Podcasts about Slovakia

Thomas Lorman, historian of SSEES University College London, talks about 1989 in Central Europe; Jana Kirschner, Slovak star singer living in London, brings back her memories of November 1989

We don't often get to cover joyful policy news on this podcast, so this week we're delighted to be discussing that rare thing: a European country that's investing serious money in culture. For three years, Ireland has been experimenting with paying artists, musicians and other creative workers a basic income. And guess what? The scheme has worked so well that they're keeping it going. But is the policy all it's cracked up to be? This week we speak to John Baker, a co-founder of the Equality Studies Centre at University College Dublin and one of the coordinators of Basic Income Ireland, about the logic and limits of Ireland's Basic Income for the Arts.    In sillier policy news, we're looking at why Slovakia has been regulating the speed of kids cycling on the pavement. And we're diving into Ukraine's massive corruption scandal: what exactly happened, and just how bad is it for Volodymyr Zelenskyy?    You can read interviews with the artists who've been receiving Ireland's Basic Income for the Arts here.   This podcast was brought to you in cooperation with Euranet Plus, the leading radio network for EU news. But it's contributions from listeners that truly make it all possible—we could not continue to make the show without you! If you like what we do, you can chip in to help us cover our production costs at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/europeanspodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (in many different currencies), or you can gift a donation to a superfan. We'd also love it if you could tell two friends about this podcast. We think two feels like a reasonable number. This week's Inspiration Station recommendations: ‘Dopamine' by Robyn, ‘Choke Enough' by Oklou, ‘West End Girl' by Lily Allen and ‘La symphonie des éclairs' by Zaho de Sagazan.   Other resources for this episode    ‘The EU Parliament now has a right-wing majority' - Gulf Stream Blues (Dave Keating's newsletter), November 14, 2025 ‘Rage, panic, and a glimmer of hope in Ukraine as corruption scandal unfolds' - The Kyiv Independent, November 15, 2025 ‘No, there is no ‘speed limit' for pedestrians in Slovakia' - Euractiv, October 30, 2025 ‘Bratislava built under 4 km of cycle paths last year, leaving cyclists disappointed' - The Slovak Spectator, April 1, 2025 Produced by Morgan Childs Mixing and mastering by Wojciech Oleksiak Music by Jim Barne and Mariska Martina   YouTube | Bluesky | Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | Mastodon⁠⁠⁠⁠⁠⁠⁠⁠⁠ | hello@europeanspodcast.com

This show explores the growing use of electronic cigarettes among young people in Slovakia and how the new law proposal on banning the use of electronic cigarettes may affect them, including older generation of smokers and Slovak economy. Experts Filip Kužma from the Smart Consumer Institute and addiction specialist Rastislav Žemlička from SanatoriumAT discuss marketing strategies and the addictive potential of these products. Sound excerpts feature Health Minister Kamil Šaško, SPFS chairman Ivan Solovič, and primary pediatrics expert Elena Prokopová, highlighting legislative proposals and medical concerns.

This show explores the growing use of electronic cigarettes among young people in Slovakia and how the new law proposal on banning the use of electronic cigarettes may affect them, including older generation of smokers and Slovak economy. Experts Filip Kužma from the Smart Consumer Institute and addiction specialist Rastislav Žemlička from SanatoriumAT discuss marketing strategies and the addictive potential of these products. Sound excerpts feature Health Minister Kamil Šaško, SPFS chairman Ivan Solovič, and primary pediatrics expert Elena Prokopová, highlighting legislative proposals and medical concerns.

Mysterious Slovakia pt. 10 - Trenčín: In this episode, we journey to the legendary Trenčín Castle to uncover the moving tale behind its famed Well of Love. Listeners will be transported into the 16th-century love story of Omar, a Turkish nobleman, and Fatima, the woman he vowed to save. Captured and imprisoned within the castle walls, Omar undertook the daunting task of digging a deep well through unyielding rock—an act of devotion meant to win Fatima's freedom. The program will be intervowen with music made in Slovakia.

Alle skal til VM! Schizofrene Tyskland vinner heldig over Luxembourg, men knuser Slovakia. Can Uzun, Ibrahim Maza og en hel generasjon tyske talenter velger andre landslag, pinlig for Die Mannschaft. Fans fra Hertha og Union, 1860 og Bayern går hånd i hånd gjennom Leipzigs gater. Kampen mot overvåking av tribunen forener fiender. Felix Magath er også opptatt å stå sammen, hvert fall helt til alle får sparken! Anwar El Ghazi har vært i krig med Mainz om Palestina-saken. Nå feirer spilleren nok en seier i rettsvesenet med episk oppsummering!See omnystudio.com/listener for privacy information.

Mysterious Slovakia pt. 10 - Trenčín: In this episode, we journey to the legendary Trenčín Castle to uncover the moving tale behind its famed Well of Love. Listeners will be transported into the 16th-century love story of Omar, a Turkish nobleman, and Fatima, the woman he vowed to save. Captured and imprisoned within the castle walls, Omar undertook the daunting task of digging a deep well through unyielding rock—an act of devotion meant to win Fatima's freedom. The program will be intervowen with music made in Slovakia.

United on the ice. This special event which aims to foster inclusion and resilience through sport, brings Slovak and Ukrainian children together on the ice to train with professional hockey players. The is organized by the Canadian, Swedish, Norwegian, Finnish and Ukrainian embassies in Slovakia along with the Banska Bystrica Self-governing region, former NHLer Michal Handzus and his hockey school and the civic initiative Sme Spolu (We Are Together). Ben Pascoe visited to find out more about this special event.

 They put in their cover letter, “Honestly, we're just gonna go up to Yellowstone around that time and we would love to swing by and show the movie.”Rudi Womack is the Director of the Wyoming International Film Festival and the creator of the YouTube channel The Film Festival Guide.In this conversation, Rudi talks about:* What watching thousands of film festival submissions has taught him about good storytelling* The biggest mistake filmmakers make when they submit to festivals* Why transparency matters and why he published all of the submission and acceptance stats for the Wyoming International Film Festival * The importance of a compelling poster and thumbnail* How to write a good description of your movie* The most important questions filmmakers must askHere is a link to Hiike, the new film festival submission platform that Rudi mentioned.If you enjoyed this episode please forward to a friend.Here is an AI-generated transcript of my interview with Rudi. Don't come for me.79. Film Festival Director Rudi WomackBEN: Hi everyone. This is Ben Guest and this is The Creativity Education and Leadership Podcast. My guest today is Rudy Womack, who is the director of the Wyoming International Film Festival, and also Rudy has a fantastic YouTube page called The Film Festival Guide. So for all my filmmakers out there who are interested in submitting to festivals in this interview and on Rudy's YouTube page, he breaks it down. Enjoy.Rudi, thank you so much for joining us.RUDI: Hey, it's my pleasure to be here. Thank you for having me.BEN: So I always start off with a fun question, and we're entering the holiday season, so very important holiday question. Is Die Hard a Christmas movie?RUDI: Absolutely. A hundred percent. Come on.BEN: I love it. So I, I told you this off Air, I found you through the Rate YouTube channel.You have the Film Festival Guide. Is that the right name? I wanna make sure I get the name right. Yeah. The filmRUDI: festival guide. Yep.BEN: On YouTube Film Festival Guide on YouTube. Please. Any filmmakers out there go and subscribe. The information is so helpful. What, why did you start the this YouTube page?RUDI: I, as a filmmaker have gone through the festival circuit several times and I made a lot of amateur mistakes. I didn't know what I was doing. Definitely fell on my face a couple of times, but I also had some successes. And as I did more film festivals, I started learning more about the circuit.I got invited by a film festival to become a programmer, and so I started reviewing a lot of films and seeing a lot of the submissions. And I think instantly that made me a better filmmaker just because I saw what was working, what wasn't working, and how other filmmakers really brought to, brought their stories to life on the screen.And it, it was truly inspirational. Very long story short, the Wyoming International Film Festival was started by a gentleman named Alan Oi, and he's a, he's a documentarian out of Wyoming, which is where I'm from. I'm from Wyoming. So Alan had the film festival and he had run it for some years and it was going great and everything.But then Alan retired and now he's retiring. He wants to move outta Wyoming and he doesn't wanna run a live event. ‘cause it is a lot of work in his words. And I quote, it's a young man's game. And at the same time, COVID hit and he didn't wanna do the whole online thing and it was just a big mess.So Alan was like, I'm done with the festival, it's done. I'm just gonna let it die. And I was begging him, no, Alan, you can't do it. It's so important for indie filmmakers. And at the time I'm just finding my feet in the festival circuit as well as both a filmmaker and now I'm a programmer.I'm begging him like don't let it die. It's important, maybe I can help out. And he was like, why don't you run it? And I was like, absolutely not, man. What are you talking about? That's crazy. No way. No way. And I was like, I'm going to be your director of programming. That's what I'm going to do.I'm gonna help you get films in so you don't have to do that work. Very long story short, I ended up running it. I ended up taking over the festival from Alan. I did so reluctantly. But when I started working with the festival, working with the community, working with my hometown filmmakers and my home state filmmakers, and just seeing how important a film festival can be for a local community to uplift indie filmmakers to help them along the way I fell in love with it and here I am now, I run the film festival.And your question was, how did I start the YouTube channel? Sorry, I'm getting there. But I got a lot of questions from filmmakers about festivals, like how to navigate ‘em. And there's just so much mystery behind film festivals ‘cause it's so opaque. There's not a lot of transparency from film festivals.Film festivals are sketchy about which films they do select and which they don't. And frankly, there's a lot of misinformation out there about festivals. So I started answering a lot of questions and I started repeatedly answering the same question again and again and again. And I had some friends who told me, you should write a book.But I was like, yeah, but books, there are books, like people have already written books, bluntly, frankly, people far more experienced and knowledgeable than myself have written books. And so if you're not reading those books, then you're probably not gonna read my book. So that's when I decided, you know what, the YouTube channel is a great way to just do very easy outreach.Take one single topic, break it down for 10 minutes, and hopefully help filmmakers along on their film festival journey.BEN: I love it. And you said something for all the filmmakers who are listening. I'm gonna come back to it. Don't worry. You said something about once you started programming and watching so many films, you got a good sense of what works and what doesn't.So I definitely wanna come back to that. I know the filmmakers listening want to hear that. But before that you mentioned 10 minute videos. You strike me as somebody who, does research and takes time to Yes. Before they do something. What did you discover about running a YouTube page?What things work, what things don't work?RUDI: I'm still very early on in my own YouTube development. I'm still trying to learn what does and doesn't work. So I'm probably the worst person on earth to give advice. Definitely that first 32nd hook is so important on YouTube, just like it is on a film that, that intro, how we come into the story, whatever, on YouTube, you can see a massive drop off and apparently it's that way on every channel.Again, I'm not a YouTube guru, so I don't give advice, but that first 32nd hook is a big deal, but also just my presence on camera. I come from the post world. I'm an editor, so I'm not just behind camera. I'm behind, behind the camera. So I'm very much not used to an on-camera presence, so I'm developing that and learning it as well.What kind of energy I can bring. How to make it engaging. But also I don't wanna be zany and too quirky or anything because I am trying to give good guidance to filmmakers, but I also don't want to lecture them and bore them to death. So it's finding that balance of information that's valuable, but also entertaining enough that people don't wanna click off.And it's actually quite a complex thing that I'm still unraveling one video at a time. But the best advice that I saw was some YouTube guru who is just focus on getting 1% better on every single video. So is that little bit better graphics or better delivery, or better audio, or better editing or whatever it is.And after a hundred videos, you're now a hundred percent better. So that's what I've been focusing on. Just very small baby steps.BEN: Yeah, that's such a great way to break it down, right? It just makes it bite-sized, get 1% better.RUDI: I think you can apply that to life in general. There's a lot of things in life just today be 1% better.That's it,BEN: so you mentioned once you start a programming scene, get enough feel for what works, what doesn't, especially with short films, both narrative and docs. What are you seeing that works and doesn't work?RUDI: In the shorts world I'm seeing a couple of things. One, a self-contained story, and this is something that I had a problem with because oftentimes I would go for more of a quote unquote scene instead of a full beginning, middle and in, in a story.So a self-contained story typically is gonna make your short film much more successful. This can be hard for some filmmakers because they're trying to make a proof of concept short film that they're gonna go and get financing for their future. So one of the things that they often do is they just take a scene outta their feature and then just shoot that, which has mixed results.And the problem is the films that have gotten financed and been made from shorts that have done that are the ones that you see. So it's actually a survivor bias, where it's like it, it works for those particular films and therefore everybody thinks it's gonna work for their film. But obviously the films that it doesn't work for, you're never going to see.So you don't understand, actually for the majority of films, it doesn't work. So if you have a proof of concept, I actually say, don't pull a scene outta your feature. I say write its own scene, or sorry, your own short film. That exists in the same world and universe with the same characters as what your feature film is.And I think that's gonna have much more success on the film festival circuit. And that will lean you or lead you to whatever your goal is, financing or distribution or whatever. So that's a big thing with short films that makes ‘em successful is make sure it is actually a self-contained story and it doesn't have any loose ends, so to speak.What doesn't work is something that I myself struggle with, ironically as an editor. And that's things being too long and you need to parse them down. Now a lot of people will say, shorter, the better, which is true, but I actually think that's a result of actually getting to the core of the problem.And that's make your film as concise as possible. Get the idea. The emotion, the story out as concise as you can. And what that does by happenstance is it makes your film shorter. So it's not that shorter is better. I know there's it almost sounds like I'm just splitting hairs here, but I've seen plenty of five minute films that didn't work.I've seen plenty of 10 minute films that board me to death. So shorter isn't necessarily better. It's more concise of your story is better. And sometimes that still manifests as a 20, 30, 40 minute film. But if it's a very interesting 20, 30, 40 minutes, that's not gonna matter.BEN: It's such a great point. And for me, when I get to a certain point in the edit, I like to just bring in a couple friends and have them watch it. And then I just sit there and watch them watch it and whatever feedback they're gonna provide afterwards. 95% of what I need, I can just tell from Body Language as they're watching the film.RUDI: Yep.BEN: You come fromRUDI: theBEN: Go ahead.RUDI: Oh I was just gonna piggyback off that and just say, audience feedback is worth its weight and goal.BEN: Yeah.RUDI: And every filmmaker when you hit that fine cut stage, like you said, get your friends and family together, buy everybody some burgers and fries or whatever.Get ‘em all together. Gather ‘em up in a room, watch them, watch your film. That's gonna tell you more than anything else. We'll be able to about the success of your film and where it's strong, where it's weak, where you can still fix things. And I always suggest do it in your fine cut stage because nothing's locked in and you can still move things around and adjust, or whatever it is you need.BEN: Love it. And I think earlier what you are really getting at is telling a good story. Yes. And I'm amazed at, not amazed, but maybe a little disappointed, especially in today's world, the technical side of filmmaking. Even for an amateur, even for an indie filmmaker that you can, things can be d done so well technically, but there's no story.RUDI: Yes. All the time. So when I get onto Reddit, ‘cause you mentioned Reddit earlier if I go onto our filmmakers, right? Yeah. I don't have to look far to see people just geeking out over the newest Camerons. It's, and it's always cameras. Everybody always talks about. This camera is so fancy and it has so many stops above and this lens can do this and blah, blah, blah, blah, blah, blah, blah.It has this big bit rate, whatever. Everybody gets so excited about cameras and I always say to myself, man, if they got this excited about audio, I wouldn't have to reject half the films that we have to reject because the audio is just blah. So if we're gonna talk tech, if we're gonna talk about the quote unquote quality of the filmmaking, I think what filmmakers need to understand is there are so many films out there we're that is just the foundation.It is the base level, it is the bare minimum that the film looks good. It sounds good. It feels good. So for us, festival guys, we see so many of these films. You're super gorgeous cinematography, you're really fancy, VFX, whatever it is that you think really separates your film from the pack. I don't wanna discourage you, I don't wanna sound jaded or anything, but it's not as impressive to us as you might believe it is, simply because we see hundreds and sometimes thousands of films like that.So for us it constantly falls back to originality and the story. Is the story well done? Is it well told? Is it a new and interesting story that we've never seen before? Is it a story that we've seen before but told in a very unique way, from a specific point of view, that is what is going to move us as festival people.‘cause when I put it into the theater and my audience walks in and they pay a ticket. My audience is used to going down to the theater and seeing a hundred million dollar movies. So for them, quality is just a given. It's just assumed they're not going to be thinking about it for them. They go and watch a movie ‘cause they're interested in, and I think if more filmmakers really dialed in on their story, they're going to find more success.BEN: So many great points there and a hundred percent agree with what you were saying about people get excited about the camera. And so I did my MFA at USC and there were three different times where I was on a set that, that I felt was unsafe. Not that I felt it was unsafe, what they were doing. Geez. And I walked off and it was always to get the cool shot.Like no one's ever hanging off a balcony to get room tone. You know what I mean? It's just, it's always to get the cool shot that, again, if you're not telling a good story, it doesn't matter. And to your point, I've always felt good audio is more important than good video.RUDI: Good image.BEN: Yeah.RUDI: Look at the documentary. Look at the nonfiction world. We see verite stuff all the time. We see stuff people recorded on their phone or, security camera footage or whatever, like at the end of the day in the nonfiction world is a great example of the quality of the shot doesn't necessarily matter so much as the quality of the story and how it's being told and how it's being revealed to us.And the audio is always gonna be very clean, very top notch, even if it's quote unquote found footage or. Veritate footage or whatever, the audio is always peak. I saw that Netflix doc recently, it was super heartbreaking. The perfect neighbor. And most of it is police body cam footage, but the audio is clean so we're able to follow the story so no one sits back and thinks of themselves this isn't a good shot.Of course it's not, it's police potty cam footage. Like it doesn't look good and it's not meant to,BEN: but it sounds good. And so you can follow it.RUDI: Yes.BEN: What what are some tropes that you think you've gotten tired of seeing in, especially in short films?RUDI: So every year it's a little bit different.You would be surprised what things pop up and what don't. The one trope that kind of rubs me the wrong way, I, I don't know how to describe it any other way than filmmaker self therapy. Like they, they're definitely going through something at the moment and they're not focused on creating a good story.They're more focused on using their art form to emotionally process whatever it is they're going through, which fine, you are an artist that makes sense to do, but also I can't sell my audience on that. So while I don't wanna discourage someone from making a film that is very near and dear and personal to them, at the end of the day, it might not be a good fit for film festivals.And so I, I would really think twice about whether or not that is a story that an audience, frankly, needs to see. Filmmaker cell therapy is one that when I get it, I'm always eh I don't know what to do with it. I just, I don't know what to do. Some other tropes that we see very commonly are like.Obviously right now, tech and AI and stuff like that gives a lot of people anxiety. So there's a lot of like evil robot takes over or the big reveal at the end of the movie, they were a robot the whole time, or the whole thing was a simulation or whatever. That's being very well tread right now.For me, I'm I am not a political person and anytime some big thing is in the news, we see tons of films on it. So I understand politics do affect people's day to day and their lives, so I understand that manifest. But man, I probably have a hundred immigration films right now and that's a lot. And I'm not gonna screen that many, so I'm only gonna pick like one, maybe two, so that's a tough one to do.Anything that's like a hot button political issue. We always see a big wave of those come in. And then honestly, romance dramas get tough. It isn't evergreen. We do have an audience for it. We usually do have some kind of a selection of them. Romance dramas have existed since the beginning of time.It's always been a thing. But filmmaker broke up with his girlfriend, so now he has a character who breaks up with his girlfriend. It gets it, it doesn't get very original. I, it just it gets exhausted. So those are some of the kind of general tropes I would avoid. I have heard other festival directors talk about like cancer films and Alzheimer's films and stuff like that.This year I'm not seeing so much of those, but I have seen those in the past. So tho those are some other. Tread stories we'll see.BEN: One of the things that I appreciate about. Your series of videos is your transparency, and you have one video where you literally break down. Here are all the films the number of films, Wyoming International Film Festivals received. Here's how it breaks down, here's how many we, we accepted, et cetera, et cetera.You have another one where you literally show the viewer, this is what we see as a programmer on our film freeway portal. Here's the scoring sheet. I think it's a little bit different from the one you guys use internally, but basically here's what the scoring sheet on film freeway looks like. Why is transparency so important to you?RUDI: Because I'm a filmmaker, because I've been to so many festivals where I have no idea what the hell's going on. I've been to festivals where I think my film is gonna be a good fit. I think based on what I've been able to investigate on my own, digging through their website, digging through their archive.Seen what they've programmed before. I think I'm a good fit, but I don't actually know. And I've submitted to festivals where later on, I see what they programmed or I got rejected or even accepted and then gone to the festival itself and have been a little disappointed when was like I this festival didn't fit my goals the way that I thought it would, or, this festival wasn't going to do the things for me.Or this festival, like really promoted themselves very heavily as this big event. And then you get there and then it's not, and that's a little bothersome. So when I stepped into my role at the Wyoming International Film Festival, I made a whole bunch of changes. But one of the changes that I made was, we are going to be transparent.I don't ever want a filmmaker to submit to our festival, get in, get accepted to the festival, drive all the way out to Wyoming and be disappointed. I don't want them to do that. That's not good for them. It's not good for us. It's not good for the community. It's not good for indie film at large.What's better is if we just be what we are in Wyoming, we're straight shooters. We just say it as it is. So I'm going to tell you exactly how many films were submitted, which films we accepted, what the percentage rates are, how many shorts versus features, how many docs versus narratives, how many music videos, all of this stuff.And we've been releasing the data for the past couple of years. This year, like we went all out with the data it was much more thorough than what we've done in years past. And even me, the director of the festival, I sit back, I look at the data and I can see some weak spots in it. I can see where we need to improve as a festival, where we need to start, bringing in a certain type of film or where other films might be overrepresented or how we can give more of an experience to our filmmakers.Just by boiling it down to numbers and looking at it. I can start seeing some of our weak spots and I want to improve on that ‘cause I want to have a good festival. And I think if more festivals were to do that, I think the filmmaking community at large would be much more appreciative. And I think film festivals need to understand.That if you have fewer submissions, that's not a bad thing because the submissions that you are going to get are filmmakers that really want to be in your festival and that's good for the health of your festival, the community, the filmmakers, everything. So I, I think the only way we get there is by being transparent.And thankfully there are other festivals that are publishing their data, which is great. And that makes me very happy to see. And I hope that trend continues and I hope even more festivals start publishing more of their data and showing how they review films, what their scorecards look like, what they're looking for.‘cause ultimately I genuinely believe that just serves the filmmakers better and ultimately makes everybody have a better experience on the film festival circuit, including the festivals themselves.BEN: When you took over as directorWhat were the biggest challenges?RUDI: So our biggest challenge to this day is our venue.So there's only one movie theater in Cheyenne, Wyoming. It is owned by a company outta Casper, Wyoming. They own pretty much a monopoly of movie theaters across the state, like most of them. And they don't allow anybody into their theaters at all. They don't allow her private screenings or corporate events or, in individuals who wanna screen their film or film festivals.I'm not the only film festival in Wyoming. I talk with other festival directors. They can't get in either. It's funny, the film commissioner of the state can't even get in. You would think the movie theater would at least want to partner with the state film Commission, but no. So for us, the challenge has been a venue and luckily our partners over at Laramie County Community College.Have graciously allowed us to use their facilities for the last couple years. They have a beautiful auditorium that we do some of our screenings in, but we also have screening rooms in a black box theater that they have as well as a conference room. And when I say conference room, most filmmakers like their heart drops a little bit.They're like, oh man, I'm just, I'm going into a conference room. It's not a proper movie theater. And that's fine. We publish that data on our film freeway page on hike. We are transparent about that. So when you submit, you might be in the conference room. But ironically, I think it has some of the best audio and it has some of the best projection.So even though it's the quote unquote least movie theater, like I actually think it has some of the best projection, best color. But venue is probably one of our biggest challenges and we continue to develop that. We continue to. Trying to innovate. We're trying to build our own screening room there on the campus.Like we're trying to use one of their big classrooms for it. And what we wanna do is we wanna turn it into a lounge. We wanna bring in like couches and sofas and comfy chairs where it's like much more of a chill environment in there. And that's the type of film we wanna screen in. There's some you can literally sit back, settle in and relax.So there's things that we're doing to create a better environment for our filmmakers and of course our audience, our guests at the festival.BEN: I love it. What's been the biggest reward?RUDI: The, I get to meet you. That's what the biggest reward is. I get to meet so many filmmakers. I get to hear their stories.I get to be inspired. I get to learn stuff. I was talking with a festival director a couple of days ago. Who asked me about how we do our audience award scores and how we process that and what they do. And I just like I lit up, I'm like, oh my God. It's such a better way, it's more efficient, it's easier on the staff.It's more representative of how the audience actually feels about the film, the way the scores are aggregated and counted. It's so great. I get to meet so many people in this world of film and every single day it's like a new, whole new world is opened up to me and I get to hear so many fantastic points of view.I get to see so many awesome films, like just how many great movies are out there is a cinephile. It's like the most rewarding thing in the world. I'm an addict. I'm totally addicted to it. It's so great.BEN: I love it. I remember I used to coach basketball in my first year as a head coach. I was like, yeah, everybody's gonna be pretty competitive, other coaches and so forth.And they were, and I was. But at the same time, when coaches would get together, it was just so supportive. And people are sharing, this is what I'm doing in practice. I'm looking at this offense, this defense. And I imagine it's the same with other film festival directors and programmers. Oh, yeah. Just a supportive environment comparing notes.RUDI: It is. And the more that I meet, the more I truly do understand. 99% of festival directors out there are programmers, people who work in it. They have some tie to cinema. Most of them are filmmakers. Those who aren't, have a deep passion and love for cinema and for storytelling, and.Everybody's a volunteer. Everybody has a day job. Nobody makes money on this. They do it from the love of their heart. They truly do. And the way that they serve their communities, the way that they serve their filmmakers, some of the cool ideas they come up with there's some really neat festivals out there with like very interesting hooks or events or whatever.And I think it is such an incredible ecosystem and I think I'm truly privileged to be part of it.BEN: What are some lesser known or maybe mid-tier festivals or local festivals that you love to attend?RUDI: Okay, so one of my favorite festivals I guess you said lesser known. This one is not lesser known, but Film Quest over in Provo, Utah, damn man, pe like festival people talk about building community. They're on a different level. They've built a family. Like everybody who goes to that festival is just so tight knit there. There's no other festival like Provo or sorry, film Quest in Provo. It is just, it's on another level. And how well they treat their filmmakers is fantastic.Some years ago I was invited to be a jury member at the Fair Film Festival, which is in Ferazi Kosovo. So that is in southeastern Europe. It's a landlocked country, just a little bit above Greece, a little bit north of Greece and north of Macedonia. And Fari is a small town. And I went to that festival and first off, wow.What a great festival. I strongly suggest you submit your film to fair film. It's so good. But the cool part of being in this European festival, and frankly a small European country, most of the films are international, obviously. And so there's filmmakers coming in from like Jordan and Spain and Germany and Slovakia and Slovenia and like all over the place, Greece, Turkey, you name it.And how interesting it is to have this incredible cross section of languages and cultures and peoples, but we're all united by this one singular thing. And that's our love for storytelling and our love for movies. It had to be one of the most incredible experiences of my life. And the next movie I make, taking it back to cosBEN: Fantastic.Just had a question. What was it? Oh okay. So with the huge caveat of besides making. A good film, a film that tells a story. Besides that, are there any tips or tricks, things on the margins that filmmakers can do when they're applying to festivals to be aware of? Sometimes festivals. Ask for a cover letter orRUDI: Yes.BEN: Press kit, things like that. Okay.RUDI: So with, sorry, my phone is loud. I should turn that down. So obviously with a huge caveat of make a good film or whatever, what's the easiest way to get it? All of the stuff on film Freeway, and I do have a video on this, on my YouTube page if you wanna check it out, where I give you a tour of film, freeway from the festival side of things like what the festival can see and how we see it and how we navigate it.On the festival end of things. We can see your cover letter, your screenings and awards your. Cast and crew information, your director's bio, your director's statement, your photographs, your EPK, that's your electronic press kit your trailer, all of that. All of that. As much of that as you can possibly make, you should make it.It's very important. And you never know which piece is gonna be more important to a particular film festival. For instance, here's something crazy. I was meeting with some of my programmers last night. They had a whole bunch of films that they wanted to recommend to go to the next level programming.And we require films. Tell us where in the world or where in the United States the film was made. And every single one of ‘em was California. California. California. California. California. Which fine, whatever. California has a big film industry. That's, it's a very big state, population wise. Makes sense, right?But I am sitting back thinking, okay. I don't want it just to be a bunch of California movies. We have a big country here. I would like to see something else. And something caught my attention. One of the filmmakers, their address was in Birmingham, Alabama, but the film was shot in California, so I am suspicious.I haven't dug into it myself. I'm suspicious either that filmmaker's from Alabama and they have moved to California, or that filmmaker lives in Alabama and they shot their film in California. So they're answering where it was shot correctly. But for me, I'm like, there you go. When everybody's from California.I want that unique perspective. I wanna see someone's from Alabama and what their perspective is now. I haven't watched the film yet. I don't know if it's what we're looking for. Obviously it's a good film if my programming team has recommended it, there's no doubt in my mind it's good film. Now there's other considerations we're gonna have, but.That alone was something, even my, like I myself did not know that I would be looking for. So filling out all of that data on film, freeway, all of your information that you possibly can, your cover letters your screenings, your awards, whatever it is, the more information you give us as a festival, the more we have to make our selections.And it only benefits you. It only helps you out. So filmmakers don't get lazy. Fill out all of that information. We need it. We use it. It's important. Just do it.BEN: You mentioned a meeting with your programmers last night. Take us inside that conversation. What does that look like? What do you discuss, et cetera.RUDI: So there's. There's a big programming team and it's divided up into two different groups. There's our kind of first round screeners and then there's our senior programmers and the senior programmers pretty much review the films that have gone through that first round of screening that are getting recommended to go onto the next one.So typically when I'm talking with my screeners and everything, it's a very different conversation on the bottom end of it where they're just sorting through all of the submissions versus a different conversation I have with the senior programmers who are on the top end of it. We're now trying to decide how to block films together, how we're gonna organize it, what's the schedule maybe look like, what's the overall tone and vibe of the festival going to be, okay.If we wanna have a sci-fi block, do we even have enough sci-fi films? If we don't. Where else can we find homes for ‘em? Stuff like that. So those conversations are a little bit more high end, if you will. And it tends to be less about the story of the film itself and more about how that film is going to fit into the festival.Whereas when I'm talking with the screeners, it's much more on the story end. Like what about the story did you like or you didn't like? Or what was the unique point of view? Or whatever. So depending on which group I'm talking to it, it's gonna be different. And then of course that divides out further on features and shorts and documentaries and narratives and music videos.So like obviously my conversation with the music video people are gonna be much different than my like short documentary people.BEN: Shout out to short documentary people as a documentarian primarily makes shorts I'll ask a question for us folks. In one of the videos, as I mentioned, you literally show here's what the scoring sheet looks like.Yes. And that was for narrative with, I think one of the categories was acting and so forth. So for a documentary or documentary shorts, what does that scoring sheet look like? What do those discussions entail?RUDI: Film freeway does not allow us to have more than one scoring sheet.So unfortunately, there's just this one scoring sheet that's for everything. What I tell my screening team, and we definitely double check everything, like there's multiple people who look at something. So it's not just one person's opinion. You have at least two, oftentimes three, pretty often four.So for something like documentary they skip over that. That's what they do. So if there's no acting in the film, they skip over that. They don't rate acting if there is no acting. But you'd be surprised. There are documentaries that have acting in ‘em. There are like docudramas or documentaries with recreation In the recreation is like actual scenes and performances and stuff like that.So in those cases, even though it's a nonfiction and a documentary, yeah, we'll still judge it for the acting ‘cause that's what it has. I get the question. I'm gonna hijack your question for a second, but it is applicable. I get the question, do we accept AI in our film festival, we do not have any official policy for or against ai, which scares some filmmakers.But we do rate AI on the same standards as we would anybody else. So when it comes to creativity and originality, guess what, you're getting a nothing. ‘cause AI didn't create it. AI is not original. AI just mashes together a bunch of information from other people. So that's no creativity and originality.Same thing for something like, I don't know, art design. If you have a AI character walking through a scene or whatever you're getting zero on your art design. Nobody built those sets. Nobody costumed that actor. Nobody was the makeup artist or the hair or whatever other art deck or, PD or anything on the set.So we will accept ai. We have accepted one single AI film so far because despite all of its quote unquote handicaps, and it was a music video. It still was successful in other categories that had a good enough score. We as a team sat down, said Yes, that it still is a good film. The audience is still gonna enjoy it.The filmmaker definitely had a vision with it. They wrote out a whole thing on like why they chose to use ai. ‘cause they're also an experimental filmmaker, so it made sense for them and everything. So we were like, you know what? That's legit. Let's put it in. But other AI submissions, like I got an AI children's animation the other day and I'm like they didn't animate it themselves.They didn't voice act it themselves. It's not getting good scores on any of these. So we'll see. We'll see. We'll see if it gets through or not, but already you're shooting yourself in the foot. So don't do ai.BEN: Okay. Couple little. I don't know, around the edges or micro questions. One of the things that you talked about in one of your recent videos was having a good poster and you talked about designing your poster for your film prudence.RUDI: Yeah.BEN: Talk, talk to me about,RUDI: I specifically gave my posters an example, not a great poster,BEN: But talk to me about that.For the no budget or low budget filmmaker that can't afford to hire a a designer to make a poster. Talk to me about poster design and how that impacts the presentation of the film for festivals.RUDI: So I strongly believe that a big part of filmmaking and marketing and packaging your film together, all of that is psychology.And as much as we want to sit back and say, Hey, don't judge a book by its, cover it, that literally goes against human psychology. People are not hardwired to do that. It, it is. In our DNA, it's not just a bad habit, it is literally a survival mechanism. So if you want to stand out, you do need to have everything put together.Your cover letter, your synopsis, your photographs, all of that, and of course all of your key art. That's your poster. That's any banners that you have, that's how you're going to be promoting the film. And you have to understand it's not just about making your film look pretty to get filmmakers to go, or sorry your programmers go, Ooh, and ah, it's a pretty film.We are looking at that as a mechanism for us to advertise the festival. You gotta understand if I have 150 films in the festival, I have to get an audience for those films. And the easiest way for me to do that is through your marketing materials. We don't have the capacity. To design marketing materials for 150 different films.We are relying on the filmmakers to do that so we can go out and promote the festival. So people show up to your screening, which I would presume is what you want if you're going to a film festival. So anything you're trailer, any photographs that you can provide, which some filmmakers only provide BTS photographs, BTS is fine.It's great. Give me some good key art I can also use, please. That's what newspapers, that's what the local news that's what podcasters, whatever, that's what they want to see. So that's what I can provide. And of course, your poster. Now, there are a lot of online tools to help in poster design, frankly, I don't have an excuse for making a bad poster like I did, which is one of the reasons I use it as an example is I am shaming myself being like, this could be better and it should be. But there's a lot of online resources that can help with poster design. And also for filmmakers who are a little bit strapped for cash, you would be surprised what people will do for in kind, service for service.So if you have a friend or if there's someone that you can find that's Hey, they'll design your poster if you can design whatever their website or whatever it is that your skills might be there, there's a lot of exchange that you can do on that part. So yeah your marketing, your packaging, all of that together is actually quite important.BEN: Such a great point. And I've written and published a memoir and through that, I've worked with other authors on, on. Both writing and marketing their books, editing and marketing their books. And I tell people the exact same thing. People judge a book by its cover all the time. And in this day and age, they judge it for listeners, I'm holding my thumb and forefinger part as a thumbnail on a computer screen.Yeah, that's the size. So even for a programmer or a festival director watching it on film freeway through their platform, they're not gonna see the poster like we see it in the movie theater. They're gonna see it as a thumbnail image. Yeah. So it has to work as a thumbnail image. And if you can't read the title as a thumbnail or can't make out what's on the image, what's on the poster as a thumbnail, then you've failed that part of the process.RUDI: One, one of the things that like really clued me into how important a poster is, I went to a film festival, I believe it was Kansas City Film Festival. Some years ago, and they had a bunch of posters of films out, but there was one that was like bright pink. It was like super bright pink and had like very eye popping design and everything on it.And it was like in a whole field of like dark drama posters that are all like gritty and everything. And I'm like that stands out. That really drew my eye to it. And I think that was like my big light bulb moment of like how important this stuff actually is. And one of the things that I've been saying for some years, I've said it on the channel, I think, I don't know, some, sometimes I record things and edit out.So I don't know what I've said on the channel sometimes but one of the things that I say is making a film is half of film making. The other half is marketing, the other half is getting butts in the seats. The other half is getting eyeballs on your movie. The other half is selling your film to an audience or a film festival or a distributor or a programmer or whatever you're trying to do with it.It's getting it out there. So making a film is half a filmmaking. The other half marketing, that's what it is.BEN: I'm just nodding along with everything you're saying and I've always felt both with films and with books, with art in general, you're trying to make an emotional connection from what's in your head and your heart to the audience.And if you don't do your job, getting your film out there and helping an audience come and see your film. Then you're not helping that connection. You're missing sort of the point of making this, unless it's just for yourself. It's for, it's to connect with other people and for other people to connect with your work.And that is marketing.RUDI: It's valid. If you're just making a film for yourself, that's absolutely valid. It's in art form. You can make a film for yourself, but if you're sending it to me at a film festival, you're not you're literally trying to find an audience. So these are the things you need to consider.BEN: I love it. I got two more just in the weeds detail questions.RUDI: Alright, let's do it.BEN: Let's talk description. And what I've seen ‘cause I'm in the middle of applying to festivals. And by the way just for. Listeners, this might interest you. So I discovered Rudi's YouTube page and I was like, this is so helpful.And then I went to the Wyoming International Film Festival page and all the transparency and statistics that, that Rudi puts out, that the festival puts out. And I realized, okay, so the short documentary I have is not a good fit for this festival. Exactly what Rudi's saying. So just for anybody listening, thank you for doing research.RUDI: Thank you. That's good. That's not a bad thing, right? That means it saves you time, it saves you money, it saves you heartbreak. It's so good. Do research before you submit. I'm sorry, but I, it's in, in almost every single one of my videos, I tell filmmakers, do your research before you submit. Find the festivals that gel with your film.And if it, if they don't screen the type of movie that you have, don't submit to ‘em. You're wasting your time, you're wasting your money. And the festival, like the programmer behind the screen, might love your film. They truly might love your film, but they're programming for a very specific audience and they know what that audience's taste is.So that's why they're driving specific films to that audience. So even if they love it, they might not include it, which is why you should always do your homework and do your research before you submit. I'm sorry to interrupt, but it's so importantBEN: And yes. And the flip side of that coin is now I also know what the Wyoming International Film Festival looks for.So in the future, if I have a doc or a film, I'm like, oh, this would be a great fit for this festival.RUDI: Yes.BEN: It helps both ways.RUDI: It does. And it helps you dial in. Which festivals you should target, which festivals are gonna help you with your specific goals. Whatever your goals are with the film it's gonna help you with your budgeting and your travel plans and your own personal calendar.It's gonna help with your mental health. It just, it helps on so many different aspects. And on the film festival side of things, I appreciate it when I hear from filmmakers say, Hey man, I looked into your festival looks good, but you don't have the kind of film that I have. And I'm like, not a problem man.Maybe I can point you in the right direction. Maybe I know some film festival programmers, I can make a recommendation, on your behalf too, that's not a bad thing. We love movies and we want to see them successful, but not every single fest or film and story is going to be successful in every single market.So it's very important to find your audience. And believe me, we are going to be cheering you the whole way.BEN: I want get back to my kind of in the weeds questions, but you've mentioned something that is big picture, that's so important. I feel like I've buried the lead here. And you mentioned this you've mentioned this multiple times in your videos.Is that a Phil, it's key. Maybe the most important part of this process is of the film festival submission process is a filmmaker needs to understand what are their goals in applying to a festival. Yes. So can you just talk a little bit about that?RUDI: So film festivals are a tool. And they can be a tool for many different things, but they are a tool.And just every single tool is not right for every single job, every film festival is not gonna be right for every film and vice versa. So before you go out to film festivals, you just need to ask yourself why? Why am I going out to film festivals? Why am I spending the money, the time, the energy, the effort?What do I want out of film festivals? And that's where you need to identify your goal. And the more specific you can be with the goal, the better it's going to be you going on your film festival journey. So for many filmmakers, a common reason they go out to film festivals is networking. So I'm gonna use that as an example.So let's say your goal is I want to network, I want to meet other. Filmmakers, I wanna meet, directors of photography and producers and other people that I can hire for my projects, or they're gonna hire me for their projects, and I want to build that network and I want to meet more filmmakers.Fantastic. Great. That's your goal. So the first thing that you need to do is you need to be looking at festivals that have networking events. And in this particular instance, you need to ask yourself two things. One, does it have networking? Is there in-person networking parties or networking events?And two, do the types of people that I want to meet actually attend those networking events. So us at the Wyoming International Film Festival, we have a pretty broad spectrum. We have filmmakers that are just beginning their journey. They're totally new, wet behind the ears. They're green they're just starting their journey.That's great. All the way up to every year we have multi Emmy award-winning filmmakers. Like people who do this professionally they're in unions or professional organizations, or they're a member of the academy, motion picture Arts and sciences or the TV Academy or sometimes like the Grammys and stuff like that.I, myself, I'm a professional editor, so there's people like me who professionally work, but they're like below the line. They're cinematographers editors, gaffers, what have you. So if your goal is to meet some like high-end producer that's gonna throw, a million dollars at your movie our festival is not the festival that's gonna help you with your goal.So you should skip over us because we don't have that kind of person in attendance. But if your goal is to meet other filmmakers at your level that you can collaborate with or get hired by or whatever. We're a great festival. We have tons of networking, and we bring in a ton of those filmmakers.We're a great event for you. So when you identify what your goal is and you're very specific about it, it's easier to identify which festivals you should start targeting. I take that one step further, and then once you've narrowed down which festivals are gonna help you with your goal, then you look into their history and see which of them have screened movies like yours in the past.So if you have a, you know I use the example, if you have a seven minute comedy coming of the age film, now you know which festivals have good networking, which festivals have the kinds of people you want to network with. Now you look at which ones have screened short coming of age comedy films in the past, and have a history of doing that.So that's gonna help you filter it even further. And by doing that, you're gonna really start to develop your film festival strategy. Now I do have some exciting news. There is something coming now, it's called Hike, H-I-I-K-E. It's hike with two I. And what Hy is doing, it's a submission platform similar to film Freeway, but among many of the tools that they're giving filmmakers, they're giving filmmakers customized festival strategies and they're scraping all of that data from film festivals, what they've programmed in the past.And when you as a filmmaker, join Hike, you take a little quiz, you tell them what your goals are, what your film is, you know how long it is, what the genre is, tell them about yourself. And they literally have. Data scientist who's built this like machine learning algorithm that pairs the data from the film festival to what the filmmaker provides.That literally gives you a compatibility score. So it's, it comes out and tells you, if you want to network with, professional filmmakers but not mega producers and you have a short comedy coming of age film Wyoming International Film Festival has that crowd screens those types of films and you would have a 90% compatibility.So it actually helps you develop your festival strategy for you.BEN: It's so needed. And Rudi has a great video on how to spot scam film festivals. Yes. That's something that is just prevalent these days. So for filmmakers who are getting ready to submit, I encourage you to watch that video. I'll link to it in the show.I'll link to everything that we're discussing in the show notes. The. So Rudi talked about one goal a filmmaker can have is to network other goals at various points in my, film festival my limited film festival career I've applied to festivals ‘cause I wanted to go to that city, new Orleans Fest, new Orleans Film Festival.TravelingRUDI: is totally legitimate reason to go.BEN: People apply because they want distribute, they wanna meet distributors or financiers for the next film. Although, that's what everybody wants. SoRUDI: you, you would be surprised. So in, in 2018, I had a feature film and my, my goal like most feature films was to land a distribution deal.But I was like, that's not specific enough. There are many steps to land a distribution deal. So what I need is I need good press on my film. So that was a goal. So I wanted to target festivals that had press. I wanted laurels. I wanted to win some awards with it, but I also knew my film was. Small and kind of small scale.So it wasn't gonna win laurels at big festivals. So I was like, okay, I need festivals with press. I need festivals that are legitimate and above board, but also small enough where I'm gonna be competitive. And then I wanted to actually meet distributors. And I know they only go to big festivals, so I actually had to target three different kinds of festivals.‘cause I had three, let's call ‘em conflicting goals with my own film. So that's what I did. I did a split strategy. I targeted festivals where I was gonna be this tiny little fish in a very big pond. And no one's really gonna notice me, but I'm just happy to be there. I targeted festivals where I know that I was going to get very good press and very good reviews on the film.And I targeted festivals that were small, still legitimate, but I was gonna be competitive and maybe bring home some trophies. And so that was my strategy and it worked, and I landed a distribution deal.BEN: That's so great. I, I'd love to do a part two at some point we can talk distribution deals and all of the, yeah.Things like that. But I think for people listening, the big takeaway is even with this multi-pronged goal, three different goals connected to each other. Once you identify what your goals are, then you work backwards and you create your strategy to Yes, to achieve those. Okay. Back to the two in the weeds.Two more in the weeds questions. Yeah. So description, and as I'm looking at other film descriptions, and I saw this at USC all the time as well, and we talked about earlier, filmmakers wanting to sit in emotion or sit in something traumatic and have the audience experience that I notice a lot of times in descriptions of short films.Can so and so come to terms with this? Can, and just as someone who has a little bit of experience marketing stories, where's the action? What's the active what's this person actively trying to accomplish, rather than can they just come to terms with something? Can you talk a little bit about film description, just three or four lines.What pops?RUDI: So just like your poster, just like your marketing and everything, a film description is your way to reach through the screen, grab the audience, grab the programmer, and pull them into your movie. Keep in mind, your whole entire goal is to get people to watch your film, get them excited about your film.And so if you just have a very drab, like description that's just yeah, has to face consequences for a decision they made or come to terms with something when I, that's a good V one, that's a good place to start, but that's not going to get an audience excited about your film.I saw film, I don't know if it was at my festival. It wasn't at my festival. We didn't screen it, but I'm saying, I don't know if it was submitted to my festival or if I saw it at another festival, but I remember one of the descriptions it was great. It was whatever the two character names were, John and Jane, I forget what the characters are, but like John and Jane are on a date, there's a bomb in the other room.I I hope the date goes well, or something like that. Let's hope the date goes well. And I'm like, what is this movie? That gets you really excited for it. You're. It, it creates so much mystery. And also just the cavalier way that it was written immediately tells me this is gonna be a comedy, or it's not taking itself too seriously.It's not some like gritty, dive into the underworld or whatever. Like just how blunt it was about the dis of the film and just that like small little description. I know I'm paraphrasing what it was, but it stuck with me for years at this point. ‘cause I'm like, that is how you write a description for a film.That is how you get someone excited to see what is this movie about? Let's jump in. Piggybacking off a description. Titles are another great way to do that. In, in my own repertoire of films I've had film called Prudence. Okay, fine, whatever. Prudence doesn't really tell you much about that film.I had a film that I'm very proud of. It's artsy, it's a little bit magical realism and it's called in this gray place, and it has that artsy mystique around it in this gray place. And I love that title. I did it, I did a film back in film school. It's terrible, but the title's great.It's called Back to Fort Russell. It was a Western and I, to this day, it's one of my favorite titles that I've ever had. But it tells you something. It clues you into what this film is going to be, what the journey of this movie is going to be. And some films do that better than others. And some films, yeah, it's not necessary.But I, I get more excited when I hear something like the Texas Chainsaw Massacre than I do something that's just like love. Or mom or something.BEN: I think this is the last question. So again, with all these little details, cover letter, talk to me about cover letters.RUDI: It's so interesting you asked me that question ‘cause hearing about four or five days, I'm posting a video on the YouTube channel about cover letters. It's short, it's only four or five minutes long, but cover letters are so important.Should absolutely write a cover letter. And a couple of days ago I was talking with programmers at dances with films, and if you don't know dances with films, look ‘em up. They are an incredible film festival. They are in the big leagues for sure. And I was talking with a couple of programmers and I asked them about covert letters and they said, it's so important it.How the filmmaker is going to put an audience in the theater is very important for their festival. How they're going to get people to attend is very important for them and they're like, a good indication in a cover letter is when they, the filmmaker indicates how they're going to market their film and they use the example of football.Let's say it's a movie about football. They're like, if it's a movie about football and you tell me in the cover letter that you're part of several like football organizations, or you're gonna be reaching out to sports organizations or youth organizations for sports or something like that, to attend the film.That's a very good indication for them in the cover letter. For me, I think a cover letter is very important in that it shows. You're going the extra mile to show the festival you care. You're not just submit and quit. We're not just one festival on a list of 50 that you're submitting to. There is a reason you want to screen with us, and that's a specific reason.Either you feel that your film is good fit for our audience, or there's something that you want to connect with. In Wyoming, I had one cover letter and we did accept this film and it was really funny. They put in their cover letter like their film was a comedy, so their cover letter was also very comedic, but they're like, honestly, we're just gonna go up to Yellowstone around that time and we would love to swing by and show the movie.And I laughed. I laughed so hard at that and I'm like. But that shows me they care. Like they want to be there. And the film was good and it was funny and we screamed it and they were there. So it's a way to show a film festival enthusiasm and it's way to inform the festival about yourself, about your film, and how that's gonna gel with their particular event and their audience.BEN: I love it. And that reminds me, I got one more, I got a bonus question. Yeah. Can you talk about applying early?RUDI: Yes. Statistically, when I look at our own data, statistically, it does seem to be that the earlier you apply, the better chance that you have. And so I don't want to give the impression that if you applied late.You have no chance. I think in the video where I literally broke down the data and the statistics, I think at our festival we had a one in five chance of getting in on the late deadline, which is about a 20% acceptance rate. But it was much higher the earlier it came in. So just with the raw data taking out my opinions, my emotions on it, whatever, just the data itself shows earlier is better.Now, here's where my opinions and my feelings towards it come from. I think it's a couple of things. One, when you get in early, you set the pace for the rest of the festival, you're telling us, okay, it's a drama. We're gonna compare your film against others. Like you have now become the benchmark that we're gonna compare other films to when it comes to like dramas or whatever.What it also does. It's something I'm going to discuss in my video and cover letters, but it also engages something, what's called mere exposure effect in psychology, which is essentially the more that you are exposed to something, the more preference you have towards it. Which means if you get in early, you are exposing yourself, your film, and your story to the programmers more often and more readily than late submissions are.So it's more likely that the programmers form some attachment to your film, and that's just human nature, that's just psychology. There's some practical reasons for it as well. Obviously, earlier submissions, earlier deadlines are cheaper, so it's better to get in. It's just gonna cost you less money to do and then lastly, there are many festivals that are developing their program as they go. So as films are coming in, they're shaping. We got a ton of dramas. Maybe we need two drama blocks, or, we, we don't have enough sci-fi for a sci-fi blocks, we gotta spread it out or whatever. So if you come in late, you're now trying to elbow some other film out of the way in order to find your screening slot.Which don't get me wrong, there are plenty of programmers that are absolutely gonna go to bat for you. They're gonna fight hard to get you in. Doesn't matter if you come in early or late or whatever, but the chances are just better. And the data shows that if you get in early. All that said, a couple of years ago, the very last film that came in with only two hours left in our deadline, we ended up programming it.So it, it is possible.BEN: Rudi, I cannot thank you enough. I can't tell you how helpful this has been. There's so much great information for filmmakers. Filmmakers submitted to festivals, people just interested in going to festivals. So thank you so much for taking the time.RUDI: Hey it's always a pleasure.I always love talking film festivals and for any filmmakers out there, head on over to YouTube hit up the Film Festival Guide. That's my YouTube page. I'm coming out with videos every two or three weeks. That's about what I put ‘em out there for. So if you need any guidance or any, I don't know, insight for film festivals that's where I am.BEN: Film Festival Guide. I'm a subscriber. I can't recommend it enough. Any other social media where people can find you?RUDI: Oh no, I'm terrible on social media. YouTube's enough for me right now.BEN: So Film Fest.RUDI: I will probably expand in the future and I'll probably make some announcement on the YouTube channel.Got it. But for right now, I'm just trying to get good information out there to as many filmmakers as possible.BEN: Thank you so much for doing that. It's such a huge benefit for film.RUDI: Thank you very much for the support and thank you very much for having me on. I enjoyed this. This was a lot of fun.BEN: Me too. This was great. Thank you. And that was my interview with Rudy Womack, director of the Wyoming International Film Festival and creator of the great YouTube page, the Film Festival Guide. Hope you enjoyed this episode. If you did, please forward it to one person. Thank you and have a great day. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit benbo.substack.com

United on the ice. This special event which aims to foster inclusion and resilience through sport, brings Slovak and Ukrainian children together on the ice to train with professional hockey players. The is organized by the Canadian, Swedish, Norwegian, Finnish and Ukrainian embassies in Slovakia along with the Banska Bystrica Self-governing region, former NHLer Michal Handzus and his hockey school and the civic initiative Sme Spolu (We Are Together). Ben Pascoe visited to find out more about this special event.

The FC crew react to Germany's dominant win over Slovakia and explain why Florian Wirtz looks so much better with Germany compared to his club team Liverpool. Plus, the guys react to Erling Haaland's comments following Norway's 4-1 win over Italy. Mario Melchiot also breaks down how he feels about the Netherlands' chances to win the World Cup after the Dutch qualified for the tournament. Learn more about your ad choices. Visit podcastchoices.com/adchoices

A new law setting a 6km/h speed limit for cyclists, skaters, scooter and e-scooter riders on pavements in Slovakia has received parliamentary approval. The new measure aimed at improving safety means pavement users who exceed the limit could be fined up to 100 euros.Just how problematic are cyclists who cycle on pavements? Should we do the same? Joining Ciara to discuss this is Columnist with the Irish Independent and daily cyclist, Liam Collins.

November 17 marks one of the most significant moments in modern Slovak and Czech history. In November 1989, people across Czechoslovakia took to the streets with hope and courage, ringing their keys in a symbolic call for change – and won their freedom. Thirty-six years after the fall of the totalitarian communist regime, our programme takes listeners back in time to revisit the atmosphere of the Velvet Revolution. Through archival recordings and interviews, we hear the voices of key figures of November '89 – such as Milan Kňažko and Fedor Gál – along with reflections and insights from participants and experts, among them student activist Zuzana Mistríková, historian Peter Jašek (Nation's Memory Institute), political scientist Juraj Marušiak (Slovak Academy of Sciences), and sociologist Václav Hrích, among others.

Sunday with RSI, music, greetings and a good mood.

Week in Slovakia

Week in Slovakia

John Murray, Ali Bruce-Ball & Conor McNamara talk football, travel & language after Cristiano Ronaldo sees red as Republic of Ireland beat Portugal, and England beat Serbia. What about the ‘mind-altering' shoes some of the England players are wearing? There's a European theme to Clash of the Commentators. And suggestions always welcome for our Great Glossary of Football Commentary and unintended pub names from football commentary - WhatsApp voicenotes to 08000 289 369 & emails to TCV@bbc.co.uk00:40 Conor fresh from Ireland-Portugal 04:40 Takeaways from England-Serbia 06:05 Mind-altering shoes & commentary attire 16:05 5 Live commentaries this weekend 18:00 John prepares for trip to Albania 24:55 Unintended (and intended) pub names 33:15 Clash of the Commentators 41:45 Great Glossary of Football Commentary 52:55 Magazine memories5 Live / BBC Sounds Premier League commentaries: Fri 1945 Slovakia v Northern Ireland on Sports Extra, Sat 1330 Man City v Man Utd in WSL on Sports Extra, Sat 1700 Liechtenstein v Wales on Sports Extra, Sat 1945 Greece v Scotland on 5 Live, Sun 1200 Liverpool v Chelsea in WSL on Sports Extra, Sun 1200 Brighton v Leicester in WSL on Sports Extra 2, Sun 1430 Tottenham v Arsenal in WSL on 5 Live, Sun 1700 Albania v England on 5 Live, Mon 1945 Northern Ireland v Luxembourg on Sports Extra, Tue 1945 Scotland v Denmark on 5 Live, Tue 1945 Wales v North Macedonia on Sports Extra, Wed 2000 Arsenal v Real Madrid in UWCL on 5 Live, Thu 2000 Chelsea v Barcelona in UWCL on 5 Live.Glossary so far (in alphabetical order):DIVISION ONE Bosman, Cruyff Turn, Dead-ball specialist, Fox in the box, Giving the goalkeeper the eyes, Head tennis, Hibs it, In a good moment, Leading the line The Maradona, Olimpico, Onion bag, Panenka, Rabona, Scorpion kick, Spursy, Tiki-taka, Where the kookaburra sleeps, Where the owl sleeps, Where the spiders sleep.DIVISION TWO Ball stays hit, Business end, Came down with snow on it, Cauldron atmosphere Coat is on a shoogly peg, Come back to haunt them, Easy tap-in, Daisycutter, First cab off the rank, Has that in his locker, High wide and not very handsome, Howler, One for the cameras, One for the purists, Played us off the park, Purple patch, Put their laces through it, Rolls Royce, Root and branch review, Row Z, Seats on the plane, Show across the bows, Stramash, Taking one for the team, That's great… (football), Thunderous strike.UNSORTED 2-0 is a dangerous score, After you Claude, All-Premier League affair, Aplomb, Bag/box of tricks, Brace, Brandished, Bread and butter, Breaking the deadlock, Bundled over the line, Champions elect / champions apparent, Clinical finish, Commentator's curse, Coupon buster, Cultured/Educated left foot, Denied by the woodwork, Draught excluder, Elimination line, Fellow countryman, Foot race, Formerly of this parish, Free hit, Goalkeepers' Union, Goalmouth scramble, Good touch for a big man, Honeymoon Period, In and around, In the shop window, Keeping ball under their spell, Keystone Cops defending, Languishing, Loitering with intent, Marching orders, Nestle in the bottom corner, Numbered derbies, Nutmeg, Opposite number, Park the bus, PK for penalty-kick, Postage stamp, Put it in the mixer, Rasping shot, Red wine not white wine, Relegation six-pointer, Rooted at the bottom, Route One, Roy of the Rovers stuff, Sending the goalkeeper the wrong way, Shooting boots, Sleeping giants, Slide rule pass, Small matter of, Spiders web, Stayed hit, Steepling, Stinging the palms, Stonewall penalty, Straight off the training ground, Taking one for the team, Team that likes to play football, Throw their cap on it, Thruppenny bit head / 50p head, Towering header, Two good feet, Turning into a basketball match, Turning into a cricket score, Usher/Shepherd the ball out of play, Walking a disciplinary tightrope, Wand of a left foot, We've got a cup tie on our hands, Winger in their pocket, Wrap foot around it, Your De Bruynes, your Gundogans etc.

VOV1 - Bốn quốc gia là Ba Lan, Hungary, Slovakia và Cộng hòa Séc sẽ thể hiện động thái cứng rắn về vấn đề hạn ngạch di cư của Liên minh châu Âu (EU). Các nước này tuyên bố sẽ không tiếp nhận thêm người di cư cũng như không bồi thường tài chính cho những người từ chối.

Andy Bell hosts Dave Dunning and Stewart Cherry to talk through Northern Ireland's mixed Friday night, where they fell 1-0 to Slovakia but guaranteed themselves a World Cup playoff.

Although the topic of Roma education has resonated in debates for many years, little attention is paid to the key actors in education – teachers. in this episode we are going to take a closer look at the conditions and struggles the teachers have to face in the marginalized communities in Slovakia and last but not least, their well-being as the SAV project tells us. We are going to be talking to the representatives from Centre of Social and Psychological Sciences in Košice who conducted the project and the director of desegregated elementary school Alma in Zvolen.

Throughout history, humankind has turned its gaze towards the heavens in search of mystery. Yet time and again, it is beneath the ground where the most enduring enigmas are found. Across every continent lie tales of ancient tunnels, lost chambers, and sealed structures that predate all known civilisation. One such story emerged from the mountains of wartime Slovakia, where a wounded soldier claimed to have uncovered something buried deep within the earth, its surface smooth as glass, hard as diamond, and impossible to explain. MUSIC  Tracks used by kind permission of Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 Tracks used by kind permission of CO.AG Learn more about your ad choices. Visit megaphone.fm/adchoices

Dychovka music is a traditional genre that has been played for centuries throughout Slovakia. In this episode, we explore the variety of styles of dychovka through through the Na Plny Dych festival in Moravske Lieskove. There, members of the band Drietomanka (a regional favorite with a rich history) talk about the origins of Slovak dychovka and show how dynamic modern dychovka can be. As well, we speak with scholar Benjamin Graf from the University of North Texas about the university's dychovka program and about their newly formed dychovka band. Mr. Graf also talks about meeting Czech dychovka musicians who showed him the musical connections between Czechia, Slovakia, and Texas.

Today's episode is about living costs in Slovakia. In the Slovak lesson, you will learn a few new words from today's topic. You will also learn how to ask “What are the typical expenses? “ in Slovak. At the end of this episode, you can find my overview of typical expenses for residents in Slovakia.Episode notesIn today's episode, I'm talking about living costs in Slovakia. In the Slovak lesson, you will learn a few new words from today's topic. You will also learn how to ask “What are the typical expenses? “ in Slovak. At the end of this episode, you can find my overview of typical expenses for residents in Slovakia.Slovak lesson1.   výdavky (expenses)2.   obyvateľ (resident)3.   náklady na život (cost of living)4.   životný štýl (lifestyle)5.   ubytovanie (accommodation)6.   nájomné (rent)7.   energie (utilities)8.   elektrina (electricity)9.   kúrenie (heating)10. chladenie (cooling)11. voda (water)12. odpad (waste)13. potraviny (groceries)14. doprava (transportation)15. verejná doprava (public transport)16. benzín (gasoline)17. Aké sú typické výdavky? (What are the typical expenses?)Typical expenses for residents in Slovakia:1. Ubytovanie • Nájomné (jednoizbový byt v centre mesta): 400–700 USD mesačne • Nájomné (jednoizbový byt mimo centra): 300–500 USD mesačne • Poplatky za energie (elektrina, kúrenie, chladenie, voda, odvoz odpadu): 150–250 USD mesačne • Internet: 20–30 USD mesačne2. Potraviny a stravovanie • Mesačné potraviny (na osobu): 150–250 USD • Jedlo v lacnejšej reštaurácii: 6–10 USD • Trojchodové menu pre dvoch v reštaurácii strednej triedy: 30–50 USD3. Doprava • Mesačný lístok na verejnú dopravu: 30–40 USD • Taxi (za míľu): 1–2 USD • Benzín (za galón): 5–6 USD4. Ostatné výdavky • Členstvo vo fitnes klube: 30–50 USD mesačne • Vstupenka do kina: 7–10 USD • Súkromná starostlivosť o dieťa (mesačne): 300–500 USDZhrnutiePriemerne môže jednotlivec očakávať mesačné výdavky v rozmedzí od 800 do 1 200 USD na pohodlný život na Slovensku, bez započítania nájomného. Páry a rodiny budú potrebovať viac, v závislosti od svojich potrieb a životného štýlu. Náklady bývajú vyššie vo väčších mestách, ako je Bratislava, a nižšie v menších mestách a obciach. Timestamps00:33 Introduction to the episode02:27 About living costs in Slovakia07:23 Fun fact 107:39 Fun fact 210:26 Slovak lesson16:04 Typical expenses in US dollars in Slovak18:48 Typical expenses in US dollars in English21:04 Final thoughtsIf you have any questions, send it to my email hello@bozenasslovak.com. Check my Instagram https://www.instagram.com/bozenasslovak/ where I am posting the pictures of what I am talking about on my podcast. Also, check my website https://www.bozenasslovak.com © All copywrites reserved to Bozena Ondova Hilko LLC

Oliver's monologue on a Wednesday.

November in Bratislava is very busy. Two important long time events are the International Women's Club of Bratislava's Charity Bazaar and the Slovak Queer film festival. Ben Pascoe sat down with the organizers of these events to find out more about them.

Bloc d'actualités. Rubrique Ako sa mâche?, A propos du programme Junior Ranger Slovakia

The EU has been working on a plan to use frozen Russian state assets to help keep Ukraine afloat. Since Russia's invasion in 2022, around €185 billion in Russian assets have been immobilised in Europe, most of them sitting at Euroclear, a huge securities depository based in Belgium. But, why is the EU's plan to use these frozen assets hitting a wall?Join us on our journey through the events that shape the European continent and the European Union.Production: By Europod, in co production with Sphera Network.Follow us on:LinkedInInstagram Hosted on Acast. See acast.com/privacy for more information.

Andy Bell hosts Ben Harshaw and Stewart Cherry to preview the upcoming November internationals.

Artistic swimmers are known for making perfect synchronicity look effortless. Datshiane Navanaygam talks to athletes from Spain and Slovakia to reveal why the sport is far tougher than it appears. Silvia Solymosyová from Slovakia was the first artistic swimmer to reach 1 million followers on social media after videos of her dancing underwater went viral . She is a multiple World Championships finalist and double European Championships medallist in the sport. Silvia used to compete in the mixed duet with her brother and was inspired by her mother, who was also a professional artistic swimmer. Emma Garcia is a Spanish artistic swimmer who currently Vice Chairs the Athlete Committee for European Aquatic. Part of her role involves supporting the mental health of European artistic swimmers and increasing the number of boys and men competing. She is the winner of over 30 medals for the sport.Produced by Emily Naylor

Acclaimed international Jazz vocalist Lori Williams has a most impressive resume as a performing artist, veteran music educator, songwriter, producer, musical theater actress, radio host, business owner/founder (PositiveMusicPM.org), and artist-in-residence with over 30 years of experience. Her annual vocal jazz tour and performance at music festivals have taken her to Europe (Austria, Germany, Slovakia, Slovenia, Russia, Switzerland, Italy, Czech Republic, and Ukraine), Japan,  The Caribbean (including Barbados, British Virgin Islands, Curaçao, St. Lucia, Turks and Caicos, et. al), Mexico, and across the United States (performing at venues and festivals like The Atlanta Jazz Festivals, Berks Jazz Festival, The Birchmere, Birdland - Hamburg, Blues Alley, Blue Note Hawaii, Capital Jazz Fest/Cruise, City Winery, Disney's Pleasure Island, Gulf Coast Summer Jazz Festival, JazzFestBRNO, JazzHRAM, Jazzkeller - Esslingen, Jazzland - Vienna, The Kennedy Center, Keystone Korner, Mid-Atlantic Jazz Festival, Myrtle Beach Jazz Festival, Rams Head Live, Rehoboth Beach Jazz Festival, Riviera Maya Jazz Festival, Scullers Jazz, Spivey Hall, Trieste Loves Jazz, and more). Her vocal jazz artist residencies have allowed her to work with and mentor students on college campuses in the USA and abroad. As a veteran vocal music educator and private vocal coach, Lori's received many honors for her contributions to the arts, including The 2025 South Arts Jazz Road Award, The Atlanta Chapter of the National Hampton Alumni Association's 2023 Excellence in Arts and Entertainment Award, Outstanding Music Teacher in the October 2000 issue of Teaching Music, the 2007 Superintendent's Arts Teacher of the Year, and the 2010 Vincent E. Reed Teacher of the Year. Lori was nominated for a 2014 Helen Hayes Award as an Outstanding Lead Actress in a Resident Musical for her role as Ella Fitzgerald. Lori has received letters of recognition for her performances by President Joseph Biden (wherein he wrote that Lori Williams has "the voice of an angel…absolutely amazing"), Speaker of the House John Boehner, and Senator C. Anthony Muse.  Immersed in traditional jazz from an early age (earning a B.A. in Mass Media Arts from Hampton University, attending the Jazz Studies Program at The University of the District of Columbia, and currently working on her Master's degree in Music - Jazz Studies at Georgia State University), Lori Williams hosts a weekly radio program on JazzRadioWETF.org -  "Collector's Choice With Lori Williams". Her weekly broadcast highlights women in jazz, the international scene and young performers dedicated to the roots and traditions of the music. Lori is also the producer and host of Sunday Jazz Lounge at St. James Live! jazz club in Atlanta, Georgia (stjamesliveatl.com). For over three decades, Lori Williams has had the honor of working with many notable artists as lead / background / studio session / guest vocalist including Oleta Adams, Marcus Adams, Yolanda Adams, Nikita Agafonov, David Archuleta, Marcos Ariel, Rob Bargad, Regina Belle, Eric Benet, The Blackbyrds, Michael Bowie, Willie Bradley, Karen Briggs, Norman Brown, Tom Browne, Peabo Bryson, Chuck Brown, Wayne Bruce, Jerry Butler, Jonathan Butler, Paul Carr, Terri Lyne Carrington, TC Carson, Gene Chandler, Renato Chicco, Stanley Clarke, Nick Colionne, Collaboration, Michael Colyar, Adrian Crutchfield, John Davis, John Di Martino, Will Downing, Joris Dudli, George Duke, Nathan East, Rodney M. Edge, Troy Sol Edler, Kevon Edmonds (After 7), Herb Fame, Jorel "JFLY" Flynn (HBIYD), Derrick Gardner, James Genus, Jazmin Ghent,  Tres Gilbert, Savion Glover, Chelsey Green, Slide Hampton, Winard Harper, Christian Havel, Walter Hawkins, Norbert Heger, Howard Hewett, Dr. W. Weldon Hill, Tony Hightower, Corcoran Holt, William Hubbard, Daryl Hunt, Yoron Israel, Jessy J, Al Johnson and The A-Team, Allyn Johnson (Divine Order), Marcus Johnson, Stanley Jordan, Jackiem Joyner, Michael Keul, Kindred the Family Soul, Ben E. King, James King, Anatoliy Kirnichnyy, Antoine Knight, Yishai Knoll, Saltman Knowles Group, Ignat Kravtsov, Rayshun LaMarr, Lavahi, Evgeny Lebedev, Alex Malheiros (Azymuth), Jimmy Masters, Maysa, Daniel McClain (After 7), Frank McComb, Marion Meadows, Najee, Jimmy Masters, Nathan Mitchell, Ed Neumeister, Marat Nikolaev, Milan Nikolic, Julia Nixon, Daniel Nösig, Antonio Parker, Phil Perry, Robert E. Person, Anne Phillips, Benjie Porecki, Lloyd Price, Chuck Redd, Robert Redd, Althea Rene, Anton Revnyuk, Lenny Robinson, Gino Rosaria, Ellie Saitoh and The Love Tambourines, Erwin Schmidt, Sylver Logan Sharp, Avery Sharpe, Art Sherrod, Oli Silk, Brian Simpson, Dick Smith, John Toomey, Tony Terry, Unit 3 Deep, Gerald Veasley, Chris Walker, Kevin Walker, Kim Waters, Doug Weiss, Anthony Wellington, Matthew Whitaker, Roz White, Bernhard Wiesinger (Poysdorf All-Stars), Vesta Williams, Larry M. Wilson,  Angela Winbush, Sherry Winston, David Ylvisaker, Frederic Yonnet, et.al.  Lori Williams is the proud mother of two exceptionally talented and compassionate remarkable young adults — Lauren V. Highsmith (LAVAHI.me) and Yusef Khalil Chisholm - who inspire her daily with their creativity, passion, and accomplishments. She is also a member of Delta Sigma Theta Sorority, Inc., Sigma Alpha Iota International Music Fraternity, and the Recording Academy.

It's my birthday!

བོད་ཀྱི་བརྙན་འཕྲིན་གྱི་ཉིན་རེའི་གསར་འགྱུར། ༢༠༢༥།༡༡།༡༠

My Story   Talk 31   Life after Mattersey (1) Welcome to Talk 31 in our series where I'm reflecting on God's goodness to me throughout my life. In this talk I shall begin to talk about our life and ministry after we left Mattersey. I'll explain why I decided to retire from Mattersey when I did and why we moved to Devon. I'll describe my continuing involvement with Mattersey for a further 12 years and conclude by outlining our wider ministry in Europe.   Why I decided to retire when I did In 2004 both Eileen and I had reached the age of 65. As was customary for women at that time, Eileen had retired as Matron of the College five years previously and I had told the Lord that, unless he clearly showed me that I was to stay on, I would retire as Principal when I was 65. First and foremost, we both wanted only to do what the Lord wanted and as we prayed about it became convinced that the time was right for our departure.   Our decision was based on several facts. The Lord had not given us any indication that I should stay on, and he had clearly shown me that the man who would be appointed as my successor would be the man of his choosing. And, as I mentioned in an earlier talk, I had already discussed the matter with other leaders who had agreed with me that the timing was right.   It was not as if my relationship with Mattersey was at an end. I was not retiring from Mattersey. I was retiring as its Principal.  Increasing requests for my ministry overseas had meant that a decision had to be made. I could not do justice to my role as Principal and accept so many invitations to minister elsewhere. But that did not mean that I could not continue to teach in the College as a visiting lecturer, and, at the kind invitation of successive principals, I continued to do so for another 12 years.   Why we moved to Devon Of course we had always known that we would have to move because the house we were living in belonged to the College and would be needed by my successor. And we knew that we would have to move immediately. That's why we were considering our options two or three years beforehand.   Colin Whittaker had written to me encouraging me to move right away from Mattersey and Eileen and I both felt that this would be wise. For one thing, the new principal would almost certainly want to make some changes and it would be easier both for him and us if we were not living close by and being asked by our friends in the local church if we approved! Apart from that, our first consideration, wherever we moved, was to be sure that there was a good local AoG church within easy reach where we could become members. Of course, there were plenty of places like that all over the country, so why did we choose Devon? One option might be to move near to one of our children, but as they were all serving the Lord in different parts of the country and might move on at any time, that might not be the wisest course of action.   So we felt it would be better both for them and for us if we were to move to a part of the country where the grandchildren would enjoy coming for their holidays. And we could think of no better place than Devon. I had been there on holiday as a teenager, and it was there that I had felt God calling me to the ministry. We knew that there were three AoG churches in Torbay, one in Torquay, one in Paignton, and one in Brixham, where Bob Hyde, one of our former students, was the full-time pastor and leader of the ministry team.  Bob had invited me down to minister on at least two occasions and we were very happy with the way the church was structured and with the spiritual atmosphere in the meetings.   Neither of the other churches had invited us to minister and so we knew very little about them, so we started to seriously consider fellowshipping with the Brixham assembly if we were able to afford to move into the Torbay area. I phoned Bob and asked if he would be happy about this, explaining that I was not looking for any position in the church and that my ministry would be further afield.   For two or three years we had been looking at property prices in the area and, as it was not convenient to make regular 600 mile round trips to view properties as they came on the market, decided on a new property that was to be built in Paignton. We were able to view one just like it and choose a plot where another was to be built – a four-bedroom house with spectacular views over open countryside and the sea, the nearest beach being only a ten-minute drive away.   We decided very quickly that this would be the house for us and, because of God's wonderful provision, were able to buy it in 2003 and move in immediately after we retired from Mattersey in July 2004. We spent ten very happy years there until we felt the Lord prompting us to move into Brixham to be nearer to the church in 2013, more of which later. Meanwhile I continued to teach at Mattersey and expand our travelling ministry overseas.   Continuing Ministry at Mattersey It was always a great joy to revisit Mattersey each year to teach various M.Th. courses, specialising on The Baptism in the Holy Spirit, Spiritual Gifts, and Divine Healing. Each time we stayed with our friends, William and Anthea Kay who were still living close to Mattersey and enjoyed renewed fellowship with them.   It was on one such occasion, in September 2005, that Eileen was involved in a serious accident. I was teaching a combined class of students in the College chapel when I was surprised to see Dr Dave Allen come in at the back. He walked quietly forward and approached me on the platform. Then he whispered to me,   You need to go. Eileen is all right, but she's been involved in an accident. I'll take over here. They'll tell you more in the office.   The accident had happened less than a mile outside Mattersey on the Retford Road. Someone, I don't remember who, drove me there immediately and the first thing I saw was a fire engine and an ambulance. I was so glad that Dave Allen had already told me that Eileen was all right, or I would almost certainly have feared the worst. I later discovered a voice-mail message on my phone, which had been switched onto silent while I was lecturing. It was Eileen saying,   David, I've been in an accident. You need to come. I can't breathe…   … and her voice petered out. I'm so grateful that I didn't receive that message until after I knew she was all right. It was the airbag that had saved her, but the pressure of it was causing the difficulty in her breathing.   The accident was not Eileen's fault. She was driving into Retford to do some shopping when another car coming in the opposite direction overtook a cyclist on a blind bend and crashed head-on into Eileen. As both cars were probably travelling at 50 m.p.h., the full force of the impact would have been about 100 m.p.h. Both cars were a write-off and the other driver was told that she would probably never walk again as a result of the injuries she suffered. Eileen escaped with two cracked ribs from which she recovered relatively quickly.   Our insurance company provided a courtesy car for us and a few days later we drove home to Devon after I had finished the series of lectures I had been giving. Fortunately, we had enough money to buy a replacement vehicle without waiting for the insurance settlement to come through, as less than a week later I was committed to teach an MA course at the Continental Theological Seminary in Brussels. We were both so grateful for the loving care of Trude and Sylve, twin sisters from our church in Brixham who looked after Eileen during my absence. I have always been amazed at Eileen's patience and fortitude in situations like this and the courage she displayed in face of adversity. I have already mentioned this when speaking about the accident which prevented her from travelling with me to Burkina Faso. But these qualities became even more evident in later life about which I will say more in a later talk.    A Wider Ministry Apart from my continuing input at Mattersey in the years that followed our departure to Devon in 2004, much of my ministry involved teaching in Bible Colleges and speaking at National Conferences overseas. Invitations came from former students and because of contacts through EPTA, PEF, and the PWF. Eileen was usually able to accompany me and between 2005 and 2012 I ministered in churches, colleges and conferences in Belgium, Ethiopia, Finland, France, Germany, Ghana, India, Ireland, Luxembourg, Madeira, Netherlands, Nigeria, Poland, Portugal, Réunion, Slovakia, South Africa, Sweden, and Ukraine. In this talk we'll just be referring to countries in Europe.   Some of these places I visited only once, while others, like Finland and Belgium, were countries where I taught in their Bible colleges annually. The subject was almost invariably connected with the work of the Holy Spirit – his person and work, the baptism in the Spirit, spiritual gifts, and healing. Of particular importance was the time I spent with pastors and national leaders sharing with them on how to encourage spiritual gifts in the local church.   Places I visited only once during these years were Sweden (05), Ukraine (06), Poland (07), and Slovakia (08). Eileen accompanied me on the trips to Sweden, for a week's teaching in Kristinehamn, and Slovakia, for an EPTA conference in the vicinity of Bratislava. I travelled unaccompanied to Poland to teach for a week in the Warsaw Theological Seminary and preach in the local Pentecostal church.   But when I visited Ukraine I was part of a three-man team from our church in Brixham.  As it was my first (and only) visit, Bob Hyde and Mark Goodyear, both of whom had been before, let me do most of the teaching. In all the churches we visited the subject they asked me to speak on was spiritual gifts. There, as is sadly the case in so many places elsewhere, there is very little teaching on this important subject, so when the opportunity was given in each church, at the end of the meeting the people flocked forward for prayer.   Visits I made to Ireland (06, 07, 08) were mainly in connection with my new role as a member of the Board of Governors of the Irish AoG Bible College in Greystones, a seaside village a few miles south of Dublin, where Daniel Caldwell, a former Mattersey student was now the Principal and where several other Mattersey graduates like Roy Leith and Sandy Tutty were now involved . I also had the privilege of preaching at their graduation service in September 07.   Eileen and I had often visited our friends John and Ann Leese in Luxembourg as we were en route for our holidays in France or Germany and were always grateful for their hospitality. And in 2006 I was asked to be the guest speaker at their church's weekend retreat held in Arlon in nearby Belgium. It was always a joy to renew fellowship with our friends from that wonderful church. I also preached there in September 2012 after teaching at CTS in Brussels and before driving on for a week's teaching in churches in the Paris area of France.   Over a period of about 20 years we regularly went to France for our holidays and I would often end up preaching in one of the ADD (AoG) churches there. I don't have detailed dates for these occasions, but I remember preaching in Auch, Bordeaux, Clermont Ferrand, Metz, Mourrenx, Toulouse, and Versailles, sometimes with less than 24 hours notice! But perhaps the most interesting part of France we ever visited was the Ile de la Réunion.  To which I will return next time.   The countries I visited most frequently were Germany (3x), Portugal (4x), Belgium (8x), and Finland (11x). With the exception of Germany, this was because I was annually teaching in their Bible Colleges. Having said that, in 2009 I did teach for a week at Kniebis in the Black Forest at the European Theological Seminary, a beautiful college belonging to the Church of God, where the EPTA conference was to be held the following week.   And in 2007, after attending a PEF related conference in Oslo, Norway, we flew to Germany to conduct seminars at the national pastors' conference of the BFP (Bund Freikirchlicher Pfingstgemeinden), the nearest equivalent to the AoG in Germany. It was also in Oslo that I bumped into Werner Fraas, the president of the Volksmission group of German churches and was invited to conduct a tour of their churches in southern Germany in 2008. Eileen always remembered this well as we slept in a least ten different beds during the course of two weeks' ministry there before driving on to the EPTA conference in Slovakia.   I first visited Portugal in 1982 for an EPTA conference, but it was many years later that I had the opportunity to teach in their Bible College and preach in their churches. Harry Osland was an American missionary who, at the time, was director of the Portuguese Bible College in Fanhoes near Lisbon. It so happened that in 2006 he was in an MA class I was teaching in Belgium at the Continental Theological Seminary and he asked me if I would be willing to come to teach in Portugal.   So for three years (07, 08, and 09) I spent a week or so in Portugal, teaching in their college and preaching in their churches. Harry not only organised the itinerary for me but also arranged for several of my books to be translated into Portuguese. He and his wife Beth became good friends and Eileen and I really appreciated their kindness and hospitality.   Another contact I had with Portugal was Reginaldo Azevedo de Melo, a Brazilian brother based in Portugal who came to Mattersey as one of our students. With the cooperation of Pastor Luis Reis, who knew me through PEF, after he graduated Reginaldo arranged an itinerary for me preaching in several churches.   Our trips the Portugal gave us a taste for Portuguese cuisine, something we also experienced in Madeira, a Portuguese overseas territory, and popular holiday destination because of its pleasant climate all the year round. We first went there in 2008 courtesy of our friends William and Anthea Kay who let us use their lovely time-share apartment. This inspired us to get our own time-share and we returned for three weeks in 2010 when I was asked to preach in the small AoG church in Funchal, about which I shall say more later.   My ministry in Belgium was due first to my work with the International Correspondence Institute, which I referred to in an earlier talk, and secondly, to my contact with CTS, the Continental Theological Seminary, through fellowship with friends in EPTA. Roland and Judy Dudley, American AoG missionaries, had led the Portuguese Bible College back in the eighties and had moved on to Sint-Pieters-Leeuw near Brussels to head up CTS. At Roland's invitation I taught on the Baptism in the Holy Spirit, Spiritual Gifts, and Divine Healing on their MA programme for eight consecutive years (2005-2012). I was often asked to preach in their chapel services when we saw many students receive the baptism in the Spirit. Eileen and I were housed in one of the well-equipped apartments in the college.   We always enjoyed our visits to Belgium and took the opportunity to admire the wonderful architecture in cities like Brussels and Ghent as well as preaching in churches there. And every year we were at CTS made sure that we made a visit to the outlet store of a nearby chocolate factory and bring back plenty in time for Christmas!   And finally Finland, a country we visited even more often that Belgium. Apart from my contact with Teuvo Valkama that I mentioned in an earlier talk, it was friends I met at PEF and EPTA meetings who were the main instigators of our visits to that beautiful country. I first met Arto Hamalainnen at the ICCOWE conference in Brighton in June 1991 but later got to know him much better as we both served on the PEF Presidium, he as secretary and I as vice-chairman. Arto was the Missions Director for the Finnish Pentecostal Churches and was responsible for recommending me for my first visit to Ethiopia in 2005 and my visit to India in 2010, about which I will say more next time.   But it was Pasi Parkkila, the Director of the Finnish Bible College, who was responsible for most of our visits to Finland. I first met Pasi at an EPTA conference – I don't remember which, possibly at CTS in 02 or in Nantwich in 04 – but he asked me if I would be willing to teach on their MA programme at Iso Kirja, which incidentally means The Great Book – what a name for a Bible College! So, apart from 2010 when I was too unwell to go, I taught at Iso Kirja the same subjects as I was teaching at CTS every year from 2005 to 2012. But apart from teaching at Iso Kirja I also visited Finland for the EPTA conference in 06 and was the guest speaker at their National Pastors' Conference both in 08 and 09.   Eileen invariably travelled with me on our visits to Iso Kirja when most years we were accommodated in a comfortable log cabin overlooking a beautiful lake.  Tuula, Pasi's wife, a primary school teacher, kindly loaned us her car throughout our visits which gave us a measure of independence while we were there enabling us to drive into the nearest town, Keuruu, or to Jyväskylä a larger town a little further away.   We were also able to visit a number of churches during our trips, including one at Seinäjoki where outstanding miracles of healing were regularly taking place in their meetings. From the reports I was hearing I could hardly imagine that there was anyone in the church left with a problem, but after my preaching some fifty or sixty people came forward for prayer, all expecting to be personally prayed for. And as we had to communicate through an interpreter this inevitable took twice as long as usual. An hour and a half after the end of the meeting I laid hands on the last person and was feeling in need of prayer myself. I was extremely tired and hungry but felt I had learnt a lesson – even when miracles are happening there will always be people in need of prayer.   Perhaps the final thing to say about Finland is that at the request of Aikamedia, the Finnish Publishing Department, at least four of my books have been published in Finnish. I am encouraged that my teaching in Finland still goes on even though I have not been there in person since 2012.   The Lord had certainly extended the scope of my ministry and confirmed that it was right for us to leave Mattersey when we did.   Next time we'll talk about our trips to Reunion, Africa and India.

We take a look back at the week's headlines and some of our best stories from the past week.

On Tuesday, 4 November, it was 20 years since the death of Comenius University student Daniel Tupý, who was killed in Bratislava in an attack by a group of people described by eyewitnesses as neo-Nazis. Daniel was targeted simply because of his long hair, glasses, and guitar. The guitar has now become the central motif of a new statue commissioned by Comenius University, unveiled during a commemorative event on 4 November 2025. Discussing the inspiration behind this artwork are its designer, Milan Stanco, Daniel's father, Daniel Tupý Sr., and a university lecturer in music history. In remembrance of the innocent victim, Martina Greňová Šimkovičová also revisits her 2019 interview with Teodor Kuhn, director of the film By a Sharp Knife, which was inspired by the murder case. At the end of the show, tips for Slovak culture in and beyond Slovakia such as a public reading in Vienna of the debut novel by Nicol Hochholzerová, which has already been translated into eleven languages.

An unsuspecting family hosts Earth's first Martian visitor… only to discover he's been locked in their upstairs bathroom for hours. Curiosity turns into panic as they wonder what—exactly—he's doing in there. What's He Doing in There? By Fritz Leiber. That's next on The Lost Sci-Fi Podcast.A warm welcome to our newest newsletter subscribers—Mark in Amsterdam, Ellen in Scotland, Emily in England, Kamil in Slovakia, Tony in California, and Ed in Cleveland! We're glad you're here. Every issue brings you free vintage sci-fi, no ads, plus plenty of extras. We'd love to hear what you think—drop us a note anytime at scott@lostscifi.com. You'll find a link to subscribe in the episode description and at the very top of LostSciFi.com. Newsletter - https://lostscifi.com/free/More 5 star love on Apple Podcasts (US)! This one comes from Zippoflask, who writes:“A bright light amid the dark miasma of today's narrated fiction. After searching for a good wholesome and imaginative starring narration, it is wonderful to come upon the beacon that is Scott Miller's voice and story contributions. I hope he will continue to do this for a long, long time. And I wish both he and his family the best of health!”Thank you, Zippoflask—your review made our day.And now a question for all of you: what would happen if the tens of thousands of listeners who enjoy the show every week took a moment to leave a review on Apple Podcasts, Spotify, or wherever you listen? We're pretty sure it would launch Lost Sci-Fi straight to the moon… maybe even past the stars.During his lifetime, Fritz Leiber produced an astonishing range of unforgettable science fiction—brilliant, bold, and always a step ahead of his peers. You don't earn six Hugo Awards, three Nebulas, two World Fantasy Awards, two British Fantasy Awards, a shelf of additional honors, and the prestigious SFWA Grand Master title unless you consistently deliver greatness.But Leiber also had a playful side, and some of his most enjoyable work comes from those lighter, offbeat tales. Imagine cracking open the December 1957 issue of Galaxy Science Fiction, flipping to page 69, and suddenly finding yourself in the middle of a very unusual family dilemma. What would you do if you were in their shoes?What's He Doing in There? By Fritz Leiber…Next on The Lost Sci-Fi Podcast, Two men cross into a mysterious fourth-dimensional world in search of a rare element that could save their own civilization — or destroy another. But the moment they arrive, they discover they are not the only ones with a hidden agenda… and not everyone plans to return alive. Shadow World by Ray Cummings. Facebook - https://www.facebook.com/TheLostSciFiPodcast❤️ ❤️ Thanks to All Our Listeners Who Bought Us a Coffee$200 Someone$100 Tony from the Future$75 James Van Maanenberg$50 MizzBassie, Anonymous Listener$25 Someone, Eaten by a Grue, Jeff Lussenden, Fred Sieber, Anne, Craig Hamilton, Dave Wiseman, Bromite Thrip, Marwin de Haan, Future Space Engineer, Fressie, Kevin Eckert, Stephen Kagan, James Van Maanenberg, Irma Stolfo, Josh Jennings, Leber8tr, Conrad Chaffee, Anonymous Listener$15 Every Month Someone$15 Someone, Carolyn Guthleben, Patrick McLendon, Curious Jon, Buz C., Fressie, Anonymous Listener$10 Anonymous Listener$5 Every Month Eaten by a Grue$5 Denis Kalinin, Timothy Buckley, Andre'a, Martin Brown, Ron McFarlan, Tif Love, Chrystene, Richard Hoffman, Anonymous ListenerPlease participate in our podcast survey https://podcastsurvey.typeform.com/to/gNLcxQlk Hosted on Acast. See acast.com/privacy for more information.

Hello again! I'll be back soon with more podcast episodes, but I had the immense honor of delivering an address at the annual Hanus Days conference in Bratislava, Slovakia. If you'd like to see the video, you can find that here. If you'd like to listen to it, you can check my podcast feed. I also had an interesting conversation with an interviewer from a local Catholic newspaper that you may enjoy. If you'd like to read this online, head to creedal.substack.com!

Kelly Foster Lundquist explores the secrets of her first marriage, how she found the courage to love again, and what it took to share her story with readers. A teacher of writing at North Hennepin Community College in Brooklyn Park, MN. Lundquist is originally from Mississippi and has taught writing all over the United States (Boston, Chicago, Mississippi, Seattle, California, etc), as well as in Slovakia and Scotland. Her poetry and nonfiction can be seen in many places, including Villain Era Lit, Last Syllable Lit, Whale Road Review, and Image Journal. Her work has been nominated for a 2024 Best of the Net Award as well as a Pushcart Prize. She is the recipient of grants from the Minnesota State Arts Board as well as the Central Minnesota Arts Board. She lives in a little red house in Minnesota with her spouse and daughter. Today, we'll talk about her memoir: Beard: A Memoir of a Marriage. Learn more at kellyfosterlundquist.com Special thanks to Net Galley for advance copies. For information about the nonprofit receiving a portion of the profits made off Beard, visit: pfundfoundation.orgIntro reel, Writing Table Podcast 2024 Outro RecordingFollow the Writing Table: @writingtablepodcastEmail questions or tell us who you'd like us to invite to the Writing Table: writingtablepodcast@gmail.com.

Irish Theatre in Bratislava – The Irish community, in cooperation with the Irish Embassy, is preparing a theatre performance of Moll by Irish playwright John B. Keane. We spoke about the upcoming performance with John Fagan, an Irishman living in Slovakia and a former professional actor who is organizing the event. Later in the program we will discuss Zvuky demokracie (Sounds of Democracy) – an international, multi-genre, months-long festival that will launch on the occasion of November 17 and continue throughout the next year, marking the days when EU countries commemorate the importance of democracy and the struggle for freedom.

Wine Talks was invited to meet the Pope....well, at least by the language in the invitation, it sounded like we were going to meet the Pope. It turns out that the word "private audience" meant with 6294 other private invitees. Lol, it was an honor just to be there. Wine Talks took a detour out of Rome to the now-famed wine region of Puglia.  Home of Primitivo, Negroamaro, and Fiano, the area of Puglia has a rich Italian history on its own. As the trip was put together on short notice, I searched through my database of Puglian wines tasted and found the wines of A MANO as wines I enjoyed. In the meantime, I reached out to Vahe Keushguerian for some advice on who to contact for a podcast; after all, his famed winemaking career started in Puglia. He mentioned Mark Shannon of A Mano wines...how about that for a serendipitous connection?  I put out a quick email to Mark, and he graciously accepted...and offered to bring in a "traditional" Puglian lunch for our group.  Mark Shannon may call himself "just a student of winemaking," but after you hear his journey, you'll realize he's more of a wine whisperer—an alchemist who turns curiosity and grit into liquid art. Pour yourself a glass, because in this episode you'll travel from the bustling streets of Toronto and the sun-drenched vineyards of California, all the way to an ancient town in Puglia, Italy, where Mark Shannon has spent nearly three decades revolutionizing the region's wines. You'll discover how he ditched a potential career in medicine for the fermentative fascination of grapes, and how, propelled by his mother's wisdom to "work at something you really want to do," he has woven innovation through tradition. Journey me and Mark Shannon as they break down the science, art, and sheer perseverance it takes to make world-class wine in a place once known as Europe's bulk wine cellar. You'll learn about the true identity of Primitivo, the surprising origins it shares with California's Zinfandel, how post-communist Slovakia and Texas played into Mark's winding path, and why he chooses soil health and vineyard wisdom over trend-chasing packaging fads. They'll dig into the sociocultural shifts rocking the global wine market, dissect the mythos (and madness) of biodynamics, and debate what makes a wine truly reflect its terroir—even as climate, culture, and commerce threaten to pull it apart. By the end, you won't just know how great wine is made—you'll understand why people still obsess over it, why the right bottle at the right table can mean everything, and why Mark Shannon wouldn't trade his hard-earned slice of Puglia for anything in the world. Amano Wines (also referred to as a Mano or Amano): https://www.amanowine.com This is the winery founded by Mark Shannon, and much of the conversation centers around it. Bogle Vineyards (mentioned by Mark Shannon as a place he worked): https://www.boglewinery.com Fess Parker Winery (another winery Mark Shannon helped build): https://www.fessparker.com   #WineTalks #Puglia #ItalyWine #MarkShannon #AdamCarolla #AmanoWines #Primitivo #NegroAmaro #Falanghina #BiodynamicWine #VineyardLife #WineMaking #Terroir #WinePodcast #EuropeanWine #GlobalWine #WineCulture #WineTasting #Sustainability #WineEducation  

Ben Pascoe talks with sociologist and founder of the IVO (Institute for Public Affairs) Zora Bútorová about the state of Slovakia today. They discuss what is going right in Slovakia today, the biggest challenges the country and society face as well as some tips about how to better enjoy Slovakia today.

Liberties, a network of civil liberties organisations across the EU, has released its 2025 Gap Analysis, reviewing the Commission's Rule of Law cycle. The report examined over 500 recommendations issued to Member States since 2022, case studies on Italy and Slovakia, and a dedicated review of media freedom.The findings point to a system that is stalling. So, if this is the case how do we protect democracy in Europe now?Join us on our journey through the events that shape the European continent and the European Union.Production: By Europod, in co production with Sphera Network.Follow us on:LinkedInInstagram Hosted on Acast. See acast.com/privacy for more information.

Riley O'Bill is in a horrible mood :: Pine Tree Riot flag banned, called "racist" :: Of Course You Do, You're 12 Theory :: Does Trump want to conquer Venezuela? :: Welfare has become a lifestyle :: Speeding camera task force defeating the purpose of speeding cameras :: What is "deja vu" to you? :: Do you have a right to food? :: Becoming libertarian for practical purposes :: Zohran Mamdani and the fear of what his policies may do :: In US we have cronyism, not capitalism :: Slovakia implements a speed limit for pedestrians :: Chocolate bars cutting down on the amount of chocolate in the bars :: 2025-11-02 Hosts: Bonnie, Riley, Rich E Rich

Democracy, rule of law, and human rights — the core values of the Council of Europe reach far beyond Strasbourg. In this episode of Slovakia Today, Oľga Algayerová, Ambassador at the Permanent Mission of Slovakia to the Council of Europe in Strasbourg, explains the Council's mission, the work of Slovakia's Permanent Mission, and how Slovakia contributes to Europe's shared commitment to these fundamental principles. As always, the programme concludes with a new edition of our language corner — Slovak Sound Check.

RSI takes a look back at the past week in Slovakia. Today we focus on All Saint's Day.

Day 1,346.Today, as Ukrainian forces hang on in Pokrovsk, we discuss more reports coming out of the city of Russian troops fighting in civilian clothes – a clear war crime. Plus, we hear about Ukraine's latest long range strikes inside Russia and look at a worrying message from the International Atomic Energy Agency that accuses Moscow of targeting three of Ukraine's nuclear power plants. Later, we hear how a Ukrainian opera lost for 250 years premiered earlier this month in Chernivtsi, accompanied by the sound of air alerts.Contributors:Dominic Nicholls (Associate Editor of Defence). @DomNicholls on X.Adélie Pojzman-Pontay (Journalist and Producer). @adeliepjzon X.With thanks to Nataliya Lukyanova and James ButterwickSIGN UP TO THE NEW ‘UKRAINE: THE LATEST' WEEKLY NEWSLETTER:https://secure.telegraph.co.uk/customer/secure/newsletter/ukraine/ Each week, Dom Nicholls and Francis Dearnley answer your questions, provide recommended reading, and give exclusive analysis and behind-the-scenes insights – plus maps of the frontlines and diagrams of weapons to complement our daily reporting. It's free for everyone, including non-subscribers.CONTENT REFERENCED:Russian soldiers disguised in civilian clothes infiltrating front-line city (The Telegraph):https://www.telegraph.co.uk/world-news/2025/08/13/russian-soldiers-disguised-civilian-clothing-infiltrating/Poland, Hungary and Slovakia defy Brussels as Ukraine trade deal takes effect (POLITICO)https://www.politico.eu/article/poland-hungary-and-slovakia-defy-brussels-as-ukraine-trade-deal-takes-effect/Trump-Vladimir Putin Budapest summit axed following Moscow memo (Financial Times):https://www.ft.com/content/d6655fb1-31af-4da8-85f7-085a8fc00969Hungary's foot-dragging on Russian oil crashes into realityhttps://www.politico.eu/article/hungary-foot-dragging-russian-oil-crashes-reality-croatia-sanction/ LISTEN TO THIS PODCAST IN NEW LANGUAGES:The Telegraph has launched translated versions of Ukraine: The Latest in Ukrainian and Russian, making its reporting accessible to audiences on both sides of the battle lines and across the wider region, including Central Asia and the Caucasus. Just search Україна: Останні Новини (Ukr) and Украина: Последние Новости (Ru) on your on your preferred podcast app to find them. Listen here: https://linktr.ee/ukrainethelatestSubscribe: telegraph.co.uk/ukrainethelatestEmail: ukrainepod@telegraph.co.uk Hosted on Acast. See acast.com/privacy for more information.

The authenticity of the final self-portrait by Paul Gauguin, made in 1903 and housed in the Kunstmuseum in Basel, was earlier this year called into question. Now, the museum has completed its promised analysis, and confirmed that the painting is not a fake and is by Gauguin. Ben Luke talks to The Art Newspaper's special correspondent, Martin Bailey, about the saga. In recent years, the late Indian sculptor Mrinalini Mukherjee has come to increasing prominence. Now, a show at the Royal Academy of Arts in London, called A Story of South Asian Art: Mrinalini Mukherjee and Her Circle, explores her work in the context of six other artists including her parents, Leela Mukherjee and Benode Behari Mukherjee. The exhibition's curator, Tarini Malik, tells Ben more. And this episode's Work of the Week is Character Head No.25 by Franz Xaver Messerschmidt, the 18th-century sculptor who was born in Germany, and lived in modern-day Austria and Slovakia. The bust features in the exhibition Franz Xaver Messerschmidt: More than Character Heads, at the Belvedere in Vienna, and we talk to the exhibition's curators, Katharina Lovecky and Georg Lechner, about the work.New subscription offer: eight-week free digital trial of The Art Newspaper. Cancel anytime. The subscription auto-renews at full price for your region. www.theartnewspaper.com/subscriptions-8WEEKSOFFERA Story of South Asian Art: Mrinalini Mukherjee and Her Circle, Royal Academy of Arts, London, 31 October-24 February 2026.Franz Xaver Messerschmidt: More Than Character Heads, Belvedere, Vienna, 31 October-6 April 2026. Hosted on Acast. See acast.com/privacy for more information.

Slovakia introduces speed limits for pedestrians on sidewalks. Woman arrested for smoking a crack pipe while on oxygen at the hospital. 80 year old cruise ship passenger died after being left on a remote island called Lizard Island. // Weird AF News is the only daily weird news podcast in the world. Weird news 5 days/week and on Friday it's only Floridaman. SUPPORT by joining the Weird AF News Patreon http://patreon.com/weirdafnews - OR buy Jonesy a coffee at http://buymeacoffee.com/funnyjones Buy MERCH: https://weirdafnews.merchmake.com/ - Check out the official website https://WeirdAFnews.com and FOLLOW host Jonesy at http://instagram.com/funnyjones - wants Jonesy to come perform standup comedy in your city? Fill out the form: https://docs.google.com/forms/d/e/1FAIpQLSfvYbm8Wgz3Oc2KSDg0-C6EtSlx369bvi7xdUpx_7UNGA_fIw/viewform

As many tourists and foreign residents have discovered, Slovakia is much more than its charming capital, Bratislava. From villages adorned with mysterious folk symbols to castles perched above deep valleys and trails leading into the rocky heights of Slovakia's many majestic mountains, the country is full of hidden gems. For those curious to explore beyond Slovakia's well-known destinations, we present our travel series called Country Roads. In this second episode, we journey to Muránska Planina National Park in central Slovakia. Here, we uncover the unique flora, fauna, and geology that make this relatively new national park so special. We also delve into the region's fascinating history and culture—once known as “the iron heart of Hungary.” Along the way, you'll get practical travel tips, discover how Slovak literature can enrich your trip, and even learn how feeding a ground squirrel might just make your adventure unforgettable. (REPEAT)

Kelly Foster Lundquist joins Let's Talk Memoir for a conversation about falling in love with creative nonfiction, believing our story is worth sharing, contemplating how to tell it without hurting someone else, shifting from writing academically to personally, taking 20 years to complete a memoir, leaning into and trusting the particularity of our story, learning to stop explaining in our manuscripts, trying different structural approaches, the pattern hungry brain, incorporating culture, history, and research, when writing feels redemptive, liberating, and affirming, and her new memoir Beard: A Memoir of a Marriage.   Also in this episode: -gratitude -conversion therapy -when a story feels too sacred   Books mentioned in this episode: -The Argonauts by Maggie Nelston -The Art of Memoir by Mary Karr -Seven Drafts: Self-Edit Like a Pro from Blank Page to Books by Allison K. Williams -Craft in the Real World: Rethinking Fiction Writing and Workshopping by Matthew Salessas   Kelly Foster Lundquist teaches writing at North Hennepin Community College in Brooklyn Park, MN. Originally from Mississippi, Lundquist has taught writing all over the United States (Boston, Chicago, Mississippi, Seattle, California, etc), as well as in Slovakia and Scotland. Her poetry and nonfiction can be seen in many places, including Villain Era Lit, Last Syllable Lit, Whale Road Review, and Image Journal. Her work has been nominated for a 2024 Best of the Net Award as well as a Pushcart Prize. She is the recipient of grants from the Minnesota State Arts Board as well as the Central Minnesota Arts Board. Her book Beard: A Memoir of a Marriage (Eerdmans) will debut in October 2025. She lives in a little red house in Minnesota with her spouse and daughter.  Connect with Kelly: Instagram: https://www.instagram.com/kellyfosterlundquist Facebook: https://www.facebook.com/share/1EgWxeL94v/?mibextid=wwXIfr Website: https://www.kellyfosterlundquist.com/ Book: https://bookshop.org/p/books/beard-a-memoir-of-a-marriage-kelly-foster-lundquist/22424165?ean=9780802884732&next=t   – Ronit's writing has appeared in The Atlantic, The Rumpus, The New York Times, Poets & Writers, The Iowa Review, Hippocampus, The Washington Post, Writer's Digest, American Literary Review, and elsewhere. Her memoir WHEN SHE COMES BACK about the loss of her mother to the guru Bhagwan Shree Rajneesh and their eventual reconciliation was named Finalist in the 2021 Housatonic Awards Awards, the 2021 Indie Excellence Awards, and was a 2021 Book Riot Best True Crime Book. Her short story collection HOME IS A MADE-UP PLACE won Hidden River Arts' 2020 Eludia Award and the 2023 Page Turner Awards for Short Stories.  She earned an MFA in Nonfiction Writing at Pacific University, is Creative Nonfiction Editor at The Citron Review, and teaches memoir through the University of Washington's Online Continuum Program and also independently. She launched Let's Talk Memoir in 2022, lives in Seattle with her family of people and dogs, and is at work on her next book. More about Ronit: https://ronitplank.com Subscribe to Ronit's Substack: https://substack.com/@ronitplank   Follow Ronit: https://www.instagram.com/ronitplank/ https://www.facebook.com/RonitPlank https://bsky.app/profile/ronitplank.bsky.social   Background photo credit: Photo by Patrick Tomasso on Unsplash Headshot photo credit: Sarah Anne Photography Theme music: Isaac Joel, Dead Moll's Fingers