Podcasts about Slovenia

Part 1 - In this episode of Legends of the Brand, host Phil Gordon sits down with Luka Grilc, General Manager of the Alpine Business Unit at Nordica and Tecnica Group, to explore the human side of one of skiing's most iconic brands. From his early days snowboarding and racing in Slovenia to leading global teams across Nordica, Blizzard, Tecnica, and more, Luka shares the journey, mindset, and emotion behind creating products that define the skiing experience.Discover how Nordica continues to evolve after 85 years — balancing heritage and innovation, honoring its racing roots while leading new design trends like the hands-free HF ski boot, and fostering a global community of passionate skiers known as “Nordicans.”This conversation dives deep into:The emotional connection skiers have with Nordica productsThe origin of the “Nordican” philosophy and what it really meansHow the HF boot redefined comfort and performance for modern skiersThe balance between brand legacy and innovation in a fast-changing industryLuka's reflections on leadership, teamwork, and keeping passion alive in businessWhether you're a ski enthusiast, industry insider, or simply someone inspired by brand storytelling and innovation, this episode offers a rare inside look at how one of skiing's most respected leaders is shaping the future of the sport, without losing sight of what truly matters: passion, people, and powder days.Find out more about Nordica at www.Nordica.com Get your next pair of Nordica Skis or Boots from great UK retailers like:Hike and Ride (www.HikeAndRide.co.uk)Ellis Brigham (www.ellis-brigham.com)Naski (www.naskisports.co.uk)

Il 18 novembre il presidente statunitense Donald Trump ha ricevuto alla Casa Bianca il principe ereditario saudita Mohammed bin Salman. Con Lorenzo Trombetta, giornalista.Il parlamento sloveno ha approvato a larga maggioranza una legge voluta dal governo che aumenta i poteri della polizia in aree definite “ad alto rischio”, accusata di essere repressiva e discriminatoria nei confronti della comunità rom. Con Luka Lisjak Gabrijelčič, storico e giornalista sloveno.Oggi parliamo anche di:Musica • Wednesday dei BleedsCi piacerebbe sapere cosa pensi di questo episodio. Scrivici a podcast@internazionale.it Se ascolti questo podcast e ti piace, abbonati a Internazionale. È un modo concreto per sostenerci e per aiutarci a garantire ogni giorno un'informazione di qualità. Vai su internazionale.it/abbonatiConsulenza editoriale di Chiara NielsenProduzione di Claudio Balboni e Vincenzo De SimoneMusiche di Tommaso Colliva e Raffaele ScognaDirezione creativa di Jonathan Zenti

Audio reporter Samantha Broun says young people are "full of life, complicated, passionate, confused, and they want to talk and want to be heard." That's why Sam offers them her curiosity and her caring ear for her project "Small True Things."  Rob spoke to Sam in October for Sound School on the mainstage at the annual Audio Festival in Ljubljana, Slovenia. 

 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

Sam Baldwin tells John Ross about some ingredients behind the success of his self-published memoir For Fukui's Sake: Two Years in Rural Japan (the subject of a previous chat between them on the Bookish Asia podcast). They touch on Sam's latest memoir, Dormice & Moonshine: Falling for Slovenia. But the heart of the conversation is some travel book recommendations – and Sam's new project: a review website dedicated to travelogues and travel memoirs: https://travelmemoir.reviewSam's Recommended books (in order of mention):Beyond the Sky and the Earth: A Journey into Bhutan (1999) by Jamie ZeppaSeven Years in Tibet by Heinrich Harrer (Eng. 1953)Pyongyang: A Journey in North Korea (2003) and Burma Chronicles (2007) by Guy DelisleTonoharu (parts 1-3, 2008-16) by Lars MartinsonRiver Town: Two Years on the Yangtze (2001) and Country Driving: A Journey from Farm to Factory (2010) by Peter HesslerLost Japan (1993) by Alex KerrThe Same Moon (2020) by Sarah Coomber The Books on Asia Podcast is co-produced with Plum Rain Press. Podcast host Amy Chavez is author of The Widow, the Priest, and the Octopus Hunter: Discovering a Lost Way of Life on a Secluded Japanese Island. and Amy's Guide to Best Behavior in Japan.The Books on Asia website posts book reviews, podcast episodes and episode Show Notes. Subscribe to the BOA podcast from your favorite podcast service. Subscribe to the Books on Asia newsletter to receive news of the latest new book releases, reviews and podcast episodes.

Dr. Al Grauer hosts. Dr. Albert D. Grauer ( @Nmcanopus ) is an observational asteroid hunting astronomer. Dr. Grauer retired from the University of Arkansas at Little Rock in 2006. travelersinthenight.org From August 2025. Today's 2 topics: - The Trappist-1 planetary system located about 40 light years away in the constellation of Aquarius consists of a small red dwarf star and 7 Earth sized planets. By carefully studying changes in the planet's transit timings and the shape of the dip in the host star's brightness as each planet transits across it, astronomers have been able to measure the orbital period, radius, and approximate mass for each of the 7 planets.   - Recently my Catalina Sky Survey teammate Richard Kowalski discovered 2017 MB1, a 0.4 mile diameter asteroid with the Catalina Sky Survey Schmidt telescope on Mt. Bigelow, AZ. Two hours and 11 minutes later it came into a set images I obtained with the 60 inch telescope on Mt. Lemmon, AZ. After I reported it, the new object was tracked by telescopes in Arizona, New Zealand, Slovenia, Kansas, Australia, Hungary, France, and Brazil.   We've added a new way to donate to 365 Days of Astronomy to support editing, hosting, and production costs.  Just visit: https://www.patreon.com/365DaysOfAstronomy and donate as much as you can! Share the podcast with your friends and send the Patreon link to them too!  Every bit helps! Thank you! ------------------------------------ Do go visit http://www.redbubble.com/people/CosmoQuestX/shop for cool Astronomy Cast and CosmoQuest t-shirts, coffee mugs and other awesomeness! http://cosmoquest.org/Donate This show is made possible through your donations.  Thank you! (Haven't donated? It's not too late! Just click!) ------------------------------------ The 365 Days of Astronomy Podcast is produced by the Planetary Science Institute. http://www.psi.edu Visit us on the web at 365DaysOfAstronomy.org or email us at info@365DaysOfAstronomy.org.

This episode of Talk Eastern Europe, Adam and Alexandra begin with a roundup of key regional developments including Russia's renewed strikes on Ukraine's energy infrastructure and a major corruption scandal involving the state nuclear operator Energoatom. They also discuss Viktor Orbán's trip to Washington and touch on shifting dynamics in the South Caucasus.In the main interview, Alexandra speaks with Slovenian journalist Uroš Škerl Kramberger from Ostro about a recent tragic incident that has shaken Slovenia and reignited public debate over policing, minority rights, and Roma inclusion. Together, they explore the political response, the rise ofpopulist rhetoric ahead of next year's elections, and what this says about Slovenia's broader democratic trajectory.Help us reach our goal of 70 Patrons by the end of 2025! Join our community here:www.patreon.com/talkeasterneurope

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.

Struggle to believe your work is good enough? Yeh. Me too. We all do. Ever wonder what it takes to write in a language that isn't your first—and still sound like you?In this episode, I sit down with writer and book coach Karmen Spiljak to talk about what it really means to write without borders. Karmen shares her journey from Slovenia to indie publishing in English, and the mindset shifts that helped her move past perfectionism, comparison, and imposter syndrome to find joy and freedom on the page.We talk about giving yourself permission, learning to trust your gut as a writer, embracing the messy drafts that lead to growth, and practical ways to keep your creative fire alive—like writing a letter to yourself about why you write and keeping a “Nice Things” folder for those encouraging words we all need to revisit sometimes.If you've ever doubted your voice or wrestled with the question, “Am I good enough?”—this conversation will remind you that progress matters more than perfection, and writing what you love is always worth it!Timestamps: 00:00 Starting the Journey: Writing Without Borders14:59 Challenges of Writing in English15:42 Mindset Shifts and Comparisons18:49 Overcoming Imposter Syndrome21:26 Writing for Yourself and Reconnecting with Joy24:31 Tools and Resources for Writers28:40 Final Thoughts and AdviceHow to Connect with KarmenShort Story Blueprint (I've created it for the podcast listeners): https://storyallegiance.com/short/ author website https://karmenspiljak.comOther Links Mentioned:Karmen has also published articles on Jane Friedman's blog, including how to use food as a character development tool and how to navigate writing in a second language.Have a comment or idea about the show? Send me a direct text! Love to hear from you.Support the show To become a supporter of the show, click here!To get in touch with Stacy: Email: Stacy@writeitscared.co https://www.writeitscared.co/wis https://www.instagram.com/writeitscared/ Take advantage of these Free Resources From Write It Scared: Download Your Free Novel Planning and Drafting Quick Start Guide Download Your Free Guide to Remove Creative Blocks and Work Through Fears

In Ukraine, the constant threat of Russian attacks has led to the closure of the Kyiv to Kramatorsk train; US president Donald Trump has threatened to send the military to Nigeria to protect Christians there; and over 30 years after independence, Slovenia still has challenges balancing its linguistic culture with the rights of other ethnicities.

Today we find out about SkiWelt Wilder Kaiser-Brixental in Tirol, plus we look at a new women only ski touring to Iceland We also have snow reports from the opening day of the season in Verbier and Sunshine Valley – the first ski resort to open in Canada. ---------  Tirol in Austria sponsors The Ski Podcast, which means that this winter we'll be able to find out more about some of the great destinations in Tirol, and how you can connect with ‘Lebensgefühl' - the wonderful ‘feeling of life' you can find there. --------- SHOW NOTES Nickie Mabey is founder of Mabey Ski (1:45) Rob Rees reported on Slovenia in Episode 207 (3:00) Listen to Episode 186 for tips on autumn skiing in Austria (5:45) Robin Shah reported from Verbier (6:00) Check out Xavier De La Rue's Insta from opening weekend (7:45) Kendra Scurfield reported from Sunshine Valley in Canada (8:20) In Episode 219, Laax was strongly linked as possible acquisition by Vail Resorts (11:00) Laax has now bought its own lifts as defensive measure (11:15) Where is SkiWelt Wilder Kaiser-Brixental (12:15) How to get to SkiWelt (12:30) It's easy to travel to by train – there is a Nightjet package (13:00) There are 275km pistes and over 80 lifts (14:00) Ski resorts in the SkiWelt include Brixen im Thale, Ellmau, Going, Hopfgarten, Itter, Scheffau, Söll and Westendorf The SkiWelt region was created in 1977 (14:45) You can ski the SkiWelt Tour circuit (15:45) Children up to the age of 15 get free lift tickets in low season (16:45) Another great idea is the Young Family Ski Pass SkiWelt uses 100% green electricity from hydro power (17:45) There are over 80 mountain huts in the SkiWelt (18:30) Austria's highest revolving restaurant is at the Hohe Salve (19:00) In Episode 256 Betony Garner told us about her all female ski touring trip to Tromso (22:00) Nickie's connection to skiing goes back to 1912 (22:30) She founded Mabey Ski in 2017 (25:00) Maybe Ski is putting on a women's only ski touring tripto Iceland (25:30) Sara Sigurdardottir is an Icelandair pilot (26:00) The Troll Peninsula (27:30) Iceland is famous for its geothermal pools (29:30) Feedback (31:45) You can leave a comment on Spotify, Instagram or Facebook – our handle is @theskipodcast – or drop me an email to theskipodcast@gmail.com. You can also also follow us on WhatsApp for exclusive material released ahead of the podcast. Immanuel John: “Loved the Innsbruck in Tirol episode” Matt Hayes: “Keep up the great work on the podcast”  Ster at Snowheads: “The Bladon Lines and Fiona Easdale episodes are some of the most interesting and engaging I have heard, but the ‘How to become a Ski Patroller' episode with Tom Greenall must be the best of the lot.” There are now 280 episodes of The Ski Podcast to catch up with. There is so much in our back catalogue - just go to theskipodcast.com, have a search around the tags and categories and you're bound to find something you'll find interesting about our wonderful world of skiing and snowboarding.  If you'd like to help the podcast, there are three things you can do:  -          you can follow us, or subscribe, so you never miss an episode -          you can give us a review on Apple Podcasts or leave a comment on Spotify -          if you're booking ski hire, you can save money on your ski hire with Intersport Ski Hire by using the code ‘SKIPODCAST' or simply take this link for your discount to be automatically applied

Sandra Petrignani"Carissimo Dottor Jung"Neri Pozza Editorewww.neripozza.itUn fiume da guardare alla finestra e un romanzo da scrivere è tutto ciò di cui Egle Corsani ha bisogno, da sempre. E ora, seduta nella veranda della sua nuova casa affacciata sul Tevere, è davvero pronta a tornare al libro che ha iniziato su Carl Gustav Jung. La scintilla è scoccata dopo essersi imbattuta nella figura tormentata e conturbante di Christiana Morgan, paziente di Jung degli anni Venti e sua seguace. Così immagina un ritorno di lei, trent'anni dopo la prima terapia, a Küsnacht, alla casa sulla sponda del lago di Zurigo che Jung stesso aveva costruito. Christiana vuole rivedere un'ultima volta l'uomo che aveva spento le sue paure, aiutandola a conoscersi e a perdonarsi. Lady Morgana, così la chiamava lui, lo trova come lo ha lasciato, la pipa fra i denti, lo sguardo arguto sopra gli occhiali cerchiati d'oro, solo la lieve curvatura delle spalle e il bastone a reggere il corpo ancora possente nonostante gli anni inesorabili. Perché, forse, ancora una volta, Jung saprà cambiare il suo destino. Come in uno specchio d'acqua, che culla e annega, che dà vita e la sottrae, Egle si guarda riflessa nelle pagine che si riempiono: nelle domande esistenziali, nella solitudine, negli aneliti di felicità di Christiana; nella pacata sicurezza, nel distacco partecipe di Carl. E in quel passo a due, la scrittrice trova una chiave per affrontare la sciagurata nostalgia per ciò che non ha più. Con il suo inconfondibile tocco narrativo, Sandra Petrignani mette in scena il folgorante incontro finale tra il padre della psicologia del profondo – contraddittorio, paterno, impavido e incosciente dietro il monumento edificato dalla fama – e la donna incurante delle convenzioni borghesi che ne avrebbe seguito le orme.L'aveva fatta sedere sul divanetto e aveva avvicinato la poltrona piegandosi verso di lei e prendendole le mani come una volta, l'immancabile anello copiato a Freud fra le dita invecchiate. Si era proteso verso di lei, mentre lei si protendeva verso di lui.Sandra Petrignani è nata a Piacenza. Ha lavorato al quotidiano «Il Messaggero», e poi al settimanale «Panorama». Tra i suoi numerosi libri: Navigazioni di Circe, La scrittrice abita qui, Dolorose considerazioni del cuore, Marguerite, Addio a Roma e La Corsara. Ritratto di Natalia Ginzburg, in cinquina al Premio Strega. I suoi libri sono stati tradotti in Francia, Germania, Inghilterra, Spagna, Giappone, Polonia, Svezia, Romania, Slovenia e Serbia. Vive a Roma, con lunghi soggiorni in una casa nella campagna umbra, non lontana da Amelia, zona d'origine del padre. Ha quattro cani.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

It's Engagement Month at FBCA, and the team goes deep on what “everyone to everywhere” actually looks like. Luke, Katy, and Dr. Wiles swap stories from Sunday's multi-language communion (Arabic, Spanish, English), celebrate a campus bursting with nations and flags, and spotlight the behind-the-scenes leaders who make global engagement tangible—like Sarah & Ryan Pursley (fresh back from 8 years in Slovenia).You'll hear how a $1,400 motorbike and a few goats can catalyze 15–20 churches in West Africa, why short-term trips change how you follow Jesus at home, and how FBCA is building polycentric partnerships (everyone…to everywhere). Dr. Wiles shares a moving encounter with Umaru, a Fulani church planter, and the crew previews a month full of ways to jump in—from local partner fairs to next year's trip lineup.Listen in as Luke Stehr, Katy Reed Hodges, and Dr. Dennis R. Wiles unpack FBCA's Engagement Month with moving stories and practical next steps for joining the “everyone to everywhere” mission.

Q&A Edition: Spaghettification, Neutron Stars, and the Mysteries of WormholesIn this mind-bending episode of Space Nuts, hosts Andrew Dunkley and Professor Jonti Horner tackle fascinating questions from listeners that delve into the depths of cosmic phenomena. From the peculiar concept of spaghettification to the nature of black holes and the theoretical existence of wormholes, this episode is a treasure trove of astronomical insights and engaging dialogue.Episode Highlights:- Understanding Spaghettification: Buddy from Oregon asks if spaghettification is real or merely an illusion. Andrew and Jonti break down the science behind this phenomenon, explaining how the immense gravitational forces near a black hole stretch objects into long, thin shapes, much like spaghetti.- Neutron Stars vs. Black Holes: Istok from Slovenia inquires about the density of neutron stars and what happens to matter inside black holes. The hosts explore the fascinating properties of neutron stars and the limits of our understanding regarding black holes and the nature of singularities.- Theoretical Wormholes: Foster from Norway poses a question about the parameters needed for wormholes to exist, inspired by the film Interstellar. Andrew and Jonti discuss the theoretical framework of wormholes, their implications for space travel, and the challenges of proving their existence.- Pre-Big Bang Theories: Rob's thought-provoking question leads to a discussion about singularities and the potential existence of black holes before the Big Bang. The hosts explore the philosophical implications of what may have existed before time and space as we know them.For more Space Nuts, including our continuously updating newsfeed and to listen to all our episodes, visit our website. Follow us on social media at SpaceNutsPod on Facebook, X, YouTube Music Music, Tumblr, Instagram, and TikTok. We love engaging with our community, so be sure to drop us a message or comment on your favorite platform.If you'd like to help support Space Nuts and join our growing family of insiders for commercial-free episodes and more, visit spacenutspodcast.com/about.Stay curious, keep looking up, and join us next time for more stellar insights and cosmic wonders. Until then, clear skies and happy stargazing.Become a supporter of this podcast: https://www.spreaker.com/podcast/space-nuts-astronomy-insights-cosmic-discoveries--2631155/support.

Send us a text and chime in!While always charming, over the 4th of July weekend our Prescott community enhances that vibe, heightened by the World's Oldest Rodeo® bringing the action, drama, and thrills found nowhere else. During rodeo week, the city's well-known hospitality is on display as it transforms into an open house for guests from around the world as well as those from the U.S. This year Prescott Frontier Days® welcomed people from 17 countries including Australia, Belgium, Canada, Denmark, France, Germany, Great Britain, Indonesia, Italy, Lithuania, Mexico, Norway, Poland, Spain, Slovenia, Switzerland, and the United Arab Emirates as well as from 46 states. Our... For the written story, read here >> https://www.signalsaz.com/articles/prescott-hosts-worlds-oldest-rodeo-with-record-attendance/Check out the CAST11.com Website at: https://CAST11.com Follow the CAST11 Podcast Network on Facebook at: https://Facebook.com/CAST11AZFollow Cast11 Instagram at: https://www.instagram.com/cast11_podcast_network

Lucy, Theo, Andrew, and Ben bring you: Two tales of the uncanny, an unclear link to a frozen turkey heist, a buried lede in the American police state, and a one-of-a-kind basketball court fostering unity. *** Outro: I Love You Mary Jane - Cypress Hill and Sonic Youth *** Support our show and get exclusive bonus episodes by subscribing on Patreon: www.patreon.com/BoontaVista *** Email the show at mailbag@boontavista.com! Call in and leave us a question or a message on 1800-317-515 to be answered on the show! *** Twitter: twitter.com/boontavista Website: boontavista.com Twitch: twitch.tv/boontavista

rWotD Episode 3103: Klavdij Palčič Welcome to random Wiki of the Day, your journey through Wikipedia's vast and varied content, one random article at a time.The random article for Saturday, 1 November 2025, is Klavdij Palčič.Klavdij Palčič (born 5 August 1940 in Trieste, Italy) is a painter, print artist. After graduating from the Secondary School of Science in Trieste, Palčič's plan was to study political sciences, but he changed his mind and entered the Venice School of Arts where he graduated in 1964.During the 1960s, Palčič was a member of the Trieste art group “Raccordosei-Arte viva” and taught art and art history classes at various Slovenian high schools in the area of Trieste and in Gorizia. During the 1970s he established and managed a print art studio in Trieste.Palčič's works appeared at every group exhibition prepared by “Raccordosei–Arte viva” as well as many International Exhibitions of Graphic Arts in Ljubljana, and, since 1967, in numerous anthological exhibitions by artists from the Friuli and Julian region.He has held several solo exhibitions and exhibited at over 150 group exhibitions in Slovenia, Italy, and other parts of the world.Palčič received numerous awards and prizes in Slovenia, Italy and many other countries.In 1984, the artist received the Prešeren Fund Award in the category of fine arts and scene design. Palčič works in the fields of painting, printing, book illustration, scene design and costume design. He has worked as a scenographer with theatres in Trieste, Ljubljana, Vienna and Venice.He lives and works in Trieste, Italy.This recording reflects the Wikipedia text as of 00:23 UTC on Saturday, 1 November 2025.For the full current version of the article, see Klavdij Palčič on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Bluesky at @wikioftheday.com.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm long-form Patrick.

What started as a nine-day motorcycle trip through Bosnia, Croatia and Slovenia took a sudden and serious turn. Riding the TET, Philipp Amann and his friends were well into their journey when one of the riders fell ill but insisted on continuing. When he made the decision to turn back, his friends chose to ride with him, unaware of how quickly his condition was deteriorating. It's a story about good intentions, missed signs, and the importance of recognizing when it's time to stop.

Childcare policy affects all of us at some point in our lives. And depending on where you live, your country's parental leave and early-education policies can determine everything from what you do for a living to how you divide household labor to how you plan for your future. Reporters Maja Stepančič and Uršula Zaletelj took a whirlwind trip across Europe to find out which country does childcare policy best. And even if you don't have kids of your own, we're pretty sure you'll enjoy taking the journey with them. Maja and Uršula are the hosts of the Slovenian-language parenting podcast Šala za starše, or ‘A Joke for Parents'. You can find their show here. This series was fully funded by you, our listeners. Our generous crowdfunders hit our goal within two months, making it possible for us to do extensive reporting fully independently. We couldn't be more grateful. If you're feeling inspired to support The Europeans' ongoing work, please go to patreon.com/europeanspodcast.  Want to support us in another way? Please share this episode with one or two friends who you think might find it interesting. It's the most effective way for us to reach people! Additional resources for this episode:  The Day Iceland Stood Still  UNICEF report on parental leave and family-friendly policies Zoe Williams' Guardian piece “‘These are not numbers – they are people': what ex-communist Slovenia can teach the world about child poverty” 00:00:43 Introducing Uršula Zaletelj and Maja Stepančič 00:05:52 How childcare made this episode about childcare possible 00:13:55 How Icelandic women went on strike and brought the entire country to a halt 00:17:25 A Swedish toddler trouble 00:21:52 Is it best to raise your child in the shadow of the Eiffel Tower? 00:28:26 The longest parental leave in Europe 00:34:54 Italy: La Famiglia Mulino Bianco 00:42:39 No place like home! Written, reported and produced by: Uršula Zaletelj and Maja Stepančič Additional production: Katz Laszlo Editors: Jasmin Baoumy, Katz Laszlo Editorial support: Dominic Kraemer, Katy Lee, Morgan Childs Sound design: Jesse Lou Lawson Mixing and mastering: Wojciech Oleksiak Music and SFX: Jim Barne, Epidemic, FreeSound.org Artwork: RTiiiKA With thanks to everyone that talked to us for this episode: Mathieu Lefèvre, Ana Marija Sikirić Simčic, Martina Pezer, Petra Klasić, Ivona Ivić Lovrenović, Mojca Dominikovič, Katarina Hovfing, Katy Lee, Stephanie Scherer, Dana Thompson, Richard Thompson, Madalina Ion, Corina Parvu, Alenka Švab, Katarina Bogataj, Carlotta Giordano, Giulia Milan, Letizia Mencarini, Maria Rosaria Gualano and Anne Wiebke Peters. And a final, heartfelt thanks to the wonderful professionals who looked after Uršula and Maja's children so they could work on this episode ❤️ YouTube | Bluesky | Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | Mastodon⁠⁠⁠⁠⁠⁠⁠⁠⁠ | hello@europeanspodcast.com

Experimentando y bailando por todos los continentes Experimenting and dancing across all continents Intrigantes y cautivantes experimentaciones sónicas alternan con piezas muy bailables y sones tropicales en esta edición mundófona que viaja por todos los continentes: Australia, Noruega, Finlandia, Perú, Brasil, Alemania, Senegal, La Reunión, Armenia y Eslovenia. Intriguing and captivating sonic experimentations alternate with very danceable pieces and tropical sounds in this Mundofonías edition that travels across all continents: Australia, Norway, Finland, Peru, Brazil, Germany, Senegal, La Réunion, Armenia and Slovenia. - Inger Hannisdal - Volver volver - To long, longing, I have longed for so long: Saltvannsanger / Saltwater songs - Piirpauke - Soitin pillillä - Lumo - Robbie Melville & Zoe Knighton - Spider - Music from the village square volume I - Melcochita & Karamanduka - Machupicchu - MAGníficos bailables [V.A.] - Los Kintos - Tin Marín - MAGníficos bailables [V.A.] - Orquestra Afro-Brasileira - Obaluayê (remix) [+ Rogê] - 80 anos: Tribute-remixes - Fabia Mantwill Orchestra - Circular [+ Momi Maiga] - In-sight - Saodaj - Fnjan - Lodèr la vi - Širom - Tiny dewdrop explosions crackling delightfully - In the wind of night, hard-fallen incantations whisper Saodaj (Iris Mardemoutou)

World news in 7 minutes. Thursday 30th October 2025Today : Ukraine crimes against humanity. France partial guilt. Slovenia resignations. Korea Trump Xi. Israel Gaza airstrikes. Sudan RSF attacks. Tanzania election protests. Haiti, Jamaica, Cuba Melissa. Brazil raid. US monkeys.SEND7 is supported by our amazing listeners like you.Our supporters get access to the transcripts and vocabulary list written by us every day.Our supporters get access to an English worksheet made by us once per week.Our supporters get access to our weekly news quiz made by us once per week.We give 10% of our profit to Effective Altruism charities. You can become a supporter at send7.org/supportContact us at podcast@send7.org or send an audio message at speakpipe.com/send7Please leave a rating on Apple podcasts or Spotify.We don't use AI! Every word is written and recorded by us!Since 2020, SEND7 (Simple English News Daily in 7 minutes) has been telling the most important world news stories in intermediate English. Every day, listen to the most important stories from every part of the world in slow, clear English. Whether you are an intermediate learner trying to improve your advanced, technical and business English, or if you are a native speaker who just wants to hear a summary of world news as fast as possible, join Stephen Devincenzi, Juliet Martin and Niall Moore every morning. Transcripts, vocabulary lists, worksheets and our weekly world news quiz are available for our amazing supporters at send7.org. Simple English News Daily is the perfect way to start your day, by practising your listening skills and understanding complicated daily news in a simple way. It is also highly valuable for IELTS and TOEFL students. Students, teachers, TEFL teachers, and people with English as a second language, tell us that they use SEND7 because they can learn English through hard topics, but simple grammar. We believe that the best way to improve your spoken English is to immerse yourself in real-life content, such as what our podcast provides. SEND7 covers all news including politics, business, natural events and human rights. Whether it is happening in Europe, Africa, Asia, the Americas or Oceania, you will hear it on SEND7, and you will understand it.Get your daily news and improve your English listening in the time it takes to make a coffee.For more information visit send7.org/contact or send an email to podcast@send7.org

Traveling through Europe doesn't have to drain your wallet.And honestly, some of the most memorable moments come from the free or nearly free experiences. In this episode, I'm sharing my favorite tips for finding free and inexpensive things to do in Europe, whether you're wandering a big city like Paris or Rome, or exploring a small village in Ireland or Slovenia.We'll talk about how to take advantage of free museum days, join donation-based “free” walking tours, and enjoy Europe's beautiful parks and gardens. I'll also dive into the simple pleasures — like discovering street art in unexpected corners, stepping inside centuries-old churches, and hitting local trails for a scenic walk that costs absolutely nothing.You'll hear how to blend these low-cost activities into your travels, creating a richer, more authentic experience that connects you with local culture and daily life — without overspending.Because the truth is, you don't need a big budget to have a big adventure in Europe. You just need curiosity, a good pair of walking shoes, and a few smart strategies to make the most of every day.In this episode:1:54: Intro3:31: Check with tourism boards & free museum days6:55: Free walking tours8:33: Wander9:02: Churches9:44: Festivals and local events12:20: Public parks14:45: Historical and cultural sites16:54: Public art17:37: Hiking and walking18:20: City passes19:37: Wrapping it upImportant links:50 Things To Do in Europe for FreeSolo Traveler - Tracey's ListWander Your Way AdventuresWander Your Way ResourcesWander Your Way ★ Support this podcast ★

This season only one rider had managed to drop Tadej Pogačar — Wout van Aert. Until now. At the Pogi Challenge in Slovenia, British hill-climber Andrew Feather crossed the line ahead of Pogačar on his home roads, pulling off one of the most unexpected results of the year. Anthony sat down with Andrew to break down exactly how it happened — the pacing, the tactics, and the moment he realised Pogačar was fading. He also dives into his setup, race-day nutrition, and the hilariously simple choices behind the ride. It's smart, surprising, and hugely entertaining. You're going to love this interview with the man who just beat Pogačar: Andrew Feather.A big shoutout to our incredible sponsors - NOMIO is clinically proven to:Lower lactate levels, Reduce oxidative stress, Improve training adaptations And deliver a noticeable boost from the very first dose. Go to ⁠www.drinknomio.com⁠ to check out this game changing supplement. EXPOSURE LIGHTS Level up your night rides—check out the updated Exposure Lights bar range today at www.exposurelights.com If you're in North America and run a shop, pre-orders are open now; everyone else, hit your local bike store or Exposure online and tell them Roadman sent you.

Feel Slovenia the podcast takes you beneath the surface of one of Europe's most surprising countries – its culture, creativity and the people who make it sing. And this time, that's quite literal. This episode is about the Slovenian language and features an extensive, exclusive, indepth interview with its surprising ambassadors – the hugely successful rock band, Joker Out.The band, who gained international fame representing Slovenia at the 2023 Eurovision Song Contest with their song Carpe Diem and made the world dance – and sing in Slovenian – share how performing entirely in Slovenian became a statement of authenticity and pride. Through candid stories from behind the scenes, reflections on songwriting in multiple languages and a few personal tips for exploring Slovenia, the episode reveals how a small language can have a big voice.Feel Slovenia the Podcast is brought to you by the Slovenian Tourist Board and hosted by Dr Noah Charney.Sound Production: Urska Charney For more inspirational content, check out www.slovenia.info and our social media channels, including Instagram, Facebook, YouTube, Twitter, Pinterest, LinkedIn and Tripadvisor.

In this conversation, Josh and Kalie explore their experiences and comparisons between Slovenia and Portugal, focusing on aspects such as visa pathways, cost of living, cultural insights, and the overall expat experience. They discuss their initial interest in Slovenia, the challenges they faced with job opportunities, and how they ultimately ended up in Portugal. The conversation also delves into the beauty of places like Lake Bled, the differences in climate, and the growing tourism in Slovenia. They reflect on community connections and the warmth of the local people, ultimately sharing their thoughts on the possibility of living in Slovenia.Visit here for the free training with Slate and Key: https://slateandkey.com/free-training/

On this week's episode of the BikeRadar news podcast, Jack Luke is again joined by Simon von Bromley to discuss the biggest tech stories in cycling this week.   We open the show with the news that Tadej Pogačar has finally been beaten in a bike race by none other than friend of BikeRadar, four-time British national hill climb champion, and full-time lawyer, Andrew Feather.   After recounting Feather's incredible ride at the Pogi Challenge charity ride in Slovenia, Simon recalls the time he got to spend watching Andrew posting some outrageous stats in a Bath university performance lab, back in 2019.   Next up, Simon reveals all about Campagnolo's newly released Ultra components – a suite of eye-wateringly expensive upgrades for the Italian brand's Super Record 13 groupset, which cut a whopping 81g from the already-very-lightweight groupset.   Jack and Simon then discuss the new world record for the longest continuous wheelie on a bicycle – which now sits at an outrageous 93.45 miles / 150.4km – and whether Strava might be becoming irrelevant.   Lastly, Jack takes the lead on our ‘rant of the week', with the view that bikes are far easier to maintain than cars – and information far more readily available – and so bike mechanics should probably stop moaning so much.   Pogačar beaten by 40-year-old lawyer in Pogi Challenge charity ride Campagnolo's €990 Ultra component package cuts 81g from its Super Record 13 groupset Strava is becoming irrelevant – I use this free app instead Man wheelies bike for 93 miles, destroying world record Learn more about your ad choices. Visit podcastchoices.com/adchoices

The 2025 Motocross of Nations did not disappoint! Team USA put on an incredible performance with their backup lineup, and we finally got to see the Coenen brothers' raw speed go head-to-head against the Americans. There were standout rides across the board — Jo Shimoda repped Team Japan beautifully, while Tim Gajser and Team Slovenia scored their best-ever MXON finish! Team France crushed it once again with another podium, and the Lawrence brothers alongside Kyle Webster led Team Australia to back-to-back MXON victories! In this chapter of the podcast, we break down all the chaos — the crashes, track conditions, new rivalries, and the biggest storylines from the weekend. Tune in and join the debate

In Part 1, Lee tells Paul about his travels to watch pod favourites Greenland and San Marino live during their respective trips to Austria over the international window. How did he impact the course of the Arctic island's match against Slovenia from the sidelines? What insights did he glean from inside the Greenland camp? Why is the legendary Austrian striker Toni Polster so bitter towards San Marino? And what question did Lee ask SM coach Roberto Cevoli at the press conference following his side's double-digit defeat? There's more groundhopping tales to tell in Part 2 – but this time from the club game, because Lee has also been to watch Paks against Ferencváros in a Hungarian top-of-the-table clash in Budapest. What resemblance do Hungary's surprise league leaders bear to Athletic Bilbao of Spain? Why is their ultra group named 'Atomic Strike'? Why did thousands of Ferencváros fans change places in the stands five minutes into the match? And why might we not recommend live football in Hungary to groundhoppers? Support The Sweeper• Join The Sweeper on Patreon• Support The Sweeper on Buy Me A Coffee LinksWatch Greenland's Football Heroes (in German) hereChapters00:00 – Intro00:30 – Greenland: Assists & red cards07:01 – Greenland: Insights from the camp14:27 – San Marino: Double-digit demolition20:23 – San Marino: The press conference25:39 – Paks: The Athletic Bilbao of Hungary29:12 – Football Manager save ideas31:37 – Paks: Robbie Keane's many meltdowns35:00 – Paks: The power plant ultra group

So — we weren't able to record an episode for MD 1 of the Conference League last week, but we've got the next best thing! We've picked a few UECL teams to zero in on, all of which got big wins in this early stage of the league phase, including Lech Poznan, Shakhtar Donetsk, and AEK Larnaca. But the main story is Slovenia's NK Celje, who keep defying expectations and dominating European opponents. We ask the important questions — Why are they so successful? How far can they go? And when can we visit? We also introduce you to their new starman, Franko Kovacevic, who's taking both the Slovenian and Conference Leagues by storm this season. It may well be name to remember. Finally, we bring you our new segment: The Big Boy Check In, where we do 60 second spots on each of the 5 "big league" teams (Palace, Fiorentina, Rayo, Mainz, Strasbourg). What's up with them? What direction are they going in? Who do we like to go all the way? All that and some Aberdeen on today's show! Cheers to Imanol Idiakez!

Armando BuonaiutoQuesto vuoto d'intorno"Torino Spiritualità"http://www.torinospiritualita.orghttp://www.circololettori.itTorino Spiritualità costruisce uno spazio di riflessione sul vuoto e sulle sue numerose forme, esplorando questa presenza impalpabile ma pervasiva. “Questo vuoto d'intorno. Smarrirsi / / Raggiungersi” è la XXI edizione del festival, ideato dalla Fondazione Circolo dei lettori e curato da Armando Buonaiuto, in programma dal 15 al 19 ottobre al Circolo dei lettori e delle lettrici, in teatri, chiese, cinema, spazi della cultura a Torino. In un'epoca dominata dall'eccesso di impegni, oggetti e esperienze, Torino Spiritualità propone di guardare al vuoto non come a una mancanza da colmare, ma come a una dimensione da abitare, soglia aperta sull'inatteso, spazio di contemplazione di sé e del mondo. Pensatrici e pensatori, voci della teologia, della scienza, della letteratura e della filosofia accompagnano il pubblico in un percorso fatto di parole, silenzi e domande radicali sul senso dell'esistere.«Per paradossale che sia, il vuoto riempie le nostre giornate manifestandosi sotto molteplici apparenze: a volte confortanti come la quiete di “una stanza tutta per sé”, altre volte angoscianti come lo scricchiolio di un pavimento troppo sottile per reggerci. Ma qual è in definitiva la natura di questo vuoto? Vortice e sorgente, precipizio e rifugio, il vuoto è lo spazio sospeso di ogni divenire possibile», afferma Armando Buonaiuto, curatore di Torino Spiritualità.«Se da un lato c'è un vuoto che vogliamo fuggire, dall'altro ce n'è uno a cui miriamo. Oggi che le nostre giornate sono travolte da sollecitazioni continue, il vuoto non è soltanto mancanza ma anche spazio di libertà, persino di sollievo: una pausa necessaria in cui sottrarsi all'eccesso e ritrovare misura.» dichiara Giuseppe Culicchia, direttore della Fondazione Circolo dei lettori.Il festival prende il via martedì 14 ottobre con l'anteprima Concerto al buio del compositore, musicista e sound designer Teho Teardo: un'esperienza di puro ascolto che dopo il MAXXI di Roma e la Triennale di Milano, approda al Circolo dei lettori e delle lettrici in doppio spettacolo (h 18.45 e h 20.45). Distesi a terra, immersi nell'oscurità, i partecipanti saranno guidati in cinquanta minuti di viaggio sonoro tra registrazioni ambientali notturne effettuate nelle foreste al confine tra Italia, Austria e Slovenia.La giornata inaugurale di mercoledì 15 ottobre si apre alla Chiesa di San Filippo Neri (h 18.30) con Questo vuoto d'intorno, questo vuoto di dentro, dialogo tra il teologo Vito Mancuso e il fisico Guido Tonelli, moderato dal curatore del festival Armando Buonaiuto: tra scienza e spiritualità, un invito ad accogliere l'enigma del vuoto e della sua vertigine. Segue una serata di appuntamenti: al Circolo dei lettori e delle lettrici lo psicoanalista Claudio Widmann riflette sul rapporto tra inconscio ed energia con Il vuoto del mozzo fa girare la ruota (h 21); al Cinema Romano l'astronauta Paolo Nespoli e il sacerdote Luca Peyron, moderati dalla giornalista scientifica Elena Cestino, dialogano intorno a I vuoti, lo spazio: esplorare il cielo per dare senso alla Terra (h 21).Giovedì 16 ottobre la giornata si apre al Circolo (h 10.30) con Per la vicenda eterna delle cose, incontro con lo scrittore e poeta Daniele Mencarelli dedicato alle scuole. Segue Natura abhorret a vacuo? con Donatella Puliga e Guido Bertagna Sj, a cura del Centro Ignaziano di Spiritualità (h 11.30). Nel pomeriggio, tre appuntamenti: al Circolo, Vuoti e pieni nel cammino alla ricerca di senso con il Comitato Interfedi della Città di Torino (h 18) e, sempre nelle sale di Palazzo Graneri della Roccia, il Death Café di Torino Spiritualità con il medico e scrittrice Giorgia Protti e l'antropologa Cristina Vargas (h 18), mentre alla Biblioteca dell'Educatorio della Provvidenza: Oltre il vuoto con Gianni Gentile, Antonio Dematteis e Michele Genisio (h 18). Al Cinema Romano, il filosofo Maurizio Ferraris inaugura il ciclo di lezioni “I maestri del sospetto” con La morte di Dio non è più quella di una volta (h 18.30), riflessioni sul presente a partire da Nietzsche. In serata, all'Ospedale Mauriziano, il Gruppo Stanza del Silenzio propone Il vuoto che riempie, il silenzio che parla (h 20.30). Quattro diversi appuntamenti chiudono la giornata: al Teatro Vittoria lo spettacolo Il vecchio e il marlin con Roberto Abbiati (h 21); al Circolo dei lettori e delle lettrici Marco Vannini con Vuoto, perché Dio lo abiti (h 21); sempre al Circolo l'incontro interreligioso Zero Metafisico con Giuseppe Momigliano, Mulayka Laura Enriello e Sonia Brunetti Luzzati (h 21).La quarta giornata di Torino Spiritualità, venerdì 17 ottobre, si apre al Circolo dei lettori e delle lettrici con Stefania Verde e Matteo Suffritti sj che meditano su una pagina biblica in La corsa di Gesù e dei suoi testimoni, a cura del Centro Ignaziano di Spiritualità (h 11.30). Nel pomeriggio la Biblioteca civica della Casa Circondariale “Lorusso e Cutugno” ospita Dentro l'invisibile. Storie, parole e silenzi oltre le mura, una tavola rotonda che restituisce dignità alle voci di chi vive in detenzione, a cura di Arianna Balma Tivola e con la partecipazione di educatori, psicoterapeuti, tanatologi e operatori penitenziari, a cura del festival Il rumore del lutto (h 15). Di nuovo al Circolo dei lettori e delle lettrici, Maria Grazia Prandino e Paolo Monaco sj riflettono sull'esperienza ignaziana del dare e ricevere in Prendi, ricevi, dammi, a cura del CIS (h 16.30). La serata si apre con tre percorsi paralleli: al Polo Culturale CAM Francisca Vairo Scaramuzza ed Ermanno Savarino affrontano i grandi interrogativi esistenziali in Domande senza risposta (h 18); al Circolo l'artista e viaggiatore Stefano Faravelli dialoga con Andrea Bocconi in Verso Capo Horn: il taccuino per reimmaginare il mondo (h 18); al Teatro San Giuseppe il teologo Vito Mancuso e l'attore Gabriele Goria, accompagnati dalle musiche originali di Simone Campa, portano in scena la lezione-spettacolo L'arciere è il bersaglio, ispirata al celebre Lo Zen e il tiro con l'arco di Eugen Herrigel (h 18). A seguire, al Circolo, si tiene Colmare un vuoto o cercare la Pienezza?, dialogo tra religione e politica che vede confrontarsi l'imam Yahya Pallavicini, Lama Paljin Tulku Rinpoce, l'assessore Maurizio Marrone e i senatori Lucio Malan e Francesco Verducci, moderati da Mikail Mocci (h 18.30).La sera si accende di suggestioni: al Teatro San Giuseppe il cantautore Brunori Sas e il monaco Guidalberto Bormolini, con la moderazione di Armando Buonaiuto, si interrogano sull'amore e sul vuoto in Solamente un grande vuoto che a guardarlo ti fa male (h 21); al Circolo dei lettori e delle lettrici la sociologa Maria D'Ambrosio esplora le dinamiche dell'invidia nell'era digitale con Invidia. Il tuo pieno è il mio vuoto (h 21); all'Unione Culturale Antonicelli l'attore Saulo Lucci dà voce al pubblico in Hell o'Dante. Un canto scelto dal pubblico, viaggio dantesco che lascia spazio al rischio dell'imprevisto (h 21).La quinta giornata di Torino Spiritualità, sabato 18 ottobre, prende avvio con quattro appuntamenti in contemporanea. Al Cinema Massimo la lezione Anche questo è fame di vento: Enzo Bianchi, fondatore della Comunità di Bose e di Casa della Madia, legge e commenta il libro di Qohelet, gioiello di sapienza dell'Antico Testamento capace di illuminare le disillusioni del nostro tempo (h 10). Al Circolo dei lettori e delle lettrici, con Lettere dalla vacuità, i monaci Zen Dario Doshin Girolami ed Elena Seishin Viviani, con la voce narrante di Gabriele Goria, rendono omaggio a Shunryū Suzuki Roshi, indimenticato maestro di buddhismo Zen (h 10). Al Museo Nazionale del Risorgimento Italiano, lo scrittore e poeta Daniele Mencarelli riflette su Caproni e Sbarbaro, poeti dell'abisso, dove il vuoto è assenza radicale o mancanza di Dio (h 10). Alla Moschea Dar As-Salam, infine, prende avvio il ciclo Conversazioni nelle moschee di Torino con Ismail Sikder e Idris Abd al-Razzaq Bergia, che esplorano il tema Il vuoto e la pienezza nella vita tradizionale del musulmano (h 10).Al Circolo dei lettori e delle lettrici, Gualtiero Graglia e Ferruccio Ceragioli meditano su La voce del silenzio a partire da una pagina biblica (h 11.30), mentre la teologa Adriana Valerio conduce Le donne e il vuoto, riflessione sulla fecondità spirituale del vuoto uterino (h 11.30). Contemporaneamente, al Teatro Gobetti, Paolo Scquizzato e Maciej Bielawski, accompagnati dalla danza classica Odissi di Antonietta Fusco, tracciano un Lessico della rarefazione, alla ricerca delle metafore del mistero (h 11.30). Al Cinema Massimo il ciclo I maestri del sospetto prosegue con Vuoto del mondo, vuoto di sé, lezione di Vittorio Lingiardi che ripercorre Freud e il concetto di perdita tra psicoanalisi, cinema e poesia (h 12).Il pomeriggio comincia al Cinema Massimo, dove Luigi Maria Epicoco mette in dialogo Marguerite Yourcenar e Sant'Agostino sul tema Il vuoto e la vertigine (h 14). Al Museo del Risorgimento, Loredana Blasi e l'abate Bernardo Gianni dialogano con Armando Buonaiuto in Più forte della morte è l'amore, incontro sulla resilienza dei genitori colpiti dalla perdita di un figlio (h 15). Alla Moschea del Misericordioso, prosegue il ciclo delle Conversazioni nelle moschee di Torino, con gli interventi di Kassab Boutcha, Alija Salihovic e Abd al-Adil Mustafa Roma (h 15). Al Teatro Gobetti, il maestro buddhista Lama Michel Tulku Rinpoche invita a fermare l'affannosa corsa di ogni giorno con Dove vai così di fretta? (h 15.30). Al Circolo dei lettori e delle lettrici lo scrittore olandese Tommy Wieringa, in dialogo con il giornalista Eugenio Giannetta, presenta I conquistatori del vuoto, tra letteratura e testimonianza dal fronte ucraino (h 16.30Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

In this episode, I am joined by Ben Murtagh, the dynamic General Manager of Usturian Travel, a brand that curates one-of-a-kind, ultra-luxury experiences across the globe. From private islands and hidden cultural immersions to tailor-made adventures designed for the world's most discerning travelers, Ben takes us inside the rarefied world of bespoke travel, where no detail is too small and every journey is crafted around the individual.Episode Highlights:• Turks and Caicos - A paradise of turquoise lagoons, powdery white sands and endless horizons. Here, time slows down, inviting you to embrace barefoot luxury, warm Caribbean charm and the art of true escapism.• Dubai - A city that redefines modern luxury. Dubai every experience feels extraordinary.• Thailand• Cambodia• Bawah Reserve – Enjoy exclusivity and luxury while being earth conscious.https://www.bawahreserve.com/• Rome - A living masterpiece where ancient wonders meet modern indulgence.  • Costa Rica - A destination that proves that sustainability can be seamless.  • Maldives – Another destination that is leading the way in sustainability with eco-friendly stays that celebrate nature.• Malaysia – Go there to experience its wild rainforests.• Slovenia – A true hidden gem with its alpine elegance.• Botswana• Uganda• Namibia• India – Unforgettable food journeys.• Mexico City – Must go for food.• San Sebastian – A culinary haven.• Crete, Greece - A soulful escape where mountains meet the sea.https://www.daioscovecrete.com/• Antarctica - The ultimate frontier of travel.Connect with Ben on:https://www.instagram.com/benjymurtagh/https://www.usturiunluxurytravel.com/Thank you all for tuning in today!If you enjoyed this episode, please hit that subscribe button here, or on your favorite podcast platform. I'd love to hear from you! What destinations or guests should we feature next? Drop a comment, leave a rating, or write a review - it truly makes a difference.Stay connected with me on Instagram @moushtravels to find out who's joining me next week. You can also explore all past episodes and destinations mentioned by our guests on www.moushtravels.com or in the episode show notes.Thanks for listening! Until next time, safe travels and keep adventuring. "Want a spotlight on our show? Visit https://admanager.fm/client/podcasts/moushtravels and align your brand with our audience."Connect with me on the following:Instagram @moushtravelsFacebook @travelstorieswithmoushLinkedIn @Moushumi BhuyanYou Tube @travelstorieswithmoush Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In this podcast episode, Mateja Todorovska shares her remarkable journey from growing up in a Catholic church to becoming deeply involved in New Age practices and the occult. After believing she was serving God through these practices, Mateja's life changed dramatically in December 2018 when she encountered Jesus while watching a YouTube video. This revelation led her to repent and fully embrace Christianity, even leading her former New Age followers to Christ. Mateja lives in Slovenia with her family, works with Josiah Venture, and is committed to helping others through her faith. Mateja also provides guidance on how to engage lovingly with those who are still involved in New Age beliefs. Connect with Us: Follow @josiahventure on Instagram Learn more about Josiah Venture at josiahventure.com Contact: social@josiahventure.com Online Prayer Room Summer Internships Mission Trips   Subscribe & Share: If you enjoyed this episode, please subscribe, leave a review, and share it with a friend or on your social media. Thank you, friends, and have a blessed day!   Sign-up for our new Monthly Podcast Newsletter!

Today's episode is a special one as I bring the full Scottish Rally team onto the R2Kast!

Last fall, the NuPoint Community Development Corporation (formerly the Union-Miles Development Corporation) launched a neighborhood history project called Southeast Side Stories. The idea is to document the stories of the Union-Miles, Mt. Pleasant and Lee-Harvard neighborhoods and those in between as well. Using a mix of first-person interviews and multimedia, including vintage photographs and film, the project chronicles the deep roots families have built in the area across generations. Also on the show, we begin with an interview with the president of Slovenia, Nataša Pirc Musar. She addressed the United Nations General Assembly last week in New York and then traveled to Cleveland. The city is home to the largest population of Slovenians outside of their country.

Can you help me make more podcasts? Consider supporting me on Patreon as the service is 100% funded by you: https://EVne.ws/patreon You can read all the latest news on the blog here: https://EVne.ws/blog Subscribe for free and listen to the podcast on audio platforms: ➤ Apple: https://EVne.ws/apple ➤ YouTube Music: https://EVne.ws/youtubemusic ➤ Spotify: https://EVne.ws/spotify ➤ TuneIn: https://EVne.ws/tunein ➤ iHeart: https://EVne.ws/iheart CHERY RAISES HK$9.14 BILLION IN HK IPO https://evne.ws/46SSC26 CHINESE NEV MAKERS PLAN 80 KWH PHEV/EREV PACKS https://evne.ws/4gF7wwk LEAPMOTOR REACHES ONE MILLION VEHICLE MILESTONE https://evne.ws/4gF7wwk MERCEDES CLA LONG-WHEELBASE EV PRE-SALES https://evne.ws/4gF7wwk TESLA Q3 CHINA REGISTRATIONS AND DELIVERY OUTLOOK https://evne.ws/4gF7wwk XPENG DELIVERS 24,702 VEHICLES OVERSEAS https://evne.ws/4gF7wwk XPENG LAUNCHES SALES IN HUNGARY, CROATIA, SLOVENIA https://evne.ws/4nHs6ON LYNK & CO 08 EM-P REFRESH LAUNCHED https://evne.ws/46LX0zL V2G OPERATION OPTIMIZATION FOR PV EV STATIONS https://evne.ws/46LX0zL BYD "HAOHAN" 14.5 MWH BESS LAUNCH https://evne.ws/46LX0zL GOTION $5.6BN GIGAFACTORY IN MOROCCO https://evne.ws/46LX0zL

Send us a textCourtney Coppinger takes us inside her journey to the Mountain Running World Championships in this candid conversation about mental resilience, team camaraderie, and the pursuit of excellence on the international stage.From Colorado's high altitude training grounds to the pristine trails of Europe, Courtney shares the rollercoaster of emotions that define an elite athlete's preparation. "Nothing felt really shiny and nothing felt really good," she admits about her final training block, before describing how arriving in Europe instantly restored her confidence: "The stoke immediately came back because sea level, 60-degree temps, perfect trails... I had a run yesterday and it just all came back and I'm like, yep, you're fit, you're ready."Her recent performances validate that preparation. At the World Cup Finals in Slovenia, Courtney made a pivotal mental shift, deciding to race aggressively from the start rather than working from behind. The result? A breakthrough third-place finish that transformed her self-belief. Similarly, at the A-Basin Cirque Series race, she pushed through early suffering to claim second place, reinforcing valuable lessons about race strategy and recovery.What truly shines through is Courtney's deep appreciation for team culture. She speaks passionately about the pre-World Championships camp organized by teammate Cam Smith, where Team USA members formed meaningful bonds. "There were no egos, everybody was just super excited to get to know each other," she reflects. This team-first mentality extends to her Brooks teammates, who have become her closest friends in the sport. "I literally was tearing up because I didn't know that I was going to sign with you guys and find two of my best friends," she shares, emphasizing that these relationships transcend running achievements.Looking ahead to the World Championships, Courtney's confidence in Team USA is unwavering. "This team, it's just these girls on this team... I couldn't pick a better group of four sub-ultra classic style racers," she declares, believing they have excellent medal potential. With a month in Europe planned after the championships, Courtney's passion for the sport, her teammates, and the adventure of it all promises to carry her through the biggest race of her season.Follow James on IG - @jameslaurielloFollow the Steep Stuff Podcast on IG - @steepstuff_podUse code steepstuffpod for 25% off your cart at UltimateDirection.com! 

This week on Bad at Sports, Duncan MacKenzie and Ryan Peter Miller find themselves in Chicago with curator Bianca Bova and the indefatigable Kenny Schachter — artist, writer, teacher, collector, and provocateur. What begins as a conversation about Schachter's exhibition at Old Friends Gallery — featuring chicken-assisted artworks and bronze casts forged in Slovenia — quickly expands into a meditation on the art world itself. Schachter reflects on his collaborations, his obsession with foundries, and his refusal to keep resources secret. The group debates the zero-sum mentality of the art market, why artists sabotage themselves, and how absurd projects (sometimes with actual chickens) can be the most serious acts of art-making. Equal parts candid and comedic, the conversation cuts across auctions, art fairs, and the everyday realities of teaching. Expect reflections on generosity vs. gatekeeping, the fragility of the art system, and what it means to make art that is more conceptual than commercial. Highlights • Chickens as collaborators and muses. • The foundry in Slovenia that casts Rudolf Stingel's panels. • Why keeping fabricators secret is a sign of weakness. • Auctions as democratizing, even anarchic, art spaces. • The necessity of art in a divided and compassion-starved world. Names Dropped Kenny Scharf, https://kennyscharf.com/ Kenny Schachter, https://www.kennyschachter.art/ Bianca Bova, https://www.biancabovagallery.com/ Billy Connolly, https://en.wikipedia.org/wiki/Billy_Connolly Rudolf Stingel, https://gagosian.com/artists/rudolf-stingel/ Tobias Rehberger, https://pedrocera.com/artists/tobias-rehberger Paul Thek, https://whitney.org/exhibitions/paul-thek Giacometti, https://www.moma.org/artists/2141-alberto-giacometti Jerry Saltz, https://nymag.com/author/jerry-saltz/ Cy Twombly, https://cytwombly.org/ Jasper Johns, https://whitney.org/artists/653 Robert Rauschenberg, https://www.rauschenbergfoundation.org/ Joan Mitchell, https://www.joanmitchellfoundation.org/joan-mitchell Helen Frankenthaler, https://gagosian.com/artists/helen-frankenthaler/ Georgia O'Keeffe, https://www.okeeffemuseum.org/ Andy Warhol, https://www.warhol.org/ Joseph Beuys, https://walkerart.org/collections/artists/joseph-beuys Sigmar Polke, https://www.tate.org.uk/art/artists/sigmar-polke-2213 John Cage, https://www.johncage.org/ Devendra Banhart, https://devendrabanhart.com/ Brad Pitt, https://www.theartnewspaper.com/2022/09/19/brad-pitt-debuts-his-sculptures-in-finland Cindy Sherman, https://www.hauserwirth.com/hauser-wirth-exhibitions/cindy-sherman/ Robert Longo, https://www.robertlongo.com/ Julian Schnabel, https://www.julianschnabel.com/ Old Friends Gallery, https://www.oldfriendsgallery.com/

Exclusive episodes and AD Free listening: https://www.patreon.com/c/Footballforkids OR sign up via Apple Podcast subscription. Benjamin Šeško's story is one of hard work, big dreams, and never giving up. Born in Radeče, Slovenia, he grew up in a football family but refused to play in goal like his dad — instead, he wanted to score goals, not save them. From smashing in wonder strikes as a kid, to scoring 59 goals in just 23 games as a teenager, to making history with Slovenia's national team, Šeško's rise has been nothing short of incredible. This episode of Football For Kids takes you through his inspiring journey: from Red Bull Salzburg to RB Leipzig, to breaking Bundesliga records, and now stepping out at Old Trafford as Manchester United's new striker. ⚽

Kate Adie introduces stories from Gaza, France, the Thailand-Cambodia border, Iraq and Slovenia.Around a million Palestinians have been told to leave Gaza City ahead of a new Israeli offensive - though many are wary of leaving, saying there is nowhere to go. Lucy Williamson was granted rare access to Gaza by the Israeli army, and was taken to see its planned new aid distribution site.Days after French PM, François Bayrou, was ousted from office after losing a confidence vote, street protests took place across France as people voiced anger over proposals to remove two national holidays and impose a pensions freeze. Andrew Harding watched events unfold in Paris.Thailand also has a new prime minister – its third in just over a year - following a political crisis that ignited a short, sudden conflict with Cambodia. Our Southeast Asia Correspondent Jonathan Head has been looking into this catastrophic breakdown of relations.Ten years ago, 71 migrants from Iraq, Syria and Afghanistan died in the back of a refrigerator truck abandoned on a motorway lay-by near the Austrian border with Hungary. Nick Thorpe travelled to northern Iraq to meet relatives of some of those who died - and interviewed the smugglers convicted for their role in their deaths.Slovenia has produced some of the best male cyclists in the world today - including Tadej Pogacar. Every year, the four-time Tour de France champ hosts a cycling festival in his home town of Komenda - and Guy De Launey went along for the ride.Series Producer: Serena Tarling Production Coordinator: Rosie Strawbridge Editor: Richard Fenton-Smith

Aero is... not everything? Forget about the wind tunnel, kammtail tube shapes, and 65mm deep rims because Cervelo's just-released R5 proves that light isn't just right, it's also fun. Alvin has been testing the new climbing-focused R5 and tells us what it's like to ride and why it might make more sense than an objectively faster aero bike, especially if you swap the tires. We headed off-road as Specialized debuted the 4th-generation Diverge gravel bike in Slovenia, and tech editor Josh Ross was there to find out how it performs. He explains all the updates, including room for 2.2" wide tires, its evolved geometry, and why it has an even bigger hole. We also dig into Specialized's decision to spec every model with their Future Shock suspension stem, and how it compares to a heavier and more complex suspension fork. We also discuss the latest updates to the Garmin 550 and 850 computers as well as Garmin's Rally power meter pedals, now available with rechargeable batteries. And last but not least: the Lazer VeloVox begs the question of who among us needs walkie talkies built into their helmets. Further reading Review: The Cervélo R5 Doesn't Try to Appeal to Everyone, and It's Better for It Review: Specialized Diverge 4 Fits a 2.2 Tire but You Have to Love Future Shock Special Bianchis, a Walkie Talkie for Group Rides, New Scope Wheels, and | This Week in Bike Tech Garmin Launches New, Brighter Edge 550 & 850 Alongside Updated Rally Power Meter Pedals

Ric discusses Slovenia's complaints after its loss to Germany in the EuroBasket 2025 quarterfinals and the NBA altering its rules to encourage more last-second heaves at the end of quarters.Support this show http://supporter.acast.com/bucher-and-friends. Hosted on Acast. See acast.com/privacy for more information.

Anthony reacts to Slovenia getting knocked out of Eurobasket by Germany and the improvements he saw from Luka Doncic that would tangibly help the Lakers. Then, he segues to Adam Silver's press conference at the NBA's Board of Governors meeting that, well, could have gone better. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Welcome to The Panel, the NBA debate show that brings the heat, sparks passionate discussions, and dives headfirst into the world of basketball like never before! If you're a hardcore NBA fan, a hoop junkie, or just someone who loves intense sports debates, you've found your weekly destination. Join us every weekday for a live, high-octane experience where we dissect, dispute, and celebrate all things NBA.

Kevin O'Connor is joined by Donatas Urbonas of BasketNews to break down all the drama & preview the quarterfinals at EuroBasket 2025.From Germany's dominant squad and Slovenia's Luka-centric miracle run, to upsets that shook expectations—no favorite is safe. The two take a dive into Serbia's shocking exit, France's point guard issues, the impact of naturalized players, and more.(:32) Donatas Urbonas joins the show to talk EuroBasket(1:20) Luka, Slovenia facing off against Germany in quarterfinals(6:02) Nikola Jokic, Serbia lose to Finland(13:44) Georgia upsets France(19:14) Naturalized Players(23:55) Can Poland upset Türkiye?(28:41) How can Lithuania contain Giannis?(36:10) Impressions of Kristaps Porzingis(38:32) EuroBasket winner predictions

Today we welcome James Nixey onto the R2Kast!

This is The Zone of Disruption! This is the I AM RAPAPORT: STEREO PODCAST! His name is Michael Rapaport aka The Gringo Mandingo aka aka The People's Pickle aka The Jewish Brad Pitt aka Captain Colitis aka The Disruptive Warrior aka Mr. NY aka Mr. Nantucket is with Dean Collins aka Dean Cuddles aka The Young Shooter aka The Fake Kurt Cobain aka Deuce Collins aka Deuce Cuddles & they are here in the flesh to discuss: Dean being back from Europe, Mike Rap gets Invisalign, Dean seeing Oasis by himself, the food in Slovania, Dean being sick & needing batteries, what they've been watching, movies to get excited about, & a whole lotta mo'. This episode is not to be missed! Rate & Review on Apple Podcasts or Spotify Send questions & concerns to: iamrapaportpodcast@gmail.com Subscribe to Rapaport's Reality Feeds: iHeartRadio: https://www.iheart.com/podcast/867-rapaports-reality-with-keb-171162927/ Apple Podcasts: https://podcasts.apple.com/us/podcast/rapaports-reality-with-kebe-michael-rapaport/id1744160673 Spotify: https://open.spotify.com/show/3a9ArixCtWRhfpfo1Tz7MR Pandora: https://www.pandora.com/podcast/rapaports-reality-with-kebe-michael-rapaport/PC:1001087456 Amazon Music: https://music.amazon.com/podcasts/a776919e-ad8c-4b4b-90c6-f28e41fe1d40/rapaports-reality-with-kebe-michael-rapaport Stand Up Comedy Tickets on sale at: MichaelRapaportComedy.com If you are interested in NCAA, MLB, NBA, NFL & UFC Picks/Parlays Follow @CaptainPicksWins on Instagram & subscribe to packages at www.CaptainPicks.com www.dbpodcasts.com Produced by DBPodcasts.comFollow @dbpodcasts, @iamrapaport, @michaelrapaport on TikTok, Twitter & InstagramMusic by Jansport J (Follow @JansportJ) www.JansportJMusic.comSee omnystudio.com/listener for privacy information.

In this espresso episode, join Mark as he shares practical tips to help you make the most of the little moments in your day and turn them into powerful opportunities for language learning!

In this espresso episode, join Mark as he shares practical tips to help you make the most of the little moments in your day and turn them into powerful opportunities for language learning!

In this espresso episode, join Mark as he shares practical tips to help you make the most of the little moments in your day and turn them into powerful opportunities for language learning!

In this espresso episode, join Mark as he shares practical tips to help you make the most of the little moments in your day and turn them into powerful opportunities for language learning!