Podcasts about Montevideo

Uruguay está cambiando… menos nacimientos, más longevidad, migración y despoblación de Montevideo. ¿Podemos hacer algo? Sí: entender estas tendencias y tomar mejores decisiones para nuestro futuro financiero. En este episodio te cuento qué está pasando y cómo podés aprovecharlo, tanto para tu plan de retiro como para encontrar oportunidades de negocio. Recordatorio: Ya está disponible ... Leer más

La Tertulia de los Lunes con Matías Bordaberry, Gabriel Budiño, Casilda Echevarría y Daoiz Uriarte. *** El gobierno descartó definitivamente el proyecto Neptuno, impulsado en la administración anterior, que preveía reforzar el sistema de agua potable en Montevideo y el área metropolitana instalando una planta potabilizadora de agua del Río de la Plata en la zona de Arazatí, en San José.

La Tertulia de los Viernes con Alejandro Abal, Marcia Collazo, Juan Grompone y Ana Ribeiro. *** Hoy 18 de julio, se conmemoran 195 años de la Jura de la primera Constitución que tuvo la República Oriental del Uruguay, la de 1830. Aquel acto, celebrado en la Plaza Matriz, frente al Cabildo de Montevideo, reunió a una multitud de civiles, autoridades políticas y militares que juraron respetar y hacer cumplir aquella carta magna. El texto proponía un gobierno republicano y representativo, con poderes separados y derecho al voto. Sin embargo, al ser aquel un voto censitario, ese derecho estaba restringido a ciertos grupos de la población y quedaban excluidas mujeres, peones de sueldo, soldados de línea y analfabetos, entre otros. A pesar de estas limitaciones, la Constitución de 1830 fue un avance significativo que marcó el nacimiento del Estado uruguayo como nación independiente y soberana. A 195 años de aquel acontecimiento, ¿qué representa hoy aquella Constitución? ¿Qué legado dejó? ¿Qué conserva nuestra Constitución actual con aquella de 1830?

La Tertulia de los Viernes con Alejandro Abal, Marcia Collazo, Juan Grompone y Ana Ribeiro. *** A partir de una recurso de amparo presentado por la ONG Patrimonio Activo, la Justicia ordenó esta semana la suspensión, de manera cautelar, de la demolición de una casa de estilo art decó ubicada en la zona del Parque Rodó, en Montevideo. En su resolución, la jueza María Alexandra Facal Sosa explicó que la prohibición de no innovar se da mientras se tramita el recurso de amparo y se basa en "el peligro en la demora, sumado a la irreparabilidad del perjuicio en caso de demolición". En el escrito de la ONG se invocó el artículo 34 de la Constitución, que dice que “toda la riqueza artística o histórica del país, sea quien fuere su dueño, constituye el tesoro cultural de la Nación" y que "estará bajo la salvaguardia del Estado y la ley establecerá lo que estime oportuno para su defensa". El inmueble, que se encuentra en la calle Julio Herrera y Reissig, entre García de Zúñiga y Benito Nardone, a pocos metros de la Facultad de la Ingeniería de la Universidad de la República, tiene vitrales originales de Arturo Marchetti, un maestro vidriero italiano que también creó ventanales de estilo grecorromano para el Salón de los Pasos Perdidos del Palacio Legislativo y cuya obra también puede observarse en el Palacio Santos, sede de la Cancillería. El plan inicial de la empresa que compró ese padrón era demoler esta propiedad, junto a otra lindera, para construir en los dos terrenos un edificio de nueve pisos que contaba con autorización de la Intendencia de Montevideo. La conservación del patrimonio y las consecuencias de su pérdida han sido tema de agenda en los últimos meses, entre otras cosas por la película Montevideo Inolvidable, de Alfredo Ghierra. ¿Es compatible el valor del patrimonio con la modernización urbana? ¿Qué perdemos con la demolición de este tipo de construcciones? ¿Es nuestro deber preservar el patrimonio para generaciones futuras?

El reconocido escenógrafo, actor, escritor y cofundador de la Compagnia Finzi Pasca, radicado hace años en Suiza, vuelve a Montevideo para presentar su primera novela "Los Caracoles".Con toques de humor e ironía, la novela habla de la mágica unicidad de la existencia, de los miedos, de los padres, de los hijos, de lo que nos toca en suerte. De la posibilidad de poner punto final y emprender nuevos comienzos. Un viaje que no siempre es en línea recta, que se parece más a la espiral de los caracoles del relato.Los personajes, como el autor del relato, son clowns: héroes perdedores, filósofos tragicómicos que luchan dignamente contra la adversidad cotidiana.Las presentaciones en la capital uruguaya serán el 3 de setiembre a las 19:00 horas en el INAE y el 10 de setiembre 19:00horas en Alfabeta. También habrá un lanzamiento en Maldonado el 13 de setiembre a las 16 horas en el MACA.

HOY HOY HOOOOOOOY!! de 18 a 20 hs, no te podés perder @lapreviadelosjueves con todos los pikes para el fin de semana!! Nos comunicamos con @yackk0@barriosalvajerock y @harryylossucios que nos invitan a sus presentaciones de este finde en Montevideo y diferentes ciudades del país. Además, risas, mates y todo el under que va a sonar el finde, solo acá. Prendete a la radio con más aguante @radioelaguantadero https://radioelaguantadero.com.uy/

 Artista visual y Bioquímica Clínica uruguaya cuya obra se ha destacado en diversas exposiciones y concursos a nivel nacional. En 2024, fue seleccionada en el Concurso Nacional de Pintura Sembrando Arte para representar al departamento de Montevideo. Ese mismo año, recibió una Mención Especial de la Embajada de Qatar por su obra Estanque del Jardín Japonés, presentada en el marco del mismo certamen. Además, en 2024 realizó una exposición individual en Sala Arte Club en Montevideo. Su trayectoria incluye muestras individuales así como participaciones en exposiciones colectivas desde 2020.

Queens-based artist Juan Wauters' new LP MVD LUV celebrates his hometown of Montevideo, Uruguay. “Manjando Por Pando” (which was world premiered on MBE)  takes its classic songwriting style from candombe, an Afro-Uruguayan musical and dance tradition dating back to the eighteenth century. 

My guest is Will Huddleston, a PhD student of Latin American studies at the University of Cambridge. Will studied the relationship between national identity and football in Uruguay while in Montevideo. It's a fascinating conversation...

Campi, el reconocido actor argentino llegó a #LaEntrevista para hablar de su carrera artística. En esta divertidísima charla, habló de Jorge, el personaje que realizaba en VideoMatch, de sus imitaciones en Gran Cuñado y de sus comienzos con Nico Repetto. Además, nos transmitió detalles de la personificación de Mamá Cora en "Esperando la carroza" en la calle Corrientes y como actor dramático contó de su participación como el padre de Fito Paez en la serie del músico rosarino y de su rol como Domingo Cavallo en la serie Menem. Martín Campilongo, Campi, vivió dos años en Montevideo y al aire nunca imaginó transpirar como loco al hablar de sus novias uruguayas. Todo esto en #MalosPensamientosPodcast.

HOY HOY HOOOOOY!!!! de 18 a 20 hs, no te podés perder @lapreviadelosjueves con todos los pikes para el fin de semana!! Nos comunicamos con @gatoscallejeros.oficial@maria.puniales y @borgiaofficial que nos invitan a sus presentaciones de este finde en Montevideo y diferentes ciudades del país. Además, risas, mates y todo el under que va a sonar el finde, solo acá. Prendete a la radio con más aguante @radioelaguantadero https://radioelaguantadero.com.uy/

Skip the Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. Your host is Paul Marden.If you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website SkiptheQueue.fm.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. And remember to follow us on Twitter  or Bluesky for your chance to win the books that have been mentioned in this podcast.Competition ends on 23rd July 2025. The winner will be contacted via Bluesky. Show references:  Sam Mullins, Trustee at SS Great Britainhttps://www.linkedin.com/in/sammullins/https://www.ssgreatbritain.org/ Transcriptions:  Paul Marden: What an amazing day out here. Welcome to Skip the Queue. The podcast for people working in and working with visitor attractions, I'm your host, Paul Marden, and today you join me for the last episode of the season here in a very sunny and very pleasant Bristol Dockyard. I'm here to visit the SS Great Britain and one of their trustees, Sam Mullins, who until recently, was the CEO of London Transport Museum. And I'm going to be talking to Sam about life after running a big, family friendly Museum in the centre of London, and what comes next, and I'm promising you it's not pipes and the slippers for Sam, he's been very busy with the SSGreat Britain and with other projects that we'll talk a little more about. But for now, I'm going to enjoy poodling across the harbour on boat number five awaiting arrival over at the SS Great Britain. Paul Marden: Is there much to catch in the water here?Sam Mullins: According to some research, there's about 36 different species of fish. They catch a lot of cream. They catch Roach, bullet, bass car. Big carpet there, maybe, yeah, huge carpet there. And then your European great eel is here as well, right? Yeah, massive things by the size of your leg, big heads. It's amazing. It goes to show how receipt your life is. The quality of the water is a lot better now. Paul Marden: Oh yeah, yeah, it's better than it used to be years ago. Thank you very much. All right. Cheers. Have a good day. See you later on. So without further ado, let's head inside. So where should we head? Too fast. Sam Mullins: So we start with the stern of the ship, which is the kind of classic entrance view, you know. Yeah, coming up, I do. I love the shape of this ship as you as you'll see.Paul Marden: So lovely being able to come across the water on the boat and then have this as you're welcome. It's quite a.Sam Mullins: It's a great spot. Isn't it?Paul Marden: Really impactful, isn't it? Sam Mullins:  Because the amazing thing is that it's going this way, is actually in the dry dock, which was built to build it. Paul Marden: That's amazing. Sam Mullins: So it came home. It was clearly meant to be, you know,Paul Marden:  Quite the circular story.Sam Mullins:  Yeah, yeah. Thank you. Paul Marden:  Thank you. Wow. Look at that view.Sam Mullins: So that's your classic view.Paul Marden:  So she's in a dry dock, but there's a little bit of water in there, just to give us an idea of what's going on. Sam Mullins: Well, what's actually going on in here is, preserving the world's first iron ship. So it became clear, after he'd come back from the Falklands, 1970 came back to Bristol, it became clear that the material of the ship was rusting away. And if something wasn't done, there'd be nothing left, nothing left to show. So the innovative solution is based on a little bit of science if you can reduce the relative humidity of the air around the cast iron hull of the ship to around about 20% relative humidity, corrosion stops. Rusting stops. It's in a dry dock. You glaze over the dock at kind of water line, which, as you just noticed, it gives it a really nice setting. It looks like it's floating, yeah, it also it means that you can then control the air underneath. You dry it out, you dehumidify it. Big plant that dries out the air. You keep it at 20% and you keep the ship intact. Paul Marden: It's interesting, isn't it, because you go to Mary Rose, and you go into the ship Hall, and you've got this hermetically sealed environment that you can maintain all of these beautiful Tudor wooden pieces we're outside on a baking hot day. You don't have the benefit of a hermetically sealed building, do you to keep this? Sam Mullins: I guess the outside of the ship is kind of sealed by the paint. That stops the air getting to the bit to the bare metal. We can go down into the trigger, down whilst rise up.Paul Marden:  We're wondering. Sam, yeah, why don't you introduce yourself, tell listeners a little bit about your background. How have we ended up having this conversation today.Sam Mullins: I'm Sam Mullins. I'm a historian. I decided early on that I wanted to be a historian that worked in museums and had an opportunity to kind of share my fascination with the past with museum visitors. So I worked in much Wenlock in Shropshire. I worked created a new museum in market Harbour, a community museum in Leicestershire. I was director of museums in St Albans, based on, you know, great Roman Museum at Verulamium, okay. And ended up at London Transport Museum in the 90s, and was directed there for a long time.Paul Marden: Indeed, indeed. Oh, we are inside now and heading underground.Sam Mullins: And you can hear the thrumming in the background. Is the dehumidification going on. Wow. So we're descending into thevery dry dock.Paul Marden: So we're now under water level. Yes, and the view of the ceiling with the glass roof, which above looked like a lovely little pond, it's just beautiful, isn't it?Sam Mullins: Yes, good. It sets it off both in both directions, really nicely.Paul Marden: So you've transitioned now, you've moved on from the Transport Museum. And I thought that today's episode, we could focus a little bit on what is, what's life like when you've moved on from being the director of a big, famous, influential, family friendly Museum. What comes next? Is it pipe and slippers, or are there lots of things to do? And I think it's the latter, isn't it? Sam Mullins: Yes. Well, you know, I think people retire either, you know, do nothing and play golf, or they build, you know, an interesting portfolio. I wanted to build, you know, something a bit more interesting. And, you know, Paul, there's that kind of strange feeling when you get to retire. And I was retiring from full time executive work, you kind of feel at that point that you've just cracked the job. And at that point, you know, someone gives you, you know, gives you a card and says, "Thank you very much, you've done a lovely job." Kind of, "Off you go." So having the opportunity to deploy some of that long term experience of running a successful Museum in Covent Garden for other organisations was part of that process of transition. I've been writing a book about which I'm sure we'll talk as well that's been kind of full on this year, but I was a trustee here for a number of years before I retired. I think it's really good career development for people to serve on a board to see what it's like, you know, the other side of the board. Paul Marden: I think we'll come back to that in a minute and talk a little bit about how the sausage is made. Yeah, we have to do some icebreaker questions, because I probably get you already. You're ready to start talking, but I'm gonna, I'm just gonna loosen you up a little bit, a couple of easy ones. You're sat in front of the telly, comedy or drama?Sam Mullins: It depends. Probably.Paul Marden: It's not a valid answer. Sam Mullins: Probably, probably drama.Paul Marden: Okay, if you need to talk to somebody, is it a phone call or is it a text message that you'll send?Sam Mullins:  Face to face? Okay, much better. Okay, always better. Paul Marden: Well done. You didn't accept the premise of the question there, did you? Lastly, if you're going to enter a room, would you prefer to have a personal theme tune played every time you enter the room. Or would you like a personal mascot to arrive fully suited behind you in every location you go to?Sam Mullins: I don't know what the second one means, so I go for the first one.Paul Marden: You've not seen a football mascot on watching American football or baseball?Sam Mullins: No, I try and avoid that. I like real sport. I like watching cricket. Paul Marden: They don't do that in cricket. So we are at the business end of the hull of the ship, aren't we? We're next to the propeller. Sam Mullins: We're sitting under the stern. We can still see that lovely, gilded Stern, saying, Great Britain, Bristol, and the windows and the coat of arms across the stern of the ship. Now this, of course, was the biggest ship in the world when built. So not only was it the first, first iron ship of any scale, but it was also third bigger than anything in the Royal Navy at the time. Paul Marden: They talked about that, when we were on the warrior aim the other day, that it was Brunel that was leading the way on what the pinnacle of engineering was like. It was not the Royal Navy who was convinced that it was sail that needed to lead. Sam Mullins: Yeah, Brunel had seen a much smaller, propeller driven vessel tried out, which was being toured around the country. And so they were midway through kind of design of this, when they decided it wasn't going to be a paddle steamer, which its predecessor, the world's first ocean liner, the Great Western. A was a paddle steamer that took you to New York. He decided that, and he announced to the board that he was going to make a ship that was driven by a propeller, which was the first, and this is, this is actually a replica of his patent propeller design. Paul Marden: So, this propeller was, is not the original to the show, okay?Sam Mullins: Later in its career, it had the engines taken out, and it was just a sailing ship. It had a long and interesting career. And for the time it was going to New York and back, and the time it was going to Australia and back, carrying migrants. It was a hybrid, usually. So you use the sails when it was favourable when it wasn't much wind or the wind was against. You use the use the engines. Use the steam engine.Paul Marden: Coming back into fashion again now, isn't it? Sam Mullins: Yeah, hybrid, yeah.Paul Marden: I can see holes in the hull. Was this evident when it was still in the Falklands?Sam Mullins: Yeah, it came to notice in the 60s that, you know, this world's first it was beached at Sparrow Cove in the Falkland Islands. It had lost its use as a wool warehouse, which is which it had been for 30 or 40 years. And a number of maritime historians, you and call it. It was the kind of key one realised that this, you know, extraordinary, important piece of maritime heritage would maybe not last too many war winters at Sparrow cope had a big crack down one side of the hull. It would have probably broken in half, and that would have made any kind of conservation restoration pretty well impossible as it was. It was a pretty amazing trick to put it onto a to put a barge underneath, to raise it up out of the water, and to tow it into Montevideo and then across the Atlantic, you know, 7000 miles, or whatever it is, to Avon mouth. So it's a kind of heroic story from the kind of heroic age of industrial and maritime heritage, actually.Paul Marden: It resonates for me in terms of the Mary Rose in that you've got a small group of very committed people that are looking to rescue this really valuable asset. And they find it and, you know, catch it just in time. Sam Mullins: Absolutely. That was one of the kind of eye openers for me at Mary rose last week, was just to look at the kind of sheer difficulty of doing conventional archaeology underwater for years and years. You know, is it 50,000 dives were made? Some immense number. And similarly, here, you know, lots of people kind of simply forget it, you know, it's never gonna, but a few, stuck to it, you know, formed a group, fund, raised. This is an era, of course, you know, before lottery and all that jazz. When you had to, you had to fundraise from the public to do this, and they managed to raise the money to bring it home, which, of course, is only step one. You then got to conserve this enormous lump of metal so it comes home to the dry dock in which it had been built, and that has a sort of fantastic symmetry, you know about it, which I just love. You know, the dock happened to be vacant, you know, in 1970 when the ship was taken off the pontoon at Avon mouth, just down the river and was towed up the curving Avon river to this dock. It came beneath the Clifton Suspension Bridge, which, of course, was Brunel design, but it was never built in his time. So these amazing pictures of this Hulk, in effect,  coming up the river, towed by tugs and brought into the dock here with 1000s of people you know, surrounding cheering on the sidelines, and a bit like Mary Rose in a big coverage on the BBC.Paul Marden: This is the thing. So I have a very vivid memory of the Mary Rose being lifted, and that yellow of the scaffolding is just permanently etched in my brain about sitting on the carpet in primary school when the TV was rolled out, and it was the only TV in the whole of school that, to me is it's modern history happening. I'm a Somerset boy. I've been coming to Bristol all my life. I wasn't alive when Great Britain came back here. So to me, this feels like ancient history. It's always been in Bristol, because I have no memory of it returning home. It was always just a fixture. So when we were talking the other day and you mentioned it was brought back in the 70s, didn't realise that. Didn't realise that at all. Should we move on? Because I am listening. Gently in the warmth.Sam Mullins: Let's move around this side of the as you can see, the dry dock is not entirely dry, no, but nearly.Paul Marden: So, you're trustee here at SS Great Britain. What does that mean? What do you do?Sam Mullins: Well, the board, Board of Trustees is responsible for the governance of the charity. We employ the executives, the paid team here. We work with them to develop the kind of strategy, financial plan, to deliver that strategy, and we kind of hold them as executives to account, to deliver on that.Paul Marden: It's been a period of change for you, hasn't it? Just recently, you've got a new CEO coming to the first anniversary, or just past his first anniversary. It's been in place a little while.Sam Mullins: So in the last two years, we've had a, we've recruited a new chairman, new chief executive, pretty much a whole new leadership team.One more starting next month, right? Actually, we're in July this month, so, yeah, it's been, you know, organisations are like that. They can be very, you know, static for some time, and then suddenly a kind of big turnover. And people, you know, people move.Paul Marden: So we're walking through what is a curved part of the dry dock now. So this is becoming interesting underfoot, isn't it?Sam Mullins: This is built in 1839 by the Great Western Steamship Company to build a sister ship to the Great Western which was their first vessel built for the Atlantic run to New York. As it happens, they were going to build a similar size vessel, but Brunel had other ideas, always pushing the edges one way or another as an engineer.Paul Marden: The keel is wood. Is it all wood? Or is this some sort of?Sam Mullins: No, this is just like, it's sort of sacrificial.So that you know when, if it does run up against ground or whatever, you don't actually damage the iron keel.Paul Marden: Right. Okay, so there's lots happening for the museum and the trust. You've just had a big injection of cash, haven't you, to do some interesting things. So there was a press release a couple of weeks ago, about a million pound of investment. Did you go and find that down the back of the sofa? How do you generate that kind of investment in the charity?Sam Mullins: Unusually, I think that trust that's put the bulk of that money and came came to us. I think they were looking to do something to mark their kind of, I think to mark their wind up. And so that was quite fortuitous, because, as you know at the moment, you know, fundraising is is difficult. It's tough. Paul Marden: That's the understatement of the year, isn't it?Sam Mullins: And with a new team here and the New World post COVID, less, less visitors, income harder to gain from. Pretty well, you know, all sources, it's important to keep the site kind of fresh and interesting. You know, the ship has been here since 1970 it's become, it's part of Bristol. Wherever you go in Bristol, Brunel is, you know, kind of the brand, and yet many Bristolians think they've seen all this, and don't need, you know, don't need to come back again. So keeping the site fresh, keeping the ideas moving on, are really important. So we've got the dockyard museum just on the top there, and that's the object for fundraising at the moment, and that will open in July next year as an account of the building of the ship and its importance. Paul Marden: Indeed, that's interesting. Related to that, we know that trusts, trusts and grants income really tough to get. Everybody's fighting for a diminishing pot income from Ace or from government sources is also tough to find. At the moment, we're living off of budgets that haven't changed for 10 years, if we're lucky. Yeah, for many people, finding a commercial route is the answer for their museum. And that was something that you did quite successfully, wasn't it, at the Transport Museum was to bring commercial ideas without sacrificing the integrity of the museum. Yeah. How do you do that?Sam Mullins: Well, the business of being an independent Museum, I mean, LTM is a to all sets of purposes, an independent Museum. Yes, 81% of its funding itself is self generated. Paul Marden: Is it really? Yeah, yeah. I know. I would have thought the grant that you would get from London Transport might have been bigger than that.  Sam Mullins: The grant used to be much bigger proportion, but it's got smaller and smaller. That's quite deliberate. Are, you know, the more you can stand on your own two feet, the more you can actually decide which direction you're going to take those feet in. Yeah. So there's this whole raft of museums, which, you know, across the UK, which are independently governed, who get all but nothing from central government. They might do a lottery grant. Yes, once in a while, they might get some NPO funding from Ace, but it's a tiny part, you know, of the whole. And this ship, SS Great Britain is a classic, you know, example of that. So what do you do in those circumstances? You look at your assets and you you try and monetise them. That's what we did at London Transport Museum. So the museum moved to Covent Garden in 1980 because it was a far sighted move. Michael Robbins, who was on the board at the time, recognised that they should take the museum from Scion Park, which is right on the west edge, into town where people were going to be, rather than trying to drag people out to the edge of London. So we've got that fantastic location, in effect, a high street shop. So retail works really well, you know, at Covent Garden.Paul Marden: Yeah, I know. I'm a sucker for a bit of moquette design.Sam Mullins: We all love it, which is just great. So the museum developed, you know, a lot of expertise in creating products and merchandising it. We've looked at the relationship with Transport for London, and we monetised that by looking at TFL supply chain and encouraging that supply chain to support the museum. So it is possible to get the TFL commissioner to stand up at a corporate members evening and say, you know, you all do terribly well out of our contract, we'd like you to support the museum as well, please. So the corporate membership scheme at Transport Museum is bigger than any other UK museum by value, really, 60, 65 members,. So that was, you know, that that was important, another way of looking at your assets, you know, what you've got. Sometimes you're talking about monetising relationships. Sometimes it's about, you know, stuff, assets, yeah. And then in we began to run a bit short of money in the kind of middle of the teens, and we did an experimental opening of the Aldwych disused tube station on the strand, and we're amazed at the demand for tickets.Paul Marden: Really, it was that much of a surprise for you. And we all can talk. Sam Mullins: We had been doing, we've been doing some guided tours there in a sort of, slightly in a one off kind of way, for some time. And we started to kind of think, well, look, maybe should we carry on it? Paul Marden: You've got the audience that's interested.Sam Mullins: And we've got the access through TFL which, you know, took a lot of work to to convince them we weren't going to, you know, take loads of people underground and lose them or that they jump out, you know, on the Piccadilly line in the middle of the service, or something. So hidden London is the kind of another really nice way where the museum's looked at its kind of assets and it's monetised. And I don't know what this I don't know what this year is, but I think there are now tours run at 10 different sites at different times. It's worth about half a million clear to them to the museum.Paul Marden: It's amazing, and they're such brilliant events. So they've now opened up for younger kids to go. So I took my daughter and one of her friends, and they were a little bit scared when the lights got turned off at one point, but we had a whale of a time going and learning about the history of the tube, the history of the tube during the war. It was such an interesting, accessible way to get to get them interested in stuff. It was brilliant.Sam Mullins: No, it's a great programme, and it was doing well before COVID, we went into lockdown, and within three weeks, Chris Nix and the team had started to do kind of zoom virtual tours. We all are stuck at home looking at our screens and those hidden London hangouts the audience kind of gradually built yesterday TV followed with secrets of London Underground, which did four series of. Hidden London book has sold 25,000 copies in hardback, another one to come out next year, maybe.Paul Marden: And all of this is in service of the museum. So it's almost as if you're opening the museum up to the whole of London, aren't you, and making all of that space you're you. Museum where you can do things.Sam Mullins: Yeah. And, of course, the great thing about hidden London programme is it's a bit like a theatre production. We would get access to a particular site for a month or six weeks. You'd sell the tickets, you know, like mad for that venue. And then the run came to an end, and you have to, you know, the caravan moves on, and we go to, you know, go to go to a different stations. So in a sense, often it's quite hard to get people to go to an attraction unless they've got visitors staying or whatever. But actually, if there's a time limit, you just kind of have to do it, you know.Paul Marden: Yeah, absolutely. Everybody loves a little bit of scarcity, don't they? Sam Mullins: Should we go up on the deck? Paul Marden: That sounds like fun to me.Sam Mullins: Work our way through.Paul Marden: So Hidden London was one of the angles in order to make the museum more commercially sound. What are you taking from your time at LTM and bringing to the party here at the SS Great Britain?Sam Mullins: Well, asking similar, you know, range of questions really, about what assets do we have? Which of those are, can be, can be monetised in support of the charity? Got here, Paul, so we're, we've got the same mix as lots of middle sized museums here. There's a it's a shop, paid admission, hospitality events in the evening, cafe. You know that mix, what museums then need to do is kind of go, you know, go beyond that, really, and look at their estate or their intellectual property, or the kind of experiences they can offer, and work out whether some of that is monetisable.Paul Marden: Right? And you mentioned before that Brunel is kind of, he's the mascot of Bristol. Almost, everything in Bristol focuses on Brunel. Is there an opportunity for you to collaborate with other Brunel themed sites, the bridge or?Sam Mullins: Yeah. Well, I think probably the opportunity is to collaborate with other Bristol attractions. Because Bristol needs to. Bristol's having a hard time since COVID numbers here are nowhere near what they were pre COVID So, and I think it's the same in the city, across the city. So Andrew chief executive, is talking to other people in the city about how we can share programs, share marketing, that kind of approach.Paul Marden: Making the docks a destination, you know, you've got We the Curious. Where I was this morning, having coffee with a friend and having a mooch around. Yeah, talking about science and technology, there must be things that you can cross over. This was this war. This feels like history, but it wasn't when it was built, was it? It was absolutely the cutting edge of science and technology.Sam Mullins: Absolutely, and well, almost beyond, you know, he was Brunel was pushing, pushing what could be done. It is the biggest ship. And it's hard to think of it now, because, you know, you and I can walk from one end to the other in no time. But it was the biggest ship in the world by, you know, some way, when it was launched in 1845 so this was a bit like the Great Western Railway. It was cutting edge, cutting edge at the time, as we were talking about below. It had a propeller, radical stuff. It's got the bell, too,Paul Marden: When we were on, was it Warrior that we were on last week at the AIM conference for the first. And warrior had a propeller, but it was capable of being lifted, because the Admiralty wasn't convinced that this new fangled propeller nonsense, and they thought sail was going to lead. Sam Mullins: Yeah. Well, this ship had, you could lift a you could lift a propeller, because otherwise the propeller is a drag in the water if it's not turning over. So in its earlier configurations, it was a, it was that sort of a hybrid, where you could lift the propeller out the way, right, set full sail.Paul Marden:  Right, and, yeah, it's just, it's very pleasant out here today, isn't it? Lovely breeze compared to what it's been like the last few days. Sam Mullins: Deck has just been replaced over the winter. Paul Marden:  Oh, has it really. So say, have you got the original underneathSam Mullins: The original was little long, long gone. So what we have replaced was the deck that was put on in the in the 70s when the ship came back.Paul Marden: Right? You were talking earlier on about the cafe being one of the assets. You've done quite a lot of work recently, haven't you with the team at Elior to refurbish the cafe? What's the plan around that?Sam Mullins: Yeah, we're doing a big reinvestment. You always need to keep the offer fresh anyway, but it was time to reinvest. So the idea is to use that fantastic space on the edge of the dock. It's not very far down to where the floating harbour is really well populated with kind of restaurants and bars and an offer, we're just that 200 meters further along the dock. So perhaps to create an offer here that draws people up here, whether they visit the ship, you know, or not. So it's money, it's monetising your assets. So one of the great assets is this fabulous location on the on the dockside. So with early or we're reinvesting in the restaurant, it's going to go in the auto into after some trial openings and things, Paul, you know, it's going to have an evening offer as well as a daytime offer. And then it's been designed so the lights can go down in the evening. It becomes, you know, an evening place, rather than the museum's all day cafe, yes, and the offer, and obviously in the evenings would similarly change. And I think our ambition is that you should, you should choose this as the place to go out in the evening. Really, it's a great spot. It's a lovely, warm evening. We're going to walk along the dockside. I've booked a table and in the boardwalk, which is what we're calling it. And as you pay the bill, you notice that actually, this is associated with Asus, Great Britain. So, you know, the profit from tonight goes to help the charity, rather than it's the museum cafe. So that's the,Paul Marden: That's the pitch.Sam Mullins: That's the pitch in which we're working with our catering partners, Eli, or to deliver.Paul Marden: Andrew, your CEO and Claire from Eli, or have both kindly said that I can come back in a couple of months time and have a conversation about the restaurant. And I think it would be rude to turn them down, wouldn't it?Sam Mullins: I think you should test the menu really fully.Paul Marden: I will do my best. It's a tough job that I have. Sam Mullins: Somebody has to do this work. Paul Marden: I know, talking of tough jobs, the other thing that I saw when I was looking at the website earlier on was a press release talking about six o'clock gin as being a a partnership that you're investigating, because every museum needs its own tipple, doesn't it?Sam Mullins: Absolutely And what, you know, I think it's, I think what people want when they go to an attraction is they, they also want something of the offer to be locally sourced, completely, six o'clock gym, you know, Bristol, Bristol beers. You can't always do it, but I think, I think it's where you've got the opportunity. And Bristol's a bit of a foodie centre. There's quite a lot going on here in that respect. So, yes, of course, the museum ought to be ought to be doing that too.Paul Marden: I was very kindly invited to Big Pit over in the Welsh Valleys about 8 or 12 weeks ago for the launch, relaunch of their gift shop offering. And absolutely, at the core of what they were trying to do was because it's run by Museums Wales, they found that all of their gift shops were just a bland average of what you could get at any of the museums. None of them spoke of the individual place. So if you went to big pit, the gift shop looked the same as if you were in the centre of Cardiff, whereas now when you go you see things that are naturally of Big Pit and the surrounding areas. And I think that's so important to create a gift shop which has things that is affordable to everybody, but at the same time authentic and genuinely interesting.Sam Mullins: Yeah, I'm sure that's right. And you know I'm saying for you is for me, when I when I go somewhere, you want to come away with something, don't you? Yes, you know, you're a National Trust member and you haven't had to pay anything to get in. But you think I should be supporting the cause, you know, I want to go into that shop and then I want to, I want to buy some of the plants for my garden I just seen, you know, on the estate outside. Or I want to come away with a six o'clock gin or, you know, whatever it might be, there's and I think, I think you're more likely to buy if it's something that you know has engaged you, it's part of that story that's engaged you, right, while you're here. That's why everyone buys a guidebook and reads it afterwards.Paul Marden: Yeah, it's a reminder, isn't it, the enjoyable time that you've had? Yeah, I'm enjoying myself up on the top deck. Sam Mullins:  But should we go downstairs? The bow is a great view. Oh, let's do that. I think we might. Let's just work our way down through.Paul Marden: Take a sniff. Could you travel with these smelly passengers? Oh, no, I don't think I want to smell what it's like to be a cow on board shit. Sam Mullins: Fresh milk. Just mind yourself on these companion, ways are very steep now. This is probably where I get completely lost.Paul Marden: You know what we need? We need a very good volunteer. Don't we tell a volunteer story? COVID in the kitchen. Wow. Sam Mullins: The Gabby.Paul Marden: Generous use of scent. Sam Mullins: Yeah, food laid out pretty much based on what we know was consumed on the ship. One of the great things about the ship is people kept diaries. A lot of people kept diaries, and many have survived, right? You know exactly what it was like to be in first class or in steerage down the back.Paul Marden: And so what was the ship used for? Sam Mullins: Well, it was used, it was going to be an ocean liner right from here to New York, and it was more like the Concord of its day. It was essentially first class and second class. And then it has a founders on a bay in Northern Ireland. It's rescued, fitted out again, and then the opportunity comes take people to Australia. The Gold Rush in the 1850s. Migration to Australia becomes the big kind of business opportunity for the ships. Ships new owners. So there's more people on board that used to it applies to and fro to Australia a number of times 30 odd, 40 times. And it takes, takes passengers. It takes goods. It does bring back, brings back gold from because people were there for the gold rush. They were bringing their earnings, you know, back with them. It also brings mail, and, you know, other. Kind of car goes wool was a big cargo from. Paul Marden: Say, people down and assets back up again.Sam Mullins: People both directions. Paul Marden: Okay, yeah. How long was it taking?Sam Mullins: Well, a good trip. I think it did it in 50 odd days. Bit slower was 60 odd. And the food was like this. So it was steerage. It was probably a bit more basic. Paul Marden: Yeah, yes, I can imagine. Sam Mullins: I think we might. Here's the engines. Let's do the engines well.Paul Marden: Yes. So now we're in the engine room and, oh, it's daylight lit, actually. So you're not down in the darkest of depths, but the propeller shaft and all of the mechanism is it runs full length, full height of the ship.Sam Mullins: Yeah, it runs off from here, back to the propeller that we're looking at. Okay, down there a guy's stoking the boilers, putting coal into into the boilers, 24 hour seven, when the engines are running. Paul Marden: Yes, that's going to be a tough job, isn't it? Yeah, coal is stored in particular locations. Because that was something I learned from warrior, was the importance of making sure that you had the coal taken in the correct places, so that you didn't unbalance the ship. I mean,Sam Mullins: You right. I mean loading the ship generally had to be done really carefully so, you know, sort of balanced out and so forth. Coal is tends to be pretty low down for yes, for obvious reasons.Paul Marden: So let's talk a little bit about being a trustee. We're both trustees of charities. I was talking to somebody last week who been in the sector for a number of years, mid career, interested in becoming a trustee as a career development opportunity. What's the point of being a trustee? What's the point of the trustees to the CEO, and what's the benefit to the trustees themselves? Sam Mullins: Well, let's do that in order for someone in the mid part of their career, presumably looking to assume some kind of leadership role. At some point they're going to be dealing with a board, aren't they? Yes, they might even be doing, you know, occasional reporting to a board at that at their current role, but they certainly will be if they want to be chief executive. So getting some experience on the other side of the table to feel what it's like to be a trustee dealing with chief executive. I think he's immensely useful. I always recommended it to to my gang at the Transport Museum, and they've all been on boards of one sort or another as part of their career development.Sam Mullins: For the chief executive. What's the benefit? Well, the board, I mean, very directly, hold the chief executive to account. Yes, are you doing what we asked you to do? But also the wise chief executive recruits a board that's going to be helpful in some way or another. It's not just there to catch them out. Yeah, it's it's there to bring their experience from business, from IT, from marketing, from other museums into the business of running the place. So here we've got a range of Trustees. We've been we've recruited five or six in the last couple of years qquite deliberately to we know that a diverse board is a good board, and that's diverse in the sense not just a background, but of education, retired, still, still at work, young, old, male, female, you know, you name in.Paul Marden: In all of the directionsSam Mullins:  Yeah. So a diverse board makes better decisions than one that just does group think all the time. It's, you know, it's a truism, isn't it? I think we all kind of, we all understand and understand that now and then, for the trustee, you know, for me, I particularly last couple of years, when the organization has been through huge changes, it's been really interesting to deploy my prior experience, particularly in governance, because governance is what it all comes down to in an organisation. You do learn over the course of your career to deploy that on behalf, you know, this is a great organisation, the story of Brunel and the ship and and, you know, his influence on the railways. And I travel down on the Great Western railways, yeah, the influence of Brunel is, you know, is enormous. It's a fantastic story. It's inspiring. So who wouldn't want to join? You know what in 2005 was the Museum of the year? Yes, I think we'll just go back there where we came. Otherwise, I never found my way.Paul Marden: Back through the kitchen. Sam Mullins: Back through the kitchen. It looks like stew is on the menu tonight. You've seen me at the mobile the rat.Paul Marden: And also the cat up on the shelf. He's not paying a lot of attention to the ratSam Mullins: Back on deck. Paul Marden: Wonderful. Yeah. So the other great endeavor that you've embarked on is writing, writing a book. Tell us a little bit about the book.Sam Mullins: Yeah, I've written a history of transport in London and its influence on London since 2000 since the mayoralty, elected mayoralty was, was started, you know, I was very lucky when I was running the museum where I had kind of one foot in TfL and one foot out. I knew lots of people. I was there for a long time, yes, so it was, it was easy to interview about 70 of them.Paul Marden: Right? I guess you've built trust levels, haven't you? Yeah, I don't mean that you don't look like a journalist walking in from the outside with an ax to grind. Sam Mullins: And I'm not going to kind of screw them to the Evening Standard, you know, tomorrow. So it's a book based on interviews, oral reminiscences. It's very much their story. So it's big chunks of their accounts of, you know, the big events in London. So what was it like to be in the network control room on the seventh of July, 2005 when the bombs went off? What was it like to be looking out for congestion charge the day it started? Yep. What was it like to kind of manage the Olympics?Paul Marden: You know? So you're mentioning these things. And so I was 10 years at British Airways. I was an IT project manager, but as well, I was a member of the emergency planning team. Yeah. So I got involved in the response to September the 11th. I got involved in some of the engagement around seven, seven, there's seminal moments, and I can, I can vividly remember myself being there at that time. But similarly, I can remember being there when we won the Olympics, and we were all sat in the staff canteen waiting to hear whether we'd won the Olympics, and the roar that erupted. There's so many of those things that have happened in the last 25 years where, you know, you've got, it's recent history, but it's real interesting events that have occurred that you can tell stories of.Sam Mullins: Yeah. So what I wanted to get in the book was a kind of sense of what it was like to be, really at the heart of those, those stories. And there are, you know, there are, there are people in TfL who made those big things happen? Yes, it's not a big, clumsy bureaucracy. It's a place where really innovative leadership was being exercised all the way through that 25 years. Yes, so it runs up to COVID, and what was it like when COVID struck? So the book's called Every Journey Matters, and it comes out in November.Paul Marden: Amazing, amazing. So we have, we've left the insides of the ship, and we are now under, what's this part of the ship? Sam Mullins: We're under the bow. There we go, and a bow spread that gets above our heads. So again, you've got this great, hulking, cast iron, black hull, beautifully shaped at the bow. Look the way it kind of tapers in and it tapers in and out.Paul Marden: It's a very three dimensional, isn't it? The curve is, is in every direction. Sam Mullins: Yeah,it's a great, great shape. So it's my sort of, I think it's my favourite spot. I like coming to look at this, because this is the kind of, this is the business, yeah, of the ship.Paul Marden: What have we got running along the front here? These these images in in gold.Sam Mullins: This is a figurehead with Victoria's Coat of Arms only sua Kim Ali points on top with it, with a lion and a unicorn.Paul Marden: It's a really, it's not a view that many people would have ever seen, but it is such an impressive view here looking up, yeah, very, very cool. And to stand here on the on the edge of the dry dock. Sam Mullins: Dry Docks in to our right, and the floating harbor is out to our left. Yeah.Paul Marden: And much going on on that it's busy today, isn't it? Sam Mullins: Yeah, it's good. Paul Marden: So we've done full loop, haven't we? I mean, it has been a whistle stop tour that you've taken me on, but I've loved every moment of this. We always ask our guests a difficult question. Well, for some it's a difficult question, a book recommendation, which, as we agreed over lunch, cannot be your own book. I don't think, I think it's a little unfair Sam Mullins: Or anything I've ever written before.Paul Marden: Yes, slightly self serving, but yeah.Sam Mullins: It would be, wouldn't it look the first thing that comes to mind is, I've actually been reading my way through Mick Herron's Slow Horses series, okay, which I'm a big fan of detective fiction. I love Ian Rankin's Rebus. Okay, I read through Rebus endlessly when I want something just to escape into the sloughhouse series Slow Horses is really good, and the books all have a sort of similar kind of momentum to them. Something weird happens in the first few chapters, which seems very inconsequential and. Suddenly it turns into this kind of roller coaster. Will they? Won't they? You know, ending, which is just great. So I recommend Mick Herron's series. That's that's been the best, not best, fiction I've read in a long time.Paul Marden: You know, I think there's something, there's something nice, something comforting, about reading a series of books where the way the book is structured is very similar. You can, you can sit down and you know what's going to happen, but, but there's something interesting, and it's, it's easy. Sam Mullins: It's like putting on a pair of old slippers. Oh, I'm comfortable with this. Just lead me along. You know, that's what, that's what I want. I enjoy that immensely.Paul Marden: And should we be? Should we be inviting our listeners to the first book in the series, or do they need to start once, once he's got his, got his, found his way? Sam Mullins: Well, some people would have seen the television adaptation already. Well, that will have spoilt the book for them. Gary Oldman is Jackson lamb, who's the lead character, okay, but if you haven't, or you just like a damn good read, then you start with the first one, which I think is called Sloughhouse. They're all self contained, but you can work your way through them. Paul Marden: Well, that sounds very good. So listeners, if you'd like a copy of Sam's book, not Sam's book, Sam's book recommendation, then head over to Bluesky and repost the show notice and say, I want a copy of Sam's book, and the first one of you lovely listeners that does that will get a copy sent to you by Wenalyn. Sam This has been delightful. I hope listeners have enjoyed this as much as I have. This is our first time having a @skipthequeue in real life, where we wandered around the attraction itself and hopefully narrated our way bringing this amazing attraction to life. I've really enjoyed it. I can now say that as a West Country lad, I have actually been to the SS Great Britain. Last thing to say for visitor, for listeners, we are currently midway through the Rubber Cheese Annual Survey of visitor attraction websites. Paul Marden: If you look after an attraction website and you'd like to share some information about what you do, we are gathering all of that data together to produce a report that helps people to understand what good looks like for an attraction website. This is our fourth year. Listeners that are interested, head over to RubberCheese.com/survey, and you can find out a little bit more about the survey and some of the some of the findings from the past and what we're looking for for this year. Sam, thank you so very much.Sam Mullins: Enjoyed it too. It's always good to rabbit on about what you do every day of the week, and being here and part of this really great organisation is huge privilege.Paul Marden: Thanks for listening to Skip the Queue. If you've enjoyed this podcast, please leave us a five star review. It really helps others to find us. Skip The Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them to increase their visitor numbers. You can find show notes and transcripts from this episode and more over on our website, skipthequeue fm. The 2025 Visitor Attraction Website Survey is now LIVE! Dive into groundbreaking benchmarks for the industryGain a better understanding of how to achieve the highest conversion ratesExplore the "why" behind visitor attraction site performanceLearn the impact of website optimisation and visitor engagement on conversion ratesUncover key steps to enhance user experience for greater conversionsTake the Rubber Cheese Visitor Attraction Website Survey Report

El Poder Ejecutivo resolvió ayer mantener vigente la alerta roja por frío que fue dispuesta para atender a las personas en situación de calle. Conversamos En Perspectiva con Fernanda Auersperg, diputada del Partido Nacional y exdirectora de Protección Social del Ministerio de Desarrollo Social. La decisión se tomó luego de la reunión de evaluación diaria del comité de emergencias a cargo de la aplicación del decreto, que permite el traslado forzoso de las personas que pernocten en la vía pública. En la noche del lunes, la 15° desde que se viene aplicando el decreto, se asistió en todo el país a 2.581 personas: en los refugios del Ministerio de Desarrollo Social fueron 2.091 y en centros de evacuación dispuestos por el SINAE (Sistema Nacional de Emergencias) en Montevideo 490 personas. La Policía hizo 236 traslados a nivel nacional y los equipos de salud realizaron 55 asistencias médicas. Asimismo, se siguen haciendo entrevistas a las personas alojadas en los centros de evacuación para definir su perfil “para el diseño de propuestas específicas de asistencia”. Ya se hicieron 420 de un total de 540 planificadas. Según La Diaria, el gobierno planifica nuevas acciones en aplicación de la alerta y trabaja en su continuidad. En diálogo con ese medio, el director de Protección Social del Mides, Daniel Gerhard, dijo que “la alerta es evaluada día a día”. También señaló que una vez que la alerta cese, “se verá cuál es el marco en el que se mantienen todos los logros y las acciones”, así como la “coordinación interinstitucional superior que se logró mediante la alerta”.

La Tertulia de los Miércoles con Valentina Arlegui, Leonardo Costa, Juan Erosa y Daoiz Uriarte. *** Mario Bergara renunció ayer a su banca en el Senado para asumir este jueves como intendente de Montevideo. En su primera declaración tras dejar el Parlamento, el economista del Frente Amplio reconoció que la situación financiera de la comuna es “compleja”, aunque aseguró que eso no impedirá avanzar en las políticas prioritarias, como la limpieza y la recolección de residuos. “La visión es la misma, la orientación de las políticas es la misma. El ritmo y las prioridades —qué cosas van a ir antes y qué cosas tendrán que esperar— es lo que va a quedar, de alguna manera, condicionado por la disponibilidad de recursos. Vamos a dialogar con el gobierno nacional y con todos los partidos políticos que integran la Junta Departamental, porque creo que entre todos vamos a tener esa responsabilidad de contar con los recursos necesarios para avanzar en políticas clave para el departamento”. La Intendencia de Montevideo cerró el año 2024 con un déficit de 3.640 millones de pesos: el mayor pasivo de la última década, ocho veces superior al registrado en 2023. Según la Rendición de Cuentas enviada a la Junta Departamental, hubo una reducción significativa en la recaudación que se debió a varios factores: la eliminación judicial de la Tasa de Inflamables; menores ingresos por patente y multas de tránsito; una transferencia nacional menor a la esperada; falta de pago de la tarifa de saneamiento por parte de organismos estatales; y pérdidas contables por diferencia de cambio. Además, durante la presentación de la Rendición de Cuentas, realizada este martes, el intendente saliente, Mauricio Zunino, mencionó otras dificultades que marcaron la gestión entre 2020 y 2025, como “la pandemia de Covid-19, la crisis climática y la falta de agua”. Mientras Zunino sostiene que las finanzas del gobierno capitalino siguen siendo “manejables”, desde la oposición el tono es mucho más crítico. El excandidato a la intendencia Martín Lema, del Partido Nacional, acusó al Frente Amplio de haber ocultado el déficit durante la campaña y advirtió que las autoridades municipales “se patinaron el dinero” de los montevideanos. Por su parte, la vicepresidenta Carolina Cosse -quien fue intendenta hasta julio de 2024- afirmó que dejó la comuna con números positivos y que la administración frenteamplista ha sido transparente con sus cifras. ¿Cómo se explica un déficit de esta magnitud? ¿Fue advertido durante la campaña? ¿Cómo impacta esta situación en las prioridades del nuevo intendente? ¿Qué nivel de responsabilidad tiene la administración saliente? ¿Puede el nuevo equipo mantener sus compromisos electorales en este escenario?

Martina Janis is part of the new generation of DJs in the Montevideo scene. She began her journey into vinyl mixing in 2019, gradually building a strong presence in the Uruguayan and South American scenes. Over time, she has played at events across Uruguay as well as in Argentina, Brazil, and Peru. Her sets blend styles like downtempo, electro, break, acid, and techno.

A pesar de haberse criado en un entorno lleno de pinturas y artistas debido a su padre Fito Sayago, es recién a los 20 años que comenzó a explorar el arte de la pintura junto a él. Luego de pasar por los talleres de pintura como el de Andrés Vivo y Verónica Cestau, en 2017, a la edad de 23 años, tuvo la oportunidad de realizar su primera exposición individual en Montevideo, lo que marcó el inicio de su carrera profesional en el ámbito artístico.En su carrera, ha tenido el honor de participar en varias exposiciones, como en la Liga de Fomento de Punta del Este, en 2018 expuso su segunda muestra individual en Imperiale Art, en 2021 formo parte de la exposición colectiva del aniversario 35 del Taller de la Buena Memoria en la casa de la cultura de Maldonado y represento a Uruguay en el festival internacional Boards and Art en El Salvador en 2023. En 2024 hizo su última exposición individual en Narbona Punta del Este. Además, ha sido premiado en la categoría de "Joven sobresaliente" en Artes Plásticas, un reconocimiento que refuerza su compromiso con su desarrollo artístico.Recientemente, sus obras fueron expuestas en la Blanco Mora Art Gallery en Cadaqués, España, en una exhibición que tuvo muy buena repercusión. Su nuevo atelier, situado en La Barra y rodeado de la naturaleza, le permite continuar explorando nuevas formas de expresión artística, siempre con la naturaleza como protagonista.La naturaleza siempre ha sido una fuente inagotable de inspiración para el. Sus obras están conectadas con el paisaje y el mar, y a través de ellas, busca transmitir una sensación de paz y reflexión. El arte le permite expresar la calma que uno experimenta al conectarse con la naturaleza, pero también la fuerza que tiene esa conexión para brindarnos un descanso de lo pesada que puede ser la vida cotidiana. Utiliza tonos cálidos y fríos, luces y sombras, para evocar emociones en el espectador y hacer que este experimente una conexión genuina con lo natural.

Conversamos En Perspectiva con el sacerdote Juan Andrés “Gordo” Verde y James "Jimmy" Mc Cubbin sobre Rancho Cero, una iniciativa de la organización Cireneos, que busca eliminar la extrema precariedad habitacional en Uruguay mediante soluciones transitorias, pero dignas. ¿Cómo se nutre de la experiencia de más de siete años en el asentamiento Santa Eugenia de Montevideo? ¿Qué papel juegan los donantes? ¿Cuál es el papel de las organizaciones locales? ¿Qué aportes hace (o no) el gobierno nacional?

Comenzaremos la primera parte del programa hablando del juicio en ausencia a los sospechosos del atentado contra la Asociación Mutual Israelí Argentina en 1994; y de la cumbre de la Organización de Estados Americanos en St John's, la capital de Antigua y Barbuda. Hablaremos también de una ley en México que prohíbe el uso de delfines para entretenimiento; y por último, de la lujosa boda de Jeff Bezos y Lauren Sanchez en Venecia.   Para la segunda parte del programa les tenemos más acontecimientos relacionados a América Latina. En nuestro diálogo gramatical ilustraremos ejemplos de The direct object - Part II hablando sobre los mitos detrás del turismo psicodélico. Cerraremos la emisión explorando el uso de la frase Pasar la pelota, mientras analizamos dos edificios hermanos, el Palacio Barolo en Buenos Aires y el Salvo en Montevideo. - Argentina habilita el juicio en ausencia a los sospechosos del atentado a la AMIA - Cumbre de la Organización de Estados Americanos en Antigua y Barbuda - México prohíbe el uso de delfines para entretenimiento - La fastuosa boda de Jeff Bezos en Venecia - Los mitos detrás del turismo psicodélico - Dos edificios hermanos conectados por la historia

“Armonía planetaria”, es el espectáculo que se presenta en el Planetario Municipal de Montevideo, una coproducción de la Filarmónica de Montevideo.Oscar Méndez, director del Planetario conversó con José Miguel Onaindia y nos brindó detalles sobre estas funciones.

La Tertulia de los Martes con Miguel Fernández Galeano, Elena Grauert, Pablo Díaz y Eleonora Navatta. *** El intendente electo de Montevideo Mario Bergara (Frente Amplio) presentó este lunes su gabinete de directores y jerarcas para la administración 2025-2030. En el equipo hay funcionarios de carrera de la intendencia, como Justo Onandi, que será director de Coordinación Institucional; autoridades que continúan en la función, como Débora Quiring (directora de Cultura) y caras conocidas, como la Silvia Nane, que deja su banca de senadora para asumir como directora de Desarrollo Sostenible e Inteligente en el gobierno departamental. También se destaca Graciela Villar, excandidata a vicepresidente como compañera de fórmula de Daniel Martínez en las elecciones de 2019, y el ya conocido caso de Leonardo Herou, exdirector en la Intendencia de Canelones, que en marzo pasó al gobierno nacional como subsecretario de Ambiente y ahora asumirá en Montevideo como director de Desarrollo Ambiental. Durante el acto de ayer Bergara se refirió nuevamente a los problemas económicos de la comuna, y reiteró los principales desafíos que tendrá su gestión. "El panorama financiero ya sabemos que no es bueno, no es floreciente. En este año que tenemos que trabajar con el presupuesto ya vigente vamos a tratar de avanzar dejando en claro las prioridades. La prioridad inicial es la vinculada a la basura. Estamos ya empezando el diálogo con el gobierno nacional para que, de alguna manera, se haga un acto de justicia referida al hecho de que los años anteriores el gobierno nacional le ha retaceado recursos a la Intendencia de Montevideo". ¿Qué balance hacen los tertulianos del equipo de gobierno que anunció Bergara? ¿Qué se puede esperar del foco de su gestión?

La empresa estatal brasileña Electrobrás está construyendo un parque eólico en un territorio de la frontera que es reclamado por Uruguay desde 1930. El área en cuestión se ubica en la región conocida como Rincón de Artigas, ubicada entre los departamentos de Artigas y Rivera. El caso tomó estado público este lunes en un informe que realizó el noticiero Telemundo de Canal 12 y que incluyó imágenes registradas en el lugar, que mostraron varios aerogeneradores que ya fueron instalados. En el reporte se indicó que Brasil no consultó a Uruguay para la realización de las obras porque entiende que el territorio le pertenece. 488 horas después la Cancillería uruguaya comunicó que había enviado una nota verbal a Brasil solicitando que se retome la discusión sobre esta cuestión limítrofe en el marco de la Comisión Mixta que exsite entre ambos países. El texto del Ministerio de Relaciones Exteriores subrayó que Uruguay “no reconoce la soberanía brasileña” sobre esa zona y planteó que la implantación de infraestructura en un área en disputa podría vulnerar los principios del derecho internacional. La Cancillería expresó su preocupación por “la falta de consulta previa” y argumentó que se trata de un tema que merece un tratamiento bilateral, y no decisiones unilaterales como esta. En su reportaje Telemundo consultó Edison González Lapeyre, especialista en derecho internacional, que recordó detalles de la historia de este diferendo. “Hubo un error por parte de los demarcadores, que tenían que demarcar el límite que había acordado Andrés Lamas en los acuerdos del 12 de octubre de 1851. Confundieron el arroyo de la Invernada con el Arroyo Maneco. Yo entiendo, conforme al derecho internacional, que si hubo un error corresponde enmendarlo”. El episodio llama la atención porque los gobiernos recientes de ambos países habían cultivado una relación fluida. Durante la administración de Luis Lacalle Pou y poco después de que Luiz Inácio Lula da Silva asumiera como presidente, en 2023, el mandatario brasileño visitó Montevideo donde anunció varias iniciativas de cooperación, como la construcción de un nuevo puente sobre el río Yaguarón. Por otra parte, el senador frenteamplista Daniel Caggiani expresó que le resulta “raro” que “desde el 2021 se esté procesando la construcción de un Parque Eólico en zona de límites contestados con Brasil y recién ahora sea noticia”. “¿Y antes no se hizo nada?”, se preguntó. ¿Recordaban que existe un litigio fronterizo entre Uruguay y Brasil? ¿Cómo se resuelve el hecho consumado de este parque eólico ya muy avanzado en su construcción?

Carlos Gardel, la gran figura del tango rioplatense, continúa generando debates y pasiones cuando se acercan los 90 años de su fallecimiento en el trágico accidente aéreo en Medellín. Debido a este aniversario especial, que se celebra el próximo 24, varias instituciones uruguayas —como la Fundación Fans de la Música y TANGOvivo— organizan las Jornadas Gardelianas, que se proponen profundizar en la vida, el legado y, sobre todo, la verdadera identidad de Gardel, a través de ponencias de destacados investigadores nacionales e internacionales. Jornadas Gardelianas 2025 Jornadas Gardelianas 2025 Este ciclo no solo se plantea como un homenaje, sino como una oportunidad para esclarecer aspectos claves que aún generan controversia, desde su lugar de nacimiento hasta su nacionalidad legal. Entre las actividades previstas, la más cercana en el tiempo es el concierto que ofrecerá la orquesta típica Taconeando. Será el próximo lunes 16 de junio a las 20 horas en la sala Hugo Balzo del Auditorio Nacional Adela Reta del Sodre, donde presentarán el show denominado “Gardel vuelve a Montevideo”. En el correr del mes se presentarán investigaciones que cuestionan la versión tradicional de que Gardel nació en Toulouse, Francia. La argentina Martina Iñiguez, por ejemplo, propone una lectura fotográfica de la infancia del Zorzal Criollo, sugiriendo que las imágenes disponibles refutan la versión francesa. En paralelo, la socióloga María Selva Ortiz y el escritor Eduardo Cuitiño aportan desde Uruguay investigaciones documentales y testimoniales que sostienen que Gardel nació en Tacuarembó. El clásico debate que se reitera año a año. ¿Qué reflexión hacen los tertulianos sobre su figura en el marco de estos homenajes?

El intendente electo de Rocha, Alejo Umpierrez es escribano, abogado y además escritor. Con esa sensibilidad nos contó de su infancia en Lascano, su llegada a Montevideo, su vocación política y también, su vinculación a la hora de armar Rocha Fútbol Club. Luego de 5 años de intendencia, Umpierrez repite en su departamento y así lo cuenta en #MalosPensamientosPodcast Entr

Bestselling author, Susan Wiggs, discusses her writing practices and shares the backstory surrounding her latest flex into historical fiction, a passion project titled, Wayward Girls. Susan Wiggs's life is all about family, friends…and fiction. She lives at the water's edge on an island in Puget Sound, and in good weather, she commutes to her writers' group in a 21-foot motorboat. She's been featured in the national media, including NPR, PRI, and USA Today, has given programs for the US Embassies in Buenos Aires and Montevideo, and is a popular speaker locally, nationally, internationally, and on the high seas. From the very start, her writings have illuminated the everyday dramas of ordinary people facing extraordinary circumstances. Her books celebrate the power of love, the timeless bonds of family and the fascinating nuances of human nature. Today, she is an international best-selling, award-winning author, with millions of copies of her books in print in numerous countries and languages. According to Publishers Weekly, Wiggs writes with “refreshingly honest emotion,” and the Salem Statesman Journal adds that she is “one of our best observers of stories of the heart [who] knows how to capture emotion on virtually every page of every book.” Booklist characterizes her books as “real and true and unforgettable.” Susan is a former teacher, a Harvard graduate, an avid hiker, an amateur photographer, a good skier and terrible golfer, yet her favorite form of exercise is curling up with a good book. She lives on an island in Puget Sound, where she divides her time between sleeping and waking. Her latest novel is Wayward Girls. Learn more at SusanWiggs.com Special thanks to Net Galley for an advance reader copy. Intro reel, Writing Table Podcast 2024 Outro RecordingFollow the Writing Table:On Twitter/X: @writingtablepcEverywhere else: @writingtablepodcastEmail questions or tell us who you'd like us to invite to the Writing Table: writingtablepodcast@gmail.com.

En los productos de la canasta básica la diferencia de precios en la frontera entre Brasil y Uruguay es de casi 80%. La situación preocupa hace meses a los comerciantes uruguayos de esa zona. Para paliar esas dificultades el gobierno anunció la semana pasada un paquete de medidas. Profundizamos En Perspectiva en el alcance de las herramientas que preparó el Ministerio de Economía y Finanzas con el subsecretario de Economía, Martín Vallcorba. *** Brasil está barato para los uruguayos. Muy barato. Visto de nuestro lado, comprar la canasta básica en Artigas es 78 % más caro que en Quaraí. Frente a esta coyuntura compleja que está afectando a los comercios minoristas de nuestro país en los departamentos fronterizos con Brasil, el Ministerio de Economía y Finanzas se trasladó a la zona y desde allí anunció el jueves pasado un paquete de medidas. En concreto, el ministro Gabriel Oddone y su equipo diseñaron resoluciones que implican la exoneración y la reducción del IVA, la extensión del subsidio para arrendamiento de POS, la rebaja del IMESI en los combustibles, la habilitación de la micro importación y estímulos para la creació de puestos de trabajo. En principio, la reacción de las empresas fue positiva. Así lo comentó el presidente de la Asociación Comercial e Industrial de Rivera, Gustavo Laclau, cuando lo consultamos el viernes pasado. "Que vengan a ver creo que es la primera vez que lo hacen. Eso para nosotros es fundamental porque es muy difícil comparar o igualar empresas de Montevideo con las de la frontera. Llevarse anotaciones, temas, soluciones o problemáticas para seguir hablando sobre el tema, me parece también sumamente importante". ¿Cuál es el alcance de estas nuevas disposiciones tributarias?

La Tertulia de los Viernes con Daniel Amorín, Víctor Ganon, Juan Grompone y Ana Ribeiro. *** ¿Qué harías si el Estado te obligara a vacunarte en un plazo inminente, bajo la amenaza de quedar fuera del sistema? En un Uruguay apenas distópico —tan cercano que incomoda— la película uruguaya “Crisis” se sumerge en la vida de Lucía, una joven que decide abandonar Montevideo y refugiarse en la casa de sus abuelos en un balneario desierto, huyendo de un mandato estatal que le resulta inaceptable. Allí, entre recuerdos familiares, lecturas filosóficas y largos silencios, Lucía comienza una introspección profunda que la enfrenta no solo al mundo que la rodea, sino también a sus propias contradicciones. La película, dirigida por Adriana Nartallo y Daniel Amorín, propone una reflexión inquietante sobre la libertad individual, el miedo colectivo y los límites difusos del control del Estado… Lejos de las estridencias y artificios de la ciencia ficción tradicional, “Crisis” construye su tensión desde lo íntimo, lo cotidiano, lo posible. La distopía, aquí, no se manifiesta en un futuro lejano ni en un régimen evidentemente totalitario, sino en los pequeños gestos de obediencia, en las conversaciones incómodas, en los silencios impuestos. La cámara acompaña a la protagonista en su deriva física y emocional, y en ese trayecto interpela directamente al espectador: ¿cuán libres somos cuando creemos decidir? ¿Cuánto hay de elección y cuánto de imposición en nuestras acciones más personales? ¿Y qué precio estamos dispuestos a pagar por ejercer una libertad que incomoda? Rodada en plena pandemia, con una estética sobria pero precisa, la película fue reconocida en festivales internacionales por su originalidad narrativa y su valentía temática. Su estreno en Cinemateca contó con un notable respaldo del público, lo que demuestra que, más allá del debate sanitario, “Crisis” toca una fibra profunda vinculada al poder, la autonomía y el desconcierto generacional en tiempos de incertidumbre. En este contexto, la figura de Lucía se convierte en un espejo incómodo. ¿Representa la resistencia o el aislamiento? ¿Es una heroína o una desertora? ¿Qué dice su historia sobre nuestra sociedad, nuestros miedos y nuestras convicciones? Para explorar estas y otras preguntas, conversamos en La Tertulia a Daniel Amorín, codirector y guionista de “Crisis”, una producción que no ofrece respuestas fáciles, sino que deja preguntas para discutir.

La Tertulia de los Viernes con Víctor Ganon, Juan Grompone y Ana Ribeiro. *** Continuamos analizando la película uruguaya “Crisis” que se sumerge en la vida de Lucía, una joven que decide abandonar Montevideo y refugiarse en la casa de sus abuelos en un balneario desierto, huyendo de un mandato estatal que le resulta inaceptable. Allí, entre recuerdos familiares, lecturas filosóficas y largos silencios, Lucía comienza una introspección profunda que la enfrenta no solo al mundo que la rodea, sino también a sus propias contradicciones. La película, dirigida por Adriana Nartallo y Daniel Amorín, propone una reflexión inquietante sobre la libertad individual, el miedo colectivo y los límites difusos del control del Estado.

¿Qué está más en riesgo en el mundo hoy: la democracia o el liberalismo? ¿A qué está reaccionando Donald Trump con sus políticas proteccionistas? ¿Cómo se posiciona a nivel político América Latina ante este cambio en el orden mundial? ¿Qué rol cumple China en la actual coyuntura? ¿Y Uruguay? Profundizamos con Andrés Malamud, el destacado politólogo argentino que está en Montevideo luego de haber disertado este miércoles en un coloquio organizado por el Centro de Estudios de Desarrollo (CED). Malamud, que es investigador principal en el Instituto de Ciencias Sociales de la Universidad de Lisboa, se especializa en varias áreas de estudio: las instituciones democráticas, la política exterior y los procesos de integración regional en el viejo continente y en nuestra región. En la entrevista que ahora iniciamos también quiero preguntarle sobre Milei y Trump, e incluso sobre una visión peculiar y hasta provocadora que ha planteado sobre los cambios en la demografía y la geopolítica global que están ocurriendo y cómo pueden repercutir en el futuro.

Se nos fue Peter David, el "writer of stuff", o "escritor de cosas", según el mismo, por la gran variedad de cosas que escribía. Ademá, fue uno de los guionistas de comics más prolíficos de las últimas décadas. Su amplia bibliografía incluye desde una monumental ETAPA de doce años en Hulk, en la que se convirtió en el padre modern del personaje, siguiendo por otras etapas fundamentals en comics como Aquaman, Supergirl, Young Justice, y X-Factor, pasando por mucho Spider-Man, casi cualquier personaje de Marvel, y muchos de DC; hasta sus guiones para television live action y animada, y sus alrededor de cuarenta novelas de Star Trek. Y nos quedamos cortos, porque no mencionamos varias otras franquicias en las que trabajó, ni sus novelas y comics de autor. Además de un TITANES dedicado a su vida y obra, retocamos el sonido de una entrevista que MaGnUs le hizo en 2010 cuando David visitó Montevideo, y que prometió subtitular en algún momento. La entrevista, por supuesto, está en inglés, así que les recomendamos ir a YouTube si precisan los subtítulos. Incluso si hablan inglés, parte de la entrevista está un poco distorsionada, debido al proceso de retoque del audio viejo. Eso si, la entrevista es la única parte con subtítulos decentes (editados por completo), mientras que el resto del programa tiene subtítulos automáticos, que no son muy buenos. La entrevista si, está muy buena, modestia aparte. (Una cosa más, asegúrense de no seleccionar los subtítulos automáticos de YT, porque esos son totalmente automáticos, no tienen la parte editada de la entrevista.) Con música de The Beatles, Route 49 (interpretando a Buddy Guy), y Coheed and Cambria. Próximo programa: Magic Knight Rayearth (Parte I).

Esta semana les traigo una historia sucedida en Montevideo, Uruguay, sobre dos enfermeros considerados por algunos como “ángeles de la muerte”, para otros, simplemente son “enfermero asesinos”. https://terrorcercadeti.com/ Facebook - https://www.facebook.com/terrorcerca/ Instagram - https://www.instagram.com/terrorcerca/ 

Rodrigo de Montevideo tiene un food truck que la rompe los findes pero se muere de hambre entre semana. Le respondo con ideas prácticas para atraer clientes en días de baja venta. ¡Y ojo! Aunque no vendas hamburguesas, estos consejos te sirven si tu negocio también tiene "días muertos".

¡QUE RUEDE LA PELOTA!

Remembering the former president of Uruguay: José 'Pepe' Mujica. He started life as a flower farmer on the outskirts of Montevideo. As a young man he became politically active, part of the left-wing guerilla group the Tupamaros, who were bent on revolution through armed struggle that involved bank heists and kidnappings. With the authorities on his tail Pepe was eventually captured, he was shot six times and later staged what became a record-breaking prison escape. When he was captured and imprisoned again, he was held for 13 years in horrendous conditions but he says the pain and loneliness of that time was when he learned the most about life. A year after the military regime stepped down, Pepe was released and joined formal politics and in 2010 he was voted in as president of Uruguay. He shunned the presidential palace and car for his crumbling farmhouse and old VW Beetle and brought in laws legalising gay marriage and abortion. He had his critics but when he died earlier this month, thousands of people lined the streets to pay their respects. We spoke to Pepe alongside his wife Lucia Topolansky in 2023 and they talked about how their love had changed over their decades together. Presenter: Andrea Kennedy Producer: Louise MorrisGet in touch: liveslessordinary@bbc.co.uk or WhatsApp: 0044 330 678 2784

(Víspera del Aniversario de la Muerte de Amado Nervo) «Una niebla espesa inundaba la ciudad de Montevideo. Aquel 24 de mayo de 1919 parecía mimetizarse con el llanto de la gente, que brindaba un último adiós al inigualable poeta mexicano Amado Nervo. »El joven ministro [de Obras Públicas, Humberto] Pittamiglio, se ubicó a un costado del orador, el ministro de Relaciones Exteriores, Daniel Muñoz, quien emocionado plasmaba una semblanza del hombre que unas horas antes dejara de existir en el Parque Hotel, lugar donde residía como jefe de la misión diplomática de México en Uruguay. »Con voz encendida pero visiblemente dolorido, Muñoz enlazó la figura del diplomático con la poesía misma y con esa suerte de imán que tiene el Río de la Plata para los poetas que parecen encontrar en sus olas a la musa inspiradora que acicateará su pluma.... »Pittamiglio escuchó atentamente el largo discurso que Muñoz traía preparado.... Su mente se alejó de pronto al evocar la suave voz de su madre leyendo poemas en torno a la mesa familiar. Recordó cuán cerca de Dios se sentía cuando escuchaba su canto melodioso.... »Cuando el acto en el [C]ementerio [Central] llegó a su fin, el nutrido grupo que había acompañado la ceremonia se dispersó rápidamente, llevando los sombreros y abrigos húmedos por la tupida niebla que seguía cubriendo el lugar.»1 Así relata los sucesos de aquel día la escritora uruguaya Mercedes Vigil en su Historia de Humberto Pittamiglio: El alquimista de la rambla Wilson. Amado Nervo era, sin lugar a dudas, uno de los más excelsos poetas con el don de hacernos a todos sentirnos muy cerca de Dios. Reconociendo la soberanía divina, tres años antes él había compuesto el siguiente poema titulado «Me marcharé...», en el que vislumbraba el día de su muerte: Me marcharé, Señor, alegre o triste; mas resignado, cuando al fin me hieras. Si vine al mundo porque tú quisiste, ¿no he de partir sumiso cuando quieras? Un torcedor tan sólo me acongoja, y es haber preguntado el pensamiento, sus porqués a la vida... ¡mas la hoja quiere saber dónde la lleva el viento! Hoy, empero, ya no pregunto nada: cerré los ojos y, mientras el plazo llega en que se termine la jornada, mi inquietud se adormece en la almohada de la resignación, en tu regazo.2 Dos años más tarde, Amado Nervo volvió a abordar el tema de querer saber la respuesta a los interrogantes de la vida, menos de un año y medio antes de «marcharse» de este mundo, en un poema al que le puso por título «Comprensión». A todos nos serviría de mucho tomar en serio estos versos, como si fueran consejos desde su lecho de muerte: ¿Por qué empeñarse en saber cuando es tan fácil amar? Dios no te manda entender; no pretende que su mar sin playas pueda caber en tu mínimo pensar. Dios sólo te pide amor: dale todo el tuyo, y más, siempre más, con más ardor, con más ímpetu... ¡Verás cómo, amándole mejor, mejor le comprenderás!3 Carlos ReyUn Mensaje a la Concienciawww.conciencia.net 1 Mercedes Vigil, El alquimista de la rambla Wilson: La historia de Humberto Pittamiglio, Edición revisada y ampliada (Buenos Aires: Random House Mondadori, 2012), pp. 57-59. 2 Obras selectas de Amado Nervo (Guadalajara: EdiGonvill, 1976), p. 415. 3 Ibíd, p. 502.

La Tertulia de los Jueves con Gabriel Budiño, Cecilia Eguiluz, Ana Laura Pérez y Daniel Supervielle. *** La reciente adquisición de un campo de 4.404 hectáreas en Florida por parte del Instituto Nacional de Colonización (INC) ha desatado una polémica que pone en cuestión el uso de los dineros públicos. La compra, realizada por aproximadamente 32,5 millones de dólares, es defendida por el gobierno como una medida para que se instalen unos 20 productores lecheros con 100 hectáreas cada uno, con el objetivo de desarrollar una colonia de referencia nacional. Además, se anunció la creación de un banco de forraje bajo riego en 800 hectáreas, gestionado por organizaciones rurales con trayectoria. Sin embargo, la operación es criticada por su elevado costo y por la “falta de claridad” en su destino final. Ayer, el senador colorado Pedro Bordaberry cuestionó en diálogo con Así Nos Va (Radio Carve) lo que entiende es la ausencia de un proyecto claro y vaible que utilizará dineros públicos. “Esto es la vuelta de una concepción equivocada de la gente que nos gobierna ahora. La misma concepción de Aratirí, el puertos de aguas profundas, el desarrollo de Alur , los hornos, el cemento, la cal y todo el agujero de Ancap. Ellos con el dinero del Estado dicen que van a dar mucho dinero y pretenden un resultado que está por encima de lo que prometía Conexión Ganadera. No sé si me entendés. Cuando vos tenés un poco de experiencia y entendés el negocio ganadero te das cuenta que estas aventuras y tipo de desarrollismo mágico que hacen unos burócratas en Montevideo, citadinos que no entienden nada de cómo funciona el campo, te das cuenta que es una barbaridad. Vos lo mirás y decís: “Mirá que fenómenos estos tipos. Con la plata nuestra están metiendo US$ 33 millones y dicen que van a ganar no sé cuántos millones de dólares” Por su parte, el presidente de la República Yamandú Orsi consideró en rueda de prensa que el Instituto de Colonización “tiene que estar básicamente orientado hacia la lechería”. “Acá no es ni amigo ni enemigo. Esto es, dos formas de entender la realidad y que sigue instalado. Y hay una pelea dura. Vamos a afirmarnos, estoy convencido que una de las claves para la lechería es, fundamentalmente cuando los precios no andan bien, tener la espalda para poder alimentar a los animales. No debe haber en el mundo actividad más firme que la lechería”. En resumen, la compra del campo en Florida por parte de Colonización, plantea una vez más la polémica sobre cómo se invierten los recursos públicos. ¿Cómo ven esta discusión? ¿Tiene que ver con una concepción diferente del Estado? ¿Hay un componente ideológico?

El 20 de mayo de 1976 fueron asesinados en Buenos Aires los uruguayos Héctor Gutiérrez Ruiz, Zelmar Michelini, Rosario Barredo y William Whitelaw. Unas horas antes había sido secuestrado, también en Buenos Aires, otro uruguayo: Manuel Liberoff. 20 años después, en mayo de 1996, Madres y Familiares de Detenidos Desaparecidos y otras organizaciones sociales convocaron por primera vez a la Marcha del Silencio, bajo la consigna “Verdad, Memoria y Nunca Más”. En este año 2025, cuando conmemoramos 40 años de democracia ininterrumpida y en un nuevo gobierno encabezado por el Frente Amplio, Madres y Familiares volvió a convocar a la marcha, en su edición número 30, esta vez con la consigna “30 veces Nunca Más: sepan cumplir. ¿Dónde están?”. Al llegar la fecha, el Frente Amplio reafirmó su “compromiso con la memoria, la verdad y la justicia”. Por su parte, el Partido Nacional publicó un video en el que reclama “toda la verdad” y “justicia” por hechos de la dictadura. Como todos años, la movilización prinicipal, la que se desarrolla en Montevideo, comenzó en la Plaza a los Desaparecidos en América, en la esquina de Rivera y Jackson, y culminó en la Plaza Cagancha. Antes, cuando la cabeza de la marcha llegaba a la explanada de la intendencia, comenzó a escucharse por parlantes los nombres de los 197 uruguayos desaparecidos, y la respuesta de la gente, que en cada caso respondía “presente”. Luego se entonó el himno nacional. ¿Qué dejó esta nueva edición de la Marcha del Silencio? ¿Qué reflexión provoca la consigna en esta oportunidad? La Tertulia de los Miércoles con Juan Erosa, Elena Grauert, María Josefina Plá y Tomás Teijeiro.

Tras una nueva Marcha del Silencio, hablamos En Perspectiva con familiares de detenidos desaparecidos, pero en aquellos casos en que los restos fueron encontrados. audio Memoria, Verdad y Justicia. Bajo la consigna “Sepan, cumplir. ¿Dónde están?”, ayer miles de uruguayos volvieron a marchar en varias ciudades del país en una nueva Marcha del Silencio, la edición número 30. Convocada por la organización de Madres y Familiares de Uruguayos Detenidos Desaparecidos, la movilización de Montevideo comenzó en la Plaza a los Desaparecidos en América, en la esquina de Rivera y Jackson, y terminó en la Plaza Cagancha, como ocurre cada año, y reunió a una multitud impactante, como siempre. Pese a ese reclamo tan masivo, los que tienen información útil no hablan. Así, siguen pasando los años, los hallazgos son pocos y la búsqueda se lleva a cabo lentamente, con escasos recursos, a puro tesón y compromiso de los responsables de esas tareas. Hasta el momento, desde que comenzaron las excavaciones en 2005, se encontraron los restos humanos de siete personas secuestradas en Uruguay durante la última dictadura: los de Ricardo Blanco, Ubagésner Chávez Sosa, Fernando Miranda, Julio Castro, Eduardo Bleier, Amelia Sanjurjo y Luis Eduardo Arigón. En los próximos minutos vamos a conversar con descendientes directos de tres de ellos. O sea con familiares de desaparecidos que, a diferencia de otros, han podido completar el duelo porque los restos de sus seres queridos fueron encontrados. ¿Qué sintieron cuando se produjo la ubicación de aquellos huesos? ¿Qué les dio la posibilidad de enterrar a su padre, a su abuelo? ¿Cambió para ellos la causa de los desaparecidos? ¿Desde qué lugar? Conversamos En Perspectiva con Gerardo Bleier, hijo de Eduardo Bleier, Sabina Arigón, hija de Luis Eduardo Arigón, y a Ariel Castro, nieto del maestro Julio Castro.

Aire Fresco, el sector del Partido Nacional fundado por el expresidente de la República Luis Lacalle Pou, llevó a cabo ayer el primer plenario departamental de Montevideo después de las elecciones que tuvieron lugar el pasado domingo 11 de mayo. En la reunión se hizo un balance de la campaña de la Coalición Republicana en la capital, pero enfocado en los dirigentes pertenecientes a la agrupación que compitieron por ser electos ediles (tres) y alcaldes en los diferentes municipios. ¿Qué primeras conclusiones se sacaron? Conversamos En Perspectiva con José Luis Satdjian, exsubsecretario de Salud Pública y diputado por el Partido Nacional.

¿Crisis institucional o bandera de remate? Así comienza el convencional del Partido Colorado (PC) Flavio Harguindeguy su análisis sobre el desempeño de su colectividad política en las elecciones del 11 de mayo. Harguindeguy, que es miembro del Comité Ejecutivo Departamental de Montevideo, advierte que en estos comicios su partido tuvo el peor desempeño de su historia en votaciones para el segundo nivel de gobierno. En marzo Harguindeguy había juntado firmas para convocar a la convención de su colectividad política a efectos de discutir los acuerdos electorales entre dirigentes colorados y el Partido Nacional que se concretaron en Rocha, Paysandú, San José y Colonia. Ahora, pasadas las elecciones y con los resultados a la vista, alerta que el PC no solo enfrenta “una crisis electoral” sino una crisis “fundamentalmente institucional” y plantea una visión muy crítica sobre la postura que asumió partido con respecto a la Coalición Republicana (CR). Entre otras cosas, cuestiona a un importante dirigente colorado de Salto que, señala, en lugar de trabajar por la candidatura de Marcelo Malaquina, lo hizo por la del nacionalista Carlos Albisu. Conversamos En Perspectiva con Flavio Herguindeguy, que fue candidato a diputado por el sector Unir Para Crecer, de Andrés Ojeda.

La Tertulia de los Lunes con Martín Bueno, Miguel Fernández Galeano, Patricia González y Martín Moraes. El Frente Amplio (FA) confirmó este sábado un resultado histórico en Lavalleja. Con una diferencia de apenas 95 votos luego del conteo de los sufragios observados, la coalición de izquierdas se impuso sobre el Partido Nacional y Daniel Ximénez, un reconocido cirujano y figura respetada en la comunidad, será el nuevo intendente de ese departamento. En medio de la celebración, Ximénez agradecía de esta forma a quienes lo respaldaron. "Este triunfo no es solamente de los votantes frenteamplistas, porque nos acompañaron en la elección, ciudadanos, vecinos de Lavalleja de todos los partidos. Y eso nos aumenta la responsabilidad y también nos aumenta el orgullo que tenemos de poder haber convocado a ciudadanos de otros partidos". Este resultado fue celebrado por toda la dirigencia del FA, no solo porque pone fin a 35 años de hegemonía blanca en Lavalleja, sino porque que le permite al oficialismo controlar cuatro intendencias, ya que en estos comicios, mantuvo Montevideo y Canelones, perdió Salto pero recuperó Río Negro y por primera vez logró Lavalleja. Por otro lado, el diputado colorado Felipe Schipani expresó su preocupación por esa votación en Lavalleja y también por la de Río Negro. Para el legislador, los resultados habrián sido diferentes si los partidos se hubiesen presentado como Coalición Republicana en esas zonas del país. “En 2030 habrá coalición en los 19 departamentos o en ninguno", dijo Schipani, subrayando la necesidad de una estrategia unificada en futuras elecciones. ¿Qué significa este cambio para Lavalleja y para el mapa político nacional? ¿Cómo repercute en la interna de los partidos de la coalición?

La Tertulia de los Viernes con Alejandro Abal, Víctor Ganon, Juan Grompone y Ana Ribeiro. Un corte de energía eléctrica afectó ayer de tarde a más de 150.000 usuarios en varios barrios de Montevideo, entre ellos Centro, Parque Rodó, Pocitos y Carrasco. Según UTE, el apagón se debió a una “apertura de transmisión” que dejó fuera de servicio tres subestaciones clave del sistema eléctrico de la capital. En la zona no solo se interrumpió el acceso a la electricidad sino también a otros servicios fundamentales: en las calles los semáforos dejaron de funcionar, los comercios se vieron obligados a cerrar momentáneamente porque no podían facturar y muchas oficinas y hogares quedaron sin conexión a internet. Al mismo tiempo las personas miraban preocupadas sus teléfonos celulares para calcular cuánta carga quedaba en la batería. Sin llegar a ser, ni por asomo, un incidente masivo como el corte que el mes pasado golpeó durante varias horas a España y Portugal, el caso de ayer enciende alertas sobre nuestra forma de vida actual: ¿Hasta qué punto hemos delegado funciones básicas en la tecnología? ¿Cuánto tiempo podemos sostener nuestras rutinas sin contar con electricidad o baterías? Este corte de luz es más que un problema técnico: es una oportunidad para pensar en nuestra vulnerabilidad digital y en la necesidad de fortalecer nuestras infraestructuras, así como nuestros hábitos.

  The Ruckus Report Quick take: International school leader Jennifer Bertram reveals how trusting your intuition can lead to unexpected leadership opportunities, and how joining a supportive community of fellow leaders transforms professional growth. Meet Your Fellow Ruckus Maker Originally from Canada, Jennifer's teaching journey began in Montevideo, Uruguay, followed by many years at Escola Americana de Campinas, Brazil. She transitioned to administrative roles including Secondary Dean of Students and Assistant Principal. Jennifer then served as Middle School Principal at the American International School of Dhaka for five years before moving to American International School Chennai with her family. Breaking Down the Old Rules

Hablamos en Montevideo con Martín Aguirre, director de "El País", y con el periodista Mauricio Rabuffetti; en Washington D.C. con la corresponsal Dori Toribio, y en Buenos Aires con el periodista Jairo Straccia

Montevideo, 13 ottobre 1972 - Un aereo militare uruguaiano decolla dalla città argentina di Mendoza con a bordo 45 persone: in gran parte ragazzi di una squadra di rugby diretti in Cile per una partita amichevole. Il volo charter parte regolarmente e fa scalo a Mendoza, in Argentina, dove le condizioni meteo impongono una pausa prima di affrontare l'attraversamento delle Ande, una delle catene montuose più pericolose del mondo. Il giorno successivo, nonostante il maltempo e le difficoltà operative, il volo decolla nuovamente. Dopo poche ore, però, l'aereo scompare dai radar. I soccorsi partono subito, ma vengono interrotti pochi giorni dopo: nessun segnale, nessuna speranza. Quello che ancora non si sa è che, su un ghiacciaio a quasi 4.000 metri d'altitudine, 33 persone sono sopravvissute allo schianto. Rimarranno isolate per 72 giorni, lottando contro il freddo, la fame, e una scelta estrema: nutrirsi dei compagni morti per restare in vita. Ma com'è potuto accadere tutto questo? Fu solo un errore di navigazione, o c'era qualcosa che si sarebbe potuto evitare? Proviamo a scoprirlo insieme a Giulio Maria Garbellotto, esperto di disastri aerei e conduttore del podcast “Ultimi Attimi”. Iscriviti al gruppo Telegram per interagire con noi e per non perderti nessuna delle novità in anteprima e degli approfondimenti sulle puntate: https://t.me/LucePodcast Se vuoi ascoltarci senza filtri e sostenere il nostro lavoro, da oggi è possibile abbonarsi al nostro canale Patreon e accedere a contenuti bonus esclusivi tramite questo link: patreon.com/LucePodcast

La tarde de este lunes, 17 familiares de Ovidio Guzmán, hijo de Joaquín “El Chapo” Guzmán, cruzaron la frontera hacia Estados Unidos por la garita de Tijuana. El movimiento, según explicó este martes Omar García Harfuch, secretario de Seguridad, estaría vinculado con las negociaciones de culpabilidad que Ovidio mantiene con el gobierno estadounidense.José "Pepe" Mujica, expresidente de Uruguay, falleció este martes a sus 89 años en su chacra de Rincón del Cerro, Montevideo, tras una larga lucha contra el cáncer. Su muerte fue confirmada por el actual presidente y discípulo político, Yamandú Orsi, quien lo despidió con un mensaje cargado de afecto y reconocimiento.Además… Esteban Alfonseca y Edmundo Martínez, el exalcalde y el exregidor de Actopan, Veracruz, fueron asesinados en un ataque armado; Trump inició su gira por Medio Oriente; Israel apuntó contra el líder de Hamas, Mohammad Sinwar, en un ataque a un hospital en Gaza; El actor francés, Gerard Depardieu, fue condenado por agresión sexual; Nissan anunció que cerrará siete plantas y eliminará 20,000 puestos de trabajo a nivel mundial.Y para #ElVasoMedioLleno… Aldo Millán ha transformado su vulcanizadora en Toluca en un auténtico santuario para los perritos de la calle.Para enterarte de más noticias como estas, síguenos en redes sociales. Estamos en todas las plataformas como @telokwento. Hosted on Acast. See acast.com/privacy for more information.

Riot Feldenkreis is a spectacular Israeli Symphonic Conductor. She has led top orchestras from Israel, Spain and Latin America including the Jerusalem, Haifa, Montevideo, Compana, London City and Paraguay Orchestras. She's a winner of the London Classical Conducting Competition. She's a former soprano singer. And she's also a Performance Coach bringing orchestral principles to executive leadership. My featured song is “The Queen's Carnival” from the album of the same name by my band Project Grand Slam. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.—----------------------------------------Connect with Roit:www.roitfeldenkreis.com—----------------------------------------ROBERT'S RECENT SINGLES:“MOON SHOT” is Robert's latest single, reflecting his Jazz Rock Fusion roots. The track features Special Guest Mark Lettieri, 5x Grammy winning guitarist who plays with Snarky Puppy and The Fearless Flyers. The track has been called “Firey, Passionate and Smokin!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS____________________“ROUGH RIDER” has got a Cool, ‘60s, “Spaghetti Western”, Guitar-driven, Tremolo sounding, Ventures/Link Wray kind of vibe!CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------“LOVELY GIRLIE” is a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------“SOSTICE” is Robert's single with a rockin' Old School vibe. Called “Stunning!”, “A Gem!”, “Magnificent!” and “5 Stars!”.Click HERE for all links.—---------------------------------“THE GIFT” is Robert's ballad arranged by Grammy winning arranger Michael Abene and turned into a horn-driven Samba. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES”. Robert's Jazz Fusion “Tone Poem”. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com 

Relentless rhythms and Latin dance history from one of TraTraTrax's finest. Percussion is, at the root, a conversation. It's about different instruments meeting each other, and interacting to form something bigger than the sum of its parts. Few engage in this dialogue as boldly as Pablo De Vargas, AKA Uruguayan experimentalist Lechuga Zafiro, who draws from tradition, to make sounds like candombe and clave feel, well, completely new. De Vargas' music reaches outward, building bridges between Montevideo and Bogotá, Tijuana, Berlin and beyond. He's a key figure in the hybridisation of Latin American club music, with releases on labels like NAAFI and an album on TraTraTrax. His RA Podcast plays like a manifesto in motion. RA.985 opens with a recording of Jorginho Gularte, a Uruguayan composer, playing a jazz rhythm, from there, it expands: cuban guaguancó, Venezuelan drums, batida, tribal, techno—it's all here, stitched together with precision and intention. De Vargas is also, crucially, reckoning with these roots. His 2018 EP Testigo confronted the colonial violence embedded in the history of the Río de la Plata. His sets are similarly alive with memory—asking, without nostalgia: what does it mean to inherit rhythm? Who gets to carry it forward? He's also just a killer DJ, one of those rare artists who uses CDJs like an instrument. His sets are full of hot cues, delay FX and left turns. It's technical, but never cold. It's, in a word, funky. @lechugazafiro Find the interview and tracklist at ra.co/podcast/985