Podcast appearances and mentions of Louis Martin

Pickleball is the fastest growing sport in America. Whether you're eight or 80, there's something about the paddle, the court, and the community that's bringing people together. This hour, we talk with a coach, enthusiasts, and business owners about why pickleball is booming across Connecticut and the country. We’ll learn why, from staying active to finding friends, pickleball has become more than just a game – it’s a lifestyle. Guests: Will Meng: Professional Pickleball Coach at Pickleville CT Young Le: Co-Founder and Chief Innovation Officer, Elevate Pickleball Academy Trish Jennings: Co-Owner of Camp Pickleball Ruth Martin: pickleball player Louis Martin: pickleball player Where We Live is available as a podcast on Apple Podcasts, Spotify, Amazon Music, TuneIn, Listen Notes, or wherever you get your podcasts. Subscribe and never miss an episode.Support the show: http://wnpr.org/donateSee omnystudio.com/listener for privacy information.

Patrick gave you a glimpse into the childhood and early years of our brand-new Holy Father, Pope Leo XIV (Cardinal Robert Francis Prevost), with the kind of reverent curiosity you'd expect when an altar boy from the South Side becomes the Vicar of Christ. You can listen to his entire hour of commentary about Pope Leo XIV here. Hour 2 is available to listen here. Hour 3 is here. Humble Beginnings in the Windy City Born on September 14, 1955, in Dolton, Illinois (a suburb of Chicago), little Robert Prevost was raised in a faithful Catholic home. His dad, Louis Marius Prevost, was of French-Italian descent and served in the U.S. Navy during WWII. His mom, Mildred Martínez, was a Spanish-Creole librarian with deep Louisiana roots. He grew up going to St. Mary of the Assumption parish, where he served as an altar boy. So yes, he literally started out on the altar... just not quite at the Vatican level yet. He has two brothers, Louis Martin and John Joseph. A Brainy & Prayerful Path Young Robert was no slouch in school either; he studied math at Villanova, graduating in 1977. God had bigger plans. He entered the Order of St. Augustine in 1978, professed vows in 1981, and was ordained a priest in 1982. He studied theology in Chicago and canon law in Rome, eventually earning his doctorate from the Pontifical University of St. Thomas Aquinas (Angelicum). From Peru to the Pontificate This wasn’t a man who just sat around in chancery offices. He served as a missionary priest in Peru, taught at seminaries, worked in diocesan offices, and even led the global Augustinian order as Prior General, twice. Eventually, he was appointed a bishop in Peru, received dual citizenship, and climbed the Vatican ranks: prefect of the Dicastery for Bishops and president of the Pontifical Commission for Latin America. If you wanted to become a bishop under Pope Francis? You probably went through his office. Cardinal, then…Pope! In 2023, he was made a cardinal, and by early 2025, elevated to Cardinal Bishop: one of the highest honors in the Church. Just a few months later, he appeared on the balcony of St. Peter’s Basilica, smiling (and maybe a bit stunned), as the world heard those famous words: “Habemus Papam!”: We have a Pope! First Words as Pope Patrick shared audio from Pope Leo’s first Mass, where he began his homily in English before switching to Italian. His opening line was a quote from the Psalms: “I will sing a new song to the Lord, for He has done marvels... not just with me, but with all of us, my brother Cardinals.” It was humble, sincere, and straight from the heart. Fun Fact Corner: There's a photo of him at a Chicago World Series game dressed incognito, talking on a cell phone: captioned: “Here’s the Pope at the World Series.” Instant classic. His childhood home was reportedly listed for $199K the day before the conclave. His Creole roots and international experiences give him a beautiful cultural depth: a bridge between continents, languages, and peoples. From altar boy in Dolton to Peter’s successor: it’s a story only God could write.

As Saint Therese of Lisieux enters Carmel, Fr. Lawrence Carney III highlights the sanctity of her father, St. Louis Martin, his deep faith, and his generous offerings to God, illustrating how these shaped both his and St. Therese's spiritual journeys. As the Little Flower reflects on suffering and humility, she emphasizes the importance of the interior life over extraordinary phenomena, urging us to cultivate a close relationship with God through prayer and sacrificial love. Episode 12 covers chapter seven, part two.LEARN MORE - USE COUPON CODE COM25 FOR 25% OFF:The Story of a Soul (Deluxe Edition): https://bit.ly/4dPH6WpThe Story of a Soul (Paperback): https://bit.ly/3TFUqETThe Story of a Family: The Home of St. Therese of Lisieux: https://bit.ly/3AVxoDh30 Days with Saint Therese: https://bit.ly/3XvPAMpArchbishop Fulton Sheen's Saint Therese:https://bit.ly/3MyP6PtParents of the Saints: https://bit.ly/3Zk4pmyUnbreakable: Saints Who Inspired Saints to Moral Courage: https://bit.ly/4cVDjp2One Holy Marriage: The Story of Louis and Zélie Martin: https://bit.ly/4cUpR4ZModern Saints: Their Lives and Faces Book 2: https://bit.ly/4ef3NDhThe Commentaries is a podcast series from TAN in which you'll learn how to read and understand history's greatest Catholic works, from today's greatest Catholic scholars. In every series of The Commentaries, your expert host will be your personal guide to not just read the book, but to live the book, shining the light of its eternal truths into the darkness of our modern trials and tribulations.Hosted by Fr. Lawrence Carney III, the 8th season of The Commentaries explores The Story of a Soul by Saint Therese of Lisieux, the classic autobiography that conveys her “Little Way.” Fr. Carney delves into Therese's profound spirituality, her virtues of humility, and the importance of perseverance and piety. Discover why St. Therese has been called the greatest saint of modern times, and grow in holiness by exploring her unfailing confidence and childlike delight in God's merciful love.To download your FREE Classic Companion PDF and for updates about new seasons, expert scholars, and exclusive deals for The Commentaries listeners, sign up at TANcommentaries.comAnd for more great ways to deepen your faith, check out all the spiritual resources available at TANBooks.com and use Coupon Code COM25 for 25% off your next order.

Quelle meilleure langue que la cuisine pour parler de soi, de sa culture, son savoir-faire, trouver sa place dans la société ? Depuis 2016, le Refugee Food met son énergie à changer le regard de la société sur les réfugiés, en valorisant leurs cultures, savoir-faire, leurs talents en cuisine ! L'association guide et accompagne des réfugiés dans leurs projets. Chaque année, au mois de juin, le festival du Refugee Food est l'occasion pour tous de valoriser les richesses des cuisiniers, notamment par le biais de menus à 4 mains, pensés et créés par un chef cuisinier hôte, et un cuisinier réfugié.Le Refugee Food est une association créée en 2016 par Marine Mandrila et Louis Martin. La cuisine se fait vecteur d'intégration et de formation. Depuis sa création, le Refugee Food a ouvert une cantine solidaire : La cantine des arbustes, rue des arbustes, dans le 14ème arrondissement de Paris, elle s'occupe des repas de la cité du refuge, de l'aide alimentaire. Le Refugee Food est enfin une entreprise de traiteur.Avec, dans l'émission :- le duo formé par Tschering Kelsang cuisinier tibétain et Alcidia Vulbeau cheffe du Café Jaune et du restaurant Bonne aventure  - Chloé Charles, cheffe de Lago et Assia Zelbah- Alessandra Montagne, la cheffe du restaurant Nosso et marraine du festival 2024.- Géraldine Meignan, journaliste, autrice, cuisinière et bénévole au Refugee Food. « La cuisine d'un monde qui change » est publié aux éditions de l'Epure.- Marine Mandrila, co-fondatrice du Refugee Food, Harouna Sow, chef des cuisines du Refugee Food, Stéphane Jego, chef du restaurant L'ami Jean.Côté musique : Rasta Pasta de IAMDDB et Masego. En images 

Quelle meilleure langue que la cuisine pour parler de soi, de sa culture, son savoir-faire, trouver sa place dans la société ? Depuis 2016, le Refugee Food met son énergie à changer le regard de la société sur les réfugiés, en valorisant leurs cultures, savoir-faire, leurs talents en cuisine ! L'association guide et accompagne des réfugiés dans leurs projets. Chaque année, au mois de juin, le festival du Refugee Food est l'occasion pour tous de valoriser les richesses des cuisiniers, notamment par le biais de menus à 4 mains, pensés et créés par un chef cuisinier hôte, et un cuisinier réfugié.Le Refugee Food est une association créée en 2016 par Marine Mandrila et Louis Martin. La cuisine se fait vecteur d'intégration et de formation. Depuis sa création, le Refugee Food a ouvert une cantine solidaire : La cantine des arbustes, rue des arbustes, dans le 14ème arrondissement de Paris, elle s'occupe des repas de la cité du refuge, de l'aide alimentaire. Le Refugee Food est enfin une entreprise de traiteur.Avec, dans l'émission :- le duo formé par Tschering Kelsang cuisinier tibétain et Alcidia Vulbeau cheffe du Café Jaune et du restaurant Bonne aventure  - Chloé Charles, cheffe de Lago et Assia Zelbah- Alessandra Montagne, la cheffe du restaurant Nosso et marraine du festival 2024.- Géraldine Meignan, journaliste, autrice, cuisinière et bénévole au Refugee Food. « La cuisine d'un monde qui change » est publié aux éditions de l'Epure.- Marine Mandrila, co-fondatrice du Refugee Food, Harouna Sow, chef des cuisines du Refugee Food, Stéphane Jego, chef du restaurant L'ami Jean.Côté musique : Rasta Pasta de IAMDDB et Masego. En images 

In this episode of Author to Author, Dr. Cynthia Toolin-Wilson interviews Kathleen Vincenz on her book Papa and the Little Queen: A Walk with St. Therese and her Papa (March 17, 2024)Four-year-old Thérèse skipped to the garden to tell her papa she has learned to read her first word, Heaven. After a make-believe tea party, they head for a walk through the city of Lisieux to celebrate. Along the way, Thérèse and Papa meet many people and share their simple, joyous love for God and each other. When it begins to rain, they hurry home but not before Thérèse learns that God and Heaven are always near.Based on the stories St. Thérèse of Lisieux told about her many walks with her beloved papa, St. Louis Martin, in her autobiography, The Story of A Soul, Papa and the Little Queen brings to life St. Thérèse and her papa with much love and a bit of humor.A delightful story that illustrates the joy and faith exuded by St. Thérèse, Michelle Buckman, award-winning writer and editor.Good for independent readers or as a read-aloud for younger audiences.Papa and the Little Queen: A Walk with St. Therese and her Papa: Vincenz, Kathleen, Vincenz, Daniel: 9780996757348: Amazon.com: BooksBecome a supporter of this podcast: https://www.spreaker.com/podcast/author-to-author--4129285/support.

McDojoLife is a brand dedicated to keeping martial arts legitimate by not only calling out fakes, frauds, phonies, conmen, pedophiles and cults in the martial arts industry but also by showcasing, uplifting and providing support to legitimate martial arts instructors, coaches, teachers, athletes and schools. Founded in 2013 McDojoLife has been able to help the martial arts community through informative news stories and investigative journalism. Giving the public a go to source to help them make more informed decisions on where they choose to train or where they want their children to train. Over the years these stories have made impacts globally and will continue to do so in order to help keep the martial arts industry safe. https://mcdojolife.com Rob Ingram, better known as the dynamic force behind the viral "McDojoLife" social media phenomenon, shares his unexpected journey through Florida's notorious club boxing scene in the early 2000's. Ingram teams up with writer Louis Martin, award-winning author of “The True Believers” and bestseller “How You Bear It” to tell his crazy story from beginning to end. Grab a copy of Rob's latest book here: https://amzn.to/49zEOZ4 If you got some value from this episode or simply liked it, please share via social media and with your friends. If you did not enjoy it please impose it on your enemies and make them suffer! If you would like to support the show at no cost to you and you shop with Amazon, please feel free to use my affiliate link, for which I get a small commission when you purchase something - note that it is completely free for you! Please find the link below. ⁠⁠⁠⁠⁠⁠https://amzn.to/3qqfuhy⁠⁠⁠⁠⁠⁠ If you would like to support the Karate For Mental Health Programme, you can buy our merchandise (links below) or donate via ☕ Buy me a coffee

Ce soir, Mél et Max reçoivent les célibataires Mélyssa, Lucy, Louis-Martin et Lionel, tous à la recherche du grand amour !

Ce soir, Mél et Max reçoivent les célibataires Mélyssa, Lucy, Louis-Martin et Lionel, tous à la recherche du grand amour !

Découvrez l'abonnement "Au Coeur de l'Histoire +" et accédez à des heures de programmes, des archives inédites, des épisodes en avant-première et une sélection d'épisodes sur des grandes thématiques. Profitez de cette offre sur Apple Podcasts dès aujourd'hui ! Thérèse de Lisieux est l'une des religieuses les plus célèbres du XIXe siècle. Canonisée, elle a même rejoint le cercle très fermé des docteurs de l'Église, des théologiens dont les écrits ont révolutionné la spiritualité chrétienne. Dans un récit inédit en deux parties, Virginie Girod vous raconte la vie de la carmélite déterminée à devenir une sainteThérèse naît en 1873 à Alençon, en Normandie. Elle est la dernière d'une fratrie de 5 filles. Ses parents, Louis et Zélie Martin, sont deux personnes habitées par une foi profonde. Ils ont même hésité à prendre l'habit religieux avant de se tourner respectivement vers l'horlogerie et la dentelle. Thérèse n'a même pas 5 ans quand sa mère meurt d'un cancer du sein. Louis Martin vend les commerces familiaux et s'installe à Lisieux. Pauline, sa sœur et mère de substitution y rentre bientôt au carmel, où les religieuses sont coupées du monde. Pour Thérèse, c'est un nouveau drame : la fillette est rongée par la peur de l'abandon. Alors qu'elle tombe malade, la Vierge Marie lui apparaît en 1883. Thérèse guérit.Après Noël 1886, “sa nuit de la conversion”, Thérèse est décidée à consacrer sa vie à Dieu en rejoignant le Carmel, où se trouvent déjà deux de ses sœurs. La jeune fille n'a que 14 ans, le chanoine et l'évêque de Bayeux lui demande donc de patienter avant de prendre une décision aussi lourde de conséquences pour son avenir. Thérèse décide alors de solliciter… le pape !Thèmes abordés : religion catholique, Carmel, Vatican "Au cœur de l'histoire" est un podcast Europe 1 Studio- Présentation : Virginie Girod - Production : Caroline Garnier et Camille Bichler- Réalisation : Nicolas Gaspard- Composition de la musique originale : Julien Tharaud - Rédaction et Diffusion : Nathan Laporte- Communication : Marie Corpet- Visuel : Sidonie Mangin

In this episode of Regeneration Rising, host Taylor Muglia chats with New Agrarian Program mentor Louis Martin, owner of Round River Resource Management near Rush, Colorado. They talk about Louis' background in agriculture and education, and how he found opportunities to access land and capital even though agriculture skipped a generation in his family. Louis has mentored over 60 apprentices; he explains what makes a great apprentice candidate, and how his ranch is specifically designed to support beginning ranchers. Music attribution: Wanderlust by Scott Buckley

Episode 4 - In this conversation, Fr. Gallagher begins reflecting on the letters written by St. Therese, which offers a tender glimpse of the life of the Martin family after the death of Zélie and the love the sisters had for their father Louis Martin. The post LST4 – The Love for Louis – The Letters of St. Therese of Lisieux with Fr. Timothy Gallagher – Discerning Hearts Podcast appeared first on Discerning Hearts Catholic Podcasts.

Veneration of relics of saints is something unique for Catholics, and it has been a fall filled with relics here in the Archdiocese. First, a large relic of Saint Jude was here recently, and coming up in a couple of weeks, relics of Saint Thérèse of Lisieux and her parents – Saints Zelie and Louis Martin - will be touring the area.   Our shepherd, Archbishop Hebda, joined producer Kayla Mayer to help us understand why these relics are important and discuss the difference between veneration and idolization. Like what you're hearing? Leave us a review, subscribe, and follow us on social media @practicingcatholicshow!

How can one change an overgrazed property that is in terrible shape into one that is profitable again in a matter of a few years? Today, we'll revisit our conversation  with ranch broker Woody Beardsley and special guests, Tom Morrow with Lyme Timber and Louis Martin of Round River Resources, to discuss how that can be achieved as we explore the investment side of regenerative agriculture. Let's see what we discovered. Panel: Haley Mirr, Woody Beardsley, Tom Morrow & Louis MartinNeed professional help finding, buying, or selling a legacy ranch, contact us:Mirr Ranch Group901 Acoma StreetDenver, CO 80204Phone: (303) 623-4545https://www.MirrRanchGroup.com/

We release Code Llama, a family of large language models for code based on Llama 2 providing state-of-the-art performance among open models, infilling capabilities, support for large input contexts, and zero-shot instruction following ability for programming tasks. We provide multiple flavors to cover a wide range of applications: foundation models (Code Llama), Python specializations (Code Llama - Python), and instruction-following models (Code Llama - Instruct) with 7B, 13B and 34B parameters each. All models are trained on sequences of 16k tokens and show improvements on inputs with up to 100k tokens. 7B and 13B Code Llama and Code Llama - Instruct variants support infilling based on surrounding content. Code Llama reaches state-of-the-art performance among open models on several code benchmarks, with scores of up to 53% and 55% on HumanEval and MBPP, respectively. Notably, Code Llama - Python 7B outperforms Llama 2 70B on HumanEval and MBPP, and all our models outperform every other publicly available model on MultiPL-E. We release Code Llama under a permissive license that allows for both research and commercial use. 2023: Baptiste Rozière, Jonas Gehring, Fabian Gloeckle, Sten Sootla, Itai Gat, Xiaoqing Ellen Tan, Yossi Adi, Jingyu Liu, Tal Remez, J. Rapin, Artyom Kozhevnikov, I. Evtimov, Joanna Bitton, Manish P Bhatt, Cristian Canton Ferrer, Aaron Grattafiori, Wenhan Xiong, Alexandre D'efossez, Jade Copet, F. Azhar, Hugo Touvron, Louis Martin, Nicolas Usunier, Thomas Scialom, Gabriel Synnaeve https://arxiv.org/pdf/2308.12950v2.pdf

Marriage was not a 1st choice for the parents of Saint Thérèse of Lisieux. God had a better plan for Louis Martin & Zélie Guérin. See how God works when the dreams we had in mind are are shattered and He shows us "the real" plan for our lives.Subscribe to Your Next Mission From God on your favorite podcast platform.Find this show on the free Hail Mary Media App, along with a radio live-stream, prayers, news, and more.Look through past episodes or support this podcast.Your Next Mission From God is a production of Mater Dei Radio in Portland, Oregon.

In this work, we develop and release Llama 2, a collection of pretrained and fine-tuned large language models (LLMs) ranging in scale from 7 billion to 70 billion parameters. Our fine-tuned LLMs, called Llama 2-Chat, are optimized for dialogue use cases. Our models outperform open-source chat models on most benchmarks we tested, and based on our human evaluations for helpfulness and safety, may be a suitable substitute for closed-source models. We provide a detailed description of our approach to fine-tuning and safety improvements of Llama 2-Chat in order to enable the community to build on our work and contribute to the responsible development of LLMs. 2023: Hugo Touvron, Louis Martin, Kevin R. Stone, Peter Albert, Amjad Almahairi, Yasmine Babaei, Nikolay Bashlykov, Soumya Batra, Prajjwal Bhargava, Shruti Bhosale, D. Bikel, Lukas Blecher, Cristian Canton Ferrer, Moya Chen, G. Cucurull, David Esiobu, Jude Fernandes, Jeremy Fu, Wenyin Fu, Brian Fuller, Cynthia Gao, Vedanuj Goswami, Naman Goyal, A. Hartshorn, Saghar Hosseini, Rui Hou, Hakan Inan, Marcin Kardas, Viktor Kerkez, Madian Khabsa, Isabel M. Kloumann, A. Korenev, Punit Singh Koura, Marie-Anne Lachaux, Thibaut Lavril, Jenya Lee, Diana Liskovich, Yinghai Lu, Yuning Mao, Xavier Martinet, Todor Mihaylov, Pushkar Mishra, Igor Molybog, Yixin Nie, Andrew Poulton, Jeremy Reizenstein, Rashi Rungta, Kalyan Saladi, Alan Schelten, Ruan Silva, Eric Michael Smith, R. Subramanian, Xia Tan, Binh Tang, Ross Taylor, Adina Williams, Jian Xiang Kuan, Puxin Xu, Zhengxu Yan, Iliyan Zarov, Yuchen Zhang, Angela Fan, Melanie Kambadur, Sharan Narang, Aurelien Rodriguez, Robert Stojnic, Sergey Edunov, Thomas Scialom https://arxiv.org/pdf/2307.09288v2.pdf

My dear daughters, I'm hurrying to send you a few words today, the day when I'm least busy. I can't wait to be with you again, so I hope that on Thursday we'll have the happiness of being together, not to be parted from each other for a long time. My children, pay attention to ... Read more The post My Dear Daughters – from a Letter by St. Louis Martin – Discerning Hearts Podcasts appeared first on Discerning Hearts Catholic Podcasts.

« Bienvenue » : un mot savoureux : il porte en lui : « vous êtes bien arrivé, nous avons une place pour vous parmi nous », et un sentiment : pour celui à qui il est adressé : celui d'être accepté. Comme il est précieux ce mot pour les hommes, les femmes, les enfants, obligés de quitter leur pays, leurs racines, sur les routes dans l'espoir d'une vie meilleure, un refuge.  Bienvenue, c'est aussi le premier mot prononcé à la porte d'un restaurant, comme un préambule, une promesse. C'est dire si ces mondes sont liés ! Imaginez, que celui qui vous souhaite la bienvenue soit un réfugié, devenu cuisinier, restaurateur : mais quelle saveur ce mot !Chaque jour de juin depuis 2016, ce mot : bienvenue est prononcé par des cuisiniers réfugiés hôtes de cuisiniers français, le temps du Refugee Food Festival, dans une dizaine de villes en France. Le festival est l'événement organisé chaque année autour du 20 juin, journée mondiale des réfugiés. En images Avec- Marine Mandrila, co-fondatrice du Refugee Food- Harouna Sow, cuisinier mauritanien, chef des cuisines du Refugee Food : la cantine des arbustes, rue des arbustes à Paris, dans le 14ème et la cité du refuge dans le 13ème arrondissement - Sandrine Clément, co-fondatrice de Marie Curry : première entreprise traiteure valorisant les matrimoines des femmes issues de l'immigration. L'association Refugee Food a été fondée en 2016 par Marine Mandrila et Louis Martin. Entreprise Solidaire de formation et d'insertion, vous pouvez la rejoindre ou la soutenir en adressant vos dons à refugee-food.org. Programmation musicale - Kalaadjo, de Baaba Maal- Here comes the sun, de Nina Simone.

« Bienvenue » : un mot savoureux : il porte en lui : « vous êtes bien arrivé, nous avons une place pour vous parmi nous », et un sentiment : pour celui à qui il est adressé : celui d'être accepté. Comme il est précieux ce mot pour les hommes, les femmes, les enfants, obligés de quitter leur pays, leurs racines, sur les routes dans l'espoir d'une vie meilleure, un refuge.  Bienvenue, c'est aussi le premier mot prononcé à la porte d'un restaurant, comme un préambule, une promesse. C'est dire si ces mondes sont liés ! Imaginez, que celui qui vous souhaite la bienvenue soit un réfugié, devenu cuisinier, restaurateur : mais quelle saveur ce mot !Chaque jour de juin depuis 2016, ce mot : bienvenue est prononcé par des cuisiniers réfugiés hôtes de cuisiniers français, le temps du Refugee Food Festival, dans une dizaine de villes en France. Le festival est l'événement organisé chaque année autour du 20 juin, journée mondiale des réfugiés. En images Avec- Marine Mandrila, co-fondatrice du Refugee Food- Harouna Sow, cuisinier mauritanien, chef des cuisines du Refugee Food : la cantine des arbustes, rue des arbustes à Paris, dans le 14ème et la cité du refuge dans le 13ème arrondissement - Sandrine Clément, co-fondatrice de Marie Curry : première entreprise traiteure valorisant les matrimoines des femmes issues de l'immigration. L'association Refugee Food a été fondée en 2016 par Marine Mandrila et Louis Martin. Entreprise Solidaire de formation et d'insertion, vous pouvez la rejoindre ou la soutenir en adressant vos dons à refugee-food.org. Programmation musicale - Kalaadjo, de Baaba Maal- Here comes the sun, de Nina Simone.

Aujourd'hui, je vous propose un épisode qui va vous régaler les papilles ;) ✨    Je reçois Marine Mandrila, qui a fondé l'association Refugee Food avec l'homme de sa vie, Louis Martin.  

Imagine feeling an indescribable sense of peace the moment you meet your spouse, knowing that your love will be deeply rooted in your faith. Our guest, author Patrick O'Hearn, shares his journey from growing up Catholic to embracing his faith and finding his spouse at Franciscan University. In our conversation, we discuss his book, Courtship of the Saints: How the Saints Met Their Spouses.Diving deeper into the lives of married saints, we explore their hidden holiness, the process of canonization, and the difference between courtship and modern dating. Patrick shares his experience interviewing St. Gianna Molla's daughter and finding other married saints for his book, as well as the heroic love of Venerable Vittorio Trancanelli and his wife, who adopted seven children, some with special needs. Learn about the importance of involving the woman's father in courtship and how couples' preparation for marriage can have a profound effect on the outcome.Finally, we discuss examples of docility and submissiveness in the lives of Mary and the saints, the ideal dynamic between a husband and wife, and the importance of men actively cherishing their wives. Our conversation also delves into the romantic love between Pietro and Gianna Molla, Zellie and Louis Martin, and how Catholics have the best love life of any group. Discover the 'third ring of marriage' and the importance of suffering in relationships, as well as inspiring stories of married saints and their spouses' sacrifices for their faith.https://tanbooks.com/products/books/courtship-of-the-saints-how-the-saints-met-their-spouses/********************************************************Avoiding Babylon was started during the height of the COVID-19 pandemic. During these difficult and dark days, when most of us were isolated from family, friends, our parishes, and even the Sacraments themselves, this channel was started as a statement of standing against the tyrannical mandates that many of us were living under. Since those early days, this channel has morphed into an amazing community of friends…no…more than friends…Christian brothers and sisters…who have grown in joy and charity.Avoiding Babylon does not criticize the hierarchy or institutional Church, especially Pope Francis. We recognize there is an unprecedented crisis in the Church, but we feel that there are other shows that address these issues that are more qualified than us. Instead, we try to remind ourselves and those who enjoy the channel that being Catholic is a joyful and exciting experience. We seek true Catholic fraternity and eutrapelia with other Catholics who, like us, are doing their best to live out their vocation with the help of God's Grace. Above all, we try to bring humor and joy to the craziness of this fallen world, for as Hillaire Belloc has famously said:“Wherever the Catholic sun doth shine,There's always laughter and good red wine.At least I've always found it so.Benedicamus Domino!”https://www.avoidingbabylon.comLocals Community:  https://avoidingbabylon.locals.comStore:  https://avoiding-babylon.sellfy.store/RSS Feed for Podcast Apps: https://feeds.buzzsprout.com/1987412.rssSpiritusTV:  https://spiritustv.com/@avoidingbabylonRumble: https://rumble.com/c/c-1626455Odysee:  https://odysee.com/@AvoidingBabylon Support the showCheck out our new store!

You may have heard this term, but do you really understand what it means? We kind of do and we're talking with Emma all about it today. Prayer Emma Mentions: Lord, be on my lips, guide what I (he/she/we) say Lord, be on my mind, guide what I think Lord, be on my heart, guide what I feel Lord, be on my feet, guide me ever toward your eternal grace. Resources https://grandcatholic.com/wp-content/uploads/2019/02/Church-bulletin-website-2-17-19.pdf https://catholicstand.com/how-to-know-if-you-are-under-a-spiritual-attack/ Saints St. Micahel the Archangel St. Raphael the Archangel Sts. Louis Martin and Marie-Azélie Guérin Padre Pio Join The Catholic Bride Facebook group: https://www.facebook.com/groups/4692342427540247/ Hang out with us on Instagram: https://www.instagram.com/catholicweddingpodcast/ Check out Victoria's Work: https://mysticalrosephotos.com/ Check out Jo's work: www.fourlovesphotofilm.com Hang out with Emma: @weinheimer.emma

Have you heard about ghostwriting? Are you unsure if working with a ghostwriter is a good fit for you? Find out everything you need to know about hiring a freelance writer to produce your books and make more money online. You'll learn all about how to hire a ghostwriter, what services you should consider for payment processing, and if ghost writing is something you'd like to do to make a little extra cash on the side. We're breaking down this business into bite-sized tips, perfect for beginners. Louis Martin on Instagram - https://www.instagram.com/louiejm3/ 

Louis Martin (d 1894) and Maria Azelia Guerin (d 1877)[1] Zelie and Louis Martin were canonized in October 2015. There are three distinctive times in Continue reading The post Saints & Blesseds Vocations That Give Hope VI appeared first on Fides et Ratio.

Panel: Haley Mirr, Woody Beardsley, Tom Morrow, and Louis MartinHaley, along with Woody Beardsley, has Tom Morrow with Lyme Timber and Louis Martin of Round River Resources on the show to discuss the investment side of regenerative agriculture. They will tackle all we want to know from investment criteria and attributes necessary to funding requirements with conservation incentives and management objectives, and will show how the BX Ranch is an example of these practices.Need professional help finding, buying, or selling a legacy ranch, contact us:Mirr Ranch Group901 Acoma StreetDenver, CO 80204Phone: (303) 623-4545https://www.MirrRanchGroup.com/

Canon John Udris is internationally recognised expert on St Therese of Lisieux and has authored two books on her; Holy Daring: Fearless Trust of St Therese of Lisieux – exploring St Therese as a guide to praying as a disciple as Christ; and the The Gift of St Therese – exploring the joy and gratitude that overflowed her life and how we can live it too. Canon John is a priest of the Diocese of Northampton and is an experienced leader of retreats. Saints Zelie and Louis Martin are the parents of St Therese of Lisieux and they are also the first married couple to be canonised together. Though their lives were not easy facing many tragedies including losing four children in infancy, they lived lives of great faith, a faith they passed on to the their five daughters. Their faith and personality most definitely helped shape the character of their daughter St Therese who through her writings has helped millions of people grow close to Christ in the little way of simple spirituality. Canon John Udris explores the lives of these saintly parents and what we can learn from them to help and encourage us as parents seeking to grow in faith and help our children grow too. ‍https://www.dioceseofnottingham.uk/

Ref.: Rolf Wundrack, München

As Mental Health Awareness week begins and in honour of May as Mental Health Month, we continue our examination of the saints and mental health with a look at Sts. Louis Martin and Therese of Lisieux. Show Snippet: "St. Therese understood that her mental health challenges did not define her deepest self. Clinging to her identification as a child of God, created in God's own divine image, helped to increase her capacity for resiliency, even as she lived with often serious mental health challenges..."  

As Catholics, we look to the example of the lives of the Saints for how we can strive for holiness. On today's episode, we examine the life of St. Louis Martin, father of St. Thérèse of Lisieux, and his approach to money as he raised five daughters, all of whom entered the convent. We read passages out of the book "The Father of the Little Flower: Louis Martin" by Celine Martin. This book is out of print, but it may be available at your local library and used booksellers including ThriftBooks or your local used bookstore! To encourage the publisher to continue printing the book, contact TAN Books. Have questions or leads for us? Leave a voicemail - https://walletwin.com/voicemail Or Email us - email@walletwin.com! Music in this episode is by Dylan Gardner – check out his album Almost Real on iTunes, Spotify, or wherever you listen to great music. --- Send in a voice message: https://anchor.fm/walletwin/message

The James Webb Space Telescope is nearing its destination 1 million miles away from earth. In the run-up to it's first images of what the universe was like as far back as 50 million years after the start of time, Aidan interviews optics engineer Louis Martin, an expert in telescope instrumentation.This episode, Louis explains why the Webb is so important to our understanding of how the universe and everything within it forms, and how it will be able to detect water and life on distant planets. The only question is whether the life is there or not. Living Room Logic is run by PhD Fellow Andrew McGovern and Post Doctoral Researcher Dr Aidan Long. We would like to thank each of our patrons on patreon who make this all possible. If you would like to support the podcast, we welcome you to support us on Patreon.com/livingroomlogic. https://www.patreon.com/LivingRoomLogic See acast.com/privacy for privacy and opt-out information.

Louis Martin knew very young that he wanted to be a ranch manager, and recognized early on that there is a big difference between managing cows, and managing a business than runs cows. He took every opportunity to learn from skilled mentors and advisors, and educated himself on the keys to business management rather than just animal science. His career took him from managing ranches in Texas, to Utah and finally landed himself in Colorado where he today manages over 75,000 acres of leased ranchland and along with 2 apprentices runs a combination of both owned and leased cows and stocker cattle. He shares tips for management, working with interns and apprentices, investing in your staff, and creating networks and relationships! Resources Mentioned: Ranching for Profit Quivira Coalition Allan Nation Books Allan Savory Holistic Management International As always, check us out at Herd Quitter Podcast on Facebook and Instagram as well as at herdquitterpodcast.com. You can also check out Pharocattle.com for more information on how to put more fun and profit back into your ranching business!

Cet épisode important de la vie de Thérèse de Lisieux, raconté par Franck Monsigny, est présenté dans le CD éponyme disponible sur Diffusia.fr  

Cet épisode important de la vie de Thérèse de Lisieux, raconté par Jean-Louis Thiar, est présenté dans le CD éponyme disponible sur Diffusia.fr  

Ce triste épisode de la vie de Thérèse de Lisieux, raconté par Jean-Louis Thiar, est présenté dans le CD éponyme disponible sur Diffusia.fr  

Episode 4 - In this conversation, Fr. Gallagher begins reflecting on the letters written by St. Therese, which offers a tender glimpse of the life of the Martin family after the death of Zélie and the love the sisters had for their father Louis Martin. The post LST4 – The Love for Louis – The Letters of St. Therese of Lisieux with Fr. Timothy Gallagher Podcast appeared first on Discerning Hearts Catholic Podcasts.

Louis Martin is the author of "The True Believers," the story of how he became involved in a martial arts school in Monterey, California that had a charismatic teacher and a cult-like atmosphere. Ken Gullette talks with Louis in a wide-ranging discussion of critical thinking skills, what kind of people are lured into martial arts cults, and how you can tell if you are showing signs of being a "True Believer" (it is not a good thing to be). Louis trained for years in Seibukan, which is a combination of Japanese jujutsu and Aikido. He now trains in Brazilian Jiu Jitsu. Ken teaches Chen Taiji, Bagua Zhang and Xingyi Quan and has an online learning site at www.internalfightingarts.com. 

#dailybible #biblehindi #spiritualityhindi #spiritualityhindi #jesushindi जीवनदायी वचन #32: प्यार सब कुछ सम्भव बनाता है [बालक येसु की संत तेरेसा] प्रेम में भय नहीं होता। (1 John 4:18) Biblical Guide to Life #32: Nothing is impossible for love|(St. Therese of Child Jesus) There is no fear in love St. Therese of Child Jesus and Holy Face (1873-1897) was born to Sts. Louis Martin & Marie-Arelie Martin (Canonised on October 18, 2015) in France. She is one of the most known and loved Saints. She taught us the "Little Way" to God/Heaven. "Doing little (small) things with great love". Love is the deciding factor. Nothing is impossible for love! St. Therese says, प्यार सब कुछ पूरा कर सकता है। जहाँ प्यार कार्यरत है, वहाँ सबसे असम्भव कार्य भी आसान हो जाता है। "Love can accomplish all things. Things that are most impossible become easy where love is at work." She lived only for 24 years on the earth but reached the perfection of love. St. John in his First Letter (4:18) writes, प्रेम में भय नहीं होता। पूर्ण प्रेम भय दूर कर देता है, क्योंकि भय में दण्ड की आशंका रहती है और जो डरता है, उसका प्रेम पूर्णता तक नहीं पहुँचा है। "There is no fear in love, but perfect love casts out fear; for fear has to do with punishment, and whoever fears has not reached perfection in love." Shall we also follow the footsteps of this "Little Saint" to do the impossibles? ________________________________________________________________ You are most welcome to follow me on the following platforms. To understand the Incarnation (the Word made flesh), try this book by Fr. C. George Mary Claret "God's Journey to Bethlehem: God's Way of Alluring You to Enter Into Your Heart" https://geni.us/nnB5 Connect him on http://bit.ly/WebGGOG Facebook Personal http://bit.ly/FacebookGeo Group http://bit.ly/GGOGFB Amazon Author Page http://bit.ly/FrGeorge Twitter http://bit.ly/TweetGMC YouTube Hindi Channel https://bit.ly/3yff7ef English Channel http://bit.ly/EngYTube Instagram http://bit.ly/InstaGMC LinkedIn http://bit.ly/LInGMC Wattpad https://www.wattpad.com/user/GeorgeClaret Medium http://bit.ly/MedGMC Pinterest http://bit.ly/PinCGMC Tumblr http://bit.ly/TumCGMC Goodreads http://bit.ly/GoodReadsGMC Quora Space http://bit.ly/QuoraGGOG Personal http://bit.ly/QuoraCGMC Apple Podcasts http://bit.ly/trinityhspirit Google Podcasts http://bit.ly/podcastsgoogle --- Send in a voice message: https://anchor.fm/greatergloryofgod/message

#dailybible #bible #bibleversefortoday #bibleverse Biblical Guide to Life #32: Nothing is impossible for love|(St. Therese of Child Jesus) There is no fear in love St. Therese of Child Jesus and Holy Face (1873-1897) was born to Sts. Louis Martin & Marie-Arelie Martin (Canonised on October 18, 2015) in France. She is one of the most known and loved Saints. She taught us the "Little Way" to God/Heaven. "Doing little (small) things with great love". Love is the deciding factor. Nothing is impossible for love! St. Therese says, "Love can accomplish all things. Things that are most impossible become easy where love is at work." She lived only for 24 years on the earth but reached the perfection of love. St. John in his First Letter (4:18) writes, "There is no fear in love, but perfect love casts out fear; for fear has to do with punishment, and whoever fears has not reached perfection in love." Shall we also follow the footsteps of this "Little Saint" to do the impossibles? _________________________ You are most welcome to follow me on the following platforms. To understand the Incarnation (the Word made flesh), try this book by Fr. C. George Mary Claret "God's Journey to Bethlehem: God's Way of Alluring You to Enter Into Your Heart" https://geni.us/nnB5 Connect him on http://bit.ly/WebGGOG Facebook Personal http://bit.ly/FacebookGeo Group http://bit.ly/GGOGFB Amazon Author Page http://bit.ly/FrGeorge Twitter http://bit.ly/TweetGMC YouTube Hindi Channel https://bit.ly/3yff7ef English Channel http://bit.ly/EngYTube Instagram http://bit.ly/InstaGMC LinkedIn http://bit.ly/LInGMC Wattpad https://www.wattpad.com/user/GeorgeClaret Medium http://bit.ly/MedGMC Pinterest http://bit.ly/PinCGMC Tumblr http://bit.ly/TumCGMC Goodreads http://bit.ly/GoodReadsGMC Quora Space http://bit.ly/QuoraGGOG Personal http://bit.ly/QuoraCGMC Reddit http://bit.ly/RedditGMC Podmatch http://bit.ly/PodMatch Apple Podcasts http://bit.ly/trinityhspirit Spotify http://bit.ly/trinityholyspirit Google Podcasts http://bit.ly/podcastsgoogle --- Send in a voice message: https://anchor.fm/greatergloryofgod/message

What you'll learn in this episode: Why the Netherlands has a high concentration of the world's art jewelry galleries Why public funding and support is crucial for the survival of art jewelry How Rob finds new artists, and how he defines what a strong piece is How Rob uses social media to find clients across the world  About Rob Koudijs Rob Koudijs is the founder and owner of Galerie Rob Koudijs, a 100-square-meter exhibition space located in the gallery district in the center of Amsterdam. The gallery specializes in contemporary art jewelry which communicates ideas, has sculptural qualities, and uses materials in innovative ways. The gallery represents a group of jewelry artists who produce work challenging the borders of the applied and the fine arts. As these artists come from all corners of the globe, the latest international developments are on display in regular solo shows and in the gallery's collection. As well as showing jewelry, Galerie Rob Koudijs stocks a range of books and catalogues by the represented artists. Additional Resources:  Website Facebook Instagram Photos: EVERT NIJLAND necklace ‘Red'; silver, glass photo: Eddo Hartmann NHAT-VU DANG earrings ‘Dominique'; silver photo: Ceyhan Altuntas TERHI TOLVANEN necklace ‘Lunatic'; silver, wood, windowpane oyster photo: Terhi Tolvanen ESTHER BRINKMANN ring ‘20ba-4'; fine gold, iron, jade photo: Esther Brinkmann HELEN BRITTON brooch ‘19B022'; silver, tiger eye, lapis lazuli, jasper photo: Helen Britton PAUL ADIE ring 'Talk to Me'; silver, aluminium photo: Paul Adie Transcript: Rob Koudijs knew he was taking a risk by leaving his original career path and opening an art jewelry gallery in Amsterdam. That risk paid off, because Rob Koudijs Gallery is still going strong nearly 15 years later, despite jewelry still being a niche art form. He joined the Jewelry Journey Podcast to talk about how he discovered his interest in contemporary jewelry, where he thinks the industry is headed, and why the Netherlands has a robust culture of art jewelry. Read the episode transcript below.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. Today, my guest is Rob Koudijs—I'm going to let him pronounce his name—founder of a leading art and jewelry gallery in Amsterdam. He's also a leading figure in championing art jewelry. We will hear about his jewelry journey today. Rob, welcome to the program. Rob: Thank you very much, Sharon. Sharon: I'm so glad to talk with you. Tell us about your jewelry journey. How did you get involved in jewelry and art jewelry in particular? Rob: Do you want to have the long story or the short one? Sharon: We want the full story. Rob: Then I will start where it all began. That was about 40 years ago. I met the man who is now my husband. He was starting architecture in Delft, and when I was in Delft, we went to an art gallery. They had jewelry and he thought, “O.K., I'm an architect. This jewelry is very conceptual, very architectural, and I can wear it.” He bought a piece from Joke van Ommen I don't know if you know her, but Joke van Ommen was a Dutch artist. A few years later, she went to the United States and founded Jewelerswerk in Washington. I think that must be interesting for you as well. That's how it started. It was not me; it was he who bought a piece, and then he got interested. We both were interested in art and design, but we didn't know anything about contemporary jewelry. We thought about finding books about it. Well, there was nothing in the world, not at that time. We are talking about 1979. There was one book shop in Amsterdam and they had books—I don't where they found them—about contemporary jewelry. I'm telling you about that art book shop because we were invited to a birthday party there. There we met Ruudt Peters —you probably know him—and he— Sharon: Ruudt Peters? Rob: Ruudt Peters, that's how you pronounce it. It is a funny journey, because he invited us to his birthday party, and I'm talking about 40 years ago. There was a friend of his called Marie-José, and she had just started a gallery. She also started going to an art fair, and she invited us to come to that art fair. We went there, and I think within five minutes I started selling. I always say she discovered my talents in contemporary jewelry. She told me later on that she saw my enthusiasm about the work, so she asked me if I'd help her with the art fair. I did that for 10 years, only at my holidays, of course, because I had a totally different job; I was working in healthcare, psychiatry. I took vacations every year to help her with the art fair and to help her open the gallery. That's what I did for 10 years; that's how it started, and of course, I got a lot of inspiration from that.  We started buying jewelry—well, you know how it works. Before, there was not that much in the Netherlands. Marie-José just started. When you are getting interested in contemporary jewelry, you think, “This is fantastic, but where can I find it?” So, we went looking for galleries. We found one gallery and we started buying things, and we went to Gallery Marzee and started buying pieces. At one moment, we discovered there was another gallery that opened. That was in 1985, I think, and that was Louise Smit Gallery. So, there were some galleries. There was one in Delft as well, Louis Martin. I became involved in the jewelry world, but it was not my job. Shall I go on? Sharon: Please.  Rob: After 10 years helping Marie-José she went to the big building where she is now. You probably have been there. Then we stopped working together. Later, we visited the Louise Smit Gallery and she said, “O.K., sit down. I'm here now for 10 years. I don't see what's going on in the jewelry world anymore, and I need a business partner.” It's a long story, but I became business partner in the Louise Smit Gallery. Sharon: Is that still going? I don't know. Rob: No, it's not there anymore. It existed for 10 years and then I did it for 10 years. The 20-year celebration, I was still there. The idea was that she should focus on the big names, the big artists she was already working with, and it was my task to find new talents. That's what I did, and I'm still working with them. I have to tell you—I wrote it down—we are talking about 25 years ago, and we started with lots of students, and most of them came from the Netherlands. They had all their education at Rietveld Academie, but we also went to Munich and then we found students there. I brought them into that gallery. I was a business partner, so I got the young talent over there, and that's how it worked. We did it for 10, years and then very abruptly—is that how you say that?  Sharon: Yes. Rob: It didn't work out very nicely. She stopped our companionship, and that was that, my 20 years in contemporary jewelry. So I thought, “O.K., this was so nice.” I liked it so much. I did it next to my other job, and I thought, “O.K., I have to try it myself because if I don't, I will regret it the rest of my life.” It was 2006, and a few months later—I don't know, half a year later—in April 2007, I opened my own gallery. The idea was, O.K., there were two galleries in Amsterdam. There was one gallery in Delfts. I thought, “It's crazy. We are a very small country. Contemporary jewelry is a niche in the art world, so will there a public for it?” But, I thought, “If I don't do it— let's give it a try, and if after a year I see it doesn't work out, I will stop with it.” Well, that's now 14 years ago and I'm still here. That's more or less the story over 40 years and how it all started.  Sharon: Wow! I love the fact that you're saying you realized you would regret it for your whole life if you didn't do it. I think of things myself where I thought, “If I don't this, I'll just—” It didn't work out, but at least I can try. Rob: Exactly, that's what I thought, and that's how it all started. Of course, I was very dedicated to contemporary jewelry. Some artists stayed in the older galleries, but there were a lot of artists that needed a gallery. That's what's still going on now. There are not that many galleries in the world. So, I thought, “O.K., I'll just give it a try,” and I didn't regret it at all. Sharon: There's a handful of galleries in the world, and there are really not that many that were doing. There's a handful. The majority seem to be in the Netherlands. There are not that many in the world. I don't think there are a dozen.  Rob: It's funny, because it's not like that anymore, but at a certain moment, I think we had five galleries for contemporary jewelry in the Netherlands. At the moment, there are only two—well, the galleries with big names. It's Marie-José and it's me in Amsterdam. That's because the other galleries closed, so there are only two galleries. It's still a lot for such a small country. Sharon: Why do you think that is? What is it that the Netherlands has, where you have two galleries or in the past had five, when the rest of the world has so few? It's so unusual. Rob: No, you're right. I've thought it over a lot, and I've gotten that question many times as well. Probably it has something to do with—not now, but in the past. In the past, in the Netherlands, artists got very good grants. Museums bought contemporary jewelry, and there was a lot of publicity about contemporary jewelry. I think the focus was on contemporary jewelry. I don't know why. We always say it has something to do with the 60s, when Dutch jewelers started. I don't know why it happened that way, but I think the government was important. The grants, that's what it's all about, because otherwise most of the jewelry artists cannot live from what they are doing. When you get a grant, you can develop yourself, and that's what happened. That's why all these artists, the names I told you before, all these artists are still working. After 25, 30 years, they are still there and they are still successful. It has something to do with that.  What you see now is that there are no grants anymore, not for jewelry artists. There is no publicity. Museums don't buy that much. There's only one wonderful museum in the Netherlands. You probably have heard of it; maybe you've been there. It's the CODA Museum in Apeldoorn, and they have the biggest collection of contemporary jewelry at the moment. Through the years, Stedelijk Museum didn't buy any more. Rijksmuseum, they have a nice collection, but they don't buy. You can be successful, or a field in the art world can be successful if there's publicity, if there are grants, and if the museums are interested. There were a lot of exhibitions, like I said, but it's all in the past. The jewelry is still there and the collections are there. The Stedelijk Museum has a big collection, and they started early. I don't know how it is in the states, but they all started after the war, in the 50s, 60s buying contemporary jewelry. I don't know if that's the reason, but that's what we think. It has something to do with it.  Sharon: It makes a lot of sense. I'm interested in the fact that you use the term contemporary, because if you were going to Google contemporary jewelry, you wouldn't see a lot of these names come up. You'd see more—I don't mean to knock it, but run-of-the-mill or production jewelry as opposed to art jewelry. But you use contemporary jewelry. Do people know what you're talking about when you use it? Suppose you are at an art fair. I'm just interested in the fact that you use the term contemporary jewelry as opposed to art jewelry.  Rob: When I use my hashtags on Instagram, I use art jewelry, studio jewelry, contemporary jewelry; I use them all, because I think in the world, not only in the Netherlands, we use all those names. There is no specific name for it, as far as I know. Sharon: There isn't. It's such a nebulous name. There's not one name that says what it is. Rob: Yeah, you can call it art jewelry or art you can wear, sculpture to wear. I think the problem is when you are talking about a painting or a sculpture, well, that's what it is. You have contemporary sculpture and you have antique sculpture, but it is very difficult. Like I said, it is probably because it is a niche in the art world, and you want to be different from the big jewelry shops, somewhere where they sell the gold and the diamonds. That's not what we are doing and what our artists are doing, but there's not a specific name for it, no. Sharon: What was it that attracted you initially? Was it the art aspect of it? You could have been attracted to gold and diamonds. What was it that attracted to art and jewelry? Rob: No, it's more the integration of the artistic concepts. It's art and it's design and it has craft. Craft, for me, is very important, all the crafts that are used and the combination of that. Like I said before, my husband and I were interested in art and design and architecture, but this integrates it all. We could wear it, because especially 40 years ago, it was very common for men to wear jewelry. That's why we started with geometrical jewelry. I think it has something to do with that. It integrates a lot of things. It's small sculpture. I talk to a lot of collectors, and if you are collecting sculpture, for instance, or paintings or photos, all your walls are full. When you are collecting contemporary jewelry, you have the most wonderful pieces of art, and you can put them in a drawer and go on till you die. Sharon: This is a question I have; I've thought about it a lot. What is a collector? When do you cross the line from being someone who is just an enthusiast into being a collector? When do you become a collector? Rob: Some people are opposed very much to the word collector. For a long time, we didn't like to be collectors. We just bought things we liked and we could wear. At a certain moment, you have over a hundred pieces, and then other people are calling you a collector. I know the same thing happens with clients in the gallery, for instance. They also don't like to be called a collector, but at a certain moment, they have so many good and strong pieces. Then other people start calling you a collector, and then you are a collector whether you want to be or not. Sharon: Another question, perhaps not so easy to answer: When you say good and strong pieces, what's a good and strong piece? Is a good and strong piece one that I love? Maybe it's by a certain artist. Rob: When someone asks me that, I always give the same answer: It is very personal. Our personal is that we like architectural, sculptural jewelry. We like brooches because we are men and we don't wear necklaces. So, our focus is on that. When we say it is strong, it has to do with that. It has to be sculptural, and of course it also has something to do with the artist. You follow the artist and think, “O.K., this is new. This is interesting,” because it's also important that there is somewhat of a development in what an artist is doing. I think that makes it a strong work, but it is very personal. What you think is good or strong or special, I cannot say it for the whole world. It's only for me. Sharon: As a gallerist, you must be inundated with artists saying, “Are you interested in carrying my work?” or who come to you and say, “Let me be in your gallery.” How do you sift through all of this? Rob: That is a very difficult part of being a gallerist, because you have to disappoint people, especially disappoint artists. There are not that many galleries and there a lot of artists. Most of the time when people reach out to me by email or they come to the gallery, I always say, “Send me some images and don't expect me to react.” That doesn't sound very kind, but if I can't do that, I should hire someone to do that for me, because we got a lot of questions about it, “I want to show my work in your gallery.” We are always looking if it is an adjustment to the artists we have in the gallery, for instance. I think that's very important. And is it new? Is it something special I haven't seen before? With the adjustment to the other artists, I don't want three or four artists there that look the same. I'm not interested in that. That's what's happening, and most of the time, to be honest, we find the artists ourselves. Sharon: At shows? Rob: Yeah, it doesn't happen often that people reach us and send us emails or show us work and we say, “Oh yeah, that's fantastic for the gallery.” It doesn't happen that often, no. Sharon: Do you find them at shows like Schmuck, or what's the one in the Netherlands? Rob: No, there is not that much in the Netherlands. Schmuck is very important, but there is something else. We've known all the artists so along already, 25, 30, 35 years, and they know other artists. Sometimes they say, “I know a guy, I know a girl. Have a look at it.” That helps us as well. We don't go to all the graduation shows. For us, it's important to go to Schmuck in Munich. Sharon: We should tell people what Schmuck is. I'm sorry; go ahead. Schmuck being the art jewelry week in Munich. Rob: In Munich, yes. Schmuck is actually the German word for jewelry, but everybody calls it Shumuck now. Things are changing. We went to all the graduation shows, and of course we follow the artists who are graduating and want to give them a platform in the gallery. We want to show young artists, but that has changed. It's not that strong in school anymore, not for contemporary jewelry. There are not many artists from the Rietveld Academie anymore, so we have to find them all over the world, and that's what we do. We have artists from all over the world, from New Zealand, from Austria, from the United States. Most of them come from Europe, but we are a very international gallery.  Sharon: Do you have clients from all over the world? People buying from the gallery all over the world? Rob: Yes, that has a changed as well. When we started, it was mostly from the Netherlands or from Europe, when people could travel, of course, but that has changed as well. The world is smaller. We have Facebook. We have Instagram. We make online catalogues. You probably have seen a few from us. We reach out to our clients in the world, and there are some very good collectors in the world, especially in the United States. So, we have clients from all over the world, from all countries in Europe, from the United States, and from Australia. These are the countries from where we get clients. Sharon: In terms of dealing, I don't know how it's been in the Netherlands with Covid. Have you been doing more online with Covid, or even before that?  Rob: We did a lot. Like I said, I'm very active on Facebook and especially Instagram, because I think it's an important medium at the moment. During lockdown, I think we did something by email every week, by Facebook, by Instagram; we sent out to the world. We had the idea while we were in lockdown in the beginning of last year. We were closed for over four months, and then we were closed for 3.5 months. I just opened up a few weeks ago. So, we had to reach out to our clients by email and make it interesting. That's why we started to make those online catalogues to seduce our clients.  Something else was very important first—that's how it actually started. We had to let them know we are closed, but we are there and we still have those wonderful artists who we work with, and they're making new work. We asked them to make new work. They did, and we want to show it to you, and it worked. It kept us through. You have seen my place; it's not for nothing that you rent a place like that. We needed to pay the rent and so on. It was tough, but it worked because we worked very much online in the last year. I don't think we'll stop, even though we're open again. We discovered what we could do to find a bigger audience.  Sharon: What do you see as the trends, or where do you see the global market in art jewelry going? Do you think it's an increasing interest? Some people think no, it really hasn't changed. I like to think it's growing, but that's just my American optimism. Where do you see art jewelry? Do you see it expanding the market? Do you see more galleries opening, more interest, more people understanding it? I can't claim to understand it, but I'm just asking what you think. Rob: Let's just say it this way, Sharon: I hope so. I don't know. What happened in the art world with photography—that's already quite some time ago—it started to explode and was seen as real art. I hope that would happen to contemporary jewelry as well, but not at this moment. There are fewer galleries. All the galleries are old, more or less; there are a few younger, but most of them are old, so it will stop. I don't know. I think the biggest problem is that it's wonderful to do it. It's the best thing I have done in my life, but if you are young and you have a family and you have to live from it, I don't think it will work out. It will be very difficult; otherwise, you have to commercialize, and that's what I don't want. If I should do it that way, then I stop immediately.  Sharon: When you start selling the T-shirts with the gallery name.  Rob: Yes, for instance. That can be a problem. You probably follow the jewelry world as much as we do, and you know when you go to auctions, we always hope the jewelry will get a higher price. Sometimes it works, but it has to be gold. You see at auctions that good pieces from good artists from the last 50 years, they go up in price, but it has to be from precious materials. Well, not all our artists' work is made of precious materials. They work with wood and glass and textile. They also work with gold and silver and pearls and diamonds, but they use it not for the sake of gold or diamonds. They use it as their material to express themselves. So, I hope it will get better, especially for all those artists who are working so hard, but it still is a niche in the art world. Sharon: Yes, very much so. Thank you so much for talking with us today. I'm glad things have opened and that you are expanding in the online world so more people can see what you're doing and what you have. Thank you so much for talking with us today. Rob: Thank you, Sharon. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

Réfugié : le mot effraie parfois, efface souvent d'un coup de lettres le passé de celui ou celle dont c'est le statut. Les guerres et les crises économiques ont jeté hors de chez eux des milliers d'hommes, de femmes n'ayant pour seul but qu'une vie meilleure ailleurs, une chance à donner à leurs enfants, à leurs familles. L'exil prive de mots ceux qui ont tout quitté, mais le geste, les goûts, la cuisine elle demeure profondément enracinée, universelle, elle devient le bagage et la solution pour se réinventer, apprendre, et s'insérer, exister. Accueillir devrait être donner des outils à celui qui vient trouver refuge pour se reconstruire, et vivre de ses propres ailes. Le Refugee Food Festival s'y emploie, et forme, sensibilise, donne depuis 2015, les clefs aux réfugiés pour qu'ils existent. Diaporama Marine Mandrila a fondé avec Louis Martin le Refugee Food Festival en 2015, un volet de l'association Food Sweet Food qu'ils ont créée. Depuis le Refugee Food Festival est un évènement annuel, un restaurant à part entière, une entreprise de formation, un traiteur, une entreprise solidaire et engagée, et sera bientôt un nouveau lieu de vie/culturel dans le 14ème arrondissement de Paris : l'arbuste. Le Refugee Food à Ground Countrol à Paris. Le festival 2021 s'achève ce dimanche 18 juillet.   Harouna Sow, chef réfugié mauritanien, chef formateur du Refugee Food Festival. Fabrice Junior Noumbissie Tiomi, originaire du Cameroun, cantinier dans une école parisienne. Justine Piluso, cheffe cuisinière soleil à Paris, ancienne candidate de l'émission Top Chef. Magda Gegeneva, cheffe et créatrice de Chez Magda à la Rotonde à Paris Nabil Attar a ouvert à Orléans le restaurant Narenj   Le Refugee Food Festival a mis en place deux formations qualifiantes :  Tournesol et Sésame, elles durent 6 mois et permettent de travailler dans des restaurants privés ou collectifs. « Je suis allée dans des maisons pour le festival, les cuisiniers de ces restaurants avaient déjà rencontré des personnes comme moi qui n'avaient jamais eu la chance d'exprimer leur cuisine. Un jour j'ai fait bananes plantains, des frites baobab à Lille avec Thibaut Gamba, les cuisiniers qui étaient là m'ont dit : nous avons toujours travaillé avec des personnes de multiples nationalités mais là ce que tu fais, c'est cela qu'ils devraient faire, vous êtes mal compris. Ce qui m'a touchée, c'est que des gens décident de pousser la porte, d'aller au restaurant pendant le festival, de goûter la nourriture de l'autre. Goûter, c'est signe qu'on l'accepte déjà, et c'est une fierté. Cela signifie et montre que la société nous accepte, parce qu'ils ont fait le pas de pousser cette porte et de goûter, de s'ouvrir,  et ça c'est très important pour nous. » En liens Le Recho, une association et un restaurant d'insertion né en 2015, et maintenant aussi formatrice Ernest pour une alimentation durable, de circuit court et solidaire, La Chorba La table de Cana L'école comestible – association fondée par Camille Labro pour introduire l'éducation aux goûts et à l'alimentation à l'école dès le plus jeune âge. Éveiller les consciences, et changer le monde en mangeant. Programmation musicale Here comes the Sun de Nina Simone Koni de Baaba Maal    La recette Le (fameux) Mafé aux aubergines de Harouna Sow, chef mauritanien formateur du Refugee Food Festival.

What you'll learn in this episode: Why Marie-José developed the Marzee Graduate Prize to help young jewelry artists How she secured the historic building her gallery and apartment are located in Who Marie-José's favorite artists are, such as Dorothea Prühl Why the term “art jewelry” is redundant How the pandemic inspired Marie-José to look closer to home for exhibition ideas About Marie-José van den Hout Born in Roermond in the Netherlands, Marie-José van den Hout grew up in a family of three generations of ecclesiastical gold- and silversmiths. It was in the workshop of her grandfather, a renowned craftsman who specialized in repoussé and chasing, that her passion for gold grew and flourished. Alongside two of her brothers, Marie-José worked in her father's studio before studying gold- and silversmithing and then fine art at the Academy of Fine Arts in Maastricht. She established Galerie Marzee in Nijmegen in 1979 and was honored with the title of Officer of the Order of Oranje-Nassau at the gallery's 40th anniversary celebrations in June 2019. Additional Resources: Website Instagram Facebook Openingstijden / opening hoursdi-vr 10.00-18.00 uur, za 10.00-17.00 uur Tue-Fri 10am-6pm, Sat 10am-5pm Photos: Otto Künzli, Quidam XVIII, 2019, brooch; Corian, plastic, operculum, acrylic paint, steel, 75 x 87 mm  Rudolf Kocéa, Tears, 2019, necklace; fine silver, enamel, stainless steel, pendant: 80 x 110 x 20 mm, L 600 mm  Barbara Paganin, Rose, 2017, necklace; polymethylmethacrylate, oxidised silver, gold, 200 x 200 x 20 mm    Vera Siemund, untitled, 2019, necklace; enamelled copper, copper, steel, silver, 100 x 60 x 40 mm  Dorothea Prühl, necklace, Raben im Kreis (Ravens in a circle) 2020, titanium and gold    Transcript: Located in a former grain warehouse on the banks of the River Waal in the Netherlands, Galerie Marzee is the largest (and some would say the most influential) art jewelry gallery in the world. The gallery was founded in 1979 by Marie-José van den Hout, who has spent her lifetime immersed in jewelry, goldsmithing, and art. She joined the podcast to talk about the exhibitions she's working on now, why she dedicates so much time to helping art and jewelry students, and how an exhibition of combs put Galerie Marzee on the map. Read the episode transcript below.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. Today, my guest is Marie-José van den Hout, founder and owner of Galerie Marzee, the world's largest art jewelry gallery. The gallery is located in the Netherlands. Marie is a highly regarded leader in the field of art jewelry and has an interesting story, which we'll hear about today. Marie-José, welcome to the podcast. Marie: Thank you. Sharon: Tell us about your jewelry journey. You studied metalsmithing. When did you start liking art jewelry or jewelry? Marie: I started at eight, I think. Well, my journey started when I was four or five years old. My great-grandfather, although I never knew him, and my grandfather and my father were gold and silversmiths, but they didn't make jewelry; they made objects for Roman Catholic churches. I grew up with all these objects, which now are exported from Europe to America because there are too many and museums can't have them anymore. Anyway, when I was four years old, my father made a ring for me, and I was very proud of that ring. I was not interested in jewelry. He sometimes made rings for friends or for my mother, but he made a ring for me when I was a child and I took it. I was allowed, against his wishes to be honest, to take it to kindergarten. In the class, I very proudly showed this ring. At the time, those classes were huge, 40, 50 children, so it went around the class and it never came back to me, the ring. I was very shy; I didn't dare say anything to the teacher, so I went home without a ring. Many years later, I had an exhibition with Manuel Vilhena. He's a Portuguese jeweler. He had his exhibition and he made a ring from a string, just a simple string, and he said, “This is your ring. I know why you started the jewelry gallery; because you're still looking for your ring.” I found this such a beautiful story.  So, my journey started when I was four, but to be honest, it didn't really, because I was not interested in jewelry at all, not a bit. I always used to like drawing and painting. In those times, you learned to do those crafts at home, and the best teachers are your parents. At the academy where I went in Maastricht, they once asked my father—they wanted him to be a teacher at the academy, and he said, “No, no, no, no, I'm not interested.” But then we, my two brothers and me, went to the academy. We had to, because you were not allowed to work as a gold and silversmith and make pieces when you didn't have the—what do you call this? The mark you have.  Sharon: The hallmark? Marie: Yes, you had to go to the academy to get this hallmark. We did go there every day, the three of us by car. It was two hours' drive from our home, but in the end, it turned out I was not that interested, so I changed direction and went to painting and sculpture. Sharon, there is something I'm not that proud of. I met a man—I was 20, 21—my first boyfriend, who I thought was such a fantastic artist and painter that I stopped doing that altogether and I returned to gold and silversmithing. In the end, we worked at home designing, doing all the crafts.  As a child, I loved to go to my grandfather. He was very well-known for making those figures in gold and silver, and he was invited all over the world, all over Europe to restore church treasures. Although we are Dutch, my father was born in Cologne, because my grandfather at the time worked in Cologne restoring the treasury of the Dome of Cologne. My aunt was born in Brussels in Belgium, where my grandfather worked for the Dome of Brussels, and so on. He worked in Paris. At the same time, what he did—I loved my grandfather—after his work, he was always sitting in museums. You know those people who are sitting there and copying famous paintings? I once went to Paris to a museum, and I saw a painting and thought, “No, this can't be. My grandfather did this.” It turned out it was a famous painting by Monet. So, my life, my youth, was all in art, in gold, painting and silversmithing. But in the end, I didn't do all those things because I married, and within a year I had three children because I have twins. Sharon: Not much time between. Marie: Not that much. Sharon: With everything else, yeah. Marie: In the meantime, my father had died, and my two brothers didn't make those church things anymore. There was not much interest in those at the time, so they turned to jewelry. Both made jewelry, but my younger brother—I liked him very much; we had a very good relationship—he asked me, “I think you could be a very good shopkeeper and I would like to start a shop in Roermond.” He lived in  Roermond, which is 100 kilometers south of Nijmegen, and he had several shops already in Holland. I said, “O.K., I'll do this. It's possible do this while having children.” So, I did this for some time. It was modern jewelry, but not the kind I was interested in.  At the time, I visited another gallery, and I have to confess I was much more interested in the sort of art jewelry there. So I changed my policy; I went everywhere to look at this sort of jewelry. In the end, my brother was not so happy with my change of thought, and he said, “I don't want you to have my jewelry anymore,” which, Sharon, was a shame, because it was good jewelry. It sold very well. It was mostly gold and diamonds, but in a modern way. So, suddenly I could hardly survive, because the sort of jewelry we are dealing with now is very hard to sell. Sharon: I'm sorry—did you say very hard to sell? Marie: Very hard to sell, yes. It's really difficult. Anyway, I worked very hard, 12 hours a day. I was always working. My children were complaining. They said to me—I have three children—and they said, “Mom, you hear me, but you're not listening.” Now, they're proud of me, and two of them, when I stop, will carry on with the gallery. This is more or less the beginning of this journey. In the very beginning, the work I showed looked like what Galerie Ra showed. In the end it was completely different, because I traveled through Europe, traveled to academies, traveled to artists and so on, and I had my complete own style. It's what I'm doing now. Sharon: So just in case people don't about Galerie Ra, can you tell us a little bit about that? Marie: Galerie Ra in Amsterdam was a small gallery funded by Paul Derrez and Louis Martin, two of them. Later on Paul carried on on his own, and last year, after I think 40 years, he stopped with his gallery. He had to rent a shop in Amsterdam, and once every five years you have to have a new contract, and he thought, “This is too long for me. In the meantime, I can't stop because I still have to pay the rent.” So, he stopped, and last week on Koningsdag, King's Day, he got a medal from the king. He is an officer in the Order of Orange-Nassau; that is how our kingdom is called. I had this honor two years ago with the 40th anniversary of the gallery. In 2019, I also got this order. You can compare it with OBE in Britain. Sharon: Wow!  Marie: It is sort of like that. It's a huge medal. If people would have asked me, “Would you be interested in having anything like this?” I would say, “What nonsense. No, please, no,” but at the anniversary in 2019— Sharon: The 48th anniversary. Marie: I was so surprised and I was so proud. Sharon: That's quite an honor, wow! Marie: It was really nice. They said, “We were so frightened you would say”—I told you I can be quite undiplomatic—“Oh, what a horrible medal,” because it's not a very nice design. It's old, of course, but I didn't say it. I was very honored. All of this was based on the fact that I do so much for young artists. Sharon: You do. Marie: With the annual graduate show. Sharon: Tell us about the annual graduate show. It's so well-known.  Marie: I started this 30 years ago. I'm now in this beautiful building. It's a huge building overlooking the River Waal, and it has four stories. At the time, I was in a smaller building, not that small really, but I wanted to do something completely different. I said, “I'd like to work with young people and see if I can guide them or travel with them in their development.” I started making exhibitions that were quite small. I had an academy in Amsterdam. I had Maastricht and Utrecht, and I think Holzheim in Germany. It was quite small, but it in end, it developed. Now, it's 740, 750 schools from all over the world. Mostly there are between 17 and 19 participants, and all the floors of the gallery are full of young graduate work.  What can I say about this? In the beginning, there was just the show and the opening. Later on, 10 years ago, I started having a symposium on Monday. The participants came to Holland from everywhere, from America, from Australia, from Japan. So then on Monday, all the participants showed their work to their colleagues. There was this huge show, and, for instance, the first artist took one of her or his pieces out of the show, put it on the next graduate—so he or she was the model—and then they started talking about the work. It went on and on, sort of like—what do you call it?—it went from one to the other. Of course, they were not used to talking in public, so it was quite emotional. People were very nervous, but it was heartbreakingly beautiful. Also the fact that they came from all over the world, it was really something. People traveling from America, it's not that expensive to travel to Holland, but from Australia, it's a really expensive trip. From Japan it's really expensive, so it's very good they came.  Then 10 years ago, I started to award the Marzee Prize, the Marzee Graduate Prizes. They were awarded to six to eight people, but sometimes there was so much beautiful work that I had 10 people. The prize consisted of a workshop in Ravary, an estate in Belgium. Some friends of mine built a large workshop there. It's paradise, where they can work for a whole week. Everyone has a bedroom and we cook together; we talk together. It's working deep into the night; also drinking deep into the night. Unfortunately, last year we didn't have this workshop. We are not allowed to travel. This year there will probably not be a workshop, either, so that's a pity. The borders are still closed. We are not allowed to travel to Germany, which from here is only five kilometers. Belgium is a bit further, but we are not allowed.  A few years ago, also to try to help young people, I started Intro in Amsterdam. My son, who you just saw, has studied in Amsterdam. He's a lawyer. I rented a place for him 30 years ago. I still have that place, but it was redone two years ago and made into a gallery workshop. In 2019, I was awarded another prize, Gallerist of the Year 2019 by RISD, Rhode Island School of Design.   Sharon: Wow!  Marie: Yeah, maybe you didn't know that.  Sharon: Now it's coming back. Yes, I do remember that. Marie: It was a real surprise. It was very nice. I had to travel to RISD because they set up a show for me in the museum. Then Tracy, the head of the department, said, “I would like you to participate and organize everything in Amsterdam at Intro. I would like for you to run this gallery for three years.” I was the Gallerist of the Year for three years, and we started to do this. The board liked it very much, so for a year we have had two internships there. You can live there; you can work there. It's a beautiful workshop and a beautiful gallery. They make exhibitions with the graduates, but last year there was nothing because they had to return to America. They were not allowed to come here, but probably in August or September there will be two people from RISD again. Not everyone was allowed to participate in Amsterdam at Intro. We selected 20 people per year who could show their work and have exhibitions in Amsterdam. I hoped it would help, but we still have to see because it was interrupted by this horrible Covid disaster. That's my graduate show. There is much more to it.  Sharon: Administering something like that is such a big task. Coming from a traditional background of jewelry and fine art, what attracted you to art jewelry? How did you transition? Marie: The jewelry my brother made was not so far from what you call art jewelry. I'm not such a fan of the term art jewelry, although I don't know what else we should call it. I don't know. Jewelry was not only the thing I did. When the gallery existed for 10 years, I made an exhibition of combs. Sharon: Clothes? Marie: Combs, to comb your hair. Sharon: Combs, O.K. Marie: I did this because I thought a comb is a piece you can use, and I had objects in the gallery you could use. I also sometimes had exhibitions with fine arts, and I had jewelry. I had all three in the small gallery at the time, so I thought a comb has all those elements in it. It's graphic, you can use it as a utensil, and you can wear it as a piece of jewelry. I asked 400 artists in the whole world to make a comb, and I selected 80 pieces for a traveling show. This was really the start of the gallery, because I had a fantastic graphic designer who made a book for it. I had an interior designer who made huge showcases for it. I traveled to museums to ask if they would be interested to have the exhibition after it had been in my gallery. I had the luck that I went to Rotterdam to a famous museum, Boijmans van Beuningen, and they said they would gladly have the exhibition, but they wanted it as a premiere. That was not what I wanted, because I wanted it for my 10thanniversary, and then they said, “No, we want it first.” It was a very good decision to do this, because after that, all the newspapers were full, all the magazines were full, and all the museums wanted to have this exhibition. I have had this exhibition in Tokyo, in Cologne, in Frankfurt, in Pforzheim. My name was there, and then I decided to buy 40 of those pieces. They are now in my collection. My collection is more than 2,000 pieces, I think, and they mirror the history of the gallery. That exhibition was the real start of the gallery. That's when it started to become international. Sharon: For anybody who hasn't been to the current gallery, the building is incredible. It's worth going just to see the building itself. How long have you been in that building? Marie: This is a building channeled with history. There is a history to this building. The town of Nijmegen owns the building, and it used to be a grain warehouse in the beginning of the 20th century. It's around 1900 or even older. They wanted to tear it down to have a hotel here, a Holiday Inn, if you can imagine, but there were some parties in town who wanted culture in this building. I had to fight Holiday Inn. I remember very well, Sharon, that Holiday Inn's director called me and said, “Ms. Van der Hout, why don't you let us buy the building and you can have the ground floor?” Sharon, you know those hotels that have a gallery on the ground, those galleries are mostly horrible. In the end, I won the fight. In 1992, the building was mine; I bought it, but it was ruined. I showed the architect the building, and we had to climb on ladders because the town had decided to tear it down and everything was taken out. The wooden floors were taken out. The only thing left were the beams and those beautiful walls, of course, but that was all. I climbed on that ladder and I fell down and broke my back. Sharon: Oh my gosh! Marie: I lost part of my memory, which is sometimes annoying. On the whole, it's O.K., but I broke my back. I could have been in a wheelchair. When I fell down, I woke up after a half hour or an hour and walked to my art gallery. That seemed a bit strange, so they called a doctor and ambulance and I was taken to the hospital. They said, “You're O.K. You can go because you walked,” and I said, “No, I can't get up anymore.” Then I had this scan and they saw that my back was broken in three places. Sharon: Oh my gosh, you got up and walked! Marie: I was in a cast for a long time. I thought, “Maybe this is too big a task for me. Maybe this was a warning.” Then I thought, “Oh no, I'm going to build an elevator so everyone who is in a wheelchair can see all the floors.” Every day I'm glad I made that decision. Sharon: The building is so fabulous. Did you have a vision for what you wanted? I'm sure you worked closely with the architect, but what was in your mind? Marie: I had a bit in my mind, but my ideas at the time were that it should be wide and so on. I had a fantastic architect, a really fantastic architect, and he didn't want it to be wide; he wanted the walls as they were. We have concrete floors because it was the only possibility. Thanks to this architect—he was a very well-known Dutch architect, by the way, because the town said, “We want this to be a fantastic architectural place. You can invite three architects and we'll pay for that, but the architect you take, you will have to pay him yourself.” They never paid those other architects, by the way, but never mind. I'm so very glad with this architect, and sometimes I see him. Two years ago, he was married for I don't know how many years, and he said, “Marie, I want to go visit the buildings in Holland I'm most proud of”—there are several museums he built—“and you have one of those buildings. If it's O.K. with you, I'd like to have a party here.” He said, “You used it so well. It's so well done now.” I travel a lot—not at the moment, of course—but every time I come home to my building, I feel relieved.  Sharon: It's home.  Marie: It's not only home, it's my first building I remember very well. Once I went on a holiday, and I came back home and I stood in front of my first gallery. I was still in my car in front of the first gallery, and I said to someone, “I don't want to get out. I don't want to do it anymore.” Here, every time I come back, it's rest and peace; it's fantastic. I don't know. Sharon: It is an amazing building  Marie: And inside it's fantastic, of course.  Sharon: You're in a fabulous location. I want to let people know when they go to the gallery, they may need a lot of time because you have a lot of—it's not one small gallery. Marie: No, it's not. I started collecting from the very beginning. I always bought something from my exhibitions, because if people didn't do it, I had to do it. I have a huge collection, but the pieces I have from the beginning are maybe not that interesting. Since then, I have the best pieces. It's fantastic. I have a huge collection of Dorothea Prühl, the necklace I'm wearing now— Sharon: Say the name again. Marie: Dorothea Prühl. Sharon: Dorothea Prühl. It's a fabulous necklace made of wood. Marie: Yeah, there was an exhibition two years ago in New York. Do you know Nancy and Georgio? Sharon: No. Marie: They have the Magazzino, the museum for Italian Art near New York. It's a fantastic, beautiful museum. Anyway, they had an exhibition about arte povera in New York, and there was a famous artist—I can't remember the name; that's my memory—who gave a talk there. The sculptor was there, a famous artist from Italy, and he came to me and said, “You have a fantastic necklace.” It was this necklace. I told Dorothea, of course, because that's a famous sculptor and all her work is like this. There's something else which may be interesting; you know I'm working with schools. Sharon: No, tell us about that. It doesn't surprise me, but tell me about that. Marie: Apart from the private shows. Dorothea Prühl, for instance, she is from Eastern Germany. Sharon: I just want to interrupt, because some people listening have never heard of Dorothea Prühl, who is one of the leading and most well-established art jewelers. Continue, I'm sorry. Marie: She was teaching in Halle in former Eastern Germany. I got to know her work because I went to an exhibition in Halle with her and her class and another teacher. I saw the work and thought, “I would like to have this in the gallery.” The well-known German artist who was there with me said, “There's no way she will do this. She doesn't like Wessies.” Do you know Wessies? People from the west, Western Europe. But I thought, “You know what? I'm going to call her.” So, I called her, and then came this voice. She was a heavy smoker, Sharon, and I said, “I want to make an appointment with you. Is that O.K?” “Oh, yes.”  It was sort of love at first sight.  Sharon: We understand. Marie: Sometimes you have this immediate connection, so I went there. The work she did with her students was fantastic, and then and there I decided I was going to do school exhibitions. I said, “I want you to have an exhibition with your whole class in the gallery for five years. Every spring you will have an exhibition.” They did, and it was always a beautiful exhibition. I bought a lot of pieces for the collection from this exhibition. After those five years, I asked Iris Eichberg. At that time, she was teaching at an academy, and I asked if she would be interested in working with us. She said, “I can't do it. I'm not happy with the level of what's being done here.” Then I decided I would go to the Royal College in London first, with Otto Kunzli in Munich. Otto Kunzli had a show here for five years with his students, also in spring. Then I started to make it a bit shorter, three years with the Royal College with Hans Stauffer. He was the head of the department. At the moment, I'm working with Nuremburg. This is our fourth year. At the end of this month, they will set up an exhibition, also a class exhibition. Do you know that I publish magazines of all the exhibitions? Sharon: Yes. Marie: And we always buy pieces. I really like to work with students. I really like to do this. Sharon: What is it that you like about it? Marie: I don't know, the way that they're open to things. I like that they‘re still developing. By the way, the only school where there were more boys in class was in Munich. In Holland, there was only one boy. In Munich, there were a lot of boys. Most schools just have girls, although in the end, the boys got famous.  Sharon: That's the way it is, yes. Marie: Yes, that's the way it is. Sharon: I was really interested to read that you don't like the term art jewelry. We call it art jewelry because, as you say, there's not another term, but why don't you like the term art jewelry? Marie: Because I think if you're talking about painting, you don't say art paintings or art culture or art design or arts this and that. It's a discipline like all other disciplines. You have paintings, and some are art and some are not. It's the quality that makes it art. It's sometimes not a quality we see now, but it may be that in a hundred years what we now define as art is not what they think of those pieces later on. I don't know. For me it's jewelry, although it's difficult because jewelry is not a well-respected art form. Sharon: Right. Marie: Not at all. Every day I still have to convince people that this is a full-blown art discipline. Sharon: Because you're on the front lines, what do you see as the future of this kind of jewelry? Call it avant garde jewelry, call it art jewelry. It's different than gold and diamonds, in a sense. Marie: It's different. The jewelry that sells best is still gold, unfortunately. Not unfortunately, because I love gold, but there is all gold. A few years ago, I was invited to make an exhibition with Vicenza in Italy. Vicenza is the gold town of Italy. It's where the gold industry is, where they make all those fashion jewelry pieces, and there is a museum. The director asked me, “Will you please make an exhibition for our art jewelry department?” They have design jewelry, fashion jewelry, and art jewelry. The one who made an exhibition before me was Helen Drutt, and she also made an exhibition in the art department. I thought, “Well, O.K., I'm going to make this exhibition, and I'm going to make it only with gold because I'll show them that there is different work you can make with gold.” She told me, “This is my best exhibition ever.” It was a beautiful golden arts jewelry exhibition in their museum. The last year of the exhibition, unfortunately, the last part, was during Covid. What can you do.  Sharon: You don't often see gold in a lot of the art jewelry galleries. Was it difficult to find pieces that you felt belonged in the exhibition? Marie: No. I showed pieces from my collection.  Sharon: Your personal collection? Marie: My personal collection. I have several beautiful golden pieces of Dorothea Prühl. I have several Dutch artists who work in gold. I have enough to show a lot of work. It was 50 pieces, I think. Sharon: O.K., wow!  Marie: I have some from the students from Holland, which reminds me there were two pieces, one big color piece from a student from Holland and one big brooch. Sharon: Do you see an increase in interest with a la carte jewelry and things made of alternative materials, like plastic or wood? Marie: I think this is returning in jewelry. You can make jewelry out of all sorts of materials, and for me, it doesn't really matter. The only thing I don't like so much in jewelry is plastic, because I don't like plastic very much, but for the rest it's fine. What I don't buy anymore is rubber jewelry because it disintegrates. I have rubber pieces in my collection, and they were made of horrible material. I didn't throw them out; I put them in envelopes and kept them, but no. It's difficult to get people interested in jewelry. One of the things I did to get people interested in it, I made a series of exhibitions in museums. It's called “Jewelry, the Choice of, and I followed with the name of the town. I did 10 of those exhibitions in Dutch museums, one in the European parliament in Brussels and another one, my best one, in St. Andrews in Scotland. That exhibition was magic.  What happens normally is that in Holland, the director of the museum selects 25 women and men who they want to come to the gallery. They come by bus for a whole day, and I select pieces from the collection. It's like a Tupperware party, but I want them to get interested in jewelry. Obviously, at St. Andrews that was not possible, that people would come by bus to Scotland. So, the director asked everyone to give her a photo, and she wrote something about the work people did so I could get to know who those people were. I found it very difficult to not see someone and not try something on. So what I did, I had these photos in the gallery for three weeks, and I spread them out on my top floor on this large table. Every day I walked past those photos, looked at the photos, and thought, “Who are you? Who are you?” Then the museum came to collect the pieces I selected for those 24 people. I have to admit I was quite nervous, because what if the people didn't like those pieces and said, “I don't want to wear this,” or “I will wear it, but I don't like it”? But I went there, and we had a meeting in one of the castles. Every quarter of an hour, someone came in and I was supposed to give them the piece of jewelry I selected for them, have them put it on and tell them something about this piece, about the artist. After that, they were interviewed for a movie; there was a movie made for this exhibition. I gave a big gold brooch to the first person who came in, a student from Holland, Christine Matthias, I went to her and said, “I'm giving you the sun,” and she had—how do you say it—goose bumps. Sharon: Goose bumps, yes. Marie: She said, “How do you know?” “How do I know what?” “Yesterday I saw the sun spinning.” O.K., that was number one. The next one was a man, and I gave him a silver brooch of a lizard, a beautifully made small brooch of a lizard, and his wife said, “Last year he wrote a poetry book about lizards.” I was flabbergasted, Sharon, and this went on and on. Not everyone had this reaction, but a lot did. The British people are good talkers, and I told everyone something about the piece of jewelry. Later on, as I said, there was a movie made, and they had to tell something about this piece. They were so well-spoken about it. They looked closely at those pieces. There was an understanding of what the artist had done. It was my best exhibition to promote jewelry with people. I am friends with the director; we eat together every year when there is a Collect in London—except this year, because there is no Collect. Those experiences make my life as a gallerist so beautiful, so exciting.  With this Covid disaster we had to stay home, so we had no visitors and the gallery was closed, and I thought, “You know what? I don't know many people in Nijmegen. I'm focused abroad; I'm focused on faraway places. Who do I know here on my street, for instance?” On the old street of Nijmegen—it's a beautiful street with fantastic houses—I hardly know anyone. I thought, “I'm going to make an exhibition with 25, 30 people, and I will keep it to my street.” So, now I'm making an exhibition called “In My Street.” A few hours ago, we had the first photographs with a photographer who lives on the street of people who have lived the longest on this street, a man and wife who have lived here for 60 years. We're doing that now, and we will probably make 35 photos and have an exhibition here. At this time last year, I invited the former director of the museum of the town who lived on this street. He's a very introverted man, and I went to him and said, “I'd like you to participate in this exhibition,” and he said, “No, no.” In the end, I convinced him he had to do it, and he said, “But only if the exhibition is in your place,” because he likes beauty. Last week I heard that he died. I want the photos to be taken of people in their own houses. He had this fantastic office in the front of his home, full of books and a huge desk, that was beautiful to photograph in, but he's not there anymore, so it's just— Sharon:Yeah, it's a shame.  Marie: Yeah, it's a shame, but I think it will be a beautiful exhibition, very near home. My idea now is this “In My Street.” I want other streets to make the same exhibition and come to the gallery. Everyone can see “In My Street” and have 25 people. We have a whole grid around town with everyone. Now I'm home on my own street. The first time I went to visit people, someone said to me, “Of course you don't know anyone. You never come out of your gallery.” It's not true, but I live on top of my gallery, so I go by elevator, get out on my terrace and go in my house.  Sharon: You put the pandemic to good use with this. Marie: Yes. Sharon: Marie, I could talk to you forever. Thank you so much. This is great, because it's so hard when you're at a show to talk to anyone for more than three seconds. It's great to hear your whole story, and thank you for sharing it with us. Marie: Thank you, Sharon. There's much more.  We will have images posted on the website. You can find us wherever you download your podcasts, and please rate us. Please join us next time when our guest will be another jewelry industry professional who will share their experience and expertise. Thank you so much for listening. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.  

You have probably heard of St. Therese of Lisieux, also known as The Little Flower, but did you also know her parents are both Saints? On today's episode, Lulu takes you back to France in the 1800 to meet Saints Zelie and Louis Martin, the parent of Therese as well as Therese herself! Prepare to be surprised, because there are certainly some things you didn't know about one of your favorite saints. Thanks for listening & we love you Lulu! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Corporate ReGeneration a pour ambition de mobiliser l’ingéniosité des jeunes générations et des entreprises pour créer les solutions d’un avenir durable et régénératif . De manière plus vaste, le projet répond à l’urgence de muter vers un modèle de société plus en phase avec le respect du vivant. Une aventure joyeuse qui pourrait bien transformer la manière d’entreprendre ! Vincent Truyens et Olivier Bouche initiateurs du projet, sont nos invités, ainsi que Louis Martin qui travaille sur le projet du congrès international Money&Business partnership de Peter Koenig et Coraline Dupelou qui travaille sur le projet du green digital pour Altavia Act.

Corporate ReGeneration a pour ambition de mobiliser l’ingéniosité des jeunes générations et des entreprises pour créer les solutions d’un avenir durable et régénératif . De manière plus vaste, le projet répond à l’urgence de muter vers un modèle de société plus en phase avec le respect du vivant. Une aventure joyeuse qui pourrait bien transformer la manière d’entreprendre ! Vincent Truyens et Olivier Bouche initiateurs du projet, sont nos invités, ainsi que Louis Martin qui travaille sur le projet du congrès international Money&Business partnership de Peter Koenig et Coraline Dupelou qui travaille sur le projet du green digital pour Altavia Act.

St. Louis Martin was a remarkable saint, husband & father, and a man who helped build an entire family dedicated to God. He can teach us how to lead and be members of a holy family and household. St. Louis Martin entered a special and holy marriage with another saint, his wife St. Zelie Martin. Together, they raised a family that offered their whole lives to God.Our podcast & reflection for today is by slacker Ryan Breaux. Ryan is from the small town of Breaux Bridge, Louisiana. He's been married 18-years to his wife, Kelly. They have 4 children: 12-year-old Estelle Gabriella, and 3 Saints in heaven - twins Emma Grace & Talon Antoine would be turning 15 this year, and a baby they lost through miscarriage, Christian Ryan. Ryan works for Coca-Cola when he's not doing Red Bird Ministries work with Kelly. Together they worship at St Bernard Church in their hometown, and serve the Diocese of Lafayette in grief support for parents of loss. Red Bird Ministries has carefully designed a system that anticipates the stages of grief and the challenges that will be encountered with a unique focus on how to keep marriages intact and preserve healthy family relationships after a loss.Read more about today's featured podcaster and saint here: https://www.littlewithgreatlove.com/st-louis-martin/This podcast is sponsored by: Littlewithgreatlove.com + Redbird.love.Special thanks to slacker, Jeff Sanchez, for voiceover work; and musician Rev. Dr. Martin Lohrmann.

What the world needs now, is love. Today, Jeff debunks 3 reasons for not wanting to bring children into this broken world, using scripture and the example of St. Zelie and St. Louis Martin. Snippet from the Show “Every time you give birth to a child, you are giving birth to a new image of God on the earth… that’s what the world needs now, is love.” Email us with comments or questions at tjcs@ascensionpress.com Text “jeffcavins” to 33-777 to subscribe and get Jeff’s shownotes delivered straight to your email! Or visit ascensionpress.com/thejeffcavinsshow for full shownotes!

Entrevue avec Louis Martin, huissier qui a fait la découverte d’enfants martyrisés dans un maison de Granby. Pour de l’information concernant l’utilisation de vos données personnelles - https://omnystudio.com/policies/listener/fr

Entrevue avec Louis Martin, huissier qui a fait la découverte d’enfants martyrisés dans une maison de Granby. Chronique d’Anaïs Guertin-Lacroix : des entreprises québécoises se sentent obligées de participer au « vendredi fou. »   Entrevue avec un Mario*, citoyen de la ville de Saguenay : des courses de voitures modifiées sur le boulevard Talbot à Chicoutimi exaspèrent les citoyens. *nom fictif Chronique de Geneviève Pettersen : l’autorité morale des prêtres pédophiles. Segment d’actualité avec Alexandre Dubé : le bilan COVID-19 du jour. Est-ce que le casino a permis aux mafieux de blanchir de l’argent? Les hôpitaux de Montréal ne vont pas bien. La Thanksgiving n’augure pas bien aux États-Unis. Donald Trump se pardonnera-t-il lui-même? Heure de vérité pour Alexandre Bissonnette.    Entrevue avec Pascal Bérubé, chef parlementaire du Parti québécois : l’opposition réclame une commission d’enquête concernant la mafia qui serait VIP au Casino.   Avocat et animateur de l’émission «Avocat à la barre sur QUB Radio», François-David Bernier : c’est ce midi que la Cour d’appel a rendu sa décision dans le dossier d’Alexandre Bissonnette. Chronique politique provinciale et fédérale avec Antoine Robitaille, animateur et chroniqueur radio & Caroline St-Hilaire, animatrice à QUB radio, analyste de la politique fédérale et ancienne mairesse de Longueuil : le casino blanchit de l’argent, les oppositions demandent une commission d’enquête et le gouvernement refuse la motion. Retour sur le plan du temps des fêtes. Erin O’toole défend le français à la Chambre des communes. Chronique politique américaine avec Loïc Tassé, politologue et chroniqueur au Journal de Montréal : le fondamentalisme religieux gagne la Cour suprême des États-Unis. Michael Flynn, ex-conseiller de Trump à la sécurité nationale, le début d'une longue série de pardon? Erdogan fait condamner  à l'emprisonnement à vie des douzaines d'officiers militaires qui auraient tenté de le renverser. Manger du chocolat rend plus intelligent.  Chronique sport avec Jean-Charles Lajoie, animateur à TVA Sports : le dossier de Philippe Danault fait beaucoup jaser encore. La NFL qui présente ses matchs de Thanksgiving aujourd’hui.   Une production QUB radio Novembre 2020 Pour de l’information concernant l’utilisation de vos données personnelles - https://omnystudio.com/policies/listener/fr

Ref.: P. Georg Gantioler FSO (Geistliche Familie "Das Werk"), Leiter des Theresienwerkes, Augsburg

Organisé par des citoyens, le Refugee Food Festival a lieu chaque année en juin dans 15 villes du monde. Il donne lieu à des collaborations entre des cuisiniers réfugiés et restaurateurs locaux, mais pas seulement ! Succès dès la première édition Au commencement, il y eut un voyage. Le voyage en 2015 de Marine Mandrila et Louis Martin, partis rencontrer les habitants d'une dizaine de pays pour découvrir leurs traditions culinaires. Forts de ces rencontres, ils ont popularisé un certain nombre de recettes dans un livr...

«Il Buon Dio mi ha dato un padre e una madre più degni del Cielo che della terra», così scrisse santa Teresina di Lisieux (1873-1897) in una lettera del 26 luglio 1897. La famiglia nella quale nacque e crebbe santa Teresina del Bambino Gesù produsse frutti straordinari. Louis Martin  (Bordeaux, 22 agosto 1823 - La Musse, 29 luglio 1894) e Zélie Guérin (Gandelain, 23 dicembre 1831 - 28 agosto 1877), beatificati il 19 ottobre 2008 a Lisieux, sono stati genitori secondo il Cuore di Dio: la loro testimonianza, oggi più che mai, diventa essenziale per rieducare una civiltà occidentale che ha smarrito principi, valori, risposte razionalmente e religiosamente corrette.

Join host Doug McKenty as he discusses the fine line between healthy self development and cult-like fanaticism in the martial arts with Louis Martin, author of The True Believers. Listen in as they discuss Louis' time training in Seibukan Jujitsu, which seemed the perfect martial art for the modern day warrior Over time, however, Louis began to have his doubts. Find out the red flags to look out for when choosing a martial arts style in order to make sure that it serves you, and you don't end up serving it. Not only do they discuss what to watch out for when choosing a training group, but also the positive qualities to look for as you progress along your martial arts path. This episode is a must for all those participating in or considering training in any martial style. Look for The True Believers by Louis Marin on Amazon.com, and as always, find out more about making The Shift at https://theshiftnow.com/.

This week it’s answers about high-level Scientologists’ proclivity for cancer, the real deal with “Kha-Khan,” the Scientology call centers and a lot more. Enjoy! This week, the questions I answer are: (1) Near the end of your podcast on martial arts cults with Louis Martin, you were discussing high rates of suicide and cancer for […] The post Critical Q&A #241 appeared first on Chris Shelton - Critical Thinker at Large.

This week I have guest Louis Martin, author of True Believers, to discuss his experiences with a West Coast martial arts cult he spent several years in before realizing what was going on. In this extensive talk, we cover all the details and do a bit of compare and contrast with Scientology beliefs and practices... The post Sensibly Speaking Podcast #223: When Martial Arts Goes Full Cult ft. Louis Martin appeared first on The Sensibly Speaking Podcast.

This episode is about self awareness and not stopping to long in comfort zones on your journey. Recognizing where you are, and knowing where you are going. Thank you Louis Martin, Sage level advice! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/donte-griffin9/message

This conversation is with Michael Vanderburgh, the Executive Director of the St. Vincent de Paul Society in Dayton, Ohio. This may immediately raise the question as to what the Society of St. Vincent de Paul has to do with Carmelite Spirituality. Well, honestly, as the Scripture verse below indicates, we are all called to practice charity to some degree. However, in addition, it turns out that St. Therese of Lisieux's Father, Louis Martin, was a very active member of the St. Vincent de Paul Society. No doubt, young Therese was exposed, at a young age, to her father's commitment to the poor. This likely contributed to her own early desire to become a missionary and travel to foreign lands to both save souls and serve the poor. Again, this affinity to the poor is something we are all called to, whether members of the Society of St. Vincent de Paul, Carmelites or any baptized Christian. (Matthew 25:35-40) For I was hungry and you gave Me something to eat; I was thirsty and you gave Me something to drink; I was a stranger and you took Me in; I was naked and you clothed Me; I was sick and you took care of Me; I was in prison and you visited Me. “Then the righteous will answer Him, ‘Lord, when did we see You hungry and feed You, or thirsty and give You something to drink? When did we see You a stranger and take You in, or without clothes and clothe You? When did we see You sick, or in prison, and visit You? “And the King will answer them, ‘I assure you: Whatever you did for one of the least of these brothers of Mine, you did for Me.’ It is with this thought in mind that we chose to speak with Michael about the great work being done by one of the many St. Vincent de Paul Society districts. We also wanted to hear Michael's own vision for the building on the success of the spiritual charism that is so central to the St. Vincent de Paul Society, and how it is, in fact, the central theme for the foundation of the Society. In this conversation you will hear about the more traditional work of the Society, including food pantries and clothing and housing goods that are distributed and sold, at significantly reduced prices, in the societies retail stores. But you will also hear about the significant number of people who are provided both short- and long-term shelter and housing in the City in Dayton. Finally, Mark and Michael discuss the Society's recent and significant and on-going support to survivors of the tornados that devastated the Dayton area over Memorial Day weekend in 2019. Finally, and most importantly, Michael shares his vision for the spiritual growth of the Society in Dayton, which will be built on the foundation of a new chapel within the Administrative Building in Dayton, and the beginning of Eucharistic Adoration. This is a very good program if you are looking for an opportunity to both better understand, and perhaps participate in one of the most prominent charitable ministries in the history of the Church.

Episode 4 - In this conversation, Fr. Gallagher begins reflecting on the letters written by St. Therese, which offers a tender glimpse of the life of the Martin family after the death of Zélie and the love the sisters had for their father Louis Martin. The post LST4 – The Love for Louis – The Letters of St. Therese of Lisieux with Fr. Timothy Gallagher Podcast appeared first on Discerning Hearts Catholic Podcasts.

We are praising God for Louis Martin entering our lives this week! He was born at 37 weeks, and weighed 7 pounds 3 ounces at 1:45am June, 22nd! Now, as the parents of three children, the subject of Generational faith has been more on our minds than ever. Today we're diving into how we feel …

We are praising God for Louis Martin entering our lives this week! He was born at 37 weeks, and weighed 7 pounds 3 ounces at 1:45am June, 22nd! Now, as the parents of three children, the subject of Generational faith has been more on our minds than ever. Today we’re diving into how we feel…

Marine Mandrila et Louis Martin ont créée un concept qui dépasse les frontières et qui rappelle que la cuisine c'est avant tout du partage. Avec leur Refugee Food Festival, qui se tient en ce moment, et tous les mois de juin, dans différentes villes du monde entier, ils utilisent le prisme de la cuisine pour remettre l'humain au coeur des relations.Dans cet épisode, nous avons parlé de framboises du jardin (6:17), d'aller au bout de ses rêves (9:30), de susciter la curiosité des autres (15:18), d'odeurs de fleur d'oranger et de rose à Ispahan, en Iran (20:10), d'œufs couvés (22:51), de rencontres inoubliables entre chefs et réfugiés (30:17), de faire des sacrifices (44:56), d'un sac rempli d'épices qui ouvre un nouveau monde (47:53) et de l'envie de repartir à nouveau en laissant place à l'improviste (55:56). Où goûter ce que les cuisiniers du Refugee Food Festival ont dans leurs poêles ? Durant le festival ou toute l'année dans la résidence qu'ils tiennent à Ground Control, dans le 12ème. Pour plus d'infos, consultez leur site www.refugeefoodfestival.com Où les suivre ? www.instagram.com/refugeefoodfestival/www.facebook.com/RefugeeFoodFestival Où trouver les références citées dans cet épisode ?L'Ami Jean - Stéphane Jégo (épisode S02E10, à écouter ici)Frenchie - Greg Marchand (épisode S02E15, à écouter ici) Cet épisode a été animé par Julie Gerbet et réalisé par Lory Martinez, musique par Santiago Walsh. Stagiaires : Garance Munoz et Jacques Lerouge.N'hésitez pas à envoyer vos commentaires, suggestions, questions à apoelepodcast@gmail.com, et à décerner un max d'étoiles sur l'application qui vous a servi à écouter ce podcast. Vous pouvez vous abonner sur votre appli d'écoute de podcast préféré et sur les réseaux sociaux pour ne manquer aucune conversation savoureuse avec les chefs qui font la gastronomie aujourd'hui. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

We talk about: His start in martial arts and BJJ His background in statistics Watching 100 white belt matches Tips for white belt and blue belts that do tournaments When you should not go for a submission Using closed guard as a white belt Using game theory to look at BJJ Advice for blue belts and it is much different than the white belt tips Learning from watching hundreds of street fights How to guard against negative gym management techniques Links: High Percentage Martial Arts You Jiu-Jitsu Gold BJJ The True Believers Quote of the week: “If your mind is strong, all difficult things will become easy; if your mind is weak, all easy things will become difficult.” Chinese Proverb Article of the week: 5 Things No One Talks About When You Start Jiu-Jitsu https://foxfitnessbjj.com/specials.html?fbclid=IwAR0Upb0jX0TTv-i3wRc0t6A-C7Gpr-7DBbRy-foCwcmjpkwPRey9uvlq85I Find out how to support the BjjBrick Podcast here!

La Fidélité avec Louis Martin by OMELI©

Fr. Jenkins discusses: Saints of the Novus Ordo — Maximilian Kolbe, Bp. Fulton Sheen, Padre Pio, Louis Martin and Marie-Azélie "Zélie" Guérin Martin (parents of Saint Thérèse of Lisieux), Paul VI, John XXIII, Edith Stein, Faustina Kowalska, and Josephine Bakhita, also with a mentions of Reginald Garrigou-Lagrange & Dorothy Day; An Anglican rector writes in asking about the mystic, Luisa Piccarreta; Marian Apparitions — Signs & Wonders; the Indult & Abp. Lefebvre; Miracles in the Novus Ordo; and Fr. Jenkins’ letter on Terri Schiavo (http://tiny.cc/schiavo). Please visit wcbohio.com for more content.

In this episode, Louis Martin, mentor and manager of Round River Resource Management sits down with Christopher Burke, Round River's Director of People and Culture, and apprentices Marianna Zavala, Willard Humphries III, and Daniel Cleveland, to have an engaging conversation about what it means to live in community and grow as new agrarians.

Coach Rene and Matt are joined on the phone by Louis Martin, author and contributor in the field of martial arts. He shares some of his story behind the true story written in the book The True Believers. The true story of a small, California martial arts school that became a New Age movement with dozens of academies and hundreds of loyal followers, hanging on every word of a charismatic leader. Follow the author on a seven year journey from new student to black belt instructor under the wing of the founder. His story takes readers from the ridiculous to the insidious as he navigates the complex world of “Seibukan Jujutsu”, including:-An ever evolving pseudo-religion within the art featuring power animals, holy places, magic numbers, and coded language. You can find the book on Amazon at : https://www.amazon.com/True-Believers-Louis-Martin/dp/0692997059 The first person to send a DM on Instagram to MartialCultureCast will win a free copy of Louis' book. See acast.com/privacy for privacy and opt-out information.

Aujourd'hui, à l'émission :- Louis-Martin nous parle de "Macaroni Tout garni"; - Les Bûcherons Barbus parlent de leur carte interdite; - On teste le jeu "T'as l'choix entre"; - Luduc fangasm un peu trop. Tout ça et bien plus dans ce nouvel épisode de "Astine Potine"!

Au gré du Ground #4 : Lancement de la résidence du Refugee Food FestivalA l'occasion du lancement de la Résidence du Refugee Food Festival, Radio Ground Control revient sur ce projet à travers les différents acteurs qui y ont participé et contribué.Invités :-Louis Martin co-fondateur du Refugee Food Festival-Susanna Attar, épouse de Nabil Attar, chef syrien de la Résidence-Stéphane Jego, chef de "l'Ami Jean"-Denis Legat, directeur de Allo la luneLa naissance d'un projet il y a deux ans pour changer les discours sur les réfugiés (2'10) la rencontre entre les restaurateurs et le projet (4'17) Susanna explique la première prise de contact de Nabil avec le Refugee Food Festival(5'37) Louis revient sur l'idée d'une maison à Ground Control pour le Refugee Food Festival(9'59)description des plats syriens réalisés par Nabil(14'45)la prise de contact avec Stéphane Jego, chef de "l'Ami Jean" (19'38) la cuisine est là pour le plaisir, c'est le moyen de partager(24'20) . Stéphane nous explique comment il compose ses plats syriens avec Nabil Attar (30'38) See acast.com/privacy for privacy and opt-out information.

Événement : À l’occasion de la béatification de louis et Zélie Martin le 19 octobre 2008 à Lisieux, les Éditions de l’Emmanuel publient la biographie de ce couple bienheureux, écrit par Hélène Mongin : Louis et Zélie Martin, Les saints de l’ordinaire. Le 13 juillet 1858, Louis Martin épouse Zélie Guérin. Hélène Mongin consacre aux parents de Thérèse de l’Enfant-Jésus une vivante biographie de deux âmes d’exception. Au milieu des contraintes et des joies ordinaires de la vie de famille, ils nous montrent un chemin extraordinaire : celui d’une confiance et d’une amitié sans faille avec Dieu. Préface de Monseigneur Lagoutte. Enregistré et diffusé avec les aimables autorisations de l'auteur et de l'éditeur. Lu par : Cécile le Cardinal

Événement : À l’occasion de la béatification de louis et Zélie Martin le 19 octobre 2008 à Lisieux, les Éditions de l’Emmanuel publient la biographie de ce couple bienheureux, écrit par Hélène Mongin : Louis et Zélie Martin, Les saints de l’ordinaire. Le 13 juillet 1858, Louis Martin épouse Zélie Guérin. Hélène Mongin consacre aux parents de Thérèse de l’Enfant-Jésus une vivante biographie de deux âmes d’exception. Au milieu des contraintes et des joies ordinaires de la vie de famille, ils nous montrent un chemin extraordinaire : celui d’une confiance et d’une amitié sans faille avec Dieu. Préface de Monseigneur Lagoutte. Enregistré et diffusé avec les aimables autorisations de l'auteur et de l'éditeur. Lu par : Cécile le Cardinal

Événement : À l’occasion de la béatification de louis et Zélie Martin le 19 octobre 2008 à Lisieux, les Éditions de l’Emmanuel publient la biographie de ce couple bienheureux, écrit par Hélène Mongin : Louis et Zélie Martin, Les saints de l’ordinaire. Le 13 juillet 1858, Louis Martin épouse Zélie Guérin. Hélène Mongin consacre aux parents de Thérèse de l’Enfant-Jésus une vivante biographie de deux âmes d’exception. Au milieu des contraintes et des joies ordinaires de la vie de famille, ils nous montrent un chemin extraordinaire : celui d’une confiance et d’une amitié sans faille avec Dieu. Préface de Monseigneur Lagoutte. Enregistré et diffusé avec les aimables autorisations de l'auteur et de l'éditeur. Lu par : Cécile le Cardinal

Événement : À l’occasion de la béatification de louis et Zélie Martin le 19 octobre 2008 à Lisieux, les Éditions de l’Emmanuel publient la biographie de ce couple bienheureux, écrit par Hélène Mongin : Louis et Zélie Martin, Les saints de l’ordinaire. Le 13 juillet 1858, Louis Martin épouse Zélie Guérin. Hélène Mongin consacre aux parents de Thérèse de l’Enfant-Jésus une vivante biographie de deux âmes d’exception. Au milieu des contraintes et des joies ordinaires de la vie de famille, ils nous montrent un chemin extraordinaire : celui d’une confiance et d’une amitié sans faille avec Dieu. Préface de Monseigneur Lagoutte. Enregistré et diffusé avec les aimables autorisations de l'auteur et de l'éditeur. Lu par : Cécile le Cardinal

Événement : À l’occasion de la béatification de louis et Zélie Martin le 19 octobre 2008 à Lisieux, les Éditions de l’Emmanuel publient la biographie de ce couple bienheureux, écrit par Hélène Mongin : Louis et Zélie Martin, Les saints de l’ordinaire. Le 13 juillet 1858, Louis Martin épouse Zélie Guérin. Hélène Mongin consacre aux parents de Thérèse de l’Enfant-Jésus une vivante biographie de deux âmes d’exception. Au milieu des contraintes et des joies ordinaires de la vie de famille, ils nous montrent un chemin extraordinaire : celui d’une confiance et d’une amitié sans faille avec Dieu. Préface de Monseigneur Lagoutte. Enregistré et diffusé avec les aimables autorisations de l'auteur et de l'éditeur. Lu par : Cécile le Cardinal

Événement : À l’occasion de la béatification de louis et Zélie Martin le 19 octobre 2008 à Lisieux, les Éditions de l’Emmanuel publient la biographie de ce couple bienheureux, écrit par Hélène Mongin : Louis et Zélie Martin, Les saints de l’ordinaire. Le 13 juillet 1858, Louis Martin épouse Zélie Guérin. Hélène Mongin consacre aux parents de Thérèse de l’Enfant-Jésus une vivante biographie de deux âmes d’exception. Au milieu des contraintes et des joies ordinaires de la vie de famille, ils nous montrent un chemin extraordinaire : celui d’une confiance et d’une amitié sans faille avec Dieu. Préface de Monseigneur Lagoutte. Enregistré et diffusé avec les aimables autorisations de l'auteur et de l'éditeur. Lu par : Cécile le Cardinal

On today's episode, Jeremy tells us his reflections on street fights which is also a commentary on Louis Martin's piece at Martial Journal. Reflections on Street Fights - Episode 315 Martial artists are often asked about violence and how do we face such challenges whether on the streets, schools, or elsewhere. On this episode, Jeremy talks about Louis Martin's article on Martialjournal.com that talks about street fights that involve martial artists. Listen to learn more!

On this episode, Jeremy interviews the author of the book The True Believers, Louis Martin. Louis Martin: Author of The True Believers - Episode 281 Ever wonder about the dark side of martial arts? On today's episode, Jeremy talks with author Louis Martin about his book, The True Believers. They talked about the side of martial arts that is not openly discussed by both practitioners and trainers that touches fanaticism, abuse of power and ego to say the least. Louis Martin was part of a martial arts school for seven years where he experienced things that made him think about his future in the martial arts. While he never used the word, some might have considered his school a martial arts cult. Listen to find out more about this interesting subject.

Au gré du Ground #4 : Lancement de la résidence du Refugee Food Festival A l'occasion du lancement de la Résidence du Refugee Food Festival, Radio Ground Control revient sur ce projet à travers les différents acteurs qui y ont participé et contribué. Invités : -Louis Martin co-fondateur du Refugee Food Festival -Susanna Attar, épouse de Nabil Attar, chef syrien de la Résidence -Stéphane Jego, chef de "l'Ami Jean" -Denis Legat, directeur de Allo la lune La naissance d'un projet il y a deux ans pour changer les discours sur les réfugiés (2'10) la rencontre entre les restaurateurs et le projet (4'17) Susanna explique la première prise de contact de Nabil avec le Refugee Food Festival(5'37) Louis revient sur l'idée d'une maison à Ground Control pour le Refugee Food Festival(9'59)description des plats syriens réalisés par Nabil(14'45)la prise de contact avec Stéphane Jego, chef de "l'Ami Jean" (19'38) la cuisine est là pour le plaisir, c'est le moyen de partager(24'20) . Stéphane nous explique comment il compose ses plats syriens avec Nabil Attar (30'38)

Ref.: Rolf Wundrack, München

Wolke 7 kurz vor dem Fest der Hl.Familie mit einem himmlischen Paar: Glück in der Ehe und Heiligkeit für Verliebte. www.fisherman.fm