Podcasts about Requiem

VEM: Shima NiavaraniYRKE: Skådespelare/programledareAVSNITT: 749OM: Åtta premiärer på två år. Nya föreställningen Här vilar Shima Niavarani i fred. Requiem, rave och total självisolering. Att offra hälsa, vardag och ett liv i fas med andra. EKG under repetitionerna. Att planera in kraschen efter premiär. Guldbaggen tre gånger om. Ekonomisk ångest. Musikprojektet som aldrig riktigt blev det stora albumet. Pappans Parkinson. Persisk poesi. Att leva 80 procent i en fiktiv värld. Relationerna, hemmet och den riktiga världen. Och en hel del om varför Gud kanske numera är DJ.SAMTALSLEDARE: Kristoffer TriumfPRODUCENT: Mattias ÅsénKONTAKT: varvet@triumf.se och Instagram.P.s Nu finns min nya bok Västerbottens sämsta schaman att förbeställa HÄR Hosted on Acast. See acast.com/privacy for more information.

We hear from X Minus One on this week's Relic Radio Science Fiction. From October 27, 1955, here's their story titled, Requiem. Listen to more from X Minus One https://traffic.libsyn.com/forcedn/e55e1c7a-e213-4a20-8701-21862bdf1f8a/SciFi946.mp3 Download SciFi946 | Subscribe | Spotify | Support Relic Radio Science Fiction

VEM: Shima NiavaraniYRKE: Skådespelare/programledareAVSNITT: 749OM: Åtta premiärer på två år. Nya föreställningen Här vilar Shima Niavarani i fred. Requiem, rave och total självisolering. Att offra hälsa, vardag och ett liv i fas med andra. EKG under repetitionerna. Att planera in kraschen efter premiär. Guldbaggen tre gånger om. Ekonomisk ångest. Musikprojektet som aldrig riktigt blev det stora albumet. Pappans Parkinson. Persisk poesi. Att leva 80 procent i en fiktiv värld. Relationerna, hemmet och den riktiga världen. Och en hel del om varför Gud kanske numera är DJ.SAMTALSLEDARE: Kristoffer TriumfPRODUCENT: Mattias ÅsénKONTAKT: varvet@triumf.se och Instagram.P.s Nu finns min nya bok Västerbottens sämsta schaman att förbeställa HÄR Hosted on Acast. See acast.com/privacy for more information.

Seit über 50 Jahren prägt Riccardo Muti die Salzburger Festspiele. Nun wurde der italienische Dirigent mit dem Ring des Landes Salzburg geehrt, direkt nach einer gefeierten Aufführung von Verdis "Messa da Requiem". Tobias Hell berichtet.

In the fourth episode of the second season of Mr. Belvedere, Wesley believes the he has committed murder with his mind when his accordion teacher dies in front of him. One Hit Thunder (and also Belvedere Bros) is brought to you by DistroKid, the ultimate partner for taking your music to the next level. Our listeners get 30% off your first YEAR with DistroKid by signing up at ⁠http://distrokid.com/vip/onehitthunder⁠ ⁠Join our Patreon⁠ ⁠Buy some merch⁠ ⁠Follow us on IG⁠ ⁠Join our FB Group Learn more about your ad choices. Visit megaphone.fm/adchoices

Requiem

Summer continues on and the anime this season are as hot as the weather itself!This week on the AniTAY podcast, Hybridmink, Requiem, Doctorkev and Marquan (with Reikaze handling the editing duties) talk about the Summer 2026 season as well as how anime is a bad influence.The AniTAY Podcast is a bi-weekly podcast brought to you every other Wednesday. It is available on all your favorite podcast services! If you like us, be sure to subscribe to your favorite service and give us 5 stars! Your support is much appreciated and will help us grow and continue to provide this style of content.ItineraryIntro : 0:00:00–0:01:03Housekeeping : 0:01:03–0:08:55ShowsDraw This, Then Die! : 0:08:55–0:14:53THE GHOST IN THE SHELL: 0:14:53–0:22:48Young Ladies Don't Play Fighting Games: 0:22:48–0:30:33Goodbye, Lara : 0:30:33–0:38:16Jaadugar: A Witch in Mongolia : 0:38:16–0:43:46From Old Country Bumpkin to Master Swordsman II: 0:43:46–0:45:49Sparks of Tomorrow : 0:45:49–0:51:04The 100 Girlfriends Who Really, Really, Really, Really, REALLY Love You Season 3: 0:51:04–0:54:37Misc. : 0:54:37–0:55:54Iron Wok Jan! : 0:55:54–1:00:27More Misc. : 1:00:27–1:02:34News 1:02:34 1:14:58Question of the Week — Has an anime ever gotten you into a hobby or even a bad habit?: 1:14:58 1:32:42Ending: 1:32:42 -EndMissed the previous episode of the AniTAY Podcast? Check it out here:https://medium.com/anitay-official/anitay-podcast-s11-e13-marquan-likes-to-dress-up-as-a-gothic-lolita-a3b44cbafe47You're reading AniTAY, a reader-run blog whose writers love everything anime related.To join in on the fun, please fill in this form and read our FAQ page!Otherwise, check out our website, visit our official subreddit, follow us on Twitter, or give us a like on our Facebook page.

We're back to talk everything Resident Evil 9 (Requiem).    Hope you enjoy, gang!

The Summer of Rollin continues...and Jean Rollin is starting to become Jean Rollin.In Episode 575, we journey into The Shiver of the Vampires (1971) and Requiem for a Vampire (1971), two films that show Rollin evolving from an experimental filmmaker finding his voice into an auteur who has seemingly discovered exactly what kind of cinema he wants to make.With The Shiver of the Vampires, Rollin pushes further into his fascination with nudity, sexual liberation, desire and the female form, while surrounding it all with the crumbling castles, deserted landscapes, gothic imagery and dreamlike atmosphere that were rapidly becoming his trademark.But beneath the naked bodies and vampire mythology is something far more interesting: isolation.Rollin's characters often seem detached from the real world, wandering through beautiful spaces that feel simultaneously romantic, threatening and completely unreal. His films aren't simply stories happening in strange locations, the locations themselves become part of the story.Then comes Requiem for a Vampire. And Rollin basically decides that dialogue is optional.For almost 40 minutes, the film barely speaks a word, instead allowing imagery, music, movement and atmosphere to carry the narrative. It's a bold, egotistical and utterly fascinating decision, one that could have collapsed into pretension but instead becomes one of the clearest demonstrations of Rollin's confidence as a filmmaker.We'll explore how Requiem strips away conventional storytelling and replaces it with something closer to a cinematic dream, a film where logic takes a back seat to mood, composition, sexuality, fantasy and the hypnotic power of the image.Along the way we'll explore:The evolution of Rollin's vampire mythology.Nudity, eroticism and sexual liberation in his cinema.The beauty and isolation of his locations.Rollin's growing obsession with dream logic over conventional narrative.The audacity of almost 40 minutes without dialogue.How these films cement the visual and thematic DNA of a Rollin movie.What makes his cinema so instantly recognisable, and so difficult to imitate.By this point, Rollin isn't simply making vampire movies. He's creating Rollin movies.Beautiful, bizarre, erotic, melancholic, surreal and often completely unconcerned with whether the audience knows exactly what the hell is going on.So once again, pour the wine, head for the nearest crumbling castle and prepare to lose yourself in the strange, seductive world of Jean Rollin.The Summer of Rollin continues...The following texts and documentaries were used in this series:Lost Girls: The Phantasmagorical Cinema of Jean Rollin - Samm DeighanOrchestrator of Storms: The Fantastique World of Jean Rollin (2022) - Kat Ellinger and Dima BallinIndicator 4KUHD Releases of both The Rape of the Vampire & The Nude Vampire - Street date June 2023.The grading follows the Netflix rating style of 1 = Hated It, 2 = Didn't Like It, 3 = Liked It, 4 = Really Liked It & 5 = Loved ItShiver of the Vampires:Duncan: 4.5Requiem for a Vampire:Duncan: 5Our new RSS Feed: ⁠https://anchor.fm/s/13ba6ef0/podcast/rss⁠Check out the show on ⁠Anchor⁠, ⁠iTunes⁠, ⁠TuneIn⁠ & on ⁠Stitcher Radio⁠.Please leave us feedback on ⁠iTunes⁠, podcastunderthestairs@gmail.com and follow us on ⁠Facebook⁠.Timecode For Episode 575:00:00:00 - Intro 00:03:44 - Shiver of the Vampires00:14:18 - Requiem for a Vampire00:26:54 - The Indicator 4KUHD's 00:32:14 - Closing the Show

The Rhodes Hill Chronic Care Center in Resident Evil 9 is teeming with scary hallways, mysterious rooms, and dark secrets. In this episode, Clay talks about playing this incredible game and the reasons why this location impressed him.

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. For this episode of “Obbligato,” a show dedicated to AAPI classical musicians, composers, and scholars, host Isabel Li interviews Indian American composer Reena Esmail, who blends Hindustani musical themes with western classical compositional styles. Music in this episode: – This Love Between Us “Prayers for Unity”: II. [Sikhism] – Lacrimosa (from Malhaar: a Requiem for Water) – Terra infirma: IV. roaming the ghost forest Transcript Isabel Li: I'm Isabel Li, here for a new edition of “Obbligato,” which explores the AAPI community in the classical music world. Today, we're featuring the Indian American composer Reena Esmail and her unique compositions that blend Hindustani music with Western classical styles and how she writes music about religion, spirituality, and even environmentalism. Welcome, Reena, to Apex Express. Reena Esmail: Hey! It's so great to be here. IL: My first question for you is one that's probably a little bit loaded, but how do you identify and what's your story? RE: I don't know, it's interesting because I work in many different situations, and I think I always identify as the thing that isn't whatever the dominant situation is that I work in. Right? So it's like when I'm in America, I identify as an Indian American. When I'm in India, I identify as an American. When I'm working in Western classical music, I'm the person who knows stuff about Hindustani music. When I'm working in Hindustani music, I'm the person who knows stuff about Western music. So really. Actually, I think of identity not as a fixed thing, but as how you, um, delineate yourself, how you're unique in the situation you're in. You know, it's interesting because especially in the case of Asian Americans, Asia is such a broad thing, right? There are so many more East Asians in Western classical music than there are South Asians. Certainly in my generation. You know, I was surrounded by Chinese, Korean, some Japanese people who were always, you know, playing the piano when I was playing the piano. And, um, there really was not many other Indian people. And, you know, I'll, I'll actually say that even within India, um, you know, if you look at me in America, I'm just Indian. If you look at me in India, I have a very unusual lineage, which is that my dad is from the region of Gujarat and his family is Muslim. My mom is from the region of Goa and her family is Catholic. And so because of that, when I was expressing interest in music, My mom was the one who had more of kind of a musical knowledge in her family, even though there's no professional musicians in her family. So because Goa was colonized by Portugal, there is this element of Western classical music in Goan culture. And so because of that, my mom was like, oh, let's give her guitar lessons, let's give her piano lessons. And so that's how I landed up in Western classical music as opposed to doing Indian classical music. Um, so yeah, I kind of went through the Western classical scene. I was very interested in being a pianist. And, you know, I'm glad that I'm glad I'm a failed pianist in all honesty, because I see what my colleagues who are real, you know, professional pianists have to go through. And I just don't think I have what it takes to do that. It's really an intense job. Um, but when I was in high school, um, one of my theory teachers kind of said, hey, you know, you might be a composer. It seems like you think like a composer thinks, why don't you try composing and why don't you try writing things down? and one thing led to another. And basically a year and a half to two years after studying, I got one of a very few spots in the undergrad program in composition at Juilliard. And that was a point where my parents kind of said, okay, you know, we don't know a lot about the music world, but it seems like if she got into Juilliard, she's probably like somewhat good at this. Maybe we should kind of see how this goes. And, you know, from there on, I pursued composition. IL: And when and why did you start to study Indian classical music, which is a big element in your compositions now? RE: Yeah, absolutely. So I think it's interesting because in every generation, I've seen so much change in how the diaspora views itself. And certainly when I was growing up, you know, I know this is hard to believe, but there were not if you were an Indian going to school, you were kind of the only one. If you were an Indian music, you were kind of the only one. So there was this element where when I went to Juilliard, um, there were I to my knowledge, two Indians in the entire school, me and an actress who had actually come from Calcutta. And so people were trying to, you know, make conversation with me and they'd be like, well, you know, do you do stuff with Indian classical music? And I would just be like, no, I'm trying so hard to even write music for orchestra and, you know, string quartet and all the things that my peers are trying to do. Like, is that not enough? Because I'm Indian, I also have to be doing all this other stuff. And so I resisted it for a long time because I was just trying so hard to do one thing well. But then, you know, I think what, what made me kind of unique is that, you know, I stood out, I was Indian and then, you know, when I was young, that felt really cool. The older I got, the more I thought, well, you know, I know I'm from this culture that has incredible music and I know it when I hear it, I know nothing about it, and maybe I should actually pursue it. And so I really separately kind of started meeting Indian musicians who lived in New York, and I would just ask them questions, and I got to know them. And I realized that while we didn't share a type of music, we did share a culture and we did share a love of music because it is interesting that the culture of Indian classical music is actually quite similar to the culture of Western classical music. You know, you study with a teacher over a really long period of time. You're practicing for hours a day. The kind of personality that would love Western classical music would also love Indian classical music. And so I just made friends with some of these Indian classical musicians. And of course, being a composer, I thought, why don't I put them in my music? You know, how do I do that? And so it was really just curiosity that led me down that path. And for many years, that path was very separate. Because again, I know it's very hard to believe now, but there was a time where people really did not want these cultures to be combined, and people just really looked down on cultures that were not, you know, the dominant Western European classical culture. And so I kept them really separate. And even when I started combining them, people were like, oh, that's sweet. She does stuff with Indian music, you know? And it was really not taken seriously. It's only really in the last decade that people have been embracing other musical cultures. And I mean, how glad I am that that's happening. But it was very, very hard fought and very separate at first. IL: And on that note, how do you navigate the unique challenges of composing with both these cultures in mind, but also being situated in the United States, where people come from all different backgrounds? And how do you as a composer approach that in this context? RE: I mean, I think it's interesting because first of all, I am musically bilingual now, so I can. I went to India, I studied Indian classical music. Seriously. I still work with Indian classical musicians very closely. And so, you know, I can be working on a piece that has Indian classical musicians in it, and I can turn to them and immediately speak in their language and their musical language. And then I can turn to the Western musicians and speak in their musical language. So every single piece I write, especially the ones that involve Indian classical musicians. There is a way through those pieces, both through the Western lens and through the Indian lens. And so I think I'm working in a position where I actually do know how to speak both those languages. And when you do speak both those languages, you know, just the way that if you speak any two, you know, verbal languages, you would know that there are sounds that are cognates. And so you're like, oh, I say the sound. So maybe and it means one thing in one culture and one thing in another culture. But you know that that sound is the same. And so with musical language, you can actually use those musical cognates to connect across cultures by saying, just listen for this thing. And when you listen for this thing, interpret it through the lens of your own culture. So that's certainly how I work. But, you know, I mean, again, I want to say that's not the only way to work. I don't think that you have to be, you know, I mean, again, there's probably most people who are listening to this probably have one musical culture and then maybe they know much less about the other musical culture. That is also fine. You know, you don't need to be an expert in order to want to explore and, and love a thing that's just, you know, where I am because it's the, the center of my musical practice. IL: Well, let's hear a selection from Reena Esmail's oratorio, “This Love Between Us.” This is the second movement titled Sikhism. David Hill conducts Juilliard415 with the Yale Schola Cantorum. [MUSIC: This Love Between Us “Prayers for Unity”: II. Sikhism] IL: That was Sikhism, the second movement from the oratorio This Love Between Us by Reena Esmail, who is here in conversation with me today on KPFA for APEX Express. Something that I really found interesting in especially your work — and I'm sure this has been asked many times, but This Love Between Us: Prayers for Unity. This oratorio that you wrote, beautiful work where you use words from the seven major religions of India. And each movement of the choral work is also named after a different religion. In what ways did you adhere to or challenge norms of spiritual music? Because religion is so religion and music are so deeply tied together. How did you challenge those norms or how did you express those norms when you wrote this work? RE: You know, I think it's interesting because my own spiritual background is very kind of multi spiritual multi-faith. But like I said, my, my father is, is my father's side of the family is Muslim. My mom's side of the family is Catholic. My husband is Hindu. All of them grew up in a very singular practice in each of their religions. But for me, I grew up, you know, around my mom and my dad and then, you know, my husband later. And just there's a part of me that takes in the essence of each of these spiritual traditions. And, you know, I'm trying to kind of find what feels true to me in each of those places. And so to me, you know, this love between us is, is a place where I'm trying to essentially say, yes, we express things differently through whatever cultural, uh, history, that language or that that religion emerged through. And yet we're all trying to get at that same numinous thing. And, you know, I mean, I'm not saying, oh, all religions are the same. Definitely not. You know, there's, there's many different ways to practice things. And, you know, your unique way into your spirituality is your own. And that's, that's amazing. But also, we all kind of our cultures form religions for a certain reason, and it's because we want to try to understand things that are beyond ourselves. And so that's essentially what the piece is saying. So I know I'm sure there are purists who are like, you shouldn't be combining these things, but, you know, there's always going to be purists who do that and there's a role for that. But that's not really my role. So, I mean, I picked the pieces and I picked the religion specifically because of the numbers of people who practice that religion currently within India. And so it is like the largest, um, populations, you know, like Hinduism, Islam, Buddhism, all, all of those things. And then there's one little tiny religion, Zoroastrianism. And while they are not, there's not many of them within India. They are the ones who are practicing Western classical music in India. So people like Zubin Mehta and all, they are Parsis that are Zoroastrians. So I thought, you know, it's important to include them too, because it's a piece that involves a lot of Western classical musicians. IL: I'm wondering now, as a composer who's working with music of different languages and religions and origins and also evoking a lot of these spiritual truths that are pretty universal in nature. What is your view on the function of music? There's the platitude that music is a universal language. Do you how to what extent do you agree with that? RE: You know, yeah, it's hard to, to, um, to think of music as a universal language. But I think sometimes we, how can I say this? It's such a broad question. When we are working in a form that isn't completely narrative, it gives us a little more chance to get at things that don't have to follow logically after one another. They're just feelings that we're able to feel. And I like working even when there are words, you know, there are certainly words in all of these, these, uh, pieces in this love between us. But I feel like sometimes we just feel something within us. And, you know, I experience this a lot when I have a piece performed, people will come up to me and say like, oh, this made me feel like this. And then the next person will come up to me and say, oh, this made me feel exactly the opposite thing. And I, I really love that we can have those experiences. And, you know, recently it's been really interesting because people have been asking these questions like interviewers, you know, before performances will be like, well, what do you want the audience to feel? And I'm like, oh, I don't want to answer that question. I want you to feel whatever you feel. There's nothing right to feel. And often, I mean, I'm not the one to ask. I'm so close to the music because when I'm listening, I'm thinking like, okay, was that C sharp in tune? Okay, you know, that's what I'm feeling. And I certainly don't want them to feel that. So I don't know. I think it's, it's just exciting to see how when we get out of these, what we should do this and this is the right thing to do. And this is the only way to do it. Um, how do we behave? And there are so few spaces left where if we don't say exactly the right words at the right time to the right people, you know, if we don't have exactly the right opinions that everyone around us has, We are so condemned and music might be one of the last places that we're allowed to feel whatever's inside of us. IL: Mhm. That's really interesting to think about. I think art in general is very beautiful because it allows people to interpret it in many different ways. I think for your music, you really draw on cultural specificity in terms of Hindustani music. What advice would you give to other young composers or also maybe artists of different mediums in creating that balance between specificity and universality? RE: Yeah, I think the thing is that the way into a deep practice is specificity. You know, I know people have asked me like, oh, you've done stuff with Indian music. Are you going to do stuff with other music? And I'm like, gosh, there's still so much to explore. I could have like three lifetimes and still not explore everything I want to explore just in the relationship between Indian and Western classical music. I mean, goodness knows I have four degrees in Western classical music, and I still am barely scratching the surface of it. Right. So I kind of feel like specificity is important because it allows you to access depth. And yet, you know, when you are specific about a certain thing, um, like for instance, like a scholar who only speaks Italian, I mean, they're going to know more than someone who maybe speaks five words of each language, right? So they can transfer over at a higher level and make more sophisticated points and understand the world with a more universal lens if they've gone really deep on one thing. So I would say, you know, to young composers, to young musicians, pick one practice and know it really, really well and deeply become go as far as you possibly can and then, you know, try to see if you can find relations between your primary practice and a different practice. Um, and I mean, some people, you know, I know in this generation that's coming up, that's like in their teens and twenties, there are South Asian, uh, kids who are here whose parents have come from India that are learning Indian and Western classical music side by side. And I think that's great. I mean, that's awesome. But I would also say make sure you don't just learn halfway. Both of those things, you know, if you're going to learn them, if at least with one thing, try to go as absolutely far as you can. IL: Let's hear another example of Reena Esmail's bilingual musicality with her work, Malhaar: A Requiem for Water, which was recorded fairly recently. The vocalist is Graycen Gardner with the choir conducted by Amy Fogerson. [MUSIC: Lacrimosa (from Malhaar: a Requiem for Water)] IL: Composer Reena Esmail used Indian classical instruments in that work, titled Malhaar: A Requiem for water. The vocalist was Graycen Gardner, with the choir conducted by Amy Fogerson. Percussionist was Rohit Panchakshari. I'm Isabel Li in conversation with composer Reena Esmail on this edition of Apex Express here on KPFA 94.1 FM. So when you integrate Hindustani classical Hindustani music, Indian classical music and those instruments into your scores, did you happen to did you have to develop a way to translate the notation of those notes in Western classical music notation, or vice versa? RE: Yeah, it it begs the greater question of what is notation for? Right? Because notation is essentially a way for Western musicians who read notation to look at a thing and be able to associate sounds with that thing. And so when I'm notating for Western classical musicians, I'm saying, okay, what is a cellist typically seeing and what are they doing based on what they're seeing? And then how can I take that language that they know really well that they play in Bach suites, that they play in Elgar, Cello Concerto, whatever it is, how can I take that language and just move it, you know, a couple degrees outward so that they're able to express different things, right? And so it's very much a psychological thing. You know, it's not a science the way that we think of it as and we learn it as this, oh, you know, eighths and sixteenths, and they divide this way. There's a lot you can do just to make someone feel a certain way with notation. On the other hand, if I'm writing for a sitar or tabla, the question is what? What is the role of the notation? Because the role of the notation for tabla player who has only Hindustani training and doesn't read music. It's certainly not for the tabla player that I'm doing the notation. Usually what I'll do is sit down with the tabla player in a, you know, more Hindustani style and say, hey, this is what I want. I want you to have like six overtones of teental. It should be at this tempo, blah, blah, blah. And they're like, oh, got it. I see what you want me to do. Right? And so all you need to figure out is the alignment points with the Western classical musicians. And so then the notation I put in the score is not really for them. It's for a conductor, for the Western musicians to be able to understand what they are doing and to be able to cue them in and help them kind of be in dialogue to one another. So it's interesting because, I mean, these days now I'm finding that there are tabla players who are both Indian and Western classical trained, and they want a part, but parts are not a thing. When I first wrote This Love Between Us, there were no parts for the tabla and sitar player. I actually had a cue sheet that I would actually point to as they were going, so that they knew, you know, what the different cues were because a part, you know, counting rests and stuff is not going to help them at all. So I think it's mostly trying to understand how is someone perceiving something and how can you give them the information they need in the most seamless way possible so that you can express what you want to express? IL: I love how technical that entire rundown was. I also wanted to talk a bit about your work, Terra Infirma, which is pretty recent. I had the honor of attending the premiere of Terra Infirma, a harp concerto that you composed based on your experiences with the Los Angeles fires in January of 2025. Um, it was such a wonderful work. I personally really loved hearing how you musically depicted the progression of a wildfire from despair to hope. It's also not the first environment based piece that you've written. YYou've written, for example, Earth Speaks in 2015. How do you approach composing works that are so rooted in environmentalism? And of course, have, have the undertones of speaking to the larger climate crisis at hand? RE: The thing that is interesting is, you know, someone was asking me about that piece, you know, you, you're, they're asking like, how do you kind of deal with activism in your work? And I was saying like, you know, I don't really think of myself as an activist because I think these issues are so fundamental to all of us, right? It's like you turn on your tap and you're just afraid that there's only going to be so long before water stops coming up. That's not, um, it doesn't feel like activism. It just feels like, you know, fear and it feels like we're tapping into these human emotions where people are so worried about what's going to happen. We don't really know what to do. And I think, you know, with anything, most people who have fear about things, you're going to just clam up if you feel that it's too, um, too much to deal with. And it is I mean, the environmental crisis is so huge that I think most people are just clamming up. And I guess, you know, what is our role as musicians? I think it's maybe to have some moments where we're not just like on our phones, seeing pictures of things burn down and freaking out where we can actually take some time to just reflect and be with one another. Because if we're going to solve this, it's going to be together and we need to come to some kind of like calm understanding of what is happening. And so a lot of my pieces are not accusatory. They're not, you know, pointing a finger. They're not supposed to rile people up. They're supposed to actually depict that experience of what it feels like to really sit with a hard thing for a long time and come to terms with it and then figure out how to move forward. And that's certainly the case with Terra Infirma and certainly the case with my Requiem. Certainly the case with curiosity, like you were saying, it's from Earth Speaks, which is many years ago. And that piece actually talks about the, the Pasadena institution's. It was actually for an organization called Pasadena Master Chorale. They commissioned the work many years ago. And what's so funny is I now live in Pasadena. I live in Altadena, up in the hills. So it's I wasn't living here at the time, but it is, you know, a place where many scientific institutions like the U.S. Geological Survey, you know, JPL, Caltech, all these places that are really exploring the environment in important ways are based. And so the piece kind of honors that and honors how we can interact positively with our environment. We can get data, we can find ways to do things that are, I mean, beyond my understanding, you'd have to ask a scientist, but but I just love that that we're in this place that sees the environment as something to understand more deeply instead of something that's just going to turn on us at a certain point. IL: Certainly. And I'm really curious, because Terra Infirma is also a work that was paired with multimedia animation and performance. Was there anything in your compositional process that differed when you're collaborating across these different mediums? RE: Yeah. So it's interesting because so the, there was, there were projections that were happening. And also in addition to that, it was a harp concerto, but a harp concerto where the harpist was also playing percussion. And so there were some elements that were so different than what would be typically like if harpist was like, I want a concerto. You would just be like, okay, you know, she sits there, she plays these notes. They're in that one position. That's all fine. Um, there was so much more, you're right with this piece than with, um, with my normal pieces. Um, and to me it's both, how can I say this? There's, there's such a different way I have to think about it, but I think that way starts with collaboration. So Yolanda Kondonassis, the incredible harp player, and Camilla Tassi, who was the production designer. These are people I know well and I've had multiyear relationships with. And so when you're thinking about how to build something, you're totally aware of what their work is like. I knew kind of the not even what Camilla's projections were going to look like, but the way that they interact with things. We've done projects together before. And so I pretty much had the sense of how she was going to respond. And I knew what she needed to know in order for her to do her work and make things kind of match up with one another. And then also with Yolanda, a lot of the stuff I put in that was like harp and percussion together. It wasn't something that I was making her do, right? It were things that we came up with together. We've spent so long workshopping things in percussion studios in, um, you know, we've met in all these different cities and we're basically like banging things against a harp and doing, you know, just so much experimentation. So for every technique you see in the concerto, you, um, you basically there's like ten things that we didn't do that didn't put in. So you're really only seeing the best of all the kind of crazy stuff that we tried. So I do think the thing is that when you're trying to invent something new and you're trying to invent new styles and new techniques, I mean, you can think of anything, but you're trying to find the things that A practically work and B allow the performers and the artists to really express themselves. So I found that I was actually choreographing the piece before I was composing it, um, that I had to figure out, okay, where are these percussion setups going to be? What are the instruments that I want? Okay. Are these chimes going to be like over her head? Or is she going to have to reach really far to get them? Are they going to be near the low end of the harp? Things like that that seem so practical. But the difference between having to reach out far and slowly versus having to like, quickly swat something near your ear, right? It makes a different choreography. And so I thought that way first. And then I kind of put the notes and rhythms and melodies and stuff in. IL: Let's now hear a selection from Reena Esmail's Terra Infirma. This is the fourth movement titled “Roaming the Ghost Forest.” Yolanda Kondonassis is the harpist with the Interlochen Center for the Arts Orchestra. [MUSIC: Terra infirma: IV. roaming the ghost forest] IL: The harpist was Yolanda Kondonassis with the Interlochen Center for the Arts Orchestra, playing the fourth movement of Terra Infirma by composer Reena Esmail. I'm Isabel Leigh, and in this episode of Apex Express, I'm joined by Reena Esmail, the composer, in conversation about her music and her approach to making art. Something else that I really was fascinated with on your on your Instagram account. You actually made a post a while back that I found to be very powerful. It's pinned as the letter to the young artists' immigrant parents. It's such an empathetic message that I also really relate to as a daughter of immigrants in the arts. And you kind of argue that these children's pursuit of the arts is a tribute to their parents immigrant struggles. Um, what motivated you to write this letter? RE: You know, I'm so glad you asked about that because so much has changed since I wrote that letter in a really good way. You know, first of all, I will say that when I wrote that letter, if you weren't a child of, you know, like Asian immigrant parents, you. And actually, I think this is true for most immigrant parents who, you know, have kind of given up everything to move to America so that their kids can explore all these opportunities they wouldn't get in their country of origin. When I first wrote this letter, it was really just, I felt like I was saying something really new. And now I think what's really interesting is that we have both parents who understand this and, um, kind of almost this parody way of seeing what Asian parents are like. Right. For me, one thing that I, that just makes my heart sing is the comedy of Zarna Garg. I don't know if you know who she is, but she is like an Indian American comic and she plays this role of being like this very typical Indian parent. And I will say, my parents weren't really like this because again, they were two different religions and married one another. So they were already quite open minded. But like 99% of Indian parents and even my parents, sometimes they have this thing of like, well, ‘why are you going into this?' Like you should make money, you should do this stuff. And I feel like, um, since Zarna's comedy came into the world, it's such an easy way to just point a finger at that and say, hey, this is what we're really dealing with as Indian immigrants. And, you know, we all just laugh at it. And I find that, you know, sometimes my friends who are just, you know, white Americans who have been in this family has been in this country for many generations. They don't get it. But like anyone who's a child of immigrant is like, oh yes, I completely understand what she's saying. So we have that. And I think that's really healthy and awesome. And she's very talented. Um, and on the other hand, I found that when I was first going into music and I mean, I, you know, when I was 18 and I was going to go to Juilliard, my parents were certainly supportive and curious and wanted me to do whatever they thought I might be good at enough to make a living and didn't want to optimize for, oh, you need to earn the most money or you need to, etc. but most other Indians around us were like, oh my God, she's so smart. Why is she like wasting her life doing music? You know, that was kind of the dominant narrative. And so I had to become very good at explaining why. And imagine my complete disbelief when I would go to conservatory and meet people whose parents had encouraged them to do music. I was like, what is happening? Like, we're like, there'd be four siblings and all of them would be in the arts. And I was like, oh wait, you're not the black sheep of your family. Like, I mean, half of my family, I don't think really knows what I do still even. Right? And so to me, it was so important to provide some kind of context. And like you said, it's like to, to come to this country and be an immigrant and to come with a lot of skills, but to have to just work in silence for so many years with no congratulation, with no one just constantly propping you up. That is what being an artist is. And you know, it's only maybe the past 10 years of my career that I've even been visible to people. Before that, it was just me doing my thing and like, no one cared about it. It was not not glamorous at all. And for me, that's what built the kind of strength in me to be able to sustain the career that I have now. And so I think if it had been a little too easy, I don't know that I would be able to handle, um, the, what I have now. So I think what's great though is that the Indian parents of kids who are teenagers and in their twenties nowadays are not coming to me being like, oh my God, what do I do with this kid who wants to be a musician? I've failed as a parent. Which again, for those of you who are not Asian, this is totally a true thing out there. They will come to me and say, hey, look, my, my child doesn't wants to be a musician. I want to help them. I can't tell like, are they good at this? Where should they be? Can you help me understand things? And that is really what my parents did. And I will, you know, kind of go further to say — PBS did a special on me a number of years ago, and I insisted on putting my parents in this special because I wanted people to see what it looked like to have really encouraging Indian parents who, again, they weren't going in blind. They were. They would go to my teachers and be like, well, I mean, is she good? Can she do this? We don't know what these answers are. Can you help us understand? And they really relied on the right people to be able to help me get to places that they couldn't get, but they also weren't just immediately dismissive of it. And that's what allowed me to kind of have a massive advantage, because I didn't have to also go back to school and do a medical degree. Or like most of my my peers of my age actually did. So I wanted to put them on that special to actually show that that is possible. And I'm seeing more and more that it is. There are many more parents like that now. And oh my goodness, I love every one of them. IL: That's wonderful. When you look back at your compositional career and how everything has changed since then, how do you think your work has evolved? RE: Oh, so you mean like since I began being a composer? IL: Yeah. Or maybe in the past ten years, even. RE: Yeah. It's interesting because I think one of the big inflection points in my work was when I did my Fulbright in India. So before that, I really didn't know very much about Indian classical music. And then the year before that, I really started to get deeper and started to integrate my Indian and Western classical world with one another. And then, you know, I from 2011 to 2012, I went to India and what was so different was actually seeing the music in its culture and actually getting to participate as an Indian in India, studying Indian classical music. Right. Because there's no filter. You're not going through a Western filter. You're just there in this culture. And I know that many of my Indian teachers, they kind of had this attitude of like, look, we don't know what kind of music you were doing before, but we're so glad you're here and studying your own music. And this is great. And so there wasn't this sense of having to go through another culture to get to their, their music. And to me, that really changed things because I don't see myself as writing music. That's one through the conduit of the other. I just see it as two streams that are equally incredible and equally independent, and they just meet each other in these interesting places. IL: And looking ahead into the future, is there an ensemble or an artist who you haven't worked with before that you'd love to work with? Ooh. It's interesting because, like, almost everyone who comes to mind is not a musician. Um, I've worked with so many. I mean, truly, I've been so lucky to work with musicians like Gil and Orli Shaham. Yolanda Kondonassis. I'm writing a piece for Hilary Hahn and Matthias Goerne right now. It's I mean, just like literally anyone who I could ever ask to work with, I have. I don't know. I mean, to me, it's like, gosh, someone like Misty Copeland would be amazing. Like, you know, there are so many actors like the world of Indian/South Asians in comedy and in drama and stuff like that is just incredible. People like Mindy Kaling who have done incredible things to me, people like that are just going outside of just music would be fascinating to me. IL: Absolutely. And I will put a link to your website, as well as the links to the music that will also be aired on this in this episode on KPFA.org, so our listeners can learn more about you and your wonderful work. Well, Reena, thank you so much for your time and thank you for talking to me today. RE: Absolutely. The post APEX Express – 8.06.26 – Obbligato – In Conversation with Composer Reena Esmail appeared first on KPFA.

Resident Evil Requiem já está entre nós há algum tempo e continua rendendo discussões dentro da comunidade. Após a publicação do nosso vídeo especial sobre a história completa do jogo, uma questão passou a chamar ainda mais atenção: as diversas conexões do enredo com Resident Evil 5 e Resident Evil 6. Além disto, declarações recentes envolvendo o remake de Resident Evil CODE: Veronica (2000), Resident Evil Veronica, indicam que a Capcom pretende realizar mudanças narrativas para conectá-lo aos acontecimentos de Requiem. Isto naturalmente levanta uma pergunta: será que o mesmo pode acontecer com um futuro remake de Resident Evil 5? Pensando nisto, Hellena, moderadora do servidor oficial do REVIL no Discord, lançou um desafio para a equipe: como seria Resident Evil 5 se ele fosse reimaginado para se aproximar da essência dos primeiros jogos da franquia? A ideia não é reinventar completamente o título, mas imaginar uma versão alternativa que preserve sua identidade principal enquanto recupera elementos marcantes do survival horror. O resultado foi uma conversa repleta de ideias, debates e propostas sobre como Resident Evil 5 poderia recuperar a atmosfera de tensão, exploração e gerenciamento de recursos que consagraram os primeiros jogos da série. Ouça o podcast! APRESENTAÇÃO: Felipe Turesso PARTICIPANTES: Fred Hiro Hellena Accel EDIÇÃO: Fer Vinhas

Welcome back to The Majority Report On today's program: As calls for Rep. Max Miller to drop out of his re-election bid, Miller posts a response to his various domestic abuse allegations with the worst possible defense. Senator Bernie Moreno (R-OH) who is the father of Max Miller's ex-wife, finally responds to the allegations after it was no longer politically viable to remain silent on his daughter's abuse. Miller's Democratic challenger, Brian Poindexter's campaign ad calls for an increase in minimum wage, stronger unions and attacks Republicans only working for the rich and do-nothing Dems. Dr. Robert Bland, Assistant Professor of History and Africana Studies at the University of Tennessee joins for a conversation about his book "Requiem for Reconstruction: Black Countermemory and the Legacy of the Lowcountry's Lost Political Generation". In the Fun Half: Arkansas Governor Sarah Huckabee Sanders (R) endorses state Rep. Austin McCollum who later that same day was arrested for domestic abuse. James Carville goes on Fox News to blast Hasan Piker and beg for money. HHS Secretary Robert Kennedy, Jr. melts down and spews lies during a CNN interview with Dana Bash on COVID policy and pandemic preparation. all that and more. To connect and organize with your local ICE rapid response team visit ICERRT.com The Congress switchboard number is (202) 224-3121. You can use this number to connect with either the U.S. Senate or the House of Representatives. Follow us on TikTok here: https://www.tiktok.com/@majorityreportfm Check us out on Twitch here: https://www.twitch.tv/themajorityreport Find our Rumble stream here: https://rumble.com/user/majorityreport Check out our alt YouTube channel here: https://www.youtube.com/majorityreportlive Gift a Majority Report subscription here: https://fans.fm/majority/gift Subscribe to the AM Quickie newsletter here: https://am-quickie.ghost.io/ Join the Majority Report Discord! https://majoritydiscord.com/ Get all your MR merch at our store: https://shop.majorityreportradio.com/ Get the free Majority Report App!: https://majority.fm/app Go to https://JustCoffee.coop and use coupon code majority to get 10% off your purchase Check out today's sponsors: ZOCDOC: Find and book the right doctor https://Zocdoc.com/MAJORITY  SMALLS: Get 60% off your first order, plus free shipping and free treats for life, when you head to Smalls.com/MAJORITY SUNSET LAKE CBD: Visit SunsetLakeCBD.com and use coupon code DOGDAYS26 to save 30% on all CBD pet products. This sale ends August 5th at midnight Eastern time. Follow the Majority Report crew on Twitter: @SamSeder @EmmaVigeland @MattLech On Instagram: @MrBryanVokey Check out Matt's show, Left Reckoning, on YouTube, and subscribe on Patreon! https://www.patreon.com/leftreckoning Check out Matt Binder's YouTube channel: https://www.youtube.com/mattbinder Subscribe to Brandon's show The Discourse on Patreon! https://www.patreon.com/ExpandTheDiscourse Check out Ava Raiza's music here! https://avaraiza.bandcamp.

The time has come for the funeral of the reaped king of Narravethis. The royals are out in force, and the undercurrent of political intrigue is charged to a breaking point as the city mourns the death of their young, now forgotten, king. Will the solemnity of the occasion keep the blade of conspiracy at bay? With the rule of Narravethis in the balance, the storm clouds have officially come to the kingdom - who is ready for the storm?   The dark wind begins to howl…. that we have merch!  Buy a whole bunch of it at the  12sidedguys.com/shop!  There might not be a tavern in this town… but we've got Discord!  Hop over to the 12 Sided Guys Discord at https://discord.gg/SJZnpCCx6N! Are you ready to take up the banner and become one of the honored elite?? Then join our Patreon at ‌‌patreon.com/12sidedguys‌‌, you'll find bonus episodes, maps, tokens, and access to our Wiki! -- Additional‌ ‌sound‌ ‌effects‌ ‌from‌ ‌tabletopaudio.com.

Menú de la Semana: Noticias: Lebron, Draymond, Kuminga, Joerger, Kawhi, Dundon, Doncic, y mucho más Serial Veraniego: Wizards con Ruben Escudero y los Rockets con Jonatan Reino. Comentarios de los Oyentes y más: Pasamos por nuestra página de Facebook, los comentarios de Ivoox, Twitter, iTunes, Skype y comentarios@raciondenba.com Más información en raciondenba.com. Ración de NBA es un programa que trata el baloncesto NBA en español poniendo énfasis en los jugadores hispanos. Nuestra web: raciondenba.com . Mandar preguntas/comentarios: comentarios@raciondenba.com. Dejadnos un mensaje de voz en Skype: Racion de NBA. Publicamos avisos por Twitter al publicar los episodios para que sepáis cuando podéis ir a descargarlos: - Twitter - Chechu: @astrochechu - Twitter - Javier: @Racion_de_NBA_J Música: Ración de NBA - Jaime Limit Black Samba - Juanitos   http://freemusicarchive.org/music/Juanitos/Soul_Africa/03_-_Black_Samba  Owl Time - Kellee Maize http://freemusicarchive.org/music/Kellee_Maize/Owl_Time/03__Kellee_Maize__Owl_Time__Owl_Time__FROSTWIRECOM_FROSTCLICKCOM__CREATIVE_COMMONS_1846 Requiem for a Fish - The Freak Fandango Orchestra http://freemusicarchive.org/music/The_Freak_Fandango_Orchestra/Tales_Of_A_Dead_Fish/Requiem_for_a_Fish_1403 Waitin´ - Betsy Olson  https://freemusicarchive.org/music/Betsy_Olson/Betsy_Olson_-_Live__KEXP_1142009/Waitin_1139/ 

Vandaag een aflevering in de serie "In Stukken". Ein deutsches Requiem van Johannes Brahms wordt in stukken geknipt. Aan de hand van de fragmenten in de mooiste opnames wordt het stuk onder de loep genomen. Panelleden: muziekjournalist Peter van der Lint en mezzosopraan Xenia Meijer. Deze aflevering van Diskotabel is eerder uitgezonden op zondag 26 oktober 2026.

Il existe de très nombreux mystères sur la mort de Mozart, des théories les plus sérieuses aux plus invraisemblables. Mais quel est le véritable récit de ses dernières heures ?Plongez dans les derniers jours de la vie du génie Mozart, alors qu'il compose son célèbre Requiem, une œuvre enveloppée de mystère. Franck Ferrand nous emmène dans l'atmosphère crépusculaire de l'automne 1791 à Vienne, où le compositeur, miné par la maladie, se bat pour achever cette commande énigmatique. Entouré de sa femme Constance et de sa belle-sœur Sophie, Mozart lutte contre le temps pour donner vie à cette partition qui semble hanter ses derniers instants. Entre les visites d'un mystérieux commanditaire et les délires fiévreux du compositeur, cet épisode captivant révèle les coulisses de la création d'un chef-d'œuvre qui a traversé les siècles. Un récit passionnant sur le génie et la tragédie qui ont marqué les derniers jours de Wolfgang Amadeus Mozart.Plongez dans l'histoire des grands personnages et des évènements marquants qui ont façonné notre monde ! Avec enthousiasme et talent, Franck Ferrand vous révèle les coulisses de l'histoire avec un grand H, entre mystères, secrets et épisodes méconnus : un cadeau pour les amoureux du passé, de la préhistoire à l'histoire contemporaine.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Learn all about the newest set from the dynamic duo of Redbay and MonoWhiteBorder! Heavy creature focus, lots of combat rewards, and a free spirit of rebellion. Cyberpunk minus the artifact theme! Lots of fun things to learn about their new project. Browse the cards from the set: https://rrredbay.github.io/sets/NRC Join Beacon of Creation's Discord: https://discord.gg/t88Vpwh Show Notes and Images: https://beaconofcreation.com

Apologies for sound/audio quality, EMJs remote location had unexpected limited internet connectivity. Dr. E. Michael Jones is a prolific Catholic writer, lecturer, journalist, and Editor of Culture Wars Magazine who seeks to defend traditional Catholic teachings and values from those seeking to undermine them. ——— EMJ Live is every Friday at 5:00pm ET Call In - Telegram: t.me/EMichaelJonesChat?videochat YouTube: youtube.com/@E_Michael_Jones Rumble: rumble.com/c/c-920885 Twitter (X): twitter.com/emichaeljones1 Spotify: open.spotify.com/show/3KNrIgfrRRCjZG2Oa8bRmB CW Magazine: culturewars.com EMJ Books: fidelitypress.org

Menú de la Semana: Noticias: Lebron en los Sixers, Kawhi, Wemby, Dort, Trae y mucho más Serial Veraniego: Arranca el Serial 2026 - con Francesc Lamela para hablar de Orlando Magic y Fran EG para hablar de los Thunder Píldora NBA: Alex English por el maestro Angel Castillo  Comentarios de los Oyentes y más: Pasamos por nuestra página de Facebook, los comentarios de Ivoox, Twitter, iTunes, Skype y comentarios@raciondenba.com Más información en raciondenba.com. Ración de NBA es un programa que trata el baloncesto NBA en español poniendo énfasis en los jugadores hispanos. Nuestra web: raciondenba.com . Mandar preguntas/comentarios: comentarios@raciondenba.com. Dejadnos un mensaje de voz en Skype: Racion de NBA. Publicamos avisos por Twitter al publicar los episodios para que sepáis cuando podéis ir a descargarlos: - Twitter - Chechu: @astrochechu - Twitter - Javier: @Racion_de_NBA_J Música: Ración de NBA - Jaime Limit Black Samba - Juanitos   http://freemusicarchive.org/music/Juanitos/Soul_Africa/03_-_Black_Samba  Sweet Sweeney - version de Sweet Caroline por Francesc Lamela y familia Requiem for a Fish - The Freak Fandango Orchestra http://freemusicarchive.org/music/The_Freak_Fandango_Orchestra/Tales_Of_A_Dead_Fish/Requiem_for_a_Fish_1403 Slow Dance- Julie & Gent https://www.jamendo.com/track/1552411/slow-dance  Waitin´ - Betsy Olson  https://freemusicarchive.org/music/Betsy_Olson/Betsy_Olson_-_Live__KEXP_1142009/Waitin_1139/ 

The second installment of a five-part pilgrimage exploring the 2026 BIG EARS festival. The Welsh guitarist brought her "Welsh primitive" to a dive bar in Knoxville—Appalachian fingerpicking channeled through 90s punk energy, delivered barefoot and shredding by noon with thumb picks in hand. She discusses reinvention over preservation (tradition, she says, is just "good licks"), her first-ever pilgrimage to Appalachia (and its surprising links to Wales), last year's ACL-beloved Last Night I Heard the Dog Star Bark, her recent WFMU live album, and her surprisingly effective duo with the "diametrically opposed" Hayden Pedigo.Sound Propositions should be available wherever you get your podcasts, so please keep an eye out and subscribe (and rate and review, it helps others who might be interested find us). You can support Sound Propositions on Patreon if you are so inclined, or send a one-time donation via PayPal. The first two seasons are also available on Bandcamp. I'm very grateful for any support, which will help ensure future episodes.sInterviews recorded in Knoxville, 29 March 2026Produced and mixed in St Louis, July 2026LINKSGwenifer RaymondBandcampWFMUBig EarsTRACKLISTARTIST – “TITLE” (ALBUM, LABEL, YEAR)Gwenifer Raymond, “Worn Out Blues” (Strange Lights Over Garth Mountain, 2020)Orcutt Shelley Miller, “Unsafe At Any Speed” (Orcutt Shelley Miller, 2025)SP INTROGwenifer Raymond, “Bliws Afon Tâf” (Live at WFMU, 2026)Gwenifer Raymond, “One Day You'll Lie Here But Everything Will Have Changed” (Last Night I Heard The Dog Star Bark, 2025)Gwenifer Raymond, “Requiem for John Fahey” (You Never Were Much of a Dancer, 2018)Gwenifer Raymond, “The Three Deaths of Red Spectre” (The Three Deaths of Red Spectre, 2018)Nirvana, “Where Did You Sleep Last Night” (MTV Unplugged in New York, 1994)Leadbelly [Huddie Ledbetter], “In the Pines” [1944] (Where Did You Sleep Last Night?(Lead Belly Legacy Vol. 1), 1996)[soundcheck]Mississippi John Hurt, “Frankie (And Albert)” (The Early Blues Roots Of Bob Dylan, 2020)Hayden Pedigo, “Smoked” (I'll Be Waving As You Drive Away, 2025)Gwenifer Raymond, “Eulogy for Dead French Composer” (Strange Lights Over Garth Mountain, 2020)Gwenifer Raymond, “Sometimes There's Blood” (Sometimes There's Blood, 2015)Gwenifer Raymond, “Bleeding Finger Blues” (You Never Were Much of a Dancer, 2018)Gwenifer Raymond, “Bonfire of the Billionaires” (Last Night I Heard The Dog Star Bark, 2025)—-Sound Propositions is written, recorded, mixed, and produced by Joseph Sannicandro.

A lot of people love boxing stories because they're clean: a tough kid fights his way out, the crowd roars, the credits roll. Irish Bobby Cassidy's life is not clean, and that's exactly why this conversation matters. I'm joined by Bobby Cassidy Jr. (longtime journalist and author of Requiem for a Middleweight: The Irish Bobby Cassidy Story) to tell the full story of a Levittown legend who kept moving forward, even when the punches came from outside the ring. We go deep in boxing history, including Sunnyside Garden in Queens, the road to Madison Square Garden, and the wild fact that Irish Bobby turned pro without an amateur career. Bobby Jr. shares a unforgettable Muhammad Ali moment after a controversial loss in Miami, plus the pop-culture curveball of his dad's cameo in Rocky. Then we get into the harder truths: childhood abuse, alcoholism, boxing business politics, and how post-career bookmaking and loansharking pulled the family into adult stakes too early. We also talk about Cassidy's decades long friendship with Sonny Franzese, and the most painful stretch of all, dementia, paranoia, and the shock of losing trust with someone you've been loyal to your whole life. If you care about boxing biography, Long Island history, sports journalism, and the real cost of perseverance, this one stays with you. Subscribe, share it with a friend who loves fight stories, and leave a review.Learn Something New orRemember Something OldPlease like and follow the Music in My Shoes Facebook and Instagram pagesReach out to us at musicinmyshoes@gmail.comSend us a one-way message. We can't answer you back directly, but it could be part of a future Music In My Shoes Mailbag!!!

Tema del Día: ¿Andarías con el ex de un primo? En entrevista Marimar Vega, quien regresa al teatro para protagonizar "Requiem" en el Foro Shakespeare junto a Bruno Bichir. Jueves Astrales con Ariadna Tapia. Día Mundial de las Ballenas.See omnystudio.com/listener for privacy information.

War, watermelon and waifu outfits on men. Summer is upon us and that means new summer-themed snacks, new outfits, and most importantly, new anime!This week on the AniTAY podcast, Requiem, Doctorkev and Marquan (with Marquan handling the editing duties) talk about the new Summer 2026 season as well as their go-to anime, show, and/or film about war. The AniTAY Podcast is a bi-weekly podcast brought to you every other Wednesday. It is available on all your favorite podcast services! If you like us, be sure to subscribe to your favorite service and give us 5 stars! Your support is much appreciated and will help us grow and continue to provide this style of content.ItineraryIntro: 0:00:00–0:02:32Housekeeping: 0:02:32–0:16:14Jaadugar: A Witch of Mongolia: 0:16:15–0:23:35Kaiju Girl Caramelise: 0:23:36–0:29:05Clevatess S2: 0:29:06–0:33:10Thunder3: 0:33:11–0:39:39Forsaken Saintess Foodie Road Trip: 0:39:40–0:44:01Ghost in the Shell: 0:44:02–0:47:22Saga of Tanya the Evil: 0:47:23–0:52:58All-Works Maid: 0:53:04–0:57:59Smoking Behind the Supermarket With You: 0:58:00–01:04:09News: 01:05:42–01:11:52Go-to War Anime, film, etc: 01:11:53–01:28:34Outro: 01:29:04 — End

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After surviving an attempted assassination, Nora and Echo continue on to the Ivy-Bound Altar, while Sorric and Dirk head to the cemetery where the funeral will take place. As the group continues to gather answers, the nation of Narravethis prepares to mourn their reaped king.  Storm clouds have been gathering for some time—are our daring heroes ready for what lies ahead? Tune in and find out!   Merchandising? Merchandising!  Support us and sport us, at the  12sidedguys.com/shop!  Commiserate with a lovable bunch of characters on the 12 Sided Guys Discord, check it out at https://discord.gg/SJZnpCCx6N!  If you enjoy what you hear and want even more behind the scenes content, join our Patreon at ‌‌patreon.com/12sidedguys‌‌, you'll find bonus episodes, maps, tokens, and access to our Wiki! -- Additional‌ ‌sound‌ ‌effects‌ ‌from‌ ‌tabletopaudio.com.

C dans l'air du 17 juillet 2026 - Ingérence électorale : Trump sème le doute avant les midtermsNos experts :- Lucas MENGET - Grand reporter, Spécialiste des questions internationales- Anne TOULOUSE - Journaliste franco-américaine, auteure de L'art de "trumper" (éditions du Rocher)- Joséphine STARON - Directrice des études et des relations internationales chez Synopia- Vincent JOLLY - Grand Reporter au Figaro Magazine- Nicole BACHARAN – Historienne et politologue, spécialiste des États-Unis, auteure de Requiem pour le monde libre (éditions de l'Observatoire)

C dans l'air du 17 juillet 2026 - Ingérence électorale : Trump sème le doute avant les midterms « Le plus grand piratage de données électorales de l'histoire ». Lors d'une allocution télévisée en prime-time, Donald Trump a relancé hier ses accusations d'ingérence étrangère dans l'élection de 2020. Pékin aurait, selon lui, récupéré des données concernant des centaines de millions d'électeurs américains, chose que les autorités américaines auraient dissimulée. Les services de renseignement contestent toutefois l'idée qu'une puissance étrangère ait modifié le résultat du scrutin de 2020.Les Démocrates ont vivement critiqué le discours du président américain, estimant qu'il « préparait le terrain pour contester les élections de mi-mandat ». Ils dénoncent en outre un président coutumier des contre-vérités, rappelant son refus d'accepter sa défaite en 2020, les fausses allégations de fraude ayant précédé l'assaut du Capitole.Pendant ce temps, la société Trump Media envisage de monétiser un accès prioritaire aux communications du président américain sur le réseau Truth Social. Ceci serait à destination des traders et des médias financiers, qui dépendent de marges de quelques secondes pour prendre leurs décisions. Les messages publiés par Trump ayant des conséquences parfois significatives pour l'économie mondiale. La sénatrice démocrate Elizabeth Warren dénonce une « tentative flagrante de tirer des profits de la présidence ».L'affaire Epstein, de son côté, continue de coller à la peau du locataire de la Maison Blanche. C dans l'air est allé au Nouveau Mexique, près du ranch du violeur en série, mort en 2019. Luxueuse, isolée, l'immense propriété que détenait le criminel sexuel fait l'objet d'une enquête approfondie mais trop lente aux yeux de nombreux observateurs.Alors, pourquoi Trump relance-t-il ses accusations d'ingérence électorale? Cherche-t-il à tirer profit de sa présidence ? Que s'est-il passé dans le ranch néo-Mexicain de Jeffrey Epstein ?Nos experts :- Lucas MENGET - Grand reporter, Spécialiste des questions internationales- Anne TOULOUSE - Journaliste franco-américaine, auteure de L'art de "trumper" (éditions du Rocher)- Joséphine STARON - Directrice des études et des relations internationales chez Synopia- Vincent JOLLY - Grand Reporter au Figaro Magazine- Nicole BACHARAN – Historienne et politologue, spécialiste des États-Unis, auteure de Requiem pour le monde libre (éditions de l'Observatoire)PRESENTATION : Caroline Roux - Aurélie Casse - REDIFFUSION : du lundi au vendredi vers 23h40.PRODUCTION DES PODCASTS: Jean-Christophe ThiéfineRÉALISATION : Nicolas Ferraro, Bruno Piney, Franck Broqua, Alexandre Langeard, Corentin Son, Benoît LemoinePRODUCTION : France Télévisions / Maximal ProductionsRetrouvez C DANS L'AIR sur internet & les réseaux :INTERNET : francetv.frFACEBOOK : https://www.facebook.com/Cdanslairf5TWITTER : https://twitter.com/cdanslairINSTAGRAM :https://www.instagram.com/cdanslair/

Cet été, Silence on joue donne une nouvelle fois la parole à ses auditrices et ses auditeurs durant six épisodes spéciaux. Dans le premier, on commence par parler du nouvel épisode majeur de la série horrifique de Capcom, Resident Evil Requiem. Dans la seconde partie, après avoir exploré une mégastructure aux commande d'un robot agile dans Hypogea, on s'enfonce sous terre avec un grappin et des scolopandres aux trousses avec Idols of Ash. Et pour cette grande expérience collective, nous avons toujours le plaisir d'accueillir durant tout l'été Ginred Le Mag qui est devenu un vrai podcast. Vous pouvez vous abonner par ici : https://ginredlemag.lepodcast.fr/ Chapitres :0:00 Resident Evil Requiem1:06:50 Ginred Le Mag : Metal Garden1:09:53 Hypogea et Idols of AshRetrouvez toutes les chroniques de jérémie dans le podcast dédié Silence on Joue ! La chronique jeux de société (Lien RSS).Pour commenter cette émission, donner votre avis ou simplement discuter avec notre communauté, connectez-vous au serveur Discord de Silence on joue!Retrouvez Silence on Joue sur Twitch : https://www.twitch.tv/silenceonjoueSoutenez Silence on joue en vous abonnant à Libération avec notre offre spéciale à 6€ par mois : https://offre.liberation.fr/soj/Silence on joue ! C'est l'émission hebdo de jeux vidéo de Libération. Avec Erwan Cario et les auditeur·ices de SoJ : Flaubeurre, Geoffrey, Jean_Moul1, Mysto, Teesee, Ginred, Aleks, Baron SamediCRÉDITSSilence on joue ! est un podcast de Libération animé par Erwan Cario. Cet épisode a été enregistré le 30 juin et le 1er juillet 2026 sur Discord. Réalisation : Erwan Cario. Générique : Marc Quatrociocchi. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

This week SUNDAY WIRE returns with special guest host Bryan 'Hesher' McClain, covering the biggest stories in the US and internationally while Patrick Henningsen reports from the Islamic Republic of Iran. This week, Patrick delivers his final thoughts and reflections on a historic week-long state funeral procession for Iran's Supreme Leader Ayatollah Ali Khamenei, and what it all means for the major shift in the geopolitics and power distribution in the Middle East and West Asia. Later in the Overdrive segment, we're joined by teammates Adam 'Ruckus' Clark and Basil Valentine for a deep dive into the latest global developments, including the sudden death of longtime U.S. Senator Lindsey Graham, the competing narratives surrounding his legacy, Washington's expanding confrontation with Iran, and what these developments may signal about the changing international order. All this and more… Watch this episode here: https://www.youtube.com/watch?v=sJNRC5sp9xQ  This month's featured music artists: The Real Anthem Band, Joseph Arthur, Peyoti for President, Peter Conway & Red Rumble, and Phil Zimmerman SUPPORT OUR MEDIA OUTLET HERE (https://21w.co/support)  

Caring for a pet at the end of their life is one of the hardest parts of loving a them. In this episode of Ask the Vet, Dr. Ann Hohenhaus welcomes Dr. Wendy McCulloch, veterinarian and founder of Pet Requiem, to discuss quality of life, difficult decisions, and how to find compassionate support.Topics include:What seeing a pet in their home environment may reveal in contrast to seeing them in a traditional clinic settingWhat Pet Requiem does and how the practice came to beWhat palliative care for pets looks like and how it can help pets and their families make the most of their time togetherTips to assess a pet's quality of lifeHow to approach and navigate discussions about euthanasiaWhat a peaceful in-home euthanasia experience looks like and how to prepare for itNavigating grief and the role of rituals, keepsakes, and memorials in providing comfortAlso on this month's show:Trending animal story about Romeow, a stray orange tabby cat who made an unexpected appearance during an outdoor performance of “Romeo and Juliet”Animal news, including the story of how a new study challenges the common assumption that cat ownership automatically worsens asthma in childrenPet Health Listener Q&A: What sudden movements during deep sleep may mean; why cats may drool while kneading surfaces; and what to do if your pet gets sprayed by a skunkDo you have a pe t health question for Dr. Hohenhaus? Email AskTheVet@amcny.org to have your question answered on Ask the Vet.

C dans l'air du 11 juillet 2026 - Air Force One de Trump : panique sur le tarmac L'avion Air Force One offert par le Qatar au président américain est-il sûr ? En renonçant cette semaine à l'utiliser pour quitter le sommet de l'Otan en Turquie, Donald Trump a ravivé les peurs sur la sécurité de cet avion. Le chef d'État américain a finalement privilégié l'appareil présidentiel actuellement en service, sur fond de préoccupations croissantes concernant d'éventuelles menaces iraniennes contre des responsables américains. Selon certains médias, Israël aurait transmis aux États-Unis des renseignements informant d'un projet iranien visant à assassiner Trump.Pendant ce temps, malgré leur proximité affichée, la relation entre Trump et Netanyahu continue d'être marquée par une méfiance réciproque. Le président américain soutient Israël mais reproche régulièrement au Premier ministre israélien de l'entraîner dans une confrontation avec l'Iran. De son côté, Netanyahu tente d'influencer les décisions de Washington, sans pour autant exercer un contrôle sur Trump, qui agit avant tout selon ses propres intérêts.Depuis son retour au pouvoir, le locataire de la Maison Blanche a en tout cas vu sa fortune tripler. Celle-ci est passée de 2,3 à 6,5 milliards de dollars entre 2024 et 2026 selon Forbes. C'est principalement la cryptomonnaie qui fait exploser ses revenus. Selon sa déclaration financière, ses activités dans ce secteur pourraient lui avoir rapporté plus de 1,2 milliard de dollars.Alors, pourquoi Washington a renoncé à utiliser l'avion offert par le Qatar ? Quelle est la relation exacte entre Trump et Netanyahu ? Comment expliquer le fort enrichissement de Trump depuis 2024 ?Nos experts :- David KHALFA - Co-directeur de l'Observatoire de l'Afrique du Nord et du Moyen-Orient à la Fondation Jean Jaurès, consultant spécialiste du Proche-Orient- Patricia ALLEMONIERE - Grand reporter et auteure de Géopolitique du Sahel- Général Nicolas RICHOUX - Ancien commandant de la 7ème brigade blindée et ancien attaché de défense à Berlin- David RIGOULET-ROZE - Chercheur à l'Institut français d'analyse stratégique et rédacteur en chef de la revue Orients stratégiques. Auteur de La république islamiste en crise systémique- Nicole BACHARAN - Historienne et politologue, spécialiste des États-Unis, auteure de Requiem pour le monde librePRESENTATION : Caroline Roux - Aurélie Casse - REDIFFUSION : du lundi au vendredi vers 23h40.PRODUCTION DES PODCASTS: Jean-Christophe ThiéfineRÉALISATION : Nicolas Ferraro, Bruno Piney, Franck Broqua, Alexandre Langeard, Corentin Son, Benoît LemoinePRODUCTION : France Télévisions / Maximal ProductionsRetrouvez C DANS L'AIR sur internet & les réseaux :INTERNET : francetv.frFACEBOOK : https://www.facebook.com/Cdanslairf5TWITTER : https://twitter.com/cdanslairINSTAGRAM :https://www.instagram.com/cdanslair/

C dans l'air du 11 juillet 2026 - Air Force One de Trump : panique sur le tarmacNos experts :- David KHALFA - Co-directeur de l'Observatoire de l'Afrique du Nord et du Moyen-Orient à la Fondation Jean Jaurès, consultant spécialiste du Proche-Orient- Patricia ALLEMONIERE - Grand reporter et auteure de Géopolitique du Sahel- Général Nicolas RICHOUX - Ancien commandant de la 7ème brigade blindée et ancien attaché de défense à Berlin- David RIGOULET-ROZE - Chercheur à l'Institut français d'analyse stratégique et rédacteur en chef de la revue Orients stratégiques. Auteur de La république islamiste en crise systémique- Nicole BACHARAN - Historienne et politologue, spécialiste des États-Unis, auteure de Requiem pour le monde libre

Scott and Eben speak about the U.S. team's elimination from the 2026 World Cup following a blowout loss to Belgium. They also talk about looming layoffs coming to LIV Golf as the circuit seeks new funding. Learn more about your ad choices. Visit megaphone.fm/adchoices

It's the end of the season, so that means we get to talk about what we liked the most…or least about the Spring season. Join this episode's members: Hybridmink, Requiem, Raitzeno, and Doctorkev with Marquan handling the editing duties and hear how the Spring season wrapped up. The AniTAY Podcast is a bi-weekly podcast brought to you every other Wednesday. It is available on all your favorite podcast services! If you like us, be sure to subscribe to your favorite service and give us 5 stars! Your support is much appreciated and will help us grow and continue to provide this style of content.Intro: 0:00:00–0:01:03Housekeeping: 0:01:04–0:03:14SnowBall Earth: 0:03:59–0:07:22Angel Nextdoor/Second Cutest: 0:07:23–0:08:24Introvert Hookup Hiccups Tangent: 0:08:25–0:11:45Return to Angel Next Door: 0:11:46–0:13:41Food Diary: 0:13:42–0:17:34Agents of the Four Seasons: 0:17:35–0:21:11Akane-Banashi: 0:21:11 -0:26:48Wistoria S2: 0:26:49–0:32:18Ramparts of Ice: 0:32:19–0:35:49Observation Records: 0:35:50–0:43:19Witch Hat Atelier: 0:44:00–0:48:37Nippon Sangoku: 0:48:37–0:51:11Isekai Tangent: 0:51:12–0:54:24Dr Stone: 0:54:24–0:56:57News: 0:56:58–01:05:36Shows we'd like to see remade/rebooted: 01:05:37–01:26:21Outro: 01:26:21 — EndItinerary

Host Emily Abdow talks with five-term congressman and award-winning author Robert Mrazek about the life and writings of Bill Evans, the youngest pilot of the ill-fated Torpedo Squadron 8 at the Battle of Midway.

Following the reaping of Rosvane, Durzy's Dreamers are prepping for the upcoming funeral and looking to resolve some dangling threads.  Specifically a trip to a temple, and an ominous meeting.  Might require a split of the party to accomplish - surely that won't go wrong! Merchandising? Merchandising!  Support us and sport us, at the  12sidedguys.com/shop!  Commiserate with a lovable bunch of characters on the 12 Sided Guys Discord, check it out at https://discord.gg/SJZnpCCx6N!  If you enjoy what you hear and want even more behind the scenes content, join our Patreon at ‌‌patreon.com/12sidedguys‌‌, you'll find bonus episodes, maps, tokens, and access to our Wiki! -- Additional‌ ‌sound‌ ‌effects‌ ‌from‌ ‌tabletopaudio.com.

C dans l'air du 4 juillet 2026 - 250 ans des États-Unis : la drôle de fête de TrumpÉvènements annulés, public absent, et pour couronner le tout, un morceau de scène qui s'effondre. Voilà comment ont commencé les tant attendues festivités pour les 250 ans de l'indépendance des Etats-Unis. La « grande foire » de Donald Trump, organisée sur le National Mall, à Washington, n'a pas trouvé son public. À quelques mètres de là, un morceau de toiture est tombé sur scène alors que les danseurs répétaient leur spectacle. Quant à la parade de la Fête de l'indépendance américaine, prévue dans la capitale fédérale samedi matin, elle a été annulée à cause de la canicule qui touche actuellement la côte est des Etats-Unis. Vendredi, Donald Trump avait pourtant inauguré les festivités devant le mont Rushmore en prononçant un discours offensif sur l'avenir de l'Amérique : « A l'approche de ce magnifique anniversaire, nous voyons (…) une résurgence de la menace communiste sur notre sol », a prévenu le président des Etats-Unis qui espère marquer de son passage l'histoire américaine, malgré une côte de popularité en berne, la guerre en Iran et l'inflation. Au même moment en Iran, des milliers de personnes ont convergé vers Téhéran ce samedi pour assister aux funérailles de l'Ayatollah Ali Khamenei, tué il y a quatre mois dans les frappes israélo-américaines. Les autorités iraniennes disent attendre entre 15 et 20 millions de personnes, une manière de mettre la pression sur les Etats-Unis en pleines négociations diplomatiques. Parmi les slogans entendus aux funérailles, certains scandent « Mort à l'Amérique, mort à Israël ! », tandis que des banderoles appellent à tuer Donald Trump. Si le président américain a assuré début juillet que « la dénucléarisation de l'Iran avance bien », aucune discussion profonde n'a encore eu lieu sur le nucléaire depuis l'annonce d'un d'accord-cadre mettant fin au conflit. En réalité, les deux camps en sont encore à négocier sur les conditions de navigation dans le détroit d'Ormuz, Téhéran espérant toujours instaurer un droit de passage. Pendant ce temps, c'est sous l'étroite surveillance des agents de l'ICE que se déroule la Coupe du monde de football aux Etats-Unis. La Maison blanche a affirmé que les agents de l'immigration n'effectueraient pas d'opérations aux abords des stades, mais les supporteurs étrangers se méfient. Selon les informations du New York Times, la police de l'immigration a arrêté plus de 10 000 personnes entre fin juin et début juillet. Des sources interrogées par le quotidien américain ont déclaré que la Maison blanche souhaite intensifier ses opérations. Plus de 60 000 personnes soupçonnées d'être en situation irrégulière se trouvent actuellement dans les centres de détention gérés par l'ICE. Pourquoi l'anniversaire des 250 ans de l'Indépendance américaine pourrait être gâché ? Où en sont les négociations de paix entre l'Iran et les Etats-Unis ? Et pourquoi les supporteurs étrangers de la Coupe du monde s'inquiètent d'être arrêtés par l'ICE ?Nos experts :- Romuald SCIORA - Essayiste, directeur de l'Observatoire politique et géostratégique des États-Unis de l'IRIS, auteur de « America 250, une histoire graphique des Etats-Unis » - Nicole BACHARAN - Historienne et politologue, spécialiste des Etats-Unis, éditorialiste – Ouest-France, auteur de « Requiem pour le monde libre » - Vincent HUGEUX - Journaliste indépendant, essayiste, spécialiste des enjeux internationaux - Lauric HENNETON - Historien, spécialiste des Etats-Unis, maître de conférences à l'Université Versailles-Saint Quentin, auteur de « Rock and road trip : la route 66 en musique » - (en duplex) Sonia DRIDI - Correspondante aux États-Unis - LCI et France 24, auteure de « Joe Biden, le pari de l'Amérique anti-Trump »

C dans l'air du 4 juillet 2026 - 250 ans des États-Unis : la drôle de fête de TrumpNos experts :- Romuald SCIORA - Essayiste, directeur de l'Observatoire politique et géostratégique des États-Unis de l'IRIS, auteur de « America 250, une histoire graphique des Etats-Unis » - Nicole BACHARAN - Historienne et politologue, spécialiste des Etats-Unis, éditorialiste – Ouest-France, auteur de « Requiem pour le monde libre » - Vincent HUGEUX - Journaliste indépendant, essayiste, spécialiste des enjeux internationaux - Lauric HENNETON - Historien, spécialiste des Etats-Unis, maître de conférences à l'Université Versailles-Saint Quentin, auteur de « Rock and road trip : la route 66 en musique » - (en duplex) Sonia DRIDI - Correspondante aux États-Unis - LCI et France 24, auteure de « Joe Biden, le pari de l'Amérique anti-Trump »

Time to talk about how systems influence what ideas are deemed worthy of pursuing and developing.Support the show on Patreon - get up to 3 exclusive episodes a month, discord access, merch discounts and plenty more - check it out: https://www.patreon.com/TheDeprogramBuy the book:Monthly Review - https://monthlyreview.org/9781685901509/Amazon - https://www.amazon.com/dp/1685901492?lv=shuf&channelId=500&plpRedirect=mhFallbackTwitter - https://x.com/GabrielRockhill?lang=enOther works - https://gabrielrockhill.com/home-2/Support the showSupport the show on Patreon: https://www.patreon.com/TheDeprogramFollow us on Twitter: https://twitter.com/TheDeprogramPod

C dans l'air du 2 juillet 2026 - Trump : 4 milliards en 2 ans... le jackpot de la Maison BlancheNos experts :- Anthony BELLANGER - Éditorialiste à Franceinfo TV et spécialiste des questions internationales - Nicole BACHARAN - Historienne et politologue, spécialiste des États-Unis, auteure de « Requiem pour le monde libre » - Lauric HENNETON - Historien, spécialiste des États-Unis, maître de conférences à l'Université Versailles-Saint Quentin - Patricia ALLÉMONIÈRE - Grand reporter, spécialiste des questions internationales

C dans l'air du 2 juillet 2026 - Trump : 4 milliards en 2 ans... le jackpot de la Maison BlancheBusiness is business. Depuis son retour au pouvoir, Donald Trump a vu sa fortune presque tripler depuis son retour à la Maison Blanche. Celle-ci est passée de 2,3 à 6,5 milliards de dollars entre 2024 et 2026 selon Forbes. Et c'est principalement la cryptomonnaie qui fait exploser ses revenus. Selon sa déclaration financière, ses activités dans ce secteur pourraient lui avoir rapporté plus d'1,2 milliard de dollars. Une situation qui relance notamment les accusations de conflits d'intérêts, alors que le locataire de la Maison Blanche multiplie les initiatives pour favoriser le développement des monnaies numériques. De plus, le président américain continue de tirer profit de son image. Parmi les produits dérivés les plus médiatisés figure la « God Bless the USA Bible », dont plus de 208 000 exemplaires ont été vendus. À cela s'ajoutent des baskets, montres, parfums ou encore des guitares. Un empire économique colossal. La Cour suprême a toutefois infligé un revers important au président américain. Fin juin, elle a confirmé que les enfants nés aux États-Unis restent automatiquement citoyens américains, invalidant ainsi le décret de Donald Trump sur le droit du sol. Une décision symbolique, d'autant que trois des neuf juges de la Cour ont été nommés par lui lors de son premier mandat. Ce n'est pas la première fois que la haute juridiction freine ses ambitions. Quelques mois plus tôt, elle avait déjà limité une partie de sa politique sur les droits de douane, estimant que certaines mesures relevaient du Congrès. Ces décisions rappellent que, malgré sa majorité conservatrice, la Cour suprême conserve son indépendance vis-à-vis du pouvoir exécutif. À l'international, Donald Trump fait de l'Amérique latine une priorité. Son administration remet en avant la doctrine Monroe, selon laquelle les États-Unis doivent rester la puissance dominante sur le continent. L'objectif est de contrer l'influence grandissante de la Chine, de la Russie et de l'Iran dans la région. Cette stratégie s'appuie aussi sur une ligne dure envers les gouvernements de gauche. Washington maintient une forte pression sur le Venezuela et Cuba, tout en saluant l'arrivée au pouvoir de dirigeants conservateurs. En Colombie, la récente victoire du candidat d'ultradroite, Abelardo de la Espriella, soutenu par Donald Trump, est perçue comme le signe d'un regain d'influence du trumpisme en Amérique latine. A quel point Donald Trump utilise-t-il sa présidence pour enrichir son empire économique ? La Cour suprême est-elle devenue un contre-pouvoir au président américain ? Donald Trump cherche-t-il à réaffirmer l'hégémonie des États-Unis en Amérique latine ?Nos experts :- Anthony BELLANGER - Éditorialiste à Franceinfo TV et spécialiste des questions internationales - Nicole BACHARAN - Historienne et politologue, spécialiste des États-Unis, auteure de « Requiem pour le monde libre » - Lauric HENNETON - Historien, spécialiste des États-Unis, maître de conférences à l'Université Versailles-Saint Quentin - Patricia ALLÉMONIÈRE - Grand reporter, spécialiste des questions internationales

Yordi Rosado recibe a Marimar Vega y Bruno Bichir para platicar sobre la obra Requiem en el Foro Shakespeare, un intenso debate ético sobre la justicia y la pena de muerte que promete confrontar a la audiencia. ¡No se lo pierdan!See omnystudio.com/listener for privacy information.

Welcome to RetroLogic! I'm Sam Wagers here with Shannon Eno and John Cummins! Intros   But RetroLogic isn't just a podcast. It's a community of retro gamers! - We've got an active, friendly, and free discord. - Giveaways - Contests - AND Dive into our family of Retro podcasts! Like RetroGroove, a music history podcast, and On Topic Retro, a podcast dedicated to 1 video game per episode hosted by our very own John Cummins. - you can find everything at our website retrologic.games   Housekeeping John - New retrologic content coming! Articles in substack   On Topic Retro - Mario Galaxy The Price Is Retro If this is your first time playing Price Is Retro, here's how we play. I'm going to list off 4 or 5 games and everyone has to guess how much the lot is worth in total. Whoever is closest to the actual value wins that round! Everyone has a list and everyone guesses on each other's list.    At the end, the player that won the most rounds wins the episode! But watch out for the robot Deus Guess Machina! He averages all of our guesses together for his own guess Dinosaur - Leonard - adds up original costs, retail value Ghost - Polterguest - always guesses 300 RetroLogic Ep150 Shannon's List Sam's list John's List Flightsy's Live List Show Topic - What We're Playing-New Games, Old Games, New hardware?   Sam- Shannon- John- Community Couch Savannah the Hyena Queen — 6/28/2026 1:17 PM Been playing Mario Galaxy for the challenge, but after that I've gotta get back to the backlog: Mario Galaxy 2, Mario & Luigi Brothership, Hyrule Warriors: Age of Imprisonment, Xenoblade Chronicles Definitive Edition, Xenoblade Chronicles X Definitive Edition, Persona 3 Portable, Omori, Sea of Stars, etc etc etc. I'm a busy gal Add Deltarune chapter 5 to the list as well, though hopefully that won't take too long   Games with Coffee — 6/28/2026 1:40 PM Working on Final Fantasy VII Rebirth, but took a break to play Star Fox. After Rebirth, I'm gonna switch to Clair Obscur: Expedition 33, followed by Mina the Hollower and then Hades and Chained Echoes OctoRock_1982 — 6/28/2026 2:51 PM I finally got to dig into Mina The Hollower. I'm about 15 hours in and having the time of my life. The game scratches such a specific type of itch for me, and I'm sure would do the same for veteran gamers of a certain era. It somehow feels authentically retro and yet wholly unique at the same time. As much as the game is touted as a top down Zelda-like, it borrows just as much DNA from the likes of NES games like Dragon Warrior, StarTropics, Castlevania and Ninja Gaiden. So, as you might expect, I'm in heaven playing this game.   Trey — 6/28/2026 3:02 PM I bounced onto starfox and castlevania harmony of dissonance since getting the gba castlevania double pack last week. It's my first castlevania and my first starfox 64 playthrough! I hope to return to Mina the hollower after but rhythm heaven is coming soon!   BeerBierCerveza [nDAD],  — 6/28/2026 3:58 PM I've been playing through the games in the Resident Evil bundle. Finished Requiem, then played through biohazard, and I just rolled credits on village this weekend. All of these games were amazing! I was certain at least one of the games in the bundle was going to be a dud, but I was wrong. Requiem is definitely a contender for GOTY!   Drex1981 [ARC],  — 6/28/2026 4:39 PM I've been playing the New Star Fox remake which has been really good. Also Marathon, Dispatch, Mario Kart world, and Final Fantasy 6 for my snes. And also Street Fighter 6 I've been competing in Tournaments   Your Wallet's Ambassador — 6/28/2026 6:46 PM I've been playing Super Mario Galaxy, trying to get to 242 stars as quickly as possible for Retro Rewind. I've also been playing an Archipelago run with some college friends, where I'm playing Mario & Luigi: Superstar Saga. My backlog includes Deltarune Chapter 5, Rhythm Heaven Groove, The rest of the M&L games after Bowser's Inside Story, and kinda every game I own... Thanks for listening to the RetroLogic Podcast! We are proudly part of the Nintendo Dads family of podcasts. If you like what you hear, check me out on Bluesky at @retrologicgames.bsky.social. You're also welcome to jump into our friendly and 100% non-toxic Discord Community! The link to that is in my Blusky bio. You can also find everything on our website Retrologic.games  

This is a Preview of this week's bonus episode. To get full access sign up at the $5 level here - https://hellofawayto.dad/  This week Francis and Carey finish off Season three of MASH. We say goodbye to Trapper John and Henry Blake and close out this first arc of MASH and discuss the incoming personnel. We'll be taking a break in between episodes to watch the ill fated pilot episode of WALTER, the MASH Spinoff featuring Radar as a St. Louis police officer. Check out the store, and sign up for our twice a month email updates  https://whatahellofawaytodad.com/  Instagram - https://www.instagram.com/hellofawaytodad/  Facebook - https://www.facebook.com/hellofawaytodad/