Podcasts about Liguria

Tragedia in mare: trovati morti i due giovani dispersi dopo il tuffoLe ricerche durate oltre un giorno si sono concluse tragicamente con il ritrovamento dei corpi di Whalid Sobi e Ewerton Bernardo Dos Santos. I due giovani erano scomparsi dopo essersi tuffati nelle acque di Ventimiglia. Ecco cosa è successo e come si sono svolte le operazioni di soccorso.#Ventimiglia #Cronaca #Liguria #Dispersi #Soccorsi

Unlocked after 1 year for patrons only: We reconstruct the complex divisions and conflicts in Italian society as the new state sought to realize the Risorgimento's unfulfilled promises of national unity and glory. We observe how the struggles among the Papacy, the Crown, and the powerful socialist movement led to Italy's momentous decision to break with the Triple Alliance and to enter World War One with the Entente powers, and laid the groundwork for the original rise of Fascism. Please sign up as a patron at any level in order to hear patron-only lectures, including the recent part 2 on the concept of the industrial revoltion: https://www.patreon.com/c/u5530632 Suggested further reading: John A. David, ed., "Italy in the Nineteenth Century”; Adrian Lyttleton, ed., “Liberal and Fascist Italy” Image: pro-intervention rally with Gabriele D'Annunzio, held at Quarto, Liguria, May 5, 1915

La pascualina es mucho más que una tarta en Uruguay. Es una de esas comidas capaces de generar discusiones eternas, recuerdos familiares y opiniones firmes. Basta nombrarla para que aparezcan las diferencias: ¿lleva azúcar arriba o no?, ¿la verdadera es de acelga o de espinaca?, ¿se come fría, caliente o recién salida del horno?, ¿la masa tiene que ser hojaldrada o criolla?Y como sucede con tantos platos populares, siempre aparece una certeza compartida: la pascualina de la madre o de la abuela no admite competencia.Aunque hoy parezca completamente uruguaya, la receta nació en Liguria, al norte de Italia, donde se la conoce como Torta Pasqualina. Existen registros desde el siglo XV y originalmente era una comida típica de Pascua. La receta tradicional tenía incluso una fuerte carga simbólica: la masa se hacía con 33 capas finísimas en homenaje a la edad de Cristo.Con la inmigración italiana, la preparación llegó al Río de la Plata y terminó transformándose por completo. En Uruguay se consolidó el uso de acelga y espinaca, apareció el clásico huevo duro entero dentro del relleno y la ricota pasó a ser opcional.Una de las mayores discusiones tiene que ver justamente con el relleno. La espinaca suele considerarse más suave y delicada, mientras que la acelga domina ampliamente las rotiserías uruguayas por ser más económica y rendidora. Pero ahí aparece uno de los secretos más importantes de esta preparación: el escurrido de la verdura.Si la acelga o la espinaca conservan demasiada agua, el vapor humedece la base de la masa y aparece uno de los defectos más criticados: el fondo gomoso y crudo.También existen diferencias sobre el armado. Para muchos, la verdadera pascualina lleva los clásicos huevos enteros colocados en pequeños huecos dentro del relleno para que, al cortar la porción, aparezca la sección amarilla y blanca perfectamente marcada. Otros prefieren una preparación más compacta, con el huevo mezclado en todo el relleno.La masa tampoco escapa a la polémica. Hay quienes defienden la versión hojaldrada, crocante y liviana, y quienes prefieren la masa criolla, más firme y práctica para comer con la mano o llevar como vianda.Y después está el tema del azúcar, probablemente una de las grietas gastronómicas más fuertes del país. Para muchas familias uruguayas, espolvorear azúcar sobre la tapa antes de hornear es parte esencial de la receta y aporta el clásico contraste entre lo dulce y lo salado. Para otros, directamente, es un sacrilegio culinario.La cocina cotidiana también generó sus propias variantes más rendidoras. Muchas recetas incorporan un puñado de arroz crudo al relleno para aumentar el volumen y hacer que la preparación alcance para más personas.La pascualina ocupa hoy un lugar central en las rotiserías, las viandas de oficina, las panaderías y los almuerzos familiares. Se come caliente, fría o recalentada y sigue siendo, por amplio margen, una de las tartas saladas más consumidas en Uruguay.Porque más allá de la receta, la pascualina terminó convirtiéndose en una pequeña expresión de la identidad cotidiana uruguaya.

Raffaella Romagnolo"La segreta cura"Mondadori Editorewww.mondadori.itCon coraggio e determinazione, con lo sguardo lucido e partecipe della scrittrice e una prosa sorvegliata e diretta, Raffaella Romagnolo affida a queste pagine un racconto personale impervio, affrontandolo con il contegno di chi sa tenere gli occhi sulla porzione di sentiero davanti a sé, prima che sulla cima.«Non avevo mai pensato tanto in vita mia a cosa succedeva sotto la mia pelle.» Che quella allo specchio fosse un'immagine ingannevole, che sotto la pelle fossero in atto processi misteriosi e ineluttabili, Raffaella Romagnolo lo ha scoperto a ventisette anni. E ci sono voluti quasi tre decenni dalla diagnosi di sclerosi multipla perché decidesse di raccontare ciò che a lungo è rimasto chiuso in un faldone di cartoncino rosso, l'archivio personale della sua storia clinica. All'inizio, la malattia convive con l'amore per la montagna e obiettivi ambiziosi: l'alta quota, la vetta, il monte Rosa, il Bianco. Il tentativo è ricalibrare le sfide a partire dai limiti di un corpo giovane e apparentemente sano, che di quei limiti grida tutta l'angustia. Ma, insieme alle difficoltà, comincia a manifestarsi anche la scrittura, che si nutre di ogni esperienza e diventa lo strumento per provare a stanare ciò a cui è arduo dare un nome. Come per la stesura di un buon romanzo, i dati di realtà diventano allora puntello e carburante: con grinta, metodo e disciplina, l'autrice riesamina i primi consulti medici, i referti, le prescrizioni con i loro pesanti effetti collaterali, il lento percorso di consapevolezza. Fino ad accettare che convivere con una malattia cronica significa modificare il proprio sguardo su se stessi e sul mondo. Ma comporta anche essere visti con occhi diversi. Qualche volta con paura, spesso con curiosità e comprensione: la fragilità, che è di tutti gli umani, non lascia indifferenti.Raffaella Romagnolo è nata a Casale Monferrato nel 1971 e vive sulle colline tra Piemonte e Liguria. Tra i suoi romanzi: La masnà (2012, ora riproposto negli Oscar Mondadori), Tutta questa vita (2013), La figlia sbagliata (2015, candidato premio Strega 2016, premio Società Lucchese dei Lettori 2016), Destino (2018), Di luce propria (2021, premio Pisa), Il cedro del Libano (2023, premio Campiello Natura). Respira con me (2019) è stato finalista al premio Strega Ragazzi e Ragazze 2020. Il romanzo Aggiustare l'universo (2023) è stato finalista al premio Strega 2024. Il suo racconto Come non sono diventata madre compare nella raccolta L'amore inevitabile. Storie di genitori, storie di figli (2026). I suoi libri sono tradotti in sette lingue.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Chapter 4 — Where Does Food Come From?I Once Spent a Week on a farm, and It Changed Everything I thought I Knew About Cooking.In the summer of 2001, at the insistence of a farmer friend who had grown tired of my asking him questions about produce over the phone, I spent a week working on his farm in the Berkshire hills of western Massachusetts. I was not a young man — I was in my early fifties, with four decades of professional cooking behind me. I had touched more food in my career than most people see in a lifetime. And yet that week humbled me more completely than any culinary experience I had ever had.I woke before dawn each morning to harvest vegetables in the blue-gray light before the heat came. I pulled carrots from the earth and felt how cold they were, how heavy, how alive. I picked tomatoes warmed by the afternoon sun and ate one standing in the field, juice running down my chin, and tasted something that bore almost no resemblance to the tomatoes I had been buying from a distributor for years. I dug potatoes, which are unlike any other vegetable to harvest — each plant yields a hidden cache, a buried treasure, and the act of uncovering them feels vaguely archaeological. By the end of the week, I understood something I had thought I already understood but clearly hadn't: the distance between a seed in the ground and a dish on a table is not just physical. It is transformative. It changes the food. And it changes the cook.The conversation about where food comes from has never been more urgent or more muddled than it is today. Children growing up in cities and suburbs often have no experiential understanding of how food is produced. They know that strawberries come in plastic clamshells and that chicken comes in boneless, skinless portions wrapped in plastic film. The farm, the field, the soil, the season — these things are as abstract to many modern children as medieval history. And yet they are not abstract at all. They are the foundation of everything we eat.The concept of seasonality is, to me, one of the most important and most neglected ideas in food education. We live in an era of global supply chains that deliver strawberries in December and butternut squash in June. While this represents a genuinely remarkable logistical achievement, it has come at a cost. When food is available year-round regardless of season, we lose the ability to taste it at its peak. A tomato grown in a hothouse in January and a tomato grown outdoors in August in New England are not the same food. The August tomato is sweeter, more complex, more nutritious, and more alive. The flavor difference is not subtle. It is dramatic. And nutrition tracks flavor — peak-season produce, harvested at full ripeness, contains more vitamins, minerals, and phytonutrients than produce harvested early and ripened in transit. Seasonality also teaches something more fundamental: patience. In a world of instant gratification, of streaming, same-day delivery, and fast food available at any hour, there is something genuinely countercultural about waiting for asparagus to come back in April, about understanding that the best peaches will only be here for six weeks in August, and then they will be gone. This is not deprivation. It is anticipation. And food anticipated and consumed at its proper moment tastes incomparably better than food demanded and delivered on command.The connection between food and place is equally important. Different soils, different climates, and different microclimates produce different flavors. This is the concept the French call terroir — the particular character that geography imprints on what grows in it. Italian food is inseparable from Italian geography: the rich volcanic soil of Campania that makes San Marzano tomatoes extraordinary, the chalky hillside soils of Tuscany that give the wine its particular mineral character, the brackish coastal air of Liguria that infuses the basil grown there with its unique fragrance.

Dalla sanità alla sicurezza, passando per il futuro dell'ospedale di Albenga, il rapporto con il Santa Corona, il tema del pronto soccorso, le sfide della città e il futuro personale in politica. In questa puntata il sindaco di Riccardo Tomatis si racconta senza filtri, tra ricordi personali legati all'ospedale ingauno, visioni amministrative e riflessioni sul futuro del territorio. “L'ospedale di Albenga è l'ospedale più nuovo della Liguria ed è sottoutilizzato”, sottolinea Tomatis, che rilancia sulla necessità di rafforzare reparti e servizi per arrivare, un passo alla volta, al ritorno del pronto soccorso. Spazio anche al tema sicurezza, alle opere pubbliche, al raddoppio ferroviario e al futuro dopo dodici anni di amministrazione: “Mi dispiacerebbe sprecare tutta l'esperienza maturata”. Una conversazione diretta su presente e il futuro di Albenga.___La Telefonata è il podcast di IVG.it condotto dal giornalista della redazione Nicola Seppone. Ogni episodio ti porta dentro il cuore della Riviera ligure, tra storie vere, protagonisti del territorio e conversazioni senza filtri sui temi che contano davvero. Attualità, politica, cultura, curiosità: ogni puntata apre una finestra diversa su ciò che accade — e su chi lo fa accadere.Il format è semplice e diretto: una chiacchierata con uno o più ospiti speciali. Nessun copione, nessun taglio, solo un dialogo genuino che lascia sempre qualcosa addosso — un'idea, un punto di vista, uno spunto di riflessione.Dove ascoltarlo? Su Spotify, Apple Podcast, Spreaker e YouTube.Vuoi rispondere alla Telefonata?Scrivi a nicolaseppone@ivg.it oppure cerca lo show su Instagram, Facebook e X.

In questa puntata parliamo di REG4IA, il progetto nazionale coordinato dal Dipartimento per la Trasformazione Digitale che coinvolge tutte le regioni e le province autonome nello sviluppo dell’Intelligenza Artificiale applicata ai servizi pubblici. Attraverso quattro hub interregionali guidati da Liguria, Lombardia, Toscana e Puglia, il progetto punta a integrare soluzioni AI nei diversi ecosistemi territoriali, valorizzando sia esigenze comuni sia specificità locali. La scorsa settimana, all'evento nazionale "Research to Innovate" a Bologna, Silvia Bandelloni ha intervistato Gianluca Vannuccini - Direttore Sistemi Informativi, infrastrutture tecnologiche e innovazione di Regione Toscana - per affrontare i temi della condivisione delle competenze e delle infrastrutture tra regioni, della creazione di hub di conoscenza condivisa e della necessità di costruire una pubblica amministrazione capace di utilizzare l’AI in modo consapevole, sostenibile e replicabile, senza dipendere passivamente dalle tecnologie private.

rWotD Episode 3296: Cairo Montenotte Welcome to random Wiki of the Day, your journey through Wikipedia's vast and varied content, one random article at a time.The random article for Wednesday, 13 May 2026, is Cairo Montenotte.Cairo Montenotte (Ligurian: Coiri) is a comune (municipality) in the Province of Savona in Liguria, an Italian region located 50 kilometres (31 mi) west of Genoa and 20 kilometres (12 mi) northwest of Savona. Located in Val Bormida, it is a member of the Comunità Montana Alta Val Bormida. It is considered to be the main centre of Val Bormida and it has 12691 inhabitants. It is the fourth municipality in the province together with Savona, Albenga and Varazze, as well as the most popular municipality in Liguria among those without outlet on the sea. The municipal area is the biggest in the province behind Sassello, and the fifth in Liguria.In 2007, Cairo Montenotte drew up a project of collaboration with other municipalities of Val Bormida through the formulation of the so-called ‘Piano Strategico delle Città delle Bormide’, focusing on establishing the area within the Ligurian socio-economic context in a more effective way.It is known for being the birthplace of the patriot Giuseppe Cesare Abba.Cairo Montenotte borders the following municipalities: Albisola Superiore, Altare, Carcare, Cengio, Cosseria, Dego, Giusvalla, Gottasecca, Pontinvrea, Saliceto, and Savona.This recording reflects the Wikipedia text as of 01:08 UTC on Wednesday, 13 May 2026.For the full current version of the article, see Cairo Montenotte on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Niamh.

Le repubbliche Marinare | Spendieren Sie einen Cafè (1€)? Donate a coffee (1€)? https://ko-fi.com/italiano Livello B1 - #Italia #stroia #middleagesLearn italian with an easy but interesting crime story - take a look at Luisa's murder mistery on Amazon: Gianduiotti e Delitti, i misteriosi casi del Commissario DalmassoStoria delle repubbliche marinareBuongiorno cari amici e amanti dell'italiano e benvenuti al nostro nuovo episodio.Oggi parliamo di alcune città e della loro storia, ma in un periodo storico particolare.Avete già sentito parlare delle Repubbliche marinare? Ecco oggi parliamo proprio di queste città che hanno avutouna grande importanza per l'Italia.Ma di che città parliamo? Quelle più conosciute sono quattro: Venezia, Amalfi, Genova e Pisa, ma ce n'erano altre, meno conosciute, menoimportanti che sono: Ancona, Gaeta, Noli e Ragusa.Vediamo prima dove si trovano oggi queste città: Venezia, beh, tutti sanno dov'è questa città e sono sicura che l'avrete già visitata. Di Venezia, se mi seguite, sapetegià un mucchio di cose, cosa vedere e anche tante curiosità di cui vi ho parlato nell'episodio della settimana scorsae nell'episodio numero 144. Bene allora sapete che Venezia si trova a nord est dell'Italia nella regione del Veneto.Amalfi invece si trova al sud, nella regione Campania. Genova è al nord, in Liguria e Pisa si trova in Toscana.Le meno importanti Gaeta nella regione del Lazio, Ancona nelle Marche, Noli una piccola città in Liguria e Ragusa si trova oggi in Croazia e si chiama Dubrovnik. ...- 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

We have a selection of Bottle Barn picks from Dan Berger on California Wine Country with Dan and Daedalus Howell today, wines that Dan says show a trend in the retail wine business. He has brought selections from Bottle Barn that will illustrate this new direction. Dan Berger is our weekly co-host and has also been featured on the show, such as this episode about Gamay Beaujolais. Many younger consumers are looking for something different. Instead of dwelling on doom and gloom because of low sales, there is an opportunity to reset the industry and to rethink things. As consumers change, the industry needs to adapt to changing tastes and provide more variety. Dan calls it a Return to Reality. So, for example, we have seen a rebirth of Chenin Blanc in the last 10 years. Barry Herbst, wine buyer at Bottle Barn, makes sure that the store has lots of choices for people looking for something new. ++++ CWC is brought to you by Deodora Estate Vineyards. Visit Deodora to discover 72 acres in the Petaluma Gap that are producing exceptional Chardonnay, Pinot Noir and Riesling. Sip the difference ! ++++ Esporão, Assyrtyko and Pigato The first taste is Esporão, a Portuguese white wine made in the style of Chardonnay. It is aged in wood, but delicately. It has only 13.5% ABV. The region is near the Atlantic Ocean in a cool area. It’s a 2020 and still fresh. It was $30 at first release, but now it is $12.99. The wine has the aging that it needs, it’s ready to drink. The next tasting is a 2024 Assyrtyko. It is a Greek grape that grows primarily in Greece. But this one is from Jim Barry Wines in Claire Valley in Australia. It sells for about $24 at Bottle Barn. Dan thinks the next wave of interest in wine will not be from collectors. There will have to be more diversity in the choices of wines, varieties and origins. Wine today is better than it has ever been around the world, because of better grape growing and better technology. Then they taste a 2024 Pigato from Liguria from the Durin label. It has some lemon blossom in the aroma. It’s delicious and has a lot of personality. Pigato only grows in Italy in Piedmont and Liguria, both are cool climates. Wine makers need to plant grapes like Pigato here in California. Pithos Rosso and Verduno Pelaverga Next is a red, Pithos Rosso. The bottle is 750 ml but has a squat shape. The grape variety is Nero d’Avola and is native to Sicily. The label says both Italy and Sicily. It is red, but light and delicious and not particularly tannic. Last is a 2024 Verduno Pelaverga from Fratelli Alessandria. It is a light grape from the Piemonte province, where Barolo and Barbera also grow. Pelaverga was planted as a blending grape. After 1945, they sent cuttings to UC Davis. Then, the vineyard was bulldozed and became extinct in Italy. But UC Davis had cuttings and now they have replanted it in Italy. It is as light as a Rosé but it has the taste and flavor of red wine. It’s Dan’s favorite recent discovery. Bottle Barn has it for $29.95, down from $45. It has the flavor profile of a good Barolo. Black pepper, violets, green herb, “complexity without knowing what it is.” Pelaverga is very rare here. The importer is North Berkeley Imports. Dan says they are committed to the wines they import. 

Episodio 367.En un lugar de playa muy playero viendo la playa, la vista era como muy romana. El disfrute del que habla Sumito, el señor que cocina, era un Woody Allen pero italiano y un negro en camisa, divino, delgaditos y todos coquetos. El semen de árbol estaba intensisimo y la verdad que no me puedo quejar porque lo voy a pasar de manera pintoresca.

Un'intervista lunga, diretta e senza filtri al sindaco di Alassio Marco Melgrati, protagonista dell'ultima puntata de La Telefonata. Si parte dal nodo più esplosivo: 179 concessioni tra stabilimenti balneari, chioschi e dehors che ridisegneranno il futuro del litorale alassino, tra bandi, indennizzi, PUD e aumento delle spiagge libere. Un dossier enorme che mette la città del Muretto al centro di una trasformazione senza precedenti in Liguria.Ma non c'è solo il mare. Si parla anche di sicurezza estiva e movida, delle polemiche social sugli eventi come Flauer, dei rapporti con il territorio e dei progetti condivisi (e mancati) con Albenga. E ancora: opere pubbliche, scuole, parcheggi, rigenerazione urbana, energia e investimenti PNRR che stanno cambiando il volto della città.Non mancano sanità e politica, con uno sguardo ai temi più divisivi del territorio e al futuro amministrativo di Alassio verso il 2028. Un racconto a tutto campo tra risultati, tensioni, rivendicazioni e visione politica.____La Telefonata è il podcast di IVG.it condotto dal giornalista della redazione Nicola Seppone. Ogni episodio ti porta dentro il cuore della Riviera ligure, tra storie vere, protagonisti del territorio e conversazioni senza filtri sui temi che contano davvero. Attualità, politica, cultura, curiosità: ogni puntata apre una finestra diversa su ciò che accade — e su chi lo fa accadere.Il format è semplice e diretto: una chiacchierata con uno o più ospiti speciali. Nessun copione, nessun taglio, solo un dialogo genuino che lascia sempre qualcosa addosso — un'idea, un punto di vista, uno spunto di riflessione.Dove ascoltarlo? Su Spotify, Apple Podcast, Spreaker e YouTube.Vuoi rispondere alla Telefonata? Scrivi a nicolaseppone@ivg.it oppure cerca lo show su Instagram, Facebook e X.

Maria Antonella Pratali"Il passo del bacio"Neos Edizioniwww.neosedizioni.itA Camogli una donna ritrova il suo maestro di pianoforte.E scopre che dopo ventidue anni, l'odio, che sembrava essersi trasformato, era ancora lì, intatto.Perché allora lei era una bambina, lui un predatore. Una storia potente e attuale per dare voce a chi non ha avuto il coraggio di far sentire la propria. “Lei voleva sapere perché ho smesso di suonare, e io glielo sto spiegando”.Un uomo di 52 anni muore precipitando dal Passo del Bacio sul “Sentiero dei tubi”, la ferrata che segue il percorso dell'antico acquedotto che riforniva di acqua la città di Camogli. Secondo la donna che era insieme a lui e che ha chiamato i soccorsi, l'uomo ha perso l'equilibrio ed è scivolato.Qualche giorno prima un incontro casuale sul treno che attraversa la Liguria riapre una ferita che Fulvia credeva di essere riuscita a rimarginare. Uno sguardo, un gesto, un passo familiare: basta un attimo perché il passato torni a imporsi con tutta la sua violenza. Fulvia si rivede a otto anni, caschetto biondo, gambette secche e vestitini colorati. Si rivede durante le lezioni di pianoforte che il suo maestro, Marco, allora trentenne, sapeva trasformare in un'avventura musicale. Note, melodie e carezze sempre più insistenti. Perché Marco era ed è un pedofilo. Un predatore, un devastatore di bambini. Ventidue anni dopo Fulvia non è più la ragazza fragile di allora, è una donna adulta, forte e fermamente decisa a impedire che altre giovani vittime possano cadere nella stessa rete di ambiguità e sopraffazione in cui era caduta lei da bambina. Nel continuo alternarsi tra presente e memoria, la sua storia prima si intreccia a quella dell'ex maestro di pianoforte, poi si dipana in un gioco parallelo di rimandi che prova a chiarire le radici e le dinamiche oscure dell'abuso e le sue devastanti conseguenze.Attraverso una narrazione lucida e misurata, mai retorica né indulgente, il romanzo affronta il dolore, la fatica della ricostruzione di sé e il coraggio della presa di coscienza. Sullo sfondo, Genova e la Liguria di levante: il mare, le scogliere a picco, i profumi intensi di una terra che accompagna, contrasta e dona sollievo al dramma interiore dei personaggi.Una storia potente, attuale, capace di scuotere e coinvolgere il lettore fino all'ultima pagina.“Io non ho ucciso, ma non provo pietà. Il destino ha deciso che non c'è redenzione per chi violenta l'innocenza. Solo silenzio. Ora posso respirare”.Spiega l'Autrice: «Questo libro nasce da ascolti attivi ed empatici, avvenuti nel corso di oltre trent'anni di insegnamento in scuole private e pubbliche, italiane e straniere. Le vicende narrate e le emozioni che attraversano i personaggi, totalmente inventati, sono state ispirate anche da dichiarazioni pubbliche, articoli, interviste e testimonianze di vittime di molestie o abusi. I possibili esiti patologici e le difficoltà relazionali che conseguono a esperienze di abuso, e che affiorano nei personaggi del romanzo, trovano riferimento in varie ricerche in ambito psicologico. Questo romanzo desidera dare voce anche a chi non ha avuto, o non ha ancora, il coraggio di far sentire la propria. E vuole invitare gli adulti a rendersi disponibili a un ascolto autentico e a uno sguardo aperto e attento, capaci di accogliere anche le verità più difficili e scomode».Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Adele Stigliano ed Enrico Zambruno - inviati a Genova - presentano la sfida tra Genoa e Como, 34° giornata di Serie A. Potrero, dove tutto ha inizio. Un podcast sul calcio italiano e internazionale.Su Como TV (https://tv.comofootball.com) nel 2026 potete seguire in diretta le partite della Saudi Pro League, Saudi King's Cup, Supercoppa d'Arabia, Copa Libertadores, Copa Sudamericana, Recopa, Liga Profesional Argentina, Trofeo de Campeones argentino, Eredivisie, Coppa di Francia, Scottish Premiership, Coppa di Scozia, Scottish League Cup, Scottish Championship, Coppa di Portogallo, Supercoppa di Portogallo.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/potrero--5761582/support.

While Southern Italy is the land of sun-drenched tomatoes and olive oil, Northern Italy offers a completely different culinary landscape. Characterized by the dramatic peaks of the Dolomites, the mist of the Po Valley, and the sophisticated canals of Venice, the North is a region of rich history and hearty, “stick-to-your-bones” fare.In this final installment of our Italian culinary tour, we head to the cooler climates of regions like Piedmont, Lombardy, and Veneto. We explore how the landscape—shaped by French, Germanic, and Celtic influences—created a cuisine centered around butter, cream, and grains like rice and corn.But don't let the prevalence of animal products fool you; Northern Italy is also the birthplace of some of the world's most beloved plant-based staples. From the “king of rice” to the traditional art of handmade gnocchi and the vibrant pesto of Liguria, we uncover the vegan gems hidden within this elegant, mountainous terrain.In this episode you will learn:* The North-South Divide: Why the cooler climate and flat pasturelands led to a culture of butter and cream, while the south remained the land of olive oil.* Risotto Perfection: The secrets of risotto alla Milanese and why carnaroli rice is considered the “caviar” of grains.* The History of Polenta and Gnocchi: How these humble cucina povera (peasant food) dishes evolved from ancient Roman porridges and New World imports into modern delicacies.* Pesto and Focaccia: A deep dive into Liguria's most famous exports and why a mortar and pestle is still the superior way to handle basil.* The Geography of Bread: The origins of ciabatta (the “slipper” bread) and the strict Italian rules about when—and when not—to eat bread with your meal.* Regional Luxuries: The hunt for the elusive white truffle of Piedmont and the centuries-old tradition of producing authentic Aceto Balsamico Tradizionale in Modena.* Holiday Traditions: The Catholic roots of “Carnevale” and the delicious fried treats like crostoli and zeppole that mark the season.* A Toast to the North: A guide to regional wines, from the sparkling reds of Lambrusco to the “foggy” Nebbiolo grapes of Barolo and Barbaresco.

Una conversazione diretta, senza giri di parole, su uno dei momenti più delicati per il futuro della Liguria e della provincia di Savona. In questa puntata abbiamo intervistato Simona Simonetti, consigliera comunale di minoranza a Finale Ligure e co-portavoce regionale di Europa-Verde. Con lei abbiamo affrontato alcuni dei temi più caldi del territorio: dalla possibilità di un termovalorizzatore in Liguria — con lo spettro concreto della Val Bormida e della provincia di Savona — fino alla questione delle concessioni balneari, tra incertezze normative e impatti locali. Non è mancato uno sguardo alle infrastrutture, con il raddoppio ferroviario Finale Ligure-Andora e le sue implicazioni, e una riflessione più generale sulla città di Finale: amministrazione, scelte politiche e una fotografia critica dell'attuale governo guidato dal sindaco Angelo Berlangieri. Un episodio per capire cosa sta succedendo davvero, tra ambiente, sviluppo e decisioni che avranno conseguenze nei prossimi anni.___  La Telefonata è il podcast di IVG.it condotto dal giornalista della redazione Nicola Seppone. Ogni episodio ti porta dritto nel cuore della Riviera ligure. Racconta storie vere, incontra persone interessanti e offre chiacchierate senza filtri sul nostro territorio e sui grandi temi del nostro tempo. Si parla di tutto: attualità, politica, cultura, curiosità. Ma soprattutto di storie che vale davvero la pena ascoltare.Ogni puntata è una chiamata diretta a un ospite speciale: niente copione, niente tagli. Solo una conversazione vera, capace di lasciarti sempre qualcosa — un'idea, un'emozione, uno spunto per riflettere. - Dove ascoltarlo? Su Spotify, Apple Podcast, Spreaker e YouTube- Vuoi rispondere alla Telefonata? Scrivi a nicolaseppone@ivg.it oppure cerca lo show su Instagram Facebook e X 

Cosa significa davvero “sporcarsi le mani” quando si parla di autismo? In questo episodio de La Telefonata, Paolo Giorgioracconta il lavoro quotidiano sul territorio con I Bambini delle Fate: incontri, relazioni, una rete costruita passo dopo passo con imprese e professionisti. Non si tratta di beneficenza occasionale, ma di un impegno concreto e continuativo: un modello in cui l'84% dei fondi raccolti resta sul territorio per sostenere direttamente famiglie e progetti locali. Dall'esperienza con l'associazione albenganese "Un passo alla volta" alle iniziative come l'“ora blu” nei supermercati, fino alle storie di chi ha scelto di fare la propria parte. Al centro, però, c'è anche uno sguardo al futuro: il sogno di una “Casa delle Fate” anche in Liguria, uno spazio pensato per aiutare i ragazzi autistici a conquistare autonomia e indipendenza.___ La Telefonata è il podcast di IVG.it condotto dal giornalista della redazione Nicola Seppone. Ogni episodio ti porta dritto nel cuore della Riviera ligure. Racconta storie vere, incontra persone interessanti e offre chiacchierate senza filtri sul nostro territorio e sui grandi temi del nostro tempo..Si parla di tutto: attualità, politica, cultura, curiosità. Ma soprattutto di storie che vale davvero la pena ascoltare.Ogni puntata è una chiamata diretta a un ospite speciale: niente copione, niente tagli. Solo una conversazione vera, capace di lasciarti sempre qualcosa — un'idea, un'emozione, uno spunto per riflettere. Dove ascoltarlo? Su Spotify, Apple Podcast, Spreaker e YouTube.  Vuoi rispondere alla Telefonata? Scrivi a nicolaseppone@ivg.it oppure cerca lo show su Instagram Facebook e X 

WATCH THE EPISODE HEREIn this EpisodeHighlights & “Must-Listen” Moments* 0:04 — Another chaotic start: David accidentally goes live 10 minutes early, Amy drops off before we've even begun, and Domenica Marchetti is sitting patiently waiting while the hosts sort themselves out. Welcome to live television, folks, take two.* 5:47 — Big news: SiriusXM signed us!: David announces that SiriusXM has reached out, signed a $2.1 million contract, and created an entire channel called “Culinistas” for them. Amy plays it beautifully straight — until someone notices it's April 1st. David: “Do you realize SiriusXM has no idea who we are? I bought it!” April Fools. Amy: 1, David: 1.* 9:39 — Amy's food week: Providence, Rhode Island food festival: Amy attended a celebration of Providence's dining scene — a city that, like Portland, Maine, punches way above its weight in food culture. She toured Johnson & Wales College of Culinary Arts, did a panel with food writer elyse major, and came away wanting to move there immediately.* 11:41 — This week's bread bake: the Levain: Amy's sourdough rhythm continues — this week a classic nearly-all-white sourdough with a touch of rye flour. A Levain. Beautiful and tangy.* 11:53 — Amy's Passover Seder prep: Amy is getting her brisket going and making chicken stock for matzo ball soup. Her Seder menu also includes crispy glazed sweet potatoes (mandolined, stood up like hassleback, glazed with brown sugar and butter) and roasted asparagus with Parmesan.* 13:02 — David's food week: Portuguese Flourless Almond Cake disaster: David attempted his Portuguese almond flourless cake — a recipe he hadn't made in 25 years — for Passover at Fred and Ginger's house. He forgot the butter. Alan had to drive to the gas station to buy eggs. ADHD: 1, David: 0. He went to an ADHD coach this week, however — and reports it's going well.* 15:01 — Domenica's food week: Domenica's retired husband has been doing all the cooking, which has been wonderful. Highlights: grilled swordfish steaks with asparagus and roasted red pepper, and enchiladas made with a whole rotisserie chicken — left on the counter overnight, tragically.* 17:00 — Crab cake catastrophe: The One was making crab cakes from one-year-old canned crab. The tongue-tingling was histamine poisoning. They tasted it anyway. Don't be like David.* 19:41 — Book spotlight: Pimento Cheese: The Cookbook by Rebecca Lang: David recommends this deep dive into pimento cheese from the author of Around the Southern Table — lemony goat cheese pimento, Tex-Mex pimento, pineapple pimento, and pimento cheese with chili crunch. David riffs on his own deep-fried pimento cheese balls: firmed in the freezer, rolled in panko, fried at 375°F until oozy and golden.* 22:31 — Mrs. Appleyard's Vermont kitchen: Amy goes vintage with Louise Andrews Kent, who wrote under the pen name Mrs. Appleyard — a sort of 1940s–50s Martha Stewart of northern Vermont who wrote seasonal cookbooks chronicling life in the tiny town of Crosbury Common. Charming, funny, and findable in used bookshops.* 24:52 — Food news: Copenhagen's $340 chicken prix-fixe: A restaurant called Kylling (Danish for “chicken”) invites guests to spend the first 90 minutes of their dinner interacting with the chicken that will be served. The bread basket features cardamom buns made with chicken schmaltz. Art, or a lie? David fell for for. Again, April Fools. Amy: 2, David: 1.* 26:03 — Instagram's shadow ban on non-overhead food photos (April Fools, part 2): A “leaked memo” claims Instagram will shadow ban any food not photographed from above — including soup shot from the side. Amy almost sold it. David: “It was believable. I believe everything.” April Fools. Amy: 3, David: 1.* 27:53 — Guest: Domenica Marchetti on Italian Cookies: The main event. Domenica is a prolific food writer and the author of nine acclaimed cookbooks. Her new book, Italian Cookies: Authentic Recipes and Sweet Stories from Every Region, drops April 14th. It covers the genuine, regional Italian cookies — not Italian-American cookies (no rainbow cookies, no iced anise rounds) — organized by the north, central Italy, the south, and the islands.* 29:51 — The cookie that started it all: Canestraletto di Torigna: In 2017, Domenica bit into this crumbly, flower-shaped butter cookie from Liguria (Genoa) and fell down a rabbit hole. She went to the town where it's baked, found it has a history dating to the 15th century, and discovered a town of 2,000 people with eight bakeries dedicated to this one cookie.* 31:16 — Cookie pilgrimage: from Liguria to Saronno: From there it was the amaretti di Gavi (soft almond cookies from Gavi), then Voltaggio, then Saronno — where Domenica interviewed Paolo Lazzaroni, patriarch of the Chiostro di Saronno, the family behind the famous crunchy amaretti. His grandfather purchased a medieval cloister in the early 20th century, where the family has lived and worked ever since.* 34:03 — What's in the book (and what isn't): The book is organized regionally — cookies of the north, central Italy, the south, and the islands. In the islands chapter: Sicilian cucidati (buccellati) — butter pastry filled with fig paste, nuts, and chocolate. Not included: rainbow cookies, Italian-American iced anise rounds. This is Italy, not the neighborhood bakery.* 36:21 — Deep dive on the Serpetti: From the Castelli Romani hill towns outside Rome (where the Pope summers), these S-shaped butter cookies are made by a fifth-generation family in Monteportio Catone. The baker, Paola Rosazza Battore, wouldn't share her recipe — but let Domenica watch. Through pure visual reporting, Domenica reverse-engineered it.* 44:31 — Regional cookie trends from north to south: Butter in the north. Olive oil in the south and Calabria. Lard in some regions. Honey and mostocotto (cooked grape must) in areas where sugar was once scarce. The cookies reflect the landscape, the agriculture, and the history of each place.* 56:54 — Coming back: Domenica hints that this conversation is far from over. David floats the idea of a live “Mouthful” where Domenica bakes a cookie while they talk to her. She's in.* 57:51 — Farewell to Domenica: She's a prolific food writer, author of nine acclaimed cookbooks — from handmade pasta to preserving to traditional Italian cooking — and one of the most trusted voices in regional Italian cuisine. Italian Cookies drops April 14th. Pre-order now on Amazon.Recipes Mentioned* Matzo Ball Soup (with homemade chicken stock)* Brisket* Crispy Glazed Sweet Potatoes (mandolined, hassleback-style, brown sugar and butter glaze)* Roasted Asparagus with Parmesan* Portuguese Flourless Almond Cake* Grilled Swordfish Steaks with Asparagus and Red Pepper (Domenica's husband's)* Enchiladas (with rotisserie chicken — RIP, left on the counter)* Crab Cakes (from very old canned crab — do not recommend)* Deep-Fried Pimento Cheese Balls (David's riff — panko-crusted, fried at 375°F)* Pimento Cheese with Chili Crunch (from Pimento Cheese: The Cookbook)* Canestrelletti di Torigna (Ligurian flower-shaped butter cookie)* Amaretti di Gavi (soft almond cookies from Gavi)* Amaretti di Saronno (the classic crunchy ones from Chiostro di Saronno)* Serpetti (S-shaped butter cookies from the Castelli Romani, outside Rome)* Cucidati / Buccellati (Sicilian fig-filled butter pastry cookies)* Occhi di Bue / Frolini al Burro (jam-filled bullseye butter cookies, northern Italy)Books and Publications* Italian Cookies: Authentic Recipes and Sweet Stories from Every Region by Domenica Marchetti — dropping April 14th; pre-order on Amazon now* Pimento Cheese: The Southern Spread by Rebecca Lang* Mrs. Appleyard's Vermont cookbooks by Louise Andrews Kent — vintage, findable in used bookshopsWhere to Find Us* Amy Traverso* Instagram | Yankee* David Leite* Instagram | Pinterest | Facebook | Youtube This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit davidleite.substack.com

"Everything had been made honestly, quickly, without frills, but as it should be. It was wholesome, life giving...We had eaten well; we felt well. As we sat in the piazza inhaling our black half inches of double espressi, I felt very happy" - Sybille Bedford, Pleasures and LandscapesWelcome to Episode #138:Today I share some gastronomic highlights from the table in Italy. Italian food has so much to offer, and is a wonderful portal into the culture and the regional dishes. You do not want to miss the opportunity to discover new flavours and specialities of the place you are visiting while traveling.I love the excitement of ordering the cucina classica or something off the daily menu when I travel. Here are a few of many glorious moments that I have savoured along the way...Enjoy,Shownotes - All Places / Restaurants mentioned for today's podcast are here!A Writer in Italy InstagramSubstack - At My TableMichelle's BooksMusical Scores by Richard JohnstonA Writer in Italy is about travel and life. A place to share the beautiful travel journeys and the discoveries along the way. Italy has many attractions - art, design, architecture, history and the wonderful food culture. Michelle shares her love of books on Italy and the places and regions that have inspired her along the way.Support the show

Sometimes the wrong path is the best path. I was stumbling down the side of a steep mountain slope, pushing through thorny bushes, scratched, thirsty and utterly confused. But I was smiling. While on a week-long hike across the Ligurian hills in northwest Italy – I had become hopelessly lost. But then something magical happened: I rounded a corner into a mountain meadow filled with dozens of wild horses - muscled stallions with jet black manes, gold skinned mares and tiny foals. Startled at first, they soon found themselves more curious than afraid and gradually came to graze by my side. It took me half a day to find my way back again, but it was worth every cut and bruise. The best adventures always happen when you least expect it.Aaron MillarIn today's episode, host Aaron Millar shares the story of one of his favorite long-distance hikes of all time. The Old Salt Road is part of a network of ancient trading paths that crisscross northwest Italy. For over a thousand years mule herders, laden with precious salt from the ports of Liguria, would use this trail to trade with the rich plains of Lombardy, returning with goatskins of wine, salami and cheese. The hike begins in the fertile wine-growing plains of Oltrepo Pavese - 50 miles north of Genoa – and then heads steadily south, crossing the Apennine Mountains, before dropping down 80 beautiful miles later to the small fishing village of Camogli on the Ligurian coast.This is a story about a bucket list hike through one of the most beautiful places in Europe. But it's also the story of how this old road was now nearly forgotten, and the trail that is bringing it back to life.CONNECT WITH USReady to Explore? If you're into real stories of epic places told by the people who've lived them, make sure to subscribe so you won't miss an episode of Series 4 of Armchair Explorer.If you're interested to find out more about how to do this hike for yourself drop Aaron a line on InstagramInstagram: ⁠@armchairexplorerpodcast⁠Facebook: ⁠@armchairexplorerpodcast⁠⁠Armchair Explorer⁠ is produced by ⁠Armchair Productions⁠. Aaron Millar and Jason Paton presented the show, Charles Tyrie did the audio editing and sound design.Armchair Explorer is a part of the Voyascape Podcast Network check out their other shows from around the world at voyascape.com Mentioned in this episode:Check out all of our other travel podcasts from around the worldThis podcast is part of the Voyascape Network, a collection of some of the world's best travel podcasts. Explore more at Voyascape.com. For advertising or sponsorship opportunities across the network, see the link below.Voyascape Podcast NetworkCheck out the Smart Travel PodcastThis week's show is supported by the new Smart Travel Podcast. Travel smarter — and spend less — with help from NerdWallet. Check out Smart Travel at the Link below:Smart Travel Podcast

Dopo la prima parte del viaggio alla scoperta delle radici svizzere del calcio italiano andata in onda venerdì 13 marzo, la seconda riprende la narrazione là dove tutto era iniziato: nei vicoli di Genova, tra caffè storici e case affacciate su piazze che, più di un secolo fa, videro rotolare i primi palloni. Qui prosegue la ricostruzione di una storia sorprendente, in cui la nascita del calcio italiano è il risultato di relazioni improvvisate, intuizioni coraggiose e di una presenza svizzera ben più radicata di quanto il racconto popolare abbia mai ammesso.Accanto a figure già incontrate come Edoardo Bosio e James Richardson Spensley, questa tappa introduce nuovi protagonisti: pionieri elvetici giunti in Liguria per studio, lavoro o semplice avventura, e che finirono per scrivere pagine indelebili del nostro sport. È il caso di Henry Dapples, genovese di nascita ma vodese d'origine, tra i primi giocatori del Genoa e vincitore di ben cinque campionati tra il 1898 e il 1903; oppure di Étienne Charles Bugnion, adolescente svizzero che dopo aver fondato il Montriond Lausanne approdò sotto la Lanterna, contribuendo ai successi rossoblù e segnando gol rimasti nella memoria collettiva.Il racconto si allarga poi agli ambienti sociali dell'epoca: giovani benestanti, studenti internazionali, figli della borghesia industriale — spesso svizzeri, inglesi o italo‑svizzeri — che ebbero il privilegio di praticare uno sport allora considerato elitario. Mentre buona parte della popolazione italiana faticava a procurarsi il pane quotidiano, questi “virgulti” costruivano inconsapevolmente il linguaggio tecnico e culturale del calcio che sarebbe arrivato fino a noi.Non mancano episodi curiosi, come il trofeo della Palla Dapples — una splendida sfera d'argento che passava di squadra in squadra attraverso sfide secche — o le vicende di Edoardo Pasteur, svizzero naturalizzato genovese e figura simbolo del Genoa, capace di ricoprire nel club praticamente ogni ruolo: giocatore, capitano, segretario, presidente. E ancora l'arrivo dell'allenatore inglese William Garbutt, che introdusse nel lessico italiano il termine “mister”, destinato a diventare universale.La storia del calcio si intreccia con quella sociale dell'Italia di fine Ottocento: il primo campionato, giocato l'8 maggio 1898, passò quasi inosservato perché in quelle stesse ore Milano era scossa dai moti del pane repressi dal generale Fiorenzo Bava Beccaris. Un contrasto che fotografa perfettamente il mondo in cui il calcio muoveva i suoi primi passi: un Paese affamato e diseguale, ma anche pieno di energie nuove.Il percorso, sempre in compagnia dello storico del calcio Fabrizio Calzia, si conclude nel cuore simbolico della memoria rossoblù: il Museo della Storia del Genoa. Qui, tra maglie ottocentesche, trofei unici e cimeli che raccontano un secolo e mezzo di storia, torna ancora una volta la presenza elvetica. Non solo nei nomi degli antichi protagonisti, ma persino nella toponomastica della città: dalla funicolare costruita da ingegneri svizzeri al quartiere del Righi, testimonianze discrete di un legame che Genova porta ancora inciso nel paesaggio.Questa seconda parte ci ricorda che il calcio italiano non è nato da un gesto singolo, ma da un intreccio di destini, migrazioni e passioni condivise. Gli svizzeri non furono comparse. Furono architetti, organizzatori, visionari. Senza di loro — e senza quel mondo di giovani benestanti, cosmopoliti e curiosi — il football italiano non avrebbe trovato la sua forma.E ciò che il tempo aveva quasi cancellato, oggi torna a brillare in tutta la sua forza.Nell'immagine d'apertura: la Palla Dapples., il trofeo in argento realizzato a proprie spese dallo svizzero Henri Dapples, uno dei primi giocatori del Genoa e primo vincitore del campionato italiano. I suoi zii materni Jean De Fernex, Charles De Fernex e Eugène De Fernex furono tra i pionieri del calcio a Torino

Dopo la prima parte del viaggio alla scoperta delle radici svizzere del calcio italiano andata in onda venerdì 13 marzo, la seconda riprende la narrazione là dove tutto era iniziato: nei vicoli di Genova, tra caffè storici e case affacciate su piazze che, più di un secolo fa, videro rotolare i primi palloni. Qui prosegue la ricostruzione di una storia sorprendente, in cui la nascita del calcio italiano è il risultato di relazioni improvvisate, intuizioni coraggiose e di una presenza svizzera ben più radicata di quanto il racconto popolare abbia mai ammesso.Accanto a figure già incontrate come Edoardo Bosio e James Richardson Spensley, questa tappa introduce nuovi protagonisti: pionieri elvetici giunti in Liguria per studio, lavoro o semplice avventura, e che finirono per scrivere pagine indelebili del nostro sport. È il caso di Henry Dapples, genovese di nascita ma vodese d'origine, tra i primi giocatori del Genoa e vincitore di ben cinque campionati tra il 1898 e il 1903; oppure di Étienne Charles Bugnion, adolescente svizzero che dopo aver fondato il Montriond Lausanne approdò sotto la Lanterna, contribuendo ai successi rossoblù e segnando gol rimasti nella memoria collettiva.undefinedIl racconto si allarga poi agli ambienti sociali dell'epoca: giovani benestanti, studenti internazionali, figli della borghesia industriale — spesso svizzeri, inglesi o italo‑svizzeri — che ebbero il privilegio di praticare uno sport allora considerato elitario. Mentre buona parte della popolazione italiana faticava a procurarsi il pane quotidiano, questi “virgulti” costruivano inconsapevolmente il linguaggio tecnico e culturale del calcio che sarebbe arrivato fino a noi.Non mancano episodi curiosi, come il trofeo della Palla Dapples — una splendida sfera d'argento che passava di squadra in squadra attraverso sfide secche — o le vicende di Edoardo Pasteur, svizzero naturalizzato genovese e figura simbolo del Genoa, capace di ricoprire nel club praticamente ogni ruolo: giocatore, capitano, segretario, presidente. E ancora l'arrivo dell'allenatore inglese William Garbutt, che introdusse nel lessico italiano il termine “mister”, destinato a diventare universale.La storia del calcio si intreccia con quella sociale dell'Italia di fine Ottocento: il primo campionato, giocato l'8 maggio 1898, passò quasi inosservato perché in quelle stesse ore Milano era scossa dai moti del pane repressi dal generale Fiorenzo Bava Beccaris. Un contrasto che fotografa perfettamente il mondo in cui il calcio muoveva i suoi primi passi: un Paese affamato e diseguale, ma anche pieno di energie nuove.undefinedIl percorso, sempre in compagnia dello storico del calcio Fabrizio Calzia, si conclude nel cuore simbolico della memoria rossoblù: il Museo della Storia del Genoa. Qui, tra maglie ottocentesche, trofei unici e cimeli che raccontano un secolo e mezzo di storia, torna ancora una volta la presenza elvetica. Non solo nei nomi degli antichi protagonisti, ma persino nella toponomastica della città: dalla funicolare costruita da ingegneri svizzeri al quartiere del Righi, testimonianze discrete di un legame che Genova porta ancora inciso nel paesaggio.Questa seconda parte ci ricorda che il calcio italiano non è nato da un gesto singolo, ma da un intreccio di destini, migrazioni e passioni condivise. Gli svizzeri non furono comparse. Furono architetti, organizzatori, visionari. Senza di loro — e senza quel mondo di giovani benestanti, cosmopoliti e curiosi — il football italiano non avrebbe trovato la sua forma.E ciò che il tempo aveva quasi cancellato, oggi torna a brillare in tutta la sua forza.Nell'immagine d'apertura: la Palla Dapples., il trofeo in argento realizzato a proprie spese dallo svizzero Henri Dapples, uno dei primi giocatori del Genoa e primo vincitore del campionato italiano. I suoi zii materni Jean De Fernex, Charles De Fernex e Eugène De Fernex furono tra i pionieri del calcio a Torinoundefined

Ottieni il 4% annuo lordo di interessi per 6 mesi se apri Conto Corrente Arancio Business di ING entro il 21 marzo: ⁠https://links.madeitpodcast.it/ING (#adv) Da un piccolo paese della Liguria ai vertici di alcune delle aziende più importanti al mondo. In questa puntata di Made IT parliamo con Cristina Scocchia, oggi CEO di Illycaffè ed ex amministratore delegato di L'Oréal Italia e KIKO Milano — una delle pochissime donne in Italia ad aver guidato tre grandi aziende. Con Cristina ripercorriamo il suo percorso: dagli inizi in Procter & Gamble alla leadership internazionale, fino alle sfide più complesse affrontate in Italia. Parliamo di ambizione, disciplina, meritocrazia, decisioni difficili e di cosa serve davvero per costruire una carriera ai massimi livelli. Ma anche di un tema fondamentale: perché oggi le donne sono ancora un'eccezione ai vertici e cosa dovrebbe cambiare per invertire questa tendenza. Una conversazione onesta e senza filtri sul successo, raccontato per quello che è davvero. Seguici su Instagram @⁠madeit.podcast⁠

⁠⁠⁠Vai, scopri di più su Melinda! Biscotti della salute e fette biscottate sono due forme della stessa idea: pane dolce lievitato, affettato e ricotto per conservarsi a lungo e reggere l'inzuppo. I primi nascono tra Liguria e Piemonte come prodotto ricco e “rinforzante”, le seconde ne sono la versione industriale alleggerita e neutra, diventata lo standard della colazione italiana. #biscottidellasalute #biscottosalute#fettebiscottate #italianrusks #colazioneitaliana#lagaccio #piemonte #liguria #prodottotradizionale#storiadelcibo Learn more about your ad choices. Visit megaphone.fm/adchoices

Pensavate che avremmo smesso di parlare di Sanremo? Bene. Vi sbagliavate. Vi sbagliavate di grosso. Oggi le nostre speaker Alessandra e Sofia tornano direttamente dalla Liguria con tantissime news riguardo il festival e gli ultimi movimenti della scena musicale. Oltre a commentare le classifiche e gli ascolti di Sanremo, le ha raggiunte in cabina Murubutu che ci ha parlato del suo ultimo tour "La vita segreta delle città" e della svolta sociale del rap con la "letteraturap". Per recuperare questo e tanto altro non ti resta che ascoltare la puntata!

Stasera si concluderà il Festival di Sanremo, il grande spettacolo musicale che ogni febbraio da 76 anni la tv nazionale Rai manda in onda in diretta dall'omonima città della Liguria. In questa puntata parleremo anche di un conflitto scoppiato tra Pakistan e Afghanistan: un conflitto che sembra nuovo e che invece ha una lunga storia. Parleremo dell'addio ai monopattini elettrici in affitto da parte di Firenze e dell'invito del ministro dell'Istruzione agli studenti di pulire e rassettare le aule. Infine la storia di Margherita, una mucca libera

All'interno del programma Radio PNR City Life, condotto da Giampaolo Cacciatore, nello spazio Diocesi con suor Roberta, Antonella Muratore Boarin che, insieme al marito Franco, è coppia incaricata della Pastorale Familiare diocesana e coppia responsabile della Pastorale Familiare regionale per la Liguria ci presenta il convegno “Maschio e Femmina li creò… Prospettive di educazione affettiva”, una giornata di riflessione e confronto sulle prospettive dell'educazione affettiva. L'evento si terrà sabato 28 febbraio ad Arenzano (GE), presso il Santuario del Santo Bambino di Praga.

Adele Stigliano ci porta sul palco del Teatro Ariston di Sanremo, dando i voti agli outfit della prima serata del Festival e parlando della passione per il calcio che trasuda in molti dei cantanti in gara.Potrero, dove tutto ha inizio. Un podcast sul calcio italiano e internazionale.Su Como TV (https://tv.comofootball.com) nel 2026 potete seguire in diretta le partite della Saudi Pro League, Saudi King's Cup, Supercoppa d'Arabia, Copa Libertadores, Copa Sudamericana, Recopa, Liga Profesional Argentina, Trofeo de Campeones argentino, Eredivisie, Coppa di Francia, Scottish Premiership, Coppa di Scozia, Scottish League Cup, Scottish Championship, Coppa di Portogallo, Supercoppa di Portogallo, HNL croata e tutti i contenuti di calcio italiano e internazionale on demand.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/potrero--5761582/support.

Oggi ti porto in Liguria, e ti racconto tante curiosità su questa splendida regione.Trascrizione ed esercizi su www.podcastquattrostagioni.ch

Liguria Italy is often reduced to a handful of famous images: pastel houses clinging to cliffs, glamorous yachts bobbing in Portofino, hikers threading their way between the villages of the Cinque Terre. But as this conversation on my Flavor of Italy podcast reveals, Liguria Italy is far richer, deeper, and more nuanced than its postcard reputation suggests. In this episode, I spoke with Anna Merulla, co-founder of Beautiful Liguria, a locally based travel company created to tell the story of Liguria Italy from the inside out. What emerges is a portrait of a region that rewards curiosity, slower travel, and a willingness to step beyond the obvious.

I dati definitivi Istat di novembre certificano un ulteriore rallentamento dell'inflazione: l'indice dei prezzi cala dello 0,2% su base mensile (terzo calo consecutivo) e cresce dell'1,1% su base annua, il livello più basso del 2025. In assenza di variazioni a dicembre, l'inflazione acquisita per il 2025 si attesterebbe all'1,5% per l'indice generale e all'1,8% per la componente di fondo. Nel confronto europeo, l'Italia resta tra i Paesi più virtuosi, con un'inflazione ben al di sotto della media UE del 2,1% e inferiore anche a quella tedesca (2,6%). In rallentamento sia il "carrello della spesa" (+1,5%) sia l'inflazione di fondo (+1,7%). A spingere verso il basso la media sono soprattutto i servizi, in particolare i trasporti, mentre sui beni l'aumento resta marginale. Diffuso il raffreddamento dei prezzi, più marcato sugli alimentari. L'energia resta in calo su base annua, ma con segnali di risalita mensile legati ai prezzi non regolamentati, solo in parte compensati dal forte calo delle tariffe regolate. Il commento è di Mariano Bella, direttore Ufficio studi ConfcommercioIn calo il mercato dei beni durevoli dopo due anni di crescitaDopo due anni di espansione, nel 2025 il mercato dei beni durevoli torna in territorio negativo: consumi in calo del 2,3% in volume e del 2,4% in valore, con una spesa che scende a 77,1 miliardi. Il settore resta sopra i livelli pre-Covid solo grazie all'aumento dei prezzi, cresciuti di quasi il 20% in sei anni, mentre i volumi sono ancora sotto del 6,8% rispetto al 2019. A pesare è soprattutto la mobilità, che vale oltre metà della spesa, con le auto nuove in forte calo (-9% a valore), mentre l'usato tiene. Casa, mobili e tecnologia restano stagnanti. Sul piano territoriale, cali più contenuti in Trentino-Alto Adige, Sicilia e Liguria, più marcati in Basilicata e Piemonte. La Lombardia resta il primo mercato per valori assoluti. Nel complesso emerge un consumatore prudente: orientato al risparmio, attivo sull'usato, ma frenato da potere d'acquisto ridotto e incertezza economica. Interviene Claudio Bardazzi, responsabile Osservatorio FindomesticLe ultime novità in Manovra, fanno discutere le pensioniIl maxi-emendamento alla manovra presentato dal governo porta la legge di Bilancio 2026 a oltre 22 miliardi e rafforza il sostegno agli investimenti delle imprese, ma introduce anche una stretta sulla previdenza destinata a far discutere. La misura principale riguarda l'allungamento graduale delle "finestre" per la pensione anticipata, che passeranno da tre a sei mesi entro il 2035, e l'aumento progressivo dei requisiti contributivi legati alla speranza di vita. Viene inoltre ridimensionato l'effetto del riscatto della laurea, con una riduzione crescente dei mesi utili ai fini pensionistici. L'unica novità attesa è l'introduzione del silenzio-assenso per il conferimento del Tfr ai fondi pensione, limitata però ai neoassunti. La Lega ha annunciato possibili emendamenti per modificare le nuove regole su finestre e riscatto, proponendo clausole di salvaguardia alternative e coperture diverse, mentre il confronto politico resta aperto. Ne parliamo con Gianni Trovati, Il Sole 24 Ore

Giorgio BorriniAssessore alla Cultura di SarzanaCandidata Capitale di Cultura 2028L'impavida.Sarzana crocevia del futuro.Sarzana non è borgo né metropoli, ma una città-tessitrice che connette storie, persone, imprese e territorio. La candidatura mette in campo progetti concreti, una governance solida, e investimenti mirati per rigenerare spazi, sostenere imprese e migliorare la vita delle persone.Sarzana 2028 è la sfida di una città impavida che, partendo dalla cultura, costruisce il proprio futuro e si propone come un modello replicabile per l'Italia delle città medie e dei territori.Sarzana è oggi l'unica città della Liguria a candidarsi a Capitale italiana della cultura e rappresenta l'intera Regione in una prospettiva euro-mediterranea e transfrontaliera.Culla di uno straordinario patrimonio storico, artistico e religioso, Sarzana sceglie oggi la cultura come leva strategica per lo sviluppo. Una cultura che non è nostalgia del passato ma una proposta che mette insieme identità, produzione locale e nuove competenze.Il progetto punta a rendere la città un laboratorio di pratiche sostenibili: turismo lento, reti produttive locali, percorsi formativi e valorizzazione del paesaggio.L'impavidità, radicata nell'identità storica di Sarzana, dà il nome al suo Teatro Civico oggi centro di produzione a livello nazionale ed è parte integrante di ogni capitolo della sua storia e vita quotidiana. Oggi Sarzana guarda senza paura al futuro. In questa prospettiva la cultura è azione pubblica, a favore della coesione sociale e della cura dei beni comuni. La Fortezza Firmafede, trasformata da architettura militare in spazio di dialogo e diffusione dei saperi, è il simbolo più immediato e protagonista di un progetto ideale di apertura degli spazi e rigenerazione urbana guidata dalla cultura.La candidatura di Sarzana a Capitale Italiana della Cultura 2028 nasce da un percorso avviato nel 2021, inserito nei documenti strategici comunali e sostenuto da una visione di sviluppo pluriennale. Ha coinvolto istituzioni, partner nazionali e internazionali e un ampio tessuto sociale e culturale, sotto la direzione di Umberto Croppi e di un comitato scientifico multidisciplinare.Sarzana, 22.000 abitanti, è da sempre un punto d'incontro strategico tra Liguria, Emilia e Toscana, crocevia della Via Francigena e della Via della Costa. Il suo territorio è un mosaico di borghi, coste e montagne attraversato dal fiume Magra, che unisce valle, mare e colline. Un tessuto connettivo che collega la Lunigiana storica alla Liguria e al Golfo dei Poeti in una dimensione culturale e geografica unica.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Welcome to a very special festive edition of The Travel Diaries. Today I'm joined by the legendary chef, restaurateur and writer, Rick Stein.Rick is returning to the podcast for the first time in five years, and I can't think of a better guest to bring a little culinary sparkle to our Christmas Special.This year, Rick is celebrating the release of his beautifully personal and utterly joyful new book, Rick Stein's Christmas - a treasure trove of festive recipes, stories, traditions, and reflections on what this time of year really means. In our conversation, we dive into his own Christmas rituals in both Cornwall and Australia, the dishes that embody comfort and nostalgia for him, the lessons he learned while cooking - and occasionally improvising - his way through last year's festivities, and the deeply human side of the season that he weaves into the book.We also travel far beyond the Christmas table, hearing about Rick's recent adventures filming in the Australian outback, the food gems he uncovered there, his newest favourite destinations, and the UK restaurants he's loving right now.So pour yourself something warm and cosy, settle in, and enjoy this festive journey with the wonderful Rick Stein.Destination Recap: ThailandAustraliaThe Niagara Café, Gundagai, NSW, AustraliaÎle de Ré, France, FranceRiva, Barnes, London, England Riley's Fish Shack, Tynemouth, EnglandPorto, PortugalDouro Valley, Portugal Laigueglia, Liguria, Italy, Italy Hotel Windsor, Laigueglia, Liguria, ItalyTrieste, Italy Tbilisi, GeorgiaArgentinaPeruBrazilLake Como, Italy If you'd like to explore more of Rick's stories, tips and recipes, his new book Rick Stein's Christmas is out now. II'll be back in a couple of weeks, on the 30th, with a very special guest to close out the year - actor and national treasure Richard E. Grant.Until then, have a cosy, joyful Christmas, and thank you so much for listening to The Travel Diaries.With thanks to...Citalia - If, like Rick, you're dreaming of your own Italian adventure, visit Citalia.com to start planning today.Naturhotel Forsthofgut – if, like many of our guests, you're dreaming of an alpine escape rooted in harmony with nature, visit forsthofgut.at to start planning today.Thanks so much for listening today. If you want to be the first to find out who is joining me on next week's episode come and follow me on Instagram I'm @hollyrubenstein, and you'll also find me on TikTok - I'd love to hear from you. And if you can't wait until then, remember there's the first 15 seasons to catch up on, that's over 160 episodes to keep you busy. Hosted on Acast. See acast.com/privacy for more information.

Reduci da un bel weekend di Radio Linetti tra la Liguria e il Piemonte. Il bonus di Taylor Swift a tutti i lavoratori del suo tour. Le strade romane sono lunghe più di 300 mila kilometri. Ospite in studio con la sua biografia Romina Power.

Matteo Garnero, head of marketing at Genova Liguria Film Commission, on Focus London 2025 and moving Liguria from the B-League to Hollywood. The post Interview with Matteo Garnero, Head of Marketing at Genova Liguria Film Commission at Focus London 2025 appeared first on Fred Film Radio.

Amedeo Bologna"Alla locanda della stella rossa"Neos Edizioniwww.neosedizioni.itUna storia fallita significa necessariamente una storia “sbagliata”? La Storia non è forse fatta da persone con i loro sentimenti, debolezze e fragilità?Torino, lunedì 10 agosto 2011. Lamberto Ricossi, il “Compagno Lamberto”, ha custodito per oltre trent'anni un covo brigatista, un covo “freddo”, ovvero mai utilizzato. Dopo lo smantellamento della colonna torinese delle BR, si era fatto carico di quell'alloggio, lo teneva in ordine, pagava le bollette. Si erano tutti dimenticati di lui ma il “Compagno Lamberto” era rimasto sempre in attesa di ordini, fedele al suo ruolo di addetto alla logistica, poco più di un fiancheggiatore. A custodire un qualcosa che non doveva più esistere, come l'ultimo soldato giapponese rimasto a presidiare un'isola. «All'inizio pensò che quella “dimenticanza” fosse un gran colpo di fortuna, ma poi, col passare del tempo, fu assalito da un pesantissimo senso di irrilevanza, dalla sensazione cioè di non contare e di non avere mai contato granché».Ma quel giorno d'estate il “Compagno Lamberto” entra nell'androne del palazzo di via Principi d'Acaja.  È venuto il momento di chiudere. Anzi, di rimettere in moto la Storia. Si dirige in bagno, mette il tappo nello scarico della vasca e apre i rubinetti. Guarda l'acqua scrosciare e se ne va. L'alloggio si allaga, arrivano i vigili del fuoco, quindi la polizia. Il covo è scoperto. Il giorno dopo, il “Compagno Lamberto”, latitante fuori tempo massimo, prende l'auto, direzione Liguria, per raggiungere un posto chiamato la Locanda della Stella Rossa.Nel mentre, Brenno Bisanzi, compagno di gioventù di Lamberto, con il quale aveva frequentato l'istituto per periti chimici industriali “Luigi Casale” di Torino, stanco di una vita asfittica, decide di fuggire dai suoi fallimenti personali. A pochi giorni dal suo sessantesimo compleanno, imbocca una strada provinciale che lo porta nell'entroterra ligure, dalle parti di Ventimiglia, e tra tornanti, ulivi e muretti a secco, “dove il salmastro si sposa a umori di terra riarsa”, arriva in un posto chiamato la Locanda della Stella Rossa.Mentre al commissario Giacomo Cremona e al vicecommissario Massimo Glisenti i conti non tornano (perché far scoprire quel covo dopo tanti anni? Perché Lamberto Ricossi ha continuato ad occuparsi di quell'alloggio? Perché quella latitanza illogica e velleitaria?), il caso, o la misteriosa tendenza che certe storie hanno di ricongiungersi, porta i due vecchi compagni di scuola e di amicizia ad approdare in un posto davvero bizzarro, popolato da personaggi altrettanto bizzarri: un oste che pare un pirata in disarmo, un pittore chiamato Modì, un'affascinante pianista jazz, un Passeur. “Un luogo ad alta densità di storie andate in malora”, una vera e propria comunità di allegri falliti, dove ci si faceva beffe del destino con ironia e leggerezza, perché la Locanda della Stella Rossa, più che un luogo fisico, è una condizione mentale. Esistenze che un tempo avevano sognato di cambiare il mondo ed ora erano finite in un limbo, oppure costrette a fare i conti con la memoria. I loro percorsi andranno ad incrociarsi con quelli di una giovane giornalista free lance (nonché musicista), di un libraio di altri tempi, di un ex brigatista fuggito in Francia, di un ex infiltrato, di un commissario dal passato ambiguo.Passato e presente si specchiano, si rincorrono e si interrogano in un romanzo che alterna suspense e introspezione, thriller psicologico e racconto di un'epoca, realismo e lirismo.Spiega Amedeo Bologna: «Quando fatti e vicende vissute in prima persona si allontanano dal presente per entrare nella Storia con la esse maiuscola, ci si rende conto di come il passaggio dai ricordi ai “manuali” comporti spesso la drastica bipartizione tra buoni e cattivi, santi e demoni, vittime innocenti e carnefici, azzerando la complessità di quanto accaduto. L'argomento centrale del romanzo è proprio la rivisitazione dei tanti e diversi universi che avevano animato il periodo più che decennale del così detto “Sessantotto” per recuperare l'umanità dei personaggi che ne avevano fatto parte e che, a mio avviso, andavano sottratti alla visione manichea che, trascurando le complessità di quel lontano e complicato periodo, ne alteravano il senso.  “La Locanda della Stella Rossa” è il luogo immaginato per ospitare proprio gli sconfitti di quelle vicende, mai comunque piegati alla marginalità a cui il trascorrere del tempo vorrebbe destinarli. E in quel luogo particolare e discosto si intrecciano i destini di persone la cui vita è stata segnata da quei lontani eventi… In parte si tratta di vicende da me vissute in prima persona, in parte in modo indiretto, ma anche del tutto inventate, com'è normale nella stesura di qualsiasi romanzo che non sia dichiaratamente un'autobiografia». Amedeo Bologna, a partire dal 1998, con il racconto Settenni, ha iniziato a pubblicare presso piccoli editori operanti in Valle d'Aosta. Oltre ai racconti editi in Patate e champagne, Nera Baltea, Joà, Voci da una collezione, con Edizioni Vida sono anche usciti due suoi romanzi: Il gatto di Majakovskij nel 2014 e Il suono di una mano sola nel 2016. Suoi racconti sono inoltre presenti nelle antologie di Neos Edizioni Natale in Valle d'Aosta (2021), Natale in Valle d'Aosta. Racconti sul filo dell'acqua (2022) e Natale in Valle d'Aosta. Quindici storie fra leggende e tradizioni (2024, di cui è anche curatore, insieme a Carlotta Marricco).Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Che cosa faceva scattare una denuncia per stregoneria? Le streghe erano un capro espiatorio? La professoressa Michela Ponzani con l'argomento dell'episodio di oggi ci porterà nel cuore del XVI secolo, all'interno di un piccolo borgo della Liguria che ha conosciuto un episodio drammatico e molto significativo: la caccia alle streghe di Triora.

Profumo di campagna, frantoi aperti e bruschette tostate: in questo episodio parliamo dell'olio d'oliva! Con il nuovo viaggio vi porto dai campi di ulivi dell'Umbria fino alla tavola, in compagnia di curiosità e aneddoti.

Enrico Caneva"la flora preistorica II"I giardini del carboniferoTöpffer/OltreIl libro non è solo una presentazione scientifica della flora al tempo dei dinosauri, ma un vero e proprio invito a creare un piccolo angolo giurassico nel proprio giardino  In I giardini del Carbonifero, il secondo volume di una serie dedicata alla flora preistorica, l'autore Enrico Caneva ci accompagna in un viaggio nel tempo. Da centinaia di milioni di anni, le piante si evolvono, dimostrando una straordinaria capacità di adattamento ai cambiamenti climatici del nostro pianeta. Sulla base della sua esperienza decennale nel paesaggismo e di lunghi studi sui resti fossili, l'autore ha realizzato a Sarzana un parco dedicato a queste meravigliose piante, così geometriche e resilienti. Il libro non è solo una presentazione scientifica della flora al tempo dei dinosauri, ma un vero e proprio invito a creare un piccolo angolo giurassico nel proprio giardino. Caneva ha dedicato una particolare attenzione alla flora della nostra penisola, in special modo a quella delle Alpi Apuane e dei Monti Pisani, e ha trascorso anni a ricercare e sperimentare per reintrodurre correttamente le piante superstiti dell'epoca. Il desiderio dell'autore, nato fin da bambino, di conoscere le piante brucate dai dinosauri è stato la scintilla di questo progetto. La sorprendente scoperta che molte di queste specie esistono ancora è al centro di questo primo volume, che offre schede semplici e pratiche, ricche di consigli per trovarle e coltivarle senza intoppi. È una lettura che invita a riscoprire le vere piante autoctone del nostro bellissimo Paese. Enrico Caneva è nato e cresciuto in Veneto, dove ha compiuto i suoi studi tecnici. Appena maggiorenne è partito a lavorare all'estero ed in particolare in California, Hong Kong, Germania e Inghilterra. Si è poi trasferito stabilmente a Parigi dal 1998 dove, dopo aver conseguito nel 2010 un diploma in strategie di comunicazione internazionale alla Henley Business school, nel 2011 ha fondato la sua prima azienda dedicata alla formazione e alla sicurezza delle persone sui luoghi di lavoro e dove ha preso dimestichezza nelle formazioni presso le sue sedi internazionali a Shanghai, Singapore, Jakarta, Virginia (USA) e Sao Paolo in Brasile. Durante i suoi viaggi è nata l'opportunità di visitare innumerevoli parchi botanici e la sua passione per le piante è sfociata agli inizi del 2000 in un'attività di paesaggismo e progettazione del verde a Parigi. Dal 2018 si è trasferito in Liguria, a Sarzana (SP), e ha fondato un nuovo giardino botanico dedicato alle piante di tutto il mondo e alla formazione botanica. Attualmente sono state piantumate 15.000 piante, 2.200 specie da tutto il mondo. Un'attenzione particolare è rivolta alla didattica.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Nato a Genova nel 1958, Maurizio Minghella è considerato uno dei serial killer più spietati della storia criminale italiana. Dopo un'infanzia segnata da violenze familiari e disturbi psichici, a fine anni Settanta terrorizzò la Liguria con una serie di omicidi efferati. Condannato all'ergastolo, Minghella sembrava destinato a non uscire più dal carcere. Eppure, nel 1995, ottenne la semilibertà e tornò a colpire con la stessa violenza di 17 anni prima, strangolando numerose prostitute. Le sue vittime erano spesso donne vulnerabili, adescate e poi seviziate, in una spirale di crudeltà che riportò l'Italia a fare i conti con l'incubo di un serial killer. Le indagini, i depistaggi, l'eco mediatica e i processi hanno lasciato aperte ancora oggi molte domande: cosa spinse davvero Minghella a uccidere? E come fu possibile che un uomo condannato all'ergastolo potesse tornare libero e reiterare i suoi crimini? Proviamo a scoprirlo insieme a Marta Casà, dottoressa in scienze investigative ed autrice del podcast “Mente Criminale”. Iscriviti al gruppo Telegram per interagire con noi e per non perderti nessuna delle novità in anteprima e degli approfondimenti sulle puntate: https://t.me/LucePodcast Se vuoi ascoltarci senza filtri e sostenere il nostro lavoro, da oggi è possibile abbonarsi al nostro canale Patreon e accedere a contenuti bonus esclusivi tramite questo link: patreon.com/LucePodcast

Pino Petruzzelli"L'ultima notte di Dietrich Bonhoeffer"Edizioni Areswww.edizioniares.it9 aprile 1945, lager di Flossenbürg. Mentre le ore della notte trascorrono, il giovane teologo protestante Dietrich attraversa una gamma di sentimenti contrastanti: la nostalgia per la fidanzata e l'affetto dei suoi cari, la frustrazione per non poter più agire in favore degli Altri bisognosi, la paura che lo schiaccia, ma anche la certezza di aver sempre agito secondo coscienza contro il regime nazista e delle buone ragioni di un'opposizione attiva, fino all'estremo abbandono in Dio. All'alba, verrà giustiziato per aver partecipato all'operazione Walchiria contro Hitler.Il pensiero di Bonhoeffer nei diari e nelle lettere scritti nei due anni di prigionia è assunto e rielaborato con sensibilità personale dall'autore. Ne emerge una figura a tutto tondo interpretata con freschezza e partecipazione.Pino Petruzzelli (1962) è drammaturgo, regista e attore. Con Paola Piacentini fonda a Genova il Centro Teatro Ipotesi. Gira tra i popoli del Mediterraneo per raccontare guerre e splendori. Passa sei anni attraverso l'Europa per conoscere la cultura del popolo Rom. I suoi spettacoli sono stati prodotti da Teatro Nazionale di Genova, Teatro della Tosse, Mittelfest e Torino Spiritualità. Ha collaborato con Predrag Matvejevic, Vito Mancuso, Pino Cacucci e Massimo Calandri. È direttore artistico della Casa del Pensiero e del progetto Liguria delle Arti. Ha pubblicato Non Chiamarmi zingaro (Chiarelettere), Io sono il mio lavoro (Pentagora) e Gli Ultimi (Chiarelettere).Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

"There's just something about sitting at a cafe, and the food, and the culture that just, it's not like anything else in the world" - Erica D'ArcangeloWelcome to Episode #123,Today I share an enriching and beautiful conversation with Erica D'Arcangelo, host of Pizza Story Podcast. So this is a tale about pizza, family, heritage and Italy. Erica's first book was written in honour of her Grandfathers journey as an Italian immigrant from Abruzzo Italy to America  - A Story about Pizza. She is also an author of a series of children's books about her favourite subject Pizza.We talk about many things, family, traditions, values, creativity, Italy, Italian culture in America, Pizza and Erica's favourite places to visit in Italy, and her favourite Pizzeria in Liguria. Listen to our recent conversation Episode #34 on Pizza Story Podcast!Website: A Story About Pizzatiktok.com/darcspizzahttps://www.instagram.com/astoryaboutpizza/Shownotes at MichelleJohnston.lifeA Writer in Italy InstagramSubstack - At My TableMichelle's Books© 2025  A Writer In Italy - travel, books, art and lifeMusic Composed by Richard Johnston © 2025Today's end music - 'Chances'Richard's Music is available on Spotify and Apple Music - Album 4240Support the show

Uncover the true secrets of the Cinque Terre with our friend, local food expert Enrica Monzani. Travel in this region of Italy has generally been defined by the landscapes and romantic villages clinging to cliffsides. But, in this epsiode, we uncover regional traditions, hiking tips, village identities, and the flavors of wine and olive oil. Travel Italy beyond the crowds and learn how to experience Cinque Terre like a local.Join us in the Cinque Terre and Liguria in 2026 - tour detailsRead the full episode show notes here > untolditaly.com/292NEW! - the Untold Italy app - access our entire podcast history ad free and searchable - DOWNLOAD FOR iOS  •  DOWNLOAD FOR ANDROIDThe app is FREE to download and check out our Milan guide and general travel content. Upgrade to PREMIUM  for a one time fee to access Rome, Florence, Venice, Sorrento, Cinque Terre, Amalfi Coast, Capri, Ischia, Tuscany, Lake Como, Lake Garda, Veneto, Lombardy, Campania, Lazio, Puglia, Abruzzo, Calabria, Umbria, Molise with much more to comeSupport the showSubscribe to our mailing list and get our FREE Italy trip planning toolkit - subscribe hereNeed help with your trip? Check out our Trip Planning ServicesJoin us on tour. Browse our Trip scheduleFollowSubstackInstagram • Facebook • YouTube Editorial InformationThe Untold Italy travel podcast is an independent production. Podcast Editing, Audio Production and Website Development by Mark Hatter. Production Assistance and Content Writing by the other Katie Clarke 

Puntata piena di informazioni, storie e tanta confusione per Matteo. Curiosi? Partiamo subito, abbiamo poco tempo e tante tante cose di cui parlare. Trascrizione interattiva e Vocab Helper Support Easy Italian and get interactive transcripts, live vocabulary and bonus content: easyitalian.fm/membership Note dell'episodio Italians Reveal Their Favourite Things - https://www.youtube.com/watch?v=WFj0MfiDVGw&t=104s Iniziamo con un Santo molto particolare, un Santo nuovo, giovane, definito influencer. Ma chi è? Carlo Acutis. https://it.wikipedia.org/wiki/Carlo_Acutis E poi sport, tanto sport, ma poca Italia. Meno male che ci sono le ragazze della pallavolo! https://it.wikipedia.org/wiki/Nazionalefemminiledipallavolodell%27Italia Concludiamo con un bel giretto in Italia. Torniamo a girare per borghi, e questa volta il borgo è molto molto particolare. Andiamo a Valloria, il borgo delle porte. Ma cosa hanno di particolare queste porte? E dov'è Valloria? https://it.wikipedia.org/wiki/Valloria_(Prel%C3%A0) Valloria è in Liguria e le sue porte sono tutte uniche, perché dipinte tutte da artisti diversi, e se siete fortunati e passate per Valloria durante il festival annuale, riuscite anche a vedere i nuovi artisti che dipingono nuove porte! Trascrizione Raffaele: [0:23] Matteo, buongiorno. Matteo: [0:25] Buongiorno, come va? Raffaele: [0:27] Tutto bene qui a Napoli, come va a Milano? Matteo: [0:31] Bene, bene. Ieri ho sofferto per la prima volta un po' di caldo, devo dire. ... Support Easy Italian and get interactive transcripts, live vocabulary and bonus content: easyitalian.fm/membership

An exploration of the wines and the region of Liguria on Italy's northwestern coast Resources from this episode: Books:  The Oxford Companion to Wine [5th Edition, Kindle Edition], Harding, J., Robinson, J., Thomas, T. (2023) Wine Grapes: A Complete Guide to 1,368 Vine Varieties, Including Their Origins and Flavours [Kindle Edition], Robinson, J., Harding, J., Vouillamoz, J. (2013) Websites:  Britannica: Dorian https://www.britannica.com/topic/Dorian Britannica: Liguria https://www.britannica.com/place/Liguria Italian Wine Central: Liguria https://italianwinecentral.com/region-province/liguria/ Quattrocalici: Il Vino nella Liguria: https://www.quattrocalici.it/regione/Liguria/ Unesco World Heritage Convention: Portovenere, Cinque Terre, and the Islands (Palmaria, Tino and Tinetto) https://whc.unesco.org/en/list/826 Glass in Session Episodes Relevant to this Episode:   S2E5: Hello Vino Novello! https://glassinsession.libsyn.com/s2e5-hello-vino-novello S2E6: Marsala https://glassinsession.libsyn.com/website/s2e6-marsala S3E4: Wine from Dried Grapes https://glassinsession.libsyn.com/website/s3e4-wine-from-dried-grapes S11E4: Corsican Wine, Grapes, History … and a Grave with Goblets https://glassinsession.libsyn.com/website/s11e4-corsican-wine-grapes-history-and-a-grave-with-goblets S12E3: Madeira Primer https://glassinsession.libsyn.com/website/madeira-primer-s12e3  S19E4: The Wines and the Region of Lombardia, Italy https://glassinsession.libsyn.com/the-wines-and-the-region-of-lombardia-italy-s19e4 S19E6: The Great White wines of Piemonte, a Nymph, a Rascal, and a Princess https://glassinsession.libsyn.com/the-great-white-wines-of-piemonte-a-nymph-a-rascal-and-a-princess-s19e6   Glass in Session® swag mentioned in this show: https://www.teepublic.com/user/glass-in-session   Glass in Session® is a registered trademark of Vino With Val, LLC. Music:  “Write Your Story” by Joystock (Jamendo.com cc_Standard License, Jamendo S.A.)

David Mayernik is an architect, artist, writer, educator and most of all, he is a life-long student. David grew up in Allentown Pennsylvania. As he tells us during this episode, even at a young age of two he already loved to draw. He says he always had a pencil and paper with him and he used them constantly. His mother kept many of his drawings and he still has many of them to this day.   After graduating from University of Notre Dame David held several positions with various architectural firms. He always believed that he learned more by teaching himself, however, and eventually he decided to leave the professional world of architecture and took teaching positions at Notre Dame. He recently retired and is now Professor Emeritus at Notre Dame.   Our conversation is far ranging including discussions of life, the importance of learning and growing by listening to your inner self. David offers us many wonderful and insightful lessons and thoughts we all can use. We even talk some about about how technology such as Computer Aided Design systems, (CAD), are affecting the world of Architecture. I know you will enjoy what David has to say. Please let me know your thoughts through email at michaelhi@accessibe.com.     About the Guest:   David Mayernik is an architect, artist, writer, and educator. He was born in 1960 in Allentown, Pennsylvania; his parents were children of immigrants from Slovakia and Italy. He is a Fellow of the American Academy in Rome and the British Royal Society for the Encouragement of Arts, Manufactures, and Commerce, and has won numerous grants, awards and competitions, including the Gabriel Prize for research in France, the Steedman Competition, and the Minnesota State Capitol Grounds competition (with then partner Thomas N. Rajkovich). In 1995 he was named to the decennial list of the top forty architects in the United States under forty. In the fall of 2022, he was a resident at the Bogliasco Foundation in Liguria and the Cini foundation in Venice.   His design work for the TASIS campus in Switzerland over twenty-eight years has been recognized with a Palladio Award from Traditional Building magazine, an honorable mention in the INTBAU Excellence Awards, and a jury prize from the Prix Européen d'Architecture Philippe Rotthier. TASIS Switzerland was named one of the nine most beautiful boarding schools in the world by AD Magazine in March 2024. For ten years he also designed a series of new buildings for TASIS England in Surrey.   David Mayernik studied fresco painting with the renowned restorer Leonetto Tintori, and he has painted frescoes for the American Academy in Rome, churches in the Mugello and Ticino, and various buildings on the TASIS campus in Switzerland. He designed stage sets for the Haymarket Opera company of Chicago for four seasons between 2012 and 2014. He won the competition to paint the Palio for his adopted home of Lucca in 2013. His paintings and drawings have been exhibited in New York, Chicago, London, Innsbruck, Rome, and Padova and featured in various magazines, including American Artist and Fine Art Connoisseur.   David Mayernik is Professor Emeritus with the University of Notre Dame, where for twenty years he taught in the School of Architecture. He is the author of two books, The Challenge of Emulation in Art and Architecture (Routledge, UK) and Timeless Cities: An Architect's Reflections on Renaissance Italy, (Basic Books), and numerous essays and book chapters, including “The Baroque City” for the Oxford Handbook of the Baroque. In 2016 he created the online course The Meaning of Rome for Notre Dame, hosted on the edX platform, which had an audience of six thousand followers. Ways to connect with David:   Website: www.davidmayernik.com Instagram: davidmayernik LinkedIn: davidmayernik EdX: The Meaning of Rome https://www.edx.org/learn/humanities/university-of-notre-dame-the-meaning-of-rome-the-renaissance-and-baroque-city     About the Host:   Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog.   Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards.   https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/   accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/       Thanks for listening!   Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below!   Subscribe to the podcast   If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can subscribe in your favorite podcast app. You can also support our podcast through our tip jar https://tips.pinecast.com/jar/unstoppable-mindset .   Leave us an Apple Podcasts review   Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts.       Transcription Notes:   Michael Hingson ** 00:00 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us.   Michael Hingson ** 01:17 Well, hi and welcome once again. Wherever you happen to be, to another episode of unstoppable mindset. Today, we get to chat with David Mayernik, unless you're in Europe, and then it's David Mayernik, but either way, we're glad to have him. He is an architect. He is an award winning architect. He's an author. He's done a number of things in his life, and we're going to talk about all of those, and it's kind of more fun to let him be the one to talk more about it, and then I can just pick up and ask questions as we go, and that's what we'll do. But we're really glad that he's here. So David, welcome to unstoppable mindset.   David Mayernik ** 01:57 Oh, thanks so much. Michael, thanks for the invitation. I'm looking forward to it.   Michael Hingson ** 02:02 Well, I know we've been working on getting this set up, and David actually happens to be in Italy today, as opposed to being in the US. He was a professor at Notre Dame for 20 years, but he has spent a lot of time in Europe and elsewhere, and I'm sure he's going to talk about that. But why don't we start, as I mentioned earlier, as I love to do, tell us kind of about the early David growing up.   David Mayernik ** 02:25 Well, so my both of my parents passed away several years ago, and when I was at my mom's funeral, one of our next door neighbors was telling my wife what I was like when I was a kid, and she said he was very quiet and very intense. And I suppose that's how I was perceived. I'm not sure I perceived myself that way I did. The thing about me is I've always drawn my mom. I mean, lots of kids draw, but I drew like credibly, well, when I was, you know, two and three years old. And of course, my mother saved everything. But the best thing about it was that I always had paper and pencil available. You know, we were terribly well off. We weren't poor, but we weren't, you know, well to do, but I never lacked for paper and pencils, and that just allowed me to just draw as much as I possibly could.   Michael Hingson ** 03:16 And so I guess the other question is, of course, do you still have all those old drawings since your mom kept   David Mayernik ** 03:23 them? Well, you know? Yeah, actually, after she passed, I did get her, Well, her collection of them. I don't know that all of them. My father had a penchant for throwing things away, unfortunately. So some of the archive is no longer with us, but no but enough of it. Just odds and bits from different areas of my life. And the thing is, you know, I was encouraged enough. I mean, all kids get encouraged. I think when they're young, everything they do is fabulous, but I had enough encouragement from people who seem to take it seriously that I thought maybe I had something and and it was the kind of thing that allowed me to have enough confidence in myself that I actually enjoyed doing it and and mostly, my parents were just impressed. You know, it just was impressive to them. And so I just happily went along my own way. The thing about it was that I really wanted to find my own path as somebody who drew and had a chance in high school for a scholarship to a local art school. I won a competition for a local art school scholarship, and I went for a couple of lessons, and I thought, you know, they're just teaching me to draw like them. I want to draw like me. So for better or worse, I'm one of those autodidacts who tries to find my own way, and, you know, it has its ups and downs. I mean, the downside of it is it's a slower learning process. Is a lot more trial and error. But the upside of it is, is that it's your own. I mean, essentially, I had enough of an ego that, you know, I really wanted to do. Things my way.   Michael Hingson ** 05:02 Well, you illustrate something that I've believed and articulate now I didn't used to, but I do now a lot more, which is I'm my own best teacher. And the reality is that you you learn by doing, and people can can give you information. And, yeah, you're right. Probably they wanted you to mostly just draw like them. But the bottom line is, you already knew from years of drawing as a child, you wanted to perhaps go a slightly different way, and you worked at it, and it may have taken longer, but look at what you learned.   David Mayernik ** 05:37 Yeah, I think it's, I mean, for me, it's, it's important that whatever you do, you do because you feel like you're being true to yourself somehow. I mean, I think that at least that's always been important to me, is that I don't, I don't like doing things for the sake of doing them. I like doing them because I think they matter. And I like, you know, I think essentially pursuing my own way of doing it meant that it always was, I mean, beyond just personal, it was something I was really committed to. And you know, the thing about it, eventually, for my parents was they thought it was fabulous, you know, loved great that you draw, but surely you don't intend to be an artist, because, you know, you want to have a job and make a living. And so I eventually realized that in high school, that while they, well, they probably would have supported anything I did that, you know, I was being nudged towards something a little bit more practical, which I think happens to a lot of kids who choose architecture like I did. It's a way, it's a practical way of being an artist and and that's we could talk about that. But I think that's not always true.   Michael Hingson ** 06:41 Bill, go ahead, talk about that. Well, I think that the   David Mayernik ** 06:44 thing about architecture is that it's become, well, one it became a profession in America, really, in the 20th century. I mean, it's in the sense that there was a licensing exam and all the requirements of what we think of as, you know, a professional service that, you know, like being a lawyer or a doctor, that architecture was sort of professionalized in the 20th century, at least in the United States. And, and it's a business, you know, ostensibly, I mean, you're, you know, you're doing what you do for a fee. And, and so architecture tries to balance the art part of it, or the creative side, the professional side of it, and the business side. And usually it's some rather imperfect version of all of those things. And the hard part, I think the hardest part to keep alive is the art part, because the business stuff and the professional stuff can really kind of take over. And that's been my trial. Challenge is to try to have it all three ways, essentially.   Michael Hingson ** 07:39 Do you think that Frank Lloyd Wright had a lot to do with bringing architecture more to the forefront of mindsets, mindsets, and also, of course, from an art standpoint, clearly, he had his own way of doing things.   David Mayernik ** 07:54 Yeah, absolutely he comes from, I mean, I wouldn't call it a rebellious tradition, but there was a streak of chafing at East Coast European classicism that happened in Chicago. Louis Sullivan, you know, is mostly responsible for that. And I but, but Right, had this, you know, kind of heroic sense of himself and and I think that his ability to draw, which was phenomenal. His sense that he wanted to do something different, and his sense that he wanted to do something American, made him a kind of a hero. Eventually, I think it coincided with America's growing sense of itself. And so for me, like lot of kids in America, my from my day, if you told somebody in high school you wanted to be an architect, they would give you a book on Frank Lloyd Wright. I mean, that's just, you know, part of the package.   Michael Hingson ** 08:47 Yeah, of course, there are others as well, but still, he brought a lot into it. And of course there, there are now more architects that we hear about and designers and so on the people what, I m Pei, who designed the world, original World Trade Center and other things like that. Clearly, there are a number of people who have made major impacts on the way we design and think of Building and Construction today,   David Mayernik ** 09:17 you know, I mean America's, you know, be kind of, it really was a leader in the development of architecture in the 20th century. I mean, in the 19th century was very much, you know, following what was happening in Europe. But essentially, by the 20th century, the America had a sense of itself that didn't always mean that it rejected the European tradition. Sometimes it tried to do it, just bigger and better, but, but it also felt like it had its, you know, almost a responsibility to find its own way, like me and, you know, come up with an American kind of architecture and and so it's always been in a kind of dialog with architecture from around the world. I mean, especially in Europe, at Frank Lloyd Wright was heavily influenced by Japanese architecture and. And so we've always seen ourselves, I think, in relationship to the world. And it's just the question of whether we were master or pupil to a certain extent,   Michael Hingson ** 10:07 and in reality, probably a little bit of both.   David Mayernik ** 10:12 Yeah, and we are, and I think, you know, acknowledging who we are, the fact that we didn't just, you know, spring from the earth in the United States, where we're all, I mean, essentially all immigrants, mostly, and essentially we, you know, essentially bring, we have baggage, essentially, as a culture, from lots of other places. And that's actually an advantage. I mean, I think it's actually what makes us a rich culture, is the diversity. I mean, even me, my father's family was Slovak, my mother's family Italian. And, you know from when I tell you know Europeans that they think that's just quintessentially American. That's what makes you an American, is that you're not a purebred of some kind.   Michael Hingson ** 10:49 Yeah, yeah. Pure purebred American is, is really sort of nebulous and and not necessarily overly accurate, because you are probably immigrants or part other kinds of races or nationalities as well. And that's, that's okay.   David Mayernik ** 11:08 It's, it's rich, you know, I think it's, it's a richer. It's the extent to which you want to engage with it. And the interesting thing about my parents was that they were both children of first generation immigrants. My mom's parents had been older Italian, and they were already married, and when they came to the States, my father's parents were younger and Slovak, and they met in the United States. And my father really wasn't that interested in his Slovak heritage. I mean, just, you know, he could speak some of the language, you know, really feel like it was something he wanted to hold on to or pass along, was my mom was, I mean, she loved her parents. She, you know, spoke with him in Italian, or actually not even Italian, the dialect from where her parents came from, which is north of Venice. And so she, I think she kind of, whether consciously or unconsciously, passed that on to me, that sense that I wanted to be. I was interested in where I came from, where the origins of my where my roots were, and it's something that had an appeal for me that wasn't just it wasn't front brain, it was really kind of built into who I was, which is why, you know, one of the reasons I chose to go to Notre Dame to study where I also wound up teaching like, welcome back Carter, is that I we had a Rome program, and so I've been teaching in the Rome program for our school, but we, I was there 44 years ago as a student.   Michael Hingson ** 12:28 Yeah. So quite a while, needless to say. And you know, I think, well, my grandmother on my mother's side was Polish, but I I never did get much in the way of information about the culture and so on from her and and my mom never really dealt with it much, because she was totally from The Bronx in New York, and was always just American, so I never really got a lot of that. But very frankly, in talking to so many people on this podcast over almost the last four years, talking to a number of people whose parents and grandparents all came to this country and how that affected them. It makes me really appreciate the kind of people who we all are, and we all are, are a conglomerate of so many different cultures, and that's okay, yeah? I mean,   David Mayernik ** 13:31 I think it's more than okay, and I think we need to just be honest about it, yeah. And, you know, kind of celebrate it, because the Italians brought with them, you know, tremendous skills. For example, a lot of my grandfather was a stone mason. You know, during the Depression, he worked, you know, the for the WPA essentially sponsored a whole series of public works projects in the parks in the town I grew up in Allentown, Pennsylvania. And Allentown has a fabulous park system. And my grandfather built a lot of stone walls in the parks in the 1930s and, you know, all these cultures that came to the states often brought, you know, specialized skills. You know, from where they they came from, and, and they enriched the American, you know, skill set, essentially, and, and that's, you know, again, that's we are, who we are because of that, you know, I celebrated I, you know, I'm especially connected to my Italian heritage. I feel like, in part because my grandfather, the stone mason, was a bit of jack of all trades. He could paint and draw. And my mom, you know, wrote poetry and painted. And even though she mostly, you know, in my life, was a was a housewife, but before she met my father, and they got married relatively late for their day, she had a professional life in World War Two, my mom actually went to Penn State for a couple of years in the start of at the start of the war, and then parents wanted her to come home, and so she did two years of engineering. Penn State. When she came back to Allentown, she actually got a job at the local airplane manufacturing plant that was making fighter planes for the United States called company called volte, and she did drafting for them. And then after World War Two, she got a job for the local power company drafting modern electrical kitchens and and so I've inherited all my mom's drafting equipment. And, you know, she's, she's very much a kind of a child of the culture that she came from, and in the sense that it was a, you know, artistic culture, a creative culture. And, you know, I definitely happy and proud of   Michael Hingson ** 15:37 that. You know, one of the things that impresses me, and I think about a lot in talking to so many people whose parents and grandparents immigrated to this country and so on, is not just the skill sets that they brought, but the work ethic that they had, that they imparted to people. And I think people who have had a number of generations here have not always kept that, and I think they've lost something very valuable, because that work ethic is what made those people who they were   David Mayernik ** 16:08 absolutely I mean, my Yeah, I mean my father. I mean absolutely true is, I mean tireless worker, capable of tremendous self sacrifice and and, you know, and that whole generation, I mean, he fought in World War Two. He actually joined, joined the Navy underage. He lied about his age to get in the Navy and that. But they were capable of self, tremendous self sacrifice and tremendous effort. And, you know, I think, you know, we're always, you know, these days, we always talk about work life balance. And I have to say, being an architect, most architects don't have a great work life balance. Mostly it's, it's a lot of work and a little bit of life. And that's, I don't, you know. I think not everybody survives that. Not every architects marriage survives that mine has. But I think it's, you know, that the idea that you're, you're sort of defined by what you do. I think there's a lot of talk these days about that's not a good thing. I I'm sort of okay with that. I'm sort of okay with being defined by what I do.   Michael Hingson ** 17:13 Yeah, and, and that that's, that's okay, especially if you're okay with it. That's good. Well, you So you went to Notre Dame, and obviously dealt with architecture. There some,   David Mayernik ** 17:28 yeah. I mean, the thing, the great thing about Notre Dame is to have the Rome program, and that was the idea of actually a Sicilian immigrant to the States in the early 20th century who became a professor at Notre Dame. And he had, he won the Paris prize. A guy named Frank Montana who won the Paris prize in the 1930s went to Harvard and was a professor at Notre Dame. And he had the good idea that, you know, maybe sending kids to five years of architecture education in Indiana, maybe wasn't the best, well rounded education possible, and maybe they should get out of South Bend for a year, and he, on his own initiative, without even support from the university, started a Rome program, and then said to the university, hey, we have a Rome program now. And so that was, that was his instinct to do that. And while I got, I think, a great education there, especially after Rome, the professor, one professor I had after Rome, was exceptional for me. But you know, Rome was just the opportunity to see great architecture. I mean, I had seen some. I mean, I, you know, my parents would go to Philadelphia, New York and, you know, we I saw some things. But, you know, I wasn't really bowled over by architecture until I went to Rome. And just the experience of that really changed my life, and it gave me a direction,   Michael Hingson ** 18:41 essentially. So the Rome program would send you to Rome for a year.   David Mayernik ** 18:46 Yeah, which is unusual too, because a lot of overseas programs do a semester. We were unusual in that the third year out of a five year undergraduate degree in architecture, the whole year is spent in Rome. And you know, when you're 20 ish, you know, 20 I turned 21 when I was over there. It's a real transition time in your life. I mean, it's, it was really transformative. And for all of us, small of my classmates, I mean, we're all kind of grew up. We all became a bit, you know, European. We stopped going to football games when we went back on campus, because it wasn't cool anymore, but, but we, we definitely were transformed by it personally, but, it really opened our eyes to what architecture was capable of, and that once you've, once you've kind of seen that, you know, once you've been to the top of the mountain, kind of thing, it can really get under your skin. And, you know, kind of sponsor whatever you do for the rest of your life. At least for me, it   Michael Hingson ** 19:35 did, yeah, yeah. So what did you do after you graduated?   David Mayernik ** 19:40 Well, I graduated, and I think also a lot of our students lately have had a pretty reasonably good economy over the last couple of decades, that where it's been pretty easy for our students to get a job. I graduated in a recession. I pounded the pavements a lot. I went, you know, staying with my parents and. Allentown, went back and forth to New York, knocking on doors. There was actually a woman who worked at the unemployment agency in New York who specialized in architects, and she would arrange interviews with firms. And, you know, I just got something for the summer, essentially, and then finally, got a job in the in the fall for somebody I wanted to work with in Philadelphia and and that guy left that firm after about three months because he won a competition. He didn't take me with him, and I was in a firm that really didn't want to be with. I wanted to be with him, not with the firm. And so I then I picked up stakes and moved to Chicago and worked for an architect who'd been a visiting professor at Notre Dame eventually became dean at Yale Tom Beebe, and it was a great learning experience, but it was also a lot of hours at low pay. You know, I don't think, I don't think my students, I can't even tell my students what I used to make an hour as a young architect. I don't think they would understand, yeah, I mean, I really don't, but it was, it was a it was the sense that you were, that your early years was a kind of, I mean an apprenticeship. I mean almost an unpaid apprenticeship at some level. I mean, I needed to make enough money to pay the rent and eat, but that was about it. And and so I did that, but I bounced around a lot, you know, and a lot of kids, I think a lot of our students, when they graduate, they think that getting a job is like a marriage, like they're going to be in it forever. And, you know, I, for better or worse, I moved around a lot. I mean, I moved every time I hit what I felt was like a point of diminishing returns. When I felt like I was putting more in and getting less out, I thought it was time to go and try something else. And I don't know that's always good advice. I mean, it can make you look flighty or unstable, but I kind of always followed my my instinct on that.   Michael Hingson ** 21:57 I don't remember how old I was. You're talking about wages. But I remember it was a Sunday, and my parents were reading the newspaper, and they got into a discussion just about the fact that the minimum wage had just been changed to be $1.50 an hour. I had no concept of all of that. But of course, now looking back on it, $1.50 an hour, and looking at it now, it's pretty amazing. And in a sense, $1.50 an hour, and now we're talking about $15 and $16 an hour, and I had to be, I'm sure, under 10. So it was sometime between 1958 and 1960 or so, or maybe 61 I don't remember exactly when, but in a sense, looking at it now, I'm not sure that the minimum wage has gone up all that much. Yes, 10 times what it was. But so many other things are a whole lot more than 10 times what they were back then,   David Mayernik ** 23:01 absolutely, yeah. I mean, I mean, in some ways also, my father was a, my father was a factory worker. I mean, he tried to have lots of other businesses of his own. He, you're, you're obviously a great salesman. And the one skill my father didn't have is he could, he could, like, for example, he had a home building business. He could build a great house. He just couldn't sell it. And so, you know, I think he was a factory worker, but he was able to send my sister and I to private college simultaneously on a factory worker salary, you know, with, with, I mean, I had some student loan debt, but not a lot. And that's, that's not possible today.   Michael Hingson ** 23:42 No, he saved and put money aside so that you could do that, yeah, and,   David Mayernik ** 23:47 and he made enough. I mean, essentially, the cost of college was not that much. And he was, you know, right, yeah. And he had a union job. It was, you know, reasonably well paid. I mean, we lived in a, you know, a nice middle class neighborhood, and, you know, we, we had a nice life growing up, and he was able to again, send us to college. And I that's just not possible for without tremendous amount of debt. It's not possible today. So the whole scale of our economy shifted tremendously. What I was making when I was a young architect. I mean, it was not a lot then, but I survived. Fact, actually saved money in Chicago for a two month summer in Europe after that. So, you know, essentially, the cost of living was, it didn't take a lot to cover your your expenses, right? The advantage of that for me was that it allowed me time when I had free time when I after that experience, and I traveled to Europe, I came back and I worked in Philadelphia for the same guy who had left the old firm in Philadelphia and went off on his own, started his own business. I worked for him for about nine months, but I had time in the evenings, because I didn't have to work 80 hours a week to do other things. I taught myself how to paint. And do things that I was interested in, and I could experiment and try things and and, you know, because surviving wasn't all that hard. I mean, it was easy to pay your bills and, and I think that's one of the things that's, I think, become more onerous, is that, I think for a lot of young people just kind of dealing with both college debt and then, you know, essentially the cost of living. They don't have a lot of time or energy to do anything else. And you know, for me, that was, I had the luxury of having time and energy to invest in my own growth, let's say as a more career, as a creative person. And you know, I also, I also tell students that, you know, there are a lot of hours in the day, you know, and whatever you're doing in an office. There are a lot of hours after that, you could be doing something else, and that I used every one of those hours as best I could.   Michael Hingson ** 25:50 Yeah. Well, you know, we're all born with challenges in life. What kind of challenges, real challenges did you have growing up as you look back on it?   David Mayernik ** 26:01 Yeah, my, I mean, my, I mean, there was some, there was some, a few rocky times when my father was trying to have his own business. And, you know, I'm not saying we grew up. We didn't struggle, but it wasn't, you know, always smooth sailing. But I think one of the things I learned about being an architect, which I didn't realize, and only kind of has been brought home to me later. Right now, I have somebody who's told me not that long ago, you know? You know, the problem is, architecture is a gentleman's profession. You know that IT architecture, historically was practiced by people from a social class, who knew, essentially, they grew up with the people who would become their clients, right? And so the way a lot of architects built their practice was essentially on, you know, family connections and personal connections, college connections. And I didn't have that advantage. So, you know, I've, I've essentially had to define myself or establish myself based on what I'm capable of doing. And you know, it's not always a level playing field. The great breakthrough for me, in a lot of ways, was that one of the one of my classmates and I entered a big international competition when we were essentially 25 years old. I think we entered. I turned 26 and it was an open competition. So, you know, no professional requirements. You know, virtually no entry fee to redesign the state capitol grounds of Minnesota, and it was international, and we, and we actually were selected as one of the top five teams that were allowed to proceed onto the second phase, and at which point we we weren't licensed architects. We didn't have a lot of professional sense or business sense, so we had to associate with a local firm in Minnesota and and we competed for the final phase. We did most of the work. The firm supported us, but they gave us basically professional credibility and and we won. We were the architects of the state capitol grounds in Minnesota, 26 years old, and that's because the that system of competition was basically a level playing field. It was, you know, ostensibly anonymous, at least the first phase, and it was just basically who had the best design. And you know, a lot of the way architecture gets architects get chosen. The way architecture gets distributed is connections, reputation, things like that, but, but you know, when you find those avenues where it's kind of a level playing field and you get to show your stuff. It doesn't matter where you grew up or who you are, it just matters how good you are, yeah,   Michael Hingson ** 28:47 well, and do you think it's still that way today?   David Mayernik ** 28:51 There are a lot fewer open professional competitions. They're just a lot fewer of them. It was the and, you know, maybe they learned a lesson. I mean, maybe people like me shouldn't have been winning competitions. I mean, at some level, we were out of our league. I wouldn't say, I wouldn't say, from a design point of view. I mean, we were very capable of doing what the project involved, but we were not ready for the hardball of collaborating with a big firm and and the and the politics of what we were doing and the business side of it, we got kind of crushed, and, and, and eventually they never had the money to build the project, so the project just kind of evaporated. And the guy I used to work with in Philadelphia told me, after I won the competition, he said, you know, because he won a competition. He said, You know, the second project is the hardest one to get, you know, because you might get lucky one time and you win a competition, the question is, how do you build practice out of that?   Michael Hingson ** 29:52 Yeah, and it's a good point, yeah, yeah.   David Mayernik ** 29:55 I mean, developing some kind of continuity is hard. I mean, I. Have a longer, more discontinuous practice after that, but it's that's the hard part.   Michael Hingson ** 30:07 Well, you know, I mentioned challenges before, and we all, we all face challenges and so on. How do we overcome the challenges, our inherited challenges, or the perceived challenges that we have? How do we overcome those and work to move forward, to be our best? Because that's clearly kind of what you're talking about here.   David Mayernik ** 30:26 Yeah, well, the true I mean, so the challenges that we're born with, and I think there are also some challenges that, you know, we impose on ourselves, right? I mean, in this, in the best sense, I mean the ways that we challenge ourselves. And for me, I'm a bit of an idealist, and you know, the world doesn't look kindly on idealist. If you know, from a business, professional point of view, idealism is often, I'm not saying it's frowned upon, but it's hardly encouraged and rewarded and but I think that for me, I've learned over time that it's you really just beating your head against the wall is not the best. A little bit of navigating your way around problems rather than trying to run through them or knock them over is a smarter strategy. And so you have to be a little nimble. You have to be a little creative about how you find work and essentially, how you keep yourself afloat and and if you're if you're open to possibilities, and if you take some risks, you can, you can actually navigate yourself through a series of obstacles and actually have a rich, interesting life, but it may not follow the path that you thought you were starting out on at the beginning. And that's the, I think that's the skill that not everybody has.   Michael Hingson ** 31:43 The other part about that, though, is that all too often, we don't really give thought to what we're going to do, or we we maybe even get nudges about what we ought to do, but we discount them because we think, Oh, that's just not the way to do it. Rather than stepping back and really analyzing what we're seeing, what we're hearing. And I, for 1am, a firm believer in the fact that our inner self, our inner voice, will guide us if we give it the opportunity to do that.   David Mayernik ** 32:15 You know, I absolutely agree. I think a lot of people, you know, I was, I for, I have, for better or worse, I've always had a good sense of what I wanted to do with my life, even if architecture was a you know, conscious way to do something that was not exactly maybe what I dreamed of doing, it was a, you know, as a more rational choice. But, but I've, but I've basically followed my heart, more or less, and I've done the things that I always believed in it was true too. And when I meet people, especially when I have students who don't really know what they love, or, you know, really can't tell you what they really are passionate about, but my sense of it is, this is just my I might be completely wrong, but my sense of it is, they either can't admit it to themselves, or they can't admit it to somebody else that they that, either, in the first case, they're not prepared to listen to themselves and actually really deep, dig deep and think about what really matters to them, or if they do know what that is, they're embarrassed to admit it, or they're embarrassed to tell somebody else. I think most of us have some drive, or some internal, you know, impetus towards something and, and you're right. I mean, learning to listen to that is, is a, I mean, it's rewarding. I mean, essentially, you become yourself. You become more, or the best possible self you can be, I guess.   Michael Hingson ** 33:42 Yeah, I agree. And I guess that that kind of answers the question I was was thinking of, and that is, basically, as you're doing things in life, should you follow your dreams?   David Mayernik ** 33:53 You know, there's a lot, a lot of people are writing these days, if you read, if you're just, you know, on the, on the internet, reading the, you know, advice that you get on, you know, the new services, from the BBC to, you know, any other form of information that's out there, there's a lot of back and forth by between the follow your dreams camp and the don't follow your dreams camp. And the argument of the don't follow your dreams camp seems to be that it's going to be hard and you'll be frustrated, and you know, and that's true, but it doesn't mean you're going to fail, and I don't think anybody should expect life to be easy. So I think if you understand going in, and maybe that's part of my Eastern European heritage that you basically expect life to be hard, not, not that it has to be unpleasant, but you know it's going to be a struggle, but, but if you are true to yourself or follow your dreams, you're probably not going to wake up in the middle of your life with a crisis. You know, because I think a lot of times when you suppress your dreams, they. Stay suppressed forever, and the frustrations come out later, and it's better to just take them on board and try to again, navigate your way through life with those aspirations that you have, that you know are really they're built in like you were saying. They're kind of hardwired to be that person, and it's best to listen to that person.   Michael Hingson ** 35:20 There's nothing wrong with having real convictions, and I think it's important to to step back and make sure that you're really hearing what your convictions are and feeling what your convictions are. But that is what people should do, because otherwise, you're just not going to be happy.   David Mayernik ** 35:36 You're not and you're you're at one level, allowing yourself to manipulate yourself. I mean, essentially, you're, you know, kind of essentially deterring yourself from being who you are. You're probably also susceptible to other people doing that to you, that if you don't have enough sense of yourself, a lot of other people can manipulate you, push you around. And, you know, the thing about having a good sense of yourself is you also know how to stand up for yourself, or at least you know that you're a self that's worth standing up for. And that's you know. That's that, that thing that you know the kids learn in the school yard when you confront the bully, you know you have to, you know, the parents always tell you, you know, stand up to the bully. And at some level, life is going to bully you unless you really are prepared to stand up for something.   Michael Hingson ** 36:25 Yeah, and there's so many examples of that I know as a as a blind person, I've been involved in taking on some pretty major tasks in life. For example, it used to be that anyone with a so called Disability couldn't buy life insurance, and eventually, we took on the insurance industry and won to get the laws passed in every state that now mandate that you can't discriminate against people with disabilities in providing life insurance unless you really have evidence To prove that it's appropriate to do that, and since the laws were passed, there hasn't been any evidence. And the reason is, of course, there never has been evidence, and insurance companies kept claiming they had it, but then when they were challenged to produce it, they couldn't. But the reality is that you can take on major tasks and major challenges and win as long as you really understand that that is what your life is steering you to do,   David Mayernik ** 37:27 yeah, like you said, and also too, having a sense of your your self worth beyond whatever that disability is, that you know what you're capable of, apart from that, you know that's all about what you can't do, but all the things that you can do are the things that should allow you to do anything. And, yeah, I think we're, I think it's a lot of times people will try to define you by what you can't do, you   Michael Hingson ** 37:51 know? And the reality is that those are traditionally misconceptions and inaccurate anyway, as I point out to people, disability does not mean a lack of ability. Although a lot of people say, Well, of course it, it is because it starts with dis. And my response is, what do you then? How do you deal with the words disciple, discern and discrete? For example, you know the fact of the matter is, we all have a disability. Most of you are light dependent. You don't do well with out light in your life, and that's okay. We love you anyway, even though you you have to have light but. But the reality is, in a sense, that's as much a disability is not being light dependent or being light independent. The difference is that light on demand has caused so much focus that it's real easy to get, but it doesn't change the fact that your disability is covered up, but it's still there.   David Mayernik ** 38:47 No, it's true. I mean, I think actually, yeah, knowing. I mean, you're, we're talking about knowing who you are, and, you know, listening to your inner voice and even listening to your aspirations. But also, I mean being pretty honest about where your liabilities are, like what the things are that you struggle with and just recognizing them, and not not to dwell on them, but to just recognize how they may be getting in the way and how you can work around them. You know, one of the things I tell students is that it's really important to be self critical, but, but it's, it's not good to be self deprecating, you know. And I think being self critical if you're going to be a self taught person like I am, in a lot of ways, you you have to be aware of where you're not getting it right. Because I think the problem is sometimes you can satisfy yourself too easily. You're too happy with your own progress. You know, the advantage of having somebody outside teaching you is they're going to tell you when you're doing it wrong, and most people are kind of loath do that for themselves, but, but the other end of that is the people who are so self deprecating, constantly putting themselves down, that they never are able to move beyond it, because they're only aware of what they can't do. And you know, I think balancing self criticism with a sense of your self worth is, you know, one of the great balancing acts of life. You.   Michael Hingson ** 40:00 Well, that's why I've adopted the concept of I'm my own best teacher, because rather than being critical and approaching anything in a negative way, if I realize that I'm going to be my own best teacher, and people will tell me things, I can look at them, and I should look at them, analyze them, step back, internalize them or not, but use that information to grow, then that's what I really should do, and I would much prefer the positive approach of I'm my own best teacher over anything else.   David Mayernik ** 40:31 Yeah, well, I mean, the last kind of teachers, and I, you know, a lot of my students have thought of me as a critical teacher. One of the things I think my students have misunderstood about that is, it's not that I have a low opinion of them. It's actually that I have such a high opinion that I always think they're capable of doing better. Yeah, I think one of the problems in our educational system now is that it's so it's so ratifying and validating. There's so we're so low to criticize and so and the students are so fragile with criticism that they they don't take the criticism well, yeah, we don't give it and, and you without some degree of what you're not quite getting right, you really don't know what you're capable of, right? And, and I think you know. But being but again, being critical is not that's not where you start. I think you start from the aspiration and the hope and the, you know, the actually, the joy of doing something. And then, you know, you take a step back and maybe take a little you know, artists historically had various techniques for judging their own work. Titian used to take one of his paintings and turn it away, turn it facing the wall so that he couldn't see it, and he would come back to it a month later. And, you know, because when he first painted, he thought it was the greatest thing ever painted, he would come back to it a month later and think, you know, I could have done some of those parts better, and you would work on it and fix it. And so, you know, the self criticism comes from this capacity to distance yourself from yourself, look at yourself almost as as hard as it is from the outside, yeah, try to see yourself as other people see you. Because I think in your own mind, you can kind of become completely self referential. And you know, that's that. These are all life skills. You know, I had to say this to somebody recently, but, you know, I think the thing you should get out of your education is learning how to learn and like you're talking about, essentially, how do you approach something new or challenging or different? Is has to do with essentially, how do you how do you know? Do you know how to grow and learn on your own?   Michael Hingson ** 42:44 Yeah, exactly, well, being an architect and so on. How did you end up going off and becoming a professor and and teaching? Yeah, a   David Mayernik ** 42:52 lot of architects do it. I have to say. I mean, there's always a lot of the people who are the kind of heroes when I was a student, were practicing architects who also taught and and they had a kind of, let's say, intellectual approach to what they did. They were conceptual. It wasn't just the mundane aspects of getting a building built, but they had some sense of where they fit, with respect to the culture, with respect to history and issues outside of architecture, the extent to which they were tied into other aspects of culture. And so I always had the idea that, you know, to be a full, you know, a fully, you know, engaged architect. You should have an academic, intellectual side to your life. And teaching would be an opportunity to do that. The only thing is, I didn't feel like I knew enough until I was older, in my 40s, to feel like I actually knew enough about what I was doing to be able to teach somebody else. A lot of architects get into teaching early, I think, before they're actually fully formed to have their own identities. And I think it's been good for me that I waited a while until I had a sense of myself before I felt like I could teach somebody else. And so there was, there was that, I mean, the other side of it, and it's not to say that it was just a day job, but one of the things I decided from the point of your practice is a lot of architects have to do a lot of work that they're not proud of to keep the lights on and keep the business operating. And I have decided for myself, I only really want to do work that I'm proud of, and in order to do that, because clients that you can work for and be you know feel proud of, are rather rare, and so I balanced teaching and practice, because teaching allowed me to ostensibly, theoretically be involved with the life of the mind and only work for people and projects that interested me and that I thought could offer me the chance to do something good and interesting and important. And so one I had the sense that I had something to convey I learned. Enough that I felt like I could teach somebody else. But it was also, for me, an opportunity to have a kind of a balanced life in which practice was compensated. You know that a lot of practice, even interesting practice, has a banal, you know, mundane side. And I like being intellectually stimulated, so I wanted that. Not everybody wants   Michael Hingson ** 45:24 that. Yeah, so you think that the teaching brings you that, or it put you in a position where you needed to deal with that?   David Mayernik ** 45:32 You know, having just retired, I wish there had been more of that. I really had this romantic idea that academics, being involved in academics, would be an opportunity to live in a world of ideas. You know? I mean, because when I was a student, I have to say we, after we came back from Rome, I got at least half of my education for my classmates, because we were deeply engaged. We debated stuff. We, you know, we we challenged each other. We were competitive in a healthy way and and I remember academics my the best part of my academic formation is being immensely intellectually rich. In fact, I really missed it. For about the first five years I was out of college, I really missed the intellectual side of architecture, and I thought going back as a teacher, I would reconnect with that, and I realized not necessarily, there's a lot about academics that's just as mundane and bureaucratic as practice can be so if you really want to have a satisfying intellectual life, unfortunately, you can't look to any institution or other people for it. You got to find it on your own.   46:51 Paperwork, paperwork,   David Mayernik ** 46:55 committee meetings, just stuff. Yeah, yeah,   Michael Hingson ** 47:00 yeah. Yeah, which never, which never. Well, I won't say they never help, but there's probably, there's probably some valuable stuff that you can get, even from writing and doing, doing paperwork, because it helps you learn to write. I suppose you can look at it that way.   David Mayernik ** 47:16 No, it's true. I mean, you're, you're definitely a glass half full guy. Michael, I appreciate that's good. No. I mean, I, obviously, I always try to make get the most out of whatever experience I have. But, I mean, in the sense that there wasn't as much intellectual discourse, yeah, you know, as my I would have liked, yeah, and I, you know, in the practice or in the more academic side of architecture. Several years ago, somebody said we were in a post critical phase like that. Ideas weren't really what was driving architecture. It was going to be driven by issues of sustainability, issues of social structure, you know, essentially how people live together, issues that have to do with things that weren't really about, let's call it design in the esthetic sense, and all that stuff is super important. And I'm super interested in, you know, the social impact of my architecture, the sustainable impact of it, but the the kind of intellectual society side of the design part of it, we're in a weird phase where it that's just not in my world, we just it's not talked about a lot. You know,   Michael Hingson ** 48:33 it's not what it what it used to be. Something tells me you may be retired, but you're not going to stop searching for intellectual and various kinds of stimulation to help keep your mind active.   David Mayernik ** 48:47 Oh, gosh, no, no. I mean, effectively. I mean, I just stopped one particular job. I describe it now as quitting with benefits. That's my idea of what I retired from. I retired from a particular position in a particular place, but, but I haven't stopped. I mean, I'm certainly going to keep working. I have a very interesting design project in Switzerland. I've been working on for almost 29 years, and it's got a number of years left in it. I paint, I write, I give lectures, I you know, and you obviously have a rich life. You know, not being at a job. Doesn't mean that the that your engagement with the world and with ideas goes away. I mean, unless you wanted to, my wife's my wife had three great uncles who were great jazz musicians. I mean, some quite well known jazz musicians. And one of them was asked, you know, was he ever going to retire? And he said, retire to what? Because, you know, he was a musician. I mean, you can't stop being a musician, you know, you know, if, some level, if you're really engaged with what you do, you You never stop, really,   Michael Hingson ** 49:51 if you enjoy it, why would you? No, I   David Mayernik ** 49:54 mean, the best thing is that your work is your fun. I mean, you know, talking about, we talked about it. I. You that You know you're kind of defined by your work, but if your work is really what you enjoy, I mean, actually it's fulfilling, rich, enriching, interesting, you don't want to stop doing that. I mean, essentially, you want to do it as long as you possibly can. Yeah,   Michael Hingson ** 50:13 and it's and it's really important to do that. And I think, in reality, when you retire from a job, you're not really retiring from a job. You're retiring, as you said, from one particular thing. But the job isn't a negative thing at all. It is what you like to do.   David Mayernik ** 50:31 Yeah. I mean, there's, yeah, there's the things that you do that. I mean, I guess the job is the, if you like, the thing that is the, you know, the institution or the entity that you know, pays your bills and that kind of stuff, but the career or the thing that you're invested in that had the way you define yourself is you never stop being that person, that person. And in some ways, you know, what I'm looking forward to is a richer opportunity to pursue my own avenue of inquiry, and, you know, do things on my own terms, without some of the obligations I had   Michael Hingson ** 51:03 as a teacher, and where's your wife and all that.   David Mayernik ** 51:06 So she's with me here in LUCA, and she's she's had a super interesting life, because she she she studied. We, when we were together in New York, she was getting a degree in art history, Medieval and Renaissance studies in art history at NYU, and then she decided she really wanted to be a chef, and she went to cooking school in New York and then worked in a variety of food businesses in New York, and then got into food writing and well, food styling for magazines, making food for photographs, and then eventually writing. And through a strange series of connections and experiences. She got an opportunity to cook at an Art Foundation in the south of France, and I was in New York, and I was freelancing. I was I'd quit a job I'd been at for five years, and I was freelancing around, doing some of my own stuff and working with other architects, and I had work I could take with me. And you know, it was there was there was, we didn't really have the internet so much, but we had FedEx. And I thought I could do drawings in the south of France. I could do them in Brooklyn. So, so I went to the south of France, and it just happens to be that my current client from Switzerland was there at that place at that time, scouting it out for some other purpose. And she said, I hear you're architect. I said, Yeah. And I said, Well, you know, she said, I like, you know, classical architecture, and I like, you know, traditional villages, and we have a campus, and we need a master plan architect. And I was doing a master plan back in Delaware at that time, and my wife's you know, career trajectory actually enabled me to meet a client who's basically given me an opportunity to build, you know, really interesting stuff, both in Switzerland and in England for the last, you know, again, almost 29 years. And so my wife's been a partner in this, and she's been, you know, because she's pursued her own parallel interest. But, but our interests overlap enough and we share enough that we our interests are kind of mutually reinforcing. It's, it's been like an ongoing conversation between us, which has been alive and rich and wonderful.   Michael Hingson ** 53:08 You know, with everything going on in architecture and in the world in general, we see more and more technology in various arenas and so on. How do you think that the whole concept of CAD has made a difference, or in any way affected architecture. And where do you think CAD systems really fit into all of that?   David Mayernik ** 53:33 Well, so I mean this, you know, CAD came along. I mean, it already was, even when I was early in my apprenticeship, yeah, I was in Chicago, and there was a big for som in Chicago, had one of the first, you know, big computers that was doing some drawing work for them. And one of my, a friend of mine, you know, went to spend some time and figure out what they were capable of. And, but, you know, never really came into my world until kind of the late night, mid, mid to late 90s and, and, and I kind of resisted it, because I, the reason I got into architecture is because I like to draw by hand, and CAD just seemed to be, you know, the last thing I'd want to do. But at the same time, you, some of you, can't avoid it. I mean, it has sort of taken over the profession that, essentially, you either have people doing it for you, or you have to do it yourself, and and so the interesting thing is, I guess that I, at some point with Switzerland, I had to, basically, I had people helping me and doing drawing for me, but I eventually taught myself. And I actually, I jumped over CAD and I went to a 3d software called ArchiCAD, which is a parametric design thing where you're essentially building a 3d model. Because I thought, Look, if I'm going to do drawing on the computer, I want the computer to do something more than just make lines, because I can make lines on my own. But so the computer now was able to help me build a 3d model understand buildings in space and construction. And so I've taught myself to be reasonably, you know, dangerous with ArchiCAD and but the. Same time, the creative side of it, I still, I still think, and a lot of people think, is still tied to the intuitive hand drawing aspect and and so a lot of schools that gave up on hand drawing have brought it back, at least in the early years of formation of architects only for the the conceptual side of architecture, the the part where you are doodling out your first ideas, because CAD drawing is essentially mechanical and methodical and sort of not really intuitive, whereas the intuitive marking of paper With a pencil is much more directly connected to the mind's capacity to kind of speculate and imagine and daydream a little bit, or wander a little bit your mind wanders, and it actually is time when some things can kind of emerge on the page that you didn't even intend. And so, you know, the other thing about the computer is now on my iPad, I can actually do hand drawing on my iPad, and that's allowed me to travel with it, show it to clients. And so I still obviously do a lot of drawing on paper. I paint by hand, obviously with real paints and real materials. But I also have found also I can do free hand drawing on my iPad. I think the real challenge now is artificial intelligence, which is not really about drawing, it's about somebody else or the machine doing the creative side of it. And that's the big existential crisis that I think the profession is facing right now.   Michael Hingson ** 56:36 Yeah, I think I agree with that. I've always understood that you could do free hand drawing with with CAD systems. And I know that when I couldn't find a job in the mid 1980s I formed a company, and we sold PC based CAD systems to architects and engineers. And you know, a number of them said, well, but when we do designs, we charge by the time that we put into drawing, and we can't do that with a CAD system, because it'll do it in a fraction of the time. And my response always was, you're looking at it all wrong. You don't change how much you charge a customer, but now you're not charging for your time, you're charging for your expertise, and you do the same thing. The architects who got that were pretty successful using CAD systems, and felt that it wasn't really stifling their creativity to use a CAD system to enhance and speed up what they did, because it also allowed them to find more jobs more quickly.   David Mayernik ** 57:35 Yeah, one of the things it did was actually allow smaller firms to compete with bigger firms, because you just didn't need as many bodies to produce a set of drawings to get a project built or to make a presentation. So I mean, it has at one level, and I think it still is a kind of a leveler of, in a way, the scale side of architecture, that a lot of small creative firms can actually compete for big projects and do them successfully. There's also, it's also facilitated collaboration, because of the ability to exchange files and have people in different offices, even around the world, working on the same drawing. So, you know, I'm working in Switzerland. You know, one of the reasons to be on CAD is that I'm, you know, sharing drawings with local architects there engineers, and that you know that that collaborative sharing process is definitely facilitated by the computer.   Michael Hingson ** 58:27 Yeah, information exchange is always valuable, especially if you have a number of people who are committed to the same thing. It really helps. Collaboration is always a good thing,   David Mayernik ** 58:39 yeah? I mean, I think a lot of, I mean, there's always the challenge between the ego side of architecture, you know, creative genius, genius, the Howard Roark Fountainhead, you know, romantic idea. And the reality is that it takes a lot of people to get a building built, and one person really can't do it by themselves. And So collaboration is kind of built into it at the same time, you know, for any kind of coherence, or some any kind of, let's say, anything, that brings a kind of an artistic integrity to a work of architecture, mostly, that's got to come from one person, or at least people with enough shared vision that that there's a kind of coherence to it, you know. And so there still is space for the individual creative person. It's just that it's inevitably a collaborative process to get, you know, it's the it's the 1% inspiration, 99% perspiration. Side architecture is very much that there's a lot of heavy lifting that goes into getting a set of drawings done to get

Send us a textIn this engaging conversation, Bob Sorrentino and Anthony Castelvecchi delve into the rich tapestry of Italian roots and genealogy. They explore personal family histories, the impact of immigration, and the significance of DNA testing in uncovering ancestral connections. The discussion also highlights the importance of traveling to Italy to connect with one's heritage and offers valuable advice for young people interested in researching their family history. Throughout the conversation, the hosts share anecdotes and insights that reflect the deep cultural ties and stories that shape Italian-American identity.TakeawaysThe significance of last names in understanding family heritage.Exploring multiple regions of Italy can reveal diverse ancestry.Immigration stories provide context to family histories.DNA testing can uncover unexpected family connections.Traveling to Italy enhances the understanding of one's roots.Engaging with family members can yield valuable historical insights.Genealogy research often requires detective work and patience.Local communities in Italy can offer connections to family history.Understanding the historical context of immigration is crucial.Everyone has a unique story worth discovering.Instagram:oriundi_https://www.instagram.com/oriundi_/Facebook:ORIUNDIhttps://www.facebook.com/groups/oriundigroupBlog:ORIUNDIhttps://oriundiblog.blogspot.com/Turnkey. The only thing you'll lift are your spirits.Buzzsprout - Let's get your podcast launched!Start for FREEFarmers and NoblesRead about my research story and how to begin your family research.Disclaimer: 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.

Ciao Italiani Veri!Ci siete tutti? Partiamo insieme per le vacanze?Vi portiamo al mare, in montagna o in entrambi i posti

Hear about travel to Genoa and Liguria in Italy as the Amateur Traveler talks to Enrica, Ligurian food expert from ASmallKitcheninGenoa.com about her home region in Italy. Why should you travel to Liguria? Enrica says, "Liguria is a wonderful region, not just because this is my region, but there are many reasons for traveling here. First of all, for its spectacular scenery. We have a mix of mountains and sea with dramatic cliffs, hidden coves, and trails. But we also have other fantastic landscapes like the well-known dry and stone walls, so-called Muretti a Secco, which are awarded as a patrimony of UNESCO for their beauty and importance, and of course the world-famous colorful fisherman village facades. Then we have a wonderful veggie-oriented cuisine." Enrica recommends a 7-day itinerary for visiting Genoa and Liguria in Italy, focusing on authentic experiences beyond Cinque Terre. Here's her suggested itinerary: Day 1: Arrival in Genoa & First Impressions Arrive in Genoa via the airport or train from Milan. Stay in a central hotel (preferably outside the old town for safety at night). Start at Spianata Castelletto, a panoramic terrace accessible by public elevator, for a breathtaking view of Genoa. Walk through Caruggi (narrow medieval alleys) and explore historical shops (Botteghe Storiche). Consider taking a food tour with Enrica to taste pesto, farinata, focaccia, and candied fruit. Evening in Boccadasse, a small fishing village within Genoa, ideal for aperitivo or dinner. ... https://amateurtraveler.com/travel-to-liguria/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Melvyn Bragg and guests discuss the Italian author of Invisible Cities, If On A Winter's Night A Traveller, Cosmicomics and other celebrated novels, fables and short stories of the 20th Century. Calvino (1923 -1985) had a passionate belief that writing and art could make life better for everyone. Despite his parents being scientists, who dearly wanted him to be a scientist too, and his time fighting with the Partisans in Liguria in WWII during which his parents were held hostage by the Nazis, Calvino turned away from realism in his writing. Ideally, he said, he would have liked to be alive in the Enlightenment. He moved towards the fantastical, drawing on his childhood reading while collecting a huge number of the fables of Italy and translating them from dialect into Italian to enrich the shared culture of his fellow citizens. His fresh perspective on the novel continues to inspire writers and delight readers in Italian and in translations around the world.With Guido Bonsaver Professor of Italian Cultural History at the University of OxfordJennifer Burns Professor of Italian Studies at the University of WarwickAndBeatrice Sica Associate Professor in Italian Studies at UCLProducer: Simon TillotsonReading list: Elio Baldi, The Author in Criticism: Italo Calvino's Authorial Image in Italy, the United States, and the United Kingdom (Fairleigh Dickinson University Press, 2020)Elio Baldi and Cecilia Schwartz, Circulation, Translation and Reception Across Borders: Italo Calvino's Invisible Cities Around the World (Routledge, 2024)Peter Bondanella and Andrea Ciccarelli (eds.), The Cambridge Companion to the Italian Novel (Cambridge University Press, 2003), especially the chapter ‘Italo Calvino and Umberto Eco: Postmodern Masters'James Butler, ‘Infinite Artichoke' (London Review of Books, vol. 45, no. 12, 15 June 2023)Italo Calvino (trans. Martin McLaughlin), The Path to the Spiders' Nests (first published 1947; Penguin Classics, 2009)Italo Calvino (trans. Mikki Taylor), The Baron in the Trees (first published 1957; Vintage Classics, 2021)Italo Calvino, Marcovaldo (first published 1963; Vintage Classics, 2023) Italo Calvino (trans. William Weaver and Ann Goldstein), Difficult Loves and Other Stories (first published 1970; Vintage Classics, 2018)Italo Calvino (trans. William Weaver), Invisible Cities (first published 1972; Vintage Classics, 1997)Italo Calvino (trans. Patrick Creagh), The Uses of Literature (first published 1980; Houghton Mifflin, 1987)Italo Calvino (trans. Geoffrey Brock), Six Memos for the Next Millennium (first published 1988; Penguin Classics, 2016) Italo Calvino (trans. Tim Parks), The Road to San Giovanni (first published 1990; HMH Books, 2014) Italo Calvino (trans. Ann Goldstein), The Written World and the Unwritten World: Essays (Mariner Books Classics, 2023)Kathryn Hume, Calvino's Fictions: Cogito and Cosmos (Clarendon Press, 1992)Martin McLaughlin, Italo Calvino (Edinburgh University Press, 1998)In Our Time is a BBC Studios Audio Production