Podcasts about oliveira salazar

El primer tercio del siglo XX en la Península está marcado por su descomposición política y social y la grave crisis que dan lugar a los golpes de Estado que dan protagonismo a Oliveira Salazar y Francisco Franco.

El primer tercio del siglo XX en la Península está marcado por su descomposición política y social y la grave crisis que dan lugar a los golpes de Estado que dan protagonismo a Oliveira Salazar y Francisco Franco.

Norte de Portugal, 1 de marzo de 1942. Antonio Roquete, uno de los principales torturadores de la dictadura de António de Oliveira Salazar, dirige una redada contra opositores al régimen. Entre ellos se cuenta un viejo conocido suyo. Porque Roquete, antes que esbirro del Estado Novo, ha sido jugador. Y quien queda detenido, expuesto a abusos y encerrado en un campo de concentración en Cabo Verde no es otro que Cândido, su antiguo entrenador. Nacido cerca de la frontera con Badajoz, Cândido de Oliveira lo ha sido todo en el el fútbol portugués: capitán en el debut histórico de la selección, cronista, técnico campeón de liga e incluso seleccionador. Pero además es un ciudadano comprometido con la democracia en plena Segunda Guerra Mundial. Sus contactos con el fútbol inglés le sirven para entrar como agente del espionaje británico a las órdenes de Ian Fleming. Esas noches de cócteles, póker y enigmas en el Casino de Estoril le servirán a Fleming para construir un personaje de ficción llamado Bond, James Bond. Miguel Lourenço Pereira, periodista y escritor portugués, nos guía por las rendijas biográficas de Cândido de Oliveira, una de las figuras más apasionantes del fútbol europeo en uno de los momentos más tenebrosos de la historia. Accede a contenido exclusivo sobre este capítulo 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.

Iain Dale talks to Salazar's biographer, Thomas Gallagher about the man who ruled Portugal for 36 years

Assinala-se nesta segunda feira, 27 de Janeiro, os 80 anos da libertação de Auschwitz. Mais de 1,1 milhões de pessoas foram assassinadas neste campo de concentração e os historiadores afirmam que a maioria, cerca de 1 milhão, eram judeus. Miriam Assor, jornalista, autora e membro da comunidade judaica de Lisboa, afirma que neste dia se assinala a “matança dos judeus” e revela que "apesar da neutralidade portuguesa na II Guerra Mundial, houve portugueses que morreram nos campos de concentração". Qual é a importância desta data para a comunidade judaica?Neste dia 27 de Janeiro - dia em que tropas soviéticas entraram finalmente em Auschwitz - assinala-se uma matança, uma tentativa de genocídio direccionado ao povo judeu. Foram assassinadas 1,5 milhões de pessoas, em Auschwitz, sendo que a esmagadora maioria eram judeus.Porquê os judeus? Porque o Holocausto e a Segunda Guerra Mundial foram direccionadas para o extermínio dos judeus. Depois houve as excepções. Refiro-me aos comunistas, homossexuais, testemunhas de Jeová, ciganos, excepções infelizes que o nazismo também encontrou como alvo de matança.A matança, a Shoah é direccionada ao povo judeu. É uma coisa que é injustificável. Foi uma tentativa de acabar com os judeus.Os sobreviventes de Auschwitz falam deste campo como um lugar de desumanização. Esta desumanização é um desafio transgeracional? Qual é que é o processo de cura?A Desumanização de Auschwitz é algo que me perturba e no qual penso sempre que escrevo sobre esse tema. Não bastava matar, era preciso tirar, aliás tirar-nos – porque também me incluo - a alma das pessoas.As pessoas chegavam a Auschwitz em comboios de animais e eram seleccionadas. Essas pessoas, seleccionadas para não viver, entravam num corredor de desumanização. Não sei que género de humano é capaz de fazer isso, mas como dizia Hannah Arendt [filósofa política alemã de origem judaica, uma das mais influentes do século XX] eram pessoas normais e apenas obedeciam a ordens.Como se faz o processo de cura?A minha cura é escrever livros.Qual é o papel da literatura neste processo?Cada vez que eu escrevo sobre a Segunda Guerra Mundial ponho em prática a expressão “nunca mais”. É através da escrita que luto para que nunca mais [a história se repita]. Escrever com factos, não faço romances, vou aos arquivos pesquisar e mostro a verdade.Em Julho do ano passado, a Agência dos Direitos Fundamentais da União Europeia alertou para o facto de os casos de antissemitismo terem aumentado em todo o bloco europeu. Algumas organizações, em toda a União Europeia, relataram um aumento de 400% nos incidentes antissemitas, após a resposta militar israelita aos ataques do Hamas de 7 de Outubro de 2023. Numa sociedade cada vez mais polarizada, o combate é mais difícil?O combate hoje é difícil, porque o antissemitismo é uma doença mental. Ninguém que tenha a massa encefálica acinzentada pode ser antissemita, xenófobo, o que quer que seja.O antissemitismo é um mal ancestral que já existe há uns quantos anos, mesmo séculos e que acompanha a evolução dos tempos. Hoje em dia, parece-me que está muito mais intensivo porque os meios são mais intensivos e, portanto, o antissemitismo existe.Porque é que não se gosta de judeus? Não lhe sei explicar. Não sei a razão, não faço ideia qual é. Mas sei que pode rimar um pouco com coisas que depois culminaram, por exemplo, na Inquisição [um tribunal formado pela Igreja Católica para condenar e punir as pessoas que tinham desvios nas normas de conduta].A Inquisição foi um meio antissemita brutal que tínhamos que deixar ser judeus porque senão éramos queimados.A história, a preservação da memória tem um papel importante na erradicação destes comportamentos?Sim. Julgo que têm um papel importante.Portugal foi um país neutro durante a Segunda Guerra Mundial. No entanto, na sua recente investigação que consta do livro “Portugueses na Lista Negra de Hitler” revela que essa neutralidade não foi assim tão óbvia e que teve efeitos colaterais. O que é que aconteceu a Portugal?Portugal foi, julgo, um dos primeiros países, senão o primeiro, que apresentou a neutralidade. Julgo que foi logo em Setembro de 1939. Essa neutralidade foi um pouco coxa. Enquanto a guerra estava nas mãos dos nazis, Portugal teve uma política e a partir do dia D [dia do desembarque das tropas na Normandia] quando percebe que a guerra está perdida, o Salazar passa a ter um comportamento diferente com Aristides Sousa Mendes e a Sampaio Garrido [dois diplomatas portugueses].Dois diplomatas que salvaram judeus durante a Segunda Guerra Mundial…Salvaram quem quer que fosse. Nem um, nem outro foram perguntar, alguma vez: Olha, és judeu? Não, salvavam quem quer que fosse. Naturalmente que eram muitos mais judeus que procuravam ajuda. Estávamos na mira do gatilho.No livro “Portugueses na Lista Negra de Hitler” escreve que portugueses foram parar a campos de concentração e outros foram mortos…Sim. Dez anos antes da Guerra das Balcãs, o Governo português tinha autorizado, julgo que em Março de 1913, a inscrição provisória dos judeus descendentes de portugueses e essa inscrição foi feita ao abrigo do regulamento consular, em vigor na altura.Embora se tratasse apenas de inscrição provisória consular, Alfredo Mesquita [diplomata português] deu a essas pessoas o benefício da protecção portuguesa. Estas pessoas ficaram com a documentação portuguesa que foram renovando até 1939 ou 1941. Quando rebentou a guerra ainda se deu algum benefício, mas depois as autoridades não renovaram a documentação. Tanto dessas pessoas, como dos outros.Conta, ainda, que um grupo de portugueses ficou detido em Le Vernet, em França, durante cerca de quatro anos e que foi deportado para o campo de concentração...Sim, portugueses que não eram judeus - eram pessoas ligadas à esquerda, ao anarquismo - por razões políticas - aliás, por razões nenhumas, foram depositadas e acabaram mortas em Dachau e Bergen-Belsen. Muitas delas pediram ajuda, mas essa ajuda nunca apareceu.Há cartas onde as pessoas pedem ajuda. Há, por exemplo, o Sr. Nino Barzilai que tinha nascido em Salónica, Grécia, viveu em Barcelona, Espanha, e foi preso em Atenas com documentação portuguesa. Pediu ajuda, mas essa ajuda nunca chegou. Ele, a mulher, o filho e outras 17 pessoas estiveram presos em Bergen-Belsen.Refere que não encontrou posições de antissemitismo por parte do Governo português, nomeadamente o então presidente do Conselho de Ministros e ministro dos Negócios Estrangeiros, António de Oliveira Salazar. Mas notou uma falta de responsabilidade, de tomada de decisão. Quais é que foram as consequências dessa falta de responsabilidade?A agonia, a aflição de pessoas que eram inocentes, Pessoas que não fizeram crime nenhum, mas ou por serem judeus ou por serem contra o regime, acabaram em campos de concentração e algumas delas derreteram em Auschwitz e em campos de concentração ou de extermínio. Esta é a consequência do bailado triste entre a burocracia portuguesa e a vida das pessoas.A ditadura portuguesa não tomou medidas para salvar a vida desses portugueses?Foi muito lenta e não tomou decisões. Os carrascos nazis avisaram variadíssimas vezes [as autoridades portuguesas]: olhe que temos aqui os vossos conterrâneos e se vocês não tomarem qualquer posição, eles vão ser deportados. E foram [deportados).Como espera que sejam as próximas celebrações da libertação do campo de Auschwitz?Espero que a memória tenha mais força do a que tem tido. Nós, sem memória, não vamos a lado nenhum. A memória é um conjunto do passado com o presente. E há muita gente que diz: isso já foi há muitos anos. Não foi assim há muitos anos. É preciso que não haja outro holocausto, que não haja mais outras tragédias como as que infelizmente há. Espero que daqui a dez anos exista uma...Uma maior consciência?Uma consciência diferente. As pessoas, mesmo indo aos campos de concentração- que agora são verdes e lindíssimos - não imaginam que esses campos foram autênticos talhos.

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Cuando comienza la WW2, Portugal estaba regido por Antonio de Oliveira Salazar, una especie de dictadura blanda en nuestro país vecino que no ocultó jamás su aversión al comunismo, de hecho el país luso ayudó activamente a los sublevados durante la guerra Civil española. En este programa comentamos como estaba gobernado Portugal, sus fuerzas armadas, las amenazas reales o imaginarias de una invasión por parte de España, Alemania o Inglaterra y su papel en este conflicto tanto a nivel de lucha antisubmarina como situación de guerra con el Imperio Japonés en el imperio portugués de Oriente Musica intro: Fallen Soldier,licencia gratuita, de Biz Baz Estudio Licencia Creative Commons Fuentes: LA GUERRA Y LOS NEUTRALES. Colaboracion de V.M. Toynbee-W.N. Medlicott-C. Howard-A. Hicks-K. Duff-G. Kirk- «As forças preparadas para a invasão (Portuguese) Herz, Norman (2004). Operation Alacrity: The Azores and the War in the Atlantic Audios y música: Música y noticiarios de la época Portada : Sergio Murata Productor: Vega Gónzalez Director /Colaborador: Sergio Murata Espero que os guste y os animo a suscribiros, dar likes, y compartir en redes sociales y a seguirnos por facebook y/o twitter. Recordad que esta disponible la opción de Suscriptor Fan , donde podréis acceder a programas en exclusiva. Podéis opinar a través de ivoox, en twitter @Niebladeguerra1 y ver el material adicional a través de facebook https://www.facebook.com/sergio.murata.77 o por mail a niebladeguerraprograma@hotmail.com Telegram Si quieres acceder a él sigue este enlace https://t.me/niebladeguerra Además tenemos un grupo de conversación, donde otros compañeros, podcaster ,colaboradores y yo, tratamos temas diversos de historia, algún pequeño juego y lo que sea, siempre que sea serio y sin ofensas ni bobadas. Si te interesa entrar , a través del canal de Niebla de Guerra en Telegram, podrás acceder al grupo. También podrás a través de este enlace (O eso creo ) https://t.me/joinchat/Jw1FyBNQPOZtEKjgkh8vXg NUEVO CANAL DE YOUTUBE https://www.youtube.com/channel/UCaUjlWkD8GPoq7HnuQGzxfw/featured?view_as=subscriber BLOGS AMIGOS https://www.davidlopezcabia.es/ con el escritor de novela bélica David López Cabia https://www.eurasia1945.com/ Del escritor e historiador, Rubén Villamor Algunos podcast amigos LA BIBLIOTECA DE LA HISTORIA https://www.ivoox.com/biblioteca-de-la-historia_sq_f1566125_1 https://blog.sandglasspatrol.com/ blog especializado en temas de aviación Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Following the Great Depression, as the world searched for new economic models, Brazil and Portugal experimented with corporatism as a “third path” between laissez-faire capitalism and communism. In a corporatist society, the government vertically integrates economic and social groups into the state so that it can manage labor and economic production. In the 1930s, the dictatorships of Getúlio Vargas in Brazil and António de Oliveira Salazar in the Portuguese Empire seized upon corporatist ideas to jump-start state-led economic development. In A Third Path: Corporatism in Brazil and Portugal (Princeton University Press, 2024), Dr. Melissa Teixeira examines these pivotal but still understudied initiatives. What distinguished Portuguese and Brazilian corporatism from other countries' experiments with the mixed economy was how Vargas and Salazar dismantled liberal democratic institutions, celebrating their efforts to limit individual freedoms and property in pursuit of economic recovery and social peace. By tracing the movement of people and ideas across the South Atlantic, Teixeira vividly shows how two countries not often studied for their economic creativity became major centers for policy experimentation. Portuguese and Brazilian officials created laws and agencies to control pricing and production, which in turn generated new social frictions and economic problems, as individuals and firms tried to evade the rules. And yet, Teixeira argues, despite the failings and frustrations of Brazil's and Portugal's corporatist experiments, the ideas and institutions tested in the 1930s and 1940s constituted a new legal and technical tool kit for the rise of economic planning, shaping how governments regulate labor and market relations to the present day. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. 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

Following the Great Depression, as the world searched for new economic models, Brazil and Portugal experimented with corporatism as a “third path” between laissez-faire capitalism and communism. In a corporatist society, the government vertically integrates economic and social groups into the state so that it can manage labor and economic production. In the 1930s, the dictatorships of Getúlio Vargas in Brazil and António de Oliveira Salazar in the Portuguese Empire seized upon corporatist ideas to jump-start state-led economic development. In A Third Path: Corporatism in Brazil and Portugal (Princeton University Press, 2024), Dr. Melissa Teixeira examines these pivotal but still understudied initiatives. What distinguished Portuguese and Brazilian corporatism from other countries' experiments with the mixed economy was how Vargas and Salazar dismantled liberal democratic institutions, celebrating their efforts to limit individual freedoms and property in pursuit of economic recovery and social peace. By tracing the movement of people and ideas across the South Atlantic, Teixeira vividly shows how two countries not often studied for their economic creativity became major centers for policy experimentation. Portuguese and Brazilian officials created laws and agencies to control pricing and production, which in turn generated new social frictions and economic problems, as individuals and firms tried to evade the rules. And yet, Teixeira argues, despite the failings and frustrations of Brazil's and Portugal's corporatist experiments, the ideas and institutions tested in the 1930s and 1940s constituted a new legal and technical tool kit for the rise of economic planning, shaping how governments regulate labor and market relations to the present day. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Following the Great Depression, as the world searched for new economic models, Brazil and Portugal experimented with corporatism as a “third path” between laissez-faire capitalism and communism. In a corporatist society, the government vertically integrates economic and social groups into the state so that it can manage labor and economic production. In the 1930s, the dictatorships of Getúlio Vargas in Brazil and António de Oliveira Salazar in the Portuguese Empire seized upon corporatist ideas to jump-start state-led economic development. In A Third Path: Corporatism in Brazil and Portugal (Princeton University Press, 2024), Dr. Melissa Teixeira examines these pivotal but still understudied initiatives. What distinguished Portuguese and Brazilian corporatism from other countries' experiments with the mixed economy was how Vargas and Salazar dismantled liberal democratic institutions, celebrating their efforts to limit individual freedoms and property in pursuit of economic recovery and social peace. By tracing the movement of people and ideas across the South Atlantic, Teixeira vividly shows how two countries not often studied for their economic creativity became major centers for policy experimentation. Portuguese and Brazilian officials created laws and agencies to control pricing and production, which in turn generated new social frictions and economic problems, as individuals and firms tried to evade the rules. And yet, Teixeira argues, despite the failings and frustrations of Brazil's and Portugal's corporatist experiments, the ideas and institutions tested in the 1930s and 1940s constituted a new legal and technical tool kit for the rise of economic planning, shaping how governments regulate labor and market relations to the present day. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/latin-american-studies

Following the Great Depression, as the world searched for new economic models, Brazil and Portugal experimented with corporatism as a “third path” between laissez-faire capitalism and communism. In a corporatist society, the government vertically integrates economic and social groups into the state so that it can manage labor and economic production. In the 1930s, the dictatorships of Getúlio Vargas in Brazil and António de Oliveira Salazar in the Portuguese Empire seized upon corporatist ideas to jump-start state-led economic development. In A Third Path: Corporatism in Brazil and Portugal (Princeton University Press, 2024), Dr. Melissa Teixeira examines these pivotal but still understudied initiatives. What distinguished Portuguese and Brazilian corporatism from other countries' experiments with the mixed economy was how Vargas and Salazar dismantled liberal democratic institutions, celebrating their efforts to limit individual freedoms and property in pursuit of economic recovery and social peace. By tracing the movement of people and ideas across the South Atlantic, Teixeira vividly shows how two countries not often studied for their economic creativity became major centers for policy experimentation. Portuguese and Brazilian officials created laws and agencies to control pricing and production, which in turn generated new social frictions and economic problems, as individuals and firms tried to evade the rules. And yet, Teixeira argues, despite the failings and frustrations of Brazil's and Portugal's corporatist experiments, the ideas and institutions tested in the 1930s and 1940s constituted a new legal and technical tool kit for the rise of economic planning, shaping how governments regulate labor and market relations to the present day. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/political-science

Following the Great Depression, as the world searched for new economic models, Brazil and Portugal experimented with corporatism as a “third path” between laissez-faire capitalism and communism. In a corporatist society, the government vertically integrates economic and social groups into the state so that it can manage labor and economic production. In the 1930s, the dictatorships of Getúlio Vargas in Brazil and António de Oliveira Salazar in the Portuguese Empire seized upon corporatist ideas to jump-start state-led economic development. In A Third Path: Corporatism in Brazil and Portugal (Princeton University Press, 2024), Dr. Melissa Teixeira examines these pivotal but still understudied initiatives. What distinguished Portuguese and Brazilian corporatism from other countries' experiments with the mixed economy was how Vargas and Salazar dismantled liberal democratic institutions, celebrating their efforts to limit individual freedoms and property in pursuit of economic recovery and social peace. By tracing the movement of people and ideas across the South Atlantic, Teixeira vividly shows how two countries not often studied for their economic creativity became major centers for policy experimentation. Portuguese and Brazilian officials created laws and agencies to control pricing and production, which in turn generated new social frictions and economic problems, as individuals and firms tried to evade the rules. And yet, Teixeira argues, despite the failings and frustrations of Brazil's and Portugal's corporatist experiments, the ideas and institutions tested in the 1930s and 1940s constituted a new legal and technical tool kit for the rise of economic planning, shaping how governments regulate labor and market relations to the present day. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars.

Following the Great Depression, as the world searched for new economic models, Brazil and Portugal experimented with corporatism as a “third path” between laissez-faire capitalism and communism. In a corporatist society, the government vertically integrates economic and social groups into the state so that it can manage labor and economic production. In the 1930s, the dictatorships of Getúlio Vargas in Brazil and António de Oliveira Salazar in the Portuguese Empire seized upon corporatist ideas to jump-start state-led economic development. In A Third Path: Corporatism in Brazil and Portugal (Princeton University Press, 2024), Dr. Melissa Teixeira examines these pivotal but still understudied initiatives. What distinguished Portuguese and Brazilian corporatism from other countries' experiments with the mixed economy was how Vargas and Salazar dismantled liberal democratic institutions, celebrating their efforts to limit individual freedoms and property in pursuit of economic recovery and social peace. By tracing the movement of people and ideas across the South Atlantic, Teixeira vividly shows how two countries not often studied for their economic creativity became major centers for policy experimentation. Portuguese and Brazilian officials created laws and agencies to control pricing and production, which in turn generated new social frictions and economic problems, as individuals and firms tried to evade the rules. And yet, Teixeira argues, despite the failings and frustrations of Brazil's and Portugal's corporatist experiments, the ideas and institutions tested in the 1930s and 1940s constituted a new legal and technical tool kit for the rise of economic planning, shaping how governments regulate labor and market relations to the present day. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/economics

Following the Great Depression, as the world searched for new economic models, Brazil and Portugal experimented with corporatism as a “third path” between laissez-faire capitalism and communism. In a corporatist society, the government vertically integrates economic and social groups into the state so that it can manage labor and economic production. In the 1930s, the dictatorships of Getúlio Vargas in Brazil and António de Oliveira Salazar in the Portuguese Empire seized upon corporatist ideas to jump-start state-led economic development. In A Third Path: Corporatism in Brazil and Portugal (Princeton University Press, 2024), Dr. Melissa Teixeira examines these pivotal but still understudied initiatives. What distinguished Portuguese and Brazilian corporatism from other countries' experiments with the mixed economy was how Vargas and Salazar dismantled liberal democratic institutions, celebrating their efforts to limit individual freedoms and property in pursuit of economic recovery and social peace. By tracing the movement of people and ideas across the South Atlantic, Teixeira vividly shows how two countries not often studied for their economic creativity became major centers for policy experimentation. Portuguese and Brazilian officials created laws and agencies to control pricing and production, which in turn generated new social frictions and economic problems, as individuals and firms tried to evade the rules. And yet, Teixeira argues, despite the failings and frustrations of Brazil's and Portugal's corporatist experiments, the ideas and institutions tested in the 1930s and 1940s constituted a new legal and technical tool kit for the rise of economic planning, shaping how governments regulate labor and market relations to the present day. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices

Following the Great Depression, as the world searched for new economic models, Brazil and Portugal experimented with corporatism as a “third path” between laissez-faire capitalism and communism. In a corporatist society, the government vertically integrates economic and social groups into the state so that it can manage labor and economic production. In the 1930s, the dictatorships of Getúlio Vargas in Brazil and António de Oliveira Salazar in the Portuguese Empire seized upon corporatist ideas to jump-start state-led economic development. In A Third Path: Corporatism in Brazil and Portugal (Princeton University Press, 2024), Dr. Melissa Teixeira examines these pivotal but still understudied initiatives. What distinguished Portuguese and Brazilian corporatism from other countries' experiments with the mixed economy was how Vargas and Salazar dismantled liberal democratic institutions, celebrating their efforts to limit individual freedoms and property in pursuit of economic recovery and social peace. By tracing the movement of people and ideas across the South Atlantic, Teixeira vividly shows how two countries not often studied for their economic creativity became major centers for policy experimentation. Portuguese and Brazilian officials created laws and agencies to control pricing and production, which in turn generated new social frictions and economic problems, as individuals and firms tried to evade the rules. And yet, Teixeira argues, despite the failings and frustrations of Brazil's and Portugal's corporatist experiments, the ideas and institutions tested in the 1930s and 1940s constituted a new legal and technical tool kit for the rise of economic planning, shaping how governments regulate labor and market relations to the present day. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices

VISITÁ NUESTRA WEB: https://www.historiaenpodcast.com.ar/ Abril de 1974, Portugal, primavera; renacer de la naturaleza, de los claveles y también de la vida política. La dictadura del Estado Novo llegaba a su fin después de más de cuatro décadas en el poder, con su líder omnipresente: Antonio de Oliveira Salazar. Esta revolución, con claveles en la boca de los fusiles, representó un hecho clave en la historia política del siglo XX. Que lo disfrutes... Learn more about your ad choices. Visit megaphone.fm/adchoices

Este verão o Expresso recupera o melhor do primeiro semestre de 2024: oiça aqui o podcast de Pedro Coelho sobre Ricardo Salgado e a queda do BES. A 15 de setembro de 2023, no dia em que Cavaco Silva lançou o livro “O Primeiro-ministro e a Arte de Governar”, o autor poderia ter sido o único protagonista. E, mesmo que a divisão do palco não seja o forte do homem que, a seguir a António de Oliveira Salazar, mais anos esteve no centro do poder, naquele dia, Cavaco partilhou as honrarias com uma antiga criação sua, José Manuel Durão Barroso. Há 48 referências a José Manuel Durão Barroso na agenda de Ricardo Salgado. Na maioria delas, o, à época, presidente da Comissão Europeia é apresentado, apenas, pelas iniciais – JMDB. Quatro dezenas das referências ao nome de Durão Barroso na agenda de Ricardo Salgado correspondem a reuniões ou a notas que o banqueiro ia escrevendo. Em algumas delas, Salgado convocava Barroso para lhe dar conselhos, noutras pré-anunciava pedidos de ajuda muito concretos.  Oiça aqui o terceiro episódio da Agenda de Ricardo Salgado, um podcast sobre 2268 dias de vida do velho banqueiro, originalmente publicado a 21 de maio de 2024.See omnystudio.com/listener for privacy information.

Opinião|Demanda de petróleo: anos de expansão pela frente http://estadao.com.br/opiniao/espaco-aberto/demanda-de-petroleo-anos-de-expansao-pela-frente [FULL] Berlin: Symphony of a Great City (Berlin: Die Sinfonie der Großstadt) https://youtu.be/0NQgIvG-kBM?si=4YaPtlQ94tlXZsTx Berlin: Symphony of a Metropolis https://en.wikipedia.org/wiki/Berlin:_Symphony_of_a_Metropolis Brasil vai ficar ‘inabitável' em 50 anos por causa do calor? Entenda o que realmente diz a Nasa http://terra.com.br/planeta/brasil-vai-ficar-inabitavel-em-50-anos-por-causa-do-calor-entenda-o-que-realmente-diz-a-nasa,8647d962fed306e561914a9cfb29478edb3gv05c.html António de Oliveira Salazar http://pt.wikipedia.org/wiki/Ant%C3%B3nio_de_Oliveira_Salazar Americans Sue to ... Read more The post amizades fazem bem à saúde, a estranha ditadura de Salazar, os defensores da desinformação appeared first on radinho de pilha.

Nous sommes en novembre 1935, à Lisbonne. A l'issue de sa rencontre avec Antonio de Oliveira Salazar, le « moine-dictateur », comme on l'appellera, l'essayiste contre-révolutonnaire suisse Gonzague de Reynold, dresse le portrait du président du Conseil portugais. Il rapporte : « Salazar entre, la main tendue. Une forte main blanche. Il parle d'une voix basse et douce, laissant parfois la phrase interrompue ou plutôt continuée par la pensée. Il vous regarde, la tête penchée vers vous, de ses yeux perçants, au regard droit. Il est grand, avec une tendance à se voûter comme sous une charge constante et lourde (…). Un air de jeunesse et de maturité, d'indépendance et d'autorité. Un timide intimidant, qui défend sa vie intérieure. Un homme de pensée transformé par devoir en homme d'action. Un maître devenu un chef. » Deux ans plus tard, Salazar se confie au français Henri Massis, homme d'extrême-droite, qui sera condamné pour sa participation au régime de Vichy. Il lui dit : « Ce que je veux, c'est faire vivre le Portugal habituellement, c'est gouverner sans ces violences contraires à la douceur des coutumes du peuple, c'est reconstruire le pays normalement, sans prétendre réaliser l'impossible, sans tenter de faire changer la nature des choses et des hommes. » Le professeur d'université, en apparence effacé, presque ascétique, a pourtant mis en place une dictature intraitable, soutenue par l'Eglise, l'armée et le patronat. Un régime qui va plonger le Portugal dans la terreur durant plus de quarante ans. Mais la peur explique-t-elle à elle seule la longévité du système ? A quel point la nation, à laquelle le « dictateur malgré lui » (autre surnom) disait être marié, a-t-elle adhéré ? Jusqu'où les puissances étrangères ont-elles été complaisantes ? Quels sont les ferments, dans l'histoire intime d'un homme, qui le mènent à une carrière de dictateur ? L'énigme Salazar est épaisse : ne nous décourageons pas … Invité : Yves Léonard, enseignant à Sciences Po Paris. « Salazar – Le dictateur énigmatique » aux éditions Perrin. Sujets traités : Salazar, moine, dictateur, Gonzague de Reynold, Henri Massis, extrême-droite, Eglise, énigme Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/5936 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

A 15 de setembro de 2023, no dia em que Cavaco Silva lançou o livro “O primeiro-ministro e a Arte de Governar”, o autor poderia ter sido o único protagonista. E, mesmo que a divisão do palco não seja o forte do homem que, a seguir a António de Oliveira Salazar, mais anos esteve no centro do poder, naquele dia, Cavaco partilhou as honrarias com uma antiga criação sua, José Manuel Durão Barroso. Há 48 referências a José Manuel Durão Barroso na agenda de Ricardo Salgado. Na maioria delas, o, à época, presidente da Comissão Europeia é apresentado, apenas, pelas iniciais – JMDB. Quatro dezenas das referências ao nome de Durão Barroso na agenda de Ricardo Salgado correspondem a reuniões ou a notas que o banqueiro ia escrevendo. Em algumas delas, Salgado convocava Barroso para lhe dar conselhos, noutras pré-anunciava pedidos de ajuda muito concretos.  Oiça aqui o terceiro episódio da Agenda de Ricardo Salgado, um podcast sobre 2268 dias de vida do velho banqueiroSee omnystudio.com/listener for privacy information.

A 15 de setembro de 2023, no dia em que Cavaco Silva lançou o livro “O primeiro-ministro e a Arte de Governar”, o autor poderia ter sido o único protagonista. E, mesmo que a divisão do palco não seja o forte do homem que, a seguir a António de Oliveira Salazar, mais anos esteve no centro do poder, naquele dia, Cavaco partilhou as honrarias com uma antiga criação sua, José Manuel Durão Barroso. Há 48 referências a José Manuel Durão Barroso na agenda de Ricardo Salgado. Na maioria delas, o, à época, presidente da Comissão Europeia é apresentado, apenas, pelas iniciais – JMDB. Quatro dezenas das referências ao nome de Durão Barroso na agenda de Ricardo Salgado correspondem a reuniões ou a notas que o banqueiro ia escrevendo. Em algumas delas, Salgado convocava Barroso para lhe dar conselhos, noutras pré-anunciava pedidos de ajuda muito concretos.  Oiça aqui o terceiro episódio da Agenda de Ricardo Salgado, um podcast sobre 2268 dias de vida do velho banqueiro.See omnystudio.com/listener for privacy information.

Le 25 avril 1974 au Portugal, la Révolution des Œillets met fin, en une journée, à l'Estado Novo, le régime salazariste qui était aux commandes du pays depuis plus de 40 ans. Son incarnation, Antonio de Oliveira Salazar, est un dictateur méconnu, et singulier, tant à l'intérieur qu'à l'extérieur du pays. Yves LEONARD lui consacre une biographie qui permet de mieux comprendre les ressorts de son action et de sa longévité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

El 25 de abril de 1974, Portugal fue testigo de la histórica Revolución de los Claveles, que puso fin a 48 años de la dictadura de António de Oliveira Salazar. En France 24 hacemos un repaso de los acontecimientos que marcaron la insurrección que este 2024 cumple 50 años y nos detenemos en el curioso código utilizado por las fuerzas rebeldes para dar pie al levantamiento.

Dando continuidade à Série Entrevistas, lançamos a série especial “50 anos da Revolução dos Cravos”, dedicada ao cinquentenário da Revolução de 25 de abril, ou Revolução dos Cravos, ocorrida em Portugal em abril de 1974. Com o Prof. Dr. Paulo Guimarães, da Universidade de Évora, em Portugal, você vai acompanhar a entrevista intitulada “Tanto Mar”: reflexões sobre a Revolução dos Cravos. Trata-se de uma ótima oportunidade para conhecer um pouco do levante militar e popular que colocou fim a um dos regimes autoritários mais longos do século XX: a ditadura do Estado Novo, de inspiração fascista, implantada por Antonio de Oliveira Salazar, em 1933. Entrevistadores: João Paulo Kleinlein e Fernando Martins (bolsistas LPPE) Entrevistado: Prof. Dr. Paulo Guimarães (Universidade de Évora) Ficha técnica: Coordenação do Podcast: Flaviano Isolan Coordenação da série: Angela Roberti Roteiro: Fernando Martins e João Paulo Kleinlein (bolsistas LPPE) Edição de áudio: João Paulo Kleinlein (bolsista LPPE) Design da capa: Patrick Dansa Divulgação: Alícia Bastos (bolsista LPPE) Acompanhe o LPPE nas redes sociais: Instagram: @lppeuerj Facebook: @lppe.uerj Twitter: @LPPE_UERJ Visite o nosso site: https://www.lppe.uerj.br/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/lppe/message

Découvrez l'abonnement "Au Coeur de l'Histoire +" et accédez à des heures de programmes, des archives inédites, des épisodes en avant-première et une sélection d'épisodes sur des grandes thématiques. Profitez de cette offre sur Apple Podcasts dès aujourd'hui ! Le 25 avril 2024, les Portugais fêtent les 50 ans de la révolution des œillets. En un jour, ce putsch militaire met fin à près d'un demi-siècle de dictature salazariste, l'Estado Novo, l'État nouveau. Ce régime original a été imaginé par Antonio de Oliveira Salazar, un professeur d'économie venu du petit peuple. Virginie Girod vous raconte cette étrange dictature dominée par un universitaire dans un récit inédit en deux parties. La position géographique du Portugal, à l'extrémité de la péninsule Ibérique, pousse ses habitants vers l'océan. Le Portugal est une puissance coloniale majeure dès le XVIe siècle, au point de négliger le développement de la métropole. L'indépendance du Brésil en 1822 est une catastrophe économique, et à l'aube du XXe siècle, le pays est très pauvre par rapport à ses puissants voisins européens. C'est à cette période que naît Antonio de Oliveira Salazar. Sa mère tient à lui donner une bonne éducation et Salazar fait de brillantes études de droit et d'économie... Ce n'est pas le pouvoir qui l'intéresse mais le rétablissement de la grandeur du Portugal. Le contexte politique portugais est alors explosif. Une révolution en 1910 remplace la monarchie et donne au Portugal sa première République. Cette dernière est balayée par un putsch en 1926. Le nouveau gouvernement militaire veut redresser les finances désastreuses du pays : Salazar tient sa chance. Courtisé, il accepte le poste de ministre de l'économie, mais sous ses conditions ; l'économiste obtient un droit de regard et de veto sur les politiques des autres ministères. A 39 ans, Salazar s'est imposé comme chef du Portugal par le prisme de la finance. Il élabore la constitution de son nouveau régime autoritaire, l'Estado Novo. Sa devise est : Dieu, Patrie, Famille. Mais la politique internationale et la Seconde Guerre mondiale vont bousculer ses plans de développement du pays. Thèmes abordés : Portugal, dictature, Salazar, Seconde Guerre mondiale, économie, empire colonial "Au cœur de l'histoire" est un podcast Europe 1 Studio- Auteure et Présentatrice : Virginie Girod - Production : Caroline Garnier- Réalisation : Nicolas Gaspard- Composition de la musique originale : Julien Tharaud - Edition et Diffusion : Nathan Laporte- Coordination des partenariats : Marie Corpet- Visuel : Sidonie Mangin Bibliographie : Franco Nogueira, Salazar, 6 volumes, Atlantida Editora, 1986. Ressources en ligne : https://www.oliveirasalazar.org/download/documentos/Biografia___27A44D66-60D3-48D2-82CE-0AF13C6ECF75.pdf https://www.cairn.info/revue-pole-sud-2005-1-page-39.htm https://repositorio-aberto.up.pt/bitstream/10216/152863/2/643094.1.pdf A voir : Antonio Oliveira de Salazar, réal. Bruno Gonçalves, RTP et BBC Worldwide production, 2007.

durée : 00:59:00 - Le Cours de l'histoire - par : Xavier Mauduit - À la tête du Portugal pendant près de quarante ans, António de Oliveira Salazar mène à la baguette un pays qu'il veut chrétien et modeste. Sa politique coloniale et la pauvreté de ses concitoyens ont raison du salazarisme qui ne survit que quatre ans à sa mort, en 1970. - invités : Yves Léonard Historien, enseignant à Sciences Po Paris, membre du Centre d'histoire de Sciences Po (CHSP), spécialiste du Portugal

Découvrez l'abonnement "Au Coeur de l'Histoire +" et accédez à des heures de programmes, des archives inédites, des épisodes en avant-première et une sélection d'épisodes sur des grandes thématiques. Profitez de cette offre sur Apple Podcasts dès aujourd'hui ! A priori, Antonio de Oliveira Salazar n'a pas le profil type d'un dictateur : sanglant, militaire et bon orateur. Non, Salazar était un professeur d'économie, frêle, discret, qui avait en horreur les discours. Pourtant, pendant près de 40 ans, il a dirigé le Portugal dans l'espoir de lui redonner sa grandeur passée. Dans un double-récit inédit, découvrez l'histoire de ce despote singulier ! Rendez-vous au cœur de l'histoire sur l'appli Europe 1 et sur toutes vos plateformes d'écoutes préférées ! "Au cœur de l'histoire" est un podcast Europe 1 Studio- Auteure et Présentatrice : Virginie Girod - Production : Caroline Garnier- Réalisation : Nicolas Gaspard- Composition de la musique originale : Julien Tharaud et Sébastien Guidis- Edition et Diffusion : Nathan Laporte- Communication : Marie Corpet- Visuel : Sidonie Mangin

Na primeira parte da nossa série especial para comemorar os 50 anos do 25 de Abril falamos com Yves Léonard, professor na Sciences Po (Paris), sobre o regime que Abril derrubou: o Estado Novo. Tentamos compreender, entre outros, como surgiu, qual o papel do ditador António de Oliveira Salazar, e como é que o regime evoluiu até 1974. Sugestões de leitura 1. António Costa Pinto (coord) - O Estado Novo de Salazar - Uma Terceira Via na Era do Fascismo. Lisboa: Edições70, 2022. 2. Fernando Rosas - Salazar e o Poder. A Arte de Saber Durar. Lisboa: Tinta da China, 2013. 3. Victor Pereira - A ditadura de Salazar e a emigração. O Estado português e os seus migrantes (1957-1974). Lisboa: Temas e debates, 2014. 4. Yves Léonard - Salazar. Lisboa: Edições70, 2023. ----- Obrigado aos patronos do podcast: Andrea Barbosa, Bruno Ricardo Neves Figueira, Isabel Yglesias de Oliveira, Joana Figueira, NBisme, Oliver Doerfler; Alessandro Averchi, Alexandre Carvalho, Daniel Murta, Francisco, Hugo Picciochi, João Cancela, João Pedro Tuna Moura Guedes, Jorge Filipe, Manuel Prates, Patrícia Gomes, Pedro Almada, Pedro Alves, Pedro Ferreira, Rui Roque; Adriana Vazão, André Abrantes, André Chambel, Andre Mano, André Marques, André Silva, António Farelo, Beatriz Oliveira, Carlos Castro, Carlos Martinho, Diogo Freitas, Fernando Esperança, Filipe Paula, Gn, Hugo Vieira, João Barbosa, João Canto, João Carlos Braga Simões, João Diamantino, João Félix, João Ferreira, Joel José Ginga, José, José Santos, Luis, Miguel Gama, Miguel Gonçalves Tomé, Miguel Oliveira, Nuno Carvalho, Nuno Esteves, Pedro Cardoso, Pedro L, Pedro Oliveira, Pedro Simões, Rúben Marques Freitas, Rui Magalhães, Rui Rodrigues, Sofia Silva, Thomas Ferreira, Tiago Matias, Tiago Sequeira, tope steffi. ----- Ouve e gosta do podcast? Se quiser apoiar o Falando de História, contribuindo para a sua manutenção, pode fazê-lo via Patreon: https://patreon.com/falandodehistoria ----- Música: “Five Armies” e “Magic Escape Room” de Kevin MacLeod (incompetech.com); Licensed under Creative Commons: By Attribution 4.0 License, ⁠http://creativecommons.org/licenses/by/4.0⁠ Edição de Marco António.

O Estado Novo aqui no Brasil só teve esse nome por causa do Estado Novo que António de Oliveira Salazar teve em Portugal! Separe trinta minutos do seu dia e aprenda com o professor Vítor Soares (@profvitorsoares) sobre a vida de Salazar mas principalmente sobre o Salazarismo. - COSME, Leonel, A separação das águas (Angola 1975-1976), Porto: Campo das Letras, 2007. - CARVALHO, Nogueira e, Era tempo de morrer em África: Angola guerra e descolonização 1961-1975, Lisboa: Prefácio, 2004. - LOUÇÃ, António. Hitler e Salazar: Comércio em tempos de guerra, 1940-1944. Lisboa, Terramar, 2000. - PINTO, António Costa Pinto. Os camisas azuis: ideologia, elite e movimentos fascistas em Portugal, 1914-1945. Lisboa, Editorial Estampa, 1994

El primer tercio del siglo XX en la Península está marcado por su descomposición política y social y la grave crisis que dan lugar a los golpes de Estado que dan protagonismo a Oliveira Salazar y Francisco Franco.

Post alega que Serviço Nacional de Saúde foi criado por António de Oliveira Salazar durante o Estado Novo, antes do período da democracia. Consulta ao Diário da República permite concluir o contrárioSee omnystudio.com/listener for privacy information.

ellos pero sin estar manco. En realidad era un poco mas como Becquer, ya que se dedicaba principalmente a las Rimas. Como el del chiste de Padre, me confieso que soy poeta. (contar el chiste). Portugal es la España Wannabe. Yo creo que ellos en el fonde se dejan querer pero la verdad es que le echamos poca cuenta. Muchos escritores como Saramago han hablado de la identidad iberica. Coño, si es que al final son Gallegos!!! Si no lo sabéis ya os digo yo que una de las dictaduras más largas de Europa tuvo lugar en Portugal de la mano de Antonio de Oliveira Salazar, que estuvo en el poder desde 1933 hasta 1974, cuando lo de lo de los claveles. Como bien dictador hijo de puta, el 10 de junio se conocía entonces como el dia de la Raza…serán podencos. Su capital es Lisboa, que es más antigua que Roma, pero no tanto como Cádiz. Lisboa es la tipica ciudad que te gusta o la odias. Yo soy del segundo grupo. Yo siempre diré que Portugal cuando la acabe va a estar taco de bien, pero es que no se le ocurre a nadie alicatar las fachadas. Y coño, si la alicatas y se te rompe un azulejo cambialo caaaabron!. Tienen el record del rey más longevo y el más efímero. EL rey más longevo de Europa fue el portugues Alfonso I, que fue rey durante 73 años. El más efímero fue Luis Felipe de Braganza que fue rey el tiempo que pasó entre que murio su padre y murió él, que fueron 20 minutazos. Todo esto ocurrió en el regicidio de Lisboa, en el cual en una plaza pública mataron a su padre…pasando a ser rey él hasta que lo mataron 20 minutos despues. Fué Catalina de Braganza, que se casó con Carlos II de inglaterra la que llevó a la pérfida albión la costumbre de beber té, y ahora los ingleses dicen que eso es suyo. El puente Vasco da Gama es el puente más largo de Europa. Cruza el Rio tajo al norte de Lisboa y tiene 12 kilometros. Ahi cuando pega el viento fuerte tiene que acojonar. Hay 8 paises que hablan portugués. Angola, Brasil, Cabo Verde, Timor Oriental, Guinea Ecuatorial, Guinea Bissau, Mozambique, Santo Tomé y Príncipe, así como Goa en la India y Macao. Es el secto idioma mas hablado del mundo. Aunque fue el primer poder colonial en abolir la esclavitud, tambien fueron los primeros en abrir en Europa un marcado de Esclavos. Que me lo quitan de las manos!!! Como curiosidad, tienen una lista de 80 nombres que es ilegales ponerlos, como por ejemplo Ovni. Ea, pues ya no va Iker Jimenez ni Carmen Porter para allá. Y yendo ya a su himno…es lo podiamos llamar un himno canonico, con todos los elemento de un himno con papeles.

En septembre 1968, Salazar, victime d'un AVC, est écarté de la vie politique mais son idéologie va lui survivre quelques années. Le dictateur a fortement marqué de son empreinte l'histoire du Portugal. L'" Estado novo", "l'Etat nouveau" qu'il a mis en place depuis les années 1930, va obliger la population, contrôlée par la police politique, à vivre sous une chape de plomb. Nous poursuivons les entretiens menés par Laurent Huguenin-Elie au "Rendez-vous de l'Histoire" à Blois avec deux historiens spécialistes du Portugal: Yves Léonard, membre du centre d'histoire de Science Po en France et Victor Pereira, chercheur à l'Université nouvelle de Lisbonne. Photo: forteresse de Peniche, 80 km au nord de Lisbonne. Sous la dictature d'António de Oliveira Salazar (1932-1968), la forteresse a servi de prison de haute sécurité pour les dissidents politiques. Après la Révolution des Œillets, elle a servi d'abri aux "retornados", des colons portugais revenus d'Afrique lors du processus de décolonisation. (© Osvaldo Gago/wikipedia)

Qui était António de Oliveira Salazar, comment définir le salazarisme et qu'a signifié ce régime pour la population pendant de si longues années? Pour comprendre le renversement de la première république et l'émergence d'un pouvoir autoritaire au Portugal dans les années 1920, Laurent Huguenin-Elie a rencontré, au "Rendez-vous de l'Histoire" à Blois, deux historiens spécialistes du Portugal : Yves Léonard, membre du centre d'histoire de Sciences Po en France et Victor Pereira, chercheur à l'Université nouvelle de Lisbonne, auteur de "Le Portugal depuis la révolution des Œillets" (L'Harmattan) et "La dictature de Salazar face à l'émigration" (Sciences Po Histoire). Photo non datée d'António de Oliveira Salazar (à droite), président du Conseil des ministres, et d'Óscar Fragoso Carmona (en uniforme), président de la République du Portugal. Le 28 mai 1926, un coup d'Etat militaire, nationaliste et antiparlementaire met fin à la Première République portugaise. Un an plus tard, Carmona nomme António de Oliveira Salazar ministre des Finances. Impressionné par son charisme, il le nomme président du Ministère en 1932, lui accordant ainsi un pouvoir supérieur au sien. (© Horácio Novais/flickr)

Foi a 8 de fevereiro de 1946 que António Oliveira Salazar proibiu os partidos da oposição. A propósito disso, viajamos pelas siglas de organizações políticas portuguesas e perguntamos: sabe o que significam?See omnystudio.com/listener for privacy information.

Aníbal António Cavaco Silva é um economista português que serviu como o 19º presidente de Portugal , no cargo de 9 de março de 2006 a 9 de março 2016. Ele havia sido primeiro-ministro de Portugal de 6 de novembro de 1985 a 28 de outubro de 1995. Seu mandato de 10 anos foi o mais longo de qualquer primeiro-ministro desde António de Oliveira Salazar , e ele foi o primeiro primeiro-ministro português a ganhar um parlamentar absoluto maioria sob o sistema constitucional atual. Ele é mais conhecido por liderar Portugal na União Europeia . --- Send in a voice message: https://anchor.fm/manuel-velez61/message

Entre 1961 y 1974 el imperio colonial portugués se desintegró de forma muy dolorosa en varias guerras que tuvieron lugar en el continente africano. El ejército de este pequeño país europeo se vio envuelto en un conflicto extremadamente duro en puntos muy distantes entre sí y en plena guerra fría. Los independentistas de las colonias portuguesas de Angola, Mozambique y Guinea recibieron un apoyo decidido por parte de la Unión Soviética y sus países satélites del este de Europa. También Cuba, donde acababa de triunfar la revolución castrista, participó de forma muy activa. Portugal, en cambio, estaba sola. Nadie, ni siquiera Estados Unidos le prestó apoyo porque en Washington eran partidarios de poner fin al colonialismo europeo en África. El Portugal de aquella época aún conservaba dos provincias de ultramar con un tamaño respetable en África del sur y no quería deshacerse de ellas ya que consideraban que formaban parte integral del país desde muchos siglos antes, por lo que no había lugar a descolonización alguna. Pero en Angola y Mozambique, dos provincias cuya superficie combinada era 24 veces la de Portugal, surgieron tras la segunda guerra mundial una serie de movimientos independentistas que pretendían llevar a cabo una revolución. Algo así era simplemente intolerable para el Gobierno portugués, controlado entonces por Antonio de Oliveira Salazar, que había instaurado a mediados de la década de los veinte el llamado Estado Novo, un régimen dictatorial y corporativista que no contemplaba en modo alguno ceder a lo que Naciones Unidas y las dos grandes potencias le exigían. El estallido de la guerra debilitó a Portugal, que tuvo que combatir en tres frentes distintos y con prácticamente toda la comunidad internacional en contra. La economía portuguesa no se podía permitir semejante dispendio, tampoco los propios portugueses, que no eran muchos y sintieron en carne propia cómo la guerra estaba costando demasiado dinero y demasiadas vidas. Eso hizo crecer la disidencia interna y las sanciones externas. El país fue censurado por casi todo el bloque occidental al que pertenecía en tanto que miembro fundador de la OTAN. Diez años después de que empezasen los problemas la guerra se había vuelto extraordinariamente impopular en Portugal y hasta dentro del propio ejército, cuyos mandos no encontraban sentido a que un país pobre como el suyo tuviese un imperio colonial tan vasto y caro de mantener. El final de la guerra llegó con la llamada Revolución de los Claveles que estalló en Lisboa el 25 de abril de 1974. La retirada resultó en la expulsión de 300.000 portugueses que se habían establecido en las colonias y supuso el reconocimiento de la independencia de Angola, Mozambique, Cabo Verde y Guinea-Bisáu. En el otro lado del mundo, en el archipiélago indonesio, se independizó Timor Oriental, aunque a los timorenses no les duró mucho la independencia ya que poco después les invadió la república de Indonesia y anexionó la provincia. En la antigua metrópoli, entretanto, se llegaron a plantear la proclamación de una república socialista al estilo soviético, pero unas elecciones en 1975 moderaron el curso de los acontecimientos. Para Portugal la pérdida de las colonias africanas implicó una transformación completa que alumbraría el Portugal de nuestros días, pero en sus antiguas provincias de ultramar no reinó la paz. Angola y Mozambique se desangraron durante muchos años más en sendas guerras civiles que no concluyeron hasta finales del siglo pasado. De este modo la guerra colonial se extendió durante más de cuatro décadas. En El ContraSello: - Las pirámides mayas - El avance de la humanidad Bibliografía: - "Guerra e Paz" de W. van Der Waals - https://amzn.to/3Isqd7s - "Portugal e as Guerrilhas de África" de Al J. Venter - https://amzn.to/3GgqyY5 - "O Império Português e a África" - https://amzn.to/3jWSqZx - "História da Expansão e do Império Português" de Pedro Aires Oliveira - https://amzn.to/3Iq8mhe · Canal de Telegram: https://t.me/lacontracronica · “La ContraHistoria de España. Auge, caída y vuelta a empezar de un país en 28 episodios”… https://amzn.to/3kXcZ6i · “Lutero, Calvino y Trento, la Reforma que no fue”… https://amzn.to/3shKOlK · “La ContraHistoria del comunismo”… https://amzn.to/39QP2KE Apoya La Contra en: · Patreon... https://www.patreon.com/diazvillanueva · iVoox... https://www.ivoox.com/podcast-contracronica_sq_f1267769_1.html · Paypal... https://www.paypal.me/diazvillanueva Sígueme en: · Web... https://diazvillanueva.com · Twitter... https://twitter.com/diazvillanueva · Facebook... https://www.facebook.com/fernandodiazvillanueva1/ · Instagram... https://www.instagram.com/diazvillanueva · Linkedin… https://www.linkedin.com/in/fernando-d%C3%ADaz-villanueva-7303865/ · Flickr... https://www.flickr.com/photos/147276463@N05/?/ · Pinterest... https://www.pinterest.com/fernandodiazvillanueva Encuentra mis libros en: · Amazon... https://www.amazon.es/Fernando-Diaz-Villanueva/e/B00J2ASBXM #FernandoDiazVillanueva #guerracolonial #Portugal Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Simon and Lee talk about benevolent dictatorships and what they are supposed to be feeling while living in a country in mourning.Get in touch with Lee and Simon at info@midlifing.net or @midlifingpod on Instagram. Related links (and necessary corrections):Finnish Prime Minister Sanna Marin dancing: https://www.youtube.com/watch?v=V-XwhH-_lVcTheresa May dancing queen: https://www.youtube.com/watch?v=tbCDFNRA-WoBoris Johnson dancing at his wedding: https://www.youtube.com/watch?v=J0cViVgWfJQLars Mikkelsen: https://www.imdb.com/name/nm0586565/William Wycherley's The Country Wife (restoration comedy): https://en.wikipedia.org/wiki/The_Country_WifeUju Anya tweet story: https://www.buzzfeednews.com/article/stefficao/uju-anya-queen-elizabeth-death-tweet-reactionKirkegaard on being pulled between the finite and the infinite: https://bigthink.com/thinking/kierkegaard-finite-infinite-nothingness/Boat hits whale in NZ: https://www.bbc.co.uk/news/world-asia-62860778Benevolent dictatorship: https://en.wikipedia.org/wiki/Benevolent_dictatorshipAntónio de Oliveira Salazar: https://en.wikipedia.org/wiki/António_de_Oliveira_SalazarBear Gryll's adventure: https://www.beargryllsadventure.com---The Midlifing logo is adapted from an original image by H.L.I.T: https://www.flickr.com/photos/29311691@N05/8571921679 (CC BY 2.0)Get in touch with Lee and Simon at info@midlifing.net. ---The Midlifing logo is adapted from an original image by H.L.I.T: https://www.flickr.com/photos/29311691@N05/8571921679 (CC BY 2.0)

O ex-ministro das Finanças português, Antonio de Oliveira Salazar, é nomeado primeiro-ministro em sete de julho de 1932. Aproveita-se do acesso ao poder para instaurar um regime ditatorial e funda o Estado Novo, nacional e cristão. Salazar impõe um partido único, a União Nacional, e se apóia numa polícia onipresente, a PIDE (Polícia Internacional e de Defesa do Estado) que reprime toda oposição. Um ataque cerebral o obrigaria a deixar o poder em 1968, deixando em seu lugar o delfim Marcelo Caetano depois de mais de 35 anos no poder. Portugal sairia definitivamente da ditadura imposta por Salazar em abril de 1974 com a “Revolução dos Cravos”.Veja a matéria completa em: https://operamundi.uol.com.br/politica-e-economia/4912/hoje-na-historia-1932-salazar-e-nomeado-primeiro-ministro-de-portugal----Quer contribuir com Opera Mundi via PIX? Nossa chave é apoie@operamundi.com.br (Razão Social: Última Instancia Editorial Ltda.). Desde já agradecemos!Assinatura solidária: www.operamundi.com.br/apoio★ Support this podcast ★

Become a Patreon supporter at www.themidnighttrainpodcast.com   This week we're taking the train across the pond for another creepy adventure. That's right, we are doing one of our creepy episodes! It's been a while so we figured it was time. This week we are headed to what some people say is one of the top scariest countries in the world! Not only that…we know we have some awesome listeners here. This week we are headed to creepy Portugal! We are gonna try our best to find the coolest, creepiest places for you guys. I'm just going to assume there's going to be a bridge in here someplace.  So without further Ado.. Let's fucking rock and roll!!!   So first up we're gonna do a little history lesson. Will keep it somewhat sorry and sweet since if we got into the complete history of a country of the age of Portugal, it would be an entire episode on its own. To get there history of this country we went to the source, portugal.com and an article written by Goncarlo Costa.    The history of Portugal starts many ages ago, when the so-called Iberian tribes inhabited the territory of today's Portugal. Then, in the beginning of the first millennium BC, Celtic tribes invaded and intermarried with the local Iberians, creating what is now known as the Celtiberians.   The Lusitanians, who inhabited the interior region of Portugal since the Iron Age, are considered the forefathers of the Portuguese nation. This is why today we have names like Lusophone, someone who speaks Portuguese, or Luso-American, a Portuguese American person. They were known for successfully fending off the Roman armies until the death of their leader, Viriathus, known as a hero in Portugal.   The tribe was considered a worthy adversary by the Romans, so much that they named the province of the whole territory of modern Portugal (south of the Douro River) and part of western Spain after them.   The Romans left various works, such as baths, temples, bridges, roads, theaters and statues; some of them are still found in different parts of the country.   This lasted until the Barbarian invasions, when Germanic tribes migrated to various parts of the Roman Empire. In Portugal, the territory became controlled by the Germanic in the 5th century. The Kingdom of the Suebi controlled Galicia and the North and Center of Portugal, while the Visigothic Kingdom controlled the rest of the Iberian Peninsula, including the rest of Portugal, until eventually conquering the Suebi and, consequently, the whole of Iberia. This is when the rigid class structure appeared in the country, with a Nobility and Clergy getting more and more political and social power.   In the 8th century, the Islamic Umayyad Caliphate invaded the Iberian Peninsula from the North of Africa. Al-Andalus, the Islamic name for the Peninsula, became a part of the Caliphate, and Portugal with it. The Portuguese kept lots of things from their Muslim past, like many of their words, architecture and the famous ‘azulejos'.   The Christians held on in the North of the Peninsula, creating the Kingdom of the Asturias. This was until the Reconquista, when they reconquered the lands from the Moors, the Muslims.   In this Kingdom, at the end of the 9th century, a county based in the now north of Portugal was established, the County of Portugal. The county grew in power and, at the end of the 11th century, a Burgundian knight named Henry, who was fighting in the Reconquista, was crowned as ‘Count of Portugal' and merged it with the County of Coimbra.   Henry's son, Afonso Henriques, proclaimed himself King of Portugal in 1139 with Guimarães as its capital. This city remains known until this day as the “Cradle of the Nation' by the Portuguese.   However, it was only in 1179 that a papal bull officially recognized Afonso I as king. The Reconquista continued with the Algarve, the south of the country, finally being conquered in 1249, and Lisbon becoming the capital in 1255. Since then, Portugal's land borders have remained almost unchanged, being considered one of the longest standing borders in Europe.   The Kingdom of Portugal remained very important in Europe's (and especially Iberian) politics, waging several wars against Spain, creating an alliance with England (the longest standing alliance in the world, lasting until today) and starting the “Age of Discovery”.   In this Age, the country built a vast empire, having territory all over the world, from South America to Oceania. They started by exploring their coast and adventuring into the Moroccan coast, hoping to continue the Reconquista to the North of Africa. Then, the Portuguese sailors started to adventure into the open sea, when they discovered the islands of the Canaries, Madeira, Azores and Cape Verde. Subsequently, the Portuguese explored the coast of Africa, setting trading ports, and tried to discover the maritime route to India, which they did in 1498, under the explorer Vasco da Gama.   They continued to explore and look for trade around the world, from Africa, passing through Arabia, and reaching Japan, setting several outposts, many of them having developed into colonies later on. In 1500, they reached South America and started the colonization of Brazil.   The Empire started to decline, however, when the Dutch, English, and French got in the game. They started to surround or conquer the scattered Portuguese trading posts and territories, diminishing their power. On the Battle of Alcácer-Quibir, in 1578, Portugal lost its king, becoming part of a dynastic union with Spain that lasted until 1640, when it finally gained its independence again.   After that, the country never became the great power it once was. It lost several colonies (including its largest one, Brazil) and trade routes, it saw its capital being destroyed by an earthquake in 1755 and it was occupied during the Napoleonic Wars.   From then on, Portugal was a minor power in Europe, having just some colonies in Africa and Asia and never becoming an economic powerhouse.   Then, in 1910, due to corruption, dissatisfaction with the several Kings and the loss of claimed African lands to the English, the monarchy ended and a Republic was created. Fiercely secular, to the point where it was antichurch, filed with corruption, government instability and near to bankruptcy, the regime came to an end with a military coup in 1926.   A military dictatorship was installed and then, a fascist-like regime, the ‘Estado Novo' (‘New State'), headed by António de Oliveira Salazar. This period was marked by authoritarianism, lack of freedom and, from 1961, by the Portuguese Colonial War.   All of this ended when, in April 25th 1974, the Carnation Revolution happened, carried out by the Armed Forces Movement (Movimento das Forças Armadas – MFA), a movement of young left-leaning captains of the Portuguese Armed Forces. With the Revolution, democratic reforms were made and the first free elections with multiple parties happened, as well as the independence of all of Portugal's colonies.   It also started the PREC (Processo Revolucionário Em Curso – Ongoing Revolutionary Process), a period when conservative and left-leaning forces inside the MFA confronted each other, marked by political turmoil, violence, instability, and the nationalization and expropriation of private lands. It came to an end on the 25 November 1975, when the MFA moderates appeared as the main force.   Nevertheless, revolutionary achievements were not forgotten, with the Constitution pledging until this day to realize socialism, as well as declaring extensive nationalizations and land seizures as irreversible, many, however, now overturned.   Nowadays, Portugal is one of 15 most sustainable states in the world and considered the third most peaceful. It has high living standards and a good economy. It was a founding member of NATO, the Organization for Economic Co-operation and Development (OECD), the European Free Trade Association (EFTA) and the Community of Portuguese Language Countries. It entered the European Economic Community (now the European Union) in 1986 and is one of its fiercest supporters, even having produced a European Commission President.   Ok so that's a brief…incredibly brief mini history of Portugal. Really the take aways are…super old, plenty of things happened to make the place creepy over that many years. So let's see what creepy stuff Portugal has to offer!   What better way to start than with a sanatorium! Valongo Sanatorium to be exact. The construction of the Mont'Alto Sanatorium began in 1932. Due to the appearance of a large number of people who had contracted tuberculosis, there was a need to expand the facilities, and these expansion works were completed in 1958. construction of these hospital units were carried out in high altitude places, due to the purity of the air, and also because they were away from the populations to avoid the effects of contagion. The sanatorium only operated for a short period, having been inaugurated in 1958 and closed in 1975, after which it entered a profound state of disrepair. Due to its dimensions, it is considered one of the most imposing buildings of its type in Portugal.Its building is large, with an area of ​​approximately 88,000 m², having been built with a view to housing about 300 patients. The building was designed by the architect José Júlio de Brito , who was also responsible for other prominent structures in the city of Porto, such as the Coliseu or Teatro Rivoli . The sanatorium complex, which occupied nine hectares, also included a school, a laundry room, a water reservoir, and a chapel dedicated to Our Lady of the Sick.    The installation of the Sanatorium in Valongo was part of a phase in the history of health in Portugal, during which the government undertook the construction of several specialized establishments to combat tuberculosis, a disease that was ravaging the country at the time. This period began in 1899, with the foundation of the National Institute of Assistance to Tuberculosis, which began the construction of several sanatoriums in different parts of the national territory. In 1930, efforts against tuberculosis were renewed in the north of the country, with the creation of the Assistance to Tuberculosis of Northern Portugal by António Elísio Lopes Rodrigues, and at that time, planning began to build a sanatorium that would house the sick in that region, who had lower economic resources.  Serra de Santa Justa was chosen, where the air was healthier, in addition to being isolated from urban centers, in order to reduce the risk of contagion.   Shortly after, the Sá family donated a plot of land in Serra de Santa Justa, allowing the construction of the building, whose works began in 1932.  However, the works were suspended due to lack of funding, having been resumed due to the support of the local populations.  On July 5, 1940, ATNP began building the Casa de Nossa Senhora da Conceição, to support the children of the sanatorium's patients. According to the Diário Popular of 3 January 1956, the finishing works and equipping of the sanatorium were already under way, and it was expected to be completed during the following year, and that it would have a capacity for 350 beds.  However, the works were only completed in 1958.  Another reason for the delay in the work may have been the opposition by the Companhia das Minas de São Pedro da Cova to the construction of the building, because it was being installed inside an area destined for coal mining, a few kilometers away from the mines.  However, at the time of the sanatorium's inauguration, mining was already entering its final phase, ending up closing in 1970.  Some of the users of the hospital were the mine workers themselves, who suffered from occupational diseases such as tuberculosis and silicosis . The Sanatorium of Monte Alto was inaugurated on 1 November 1958,  being the last one to be opened in Portugal. The inauguration ceremony included a religious service at the Chapel of Nossa Senhora dos Enfermos, the unveiling of a commemorative tombstone, a tribute to the League of Combatants of theFirst World War, and concluded with a port of honor offered by the board of directors. of the sanatorium.  During the ceremony, the admission and accommodation process of the first clients, all veterans of the First World War, was also carried out. Although it was planned for three hundred patients,  its initial capacity was only fifty beds, and during its operation it accommodated 350 people.    In the early 1970s, there began to be greater control over the tuberculosis disease, which began to be fought in a different way, through the outpatient system.  In this way, the sanatoriums ceased to be useful, and were progressively abandoned or underwent a process of readaptation for other purposes.  In the case of the Montalto Sanatorium, the closure process began in 1972,  due to the low number of tuberculosis patients in the Porto District.  At that time, the building already had only a few patients, having been thought of its adaptation as a psychiatric hospital or for the returnees from overseas, which did not advance.  Due to the process of closing the Sanatorium, Casa Nossa Senhora da Conceição ceased to function as a boarding school, starting to support only external students. The building was abandoned after the April 25 Revolution , when the last employee left, although it was only officially closed in 1975.  Following its closure, it was completely looted, being a of the main reasons its connection to the Estado Novo, as it was mostly built and used during that regime.  This connection to the Estado Novo also had a negative impact on the collection of funds, making it impossible to carry out works on the building. It was also used as a training ground by firefighters and civil protection, who performed drills there and destroyed some walls.  Later, the sanatorium was used for paintball games and photo shoots, and various ceremonies related to the supernatural, such as rituals, were also performed there. The building was also hit by several fires, accentuating its degradation. History is awesome and fun and you know we love it but…. The reason we're here is for creepiness! There are stories abound of how haunted this place is. Given the numerous people who died there it makes sense to us! So what kind of stuff are we talking about here ? Well, let's look.    Well paranormal investigators have been spending time here for years, when there's no paintball matches going on, to try and find crazy shit! There have been numerous reports of strange noises and things moving around. There have been entities seen and apparitions spotted. It's hard to find much in English so finding pages from Portuguese websites and trying to find studies was tough but we managed to find one study where a group of friends were exploring the abandoned hospital and had some interesting things happen. They talked about how they started hearing strange noises while they were exploring. The noises seemed to be following them around the building. They talked about how they had a heavy feeling around them as they explored. The sounds seemed to keep getting closer to them. They claim that things started getting knocked over and moved on their own. At one point, one of the group claimed they saw a shadowy figure seemingly watching them. At that point they all decided it was time to go! Sounds like a pretty crazy experience!  True or not? We like to think so!   Can't go and episode without fucking tuberculosis… Teatro Lethes:   The building that today is called Teatro Lethes, began as a Jesuit College – Colégio de Santiago Maior, founded by the then Bishop of the Algarve, D. Fernando Martins Mascarenhas -, whose license was granted to them on 8 February 1599. of learning, above all of a religious nature – the “first university in the Algarve”, as someone has called it. In 1759, the Society of Jesus was banned from the country and its goods were confiscated. The College of Santiago Maior closed its doors. With the occupation of Napoleonic troops commanded by General Junot, the premises of the former College were raided and desecrated in order to enlist the soldiers there. Years later, in 1843, the College was auctioned off by Dr. Lazaro Doglioni, who had publicly expressed his intention to build a theater in Faro similar to S.   The Latin inscription on the facade of the building, monet oblectando , can be translated as “instructing, playing”, thus emphasizing the cultural concerns of the promoter of the construction of this concert hall.   The inauguration of Teatro Lethes took place on 4 April 1845, as part of the celebrations for the birthday of Queen Maria II. Later, in 1860, it was expanded by Dr. Justino Cumano, nephew of Lázaro Doglioni. On September 11, 1898, the so-called animatograph was exhibited for the first time in Faro., installed in the Lethes Theater as it is the largest and most distinguished cultural space in the city. It was restored between 1906 and 1908 to improve acoustics and comfort. The decline of the shows and, consequently, of the hall, begins in 1920, with the Theater closing in 1925, having sold the property to the Portuguese Red Cross, in whose possession it still remains. The Lethes Theater room was later ceded, by protocol, to the Algarve Regional Delegation of the Ministry of Culture. In the North wing, restored and adapted in 1991, the regional services of the Ministry of Culture operated. On October 5, 2012, by protocol between the Municipality of Faro and the Portuguese Red Cross, Teatro Lethes recovered its initial design. The Algarve Theater Company – ACTA was installed as a resident structure. ACTA, in addition to presenting shows of its own creation, also promotes hospitality at the Lethes Theater, and is also responsible for managing the equipment. this history was taken directly from the theatre website!   There are a couple stories about this place that prettier day lead to its hauntings. The first is the story of a ballerina who was in love but was not loved back. She was so distraught that she hung herself in the middle of the stage. Some versions say that she was driven to the brink by the demands of theater life. The second is that of a soldier's body that was found inside one of the walls. There isn't as much info on that story as the ballerina. Staff and visitors claim you can hear the ballerinas footsteps in the theater to this day. There are also reports of a shadowy figure moving about as well. Could this be the ballerina still performing for the people? Or the soldier patrolling the theater? Who knows but it sounds like a cool place to visit!! The Castelinho of Sao Joao, Estoril   The area between Estoril and Cascais, out on Lisbon's Atlantic coast, is rife with buildings of character. Many of them are designed to give the impression of miniature castles, indeed some of them were fortified because they were built during times of instability within the Iberian peninsula.   In the 1980s, a wealthy socialite, José Castelo Branco, was looking for just such a property and found one that seemed ideal in Sao Joao, a district on the edge of Estoril. The day he went to view the property was a beautiful sunny one and so he decided to walk along the cliff path which adjoined the property. As he was walking back to the building, he saw a young girl. She didn't speak, but simply stared at him. In his own account of the events of that day, Mr Castelo Branco said that he felt a compulsion to jump from the edge. This feeling was, he believed, coming from the young girl. He immediately elected to leave the property and ruled out buying it.   On hearing what had happened, someone from the local town hall did some research into the building and discovered that a young blind girl had fallen from the cliffs to her death in the eighteenth century and that several people had reported seeing her at the castelinho since, each claiming that they felt a strong will to jump while she looked at them.   Let's check out a cemetery now…cus those are always fun!    This one is called the cemetery of pleasures. After the city of Lisbon was hit by an outbreak of cholera in 1833, causing thousands of deaths,  it was urgent to create a large cemetery for both rich and poorer victims. It has the weird name of  Cemetery of ‘Pleasures', called after the nearby neighborhood (Prazeres) with the same name. Many of its tombs are big mausoleums, some with the size of small chapels.    Most of the Prazeres mausoleums belong to rich, old or ‘important' families, like  the Palmela family. Many of the mausoleums are richly elaborate, have fine sculptures and decorations. There are also statues of the deceased. It's like a ‘city in a city' for the dead, with well-defined lanes (70! ) and funerary chapels that were built to look like little houses.   The unusual thing about a lot of these graves is that they have little “front doors” with glass windows through which you can see the caskets and remnants of the dead and their visitors. Most of the trees are a species of cypress (Cupressus sempervirens), much used in Portuguese cemeteries.   The cemetery is one of the largest in Lisbon.    The Autopsy Room , which was in the chapel until the Morgues were created in 1899, is one of the curiosities that can be seen, as well as the Sala do Acervo , where some of the oldest funeral records can be consulted. This is another way of helping the visitor to interpret the different ways that human beings have had to culturally, socially and psychologically approach Death, throughout different times.   As with the many famous families and celebrities, another thing that adds to some people thinking there's more going on at this place is the presence of many freemason symbols and you know how that gets people talking!    At any rate, being a cemetery you can imagine the tales of hauntings surrounding this place! Everything from apparitions being seen wandering the grounds, to Disembodied voices. People have seen orbs in person and in pictures. I mean being able to see into these little houses and see the caskets and remains is creepy enough…add haunting to that…and it's definitely a place we want to go!   Next up, Quinta Das Conchas   The Quinta das Conchas (or the garden of shells) in Lisbon is best known for its expansive parkland, just to the north of the city centre. Families can be found playing here during the warmer months and countless dog walkers can be seen at any time of the year. The house at the heart of the estate though has a darker past which is lesser known. In the early part of the twentieth century, when Portugal was still a colonial power, the owner of the estate was a wealthy man called Francisco Mantero Belard. Like many of his countrymen, he was accustomed to having servants who took care of the running of his home. So, when he moved into the quinta, he acquired the services of a slave from Sao Tomé and Principe. There was nothing unusual about this at the time, other than that he elected to keep this slave woman in a small cage. She was made to live like an animal and, according to local myth, subjected to a variety of cruel treatment for several years. People working in the manor house in modern times have reported hearing wailing coming from empty rooms, as well as dramatic changes in temperature.   Let's switch it up and talk a little about Portuguese folklore! We're gonna talk about the coco or coca. There are also many other names for this guy or gal including Cucuy, Cuco, Cuca, Cucu or Cucuí. It is a mythical ghost-monster, equivalent to the bogeyman, found in many Hispanophone and Lusophone countries. It can also be considered an Iberian version of a bugbear as it is a commonly used figure of speech representing an irrational or exaggerated fear. A bugbear is described as  a legendary creature or type of hobgoblin comparable to the boogeyman and other creatures of folklore, all of which were historically used in some cultures to frighten disobedient children. The Cucuy is a male being while Cuca is a female version of the mythical monster. In Spain, Portugal, and Latin America, parents sometimes invoke the Coco or Cuca as a way of discouraging their children from misbehaving; they sing lullabies or tell rhymes warning their children that if they don't obey their parents, el Coco will come and get them and then eat them.    Continuing with the mystery surrounding this child scarer, the Coco also does not take on a specific physical form. For the Portuguese it is a dragon that is represented every year in the celebration of Corpus Christi…at least that is what I've source says.. another says: "In Portuguese côco, refers to a ghost with a pumpkin head. The male form is known as Coco, and the female form as Coca. It is said it's hard to tell the difference between the two. It seems that parents are to blame for the invocation of the Coco as a way of punishment for their wayward children. They would sing rhymes warning their children if they did not obey their parents the Coco would come and eat them.".... So a pumpkin headed goblin… Although the Coco was ghostly monster like in appearance, that wasn't the most frightening thing about them. Children would be scared out of their wits at the idea of a monster that could eat them and not leave a trace. So imagine being a child forced to sleep with a lullaby of a monster that was coming to devour them.    Duermete niño, duermete ya…que viene el cuco y te comerá (sleep child, sleep now…or else comes the coco to eat you).   Creepy, so this folk tale seems to have many different versions depending on where you look. We think that due to the fact that many Latin American countries also use this in folklore as well as there being a certain in Brazil, it's hard to actually put the facts together. Every place we looked about this tale had a little bit of a different take, hopefully we got it close as we mean no disrespect to the tales!   You know what else Portugal has…aliens, at least a few. He's a couple stories!    On September 4, 1957, four Portugal Air Force pilots claimed to have seen and chased some UFOs. They took off with their bomber aircraft from the Ota Air Base in Portugal under Captain José Lemos Ferreira leadership (the others pilots were sergeants Alberto Gomes Covas, Salvador Alberto Oliveira e Manuel Neves Marcelino). When they were heading towards the city of Portalegre, Captain Ferreira noticed a light above the horizon and warned the others. The light changed its own sizes a couple of times, first increasing, then shrinking. After several minutes the pilots noticed a small yellow circle getting out of the craft, and 3 more circles appeared later. When the UFOs were near Coruche, the bigger aircraft climbed out of the Earth as the smaller ones disappeared. The bombers landed without any problems and Captain Ferreira declared: "after this, do not come to us with that Venus, weather balloons, aircraft and similar stuff which have been being used as general explanations for almost every case of UFOs".   On September 10, 1990, around 9:30AM and for about 50 minutes, a small "balloon" was seen hovering towards a small football field, on a small village called Alfena in the outskirts of Porto. The object was described as "a small turtle with long legs" with a metallic shine. The people present got scared and a group of construction workers started throwing stones at it, and the object hovered backed away, leaving the site. An amateur photographer took several pictures of the shapeshifting object; the pictures were considered by several experts as real and the witness accounts by the simple folks were not considered hoax.    We also found this first hand account.. "My name is Cristina Marto de Pimental. I am a reporter. On New Year's Eve, December 31, 1997, my husband and I were at a seaside party in Funchal, which is on the South shore of Madeira Island, in the Atlantic Ocean, 912 kilometres East of Morocco. We were watching the New Year's festivities, all the fireworks in the sky. Then several people at the party called my attention to a red and motionless light above Funchal. The OVNI suddenly made a very tight circle, returned to its initial position, and, a few seconds later, it accelerated at great speed in a vertical direction. We were all quite amazed at the sight. A British couple at the festival videotaped the UFO as it hovered. The next day I telephoned the Fuerzas Aereas Portugeses (FAP) headquarters in Lisboa. The Portuguese air force told me that they'd had no flights, neither planes nor helicopters, and no satellites were over Madeira at that time."   Whoooooo aliens!!!   Time for some quick hitters, you beautiful bastards!   Quinta da Paulicea, Agueda:   Not far from the city center of Águeda, Quinta da Paulicea sits in the middle of large unkept plot of land surrounded by a wrought iron fence. It is the classic image of what a Hollywood haunted house should look like. It was inhabited by an Águedense family, who had moved to Brazil in the late 1800s, but returned in the early 1900s, naming the home after the city of São Paulo. Much of the family succumbed to the influenza pandemic in 1918, with the exception of Neca Carneiro. He was a patron of the community's sports and cultural programs but died childless at the young age of 37. The home has sat vacant ever since, due to legal constraints with the family back in Brazil. Although not certified as haunted, there are many reports of supernatural encounters at Quinta da Paulicea. Some have heard the neighing of horses where the stables once stood. Others have been frightened by the sound of a shotgun blast or a gentle pulling on hair. A worker in the garden suddenly experienced such an intense headache that he fled and never returned. Whether haunted or not, this beautiful home has many stories to tell.   Mines of São Pedro de Cova – Gondomar:   The village of São Pedro da Cova was largely an agricultural community until the discovery of coal in the 1802. The exhausting and dangerous industry of mining soon took over. Several generations of miners worked here until low oil prices forced the mines to shut down in the 1970's. All that's left of the mines are these ruins. Neighbors say spirits of the miners protect the ruins and the mine shafts. Others claim to hear screaming from the deep holes.   Termas de Água Radium, Sortelha:    Legend has it that this beautiful structure, in the Guarda District, was built by Spanish Count Don Rodrigo after learning that the natural “healing waters” might cure his daughter's skin disease. News of the waters quickly spread. In the 1920s, the site became a restorative spa known as the Hotel Serra da Pena. In actuality, the waters were radioactive, seeping from a uranium mine not far away. Radioactivity was all the rage in the 20's and 30's, so the site bottled the spring water and sold it under the name “Radium Water.” Of course, after radioactivity was studied further in the 40's, it became apparent that the healing qualities of radium water actually carried the opposite effect. The hotel went out of business in the 50's and has been abandoned ever since. It is said the site is haunted by the many people who drank from the contaminated spring.   Sanatório da Serra da Estrela – near Covilhã:   This massive structure was built in 1936 by Portugal's railway department as a treatment facility for its employees suffering from Tuberculosis. The building was later leased to the Portuguese Society of Sanatoriums on condition of receiving all patients needing treatment.  However it was closed in the 1980's and left to deteriorate for decades to come.  Rumors circulate that it is haunted by its many former patients.  The Sanatório has now been refurbished and transformed into the luxurious new Pousada Serra da Estrella.   Quinta da Juncosa – Penafiel, Rios de Monihos:    This old farmhouse was home to the Baron of Lages and his family.  The Baron was very jealous, and suspected his wife of infidelities.  Legends have it, the Baron tied his wife to a horse and dragged her around the farm until she died.  After discovering his wife was innocent, the Baron killed his children and committed suicide.  They say the Baron's guilt keeps him from resting in peace.  Ghosts of the Baron and his wife are said to be seen around the property.   So we did this episode in honor of our Portuguese listeners who have keep us in the top 10 in Portugal for quite some time. We thank you guys so much for that. But we have one request for you…in every creepy episodes so far until this one…we've found a haunted bridge, Texas had like 50. In all of my searching the recesses of the Internet, I could not find a single reference to a haunted bridge in Portugal, we need our Portuguese listeners to hit us up and let us know any stories about haunted bridges. It was tough to find a ton of information on a lot of these places so hopefully we did them right! If we made any mistakes or got anything wrong, you know what we say…blame the Internet!! Movie list   https://www.indiewire.com/gallery/best-body-horror-movies/

Nasceu no Porto a 17 de maio de 1939 e, 82 anos depois, mantém -se "portuense". Emílio Rui da Veiga Peixoto Vilar licenciou-se na Faculdade de Direito da Universidade de Coimbra, em 1961, mas foi como gestor que ocupou a causa e o espaço público. Homem discreto e atento à cultura, era ainda muito jovem quando trabalhou no gabinete de Carlos Ribeiro, na época em que este engenheiro era ministro das Comunicações de Oliveira Salazar. Fundador da SEDES e seu primeiro presidente, integrou o I Governo Provisório do pós 25 de Abril de 1974 como secretário de Estado do Comércio Externo e Turismo. Com a queda deste Executivo chefiado por Adelino da Palma Carlos, foi nomeado Ministro da Economia nos II e III Governos Provisórios. O gestor que foi presidente de várias associações desde os tempos do CIDAC (grupo de teatro, em Coimbra), foi Ministro dos Transportes e Comunicações do I Governo Constitucional. Com a adesão de Portugal à CEE (Comunidade Económica Europeia, 'mãe' da União Europeia), desafiou-o para um cargo em Bruxelas, de onde regressou para presidir à Caixa Geral de Depósitos e, anos depois, assumiu a presidência do conselho de administração da Fundação Calouste Gulbenkian. Do muito que geriu no espaço público, destaca a sua tarefa como comissário-geral da Europália (1989-1992) por acreditar que "foi um grande contributo para que a Europa nos visse de uma maneira diferente." See omnystudio.com/listener for privacy information.

Nasceu em Lisboa em março de 1967, mas só descobriu o poder do Mar depois de completar 25 anos, época que coincidiu com a sua partida para Londres para fazer o mestrado em Direito Europeu e Internacional na London School of Economics and Political Science. Foi nesta prestigiada escola que a interpelação de um professor sobre o mau aproveitamento que Portugal (então) fazia da sua imensa costa lhe mudou o trajeto profissional: “Fiquei surpreendido porque eu tinha vinte e poucos anos e nunca no meu crescimento nenhum adulto me tinha dito que tínhamos alguma coisa grande”. Licenciado em Direito, o administrador executivo da Fundação Oceano Azul seguiu a ‘pegada' jurídica do pai, o professor catedrático Paulo Pitta e Cunha, e do avô paterno Paulo Cunha, que, além de professor da Faculdade de Direito e Reitor da Universidade de Lisboa, foi ministro dos Negócios Estrangeiros de Oliveira Salazar. Tiago Pitta e Cunha recebeu das mãos do Presidente da República - na última segunda-feira, 18 de abril - o Prémio Pessoa 2021, uma iniciativa do Expresso e da Caixa Geral de Depósitos que já vai na 35ª edição. Entre os cargos internacionais que desempenhou, Tiago Pitta e Cunha foi assessor do então Presidente da Assembleia Geral das Nações Unidas, Diogo Freitas do Amaral (1995-1996), delegado à Assembleia Geral das Nações Unidas (1998) e, posteriormente, conselheiro na Missão Permanente de Portugal junto das Nações Unidas (1999-2002), representante de Portugal e dos demais Estados Membros da União Europeia na ONU para os assuntos marítimos, durante as Presidências portuguesa e francesa da União Europeia no ano 2000, e representante de Portugal na Convenção do Direito do Mar das Nações Unidas, na Autoridade Internacional dos Fundos Marinhos, e no Processo Consultivo Informal das Nações Unidas sobre Oceanos e Direito do Mar. See omnystudio.com/listener for privacy information.

Portugal ha iniciado ya las celebraciones por el 50 aniversario de la Revolución de los Claveles, que se cumplen el 25 de abril de 2024. La fecha de inicio, el pasado miércoles 23 de abril, se eligió por un motivo: ese día se cumplían 17.500 día de democracia, uno más que los que duró la larga dictadura de António de Oliveira Salazar y de su sucesor, Marcelo Caetano, el llamado 'Estado Novo', que duró desde 1926 a 1974, 48 años en total.   Escuchar audio

Episódio gravado em directo, sobre o pensamento político do homem que nunca merecemos. Abordamos os seguintes pontos: - O pensamento de Salazar - Estado - Nação - Autoridade Utilizarei como base para o episódio a tese de doutoramento do Doutor Marcos de Escobar "Perfis Maurrasianos em Oliveira Salazar". Uma tese belíssima que condensa em 300 páginas todo o pensar do santo governante.

Foram mais de 40 anos de ditadura em Portugal, muitos deles governados por António de Oliveira Salazar. O Cusquices da Malta dessa semana fala sobre um dos períodos mais sombrios da História recente de Portugal.

Antonio de Oliveira Salazar siirtyi lainopillisen tiedekunnan taloustieteen professorin paikalta diktaattorin hommiin vuonna 1928. Salazar hallitsi Portugalia lähes puoli vuosisataa, ja tuona aikana koettiin hirmutöitä ja kauhun öitä. Salazarin aikakausi oli yhtä ihana kuin fasistin syleily – sikäli kun ruoskasta sattuu pitämään. Salazarin hallintomalli oli eräänlainen ”hienovarainen absolutismi.” Hän tainnutti maan poliittisilla ja taloudellisilla menetelmillä. Vaalit eivät olleet vapaita, lehdistön suu oli tukittu ja poliisi valvoi kaikkea kaikkialla. Salazarin Portugalissa vapaus ei ollut vaihtoehto vaan se täytyi lunastaa joka ikinen päivä. Salazar poikkeaa muista diktaattoreista siinä että hän ei ryöstänyt valtion kassaa ja hän ei pyrkinyt valtaan vaan hänet kutsuttiin siihen, kertoo kirjailija ja filosofi Leif Sundström. Toimittajana Raimo Tyykiluoto

Join Harry and Philip as they continue their analysis of dictatorship! This week, we turn to midcentury Portugal to apply the "stationary bandit" theory from our last Bird's Eye. Was António de Oliveira Salazar, the autocratic ruler of Portugal from 1932 to 1968, an example of the stationary bandit? How well does Olson's theory hold up in a historical study of dictatorship? Listen and find out! -- https://www.spectacles.news/insight-normalcy-an-inadequate-solution-in-a-changing-world/#/portal/ (Visit our website and subscribe to our newsletter!)https://www.spectacles.news/birds-eye-the-bandit-in-portugal/ (To comment on this episode, click here!)https://spectacles-insight.captivate.fm/listen (To listen to written articles from Spectacles read aloud, click here!)https://twitter.com/SpectaclesMedia (Follow us on Twitter!)-- Further Reading"Dictatorship, Democracy, and Development," by Mancur Olson, in The American Political Science Review. Property Without Rights, by Michael Albertus. The Revolution Within the Revolution, by Nancy Bermeo. Development of the Portuguese Economy: A Case of Europeanization, by David Corkill. The Portuguese Revolution: State and Class in the Transition to Democracy, by Ronald H. Chilcote. "Salazar's Ministerial Elite, 1932-1968," by Paul H. Lewis in The Journal of Politics. https://www.google.com/books/edition/Salazar/EtmJAwAAQBAJ?hl=en&gbpv=1&dq=Oliveira%20Salazar&pg=PA88&printsec=frontcover&bsq=Oliveira%20Salazar (Salazar: A Political Biography), by Filipe Ribeiro De Meneses. Wikipedia pages for https://en.wikipedia.org/wiki/Ant%C3%B3nio_de_Oliveira_Salazar (António de Oliveira Salazar), https://en.wikipedia.org/wiki/Estado_Novo_(Portugal) (Estado Novo (Portugal)), and https://en.wikipedia.org/wiki/Carnation_Revolution (Carnation Revolution). -- Table of Contents00:00 - Intro & Housekeeping 00:32 - The common human longing for enlightened dictatorship 01:41 - Today's subject: Salazar 02:21 - Recap 05:50 - A brief bio of Salazar 09:40 - How was Olson right? 14:40 - What did he miss? 25:41 - The feasibility of autocracy in a globalized world 29:57 - Don't be deceived by the appeals of dictatorship 33:20 - Signing off

Fernando Rosas (Lisboa, 1946) é professor catedrático jubilado no departamento de História da Faculdade de Ciência Sociais e Humanas da Universidade NOVA de Lisboa e Investigador no Instituto de História Contemporânea da mesma instituição, do qual foi fundador e Presidente da Direcção entre 1994 e Fevereiro de 2013. Entre 1988 e 1995, integrou o conselho de redacção da revista Penélope – Fazer e Desfazer a História. Entre 1994 e 2007, dirigiu a revista História. Publicou variadíssimas obras como autor, dirigiu, coordenou e é co-autor de muitas outras na área da sua especialidade (História do século XX), entre elas: As primeiras eleições legislativas sob o Estado Novo: as eleições de 16 de Dezembro de 1934, (1985); O Estado Novo nos Anos 30. Elementos para o Estudo da Natureza Económica e Social do Salazarismo (1928-1938), (1986); O salazarismo e a Aliança Luso-Britânica : estudos sobre a política externa do Estado Novo nos anos 30 a 40, (1988); Salazar e o Salazarismo (co-autor), (1989); Portugal Entre a Paz e a Guerra (1939/45), (1990); Portugal e o Estado Novo (1930/60), (co-autor), (1992); História de Portugal, vol. VII – O Estado Novo (1926/74), (1994); Dicionário de História do Estado Novo, (dir.), (1995); Portugal e a Guerra Civil de Espanha, (coord.), (1996); Armindo Monteiro e Oliveira Salazar : correspondência política, 1926-1955, (coord.) (1996); Salazarismo e Fomento Económico, (2000); Portugal Século XX : Pensamento e Acção Política, (2004); Lisboa Revolucionária, Roteiros dos Confrontos Armados no Século XX, (2007); História da Primeira República Portuguesa, (co-coord.), (2010); Salazar e o Poder. A Arte de Saber Durar (2012); Estado Novo e Universidade. A perseguição aos Professores, (co-autor), (2013); O Adeus ao Império. 40 Anos de Descolonização Portuguesa (co-coord.), (2015). Foi deputado à Assembleia da República em 2000 e 2001 e de 2005 a 2010. Para os interessado em adquirir o livro do Prof. Fernando Rosas “Salazar e o Poder: A arte de Saber Durar” - https://www.wook.pt/livro/salazar-e-o-poder-a-arte-de-saber-durar-fernando-rosas/15115694

Neste episódio convidei o Marcos Pinho de Escobar, para nos falar sobre António de Oliveira Salazar. Foi possível compreender como este homem, profundamente tradicional e católico, é hoje não só incompreendido pelo regime, como também por muitos dos que se assumem nacionalistas e patriotas. Salazar antes de tudo o mais era um homem letrado, de uma cultura imensa, enraizado em Portugal e com ódio de morte tanto ao liberalismo como ao comunismo.

By 1974 the number of desertions from the Portuguese military numbered 25 000 the youngsters of the country were unwilling to fight non-winnable colonial wars in Africa. We heard in episode 10 about what happened during the Carnation Revolution and how expats living in Africa were taking off-guard by the coup. In the end, almost 800 000 Portuguese men and women served in the army in Africa starting around 1959 and ending in 1974. That’s an extremely large group asked to fight in foreign countries for an army that had been warped by a right-wing dictatorship led first by Antonio de Oliveira Salazar and then Marcelo Caetano. Maputo is an eleven hour flight from Lisbon, you can imagine young Portuguese troops arriving in Mozambique in the early 70’s being told to fight against Frelimo – and wondering why. It wasn’t their country, it wasn’t their continent and when the military coup toppled the right-wing dictatorship in Lisbon in April 1974, the wheels came off their former colonies fairly rapidly because of the rush to the exit. Portugal’s African administration had always been about cheap labour which meant ensuring the population was largely uneducated. The ultimate power was based in Lisbon – similar to the South West African experience where the ultimate power lay in Pretoria.

By 1974 the number of desertions from the Portuguese military numbered 25 000 the youngsters of the country were unwilling to fight non-winnable colonial wars in Africa. We heard in episode 10 about what happened during the Carnation Revolution and how expats living in Africa were taking off-guard by the coup. In the end, almost 800 000 Portuguese men and women served in the army in Africa starting around 1959 and ending in 1974. That’s an extremely large group asked to fight in foreign countries for an army that had been warped by a right-wing dictatorship led first by Antonio de Oliveira Salazar and then Marcelo Caetano. Maputo is an eleven hour flight from Lisbon, you can imagine young Portuguese troops arriving in Mozambique in the early 70’s being told to fight against Frelimo – and wondering why. It wasn’t their country, it wasn’t their continent and when the military coup toppled the right-wing dictatorship in Lisbon in April 1974, the wheels came off their former colonies fairly rapidly because of the rush to the exit. Portugal’s African administration had always been about cheap labour which meant ensuring the population was largely uneducated. The ultimate power was based in Lisbon – similar to the South West African experience where the ultimate power lay in Pretoria.

Uma rebelião militar conduzida basicamente por jovens capitães do exército derruba, em 25 de abril de 1974, o governo português de Marcelo Caetano, herdeiro da ditadura de Antonio de Oliveira Salazar. Uma imensa massa sai às ruas para manifestar solidariedade aos soldados.----Quer contribuir com Opera Mundi via PIX? Nossa chave é apoie@operamundi.com.br (Razão Social: Última Instancia Editorial Ltda.). Desde já agradecemos!Assinatura solidária:www.operamundi.com.br/apoio★ Support this podcast ★

1931 é em Portugal o ano de todas as revoltas e também o ano decisivo da implantação da Ditadura Nacional, sob a chefia de Oliveira Salazar. Com a implantação da II República de Espanha (15 de abril de 1931) abre-se um contencioso entre os dois países ibéricos que não é mais que um dos marcos mais decisivos da divisão ideológica que vai marcar a Europa de uma forma irredutível e definitiva – até ao confronto da Grande Guerra Civil Europeia. Conversa com Luís Farinha, conduzida por Fernando Rosas e Rita Lucas Narra.  

***** AO FINAL DO DIA ***** Costa e Salazar: a mesma luta As virtudes da intervenção estatal na sociedade, a convicção de que a banca comercial é incapaz de satisfazer as necessidades de crédito da economia, a procura de redução da dependência das importações e o fomento da industrialização do país, são desideratos partilhados por António de Oliveira Salazar e António Costa. E ambos criaram o seu Banco de Fomento. O bafio do estatismo e do socialismo são uma praga no nosso país. Ontem e hoje. Por Telmo Azevedo Fernandes Link Youtube: https://www.youtube.com/watch?v=NgRUVjJyNHY

Avec «Sur un air de fado», Nicolas Barral signe son premier album en tant qu’auteur et dessinateur. Une plongée au Portugal des années 60, durant la dictature de Salazar. Une bande dessinée à hauteur d'homme, subtile et engagée, imprégnée de mélancolie. C’est un chant mélancolique qui exhale un parfum de mélancolie, de poésie et de mystère. Inscrit depuis 10 ans au patrimoine culturel immatériel de l’humanité, le fado est aussi un chant populaire qui continue de faire vibrer l’âme portugaise. Mais comment oublier qu’il fut aussi le chant national de Portugal, à l’époque de la dictature d’Antonio de Oliveira Salazar ? Rien d’étonnant donc que Nicolas Barral ait choisi de placer sous le signe du fado son récit qui nous parle à hauteur d’homme du Portugal des années 60, et d’interroger le lecteur sur la force et la nécessité de l’engagement et de la résistance. Et si cela nous arrivait à nous, que ferions-nous si le pays qui est le nôtre devenait un régime autoritaire, un régime policier, le royaume de la délation et de la torture ? «Sur un air de fado», de Nicolas Barral est paru aux éditions Dargaud. Reportage : Marjorie Bertin a rencontré le chanteur français Bénabar qui sort Indocile heureux, son 9eme album studio. De la chanson populaire, soignée, sensible et parfois un peu rétro.

Em 22 de janeiro de 1961, um assalto liderado pelo capitão Henrique Galvão ao transatlântico português Santa Maria marcaria a contestação ao governo de Antônio de Oliveira Salazar e introduziria o sequestro de navios e aviões como meio de pressão política.★ Support this podcast ★

¿La violencia es la única forma que lleva a cambios en un gobierno?, ¿todas las revoluciones deben ser violentas?, ¿hay formas pacíficas de llegar a grandes transformaciones? Las respuestas a estas preguntas las encontraremos en nuestro programa de hoy. Acompáñanos y escucha el relato de la dictadura de Antonio de Oliveira Salazar y cómo a través de una manifestación poética, pacífica y memorable, cayó todo un régimen. ¡No te lo vayas a perder!Conducen: Andrés Medina, Paola Burgos, Mónica Cortés y Julián Castro.

País Portugal Dirección María de Medeiros Guion Ève Deboise, María de Medeiros Música Antonio Vitorino D'Almeida Fotografía Michel Abramowicz Reparto Stefano Accorsi, María de Medeiros, Joaquim de Almeida, Frédéric Pierrot, Fele Martínez, Manuel João Vieira, Marcantonio Del Carlo, Emmanuel Salinger, Rita Durão, Manuel Manquiña, Duarte Guimarães, Manuel Lobão, Luis Miguel Cintra, Joaquim Leitão, Canto e Castro Sinopsis En la noche del 24 al 25 de abril de 1974, suboficiales del ejército portugués inician una sublevación contra la dictadura de Oliveira Salazar. Su gesta pasará a la historia como "la revolución de los claveles". La película recrea la historia del capitán Salgueiro Maia, uno de los protagonistas del levantamiento militar.

Au début des années soixante, personne au Portugal ne semble croire en un renversement de lʹÉtat nouveau (Estado Nuevo) dʹAntónio de Oliveira Salazar quʹil met en place à partir de 1933. Même si des personnalités comme Sophia de Mello Breyner Andresen, lʹune des plus brillantes poétesses portugaises du XXᵉ siècle, et son mari, avocat, plusieurs fois emprisonné, prennent publiquement le risque de critiquer le régime en place. Tout est en effet orchestré depuis des décennies pour que rien ne bouge: interdiction du droit de grève, parti unique, censure, syndicats liés à l'Etat, absence d'élections libres, emprisonnement des opposant.e.s, etc. Et pourtant, après trente-six ans de règne sans partage sur le Portugal, Salazar est contraint dʹabandonner le pouvoir en 1968, affaibli par la maladie. Remplacé par Marcelo Caetano, alors que les guerres dʹindépendance accaparent toutes les forces et les finances de lʹÉtat depuis 1961, le régime sʹeffrite et chute le 25 avril 1974, lors dʹun nouveau soulèvement militaire, prélude à la Révolution des œillets. Reportages: Bernard Béguin (26 février 1961), Enrique Martinez et Guy Ackermann (3 octobre 1968), Erich Lehmann (2 mai 1974) Adaptation Point de fuite: Christian Morerod Production: Muriel Mérat et Christophe Canut Photo:

Marion Kaplan's riveting book, Hitler's Jewish Refugees: Hope and Anxiety in Portugal (Yale University Press) describes the dramatic experiences of Jewish refugees as they fled Hitler's regime and then lived in limbo in Portugal until they could reach safer havens abroad. Drawing attention not only to the social and physical upheavals these refugees experienced, Marion Kaplan also highlights their feelings as they fled their homes and histories, while having to beg strangers for kindness. Portugal's dictator, António de Oliveira Salazar, admitted the largest number of Jews fleeing westward—tens of thousands of them—but then set his secret police on those who did not move along quickly enough. Yet Portugal's people left a lasting impression on refugees for their caring and generosity. Most refugees in Portugal showed strength and stamina as they faced unimagined challenges. An emotional history of fleeing, this book probes how specific locations touched refugees' inner lives, including the borders they nervously crossed or the overcrowded transatlantic ships that signaled their liberation. Marion Kaplan is Skirball Professor of Modern Jewish History at New York University. She is the author of Between Dignity and Despair: Jewish Life in Nazi Germany and a three-time winner of the National Jewish Book Award. Robin Buller is a Doctoral Candidate in History at UNC Chapel Hill and is a 2020-2021 dissertation fellow with the Association for Jewish Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

Marion Kaplan's riveting book, Hitler’s Jewish Refugees: Hope and Anxiety in Portugal (Yale University Press) describes the dramatic experiences of Jewish refugees as they fled Hitler’s regime and then lived in limbo in Portugal until they could reach safer havens abroad. Drawing attention not only to the social and physical upheavals these refugees experienced, Marion Kaplan also highlights their feelings as they fled their homes and histories, while having to beg strangers for kindness. Portugal’s dictator, António de Oliveira Salazar, admitted the largest number of Jews fleeing westward—tens of thousands of them—but then set his secret police on those who did not move along quickly enough. Yet Portugal’s people left a lasting impression on refugees for their caring and generosity. Most refugees in Portugal showed strength and stamina as they faced unimagined challenges. An emotional history of fleeing, this book probes how specific locations touched refugees’ inner lives, including the borders they nervously crossed or the overcrowded transatlantic ships that signaled their liberation. Marion Kaplan is Skirball Professor of Modern Jewish History at New York University. She is the author of Between Dignity and Despair: Jewish Life in Nazi Germany and a three-time winner of the National Jewish Book Award. Robin Buller is a Doctoral Candidate in History at UNC Chapel Hill and is a 2020-2021 dissertation fellow with the Association for Jewish Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

Marion Kaplan's riveting book, Hitler’s Jewish Refugees: Hope and Anxiety in Portugal (Yale University Press) describes the dramatic experiences of Jewish refugees as they fled Hitler’s regime and then lived in limbo in Portugal until they could reach safer havens abroad. Drawing attention not only to the social and physical upheavals these refugees experienced, Marion Kaplan also highlights their feelings as they fled their homes and histories, while having to beg strangers for kindness. Portugal’s dictator, António de Oliveira Salazar, admitted the largest number of Jews fleeing westward—tens of thousands of them—but then set his secret police on those who did not move along quickly enough. Yet Portugal’s people left a lasting impression on refugees for their caring and generosity. Most refugees in Portugal showed strength and stamina as they faced unimagined challenges. An emotional history of fleeing, this book probes how specific locations touched refugees’ inner lives, including the borders they nervously crossed or the overcrowded transatlantic ships that signaled their liberation. Marion Kaplan is Skirball Professor of Modern Jewish History at New York University. She is the author of Between Dignity and Despair: Jewish Life in Nazi Germany and a three-time winner of the National Jewish Book Award. Robin Buller is a Doctoral Candidate in History at UNC Chapel Hill and is a 2020-2021 dissertation fellow with the Association for Jewish Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

Marion Kaplan's riveting book, Hitler’s Jewish Refugees: Hope and Anxiety in Portugal (Yale University Press) describes the dramatic experiences of Jewish refugees as they fled Hitler’s regime and then lived in limbo in Portugal until they could reach safer havens abroad. Drawing attention not only to the social and physical upheavals these refugees experienced, Marion Kaplan also highlights their feelings as they fled their homes and histories, while having to beg strangers for kindness. Portugal’s dictator, António de Oliveira Salazar, admitted the largest number of Jews fleeing westward—tens of thousands of them—but then set his secret police on those who did not move along quickly enough. Yet Portugal’s people left a lasting impression on refugees for their caring and generosity. Most refugees in Portugal showed strength and stamina as they faced unimagined challenges. An emotional history of fleeing, this book probes how specific locations touched refugees’ inner lives, including the borders they nervously crossed or the overcrowded transatlantic ships that signaled their liberation. Marion Kaplan is Skirball Professor of Modern Jewish History at New York University. She is the author of Between Dignity and Despair: Jewish Life in Nazi Germany and a three-time winner of the National Jewish Book Award. Robin Buller is a Doctoral Candidate in History at UNC Chapel Hill and is a 2020-2021 dissertation fellow with the Association for Jewish Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

Marion Kaplan's riveting book, Hitler’s Jewish Refugees: Hope and Anxiety in Portugal (Yale University Press) describes the dramatic experiences of Jewish refugees as they fled Hitler’s regime and then lived in limbo in Portugal until they could reach safer havens abroad. Drawing attention not only to the social and physical upheavals these refugees experienced, Marion Kaplan also highlights their feelings as they fled their homes and histories, while having to beg strangers for kindness. Portugal’s dictator, António de Oliveira Salazar, admitted the largest number of Jews fleeing westward—tens of thousands of them—but then set his secret police on those who did not move along quickly enough. Yet Portugal’s people left a lasting impression on refugees for their caring and generosity. Most refugees in Portugal showed strength and stamina as they faced unimagined challenges. An emotional history of fleeing, this book probes how specific locations touched refugees’ inner lives, including the borders they nervously crossed or the overcrowded transatlantic ships that signaled their liberation. Marion Kaplan is Skirball Professor of Modern Jewish History at New York University. She is the author of Between Dignity and Despair: Jewish Life in Nazi Germany and a three-time winner of the National Jewish Book Award. Robin Buller is a Doctoral Candidate in History at UNC Chapel Hill and is a 2020-2021 dissertation fellow with the Association for Jewish Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

Marion Kaplan's riveting book, Hitler’s Jewish Refugees: Hope and Anxiety in Portugal (Yale University Press) describes the dramatic experiences of Jewish refugees as they fled Hitler’s regime and then lived in limbo in Portugal until they could reach safer havens abroad. Drawing attention not only to the social and physical upheavals these refugees experienced, Marion Kaplan also highlights their feelings as they fled their homes and histories, while having to beg strangers for kindness. Portugal’s dictator, António de Oliveira Salazar, admitted the largest number of Jews fleeing westward—tens of thousands of them—but then set his secret police on those who did not move along quickly enough. Yet Portugal’s people left a lasting impression on refugees for their caring and generosity. Most refugees in Portugal showed strength and stamina as they faced unimagined challenges. An emotional history of fleeing, this book probes how specific locations touched refugees’ inner lives, including the borders they nervously crossed or the overcrowded transatlantic ships that signaled their liberation. Marion Kaplan is Skirball Professor of Modern Jewish History at New York University. She is the author of Between Dignity and Despair: Jewish Life in Nazi Germany and a three-time winner of the National Jewish Book Award. Robin Buller is a Doctoral Candidate in History at UNC Chapel Hill and is a 2020-2021 dissertation fellow with the Association for Jewish Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

Lenormand, Campanella, Krafft. Coragem e discernimento. Em comum, consultores de líderes. Astrólogos, cartomantes e videntes vítimas de agendas políticas e religiosas. Hoje pegamos na mulher que aconselhou António de Oliveira Salazar durante 3 décadas para abrir a discussão sobre a hipocrísia social referente a estas áreas. We're on. Over n'out --- Send in a voice message: https://anchor.fm/margarida-rodrigues2/message

Per oltre quarant'anni il Portogallo è stato retto da una dittatura, la più longeva d'Europa. Alla sua guida António de Oliveira Salazar, uomo complesso e dalle mille contraddizioni. La storia degli ultimi due anni di quest...

Marco Ferrari"L'incredibile storia di Antonio Salazàr, il dittatore che morì due volte"Laterza Editorihttps://www.laterza.it/Per oltre quarant'anni il Portogallo è stato retto da una dittatura, la più longeva d'Europa. Alla sua guida António de Oliveira Salazar, uomo complesso e dalle mille contraddizioni. La storia degli ultimi due anni di questo regime è una vicenda romanzesca e assolutamente reale. Fatti e atmosfere che sembrano ricavate dalle pagine di Pessoa o di Tabucchi, la cui verità ci racconta cosa è stato il ‘fascismo mediterraneo'.Dagli anni Trenta di Hitler, Franco e Mussolini, oltre i Beatles e i Rolling Stones, fino agli anni Settanta: tanto durò il regime dittatoriale di António Salazar in Portogallo. Ex seminarista, autore di un sottile sistema di repressione, si salvò dalla seconda guerra mondiale dando le basi delle Azzorre agli alleati e vendendo materie prime ai nazisti, creò duri penitenziari in isole remote e fortezze medioevali, trasformò Lisbona in una città di spie. Resse, fino alla fine, un immenso impero coloniale che andava dalla Guinea al Mozambico, da Timor Est a Macao finché il suo modello fascista e corporativo non venne travolto dalla Rivoluzione dei Garofani del 1974 che riportò Lisbona in Europa. Nell'anno in cui tutto avvenne, il 1968, Salazar cadde dalla seggiola del callista e batté la testa. I danni cerebrali che seguirono l'operazione indussero il Presidente della Repubblica a provvedere alla sua sostituzione. In realtà, sebbene riacquistasse lucidità a tratti, nessuno osò mai confessargli che era stato defenestrato. Così, per due anni, andò in scena la finzione del potere con riunioni ministeriali, visite di Stato e soprattutto un sistema informativo fatto su misura per lui: interviste televisive e radiofoniche e copie uniche del suo quotidiano preferito “Diário de Notícias”. Una vicenda assieme tragica e surreale raccontata in modo magistrale da un profondo conoscitore del Portogallo, della sua storia, della sua cultura e delle sue atmosfere. La lettura ideale per tutti coloro che hanno amato Alla rivoluzione sulla Due Cavalli e Sostiene Pereira.Marco Ferrari, giornalista e scrittore spezzino, ha esordito nella narrativa nel 1988 con il romanzo Tirreno (Editori Riuniti), a cui hanno fatto seguito: I sogni di Tristan,Alla rivoluzione sulla Due Cavalli,Grand Hotel Oceano eTi ricordi Glauber per Sellerio; La vera storia del mitico undici per Ponte alle Grazie; Cuore Atlantico e Morire a Clipperton per Mursia; Le nuvole di Timor per Cavallo di Ferro; Sirenate per Il Melangolo; Un tango per il duce per Voland; Rosalia Montmasson. L'angelo dei Mille per Mondadori. Con Arrigo Petacco ha firmato Ho sparato a Garibaldi e Caporetto per Mondadori. Dal romanzo Alla rivoluzione sulla Due Cavalli ha tratto la sceneggiatura dell'omonimo film che ha vinto il Pardo d'Oro al Festival di Locarno 2001.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Uma das 15 ruas Oliveira Salazar que ainda existem em Portugal fica em Castaínço. Já houve queixas e pedidos de mudança, mas o nome mantém-se. Conseguirá sobreviver?

Neste episódio, o Doutor fala sobre o regresso às aulas e do acesso ao ensino superior, analisa a crónica do Dr. João Miguel Tavares “O Fantasma de António de Oliveira Salazar” e volta a recomendar o livro do Dr. Rui Zink “O Manual do Bom Fascista.”

Today’s show is a very special edition where I came across a lesson in marketing that was simply too brilliant not to share with you. We’re talking about taking a commodity, a commodity that is traditionally sold by the pound, and elevating it to another level, by wrapping a few key concepts into it. I’m coming to you live from Portugal where the economy here has been through its ups and downs over the years. This is my third trip to Portugal. My father owned an apartment here and spent the winters for a number of years. The roots of this story started in 1926 with a military coup d’etat that resulted in a fascist dictatorship in 1933 under the direction of Antonio de Oliveira Salazar. Life was difficult under the Salazar regime, and many local people turned to the sea to find food and economic survival. It was during these years that the sardine fishery expanded dramatically. At the peak, there were 400 canneries in operation. Canning of fish started in Nantes France in the year in 1824. By the 1850’s Portugal too had started canning fish and the abundant supply of high quality sardines combined with the extensive coastline and rich fishing tradition eventually turned sardines into one of Portugal’s main exports. But folks, we’re talking about Sardines. They’re sold by the pound. We’re talking about $3-4 per pound. Let me introduce you to Il Mundo Fantastico De Sarindha’s Portuguesas. Translated it means the Fantastic World of Portuguese Sardines. But the name itself doesn’t convey the image. Imagine a store where the motive is the brightest circus tent colors and the decoration is like that of the flashiest carnival or perhaps even Willy Wonka’s Chocolate Factory. Inside the store, tins of sardines line the walls from floor to ceiling. There is an entire wall of sardines organized into columns where each column consists of a birth year. The tins are all painted in a period design and there is a custom design for each decade. There is a wall of tins with different types of fish including tuna, Octopus, smoked salmon, mussels, and eels. The sardine cans have dates since 1916 until present day, with a relevant event from the year in question and signalling the birth of the most prominent personalities of that year. For example, in 1927, the very first motion picture movie to have sound “The Jazz Singer” was released. Each of these tins are a work of art. I can imagine people buying a tin and never opening it. It’s almost too beautiful to consume. Now I have no interest in buying a can from 1931. That date bears no significance to me. But I might consider buying a can for the year I was born, or perhaps a gift for someone for their birthday. When you go into the store, the staff tell you the story of the cannery, and how even today, all the cans are packed by hand, the same as when the factory was founded in 1942. They tell you about how the generations of people have made the sardine cannery their livelihood. Understand, it’s not about the sardines. I don’t even eat sardines. But my wife and I were so taken with the store that we had to go inside. My wife informed the shop keeper that we would love to hear the story, but would not be buying anything since we have a Vegan diet. You’ll never guess what happened next. The shop keeper showed us two cans with Vegetarian and Vegan contents. Of course we purchased a tin. I don’t even know what’s inside, but I paid 7 Euros for a hand painted tin with some kind of edible contents. So as you think about your real estate offerings, what are you doing that connects uniquely with your clients that makes them feel special, like the product was designed specifically for them? If it can be done with a commodity like sardines, you can customize anything to fit your client.

Para discutir os temas mais importantes da actualidade, hoje debruçamo-nos sobre o microfone para debater o desafio clássico Casando, Matando, Fodendo. Em causa estão D. Afonso Henriques, Dr. Oliveira Salazar e o Professor Marcelo Rebelo de Sousa.

Narration by Cory Faust A look into the early life of the man who would attempt to drastically change Portugal.

Narration by Cory Faust A look into the early life of the man who would attempt to drastically change Portugal.

Das 20. Jahrhundert ist in vielerlei Hinsicht ein Zeitalter der Diktatoren. Alle Faktoren schienen da zusammen zu spielen, um zwischen 1945 und 1989 überall auf der Welt autokratische Regimes aus dem Boden sprießen zu lassen. Natürlich denkt man bei dem Thema zuallererst an die ganz großen Diktatoren jener Zeit, an Adolf Hitler, Josef Stalin oder Mao Zedong. Doch tatsächlich zeichnet sich das 20. Jahrhundert auch durch seine schiere Menge an kleinen Diktatoren aus, insbesondere in der Zeit nach 1945 im Kalten Krieg. Die mit dem Kalten Krieg einhergehende Blockbildung erklärt diese Tatsache ja auch schnell! Keiner der großen Blöcke war da bereit, dem anderen auch nur das kleinste Land zu überlassen. Da unterstützte man dann schon lieber selbst irgendwelche autokratischen Herrscher in solchen Ländern. Für diktatorische Geister auf aller Welt eine Riesenmöglichkeit. Melde dich hier für den Déjà-vu Newsletter an. Hier kannst du Déjà-vu Geschichte finanziell unterstützen. In dieser Episode des Déjà-vu Geschichte Podcast möchte ich über einige dieser Männer sprechen und mir etwas genauer anschauen, wie sie die Konstellation des Kalten Krieges ausnutzten, um ihre Macht zu erlangen und sie dann zu sichern. Konkret möchte ich dabei über Josip Broz Tito in Jugoslawien, Nicolae Ceaușescu in Rumänien und António de Oliveira Salazar in Portugal sprechen. Auf unterschiedliche Arten zeigen diese drei Männer deutlich, welche Möglichkeiten die geopolitische Lage damals auch den kleinen Herrschern eröffnete. Denn es war ganz einfach: Wann immer sie dem einen Block näher kamen, reagierte der andere mit neuen Angeboten. So lässt es sich als Diktator doch wunderbar leben. Weiterlesen

La anarquista y feminista rusa Emma Goldman decía: “Si no puedo bailar, tu revolución no me interesa”. Y es precisamente la música la que marcó el hito que nos ocupa este mes. El 25 de abril de 1974 triunfó en Portugal la Revolución de los Claveles. En unas horas y sin apenas derramar sangre, derrocó la dictadura de António de Oliveira Salazar. Hoy queremos conocer los antecedentes de la revolución, cómo se llevó a cabo y sus consecuencias, también a largo plazo. Además, veremos cómo los medios han tratado este hito. Por supuesto, tampoco faltan nuestras secciones habituales de hitos y curiosidades históricas (Qué Interesante Historia).

El próximo día 8 de marzo se celebra el Dia Internacional de la Mujer, declarado por la ONU en 1975. Paradojicamente, en EEUU se celebra oficialmente solo desde 1994, a pesar de que es en este país donde se encuentran los orígenes de esta conmemoración. ¿Por qué ese día Bueno, seguro que ya conocéis la historia: el 8 de marzo de 1857, un grupo de trabajadoras textiles decidió salir a las calles de Nueva York para protestar por sus míseras condiciones laborales. Sería una de las primeras manifestaciones para luchar por sus derechos. Distintos movimientos y sucesos se produjeron a partir de ese episodio, y el más cruento de la lucha por los derechos de la mujer se produjo el 25 de marzo de 1911, cuando se incendió la fábrica de camisas Shirtwaist de Nueva York. Un total de 123 mujeres y 23 hombres murieron. La mayoría eran jóvenes inmigrantes que tenían entre 14 y 23 años. En fin, aunque nuestro objetivo sea que no exista el Día Internacional de la Mujer por la sencilla razón de que no existan motivos para ello, lo cierto es que esa realidad está muy lejos de ser cierta. Bienvenido pues el día internacional de la mujer, una y mil veces. Y si alguien cree todavía que esta lucha es absurda o inútil, le vendría bien recordar las palabras de Rosa Luxemburgo: “Quienes no se mueven no notan sus cadenas”. En “Nada más que música” nunca hacemos distinción de hombres o mujeres en la programación de la música, nos guiamos sencillamente por unos parámetros, subjetivos desde luego, de calidad. Hoy haremos una excepción, cediendo a la tentación de programar solamente música interpretada por mujeres. Así que, empezamos: con todos vosotros la Excma. Sra. Mirian Makeba Mirian Makeba y su conocido Pata Pata. Icono de la lucha contra el apartheid en Sudáfrica, Makeba, marginada durante más de tres décadas por el régimen racista sudafricano, siempre estuvo comprometida con la lucha por los derechos civiles y contra el racismo, una entrega que llevó a cabo hasta el último minuto de su vida Dando un giro de 180º, escuchamos ahora a una gran cantante portuguesa, Amalia Rodrigues. Amália Rodrigues fue una cantante de fados y actriz portuguesa. Apodada la «Reina del Fado», es la cantante que más ha popularizado este tipo de música en el mundo, después de haber grabado más de 170 discos a lo largo de su vida. Su fama se internacionalizó durante las décadas de 1950-1970, pero sus vínculos con el régimen del dictador António de Oliveira Salazar, la obligaron a retirarse de los escenarios durante la década posterior a la Revolución de los Claveles de 1974. A pesar de estas vinculaciones, Amália es la artista portuguesa por excelencia, habiendo elevado el fado a la categoría de tesoro nacional. Y ahora, otra vuelta de tuerca, escuchamos Billie Holiday. Billie Holiday, nacida en Filadelfia, fue una cantante de jazz, y está considerada una de las tres voces femeninas más importantes e influyentes de este género musical, junto con Sarah Vaughan y Ella Fitzgerald, de las que también hablaremos. Billie Holiday impregnaba sus canciones con una intensidad inigualable que, en numerosos casos, era fruto de sus propias vivencias porque, las letras que cantaba, era su propia vida. Y es que Holiday tuvo un problema de adicción a las drogas durante casi toda su vida. La heroína y el alcohol la destruyeron. Murió a causa de una cirrosis hepática, el 17 de julio de 1959, a la edad de 44 años. Y ahora abróchense los cinturones porque, desde Italia, llega MINA, “La Tigresa de Cremona” Mina Anna Mazzini, Mina, la «Tigresa de Cremona». En 1962 su primer embarazo se convirtió en un escándalo en Italia, ya que Mina y el actor Corrado Pani, padre del niño, no estaban casados. La Rai (radiotelevisión pública italiana) la censuró durante casi dos años, tras los cuales se vio obligada a permitir el regreso de la cantante a los escenarios, ya que el público italiano reclamó insistentemente su presencia a través de cartas a la Rai. De ella se ha dicho: «Mina es la mejor cantante de raza blanca del planeta» (Louis Armstrong). «Si no tuviera mi voz, querría tener la de una joven cantante italiana llamada Mina » (Sarah Vaughan) «Mina es la más grande cantante que existe » (Liza Minnelli) Sitio ahora para la música clásica y el Bel Canto y nada menos que de la mano de la mejor: María Callas y su interpretación de Madame Butteerfly, Maria Callas fue una soprano griega considerada la cantante de ópera más eminente del siglo XX. Capaz de revivir el bel canto en su corta pero importante carrera, fue llamada «La Divina» por su extraordinario talento vocal y actoral. Aún hoy genera controversia su peculiar voz, de registro amplio y que unida a su dominio de la técnica, le permitió cantar roles desde soprano ligera a los dramáticos e incluso de mezzo (Carmen, Dalila). Para las revistas del corazón, su nombre estará siempre asociado a Aristóteles Onassis, el que, parece ser, fue el gran amor de su vida. Otra mujer extraordinaria, Luz Casal “Estoy cansada de ser una muñeca más. Entre paredes de cartón no es suficiente mirar la televisión, para saber que esto va mal”. Luz Casal lo cantaba en No aguanto más, hacia 1982. Fue uno de sus primeros éxitos. La cantante mantiene vivo su discurso feminista y tolerante, una actitud que aprendió de niña en un hogar complicado. Un cáncer de mama no ha sido suficiente para que esta mujer deje los escenarios, ni la vida. Otra grande, Ella Fitzgerald. Ella Fitzgerald, la Reina del jazz, fue una cantante estadounidense que dominó como nadie éste genero. No obstante esta condición básica de jazzista, el repertorio musical de Ella Fitzgerald es amplísimo e incluye swing, blues, bossa nova, samba, góspel, calypso, canciones navideñas, pop, etc. Junto con Billie Holiday y Sarah Vaughan, está considerada como la cantante más importante e influyente de la historia del jazz (y, en general, de la canción melódica popular de Estados Unidos). Solo decir que estaba dotada de una voz con un rango vocal de tres octavas. En los años cincuenta destacó, en paralelo a la obra de Frank Sinatra, por sus versiones de los temas de los grandes compositores estadounidense: Duke Ellington, Cole Porter, Johnny Mercer, etc.). Ganó catorce premios Grammy, incluyendo el Grammy a toda su carrera, y fue galardonada con la Medalla Nacional de las Artes y la Medalla Presidencial de la Libertad de Estados Unidos. Vamos a escuchar ahora a una instrumentista privilegiada: Candy Dulfer, saxofonista. Candy empezó a tocar el saxofón cuando tenía seis años y a los catorce ya tenía su propia banda, Funky Stuff. Su hit "Lily was here" (con la colaboración de Dave Stewart) fue grabada en 1989 y estuvo en la cima de las listas de toda Europa y es la que acabamos de escuchar. Su carrera musical ha sido prolífica: nueve discos de estudio, dos discos de directos y un recopilatorio y ha trabajado y grabado con otros músicos tales como, Prince, Dave Stewart (Eurythmics), Van Morrison, Lionel Richie, Beyoncé, Pink Floyd, Aretha Franklin, Blondie, Alan Parsons, en fin, un larguísimo etcétera. Su estilo musical se basa principalmente en el smooth jazz y el jazz-pop, aunque su evolución le ha permitido acercarse a más estilos, como el R&B, el funk, el hip hop o la música latina. Nuestro recorrido por la obra de grandes mujeres nos acerca ahora al flamenco, con una invitada de lujo: Carmen Linares. Carmen Pacheco Rodríguez, nacida en Linares, es una cantaora de flamenco que está considerada como una de las más completas y con mayor conocimiento de estilos flamencos junto a la "Niña de los Peines". Compañera de generación de artistas como Paco de Lucía, Camarón, Enrique Morente, Pepe Habichuela y José Mercé y maestra y cantaora de referencia de la generación de artistas jóvenes como Estrella Morente o el mismisimo Miguel Poveda. Es visitante asidua de escenarios como Carnegie Hall de Nueva York, Sadler´s Wells de Londres, Palau de la Música de Barcelona, Auditorio Nacional de Madrid y la Cité de la Musique de París. Volviendo al jazz, nos encontramos con una gran artista que heredó la calidad y la calidez de su padre: Natalie Cole. Natalie Maria Cole fue una cantante estadounidense de jazz, soul y R&B. Hija del legendario cantante de jazz Nat King Cole, tuvo éxitos a mediados de los años 1970 como artista de R&B. A principio de la década de los 80, Natalie Col dio un frenazo a su carrera con pocas actuaciones y un bajón en las ventas, todo ello debido a su adicción a las drogas. Cole resurgió como una artista pop con el álbum de 1987 Everlasting (Eterno), con una versión de «Pink Cadillac» («Cadillac rosa») de Bruce Springsteen. En la década de los 1990 regrabó los éxitos de su padre, entre los sucuales "Unforgettable ... with Love" ("Inolvidable... con amor") tuvo unas ventas de siete millones de copias y también hizo que Cole ganara numerosos Premios Grammy. Su carrera se puede dividir en dos etapas: en la primera, hizo R&B y urban; después trabajó más en el jazz. Durante su carrera vendió más de 30 millones de álbumes. Falleció a la edad de 65 años en el Cedars-Sinai Medical Center en Los Ángeles, California debido a una insuficiencia cardíaca congestiva. Seguimos adelante con un vieja conocida: Astrud Gilberto. Astrud Gilberto es una cantante brasileña de bossa nova, samba y jazz. Su vinculación con el mundo de la música comenzó cuando se casó en 1959 con uno de los primeros guitarristas de bossa nova, João Gilberto. En 1963 estaba acompañando a su esposo en Nueva York mientras grababa con el pianista y compositor Antonio Carlos Jobim y con el saxofonista estadounidense Stan Getz un disco de fusión entre el jazz y la bossa nova. Empujada por su marido, Astrud Gilberto cantó unas estrofas y gustó tanto su voz que, a pesar de no tener experiencia previa, grabó el disco Getz/Gilberto, aunque no figuró en los créditos del disco. Su éxito cantando Garota de Ipanema la catapultó como una de las intérpretes más conocidas de una época de oro de la música brasileña. A partir de entonces emergió como nombre reconocible en todo el mundo y comenzó una larga carrera artística. Astrud Gilberto es también una artista pintora, y es conocida por su apoyo a los derechos de los animales. Y volvemos a la música clásica, por que no? Lo hacemos con Sharon Kam, clarinetista. La clarinetista Sharon Kam, nacida en Haifa, Israel, en el seno de una familia de músicos, aprendió a tocar el violín y el piano en su infancia, para luego decantarse por el clarinete. Debutó a los dieciseis años con la Orquesta Filarmónica de Israel dirigida por Zubin Mehta y en la actualidad es invitada habitual de las mejores orquestas. Aquí la hemos escuchado interpretando un fragmento del Concierto para clarineta, en A mayor, de Morzart. Y de la clásica, al jazz. Karen Souza. Karen Souza es una cantante argentina de jazz, reconocida internacionalmente. Empezó su carrera colaborando con diversos productores de música electrónica pero cuando fue invitada a participar en el primer disco de la saga “Jazz and 80s” realizados por su sello Músic Brokers, Karen Souza encontró su lugar en el jazz contemporáneo. Essentials, su primer disco, fue un éxito inmediato. En él se repasan una serie de canciones “esenciales” y tamizadas por el jazz. Una delicia. De este disco es Corcovado, la canción que le hemos oído interpretar. Sin abandonar el jazz, escuchamos ahora a Andrea Motis. Andrea Motis nació en Barcelona en mayo de 1995 y es una trompetista, saxofonista y cantante de jazz española. Se formó musicalmente, a partir de los 7 años, en la Escuela Municipal de Música de Sant Andreu, un barrio de Barcelona. En 2007, con sólo 12 años, comenzó a colaborar con el grupo de jazz Sant Andreu Jazz Band, dirigido por el profesor de música y músico Joan Chamorro quién la descubrió artísticamente y con quién ha grabado seis discos. Su voz ha sido comparada con la de Norah Jones. Y para despedirnos por hoy, que mejor que hacerlo con Bebe y su éxito “Malo”. Una canción que no necesita ninguna explicación. La igualdad es cosa de todos, de las mujeres y de los hombres, de los hombres y de las mujeres, y solo colectivamente, llegaremos a conseguir ese objetivo. Lo dijo Simone de Beauvoir: “El feminismo es una forma de vivir individualmente y de luchar colectivamente.”

El próximo día 8 de marzo se celebra el Dia Internacional de la Mujer, declarado por la ONU en 1975. Paradojicamente, en EEUU se celebra oficialmente solo desde 1994, a pesar de que es en este país donde se encuentran los orígenes de esta conmemoración. ¿Por qué ese día Bueno, seguro que ya conocéis la historia: el 8 de marzo de 1857, un grupo de trabajadoras textiles decidió salir a las calles de Nueva York para protestar por sus míseras condiciones laborales. Sería una de las primeras manifestaciones para luchar por sus derechos. Distintos movimientos y sucesos se produjeron a partir de ese episodio, y el más cruento de la lucha por los derechos de la mujer se produjo el 25 de marzo de 1911, cuando se incendió la fábrica de camisas Shirtwaist de Nueva York. Un total de 123 mujeres y 23 hombres murieron. La mayoría eran jóvenes inmigrantes que tenían entre 14 y 23 años. En fin, aunque nuestro objetivo sea que no exista el Día Internacional de la Mujer por la sencilla razón de que no existan motivos para ello, lo cierto es que esa realidad está muy lejos de ser cierta. Bienvenido pues el día internacional de la mujer, una y mil veces. Y si alguien cree todavía que esta lucha es absurda o inútil, le vendría bien recordar las palabras de Rosa Luxemburgo: “Quienes no se mueven no notan sus cadenas”. En “Nada más que música” nunca hacemos distinción de hombres o mujeres en la programación de la música, nos guiamos sencillamente por unos parámetros, subjetivos desde luego, de calidad. Hoy haremos una excepción, cediendo a la tentación de programar solamente música interpretada por mujeres. Así que, empezamos: con todos vosotros la Excma. Sra. Mirian Makeba Mirian Makeba y su conocido Pata Pata. Icono de la lucha contra el apartheid en Sudáfrica, Makeba, marginada durante más de tres décadas por el régimen racista sudafricano, siempre estuvo comprometida con la lucha por los derechos civiles y contra el racismo, una entrega que llevó a cabo hasta el último minuto de su vida Dando un giro de 180º, escuchamos ahora a una gran cantante portuguesa, Amalia Rodrigues. Amália Rodrigues fue una cantante de fados y actriz portuguesa. Apodada la «Reina del Fado», es la cantante que más ha popularizado este tipo de música en el mundo, después de haber grabado más de 170 discos a lo largo de su vida. Su fama se internacionalizó durante las décadas de 1950-1970, pero sus vínculos con el régimen del dictador António de Oliveira Salazar, la obligaron a retirarse de los escenarios durante la década posterior a la Revolución de los Claveles de 1974. A pesar de estas vinculaciones, Amália es la artista portuguesa por excelencia, habiendo elevado el fado a la categoría de tesoro nacional. Y ahora, otra vuelta de tuerca, escuchamos Billie Holiday. Billie Holiday, nacida en Filadelfia, fue una cantante de jazz, y está considerada una de las tres voces femeninas más importantes e influyentes de este género musical, junto con Sarah Vaughan y Ella Fitzgerald, de las que también hablaremos. Billie Holiday impregnaba sus canciones con una intensidad inigualable que, en numerosos casos, era fruto de sus propias vivencias porque, las letras que cantaba, era su propia vida. Y es que Holiday tuvo un problema de adicción a las drogas durante casi toda su vida. La heroína y el alcohol la destruyeron. Murió a causa de una cirrosis hepática, el 17 de julio de 1959, a la edad de 44 años. Y ahora abróchense los cinturones porque, desde Italia, llega MINA, “La Tigresa de Cremona” Mina Anna Mazzini, Mina, la «Tigresa de Cremona». En 1962 su primer embarazo se convirtió en un escándalo en Italia, ya que Mina y el actor Corrado Pani, padre del niño, no estaban casados. La Rai (radiotelevisión pública italiana) la censuró durante casi dos años, tras los cuales se vio obligada a permitir el regreso de la cantante a los escenarios, ya que el público italiano reclamó insistentemente su presencia a través de cartas a la Rai. De ella se ha dicho: «Mina es la mejor cantante de raza blanca del planeta» (Louis Armstrong). «Si no tuviera mi voz, querría tener la de una joven cantante italiana llamada Mina » (Sarah Vaughan) «Mina es la más grande cantante que existe » (Liza Minnelli) Sitio ahora para la música clásica y el Bel Canto y nada menos que de la mano de la mejor: María Callas y su interpretación de Madame Butteerfly, Maria Callas fue una soprano griega considerada la cantante de ópera más eminente del siglo XX. Capaz de revivir el bel canto en su corta pero importante carrera, fue llamada «La Divina» por su extraordinario talento vocal y actoral. Aún hoy genera controversia su peculiar voz, de registro amplio y que unida a su dominio de la técnica, le permitió cantar roles desde soprano ligera a los dramáticos e incluso de mezzo (Carmen, Dalila). Para las revistas del corazón, su nombre estará siempre asociado a Aristóteles Onassis, el que, parece ser, fue el gran amor de su vida. Otra mujer extraordinaria, Luz Casal “Estoy cansada de ser una muñeca más. Entre paredes de cartón no es suficiente mirar la televisión, para saber que esto va mal”. Luz Casal lo cantaba en No aguanto más, hacia 1982. Fue uno de sus primeros éxitos. La cantante mantiene vivo su discurso feminista y tolerante, una actitud que aprendió de niña en un hogar complicado. Un cáncer de mama no ha sido suficiente para que esta mujer deje los escenarios, ni la vida. Otra grande, Ella Fitzgerald. Ella Fitzgerald, la Reina del jazz, fue una cantante estadounidense que dominó como nadie éste genero. No obstante esta condición básica de jazzista, el repertorio musical de Ella Fitzgerald es amplísimo e incluye swing, blues, bossa nova, samba, góspel, calypso, canciones navideñas, pop, etc. Junto con Billie Holiday y Sarah Vaughan, está considerada como la cantante más importante e influyente de la historia del jazz (y, en general, de la canción melódica popular de Estados Unidos). Solo decir que estaba dotada de una voz con un rango vocal de tres octavas. En los años cincuenta destacó, en paralelo a la obra de Frank Sinatra, por sus versiones de los temas de los grandes compositores estadounidense: Duke Ellington, Cole Porter, Johnny Mercer, etc.). Ganó catorce premios Grammy, incluyendo el Grammy a toda su carrera, y fue galardonada con la Medalla Nacional de las Artes y la Medalla Presidencial de la Libertad de Estados Unidos. Vamos a escuchar ahora a una instrumentista privilegiada: Candy Dulfer, saxofonista. Candy empezó a tocar el saxofón cuando tenía seis años y a los catorce ya tenía su propia banda, Funky Stuff. Su hit "Lily was here" (con la colaboración de Dave Stewart) fue grabada en 1989 y estuvo en la cima de las listas de toda Europa y es la que acabamos de escuchar. Su carrera musical ha sido prolífica: nueve discos de estudio, dos discos de directos y un recopilatorio y ha trabajado y grabado con otros músicos tales como, Prince, Dave Stewart (Eurythmics), Van Morrison, Lionel Richie, Beyoncé, Pink Floyd, Aretha Franklin, Blondie, Alan Parsons, en fin, un larguísimo etcétera. Su estilo musical se basa principalmente en el smooth jazz y el jazz-pop, aunque su evolución le ha permitido acercarse a más estilos, como el R&B, el funk, el hip hop o la música latina. Nuestro recorrido por la obra de grandes mujeres nos acerca ahora al flamenco, con una invitada de lujo: Carmen Linares. Carmen Pacheco Rodríguez, nacida en Linares, es una cantaora de flamenco que está considerada como una de las más completas y con mayor conocimiento de estilos flamencos junto a la "Niña de los Peines". Compañera de generación de artistas como Paco de Lucía, Camarón, Enrique Morente, Pepe Habichuela y José Mercé y maestra y cantaora de referencia de la generación de artistas jóvenes como Estrella Morente o el mismisimo Miguel Poveda. Es visitante asidua de escenarios como Carnegie Hall de Nueva York, Sadler´s Wells de Londres, Palau de la Música de Barcelona, Auditorio Nacional de Madrid y la Cité de la Musique de París. Volviendo al jazz, nos encontramos con una gran artista que heredó la calidad y la calidez de su padre: Natalie Cole. Natalie Maria Cole fue una cantante estadounidense de jazz, soul y R&B. Hija del legendario cantante de jazz Nat King Cole, tuvo éxitos a mediados de los años 1970 como artista de R&B. A principio de la década de los 80, Natalie Col dio un frenazo a su carrera con pocas actuaciones y un bajón en las ventas, todo ello debido a su adicción a las drogas. Cole resurgió como una artista pop con el álbum de 1987 Everlasting (Eterno), con una versión de «Pink Cadillac» («Cadillac rosa») de Bruce Springsteen. En la década de los 1990 regrabó los éxitos de su padre, entre los sucuales "Unforgettable ... with Love" ("Inolvidable... con amor") tuvo unas ventas de siete millones de copias y también hizo que Cole ganara numerosos Premios Grammy. Su carrera se puede dividir en dos etapas: en la primera, hizo R&B y urban; después trabajó más en el jazz. Durante su carrera vendió más de 30 millones de álbumes. Falleció a la edad de 65 años en el Cedars-Sinai Medical Center en Los Ángeles, California debido a una insuficiencia cardíaca congestiva. Seguimos adelante con un vieja conocida: Astrud Gilberto. Astrud Gilberto es una cantante brasileña de bossa nova, samba y jazz. Su vinculación con el mundo de la música comenzó cuando se casó en 1959 con uno de los primeros guitarristas de bossa nova, João Gilberto. En 1963 estaba acompañando a su esposo en Nueva York mientras grababa con el pianista y compositor Antonio Carlos Jobim y con el saxofonista estadounidense Stan Getz un disco de fusión entre el jazz y la bossa nova. Empujada por su marido, Astrud Gilberto cantó unas estrofas y gustó tanto su voz que, a pesar de no tener experiencia previa, grabó el disco Getz/Gilberto, aunque no figuró en los créditos del disco. Su éxito cantando Garota de Ipanema la catapultó como una de las intérpretes más conocidas de una época de oro de la música brasileña. A partir de entonces emergió como nombre reconocible en todo el mundo y comenzó una larga carrera artística. Astrud Gilberto es también una artista pintora, y es conocida por su apoyo a los derechos de los animales. Y volvemos a la música clásica, por que no? Lo hacemos con Sharon Kam, clarinetista. La clarinetista Sharon Kam, nacida en Haifa, Israel, en el seno de una familia de músicos, aprendió a tocar el violín y el piano en su infancia, para luego decantarse por el clarinete. Debutó a los dieciseis años con la Orquesta Filarmónica de Israel dirigida por Zubin Mehta y en la actualidad es invitada habitual de las mejores orquestas. Aquí la hemos escuchado interpretando un fragmento del Concierto para clarineta, en A mayor, de Morzart. Y de la clásica, al jazz. Karen Souza. Karen Souza es una cantante argentina de jazz, reconocida internacionalmente. Empezó su carrera colaborando con diversos productores de música electrónica pero cuando fue invitada a participar en el primer disco de la saga “Jazz and 80s” realizados por su sello Músic Brokers, Karen Souza encontró su lugar en el jazz contemporáneo. Essentials, su primer disco, fue un éxito inmediato. En él se repasan una serie de canciones “esenciales” y tamizadas por el jazz. Una delicia. De este disco es Corcovado, la canción que le hemos oído interpretar. Sin abandonar el jazz, escuchamos ahora a Andrea Motis. Andrea Motis nació en Barcelona en mayo de 1995 y es una trompetista, saxofonista y cantante de jazz española. Se formó musicalmente, a partir de los 7 años, en la Escuela Municipal de Música de Sant Andreu, un barrio de Barcelona. En 2007, con sólo 12 años, comenzó a colaborar con el grupo de jazz Sant Andreu Jazz Band, dirigido por el profesor de música y músico Joan Chamorro quién la descubrió artísticamente y con quién ha grabado seis discos. Su voz ha sido comparada con la de Norah Jones. Y para despedirnos por hoy, que mejor que hacerlo con Bebe y su éxito “Malo”. Una canción que no necesita ninguna explicación. La igualdad es cosa de todos, de las mujeres y de los hombres, de los hombres y de las mujeres, y solo colectivamente, llegaremos a conseguir ese objetivo. Lo dijo Simone de Beauvoir: “El feminismo es una forma de vivir individualmente y de luchar colectivamente.”

Happy Presidents' Day! In order to educate your understanding of presidents near and far, Hysterical History comes a day early! In this episode, Hailey teaches Alexis about William Henry Harrison, barely a president, and António de Oliveira Salazar, a "president" of Portugal. Special thank to Swing Whale for our music! See acast.com/privacy for privacy and opt-out information.

Europe Correspondent Linton Besser heads to Portugal, and takes a look at a regime which controlled the country for almost half a century. It's a story about secret police, informants, and thousands of political prisoners.

Political posters with slogans like "It's forbidden to forbid" or "Under the paving stones, the beach" were a driving force in the May 68 Paris uprisings. The vast majority were designed and printed at Paris's Beaux-Arts (Fine Arts school) by the Atelier Populaire collective. Fifty years on, the school is showing that art work at the Images en Lutte exhibition. This exhibition on the visual culture of the far left from 1968 to 1974 includes posters, painting, sculptures, films, photos, tracts. It begins with the major demonstrations against the war in Vietnam and ends in 1974 following the coup d'Etat in Chile and the dissolution of the Maoist Proletarian Left party in France. But, while it is still unclear whether there will be any official recognition of the 50th anniversary of massive protests and strikes that nearly brought down President Charles de Gaulle and his government, it's the political art work done by the Atelier populaire that's grabbing headlines. From 5 May to 28 June, students and teachers from l'Ecole des Beaux-Arts worked day and night producing posters to further the cause of seven million striking workers. Posters with slogans like "Your boss needs you, you don't need him", "Run comrade, the old world is behind you" and "Barricades close the street but open the way" were plastered on university walls, factories and shops. The art work is "the product of a political struggle but it's also participating in the struggle itself", says art historian and curator Eric de Chessay. "They used the studios to produce posters for the revolution. People actually thought that revolution was not for tomorrow, that it was immediate and that the whole power would be completely defeated." Many posters protested against General Charles de Gaulle "showing him as a dictator, aligning him with [Francisco] Franco or [Antonio de Oliveira] Salazar or Petros Markaris, the dictators of Spain, Portugal and Greece," de Chessay explains. "His hand raised as if he were a fascist leader." Public broadcasting (ORTF) was banned from filming the Paris protests for fear they would encourage others, so many posters denounced the state of the press as a mouthpiece for the government. And, because the strike action was not being relayed by the official press, factory workers relied on the Atelier populaire to fill in the gap. One recurring image is of the factory shed, with its chimney transformed into a clenched fist. De Chessay says it's far more complex that it looks. "The shed factory with the fist is combining diverse sources so you have the typical factory of early 20th century with the sheds which is coming from the Front Populaire [Popular Front] 1936 imagery and you have the clenched fist which is a typical image of the Communist Party. But the way it’s drawn here is more reminiscent of what’s happening in the image of the Maoist movement." Anonymous, collective artwork While some famous young artists living in Paris at the time (Eduardo Arroyo, Julio Le Parc...) contributed to the Atelier and French artists like Martial Raysse returned from abroad to paint, the artwork was not signed. "The whole production is both anonymous and collective," says de Chessay. "It’s a collective creation in the sense that someone would draw an image, sometimes would devise a slogan to go with it and sometimes the slogan was provided by someone else." The final result was presented to a committee for validation each evening. The most famous and telling example of this collaboration, according to de Chessay, is the poster showing anarchist Daniel Cohn-Bendit who led the student movement in Nanterre in March 68. It was submitted by Bernard Rancillac and shows Cohn-Bendit as shot by photographer Gilles Caron. Cohn-Bendit was German-born and Jewish, which led the far right and Communist Party leader Georges Marchais to use his origins to attack him, which in turn inspired demonstrators to reply with chants of "We're all Jewish and German". But after the interior ministry declared Cohn-Bendit "undesirable in France", the committee subsituted "We're all undesirables" for the original slogan. Not all images made the final cut and the exhibition shows of those the committee turned down. "Some of those rejected are visually very satisfying," says de Chessay, "but all of those [dealing with the art world] were rejected because the strikes were not primarily for the artists. The artists were at the service of the revolution." Home-made art The 600 or so political posters on show were all produced on site so you won't find the infamous "Beauty is in the street" poster. It wasn't the work of the Atelier populaire. But that pales into insignificance given this rare opportunity to look at art created on the premises. "The exhibition is 20 metres from where these posters were produced," says de Chessay. "It’s a place where general meetings of the strikers were taking place in the exhibition rooms." And the link between l'Ecole des Beaux-Arts and leftist protest goes further. In 1974 feminist and gay rights movements held their weekly meetings there, and like the Atelier populaire in June 68 "were also expelled by the police". The exhibition includes photographs by and of gay and women's rights activists such as transvestite performance artist Michael Journiac. One photo, from his series 24 Hours in the life of an ordinary woman shows him in drag, his thumb transformed into a penis. "It's been forgotten that this art was made in a very politicised environment," says de Chessay. "Journiac was also a Maoist militant at one point, he wrote several articles about Maoist thought. So there’s a deep connection in France between these movements." The MLF (women's liberation movement) founded in 1970 also had its weekly meetings at the Beaux-Arts. And the Aids activist group Act Up still meets there. "A lot of people have not realised that when they look at Robert Campillo's movie about Act Up in Paris 120 Beats per Minute that the meetings are actually taking place at the Ecole des Beaux-Arts." The clash of images The exhibition also highlights the very different ideological positions within the far left at the time, depending on whether you leaned toward the anarchist, Maoist or Situationist camp. The slogan "I have something to say, but I don't know what" gives a good sense of the diversity - or confusion - that reigned at the time. Images en lutte, la culture visuelle de l'extrême gauche en France (1968-74), Palais des Beaux-Arts, 13 quai Malaquais, Paris 6e, runs through to 20 May 2018.

Political posters with slogans like "It's forbidden to forbid" or "Under the paving stones, the beach" were a driving force in the May 68 Paris uprisings. The vast majority were designed and printed at Paris's Beaux-Arts (Fine Arts school) by the Atelier Populaire collective. Fifty years on, the school is showing that art work at the Images en Lutte exhibition. This exhibition on the visual culture of the far left from 1968 to 1974 includes posters, painting, sculptures, films, photos, tracts. It begins with the major demonstrations against the war in Vietnam and ends in 1974 following the coup d'Etat in Chile and the dissolution of the Maoist Proletarian Left party in France. But, while it is still unclear whether there will be any official recognition of the 50th anniversary of massive protests and strikes that nearly brought down President Charles de Gaulle and his government, it's the political art work done by the Atelier populaire that's grabbing headlines. From 5 May to 28 June, students and teachers from l'Ecole des Beaux-Arts worked day and night producing posters to further the cause of seven million striking workers. Posters with slogans like "Your boss needs you, you don't need him", "Run comrade, the old world is behind you" and "Barricades close the street but open the way" were plastered on university walls, factories and shops. The art work is "the product of a political struggle but it's also participating in the struggle itself", says art historian and curator Eric de Chessay. "They used the studios to produce posters for the revolution. People actually thought that revolution was not for tomorrow, that it was immediate and that the whole power would be completely defeated." Many posters protested against General Charles de Gaulle "showing him as a dictator, aligning him with [Francisco] Franco or [Antonio de Oliveira] Salazar or Petros Markaris, the dictators of Spain, Portugal and Greece," de Chessay explains. "His hand raised as if he were a fascist leader." Public broadcasting (ORTF) was banned from filming the Paris protests for fear they would encourage others, so many posters denounced the state of the press as a mouthpiece for the government. And, because the strike action was not being relayed by the official press, factory workers relied on the Atelier populaire to fill in the gap. One recurring image is of the factory shed, with its chimney transformed into a clenched fist. De Chessay says it's far more complex that it looks. "The shed factory with the fist is combining diverse sources so you have the typical factory of early 20th century with the sheds which is coming from the Front Populaire [Popular Front] 1936 imagery and you have the clenched fist which is a typical image of the Communist Party. But the way it's drawn here is more reminiscent of what's happening in the image of the Maoist movement." Anonymous, collective artwork While some famous young artists living in Paris at the time (Eduardo Arroyo, Julio Le Parc...) contributed to the Atelier and French artists like Martial Raysse returned from abroad to paint, the artwork was not signed. "The whole production is both anonymous and collective," says de Chessay. "It's a collective creation in the sense that someone would draw an image, sometimes would devise a slogan to go with it and sometimes the slogan was provided by someone else." The final result was presented to a committee for validation each evening. The most famous and telling example of this collaboration, according to de Chessay, is the poster showing anarchist Daniel Cohn-Bendit who led the student movement in Nanterre in March 68. It was submitted by Bernard Rancillac and shows Cohn-Bendit as shot by photographer Gilles Caron. Cohn-Bendit was German-born and Jewish, which led the far right and Communist Party leader Georges Marchais to use his origins to attack him, which in turn inspired demonstrators to reply with chants of "We're all Jewish and German". But after the interior ministry declared Cohn-Bendit "undesirable in France", the committee subsituted "We're all undesirables" for the original slogan. Not all images made the final cut and the exhibition shows of those the committee turned down. "Some of those rejected are visually very satisfying," says de Chessay, "but all of those [dealing with the art world] were rejected because the strikes were not primarily for the artists. The artists were at the service of the revolution." Home-made art The 600 or so political posters on show were all produced on site so you won't find the infamous "Beauty is in the street" poster. It wasn't the work of the Atelier populaire. But that pales into insignificance given this rare opportunity to look at art created on the premises. "The exhibition is 20 metres from where these posters were produced," says de Chessay. "It's a place where general meetings of the strikers were taking place in the exhibition rooms." And the link between l'Ecole des Beaux-Arts and leftist protest goes further. In 1974 feminist and gay rights movements held their weekly meetings there, and like the Atelier populaire in June 68 "were also expelled by the police". The exhibition includes photographs by and of gay and women's rights activists such as transvestite performance artist Michael Journiac. One photo, from his series 24 Hours in the life of an ordinary woman shows him in drag, his thumb transformed into a penis. "It's been forgotten that this art was made in a very politicised environment," says de Chessay. "Journiac was also a Maoist militant at one point, he wrote several articles about Maoist thought. So there's a deep connection in France between these movements." The MLF (women's liberation movement) founded in 1970 also had its weekly meetings at the Beaux-Arts. And the Aids activist group Act Up still meets there. "A lot of people have not realised that when they look at Robert Campillo's movie about Act Up in Paris 120 Beats per Minute that the meetings are actually taking place at the Ecole des Beaux-Arts." The clash of images The exhibition also highlights the very different ideological positions within the far left at the time, depending on whether you leaned toward the anarchist, Maoist or Situationist camp. The slogan "I have something to say, but I don't know what" gives a good sense of the diversity - or confusion - that reigned at the time. Images en lutte, la culture visuelle de l'extrême gauche en France (1968-74), Palais des Beaux-Arts, 13 quai Malaquais, Paris 6e, runs through to 20 May 2018.