOMORROW’S GOLD – Asia’s Age of Discovery,” first published in 2002 and highlighted future investment opportunities. “TOMORROW’S GOLD” was on Amazon’s bestseller list and translated into Japanese, Korean, Thai, and German. Marc is also a regular contributor to several leading financial publications around the world. In addition, Dr. Faber is a frequent speaker at various investment seminars and is well known for his “contrarian” investment approach.

Veerman heeft de boot naar Istanbul gemist, Sem Steijn is gebombardeerd tot ongeveer vierde aanvoerder en Fred Farioli lijkt het tij heel langzaam te keren bij Ajax. Verder is Faber in een ding ter wereld succesvoller dan Thomas Müller, vliegen de Eagles te dicht bij de streep en hebben we te maken met een suikeroomderby. Welkom bij een nieuwe aflevering van De Derde Helft. ✉️ Op vrijdag kunnen jullie met ons via Substack vooruitblikken op het aankomende Eredivisie-weekend. Gijs, Tim, Snijboon, Pepijn en RogierPablo zullen hier allemaal één ding delen waar ze naar uitkijken in de aankomende speelronde. https://substack.com/@dederdehelft

Find your Brandys and BS merch @ www.brandysandbs.comWe ring in January from the North Studio with a fast, messy, and hilarious tour through winter traditions, sports loyalty, lake rules, TV nostalgia, and a bear that showed up at exactly the wrong time. The theme is simple: laughter, memory, and the stories that make a community feel like home.• new studio energy and new year rituals• river skiing legends and cold-weather bravado• Bedard vs Faber and why defense still matters• Walter Payton's grace and Vikings frustration• ice fishing laws, border quirks, and thermos tricks• a real bear encounter and respect for nature• Seinfeld laugh tracks, classic TV, and streaming picks• Land Man, Tulsa King, and Sheridan's universe• lacrosse face-offs, coaching truths, and fair play• a chaotic plan for a listener game teased for next timeEmail us @ eddyandjay@brandysandbs.comSupport the show

A teenage boy showed up for a routine school check-in in Brookville, Pennsylvania.Staff hadn't seen him in person for over a year, and what they saw stopped everything.He weighed just 79 pounds, was wearing a diaper, and showed signs of severe malnutrition and abuse.What investigators uncovered next left even the most seasoned of police officers shook.Listen to the case of Sarah Faber**************************************Do you have thoughts about this case, or is there a specific true crime case you'd like to hear about? Let me know with an email or a voice message: https://murderandlove.com/contactFind the sources used in this episode and learn more about how to support Love and Murder: Heartbreak to Homicide and gain access to even more cases, including bonus episodes, ad-free and intro-free cases, case files and more at: https://murderandlove.comMusic:℗ lesfreemusicBecome a supporter of this podcast: https://www.spreaker.com/podcast/love-and-murder-heartbreak-to-homicide--4348896/support.

Cet épisode est une rediffusion - j'aime vous proposer, pendant les vacances scolaires, les contenus que vous avez le plus plébiscités au cours des derniers mois !La rivalité entre enfants est inévitable, mais comment l'accompagner ?Parce qu'il n'est pas toujours facile de gérer les petites (ou grandes) rivalités à la maison ou à l'école, cet épisode vous apporte des clés concrètes pour accompagner vos enfants sur ce chemin universel.Sylvie d'Esclaibes, éducatrice passionnée depuis plus de 30 ans, partage son expertise sur le développement de l'enfant en s'appuyant sur la pédagogie bienveillante et l'expérience de terrain. Dans cet épisode, elle nous propose des stratégies pratiques pour instaurer un climat sain entre frères, sœurs, et camarades.Dans cet épisode, vous allez découvrir :✨ Pourquoi la jalousie est normale et inévitable✨ L'arrivée du cadet : un grand bouleversement✨ Comment éviter l'écueil des comparaisons et des étiquettes✨ Où poser la limite : émotion vs. comportement✨ Pourquoi valoriser chaque enfant pour ce qu'il est vraiment change la donne✨ Les moments exclusifs : même dix minutes font la différenceRessources :Pour les adultes :Jalousie et rivalités entre frères et sœurs, Adele Faber & Elaine MazlishParler pour que les enfants écoutent, écouter pour que les enfants parlent, Faber & MazlishFrères et sœurs sans rivalité : même auteures, avec de nombreux dialogues concrets.Frères et soeurs - Une histoire de complicité et de rivalité, Héloïse JunierPour les enfants :Un petit frère, ça sert à quoi ? de Sophie BellierUn petit frère, ça sert à rien ! de Mireille d'AllancéTrop de lapins de Tracey CorderoyMoi d'abord ! de Michael Escoffier et Kris Di GiacomoNon, c'est à moi ! de Michel Van ZeverenCet épisode vous aidera à poser un autre regard sur la jalousie, et à transformer les rivalités entre enfants en véritables apprentissages sociaux.

Met vandaag: Morgen is president Zelensky in de VS, wat is Trumps inzet voor Oekraïne? | Nu een vuurwerkverbod aanstaande is, gaat oog-arts Tjeerd de Faber met pensioen | Het jaar van Noraly Beyer, waarin haar partner Joost Prinsen overleed | Luisteraar Theo Aernoudts herinnert zich de Oog-uitzending over de decembermoorden | Presentatie: Elisabeth Steinz en Coen Verbraak.

To celebrate Melvyn Bragg's 27 years presenting In Our Time, five well-known fans of the programme have chosen their favourite episodes. Author and columnist Caitlin Moran has picked the episode on the English medieval mystic Margery Kempe and recorded an introduction to it. Margery Kempe (1373-1438) produced an account of her extraordinary life in a book she dictated, "The Book of Margery Kempe." She went on pilgrimage to Jerusalem, to Rome and Santiago de Compostela, purchasing indulgences on her way, met with the anchoress Julian of Norwich and is honoured by the Church of England each 9th November. She sometimes doubted the authenticity of her mystical conversations with God, as did the authorities who saw her devotional sobbing, wailing and convulsions as a sign of insanity and dissoluteness. Her Book was lost for centuries, before emerging in a private library in 1934.This In Our Time episode was first broadcast in June 2016. The image (above), of an unknown woman, comes from a pew at Margery Kempe's parish church, St Margaret's, Kings Lynn and dates from c1375.WithMiri Rubin Professor of Medieval and Early Modern History at Queen Mary, University of LondonKatherine Lewis Senior Lecturer in History at the University of HuddersfieldAndAnthony Bale Professor of Medieval Studies at Birkbeck University of LondonProducer: Simon TillotsonReading list:John H. Arnold and Katherine J. Lewis (eds.), A Companion to the Book of Margery Kempe, (D. S. Brewer, 2010)Anthony Bale (trans.), The Book of Margery Kempe (Oxford University Press, 2015)Santha Bhattacharji, God is an Earthquake: The Spirituality of Margery Kempe (Darton, Longman and Todd, 1997)Anthony Goodman, Margery Kempe and her World (Longman, 2002)Karma Lochrie, Margery Kempe and the Translations of the Flesh (University of Pennsylvania Press, 1991)Gail McMurray Gibson, The Theater of Devotion: East Anglian Drama and Society in the Late Middle Ages (University of Chicago Press, 1989)Lynn Staley, Margery Kempe's Dissenting Fictions (Pennsylvania State University Press, 1994)Jonathan Sumption, Pilgrimage: An Image of Mediaeval Religion (Faber & Faber, 2002)Brett Whalen, Pilgrimage in the Middle Ages: A Reader (University of Toronto Press, 2011)Barry Windeatt (ed.), The Book of Margery Kempe: Annotated Edition (D. S. Brewer, 2006)Barry Windeatt (ed.), The Book of Margery Kempe (Penguin Classics, 2000)Spanning history, religion, culture, science and philosophy, In Our Time from BBC Radio 4 is essential listening for the intellectually curious. In each episode, host Melvyn Bragg and expert guests explore the people, ideas, events and discoveries that have shaped our worldIn Our Time is a BBC Studios production

A special 4-minute reading of "Christmas at Sea", an evocative poem written by Robert Louis Stevenson in 1883. Stevenson, the son of a lighthouse engineer, had intimate, first-hand knowledge of storms, weather, and life on and by the sea. Read for you by World Ocean Radio host Peter Neill. Happy Holidays.Christmas at Sea is an evocative seasonal poem by Robert Louis Stevenson published in 1888, five years after his beloved novel, Treasure Island, was published. Christmas at Sea appears in an anthology of poems compiled by the Radio4 program Poetry Please: The Nation's Best-Loved Poems, with a forward by Roger McGough, published in 2014 by Faber & Faber Books. Christmas at Sea is in the public domain.About World Ocean RadioWorld Ocean Radio is a weekly series of five-minute audio essays available for syndicated use at no cost by college and community radio stations worldwide. Peter Neill, Director of the World Ocean Observatory and host of World Ocean Radio, provides coverage of a broad spectrum of ocean issues from science and education to advocacy and exemplary projects.World Ocean Radio: 5-minute weekly insights in ocean science, advocacy, education, global ocean issues, marine science, policy, challenges, and solutions. Hosted by Peter Neill, Founder of W2O. Learn more at worldoceanobservatory.org

On 23 April 1925, T.S. Eliot was officially invited by Geoffrey Faber to join the newly founded publishing house of Faber & Gwyer. It was to prove the most momentous appointment in the history of 20th-century poetry in English. Among Faber & Gwyer's first books was Eliot's Poems 1909-1925, which included ‘The Love Song of J. Alfred Prufrock', The Waste Land, and ‘The Hollow Men'. As pioneering talent scout for Faber & Gwyer (which would become Faber & Faber in 1928) Eliot launched the careers of such as W.H. Auden, Louis MacNeice, David Jones and Stephen Spender, and oversaw the publication of the work of the poet who had discovered him, Ezra Pound. Exactly a hundred years on, poet and critic Mark Ford, Emeritus Professor of English at Sheffield John Haffenden, former Faber managing director Toby Faber and Senior Lecturer at the University of Brighton Aakanksha Virkar visited the Bookshop to discuss the events leading up to Eliot's appointment, and his early years with the firm that would become virtually synonymous with his name. More from the Bookshop: Discover our author of the month, book of the week and more: ⁠https://lrb.me/bkshppod⁠ From the LRB: Subscribe to the LRB: ⁠⁠⁠https://lrb.me/subsbkshppod Close Readings podcast: ⁠⁠https://lrb.me/crbkshppod LRB Audiobooks: ⁠⁠https://lrb.me/audiobooksbkshppod Bags, binders and more at the LRB Store: ⁠⁠https://lrb.me/storebkshppod Get in touch: podcasts@lrb.co.uk

In this episode of Lit with Charles, Charles welcomes British writer Manish Chauhan to celebrate the lead-up to his debut novel Belgrave Road (out with Faber in January). Set in Leicester, the book traces the intersecting lives of Mira, newly arrived from India in an arranged marriage that offers little refuge, and Talia, a Somali refugee navigating the UK asylum system. Manish speaks candidly about the long road to publication - writing since his teens, balancing a demanding career as a finance lawyer, and building momentum through short fiction - and about the real-life encounters and observations that sparked his story. At the heart of the conversation is what he hopes fiction can do right now: complicate the rhetoric around immigration by showing that every person contains “a whole number of stories,” not just the ones that dominate headlines.As always, the episode is also a masterclass in reading as a writer. Manish shares four books that shaped his craft and sensibility: A Fine Balance by Rohinton Mistry, Runaway by Alice Munro, Disgrace by J.M. Coetzee, and Unaccustomed Earth by Jhumpa Lahiri. Lit with Charles loves reviews. If you enjoyed this episode, I'd be so grateful if you could leave a review of your own, and follow me on Instagram at @litwithcharles. Let's get more people listening – and reading!

F. Murray Abraham has appeared in more than 80 films including Amadeus (Academy Award, Golden Globe, and L.A. Film Critics Awards), The Phoenician Scheme, The Name of the Rose, Finding Forrester, Scarface, The Ritz, The Grand Budapest Hotel, and Inside Llewyn Davis. A veteran of the stage, he has appeared in more than 90 plays, among them Uncle Vanya (Obie Award), Krapp's Last Tape, Trumbo, A Christmas Carol, the musical Triumph of Love, Cyrano de Bergerac, King Lear, Macbeth, The Merchant of Venice, Angels in America (Broadway), Waiting for Godot, and It's Only a Play. Mr. Abraham's work in experimental theater includes collaborations with Joe Chaiken, Pina Bausch, Time and Space Ltd, and Richard Foreman. He made his NY debut as a Macy's Santa Claus. He starred in the second season of HBO's “The White Lotus,” for which he received Emmy and Golden Globe nominations for Outstanding Supporting Actor in a Drama Series. Previously, he was a series regular on “Homeland” (2 Emmy nominations). He's appeared with Luciano Pavarotti, Maestros Levine, Tilson Thomas, Mazur, and Bell, and he made his solo singing debut at Carnegie Hall's Weill Recital Hall. Mr. Abraham's book, A Midsummer Night's Dream: Actors on Shakespeare, is published by Faber & Faber. He is proud to be the spokesman for the MultiFaith Alliance for refugees worldwide. Learn more about your ad choices. Visit podcastchoices.com/adchoices

So it turns out, we missed talking to each other about books, and we missed you! And thanks to some vital sponsorship from our friends at Faber Books, we are BACK, baby, for this extra long one-off Year in Review episode. This show is full of recommendations from the last year (or two), as well as a bit of a catch up. Since we last appeared in your feeds, we've both had babies, Carrie moved to New York, Octavia moved south of the river... And so we bring you this extended episode full of our usual reading recommendations and resolutions, news of some exciting debut fiction coming from Faber Books next year, plus an extra segment where we catch up on our experiences of becoming new parents, and the books that have helped us and kept us company through the wild last couple of years. We hope you enjoy listening! Produced by Lucy Dearlove https://lucydearlove.com/ Find a list of all recommended books at: https://uk.bookshop.org/lists/year-in-review-2025-and-new-parenthood This episode is sponsored by Faber https://www.faber.co.uk/

I'm delighted to be talking to Rali Chorbadzhiyska about her work as freelance editor, and we're asking what the road to publication really looks like.   It must be another edition of Ask the Curator. In these episodes, we go behind the curtain of the literary industry to ask another literary curator, how they do what they do. Over the years, Rali has worked at Penguin RandomHouse, Faber and Canongate, working with some of the biggest names in literature. But she recently went freelance to deliver on her aim of guiding writers refine and elevate their work. She was awarded with a Rising Star Award from The Printing Charity in recognition of her work. Support the Rippling Pages on a new Patreon with exclusive crafted subscriber benefits.  https://patreon.com/RipplingPagesPod?utm_medi Interested in hosting your own podcast? Follow this link and find out how: https://www.podbean.com/ripplingpages  Links to Rali's services: https://www.ralieditorial.com/ https://www.instagram.com/reading.rali/ https://www.linkedin.com/in/ralieditorial/ https://www.tiktok.com/@reading.rali   Reference Points Farah Ali Raymond Carver V.S. Naipaul Erin Sommers Chapters 2.25 - what does Rali's work look like? 3.45 - Rali's ideal clients 4.50 - the importance of taking feedback 7.15 - strategies for taking and rejecting feedback 12.00 - finding people who champion you 15.20 - Do writers need to market themselves? 16.10 - Having ties to local communities. 17.40 - Rali's top tip  19.40 - books Rali is looking forward to in 2026

Ceci est un extrait de l'épisode 40 avec Anne Partridge, qui anime des ateliers Faber et Mazlich.Cet extrait fait suite à l'épisode 281 avec Roselyne Roy. Cette semaine, on va parler ateliers à la parentalité.Anne Partridge, est animatrice Faber et Mazlich, une méthode inventée par 2 mères canadiennes dans les années 70.Le livre support sur lequel on s'appuie, Parler pour que les enfants écoutent, écouter pour que les enfants parlent, est une ressource incroyable d'outils simples à mettre en place à la maison.Anne anime des ateliers depuis 8 ans sur Bordeaux. Elle reçoit des groupes de parents, qui viennent suivre 7 séances qui durent 3 heures.Alors quel intérêt à ces ateliers? Qu'est-ce qu'on y apprend? Pourquoi franchir le pas et venir participer avec d'autres parents ?Pour contextualiser, j'ai assisté en début d'année 2019 à 7 ateliers, et j'en suis ressortir enchantée. Anne est d'une incroyable bienveillance et j'avais envie de connaitre son parcours, par où, elle, en tant que maman, était passée. Et vous allez réaliser que son parcours dans la parentalité est loin d'être simple et linéaire. Elle a donc cette capacité incroyable de connaitre ce que peuvent ressentir les parents qui tatonnent. J'espère que cet épisode vous donnera envie d'aller passer la porte d'un atelier, peu importe lequel, il y en a plein en France. Je suis persuadée que cela vous boostera et vous encouragera dans votre chemin. Très bonne écouteLIENS UTILES :https://www.anne-partridge.comParler pour que les enfants écoutent - écouter pour que les enfants parlent, Adèle Faber, Elaine MazlishSite de Faber et Mazlish- le site de Roseline Roy, ambassadrice de l'approche Faber Mazlish : https://fabermazlish-aep.com- l'annuaire des animatrices/teurs en francophonie : https://rezo.fabermazlish-aep.com/annuaire-des-anim/- tous les ouvrages : https://fabermazlish-aep.com/magasin-en-ligne-livres-faber-mazlish/Création originale : Clémentine SarlatProduction : Clémentine SarlatEnregistrement : Clémentine SarlatHébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Preacher: Chad Vegas

Et si on ne punit pas on fait quoi ?C'est une question cruciale pour nous, parents.Pour transformer nos relations avec nos enfants et dépasser le rapport de domination, il est essentiel de revoir notre approche et d'apprendre à les écouter. C'est la condition pour qu'ils se sentent libres de nous parler.Cette philosophie est au cœur de la méthode de Joanna Faber et Elaine Mazlish, les autrices du best-seller : Parler pour que les enfants écoutent, écouter pour que les enfants parlent.Roseline Roy, psychologue depuis plus de 30 ans, a introduit cette vision de Faber et Mazlish dans le monde francophone.Elle nous explique aujourd'hui comment opérer un changement dans la relation parent-enfant.Est-il possible de se passer de la punition ?Est-ce possible d'imaginer une autre formule ?Et si oui, c'est quoi le chemin à prendre ?La réponse dans cet épisode… et je vous encourage à partager autour de vous cet épisode pour aider des parents en difficultés, des parents qui ne savent pas par où commencer.Je vous souhaite une très bonne écoute. LIENS UTILES :Parler pour que les enfants écoutent - écouter pour que les enfants parlent, Adèle Faber, Elaine MazlishSite de Faber et MazlishÉpisode 40 : Les ateliers à la parentalité, Anne Partridge- le site de Roseline Roy, ambassadrice de l'approche Faber Mazlish : https://fabermazlish-aep.com- l'annuaire des animatrices/teurs en francophonie : https://rezo.fabermazlish-aep.com/annuaire-des-anim/

Most know Logitech as the world's largest manufacturer of computer mice. But the company's reach extends everywhere from boardrooms to game rooms, with product selection that spans ergonomic desk accessories to professional eSports gear. CEO Hanneke Faber spoke to Fortune's executive editorial director Diane Brady and editorial director Kristin Stoller about how she's leading Logitech through both new and long-lasting tech. Faber shared that equality is a core value for the company, why Logitech pivoted away from its multi-brand efforts, and the parallels between her competitive diving career and the risks she takes as CEO.

Faber, Annegret www.deutschlandfunk.de, Forschung aktuell

In its current form, Old Habits is part of the ABC Compass series, but as you'll hear in this interview with Alfie Faber, he's working on expanding the short into a feature length documentary. And gosh, what a film it will be if he gets it to a feature length. Old Habits is a delight, utilising the charm and vibrancy of the Sisters to expand upon a hidden part of Australian queer history. Watching Old Habits reminded me of my conversation with Julie Peters about her documentary The Accidental Archivist. In that film, Julie talks about the self-documentation of queer history in Australia and discovering her place in the LGBTIQA+ community. Old Habits acts as an extension of the opening of queer history archives, ensuring that Australian queer history is accessible to future generations. To find out more about the Order of Perpetual Indulgence and its Sydney members, visit UniversalJoy.com.au. After discussing Old Habits, Alfie also talks about his podcast series Sound Perspective, an in depth series featuring interviews with creatives about the role of sound in films. I highly recommend listening to it. Make sure to also check out Final_Final_Locked from the Australian Screen Editors. Watch Old Habits on ABC iView here. Note: This series is only available to Australian residents.Follow Alfie Faber on Instagram here and The Sydney Order of Perpetual Indulgence here.Sign up for the latest interviews, reviews, and more via https://www.thecurb.com.au/subscribe/ Hosted on Acast. See acast.com/privacy for more information.

In its current form, Old Habits is part of the ABC Compass series, but as you'll hear in this interview with Alfie Faber, he's working on expanding the short into a feature length documentary. And gosh, what a film it will be if he gets it to a feature length. Old Habits is a delight, utilising the charm and vibrancy of the Sisters to expand upon a hidden part of Australian queer history. Watching Old Habits reminded me of my conversation with Julie Peters about her documentary The Accidental Archivist. In that film, Julie talks about the self-documentation of queer history in Australia and discovering her place in the LGBTIQA+ community. Old Habits acts as an extension of the opening of queer history archives, ensuring that Australian queer history is accessible to future generations. To find out more about the Order of Perpetual Indulgence and its Sydney members, visit UniversalJoy.com.au. After discussing Old Habits, Alfie also talks about his podcast series Sound Perspective, an in depth series featuring interviews with creatives about the role of sound in films. I highly recommend listening to it. Make sure to also check out Final_Final_Locked from the Australian Screen Editors. Watch Old Habits on ABC iView here. Note: This series is only available to Australian residents.Follow Alfie Faber on Instagram here and The Sydney Order of Perpetual Indulgence here.Sign up for the latest interviews, reviews, and more via https://www.thecurb.com.au/subscribe/ Hosted on Acast. See acast.com/privacy for more information.

"Within 10 years, big changes will occur and the dollar will no longer be the reserve currency," says Dr. Marc Faber. In today's interview with Daniela Cambone, the famed contrarian investor and Grant Williams detail their stark outlook for the West, arguing that true capitalism has been dead for decades. "We haven't had real capitalism for 50-odd years now. It's been creeping further and further away to crony capitalism," Williams states, with Faber adding that the "damage has been done" after years of money printing that has expanded government and eroded living standards.They break down the surprising optimism and economic growth they see across Asia, contrasting it with the declining conditions in the U.S. and Europe. Faber also shares why he believes physical precious metals, and specifically platinum which he calls a prime target for a market "squeeze", are the ultimate assets to protect wealth, while Williams reveals his argument for why Bitcoin and stablecoins are "highly questionable" in a world facing the risk of systemic blackouts and why central bank gold buying is a signal every investor must follow.Chapters: 00:00 – What people are saying in Asia04:26 – The current state of the UK11:06 – NYC's new mayor13:33 – Capitalism: how did we get here?16:17 – Reasons Europe is declining19:23 – Can central banks be eliminated?19:48 – Mark's prediction for gold26:57 – Why Mark favors the platinum market30:25 – De-dollarization36:30 – China's role on global stage38:05 – Marc's warning about war43:26 – Final thoughts from Grant and Marc✅ FREE RESOURCESDownload The Private Wealth Playbook — a data-backed guide to strategically acquiring gold and silver for maximum protection, privacy, and performance. Plus, get Daniela Cambone's Top 10 Lessons to safeguard your wealth (FREE)

Extreme steps taken to make food look more appealing, last longer and be addictively delicious is detrimental to our health. State Legislatures from West Virginia to California are not waiting for federal solutions. CA Asssembly-member Jesse Gabriel says “our public schools should not be serving students ultra-processed food products filled with chemical additives that can harm their physical and mental health and interfere with their ability to learn,” Scott Faber leads the Environmental Working Group’s government affairs efforts to reform food, farm, water and chemical safety policies. Faber is also an adjunct professor at Georgetown University Law Center. EWG.org/foodscores

« On est à l'enfance des droits de l'enfant. »Anne Marion de Cayeux nous invite à bouleverser nos habitudes et à repenser l'écoute qu'on offre aux enfants, pour qu'ils deviennent pleinement acteurs de leur vie et citoyens à part entière.Dans cet épisode, nous décortiquons l'importance du droit fondamental de l'enfant à être entendu, un principe inspiré de la Convention internationale des droits de l'enfant, encore trop souvent ignoré dans nos familles, nos écoles et nos procédures judiciaires.Mon invitée, Anne Marion de Cayeux, est avocate spécialisée en droit de la famille, fondatrice de l'Association internationale des auditeurs d'enfants, et créatrice de la première formation universitaire en France dédiée à l'audition des enfants. Son engagement pour la valorisation et la protection de la parole des mineurs fait d'elle une référence nationale sur le sujet. Elle milite pour replacer l'enfant au centre des décisions qui l'impactent et accompagne des professionnels issus de multiples disciplines dans l'apprentissage de l'écoute authentique.Au fil de l'entretien, Anne Marion expose les obstacles culturels à l'écoute de l'enfant et propose des solutions concrètes pour que leur parole soit mieux recueillie et prise en compte : comment instaurer un cadre rassurant, la posture à adopter, l'importance de la neutralité, les étapes-clés de l'audition, et les bénéfices pour l'enfant comme pour sa famille.Vous apprendrez :✅ Comment l'écoute active transforme la relation adulte-enfant✅ En quoi l'auditeur d'enfant intervient pour crédibiliser et restituer sa parole✅ Comment et pourquoi former les professionnels à cet enjeu de sociétéAu programme :(03:06) Le droit de l'enfant à être entendu : état des lieux et enjeux(05:54) Notes, sanctions et orientation : que disent les ados ?(07:27) L'écoute des enfants versus autorité adulte(09:33) Inspirations et modèles(10:54) Devenir auditeur d'enfant(16:11) Comment bien écouter un enfant(19:45) Parole influencée ou manipulée ?(21:46) Maturité et discernement chez l'enfant(26:13) Impact concret sur les décisions familiales et parentales(29:37) Vers un changement sociétal : former et inclure la parole des enfantsLivres cités :« Comment aimer un enfant », Janusz Korczak« Parler pour que les enfants écoutent, écouter pour que les enfants parlent », Faber et MazlishSite internet : https://www.auditeursdenfants.com/Un épisode pour comprendre les fondements d'une écoute respectueuse et inclusive.

This wild and weird account started on Nov. 7, 1977, on the west branch of the Huron River near Monroeville. Sandusky, Ohio resident Millard Faber was in a wooded area in this region collecting moss and algae to sell to local fish stores. Faber, however, found something else he hadn't planned on finding - an eight-foot-tall Bigfoot creature. The hairy ape-like thing stared at Faber with glowing orange eyes before jumping into the river. Afterward, Faber found large footprints, a claw mark on a tree, and a putrid stench, so he decided to contact law enforcement to investigate. Three days after the incident, five pink-glowing humanoid entities floated into Faber's bedroom at night, apparently angry at the fact that Faber reported the incident to law enforcement. Also, other alleged incidents that involve UFOs, aliens and Bigfoot are discussed, including the famous 1973 Greensburg, Pennsylvania incident.Links/Sources:In 1977, an Ohio man saw Bigfoot. Two days later, five pink Aliens showed up to punish him : r/HumanoidencountersJUST ANOTHER TINFOIL HAT PRESENTS by Zelia Edgar: https://amzn.to/4i7keV8Landed Crafts, Strange Beasts, And Premonitions: The Bizarre Encounter Of Stephen Pulaski - UFO InsightPennsylvania White Bigfoot - slowed downSupport Extraterrestrial Reality/Quirk Zone on Patreon:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/c/Extraterrestrial_Reality⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Check out my YouTube channel:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Quirk Zone - YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Extraterrestrial Reality Book Recommendations:Link to ROSWELL: THE ULTIMATE COLD CASE: CLOSED: https://amzn.to/3O2loSILink to COMMUNION by Whitley Strieber: https://amzn.to/3xuPGqiLink to THE THREAT by David M. Jacobs: https://amzn.to/3Lk52njLink to TOP SECRET/MAJIC by Stanton Friedman: https://amzn.to/3xvidfvLink to NEED TO KNOW by Timothy Good:  https://amzn.to/3BNftfTLink to UFOS AND THE NATIONAL SECURITY STATE, VOLUME 1:  https://amzn.to/3xxJvlvLink to UFOS AND THE NATIONAL SECURITY STATE, VOLUME 2: https://amzn.to/3UhdQ1lLink to THE ALLAGASH ABDUCTIONS: https://amzn.to/3qNkLSgUFO CRASH RETRIEVALS by Leonard Stringfield: https://amzn.to/3RGEZKsFLYING SAUCERS FROM OUTER SPACE by Major Donald Keyhoe: https://amzn.to/3S7WkxvCAPTURED: THE BETTY AND BARNEY HILL UFO EXPERIENCE by Stanton Friedman and Kathleen Marden: https://amzn.to/3tKNVXn#ufos #aliens #vegas aliens #ufo podcast

This wild and weird account started on Nov. 7, 1977, on the west branch of the Huron River near Monroeville. Sandusky, Ohio resident Millard Faber was in a wooded area in this region collecting moss and algae to sell to local fish stores. Faber, however, found something else he hadn't planned on finding - an eight-foot-tall Bigfoot creature. The hairy ape-like thing stared at Faber with glowing orange eyes before jumping into the river. Afterward, Faber found large footprints, a claw mark on a tree, and a putrid stench, so he decided to contact law enforcement to investigate. Three days after the incident, five pink-glowing humanoid entities floated into Faber's bedroom at night, apparently angry at the fact that Faber reported the incident to law enforcement. Also, other alleged incidents that involve UFOs, aliens and Bigfoot are discussed, including the famous 1973 Greensburg, Pennsylvania incident.Links/Sources:In 1977, an Ohio man saw Bigfoot. Two days later, five pink Aliens showed up to punish him : r/HumanoidencountersJUST ANOTHER TINFOIL HAT PRESENTS by Zelia Edgar: https://amzn.to/4i7keV8Landed Crafts, Strange Beasts, And Premonitions: The Bizarre Encounter Of Stephen Pulaski - UFO InsightPennsylvania White Bigfoot - slowed downSupport Extraterrestrial Reality/Quirk Zone on Patreon:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/c/Extraterrestrial_Reality⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Check out my YouTube channel:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Quirk Zone - YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Extraterrestrial Reality Book Recommendations:Link to ROSWELL: THE ULTIMATE COLD CASE: CLOSED: https://amzn.to/3O2loSILink to COMMUNION by Whitley Strieber: https://amzn.to/3xuPGqiLink to THE THREAT by David M. Jacobs: https://amzn.to/3Lk52njLink to TOP SECRET/MAJIC by Stanton Friedman: https://amzn.to/3xvidfvLink to NEED TO KNOW by Timothy Good:  https://amzn.to/3BNftfTLink to UFOS AND THE NATIONAL SECURITY STATE, VOLUME 1:  https://amzn.to/3xxJvlvLink to UFOS AND THE NATIONAL SECURITY STATE, VOLUME 2: https://amzn.to/3UhdQ1lLink to THE ALLAGASH ABDUCTIONS: https://amzn.to/3qNkLSgUFO CRASH RETRIEVALS by Leonard Stringfield: https://amzn.to/3RGEZKsFLYING SAUCERS FROM OUTER SPACE by Major Donald Keyhoe: https://amzn.to/3S7WkxvCAPTURED: THE BETTY AND BARNEY HILL UFO EXPERIENCE by Stanton Friedman and Kathleen Marden: https://amzn.to/3tKNVXn#ufos #aliens #vegas aliens #ufo podcast

Preacher: Jason Faber

Welcome, my ghoulish loves!In this final episode of Dark Thirst, I'm diving into pop culture's undying obsession with vampires. From the sensual chaos of True Blood to the glittering restraint of Twilight, and from Coppola's lavish Dracula to Eggers' haunting Nosferatu, I explore how every vampire revival mirrors what's happening in society. From our fears, desires, and shifting ideals of beauty. What do these immortal beings say about us and the times we live in?After centuries of fascination, it's clear, we don't just crave the vampire. We crave what they promise. *Listener Discretion is Strongly Advised*************Sources & References:Auerbach, Nina. Our Vampires, Ourselves. University of Chicago Press, 1995.Gelder, Ken. Reading the Vampire. Routledge, 1994.Skal, David J. Hollywood Gothic: The Tangled Web of Dracula from Novel to Stage to Screen. Faber & Faber, 1990.Anatol, Giselle Liza. Bringing Light to Twilight: Perspectives on a Pop Culture Phenomenon. Palgrave Macmillan, 2011.Weinstock, Jeffrey Andrew. The Vampire Film: Undead Cinema. Wallflower Press, 2012.Additional references:Include contemporary film criticism from The Guardian, Le Monde, IndieWire, and Rotten Tomatoes (2024–2025).****************Leave Us a 5* Rating, it really helps the show!Apple Podcast:https://podcasts.apple.com/us/podcast/beauty-unlocked-the-podcast/id1522636282Spotify Podcast:https://open.spotify.com/show/37MLxC8eRob1D0ZcgcCorA****************Follow Us on Social Media & Subscribe to our YouTube Channel!YouTube:@beautyunlockedspodcasthourTikTok:tiktok.com/@beautyunlockedthepod****************MUSIC & SOUND FX:"Beast by Beast" Edward Karl Hanson"Alleys of Darkness" Phoenix Tail"Rain Light 6" SFX Producer Epidemic SoundFind the perfect track on Epidemic Sound for your content and take it to the next level! See what the hype is all about!

On a warm, overcast summer's day of 1901, two English school mistresses strolled through the gardens of Versailles, unaware they were about to step into a defining moment in their lives. One minute in the present and the next in the past, Charlotte Anne Moberly and Eleanor Jourdain claimed to have crossed into a spectral vision of the court of Marie Antoinette. What began as a genteel outing quickly turned uncanny, with silent figures, oppressive stillness, and an inexplicable sense of dread creeping over their heads. Was it imagination, delusion, a ghostly breach in reality or simply a fancy dress party run amok?SOURCES Morison, Elizabeth & Lamont, Frances & (1913) The Adventure. Macmillan & Co. LTD. London, UK. Castle, Terry (1995) The Female Thermometer: Eighteenth Century Culture & The Invention of the Uncanny. Oxford University Press, Oxford, UK. Lamont, Mark (2021) The Mysterious Paths of Versailles: An Investigation of a Journey Back in Time. Independently Published. Castle, Terry (1991) Contagious Folly: An Adventure & It's Sceptics. Critical Inquiry, Vol. 17, No. 4 (Summer, 1991), pp. 741-772. Iremonger, Lucille (1957) The Ghosts of Versailles: Miss Moberly & Miss Jourdain & Their Adventure. Faber & Faber LTD, London, UK. The Daily Telegraph (1911) Books of the Day. The Daily Telegraph, 8 Feb 1911, p14. London, UK. Sidgwick, Henry (1911) Review: An Adventure. Proceedings of the Society for Psychical Research, Vol XXV, July 1911, p353. London, UK. ------ For almost anything, head over to the podcasts hub at ⁠⁠darkhistories.com ⁠⁠ Support the show by using our link when you sign up to Audible: ⁠⁠http://audibletrial.com/darkhistories⁠⁠ or visit our Patreon for bonus episodes and Early Access: ⁠⁠https://www.patreon.com/darkhistories⁠⁠ The Dark Histories books are available to buy here: ⁠⁠http://author.to/darkhistories⁠⁠ Dark Histories merch is available here: ⁠⁠https://bit.ly/3GChjk9⁠⁠ Connect with us on Facebook: ⁠⁠http://facebook.com/darkhistoriespodcast⁠⁠ Or find us on Twitter: ⁠⁠http://twitter.com/darkhistories⁠⁠ & Instagram: ⁠⁠https://www.instagram.com/dark_histories/⁠⁠ Or you can contact us directly via email at ⁠⁠contact@darkhistories.com⁠⁠ or join our Discord community: ⁠⁠https://discord.gg/cmGcBFf⁠⁠ The Dark Histories Butterfly was drawn by Courtney, who you can find on Instagram @bewildereye Music was recorded by me © Ben Cutmore 2017 Other Outro music was Paul Whiteman & his orchestra with Mildred Bailey - All of me (1931). It's out of copyright now, but if you're interested, that was that. Learn more about your ad choices. Visit megaphone.fm/adchoices