Podcasts about Italian

Join Francesca from the Coffee Break Italian team for a coffee break and get ready to improve your Italian over just 10 minutes.In this little espresso lesson, Francesca explores one of Italy's favourite pastimes: giocare a carte, playing cards! You'll also pick up useful phrases like fare le carte (to shuffle the cards), un mazzo (a deck), and even a fun memory trick, come quando fuori piove, to help you remember the order of the suits. ♣️♥️♦️♠️ ➡️ To get more helpful content like this directly in your inbox, be sure to subscribe to the Coffee Break Italian newsletter! Hosted on Acast. See acast.com/privacy for more information.

The Trump administration is moving to levy tariffs of over 90% on popular Italian pasta brands on “anti-dumping” grounds. We look at how the move could impact grocery prices for the pantry staple. Plus, even though we don't have a government jobs report this month due to the shutdown, private sector numbers give us an idea of the state of the labor market. And, as New Mexico moves to provide free childcare, a look at how daycare benefits businesses.

Italian indefinite articles (or words for “a” and “an”) can be tricky in Italian because there are four ways to say them. Here's how to use each one. Learn about our Online Italian School and get a free mini lesson every week: https://joyoflanguages.online/italian-school Subscribe to our new YouTube channel: https://www.youtube.com/@joyoflanguages.italian?sub_confirmation=1 Get the bonus materials for this episode: https://italian.joyoflanguages.com/podcast/Italian-indefinite-articles Today's Italian words: Prendiamo un tagliere di formaggi? = Shall we order (lit. we take) a cheese board? Prendiamo anche una focaccia e un'acqua frizzante? = Shall we also order (lit. we take) a focaccia and a sparkling water? Prendo uno spritz = I'll order (lit. I take) a spritz

This year, Clotheshorse all star, Maggie Greene (The Halloween Queen) embarked on an epic international, cross-country adventure that she called The Tragic Optimist Tour.  Along the way, she recorded conversations with the people she visited, eventually turning them into a new podcast called ATTN: Confidential.  And of course, she and Amanda had to record a conversation together…but with a twist: For the first half of the session, she interviewed Amanda. For the second part, Amanda interviewed Maggie.  This week's episode is part 2 of the conversation, where Amanda interviewed Maggie.  You can listen to part 1 here.This conversation follows the format of ATTN: Confidential: self-awareness, curiosity, and advocacy in a safe container. Those three themes are expressed as the Mirror, the Magnifying Glass, and the Megaphone. See if you can spot them as Amanda and Maggie talk about internet friends, cats, Keith Morrison, and so much more.Need another dose of conversation about convenience culture and overconsumption? Check out Andi Zeisler's interview with Amanda for Salon: The true cost of convenience cultureGet your Clotheshorse merch here: https://clotheshorsepodcast.com/shop/If you want to share your opinion/additional thoughts on the subjects we cover in each episode, feel free to email, whether it's a typed out message or an audio recording:  amanda@clotheshorse.worldDid you enjoy this episode? Consider "buying me a coffee" via Ko-fi: ko-fi.com/clotheshorseClotheshorse is brought to you with support from the following sustainable small businesses:Slow Fashion Academy is a size-inclusive sewing and patternmaking studio based in Philadelphia, Pennsylvania. Designer and fashion professor Ruby Gertz teaches workshops for hobbyists and aspiring designers, so that anyone can learn the foundational skills of making, mending, and altering their own clothes. Ruby also provides professional design and patternmaking services to emerging slow fashion brands, and occasionally takes commissions for custom garments and costume pieces. She has also released several PDF sewing patterns for original designs under her brands Spokes & Stitches, and Starling Petite Plus. Check the schedule for upcoming workshops, download PDF sewing patterns, and learn about additional sewing and design services at www.slowfashion.academy.The Pewter Thimble Is there a little bit of Italy in your soul? Are you an enthusiast of pre-loved decor and accessories? Bring vintage Italian style — and history — into your space with The Pewter Thimble (@thepewterthimble). We source useful and beautiful things, and mend them where needed. We also find gorgeous illustrations, and make them print-worthy. Tarot cards, tea towels and handpicked treasures, available to you from the comfort of your own home. Responsibly sourced from across Rome, lovingly renewed by fairly paid artists and artisans, with something for every budget. Discover more at thepewterthimble.com Deco Denim is a startup based out of San Francisco, selling clothing and accessories that are sustainable, gender fluid, size inclusive and high quality--made to last for years to come. Deco Denim is trying to change the way you think about buying clothes. Founder Sarah Mattes wants to empower people to ask important questions like, “Where was this made? Was this garment made ethically? Is this fabric made of plastic? Can this garment be upcycled and if not, can it be recycled?” Signup at decodenim.com to receive $20 off your first purchase. They promise not to spam you and send out no more than 3 emails a month, with 2 of them surrounding education or a personal note from the Founder. Find them on Instagram as @deco.denim.Vagabond Vintage DTLV is a vintage clothing, accessories & decor reselling business based in Downtown Las Vegas. Not only do we sell in Las Vegas, but we are also located throughout resale markets in San Francisco as well as at a curated boutique called Lux and Ivy located in Indianapolis, Indiana. Jessica, the founder & owner of Vagabond Vintage DTLV, recently opened the first IRL location located in the Arts District of Downtown Las Vegas on August 5th. The shop has a strong emphasis on 60s & 70s garments, single stitch tee shirts & dreamy loungewear. Follow them on instagram, @vagabondvintage.dtlv and keep an eye out for their website coming fall of 2022.Located in Whistler, Canada, Velvet Underground is a "velvet jungle" full of vintage and second-hand clothes, plants, a vegan cafe and lots of rad products from other small sustainable businesses. Our mission is to create a brand and community dedicated to promoting self-expression, as well as educating and inspiring a more sustainable and conscious lifestyle both for the people and the planet.Find us on Instagram @shop_velvetunderground or online at www.shopvelvetunderground.comSelina Sanders, a social impact brand that specializes in up-cycled clothing, using only reclaimed, vintage or thrifted materials: from tea towels, linens, blankets and quilts.  Sustainably crafted in Los Angeles, each piece is designed to last in one's closet for generations to come.  Maximum Style; Minimal Carbon Footprint.Salt Hats:  purveyors of truly sustainable hats. Hand blocked, sewn and embellished in Detroit, Michigan.Republica Unicornia Yarns: Hand-Dyed Yarn and notions for the color-obsessed. Made with love and some swearing in fabulous Atlanta, Georgia by Head Yarn Wench Kathleen. Get ready for rainbows with a side of Giving A Damn! Republica Unicornia is all about making your own magic using small-batch, responsibly sourced, hand-dyed yarns and thoughtfully made notions. Slow fashion all the way down and discover the joy of creating your very own beautiful hand knit, crocheted, or woven pieces. Find us on Instagram @republica_unicornia_yarns and at www.republicaunicornia.com.Cute Little Ruin is an online shop dedicated to providing quality vintage and secondhand clothing, vinyl, and home items in a wide range of styles and price points.  If it's ethical and legal, we try to find a new home for it!  Vintage style with progressive values.  Find us on Instagram at @CuteLittleRuin.Thumbprint is Detroit's only fair trade marketplace, located in the historic Eastern Market.  Our small business specializes in products handmade by empowered women in South Africa ...

The Senate has approved a funding package for the government, a first step in ending the shutdown. Facebook co-founder Chris Hughes offers his critique of the Trump administration's tariff policy. He discusses the differences between industrial policy and “state capitalism,” and weighs the impacts of these policies on innovation. The FDA is removing a longtime warning for women considering hormone replacement therapy for menopause. FDA Commissioner Dr. Marty Makary addresses critics' concerns about making this radical policy change without a large body of evidence to support it. Italy's biggest pasta exporters are preparing to pull products from U.S. shelves in the new year, a response to President Trump's 107% tariffs on Italian imports. Plus, Warren Buffett shared an update on Berkshire Hathaway and his own health in a Thanksgiving letter.  Chris Hughes - 11:47Dr. Marty Makary - 21:38 In this episode:Joe Kernen, @JoeSquawk Becky Quick, @BeckyQuickAndrew Ross Sorkin, @andrewrsorkinKatie Kramer, @Kramer_Katie Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

#669 How do you build a beloved, nationally-recognized ice cream brand from scratch — and then turn around and create a completely different company redefining dietary fiber in America? In this episode, host Kirsten Tyrrel sits down with Jeni Britton — founder of the iconic Jeni's Ice Creams and now founder of Floura — to talk about creativity, curiosity, and the emotional side of entrepreneurship. Jeni shares how she started with nothing but vision, passion, and a gelato machine from a local Italian market, how she bootstrapped her way from a farmer's market stand to 90 stores and 10,000 grocery doors, and why she believes emotion, intuition, and integrity are the true drivers of a lasting brand. From building a fellowship-style team to navigating growth, trust, and leadership, this conversation is packed with wisdom for founders who want to build something meaningful — and do it their own way! What we discuss with Jeni: + Starting Jeni's in a farmer's market + Vision born from scent and storytelling + Bootstrapping with no capital + Turning produce waste into fiber products + Launching Floura and “bridging the fiber gap” + Importance of emotion in business + Building a fellowship-style team + Trust and communication in leadership + Learning to step back as founder + Success driven by passion and curiosity Thank you, Jeni! Check out Jeni's Ice Creams at Jenis.com. Check out Floura at Floura.com. Follow Jeni on Instagram, here and here. To get access to our FREE Business Training course go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠MillionaireUniversity.com/training⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. And follow us on: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Tik Tok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Youtube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ To get exclusive offers mentioned in this episode and to support the show, visit ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠millionaireuniversity.com/sponsors⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Want to hear from more incredible entrepreneurs? Check out all of our interviews ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! Learn more about your ad choices. Visit megaphone.fm/adchoices

200: On this episode, it's gonna be short and sweet. Our scheduled ended up kinda crazy and we recorded in the AM and there may be some signs that it was too early… Ruger brings back the American Gen 1 as the  Glenfield Model A. Some tricked out Smith Snubbies in 32 H&R New comp from HKParts Some more bow shooting And the dates for all the USPSA Nationals. If you guys want to save some on your own set of sexy Italian wood furniture from Woox for your shotgun or AR be sure to use code: laughnload10 For that Blackout Coffee link to support the show click https://www.blackoutcoffee.com?p=SJxs6gMea Be sure to use code LNL20 if it is your first order and get 20% off! Thanks for all of your guy's support! We love ya! Please help us out by rating and reviewing the podcast! Thank you! Got questions? Email us at pewtimepodcast@gmail.com If you want to book Tony for a class email him at performancegun@gmail.com Looking for some new range wear? Head over to https://www.laughnload.com to check out some of the shirts, hats, hoodies and more that are currently available. What to check out some more from us you can search Laugh n Load on IG, FB and YouTube. FB: https://www.facebook.com/252407111792056/ IG: https://instagram.com/laughnload?igshid=tm0tboj9syru YT: https://www.youtube.com/channel/UCvK8P5NQ_sCpz1Hwasmd62Q

A once high-profile Italian restaurant in Fulton Market is facing legal and financial troubles, with records showing more than $400,000 in unpaid rent, vendor bills, taxes and wages, even as its owner tries for a comeback.Host - Jon HansenReporter - Melody MercadoRead More HereFor More On Chase for Business, Coaching For Impact, Click HERE Want to donate to our non-profit newsroom? CLICK HEREWho we areBlock Club Chicago is a 501(c)(3) nonprofit news organization dedicated to delivering reliable, relevant and nonpartisan coverage of Chicago's diverse neighborhoods. We believe all neighborhoods deserve to be covered in a meaningful way.We amplify positive stories, cover development and local school council meetings and serve as watchdogs in neighborhoods often ostracized by traditional news media.Ground-level coverageOur neighborhood-based reporters don't parachute in once to cover a story. They are in the neighborhoods they cover every day building relationships over time with neighbors. We believe this ground-level approach not only builds community but leads to a more accurate portrayal of a neighborhood.Stories that matter to you — every daySince our launch five years ago, we've published more than 25,000 stories from the neighborhoods, covered hundreds of community meetings and send daily and neighborhood newsletters to more than 130,000 Chicagoans. We've built this loyalty by proving to folks we are not only covering their neighborhoods, we are a part of them. Some of us have internalized the national media's narrative of a broken Chicago. We aim to change that by celebrating our neighborhoods and chronicling the resilience of the people who fight every day to make Chicago a better place for all.

Step into Episode 185 of ‘On the Delo' as David DeLorenzo welcomes Jason and Jon, the duo behind Arizona Distilling Company, for an unfiltered conversation about turning a wild idea into a thriving craft spirits empire. These high school friends reunited over a mutual friend's wedding in 2010, and what started as "the dumbest effing idea" became a 14-year journey through three facilities, countless challenges, and a mission to shine a light on Arizona's hidden agricultural gold.From Jason's blackjack dealing days to Jon's banking career, discover how they walked away from steady paychecks to chase a passion for local grain-to-bottle spirits. They pull back the curtain on renovating a crumbling 1901 horse stable in Mesa (yes, the first Coors distributor outside Colorado), sourcing Durham wheat from Casa Grande that Italians use for world-class pasta, and creating a brand-new spirits category—American Single Malt Whiskey—for the first time since the 1960s. This is the untold story of Arizona agriculture, entrepreneurial grit, and why downtown Mesa is becoming the East Valley's hottest hospitality destination.If you're a business owner, hospitality professional, or craft spirits enthusiast who values local production, authentic storytelling, and the hustle behind every bottle, this episode delivers real talk, wild distillery stories, and a deep dive into what it takes to build something meaningful from scratch.Chapter Guide (Timestamps):(0:00 - 1:30) Introduction: Episode 185 and Guests from Arizona Distilling(1:31 - 4:10) High School Friends and Origin Story(4:11 - 8:04) From Banking and Blackjack to Distilling(8:05 - 12:15) Tempe vs. Mesa: The Evolution of East Valley Hospitality(12:16 - 15:00) Building Renovation: From 1901 Horse Stable to Modern Distillery(15:01 - 19:27) Arizona Agriculture and Durham Wheat Discovery(19:28 - 23:38) The Process: From Grain to Bottle(23:39 - 28:02) Tours, Storytelling, and Community Engagement(28:03 - 30:49) New Malting Facility and American Single Malt Whiskey(30:50 - 34:42) International Work and Global Whiskey Market(34:43 - 38:40) Mesa Events, Wild Distillery Stories, and Life Balance(38:41 - 42:25) Rapid Fire Questions and Van Halen Stories

Ruth Rogers, Baroness Rogers of Riverside, CBE, is an American and British chef who owns and runs the Michelin-starred Italian restaurant The River Café in Hammersmith, London. Get her cookbook River Cafe London: Thirty Years of Recipes and the Story of a Much-Loved Restaurant: A Cookbook Anthony Scaramucci is the founder and managing partner of SkyBridge, a global alternative investment firm, and founder and chairman of SALT, a global thought leadership forum and venture studio. He is the host of the podcast Open Book with Anthony Scaramucci. A graduate of Tufts University and Harvard Law School, he lives in Manhasset, Long Island.

We love an unplanned theme! This week on Fairy Tale Fix, we're keeping busy with Abbie reading an Italian folk tale called The Man Who Only Came Out At Night, a story that's barely about that man at all. Kelsey then reads a Scottish fairy tale entitled A Box of Fairies, where a smitten young lad is given very specific instructions, and do you think he follows them?

If you've ever wondered what happens when classic Italian-American comfort food intersects with modern creativity, look no further than Italianish by Danny Freeman. The term Italianish perfectly captures what Danny stands for: dishes rooted in Italian and Italian-American traditions but expressed with a playful, contemporary twist. His food is not bound by rules but inspired by heritage, simplicity, and joy.

The boys are back in Chicago for a live show and as usual it's a whole thing. Stories, audience interaction, and maybe a special guest or two! Go to https://buyraycon.com/cox to save up to 30% on Raycon audio products sitewide. Go to http://hims.com/cox for your free online visit.

This week we're sharing all the details of our recent trip to Italy, specifically Florence and Venice. If you're planning to travel to one of those places, or if you're in the mood to just travel vicariously through our stories, it's gonna be a big story time episode today.   Thank you to this week's sponsor: For a limited time, you can try OneSkin with 15% off using code [MESS] at oneskin.co. Visit GrowTherapy.com/MESS today to get started   Florence: What we did : Art museum Combo movie theater/book store Perfume shop What we ate: Cacio e pepe Squash blossom Gnocchi What we bought: Got tiny tattoos Emma - silk scarf, stove-top espresso maker charm necklace Elsie - moth and butterfly platter, Italian translation of The Secret History, 3 toys for Oscar, marbled journal, tiny marbled books for kids   Venice: What we did: Canals Peggy Guggenheim collection Gondola tour What we ate: Pizza Pasta Sign up for Elise's newsletter at elisejoy.com   Book report Elsie: Perfection by Vincenzo Latronico Emma: Secret History by Donna Tartt   You can support us by leaving us a couple of 5 star recipe reviews this week at abeautifulmess.com Have a topic idea for the podcast? Write in to us at podcast@abeautifulmess.com or leave us a voicemail at 417-893-0011.  

Pelosi is out! Mamdani is in! Salty Cracker joins Dr. Drew with his exclusive reeeeeaction to the news. Salty and Drew also discuss Gavin Newsom's secret project (involving fancy Italian stonework), why so many liberal women seem to want Sharia Law, and why Gen-Z overwhelmingly supports socialism. Salty Cracker is a commentator known for uncensored live stream shows targeting Clown World narratives. He is the doting husband of Mrs. Salty – AKA The Salt Queen – and can be found at https://x.com/saltycracker9 and https://rumble.com/saltycracker 「 SUPPORT OUR SPONSORS 」 Find out more about the brands that make this show possible and get special discounts on Dr. Drew's favorite products at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://drdrew.com/sponsors⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠  ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠• FATTY15 – The future of essential fatty acids is here! Strengthen your cells against age-related breakdown with Fatty15. Get 15% off a 90-day Starter Kit Subscription at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://drdrew.com/fatty15⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ • PALEOVALLEY - "Paleovalley has a wide variety of extraordinary products that are both healthful and delicious,” says Dr. Drew. "I am a huge fan of this brand and know you'll love it too!” Get 15% off your first order at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://drdrew.com/paleovalley⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ • VSHREDMD – Formulated by Dr. Drew: The Science of Cellular Health + World-Class Training Programs, Premium Content, and 1-1 Training with Certified V Shred Coaches! More at https://drdrew.com/vshredmd • THE WELLNESS COMPANY - Counteract harmful spike proteins with TWC's Signature Series Spike Support Formula containing nattokinase and selenium. Learn more about TWC's supplements at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twc.health/drew⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ 「 MEDICAL NOTE 」 Portions of this program may examine countervailing views on important medical issues. Always consult your physician before making any decisions about your health. 「 ABOUT THE SHOW 」 Ask Dr. Drew is produced by Kaleb Nation (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://kalebnation.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠) and Susan Pinsky (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/firstladyoflov⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠e⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠). This show is for entertainment and/or informational purposes only, and is not a substitute for medical advice, diagnosis, or treatment. Executive Producers • Kaleb Nation - ⁠⁠⁠https://kalebnation.com⁠⁠⁠ • Susan Pinsky - ⁠⁠⁠https://x.com/firstladyoflove⁠⁠⁠ Content Producer & Booking • Emily Barsh - ⁠⁠⁠https://x.com/emilytvproducer⁠⁠⁠ Hosted By • Dr. Drew Pinsky - ⁠⁠⁠https://x.com/drdrew⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

(00:00-11:50) Look everybody, it's James Carlton in studio to talk some Mizzou football. What will be the mindset of the Mizzou football team going forward now that the CFP hopes are dashed? James didn't feel a lot of buzz before the game on Saturday. How much of it has to do with the uncertainty surrounding Drink's future? The self-inflicted mistakes stacking up.(11:58-20:43) Workshopping Jackson's bet with Mr. Lix. Championing legendary Italian artists. Sports vs. Drops. Great to see Charlie Marlow on Friday. Ray Liotta.(20:53-32:41) Clint Eastwood is as prolific as ever. Audio supercut of Colonel's post game voicemails. E-Mail of the DaySee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

(00:00-17:49) Sharing in the love and matrimony. Sorry for employing people. Jackson went to Columbia for Friday's basketball game against SEMO but didn't stay for the football game. Italians, The Antlers, and Mizzou Nationalists catching strays. Mizzou's season over. Blues 6 on 5 struggles are back. Audio of Drink's short response to the question about the struggles against ranked teams.(17:57-34:18) That last possession of the first half was head scratching to say the least. Audio of Drink talking about the thought process on that drive that let to the strip sack setting up A&M's second touchdown. Deep dive shows Mizzou is winless against SEC teams that finished seasons with a winning conference record.(34:28-45:08) Being a bowl representative must be a good gig. The old 6 on 5 How Do You Do got the Blues again on Saturday. Audio of the Kraken's game-tying goal with about one second left. Kerbs and Joey thought the goal should have been overturned for goalie interference. Audio of Jim Montgomery talking about being certain that was goalie interference.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Welcome to the Scottish Watches Podcast Episode 725! The Swiss have SWATCH, the Japanese have G-SHOCK and Italians have D1 Milano! Today, we're speaking with Dario Spallone, founder of D1... The post Scottish Watches Podcast #725 : Bringing Italian Flair To The Watch Industry With D1 Milano appeared first on Scottish Watches.

Chris, Ugo and Danny unpick a jam-packed weekend of autumn rugby. The Springboks storm Paris with 14 men for another statement win. Are they the clear World Cup favourites two years out? Scotland fluff their lines yet again, will they ever end their All Blacks hoodoo under Gregor Townsend? England want to make 10 Test wins in a row but have injury concerns to deal with ahead of New Zealand's trip to Twickenham. What did we learn about Steve Tandy's Wales after they were humbled by Argentina? Plus, there was a big win for Italian rugby and more bold predictions for week three.

learn how to say 'arrive' in Italian

This week, we're enjoying some poured wine (his favorite) with the indefatigable Ken Fredrickson -- Master Sommelier, restaurateur, and founder of High Road Wine and Spirits, whose career runs from Charlie Trotter's and Spago to Jackson Hole, Denver, Las Vegas, and Chicago's most intentional wine lists. He went from Idaho ranch kid to the 40th American Master Sommelier in just five years, then bet big on his own programs, built and sold distributors, and kept doubling down on family-made bottles with real stories behind them. He joins us in the studio to talk about what that obsession costs, what it creates, and why he still believes in taking the high road. We're swirling the glass around how to actually train a world-class palate (and why your nose is lazier than you think), the Wild West politics of wine lists, the future of terroir-driven Italian spirits -- and so much more.

Today's story: Publishers Clearing House made its name by offering magazine subscriptions through the mail—along with the chance to win big prizes. The lure of big winnings helped the company sell millions of subscriptions. Some winners received $5,000 a week for life. But the company recently declared bankruptcy, and the "lifetime" payments stopped.Transcript & Exercises: https://plainenglish.com/816Full lesson: https://plainenglish.com/816 --Upgrade all your skills in English: Plain English is the best current-events podcast for learning English.You might be learning English to improve your career, enjoy music and movies, connect with family abroad, or even prepare for an international move. Whatever your reason, we'll help you achieve your goals in English.How it works: Listen to a new story every Monday and Thursday. They're all about current events, trending topics, and what's going on in the world. Get exposure to new words and ideas that you otherwise might not have heard in English.The audio moves at a speed that's right for intermediate English learners: just a little slower than full native speed. You'll improve your English listening, learn new words, and have fun thinking in English.--Did you like this episode? You'll love the full Plain English experience. Join today and unlock the fast (native-speed) version of this episode, translations in the transcripts, how-to video lessons, live conversation calls, and more. Tap/click: PlainEnglish.com/joinHere's where else you can find us: Instagram | YouTube | WhatsApp | EmailMentioned in this episode:Hard words? No problemNever be confused by difficult words in Plain English again! See translations of the hardest words and phrases from English to your language. Each episode transcript includes built-in translations into Spanish, Portuguese, Chinese, German, French, Italian, Japanese, Polish, and Turkish. Sign up for a free 14-day trial at PlainEnglish.com

NORRIS BEGINS NAILING THE FINAL NAILS IN THE CHAMPIONSHIP!...PIASTRI LOOSING INTEREST…MAX DRIVER OF THE DAY AND...FERNANDO READY FOR LAS VEGAS. THIS WEEK'S NASIR HAMEED CORNER, WE KEEP IT SIMPLE WITH SOME DUKE OF DIJON AND NASIR BANTER! It was a dominant performance from Lando Norris as he claimed his seventh victory of the year, following up on his victory in the sprint race with another 25 points on Sunday, extending his championship lead to 24 points over Oscar Piastri. Early race incidents would leave Oscar Piastri with a shock penalty and lead to the retirement of Charles Leclerc through no fault of his own. And in unexpected fashion, Max Verstappen would grab fans' attention following his conversion of a pit-lane start all the way to a P3 finish, grabbing a podium on a day many fans would expect his championship shot to slip away from him. None of the top ten were able to get past each other in the initial portion of Lap 1 except Liam Lawson on George Russell, with Lewis Hamilton's Ferrari having the weakest start of any on the grid, dropping four places into 17th. A loss of control from home favorite Gabriel Bortoleto in the Sauber occurred only halfway through the first lap, causing the 21-year-old to hit the barriers, bringing out a safety car and ending his race. The safety car was brought out for the third time in a row at the Brazilian Grand Prix, lasting for three laps and coming in on Lap 4. There was more chaos immediately, as Charles Leclerc, Kimi Antonelli and Oscar Piastri went three abreast at Turn 1 after the Italian struggled to keep up with Lando Norris' pace following the restart. Piastri and Antonelli would collide, sending the Mercedes into Leclerc's Ferrari and causing the Monegasque racer to lose both a tire and incur suspension damage, ending his race prematurely. Unable to continue, Leclerc's Ferrari would pull over and bring out a Virtual Safety Car, with the McLarens of Norris and Piastri leading from the Mercedes of Antonelli and the Racing Bull of Isack Hadjar. Laps 14 and 17 would see ten-second penalties applied for both Yuki Tsunoda and Oscar Piastri, with Tsunoda's given for an incident with Lance Stroll and Piastri's for the aforementioned crash after the safety car restart. Verstappen, who had taken an early pit stop to change from hard tires to mediums, found himself up to seventh by Lap 19 thanks to Hadjar and Pierre Gasly entering the pit lane. Seventh turned into fifth by Lap 21, the Dutchman having gained 15 places in the first third of the race and looking impressive as he looked to restore his championship ambitions. LANDO: “It was an amazing race, and it's nice to win here in Brazil. It's an amazing track with amazing fans. This one was for one of my mentors, Gil, I hope he'd be very proud. “It was a great win, but to be honest, seeing how quick the competition was  today, it's clear we've still got work to do. I'll go back, see the team, congratulate them and see what we can do better. Looking ahead, I'll keep focusing on myself, keep my head down, ignore the noise and keep pushing.” MAX: From pitlane to podium, this weekend has completely turned around for me, something that I didn't think was possible. The start of the race was very hectic and I picked up a puncture early on from a load of debris on the track which meant that I pretty much had to start the race again. The Team used the right strategy from start to finish which allowed me to get through all of the traffic very efficiently. I definitely had to send it a few times to get past the other cars but I love doing that and ended up having an unexpectedly fun race. Overall it showed that we had really good pace today and that the grip was much better than the last couple of days. The atmosphere at Interlagos was amazing and it really spurred me on. I am so proud of the Team and would like to thank them for all of the hard work that they put into making the changes post Quali last night. SAO PAULO, BRAZIL - NOVEMBER 09: Race winner Lando Norris of Great Britain and McLaren Second placed Andrea Kimi Antonelli of Italy and Mercedes AMG Petronas F1 Team Third placed Max Verstappen of the Netherlands and Oracle Red Bull Racing and Mark Norris, Director of Commercial Trackside Operations at McLaren on the podium during the F1 Grand Prix of Brazil at Autodromo Jose Carlos Pace on November 09, 2025 in Sao Paulo, Brazil. (Photo by Mark Thompson/Getty Images) We kept pushing and took multiple risks this weekend because we never want to settle for second and we didn't give up. To start in the pitlane and finish P3 on the podium only 10 seconds off P1 was incredible. Now all we can do is keep fighting hard over the final few races of the season and do the best that we possibly can whilst trying to find as much performance as we can extract from the car. A huge congratulations to Kimi as well, he drove amazingly well which will have given his confidence a huge boost which is great for any rookie!" Alex Albon: It was a good race for the fans today but unfortunately for us it was a bit of a race to forget. We had good pace when we could show it. We've struggled with pace all weekend but seem to have recovered a little bit today. In the end what took us out of contention for points was that I think we stayed out too long on the first stint and we never really recovered from there. In the last stint we were quick and were fighting our way back up the grid and just missed out on a point at the end. It's frustrating that our rivals scored points today, but we will regroup and look forward to a better weekend in Las Vegas. Carlos Sainz: Not the day I was hoping for. Once I got squeezed on turn 1, I had considerable damage to the car and my race was compromised from there. We managed to stay in the hunt for points most of the race but after a slow first stop and compiled with the damage, that was it unfortunately. Time to go back home and see what we can do in these types of circuits, as Qatar will also be a challenge. A few races to go, so we cannot relax. Let's keep going.  

In 1941, amid the blistering sands of North Africa, a band of Australian soldiers earned one of the most enduring nicknames in military history — The Rats of Tobruk. Besieged by German and Italian forces, these men held the Libyan port town of Tobruk for eight gruelling months, defying the odds, the desert, and the propaganda of the Axis powers.What began as an insult from Nazi radio became a badge of honour. The Australians dug in — literally — carving homes and defenses from the desert rock while withstanding relentless shelling and attacks. Their courage, defiance, and larrikin spirit turned Tobruk into a symbol of Australian resilience under fire.In this episode, we dig into the siege that defined a generation, the humour that kept the Rats going, and the legacy that cemented their place as one of the fiercest fighting forces of the Second World War.Become a supporter of this podcast: https://www.spreaker.com/podcast/weird-crap-in-australia--2968350/support.

She grew up in an Italian American home where food was fresh, simple, and a family experience — and the lifestyle was Mediterranean. Decades later, that way of living still shapes the choices she makes and what she does every day.With over 30 years of firsthand experience in fitness and nutrition (and a  reputation as a good Italian cook!), she has long been a self-declared “health nut” and one who believes enjoyment and "nourishing" can absolutely share the same table.She became a certified wellness coach to share the Mediterranean foods and styles that she is enthusiastic about — based on nutrition, movement, slowing down, happiness, relationships, and purpose. Through her Slow-Aging Method™ and her signature wellness program, Flourish into Your Future, she helps others embrace this powerful, science-backed way of living that keeps you healthy, slows down aging, and promotes a longer, more vibrant life.Contact her for her personal twist on five delicious anti-inflammatory Mediterranean recipes that will slow down your aging as they are full of antioxidants, vitamins A, B, C, D, E and low in calories with no saturated fats and low sugar content. They also contain healthy fats such as olive oil and lots of good fiber (such as fruits, veggies, nuts, and seeds) which feed a healthy gut microbiome. https://www.clairecavalieri.com/http://clairecavalieri.com/medrecipebook/http://www.yourlotandparcel.org

Chuck Zodda and Paul Lane discuss how 3% inflation became the new normal. Meta is earning a fortune on a deluge of fraudulant ads. Want to buy a home? It's OK to wait till you're 40. Wendy's is closing hundreds of restaurants. Italian pasta is poied to disappear from American grocery stores. MLB has a another gambling problem to sort out.

They've survived another live show! Nat's third and Marc's first, live in Luton, the night before this ep was recorded. How much of the end of the night does Marc remember? Or is he too busy thinking about The Traitors train and how many train places we can book for future tour shows? Enjoy! xx Please subscribe, follow, and leave a review. xxx You can find us in all places here; ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://podfollow.com/lifewithnat/view⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ We're on Facebook: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.facebook.com/lifewithnatpod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Nat's insta: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@natcass1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Neice's insta: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@natsnieces⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Tony's insta: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@tonycass68⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Linny's insta: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@auntielinny.lwn⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ THE BIG CHRISTMAS LIVE SHOW 7th December ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠- claphamgrand.com/event/live-with-nat-at-christmas/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ The tiny warm-up shows 4th Nov - Dixon Studio, Palace Theatre, Southend - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.trafalgartickets.com/palace-theatre-southend/en-GB/event/other/live-with-nat-work-in-progress-tickets⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ 6th Nov - Hat Factory, Luton - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://www.culturetrust.com/whats-on/live-nat-work-progress⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ 16th Nov - Hawth Studio, The Hawth Theatre, Crawley - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.parkwoodtheatres.co.uk/the-hawth/whats-on/live-with-nat-work-in-progress⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Book Club: November's book - All Together for Christmas by Sarah Morgan & December's book (optional extra for the speedy readers) - A Heart for Christmas: Advent Romance by Sophie Jomain Nat's solo chats - any rants always welcome!  Scraping the Barrel - SCAN AND SHOP VIRGIN NO LONGER! Bonce vs list! - Are you a list maker? Always collecting for Nostalgia Fest! What's brewing with the Nieces - are we all skipping the end of summer, all of autumn and going straight to Christmas - Nat's door is! Group chat ettiquette & pranks. Nice Lorraines… get in touch! Advent calendars & gift recommendations v. welcome! Things we're nagging with Linny about - More lateness stories and some cleaning questions, please! The Tony talks chatter - Keep your DIY questions coming, also open to some saucy two paragraph stories for Tony to read out at the Southend show - think cheeky postcards (both in tone and length)! Can we make Tony an influencer and get him any freebies?  TBC Cultural differences ep - inspired by Linny's Mediterranean heritage and her & Ellia's Italian trip, we'd love to hear about the cultural differences you've noticed between the UK and basically ANYWHERE else!  A 'Keep It Light Media' Production Sales, advertising, and general enquiries: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠hello@keepitlightmedia.com⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

Text the ShowSardinia has cool indigenous grapes and an ancient wine culture to lean on. This episode lays the foundation of knowledge for the island so that we can explore single appellations next. Invest 10 minutes in the diversity of Sardinia.ExploreArgiolas

Support Us :Donation Page – LibriVox Free AudiobooksOne of the earliest works of this Italian philosopher and literary critic, Aesthetic as Science of Expression and General Linguistic marks the beginning of Croce's elaboration of his highly influential ideas of aesthetics. Croce defines art in terms of intuition and expression, thus replacing beauty as the primary criterion for aesthetic evaluation. - Summary by Mary JSupport Us :⁠Donation Page – LibriVox Free Audiobooks

Fluent Fiction - Italian: Brewed Brilliance: Gabriele's Bold Coffee Challenge Find the full episode transcript, vocabulary words, and more:fluentfiction.com/it/episode/2025-11-10-08-38-20-it Story Transcript:It: Nelle dolci mattine d'autunno, il sole filtrava tra le finestre della piccola caffetteria a Roma, illuminando i tavolini in legno.En: On the sweet autumnal mornings, the sun filtered through the windows of the small café in Roma, illuminating the wooden tables.It: C'era un profumo costante di caffè appena macinato che riempiva l'aria, e l'atmosfera era calda e invitante.En: There was a constant aroma of freshly ground coffee filling the air, and the atmosphere was warm and inviting.It: Gabriele, un giovane barista, si preparava per la grande competizione.En: Gabriele, a young barista, was preparing for the big competition.It: I suoi pensieri erano pieni di dubbi.En: His thoughts were full of doubts.It: Nonostante le sue doti artistiche nel realizzare il latte art fossero apprezzate, Gabriele temeva di non essere all'altezza.En: Despite his artistic skills in creating latte art being appreciated, Gabriele feared he wasn't up to the task.It: Voleva vincere, più di ogni altra cosa, per dimostrare il suo valore nel mondo del caffè.En: He wanted to win more than anything else, to prove his worth in the world of coffee.It: Livia, la sua collega e amica, osservava Gabriele con un sorriso incoraggiante.En: Livia, his colleague and friend, watched Gabriele with an encouraging smile.It: Anche lei partecipava alla competizione, ma sperava che fosse Gabriele a vincere.En: She too was participating in the competition, but she hoped it would be Gabriele who won.It: Era consapevole della sua lotta interiore e voleva sostenerlo.En: She was aware of his inner struggle and wanted to support him.It: Il giudice della gara, Matteo, era conosciuto per il suo amore per la tradizione e l'esperienza.En: The judge of the competition, Matteo, was known for his love of tradition and experience.It: La sua presenza era imponente; il suo sguardo attento metteva pressione a tutti i partecipanti.En: His presence was imposing; his attentive gaze put pressure on all the participants.It: Gabriele aveva un piano audace: usare un ingrediente insolito nel suo espresso.En: Gabriele had a bold plan: to use an unusual ingredient in his espresso.It: Voleva stupire Matteo con qualcosa di nuovo, ma temeva la reazione del giudice tradizionalista.En: He wanted to surprise Matteo with something new, but he feared the reaction of the traditionalist judge.It: Il momento del suo turno arrivò.En: The moment of his turn arrived.It: Con mani leggermente tremanti, Gabriele cominciò a preparare il suo drink.En: With slightly trembling hands, Gabriele began to prepare his drink.It: All'improvviso, la macchinetta del caffè fece un rumore strano e si fermò.En: Suddenly, the coffee machine made a strange noise and stopped.It: Un attimo di panico si dipinse sul volto di Gabriele.En: A moment of panic crossed Gabriele's face.It: Il pubblico rimase in silenzio, ognuno trattenendo il respiro.En: The audience remained silent, everyone holding their breath.It: Con determinazione, Gabriele decise di improvvisare.En: With determination, Gabriele decided to improvise.It: Utilizzò strumenti semplici per completare la sua creazione.En: He used simple tools to complete his creation.It: Subito, l'aroma del caffè col suo tocco speciale riempì la stanza.En: Immediately, the aroma of the coffee with his special touch filled the room.It: Matteo assaggiò il drink.En: Matteo tasted the drink.It: Ci fu un momento di tensione, ma poi sorrise.En: There was a moment of tension, but then he smiled.It: Apprezzava la creatività e la perseveranza mostrate da Gabriele.En: He appreciated the creativity and perseverance shown by Gabriele.It: Dichiarò Gabriele vincitore della competizione, lodando il suo coraggio e la sua innovazione.En: He declared Gabriele the winner of the competition, praising his courage and innovation.It: La vittoria portò a Gabriele una nuova fiducia in se stesso.En: The victory brought Gabriele a new confidence in himself.It: Capì che il suo stile unico era un dono da abbracciare, e che la paura del giudizio non doveva trattenere la sua espressione creativa.En: He understood that his unique style was a gift to embrace, and that the fear of judgment should not hold back his creative expression.It: La caffetteria, con il suo caldo tepore autunnale, fu testimone di un giorno speciale.En: The café, with its warm autumnal coziness, witnessed a special day.It: Non solo per Gabriele, ma per tutti quelli che impararono che la passione e la creatività erano la vera essenza dell'arte del caffè.En: Not just for Gabriele, but for all those who learned that passion and creativity were the true essence of the art of coffee. Vocabulary Words:the sun: il solethe window: la finestrathe table: il tavolinothe aroma: il profumothe atmosphere: l'atmosferathe barista: il baristathe competition: la competizionethe doubt: il dubbiothe art: l'artethe colleague: il collega / la collegathe smile: il sorrisothe judge: il giudicethe tradition: la tradizionethe experience: l'esperienzathe gaze: lo sguardothe participant: il partecipantethe noise: il rumorethe audience: il pubblicothe determination: la determinazionethe tool: lo strumentothe creation: la creazionethe tension: la tensionethe creativity: la creativitàthe perseverance: la perseveranzathe victory: la vittoriathe confidence: la fiduciathe style: lo stilethe fear: la paurathe judgment: il giudiziothe essence: l'essenza

Send us a textMike Marino – affectionately known to millions of his fans worldwide as New Jersey's Bad Boy – might as well be the element Carbon with his versatility. He's a comedian, an actor, a philanthropist, basically everything except a husband and father (at least that we know of) who's shared the stage and screen with names, somehow, even more household than his own.Mike entered this mortal realm in New Jersey where he grew up with his Italian family that he mines for material in his stand-up bits. He was a born thespian, so he entered the entertainment industry at an early age and even attended prestigious acting schools like the Herbert Berghof Studio and the American Academy of Dramatic Arts just to make sure their teaching were up to snuff. The Clio Awards recognized Mike's god given gift with a best actor nomination for one of the countless iconic television commercials he starred in. But Mike's not only been in advertisements, he's been in movies and shows ranging from Criticsized to The Tonight Show with Jay Leno to his very own web series Make America Italian Again, which you can ingest for free on his illustrious YouTube channel aptly named Mike Marino Live. Find Mike MarinoFacebookhttps://www.facebook.com/mikemarinoliveInstagramhttps://www.instagram.com/mikemarinolive/YouTubehttps://www.youtube.com/mikemarinoliveTikTokhttps://www.tiktok.com/@mikemarinoliveXhttps://x.com/i/flow/login?redirect_after_login=%2FmikemarinoliveFind The Suffering PodcastThe Suffering Podcast InstagramKevin Donaldson InstagramTom Flynn InstagramApple PodcastSpotifyYouTubeThe Suffering Podcast FamilySherri AllsupSupport the showThe Suffering Podcast Instagram Kevin Donaldson Instagram TikTok YouTube

Piero San Giorgio is one of Switzerland's best selling authors. After 20 years as an executive in the software business, Piero decided to write essays about the future. His first book Survive —The Economic Collapse was in the top-50 best selling books of 2012 in France and has sold over 200,000 copies, with translations into English, Italian, Russian, Arabic, Romanian, Polish, Turkish etc. and has a foreword by JHKunstler. His other books are , CBRN (How to Survive Nuclear, Radiological, Biological,and Chemical events), and Giuseppe: A Survival Story, a biographical novel about his grandfather's ordeals in WW2.  The KunstlerCast theme music is the beautiful Two Rivers Waltz written and performed by Larry Unger

This week's Roz & Mocha Retro Podcast takes us back to 2014! Roz asks the age-old question: how did we used to slow dance—and where were your hands? We revisit the hilarious chat right after Mocha's wedding, and crack up over the viral Italian guy who just can't say “Worcestershire.” Classic moments, classic laughs!

Send us a textIn this captivating conversation, Michael Canzanaro dives into the vibrant history of his Italian family, tracing their roots back to the enchanting Basilicata, Italy. He shares his grandfather's incredible journey to America in 1890, his dreams of becoming a fresco artist, and the hurdles he faced as an immigrant. The narrative unfolds with powerful tales of love, loss, and the vital role of storytelling within the family. Canzanaro reflects on the cherished values passed down by his grandparents, the importance of education, and the discrimination faced by Italian immigrants. He also reveals his transition from seminary to psychology and the cultural tensions in his community. The conversation wraps up with a touching story of kindness and miracles, leading to the promotion of his book, 'Papa's Story,' which beautifully encapsulates these experiences.Turnkey. The only thing you'll lift are your spirits.Papa's StoryAmerica Through The Eyes Of A Brave Italian ImmigrantDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the showPurchase my book "Farmers and Nobles" here or at Amazon.

Support Us at :Donation Page – LibriVox Free AudiobooksOne of the earliest works of this Italian philosopher and literary critic, Aesthetic as Science of Expression and General Linguistic marks the beginning of Croce's elaboration of his highly influential ideas of aesthetics. Croce defines art in terms of intuition and expression, thus replacing beauty as the primary criterion for aesthetic evaluation. - Summary by Mary JSupport Us at :⁠Donation Page – LibriVox Free Audiobooks

The Italian Connection - November 9, 2025

Welcome to the DMF! I'm Justin Younts, and today I have the pleasure of introducing you to Sara Alessandrini, an Italian filmmaker who has just released a captivating miniseries on Apple TV titled 'This is What New Yorkers Say.' This series offers a unique perspective on Andrew Cuomo through the eyes of everyday New Yorkers, and it's comprised of five thought-provoking episodes. Sara's journey as a filmmaker is as fascinating as the stories she tells. Growing up in Italy, she always felt a strong connection to the world of cinema, often finding solace in movies rather than social interactions. This passion led her to explore the intricacies of human behavior through film, ultimately shaping her career. In our conversation, we dive deep into her experiences, from her childhood in Cesena to her education at the prestigious Cinecittà in Rome. Sara shares her insights on the importance of storytelling, the challenges of filmmaking, and how her Italian roots influence her work. We also discuss the evolving landscape of cinema, including the impact of political correctness on storytelling and the significance of understanding history through film. Join us as we explore the intersection of culture, creativity, and the art of filmmaking. Whether you're a film enthusiast or simply curious about the world of cinema, this episode is sure to inspire and provoke thought. Don't miss out on this engaging discussion with Sara Alessandrini!00:00:00 - Introduction00:00:08 - Guest Introduction: Sara Alessandrini00:00:26 - Sara's Nickname and Italian Background00:01:19 - Sara's Childhood and Love for Movies00:03:07 - Sara's Views on Movie Censorship00:08:21 - Sara's Early Interest in Filmmaking00:14:36 - Sara's Education and Experience in Rome00:15:19 - Moving to Rome and the Impact on Writing00:15:55 - Drama at Film School in Rome00:17:17 - Challenges and Intrigues of Film School00:18:05 - Continued Association with the Film School00:18:56 - Unexpected Incident at the Film School00:20:29 - Transition from Telecommunications to Filmmaking00:20:38 - High School Education in Italy00:24:35 - Practical Learning Experience in High School00:26:00 - Comparing High School and College Learning00:26:13 - Practical Skills Gained from High School00:26:51 - The Importance of Problem Solving00:27:42 - Practical Problem Solving in Filmmaking00:30:22 - Problem Solving in Filmmaking: A Practical Example00:31:11 - Understanding the Importance of Planning and Strategy00:31:57 - The Value of a Practical Mindset and Technical Knowledge00:32:08 - The Importance of Problem Solving in Filmmaking00:32:22 - Collaborative Problem Solving in Filmmaking: Robert Zemeckis' Approach00:32:55 - Closing RemarksCheck out Sara's website, where you can learn more about the documentary miniseries and find links to watch it! https://www.thisiswhatnewyorkerssay.com https://www.instagram.com/lasava.alessandrini/

Fluent Fiction - Italian: Unveiling Secrets: The Relic Hunt in Foggy Venezia Find the full episode transcript, vocabulary words, and more:fluentfiction.com/it/episode/2025-11-09-08-38-20-it Story Transcript:It: La nebbia avvolge Venezia come un velo misterioso.En: The fog envelops Venezia like a mysterious veil.It: La Basilica di San Marco brilla sotto il cielo autunnale, illuminata da calde luci che danzano sui suoi mosaici dorati.En: The Basilica di San Marco shines under the autumn sky, illuminated by warm lights that dance on its golden mosaics.It: Nel cuore di tutto questo, Gianna, una storica dell'arte appassionata, cammina inquieta.En: In the heart of all this, Gianna, a passionate art historian, walks restlessly.It: Sa che qualcosa di prezioso è sparito: una reliquia antica e importante per la basilica.En: She knows that something precious is missing: an ancient relic important to the basilica.It: A pochi passi, Luca, una guida turistica locale, ascolta Gianna con curiosità.En: A few steps away, Luca, a local tour guide, listens to Gianna with curiosity.It: È scettico, ma intrigato.En: He is skeptical, but intrigued.It: "Non sono sicuro di credere a tutto questo," dice Luca.En: "I'm not sure I believe all this," says Luca.It: Ma sa che Venezia è piena di segreti, e il pensiero di un'avventura lo affascina.En: But he knows that Venezia is full of secrets, and the thought of an adventure fascinates him.It: Gianna decide di fidarsi di Luca.En: Gianna decides to trust Luca.It: "Tu conosci Venezia meglio di chiunque altro," dice sperando che lui possa aiutarla a trovare un indizio nel labirinto di calli e canali.En: "You know Venezia better than anyone else," she says, hoping he can help her find a clue in the labyrinth of alleys and canals.It: Insieme, iniziano a cercare.En: Together, they begin their search.It: Le giornate di novembre sono brevi, e il tempo scorre veloce mentre il giorno della Festa di San Martino si avvicina.En: The November days are short, and time flies as the day of the Festa di San Martino approaches.It: Seguono indizi ingannevoli e affrontano la sfiducia delle autorità.En: They follow deceptive clues and face the distrust of the authorities.It: Luca propone un'idea rischiosa: esplorare i canali meno battuti.En: Luca proposes a risky idea: exploring the less traveled canals.It: Gianna, nonostante i suoi dubbi, accetta.En: Gianna, despite her doubts, agrees.It: Navigano in silenzio attraverso le acque calme e scure.En: They navigate silently through the calm, dark waters.It: La città li osserva, enigmatica.En: The city watches them, enigmatic.It: All'improvviso, durante i preparativi del festival, scoprono un passaggio nascosto sotto la basilica.En: Suddenly, during the festival preparations, they discover a hidden passage under the basilica.It: Una stretta scala li conduce giù, verso una stanza segreta.En: A narrow staircase leads them down to a secret room.It: Lì, tra polvere e antichi dettagli, trovano la reliquia.En: There, among dust and ancient details, they find the relic.It: E, sorprendentemente, anche le tracce di chi l'ha sottratta, una verità che scuote entrambe le loro vite.En: And, surprisingly, also the traces of who took it, a truth that shakes both their lives.It: Mentre la reliquia torna al suo posto tra gli applausi di chi li ha capiti, Gianna sente un peso sollevarsi.En: As the relic returns to its place amid the applause of those who understand them, Gianna feels a weight lift off her shoulders.It: Ha protetto il patrimonio che ama e rafforzato la sua reputazione.En: She has protected the heritage she loves and strengthened her reputation.It: Luca, dall'altra parte, si accorge che Venezia ha ancora molto da offrirgli.En: Luca, on the other hand, realizes that Venezia still has much to offer him.It: L'avventura gli ha fatto vedere la sua città sotto una nuova luce.En: The adventure has made him see his city in a new light.It: Il giorno della festa, Gianna e Luca sorridono tra la folla.En: On the day of the festival, Gianna and Luca smile among the crowd.It: Gianna fila orgogliosa tra amici e colleghi riconoscenti.En: Gianna flows proudly among grateful friends and colleagues.It: Luca, colpito dalla nuova scoperta, sente brillare in lui una ritrovata pace.En: Luca, struck by the new discovery, feels a renewed peace shining within him.It: Venezia, pensa, forse è ancora il luogo perfetto per tante altre storie.En: Venezia, he thinks, might still be the perfect place for many more stories.It: E così l'autunno continua, avvolgendo Venezia in un abbraccio che promette ancora meraviglie e segreti da svelare.En: And so, autumn continues, wrapping Venezia in an embrace that promises yet more wonders and secrets to unveil. Vocabulary Words:the fog: la nebbiathe veil: il veloilluminated: illuminatathe mosaics: i mosaicirestlessly: inquietathe relic: la reliquiathe clue: l'indiziothe labyrinth: il labirintodeceptive: ingannevolithe distrust: la sfiduciarisky: rischiosaenigmatic: enigmaticasuddenly: all'improvvisothe passage: il passaggiothe staircase: la scalathe room: la stanzathe dust: la polveredetails: dettaglitruth: veritàto shake: scuotereshoulders: le spallethe heritage: il patrimonioreputation: la reputazionegrateful: riconoscentirenewed: ritrovatato unveil: svelaresecrets: segretithe tour guide: la guida turisticato navigate: navigarethe shoulders: le spalle

Italian Defense Strategy and the Geopolitical Situation. Lorenzo Fiori discusses Italy's defense buildup using EU loan deals to acquire new armored vehicles from Germany's Rheinmetall through a joint venture with Leonardo. This modernization is crucial as Italy is strategically situated near the Ukrainian conflict and faces risks from troubled North African countries, particularly potential Russian influence in Libya. Although the military is needed for disaster relief, public opinion often remains against increasing defense expenditures.

In 2003, Italian top-flight side Perugia made an unusual signing: Al-Saadi Gaddafi, the son of Libyan dictator Muammar Gaddafi. It was seen as a publicity stunt by headline-hungry Perugia owner Luciano Gaucci, with Gaddafi making just one Serie A appearance, as a substitute in a win against Juventus in 2004. But Gaddafi made a big impression off the field and was renowned for his playboy lifestyle and outrageous spending habits. Former Perugia teammates Jay Bothroyd and Zeljko Kalac spoke to Robert Nicholson in 2021 about one of modern football's most surreal episodes. The programme is a Whistledown Production. Eye-witness accounts brought to life by archive and testimony. Sporting Witness is for those fascinated by sporting history. We take you to the events that have shaped the sports world through the eyes of the people who were there. For nine minutes, you become a fan in the stands as we take you back in time to examine memorable victories and agonising defeats from all over the world. You'll hear from people who have achieved sporting immortality, or those who were there as incredible sporting moments unfolded.Recent episodes explore the forgotten football Women's World Cup, the plasterer who fought a boxing legend, international football's biggest ever beating and the man who swam the Amazon river. We look at the lives of some of the most famous F1 drivers, tennis players and athletes as well as people who've had ground-breaking impact in their chosen sporting field, including: the most decorated Paralympian, the woman who was the number 1 squash player in the world for nine years, and the first figure skater to wear a hijab. You can learn all about fascinating and surprising stories, such as the tennis player who escaped the Nazis, how a man finally beat a horse in a race, and how the FIFA computer game was created.(Photo: Al-Saadi Gaddafi playing against Juventus. Credit:REUTERS/Max Rossi MR/RCB)

Consigli di lettura | Spendieren Sie einen Cafè (1€)? Donate a coffee (1€)? https://ko-fi.com/italiano Livello B2#libri #letteratura #autori #contemporaneaBuongiorno cari amici e amanti dell'italiano e benvenuti all'episodio numero 204 di Tulip.Come promesso oggi continuiamo con i consigli di lettura e vi propongo altri dieci scrittori e scritrici che hannosuccesso attualmente in Italia.Cominciamo con:11) Alessandro D'Avenia. Nato a Palermo nel 1977 è statomolto influenzato da Don Pino Puglisi, religioso uccisodalla mafia. Si è laureato in Lettere classiche e ha ottenutoun dottorato di ricerca sulle sirene di Omero e il lororapporto con le Muse dell'antichità. Ha fondato unacompagnia teatrale e ha completato un master inProduzione cinematografica. ...- The full transcript of this Episode (and excercises for many of the grammar episodes) is available via "Luisa's learn Italian Premium", Premium is no subscription and does not incur any recurring fees. You can just shop for the materials you need or want and shop per piece. Prices start at 0.20 Cent (i. e. Eurocent). - das komplette Transcript / die Show-Notes zu allen Episoden (und Übungen zu vielen der Grammatik Episoden) sind über Luisa's Podcast Premium verfügbar. Den Shop mit allen Materialien zum Podcast finden Sie unterhttps://premium.il-tedesco.itLuisa's Podcast Premium ist kein Abo - sie erhalten das jeweilige Transscript/die Shownotes sowie zu den Grammatik Episoden Übungen die Sie "pro Stück" bezahlen (ab 20ct). https://premium.il-tedesco.itMehr info unter www.il-tedesco.it bzw. https://www.il-tedesco.it/premiumMore information on www.il-tedesco.it or via my shop https://www.il-tedesco.it/premium

Husky voice, Friday night whiskey, and a mountain of cheese from the book launch. In this episode I lift the lid on what really happens inside a print judging room. The rotation of five from a pool of seven. Silent scoring so no one nudges anyone else. How a challenge works, what the chair actually does, and why we start with impact, dive through craft, then finish on impact again to see what survives. Layout over composition, light as the whole game, and a final re-rank that flattens time drift so the right image actually wins. If you enjoy a peek behind the curtain, you will like this one. You can grab a signed copy of the new Mastering Portrait Photography at masteringportraitphotography.com and yes, I will scribble in it. If you already have the book, a quick Amazon review helps more than you know. Fancy sharpening your craft in person? Check the workshops page for new dates and come play with light at the studio.  The book: https://masteringportraitphotography.com/resource/signed-copy-mastering-portrait-photography-new-edition/ Workshops: https://masteringportraitphotography.com/workshops-and-mentoring/   Transcript [00:00:00]  Hey, one and all. How are you doing? Now? I'll be honest, I still have the remnants of a cold, and if you can hear that in my voice, I do apologize, I suppose you could call it slightly bluesy, but you can definitely hear that I'm ever so slightly husky. It's Friday night, it's eight 30, and I was, I've been waiting a week to record this podcast, hoping my voice would clear it hasn't, and so I've taken the opportunity having a glass of whiskey and just cracking on. So if you like the sound of a slightly bluesy voice, that's great. If you don't, I'm really sorry, but whichever, which way I'm Paul. And this is the Mastering Portrait Photography podcast. So it's been a busy month or two. You can always tell when it's busy [00:01:00] 'cause the podcasts. Get, don't really get delivered in quite the pace I would like. However, it really has been a busy couple of weeks the past few. Let me, I'm gonna draw your attention to it. The past couple of weeks, we've, there's a ton of stuff going on around us for a moment. I was up in Preston. I've been up in Preston twice over the past couple of weeks. The first one was working as a qualifications judge for the BIPP, the British Institute Professional photographers. Um. Which I love judging. I love judging. It's exhausting, but I love it. And that was qualifications, panels. Then last week was the launch. Of the updated edition of Mastering Portrait Photography, the book, which is where it all started, where Sarah Plata and I published this book that seems to have been incredibly popular. 50,000 copies translated from English into four other languages. Chinese, Korean, German. And Italian, do not ask me, do not ask me the logic on why the book is in those [00:02:00] particular languages. To be fair, we only found out about the Chinese and Korean when we were trying to get some marketing material together to talk about the new book Nobody had told us. I'm not even sure the publisher knew, to be honest. Uh, but we have found copies. We have a Chinese copy here in the studio. I'm still trying to get a Korean version. So if you are listening to this. Podcast in Korea. Please tell me how to get hold of a version in Korean because we'd love to complete the set. There's, in fact, there's two Italian versions. We knew about that. There's a German version we knew about that hardback version. It's great. It's really beautiful. Very I, like I, I don't live in Germany and I don't like to stereotyping entire nation, but the quality of the book is incredible. It's absolutely rock solid, properly engineered. Love it. We have a Chinese version here but the Korean version still alludes us. However, this week the new version, mastering portrait photography is out. And as you know, I, Sarah interviewed me for the podcast last week to talk about it. Well, it's out. We've had our launch party, uh, we invited everybody who [00:03:00] has featured in the book who, everybody, every picture in the book that we asked the person in it to come to the studio for a soiree. And it was brilliant. I've never seen so much cheese in all my life, and by I don't mean my speech, I mean actual cheese. We had a pile of it, still eating it. So it's been a week and I'm still eating the cheese. I dunno quite how, well, quite by how much we vacated, but probably by several kilos. Which I'm enjoying thoroughly. I've put on so much weight this week, it's unreal, but I'm enjoying the cheese. And then on Sunday we had an open day where we had set the studio out with some pictures from the book and some notes of the different people. Who featured and what I might do, actually, I'd, I wonder if I can do a visual podcast. I might do a visual podcast where I talk about those images, at some point on the website, on masteringportraitportraitphotography.com. I will do the story and the BTS and the production of every single image that's in the book, but it's gonna take me some [00:04:00] time. There's nearly 200 images in there. Um, and every one of them, bar one is a new image or is, is. It is, it is a new image in the book, and it has been taken in the 10 years or the decades subsequent to the first book, all bar one. Feel free to email me. Email me the image you think it might be. You'll probably guess it, but it's it's definitely in there. Um, and so it's been really busy. And then at the beginning of this week, I spent two days up in Preston again, judging again, but this time it was for the British Institute of Professional Photographers print Masters competition. Ah, what, what a joy. Six other judges and me, a chair of judges. Print handlers, the organizers. Ah, I mean, I've seen so many incredible images over those 48 hours, and in this podcast I want to talk a bit about how we do it, why we do it, what it feels like to do it, [00:05:00] because I'm not sure everybody understands that it's it, it's not stressful, but we do as judges, feel the pressure. We know that we are representing, on the one hand, the association as the arbiters of the quality of the curators of these competitions, but also we feel the pressure of the authors because we are there too. We also enter competitions and we really, really hope the judges pay attention, really investigate and interrogate the images that we've entered. And when, when you enter competitions, that heightens the pressure to do a good job for the authors who you are judging. So in this podcast, I'm gonna talk through some of the aspects of that. Forgive me if it sounds like I'm answering questions. It's because I wrote myself some questions. I wrote some [00:06:00] questions down to, how I structures the podcast usually, uh, the podcast rambles along, but this one I actually set out with a structure to it, so forgive me if it sounds like I'm answering questions. It's 'cause I'm answering my own questions. What does it feel like? How do you do it? Et cetera, et cetera. Anyway, I hope it's useful. Enjoy. And it gives you an insight into what it's like to be a competition judge. Okay. As you walk into the judging room. For me at least, it's mostly a sense of excitement. There's a degree of apprehension. There's a degree of tension, but mostly there's an adrenaline rush. Knowing that we're about to sit and view, assess, score these incredible images from photographers all over the world, and let's remember that every photographer when they enter a print competition, which is what I'm talking about primarily here. Every photographer [00:07:00] believes that print that category that year, could win. Nobody enters an image thinking that it doesn't stand a chance. Now you might do that modest thing of, I don't know, you know? Oh no, I don't. I I just chance my arm. No one enters a print they don't think has a chance of doing well. That just doesn't happen. It's too expensive. It takes too much time. And as judges. We are acutely aware of that. So when you walk into the room, lots of things are going in your on, in your heads. Primarily, you know, you are there to do a job. You are there to perform a task. You are going to put your analytical head on and assess a few hundred images over the next 48 hours. But as you walk in, there's a whole series of things. You, you are gonna assess the room. You see that your fellow judges, you're gonna see the print handlers. You're going to see the chair, you're gonna see the people [00:08:00] from whichever association it is who are organizing it, who or who have organized it. You'll see stacks of prints ready to be assessed. There's a whole series of things that happen. A lot of hugging. It's really lovely. This year the panel of judges, uh, had some people in it I haven't seen for quite a few years, and it was beyond lovely to see them. So there's all of that, but you, there's this underlying tension you are about to do. One of the things you love doing more than anything else in as part of your job. So there's the excitement of it and the joy of it, but there's always this gentle underlying tone of gravitas of just how serious it is. What we are doing. So there will be plenty of laughter, plenty of joy, but you never really take your eye off the task in hand. And that's how it feels as you go to take your seats on the judging [00:09:00] panel. So the most important thing, I think, anyway, and I was chair of qualifications and awards for the BIPP for a number of years, is that the whole room, everybody there is acting as a team. If you are not gonna pull as a team, it doesn't work. So there has to be safety, there has to be structure. There has to be a process and all of these things come together to provide a framework in which you assess and create the necessary scores and results for the association, for the photographers, for the contestants. So you take your seats, and typically in a room, there are gonna be five judges at any one time assessing an image. It's typically five. I've seen it done other ways, but a panel of judges is typically five. The reason we have five is at no point do all of the judges agree. [00:10:00] We'll go through this later in more detail, but the idea is that you have enough judges that you can have contention, you can have. Disagreements, but as a panel of judges, you'll come up with a score. So you'll have five judges sitting assessing an image at any one time. To the side of the room, there'll be two more judges typically. Usually we have a pool of seven, five judges working, two judges sitting out every 10 prints or 10 minutes or whatever the chair decides. They'll we'll rotate along one, so we'll all move along one seat and one of the spare judges will come in and sit on the end and one of the existing judges will step off. And we do that all day, just rotating along so that everybody judges, broadly speaking, the same number of images. Now, of course there is a degree of specialism in the room. If a panel has been well selected, there'll be specialists in each of the categories, but you can't have, let's say there's 15 categories. You [00:11:00] can't have five specialist judges per category. That's simply impractical. Um, you know, having, what's that, 75 judges in a room, just so that you can get through the 15 categories is. A logistics task, a cost. Even just having a room that big, full of judges doesn't work. So every judge is expected to be reasonably multi-talented, even if you don't shoot, for instance, landscapes. You have to have a working knowledge of what's required of a great landscape. Because our job as a panel isn't that each of us will spot all of the same characteristics in an image, all of the same defects, all of the same qualities. Each judge has been picked to bring their own. Sort of viewpoint, if you like, to the image. Some judges are super technical, some judges, it's all about the atmosphere. Some judges, it's all about the printing and there's every bit of image production is [00:12:00] covered by each of the individual specialisms of the judges. And so while there is a degree of specialism, there will be a landscape. Specialist in the room or someone who works in landscape, there will be plenty of portrait photographers, wedding photographers, commercial photographers. The idea is from those seven, we can cover all of those bases. So we have seven judges all at fellowship level, all highly skilled, all experienced. And then there's the chair. Now the chair's role is not to affect the actual score. The chair's role is to make sure the judges have considered everything that they should be considering. That's the Chair's job, is to make sure the judges stay fresh, keep an eye on the scores, keep an eye on the throughput. Make sure that every image and every author are given a. The time and consideration that they are due. What do I mean by that? Well, I just mean the photographers spent a lot of time and effort and [00:13:00] finance putting this print in front of us, and so it's really important that we as judges give it due consideration. The chair, that's their role is to make sure that's what really happens. So the process is pretty simple, really. We will take our seats as a panel of judges and when we are settled. The chair will ask for the print, one of the print handlers. There's normally a couple of print handlers in the room, one to put the image on, one to take the image off. The print handler will take the first image or the next image off the pile and place it in front of us on the light box. They will then check the print to make sure there's no visible or obvious dust marks, um, or anything, and give with an air blower or with the back of a a handling glove, or very gently take any dust spots away. They will then step back. Now, the way the judges are set, there are five seats in a gentle arc, usually around the light [00:14:00] box. The outer two judges, judges one and five will step into the light box and examine or interrogate the print carefully. They will take as much time as they need to ascertain what they believe the score for that image should be. They will then take their seats. The next two judges in, so let's say Judge two and four, they will step in to interrogate the print and do exactly the same thing. When they're ready, they'll step back and sit down. And then the middle judge, the final judge in seat three, they will step up and interrogate the print. And the reason we do it that way is that everybody gets to see the print thoroughly. Everybody gets to spend enough time. Examining the print. And at that point, when we all sit down, we all enter our scores onto whatever the system is we're using either using iPads or keypads. There's all sorts of ways of doing it, but what's really important is we do all of this in total silence and we don't really do it because we need to be able to [00:15:00] concentrate. Though that has happened, sort of distracting noises can play havoc. Um, we really do it so that we are not influencing any other judge. So there's no, oh, this is rubbish, or, oh, this is amazing. Or any of this stuff, because the idea is that each judge will come to their own independent score. We enter them, and then there's a process as to what happens next. So that's the process. If at some point a single judge when the image appears, says, I can't judge this for whatever reason, usually it's because they've seen the image before. I mean, there's one this week where I hadn't directly influenced the image. But the author had shown me how they'd done it, so they'd stepped me through the Photoshopping, the construction, the shooting, everything about the image. I knew the image really well, and so when the image appeared on the light box, I knew while I could judge it, it wasn't fair to the author or to the other [00:16:00] competitors that I should. So I raised my hand, checked in with the chair, chair, asked me what I wanted. I said, I need to step off this. I'm too familiar with the work for me to give this a cold read, an objective read. So I if, if possible, if there's another judge, could they just step in and score this one image for me? And that means it's fair for all of the contestants. So that's that bit of process when we come to our score. Let's assume the score's fine. Let's assume, I dunno, it gets an 82, which is usually a merit or a bronze, whatever the system is. The chair will log that, she'll say that image scored 82, which is the average of all five of us. She'll then check in with the scores and the panel of judges. He or she rather, uh, they, so they will look at us and go, are you all happy with that result? That's really important. Are you all happy? Would that result? Because that's the opportunity as judges for one of us, if we're not comfortable that the image is scored where we think it probably should. And [00:17:00] remember with five of you, if the score isn't what you think, you could be the one who's not got your eye in or you haven't spotted something, it might well be you, but it's your job as a judge to make sure if there's any doubt in your mind about the scoring of an image that. You ask for it to be assessed again, for there to be discussion for the team to do its job because it might be that the other members of the panel haven't seen something that you have or you haven't seen something that they have, that both of those can be true. So it's really important that you have a process and you have a strict process. And this is how it works. So the chair will say you are happy. One of the judges may say. No, I'm not happy or may say I would like to challenge that or may simply say, I think this warrants a discussion. I'm gonna start it off. And then there's a process for doing that. [00:18:00] So the judge who raises the challenge will start the dialogue and they'll start in whichever direction it is that they think the scoring is not quite right. They will start the dialogue that way. So let's say the score, the judge who's raising a challenge says the score feels a little low. What happens then is raise a challenge and that judge will discuss the image or talk to the image in a way that is positive and trying to raise the score. And they're gonna do that by drawing attention to the qualities that they feel the image has, that maybe they're worried the other judges haven't seen when they're done, the next judge depends, depending on the chair and how you do it. The next judge will take their turn and he goes all the way around with every judge having their say. And then it comes back to the originating judge who has the right of a rebuttal, which simply means to answer back. So depending on how the [00:19:00] dialogue has gone it may be that you say thank you to all of the judges. I'm glad you saw my point. It would be great if we could give this the score that I think this deserves. Similarly, you occasionally, and I did do one of these where I raised a challenge, um, where I felt an image hadn't scored, or the judges hadn't seen something that maybe I had seen in the image, and then very quickly realized that four judges had seen a defect that I hadn't. And so my challenge, it was not, it's never a waste of a challenge. It's never ever a waste because it's really important that every image is given the consideration it deserves. But at the end of the challenge that I raised, the scoring stayed exactly the same. I stayed, I said thank you to all of the judges for showing me some stuff that I hadn't noticed. And then we moved on. More often than not, the scores move as the judges say, oh, do you know what, you're right, there is something in this. Or, no, you're right. We've overinflated this because we saw things, but we missed these technical defects. It's those kinds of conversations. So that's a, a chair, that's a, a judge's [00:20:00] challenge. Yeah, this process also kicks in if there's a very wide score difference between the judge's scores, same process, but this time there's no rebuttal. Every judge simply gives their view starting with the highest judge and then working anywhere on the panel. Um, and then there's a rare one, which does happen which is a chair's challenge, and the chair has the right in, at least in the competitions that I judge, the chair has the right to say to the panel of judges. Could you just give this another consideration? I think there might be things you've missed or that feels like you're getting a little bit steady in your scoring. 'cause they, the chair of course, has got a log of all the scores and can see whether, you know, you're settling into like a 78, 79 or one judge is constantly outta kilter. The chair can see everything and so your job as the chair is to just, okay guys, listen, I think this image that you've just assessed. Possibly there's some things one way or the [00:21:00] other that you might need to take into consideration. It doesn't feel like you have. I'd like you to discuss this image and then just do a rescore. So those are the, those are the mechanisms. So in the room you've got five judges plus two judges who are there ready to step in when required either on the rotation or when someone recuses themself and steps out. Usually two print handlers and then usually there's at least one person or maybe more from the association, just doing things like making sure things are outta their boxes, that the scores are recorded on the back of the prints, they go back into boxes, there's no damage because these prints are worth quite a lot of money. And so, there's usually quite a few people in the room, but it's all done in silence and it's all done to this beautiful process of making sure it's organized, it's clear it's transparent, and we're working as one team to assess each image and give it the score that it deserves. so when the print arrives on the box. It has impact. Now, whether you like it or not, [00:22:00] whether you understand it or not, whether you can define it or not, the print has an impact. You're gonna see it, you're gonna react to it. How do you react to it? Is it visceral? Does your heart rate climb? Do you. Do you explore it? Do you want to explore it? Does it tell a clear story? And now is when you are judging a competition, typically the association or the organization who are running the competition will have a clear set of criteria. I mean, broadly speaking, things like lighting, posing layout or composition storytelling. Graphic design, print quality, if it's a print competition. These are the kinds of things that, um, we look for. And they're listed out in the competition guides that the entrant, the author will have known those when they submitted their print. And the judges know them when we're assessing them, so they're kind of coherent. Whatever it is that the, the entrance were told, that's what we're judging [00:23:00] to the most important. Is the emotional connection or the impact? It's typically called visual impact or just impact. What's really important about that is that it's very obvious, I think, to break images down into these constructed elements like complimentary colors or tonal range or centers of interest, but they don't really do anything except create. Your emotional reaction to the picture. Now, we do use language around these to assess the image, but what we're actually looking for is emotional impact. Pictures tell stories. Stories invoke emotions. It's the emotions we're really looking for. But the trick when you are judging is you start with the initial impact. Then you go in and you in real tiny detail, look at the image. Explore it, interrogate it, [00:24:00] enjoy it, maybe don't enjoy it. And you look at it in all of the different categories or different areas, criteria that you are, that the judges that the organization have set out. And then really, although it never gets listed twice, it should do, impact should also be listed as the last thing you look at as well. Because here's the process. You look at the image. There's an impact. You then in detail investigate, interrogate, enjoy the image. And then at the very end you ask yourself, what impact does it still have? And that's really important because the difference between those two gives you an idea of how much or how well the image is scoring in all of the other areas. If an image has massive impact when you, let's put 'em on the light box, and then you explore it and you [00:25:00] enjoy it, and you look at it under the light, and then at the end of it you're still feeling the same thing you did when it came on the light box, that's a pretty good indicator that all the criteria were met. If on the other hand, as you've explored the image, you've realized. There are errors in the production, or you can see Photoshopping problems or blown highlights or blocked blacks, or things are blurred where they should be sharp or you name it. It's these kinds of things. You know, the printing has got banding in the sky, which is a defect. You see dust spots from a camera sensor. These gradually whittle away your impact score because you go back to the end and you ask, what impact does the image now have? And I've heard judges use terms like at the end of the process, I thought that was gonna be amazing when it first arrived on the light box. I just loved the look of it from a distance, but when I stepped in, there were just too many things that [00:26:00] weren't quite right. And at the end of it, I just felt some would, sometimes I've heard the word disappointed you. So that's certainly how I feel. When an image has this beautiful impact and the hair stand up on the back of your neck and you just think, I cannot wait to step in and explore this image in detail. 'cause I tell you one thing, most authors don't own a light box. When you see a print on a beautiful light box, the, there's something about the quality. The way the print ESS is you actually get to see what a print should look like. So when you step in, you are really excited to see it. And if at the end of that process you're slightly disappointed because you found defects in the printing or problems with the focusing or Photoshop or whatever it is. You really are genuinely disappointed. So that's how you approach it. You approach it from this standpoint of a very emotional, a very emotional connection with the image to start with, and then you break [00:27:00] it down into its elements, whatever those elements are for the competition. And then at the end, you ask yourself really, does it still have the impact? I thought it would because if it does, well, in that case, it's done really, really well. one of the things that's really interesting about judging images is we, we draw out, we write out all of these criteria and. Every image has them really. I mean, well, I say that of course every image doesn't have them. If you are, if you're thinking about landscape or a picture of a shampoo bottle, it doesn't have posing, for instance, if that's one of your criteria. But typically there's a standard set of criteria and every image has them layout, color uh, photographic technique, et cetera. So if we look at let's say composition, let's talk about composition. Personally, I like to use the term layout rather than composition because it [00:28:00] feels a little bit more like a verb. You lay the image out, you have all of the bits, you lay them out. I like that because when we are teaching photography when we say to someone, right, what are all of the bits that you have in front of you? How are you gonna lay them out? It feels a lot more, to me, at least more logical than saying, how are you gonna compose the image? Because it allows. I think it allows the photographer to think in terms of each individual component rather than just the whole frame. So we are looking for how the image is constructed. Remember that every photographer really should think about an image. As telling a story, what's the story that you want somebody else? Somebody that you've never met. In this case a judge, but it could be a client or it could just be somebody where your work is being exhibited on a wall. What do you want them to look at? What do you want them to see? Where do you want that eye to go? And there are lots of tricks to [00:29:00] this, and one of them is layout or composition. So we've got through the initial impact, boom. And the excitement. And then you start to think, is the image balanced? I like to think of an image having a center of gravity. Some photographers will use center of interest, which is a slightly different thing, but I think an image has a center of gravity. The component parts of the image create balance. So you can have things right down in the edges of the frame, but you need something to balance it like a seesaw. You can't just. Throw in, throw parts of the puzzle around the frame. So you are looking for where do they land? And of course, as photographers, we talk about thirds, golden ratios, golden spirals, all of these terms. But what we are really looking for is does the image have a natural flow? Does it feel like everything's where it should be? Does your eye go to the bit that the author probably wanted you to look at? Have they been effective in their [00:30:00] storytelling? And by storytelling, I don't necessarily mean storytelling as in photojournalism or narrative rich photography. What I mean is what did they want you to see, and then did you go and see it? Separation? Is the background blurred? And let's say the, the subject is sharp. That's a typical device for making sure you look at the subject. Is the color of the background muted in a way that draws your attention? Again to whatever it is in the foreground. So layouts one of those tools. So we work our way around it and try and figure out does the positioning of all of the elements of the image does their positioning add or distract from the story? We think that author was trying to tell. Let's remember that it's not the judge's job to understand the story. It's the author's job to tell the story in a way that the judges can get it. Too often, you know, when I, when I've judged [00:31:00] a competition, someone will come and find me afterwards and say, did you understand what that was about? I was trying to say this, and it's like, well, I didn't see that, but that's not my fault. You know, it's, it's down to you to lead me pictorially to. Whatever it is you're trying to show. Same with all judges, all viewers, clients. It doesn't really matter. It's the author's job, not the judges. So at the end of that, you then move on to whatever's the next criteria. So you know, you assess these things bit by bit, and by the way, every judge will do it in a slightly different order. There'll be written down in an order. But each judge would approach it in a different manner. For me, typically it's about emotional connection more than anything else, it's about the emotion. I love that genuine, authentic connection of a person in the image. To me, the viewer. I will always go there if, if it's a portrait or a wedding or fashion image, if there's a person in it or a dog, I suppose, [00:32:00] then I will look for that authenticity, that, that visceral, it feels like they're looking at me or I'm having a dialogue with them. That's my particular hot button, but every judge has their room and that's how you approach it. So when it comes to a photograph in the end, you don't really have anything other than light when you think about it, right? That's, you pick up a camera, it's got a sensor, it's got film, it's got a lens on the front, and a shutter stopping light coming, or it goes through the lens, but the, the shutter stops it hitting a sensor. And at some point you commit light to be recorded. And it's the light that describes the image. There's nothing else. It's not something you can touch or hear, it's just light. And of course light is everything. I think, I think the term pho photography or photograph is a mix of a couple of words, and it's a relatively recent idea. I think [00:33:00] it was Victorian and it's, isn't it light and art photographic or photograph, um. So that's what it is. It's capturing light and creating a reaction from it. So the quality of light is possibly the most important thing. There is too much of it, and you're gonna have blown highlights, nasty white patches on your prints, too little of it. You're gonna have no detail in the shadows and a lot of noise or grain, whether it's film or whether it's off your sensor. And then there's the shape of the light. The color of the light, and it doesn't really matter whether it's portrait, wedding, landscape, product, avant garde, it's light that defines things. It's light that can break an image. So with portraiture, for instance, we tend to talk about. Sculpting or dimensionality of light. We tend to talk about the shape of the subject. We talk about flattering light. We talk about hard and soft light, and all of these things [00:34:00] mean something. This isn't the podcast to talk about those in detail, but that's what we're looking for. We are looking for has the light created a sense of shape, a sense of wonder, a sense of narrative. Does the lighting draw your eye towards the subject? And when you get to the subject, is it clear that the lighting is effective and by effective, usually as a portrait photographer anyway. I mean flattering. But you might be doing something with light that's counterintuitive, that's making the subject not flattered. That's maybe it's for a thriller style thing, or maybe it's dark and moody. Harsh, as long as in tune with the story as we are seeing it, then the lighting is assessed in that vein. So we've seen some incredible beauty shots over the past couple of days where the lighting sculpted the face. It had damaged ality, but it was soft. There were no hard shadows, there were no [00:35:00] blown highlights. The skin, it was clear that the texture of the skin, the light, it caught the texture. So we knew exactly what that would be. It had. Captured the shape. So the way the gens or shadows ripple around a body or a face tell you its shape. They haven't destroyed the shape. It's it's catch shape, but it hasn't unnecessarily sculpted scars or birthmarks or spots, you know? And that's how lighting works. So you look for this quality, you look for control, you look for the author, knowing what they're doing. With landscapes, typically it's, it is very rare, in my opinion, for a landscape. To get a good score if it isn't shot at one end of the day or the other. Why? Well, typically, at those points of the day, the light from the sun is almost horizontal. It rakes across the frame, and you get a certain quality to the way the shadows are thrown. The way the [00:36:00] light, sculpts hills, buildings, clouds, leaves, trees, the way it skips off water, whether it's at the beginning of the day or the end of the day. It's quite unusual though we do see them for an amazing photograph of escape to be taken at midday. But you can see how it could be if you have the sun directly overhead, because that has a quality all of its own. And you know, if when an author has gone to the effort of being in the right place to shoot vertical shadows with a direct overhead son, well maybe that's so deliberate that the, the judges will completely appreciate that and understand the story. So it's looking for these things and working out. Has the lighting been effective in telling the story? We think the author was trying to tell? Lighting is at the heart of it. So when we've been through every criteria, whatever they are, lighting, composition, color, narrative, et cetera, et cetera, et cetera, [00:37:00] we've assessed every image, hundreds of them. We've had challenges, we've had conversations. We have a big pile of prints that have made it over the line. To whatever is your particular association scoring, whether it's merit or bronze or whatever. The puzzle isn't quite complete at that stage because there is of course, a slight problem and that problem is time. So if you imagine judging a section of images might take a couple of hours to do 70 prints, 60, 70 prints might take longer than that. In fact, it might take the best part of an afternoon. During that time. There's every chance the scores will wander. And the most obvious time is if a category spans something like a lunch break. We try to make sure categories don't do that. We try to complete categories before going for a break. We always try to be continuous, but [00:38:00] you've still got fatigue. You've got the judges rotating. So all of these things are going on. It sometimes it depends what images come up in what order could conceivably affect the scoring. For instance there's an image that came up this year where I think probably I was the judge that felt the strongest about it. There was something about this particular image that needed talking about, and so when it came up and it was scores that I raised a challenge and my heart rate, the minute the print hit the stand, my heart rate climbed through the roof. It was. Something about it that just connected with me. And then when I explored the image on the lights, on the light box, to me, there was very little that was technically holding it back. There were a couple of bits, but nothing that I felt warranted a lower score. And so I raised a [00:39:00] challenge. I said my point, I went through it in detail. I asked the other judges to consider it. From my viewpoint, they gave their views as to why they hadn't. But each of them understood where I was coming from and unlike the challenge I talked about earlier where no one changed their mind on this one, they did on this one. They also saw things that I saw when we went through it. But at the end of the process, the image was got a higher score, which is great, but. I didn't feel that I could judge the next image fairly because whatever came in, my heart rate was still battering along after seeing this one particular image. And that happens sometimes. It's not common, but I felt I needed to step off the panel before the next image came up. Which I did in work, working with the chair and the team. I stepped off for a couple of prints before stepping back on [00:40:00] just to let my eye settle and let myself get back into the right zone. But during the day, the zone changes. The way you change your perception of the images, as the images come through is so imperceptible, imperceivable, imperceptible. One of those two words is so tiny that you don't notice if there's a slight drift. And so there's every opportunity for an image to score a couple of points lower or a couple of points higher than it possibly could have done. If it had been seen at another point in the day. Maybe it had been, maybe if the image was seen after a series of not so strong images, maybe it would get a higher score. Or of course, the other way round. Maybe after seeing a series of really, really powerful, impactful images that came up, maybe it scored be slightly diminished. Both of those can be true. And so it's really important that we redress that any possible imbalance and every competition I've ever done has a final round. And the [00:41:00] way this is done is that we take the highest scoring images, top five, top 10, depending on the competition, and we line them up. And all of the judges now, not just the judges who are the five on the panel, all seven judges. Get an opportunity to bring each image back onto a light box if they wish, if they haven't seen them already. Because remember, some of those images may not have been assessed by the, well. It cannot have been assessed by all seven of the judges, so there's always gonna be at least two judges who haven't seen that image or seeing it for the first time as a judge. So we bring them back, we look at them, and then we rank them using one of numerous voting mechanisms where we all vote on what we think are the best images and gradually whittle it down until we're left with a ranked order for that category. We have a winner, a second, a third, a fourth, sometimes all the way down to 10 in order, depending on the competition. And that's the fairest way of doing it, because it means, okay, during the judging, [00:42:00] that image got, I dunno, 87. But when we now baseline it against a couple of images that got 90 something, when we now look at it, we realize that that image probably should have got a 90 as well. We're not gonna rescore it, the score stands, but what we are gonna do is put it up into there and vote on it as to whether it actually, even though it got slightly lower, score, is the winning image for the category. And every competition does something similar just to redress any fluctuations to, to flatten out time. It takes time outta the equation because now for that category, all seven judges are judging the winner at the same time, and that's really important. We do that for all the categories, and then at the end of that process, we bring back all of the category winners and we vote on which one of those. Wins the competition. Now, not every competition has an overall winner, but for the one we've just done for the print masters, for the BIPP print masters, there is an overall winner. And so we set them all out [00:43:00] and we vote collectively as a winner on the winner. And then, oh, we rank them 1, 2, 3, 4, or whatever. Um, really we're only picking a winner, but we also have to have some safety nets because what happens if for instance. Somebody unearths a problem with an image. And this has happened, sadly, this has happened a couple of times in my career where a photographer has entered an image that's not compliant with the rules but hasn't declared it. And it's always heartbreaking when it does happen, but we have to have a backup. So we always rank one, two, and three. So that's some backups, and that's the process. That's how we finish everything off. We have finished, we've got all the categories judged, the category winners judged, and then the overall one, two, and three sorted as well. at the end of the process? I can't speak for every judge. I can speak for me, I feel, I think three things. Exhaustion. It's really hard to spend 48 hours or longer [00:44:00] assessing images one by one, by one by one, and making sure that you are present and paying attention to every detail of every image. And you're not doing an author or an image a disservice. You pay each image or you give each image, you pay each image the due attention it deserves. I feel exhilaration. There's something energizing about assessing images like this. I know it's hard to explain, but there's something in the process of being alongside some of the best photographers that you've ever met, some photographers that you admire more than any others, not just as photographers, but as human beings. The nicest people, the smartest people, the most experienced people, the most eloquent people. There's something in that. So there's this [00:45:00] exhilaration. You are exhausted, but there's an exhilaration to it. And then finally, and I don't know if every photographer feels this or every judge feels this, I do. Which is massively insecure, I think. Can't think of the right words for it. There must be one. But I come away, much like when you've been out on the beers and you worry about all the things you've said, it's the same process. There was that image I didn't give enough credit for. There was this image I was too generous on. There were the things I said in a challenge when it gets a little bit argumentative or challenging. 'cause the clues in the title, you know, maybe I pushed too hard, maybe I didn't push hard enough. There are images you've seen that you wished you'd taken and you feel like. I'm not good enough. There's an insecurity to it too, and those are the three things I think as you leave the room, it's truly [00:46:00] energizing. Paradoxically, it's truly exhausting, but it's also a little bit of a head mush in that you do tend to come, or I do tend to come away a little bit insecure about. All the things that have gone on over the two days prior, and I've done this a long time. I've been judging for, I dunno, 15, 16, 17 years. And I've got used to those feelings. I've got used to coming away worrying. I'm used to the sense of being an underachiever, I suppose, and it's a wonderful , set of emotions that I bring home. And every time I judge. I feel better for it. I feel more creative. I feel more driven. I feel more determined. I feel like my eyes have been opened to genres [00:47:00] of photography, for types of imagery, for styles of posing or studio work that I've never necessarily considered, and I absolutely adore it every single second. So at the end of that, I really hope I've described or created a picture of what it's like to be a judge for this one. I haven't tried to explain the things we saw that as photographers as authors, you should think about when you are entering. I'm gonna do that in a separate podcast. I've done so many of those, but this one was specifically like, what does it feel like to be a judge? Why do we do it? I mean, we do it for a million reasons. Mostly we do it because people helped us and it's our turn to help them. But every photographer has a different reason for doing it. It's the most joyful process. It's the most inspiring process and I hope you've got a little bit of that from the podcast. So [00:48:00] on that happy note, I'm gonna wrap up and I'm gonna go and finish my glass of whiskey which I'm quite excited about if I'm honest. 'cause I did, it's been sitting here beside me for an hour and I haven't drunk any of it. I do hope you're all doing well. I know winter is sort of clattering towards us and the evenings are getting darker, at least for my listeners in the north and the hemisphere. Don't forget. If you want more information on portrait photography or our workshops we've announced all of the upcoming dates or the next set of upcoming dates. Please head across to mastering portrait photography.com and go to the workshop section. I love our workshops and we've met so many. Just lovely people who've come to our studio. And we've loved being alongside them, talking with them, hopefully giving a bit of inspiration, certainly taking a little bit of inspiration, if I'm honest, because everyone turns up with ideas and conversations. Uh, we would love to see you there. The workshops are all are all there on the website and the workshop section. You can also, if you wish, buy a signed copy of the book from mastering portrait photography.com. Again, just go to the [00:49:00] shop and you'll see it there on the top. Amazon has them for sale too. It is great. Amazon typically sells them for less than we do, but we have a fixed price. We have to buy them from the wholesaler at a particular price, whereas Amazon can buy many, many more than we can, so they get a better deal if I'm honest. However, if you want my paw print in there, then you can order it from us and it's supports a photographer and it's really lovely to hear from you. When you do, uh, one thing, I'd love to ask anyone who has bought the updated edition of the book, if you are an Amazon customer. Please could you go on to amazon.com and leave us a review? It's really powerful when you do that, as long as it's a good review. If it's a rubbish review, just email me and tell me what I could have done differently, and I'll email you back and tell you, tell you why I didn't. But if it's a half decent review, a nice review. Please head over to Amazon. Look for mastering portrait photography, the new version of the book, and leave us a review. It's really important particularly in the first couple of [00:50:00] weeks that it's been on sale. Uh, it would be really, really helpful if you did that. And on that happy note, I wish you all well. I've grabbed my glass of whiskey and I'm gonna wrap up and whatever else you do. Until next time, be kind to yourself. Take care.   

Support Us :Donation Page – LibriVox Free AudiobooksBenedetto Croce (1866 - 1952)Translated by Douglas Ainslie (1865 - 1948)One of the earliest works of this Italian philosopher and literary critic, Aesthetic as Science of Expression and General Linguistic marks the beginning of Croce's elaboration of his highly influential ideas of aesthetics. Croce defines art in terms of intuition and expression, thus replacing beauty as the primary criterion for aesthetic evaluation. - Summary by Mary JGenre(s): *Non-fiction, Art, Design & ArchitectureLanguage: EnglishKeyword(s): philosophy (970), culture (78), literary criticism (23), aesthetics (12), philosophy of art (1)Support Us :⁠Donation Page – LibriVox Free Audiobooks⁠

The impact of performing at the Riyadh Comedy Festival on careers is humorously discussed with reference to Sebastian Maniscalco. Maniscalco's interview with Forbes covers topics ranging from his Italian upbringing and love for wine and cooking to his approach to comedy and recent travels. Additionally, Kenan Thompson shares his travel habits and reflections, while Kathy Griffin talks about her new tour, 'New Face,' and her approach to stand-up. The New York Comedy Festival lineup and a highlight from Variety's 'Comics to Watch' list featuring Joe Sunday are also covered.Become a supporter of this podcast: https://www.spreaker.com/podcast/daily-comedy-news-with-johnny-mac--4522158/support.Underdog Fantasy promo code DCN.Become a premium subscriber! (no ads). For Apple users, hit the banner on your Apple podcasts app which says UNINTERRUPTED LISTENING and the bonus “DCN8” show.You also get 25+ other series  (it's only $4.99 a month with a free-trial month)Contact John at john@thesharkdeck dot com  Media Thoughts is mcdpod.substack.com dailycomedynews.substack.com DCN on Threads: https://www.threads.net/@dailycomedynews https://linktr.ee/dailycomedynews www.buymeacoffee.com/dailycomedynews  

Foundations of Amateur Radio If you use a word often enough it starts to lose its meaning. The other day, during breakfast, well, coffee, whilst playing one of our start-the-day with a smile word games, the word "RADIO" turned up. I grinned and pointed out that this was my favourite word, to which my partner mentioned that in Italian, it's referred to as "La Radio", which made us both wonder where it actually came from, did the Italian language import the word, or export it, given that Guglielmo Marconi was Italian? A quick search advised us that it came from Latin, radius, meaning "spoke of a wheel", "beam of light" or "ray". Fully enlightened we finished our coffee and got on with our day .. except I couldn't stop thinking about this. Having recently spent some quality time looking into the history of the RF Circulator, I figured searching the patent records might be a solid way to get some handle on where this word "radio" came from. Initially Google Patent search unearths the oldest as being from 1996, not very helpful. Adding 1900 as the end date filter turns up a radio cabinet patent with a filing date of 1833, except that it was published and granted in 1931, which is confirmed by the patent itself. This level of corruption in the data affects at least a dozen patents, but I daresay that there's plenty more like that. 1857 turns up a patent with the word "broadcasting", in the context of "broadcasting guano", so, nothing much has changed in nearly 170 years, but I digress. Adding quotes to the search term unearths a patent from 1861, apparently iron roads, locomotives, large slopes and small radio curves relates to the other meaning of the word radius, in Spanish. 1863 gives us ruffle stitching, "made upon the radio", but the patent is so corrupt that it's pretty much unreadable. 1871 unearths an electromagnetic engine, but the text has so much gibberish that I suspect that the word "radio" is a happy accident. 1873 shows us a "Wireless signalling system", bingo, the patent shows us transmitter and receiver circuits, antennas, messages and frequencies and a whole bunch of relevant radio information, except that the date on the patent itself is 1919. And you wonder why people argue about who invented what when? I'll spare you the gas apparatus, petrol lamps with cigar cutter, running gear for vehicles and bounce to 1897, "Method of and apparatus for converting x-rays into light for photographic purposes", the first occurrence of "radio", in the form of "radiograph", complete with pictures of the bones of a hand drawn meticulously from presumably an x-ray. I confess I'm not convinced. Using the United States Patent and Trademark Office search for the word radio gives you 54,688 pages with 2.7 million records, ordered in reverse chronological order with no way to skip to the last page. The World Intellectual Property Organisation finds the same Spanish iron paths patents, but unearths "A Differential Arrangement for Radio Controlled Race Cars" from 1900, but inside we discover it's really from 1979. Seems this level of corruption is endemic in the patent field, wonder who's benefiting from this misinformation? Meanwhile, still looking, I discovered the Oxford English Dictionary, which claims that the earliest known use of the word "radio" is in the 1900's, but the earliest evidence is from 1907 in a writing by "L. De Forest", but you are granted the privilege of paying them to actually see that evidence .. really? On 18 July 1907, Lee de Forest, made the first ship-to-shore transmissions by radiotelephone, which adds some credence to the claim, but I have to tell you, I'm not particularly convinced. Taking a different approach, starting at Guglielmo Marconi, his first efforts in 1894 showed the wireless activation of a bell on the other side of the room. Six months later he managed to cross 3 kilometres realising that this could become capable of longer distances. The Italian Ministry of Post and Telegraphs didn't respond to his application for funding, so in 1896, at the age of 21, moving to Great Britain, he arrived in Dover where the customs officer opened his case to find various apparatus, which were destroyed because they could be a bomb. Lodging a patent "Improvements in Transmitting Electrical impulses and Signals, and in Apparatus therefor", was the first patent for a communication system on radio waves. It was granted a year later. One problem. It doesn't have the word "radio" in it, instead it talks about "a Hertz radiator", so close. So, we've narrowed it down to somewhere between 1896 and 1907, that's an 11 year window. Some observations. De Forest founded a company called "the Radio Telephone And Telegraph Company". It's unclear exactly when this happened, it collapsed in 1909 and was founded after disagreement with management of his previous company, apparently on 28 November 1906. A quick aside, apparently in 1881, Alexander Graham Bell used the word radiophone for the first time, which he used to refer to a system that used light to transmit wirelessly, he also referred to it as a photophone. You could argue that because light and radio are the same thing, this is the first legitimate use of the word "radio" in the context of communication, but I'm not buying it. I'll leave you with the discovery that on 30 December 1904, the British Post Office published a "Post Office Circular" with the instructions to use the word "Radio" in the service instructions, think of it as the metadata associated with a telegram. This information has been repeated often without evidence. If you're keen, the Postal Museum is located in Phoenix Place, London. I've contacted them to see if that particular Circular is in their possession. Amazingly the "Post Office Circulars" have been digitised between 1666 and 1899. So close, but no cigar, that said, I looked for the elusive Volume 7 of the set to see if there were any straggling references to "radio", but couldn't confirm this. The Postal Museum Catalogue returns plenty of early references to radio, but it's hard to tell what's real and what's written after the fact. Anyone know of any research grants that will allow me to dig into this on-site, feel free to get in touch, oh, a bed would be good too .. I think this might take a while. At the moment, the best I have is an uncorroborated "30 December 1904" for the origin of the word "Radio", in English, in other words, it was imported into Italian. No sign of Marconi, Bell, or De Forest. I'm Onno VK6FLAB

Fluent Fiction - Italian: From Spices to Smiles: How an Ice Cream Contest Revived Hope Find the full episode transcript, vocabulary words, and more:fluentfiction.com/it/episode/2025-11-08-08-38-20-it Story Transcript:It: Nel cuore di un mondo cambiato, proprio in una piccola strada acciottolata, si trovava la gelateria di Lorenzo.En: In the heart of a changed world, right on a small cobblestone street, there was Lorenzo's ice cream shop.It: L'autunno abbracciava l'Italia con colori caldi, ma la vita era ancora grigia.En: Autumn embraced Italy with warm colors, but life was still gray.It: L'aria che sapeva di castagne e terra umida riempiva ogni angolo.En: The air, redolent of chestnuts and damp earth, filled every corner.It: Lorenzo, il proprietario della gelateria, aveva un'idea.En: Lorenzo, the owner of the ice cream shop, had an idea.It: "Farò una gara di gelato!".En: "I'll organize an ice cream competition!"It: Con un sorriso contagioso, anche se aveva solo un po' di gelato sciolto e frutta in scatola, decise di portare un po' di felicità al suo quartiere.En: With a contagious smile, even though he had just a bit of melted ice cream and canned fruit, he decided to bring some happiness to his neighborhood.It: Giulia, una ragazza ingegnosa, era scettica.En: Giulia, a resourceful girl, was skeptical.It: Lei diceva, "Lorenzo, non possiamo fare gelato con così pochi ingredienti!".En: She said, "Lorenzo, we can't make ice cream with so few ingredients!"It: Matteo, il musicista eccentrico, alzò un sopracciglio: "Come facciamo senza latte e panna?"En: Matteo, the eccentric musician, raised an eyebrow: "How do we do it without milk and cream?"It: Ma Lorenzo non si arrese.En: But Lorenzo did not give up.It: La vetrina della gelateria era colorata, un piccolo angolo di speranza nel mondo desolato.En: The shop's window was colorful, a small corner of hope in a desolate world.It: "L'importante non è avere gli ingredienti migliori.En: "The important thing is not to have the best ingredients.It: È fare del nostro meglio con quello che abbiamo."En: It's to do our best with what we have."It: Così inizia il concorso.En: And so the contest begins.It: Lorenzo, con il suo entusiasmo contagioso, coinvolge tutti.En: Lorenzo, with his infectious enthusiasm, involves everyone.It: Giulia portò spezie trovate nei mercatini abbandonati.En: Giulia brought spices found in abandoned markets.It: "Queste daranno sapore," disse.En: "These will add flavor," she said.It: Matteo, con un sorriso strano, iniziò a suonare una melodia allegra con il suo violino.En: Matteo, with a peculiar smile, began to play a cheerful melody on his violin.It: Le mani si muovevano veloci, mescolando gelato liquido con pezzi di frutta e spezie.En: Hands moved quickly, mixing liquid ice cream with pieces of fruit and spices.It: Le risate riempivano l'aria quando una mela scappò dal tavolo, finendo per terra.En: Laughter filled the air when an apple escaped from the table, ending up on the floor.It: Un momento di creatività, un attimo di normalità.En: A moment of creativity, a touch of normalcy.It: E infine, il momento dell'assaggio.En: Finally, the tasting moment arrived.It: Lorenzo presentò con orgoglio i gelati improvvisati.En: Lorenzo proudly presented the improvised ice creams.It: Sapori strani, ma unici.En: Strange but unique flavors.It: Cioccolato e peperoncino, vaniglia con cannella e frutta.En: Chocolate and chili, vanilla with cinnamon and fruit.It: Una piccola folla si radunò, incuriosita.En: A small crowd gathered, intrigued.It: Morsi e primi sorsi, risate e commenti.En: Bites and first sips, laughs and comments.It: Il gelato non era perfetto, ma in quei momenti, la comunità trovava gioia.En: The ice cream wasn't perfect, but in those moments, the community found joy.It: La gelateria di Lorenzo si riempì di calore umano, ricominciando a vivere.En: Lorenzo's ice cream shop filled with human warmth, coming back to life.It: L'aria si riempiva di speranza.En: The air was filled with hope.It: Lorenzo guardò Giulia e Matteo.En: Lorenzo looked at Giulia and Matteo.It: "Vedi?En: "See?It: Felicità è fare il meglio con ciò che abbiamo."En: Happiness is doing the best with what we have."It: E in un mondo che sembrava aver perso tutto, Lorenzo, Giulia e Matteo crearono un nuovo ricordo.En: And in a world that seemed to have lost everything, Lorenzo, Giulia, and Matteo created a new memory.It: Un ricordo fatto di risate e gelato strano.En: A memory made of laughter and strange ice cream.It: E, per quel momento, era abbastanza.En: And, for that moment, it was enough. Vocabulary Words:the heart: il cuorecobblestone: acciottolatato embrace: abbracciareredolent: profumato/adamp: umida/othe shop: la gelateriaan idea: un'ideato organize: organizzarecontagious: contagioso/aresourceful: ingegnosa/oskeptical: scettica/oto raise an eyebrow: alzare un sopracciglioto give up: arrendersithe window: la vetrinadesolate: desolato/ato involve: coinvolgerespices: speziethe melody: la melodiacheerful: allegra/opeculiar: strano/athe apple: la melathe floor: il pavimentocreativity: creativitàtasting: l'assaggioimprovised: improvvisati/eflavor: saporeunique: unico/ato gather: radunarsithe bite: il morsothe sip: il sorso

Fluent Fiction - Italian: High Waters and Hope: A Venice Tale of Survival and Cure Find the full episode transcript, vocabulary words, and more:fluentfiction.com/it/episode/2025-11-08-23-34-02-it Story Transcript:It: L'autunno avvolge Venezia come una coperta grigia, mentre l'acqua alta continua a sommergere la città.En: L'autunno wraps Venezia like a gray blanket, while the high waters continue to submerge the city.It: Luca e Marco osservano l'acqua dalle finestre rotte del loro rifugio.En: Luca and Marco watch the water from the broken windows of their refuge.It: Marco tossisce piano, mentre Luca gli accarezza la testa, preoccupato.En: Marco coughs softly, while Luca strokes his head, worried.It: Sa che deve muoversi in fretta.En: He knows he needs to move quickly.It: "Giulia ci aspetta," dice Luca con determinazione.En: "Giulia is waiting for us," says Luca with determination.It: Sta parlando di una scienziata che ha conosciuto recentemente, una donna che dice di sapere come e dove trovare una cura.En: He is speaking about a scientist he recently met, a woman who claims to know how and where to find a cure.It: I tre si incontrano in Piazza San Marco, dove il suono dei passi è attutito dall'acqua che sale.En: The three meet in Piazza San Marco, where the sound of footsteps is muffled by the rising water.It: La nebbia avvolge la piazza, rendendo ogni movimento incerto.En: The fog envelops the square, making every movement uncertain.It: Giulia li guida con passo sicuro verso un'ex struttura di ricerca.En: Giulia guides them confidently toward a former research facility.It: "Era qui che lavoravo," dice sottovoce, mentre aggirano una colonna spezzata.En: "This is where I used to work," she says in a low voice, as they navigate around a broken column.It: Le calli sono come un labirinto liquido.En: The calli are like a liquid labyrinth.It: Ogni svolta sembra portare più vicino al pericolo che alla salvezza.En: Every turn seems to bring them closer to danger than to safety.It: Luca tiene stretto Marco, il cui respiro è affannoso.En: Luca holds Marco tight, whose breathing is labored.It: Giulia parla mentre camminano, spiegando che nella struttura potrebbero ancora esserci gli appunti dei ricercatori e una speranza per Marco.En: Giulia speaks as they walk, explaining that within the facility, researchers' notes and a hope for Marco may still exist.It: Finalmente arrivano.En: Finally, they arrive.It: L'edificio è mezzo sommerso, ma ancora accessibile.En: The building is half-submerged, but still accessible.It: Luca e Giulia aprono la porta con sforzo, entrando in una stanza piena di vecchi macchinari.En: Luca and Giulia open the door with effort, entering a room full of old machinery.It: Frugano tra i documenti, acqua che goccia dal soffitto.En: They rummage through the documents, water dripping from the ceiling.It: "Trovato!"En: "Found it!"It: esclama Giulia, sollevando una cartella di appunti.En: exclaims Giulia, lifting a folder of notes.It: Luca la guarda con speranza.En: Luca looks at her with hope.It: Tra i documenti, trovano anche una fiala.En: Among the documents, they also find a vial.It: È un trattamento sperimentale.En: It is an experimental treatment.It: Con abilità, Giulia somministra la dose a Marco.En: With skill, Giulia administers the dose to Marco.It: Luca trattiene il fiato mentre osserva i segni di miglioramento sul volto del fratello.En: Luca holds his breath as he watches signs of improvement on his brother's face.It: "Ce la farà?"En: "Will he make it?"It: chiede, con una speranza disperata.En: he asks, with desperate hope.It: Le acque salgono, prendendo possesso del laboratorio.En: The waters rise, taking over the laboratory.It: Devono andarsene, e in fretta.En: They must leave, and quickly.It: Usciti, le strade sembrano oceani.En: Once outside, the streets seem like oceans.It: Luca si sente perso, ma qualcosa cambia.En: Luca feels lost, but something changes.It: La forza e determinazione dentro di lui si risvegliano.En: The strength and determination within him awaken.It: Non è solo.En: He is not alone.It: Ha fiducia in Giulia e sa che Marco sta migliorando.En: He trusts Giulia and knows that Marco is improving.It: Attraversano Venezia nuotando, spingendosi avanti tra le onde.En: They cross Venezia by swimming, pushing forward through the waves.It: Quando finalmente raggiungono un luogo sicuro, Marco sorride.En: When they finally reach a safe place, Marco smiles.It: Gli occhi brillano di nuova energia.En: His eyes shine with new energy.It: Luca abbraccia Giulia.En: Luca embraces Giulia.It: "Grazie," dice, con gratitudine profonda.En: "Thank you," he says, with deep gratitude.It: Londra non è più solo un cumulo di rovine e storie perdute.En: Londra is no longer just a pile of ruins and lost stories.It: È un nuovo inizio per loro.En: It is a new beginning for them.It: Un'isola di speranza in un mare di incertezza.En: An island of hope in a sea of uncertainty.It: Assieme, sanno che possono superare qualunque ostacolo.En: Together, they know they can overcome any obstacle. Vocabulary Words:autumn: l'autunnoblanket: la copertahigh waters: l'acqua altarefuge: il rifugiocoughs: tossiscestrokes: accarezzaworried: preoccupatodetermination: la determinazionescientist: la scienziataclaim: affermasquare: la piazzafog: la nebbiamovement: il movimentoconfidently: con sicurezzalabyrinth: il labirintodanger: il pericolosafety: la salvezzabreathing: il respirolabored: affannosoresearchers: i ricercatorinotes: gli appuntiroom: la stanzamachinery: i macchinarirummage: fruganoceiling: il soffittofolder: la cartellavial: la fialaexperimental: sperimentaletreatment: il trattamentohope: la speranza

• "Time for a bath" parody song filled with daily-life jokes • Talk about wanting a tax refund and inventing "tax-a-tude" • Imagined gas station purchase and March of Dimes donation bit • Self-image jokes comparing to Kim Kardashian, Nicki Minaj, and Beyoncé • Playful "sassy" expressions celebrating confidence • Comedic rap about women's breasts and mock "National Titties Day" • Show intro for "A Mediocre Time with Tom and Dan" • Hosts joking about AI-generated intro music as "AI slop" • Outkast's Stankonia 25th anniversary and evolution of their sound • Dan naming Outkast as a father-daughter favorite • Guest Ross Patchett joins; talks discovering Daft Punk at Pollo Tropical • Discovering Kraftwerk through The Simpsons • Tom recalling Outkast and Wu-Tang in high school and UCF choice • First concerts: NSYNC, Slightly Stoopid, Rush, and Primus • Discussion of Primus' humble new drummer and musicianship • Complaints about watching concerts seated and feeling old • Preview of Bad at Business Beerfest Nov 22—free event, noon start • 600 gift bags, ID required, $20 Yellow Brick Road charity glasses • Gift bag misprint panic with "Uncle Ben" image and Moe sticker fix • Chat calls fiasco classic Tom & Dan chaos; "collector's item" jokes • Full sponsor rundown: breweries, THC seltzers, coffee, plumbing, and Moe's cigar lounge • DJ noon–2, live music after, free Supervillains show at West End • Invite to bring families, pets, strollers—photo ID required to drink • Emphasis: sponsors fund it, no profit, listener thank-you • Tease of Sofas & Suds races the next day • Ross's viral Halloween Labyrinth costume and "Bowie bulge" gag • Sock-stuffing debate and hygiene tangent—feet vs. genitals cleanliness • Viral video ethics: featuring kids, monetization, and consent • Ross reflecting on family content making money and audience judgment • Reminder to enjoy creative recognition without exploitation • Story of spontaneous Halloween leading to contest win and joy • Bowie music tangent and favorite songs shared • Ross's toddler now walking; childproofing procrastination • Talk about inherited performance traits and parenting approaches • Ross preferring sports to teach resilience; golf as "jiu jitsu with clubs" • Dangers of child stardom and peaking too early • Plug for Ross's "Good Sauce with Ross and Joel" podcast • Reflection on doing shows with spouses and oversharing • Dan mentions recent health tests and medical oversharing jokes • Watching WWII documentaries for perspective and comfort • Curiosity toward darker historical footage and preserved WWII stories • Call to talk to living veterans for firsthand history • Tease: performing at Secrets Hideaway; "funny while horny" topic • Tease: Jaguars possibly playing at Camping World in 2027 • Tease: Farmer's Almanac ending after 208 years • Music break: Drain – "Living in a Memory" • Infinity documentary discussion—nausea, awe, and humility • Speculation about AI understanding infinity and multiverse theory • Reading comprehension talk—losing focus on dull paragraphs • Agreement that boredom, not intellect, causes zoning out • Shift to "funny and horny" talk—Ross performing at Secrets Hideaway • Debate over comedians mixing sex and comedy successfully • Examples: Sam Kinison, Rodney Dangerfield, Andrew Dice Clay • Secrets Hideaway's wild, nude comedy atmosphere described • Story of crowd energy and guessing a Lockheed employee onstage • Comparison to 1990s shock comedy style • Curiosity about Oz Perlman's mind-reading with Tom Brady • Discussion of mentalists reading cues and using "outs" in tricks • Reference to hypnotists like Jay Medicine Hat and suggestibility • Candy trick example showing layered outcomes • David Blaine's humility after cursing on radio; redemption performance • Joke about arrogant magician behavior and performer psychology • Blaine handshake trick—card under watch, "under his spell" feeling • Realization that such feats use reading skills and preparation • Comparison of magicians and scam psychics using cold reading • Admiration for Penn & Teller, Kostya Kimlat, and their precision Social Media: https://tomanddan.com/ | https://twitter.com/tomanddanlive | https://facebook.com/amediocretime | https://instagram.com/tomanddanlive Where to Find the Show: https://podcasts.apple.com/us/podcast/a-mediocre-time/id334142682 | https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkLnBvZGJlYW4uY29tL2FtZWRpb2NyZXRpbWUvcG9kY2FzdC54bWw | https://tunein.com/podcasts/Comedy/A-Mediocre-Time-p364156/ The Tom & Dan Radio Show on Real Radio 104.1: https://podcasts.apple.com/us/podcast/a-corporate-time/id975258990 | https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkLnBvZGJlYW4uY29tL2Fjb3Jwb3JhdGV0aW1lL3BvZGNhc3QueG1s | https://tunein.com/podcasts/Comedy/A-Corporate-Time-p1038501/ Exclusive Content: https://tomanddan.com/registration Merch: https://tomanddan.myshopify.com/

Every country has its own bureaucracy... but some countries are worse than others. Part of living in a new country is learning the hoops you need to jump through to keep your life running smoothly. In this episode from our archives, Tiffany talks about how she has learned to deal with Italian bureaucracy, and how doing so is part of the inevitable expat process. What has she learned? ***The Bittersweet Life podcast has been on the air for an impressive 10+ years! In order to help newer listeners discover some of our earlier episodes, every Friday we are now airing an episode from our vast archives! Enjoy!*** ------------------------------------- COME TO ROME WITH US: Our third annual Bittersweet Life Roman Adventure is all sold out for 2025! If you'd like to join us in 2026, and be part of an intimate group of listeners on a magical and unforgettable journey to Rome, discovering the city with us as your guides, find out more here. ADVERTISE WITH US: Reach expats, future expats, and travelers all over the world. Send us an email to get the conversation started. BECOME A PATRON: Pledge your monthly support of The Bittersweet Life and receive awesome prizes in return for your generosity! Visit our Patreon site to find out more. TIP YOUR PODCASTER: Say thanks with a one-time donation to the podcast hosts you know and love. Click here to send financial support via PayPal. (You can also find a Donate button on the desktop version of our website.) The show needs your support to continue. START PODCASTING: If you are planning to start your own podcast, consider Libsyn for your hosting service! Use this affliliate link to get two months free, or use our promo code SWEET when you sign up. SUBSCRIBE: Subscribe to the podcast to make sure you never miss an episode. Click here to find us on a variety of podcast apps. WRITE A REVIEW: Leave us a rating and a written review on iTunes so more listeners can find us. JOIN THE CONVERSATION: If you have a question or a topic you want us to address, send us an email here. You can also connect to us through Twitter, Facebook, and Instagram. Tag #thebittersweetlife with your expat story for a chance to be featured! NEW TO THE SHOW? Don't be afraid to start with Episode 1: OUTSET BOOK: Want to read Tiffany's book, Midnight in the Piazza? Learn more here or order on Amazon. TOUR ROME: If you're traveling to Rome, don't miss the chance to tour the city with Tiffany as your guide!

在意大利街角，为什么越来越多的「正宗意大利咖啡吧」背后，是华人在经营？ 这不是偶然的商业选择。移民、老龄化、经济危机等等复杂要素促成了这一现象。而当我们仔细审视这一现象时，可能会对「国民文化」、「移民」、「身份认同」、「种族歧视」都有不一样的看法。 这集，我们与记者冯兆音、人类学者邓婷，一起讨论意式咖啡里移民现实，身份认同以及文化的流动边界。而华人在异乡所经历的「他者」的经历，或许也可以成为反观我们自身的一个镜像。 本期人物 邓婷，布兰迪斯大学研究员 冯兆音，独立媒体人，前驻美记者，现居欧洲 徐涛，声动活泼联合创始人 主要话题 [03:12] 如何正确理解咖啡在意大利国民生活中的地位？ [11:13] 华人如何在意大利开起了咖啡馆？ [16:49] 华人移民还接手了哪些国家的小食店 [26:28] 如果不懂咖啡豆，也可以开好咖啡馆吗？ [40:23] 当华人咖啡馆的员工变成了南亚移民 [54:55] 中国的国力变化，如何体现在咖啡吧的菜单上 延伸阅读 《Chinese Espresso: Contested Race and Convivial Space in Contemporary Italy》 (https://www.amazon.com/Chinese-Espresso-Contested-Convivial-Contemporary/dp/0691245789) Meet the Chinese baristas keeping Italian cafe culture alive (https://www.scmp.com/postmag/culture/article/3318570/meet-chinese-baristas-keeping-italian-cafe-culture-alive) 给声东击西投稿 当下，AI 越来越多地出现在了招聘的过程中，企业在用 AI 筛简历、做面试，求职者也在用 AI 润色简历、模拟回答……AI 智斗 AI 的场景正在上演。 无论你是招人的 HR，还是正在找工作的应聘者，又或是相关 AI 技术的开发者，如果你经历过类似的场景，或者有相关的经历想要分享或吐槽，都欢迎你给我们投稿！投稿方式在节目的 shownotes 和评论区中可以找到，期待你的来信！ 你的声音可能出现在未来的节目当中，我们非常期待你的分享！ 投稿入口 (https://eg76rdcl6g.feishu.cn/share/base/form/shrcne1CGVaSeJwtBriW6yNT2dg) 你也可以直接通过邮箱直接联系节目组：kexuan@shengfm.cn 「Knock Knock 世界｜秋季敲门版」上线啦！ Untitled https://media24.fireside.fm/file/fireside-uploads-2024/images/8/8dd8a56f-9636-415a-8c00-f9ca6778e511/hlqVv_ii.png 新学期伊始，我们特别推出了「Knock Knock 世界｜秋季敲门版」，每期 10 分钟，和青少年一起解读一个全球新鲜事，话题涉及社会、科技、商业、文化。 - 更新时间：整个秋季学期，从 9 月 1 日开始到 1 月 30 日 - 期数：60 期 - 售价：179 元 前三期依然可以免费收听，其中包括我们在线下选题会和少年听友们一起制作的两期正式节目。点击收听：https://www.xiaoyuzhoufm.com/podcast/6899a9e12540fdafbd245d41 已经购买了「Knock Knock 世界」的朋友们无需重复购买，秋季敲门版里的节目是全年节目的一小部分。不过，也欢迎把秋季敲门版分享给更多志同道合的新朋友，我们也为每一位帮助我们成功邀请的老听友准备了一份专属礼物！感兴趣的朋友可以点击链接收听。 加入我们 声动活泼目前开放【商业发展经理、节目监制，以及内容实习生（可远程）、早咖啡实习生、商业实习生和运营实习生】岗位，详情点击招聘入口：加入声动活泼（在招职位速览） (加入声动活泼（在招职位速览）)，点击相应链接即可查看岗位详情及投递指南。 Untitled https://media24.fireside.fm/file/fireside-uploads-2024/images/8/8dd8a56f-9636-415a-8c00-f9ca6778e511/xj00UEVZ.png 幕后制作 监制：可宣 后期：赛德 运营：George 设计：饭团 商务合作 声动活泼商业化小队，点击链接可直达商务会客厅（商务会客厅链接：https://sourl.cn/QDhnEc ），也可发送邮件至 business@shengfm.cn 联系我们。 关于声动活泼 「用声音碰撞世界」，声动活泼致力于为人们提供源源不断的思考养料。 我们还有这些播客：不止金钱（2024 全新发布） (https://www.xiaoyuzhoufm.com/podcast/65a625966d045a7f5e0b5640)、跳进兔子洞第三季（2024 全新发布） (https://www.xiaoyuzhoufm.com/podcast/666c0ad1c26e396a36c6ee2a)、声东击西 (https://etw.fm/episodes)、声动早咖啡 (https://sheng-espresso.fireside.fm/)、What's Next｜科技早知道 (https://guiguzaozhidao.fireside.fm/episodes)、反潮流俱乐部 (https://fanchaoliuclub.fireside.fm/)、泡腾 VC (https://popvc.fireside.fm/)、商业WHY酱 (https://msbussinesswhy.fireside.fm/) 欢迎在即刻 (https://okjk.co/Qd43ia)、微博等社交媒体上与我们互动，搜索 声动活泼 即可找到我们。 也欢迎你写邮件和我们联系，邮箱地址是：ting@sheng.fm 获取更多和声动活泼有关的讯息，你也可以扫码添加声小音，在节目之外和我们保持联系！ 声小音 https://files.fireside.fm/file/fireside-uploads/images/8/8dd8a56f-9636-415a-8c00-f9ca6778e511/hdvzQQ2r.png Special Guests: 冯兆音 and 邓婷.