Podcasts about Locarno

Lo Que Nos Cuenta El Cuento - La mendiga de Locarno, Heinrich von Kleist by Radiotelevisión de Veracruz

Johan Nijenhuis is filmproducent en -regisseur. Na de Filmacademie werd hij showrunner van series als 'Westenwind' en 'ZOOP'. In 2001 maakte hij zijn regiedebuut in de bioscoop met ‘Costa!', en daarna volgden zestien Gouden Films. Een prijs die Nederlandse speelfilms ontvangen zodra ze 100.000 bioscoopkaartjes hebben verkocht. Met ‘Foeksia de Miniheks' won hij Beste Jeugdfilm op het Locarno film festival, en ‘De Beentjes van Sint Hildegard' won in 2020 de prijs van de Nederlandse filmkritiek. Ook scoorde hij grote hits met ‘Verliefd op Ibiza' en ‘Toscaanse Bruiloft'. In zijn tweeëntwintigste film ‘Dochters' wil protagonist Vera de bucketlist van haar overleden man afmaken. Ze schrijft zichzelf en haar drie dochters in voor een marathon, wat leidt tot een onverwachte emotionele reis. Femke van der Laan gaat met Johan Nijenhuis in gesprek.

A version of this essay was published by rediff.com at https://www.rediff.com/movies/column/what-made-shaji-n-karun-a-master-film-maker/20250429.htmJust last week, I read in the local Trivandrum papers about Shaji N Karun receiving an award in the name of J C Daniel, an early pioneer in Malayalam films. That's when I realized that the master film-maker had named his house ‘Piravi' in memory of his extraordinary directorial debut in 1988. It brought back a flood of memories of that film, whose title means ‘birth', but whose theme was death and loss.Now comes the news of his own death, aged 73, from cancer. Om shanti, Godspeed, Shaji, as you join the Great White Whirligig in the Sky!I met the director twice: once, about fifty years ago, when we both were volunteers for a local science fair, and he was a student at the Film and Television Institute in Pune; and then in 1988 or 1989, when he spoke at the San Francisco International Film Festival, where ‘Piravi' was featured. The film had won the Cannes Camera d'Or-Mention d'Honneur, among many other prizes, including at Locarno, Edinburgh and so on: possibly more than any other Indian film.What impressed me about his talk was his humility and reticence: even though he was an acclaimed cinematographer and ‘Piravi' was received very well, he was quiet, even shy. He explained his use of the blue tints in the film: it is the color of apasmaram, he said, using the Malayalam/Sanskrit word for madness, which the father of the ‘disappeared' youth in the film falls into.Even though he made several other films, and he was the cinematographer who shot most of the works of legendary Malayalam film-maker G Aravindan, it is ‘Piravi' that marked the zenith of his career. I can say without hesitation that it is stunningly powerful; as an art-film fan, I have seen hundreds of superb, even outstanding films, but this one, alone, spoke to me. I wept seeing it, tears streaming down my cheeks. No other film has ever affected me so much.For a Malayalam speaker and one who had seen the Emergency, it was a viscerally powerful experience, especially because it was based on the real-life story of Rajan, a ‘disappeared' engineering student. As I wrote some years ago in https://www.rediff.com/news/column/emergency-why-rajans-story-resonates-with-me/20150625.htm I could easily have been another Rajan, another number.Rajan's character is never seen in the film, except as a child; his father, played by octogenarian Premji, fills the screen with his presence, his anguish, at the loss of his only son born late in his life. And in real life, the father, Professor Eachara Warrier, who was one of my heroes, https://www.rediff.com/news/2006/apr/24rajeev.htm spent the rest of his life demanding justice from the uncaring State.The film's minimalist dialogue and focus on human despair, grief, and the struggle against systemic injustice resonate universally, transcending cultural boundaries. Its subtle yet poignant exploration of loss makes it relatable to global audiences.Apart from the universal message of grief, there is also the story of the father-son relationship. I was strongly affected by passages from the film where you realize how much the predatory State took from the father, as per the Hindu tradition. I remembered my father 10,000 miles away in India, who too had no son to help him.The film begins with an invocation from the Kaushitaki Upanishad; a dying man bequeaths his life to his son. The son accepts each of his gifts."My speech in you I would place". "Your speech in me I take.""My sight in you I would place." "Your sight in me I take.""My mind in you I would place." "Your mind in me I take.""My deeds in you I would place." "Your deeds in me I take.""My vital breath in you I would place". "Your vital breath in me I take.""May glory, luster and fame delight in you." "Heaven and desires may you obtain."And from the Brihadaranyaka Upanishad, "Whatever wrong has been done by him, his son frees him from it all... By his son, a father stands firm in this world."Personally for me, I think the film was a catalyst in my decision to return to India, specifically back to Kerala. Another Indian friend (I think he was a Telugu) who saw it with me in San Francisco said, “I'm so tempted to chuck it all and go live in a Kerala village”.Apart from the overwhelming sense of loss, the film is remarkable from two points of view: visual storytelling and innovative techniques.The muted lighting, traditional architecture, and atmospheric elements like rain mirror the characters' emotional turmoil. The film's stillness and sparse dialogue amplifies the actors' expressive performances, particularly their eyes, conveying deep emotion. The monsoon rain is a palpable presence with the sense of anticipation as we wait for its arrival, as the father waits for his son every day at the bus-stop till the last bus; heart-breakingly, we in the audience know he will never return. And then later, when the father falls in the rain, the ferryman's dilemma: if he helps him up, his boat will drift away. The ferryman's compassion prevails and he rushes to help.The film's use of weather, sound (e.g., the bubbling of water evoking anxiety), the simple everyday beauty of Kerala village life, and deliberate pacing created a meditative yet intense atmosphere. The use of color to invoke emotion (as in traditional ragas) is another technical innovation.With ‘Piravi', Shaji N Karun joined the select group of great masters of film: film as witness, sakshi, film as literature. Malayalam once upon a time used to produce such films. Today it is only mindless violence, politics, and grotesque humor: the films have no soul, although they are technically quite good. With Shaji's passing, and earlier with his mentor Aravindan's untimely death, an era is coming to an end.976 words, Apr 29, 2025 This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit rajeevsrinivasan.substack.com/subscribe

Die Martial-Arts Ikone Jackie Chan kommt ans Locarno Film Festival, die Tokio-Hotel-Zwillinge Tom und Bill sind ab Juni mit ihrer Reality-Serie "Kaulitz & Kaulitz" zurück auf Netflix und Prinz William und Prinzessin Kate feiern am Dienstag ihren 14. Hochzeitstag.

Nicodemus, Katja www.deutschlandfunk.de, Kultur heute

Achtzehnter Stock - so heisst der neue Roman von Sara Gmuer. In der Hauptrolle geht es um Wanda und ihre Tochter. Sie lebt in einem Plattenbau in Berlin-Lichtenberg, immer den Fernsehturm am Horizont im Blick. Er ist Symbol für ein besseres Leben. Wanda ist Schauspielerin, hat nie Geld und versucht den Spagat zwischen Liebesbeziehung mit einem Leinwandstar, Care-Arbeit und Dreharbeiten am Set. Sie scheitert - und gewinnt am Ende doch. Die Hausgemeinschaft in der Platte fängt sie auf, sie beißt sich durch. Sara Gmuer kennt das Auf und Ab, diese Welten. Die Schweizerin war Rapperin, Model, Schauspielerin - ihr Debütroman "Karizma" dreht sich um eine Rapperin, die sich in der männerdominierten Szene durchsetzt. Heute lebt sie mit zwei Kindern und Mann in Berlin. Stephan Ozsváth hat sich mit ihr in Berlin-Lichtenberg in der "Platte" getroffen und sie zum Rappen animiert und mit ihr über Perfektionismus, Eitelkeit und Rap als Keimzelle von Literatur gesprochen. Stephan Ozsváth empfiehlt Ákos Doma: Das Haus in Limone, Jung&Jung, 304 Seiten. Sara Gmuer empfiehlt Akiz: Der Hund, hanserblau, 192 Seiten. Das Buch Sara Gmuer: "Achtzehnter Stock", hanserblau, 224 Seiten. Der Ort "Platte" an der Frankfurter Allee in Berlin-Lichtenberg, am U-Bahnhof Magdalenenstraße. Die Autorin Sara Gmuer, 1980 in Locarno geboren, in einem Bergdorf in der italienischen Schweiz aufgewachsen, Rapperin, Schauspielerin, Model. Ihr erster Roman "Karizma" wurde für seinen rotzigen Sound gefeiert. Heute lebt Sara Gmuer mit Mann und zwei Kindern in Berlin. Der Song zum Buch https://youtu.be/fHBLd2jnVJE?si=QT03GMg5ER39dU-V

“Mi chiamo Niele Toroni. Sono nato il 15 marzo del 1937, a Muralto, in riva al Lago Maggiore. In Ticino, la Svizzera italiana a sud delle Alpi, che in primavera si riempie di camelie e mimose in fiore. Ci sono anche palme, banani che non riescono a far maturare le banane, limoni che a volte fanno centotrentanove limoni e finiscono sui giornali”. Anche in queste parole si coglie l'ironia che contraddistingue Niele Toroni, artista ticinese con una carriera internazionale, che viene omaggiato in queste settimane da due musei ticinesi – dove mancava da oltre trent'anni - e con una pubblicazione che include i suoi scritti e un'intervista inedita di Bruno Marcadé, storico e critico d'arte, amico di lunga data del pittore che era partito dal Ticino negli anni Sessanta per Parigi. Da allora Toroni si è affermato come uno degli esponenti delle avanguardie europee del dopoguerra. Diventato celebre per le sue “Impronte di pennello n. 50 a intervalli regolari di 30 centimetri”, un gesto artistico soltanto in apparenza ripetitivo. A Voci dipinte ospiti Mara Folini, direttrice del Museo comunale d'arte moderna di Ascona e Sébastien Peter, direttore dei Servizi culturali della città di Locarno. Bernard Marcadé ci guida attraverso la prima retrospettiva svizzera dedicata a Niele Toroni, allestita al Museo Casa Rusca di Locarno, che riunisce opere realizzate nell'arco di sessant'anni.

In dieser Episode von "Vier unter Deck" konzentrieren wir uns auf die zehnte Episode der vierten Staffel von "Star Trek: Lower Decks", die den Titel "Alte Freunde, Neue Planeten" trägt. Gemeinsam mit meinen Mitstreitern Daniela, Boris und Tanja tauchen wir tief in die Handlung ein und freuen uns auf einen lebhaften Austausch über die neuesten Entwicklungen im Star Trek-Universum, auch wenn die Zeit hierbei begrenzt ist. Unser Gespräch beginnt mit einem Rückblick auf die Ereignisse der vorherigen Episode, die uns in eine Welt entführt, in der Mariner auf einem geheimen Schiff gefangen gehalten wird, während auf der Cerritos eine riskante Rettungsmission in Planung ist. Wir reflektieren über die wichtigen Charakterentwicklungen und die Dynamik zwischen den Lower Deckern, die ein zentrales Element der Episode bilden. Die Herausforderungen, mit denen die Charaktere konfrontiert sind, erbauen einen spannenden Hintergrund für unsere Analyse, und wir freuen uns auf die Rückmeldungen unserer Zuhörer, auch wenn es diesmal keine Hörerbeiträge zu besprechen gibt. Die Interaktion unserer Community auf Discord zeigt, wie lebendig und engagiert die Fangemeinde von "Vier unter Deck" ist und wie sehr wir die Meinungen der Fans schätzen. Während wir die Episode untersuchen, beleuchten wir besonders das "Previously on..."-Segment. Während einige, wie Boris, das als überflüssig empfinden, bin ich überzeugt, dass es nützliche Erinnerungen bietet, die für das Verständnis der Episode wichtig sind. Dies ermöglicht es uns, emotionale Verbindungen zu den Charakteren herzustellen und zu begreifen, wie frühere Ereignisse die aktuellen Konflikte prägen. Ein herausragendes Element der Episode ist die Rückblende auf die Sternflottenakademie vor 13 Jahren. Hier tauchen wir tief in die Geschichte von Nick Locarno und Wesley Crusher ein, die entscheidend für die aktuelle Handlung in Lower Decks ist. Der Teufelskreis von Entscheidungen und deren Folgen wird deutlich, und unsere Diskussion beleuchtet die Verbindung zwischen Locarno und Tom Paris. Es wird klar, dass die Rückkehr vertrauter Charaktere aus dem "Star Trek: The Next Generation"-Universum nicht nur nostalgische Gefühle weckt, sondern auch die Tiefe und Komplexität der Charaktere verdeutlicht. Ein zentrales Thema unserer Analyse ist die Entwicklung von Nick Locarno. Wir beobachten seine manipulative Natur und wie diese in seinen Entscheidungen präsent ist. Diese ewigen inneren Konflikte und die Herausforderung, mit der eigenen Vergangenheit umzugehen, spiegeln sich in seinem Verhalten wider. Unsere Gespräche eröffnen eine breitere Betrachtung von Loyalität, Mut und den moralischen Fragen, die Star Trek durch seine Geschichten aufwirft. Die Episode thematisiert den mutigen Auftritt von Mariner, die ihre Loyalitäten hinterfragt und Locarno als Bedrohung für die Sternenflotte entlarvt. Diese Wendung verstärkt die Spannung und regt uns an, über die weitreichenden Auswirkungen von Entscheidungen in der Star Trek-Welt nachzudenken. Gleichzeitig diskutieren wir die kreative Arbeit, die in die Synchronisation und Animation der Episode geflossen ist, und heben die Bedeutung des Teams hinter der Produktion hervor. Es wird deutlich, wie die Zusammenarbeit von Drehbuchautoren, Sprechern und Animatoren dazu beigetragen hat, diese komplexe und spannende Geschichte zu erzählen. Abschließend fassen wir zusammen, dass die Episode nicht nur in ihrer Erzählweise und der Handhabung moralischer Fragestellungen überzeugt, sondern auch durch ihre Mischung aus Humor, Action und emotionaler Tiefe besticht. Wir freuen uns darauf, auch in der nächsten Episode die Abenteuer und Entwicklungen unserer Charaktere weiter zu erkunden und die faszinierenden Themen, die Star Trek aufwirft, mit unseren Zuhörern zu teilen.

Tourné deux ans après "Charles mort ou vif", première fiction du cinéaste romand, Léopard dʹor à Locarno, "La Salamandre" est un chef-dʹœuvre qui appartient au mouvement du Nouveau Cinéma Suisse, celui du Groupe 5 qui incarne un renouveau dʹécriture cinématographique à lʹaube des années 1970. Bulle Ogier, Jean-Luc Bideau et Jacques Denis y composent un trio étonnant, surfant sur les promesses de mai 68, sur la liberté, touchant du doigt le désenchantement postrévolutionnaire des années 1970. Film en couleur noir et blanc est-il annoncé dans le générique, tourné en 16 mm, gonflé en 35 mm, "La Salamandre" compose avec ses tous petits moyens de production pour nous offrir un regard sur la Suisse de 1971. Cʹest un regard presque documentaire, drôle, tendre, acéré aussi, nostalgique, que nous propose le cinéaste. Le film rencontre un succès considérable en Suisse et à lʹétranger, en France comme aux Etats-Unis. Il est temps dʹaller à la rencontre des protagonistes de cette histoire: Rosemonde, Pierre et Paul, et de refaire… un peu… le monde à la manière de Tanner. REFERENCES Histoire du cinéma suisse 1966-2000, sous la direction dʹHervé Dumont et de Maria Tortajada, Tome 1, Edition Cinémathèque suisse et Gilles Attinger Alain Tanner, Ciné-Mélanges, Seuil, 2007

Frédéric Maire quittera la direction de la Cinémathèque suisse en septembre. Lʹactuel directeur de La Cinémathèque Suisse et ancien directeur artistique du Festival de Locarno revient sur son départ et évoque quelques moments clé de son parcours à la tête de lʹinstitution.

Seit dem Jahr 2000 sind weltweit 142 Städte neu zu Tramstädten geworden. Auch Lausanne und Lugano haben bald wieder ein Tram. Was sind die Gründe für diese Entwicklung und in welchen weiteren Schweizer Städten hätte eine Strassenbahn Potential? Was haben Winterthur, Schaffhausen und Locarno mit St. Moritz und Luzern gemein? Es sind alles Städte, die einst ein Tramnetz hatten! Doch fast überall – mal abgesehen von Zürich, Bern, Basel, Genf und Neuenburg – wurden in den 1960er Jahren die Schienen herausgerissen. Den Platz brauchte man für die Moderne, für den motorisierten Individualverkehr. Doch der Wind scheint sich gedreht zu haben. In Lausanne, wo es bis 1964 ein Tramnetz gab, werden zurzeit wieder Geleise verlegt. Auch in Lugano gibt es konkrete Pläne für eine Tramverbindung ins Stadtzentrum. Und in verschiedenen Städten wird darüber diskutiert, ob man in Zukunft wieder aufs Tram setzen sollte. «Die Stadt prüft die Rückkehr zum Tram», titelte der Landbote aus Winterthur Ende 2024. «Idee für Tram in der Stadt St. Gallen nimmt wieder Fahrt auf» lautete kürzlich die Schlagzeile im Regionaljournal von SRF. Kommt es gar zur Trendwende? Kann man tatsächlich von einer Renaissance des Trams sprechen? Was sind die Vor-, aber auch die Nachteile eines Trams im Vergleich zu anderen Verkehrsmitteln? Die Radiosendung Treffpunkt steht ganz im Zeichen des Trams. Zu Gast ist Verkehrsplaner Claudio Büchel. Er ist Dozent an der Ostschweizer Fachhochschule und erforscht und unterrichtet, wie Tramlinien in den städtischen Strassenraum integriert werden können. Zudem arbeitet Büchel bei den Verkehrsbetrieben Glatttal, die die Tramlinien 10 und 12 in der Agglomeration von Zürich betreiben.

Il viaggio di Confederation Music nella musica svizzera ci porta a Locarno, al quartier generale di Zonasun.Il più longevo progetto reggae della Svizzera italiana ha pubblicato “Roots ‘n' Soul”, il primo album dai tempi di “Shiny Red” del 2011. Sono successe tante di cose negli ultimi 14 anni di Zonasun. Ne parliamo in questa intervista, ma il nuovo album è un lieto evento in una terra che, da sempre, abbraccia la musica in levare con calore.undefinedCon “Roots ‘n' Soul” torna il reggae moderno a tinte elettroniche di Zonasun, adesso più potente e profondo nel suono, in un disco che ruota attorno all'essere umano e al suo rapporto con Madre Terra e i suoi abitanti. È un album di canzoni che sono come semi da piantare e far germogliare, arricchite dai features dell'artista brasiliano (di stanza nella Svizzera italiana) Dom Lampa, il reggae man svizzero tedesco Cookie The Herbalist e il produttore italiano Princevibe.undefined“Roots ‘n' soul” è la sintesi del viaggio personale artistico intrapreso in questi ultimi anni da Tom Siddh Mainardi. Per questa intervista abbiamo varcato la soglia di casa sua. La soglia del conscious reggae.undefined

For our final episode for season two of Locarno Meets, we were delighted to be joined by actress Caroline Goodall, whose illustrious career has seen her turn in remarkable performances in now-classic films by many of the greatest names in contemporary cinema. Goodall was in Locarno to promote her latest film, the Piazza Grande-playing “Sew Torn”, directed by the prodigious young director Freddy MacDonald. We spoke with the marvellous actress about working, in this case, with a gifted filmmaker in his early twenties, as well as reminiscing about some of her major films, like “Schindler's List”, “Hook”, “The Princess Diaries”, and Lars von Trier's “Nymphomaniac”.

In dieser Episode von „4 Unterdeck“ tauchen wir tief in die neunte Folge der vierten Staffel von *Star Trek: Lower Decks* ein, die den Titel „Der innere Kampf“ trägt. Ich spreche mit meinen Mitstreitern Arne, Daniela, Boris und Tanja über die Herausforderungen und Entwicklungen, die die Charaktere in dieser packenden Folge durchleben. Die Cerritos hat den Auftrag, Nick Locarno, einen ehemaligen Sternenflottenkadetten, zu finden und zu beschützen. Captain Freeman ist besorgt über Mariners zunehmend riskantes Verhalten, was sie dazu bringt, ihre Freunde auf eine gefahrlose Mission weit weg von Locarno zu schicken. Doch die Dinge nehmen schnell eine unerwartete Wendung, als sie auf einem Planeten landen, der nicht sonderlich freundlich zur Sternenflotte gestimmt ist. Die Episode beginnt mit einer düsteren Atmosphäre, in der Mariner als abtrünniger Charakter agiert und mit ihrer impulsiven und heldenhaften Art in Schwierigkeiten gerät, während sie gleichzeitig von den Gefahren um sie herum gefesselt ist. Die Story entfaltet sich weiter und wir erfahren, wie Mariner und der außerirdische Wesen, Ma'ach, im Zentrum der Episode zueinander finden. Während ihre Dynamik sich aufbaut, werden komplexe Themen wie Trauma und Verantwortung behandelt. Die Konversation zwischen Mariner und Ma'ach ist besonders einprägsam, da sie ihr die Augen für ihre eigenen inneren Kämpfe und ihre emotionale Verwundbarkeit öffnet. Diese tiefgründigen Dialoge stechen hervor und zeigen, dass die Kreatoren von *Lower Decks* bereit sind, weitaus bedeutungsvollere Themen zu beleuchten, als man es von einer Comedy-Serie erwartet. Wir diskutieren die gelungenen animierten Action-Sequenzen, die mit einem starken Fokus auf Charakter-Entwicklung und dem Zusammenspiel von Humor und Ernsthaftigkeit überzeugen. Die Rückbezüge auf frühere *Star Trek*-Episoden, insbesondere auf die Interaktionen, die der Zuschauer aus *Star Trek: The Next Generation* kennt, verleihen der Handlung eine nostalgische Note und bereichern die gesamten Erzählstränge. Die Episode schließt mit einem dramatischen Cliffhanger, der die Zuschauer mit der Frage zurücklässt, was mit Mariner und Nick Locarno passieren wird, und uns mit Vorfreude auf die nächste Episode zurücklässt. Diese Mischung aus Humor, spannendem Plot und emotionaler Tiefe macht „Der innere Kampf“ zu einer der stärksten Episoden von *Lower Decks* und zeigt auf eindrucksvolle Weise, dass wir in Zukunft mehr solcher Erzählungen erwarten können.

Nights In White Satin - 260 million streams on Spotify - is still the central plank in the set Justin Hayward's touring in October. He talks to us here about the first shows he ever saw and played, the ballroom circuit of the mid-'60s remembered in particularly vivid detail and involving the odd burst of song - “My kind of town, Great Yarmouth is …!”. Along with … … the appeal of “a Moody Blues crowd”. ... “Name Singer seeks guitar player”: the Melody Maker ad that got him into the Marty Wilde band, aged 17. … playing a summer season on the same bill as a water feature – aka the Waltzing Waters. … his early band All Things Bright and their Chuck Berry, Buddy Holly, Coasters setlist. … the “onerous” publishing deal he signed with Lonnie Donegan that siphoned off the profits of Nights In White Satin. … seeing Tommy Cooper at the Bournemouth Pavilion and the Barron Knights at the Locarno in Swindon. … “Terry the Pill” in Eric Burden's office. … toying with the idea of “a rock version of Dvorak”. … the uncertain fate of Nights In White Satin and the plugger who threatened to resign over it. … how Days Of Future Passed was the “Deramic Sound” demo record. … and the highpoint of the Moody Blues story and their Second Coming. Justin Hayward tickets here: https://justinhayward.com/pages/current-tour-dates https://justinhayward.com/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Nights In White Satin - 260 million streams on Spotify - is still the central plank in the set Justin Hayward's touring in October. He talks to us here about the first shows he ever saw and played, the ballroom circuit of the mid-'60s remembered in particularly vivid detail and involving the odd burst of song - “My kind of town, Great Yarmouth is …!”. Along with … … the appeal of “a Moody Blues crowd”. ... “Name Singer seeks guitar player”: the Melody Maker ad that got him into the Marty Wilde band, aged 17. … playing a summer season on the same bill as a water feature – aka the Waltzing Waters. … his early band All Things Bright and their Chuck Berry, Buddy Holly, Coasters setlist. … the “onerous” publishing deal he signed with Lonnie Donegan that siphoned off the profits of Nights In White Satin. … seeing Tommy Cooper at the Bournemouth Pavilion and the Barron Knights at the Locarno in Swindon. … “Terry the Pill” in Eric Burdon's office. … toying with the idea of “a rock version of Dvorak”. … the uncertain fate of Nights In White Satin and the plugger who threatened to resign over it. … how Days Of Future Passed was the “Deramic Sound” demo record. … and the highpoint of the Moody Blues story and their Second Coming. Justin Hayward tickets here: https://justinhayward.com/pages/current-tour-dates https://justinhayward.com/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Nights In White Satin - 260 million streams on Spotify - is still the central plank in the set Justin Hayward's touring in October. He talks to us here about the first shows he ever saw and played, the ballroom circuit of the mid-'60s remembered in particularly vivid detail and involving the odd burst of song - “My kind of town, Great Yarmouth is …!”. Along with … … the appeal of “a Moody Blues crowd”. ... “Name Singer seeks guitar player”: the Melody Maker ad that got him into the Marty Wilde band, aged 17. … playing a summer season on the same bill as a water feature – aka the Waltzing Waters. … his early band All Things Bright and their Chuck Berry, Buddy Holly, Coasters setlist. … the “onerous” publishing deal he signed with Lonnie Donegan that siphoned off the profits of Nights In White Satin. … seeing Tommy Cooper at the Bournemouth Pavilion and the Barron Knights at the Locarno in Swindon. … “Terry the Pill” in Eric Burdon's office. … toying with the idea of “a rock version of Dvorak”. … the uncertain fate of Nights In White Satin and the plugger who threatened to resign over it. … how Days Of Future Passed was the “Deramic Sound” demo record. … and the highpoint of the Moody Blues story and their Second Coming. Justin Hayward tickets here: https://justinhayward.com/pages/current-tour-dates https://justinhayward.com/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Alessandro Stellino è scrittore, critico cinematografico e programmatore cinematografico. Dal 2020 è direttore artistico del Festival dei Popoli di Firenze e, dal 2015, di IsReal – Festival di Cinema del Reale. Ha fondato e dirige, insieme a Daniela Persico, il magazine online “Filmidee” e insegna alla Civica Scuola di Cinema di Milano, alla NABA e al CISA di Locarno. Con lui abbiamo discusso del suo percorso, dello stato attuale della critica, delle responsabilità di un direttore artistico di un festival e della situazione del Cinema italiano.Con Federico Allocca,Simone Corti e Alessandro StellinoRiprese Gianlorenzo Bernabò Di NegroMusica DEMONA alias Andrea Evangelista e Delio GallmannAnimazione sigla Ida CortiLogo design Chiara QuagliarellaPost-produzione audio Matteo FusiCon il sostegno di Associazione La Terza Via, GYBE Studio e SidereusUn grazie a Raffaele Allocca, Arianna Cavallo, Elisabetta Marrocco, Riccardo Romano, Andrea Sestu

This week on Locarno Meets, we caught up with Italian star Luca Marinelli, best known to international audiences for his roles in “M”, “The Eight Mountains”, and “Martin Eden”. Marinelli was in Locarno to serve on the main jury at the 77ᵗʰ edition of the Festival alongside some of the leading lights of auteur cinema. We took the opportunity to sit down with the charismatic and thoughtful actor to discuss his early influences – including watching De Sica and Fellini movies as a child –, his extraordinary performances done inside and outside of the Italian film industry, and his criteria for what makes a good movie.

Bureaucratic Archaeology: State, Science and Past in Postcolonial India (Cambridge UP, 2022) presents a novel ethnographic examination of archaeological practice within postcolonial India, focusing on the Archaeological Survey of India (ASI) as a site where scientific knowledge production intersects with state bureaucracy. Through granular analysis of ASI's quotidian operations, this monograph demonstrates how archaeological micro-practices materially influence the construction of political and religious identities, while simultaneously serving as empirical evidence in India's highest judicial proceedings. This unprecedented study illuminates the epistemological ecology of postcolonial knowledge production from within the bureaucratic apparatus itself. As the first book-length investigation of archaeological practice beyond the Euro-American tradition, it reveals how non-Western archaeological theory and methodology generate distinct forms of knowledge, thereby expanding our understanding of archaeology's role in postcolonial state formation. About the Author: Ashish Avikunthak is a distinguished scholar working at the intersection of archaeology, cultural anthropology, and avant-garde filmmaking. He is Professor of Film Media at the University of Rhode Island's Harrington School of Communication, where his research bridges theoretical and practical approaches to cultural production. His experimental films have been exhibited internationally at prestigious institutions including Tate Modern, Centre Georges Pompidou, and Pacific Film Archive, as well as major film festivals such as Rotterdam and Locarno. About the Host: Stuti Roy has recently completed her MPhil in Modern South Asian Studies at the University of Oxford. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Bureaucratic Archaeology: State, Science and Past in Postcolonial India (Cambridge UP, 2022) presents a novel ethnographic examination of archaeological practice within postcolonial India, focusing on the Archaeological Survey of India (ASI) as a site where scientific knowledge production intersects with state bureaucracy. Through granular analysis of ASI's quotidian operations, this monograph demonstrates how archaeological micro-practices materially influence the construction of political and religious identities, while simultaneously serving as empirical evidence in India's highest judicial proceedings. This unprecedented study illuminates the epistemological ecology of postcolonial knowledge production from within the bureaucratic apparatus itself. As the first book-length investigation of archaeological practice beyond the Euro-American tradition, it reveals how non-Western archaeological theory and methodology generate distinct forms of knowledge, thereby expanding our understanding of archaeology's role in postcolonial state formation. About the Author: Ashish Avikunthak is a distinguished scholar working at the intersection of archaeology, cultural anthropology, and avant-garde filmmaking. He is Professor of Film Media at the University of Rhode Island's Harrington School of Communication, where his research bridges theoretical and practical approaches to cultural production. His experimental films have been exhibited internationally at prestigious institutions including Tate Modern, Centre Georges Pompidou, and Pacific Film Archive, as well as major film festivals such as Rotterdam and Locarno. About the Host: Stuti Roy has recently completed her MPhil in Modern South Asian Studies at the University of Oxford. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

Bureaucratic Archaeology: State, Science and Past in Postcolonial India (Cambridge UP, 2022) presents a novel ethnographic examination of archaeological practice within postcolonial India, focusing on the Archaeological Survey of India (ASI) as a site where scientific knowledge production intersects with state bureaucracy. Through granular analysis of ASI's quotidian operations, this monograph demonstrates how archaeological micro-practices materially influence the construction of political and religious identities, while simultaneously serving as empirical evidence in India's highest judicial proceedings. This unprecedented study illuminates the epistemological ecology of postcolonial knowledge production from within the bureaucratic apparatus itself. As the first book-length investigation of archaeological practice beyond the Euro-American tradition, it reveals how non-Western archaeological theory and methodology generate distinct forms of knowledge, thereby expanding our understanding of archaeology's role in postcolonial state formation. About the Author: Ashish Avikunthak is a distinguished scholar working at the intersection of archaeology, cultural anthropology, and avant-garde filmmaking. He is Professor of Film Media at the University of Rhode Island's Harrington School of Communication, where his research bridges theoretical and practical approaches to cultural production. His experimental films have been exhibited internationally at prestigious institutions including Tate Modern, Centre Georges Pompidou, and Pacific Film Archive, as well as major film festivals such as Rotterdam and Locarno. About the Host: Stuti Roy has recently completed her MPhil in Modern South Asian Studies at the University of Oxford. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/archaeology

Bureaucratic Archaeology: State, Science and Past in Postcolonial India (Cambridge UP, 2022) presents a novel ethnographic examination of archaeological practice within postcolonial India, focusing on the Archaeological Survey of India (ASI) as a site where scientific knowledge production intersects with state bureaucracy. Through granular analysis of ASI's quotidian operations, this monograph demonstrates how archaeological micro-practices materially influence the construction of political and religious identities, while simultaneously serving as empirical evidence in India's highest judicial proceedings. This unprecedented study illuminates the epistemological ecology of postcolonial knowledge production from within the bureaucratic apparatus itself. As the first book-length investigation of archaeological practice beyond the Euro-American tradition, it reveals how non-Western archaeological theory and methodology generate distinct forms of knowledge, thereby expanding our understanding of archaeology's role in postcolonial state formation. About the Author: Ashish Avikunthak is a distinguished scholar working at the intersection of archaeology, cultural anthropology, and avant-garde filmmaking. He is Professor of Film Media at the University of Rhode Island's Harrington School of Communication, where his research bridges theoretical and practical approaches to cultural production. His experimental films have been exhibited internationally at prestigious institutions including Tate Modern, Centre Georges Pompidou, and Pacific Film Archive, as well as major film festivals such as Rotterdam and Locarno. About the Host: Stuti Roy has recently completed her MPhil in Modern South Asian Studies at the University of Oxford. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

Bureaucratic Archaeology: State, Science and Past in Postcolonial India (Cambridge UP, 2022) presents a novel ethnographic examination of archaeological practice within postcolonial India, focusing on the Archaeological Survey of India (ASI) as a site where scientific knowledge production intersects with state bureaucracy. Through granular analysis of ASI's quotidian operations, this monograph demonstrates how archaeological micro-practices materially influence the construction of political and religious identities, while simultaneously serving as empirical evidence in India's highest judicial proceedings. This unprecedented study illuminates the epistemological ecology of postcolonial knowledge production from within the bureaucratic apparatus itself. As the first book-length investigation of archaeological practice beyond the Euro-American tradition, it reveals how non-Western archaeological theory and methodology generate distinct forms of knowledge, thereby expanding our understanding of archaeology's role in postcolonial state formation. About the Author: Ashish Avikunthak is a distinguished scholar working at the intersection of archaeology, cultural anthropology, and avant-garde filmmaking. He is Professor of Film Media at the University of Rhode Island's Harrington School of Communication, where his research bridges theoretical and practical approaches to cultural production. His experimental films have been exhibited internationally at prestigious institutions including Tate Modern, Centre Georges Pompidou, and Pacific Film Archive, as well as major film festivals such as Rotterdam and Locarno. About the Host: Stuti Roy has recently completed her MPhil in Modern South Asian Studies at the University of Oxford. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/south-asian-studies

Bureaucratic Archaeology: State, Science and Past in Postcolonial India (Cambridge UP, 2022) presents a novel ethnographic examination of archaeological practice within postcolonial India, focusing on the Archaeological Survey of India (ASI) as a site where scientific knowledge production intersects with state bureaucracy. Through granular analysis of ASI's quotidian operations, this monograph demonstrates how archaeological micro-practices materially influence the construction of political and religious identities, while simultaneously serving as empirical evidence in India's highest judicial proceedings. This unprecedented study illuminates the epistemological ecology of postcolonial knowledge production from within the bureaucratic apparatus itself. As the first book-length investigation of archaeological practice beyond the Euro-American tradition, it reveals how non-Western archaeological theory and methodology generate distinct forms of knowledge, thereby expanding our understanding of archaeology's role in postcolonial state formation. About the Author: Ashish Avikunthak is a distinguished scholar working at the intersection of archaeology, cultural anthropology, and avant-garde filmmaking. He is Professor of Film Media at the University of Rhode Island's Harrington School of Communication, where his research bridges theoretical and practical approaches to cultural production. His experimental films have been exhibited internationally at prestigious institutions including Tate Modern, Centre Georges Pompidou, and Pacific Film Archive, as well as major film festivals such as Rotterdam and Locarno. About the Host: Stuti Roy has recently completed her MPhil in Modern South Asian Studies at the University of Oxford. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

Bureaucratic Archaeology: State, Science and Past in Postcolonial India (Cambridge UP, 2022) presents a novel ethnographic examination of archaeological practice within postcolonial India, focusing on the Archaeological Survey of India (ASI) as a site where scientific knowledge production intersects with state bureaucracy. Through granular analysis of ASI's quotidian operations, this monograph demonstrates how archaeological micro-practices materially influence the construction of political and religious identities, while simultaneously serving as empirical evidence in India's highest judicial proceedings. This unprecedented study illuminates the epistemological ecology of postcolonial knowledge production from within the bureaucratic apparatus itself. As the first book-length investigation of archaeological practice beyond the Euro-American tradition, it reveals how non-Western archaeological theory and methodology generate distinct forms of knowledge, thereby expanding our understanding of archaeology's role in postcolonial state formation. About the Author: Ashish Avikunthak is a distinguished scholar working at the intersection of archaeology, cultural anthropology, and avant-garde filmmaking. He is Professor of Film Media at the University of Rhode Island's Harrington School of Communication, where his research bridges theoretical and practical approaches to cultural production. His experimental films have been exhibited internationally at prestigious institutions including Tate Modern, Centre Georges Pompidou, and Pacific Film Archive, as well as major film festivals such as Rotterdam and Locarno. About the Host: Stuti Roy has recently completed her MPhil in Modern South Asian Studies at the University of Oxford.

The beverage brand's former CMO, which holds drinks like Aperol, breaks down why events like Coachella, the US Open and Cannes Film Festival are so important to its marketing strategy. Episode TranscriptPlease note, this transcript  may contain minor inconsistencies compared to the episode audio.[00:00:00] Damian: I'm Damian Fowler [00:00:01] Ilyse: And I'm Ilyse Liffreing [00:00:02] Damian: And welcome to this edition of The Current Podcast. [00:00:05] Ilyse: This week, we're delighted to talk with Julka Villa, the former Global CMO of Campari Group. [00:00:11] Damian: Founded in 1860, Campari is a household name in the global spirits industry with a portfolio of over 50 brands across world markets. [00:00:20] We're talking familiar names like Aperol, Sky Vodka, Wild Turkey Bourbon, and Courvoisier. [00:00:27] Ilyse: Julka is a marketing veteran with over 25 years of experience in the alcoholic beverage and beauty industries. A specialist in consumer focused brands. [00:00:37] Damian: Julka is responsible for the marketing vision, strategy, and execution of the Campari Group's brands. [00:00:44] At the same time, she has a bird's eye view of the company's worldwide presence, coordinating teams based in Milan, Paris, and New York. [00:00:52] Ilyse: We started by asking her about how she balances the Campari legacy with keeping its brands relevant for today's [00:01:00] consumers. [00:01:02] Damian: So Campari has a rich heritage. The company is now 164 years old. How do you go about balancing its legacy, the preservation of its legacy while keeping the brand modern and relevant for today's consumers? [00:01:18] Julka: I think that, if we go back to the roots of the Campari brand, about being [00:01:23] bold, about being visionary about investing in arts, think about Europe, Italy in the second half of the 19th century. There were so, few brands really investing Campari was one of the first really interacting with artists [00:01:42] and designers and giving them the freedom to, the brand in the way they saw it. if you look at how we started, you how we moved forward along our, our history. You can see that, the [00:02:00] twenties and thirties of last we start cooperating with cinema, really asking the people, working in the industries and producing the movies, postcards, producing, you know, designs and drawings for us. [00:02:16] You can see that, fast forward, to the eighties. We start cooperating with one of the greatest filmmakers. In the world, Federico Fellini, that was a big fan of the Campari brand. He was drinking Campari and he decided to cooperate with us to produce an advertising for the brand. And Fellini was the first filmmaker we cooperated with. But then, we kept this partnership, for instance, with Paolo Sorrentino 2017. And I was personally You know, working with him, it was a fantastic experience to see an artist really bringing to life, the brand, [00:03:00] respecting the legacy, but at the same time, renovating, since you're asking me how a brand modern still loyal to its root, it was amazing to see how we could kept the daring, attitude of the brand alive. According to his own style.  [00:03:20] Ilyse: Wow,that is super cool. so is pop culture still as important to the brand even today?  [00:03:27] Julka: Absolutely. Absolutely. So, and this is so important for the Campari brand, but for many other brands part of our portfolio, just for you to know, we have more than 50 brands. in our portfolio, and if you'd like we can talk about some of them, but when it, comes to Campari, think about the fact that our partnership with arts, have been, more recently renovated in our, cooperation with the major film festivals, in the world. We, are [00:04:00] partners of the Cannes Film the Locarno, in Berlinale. weclosed the first, year of partnership with the Toronto Film that's definitely a modern way to the brand, extremely aspirational, but still to get in touch with so many consumers and possible advocates of the brand. One of the things we really care about is not just to communicate our brands, but to assure our consumer to consume our brands throughout the signature cocktails in the best way possible and definitely feel festival for us are a huge opportunity to provide liquid tulips, as we say, to our consumers current and future.  [00:04:47] Damian: What's interesting is with these different brands, you're sort of talking about how they're valued differently in different markets. that's very interesting to me. How do you know and prioritize [00:05:00] which brands work best in which countries?  [00:05:04] Julka: We have, well identified, what we call the global brands. The brands that should be built everywhere in the world. Of course step by step and respecting the life stages, the brand is in a specific geography. And definitely the one I mentioned so far, are global brands. And so also global priorities, for the company. And then, depending on the area of the world, the characteristics of the market and the consumers, each individual, operating company, can, compose, portfolio, to have the best performance on the market. But definitely there are priorities everybody to focus  [00:05:51] Damian: if you think about the United States, is there a sort of priority? [00:05:55] Julka: Yeah,  [00:05:56] Damian: Leading brand here. [00:05:58] Julka: definitely, [00:06:00] uh, the priority for the United our giant aperitif brands, such as Campari Aperol, Grand Manier, Wild Turkey, Espolon, and of course, the local team is really excited to rebuild the Courvoisier brand. always acquisition we have just finalized. [00:06:21] Damian: Yeah, each of those brands has its own kind of, whole kind of narrative around them, I imagine. But I wanted to ask you actually a little bit about, The current moment that we're in, which we're seeing a kind of a lot of debate around alcohol versus no alcohol consumption, particularly when it comes to like Gen Z demographics. I mean, how do you think about and navigate these perception shifts?  [00:06:47] Julka: That's a very that's a very interesting question. And of course, as you can imagine, we have been spending a lot of time and resources really to dig deep into these shift and [00:07:00] transformation in a way of our consumer ships. One thing that is not that evident to, to everybody is that differently from the past, there is a sort of coexistence of, people drinking alcoholic products and non alcoholic products, depending on the moment they are in, the people they are with, what they have to do the day after. [00:07:23] And this kind of consciousness and, control on what to choose is even stronger in younger consumers as you were mentioned so they are more conscious they don't they are not you know afraid to make a choice that could be out of  [00:07:43] their are pool of friends. Everybody's drinking something alcoholic There's no problem at all for one of them to say “Look tomorrow I have to wake up very early I have a very important day I prefer to, to opt for a choice, a non alcoholic choice.” So more than a counter position [00:08:00] today, we see the coexistence, of these kind of choices, which is quite interesting, honestly, also because it gives us the opportunity to be more, mindful and, intentional in developing also the part of our portfolio, which is non alcoholic. For instance, we have a product which is an extremely strong product in Italy and definitely in a phase of conquering of continental Europe is, the name of the product is Crodino and is definitely our non alcoholic, kind of spritz. is a product that was invented and launched in the market, in 1965. [00:08:39] So this is a little bit a testament, to the personality of the company, wanting really to push boundaries. And actually we are preparing the launch of these fantastic product also in the U S, that we plan for next year.  [00:08:54] Ilyse: So it sounds like Campari really anticipated this trend of non alcoholic [00:09:00] beverages in a sense.  [00:09:02] Julka: Yeah, that's, that's correct. That's correct.  [00:09:05] Damian: I'm just curious on that point, you know, as a marketer, you must get lots of data back in terms of like, who's drinking what, maybe by generation, maybe by geography even. I'm interested to know, do you kind of look at that in terms of strategizing and find the discrete markets?  [00:09:24] Julka: even if, with the passing of the years, what we, really is of people. So demographics are not, gender or age brackets are not the main elements we look for because what really counts. Today is the mindset and the attitude of people, for instance, if I think about a product like Aperol with these with its signature cocktail, Aperol can see across generations drinking this product and across age brackets is the mindset. [00:09:57] And you would be amazed how people approaching Aperol [00:10:00] Spritz, enjoying Aperol Spritz, they really have in common, the way they appreciate life and what they are looking for in that specific moment. Either they are, 25 or 60. So there are also, a number of cross generational, alcoholic beverage experiences, and so the way we look at data is really about the motivation and the attitude of people when they are about to make a choice.  [00:10:27] Ilyse: Yeah, that kind of, shift towards mindset over demographics probably helps a lot when it comes to just I guess prioritizing channels for the brand and where to reach those audiences because I know in a lot of the times like Millennials and Gen Zers are in like social media and usually that's not an option when it comes to alcohol brands, is, so is the brand finding other channels to be just as effective, in reaching that kind of mindset that it's [00:11:00] after. [00:11:00] Julka: when, I think a strong, distinctive characteristic Of our marketing and activation strategies, really investing very seriously in, in events, because definitely there's a lot of will among consumers of all ages, really to leave, events, in person really experience, on their, skin, much more than in the past. [00:11:24] and then we amplify, if you want, through social media, those events. But, a big part of our investment. is really, put on organizing, these kind of events. When we, when it comes to the U. S., think about Coachella, which is, more than a music festival, is a lifestyle festival, as we all know. [00:11:43] Think about the U. S. Open. uh, but also if we go on the other side of the world, in the APAC region, think about, The Australian Open, which is for us a, opportunity to reach so many consumers. about [00:12:00] hundreds of thousands live offering our best signature cocktail in our, fantastic lounger and then we can definitely amplify this content on a number of social media where. alcoholic beverage can, have a direct relationship, with their consumers. So for us, it's always a mix. we really believe that we have winning products, very straightforward drinking strategy, and that's why we care so these to life in real life for we don't see this business as happening just, just virtually. Definitely.  [00:12:42] How do you kind of maintain and sort of keep tabs, as it were, on people who are loyal to the brands that you market? [00:12:52] definitely over the yearsWe invested and we improved, our, CRM, capacity, so [00:13:00] throughout, social media and massively through events, we gather as much as possible information about our consumers so that, we can definitely keep them, up to date. On our, yearly, program, but also we can establish a more direct dialogue. [00:13:18] Sometimes we consult them, a part of them for new projects. we listen to them, ask them questions about, trends, want to know more and I think that, especially when it comes to a lab important. [00:13:39] Feel part of a feel, really listen to is something as important as enjoying your favorite, brand and your [00:13:50] Damian: And what's interesting to me is I was thinking about this because about, maybe 12 years ago, I have a friend from Venice who lives in New York and we went to a [00:14:00] restaurant and she ordered an Aperol and at that, point it wasn't very, nobody really knew much about it here. [00:14:06] And since then, of course, it's huge. It's like a probably one of the most popular, cocktails around. I was just at the U. S. Open in the summer and I could see, your your [00:14:16] plaza there with Aperol everywhere. I guess it was, there's a sponsor, a partnership  [00:14:20] Julka: Mm hmm.  [00:14:21] Damian: But my question is, how did you could you walk us through how you, built that awareness from, that moment, however many years ago when it wasn't such a big, obviously big in Venice, she said it was the Venetian drink. [00:14:34] So I was like, Oh, that's interesting. [00:14:39] Julka: yes, I am. 10, 12 years ago, not only in the U. S., but in many other places outside Europe, definitely it was not established. you know, staple it is to die. and at the very beginning, we really faced, some very basic, difficulties. I have to say, it was not easy, to start [00:15:00] talking about, a signature cocktail that, needed, a bottle of Prosecco to be open, to be prepared because. [00:15:07] You know, if you are familiar with sparkly wines, the problem with it is that if you open it and you use just a little part and then you keep the bottle for a couple of days, the carbonation will just, yes, go away. So it was really. a very precise, consistent, and stubborn work of education. [00:15:28] There's just one certainty about education, which is that, you know, when you started that you will never know when you will finish. And actually it's a never ending story in a way. So we, in the past we put, and we keep putting a lot of, effort and an investment in educating the trade the bartenders bar owners But also the final consumers because at the end if the final consumer knows [00:15:52] the best way to prepare an upper spritz They will be your advocate and it happened to me so many times in the past [00:16:00] when I was receiving at the table in upper spritz that was not preparing the way It should have been, I was going back to the bar and I was saying there's something wrong with my cocktail. [00:16:13] it's a double, a double direction  [00:16:16] Julka: Yeah,  [00:16:18] efforts. And, Also, a very important part is, what we call, the oil spill approach. What does it mean? We start with the city, a major city, we start with the specific neighbors. and key on trade outlets in this neighbor. [00:16:39] We build a relationship of partnership. We invest on these venues and we create the phenomenon of the cocktail and then we expand. So distribution and presence comes just [00:16:52] after having started trend with a very high level, of the serve in a smaller [00:17:00] number of venues. [00:17:01] This, has been the approach in the U. S. and in every other part of the world. You mentioned Venice, which is the place where the brand really, started being known and appreciated and, recognized as, the champion of aperitif. But the phenomenon of Aperol Spritz started in Venice, expanded to the Veneto region, which is the region of Venice, and then expanded Milan and from Milan to the rest of Italy. [00:17:28] So the oil spill approach, as we call it, has always been, front and center of the strategy, of, And it's building.  [00:17:38] Ilyse: So interesting. when you think of Campari brands, it also sorts of implies Like a level of sophistication. in a sense, are marketing just drinks or is it something more, I don't know, like lifestyle?  [00:17:53] Julka: definitely. I think that,our brands are starting from, The most important ones really [00:18:00] stand for a certain lifestyle. you think about campari, it really represents the Milan. And, the lifestyle of the city. If you, think about aperol, you're talking about a more democratic sort of brand, really more casual. welcome. and, So they, [00:18:21] reflect a way of living and today even more important. If you think about the trend of escapism, traveling without traveling. I need a break. I need a moment for myself of real enjoyment with my friends. [00:18:36] brands like this, and they are signature cocktail, let's say Aperol Spritz for Aperol, Negroni, for instance, for Campari makes you really full for half hour, one hour you're spending with your friends in another place. So they really stand for a way of living for a place and for a moment in life where you really, recharge your batteries and, [00:19:00] you dedicate really a true moment to yourself.  [00:19:03] Julka: And that's it for this edition of The Current Podcast. [00:19:05] Damian: We'll be back next week, so stay tuned. [00:19:08] Ilyse: The Current Podcast's theme is by Love Caliber. The current team includes Kat Vesce and Sydney Cairns. [00:19:15] Damian: Cairns. And remember,  [00:19:16] Julka: we really believe that we have winning products, and that's why we care so these to life we don't see this business as happening just virtually.  [00:19:29] Damian: I'm Damian. [00:19:30] Ilyse: I'm Ilyse. [00:19:30] Damian: And we'll see you next time. And if you like what you hear, please subscribe and leave us a review. Also, tune in to our other podcast, The Current Report.

La voce di Oliviero Toscani conservata nelle Teche RSI ci aiuta a percorrere la carriera professionale unica e irripetibile di questo protagonista della cultura e della comunicazione degli ultimi sessant'anni.Dalla fotografia al cinema, dalla pubblicità alla moda, Toscani ha lasciato un segno indelebile, controverso ma efficace di denuncia, utilizzando l'immagine e rappresentando la realtà. I suoi scatti non sono mai stati banali. Semplici forse ma in grado di fare pensare: una nascita, un uomo nudo, una donna nera intenta ad allattare un neonato bianco, sono alcuni esempi di una lista lunghissima di immagini iconiche. Laser non dimentica il lungo rapporto di Toscani con la Svizzera. Dai quattro anni passati a Zurigo alla Scuola di Arte grafica, che per sua stessa ammissione ha fatto la differenza in un mondo – quello della fotografia – dove altrimenti si imparava il mestiere solo praticandolo, fino alle esposizioni a Chiasso, alla partecipazione ai festival cinematografici a Locarno e Bellinzona, alle innumerevoli presenze sui canali radio e TV della RSI.In fondo la vecchiaia non è altro che il castigo di essere ancora viviundefined

1) Lʹexposition Immersum à Genève qui retrace 10 ans de recherches archéologiques en Grèce Lʹexposition Immersum retrace 10 ans de recherches archéologiques menées en Grèce par des scientifiques de lʹUniversité de Genève. Particularité de ces recherches : elles sont sous-marines. Les vestiges ont été petit à petit submergés par la monter des eaux à la fin de la période glaciaire, il y a environ 10 000 ans. Retour sur le début de ces recherches il y a 10 ans et sur les derniers résultats présentés dans lʹexposition. 2) Pourquoi l'observatoire de Locarno compte et dessine manuellement les tâches solaires? Direction le centre astronomique de Locarno, la Specola Solare Ticinese. Lʹobservatoire détermine lʹindice de Wolf, lʹindice de lʹactivité du soleil. Et rien nʹa changé depuis 1957 : les tâches solaires sont comptées et dessinées manuellement. 70 ans que cette tradition se perpétue! Mais dans quel but?!

By Ellen Elder

Une résistance malheureuse au traitement contre la tuberculose multirésistante Les brèves du jour Pourquoi l'observatoire de Locarno compte et dessine manuellement les tâches solaires? Comment notre cerveau décode le regard?

Pedagógiai kultúraváltásra lenne szükség a magyar iskolákban, de ezt a kötött tanterv mellett a szelekciós nyomás is nehezíti. Podcastunkban Szimler Bálint filmje, a Fekete pont apropóján beszélgettünk Berényi Eszter oktatáskutatóval és Knausz Imre pedagógiai szakíróval.See omnystudio.com/listener for privacy information.

Edizione natalizia in compagnia del Pastore delle chiese riformate della Valposchiavo Paolo Tognina. Dopo l'ottenimento del diploma di docente di scuola elementare, Tognina ha proseguito gli studi presso la Facoltà valdese, a Roma, e il Columbia Theological Seminary, ad Atlanta. Consacrato al Ministero pastorale nel 1992, è stato pastore della chiesa riformata di Locarno. Ha tradotto opere dei riformatori Lutero, Calvino e Zwingli.  Dal 2001, e per i successivi vent'anni, è stato coordinatore dei programmi evangelici presso la RSI, redattore del programma radiofonico ecumenico “Chiese in diretta” e del programma televisivo “Segni dei Tempi”, inoltre, è stato formatore per i docenti della scuola pubblica nei Grigioni nell'ambito dei corsi dedicati all'etica. Nell'ambito dei festeggiamenti per i 500 anni del Libero Stato delle Tre Leghe, Paolo Tognina ha curato il progetto “Glaube – Fede – Cretta” per conto della Chiesa evangelica riformata e della Chiesa Cattolico Romana. Con lui facciamo il punto della situazione per capire in cosa credono oggi le grigionesi e i grigionesi.

Jeff walks to the edge of Berlin and explains why the Here Be Monsters feed has been quiet for so long. On the way, Jeff talks about plans for upcoming episodes, looks at the ways that moving to Berlin has changed him, and discusses a pair of films featuring Tilda Swinton: Cycling the Frame (1988), and The Invisible Frame (2009). Both movies feature Swinton riding a bicycle around the entirety of the Berlin Wall—or, in the case of the latter, where the Berlin Wall used to be. Please follow Here Be Monsters on Patreon: patreon.com/HBMpodcastField recordings heard in this episode (starting around the 17:20): a former site of the Berlin wall in Marienfelde ~ birds and insects near Portbou, Spain ~ canoe paddling near the in Germany's Spreewald ~ geese and peacocks calling on Peacock Island (Pfaueninsel) ~ dusk crickets near Locarno, Switzerland ~ a massive pipe organ that was part of Italy's submission to the 2024 Venice Biennale ~ public transport boats in Venice revving their engines ~ Jeff singing in a bathroom while a faucet drips ~ Water splashing against cement in Banyuls-sur-mer, France ~ Hiking the Walter Benjamin memorial trail on the France / Spain border ~ Baby goat at the peak of a mountain on the France / Spain border ~ A canal boat passing in Amsterdam, Netherlands ~ An announcement bidding visitors to be quiet while visiting France's Cathedral of Our Lady of Strasbourg. Producer: Jeff EmtmanMusic: The Black Spot

Jeff walks to the edge of Berlin and explains why the Here Be Monsters feed has been quiet for so long. On the way, Jeff talks about plans for upcoming episodes, looks at the ways that moving to Berlin has changed him, and discusses a pair of films featuring Tilda Swinton: Cycling the Frame (1988), and The Invisible Frame (2009). Both movies feature Swinton riding a bicycle around the entirety of the Berlin Wall—or, in the case of the latter, where the Berlin Wall used to be. Please follow Here Be Monsters on Patreon: patreon.com/HBMpodcastField recordings heard in this episode (starting around the 17:20): a former site of the Berlin wall in Marienfelde ~ birds and insects near Portbou, Spain ~ canoe paddling near the in Germany's Spreewald ~ geese and peacocks calling on Peacock Island (Pfaueninsel) ~ dusk crickets near Locarno, Switzerland ~ a massive pipe organ that was part of Italy's submission to the 2024 Venice Biennale ~ public transport boats in Venice revving their engines ~ Jeff singing in a bathroom while a faucet drips ~ Water splashing against cement in Banyuls-sur-mer, France ~ Hiking the Walter Benjamin memorial trail on the France / Spain border ~ Baby goat at the peak of a mountain on the France / Spain border ~ A canal boat passing in Amsterdam, Netherlands ~ An announcement bidding visitors to be quiet while visiting France's Cathedral of Our Lady of Strasbourg. Producer: Jeff EmtmanMusic: The Black Spot

Alberto Nessi"Il mondo salvato dalle piante"Interlinea Edizioniwww.interlinea.comIl celebre poeta svizzero invita alla scoperta della natura della sua parte di mondo dedicando la sua nuova oopera alla «bellezza delle piante» che «salverà il mondo». Metafora della «bellezza delle parole, / che non vogliono uscire dalla tana / perché hanno paura / che qualcuno le rubi». Questa «seconda bellezza» vegetale, per usare il titolo dell'ultima opera di Nessi, vive nel piccolo, nel microscopico, nel quotidiano, tra foglia e corteccia, tra incontri imprevisti e abitudini, creando una grande impressione di comunione.Alberto Nessi, nato a Mendrisio (Svizzera italiana) nel 1940, è poeta e narratore. Dopo gli studi alla Scuola magistrale di Locarno e all'Università di Friburgo, è stato insegnante in diversi ordini di scuole. Ha abitato sempre nel Mendrisiotto. È sposato con Raffaella e padre di due figlie.Ha esordito come poeta nel 1969 e ha al suo attivo diversi libri di poesia, tra i quali la scelta antologica Ladro di minuzie (Casagrande, Bellinzona, 2010), Un sabato senza dolore (Interlinea, Novara 2016), Rime facili per grandi e piccini (Casagrande, Bellinzona 2018), Perché non scrivo con un filo d'erba (Interlinea Novara 2020), antologia con autografi e inediti pubblicata in occasione dei suoi 80 anni) e La seconda bellezza. Poesie vegetali (Interlinea, Novara 2022). Tra le edizioni d'arte più recenti: Incanto, disincanto, con opere su carta di Giovanni Beluffi (Gaele edizioni, Valcuvia 2023), Apparizioni (Il Salice, Locarno 2023), Stelle filanti, con tre incisioni originali di Luciano Ragozino (Il ragazzo innocuo, Milano 2024).Recenti opere in prosa: La prossima settimana, forse (Cadsagrande, Bellinzona 2008), Miló (Casagrande, Bellinzona 2014), Svizzera italiana. Quindici passeggiate letterarie (Unicopli, Milano 2017), Corona blues. Diario dell'anno (Casagrande, Bellinzona 2020).È tradottto invarie lingue e nel 2016 gli è stato conferito, per l'insieme della sua opera, il Gran Premio svizzero di letteratura, il più importante riconoscimento svizzero in ambito letterario.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Dans cet épisode, nous explorons le parcours et l'héritage d'Aristide Briand avec trois invités : Patrice Bulting, Christophe Bellon, et Jean-Michel Guieu. Aristide Briand (1862-1932), figure emblématique de la vie politique française du début du XXe siècle, a marqué l'histoire par son engagement pour la paix et sa vision politique unique. Grâce aux récits de nos invités, nous découvrons les multiples facettes de cet homme d'État et les initiatives qui ravivent sa mémoire aujourd'hui. Patrice Bulting, président de l'association Aristide Briand, nous présente le projet de réinstallation du buste de Briand à Saint-Nazaire, 90 ans après sa disparition. Il revient sur les liens profonds entre Briand et sa ville natale, ainsi que sur les étapes marquantes de cette entreprise mémorielle. Christophe Bellon, historien et biographe d'Aristide Briand, éclaire les moments clés de la carrière de Briand, notamment son rôle dans la loi de Séparation des Églises et de l'État et son action pendant la Première Guerre mondiale. Il partage également son analyse sur les qualités politiques exceptionnelles de Briand et le relatif oubli dont il a souffert auprès des historiens. Enfin, Jean-Michel Guieu, spécialiste de l'histoire de la paix dans le premier XXe siècle, met en lumière l'impact international de Briand. De son rôle à la Société des Nations à la négociation des accords de Locarno et du pacte Briand-Kellogg, il explore les efforts de réconciliation européenne et la vision fédéraliste de Briand en faveur d'une Union européenne.   Ressources Association Aristide BRIAND : http://aristidebriand.eu/ Bellon, Christophe. (2016). Aristide Briand : Parler pour agir. Paris. Editions du CNRS. https://www.cnrseditions.fr/catalogue/histoire/aristide-briand/ Guieu, Jean-Michel, et Stanislas Jeannesson (dir.). (2021). « La Société des Nations : Une expérience de l'internationalisme ». Monde(s). Histoire, Espaces, Relations, 2021/1, n°19. Presses Universitaires de Rennes. https://shs.cairn.info/revue-mondes-2021-1 Guieu, Jean-Michel, et Stéphane Tison (éd). (2022). La paix dans la guerre : Espoirs et expériences de paix (1914–1919). Paris. Éditions de la Sorbonne. http://www.editionsdelasorbonne.fr/fr/livre/?GCOI=28405100938730 Dossier d'archives de la Société des Nations sur le projet d'Union fédérale européenne proposé par Aristide Briand : https://archives.ungeneva.org/projet-dune-union-federale-europeenne-memorandum-du-gouvernement-francais-sur-lorganisation-dun-regime-dunion-federale-europeenne-1er-mai-1930 Où écouter cet épisode   Apple podcasts:  https://podcasts.apple.com/us/podcast/the-next-page/id1469021154   Spotify: https://open.spotify.com/show/10fp8ROoVdve0el88KyFLy   YouTube:   https://youtu.be/HwHfPVUC6M4 Contenu      Invités : Patrice Bulting, Christophe Bellon, Jean-Michel Guieu Hôte : Hermine Diebolt  Réalisation : Amy Smith   Recorded & produced at the United Nations Library & Archives Geneva   

Pia Marais shares insights from her filmmaking journey, including the making of her atmospheric new film “Transamazonia,” which just screened at the New York Film Festival following a Locarno world premiere. Past inspirations include Werner Herzog's “Wings of Hope” and Asif Kapadia's “Amy”.Pia's latest film explores themes of faith and family dynamics, and she discusses the complexities of casting, production, the importance of film festivals, and the ongoing challenges of securing distribution for independent films. Other topics include the evolving landscape of cinema culture, which has shifted significantly over the years with a need for more curated film experiences, as business decisions heavily influence American cinema these days. Also touched on are the differences between American and international cinema, particularly in funding and audience engagement.What Movies Are You Watching?Like, subscribe and follow us on our socials @pastpresentfeature

Plenty of new releases on the show today, including Canadian bands Locarno and Aerialists, as well as Cathy Jordan's Crankie Island Song Project, and Crys Matthews' Reclamation. I also had TEN PAIRS of tickets to give away to the exclusive preview showing of the new movie about Bob Dylan - A Complete Unknown. It will be shown at International Village Cinema in Chinatown on Wednesday December 4th at 7pm.

Roberto Carvelli, Marino Magliani"Luogo a procedere"Viaggio in Liguria con Marino Magliani e Marco FerrariTarka Edizioniwww.tarka.itQuesto libro tecnicamente è molte cose insieme. Un'antologia, una collezione di saggi scritti narrativamente. Ma è pure nel suo insieme un libro di viaggio in Liguria.È un viaggio nell'opera di due scrittori, Marco Ferrari e Marino Magliani, che hanno eternato il Levante e il Ponente liguri come due tra i massimi cantori  di questa terra.Li accompagna in questa avventura del racconto Roberto Carvelli che è narratore di luoghi e qui estensore di un sentimento malinconico che lo lega a questa regione da lontano.  Con Magliani e Ferrari, Carvelli si fa compagno di viaggio di quanti amano questa terra fatta di verticalità e linee sinuose di golfi e vallate che hanno entusiasmato pittori, scrittori e viaggiatori a cui dobbiamo un racconto esaltante perché sincero.Nel libro incontreremo spiriti perduti  che mai hanno lasciato questi lidi e queste terrazze sul mare, Camillo Sbarbaro  e Francesco Biamonti, Ceccardo Roccatagliata Ceccardi e Telemaco Signorini.  Alla fine di questo viaggio tra le righe ci sembrerà di averla lasciata per sempre la Liguria o di non esserci mai stati.  E questo, ci auguriamo possa essere un invito a un nuovo viaggio.Roberto Carvelli è narratore, spesso di luoghi. Ha pubblicato tra gli altri: Perdersi a Roma. Guida insolita e sentimentale, La gioia del vagare senza meta e I segni sull'acqua, prima parte di una trilogia.Marco Ferrari giornalista e scrittore spezzino, dei molti libri da lui scritti, ricordiamo il suo romanzo più famoso Alla rivoluzione sulla Due Cavalli, da cui ha tratto la sceneggiatura dell'omonimo film  che ha vinto il Pardo d'Oro al Festival di Locarno 2001. Il libro è stato ristampato da Laterza con il sequel Ritorno a Lisbona 50 anni dopo.Marino Magliani è ligure, del Ponente, vive in Olanda, scrittore, sceneggiatore e traduttore, il suo ultimo romanzo è Sporca faccenda, mezzala Morettini (Blu Atlantide) scritto a quattro mani con Marco Ferrari. IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Includes brand new music from the likes of Vancouver's Robyn Lane & The Rhythm Makers, Locarno, Tinariwen, Mauro Durante & Justin Adams, Christy Moore, Gillian Welch & David Rawlings, and a wonderful new album by Cathy Jordan of the Irish band Dervish. There is also a feature on the next two bands coming to The Rogue Folk Club: Italian trio Ensemble Sangineto (below) - who were the talk of the town at the Folk Alliance in Kansas City in February, with their unique blend of Celtic and Breton influences and Italian trad songs from all around the "boot" - and Linda McRae & Doug Cox - rootsy, bluesy songs from the left coast and the deep south.

Suchsland, Rüdiger www.deutschlandfunk.de, Kultur heute

Focus on "Ova", the great new album from Afro Celtic Sound System and a whole bunch of new releases I found out about from UK world music magazine Songlines. Plenty of local concert previews, too. There's also a hot new album from Vancouver's Locarno, another from Quebec's De Temps Antan, and lots more besides.

Today's episode features Vincent Grashaw and his new film 'Bang Bang', screening this week at the Deauville Film Festival following Locarno and Tribeca. Past inspiration includes ‘The Wrestler', and we share an appreciation for Spike Lee's ‘He Got Game'.Vincent talks about his connection to boxing, his casting techniques, shooting on ultra-wide lenses, and the unsung process of color grading. He also discusses his previous films and the challenges of making low-budget indie movies, emphasizing the importance of taking control of your destiny and to never give up. Vincent shares the common themes in his films, such as friendship and the impact of relationships, and we talk about the current state of the Hollywood film industry and the need for a material renaissance. What Movies Are You Watching?Like, subscribe and follow us on our socials @pastpresentfeature

Ep. 262: Locarno 2024 with Keva York: Invention, Sparrow in the Chimney, Mandico, Vernier Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. Before the fall schedule of festivals and new releases begins in earnest, the Locarno festival has its say with a few choice selections (last year including one of my favorites, Radu Jude's Do Not Expect Too Much from the End of the World). This year, I chatted about the Locarno selection with critic Keva York, who was attending the festival. We discussed a few stimulating movies including Invention (directed by Courtney Stephens), Dragon Dilatation (Bertrand Mandico), Cent mille milliards (Virgil Vernier), and The Sparrow in the Chimney (Ramon Zurcher). Please note that this episode was recorded earlier in August during the Locarno Festival. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Dans la première partie de l'émission, nous évoquerons des faits d'actualité. Nous parlerons d'abord d'une incursion surprise des forces ukrainiennes en Russie. Ensuite, nous parlerons de la consommation de kétamine qui sème la mort et qui a été découverte à la suite de l'enquête sur le décès de l'acteur Matthew Perry. Nous poursuivrons avec une discussion sur une étude décrivant l'identité chimique de l'astéroïde qui est entré en collision avec la Terre et qui a entraîné l'extinction des dinosaures. Enfin, nous conclurons la première partie de l'émission par un hommage à l'un des plus grands acteurs de notre temps, Alain Delon, décédé dimanche dernier à l'âge de 88 ans.    Nous parlerons d'un accident provoqué par une morsure de serpent, ce qui nous amènera à discuter de la dangerosité des reptiles présents sur le territoire français. Enfin, nous évoquerons le 77ème festival de Locarno, en Suisse, qui a mis à l'honneur deux acteurs français lors de sa cérémonie d'ouverture pour leur rôle dans un film historique. - Les objectifs de la soudaine incursion ukrainienne en Russie restent flous - Cinq personnes inculpées dans le cadre de la mort de Matthew Perry - Une étude affirme que les dinosaures ont été tués par un astéroïde ancien et rare - Alain Delon, l'icône du cinéma français, meurt à l'âge de 88 ans - Mordu par une vipère, un père de famille est hospitalisé - Mélanie Laurent et Guillaume Canet récompensés au festival du film de Locarno

The Locarno Film Festival takes place every August in the Swiss town of Locarno, at the base of the Alps, with a robust mix of discovery titles, repertory selections, and premieres of films by major auteurs. Film Comment was on the ground this year, combing through the lineup for highlights, and this episode—featuring critics and curators Inney Prakash and Cici Peng in conversation with FC Editor Devika Girish—covers some of the notable titles: Kouté vwa (Listen to the Voices) by Maxime Jean-Baptiste, Fogo do vento (Fire of Wind) by Marta Mateus, Invention by Courtney Stephens, By the Stream by Hong Sangsoo, The Sparrow in the Chimney by Ramon Zürcher, and Youth (Hard Times) by Wang Bing.

Marcus speaks with Freddy Macdonald about his debut feature film 'Sew Torn', just screened at Locarno, following a World premiere at South by Southwest. Drawing inspiration from the 1998 German film ‘Run Lola Run' as well as ‘No Country For Old Men' (2007), Freddy speaks on the great fortune of sitting down with one of the directors of the latter film - Joel Cohen - who encouraged him to keep going, and to turn his short into a feature.The conversation also touches on Freddy's experience filming in Switzerland, making a movie with his dad, unconventional shooting methods and practical effects, and the value of creating a short film first that can lead the way to becoming a feature film later.Other topics include the importance of managing expectations, the role of champions in the industry, and the vulnerability of sharing one's work.What Movies Are You Watching?Like, subscribe and follow us on our socials @pastpresentfeature

Im Nachtzug

Marcus speaks with Bálint Szimler about his feature film ‘Lesson Learned', which just premiered at the Locarno Fim Festival. The discussion also touches on the films that most inspired him - 'Play' by Ruben Östlund and 'Family Nest' by Béla Tarr.Bálint dives in to the inspiration behind his film, and the challenges of the Hungarian educational system. He also talks about his approach to storytelling and the importance of realistic and character-driven films. He shares insights into his scriptwriting process, the use of improvisation in his films, the importance of passion and dedication, and the collective effort of the cast and crew. Bálint also speaks on the significance of honoring the craft, and the decision to shoot on 16mm film - collaborating with cinematographer Marcell Rév of Euphoria fame.The conversation also touches on the themes of living in the moment, the value of limitations, the rewards of filmmaking, and challenging the systems in place.What Movies Are You Watching?Like, subscribe and follow us on our socials @pastpresentfeature