Podcast appearances and mentions of Benito Mussolini

The planning for Operation Husky was anything but smooth and comprehensive. Everyone had a dog in this fight, but in the end, Monty won. Meanwhile, Mussolini is tempted to pull out of the war. Learn more about your ad choices. Visit megaphone.fm/adchoices

Luciano Benetton rose from poverty in postwar Italy to found a chain of 7,000 high street fashion stores and create some of the most controversial advertising campaigns in history, becoming a billionaire along the way. Journalist Zing Tsjeng and BBC business editor Simon Jack discover how it all started for Luciano Benetton with a yellow sweater knitted by his sister, on a journey that takes in Benito Mussolini, Dolce Vita, Formula One, and Princess Diana. But Benetton wasn't just about fashion; with photographer Oliviero Toscani, the entrepreneur launched a series of highly controversial ad campaigns that tackled race, religion, AIDS, and the death penalty, that made the fashion brand infamous. Good Bad Billionaire is the podcast that explores the lives of the super-rich and famous, tracking their wealth, philanthropy, business ethics and success. There are leaders who made their money in Silicon Valley, on Wall Street and in high street fashion. From iconic celebrities and CEOs to titans of technology, the podcast unravels billionaire stories of fortune, power, economics, ambition and moral responsibility to explore how they achieved financial success, before asking the audience to decide if they are good, bad, or just billionaires. Some of the people we've featured previously on Good Bad Billionaire include Tyler Perry, Evan Spiegel, Arnold Schwarzenegger, Henry Ford, LeBron James, Selena Gomez and Martha Stewart. Every episode is available to listen wherever you get your BBC podcasts. To contact the team, email goodbadbillionaire@bbc.com or send a text or WhatsApp to +1 (917) 686-1176. Find out more about the show and read our privacy notice at www.bbcworldservice.com/goodbadbillionaire

Good Sunday to you,A bit of admin before we come to today's thought piece.First, in case you missed it, here is this week's commentary, mostly ranting about the budget, the UK's inept leadership and what actions you, as an investor, should take:And this week I also appeared on comedian Geoff Norcott's podcast, What Most People Think. Here are the links to the show on Apple and Spotify, if of interest.But for your thought piece today, we have another great little World War Two gold story which didn't make the cut. The farcical journey of Albanian and Italian gold (NB: a tonne of gold is about a medium-sized suitcase full).As the Nazis took both Austria and Czechoslovakia with ease, Italian Prime Minister Benito Mussolini grew anxious to flex his own muscles.Albania would be his target. Geographically, culturally and historically, it made sense: Albania had been part of the Roman Empire even before northern Italy.In April 1939, Italy invaded with a force that contained 400 planes, 300 small tanks, 12 warships, and 22,000 men. But some untrained Albanian locals with the help of a few soldiers managed to drive them back into the sea. Such was 20th century Italian warfare.The Italians made it on the second attempt, however, and the capital, Tirana, fell.The Albanian King Zog gave an impassioned speech on the radio, urging resistance, but nobody heard it because Albania at the time had fewer than 2,000 radios, and the Italians soon managed to jam the airwaves anyway. Shortly after giving the speech, like the true patriot he was, he fled the country, taking enough gold with him to lead a long life of luxury in exile, eventually ending up in Egypt as a guest of King Farouk, to whom he had to pay $20 million for refuge.Albania's founders believed in gold, and their currency, the lek, was based on it. Inflation, as a result, had been nonexistent. The central bank was established in the summer of 1925, and it had worked hard to build up its gold holdings. At home, it had encouraged citizens to swap their jewellery for paper money. That private gold was then added to the nation's gold holdings. Whenever possible, the country increased its gold holdings in London.But by the time of the invasion in 1939, most of Albania's 2.3 tonnes was in Italy anyway, where it had been sent for safekeeping. The Italians managed to confiscate quite a bit more in coins and jewellery from citizens.We fast forward four years.The Italian dilemma: give their gold to the Nazis or the Allies? In 1943, Allied forces moved north from Africa into Sicily and then Italy: the invasion of the soft underbelly of Europe had begun.Hectic days followed the ousting of Mussolini in July. The Italian Fascists were still nominally in charge. They declared Rome an open city in the hope of avoiding Allied air attacks. But by September 1943, the Nazis had control of the capital and central Italy, and they wanted Italy's gold moved to Berlin, while they still had control of the area.They began confiscating the gold of Italian citizens in Rome, especially Italian Jews. The amounts demanded were unrealistic, but Roman Jews reached into their family treasures, their synagogues and institutions to turn in what they had. The Pope, Pius XII, heard about the demands and authorised Catholic churches to lend Jews gold so they could reach the quota.But the big prize was in the Italian Central Bank, and several Nazi organisations had their eyes on it: Himmler's SS, Göring's Four Year Plan, von Ribbentrop's Foreign Office, and Funk's Reichsbank. Even the Bank of International Settlements (BIS), which was worried about its investments in Italy, started making demands that Italy send it gold. Initially, the governor of the Italian bank, Vincenzo Azzolini, made out that he was offended by the idea, but he soon realised the BIS was a better option than Berlin, whichever Nazi department received it.The Italians did not know what to do. On the one hand, they did not want the Nazis to have their gold, but nor did they want the invading Allies to have it either. They thought of sending it to Sardinia, they thought of sending it to the Swiss border. They sent small amounts of gold to branch offices around Italy, but the Bologna gold went missing, as did much of the Milan gold - now supposedly in Turin, but actually hidden in a well. They even sent some to colonial outposts in Benghazi, Rhodes and Addis Ababa.The Albanian gold Italy had stolen was still sitting in the Italian bank's vault, so, under pressure from the Nazis, they sent that up to the Reichsbank in Berlin, while they tried to come up with a solution.The following day, Niccolò Introna, the Italian bank's deputy general manager, had his plan: to build a false wall in the bank's underground vaults. He would then backdate documents to show the gold had been moved to Potenza, a town in the Italian south that was about to fall into Allied hands, but hide the gold behind the wall.Bank governor Azzolini approved the plan, but then ruled that only half the gold should be hidden. The next day the wall was built. The day after that, the official order to ship the gold to Berlin came in from the German ambassador. If the bank did not agree, the Germans would simply seize it. At this point, Azzolini learned that the Germans had seized government records, from which they would know the size and location of the country's gold. Azzolini lost his nerve and had the wall torn down.The next day, the German military unit arrived at the bank with orders to move the gold north by air. Azzolini stalled them, saying it would be safer by train. The Germans sent 5 tonnes by air, the rest - 119 tonnes - was sent by train to Milan. From there, it was shipped to Fortezza, Bolzano, close to the border with Germany and under their control, where it stayed for several months. The now-ousted Mussolini even signed his approval that it be sent there.The following spring, Azzolini, who above all wanted to stop the gold going to Berlin, struck a deal with Swiss and German representatives that would see 26 tonnes sent to Switzerland, some to the BIS and some to the Swiss National Bank.Göring, however, insisted he needed money and suggested giving Italy Reichsmarks for its gold. The deal was signed without the Bank of Italy knowing about it. 50 tonnes left Fortezza, which included 8 tonnes Italy had stolen from Yugoslavia earlier in the war in "restitution" (that's another story). The delivery arrived in Berlin a tonne light. As almost always by this point in the war, someone had their hands in the till.The process of shipping the next batch of Italian gold - some 22 tonnes - went on for months, as some (but not all) Italian officials tried to stall. But eventually, that too was dispatched. That too arrived in Berlin a tonne light.When American forces eventually liberated Fortezza, they found 25 tonnes. It was handed over to the Bank of Italy.What a mess.Stories like this fill the pages of The Secret History of Gold (although this one didn't actually make the cut).The Secret History of Gold is available at Amazon, Waterstones and all good bookshops. I hear the audiobook, read by me, is excellent. And it would make a wonderful Christmas present! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.theflyingfrisby.com/subscribe

No podemos cerrar la termporada 10 en el año 2025 sin daros la mejor arma (el conocimiento) sobre el tema tan candente que nos atañe en este siglo. EL AUGE DEL FASCISMO. Que es el fascismo. El unico fascismo real es el de Mussolini? Es verdad que Franco no era Fascista? Es verdad que los Nazis eran socialistas? Es Pedro Sanchez un Fascista? Lo es Trump? O Milei? Era el regimen sovietico fascista? Es verdad que hoy en dia no existe el fascismo? Es fascista un termino usado para denominar todo lo que no te gusta? Deberiamos llamar fascista a los que no estan de acuerdo con nosotros? Este largo programa te va a dar muchas respuestas para que en la cena de navidad de nochebuena, o en la reunion de la oficina, le puedas callar a ZASCAS la boca a ese cuñao borracho que habla del fascimo sin tener dos neuronas para rescatar. Y a todos los que vais a comentar en el muro. dejadnos saber cuando comentais a que segmento del programa os referis. VIAS DE CONTACTO: Radio: https://edenex.es/ RADIOCADENA SPAIN www.radiocadenaspain Un abrazo desde Argentina fmlarama.listen2myradio.com fmlarama.blogspot.com Fm 107.3 Mhz. Email: podclave45@gmail.com Web: clave45.wordpress.com Google+ : podclave45@gmail.com Twitter: @laclave45 @santiso6969 Facebook: https://facebook.com/clave45 YouTube.com iTunes.com Spotify.com

Good Sunday to you,A bit of admin before we come to today's thought piece.First, in case you missed it, here is this week's commentary, mostly ranting about the budget, the UK's inept leadership and what actions you, as an investor, should take:And this week I also appeared on comedian Geoff Norcott's podcast, What Most People Think. Here are the links to the show on Apple and Spotify, if of interest.But for your thought piece today, we have another great little World War Two gold story which didn't make the cut. The farcical journey of Albanian and Italian gold (NB: a tonne of gold is about a medium-sized suitcase full).As the Nazis took both Austria and Czechoslovakia with ease, Italian Prime Minister Benito Mussolini grew anxious to flex his own muscles.Albania would be his target. Geographically, culturally and historically, it made sense: Albania had been part of the Roman Empire even before northern Italy.In April 1939, Italy invaded with a force that contained 400 planes, 300 small tanks, 12 warships, and 22,000 men. But some untrained Albanian locals with the help of a few soldiers managed to drive them back into the sea. Such was 20th century Italian warfare.The Italians made it on the second attempt, however, and the capital, Tirana, fell.The Albanian King Zog gave an impassioned speech on the radio, urging resistance, but nobody heard it because Albania at the time had fewer than 2,000 radios, and the Italians soon managed to jam the airwaves anyway. Shortly after giving the speech, like the true patriot he was, he fled the country, taking enough gold with him to lead a long life of luxury in exile, eventually ending up in Egypt as a guest of King Farouk, to whom he had to pay $20 million for refuge.Albania's founders believed in gold, and their currency, the lek, was based on it. Inflation, as a result, had been nonexistent. The central bank was established in the summer of 1925, and it had worked hard to build up its gold holdings. At home, it had encouraged citizens to swap their jewellery for paper money. That private gold was then added to the nation's gold holdings. Whenever possible, the country increased its gold holdings in London.But by the time of the invasion in 1939, most of Albania's 2.3 tonnes was in Italy anyway, where it had been sent for safekeeping. The Italians managed to confiscate quite a bit more in coins and jewellery from citizens.We fast forward four years.The Italian dilemma: give their gold to the Nazis or the Allies? In 1943, Allied forces moved north from Africa into Sicily and then Italy: the invasion of the soft underbelly of Europe had begun.Hectic days followed the ousting of Mussolini in July. The Italian Fascists were still nominally in charge. They declared Rome an open city in the hope of avoiding Allied air attacks. But by September 1943, the Nazis had control of the capital and central Italy, and they wanted Italy's gold moved to Berlin, while they still had control of the area.They began confiscating the gold of Italian citizens in Rome, especially Italian Jews. The amounts demanded were unrealistic, but Roman Jews reached into their family treasures, their synagogues and institutions to turn in what they had. The Pope, Pius XII, heard about the demands and authorised Catholic churches to lend Jews gold so they could reach the quota.But the big prize was in the Italian Central Bank, and several Nazi organisations had their eyes on it: Himmler's SS, Göring's Four Year Plan, von Ribbentrop's Foreign Office, and Funk's Reichsbank. Even the Bank of International Settlements (BIS), which was worried about its investments in Italy, started making demands that Italy send it gold. Initially, the governor of the Italian bank, Vincenzo Azzolini, made out that he was offended by the idea, but he soon realised the BIS was a better option than Berlin, whichever Nazi department received it.The Italians did not know what to do. On the one hand, they did not want the Nazis to have their gold, but nor did they want the invading Allies to have it either. They thought of sending it to Sardinia, they thought of sending it to the Swiss border. They sent small amounts of gold to branch offices around Italy, but the Bologna gold went missing, as did much of the Milan gold - now supposedly in Turin, but actually hidden in a well. They even sent some to colonial outposts in Benghazi, Rhodes and Addis Ababa.The Albanian gold Italy had stolen was still sitting in the Italian bank's vault, so, under pressure from the Nazis, they sent that up to the Reichsbank in Berlin, while they tried to come up with a solution.The following day, Niccolò Introna, the Italian bank's deputy general manager, had his plan: to build a false wall in the bank's underground vaults. He would then backdate documents to show the gold had been moved to Potenza, a town in the Italian south that was about to fall into Allied hands, but hide the gold behind the wall.Bank governor Azzolini approved the plan, but then ruled that only half the gold should be hidden. The next day the wall was built. The day after that, the official order to ship the gold to Berlin came in from the German ambassador. If the bank did not agree, the Germans would simply seize it. At this point, Azzolini learned that the Germans had seized government records, from which they would know the size and location of the country's gold. Azzolini lost his nerve and had the wall torn down.The next day, the German military unit arrived at the bank with orders to move the gold north by air. Azzolini stalled them, saying it would be safer by train. The Germans sent 5 tonnes by air, the rest - 119 tonnes - was sent by train to Milan. From there, it was shipped to Fortezza, Bolzano, close to the border with Germany and under their control, where it stayed for several months. The now-ousted Mussolini even signed his approval that it be sent there.The following spring, Azzolini, who above all wanted to stop the gold going to Berlin, struck a deal with Swiss and German representatives that would see 26 tonnes sent to Switzerland, some to the BIS and some to the Swiss National Bank.Göring, however, insisted he needed money and suggested giving Italy Reichsmarks for its gold. The deal was signed without the Bank of Italy knowing about it. 50 tonnes left Fortezza, which included 8 tonnes Italy had stolen from Yugoslavia earlier in the war in "restitution" (that's another story). The delivery arrived in Berlin a tonne light. As almost always by this point in the war, someone had their hands in the till.The process of shipping the next batch of Italian gold - some 22 tonnes - went on for months, as some (but not all) Italian officials tried to stall. But eventually, that too was dispatched. That too arrived in Berlin a tonne light.When American forces eventually liberated Fortezza, they found 25 tonnes. It was handed over to the Bank of Italy.What a mess.Stories like this fill the pages of The Secret History of Gold (although this one didn't actually make the cut).The Secret History of Gold is available at Amazon, Waterstones and all good bookshops. I hear the audiobook, read by me, is excellent. And it would make a wonderful Christmas present! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.theflyingfrisby.com/subscribe

Nel 1933, quattordici anni prima del caso Roswell, in Italia si sarebbe schiantato un misterioso oggetto volante: l'UFO del Duce.Secondo alcuni documenti “segreti” emersi negli anni '90, Benito Mussolini e Guglielmo Marconi avrebbero addirittura istituito un comitato segreto (il Gabinetto RS/33) per studiare il relitto e i presunti “piloti non umani” trovati a bordo.Ma cosa c'è di vero in questa storia? È davvero accaduto o è solo una delle bufale più affascinanti del secolo?In questo video analizziamo l'intera leggenda dell'UFO fascista, ricostruendo i fatti storici, i documenti di Pinotti e Lissoni, e il contesto politico e scientifico dell'Italia di Mussolini.Vedremo cosa dicono le fonti ufficiali, le smentite del CISU e degli storici, e come questa vicenda si intreccia con miti come Roswell, Majestic-12 e la corsa agli UFO durante la Seconda Guerra Mondiale.

Angel Studios https://Angel.com/HermanJoin the Angel Guild today where you can stream Thank You, Dr. Fauci and be part of the conversation demanding truth and accountability.  Renue Healthcare https://Renue.Healthcare/ToddYour journey to a better life starts at Renue Healthcare. Visit https://Renue.Healthcare/Todd Bulwark Capital https://KnowYourRiskPodcast.comBe confident in your portfolio with Bulwark! Schedule your free Know Your Risk Portfolio review. Go to KnowYourRiskPodcast.com today. Alan's Soaps https://www.AlansArtisanSoaps.comUse coupon code TODD to save an additional 10% off the bundle price.Bonefrog https://BonefrogCoffee.com/ToddThe new GOLDEN AGE is here!  Use code TODD at checkout to receive 10% off your first purchase and 15% on subscriptions.LISTEN and SUBSCRIBE at:The Todd Herman Show - Podcast - Apple PodcastsThe Todd Herman Show | Podcast on SpotifyWATCH and SUBSCRIBE at: Todd Herman - The Todd Herman Show - YouTubeDavid French: a Hilarious Tragedy. // Netflix and the NY-Times are Incestuous Cousins. // The Inverse Gospel of “Progressive ‘Christianity'”Episode Links:Our Foremost Contrary Indicator Nails It AgainDavid French has some very serious mental issues all related to TDS. Here, he praised a judge's farcical decision banning President Trump from using the National Guard in Portland, Oregon. BREAKING: The No Kings “protest” in Portland is now a FULL-ON RIOT here outside of the ICE facility, and federal agents are UNLOADING tear gas on rioters who are assauIting agents. It's only 4pm, and “protestors” are ALREADY getting vioIent. WE NEED NATIONAL GUARD!Here's what the 9th Circuit Court of Appeals said about the decision (a PDF download) Drama series about Mussolini has him turn to the camera and say “Make Italy Great Again” in plain English. BREAKING - Video emerged showing Zohran Mamdani's lead canvassing director, Robert Alkleh, being asked what NYC police think of Mamdani, with Alkleh responding, “Who gives a sh-t what they think? They're city employees, we tell them what to do, shut up.”Rev. Ashley Mathews of Trinity Anglican Church of Atlanta, says people who DON'T hang out with LGBTQ people CAN'T understand John 15:13 and what Jesus meant when he said "Greater love has no one than this: to lay down his life for his friends"Arizona dad who left 2-year-old daughter to die in sweltering car was distracted by porn: prosecutors 

In this final instalment of the Fascism miniseries, Cameron and Ray trace how fascism didn't die after 1945 but simply changed its wardrobe. Once openly discredited, fascist ideology went underground, hiding behind anti-communism, Catholic conservatism, Cold War geopolitics, and the language of “law and order.” The pair outline how the same structural anxieties that fuelled Mussolini and Hitler found new hosts in post-war regimes like Franco's Spain and Salazar's Portugal, apartheid South Africa, Cold War dictatorships in Latin America, and today's far-right populists in Europe and the United States. They explore how neoliberalism, manufactured fear of socialism, weaponised Christianity, resentful middle-class voters, and billionaire backing continue to make fascism useful to the powerful. The conversation ends by drawing uncomfortable parallels between classical fascism and modern MAGA politics, arguing that America is not on the verge of fascism — it is living through it in a new, suited, media-savvy form. The post #142 – Fascism Goes Corporate appeared first on The BS Filter.

While he may have been called a demagogue and a counterfeit Mussolini, Huey Long had some darn tootin' good ideas—mainly taxing the rich into oblivion. Strange Country cohosts Beth and Kelly talk about Long's rise to populist power in the 1930s and the corruption in its wake, but also how much a 65% tax increase on the rich makes a whole lotta sense. Like Long said "We only propose that, when one man gets more than he and his children and children's children can spend or use in their lifetimes, that then we shall say that such person has his share. That means that a few million dollars is the limit to what any one man can own." Theme music: Big White Lie by A Cast of Thousands Cite your sources: Burns, Ken, director. Huey Long. PBS, 1985.   Ganz, John. "Swamp Creature." When the Clock Broke : Con Men, Conspiracists, and How America Cracked up in the Early 1990s, Farrar, Straus and Giroux, 2024, pp. 1-42.   "Governor Huey Long: Kidnapper." Medium, 21 November 2021, https://medium.com/historys-trainwrecks/governor-huey-long-kidnapper-52b69644141c. Accessed 15 November 2025.   Kolbert, Elizabeth. "The Big Sleazy." The New Yorker, The New Yorker, 12 June 2006, https://www.newyorker.com/magazine/2006/06/12/the-big-sleazy. Accessed 15 November 2025. White Jr., Lamar (April 2, 2018). "Huey P. Long wasn't assassinated"Bayou Brief. Archived from the original on June 9, 2020 White, Richard D. Kingfish : the Reign of Huey P. Long. Random House, 2006.

Você já parou pra pensar quem traduz os livros que você lê e como esse trabalho molda a forma como entende o mundo? Neste episódio, Lívia Mendes e Lidia Torres irão nos conduzir em uma viagem no tempo para entendermos como os textos gregos e latinos chegam até nós. Vamos descobrir por que traduzir é sempre também interpretar, criar e disputar sentidos. Conversamos com Andrea Kouklanakis, professora permanente na Hunter College, Nova York, EUA, e Guilherme Gontijo Flores, professor da Universidade Federal do Paraná. Eles compartilharam suas trajetórias no estudo de línguas antigas, seus desafios e descobertas com o mundo da tradução e as questões políticas, históricas e estéticas que a prática e as teorias da tradução abarcam. Esse episódio faz parte do trabalho de divulgação científica que a Lívia Mendes desenvolve no Centro de Estudos Clássicos e Centro de Teoria da Filologia, vinculados ao Instituto de Estudos da Linguagem e ao Instituto de Estudos Avançados da Unicamp, financiado pelo projeto Mídia Ciência da FAPESP, a quem agradecemos pelo financiamento. O roteiro foi escrito por Lívia Mendes e a revisão é de Lidia Torres e Mayra Trinca. A edição é de Daniel Rangel. Se você gosta de literatura, história, tradução ou quer entender novas formas de aproximar o passado do presente, esse episódio é pra você. __________________________________________________________________ ROTEIRO [música, bg] Lívia: Quem traduziu o livro que você está lendo? Lívia: E se você tivesse que aprender todas as línguas dos clássicos que deseja ler? Aqueles livros escritos em russo, alemão ou qualquer outra língua diferente da sua? Lívia: E aqueles livros das literaturas que foram escritas em línguas que chamamos antigas, como o latim e o grego? Lidia: A verdade é que, na maioria das vezes, a gente não pensa muito sobre essas questões. Mas, no Brasil, boa parte dos livros que lemos, tanto literários quanto teóricos, não chegaria até a gente se não fossem os tradutores. Lidia: Essas obras, que fazem parte de todo um legado social, filosófico e cultural da nossa sociedade, só chegaram até nós por causa do trabalho cuidadoso de pesquisadores e tradutores dessas línguas, que estão tão distantes, mas ao mesmo tempo, tão próximas de nós. [música de transição] Lívia: Eu sou a Lívia Mendes. Lidia: E eu sou a Lidia Torres. Lívia: Você já conhece a gente aqui do Oxigênio e no episódio de hoje vamos explorar como traduzimos, interpretamos e recebemos textos da Antiguidade greco-romana. Lidia: E, também vamos pensar por que essas obras ainda hoje mobilizam debates políticos, culturais e estéticos. Lívia: Vem com a gente explorar o mundo da antiguidade greco-romana que segue tão presente na atualidade, especialmente por meio da tradução dos seus textos. [vinheta O2] Andrea [1:05-2:12]: Então, meu nome é Andrea Kouklanakis e, eu sou brasileira, nasci no Brasil e morei lá até 21 anos quando eu emigrei para cá. Lívia: O “cá” da Andrea é nos Estados Unidos, país que ela se mudou ainda em 1980, então faz um tempo que ela mora fora do Brasil. Mas mesmo antes de se mudar, ela já tinha uma experiência com o inglês. Andrea Kouklanakis: Quando eu vim pra cá, eu não tinha terminado faculdade ainda, eu tinha feito um ano e meio, quase dois anos na PUC de São Paulo. Ah, e mas chegou uma hora que não deu mais para arcar com a responsabilidade financeira de matrícula da PUC, de mensalidades, então eu passei um tempo trabalhando só, dei aulas de inglês numa dessas escolas assim de business, inglês pra business people e que foi até legal, porque eu era novinha, acho que eu tinha 18, 19 anos e é interessante que todo mundo era mais velho que eu, né? Os homens de negócios, as mulheres de negócio lá, mas foi uma experiência legal e que também, apesar de eu não poder estar na faculdade daquela época, é uma experiência que condiz muito com o meu trabalho com línguas desde pequena. Lívia: Essa que você ouviu é a nossa primeira entrevistada no episódio de hoje, a professora Andrea Kouklanakis. Como ela falou ali na apresentação, ela se mudou ainda jovem pros Estados Unidos. Lidia: E, como faz muito tempo que ela se comunica somente em inglês, em alguns momentos ela acaba esquecendo as palavras em português e substitui por uma palavra do inglês. Então, a conversa com a Andrea já é um início pra nossa experimentação linguística neste episódio. Andrea Kouklanakis: Eu sou professora associada da Hunter College, que faz parte da cidade universitária de Nova York, City University of New York. E eles têm vários campus e a minha home college é aqui na Hunter College, em Manhattan. Eh, eu sou agora professora permanente aqui. Lívia: A professora Andrea, que conversou com a gente por vídeo chamada lá de Nova Iorque, contou que já era interessada por línguas desde pequena. A mãe dela trabalhava na casa de uma professora de línguas, com quem ela fez as primeiras aulas. E ela aprendeu também algumas palavras da língua materna do seu pai, que é grego e mais tarde, estudou francês e russo na escola. Lidia: Mas, além de todas essas línguas, hoje ela trabalha com Latim e Grego.Como será que essas línguas antigas entraram na vida da Andrea? Andrea Kouklanakis: Então, quando eu comecei aqui na Hunter College, eu comecei a fazer latim porque, bom, quando você tem uma língua natal sua, você é isenta do requerimento de línguas, que todo mundo tem que ter um requerimento de língua estrangeira na faculdade aqui. Então, quando eu comecei aqui, eu fiquei sabendo, que eu não precisava da língua, porque eu tinha o português. Mas, eu falei: “É, mas eu peguei pensando a língua é o que eu quero, né?” Então, foi super assim por acaso, que eu tava olhando no catálogo de cursos oferecidos. Aí eu pensei: “Ah, Latim, OK. Why not?. Por que não, né? Uma língua antiga, OK. Lívia: A professora Andrea, relembrando essa escolha por cursar as disciplinas de Latim, quando chegou na Hunter College, percebeu que ela gostou bastante das aulas por um motivo afetivo e familiar com a maneira com que ela tinha aprendido a língua portuguesa aqui no Brasil, que era diferente da forma como seus colegas estadunidenses tinham aprendido o inglês, sem muita conexão com a gramática. Lidia: Ela gostava de estudar sintaxe, orações subordinadas e todas essas regras gramaticais, que são muito importantes pra quem quer estudar uma língua antiga e mais pra frente a gente vai entender bem o porquê. [som de ícone] Lívia: sintaxe, é a parte da gramática que estuda como as palavras se organizam dentro das frases pra formar sentidos. Ela explica quem é o sujeito, o que é o verbo, quais termos completam ou modificam outros, e assim por diante. [som de ícone]: Lívia: Oração subordinada é uma frase que depende de outra para ter sentido completo. Ela não “anda sozinha”: precisa da oração principal pra formar o significado total. [música de transição] Lidia: E, agora, você deve estar se perguntando, será que todo mundo que resolve estudar língua antiga faz escolhas parecidas com a da professora Andrea? Lidia: É isso que a gente perguntou pro nosso próximo entrevistado. Guilherme Gontijo: Eu sou atualmente professor de latim na UFPR, no Paraná, moro em Curitiba. Mas, eu fiz a minha graduação em letras português na UFES, na Federal do Espírito Santo. E lá quando eu tive que fazer as disciplinas obrigatórias de latim, eu tinha que escolher uma língua complementar, eu lembro que eu peguei italiano porque eu estudava francês fora da universidade e eu tinha que estudar o latim obrigatório. Estudei latim com Raimundo Carvalho. Lívia: Bom, parece que o Guilherme teve uma trajetória parecida com a da Andrea e gostar de estudar línguas é uma das premissas pra se tornar um estudioso de latim e de grego. Lidia: O professor Raimundo de Carvalho, que o Guilherme citou, foi professor de Latim da Federal do Espírito Santo. Desde a década de 80 ele escreve poesias e é um importante estudioso da língua latina. Ele quem traduziu a obra Bucólicas, do Vírgílio, um importante poeta romano, o autor da Eneida, que talvez você já deva ter ouvido falar. O professor Raimundo se aposentou recentemente, mas segue trabalhando na tradução de Metamorfoses, de outro poeta romano, o Ovídio. Lívia: O Guilherme contou o privilégio que foi ter tido a oportunidade de ser orientado de perto pelo professor Raimundo. Guilherme Gontijo: Eu lembro que eu era um aluno bastante correto, assim, eu achava muito interessante aprender latim, mas eu estudei latim pensando que ele teria algum uso linguístico pras pessoas que estudam literatura brasileira. E quando ele levou Catulo pra traduzir, eu lembro de ficar enlouquecido, assim, foi incrível e foi a primeira vez na minha vida que eu percebi que eu poderia traduzir um texto de poema como um poema. E isso foi insistivo pra mim, eu não tinha lido teoria nenhuma sobre tradução. Lívia: Um episódio sobre literatura antiga traz esses nomes diferentes, e a gente vai comentando e explicando. O Catulo, que o Guilherme citou, foi um poeta romano do século I a.C.. Ele é conhecido por escrever odes, que são poemas líricos que expressam admiração, elogio ou reflexão sobre alguém, algo ou uma ideia. A obra do Catulo é marcada pelos poemas que ele dedicou a Lésbia, figura central de muitos dos seus versos. Guilherme Gontijo: Eu fiz as duas disciplinas obrigatórias de latim, que é toda a minha formação oficial de latim, acaba aí. E passei a frequentar a casa do Raimundo Carvalho semanalmente, às vezes duas vezes por semana, passava a tarde inteira tendo aula de latim com ele, lendo poetas romanos ou prosa romana e estudava em casa e ele tirava minhas dúvidas. Então, graças à generosidade do Raimundo, eu me tornei latinista e eu não tinha ideia que eu, ainda por cima, teria ali um mestre, porque ele é poeta, é tradutor de poesia. Lidia: Essa conexão com a língua latina fez o Guilherme nunca mais abandonar a tradução. Ele disse que era uma forma natural de conseguir conciliar o seu interesse intelectual acadêmico e o lado criativo, já que desde o início da graduação ele já era um aspirante a poeta. Lívia: É importante a gente lembrar que o Guilherme tem uma vasta carreira como autor, poeta e tradutor e já vamos aproveitar pra deixar algumas dicas dos livros autorais e dos autores que ele traduziu. Lívia: Guilherme é autor dos poemas de carvão :: capim (2018), Todos os nomes que talvez tivéssemos (2020), Arcano 13 em parceria com Marcelo Ariel. Ele também escreveu o romance História de Joia (2019) e os livros de ensaios Algo infiel: corpo performance tradução (2017) em parceria com Rodrigo Gonçalves e A mulher ventriloquada: o limite da linguagem em Arquíloco (2018). Se aventurou pelo infanto-juvenil com os livros A Mancha (2020) e o Coestelário (2021), ambos em parceria com Daniel Kondo. E traduziu autores como Safo, Propércio, Catulo, Horácio, Rabelais e Whitman. Lidia: Os poetas Rabelais e Whitman são autores modernos, viveram nos séculos XVI e XIX, já os outros poetas são da antiguidade romana, aquele período aproximadamente entre o século IV a.C. e o século V d.C. Lívia: Então, o Guilherme traduz tanto textos de línguas modernas quanto de línguas antigas. E, a gente perguntou pra ele se existe alguma diferença no trabalho do tradutor quando vai traduzir um texto de uma língua moderna, que está mais próxima de nós no tempo, e quando vai traduzir do latim ou do grego, que são línguas mais distantes temporalmente. Lívia: O Guilherme falou que quando ele vai traduzir de uma língua moderna pra outra língua moderna existem duas possibilidades: traduzir diacronicamente, que é quando o tradutor escreve o texto na língua produzida como se fosse da época mesmo que ele foi escrito. E a outra possibilidade é traduzir deslocando o autor temporalmente, e fazendo a linguagem do texto conversar com a linguagem contemporânea. Lidia: Pode parecer um pouco confuso de início, mas ouve só o exemplo do Guilherme da experiência de tradução que ele teve com o Rimbaud, que é um autor francês. Guilherme Gontijo: Por exemplo, fui traduzir Rimbaud, o Rimbaud do século XIX. Quando eu vou traduzir, eu posso tentar traduzir pensando diacronicamente e aí eu vou tentar traduzir o Rimbaud pra ele parecer um poeta do século XIX em português. E aí eu vou dar essa sensação de espaço temporal pro leitor contemporâneo agora. É, o Guilherme de Almeida fez um experimento genial assim, traduzindo o poeta francês François Villon para uma espécie de pastiche de galego-português, botando a linha temporal de modo que é isso, Villon é difícil para um francês ler hoje, que a língua francesa já sofreu tanta alteração que muitas vezes eles leem numa espécie de edição bilíngue, francês antigo, francês moderno. A gente também tem um pouco essa dificuldade com o galego-português, que é a língua literária da Península ali pra gente, né? Ah, então essa é uma abordagem. Outra abordagem, eu acho que a gente faz com muito menos frequência, é tentar deslocar a relação da temporalidade, ou seja, traduzir Rimbaud, não para produzir um equivalente do Rimbaud, século XIX no Brasil, mas pra talvez criar o efeito que ele poderia criar nos seus contemporâneos imediatos. Lívia: Ou seja, a ideia aqui seria escrever um texto da maneira como se escreve hoje em dia, meio que transpondo a história no tempo. Lidia: Pra quem não conhece, fica aqui mais uma dica de leitura: o poeta francês Arthur Rimbaud, que o Guilherme citou, viveu entre 1854 e 1891 e escreveu quase toda sua obra ainda adolescente. Ele renovou a poesia moderna com imagens ousadas, experimentação formal e uma vida marcada pela rebeldia. Abandonou a literatura muito jovem e passou o resto da vida viajando e trabalhando na África. Lívia: Mas, e pra traduzir da língua antiga, será que esse dois caminhos também são possíveis? Guilherme Gontijo: Quando eu vou traduzir do latim, por exemplo, eu não tenho esse equivalente. Não existe o português equivalente de Propércio. O português equivalente de Propércio como língua literária é o próprio latim. Lívia: Ou seja, o que o Guilherme quis dizer é que não existe uma possibilidade de traduzir um texto latino como ele soava na antiguidade, porque o latim é a língua que originou as línguas modernas latinas, e a língua portuguesa é uma delas, junto com o espanhol, o francês e o italiano. Lidia: Mas, o que pode acontecer é uma classicização dos textos antigos e o Guilherme enfatizou que acontece muito nas traduções que a gente tem disponível do latim pro português. A classicização, nesses casos, é traduzir os textos da antiguidade com o português do século XVIII ou XIX, transformando esses textos em clássicos também pra nós. Guilherme Gontijo:Curiosamente, a gente, quando estuda os clássicos, a gente sempre fala: “Não, mas isso é moderno demais. Será que ele falaria assim?” Acho curioso, quando, na verdade, a gente vendo que os clássicos tão falando sobre literatura, eles parecem não ter esses pudores. Aliás, eles são bem menos arqueológicos ou museológicos do que nós. Eles derrubavam um templo e botavam outro templo em cima sem pensar duas vezes enquanto nós temos muito mais pudores. Então, a minha abordagem atual de traduzir os clássicos é muito tentar usar as possibilidades do português brasileiro, isso é muito marcado pra mim, uma das variedades do português brasileiro, que é a minha, né? De modo ativo. Lívia: Só pra dar um exemplo do que faz a língua soar clássica, seria o uso do pronome “tu” ao invés de “você”, ou, os pronomes oblíquos como “eu te disse” ou “eu te amo”, porque ninguém fala “eu lhe amo” no dia a dia. Lidia: E esse é justamente o ponto quando a gente fala de tradução do texto antigo. Eles não vão ter um equivalente, e a gente não tem como traduzir por algo da mesma época. Guilherme Gontijo: Então, a gente precisa fazer um exercício especulativo, experimental, pra imaginar os possíveis efeitos daqueles textos no seu mundo de partida, né? A gente nunca vai saber o sabor exato de um texto grego ou romano, porque por mais que a gente tenha dicionário e gramática, a gente não tem o afeto, aquele afeto minucioso da língua que a gente tem na nossa. Lívia: Essas questões de escolhas de tradução, que podem aproximar ou afastar a língua da qual vai se traduzir pra língua que será traduzida se aproximam das questões sociais e políticas que são intrínsecas à linguagem. [música de transição] Lidia: Assim como qualquer outro texto, os escritos em latim ou grego nunca serão neutros. Mesmo fazendo parte de um mundo tão distante da gente, eles reproduzem projetos políticos e identitários tanto da antiguidade quanto dos atuais. Andrea Kouklanakis: Eu acho que esse aspecto político e histórico dos estudos clássicos é interessante porque é uma coisa quando você tá fazendo faculdade, quando eu fiz pelo menos, a gente não tinha muita ideia, né? Você tava completamente sempre perdida no nível microscópico da gramática, né? De tentar a tradução, essas coisas, você tá só, completamente submersa nos seus livros, no seu trabalho de aula em aula, tentando sobreviver ao Cícero. Lívia: Como a Andrea explicou, os estudos que chamamos de filológicos, soam como uma ciência objetiva. Eles tentam achar a gênese de um texto correto, como uma origem e acabam transformando os estudos clássicos em um modelo de programa de império ou de colonização. Andrea Kouklanakis: Então, por exemplo, agora quando eu dou aula sobre o legado dos estudos clássicos na América Latina Agora eu sei disso, então com os meus alunos a gente lê vários textos primários, né, e secundários, que envolvem discurso de construção de nação, de construção de império, de construção do outro, que são tecidos com os discursos clássicos, né, que é essa constante volta a Atenas, a Roma, é, o prestígio dos estudos clássicos, né? Então, a minha pesquisa se desenvolveu nesse sentido de como que esses latino afro brasileiros, esses escritores de várias áreas, como que eles lidaram na evolução intelectual deles, na história intelectual deles, como que eles lidaram com um ramo de conhecimento que é o centro do prestígio. Eles mesmo incorporando a falta de prestígio completa. O próprio corpo deles significa ausência total de prestígio e como que eles então interagem com uma área que é o centro do prestígio, sabe? Lidia: Então, como você percebeu, a Andrea investiga como os escritores afro-latino-americanos negociaram essa tradição clássica, símbolo máximo de prestígio, com suas histórias incorporadas a um lugar sem prestígio, marcadas em seus corpos pelo tom de pele. Lívia: Esse exercício que a professora Andrea tem feito com seus alunos na Hunter College tem sido uma prática cada vez mais presente nos Estudos Clássicos da América Latina e aqui no Brasil. É um exercício de colocar um olhar crítico pro mundo antigo e não apenas como uma forma de simplesmente celebrar uma antiguidade hierarquicamente superior a nós e a nossa história. Lidia: Nesse ponto, é importante a gente pontuar que a professora Andrea fala de um lugar muito particular, porque ela é uma mulher negra, brasileira, atuando em uma universidade nos Estados Unidos e em uma área de estudos historicamente tradicional. Lívia: Ela relatou pra gente um pouco da sua experiência como uma das primeiras mulheres negras a se doutorar em Estudos Clássicos em Harvard. Andrea Kouklanakis: Eu também não queria deixar de dizer que, politicamente, o meu entendimento como classista foi mais ou menos imposto de fora pra mim, sobre mim como uma mulher de cor nos estudos clássicos, porque eu estava exatamente na década de final de 90, meio final de 90, quando eu comecei a fazer os estudos clássicos na Harvard e foi coincidentemente ali quando também saiu, acho que o segundo ou terceiro volume do Black Athena, do Bernal. E, infelizmente, então, coincidiu com eu estar lá, né? Fazendo o meu doutorado nessa época. E na época existiam esses chat rooms, você podia entrar no computador e é uma coisa estranha, as pessoas interagiam ali, né? O nível de antipatia e posso até dizer ódio mesmo que muitas pessoas expressavam pela ideia de que poderia existir uma conexão entre a Grécia e a África, sabe? A mera ideia. Era uma coisa tão forte sabe, eu não tinha a experiência ou a preparação psicológica de receber esse tipo de resposta que era com tantos ânimos, sabe? Lidia: Com esse relato, a professora Andrea revelou pra gente como o preconceito com a população negra é tão explícita nos Estados Unidos e como ela, mesmo tendo passado a infância e a adolescência no Brasil, sentiu mais os impactos disso por lá. Lívia: Mas, fora o preconceito racial, historicamente construído pelas nossas raízes de colonização e escravização da população negra, como estudiosa de Estudos Clássicos, foi nessa época que a Andrea percebeu que existia esse tipo de discussão e que ainda não estava sendo apresentada pra ela na faculdade. Andrea Kouklanakis: Depois que eu me formei, eu entrei em contato com a mulher que era diretora de admissão de alunos e ela confirmou pra mim que é eu acho que eu sou a primeira pessoa de cor a ter um doutorado da Harvard nos Estudos Clássicos. E eu acho que mesmo que eu não seja a primeira pessoa de cor fazendo doutorado lá, provavelmente eu sou a primeira mulher de cor. Lidia: Vamos destacar agora, alguns pontos significativos do relato da professora Andrea. [som de ícone] Lívia: O livro que ela citou é o Black Athena, do estudioso de história política Martin Bernal. A teoria criada pelo autor afirmava que a civilização clássica grega na realidade se originou de culturas da região do Crescente Fértil, Egito, Fenícia e Mesopotâmia, ao invés de ter surgido de forma completamente independente, como tradicionalmente é colocado pelos historiadores germânicos. [som de ícone] Lívia: Ao propor uma hipótese alternativa sobre as origens da Grécia antiga e da civilização clássica, o livro fomentou discussões relevantes nos estudos da área, gerando controvérsias científicas, ideológicas e raciais. [som de ícone] Lidia: Em contrapartida às concepções racistas vinda de pesquisadores, historiadores e classicistas conservadores, a professora Andrea citou também um aluno negro de Harvard, o historiador e classicista Frank Snowden Jr.. [som de ícone] Lívia: Entre seus diversos estudos sobre a relação de brancos e negros na antiguidade, está o livro Before Color Prejudice: The Ancient View of Black, em português, Antes do Preconceito Racial: A Visão Antiga dos Negros. Um aprofundamento de suas investigações sobre as relações entre africanos e as civilizações clássicas de Roma e da Grécia e demonstra que os antigos não discriminavam os negros por causa de sua cor. [som de ícone] Lidia: O livro lança luz pra um debate importantíssimo, que é a diferença de atitudes dos brancos em relação aos negros nas sociedades antigas e modernas, além de observar que muitas das representações artísticas desses povos se assemelham aos afro-americanos da atualidade. Andrea Kouklanakis: Mas, então é isso, então essa coisa política é uma coisa que foi imposta, mas a imposição foi até legal porque aí me levou a conhecer e descobrir e pesquisar essa área inteira, que agora é uma coisa que eu me dedico muito, que é olhar qual que é a implicação dos estudos clássicos na política, na raça, na história e continuando dando as minhas aulas e traduzindo, fazendo tradução, eu adoro tradução, então, esse aspecto do estudo clássico, eu sempre gostei. [música de transição] Lívia: O Guilherme também falou pra gente sobre essa questão política e histórica dos Estudos Clássicos, de que ficar olhando pro passado como objeto desvinculado, nos impede de poder articular essas discussões com a política do presente. Guilherme Gontijo: E acho que o resultado quando a gente faz isso é muitas vezes colocar os clássicos como defensores do status quo, que é o que o um certo império brasileiro fez no período de Dom Pedro, é o que Mussolini fez também. Quer dizer, vira propaganda de estado. Lidia: Mas, ao contrário, quando a gente usa os clássicos pra pensar as angústias do presente, a gente percebe que é uma área de estudos que pode ser super relevante e super viva pra qualquer conversa do presente. Lívia: E, na tradução e na recepção desses textos antigos, como será que essas questões aparecem? O Guilherme deu um exemplo pra gente, de uma tradução que ele fez do poeta romano Horácio. [som de ícone] Lidia: Horácio foi um poeta romano do século I a.C., famoso por escrever poesias nos formatos de Odes, Sátiras e Epístolas, e defendia a ideia do “justo meio” — evitar excessos e buscar a medida certa na vida. Guilherme Gontijo: Tô lembrando aqui de uma ode de Horácio, acho que esse exemplo vai ser bom. Em que ele termina o poema oferecendo um vai matar um cabrito pra uma fonte, vai oferendar um cabrito para uma fonte. E quando eu tava traduzindo, vários comentadores lembravam de como essa imagem chocou violentamente o século XIX na recepção. Os comentadores sempre assim: “Como assim, Horácio, um homem tão refinado vai fazer um ato tão brutal, tão irracional?” Quer dizer, isso diz muito mais sobre a recepção do XIX e do começo do XX, do que sobre Horácio. Porque, assim, é óbvio que Horácio sacrificaria um cabrito para uma fonte. E nisso, ele não está escapando em nada do resto da sua cultura. Agora, é curioso como, por exemplo, o nosso modelo estatal coloca a área de clássicas no centro, por exemplo, dos cursos de Letras, mas acha que práticas do Candomblé, que são análogas, por exemplo, você pode oferecer animais para divindades ou mesmo para águas, seriam práticas não não não racionais ou não razoáveis ou sujas ou qualquer coisa do tipo, como quiserem. Né? Então, eu acho que a gente pode e esse é o nosso lugar, talvez seja nossa missão mesmo. Lívia: Como o Guilherme explicou, nós no Brasil e na América Latina temos influência do Atlântico Negro, das línguas bantas, do candomblé, da umbanda e temos um aporte, tanto teórico quanto afetivo, pra pensar os clássicos, a partir dessas tradições tão próximas, que a própria tradição europeia tem que fazer um esforço gigantesco pra chegar perto, enquanto pra gente é natural. Lidia: E não podemos nos esquecer também da nossa convivência com várias etnias indígenas, que possuem comparações muito fortes entre essas culturas. Guilherme Gontijo: Eu diria, eu entendo muito melhor o sentido de um hino arcaico, grego, ouvindo uma cantiga de terreiro no Brasil, do que só comparando com literatura. Eu acho que é relevante para a área de clássicas, não é uma mera curiosidade, sabe? Então, eu tenho cada vez mais lido gregos e romanos à luz da antropologia moderna, contemporaneíssima, sabe? Eu acho que muitos frutos aparecem de modo mais exemplar ou mais óbvio quando a gente faz essa comparação, porque a gente aí tira de fato os clássicos do lugar de clássicos que lhes é dado. [música de transição] Lívia: Pra além dessas discussões teóricas e políticas, a tradução é também um ato estético e existem algumas formas de repensar a presença da poesia antiga no mundo contemporâneo a partir de uma estética aplicada na linguagem e nos modos de traduzir. Lidia: No caso do Guilherme, ele vem trabalhando há um tempo com a tradução como performance. Guilherme Gontijo: E aí eu pensei: “Não, eu poderia traduzir Horácio para cantar”. Eu vou aprender a cantar esses metros antigos e vou cantar a tradução na mesmíssima melodia. Quer dizer, ao invés de eu pensar em metro no sentido do papel, eu vou pensar em metro no sentido de uma vocalidade. E foi isso que eu fiz. Foi o meu o meu doutorado, isso acabou rendendo a tradução de Safo. Lívia: Além das traduções publicadas em livros e artigos, o Guilherme também coloca essas performances na rua com o grupo Pecora Loca, que desde 2015 se propõe a fazer performances de poemas antigos, medievais e, às vezes, modernos, como um modo de ação poética. Lidia: Inclusive a trilha sonora que você ouviu ali no início deste trecho é uma das performances realizada pelo grupo, nesse caso do poema da Ode 34 de Horácio, com tradução do próprio Guilherme e música de Guilherme Bernardes, que o grupo gentilmente nos passou. Guilherme Gontijo: Isso pra mim foi um aprendizado teórico também muito grande, porque você percebe que um poema vocal, ele demanda pra valorizar a sua ou valorar a sua qualidade, também a performance. Quer dizer, o poema não é só um texto no papel, mas ele depende de quem canta, como canta, qual instrumento canta. Lívia: O Guilherme explicou que no início eles usavam instrumentos antigos como tímpano, címbalo, lira e até uma espécie de aulos. Mas, como, na verdade, não temos informações precisas sobre como era a musicalidade antiga, eles resolveram afirmar o anacronismo e a forma síncrona de poesia e performance, e, atualmente, incorporaram instrumentos modernos ao grupo como a guitarra elétrica, o baixo elétrico, o teclado e a bateria. Guilherme Gontijo: Então, a gente tem feito isso e eu acho que tem um gesto político, porque é muito curioso que a gente vai tocar num bar e às vezes tem alguém desavisado e gosta de Anacreonte. Olha, caramba, adorei Anacreonte. É, é, e ela percebe que Anacreonte, ela ouviu a letra e a letra é basicamente: “Traga um vinho para mim que eu quero encher a cara”. Então ela percebe que poesia antiga não é algo elevado, para poucos eleitos capazes de depreender a profundidade do saber grego. Ó, Anacreonte é poema de farra. Lidia: A partir da performance as pessoas se sentem autorizadas a tomar posse dessa herança cultural e a se relacionar com ela. O que cria uma forma de divulgar e difundir os Estudos Clássicos a partir de uma relação íntima, que é a linguagem musical. Guilherme Gontijo: E a experiência mais forte que eu tive nisso, ela é do passado e foi com o Guilherme Bernardes. Lembro que dei uma aula e mostrei a melodia do Carpe Diem, do Horácio. Da Ode. E tava lá mostrando o poema, sendo bem técnico ali, como é que explica o metro, como é que põe uma melodia, etc, etc. E uns três dias depois ele me mandou uma gravação que ele fez no Garage Band, totalmente sintética. De uma versão só instrumental, quer dizer, o que ele mais curtiu foi a melodia. E a gente às vezes esquece disso, quer dizer, um aspecto da poesia arcaica ou da poesia oral antiga romana é que alguém poderia adorar a melodia e nem prestar tanta atenção na letra. E que continuariam dizendo: “É um grande poeta”. Eu senti uma glória quando eu pensei: “Caraca, um asclepiadeu maior tocou uma pessoa como melodia”. A pessoa nem se preocupou tanto que é o poema do Carpe Diem, mas a melodia do asclepiadeu maior. [som de ícone] Lívia: Só por curiosidade, “asclepiadeu maior” é um tipo de verso poético greco-latino composto por um espondeu, dois coriambos e um iambo. Você não precisa saber como funcionam esses versos na teoria. Essa forma poética foi criada pelo poeta lírico grego Asclepíades de Samos, que viveu no século III a.C., por isso o nome, o mais importante é que foi o verso utilizado por Horácio em muitas de suas odes. [música de transição] Lidia: Agora, já encaminhando para o final do nosso episódio, não podemos ir embora sem falar sobre o trabalho de recepção e tradução realizado pela professora Andrea, lá na Hunter College, nos EUA. Lívia: Além do seu projeto sobre a presença dos clássicos nas obras de escritores afro-latino-americanos, com foco especial no Brasil, de autores como Lima Barreto, Luís Gama, Juliano Moreira e Auta de Sousa. A professora também publicou o livro Reis Imperfeitos: Pretendentes na Odisseia, Poética da Culpa e Sátira Irlandesa, pela Harvard University Press, em 2023, e as suas pesquisas abarcam a poesia homérica, a poética comparada e as teorias da tradução. Lidia: A professora Andrea faz um exercício muito importante de tradução de autores negros brasileiros pro inglês, não somente das obras literárias, mas também de seus pensamentos teóricos, pra que esses pensamentos sejam conhecidos fora do Brasil e alcance um público maior. Lívia: E é muito interessante como a relação com os estudos da tradução pra professora Andrea também tocam em um lugar muito íntimo e pessoal, assim como foi pro Guilherme nas suas traduções em performances. Lidia: E ela contou pra gente um pouco dessa história. Andrea Kouklanakis: Antes de falar da língua, é eu vou falar que, quando eu vejo a biografia deles, especialmente quando eu passei bastante tempo com o Luiz Gama. O que eu achei incrível é o nível de familiaridade de entendimento que eu tive da vida corriqueira deles. Por exemplo, Cruz e Souza, né? A família dele morava no fundo lá da casa, né? Esse tipo de coisa assim. O Luiz Gama também quando ele fala do aluno lá que estava na casa quando ele foi escravizado por um tempo, quando ele era criança, o cara que escravizou ele tinha basicamente uma pensão pra estudantes, que estavam fazendo advocacia, essas coisas, então na casa tinham residentes e um deles ensinou ele a ler, a escrever. O que eu achei interessantíssimo é que eu estou há 100 anos separada desse povo, mas a dinâmica social foi completamente familiar pra mim, né? A minha mãe, como eu te falei, ela sempre foi empregada doméstica, ela já se aposentou há muito tempo, mas a vida dela toda inteira ela trabalhou como empregada doméstica. E pra mim foi muito interessante ver como que as coisas não tinham mudado muito entre a infância de alguém como Cruz e Souza e a minha infância, né? Obviamente ninguém me adotou, nada disso, mas eu passei muito tempo dentro da casa de família. que era gente que tinha muito interesse em ajudar a gente, em dar, como se diz, a scholarship, né? O lugar que a minha mãe trabalhou mais tempo assim, continuamente por 10 anos, foi, aliás, na casa do ex-reitor da USP, na década de 70 e 80, o Dr. Orlando Marques de Paiva. Lívia: Ao contar essa história tão íntima, a Andrea explicou como ela tenta passar essa coincidência de vivências, separada por cem anos ou mais no tempo, mas que, apesar de todo avanço na luta contra desigualdades raciais, ainda hoje refletem na sua memória e ainda são muito estáticas. Lidia: Essa memória reflete na linguagem, porque, como ela explicou, esses autores utilizam muitas palavras que a gente não usa mais, porque são palavras lá do século XVIII e XIX, mas o contexto chega pra ela de uma forma muito íntima e ainda viva, por ela ter vivenciado essas questões. Andrea Kouklanakis: Eu não sou poeta, mas eu tô dando uma de poeta, sabe? E quando eu percebo que tem algum estilo assim, a Auta de vez em quando tem um certo estilo assim, ambrósia, não sei do quê, sabe? Eu sei que ela está querendo dizer perfume, não sei o quê, eu não vou mudar, especialmente palavras, porque eu também estou vindo da minha perspectiva é de quem sabe grego e latim, eu também estou interessada em palavras que são em português, mas são gregas. Então, eu preservo, sabe? Lívia: Então, pra Andrea, no seu trabalho tradutório ela procura mesclar essas duas questões, a sua relação íntima com os textos e também a sua formação como classicista, que pensa a etimologia das palavras e convive com essa multiplicidade de línguas e culturas, caminhando entre o grego, o latim, o inglês e o português. [música de transição] [bg] Lidia: Ao ouvir nossos convidados de hoje, a Andrea Koclanakis e o Guilherme Gontijo Flores, percebemos que traduzir textos clássicos é muito mais do que passar palavras de uma língua pra outra. É atravessar disputas políticas, revisitar o passado com olhos do presente, reconstruir memórias coloniais e imaginar novos modos de convivência com as tradições antigas. Lívia: A tradução é pesquisa, criação, crítica e também pode ser transformação. Agradecemos aos entrevistados e a você que nos acompanhou até aqui! [música de transição] [créditos] Livia: O roteiro desse episódio foi escrito por mim, Lívia Mendes, que também fiz a locução junto com a Lidia Torres. Lidia: A revisão foi feita por mim, Lidia Torres e pela Mayra Trinca. Lidia: Esse episódio faz parte do trabalho de divulgação científica que a Lívia Mendes desenvolve no Centro de Estudos Clássicos e Centro de Teoria da Filologia, vinculados ao Instituto de Estudos da Linguagem e ao Instituto de Estudos Avançados da Unicamp, financiado pelo projeto Mídia Ciência da FAPESP, a quem agradecemos pelo financiamento. Lívia: Os trabalhos técnicos são de Daniel Rangel. A trilha sonora é de Kevin MacLeod e também gentilmente cedida pelo grupo Pecora Loca. A vinheta do Oxigênio foi produzida pelo Elias Mendez. Lidia: O Oxigênio conta com apoio da Secretaria Executiva de Comunicação da Unicamp. Você encontra a gente no site oxigenio.comciencia.br, no Instagram e no Facebook, basta procurar por Oxigênio Podcast. Lívia: Pra quem chegou até aqui, tomara que você tenha curtido passear pelo mundo da antiguidade greco-romana e entender um pouco de como os textos antigos chegam até nós pela recepção e tradução. Você pode deixar um comentário, na sua plataforma de áudio favorita, contando o que achou. A gente vai adorar te ver por lá! Até mais e nos encontramos no próximo episódio. [vinheta final]

Miguel Ángel González Suárez te presenta el Informativo de Primera Hora en 'El Remate', el programa matinal de La Diez Capital Radio que arranca tu día con: Las noticias más relevantes de Canarias, España y el mundo, analizadas con rigor y claridad. Miguel Ángel González Suárez te presenta el Informativo de Primera Hora en 'El Remate', el programa matinal de La Diez Capital Radio que arranca tu día con: Las noticias más relevantes de Canarias, España y el mundo, analizadas con rigor y claridad. Hoy hace un año: El PP cree que Sánchez debería dimitir en el Congreso del PSOE tras las acusaciones de Aldama. Hoy se cumplen 1.382 días del cruel ataque e invasión de Rusia a Ucrania. 3 años y 272 días. Hoy es martes 25 de noviembre de 2025. Día Internacional para la Eliminación de la Violencia contra la Mujer. El 25 de noviembre se celebra el Día Internacional para la Eliminación de la Violencia contra la Mujer, para visibilizar la violencia contra las mujeres y niñas a nivel mundial y trabajar para su prevención y erradicación. Se pretende implicar a todos los países del mundo para que desarrollen políticas para la erradicación de la violencia de género, así como, paralelamente, ofrecer apoyo y generar conciencia sobre la estigmatización y la vergüenza que sufren las víctimas. 1915: En Berlín (Alemania), el físico Albert Einstein presenta ante la Academia Prusiana de las Ciencias su teoría de la relatividad general. 1922: En Italia, Benito Mussolini, primer ministro del nuevo Gobierno de coalición, recibe plenos poderes del Parlamento italiano. 1959: En La Habana (Cuba), el comandante Ernesto Che Guevara es designado presidente del Banco Nacional de Cuba. Tal día como hoy, 25 de noviembre de 1963, un golpe militar apoyado por el ejército, la marina y la fuerza aérea depone al gobierno de Grecia encabezado por el presidente George Papadopoulos. El golpe fue un asunto incruento y contó con el apoyo de la mayoría de los griegos, ya que Papadopoulos era odiado por la población en general debido a la represión y brutalidad de su régimen. 1982.- Apertura de las primeras Cortes españolas de mayoría socialista. 1986: La UNESCO declara Patrimonio de la Humanidad las ciudades de Toledo y Cáceres, el conjunto monumental mudéjar de Teruel y el Parque nacional de Garajonay. 1999: En la ciudad de Miami (Estados Unidos), el niño cubano Elián González es rescatado tras perder a su madre y otras personas al naufragar la lancha en que huían hacia el estado de Florida; en los meses siguientes este caso se convirtió en una crisis diplomática. Años más tarde, el 25 de noviembre de 2001 se informó que Osama Bin Laden se escondía en el área de Jalalabad (este de Afganistán). Al menos una fuente también reveló que Bin Laden supuestamente había estado viajando a caballo durante las horas de la noche. 2009: La Infanta Elena y Jaime de Marichalar acuerdan el divorcio de su matrimonio. Santoral: Erasmo, Pedro, Moisés, Gonzalo, Beatriz y Catalina. Zelenski dice que Putin busca reconocimiento legal para el territorio "robado" y Rusia rechaza cambios al plan de Trump. Negociación ruso-ucraniana: la UE exige "plena participación" en las sanciones y activos rusos. EE.UU. designa como terrorista al Cartel de los Soles con Maduro al frente en pleno despliegue militar en el Caribe. El Gobierno respeta la renuncia del fiscal general y critica el fallo "anómalo" del Supremo por no tener unanimidad. El PP tacha la renuncia de García Ortiz de "dimisión obligada" y pide un fiscal general "sin degradación sanchista" Arranca el juicio a los Pujol: las claves de un procedimiento histórico que sentará a toda la familia en el banquillo. El 35% de los ciudadanos españoles guarda más ahorros en efectivo que antes del apagón. Torres dice que la decisión de García Ortiz de dimitir “es personal” y cree en la “inocencia” del fiscal. Después de que fuera condenado por el Tribunal Supremo a dos años de inhabilitación para el cargo por un delito de revelación de secretos. CC y PP avalan a César Toledo como administrador de RTVC y la oposición recuerda que grabó a compañeros sin consentimiento y que entra “por la puerta de atrás” La Comisión de Control del ente respalda su nombramiento con la oposición de Nueva Canarias y el PSOE y la abstención de Vox. Nira Fierro señala que llega propuesto como “comisario político” por Clavijo y recordó la frase del presidente, que dijo que “la Televisión es del Gobierno de Canarias” La ULPGC, la mejor de España en turismo y oceanografía, según la Lista Shangai. La institución figura en el puesto 34, lo que supone una mejora con respecto a 2024, cuando figuraba en el 35. Llegan a Canarias más de 500 personas en cuatro cayucos en las últimas 24 horas, entre ellas 62 menores. Este pasado domingo, Salvamento Marítimo rescató a 260 migrantes de origen subsahariano, entre los que habían 57 menores de edad. Ya el lunes, entre las embarcaciones auxiliadas, hay cinco menores. Un 25 de noviembre de 1955 nacía José Ramón Martínez, Ramoncín. Cantante.

L'idée peut sembler absurde aujourd'hui : dans les années 1930, Benito Mussolini ordonne de redresser la tour de Pise. Oui, cette tour mondialement célèbre justement parce qu'elle penche depuis le Moyen Âge. Pourtant, pour le dictateur fasciste, ce geste n'avait rien d'anecdotique : il relevait de sa vision politique, idéologique et propagandiste de l'Italie.Pour comprendre cette décision, il faut d'abord se rappeler que Mussolini voulait bâtir une image d'une Italie forte, moderne et disciplinée, coupée des faiblesses supposées du passé. Dans cette logique, tout ce qui semblait imparfait, fragile ou « dégénéré » devait être corrigé ou éliminé. Pour lui, la tour de Pise, monument mondialement connu, représentait une gêne : sa position inclinée passait pour un symbole de déséquilibre, presque de décadence. Il fallait donc, selon Mussolini, la remettre dans l'axe… pour remettre l'Italie dans l'axe.À cette motivation idéologique s'ajoute la propagande. Le régime fasciste utilisait les grands chantiers comme manifestations spectaculaires de sa puissance. Redresser la tour de Pise aurait constitué un exploit technique, une preuve que l'Italie fasciste pouvait accomplir ce que personne n'avait osé tenter depuis sept siècles. Mussolini espérait ainsi offrir au monde une démonstration éclatante de la supériorité de son régime, à une époque où les dictatures rivalisaient de symboles.En 1934, les travaux commencent. Le plan est simple en théorie : injecter du ciment sous la base de la tour pour stabiliser le sol. Résultat ? Une catastrophe. L'opération aggrave l'inclinaison au lieu de la réduire, fragilisant dangereusement la structure. Les ingénieurs prennent peur : la tour risque littéralement de s'effondrer. On arrête tout, et l'affaire est discrètement mise sous silence.Cet épisode révèle un aspect essentiel du fascisme : la volonté constante de remodeler le réel pour qu'il corresponde à un récit idéologique, quitte à maltraiter l'histoire, la science ou le patrimoine. La tour de Pise, chef-d'œuvre médiéval, n'était pas pour Mussolini un héritage à préserver, mais un instrument de communication. Sa singularité millénaire importait moins que son potentiel propagandiste.Ironie de l'histoire, ce que Mussolini percevait comme un défaut – l'inclinaison – est aujourd'hui la raison même pour laquelle la tour est connue dans le monde entier. Le « problème » que le dictateur voulait effacer est devenu l'un des symboles les plus aimés de l'Italie… un monument qui a survécu, là où son régime, lui, s'est effondré. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Sonja Koppitz, Judith Werner www.deutschlandfunkkultur.de, Plus Eins

En 1936, l'Espagne est profondément divisée par la victoire aux élections du Front Populaire. Le gouvernement de gauche est visé par un coup d'Etat de généraux conservateurs. Parmi eux se trouve Franco. Après avoir pris la tête des troupes basées au Maroc, il a besoin d'avions pour faire passer ses hommes en Espagne. Hitler et Mussolini se chargent de les lui fournir. Ce sont les débuts de la guerre civile. Les troupes de Franco, désormais leader des généraux rebelles, multiplient les exactions.En nouveau chef suprême, Franco commence à diffuser son image et à mettre en place le culte de sa personnalité. La victoire sur les Républicains est pourtant loin d'être acquise. La guerre civile s'achève en 1939. L'Espagne est franquiste, mais l'Europe bascule la même année dans la Seconde Guerre mondiale. Franco reste à l'écart, trop attaché à son rêve de restaurer la grandeur de l'Espagne. Au retour à la paix, Franco est certes toujours là, mais, muré dans le passé, le pays sombre dans la pauvreté.Dans la suite de ce récit, Virginie Girod vous raconte comment il s'est emparé du pouvoir et l'a conservé par la force. (rediffusion)Au Cœur de l'Histoire est un podcast Europe 1.- Auteure et Présentatrice : Virginie Girod - Production : Caroline Garnier- Réalisation : Nicolas Gaspard- Direction artistique : Julien Tharaud- Composition de la musique originale : Julien Tharaud et Sébastien Guidis- Edition et Diffusion : Nathan Laporte et Clara Ménard- Visuel : Sidonie Mangin- Patrimoine sonore : Sylvaine Denis, Laetitia Casanova et Antoine ReclusBibliographie :- Bartolomé Bennassar, Franco, Perrin coll. Tempus, 2002. Ressources en ligne :- https://www.eldiario.es/comunitat-valenciana/informacion-alemana-masones-franco-espanoles-gestapo_1_1271932.html - https://historia.nationalgeographic.com.es/a/entrevista-franco-y-hitler-estacion-hendaya_17306 - https://www.retronews.fr/conflits-et-relations-internationales/interview/2023/05/30/guerre-civile-espagnole-interview-franco - https://www.persee.fr/doc/casa_0076-230x_1994_num_30_3_2722Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Colpi di fucile e di pistola, bombe a mano, coltelli, veleni: tra il 1925 e il 1932 furono ben quattro gli attentati alla vita di Mussolini e cinque quelli progettati e non realizzati; più tardi, altri ancora saranno inventati dall'Ovra. Ma chi erano gli attentatori? Agivano da soli o erano parte di una rete organizzata? E come reagì il regime fascista?Bruno Manfellotto racconta la vita di ogni attentatore, i motivi che li spingono, le deboli alleanze che li sostengono, la solitudine in cui sono lasciati, le trame in cui cadono. E ricostruisce gli eventi che in pochi anni cancellano la democrazia e aprono la strada alla dittatura e alla tragedia finale.

General Francisco Franco died in November 1975, ending 36 years of dictatorship over Spain. The general had been in power since 1939 after winning the country's bloody civil war, and his death followed a long illness.He was mourned by conservative Spaniards but those on the left celebrated, calling him a fascist who had once been an ally of Hitler and Mussolini.In 2015, Louise Hidalgo spoke to Jose Antonio Martinez Soler, a young journalist about the ending of an era.Eye-witness accounts brought to life by archive. Witness History is for those fascinated by the past. We take you to the events that have shaped our world through the eyes of the people who were there. For nine minutes every day, we take you back in time and all over the world, to examine wars, coups, scientific discoveries, cultural moments and much more. Recent episodes explore everything from the death of Adolf Hitler, the first spacewalk and the making of the movie Jaws, to celebrity tortoise Lonesome George, the Kobe earthquake and the invention of superglue. We look at the lives of some of the most famous leaders, artists, scientists and personalities in history, including: Eva Peron – Argentina's Evita; President Ronald Reagan and his famous ‘tear down this wall' speech; Thomas Keneally on why he wrote Schindler's List; and Jacques Derrida, France's ‘rock star' philosopher. You can learn all about fascinating and surprising stories, such as the civil rights swimming protest; the disastrous D-Day rehearsal; and the death of one of the world's oldest languages.(Photo: General Francisco Franco lies in state in Madrid, 1975. Credit: Central Press/Getty Images)

Built Not Born Podcast (Episode 179)- Enri Pjetri: Rome Revealed - Gladiators, Emperors & Michelangelo's Secrets ⚔️

Włoska agresja na Etiopię z 1935 roku jest jednym z najbardziej kompromitujących momentów w historii Ligi Narodów. Mimo prób powstrzymania konfliktu, społeczność międzynarodowa okazała się bezradna wobec imperialnych ambicji Benito Mussoliniego. Dlaczego duce chciał kontroli nad tym afrykańskim państwem? W Misji specjalnej odkrywamy tajemnice II wojny włosko-abisyńskiej.

Dietro la maschera del dittatore d'acciaio si nascondeva un uomo tormentato, fragile e ossessionato dal controllo. Dalle passioni segrete alle relazioni distruttive, scopri il lato più intimo e sconosciuto di Benito Mussolini.

Milán, verano de 1932. En los jardines de Porta Venezia, un balón perdido acaba en los pies de un grupo de chicas. Lo devuelven con precisión, se miran y deciden improvisar un partido. Un gesto mínimo, casi inocente, pero que en la Italia de Benito Mussolini -donde las camisas negras vigilan parques, ideas y hasta menús gastronómicos- constituye un desafío silencioso. En un régimen que incluso coquetea con abolir la pasta, unas mujeres jugando al deporte más popular resultan intolerables. Se las ridiculiza con un término peyorativo: tifosine. Aficionaditas. A Ninì Zanetti y a sus compañeras —Lang, Strigaro, las hermanas Boccalini— eso no les frena. Fundan el Gruppo Calciatrici Milanese, entrenan con rigor y disputan en 1933 su primer amistoso público. Pero el fascismo reacciona pronto: funcionarios del Comité Olímpico Italiano reconducen a las jugadores a “deportes apropiados”. En octubre de 1933, poco antes del primer encuentro femenino entre dos ciudades italianas su sueño se apagará por decreto. Y aun así, no desaparecerá. 90 años después, el estadio en el que las mujeres del Milanese desafiaron a la dictadura alberga hoy los partidos del Inter femenino en la Champions. Esta es la historia de un equipo que el régimen quiso borrar. Y del partido que Mussolini nunca quiso que se jugara. Capítulo basado en el libro de Federica Seneghini Las futbolistas que desafiaron a Mussolini (Altamarea). Asimismo hemos contado con los testimonios de la politóloga Irene Zugasti y de Maxi Guerra, autor del muy recomendable pódcast Gastropolítica. Accede a las entrevistas íntegras que componen este capítulo, así como contenido exclusivo, en nuestra newsletter: www.brazaletenegro.com Youtube: https://www.youtube.com/@brazaletenegro Twitter: https://twitter.com/brazaletenegro Instagram: https://instagram.com/brazaletenegropodcast Brazalete Negro, el true crime del fútbol. Y, recuerda, Bill Shankly no tenía razón.

In this episode of VISITORS, UFO researcher Craig Oliver unpacks the Magenta Project. A complex web connecting a 1933 UFO retrieval in Mussolini's Italy to the formation of America's modern intelligence apparatus. Craig, working alongside researcher Michael Arementor have constructed an extensive timeline revealing how this pre-WWII incident may have shaped everything from the OSS to the CIA's creation just two months after Roswell. The discussion traces how Italian researcher Roberto Pinotti first documented the Magenta retrieval in the 1990s, later brought to prominence by David Grusch's testimony. Craig explains how Mussolini's son-in-law, Galeazzo Ciano, managed both the recovered craft and intelligence operations while attempting to keep Italy out of WWII. The conversation weaves together threads involving the Vatican's knowledge of anomalous phenomena, the Knights of Malta's intelligence connections, and figures like Vannevar Bush (distantly related to the Bush political family), who controlled radar development—potentially the first technology capable of downing UFOs. Craig argues that understanding this history matters even for non-believers, as it illuminates how America transformed from a nation with minimal intelligence infrastructure before WWII into today's labyrinthine security state. The through-line connects suppressed free energy research by Tesla and Marconi, the rise of oil-dependent power structures, and the deliberate concealment of exotic technology by those who recognized it as a threat to their control—a pattern of obfuscation that began in 1933 and continues today. The Magenta Project on X: https://x.com/MagentaUFOUAP The Magenta Project Go Fund Me: https://www.gofundme.com/f/support-groundbreaking-ufo-research-the-magenta-project   Patreon ⇒     http://patreon.com/frightday      TikTok ⇒     http://tiktok.com/frightdaypodcast     Spotify ⇒  https://open.spotify.com/show/14ioP0z... Website ⇒  https://www.frightday.com   Apple Podcasts  ⇒   https://podcasts.apple.com/us/podcast... Instagram ⇒  http://instagram.com/frightday    X ⇒   https://x.com/frightday Media Inquiries ⇒  byron@frightday.com

The World Cup is a sporting competition between national football teams to determine the best of them. But it's always been a vessel for so much more, not least the ambitions of political leaders ranging from the mildly ethical to the downright evil. Host countries want to tell a story about themselves on the global stage, the winners make the case for their own national greatness, and there are a million more stories around this famous tournament that nobody planned for.A new book from Jonathan Wilson — columnist for The Guardian, co-host of the Libero podcast, and esteemed local Substacker — seeks to tell the very best tales from nearly 100 years of World Cup football. The Power and the Glory: The History of the World Cup is a delightful read, full of sharp insight and laugh-out-loud moments. From Benito Mussolini's bonus trophy for the 1934 World Cup winners — the Coppa del Duce — to the inside story of France's disastrous 2010 World Cup, to the insidious inner workings of FIFA in the modern era, it's all there.Wilson joins the show this week to talk a little Premier League title race before we get into his book, the latest edition of the World Cup next summer, why Gianni Infantino's reign as FIFA chief makes us all pine for the days of Sepp Blatter, and a whole lot more.Go get your copy of The Power and the Glory after you've had a listen here!Get more sharp coverage of the world's game at TheFootballWeekend.com ↗️ Hosted on Acast. See acast.com/privacy for more information.

A brilliant circus family's hidden legacy unfolds as descendants reunite across continents, revealing their Australian Aboriginal ancestry, global stardom, and the extraordinary secrets they kept in order to survive. The greatest entertainment on earth in the 1900s was the circus and its performers were the global superstars. The big top transported children and adults alike into a world where anything was possible.Con Colleano, ‘the wizard on the wire' defied gravity, while he and his family defied all odds to become a global phenomenon. Through the Colleano family's remarkable home movies, never-before-seen footage, family interviews and archive, their extraordinary story is revealed. Rooted in humble beginnings from the Australian bush, the family outmanoeuvred punitive Australian laws and prejudice to travel the world, concealing their Indigenous heritage and reaching the highest echelons of circus stardom.Con Colleano dazzled fans while also mingling with icons including Charlie Chaplin, at the most exclusive social sets of America and Europe, beguiling even the likes of Hitler and Mussolini.As the filmmaker, Pauline Clague, reveals her connection to the story, she finds Australian Deb Hescott, who uncovers her own secret link to this family. Connecting with Molly, one of the oral history holders of the family, they go on a profound journey of discovery. The Colleano Heart unravels the hidden secrets of their family of circus royalty, revealing them as survivors of Australia's Hidden Generation of Aboriginal people.The Colleano Heart presents a rich portrait of the family, and the global socio-cultural shifts shaping First Nations lives. The Colleano Heart recently screened at the Adelaide Film Festival, and Nadine Whitney spoke with director Pauline Clague ahead of the films screening about her film. Hosted on Acast. See acast.com/privacy for more information.

A brilliant circus family's hidden legacy unfolds as descendants reunite across continents, revealing their Australian Aboriginal ancestry, global stardom, and the extraordinary secrets they kept in order to survive. The greatest entertainment on earth in the 1900s was the circus and its performers were the global superstars. The big top transported children and adults alike into a world where anything was possible.Con Colleano, ‘the wizard on the wire' defied gravity, while he and his family defied all odds to become a global phenomenon. Through the Colleano family's remarkable home movies, never-before-seen footage, family interviews and archive, their extraordinary story is revealed. Rooted in humble beginnings from the Australian bush, the family outmanoeuvred punitive Australian laws and prejudice to travel the world, concealing their Indigenous heritage and reaching the highest echelons of circus stardom.Con Colleano dazzled fans while also mingling with icons including Charlie Chaplin, at the most exclusive social sets of America and Europe, beguiling even the likes of Hitler and Mussolini.As the filmmaker, Pauline Clague, reveals her connection to the story, she finds Australian Deb Hescott, who uncovers her own secret link to this family. Connecting with Molly, one of the oral history holders of the family, they go on a profound journey of discovery. The Colleano Heart unravels the hidden secrets of their family of circus royalty, revealing them as survivors of Australia's Hidden Generation of Aboriginal people.The Colleano Heart presents a rich portrait of the family, and the global socio-cultural shifts shaping First Nations lives. The Colleano Heart recently screened at the Adelaide Film Festival, and Nadine Whitney spoke with director Pauline Clague ahead of the films screening about her film. Hosted on Acast. See acast.com/privacy for more information.

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Oui, c'est vrai : Benito Mussolini, le dictateur fasciste italien, a bien tenté — sans succès — de faire disparaître les pâtes de la table italienne. Derrière cette idée apparemment absurde se cachait un projet politique, idéologique et économique profondément révélateur de son époque.Dans les années 1920 et 1930, Mussolini voulait faire de l'Italie une puissance autosuffisante, libérée de toute dépendance étrangère. Il lance alors ce qu'il appelle la battaglia del grano, la “bataille du blé”. L'objectif : produire suffisamment de céréales sur le sol italien pour nourrir toute la population et ne plus importer de grains, notamment des États-Unis ou de l'Europe de l'Est. Cette campagne nationaliste devient un pilier de la propagande fasciste.Mais un problème se pose rapidement : la production de blé italien, même augmentée, ne suffit pas à couvrir les besoins d'un pays où les pâtes sont un aliment de base. Et la culture du blé, plus exigeante en eau et en terres, concurrence celle des légumes et de l'huile d'olive. Résultat : les ressources s'épuisent, et les prix flambent. Pour résoudre ce paradoxe, le régime décide alors de… dissuader les Italiens de manger des pâtes.Dans les années 1930, certains intellectuels proches du régime, comme le poète Filippo Tommaso Marinetti, chef du mouvement futuriste, publient des textes provocateurs vantant la “cuisine de l'avenir” et dénonçant les pâtes comme un symbole de mollesse et de passéisme. Marinetti écrivait que “le peuple qui mange trop de pâtes devient lent, pessimiste et nostalgique”. Mussolini, séduit par cette rhétorique de virilité et de modernité, soutient l'idée d'un remplacement des pâtes par des plats à base de riz ou de céréales locales, plus conformes à son idéal d'autarcie.Des campagnes officielles encouragent alors les Italiens à consommer du riz de la plaine du Pô, des légumes, ou même du pain. Certains restaurants fascistes retirent temporairement les pâtes de leur menu. Mais la résistance populaire est immédiate. Les Italiens refusent d'abandonner ce plat millénaire, symbole de leur identité et de leur culture. Même les hiérarques du régime continuent d'en manger en privé.Devant cet échec culinaire et politique, Mussolini finit par abandonner la croisade. Les pâtes survivent à la dictature, triomphent de la propagande, et deviennent après-guerre un symbole d'unité nationale. Ironie de l'histoire : l'homme qui voulait forger un “Italien nouveau” s'est heurté à ce qui, encore aujourd'hui, reste l'un des piliers les plus solides de la culture italienne — un bon plat de spaghetti. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

REDIFF - Italie, octobre 1922 : une marche chaotique sur Rome propulse Benito Mussolini à la tête du gouvernement. Dès lors, l'Italie sombre dans deux décennies de fascisme et de dictature. Pendant la Seconde Guerre mondiale, Mussolini se rapproche d'Hitler et collabore avec lui, jusqu'à ce jour d'avril 1945 où le Duce est arrêté et exécuté. Revivez l'ascension et la chute du fascisme à travers le destin de son fondateur. Crédits : Lorànt Deutsch, Bruno DeltombeHébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Der Ausbau der faschistischen Herrschaft in Italien zu einer totalitären Diktatur erfolgte schrittweise. Ein Schlüsseldatum hierbei war das gescheiterte Attentat des Freimaurers und sozialistischen Parlamentsabgeordneten Tito Zaniboni auf Faschistenführer Benito Mussolini am 4. November 1925. Vom Balkon seines Zimmers im römischen Hotel Dragoni gegenüber vom Palazzo Chigi hatte Zaniboni auf Mussolini schießen wollen, um die Ermordung seines Parteifreundes und sozialistischen Parteivorsitzenden Giacomo Matteotti zu rächen; doch seine Geliebte Marisa Romano hatte ihn und seine Pläne verraten. Zaniboni wurde bei Betreten des Hotels in der Lobby verhaftet und die faschistische Staatsführung nahm diese Vorfälle nach bekanntem Muster zum Anlass, den Partito Socialista Unitario sowie dessen Parteizeitung aufzulösen und drastische Gesetze gegen die Freimauerei durchs Parlament zu bringen. Vieles von den Umständen wie den Konsequenzen dieses ausgefallenen Attentates ist am 9. November 1925 noch Gerücht, als die Harburger Anzeigen und Nachrichten davon berichteten. Es liest Rosa Leu.

This week on the Mark Levin Show, we need to rid the Republican Party, the movement, and constitutional conservatism of bigots, racists, anti-Semites, and anti-Americans. These low lives, like Tucker Carlson, Steve Bannon and Nick Fuentes, dishonor the greatest generation that defeated Hitler, Tojo, and Mussolini. It's a time for choosing between the good guys and the bad guys, America or the Third Reich/Soviet Union. Republicans must stand up and confront the spread unlike Democrats who allowed it. Mamdani and his supporters like Linda Sarsour refuse assimilate and instead aim to conquer, devour, and dismantle the culture, police, communities, private property rights, and economy. This would attract unassimilated individuals from afar, harden electoral battles, and escalate into a cultural war beyond politics, with devastating effects on education, policing, healthcare, and wealth redistribution, driving successful people away. Tuesday's election results were no surprise because the Democrats immigration strategy to change the demographics and citizenry, without assimilation, has worked. NYC will decline, the question is by how much and Virginia is now part of the federal government. If the election was about affordability why did NJ vote to increase their property taxes and energy bills? neither the law nor the Constitution prohibits a President from imposing tariffs, which can serve purposes like rebuilding industries, countering foreign tariffs, or ensuring national security. Congress holds the power of the purse and could pass statutes to limit presidential tariff authority, but it has not done so, making judicial intervention unnecessary and a potential separation of powers issue. The Court should refrain from involvement, as any limits would come from congressional action or voter disapproval. Every conservative faith leader, organization head, think tank, legal group, media, and political entity need to boldly speak out against vile, poisonous movements on the left and the radical right, specifically fascists, thugs, and neo-Nazis, rather than true conservatives or constitutionalists. Tucker Carlson and his ilk have promoted harmful ideas and attacked traditional Christians and Jews and they need to be rejected. Learn more about your ad choices. Visit podcastchoices.com/adchoices

On Monday's Mark Levin Show, we need to rid the Republican Party, the movement, and constitutional conservatism of bigots, racists, anti-Semites, and anti-Americans. These low lives, like Tucker Carlson, Steve Bannon and Nick Fuentes, dishonor the greatest generation that defeated Hitler, Tojo, and Mussolini. It's a time for choosing between the good guys and the bad guys, America or the Third Reich/Soviet Union. Republicans must stand up and confront the spread unlike Democrats who allowed it.  Later, electing Zohran Mamdani in New York City would lead to its downfall, causing investors, businesses and residents to flee and the city's capitalist core will be destroyed, just like London and Paris. Mamdani and his supporters like Linda Sarsour refuse assimilate and instead aim to conquer, devour, and dismantle the culture, police, communities, private property rights, and economy. This would attract unassimilated individuals from afar, harden electoral battles, and escalate into a cultural war beyond politics, with devastating effects on education, policing, healthcare, and wealth redistribution, driving successful people away.  After, the Democrats in New Jersey caused high electricity bills and property taxes by cutting off traditional energy supplies and relying on ineffective primitive technologies like wind and solar, driven by ideology over practical knowledge. Voters need to reject the Democrat government mismanagement. Voting Democrat means more of the same destruction as seen in California, Finally, Winsome Earle-Sears, a Black women running for Virginia Governor, undermines the Democrat's identity politics and propaganda. Barack Obama campaigned for Abigail Spanberger, a White women running for Virginia Governor, who pretends to be moderate but votes radically left. This election is about ideology from the third world and seventh century, not race. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Het zijn bijzondere dagen. Koning Juan Carlos publiceert bittere memoires. Het Spaanse volk herdenkt de dood van dictator Francisco Franco en de troonsbestijging van die jonge prins – nu 50 jaar geleden. En staat stil bij het mirakel van democratisering, economische bloei en politieke impact in Europa. Jaap Jansen en PG Kroeger duiken in de bloederige, soms wanhopige historie van de tirannieke Franco-jaren. Maar ook in de verrassende en opportunistische kanten van de wrede generaal en de onverwachte aspecten van zijn repressieve bewind. De ruzie over het volkslied, de promotie van de Flamenco en de snelle onttakeling van zijn dictatuur. *** Deze aflevering is mede mogelijk gemaakt met donaties van luisteraars die we hiervoor hartelijk danken. Word ook vriend van de show! Heb je belangstelling om in onze podcast te adverteren of ons te sponsoren? Stuur ons een mailtje en wij zoeken contact. *** Francisco Franco (1892-1975) was door en door soldaat. Hield zonder scrupules huis in de koloniën, kreeg hoge rangen en werd door de linkse regering van de nieuwe democratische republiek opzij gezet. Hij steunde een staatsgreep die mislukte en ertoe leidde dat hij als enige topmilitair overbleef om een burgeroorlog daarna uit te vechten. Die won hij in drie jaar dankzij steun van Benito Mussolini en Adolf Hitler en de funeste verdeeldheid van zijn opponenten. Als overwinnaar ging hij beestachtig tekeer. 'De Witte Terreur' vermoordde ruim 300.000 mensen en waarschijnlijk meer. Nog altijd worden massagraven gevonden en herleeft de angst, de wanhoop en het verdriet van die jaren. Franco's bewind was repressief en hij regeerde als een potentaat zonder grondwet, staatsstructuur of parlement - feitelijk bij decreet. Maar was hij een fascist pur sang? De historici debatteren daar nog steeds over. Van huis uit reactionair-katholiek was hij allesbehalve democraat. Evenmin was hij vies van complottheorieën over bolsjewieken, vrijmetselaars, joden en links die volgens hem het ware Spanje ondermijnden. De steun van Hitler en Mussolini tijdens de Burgeroorlog incasseerde hij moeiteloos, maar erg veel dankbaarheid hoefden zij niet te verwachten. Franco voerde een bewust ondoorzichtige politiek, waardoor hij iedereen op afstand hield. Churchill en Roosevelt knuffelden hem opportunistisch, Hitler wantrouwde hem diep. Na de oorlog verzette hij de bakens. Hij herstelde de monarchie zonder een koning op de troon te zetten, liet zich propagandistisch vieren als redder van vluchtelingen en joden en legde een grondwet op die zijn almacht bezegelde. Probleem was wel het dreigend bankroet en de schrijnende armoede. Economische hervormingen kostten tijd, maar na 1959 werd Spanje vele jaren groeikampioen van de wereld, samen met Japan. Repressie, massale emigratie - feitelijk 'export van menselijk kapitaal' - en economische bloei ondermijnden uiteindelijk het regime. Franco moest de teugels loslaten, ook vanwege ouderdomsziekten. Achter zijn rug werd een snelle transitie naar een eigentijds, Europees en democratisch bewind ontworpen. Zijn dood in 1975 viel samen met het eind van de dictatuur in Portugal en Griekenland en gaf een enorme impuls aan de democratisering van Zuid-Europa. Juan Carlos maakte daarbij als koning veel tempo. De technocraat Adolfo Suarez werd de Thorbecke van Spanje. De inzet en prestaties van deze eerste vrije premier maakten hem een icoon van democratie en vernieuwing. Zonder Juan Carlos en Suarez was de vreedzame transitie waarschijnlijk veel minder succesvol verlopen. *** Verder kijken Franco probeert Engels te spreken (1936) Franco dankt andere landen voor steun in de Spaanse burgeroorlog (1937) Het leven van Franco De laatste toespraak van Franco (1975) Jarcha - Libertad Sin Ira (1977) *** Verder luisteren 355 - 2023: modern en succesvol Spanje wordt EU-voorzitter en houdt verkiezingen 312 - Schurend verleden - over cancelculture, politiek en geschiedenis (en Spaanse pijn) 311 - De wereld volgens Simon Sebag Montefiore (over de wereldoorlog tussen Spanje en sultans) 414 – Portugal: 50 jaar Anjerrevolutie 158 - Portugal: aan zee is een land nooit klein 478 - Was Hitler een socialist? 314 - Prins Heinrich XIII en het verlangen naar een autoritair Duisland 451 - 75 jaar Duitse Democratie 242 - Adrianus van Utrecht, de Nederlandse Paus (en eerst regent van het Spaanse wereldrijk) 49 - De koningen van Hispanje die wij altijd hebben geëerd *** Tijdlijn 00:00:00 – Deel 1 00:28:39 – Deel 2 00:53:12 – Deel 3 01:34:10 – EindeSee omnystudio.com/listener for privacy information.

Today we're joined by Despina Stratigakos and Elana Shapira about their new book, Finding Ella Briggs: The Life and Work of an Unconventional Architect. Ella Briggs was a talented architect, designer, and writer whose influence was felt on both sides of the Atlantic. She trained with the Viennese Secessionists and brought their radical ideas to Gilded Age New York. She designed modernist housing for the masses in Austria, was jailed as a suspected spy in Mussolini's Italy, and thrived in Weimar Germany before suffering persecution under the Nazis. Fleeing to London, she contributed to England's postwar reconstruction. Yet despite a long and prolific career, her name is largely forgotten today. Finding Ella Briggs restores Briggs to her rightful place in the history of modernist design. To purchase: https://press.princeton.edu/books/hardcover/9780691263953/finding-ella-briggs?_gl=1*m5kt06*_up*MQ..*_ga*MTMxMTM1OTU5Ny4xNzQzMTczMTE1*_ga_N1W9JWKLY3*MTc0MzQyMzU2Mi41LjAuMTc0MzQyMzU2Mi4wLjAuMTc5NTE3MjM2MA..

La suerte esta echada, pero la geografia ha cambiado demasiado en estos veinte siglos. No sabemos que rio cruzo Julio Cesar (por mucho que diga Mussolini).

Joe Wright's known for Oscar-winning WWII epics like DARKEST HOUR. But his latest look at the era is a different animal: The nightmarish series MUSSOLINI: SON OF THE CENTURY, about the rise of the godfather of fascism. Joe tells host Rico Gagliano about the Italian dictator, the echoes he sees in politics today... and why he spent his own teen years blasting '30s pop tunes.MUSSOLINI: SON OF THE CENTURY is now streaming on MUBI in the US, Canada, Latin America, Turkey and India. To stream some of the films we've covered on the podcast, check out the collection Featured on the MUBI Podcast. Availability of films varies depending on your country.MUBI is a global streaming service, production company and film distributor dedicated to elevating great cinema. MUBI makes, acquires, curates, and champions extraordinary films, connecting them to audiences all over the world. A place to discover ambitious new films and singular voices, from iconic directors to emerging auteurs. Each carefully chosen by MUBI's curators.

Welcome to Original Jurisdiction, the latest legal publication by me, David Lat. You can learn more about Original Jurisdiction by reading its About page, and you can email me at davidlat@substack.com. This is a reader-supported publication; you can subscribe by clicking here.Yesterday, Southern California Edison (SCE), the utility whose power lines may have started the devastating Eaton Fire, announced its Wildfire Recovery Compensation Program. Under the program, people affected by the fire can receive hundreds of thousands or even millions of dollars in compensation, in a matter of months rather than years—but in exchange, they must give up their right to sue.It should come as no surprise that SCE, in designing the program, sought the help of Kenneth Feinberg. For more than 40 years, often in the wake of tragedy or disaster, Feinberg has helped mediate and resolve seemingly intractable crises. He's most well-known for how he and his colleague Camille Biros designed and administered the September 11th Victim Compensation Fund. But he has worked on many other headline-making matters over the years, including the Agent Orange product liability litigation, the Deepwater Horizon Oil Spill Trust, the multidistrict litigation involving Monsanto's Roundup weed killer—and now, of course, the Eaton Fire.How did Ken develop such a fascinating and unique practice? What is the most difficult aspect of administering these giant compensation funds? Do these funds represent the wave of the future, as an alternative to (increasingly expensive) litigation? Having just turned 80, does he have any plans to retire?Last week, I had the pleasure of interviewing Ken—the day after his 80th birthday—and we covered all these topics. The result is what I found to be one of the most moving conversations I've ever had on this podcast.Thanks to Ken Feinberg for joining me—and, of course, for his many years of service as America's go-to mediator in times of crisis.Show Notes:* Kenneth Feinberg bio, Wikipedia* Kenneth Feinberg profile, Chambers and Partners* L.A. Fire Victims Face a Choice, by Jill Cowan for The New York TimesPrefer reading to listening? For paid subscribers, a transcript of the entire episode appears below.Sponsored by:NexFirm helps Biglaw attorneys become founding partners. To learn more about how NexFirm can help you launch your firm, call 212-292-1000 or email careerdevelopment@nexfirm.com.Three quick notes about this transcript. First, it has been cleaned up from the audio in ways that don't alter substance—e.g., by deleting verbal filler or adding a word here or there to clarify meaning. Second, my interviewee has not reviewed this transcript, and any errors are mine. Third, because of length constraints, this newsletter may be truncated in email; to view the entire post, simply click on “View entire message” in your email app.David Lat: Welcome to the Original Jurisdiction podcast. I'm your host, David Lat, author of a Substack newsletter about law and the legal profession also named Original Jurisdiction, which you can read and subscribe to at davidlat.substack.com. You're listening to the eighty-fourth episode of this podcast, recorded on Friday, October 24.Thanks to this podcast's sponsor, NexFirm. NexFirm helps Biglaw attorneys become founding partners. To learn more about how NexFirm can help you launch your firm, call 212-292-1000 or email careerdevelopment@nexfirm.com. Want to know who the guest will be for the next Original Jurisdiction podcast? Follow NexFirm on LinkedIn for a preview.I like to think that I've produced some good podcast episodes over the past three-plus years, but I feel that this latest one is a standout. I'm hard-pressed to think of an interview that was more emotionally affecting to me than what you're about to hear.Kenneth Feinberg is a leading figure in the world of mediation and alternative dispute resolution. He is most well-known for having served as special master of the U.S. government's September 11th Victim Compensation Fund—and for me, as someone who was in New York City on September 11, I found his discussion of that work profoundly moving. But he has handled many major matters over the years, such as the Agent Orange product liability litigation to the BP Deepwater Horizon Disaster Victim Compensation Fund. And he's working right now on a matter that's in the headlines: the California wildfires. Ken has been hired by Southern California Edison to help design a compensation program for victims of the 2025 Eaton fire. Ken has written about his fascinating work in two books: What Is Life Worth?: The Unprecedented Effort to Compensate the Victims of 9/11 and Who Gets What: Fair Compensation after Tragedy and Financial Upheaval. Without further ado, here's my conversation with Ken Feinberg.Ken, thank you so much for joining me.Ken Feinberg: Thank you very much; it's an honor to be here.DL: We are recording this shortly after your 80th birthday, so happy birthday!KF: Thank you very much.DL: Let's go back to your birth; let's start at the beginning. You grew up in Massachusetts, I believe.KF: That's right: Brockton, Massachusetts, about 20 miles south of Boston.DL: Your parents weren't lawyers. Tell us about what they did.KF: My parents were blue-collar workers from Massachusetts, second-generation immigrants. My father ran a wholesale tire distributorship, my mother was a bookkeeper, and we grew up in the 1940s and ‘50s, even the early ‘60s, in a town where there was great optimism, a very vibrant Jewish community, three different synagogues, a very optimistic time in American history—post-World War II, pre-Vietnam, and a time when communitarianism, working together to advance the collective good, was a prominent characteristic of Brockton, and most of the country, during the time that I was in elementary school and high school in Brockton.DL: Did the time in which you grow up shape or influence your decision to go into law?KF: Yes. More than law—the time growing up had a great impact on my decision to give back to the community from which I came. You've got to remember, when I was a teenager, the president of the United States was John F. Kennedy, and I'll never forget because it had a tremendous impact on me—President Kennedy reminding everybody that public service is a noble undertaking, government is not a dirty word, and especially his famous quote (or one of his many quotes), “Every individual can make a difference.” I never forgot that, and it had a personal impact on me and has had an impact on me throughout my life. [Ed. note: The quotation generally attributed to JFK is, “One person can make a difference, and everyone should try.” Whether he actually said these exact words is unclear, but it's certainly consistent with many other sentiments he expressed throughout his life.]DL: When you went to college at the University of Massachusetts Amherst, what did you study?KF: I studied history and political science. I was very interested in how individuals over the centuries change history, the theory of historians that great individuals articulate history and drive it in a certain direction—for good, like President Kennedy or Abraham Lincoln or George Washington, or for ill, like Adolf Hitler or Mussolini. And so it was history that I really delved into in my undergraduate years.DL: What led you then to turn to law school?KF: I always enjoyed acting on the stage—theater, comedies, musicals, dramas—and at the University of Massachusetts, I did quite a bit of that. In my senior year, I anticipated going to drama school at Yale, or some other academic master's program in theater. My father gave me very good advice. He said, “Ken, most actors end up waiting on restaurant tables in Manhattan, waiting for a big break that never comes. Why don't you turn your skills on the stage to a career in the courtroom, in litigation, talking to juries and convincing judges?” That was very sound advice from my father, and I ended up attending NYU Law School and having a career in the law.DL: Yes—and you recount that story in your book, and I just love that. It's really interesting to hear what parents think of our careers. But anyway, you did very well in law school, you were on the law review, and then your first job out of law school was something that we might expect out of someone who did well in law school.KF: Yes. I was a law clerk to the chief judge of New York State, Stanley Fuld, a very famous state jurist, and he had his chambers in New York City. For one week, every six or seven weeks, we would go to the state capitol in Albany to hear cases, and it was Judge Fuld who was my transition from law school to the practice of law.DL: I view clerking as a form of government service—and then you continued in service after that.KF: That's right. Remembering what my father had suggested, I then turned my attention to the courtroom and became an assistant United States attorney, a federal prosecutor, in New York City. I served as a prosecutor and as a trial lawyer for a little over three years. And then I had a wonderful opportunity to go to work for Senator Ted Kennedy on the Senate Judiciary Committee in Washington and stayed with him for about five years.DL: You talk about this also in your books—you worked on a pretty diverse range of issues for the senator, right?KF: That's right. For the first three years I worked on his staff on the Senate Judiciary Committee, with some excellent colleagues—soon-to-be Supreme Court justice Stephen Breyer was with me, noted litigator David Boies was in the office—and for the first three years, it was law-related issues. Then in 1978, Senator Kennedy asked me to be his chief of staff, and once I went over and became his chief of staff, the issues of course mushroomed. He was running for president, so there were issues of education, health, international relations—a wide diversity of issues, very broad-based.DL: I recall that you didn't love the chief of staff's duties.KF: No. Operations or administration was not my priority. I loved substance, issues—whatever the issues were, trying to work out legislative compromises, trying to give back something in the way of legislation to the people. And internal operations and administration, I quickly discovered, was not my forte. It was not something that excited me.DL: Although it's interesting: what you are most well-known for is overseeing and administering these large funds and compensating victims of these horrific tragedies, and there's a huge amount of administration involved in that.KF: Yes, but I'm a very good delegator. In fact, if you look at the track record of my career in designing and administering these programs—9/11 or the Deepwater Horizon oil spill or the Patriots' Day Marathon bombings in Boston—I was indeed fortunate in all of those matters to have at my side, for over 40 years, Camille Biros. She's not a lawyer, but she's the nation's expert on designing, administering, and operating these programs, and as you delve into what I've done and haven't done, her expertise has been invaluable.DL: I would call Camille your secret weapon, except she's not secret. She's been profiled in The New York Times, and she's a well-known figure in her own right.KF: That is correct. She was just in the last few months named one of the 50 Women Over 50 that have had such an impact in the country—that list by Forbes that comes out every year. She's prominently featured in that magazine.DL: Shifting back to your career, where did you go after your time in the Senate?KF: I opened up a Washington office for a prominent New York law firm, and for the next decade or more, that was the center of my professional activity.DL: So that was Kaye Scholer, now Arnold & Porter Kaye Scholer. What led you to go from your career in the public sector, where you spent a number of your years right out of law school, into so-called Biglaw?KF: Practicality and financial considerations. I had worked for over a decade in public service. I now had a wife, I had three young children, and it was time to give them financial security. And “Biglaw,” as you put it—Biglaw in Washington was lucrative, and it was something that gave me a financial base from which I could try and expand my different interests professionally. And that was the reason that for about 12 years I was in private practice for a major firm, Kaye Scholer.DL: And then tell us what happened next.KF: A great lesson in not planning too far ahead. In 1984, I got a call from a former clerk of Judge Fuld whom I knew from the clerk network: Judge Jack Weinstein, a nationally recognized jurist from Brooklyn, the Eastern District, and a federal judge. He had on his docket the Vietnam veterans' Agent Orange class action.You may recall that there were about 250,000 Vietnam veterans who came home claiming illness or injury or death due to the herbicide Agent Orange, which had been dropped by the U.S. Air Force in Vietnam to burn the foliage and vegetation where the Viet Cong enemy might be hiding. Those Vietnam veterans came home suffering terrible diseases, including cancer and chloracne (a sort of acne on the skin), and they brought a lawsuit. Judge Weinstein had the case. Weinstein realized that if that case went to trial, it could be 10 years before there'd be a result, with appeals and all of that.So he appointed me as mediator, called the “special master,” whose job it was to try and settle the case, all as a mediator. Well, after eight weeks of trying, we were successful. There was a master settlement totaling about $250 million—at the time, one of the largest tort verdicts in history. And that one case, front-page news around the nation, set me on a different track. Instead of remaining a Washington lawyer involved in regulatory and legislative matters, I became a mediator, an individual retained by the courts or by the parties to help resolve a case. And that was the beginning. That one Agent Orange case transformed my entire professional career and moved me in a different direction completely.DL: So you knew the late Judge Weinstein through Fuld alumni circles. What background did you have in mediation already, before you handled this gigantic case?KF: None. I told Judge Weinstein, “Judge, I never took a course in mediation at law school (there wasn't one then), and I don't know anything about bringing the parties together, trying to get them to settle.” He said, “I know you. I know your background. I've followed your career. You worked for Senator Kennedy. You are the perfect person.” And until the day I die, I'm beholden to Judge Weinstein for having faith in me to take this on.DL: And over the years, you actually worked on a number of matters at the request of Judge Weinstein.KF: A dozen. I worked on tobacco cases, on asbestos cases, on drug and medical device cases. I even worked for Judge Weinstein mediating the closing of the Shoreham nuclear plant on Long Island. I handled a wide range of cases where he called on me to act as his court-appointed mediator to resolve cases on his docket.DL: You've carved out a very unique and fascinating niche within the law, and I'm guessing that most people who meet you nowadays know who you are. But say you're in a foreign country or something, and some total stranger is chatting with you and asks what you do for a living. What would you say?KF: I would say I'm a lawyer, and I specialize in dispute resolution. It might be mediation, it might be arbitration, or it might even be negotiation, where somebody asks me to negotiate on their behalf. So I just tell people there is a growing field of law in the United States called ADR—alternative dispute resolution—and that it is, as you say, David, my niche, my focus when called upon.DL: And I think it's fair to say that you're one of the founding people in this field or early pioneers—or I don't know how you would describe it.KF: I think that's right. When I began with Agent Orange, there was no mediation to speak of. It certainly wasn't institutionalized; it wasn't streamlined. Today, in 2025, the American Bar Association has a special section on alternative dispute resolution, it's taught in every law school in the United States, there are thousands of mediators and arbitrators, and it's become a major leg in law school of different disciplines and specialties.DL: One question I often ask my guests is, “What is the matter you are most proud of?” Another question I often ask my guests is, “What is the hardest matter you've ever had to deal with?” Another question I often ask my guests is, “What is the matter that you're most well-known for?” And I feel in your case, the same matter is responsive to all three of those questions.KF: That's correct. The most difficult, the most challenging, the most rewarding matter, the one that's given me the most exposure, was the federal September 11 Victim Compensation Fund of 2001, when I was appointed by President George W. Bush and Attorney General John Ashcroft to implement, design, and administer a very unique federal law that had been enacted right after 9/11.DL: I got chills as you were just even stating that, very factually, because I was in New York on 9/11, and a lot of us remember the trauma and difficulty of that time. And you basically had to live with that and talk to hundreds, even thousands, of people—survivors, family members—for almost three years. And you did it pro bono. So let me ask you this: what were you thinking?KF: What triggered my interest was the law itself. Thirteen days after the attacks, Congress passed this law, unique in American history, setting up a no-fault administrator compensation system. Don't go to court. Those who volunteer—families of the dead, those who were physically injured at the World Trade Center or the Pentagon—you can voluntarily seek compensation from a taxpayer-funded law. Now, if you don't want it, you don't have to go. It's a voluntary program.The key will be whether the special master or the administrator will be able to convince people that it is a better avenue to pursue than a long, delayed, uncertain lawsuit. And based on my previous experience for the last 15 years, starting with Agent Orange and asbestos and these other tragedies, I volunteered. I went to Senator Kennedy and said, “What about this?” He said, “Leave it to me.” He called President Bush. He knew Attorney General John Ashcroft, who was his former colleague in the U.S. Senate, and he had great admiration for Senator Ashcroft. And so I was invited by the attorney general for an interview, and I told him I was interested. I told him I would only do it pro bono. You can't get paid for a job like this; it's patriotism. And he said, “Go for it.” And he turned out to be my biggest, strongest ally during the 33 months of the program.DL: Are you the managing partner of a boutique or midsize firm? If so, you know that your most important job is attracting and retaining top talent. It's not easy, especially if your benefits don't match up well with those of Biglaw firms or if your HR process feels “small time.” NexFirm has created an onboarding and benefits experience that rivals an Am Law 100 firm, so you can compete for the best talent at a price your firm can afford. Want to learn more? Contact NexFirm at 212-292-1002 or email betterbenefits@nexfirm.com.You talk about this in your books: you were recommended by a very prominent Democratic politician, and the administration at the time was Republican. George W. Bush was president, and John Ashcroft was the attorney general. Why wouldn't they have picked a Republican for this project?KF: Very good question. Senator Kennedy told both of them, “You better be careful here. This is a very, very uncertain program, with taxpayer money used to pay only certain victims. This could be a disaster. And you would be well-advised to pick someone who is not a prominent friend of yours, who is not perceived as just a Republican arm of the Justice Department or the White House. And I've got the perfect person. You couldn't pick a more opposite politician than my former chief of staff, Ken Feinberg. But look at what he's done.” And I think to Senator Kennedy's credit, and certainly to President Bush and to John Ashcroft's, they selected me.DL: As you would expect with a program of this size and complexity, there was controversy and certainly criticism over the years. But overall, looking back, I think people regard it widely as a huge success. Do you have a sense or an estimate of what percentage of people in the position to accept settlements through the program did that, rather than litigate? Because in accepting funds from the program, they did waive their right to bring all sorts of lawsuits.KF: That's correct. If you look at the statistics, if the statistics are a barometer of success, 5,300 applicants were eligible, because of death—about 2,950, somewhere in there—and the remaining claims were for physical injury. Of the 5,300, 97 percent voluntarily accepted the compensation. Only 94 people, 3 percent, opted out, and they all settled their cases five years later. There was never a trial on who was responsible in the law for 9/11. So if statistics are an indication—and I think they are a good indication—the program was a stunning success in accomplishing Congress's objective, which was diverting people voluntarily out of the court system.DL: Absolutely. And that's just a striking statistic. It was really successful in getting funds to families that needed it. They had lost breadwinners; they had lost loved ones. It was hugely successful, and it did not take a decade, as some of these cases involving just thousands of victims often do.I was struck by one thing you just said. You mentioned there was really no trial. And in reading your accounts of your work on this, it seemed almost like people viewed talking to you and your colleagues, Camille and others on this—I think they almost viewed that as their opportunity to be heard, since there wasn't a trial where they would get to testify.KF: That's correct. The primary reason for the success of the 9/11 Fund, and a valuable lesson for me thereafter, was this: give victims the opportunity to be heard, not only in public town-hall meetings where collectively people can vent, but in private, with doors closed. It's just the victim and Feinberg or his designee, Camille. We were the face of the government here. You can't get a meeting with the secretary of defense or the attorney general, the head of the Department of Justice. What you can get is an opportunity behind closed doors to express your anger, your frustration, your disappointment, your sense of uncertainty, with the government official responsible for cutting the checks. And that had an enormous difference in assuring the success of the program.DL: What would you say was the hardest aspect of your work on the Fund?KF: The hardest part of the 9/11 Fund, which I'll never recover from, was not calculating the value of a life. Judges and juries do that every day, David, in every court, in New Jersey and 49 other states. That is not a difficult assignment. What would the victim have earned over a work life? Add something for pain and suffering and emotional distress, and there's your check.The hardest part in any of these funds, starting with 9/11—the most difficult aspect, the challenge—is empathy, and your willingness to sit for over 900 separate hearings, me alone with family members or victims, to hear what they want to tell you, and to make that meeting, from their perspective, worthwhile and constructive. That's the hard part.DL: Did you find it sometimes difficult to remain emotionally composed? Or did you, after a while, develop a sort of thick skin?KF: You remain composed. You are a professional. You have a job to do, for the president of the United States. You can't start wailing and crying in the presence of somebody who was also wailing and crying, so you have to compose yourself. But I tell people who say, “Could I do what you did?” I say, “Sure. There are plenty of people in this country that can do what I did—if you can brace yourself for the emotional trauma that comes with meeting with victim after victim after victim and hearing their stories, which are...” You can't make them up. They're so heart-wrenching and so tragic.I'll give you one example. A lady came to see me, 26 years old, sobbing—one of hundreds of people I met with. “Mr. Feinberg, I lost my husband. He was a fireman at the World Trade Center. He died on 9/11. And he left me with our two children, six and four. Now, Mr. Feinberg, you've calculated and told me I'm going to receive $2.4 million, tax-free, from this 9/11 Fund. I want it in 30 days.”I said to Mrs. Jones, “This is public, taxpayer money. We have to go down to the U.S. Treasury. They've got to cut the checks; they've got to dot all the i's and cross all the t's. It may be 60 days or 90 days, but you'll get your money.”“No. Thirty days.”I said, “Mrs. Jones, why do you need the money in 30 days?”She said, “Why? I'll tell you why, Mr. Feinberg. I have terminal cancer. I have 10 weeks to live. My husband was going to survive me and take care of our two children. Now they're going to be orphans. I have got to get this money, find a guardian, make sure the money's safe, prepare for the kids' schooling. I don't have a lot of time. I need your help.”Well, we ran down to the U.S. Treasury and helped process the check in record time. We got her the money in 30 days—and eight weeks later, she died. Now when you hear story after story like this, you get some indication of the emotional pressure that builds and is debilitating, frankly. And we managed to get through it.DL: Wow. I got a little choked up just even hearing you tell that. Wow—I really don't know what to say.When you were working on the 9/11 Fund, did you have time for any other matters, or was this pretty much exclusively what you were working on for the 33 months?KF: Professionally, it was exclusive. Now what I did was, I stayed in my law firm, so I had a living. Other people in the firm were generating income for the firm; I wasn't on the dole. But it was exclusive. During the day, you are swamped with these individual requests, decisions that have to be made, checks that have to be cut. At night, I escaped: opera, orchestral concerts, chamber music, art museums—the height of civilization. During the day, in the depths of horror of civilization; at night, an escape, an opportunity to just enjoy the benefits of civilization. You better have a loving family, as I did, that stands behind you—because you never get over it, really.DL: That's such an important lesson, to actually have that time—because if you wanted to, you could have worked on this 24/7. But it is important to have some time to just clear your head or spend time with your family, especially just given what you were dealing with day-to-day.KF: That's right. And of course, during the day, we made a point of that as well. If we were holding hearings like the one I just explained, we'd take a one-hour break, go for a walk, go into Central Park or into downtown Washington, buy an ice cream cone, see the kids playing in playgrounds and laughing. You've got to let the steam out of the pressure cooker, or it'll kill you. And that was the most difficult part of the whole program. In all of these programs, that's the common denominator: emotional stress and unhappiness on the part of the victims.DL: One last question, before we turn to some other matters. There was also a very large logistical apparatus associated with this, right? For example, PricewaterhouseCoopers. It wasn't just you and Camille trying to deal with these thousands of survivors and claimants; you did have support.KF: That's right. Pricewaterhouse won the bid at the Justice Department. This is public: Pricewaterhouse, for something like around $100 million, put 450 people to work with us to help us process claims, appraise values, do the research. Pricewaterhouse was a tremendous ally and has gone on, since 9/11, to handle claims design and claims administration, as one of its many specialties. Emily Kent, Chuck Hacker, people like that we worked with for years, very much experts in these areas.DL: So after your work on the 9/11 Fund, you've worked on a number of these types of matters. Is there one that you would say ranks second in terms of complexity or difficulty or meaningfulness to you?KF: Yes. Deepwater Horizon in 2011, 2012—that oil rig in the Gulf of Mexico blew up and killed about, I don't know, 15 to 20 people in the explosion. But the real challenge in that program was how we received, in 16 months, about 1,250,000 claims for business interruption, business losses, property damage. We received over a million claims from 50 states. I think we got probably a dozen claims from New Jersey; I didn't know the oil had gotten to New Jersey. We received claims from 35 foreign countries. And the sheer volume of the disaster overwhelmed us. We had, at one point, something like 40,000 people—vendors—working for us. We had 35 offices throughout the Gulf of Mexico, from Galveston, Texas, all the way to Mobile Bay, Alabama. Nevertheless, in 16 months, on behalf of BP, Deepwater Horizon, we paid out all BP money, a little over $7 billion, to 550,000 eligible claimants. And that, I would say, other than 9/11, had the greatest impact and was the most satisfying.DL: You mentioned some claims coming from some pretty far-flung jurisdictions. In these programs, how much of a problem is fraud?KF: Not much. First of all, with death claims like 9/11 or the Boston Marathon bombings or the 20 first-graders who died in Sandy Hook, Connecticut, at the hands of a deranged gunmen—most of the time, in traumatic death and injury, you've got records. No one can beat the system; you have to have a death certificate. In 9/11, where are your military records, if you were at the Pentagon? Where are the airplane manifests? You've got to be on the manifest if you were flying on that plane.Now, the problem becomes more pronounced in something like BP, where you've got over a million claims, and you wonder, how many people can claim injury from this explosion? There we had an anti-fraud unit—Guidepost, Bart Schwartz's company—and they did a tremendous job of spot-checking claims. I think that out of over a million claims, there may have been 25,000 that were suspicious. And we sent those claims to the Justice Department, and they prosecuted a fair number of people. But it wasn't a huge problem. I think the fraud rate was something like 3 percent; that's nothing. So overall, we haven't found—and we have to be ever-vigilant, you're right—but we haven't found much in the way of fraud.DL: I'm glad to hear that, because it would really be very depressing to think that there were people trying to profiteer off these terrible disasters and tragedies. Speaking of continuing disasters and tragedies, turning to current events, you are now working with Southern California Edison in dealing with claims related to the Eaton Fire. And this is a pending matter, so of course you may have some limits in terms of what you can discuss, but what can you say in a general sense about this undertaking?KF: This is the Los Angeles wildfires that everybody knows about, from the last nine or ten months—the tremendous fire damage in Los Angeles. One of the fires, or one of the selected hubs of the fire, was the Eaton Fire. Southern California Edison, the utility involved in the litigation and finger-pointing, decided to set up, à la 9/11, a voluntary claims program. Not so much to deal with death—there were about 19 deaths, and a handful of physical injuries—but terrible fire damage, destroyed homes, damaged businesses, smoke and ash and soot, for miles in every direction. And the utility decided, its executive decided, “We want to do the right thing here. We may be held liable or we may not be held liable for the fire, but we think the right thing to do is nip in the bud this idea of extended litigation. Look at 9/11: only 94 people ended up suing. We want to set up a program.”They came to Camille and me. Over the last eight weeks, we've designed the program, and I think in the last week of October or the first week of November, you will see publicly, “Here is the protocol; here is the claim form. Please submit your claims, and we'll get them paid within 90 days.” And if history is an indicator, Camille and I think that the Eaton Fire Protocol will be a success, and the great bulk of the thousands of victims will voluntarily decide to come into the program. We'll see. [Ed. note: On Wednesday, a few days after Ken and I recorded this episode, Southern California Edison announced its Wildfire Recovery Compensation Program.]DL: That raises a question that I'm curious about. How would you describe the relationship between the work that you and Camille and your colleagues do and the traditional work of the courts, in terms of in-the-trenches litigation? Because I do wonder whether the growth in your field is perhaps related to some developments in litigation, in terms of litigation becoming more expensive over the decades (in a way that far outstrips inflation), more complicated, or more protracted. How would you characterize that relationship?KF: I would say that the programs that we design and administer—like 9/11, like BP, plus the Eaton wildfires—are an exception to the rule. Nobody should think that these programs that we have worked on are the wave of the future. They are not the wave of the future; they are isolated, unique examples, where a company—or in 9/11, the U.S. government—decides, “We ought to set up a special program where the courts aren't involved, certainly not directly.” In 9/11, they were prohibited to be involved, by statute; in some of these other programs, like BP, the courts have a relationship, but they don't interfere with the day-to-day administration of the program.And I think the American people have a lot of faith in the litigation system that you correctly point out can be uncertain, very inefficient, and very costly. But the American people, since the founding of the country, think, “You pick your lawyer, I'll pick my lawyer, and we'll have a judge and jury decide.” That's the American rule of law; I don't think it's going to change. But occasionally there is a groundswell of public pressure to come up with a program, or there'll be a company—like the utility, like BP—that decides to have a program.And I'll give you one other example: the Catholic Church confronted thousands of claims of sexual abuse by priests. It came to us, and we set up a program—just like 9/11, just like BP—where we invited, voluntarily, any minor—any minor from decades ago, now an adult—who had been abused by the church to come into this voluntary program. We paid out, I think, $700 million to $800 million, to victims in dioceses around the country. So there's another example—Camille did most of that—but these programs are all relatively rare. There are thousands of litigations every day, and nothing's going to change that.DL: I had a guest on a few weeks ago, Chris Seeger of Seeger Weiss, who does a lot of work in the mass-tort space. It's interesting: I feel that that space has evolved, and maybe in some ways it's more efficient than it used to be. They have these multi-district litigation panels, they have these bellwether trials, and then things often get settled, once people have a sense of the values. That system and your approach seem to have some similarities, in the sense that you're not individually trying each one of these cases, and you're having somebody with liability come forward and voluntarily pay out money, after some kind of negotiation.KF: Well, there's certainly negotiation in what Chris Seeger does; I'm not sure we have much negotiation. We say, “Here's the amount under the administrative scheme.” It's like in workers' compensation: here's the amount. You don't have to take it. There's nothing to really talk about, unless you have new evidence that we're not aware of. And those programs, when we do design them, seem to work very efficiently.Again, if you ask Camille Biros what was the toughest part of valuing individual claims of sexual-abuse directed at minors, she would say, “These hearings: we gave every person who wanted an opportunity to be heard.” And when they come to see Camille, they don't come to talk about money; they want validation for what they went through. “Believe me, will you? Ken, Camille, believe me.” And when Camille says, “We do believe you,” they immediately, or almost immediately, accept the compensation and sign a release: “I will not sue the Catholic diocese.”DL: So you mentioned there isn't really much negotiation, but you did talk in the book about these sort of “appeals.” You had these two tracks, “Appeals A” and “Appeals B.” Can you talk about that? Did you ever revisit what you had set as the award for a particular victim's family, after hearing from them in person?KF: Sure. Now, remember, those appeals came back to us, not to a court; there's no court involvement. But in 9/11, in BP, if somebody said, “You made a mistake—you didn't account for these profits or this revenue, or you didn't take into account this contract that my dead firefighter husband had that would've given him a lot more money”—of course, we'll revisit that. We invited that. But that's an internal appeals process. The people who calculated the value of the claim are the same people that are going to be looking at revisiting the claim. But again, that's due process, and that's something that we thought was important.DL: You and Camille have been doing this really important work for decades. Since this is, of course, shortly after your 80th birthday, I should ask: do you have future plans? You're tackling some of the most complicated matters, headline-making matters. Would you ever want to retire at some point?KF: I have no intention of retiring. I do agree that when you reach a certain pinnacle in what you've done, you do slow down. We are much more selective in what we do. I used to have maybe 15 mediations going on at once; now, we have one or two matters, like the Los Angeles wildfires. As long as I'm capable, as long as Camille's willing, we'll continue to do it, but we'll be very careful about what we select to do. We don't travel much. The Los Angeles wildfires was largely Zooms, going back and forth. And we're not going to administer that program. We had administered 9/11 and BP; we're trying to move away from that. It's very time-consuming and stressful. So we've accomplished a great deal over the last 50 years—but as long as we can do it, we'll continue to do it.DL: Do you have any junior colleagues who would take over what you and Camille have built?KF: We don't have junior colleagues. There's just the two of us and Cindy Sanzotta, our receptionist. But it's an interesting question: “Who's after Feinberg? Who's next in doing this?” I think there are thousands of people in this country who could do what we do. It is not rocket science. It really isn't. I'll tell you what's difficult: the emotion. If somebody wants to do what we do, you better brace yourself for the emotion, the anger, the frustration, the finger pointing. It goes with the territory. And if you don't have the psychological ability to handle this type of stress, stay away. But I'm sure somebody will be there, and no one's irreplaceable.DL: Well, I know I personally could not handle it. I worked when I was at a law firm on civil litigation over insurance proceeds related to the World Trade Center, and that was a very draining case, and I was very glad to no longer be on it. So I could not do what you and Camille do. But let me ask you, to end this section on a positive note: what would you say is the most rewarding or meaningful or satisfying aspect of the work that you do on these programs?KF: Giving back to the community. Public service. Helping the community heal. Not so much the individuals; the individuals are part of the community. “Every individual can make a difference.” I remember that every day, what John F. Kennedy said: government service is a noble undertaking. So what's most rewarding for me is that although I'm a private practitioner—I am no longer in government service, since my days with Senator Kennedy—I'd like to think that I performed a valuable service for the community, the resilience of the community, the charity exhibited by the community. And that gives me a great sense of self-satisfaction.DL: You absolutely have. It's been amazing, and I'm so grateful for you taking the time to join me.So now, onto our speed round. These are four questions that are standardized. My first question is, what do you like the least about the law? And this can either be the practice of law or law in a more abstract sense.KF: Uncertainty. What I don't like about the law is—and I guess maybe it's the flip side of the best way to get to a result—I don't like the uncertainty of the law. I don't like the fact that until the very end of the process, you don't know if your view and opinion will prevail. And I think losing control over your destiny in that regard is problematic.DL: My second question—and maybe we touched on this a little bit, when we talked about your father's opinions—what would you be if you were not a lawyer?KF: Probably an actor. As I say, I almost became an actor. And I still love theater and the movies and Broadway shows. If my father hadn't given me that advice, I was on the cusp of pursuing a career in the theater.DL: Have you dabbled in anything in your (probably limited) spare time—community theater, anything like that?KF: No, but I certainly have prioritized in my spare time classical music and the peace and optimism it brings to the listener. It's been an important part of my life.DL: My third question is, how much sleep do you get each night?KF: Well, it varies from program to program. I'd like to get seven hours. That's what my doctors tell me: “Ken, very important—more important than pills and exercise and diet—is sleep. Your body needs a minimum of seven hours.” Well, for me, seven hours is rare—it's more like six or even five, and during 9/11 or during Eaton wildfires, it might be more like four or five. And that's not enough, and that is a problem.DL: My last question is, any final words of wisdom, such as career advice or life advice, for my listeners?KF: Yes, I'll give you some career and life advice. It's very simple: don't plan too far ahead. People have this view—you may think you know what you want to do with your career. You may think you know what life holds for you. You don't know. If I've learned anything over the last decades, life has a way of changing the best-laid plans. These 9/11 husbands and wives said goodbye to their children, “we'll see you for dinner,” a perfunctory wave—and they never saw them again. Dust, not even a body. And the idea I tell law students—who say, ”I'm going to be a corporate lawyer,” or “I'm going to be a litigator”—I tell them, “You have no idea what your legal career will look like. Look at Feinberg; he never planned on this. He never thought, in his wildest dreams, that this would be his chosen avenue of the law.”My advice: enjoy the moment. Do what you like now. Don't worry too much about what you'll be doing two years, five years, 10 years, a lifetime ahead of you. It doesn't work that way. Everybody gets thrown curveballs, and that's advice I give to everybody.DL: Well, you did not plan out your career, but it has turned out wonderfully, and the country is better for it. Thank you, Ken, both for your work on all these matters over the years and for joining me today.KF: A privilege and an honor. Thanks, David.DL: Thanks so much to Ken for joining me—and, of course, for his decades of work resolving some of the thorniest disputes in the country, which is truly a form of public service.Thanks to NexFirm for sponsoring the Original Jurisdiction podcast. NexFirm has helped many attorneys to leave Biglaw and launch firms of their own. To explore this opportunity, please contact NexFirm at 212-292-1000 or email careerdevelopment@nexfirm.com to learn more.Thanks to Tommy Harron, my sound engineer here at Original Jurisdiction, and thanks to you, my listeners and readers. To connect with me, please email me at davidlat@substack.com, or find me on Twitter, Facebook, and LinkedIn, at davidlat, and on Instagram and Threads at davidbenjaminlat.If you enjoyed today's episode, please rate, review, and subscribe. Please subscribe to the Original Jurisdiction newsletter if you don't already, over at davidlat.substack.com. This podcast is free, but it's made possible by paid subscriptions to the newsletter.The next episode should appear on or about Wednesday, November 12. Until then, may your thinking be original and your jurisdiction free of defects.Thanks for reading Original Jurisdiction, and thanks to my paid subscribers for making this publication possible. Subscribers get (1) access to Judicial Notice, my time-saving weekly roundup of the most notable news in the legal world; (2) additional stories reserved for paid subscribers; (3) transcripts of podcast interviews; and (4) the ability to comment on posts. You can email me at davidlat@substack.com with questions or comments, and you can share this post or subscribe using the buttons below. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit davidlat.substack.com/subscribe

While Hitler's rise to power In Germany seems unstoppable and Mussolini celebrates ten years of fascism in Italy, Australia's homegrown New Guard numbskulls have already become irrelevant – and escaped investigation for their planned insurrection. Plus: Ripley's Believe it Or Not; an extraordinary outback survival story with a Nazi aftertaste; a 'fun' bigamy story turns very dark; and everything that was ‘wrong' with modern women.It's easy to get a free trial that will give you access to ad-free, early and bonus episodes. Hit either of these links:Patreon: patreon.com/forgottenaustraliaApple: apple.co/forgottenaustraliaWant more original Australian true crime and history? Check out my books!They'll Never Hold Me:https://www.booktopia.com.au/they-ll-never-hold-me-michael-adams/book/9781923046474.htmlThe Murder Squad:https://www.booktopia.com.au/the-murder-squad-michael-adams/book/9781923046504.htmlHanging Ned Kelly:https://www.booktopia.com.au/hanging-ned-kelly-michael-adams/book/9781922992185.htmlAustralia's Sweetheart:https://www.booktopia.com.au/australia-s-sweetheart-michael-adams/book/9780733640292.htmlEmail: forgottenaustraliapodcast@gmail.com Hosted on Acast. See acast.com/privacy for more information.

Today’s topic is an abandoned mansion, but it was once a gorgeous and luxurious home designed for a prominent citizen of northern Italy. It’s often described as haunted and as having a dark history, but there are some interesting contradictions regarding that story. Research: “Caravan Journal, the rediscovered manuscript. The Orient through the eyes of a forgotten Milanese patriot: Felice De Vecchi.” Arte.IT: The Map of Art in Italy. https://www.arte.it/calendario-arte/milano/mostra-giornale-di-carovana-il-manoscritto-ritrovato-l-oriente-attraverso-gli-occhi-di-un-patriota-milanese-dimenticato-felice-de-vecchi-4835 “Cesare Maria De Vecchi in Rhodes.” Palace of the Grand Master. https://grandmasterpalacerhodes.gr/cesare-maria-de-vecchi/ Claus, Patricia. “Mussolini's Old Villa on Rhodes Still on Real Estate Market.” Greek Reporter. July 17, 2020. https://greekreporter.com/2020/07/17/mussolinis-old-villa-on-rhodes-still-on-real-estate-market/ Britannica Editors. "Aleister Crowley". Encyclopedia Britannica, 11 Oct. 2025, https://www.britannica.com/biography/Aleister-Crowley Frigo, Marco. “Villa De Vecchi: the haunted mansion inhabited by ghosts not far from Milan with a mysterious, dramatic and fascinating past.” Milano Segreta. Oct. 6, 2025. https://milanosegreta.co/en/villa-de-vecchi-ghost-mansion/ Linstrom, Emily. “Villa de Vecchi.” Atlas Obscura. Lecco, Alberto, Foot, John. "Milan". Encyclopedia Britannica, 13 Oct. 2025, https://www.britannica.com/place/Milan-Italy Linstrom, Emily. “Villa de Vecchi.” Atlas Obscura. https://www.atlasobscura.com/places/villa-de-vecchi “History of Milan.” Civitatis Milan. https://www.introducingmilan.com/history Imam, Maham. “ATHENAEUM: Adaptive reuse of Villa De Vecchi into a public Library.” University of Management and Technology, Lahore. 2023. https://drive.google.com/file/d/1j3dhAHK8v4i-vV_IkAB8WXWMXpCEP_BQ/view?pli=1 Philip, Lizzie. “The Real Story Behind Northern Italy’s Abandoned ‘Ghost Mansion.’” Atlas Obscura. Oct. 17, 2018. https://www.atlasobscura.com/articles/ghost-mansion-in-northern-italy#:~:text=Place-,Villa%20de%20Vecchi,explore%20more%20Atlas%20Obscura%20videos. Pitzalis, Bruno. “Step Inside an Abandoned ‘Ghost Mansion’ of Northern Italy. Atlas Obscura. Oct. 9, 2018. https://www.youtube.com/watch?v=oTP2erZ7CBc&t=38s Santarelli, Enzo. “DE VECCHI, Cesare Maria.” Biographical Dictionary of Italians. https://www.treccani.it/enciclopedia/de-vecchi-cesare-maria_(Dizionario-Biografico)/ “Sidoli, Alessandro (1812-1855), Architekt, Maler und Graphiker.” Österreichisches Biographisches Lexikon. Austrian Center for Digital Humanities and Cultural Heritage. (Translated.) https://www.biographien.ac.at/oebl/oebl_S/Sidoli_Alessandro_1812_1855.xml Smee, Taryn. “The Red House – Italy’s Most Haunted Villa Which Lies Abandoned and Off Limits.” The Vintage News. Nov. 20, 2018. https://www.thevintagenews.com/2018/11/20/villa-de-vecchi/ “Villa De Vecchi, Italy: A Timeless Masterpiece of Architectural Splendor.” Rethinking the Future. https://www.re-thinkingthefuture.com/articles/villa-de-vecchi-italy See omnystudio.com/listener for privacy information.

¡Vótame en los Premios iVoox 2025! Mussolini soñaba con un "Mare Nostrum", pero su estrategia balcánica era un castillo de naipes. En este episodio, desentrañamos la obsesión italiana por dominar los Balcanes y el Mediterráneo: una red de influencia política, bases navales y una desesperada búsqueda de recursos para su frágil economía. Mientras Roma planeaba su invasión desde Albania, analizamos sus ilusiones de victoria rápida. Todo ello, chocará con la compleja realidad de la política interior del régimen griego, que pese a la terrible dictadura de Metaxás, plantaría cara a Italia con la ayuda del Reino Unido. Segundo episodio de la miniserie La Campaña Balcánica Italiana, donde te contaremos las operaciones militares de un ejército que se demostró poco hábil contra ejércitos teóricamente inferiores. Te lo cuentan Antonio Gómez y Dani CarAn. "Figli della Lupa Romana" y la "Suite Griega CBP" son temas musicales compuestos por Dani CarAn. Esta obra está protegida bajo la licencia Creative Commons Atribución – No Comercial 4.0 Internacional (CC BY-NC 4.0) https://creativecommons.org/licenses/by-nc/4.0/deed.es Casus Belli Podcast pertenece a 🏭 Factoría Casus Belli. Casus Belli Podcast forma parte de 📀 Ivoox Originals. 📚 Zeppelin Books (Digital) y 📚 DCA Editor (Físico) http://zeppelinbooks.com son sellos editoriales de la 🏭 Factoría Casus Belli. Estamos en: 👉 X/Twitter https://twitter.com/CasusBelliPod 👉 Facebook https://www.facebook.com/CasusBelliPodcast 👉 Instagram estamos https://www.instagram.com/casusbellipodcast 👉 Telegram Canal https://t.me/casusbellipodcast 👉 Telegram Grupo de Chat https://t.me/casusbellipod 📺 YouTube https://bit.ly/casusbelliyoutube 👉 http://casusbelli.top ⚛️ El logotipo de Casus Belli Podcasdt y el resto de la Factoría Casus Belli están diseñados por Publicidad Fabián publicidadfabian@yahoo.es 🎵 La música incluida en el programa es Ready for the war de Marc Corominas Pujadó bajo licencia CC. https://creativecommons.org/licenses/by-nd/3.0/ El resto de música es propia, o bajo licencia privada de Epidemic Music, Jamendo Music o SGAE SGAE RRDD/4/1074/1012 de Ivoox. 🎭Las opiniones expresadas en este programa de pódcast, son de exclusiva responsabilidad de quienes las trasmiten. Que cada palo aguante su vela. 📧¿Queréis contarnos algo? También puedes escribirnos a casus.belli.pod@gmail.com ¿Quieres anunciarte en este podcast, patrocinar un episodio o una serie? Hazlo a través de 👉 https://www.advoices.com/casus-belli-podcast-historia Si te ha gustado, y crees que nos lo merecemos, nos sirve mucho que nos des un like, ya que nos da mucha visibilidad. Muchas gracias por escucharnos, y hasta la próxima. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

The Empire of Japan's decision to break with liberal democracies in favor of rising fascist powers was driven, in part, by the successes enjoyed by said fascist powers throughout the 1930s. In this episode, we discuss how their leaders managed to consolidate that power in the first place.Support the show My latest novel, "Califia's Crusade," is now available at Amazon, Barnes & Noble, Kobo, Apple Books, Bookshop.org, and many other online platforms!

When Nazi propaganda chief Joseph Goebbels declared the Loch Ness Monster a hoax to mock British intelligence and Mussolini claimed Italy bombed Nessie to death, the Allies fired back with the ultimate counter-propaganda: the lake monster survived and became a war hero.Support our Halloween “Overcoming the Darkness” campaign to help people with depression: https://weirddarkness.com/HOPEIN THIS EPISODE: You probably saw the title of this episode and immediately thought, “Whaaa?” Well, I'm going to tell you one of the most ridiculous stories I've ever heard that is 100% true. The Axis powers of World War II tried to kill the Loch Ness Monster. (The Assassination of the Loch Ness Monster) *** As far back as time is recorded, mankind has had a fascination with Sirius, the Dogstar. But what is so special about it aside from the fact that it's one of the brightest stars in our sky? Might there be an extraterrestrial connection as well? (Why So Serious About Sirius?) *** UFO reports come in constantly to police stations and online sites dedicated to the subject of Ufology – practically on a daily basis. And many sightings are by people you would consider above reproach such as law enforcement, scientists, military, numerous sightings by pilots… but when you head out into space and see a UFO, as is what happens with astronauts' reports, that's something you take a much closer look at. (Code Word: Santa Claus) *** Jimmy Logue left his wife after only two years of marriage. Without first getting divorced, he married another woman – whom he badly mistreated, so she left him. But he had already started an affair with her sister, so he married her next – now on his third wife. He abused her as well. He was also a career criminal – spending half his life living off the spoils of his thievery, the other half behind bars when caught. So it probably comes as no surprise that he was suspect number one when his third wife was found murdered. (A Romance In Crime) CHAPTERS & TIME STAMPS (All Times Approximate)…00:00:00.000 = Show Open00:02:46.639 = The Assassination of the Loch Ness Monster00:06:29.397 = A Romance In Crime00:14:10.249 = ***Why So Serious About Sirius?00:37:43.689 = ***Code Word: Santa Claus00:46:08.503 = Show Close*** = Begins immediately after inserted ad breakSOURCES and RESOURCES – and/or --- PRINT VERSION to READ or SHARE:BOOK: “The Sirius Mystery: New Scientific Evidence of Alien Contact 5,000 Years Ago” by Robert Temple: https://amzn.to/2JDnD27BOOK: “The Secret Teachings of All Ages” by Manly P. Hall: https://amzn.to/3mNlkbo“Why So Serious About Sirius?” by Gregg Prescott, M.S. for Message To Eagle: https://tinyurl.com/y2v4gqsd“The Assassination of the Loch Ness Monster” by Blake Stilwell for Military.com: https://tinyurl.com/y2kpzrn5“A Romance in Crime” by Robert Wilhelm for Murder by Gaslight: https://tinyurl.com/y584we6w“Code Word: Santa Claus” by Tim Swartz, for Mysteries Magazine (no longer online or in print)=====(Over time links may become invalid, disappear, or have different content. I always make sure to give authors credit for the material I use whenever possible. If I somehow overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it in these show notes immediately. Some links included above may benefit me financially through qualifying purchases.)= = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46= = = = =WeirdDarkness® is a registered trademark. Copyright ©2025, Weird Darkness.=====Originally aired: December 05, 2020EPISODE PAGE (includes sources): https://weirddarkness.com/NazisVsNessieABOUT WEIRD DARKNESS: Weird Darkness is a true crime and paranormal podcast narrated by professional award-winning voice actor, Darren Marlar. Seven days per week, Weird Darkness focuses on all thing strange and macabre such as haunted locations, unsolved mysteries, true ghost stories, supernatural manifestations, urban legends, unsolved or cold case murders, conspiracy theories, and more. On Thursdays, this scary stories podcast features horror fiction along with the occasional creepypasta. Weird Darkness has been named one of the “Best 20 Storytellers in Podcasting” by Podcast Business Journal. Listeners have described the show as a cross between “Coast to Coast” with Art Bell, “The Twilight Zone” with Rod Serling, “Unsolved Mysteries” with Robert Stack, and “In Search Of” with Leonard Nimoy.DISCLAIMER: Ads heard during the podcast that are not in my voice are placed by third party agencies outside of my control and should not imply an endorsement by Weird Darkness or myself. *** Stories and content in Weird Darkness can be disturbing for some listeners and intended for mature audiences only. Parental discretion is strongly advised.#WeirdDarkness #WWIIHistory #LochNessMonster #Propaganda #NaziGermany #BizarreHistory #WorldWarII #Nessie #StrangeButTrue #WeirdHistory

Bizable https://GoBizable.comUntie your business exposure from your personal exposure with BiZABLE.  Schedule your FREE consultation at GoBizAble.com today. Renue Healthcare https://Renue.Healthcare/ToddYour journey to a better life starts at Renue Healthcare. Visit https://Renue.Healthcare/Todd Bulwark Capital https://KnowYourRiskPodcast.comBe confident in your portfolio with Bulwark! Schedule your free Know Your Risk Portfolio review. Go to KnowYourRiskPodcast.com today. Alan's Soaps https://www.AlansArtisanSoaps.comUse coupon code TODD to save an additional 10% off the bundle price.Bonefrog https://BonefrogCoffee.com/toddThe new GOLDEN AGE is here!  Use code TODD at checkout to receive 10% off your first purchase and 15% on subscriptions.LISTEN and SUBSCRIBE at:The Todd Herman Show - Podcast - Apple PodcastsThe Todd Herman Show | Podcast on SpotifyWATCH and SUBSCRIBE at: Todd Herman - The Todd Herman Show - YouTubeDavid French: a Hilarious Tragedy. // Netflix and the NY-Times are Incestuous Cousins. // The Inverse Gospel of “Progressive ‘Christianity'”Episode Links:Our Foremost Contrary Indicator Nails It AgainDavid French has some very serious mental issues all related to TDS. Here, he praised a judge's farcical decision banning President Trump from using the National Guard in Portland, Oregon. BREAKING: The No Kings “protest” in Portland is now a FULL-ON RIOT here outside of the ICE facility, and federal agents are UNLOADING tear gas on rioters who are assauIting agents. It's only 4pm, and “protestors” are ALREADY getting vioIent. WE NEED NATIONAL GUARD!Here's what the 9th Circuit Court of Appeals said about the decision (a PDF download)Drama series about Mussolini has him turn to the camera and say “Make Italy Great Again” in plain English. BREAKING - Video emerged showing Zohran Mamdani's lead canvassing director, Robert Alkleh, being asked what NYC police think of Mamdani, with Alkleh responding, “Who gives a sh-t what they think? They're city employees, we tell them what to do, shut up.”Rev. Ashley Mathews of Trinity Anglican Church of Atlanta, says people who DON'T hang out with LGBTQ people CAN'T understand John 15:13 and what Jesus meant when he said "Greater love has no one than this: to lay down his life for his friends"Arizona dad who left 2-year-old daughter to die in sweltering car was distracted by porn: prosecutors 

After alienating the western liberal democracies with whom they had previously enjoyed friendly relations, the Empire of Japan began exploring new friendship and alliances with the growing fascist powers which were emerging in Europe as the Second Sino-Japanese war began in 1937.Support the show My latest novel, "Califia's Crusade," is now available at Amazon, Barnes & Noble, Kobo, Apple Books, Bookshop.org, and many other online platforms!

Should "good" people work for authoritarians? Does their implicit endorsement do more harm than their replacement by someone potentially worse? This was a common debate during Donald Trump's first term in the White House. Less so, during his second as loyalists assume most top positions in the administration. A century ago, this was a central question for Italy's governing class as Benito Mussolini's fascist movement seized and consolidated power, evolving over three years from a mix of authoritarianism and democracy into full-blown dictatorship. Some chose retirement and some exile. Alberto Beneduce, who publicly denounced fascist violence in 1922 and called for police repression of Mussolini's movement, chose to stay. Over 15 years, this committed socialist leveraged the Duce's trust to build a network of economic agencies that outlasted Mussolini and provided the foundations of post-war Italian capitalism. At his zenith in the late-1930s, Beneduce was on the board of 26 corporations, chaired eight and was - in the words of Lorenzo Castellani, author of Alberto Beneduce, Mussolini's Technocrat: Power, Knowledge, and Institutions in Fascist Italy (Routledge, 2025) - the head of a "state outside the state". Lorenzo Castellani is a tenure-track researcher and professor at LUISS Guido Carli in Rome. Tim Jones is a policy analyst at Medley Advisors and also writes and podcasts on European affairs at 242.news on Substack. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Should "good" people work for authoritarians? Does their implicit endorsement do more harm than their replacement by someone potentially worse? This was a common debate during Donald Trump's first term in the White House. Less so, during his second as loyalists assume most top positions in the administration. A century ago, this was a central question for Italy's governing class as Benito Mussolini's fascist movement seized and consolidated power, evolving over three years from a mix of authoritarianism and democracy into full-blown dictatorship. Some chose retirement and some exile. Alberto Beneduce, who publicly denounced fascist violence in 1922 and called for police repression of Mussolini's movement, chose to stay. Over 15 years, this committed socialist leveraged the Duce's trust to build a network of economic agencies that outlasted Mussolini and provided the foundations of post-war Italian capitalism. At his zenith in the late-1930s, Beneduce was on the board of 26 corporations, chaired eight and was - in the words of Lorenzo Castellani, author of Alberto Beneduce, Mussolini's Technocrat: Power, Knowledge, and Institutions in Fascist Italy (Routledge, 2025) - the head of a "state outside the state". Lorenzo Castellani is a tenure-track researcher and professor at LUISS Guido Carli in Rome. Tim Jones is a policy analyst at Medley Advisors and also writes and podcasts on European affairs at 242.news on Substack. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

This summary episode revisits the rise of Italian fascism and Benito Mussolini's path to power during the tumultuous early 1920s. Born from Italy's sense of betrayal after World War I—when promised territorial gains in the Mediterranean never materialized—the fascist movement gained momentum as a bulwark against the growing Communist threat. Led by military veterans discharged into a war-ravaged economy, fascist squads found support among industrialists and political elites who saw them as the only force capable of matching Communist passion and violence. Mussolini's dramatic March on Rome in October 1922 proved to be a strategic masterstroke that, despite being poorly organized, succeeded when King Victor Emmanuel III chose not to declare martial law, instead appointing Mussolini as Prime Minister of Europe's first fascist government. What followed was a gradual consolidation of power, marked by the rigged 1924 elections under the Acerbo Law and the pivotal Matteotti murder, after which Mussolini fully embraced fascist violence and began reshaping Italian society. The episode traces how Mussolini's expansionist ambitions led to costly adventures in Ethiopia and the Spanish Civil War, ultimately leaving Italy militarily weakened and economically strained just as it prepared to enter World War II as Germany's junior partner—setting the stage for an even greater disaster than the first world war. Contact advertising@airwavemedia.com to advertise on History of the Second World War. History of the Second World War is part of the Airwave Media podcast network. Learn more about your ad choices. Visit megaphone.fm/adchoices

Plus de cent ans après, retour sur les circonstances pour le moins troubles de la prise du pouvoir, en Italie, de Mussolini et sur le mythe de la « marche sur Rome ». Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

"Mussolini: Son of the Century" is a biographical historical drama television series directed by Joe Wright, based on the 2018 novel "M: Son of the Century" by Antonio Scurati. Starring Luca Marinelli as Benito Mussolini, the series centers on Mussolini's early political career in the 1920s. It premiered at the 81st Venice International Film Festival to positive reviews for its direction, score, and Marinelli's performance. Wright was kind enough to spend some time speaking with us about his experience working on the series, which you can listen to below. Please be sure to check out the series, which is now available to stream in full on MUBI. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

America saw a significant reverse-migration in the 1800s and 1900s, with 20–50% of Italian immigrants returning to Italy as ritornati and tens of thousands of Americans, including ideologues and workers, moving to Germany, Italy, and the USSR in the 1930s seeking political or economic opportunities. Some of these American expatriates were drawn to revolutionary movements in Europe and Asia, blending idealism with political activism Today’s guest is David Mayers, author of Seekers and Partisans: Americans Abroad in the Crisis Years, 1935–1941. We discuss alienated Americans who went abroad during the interwar years in search of a new home and/or to further deeply personal causes. They include John Robinson, a black aviator who in 1935 led the Ethiopian air force against the Italian invasion; Agnes Smedley, who joined the Chinese communists during the Sino-Japanese war; Helen Keller, an advocate of the seeing- and hearing-impaired; Ezra Pound, a lauded poet who championed Mussolini; and Anna Louise Strong, drawn to Stalin's USSR.See omnystudio.com/listener for privacy information.

The current government shutdown is unlike any we have seen before. President Trump is turning this into a political assault on blue states, energy projects, infrastructure projects, and more. What does this shutdown really mean for our democracy? Where are the bold politicians, either left or right, who can take a stand against Trump's excesses? Tune in as David Rothkopf and Norm Ornstein discuss the current state of our government and more. Looking for More from the DSR Network? Click Here: https://linktr.ee/deepstateradio Learn more about your ad choices. Visit megaphone.fm/adchoices

The current government shutdown is unlike any we have seen before. President Trump is turning this into a political assault on blue states, energy projects, infrastructure projects, and more. What does this shutdown really mean for our democracy? Where are the bold politicians, either left or right, who can take a stand against Trump's excesses? Tune in as David Rothkopf and Norm Ornstein discuss all this and more. Looking for More from the DSR Network? Click Here: https://linktr.ee/deepstateradio Learn more about your ad choices. Visit megaphone.fm/adchoices