Podcasts about raymonda

On today's episode of "Conversations On Dance", we are joined by Stanton Welch, Artistic Director of Houston Ballet and choreographer of the company's upcoming premiere of the full length classic "Raymonda". Stanton talks about his deep love of the glorious Glazunov score, his approach to creating full length narrative works, and how he sculpts these ballets in a years long process. Houston Ballet's "Raymonda" runs May 29th through June 8th. Tickets can be purchased at houstonballet.org. Also available on their website, subscriptions for Houston Ballet's recently announced 25-26 season, a journey across centuries of composers, choreographers and ballet's greatest stories.LINKS:Website: conversationsondancepod.comInstagram: @conversationsondanceMerch: https://bit.ly/cod-merchYouTube: https://bit.ly/youtube-CODJoin our email list: https://bit.ly/COD-email Hosted on Acast. See acast.com/privacy for more information.

Przyjęło się, że mówimy o stadzie psów, stadnych zachowaniach psów, "potędze stada" czy hierarchii stada. Czy jednak myślenie o psach jako zwierzętach stadnych ma swoje uzasadnienie?W tym odcinku opowiem Wam o obserwacjach Raymonda i Lorny Coppingerów - naukowców, badających zachowanie psów wolno żyjących. Przedstawię ich pogląd na strukturę społeczną tych zwierząt, bardzo odbiegający od tego, co potocznie mówimy na temat "stadności" naszych czworonogów.Opowiem Wam także o badaniach dotyczących zdolności kooperacyjnych psów oraz wilków, co pokazuje, jak różne są to zwierzęta w kontekście budowania i funkcjonowania struktur społecznych. No i oczywiście porozmawiamy o tym, co właściwie rozumiemy pod pojęciem stada. Czy zasada "dobrowolności" wyboru w kwestii przynależności do stada ma tu znaczenie i jak to się ma do naszych domowych psio-ludzkich społeczności. Serdecznie Was zapraszam do posłuchania. 

After a sold out season of the classic two act Giselle, Cape Town City Ballet will be concluding their Summer Season at Artscape with two more dynamic works coming up from the end of this week, Friday 21 (to 23 March): the exciting Raymonda pas de dix - set to Glazunova’s stunning score... and Mozart’s Requiem, choreographed by Dane Hurst. A double bill with both ballets presented at each performance, 21-23 March, at Artscape.See omnystudio.com/listener for privacy information.

Pippa speaks to ballet dancer Jerome Barnes, who is going to be dancing in Cape Town City Ballet’s Summer Season. The programme includes the classic Giselle as well as excerpts from Raymonda and a reworked version of Dane Hurst’s Requiem. Jerome is a former principle dancer with the Scottish Ballet who had his initial training at the Royal Ballet School. See omnystudio.com/listener for privacy information.

Alexander Glazunov - Raymonda: Grand WaltzMoscow Symphony Orchestra Alexander Anissimov, conductorMore info about today's track: Naxos 8.556687Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.

La formation et la carrière des danseuses étoiles est connue pour son extraordinaire difficulté et exigence. A-t-elle pour autant des choses à nous apprendre à nous, qui avons un travail bien plus banal ? Dans cet entretien avec Aurélie Dupont, dont le livre m'a ému aux larmes, je prends le pari que oui. Voici donc 12 leçons d'une vie extraordinaire, pour les gens ordinaires. Le livre d'Aurélie : https://www.albin-michel.fr/noublie-pas-pourquoi-tu-danses-9782226486912 Mon site : https://www.fabricemidal.comFacebook Fabrice Midal : https://www.facebook.com/FabriceMidalFacebook du podcast Dialogues : https://www.facebook.com/dialogues.fmInstagram Fabrice Midal : https://www.instagram.com/fabricemidalInstagram du podcast Dialogues : https://www.instagram.com/fabricemidal_dialogues/Tiktok : https://www.tiktok.com/@fabricemidalReso, mon école de méditation :https://www.reso.cohttps://www.facebook.com/reso.meditationhttps://www.instagram.com/reso_meditation Mots clé : Danser, tomber, danser encore… Elle fut une enfant qui rêvait d'être sur scène, une petite fille brûlant de devenir une étoile, une adolescente dont l'unique désir était la danse, quelles que soient ses souffrances et ses sacrifices.Pour la première fois, la danseuse étoile Aurélie Dupont raconte son rêve devenu réalité. Avec elle, nous découvrons le prix de l'exigence d'absolu ; les rigueurs du travail, les rapports avec les chorégraphes, génies ou tyrans ; les défis à relever, la volonté de se surpasser. Et par-dessus tout, les peurs et la joie, la quintessence de ce qui fait du corps de ballet de l'Opéra de Paris un lieu légendaire de passions exacerbées. Un récit vibrant dont les mots frappent par ce qu'ils dévoilent de douleur et de volonté et par le portrait qui, au-delà de la danse, met à nu le destin d'une femme qui s'est battue pour être elle-même. Aurélie Dupont est née en 1973 à Paris. Rêvant de devenir danseuse de ballet depuis son enfance, elle passe à 10 ans le concours de l'école de danse de l'Opéra de Paris, après s'être astreinte à un entraînement très rigoureux. Elle intègre le corps de ballet à 16 ans seulement avant de devenir première danseuse deux ans plus tard. Elle est élevée au rang de danseuse étoile après son interprétation de Raymonda dans le Don Quichotte de Rudolf Noureev le 31 décembre 1998. Alternant entre le classique, le néo-classique et le contemporain, Aurélie Dupont danse dans les ballets de Roland Petit, Pina Bausch et Sasha Waltz. Elle crée deux ballets avec Benjamin Millepied et elle lui succède au poste de directrice de la danse à l'Opéra de Paris de 2016 à 2022.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Raymonda was the food editor for 44 years for the Upper Valley Standard Journal before retiring in January. Many in east Idaho looked forward to the recipe of the week and the family it was associated with in her weekly publication entitled “Food Stuff.”

Nuova puntata della seconda stagione, in cui scopriamo l'iconico balletto Raymonda!  Avremo anche il contributo del Direttore d'Orchestra, Kevin Rhodes.  Segui 2aTeatro la prima serie di podcast e vodcast sul mondo teatrale con puntate dedicate alla danza, all'opera, alla musica classica e al teatro. Un progetto inedito, dal taglio divulgativo e coinvolgente, ideato e condotto in studio da Tabata Caldironi e Anna Olkhovaya. Nuovi episodi disponibili il venerdì. Di puntata in puntata sarà possibile scoprire i balletti più iconici, le parole e i passi più famosi della danza con la Scuola di Ballo dell'Accademia Teatro alla Scala e le testimonianze di protagonisti di fama internazionale. Il progetto è reso possibile grazie alla collaborazione con A2A, Fondazione AEM e Banco dell'energia. Si ringrazia Ludwig Conistabile per l'interpretariato di Kevin Rhodes.

Richard Roberts is an award-winning designer and educator. His body of work spans theatre, ballet, opera, musical theatre, and film, across Australia and internationally. Richard is currently Head of Design and Production at the Victorian College of the Arts.  He has held positions as Head of Design at The Western Australian Academy of Performing Arts, Head of Production at The Victorian College of the Arts and Head of Design at The Hong Kong Academy of Performing Arts. Richard's designs for opera include: for Opera Australia, Rigoletto, Don Pasquale, The Magic Flute and Die Fledermaus (with West Australian Opera); for Victorian Opera, Parsifal, Cunning Little Vixen; Nixon In China, The Magic Flute, Baroque Triple Bill, The Marriage Of Figaro; The Corronation Of Poppea and Don Giovanni; for Opera Queensland, Ruddigore; and for New Zealand Opera, Seattle Opera, and Philadelphia Opera Rigoletto. For dance, Richard's designs include: for Australian Ballet, Don Quixote, Requiem, Molto Vivace and Raymonda; La Sylphide and La Fille Mal Gardee for West Australian Ballet and Queensland Ballet. For theatre, Richard's designs include: for Queensland Theatre, Othello, The Sunshine Club, Death Of A Salesman, Noises Off (with MTC), Much Ado About Nothing, Tartuffe and Managing Carmen (with Black Swan); for Ensemble Theatre, Black Cockatoo; for TML, Fiddler On The Roof; for Melbourne and Sydney Festivals, The Season national tour; for Melbourne Theatre Company, Last Man Standing, Solomon And Marion, Next To Normal, The Gift and Frost/Nixon, Macbeth, Dreams in an Empty City, As You Like It, Hedda Gabler, The Sapphires, All My Sons; for Sydney Theatre Company, Australia Day(with MTC), True West, Riflemind; for Black Swan, The Caucasian Chalk Circle and Glengarry Glen Ross; for Belvoir, The Sapphires (with Black Swan). For screen, Richard's work includes production design for George Ogilvie's The Battlers for the Seven Network, the 12-part series Five Times Dizzy for SBS and I Own The Racecourse for Barron Films. Richard has designed the Operatic adaptation of Jane Harrison's The Visitors for Victorian Opera, currently playing The Arts Centre in Melbourne. For Opera Australia's Summer season he is Design Consultant for the Mozart Opera's Idomeneo and The Magic Flute. The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Amie Sultan is an Egyptian belly dancer and classical ballerina. She was born and grew up in Singapore to an Egyptian family that was working extensively in South East Asia. Having established herself first as a successful ballet dancer, she has toured across the world dancing in Swan Lake, La Dame Aux Camellias, Jeune Homme Et La Mort, La Bayadere and Raymonda. In her quest to add a new layer to her dance repertoire, it is Amie's goal as a performance artist to restore the glamour and brilliance of the belly dance technique that was at its height in the 1940's and 50's. In this episode you will learn about:- How Amie transitioned from a professional ballet career to the belly dance world- Difficulties of being a dancer in Egypt- Bringing this dance to institutions such as museums.- Creating the Taqseem Institute and Tarab Collective- Relationships between belly dancers that affects the reputation of the danceShow Notes to this episode:Find Amie Sultan on Instagram, Facebook, and Youtube. More info about Taqseem Institute HERE.Join SharQui - The Bellydance Workout at sharqui.com/onlineDetails and training materials for the BDE castings are available at www.JoinBDE.comFollow Iana on Instagram, FB, and Youtube . Check out her online classes and intensives at the Iana Dance Club.Find information on how you can support Ukraine and Ukrainian belly dancers HERE.Podcast: www.ianadance.com/podcast

El estreno de Tamaro Rojo como coreógrafa en 'Raymonda' del ruso Alexander Glazunov y que podremos ver en el Teatro Real. Con ella ha estado Olga Baeza. Escuchar audio

El 11 de marzo de 1973 la fórmula que integraban Héctor Cámpora junto a Vicente Solano Lima ganó los comicios presidenciales. Aquella victoria en las urnas abrió las puertas al regreso definitivo al país de Juan Domingo Perón y permitió que el peronismo volviera al gobierno luego de 18 años de proscripción. Bajo la consigna “Cámpora al gobierno, Perón al poder”, los candidatos del Frente Justicialista de Liberación Nacional – FREJULI – obtuvieron el 49,5 por ciento de los votos. Ricardo Balbín-Eduardo Gamond, de la Unión Cívica Radical, logró el 21 por ciento y Francisco Manrique-Rafael Martínez Raymonda de la Alianza Popular Federalista el 15 por ciento. La asunción presidencial de Cámpora se concretó el 25 de mayo de 1973 frente a la presencia del pueblo que colmó la Plaza de Mayo. El presidente de facto, general Alejandro Agustín Lanusse, le entregó los atributos de mando en medio de una enorme movilización popular que abucheó a los militares salientes. Semanas después de asumir la presidencia, Cámpora viajó a Madrid para acompañar a Perón en su regreso definitivo a la Argentina. El 13 de julio de 1973 Cámpora y Solano Lima renunciaron a sus cargos para permitir la realización de nuevas elecciones, donde vencería Perón con más del 60 por ciento de los votos. Recordamos aquella fecha a partir de testimonios conservados en el Archivo Histórico de Radio Nacional. FICHA TÉCNICA Testimonios y música (en orden de aparición) `Memoria de los Basurales´ por Huerque Mapu [1973 del Álbum “Montoneros”] 2004-03-11 Fernández, Alberto  (Jefe de Ministros) Fragmento del discurso en el Encuentro de la Militancia, celebrado en Parque Norte. 1973-05-25 Cámpora, Héctor José (Presidente de la Nación) Fragmento del discurso de asunción en el Congreso de la Nación. 1973 López, Atilio (Secretario General CGT – Córdoba) Material de Campaña del FREJULI `Milonga del Proscripto´ (Francisco y Oscar Rovito) por Leonor Benedetto [1973 del Álbum “Cancionero de la Liberación”] 1972-07-07 Lanusse, Alejandro (Presidente de facto) Cena de Camaradería de las FFAA en el Colegio Militar. `Patria Trelew´ por Huerque Mapu [1973 del Álbum “Montoneros”] 1973 Ortega Peña, Rodolfo (Candidato a Diputado) Material de Campaña del FREJULI 1972-09-20 Lanusse Alejandro A (Presidente de facto) Anuncio Elecciones (Despacho Presidencial) `Para el Pueblo lo que es del Pueblo´ (Piero de Benedictis - Jose Tcherkaski ) por Piero [1973 del Álbum “Cancionero de la Liberación”] 1972-12-19 Balbín, Ricardo (Candidato a Presidente por la UCR) Proclamación de la Fórmula Presidencial - Reportaje en Santiago del Estero. 1972-11-10 Lanusse, Alejandro A. (Presidente de facto) Roberto Maidana (Periodista) `Triunfo del Cuero´ (Alejandro Mayol) por Marilina Ross [1973 del Álbum “Cancionero de la Liberación”] 1973 Abal Medina, Juan Manuel (Secretario General Movimiento Peronista) Material de Campaña del FREJULI 1973 Perón, Juan Domingo (ex Presidente de la Nación) Al pueblo Argentino desde Madrid, España. [Flexidisc distribuido al movimiento Justicialista] 1973 Cámpora, Héctor J.  (Candidato presidencial) Material de Campaña del FREJULI 1973 Perón, Juan Domingo (ex Presidente de la Nación) Apoyo a la fórmula Cámpora – Solano Lima [Material de Campaña del FREJULI] `Marcha Peronista´ - Todos [1973 del Álbum “Cancionero de la Liberación”] 1973-01-18 López Aufranc, Alcides (Comandante en Jefe del Ejército) Conferencia de prensa sobre elecciones del 11 Marzo de 1973. `Aquí están, éstos son´ por Francisco Rovito y Oscar Rovito [1973 del Álbum “Cancionero de la Liberación”] 1973 Muñiz Barretto, Diego (Candidato a Diputado) Material de Campaña del FREJULI 1973 Cámpora, Hector J. (Candidato a Presidente) Material de Campaña del FREJULI 1973 Duhalde, Eduardo Luis (Abogado) Material de Campaña del FREJULI 1973 Jingle de campaña FREJULI 1973-03-12 Lanusse, Alejandro A. (Presidente de Facto) Anuncia triunfo electoral de Cámpora desde el Salón Blanco,

Ceyda Tanc is Brighton, UK-based choreographer. After studying dance at the University of Roehampton, she spent four months at The State Turkish Conservatoire for Music and Folk Dance in Izmir to train in Zeybek and Denizli, the styles of her heritage. On her return to the UK, Ceyda founded her eponymous company, and started to create a body of contemporary dance work with influences from Turkish folk culture, specifically exploring how the virtuoso movements of male Turkish dancers translate onto female bodies. Now, she's become well-known for her signature style, and was even invited by Tamara Rojo to advise on the representation of Turkish folk choreography in English National Ballet's reworking of  ‘Raymonda' in 2021.  Ahead of the premiere of Ceyda's latest work, KIZLAR, at Brighton Festival on 16th May 2023, I couldn't wait to talk to to her about her experience training in Izmir, how and why she seeks subverts gender stereotypes in Turkish folk dance, her current work, and her dreams for the future. 

Hi, Welcome to the What I've Learnt podcastI am Luke, one of the producers for the show. As a producer I love our  work and helping Deborah and our team share so many wonderful stories.From food to fashion and art to music we've got you covered.In this episode, we are doing something special. As the end of the year is fastly approaching, we thought that we would highlight and showcase some of our favourite performers's from earlier in the year...Featured with in this episode are:Lisa Hunt is a Byron Bay based Soul singer and has performed with the likes of Pavarotti, Andrea Bocelli, Ray Charles, Eric Clapton, James Brown, Joe Cocker, Miles Davis, Macy Gray, Tina Turner, Bryan May, and the cranberries Dolores O'Riordan.Lisa Bolte: She danced with The Australian Ballet Company, 1986-2002, 2005-2007 and was promoted to Principal Artist by the revered Artistic Director, Maina Gielgud in 1993. Highlights with The Australian Ballet have included performing principal roles from the entire classical repertoire including Swan Lake, The Sleeping Beauty, Giselle, Romeo & Juliet, LaSylphide, Raymonda, Don Quixote, Manon, Anna Karenina, Etudes, Copellia, The Merry Widow, Onegin and Theme and Variations.Kim Krejus & Sigrid Thornton:  Kim Krejus is the Director of 16th Street Actors studio has brought some of the world's most renowned acting coaches and directors, here including Leonardo Di Caprio's acting coach, Larry Moss, Bradley Cooper's acting coach, Elizabeth Kemp and lan Rickson who directed Hugh Jackman on Broadway.Sigrid Thornton, stellar much loved actor, now starring in her new role in the Chekhov classic The Seagull at the STC. Known for work in television shows like Seachange (1998 - 2019) and Wentworth (2016 - 2018), as well as film apperences in the films Snapshot (1979) and The Man From Snowy River (1982) and many more works.Deborah's Instagram: https://www.instagram.com/what.ive.learnt/Mind, Film and Publishing: https://www.mindfilmandpublishing.com/Apple Podcast: https://podcasts.apple.com/au/podcast/what-ive-learnt/id153556330Spotify: https://open.spotify.com/show/3TQjCspxcrSi4yw2YugxBkBuzzsprout: https://www.buzzsprout.com/1365850

Ever wondered what it takes to be a professional ballerina? Well in this episode we find out! We were lucky enough to chat with Isabelle Brouwers, a dancer in the English National Ballet who speaks about the art form with such passion it will make you want to reach for a tutu and start pirouetting down the pavement! 

Hi, Welcome to the What I've Learnt podcastI am Luke, one of the producers for the show. As a producer I live my work and helping Deborah and our team share so many wonderful stories.From food to fashion and art to music we've got you covered.In this episode, we are highlighting some of our favorite moments from this past October...Featured with in this episode are:Peter & Suparna Cooper:  Peter Cooper from Cooper Investors is one of Australia's most highly regarded investors and has in excess of 30 years market experience and is highly regarded for his passion, integrity and purpose.Suparna Cooper is a force of nature dedicated to wellness at every level facilitating Silent Retreats both in Byron Bay and India and is spearheading the new Be Well community in Melbourne - a hub of wellness warriors determined to give back and honour self care.Natassia Nicoloa: Conserving Beauty, Australia's first water-responsible beauty brand, in 2021. Inspired by her belief that waterless formulas could offer more – both for us and the planet – Natassia set out to create a range of pure, potent beauty products that were completely free from water, to boost efficacy, protect our planet and positively impact the community. Lisa Bolte: She danced with The Australian Ballet Company, 1986-2002, 2005-2007 and was promoted to Principal Artist by the revered Artistic Director, Maina Gielgud in 1993. Highlights with The Australian Ballet have included performing principal roles from the entire classical repertoire including Swan Lake, The Sleeping Beauty, Giselle, Romeo & Juliet, LaSylphide, Raymonda, Don Quixote, Manon, Anna Karenina, Etudes, Copellia, The Merry Widow, Onegin and Theme and Variations.So, sit back, relax and enjoyDeborah's Instagram: https://www.instagram.com/what.ive.learnt/Mind, Film and Publishing: https://www.mindfilmandpublishing.com/Apple Podcast: https://podcasts.apple.com/au/podcast/what-ive-learnt/id153556330Spotify: https://open.spotify.com/show/3TQjCspxcrSi4yw2YugxBkDeborah's Instagram: https://www.instagram.com/what.ive.learnt/Mind, Film and Publishing: https://www.mindfilmandpublishing.com/Apple Podcast: https://podcasts.apple.com/au/podcast/what-ive-learnt/id153556330Spotify: ...

Lisa BolteWho hasn't swooned watching ballets Swan Lake and recently I saw Romeo and Juliet so breathtaking .. now featuring on at The Australian Ballet at The Vic Arts Centre.Lisa Bolte is one of those rare talented people who's life as a Principal Ballet dancer has taken her across the globe.Mesmerising audiences with her stunning and elegant performances she is truly a national treasure.She danced with The Australian Ballet Company, 1986-2002, 2005-2007 and was promoted to Principal Artist by the revered Artistic Director, Maina Gielgud in 1993.Highlights with The Australian Ballet have included performing principal roles from the entire classical repertoire including Swan Lake, The Sleeping Beauty, Giselle, Romeo & Juliet, LaSylphide, Raymonda, Don Quixote, Manon, Anna Karenina, Etudes, Copellia, The Merry Widow, Onegin and Theme and Variations.As a guest artist Lisa performed with Nureyev's Farewell Australian Tour (1991); with The National Ballet of Canada in Swan Lake and The Merry Widow (1994); with The Maryinsky Ballet as Giselle and as Kitri in Don Quixote (1996); with The Royal Danish Ballet as Odette/Odile, Swan Lake (1998); with Queensland Ballet, pas de deux from Edge of Night and Raymonda (2007).In 1998 Lisa was awarded the ‘Mo' award for Best Female Dancer after her performances in Romeo and Juliet. Scholarship winner of the Erik Bruhn Award 1987; the Lissa Black Award 1994; Nominated  for The Dancing Times' ‘Young Dancer of the Year' following The Australian Ballet's performances of The Sleeping Beauty at Covent Garden in London 1988.Assistant to Maina Gielgud, in staging and coaching Giselle for The Boston Ballet.Working in Philanthropy as Patron Manager at The Australian Ballet 2011-2016, the role included leading tours for Renaissance Tours to Tasmania, New York and Houston.Currently she is Southern Chapter Chair of The Australian Ballet Foundation Board.In the years since her retirement as a Principal Artist, Lisa has enjoyed opportunities performing as a Guest Artist with The Australian Ballet, including as the Mother is Maina Gielgud's Giselle, and as the Queen in both Stephen Baynes' Swan Lake and David McAllister's The Sleeping Beauty. She now shares her knowledge learnt through years of being coached by wonderful Artists herself, mentoring full-time ballet students in Melbourne.Deborah's Instagram: https://www.instagram.com/what.ive.learnt/Mind, Film and Publishing: https://www.mindfilmandpublishing.com/Apple Podcast: https://podcasts.apple.com/au/podcast/what-ive-learnt/id153556330Spotify: https://open.spotify.com/show/3TQjCspxcrSi4yw2YugxBkDeborah's Instagram: https://www.instagram.com/what.ive.learnt/Mind, Film and Publishing: https://www.mindfilmandpublishing.com/Apple Podcast: https://podcasts.apple.com/au/podcast/what-ive-learnt/id153556330Spotify: ...

Los Ojos de Rosario - El BNS estrenó Raymonda bajo la dirección de María Riccetto by En Perspectiva

Ted Brandsen is choreograaf en creatief directeur van Het Nationale Ballet. Nu werkt Brandsen met het ballet aan een eigen versie van de Russische balletklassieker Raymonda van Marius Petipa. Het verhaal van deze grote productie is gebaseerd op een middeleeuwse legende en speelt zich af ten tijde van de kruisvaarders. Het werk van Brandsen staat in het repertoire van veel buitenlandse gezelschappen, in 2019 ontving hij de Amsterdamprijs voor de Kunst in de categorie Bewezen kwaliteit. Pieter van der Wielen gaat met Ted Brandsen in gesprek.

Join Windfall co-creator and composer Adam Raymonda in a fun-filled trip into audio drama sitcom Forgive Me!. A Catholic church called St. Patrick's is the backdrop for an anthology of stories from a range of colorful parishioner characters, from the zany to the troubled, all rallying around the long-suffering Father Ben. An immersive listening experience. Headphones recommended. SHOW NOTESForgive Me https://roguedialogue.com/fm-aboutAdam Raymonda http://adamraymonda.com/MUSIC CREDITSMusic: Jon Brion - Knock Yourself OutMusic: Blink-182 - All The Small ThingsMusic: Radiohead - CreepTRANSCRIPT http://howimakemusic.com/episode/ABOUT THIS SHOWDiscover new fiction podcasts in an immersive, sound-designed listening experience with their music composers. In this show, we challenge audio drama music makers to break apart a song, soundtrack or composition and get into why and how it was made. Immersive listening. Headphones recommended.* Follow How I Make Music in your favorite app https://pod.link/howimakemusic* Show notes, transcript and credits https://howimakemusic.com * How I Make Music is created by John Bartmann https://johnbartmann.comBECOME A PATRONPatrons get early access to all future episodes, full video interviews with contributors, a listing on the Wall of Fame, immersive podcast editing tutorial video livestreams and resources, access to the show's hidden back catalog, bonus material for creating your own show and a massive thank you!Become a patron https://patreon.com/howimakemusicpreroll mar 2022Support the show (https://patreon.com/howimakemusic)

Spanish ballet star Tamara Rojo has enjoyed a 20 year stage career, in which she starred in all the greatest classical ballet roles to both critical and popular acclaim. She became artistic director of the English National Ballet, and recently made her debut as a choreographer with a new version of the 19th century ballet Raymonda. Now, after a decade running the ENB, she is preparing to take on a new job as artistic director of the San Francisco ballet, the first woman to hold the role. She tells John Wilson about the chance introduction to a dance class at school, and her unexpected success winning the Paris International Dance competition in 1994 which led to a role at Scottish Ballet at the age of 17. She reveals how seeing Francis Bacon's studies of the Velazquez portrait of Pope Innocent X made her reassess approaches to classic works of art and inspired a desire to re imagine works from the classical ballet canon. She also explains why she loves the Lars von Trier film Dancer in the Dark and how Bjork's tour de force performance mirrors he own approach to inhabiting a role. Producer: Edwina Pitman

A transcript of this episode is available here: https://thedanceedit.com/transcript-episode-98Subscribe to The Dance Edit Extra: https://podcasts.apple.com/us/podcast/the-dance-edit-extra/id1579075769Links referenced in/relevant to episode 98:-Dance Magazine list of COVID cancellations: https://www.dancemagazine.com/coronavirus-dance-performance-cancellations/-Times of Israel coverage of the Sydney cultural festival boycott: https://www.timesofisrael.com/20-acts-pull-out-of-sydney-festival-over-israeli-embassy-funding-of-dance-show/-Globe and Mail story on the Royal Winnipeg Ballet's settlement: https://www.theglobeandmail.com/canada/article-royal-winnipeg-ballet-agrees-to-10-million-settlement-over-photographs/-BG Independent News piece on Toledo Ballet's sudden leadership change: https://bgindependentmedia.org/toledo-ballet-announces-departure-of-artistic-director-resident-choreographer/-Broadway World post on the United Hip Hop Vanguard: https://www.broadwayworld.com/bwwdance/article/Full-Circle-Productions-Awarded-Grant-From-The-Ford-Foundation-20220107-New York Times feature on Tamara Rojo's appointment: https://www.nytimes.com/2022/01/11/arts/dance/tamara-rojo-artistic-director-san-francisco-ballet.html-Dance Magazine story on Rojo's appointment: https://www.dancemagazine.com/tamara-rojo-2/-Pointe feature on Rojo's reimagined "Raymonda": https://pointemagazine.com/tamara-rojo-raymonda/-Dance Magazine piece on injury culture: https://www.dancemagazine.com/dancing-through-injury/-New York Times feature on Britney Spears' dancing: https://www.nytimes.com/2022/01/07/arts/dance/britney-spears-dance-instagram.html

This episode is in English Further down you can also see the movie SUSANA. In this episode of SAQMI Play we meet the Argentinian filmmaker Susana Blaustein Mūnoz, who became an early queer pioneer with her neverendlingly relevant autobiographical film Susana. This film from 1980 marks one of the first Swedish lesbian stories to be portrayed in moving images - although Susana is not originally from Sweden, she lived in Stockholm for a while in the late 70's - and was hanging out in circles involved with Lesbisk front (Lesbian Front). Christina, her Finno-Swedish girlfriend at the time, who was also new to Stockholm, also appears in the film. 40 years later their reborn love is depicted in the short film Old Love Dies Hard, which was meant as a longer follow up to Susana,But seems not to have made it past the 8-minute long documentary form that its in today. Susana Blaustein Munoz had her broad international breakthrough in 1985 with the documentary film Las Madres de la Plaza de Mayo, which was nominated for an Oscar. Las Madres is a film about the Argentinian women who challenged the nation's military rule and waged a tremendous struggle for the right to know what happened to their children who'd disappeared during the years when Argentina was a military dictatorship. Every Thursday the women gathered in front of the President's residency at the Plaza de Mayo in Buenos Aires. Their white scarves became a symbol of their movement, and the movement grew famous across the world. Susana Blaustein Munoz, now 68 years of age, has an art degree from the Bezalel Academy in Jerusalem - Israel, and a master in film from the San Francisco Art Institute in the US. Today she once again lives in her hometown of Mendoza in Argentina. In just a sec we'll let Susana talk about her work herself. Straight off the bat she mentions her self-portrait Susana, which came to life while she was studying film in San Francisco. Susana is a kind of diary of moving images as well as a meeting between two sisters who've chosen different ways of living their lives. Susana weaves together cinema vérité and interviews to create a collage of stills, amateur films, and animations, to portray the cultural context in which female, sexual, and ethnic identities are formed. In the film, she asks her family members, lovers, exes, and friends to talk about her in front of the camera. What do you think about Susana? she wonders. Just like many of Susana's films - The film ended up being censured by the Argentinian state. She says that today it's almost impossible for her to work as a filmmaker in her home country. Malin Holgersson and SAQMI's founder Anna Linder had this discussion with Susana on the 28th of June, 2021. Susana is sitting in her home in Mendoza in Argentina and Anna and Malin are sitting in Anna's home in Majorna in Göteborg. Text by Malin Holgersson. Translated to English by Alex Alvina Chamberland. Voice by Sam Message. Trailer for the film SUSANA: Related material: Screen: 'Las Madres' of Argentina Text by Walter Goodman, The New York Times, April 2, 1986 Swedish article: Relationer blir film långt borta och nära, SvD Text av Henrik Sahl Johansson, Publicerad den 4 augusti 2014. Texts and films by Susana Blaustein Muñoz: Filmography: SUSANA, 1980, US/Argentina, 25 min, Black/White, 16mm. Experimental documentary about Susana Blaustein Muñoz life. In this autobiographical portrait, Susana leaves her native Argentina to live her life outside the strictures of Latin American cultural and family pressures. Susana interweaves cinema vérité interviews of her family and lovers with snapshots, home movies and even a Disney cartoon to render the cultural context in which female, sexual and ethnic identity is shaped. See the film SUSANA Price: 40 skr. The money goes directly to the filmmaker. Las Madres; The Mothers of Plaza de Mayo, 1985, 64 min, 16mm. Co-directed and produced with Lourdes Portillo. Nominated for an Academy Award for Best Documentary in 1986, Las Madres documents the courageous political actions of the Mothers of the Plaza de Mayo, a group of Argentine women who gather weekly at the Plaza de Mayo in Buenos Aires to remember the children that "disappeared" during the Dirty War (1976-1983). La Ofrenda - The Days of The Dead (El Diade Los Muertos), 1989, 62 min. Produced and Directed by Lourdes Portillo and Susana Blaustein Muñoz. Filmed simultaneously in Oaxaca DF and San Francisco. A documentary exploring the varying cultural practices of the "Day of the Dead" in both Mexico and Chicano/a communities in the United States. Nominated for Grand Jury Prize at Sundance Film Festival 1989. My Home: My Prison, 1993, 60 min. My Home: My Prison is based on the autobiography of Palestinian journalist Raymonda Tawil, one of the first Palestinians to engage Israelis in dialogue twenty-four years ago. She was arrested several times by the Israeli military and accused of being a collaborator by some of her own people. Yet today, she is considered a pioneer of the peace process in the Middle East. My Home, My Prison is also about the struggle for women's rights. Raised in a misogynistic society that limits the freedom of women. Raymonda grew into a person who dared to speak her mind. Now exiled in Paris, she remains controversial; her daughter Suha married Yasser Arafat. Directed with intensity by two Jewish filmmakers. Erica Marcus and Academy Award nominee Susana Blaustein Muñoz, the film, set against the backdrop of the last fifty years of the Israeli-Palestinian conflict, goes beyond traditional documentary by interweaving archival footage, interviews and reenacted scenes from Tawil's memories, accompanied by dramatized excerpts from her writings. It screened at the Haifa Film Festival 1994 -1996. Ave Phoenix, 1995, 27 min. Short Film. Directed, produced and written by Susana Blaustein Muñoz. Starring Mira Furlan a former actress of Emir Kusturica. Sponsored by AFI in Hollywood, Awakening from Sorrow: Buenos Aires 1997, 2009, 40 min, Directed by John Knoop and Karina Epperlein. Produced by John Knoop, Susana Blaustein Muñoz, Karina Epperlein. A documentary about the rise of the movement called HIJOS. Children of the disappeared. The film is about a crucial moment in history when the grief of young Argentines - whose parents disappeared and were tortured and killed during the 'Dirty War' (Argentina's dictatorship organized mass killings of civilian dissidents during the 1970s until 1983) erupts into public action, and becomes a cornerstone for social movements from South America to Serbia. Until these young people began to organize and demand explanations from their government, the predominant coping strategy has been to pretend that the missing are still alive. This film documents the power to transform pain into action to lift the veil of repression that has gripped a generation of young people. Old Love Dies Hard, 2013, 8:30 min. This autobiographical film shows that there is no agelimit for falling in love. The story of Susana and Christina takes us from Stockholm to Buenos Aires. Susana and Christina met in their 20`s and reconnected via Facebook 35 years later. Their love was rekindled at age 60 and they made a commitment to settle together. Never say never is the message! See the film Old Love Dies Hard: Credits SAQMI Play: Producers: Anna Linder and Malin Holgersson Design and code: Vincent Orback Composer: Amanda Lindgren Edited and Mixed by Malin Holgersson Voice: Sam Message Publisher: Anna Linder SAQMI Play is produced with the support from The Swedish Arts Council and Gothenburg City.

This episode is both in Swedish and English If you are English-speaking, you can find the English introduction further down which makes the talk easier to follow. Längre ned kan du även se filmen SUSANA. Further down you can also see the movie SUSANA. I det här avsnittet av SAQMI Play möter vi den argentinska filmskaparen Susana Blaustein Muñoz, som med sin ständigt aktuella självbiografiska film Susana tidigt blev en queer pionjär. Filmen från 1980 är en av dom allra första svenska lesbiska historier som skildras i rörlig bild, Susana bodde nämligen i Stockholm ett tag i slutet av 70-talet och hängde bland annat i kretsarna kring Lesbisk front. Christina, hennes dåvarande finlandssvenska flickvän som också var ny i Stockholm, figurerar i filmen. 40 år senare kommer deras pånyttfödda kärlek att skildras i kortfilmen Old Love Dies Hard, som skulle blivit en längre uppföljare till Susana men som verkar förbli den drygt åtta minuter kortdokumentär den är idag. Sitt breda internationella genombrott fick Susana Blaustein Muñoz 1985 med dokumentärfilmen Las Madres de la Plaza de Mayo som nominerades till en Oscar. Las Madres är en film om dom argentinska kvinnor som utmanade landets militärjunta och drev en enorm kamp för att få veta vad som hänt deras barn, som försvunnit under dom år Argentina var en militärdiktatur. Varje torsdag samlades mödrarna på torget Plaza de Mayo i Buenos Aires framför presidentens residens. Deras vita sjalar blev ett signum och rörelsen känd över hela världen. Susana Blaustein Muñoz, idag 68 år, har examen i konst från Bezalel Academy i Jerusalem i Israel och en master i film från San Francisco Art Institute i USA. Idag bor hon återigen i sin hemstad Mendoza i Argentina. Vi ska alldeles strax låta Susana själv berätta om sitt arbete. Hon nämner direkt sitt självporträtt Susana som kom till när hon studerade film i San Fransisco. Susana är en slags dagbok i rörliga bilder och ett möte mellan två systrar som valt olika sätt att leva sina liv. Susana väver samman cinema vérité och intervjuer till ett collage av stillbilder, amatörfilmer och animationer för att gestalta den kulturella kontext i vilken kvinnlig, sexuell och etnisk identitet formas. Hon ber sina familjemedlemmar, älskare, ex och vänner berätta om henne framför kameran. Vad tycker du om Susana? undrar hon. Filmen blev censurerad av den argentinska staten – som flera av Susanas filmer. Hon säger idag att det är nästintill omöjligt för henne att arbeta som filmskapare i sitt hemland. Malin Holgersson och SAQMIs grundare Anna Linder, hade samtalet med Susana den 28 juni 2021. Susana sitter i sitt hem i Mendoza i Argentina och vi sitter hemma hos Anna i Majorna i Göteborg. Text av Malin Holgersson. SUSANA, 1980, US/Argentina, 25 min, sv/vit, 16mm. Experimentell dokumentär om Susana Blaustein Muñoz liv. I sitt självbiografiska porträtt lämnar Susana hemlandet Argentina, för att leva sitt liv utanför det kulturella trycket från den latinamerikanska samhälls- och familjestrukturen. Det är en personlig och privat berättelse, likt en dagbok i rörliga bilder. Susana är en politiskt viktig film och en av de allra första svenska lesbiska historier som skildras och som bör ingå i ett svenskt kulturarv. Fler filmer av Susana längre ned: Trailer till filmen SUSANA: Relaterat material: Screen: 'Las Madres' of Argentina Text by Walter Goodman, The New York Times, April 2, 1986 Relationer blir film långt borta och nära, SvD Text av Henrik Sahl Johansson, Publicerad den 4 augusti 2014. Texts and films by Susana Blaustein Muñoz: In this episode of SAQMI Play we meet the Argentinian filmmaker Susana Blaustein Muñoz, who became an early queer pioneer with her always relevant autobiographical film Susana. This film from 1980 marks one of the first Swedish lesbian stories to be portrayed in moving images, since Susana lived in Stockholm for a while in the late 70's, and for instance hung out in the circles around Lesbisk front (Lesbian Front). Christina, her Finno-Swedish girlfriend at the time, who was also new to Stockholm, appears in the film. 40 years later their reborn love will be depicted in the short film Old Love Dies Hard, which was meant as a longer follow up to Susana, but seems to remain the slightly over 8-minute long documentary short that it is today. Susana Blaustein Muñoz had her broad international breakthrough in 1985 with the documentary film Las Madres de la Plaza de Mayo, which was nominated for an Oscar. Las Madres is a film about the Argentinian women who challenged the nation's military rule and waged a tremendous struggle for the right to know what happened to their children who'd disappeared during the years when Argentina was a military dictatorship. Every Thursday the women gathered at the Plaza de Mayo in Buenos Aires in front of the President's residency. Their white scarves became a signum, and the movement grew famous all over the world. Susana Blaustein Muñoz, now 68 years of age, has an art degree from the Bezalel Academy in Jerusalem in Israel, and a master in film from the San Francisco Art Institute in the USA. Today she once again lives in her hometown of Mendoza in Argentina. In just a moment we'll let Susana talk about her work herself. Directly she mentions her self-portrait Susana, which came to life while she was studying film in San Francisco. Susana is a kind of diary of moving images as well as a meeting between two sisters who've chosen different ways of living their lives. Susana weaves together cinema vérité and interviews to create a collage of stills, amateur films, and animations, to portray the cultural context in which female, sexual, and ethnic identity is formed. She asks her family members, lovers, exes, and friends to talk about her in front of the camera. What do you think about Susana? she wonders. The film was censured by the Argentinian state – just like many of Susana's films. She says that today it's almost impossible for her to work as a filmmaker in her home country. Malin Holgersson and SAQMI's founder Anna Linder had this discussion with Susana on the 28th of June, 2021. Susana sits in her home in Mendoza in Argentina and we sit in Anna's home in Majorna in Göteborg. Text by Malin Holgersson. Translated to English by Alex Alvina Chamberland Filmografi: SUSANA, 1980, US/Argentina, 25 min, Black/White, 16mm. Experimental documentary about Susana Blaustein Muñoz life. In this autobiographical portrait, Susana leaves her native Argentina to live her life outside the strictures of Latin American cultural and family pressures. Susana interweaves cinema vérité interviews of her family and lovers with snapshots, home movies and even a Disney cartoon to render the cultural context in which female, sexual and ethnic identity is shaped. See the film SUSANA Price: 40 skr. The money goes directly to the filmmaker. Las Madres; The Mothers of Plaza de Mayo, 1985, 64 min, 16mm. Co-directed and produced with Lourdes Portillo. Nominated for an Academy Award for Best Documentary in 1986, Las Madres documents the courageous political actions of the Mothers of the Plaza de Mayo, a group of Argentine women who gather weekly at the Plaza de Mayo in Buenos Aires to remember the children that "disappeared" during the Dirty War (1976-1983). La Ofrenda - The Days of The Dead (El Diade Los Muertos), 1989, 62 min. Produced and Directed by Lourdes Portillo and Susana Blaustein Muñoz. Filmed simultaneously in Oaxaca DF and San Francisco. A documentary exploring the varying cultural practices of the "Day of the Dead" in both Mexico and Chicano/a communities in the United States. Nominated for Grand Jury Prize at Sundance Film Festival 1989. My Home: My Prison, 1993, 60 min. My Home: My Prison is based on the autobiography of Palestinian journalist Raymonda Tawil, one of the first Palestinians to engage Israelis in dialogue twenty-four years ago. She was arrested several times by the Israeli military and accused of being a collaborator by some of her own people. Yet today, she is considered a pioneer of the peace process in the Middle East. My Home, My Prison is also about the struggle for women's rights. Raised in a misogynistic society that limits the freedom of women. Raymonda grew into a person who dared to speak her mind. Now exiled in Paris, she remains controversial; her daughter Suha married Yasser Arafat. Directed with intensity by two Jewish filmmakers. Erica Marcus and Academy Award nominee Susana Blaustein Muñoz, the film, set against the backdrop of the last fifty years of the Israeli-Palestinian conflict, goes beyond traditional documentary by interweaving archival footage, interviews and reenacted scenes from Tawil's memories, accompanied by dramatized excerpts from her writings. It screened at the Haifa Film Festival 1994 -1996. Ave Phoenix, 1995, 27 min. Short Film. Directed, produced and written by Susana Blaustein Muñoz. Starring Mira Furlan a former actress of Emir Kusturica. Sponsored by AFI in Hollywood, Awakening from Sorrow: Buenos Aires 1997, 2009, 40 min, Directed by John Knoop and Karina Epperlein. Produced by John Knoop, Susana Blaustein Muñoz, Karina Epperlein. A documentary about the rise of the movement called HIJOS. Children of the disappeared. The film is about a crucial moment in history when the grief of young Argentines - whose parents disappeared and were tortured and killed during the 'Dirty War' (Argentina's dictatorship organized mass killings of civilian dissidents during the 1970s until 1983) erupts into public action, and becomes a cornerstone for social movements from South America to Serbia. Until these young people began to organize and demand explanations from their government, the predominant coping strategy has been to pretend that the missing are still alive. This film documents the power to transform pain into action to lift the veil of repression that has gripped a generation of young people. Old Love Dies Hard, 2013, 8:30 min. This autobiographical film shows that there is no agelimit for falling in love. The story of Susana and Christina takes us from Stockholm to Buenos Aires. Susana and Christina met in their 20`s and reconnected via Facebook 35 years later. Their love was rekindled at age 60 and they made a commitment to settle together. Never say never is the message! See the film Old Love Dies Hard: Credits SAQMI Play: Producenter: Anna Linder och Malin Holgersson Design och kod: Vincent Orback Komposition: Amanda Lindgren Klipp och mix: Malin Holgersson Ansvarig utgivare: Anna Linder SAQMI Play produceras med stöd av Kulturrådet och Göteborgs stad.

A long, tiring week between the heat and humidity, True Believers, but just remember, it could always be snow... This is the Uticast, Episode #322, and this week we are joined by longtime GFOP, producer and sound designer at Rogue Dialogue, Adam Raymonda!!! On Tap This Week: Kevin and Sam start off with some quick thoughts about Hurricane Henri, Sleep issues and the Pfizer vaccine!! Then, Sam sits down with longtime GFOP Adam Raymonda to discuss the process of producing narrative podcasts, the craft of sound design and how YOU can support Season 2 of Windfall on Indiegogol!! Finally, the lads come together to debate Pete Rose, Sacco & Vanzetti and Buffalo Bills Sauces. Plus, 2001 Revisited!!! This is The Uticast and we're here to tell you a story. #JoinTheClub #MadeInUtica UTICAST.COM Apple Podcasts Spotify Stitcher Soundcloud Made In Utica Handshake.City

Twaalf jaar stond Raymonda Verdyck aan het hoofd van het gemeenschapsonderwijs. Deze zomer gaat ze op pensioen. Ze begon haar carrière als leerkracht zedenleer maar toen ze directeur van GO werd, voelde het aan als thuis komen. David Geens sprak met haar over haar loopbaan. Als hoofd van het GO heeft ze meerdere pijnpunten meegemaakt. De dalende internationale cijfers over ons onderwijs baren haar zorgen, maar ze is er van overtuigd dat er maatregelen genomen zijn die beterschap zullen brengen. 'Alleen duurt het minstens twaalf jaar voor je die effecten ziet,' zegt Verdyck.Ze breekt een lans om er voor te zorgen dat er meer gemotiveerde leerkrachten voor de klas staan. De aantrekkelijkheid van het beroep moet verbeterd worden. Ze gelooft in haar beslissingen om achter de nieuwe eindtermen te staan (nvdr het gesprek werd opgenomen voor bekend werd dat het Grondwettelijk Hof de eindtermen niet schorst) maar ook in het verbod van de hoofddoek op school. Een blik op een mooie loopbaan, maar ook een visie op de toekomst. Support the show (https://doorbraak.be/steun/)

This collection of heartfelt adagios includes famous excerpts from Tchaikovsky's The Nutcracker and The Sleeping Beauty, and Glazunov's Raymonda, Prokoviev's Cinderella and the famous adagio from Spartacus by Khachaturian.

Rafael Bejarano Vidal, de Guadalajara, México, comenzó su formación en danza a los 11 años en la Real Academia de Danza de México con Ana Torquemada. Ha estudiado intensivamente en Miami Arts Ballet Theatre, en Dinamarca, Alemania y Nueva York en programas afiliados a The Royal Academy of Dance. A los 13 años recibió una mención honorífica en el Concurso Nacional de Danza de México y actuó en el Festival Internacional de Danza de Córdoba, Veracrúz. En las semifinales de YAGP, en México, donde se le reconoció como uno de los tres mejores bailarines masculinos de su edad en todo México, recibió también una beca para el The Washington School Ballet Summer Intensive en 2014, y posteriormente, recibió una beca completa de tres años para el programa de capacitación profesional de la escuela (PTP), y para el programa intensivo de verano. Mientras estuvo en The Washington School Ballet, interpretó el papel de Prince en El Cascanueces, de Septime Webre. En 2016 recibió el primer lugar en la semifinal de YAGP, en Pittsburgh, como mejor bailarín masculino. Recibió también la beca Louis Vuitton, y la Rory Schwartz. Rafael ha bailado en la producción de Giselle de The Washington Ballet y ha actuado con PTP en extractos de Raymonda, Paquita, El lago de los cisnes, Le Corsaire, Tchaikovsky Pas de Deux, Harlequinade, Kermess en Brujas, y Burnonville. Al unirse a The Washington Ballet Studio Company, actuó en The Prodigal Son y Serenade, de George Balanchine; The Nutcracker, Romeo and Juliet, The Concert, Les Sylphides y Giselle, de John Cranko. También ha bailado en Merce Cunningham Duets; La Bella Durmiente de Julie Kent y Victor Barbee, así como en obras de Helga Paris Morales y Mimmo Micolis, para el programa Dance For All de The Washington Ballet.

En la entrevista del programa La Miel en tu radio conversamos con el Docente Leonel Pérez Raymonda UNR - Casilda - Santa Fé sobre el ensayo de la salud de las abejas en el sur de la prov. de Santa Fé.

El 11 de marzo de 1973 la fórmula que integraba junto a Vicente Solano Lima ganaba los comicios presidenciales. Aquella victoria en las urnas abrió las puertas al regreso definitivo al país de Juan Domingo Perón y permitió que el peronismo volviera al gobierno luego de 18 años de proscripción. Bajo la consigna “Cámpora al gobierno, Perón al poder”, los candidatos del Frente Justicialista de Liberación Nacional – FREJULI – obtuvieron el 49,5 por ciento de los votos. Ricardo Balbín-Eduardo Gamond, de la Unión Cívica Radical, logró el 21 por ciento y Francisco Manrique-Rafael Martínez Raymonda de la Alianza Popular Federalista el 15 por ciento. La asunción presidencial de Cámpora se concretaría el 25 de mayo de 1973 frente a la presencia del pueblo que colmó la Plaza de Mayo. El presidente de facto, general Alejandro Agustín Lanusse, le entregó los atributos de mando en medio de una enorme movilización popular que abucheó a los militares salientes Semanas después de asumir la presidencia, Cámpora viajó a Madrid para acompañar a Perón en su regreso definitivo a la Argentina. El 13 de julio de 1973 Cámpora y Solano Lima renunciaron a sus cargos para permitir la realización de nuevas elecciones, donde vencería Perón con más del 60 por ciento de los votos. Recordamos aquella fecha a partir de testimonios conservados en el Archivo Histórico de Radio Nacional. FICHA TÉCNICA Testimonios y música (en orden de aparición) `Memoria de los Basurales´ por Huerque Mapu [1973 del Álbum “Montoneros”] 2004-03-11 Alberto Fernández, Jefe de Ministros. Fragmento del discurso en el Encuentro de la Militancia, celebrado en Parque Norte. 1973-05-25 Héctor José Cámpora, Presidente de la Nación. Fragmento del discurso de asunción en el Congreso de la Nación. 1973 Atilio López, Secretario General CGT – Córdoba. [Material de Campaña del FREJULI] 1972-07-07 Alejandro Lanusse, Presidente de facto. Cena de Camaradería de las FFAA en el Colegio Militar. `Milonga del Proscripto´ (Francisco y Oscar Rovito) por Leonor Benedetto [1973 del Álbum “Cancionero de la Liberación”] `Patria Trelew´ por Huerque Mapu [1973 del Álbum “Montoneros”] 1973 Rodolfo Ortega Peña, Candidato a Diputado. [Material de Campaña del FREJULI] `Para el Pueblo lo que es del Pueblo´ (Piero de Benedictis - Jose Tcherkaski ) por Piero [1973 del Álbum “Cancionero de la Liberación”] 1972-12-19 Ricardo Balbín, Candidato a Presidente por la UCR. Proclamación de la Fórmula Presidencial - Reportaje en Santiago del Estero. 1972-11-10 Alejandro A. Lanusse, Presidente de facto - Roberto Maidana, Periodista. `Triunfo del Cuero´ (Alejandro Mayol) por Marilina Ross [1973 del Álbum “Cancionero de la Liberación”] 1973 Juan Manuel Abal Medina, Secretario General Movimiento Peronista. [Material de Campaña del FREJULI] 1973 Juan Domingo Perón, ex presidente de la Nación. Al pueblo Argentino desde Madrid, España. [Flexidisc distribuido al movimiento Justicialista] 1973 Héctor J. Cámpora, Candidato presidencial. [Material de Campaña del FREJULI] 1973 Juan Domingo Perón, ex presidente de la Nación. Apoyo a la fórmula Cámpora – Solano Lima [Material de Campaña del FREJULI] `Marcha Peronista´ - Todos [1973 del Álbum “Cancionero de la Liberación”] 1973-01-18 Alcides Lopez Aufranc, Comandante en Jefe del Ejército. Conferencia de prensa sobre elecciones del 11 Marzo de 1973. `Aquí están, éstos son´ por Francisco Rovito y Oscar Rovito [1973 del Álbum “Cancionero de la Liberación”] 1973 Diego Muñiz Barretto, Candidato a Diputado. [Material de Campaña del FREJULI] 1973 Hector J. Cámpora, Candidato a Presidente. [Material de Campaña del FREJULI] 1973 Eduardo Luis Duhalde, Abogado. [Material de Campaña del FREJULI] 1973 Jingle de campaña FREJULI 1973-03-12 Alejandro A. Lanusse, Presidente de Facto. Anuncia triunfo electoral de Cámpora desde el Salón Blanco, Casa Rosada. 1973-05-25 Héctor José Cámpora,

Život Antonina Raymonda připomíná dobrodružný román. Raymond, který se narodil v Kladně a za svou prací cestoval po celém světě, byl skutečným světoobčanem. Jeho rozsáhlé architektonické dílo mělo obrovský vliv na moderní japonskou architekturu. Betonový kostel Sv. Anselma nedaleko stanice Meguro je jedním z jeho stěžejních děl ve stylu brutalismu. Adam Štěch

Život Antonina Raymonda připomíná dobrodružný román. Raymond, který se narodil v Kladně a za svou prací cestoval po celém světě, byl skutečným světoobčanem. Jeho rozsáhlé architektonické dílo mělo obrovský vliv na moderní japonskou architekturu. Betonový kostel Sv. Anselma nedaleko stanice Meguro je jedním z jeho stěžejních děl ve stylu brutalismu.   

The piece of music we're listening to in the background is the main theme from the dystopian science fiction podcast windfall. Today, we'll break it down and get into why and how it was made. You're listening to How I Make Music, where audio drama composers get to tell their own stories. Every Wednesday, we break apart a song, soundtrack or composition and take a trip into how it was made. My name is Adam Raymonda. I'm a sound designer and composer from Syracuse, New York. And this is How I Make Music.  1:54 ABOUT  The show takes place in the weeks and days leading up to Contact Day, which is the celebration of when the citizens of Windfall first met Wanda. The people on the ground will say, "Wanda damn it!", like instead of "goddamnit". We were certainly inspired by Battlestar Galactica. And Battlestar specifically has "frack" that they use as their - instead of saying "fuck." Right. "Fuck, fuck, fuck." Right. 2:55 INFLUENCES  A big influence have been Coheed and Cambria. One of the biggest prog rock influences on me personally, that has a science fiction story that's associated with their music, and they have these repeated themes.  3:51 FOUR VERSIONS  For the Windfall main theme, I wrote four different versions. The first version appears in the first few episodes. And then I sort of realized that tonally, it didn't match the very intro section of the episode. So I made an alteration where we have a little bit more of a dramatic version in the second version of it. The second version comes to a more dramatic ending. The third version that I actually wrote was the outro music that appears in just about every episode. A much more chilled out version of it, too. We were trying to add some context in for the very last episode to really make sure that we were celebrating contact day, this supposedly joyous celebration of our tyrannical God queen. And I have made an orchestral arrangement of the theme, where we have big horns and brass and sort of this triumphant, sort of soaring version of the melody that allows us to kind of really feel that sort of patriotism, for Windfall. 6:52 5/4 OSTINATO  All the versions of the theme have that same core structure, there's an ostinato, or a series of repeated notes, it's A, C, D, G, A. And that sort of drives us forward in this 5/8 feeling that we've got here, which helps us feel maybe a little bit out of what we would consider normal. Most music that you might hear that's in contemporary Western music, at least, is in 4/4. I wanted something that felt a little bit different. So that five, eight feeling that 1-2-3-4-5 really helps drive that sort of out of this world feeling. 8:39 OPERA SINGER  I recently moved to Syracuse, New York and got set up in the studio that I'm in now that was actually in the home of one of the writers of our show, Christy. She had a good friend who happened to come over one day, and Christie was telling her about Windfall and what we were working on and showed her my studio. Her friend was like, oh, I'm an opera singer. She was actually here in the United States on a visa to almost like represent the Czech Republic as like an opera singer and was working in Manhattan. And I just had to ask her, I was like, would you possibly sing on this? And Christy was like, Yeah, you got to do it. You got to sing on here. And so Pavlina (Horakova) was like, Sure, let's let's sing. She just came up into the studio, and we sort of improvised a couple of different things. Pavlina was nice enough to actually replace one character in the show to like one background character and an episode which was great. 10:47 DORIAN MODE  The Windfall main theme is written in a Dorian key. The happiest of all sad keys. The Dorian mode is very similar to a minor scale, your traditional natural minor scale. The sixth note in that scale is raised up. So, in this instance we're playing in a Dorian. So it's A B, C, D, E, F sharp, G, and then back to A up at the top there. And that F sharp kind of gives us allows it to semi feel hopeful or triumphant in certain uses. OUTRO That's about it for this week's episode. We'll listen to the full track in just a moment. But before we do that, thank you for listening to How I Make Music. Catch new episodes every Wednesday on Spotify, Apple or wherever else. We've been listening to music featured in the audio drama called Windfall. To hear the full story or to check out my other compositions, follow the links in the show notes. We did a video of the recording of this episode, visit patreon.com/howimakemusic to check it out and to check out the studio that I work in. Visit howimakemusic.com for more on the aims of this show. How I Make Music is created by John Bartmann. For audio experiences that keep people listening, contact John Bartmann via the show notes. And now, here are the four different versions of the Windfall main theme back to back. Have fun spotting the differences! My name is Adam Raymonda and thanks for listening to How I Make Music. Catch you next Wednesday. For a full credit list of music and sound effects from this episode, visit https://howimakemusic.com ABOUT THIS SHOW How I Make Music is a dramatically edited sound experience where behind-the-scenes musicians get to tell their own stories. Every Wednesday, we challenge audio drama composers to break apart a song, soundtrack or composition and get into why and how it was made. Subscribe to How I Make Music https://pod.link/howimakemusic Support How I Make Music https://patreon.com/howimakemusic Visit How I Make Music https://howimakemusic.com How I Make Music is created by John Bartmann. For audio experiences that keep people listening, visit https://johnbartmann.com

The piece of music we're listening to in the background is the main theme from the dystopian science fiction podcast windfall. Today, we'll break it down and get into why and how it was made. You're listening to How I Make Music, where audio drama composers get to tell their own stories. Every Wednesday, we break apart a song, soundtrack or composition and take a trip into how it was made. My name is Adam Raymonda. I'm a sound designer and composer from Syracuse, New York. And this is How I Make Music. ABOUT Welcome back to how I make music Episode 89 the windfall main theme, by me, Adam Raymonda. Thanks for listening in. Windfall is a large ensemble cast science fiction drama and it takes place on a planet called Proxima. It's this towering city where the wealthiest of the wealthy live on the top of the city and the poorest of the poor live on the ground. This city was built up to a castle that appeared in the sky on Proxima. The residents worship their god queen who was found in the castle. Her name is Wanda. She bears no resemblance to a certain leader that we have in the country I live in, the United States. 02:07 INFLUENCES I listened to a lot of prog rock throughout the years. A common thing in progressive rock or metal music is the use of odd time signatures, which probably influenced me in just as big a way as composers like John Williams or Ramin Djawadi. There's a piece from the band Between The Buried And Me called Famine Wolf. Take a listen to it. It has this natural sort of seven four '1234567' feeling to. That may have been an influence in the way that I put together this theme. 03:24 BREAKDOWN The Windfall main theme is played at the introduction of each episode. It features this Rhodes keyboard ascending line that is supposed to represent the sort of the upward motion of going up towards the top of the castle. There's a couple of the more melodic elements which help drive us through that rhythm. This version ends with some more organic elements and is sad but sort of triumphant at the same time. I added some guitars that have some pitch shifting on them one that has a higher octave above it and then one has a lower octave beneath it and they're kind of panned off to the sides. I kept most of the melody on the one of that five. It would help keep us grounded or more straight. Because 5/8 can sometimes be this like very almost like Balkan music. It's all downbeats. Just helps keep it driven and you know, sort of in time. I ended up adding some fake strings to it. That would help accentuate sort of the chord progression. And then I ended up adding in some organ. 06:18 CELLO My friend, Gabi ended up playing cello on the track. She came over to my studio that I had at the time that was my bedroom studio. And we just plugged in her cello in through direct input or a DI. It had an electric output but also was an acoustic cello. So we were able to capture both signals at the same time. So we got a lot of the lower droning notes that are in there that help make up the bassline. We had her double the melody as well. I'm so grateful that she did record that on there because it just sounds so much better than anything I could have programmed at that point. And to this day. 07:50 OTHER PARTS We very lightly put a glockenspiel in there to kind of bring something that would be like a higher timbre. It ends with these more organic elements, there's some acoustic guitar that comes in. A ukulele. The music fades out with the first scene happening over that. It also allows space for the scene to trickle in when we cut out a lot of these other elements. 09:02 OUTRO That's about it for this week's episode. We'll listen to the full track in just a moment. But before we do that, thank you for listening to How I Make Music. Catch new episodes every Wednesday on Spotify, Apple or wherever else. We've been listening to music featured in the audio drama called Windfall. To hear the full story or to check out my other compositions, follow the links in the show notes. We did a video of the recording of this episode, visit Patreon.com/howimakemusic to check it out and to check out the studio that I work in. Visit howimake music.com for more on aims of this show. How I Make Music is created by John Bartmann. For audio experiences that keep people listening, contact John Bartmann via the show notes. And now, here are the four different versions of the Windfall main theme back to back. Have fun spotting the differences! My name is Adam Raymonda and thanks for listening to How I Make Music. Catch you next Wednesday. For a full credit list of music and sound effects from this episode, visit https://howimakemusic.com ABOUT THIS SHOW How I Make Music is a dramatically edited sound experience where behind-the-scenes musicians get to tell their own stories. Every Wednesday, we challenge audio drama composers to break apart a song, soundtrack or composition and get into why and how it was made. Subscribe to How I Make Music https://pod.link/howimakemusic Support How I Make Music https://patreon.com/howimakemusic Visit How I Make Music https://howimakemusic.com How I Make Music is created by John Bartmann. For audio experiences that keep people listening, visit https://johnbartmann.com

Raymonda is a ballet in three acts, four scenes with an apotheosis, choreographed by Marius Petipa to music by Alexander Glazunov, his Opus 57. It was first presented by the Imperial Ballet at the Imperial Mariinsky Theatre on 19 January [O.S. 7 January] 1898 in Saint Petersburg, Russia. The ballet was created especially for the benefit performance of the Italian ballerina Pierina Legnani, who created the title role. Among the ballet's most celebrated passages is the Pas classique hongrois (a.k.a. Raymonda Pas de dix) from the third act, which is often performed independently. Purchase the music (without talk) at: http://www.classicalsavings.com/store/p1206/Glazunov%3A_Raymonda%2C_Op._57.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Please consider supporting our show, thank you! http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

JACQUELINE LÓPEZ estudió en el Sistema Nacional para la Enseñanza de la Danza Clásica y Contemporánea, de México. Formó parte de la Compañía Nacional de Danza (CND) de 1993 a 2011. Como primera solista en la CND interpretó roles principales en ballets como Don Quijote, El Cascanueces, El Lago de los Cisnes, Coppelia, Serenata, Raymonda, La Bayadera, entre otros. Ha colaborado con coreógrafos como James Kelly, Ensamble Rosas-Govaerts, Oscar Rubalcaba, Magdalena Brezzo, Alicia Sanchez y compañia, y con grupos de danza contemporánea como Ballet Lorrent UK, New Chamber Ballet NY, entre otros. Actualmente es Regisseur de la Compañía Nacional de Danza. Sigue a Jacqueline en Instagram: https://bit.ly/3mNYKhM Suscríbete, síguenos y disfruta de cada episodio en: - Spotify: https://spoti.fi/35XzLT2 - Apple Podcasts: https://apple.co/3886nw3 - Instagram: https://bit.ly/34TL1jR - WWW.DANS.MX

Jesteśmy z siebie dumni. Goście, których zapraszamy do „Jak Uczyć Futbolu” rzadko nas rozczarowują. Czasami stawiamy na tych, którzy są dzisiaj jeszcze mniej znani w środowisku… a oni odpłacają się nam najlepiej, jak tylko mogą. Dariusza Klaczę poznaliśmy na kursie UEFA A. Nieprzypadkowo zaproponowaliśmy mu udział w JUF. O swojej pracy w IV-ligowej Unii Dąbrowa…

Raymonda Verdyck (1955) is afgevaardigd bestuurder van het GO! onderwijs van de Vlaamse Gemeenschap. Eerder was ze lerares Zedenleer en werkte ze ondermeer voor de dienst jeugd van de Vlaamse gemeenschap. Voor deze aflevering ging ik haar thuis opzoeken in Strombeek-Bever, waar ik meteen boeken zag staan in een kast én onder het glas van de salontafel. We gingen op het terras zitten om over boeken en lezen te praten. Ze vertelde over de speciale plek waar ze zich als jong meisje verstopte om te lezen, over het boek dat haar moeder haar gaf, over haar band met Zuid-Afrika en haar ontmoeting met Nelson Mandela. Alle boeken en auteurs uit deze aflevering vind je hier. De drie boeken van Raymonda Verdyck zijn: 1. Irvin D Yalom: Het raadsel Spinoza 2. José Saramago: De stad der blinden 3. Aster Berkhof: Het Huis van Mama Pondo

Homenaje de la SPORT al cumplirse un siglo de la radiofonia en Argentina. Un recorrido por los principales y más destacados personajes, programas y emisoras que nos dejó la historia radiofónica nacional. Narrado por Pablo Ciribeni y Matias Testoni. Edición: Jorge Pérez Raymonda.

Przedstawiamy spotkanie z Maryną Ochab, tłumaczką niedawno wznowionej i poprawionej powieści Raymonda Queneau Zazi w metrze (nagroda"Literatury na Świecie" w 2005 roku). Tłumaczce sekundował Tomasz Swoboda, tłumacz i literaturoznawca, profesor Uniwersytetu Gdańskiego, autor posłowia do nowego wydania książki. Spotkanie odbyło się 2 marca 2020 roku w Nowym Teatrze w Warszawie. Poprowadził je Piotr Kieżun, szef działu recenzji książkowych "Kultury Liberalnej". Do rozmowy dołączyli również m.in. red. Anna Wasilewska ("Literatura na Świecie") oraz Jan Gondowicz (eseista, literat i tłumacz).  Fragmenty książki czytał Tomasz Nosiński, aktor teatru Studio. --- Na przekład jest podcastem Stowarzyszenia Tłumaczy Literatury, organizacji, która od 2009 roku zrzesza tłumaczy i tłumaczki książek, działając na rzecz lepszej widoczności zawodu, godziwych warunków pracy i życia oraz przyjaznych kontaktów między tłumaczami książek w Polsce i na świecie.   Na stronie Stowarzyszenia (stl.org.pl) można znaleźć dużą bazę ogólnodostępnej wiedzy dla osób zainteresowanych pracą tłumacza literackiego, a także kontakty do tłumaczy i tłumaczek zrzeszonych w STL.   Jeszcze więcej danych i informacji na temat aspektów finansowych, prawnych i organizacyjnych dostępnych jest dla zalogowanych członków.   Muzyka wykorzystana w czołówce i zakończeniu odcinka pochodzi z utworu "Mystery Sax" (Kevin MacLeod, Creative Commons License). Grafika w nagłówku strony podcastu: JT Davis (Black Background) na Flickr.com (licencja CC).   Chętnie wysłuchamy Waszych uwag i sugestii pod adresem podcast@stl.org.pl  

Co to jest rasa i w jaki sposób powstaje? Jak działa łańcuch łowiecki (świetna książka która opowiada o tym i wielu innych kwestiach to Dogs, Raymonda i Lorny Coppingerów). Czy rasa wpływa na zachowanie psa? Co to jest Rage Syndrom u Spanieli i jak się objawia https://www.youtube.com/watch?v=-hvdBhXo06g.Napisz do mnie na czarnepodniebienie.napisz@gmail.com.

Christy has something very cool and different this week on Breakfast All Day A La Carte, which she's excited about sharing. Theresa Farrell is a longtime ballerina and the executive director of the American Contemporary Ballet here in Los Angeles. She’s elegant and radiant but also genuine and sweet as can be, and Christy loved having the chance to chat with her for a while. We discuss growing up in Saratoga Springs, New York, where she started dancing at age 8; beginning her career in New York City and working with Lincoln Jones to create the American Contemporary Ballet; and bringing ACB to L.A, where they’ve taken an innovative approach to making ballet accessible in a beautiful, unexpected environment. (Their latest production, “Variations on Raymonda,” opens this week.) We also talk about her favorite ballet movies. Because in theory, this is a movie podcast! Put on your dancing shoes, and enjoy.

Con Carlos Iribarren | Hoy toca escuchar música maravillosa que sirve para acompañar otro arte monumental: el ballet. Nos hemos centrado en la amplia producción de obras de compositores rusos como Tchaikovsky, Glazunov, Prokofiev, Stravinsky, Minkus y Khachaturian, maestros consagrados que compusieron ballets inolvidables: El lago de los cisnes, Raymonda, Romeo y Julieta, Polichinela, Don Quijote y Gayane. Nos acompaña Nuria Balbaneda, historiadora y profesora en el Conservatorio “Carmen Amaya” de Madrid, con la que aprenderemos el nombre de varias acciones características, todas ellas de nombre francés, como el plié y… ¿te sabes alguna más? ¡Escucha una nueva entrega de Hoy Toca, el programa de Clásica FM que te quiere sorprender!

Con Carlos Iribarren | Hoy toca escuchar música maravillosa que sirve para acompañar otro arte monumental: el ballet. Nos hemos centrado en la amplia producción de obras de compositores rusos como Tchaikovsky, Glazunov, Prokofiev, Stravinsky, Minkus y Khachaturian, maestros consagrados que compusieron ballets inolvidables: El lago de los cisnes, Raymonda, Romeo y Julieta, Polichinela, Don Quijote y Gayane. Nos acompaña Nuria Balbaneda, historiadora y profesora en el Conservatorio “Carmen Amaya” de Madrid, con la que aprenderemos el nombre de varias acciones características, todas ellas de nombre francés, como el plié y… ¿te sabes alguna más? ¡Escucha una nueva entrega de Hoy Toca, el programa de Clásica FM que te quiere sorprender!

Drugi odcinek podcastu #przyTarczy, w którym ponownie wzięli udział: Hieronim Furgał (Blog Darterski), Artur Michalak i Maciej Chorbiński (obaj Let's Play Darts Polska). Tym razem porozmawialiśmy o Polakach w PDC – Krzysztofie Ratajskim i Tytusie Kaniku oraz o zniżce formy Raymonda van Barnevelda i Simona Whitlocka.

As our season 2 cap this year, we are happy to premiere HOW MIC, Handful of Wheel's Micro In-Car Residency Series. For this project we were joined in the car by six writers and riders, who created flash-poetry and fiction, while being driven through the neighborhoods of Brooklyn. All the audio you hear on this track was recorded in-car, after the pieces were written, leaving no time for editing or correction of any kind. It is our hope that these moments reflect the feeling of the writers as they moved through the landscape in a reflective, reactionary way. In a stroke of good luck, we were joined on this project by composer and audio engineer, Adam Raymonda, whose masterful work took this track to the next level. All the music and effects you hear are his vision come to life. In the corporeal world, we passed these texts over to our friends at Fem Foundry, and they created images to accompany the writing. With the help of the crew at txt books printing press, we were able to produce a limited print of hand-cut chapbooks of HOW MIC, which can be found in and around Brooklyn. If you read all this, thank you. If you listened, THANK YOU. Please share this labor of love, if you feel so inclined. That's it for season 2. Buckle up, kiddos

In this podcast, we will be discussing the book An Improbable Friendship, by Anthony David.Friendships can happen in the most unlikely of places, in the most unlikely of times. Like romance, it is hard to predict who our friends will be, and even harder to ignore forces that make a friendship blossom. Such is the case of Ruth Dayan, an Israeli Jew, and Raymonda Tawil, a Palestinian Christian. If you asked either of the women if they thought when they first met after the Six Days War in 1967 that they would be lifelong friends, both would laugh and then make a dig at the other’s culture and politics, while professing their admiration for each other. That is their friendship—born out of conflict and forged through decades of turmoil and heartbreak, the two women have a deeply rooted respect and love for each other that transcends borders, religion, and nationalism. Each of them a power broker in a male-dominated society, their intertwined stories are ones of strength and determination. These Modern Athenas demonstrate that no matter a woman’s identity, we all want to create meaning and purpose for ourselves and in our world. INDEX0:00 Intro and Background of the Book1:17 Overview of the Israeli-Palestinian Conflict3:18 Ruth Dayan8:!5 Raymonda Tawil13:40 1967: Their Paths Cross for the First Time18:52 April 1973: Kamal Nasser21:39 1974: Ruth Travels the World on Behalf of Maskit and the World Craft Council23:25 The Tree Planting in the Peace Forest of Neve Shalom26:59 The Two-Staters28:36 Secret Backchannel34:37 Rabine is Assasinated40:04 Ruth Meets Arafat: 199941:45 Raymonda’s Power43:15 The Jordanian Funeral44:37 The End of Arafat46:38 The Walls48:27 The Book51:05 Outro and Next EpisodeVisit www.modernathenas.com for links to all episodes. Subscribe to our podcast on iTunes, Stitcher, Google Play or YouTube. Send us feedback or leave a review! Thanks for listening.Follow us on Twitter/Facebook @modernathenasFollow us on Instagram @themodernathenaspodcastThanks for listening and sharing in the conversation.

In this podcast, we will be discussing the book An Improbable Friendship, by Anthony David.Friendships can happen in the most unlikely of places, in the most unlikely of times. Like romance, it is hard to predict who our friends will be, and even harder to ignore forces that make a friendship blossom. Such is the case of Ruth Dayan, an Israeli Jew, and Raymonda Tawil, a Palestinian Christian. If you asked either of the women if they thought when they first met after the Six Days War in 1967 that they would be lifelong friends, both would laugh and then make a dig at the other’s culture and politics, while professing their admiration for each other. That is their friendship—born out of conflict and forged through decades of turmoil and heartbreak, the two women have a deeply rooted respect and love for each other that transcends borders, religion, and nationalism. Each of them a power broker in a male-dominated society, their intertwined stories are ones of strength and determination. These Modern Athenas demonstrate that no matter a woman’s identity, we all want to create meaning and purpose for ourselves and in our world. INDEX0:00 Intro and Background of the Book1:17 Overview of the Israeli-Palestinian Conflict3:18 Ruth Dayan8:!5 Raymonda Tawil13:40 1967: Their Paths Cross for the First Time18:52 April 1973: Kamal Nasser21:39 1974: Ruth Travels the World on Behalf of Maskit and the World Craft Council23:25 The Tree Planting in the Peace Forest of Neve Shalom26:59 The Two-Staters28:36 Secret Backchannel34:37 Rabine is Assasinated40:04 Ruth Meets Arafat: 199941:45 Raymonda’s Power43:15 The Jordanian Funeral44:37 The End of Arafat46:38 The Walls48:27 The Book51:05 Outro and Next EpisodeVisit www.modernathenas.com for links to all episodes. Subscribe to our podcast on iTunes, Stitcher, Google Play or YouTube. Send us feedback or leave a review! Thanks for listening.Follow us on Twitter/Facebook @modernathenasFollow us on Instagram @themodernathenaspodcastThanks for listening and sharing in the conversation.

For Beyond 50's "History" talk, listen to an interview with Anthony David. He'll talk about the secret friendship of Ruth Dayan (Israeli military leader Moshe Dayan's wife), now 98, and Palestinian journalist Raymonda Tawil (Yasser Arafat's mother-in-law), now 75. Behind the scenes, these women brokered meeting after meeting between Israeli and Palestinian leader along with the story of their extraordinary and turbulent lives growing up in a war-torn country. By telling their stories and following their budding relationship, which began shortly after the Six-Day War in 1967, you'll learn about the behind the-scenes, undisclosed history of the Middle East's most influential leaders from two prominent women on either side of the ongoing conflict. Their story of friendship humanizes a volatile conflict and finds hope for the possibility for peace and reconciliation. Tune in to Beyond 50: America's Variety Talk Radio Show on the natural, holistic, green and sustainable lifestyle. Visit www.Beyond50Radio.com and sign up for our Exclusive Updates.

Audio descriptions for Raymonda

Audio descriptions for Raymonda