Podcasts about Soleil

Marketing today feels like an endless game of chasing trends, tweaking strategies, and trying to keep up with ever-changing algorithms. It's exhausting to pour time and energy into content that barely gets noticed while competitors seem to have it all figured out. The flood of tech tools promises to make things easier, yet often, they just add more confusion. And underneath it all, that nagging feeling creeps in—wondering if you're even doing it right or if everyone else just knows something you don't. Natan Verkhovsky is an elite energy coach with over 30 years of experience helping more than 15,000 individuals, from Olympic athletes to business professionals, optimize their mental, physical, and emotional performance. As the founder of Allura Creative Agency and host of the daily podcast Frequency of Abundance, now in its fourth season, he brings a unique blend of energy management, medical hypnotherapy, and high-performance coaching. His background includes working with Cirque du Soleil performers and national sports teams, giving him a distinctive perspective on peak performance and resilience. Today, Natan shares his insights on overcoming imposter syndrome, building meaningful business communities, and helping entrepreneurs amplify their message while staying true to their purpose. Stay tuned! Resources Allura Creative Agency: Attract. Engage. Delight. | "To the EVOLUTION of your BRAND!" Follow Nathan Verkhovsky on Facebook Connect with Nathan Verkhovsky on LinkedIn Follow Allura Creative Agency on YouTube

Le colosse de Rhodes est une statue du Dieu Hélios, le dieu du Soleil. Cette statue était en bronze et haute dʹune trentaine de mètres. Qui est à lʹorigine de sa construction ? Comment se sont déroulés les travaux ? Que sait-on de sa destruction ? Pour répondre à ces questions, Johanne Dussez reçoit Nathan Badoud, professeur dʹarchéologie classique et directeur du service dʹarchéologie du canton de Genève. Sujets traités : colosse, Dieu, Hélios, soleil, statue, bronze, Rhodes Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Ecoutez Ca va beaucoup mieux avec Jimmy Mohamed du 11 avril 2025.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Welcome back to this week's episode of Diving in Deep with your host, Sara Evans! In this episode, Sara welcomes Sam Williams, the grandson of the legendary Hank Williams Sr. and son of Hank Williams Jr. Sam shares his journey of carving out his own identity in the country music scene while navigating the challenges of being a single dad and an aspiring musician.We dive into Sam's experiences growing up in Paris, Tennessee, the impact of family legacy, and the personal tragedies that have shaped his life and music. Sam opens up about the loss of his sister and mother, and also discusses his love for music, his creative process, and the exciting new sounds he's exploring in his upcoming projects.Whether you're a fan of the Williams family's music or just love a good story, this episode is packed with heartfelt moments, laughter, and insights into the life of a rising artist in Nashville.Don't forget to like, share, and comment on the podcast! Listen to Unbroke: (https://ffm.to/seunbroke).About Sam Williams:Grandson of country pioneer Hank Williams and the son of outlaw legend Hank Jr., Sam Williams is the latest in a long line of American originals, who sings with his own singular voice and writes in his own singular style, fusing gut-wrenching honesty and plainspoken poetics with raw vulnerability and deep empathy. In 2021, Williams released his debut album, Glasshouse Children, which was a testament to his brilliant lyricism and soulful vocals and received rave reviews from Rolling Stone, Music Row, Associated Press, and so much more. In October 2022, Williams unveiled a deluxe edition of the record, which featured “Tilted Crown,” a reflective track about navigating his legacy in life. Williams followed up his debut with a string of powerful singles in 2023, along with multiple shows at the Grand Ole Opry and show-stopping performances at Nashville's CMA Fest and the UK's Country 2 Country Fest. In 2024, Sam unveiled a new poignant song “Carnival Heart” which is the official anthem for the new innovative country-themed show Songblazers: A Journey Into Country Music, produced and presented by Cirque du Soleil and Universal Music Group Nashville. His forthcoming album, Act II: Countrystar, is a vibrant and daring seven-song follow-up which underscores Williams' versatile songwriting skills. With the release of Act I: Scarlet Lonesome and Act II: COUNTRYSTAR on the way, Sam continues to prove that he is making a legacy for himself that is completely his own.LET'S BE SOCIAL:Follow Sam Williams:Instagram - (@samwillivms)Facebook - (@Sam Williams)TikTok - (@samwillivms)X - (@samwillivms)Follow Diving in Deep Podcast:Instagram –(@divingindeeppod)TikTok – (@divingindeeppod)Twitter – (@divingindeeppod)Facebook – (@divingindeeppod)Follow Sara Evans:Instagram – (@saraevansmusic)TikTok – (@saraevansmusic)Twitter – (@saraevansmusic)Facebook – (@saraevansmusic)Produced and Edited by: The Cast Collective (Nashville, TN)YouTube – (‪@TheCastCollective‬)Instagram – (@TheCastCollective)Twitter – (@TheCastCollective)Directed by: Erin DuganEdited By: Sean Dugan, Corey Williams, & Michaela Dolphhttps://www.thecastcollective.comSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

"Les tableaux de Marmottan n'avaient aucune valeur, ils avaient toutes les valeurs. C'est-à-dire, on ne peut pas donner une valeur à quelque chose qu'on considère comme un trésor national, ou un trésor artistique mondial."C'est l'histoire d'un trafic international d'œuvres d'art. Des voleurs bien organisés parviennent à dérober des toiles de maîtres dans de prestigieux musées, en plein jour. Des tableaux inestimables qui voyagent de la France au Japon entre les mains de malfrats prêts à tout pour les faire disparaître. Interpol met tout en œuvre pour sauvegarder un patrimoine artistique qui n'a pas de prix.Interpol est un podcast d'Initial Studio, adapté de la série documentaire audiovisuelle éponyme produite par New Dominion Pictures. Cet épisode a été écrit par Steve Zorn et Michael Eldridge. Il a été réalisé par Bertrand Morin.Bonne écoute !Production exécutive du podcast : Initial StudioProduction éditoriale : Sarah Koskievic et Marie AgassantMontage : Camille LegrasAvec la voix d'Alix Martineau Hébergé par Audion. Visitez https://www.audion.fm/fr/privacy-policy pour plus d'informations.

"Dans cette affaire-là, beaucoup sont morts, beaucoup de ceux que nous avions identifiés sont morts depuis. Morts de mort violente, assassinés."C'est l'histoire d'un trafic international d'œuvres d'art. Des voleurs bien organisés parviennent à dérober des toiles de maîtres dans de prestigieux musées, en plein jour. Des tableaux inestimables qui voyagent de la France au Japon entre les mains de malfrats prêts à tout pour les faire disparaître. Interpol met tout en œuvre pour sauvegarder un patrimoine artistique qui n'a pas de prix.Interpol est un podcast d'Initial Studio, adapté de la série documentaire audiovisuelle éponyme produite par New Dominion Pictures. Cet épisode a été écrit par Steve Zorn et Michael Eldridge. Il a été réalisé par Bertrand Morin.Bonne écoute !Production exécutive du podcast : Initial StudioProduction éditoriale : Sarah Koskievic et Marie AgassantMontage : Camille LegrasAvec la voix d'Alix Martineau Hébergé par Audion. Visitez https://www.audion.fm/fr/privacy-policy pour plus d'informations.

The 16:9 PODCAST IS SPONSORED BY SCREENFEED – DIGITAL SIGNAGE CONTENT The next plus-sized pro AV trade show on the annual calendar is InfoComm, coming up in mid-June in, yuck, Orlando, Florida. I'm always curious about what will be new and different with the show, and that's particularly the case in 2025, because there's a new person running things. Jenn Heinold joined show owner/operator AVIXA late last year as the Senior VP Expositions, Americas, so for the last several weeks she's been in drinking-from-the-firehose mode as she learns more and more about the industry, ecosystem and how people think about and use InfoComm. Heinold is a lifer in the trade show business, and while she has run tech-centric trade shows, pro AV is new to her. We had a really good conversation that gets into her impressions and thoughts about the industry, her perspective on ISE, the AVIXA co-owned sister show, and plans for what will be her first InfoComm in June - including what will be different and new. We also get into what, if anything, will be affected by all the trade and geopolitical turmoil that's bubbled up since the US presidency had its four year shuffle. Subscribe from wherever you pick up new podcasts. TRANSCRIPT Jenn, thank you very much for coming on. You've been on the job for how long now?  Jenn Heinold: I've been with AVIXA for just over three months. I joined in December as the Senior Vice President of Expositions for the Americas, and I'm over InfoComm in the U.S., which will be June 11th through the 13th in Orlando, Florida and then I'm also responsible for our new InfoComm America Latina launch event, which will be in October in Mexico City.  Did you know anything about the Pro AV sector before you got involved?  Jenn Heinold: No, honestly. I ran the largest satellite technology show in the U.S. for 15 years. So I've worked in technology, but Pro AV is different and I find myself now everywhere I go looking for display screens and how audio sounds. It's so fascinating how quickly you become immersed within the industry and you notice that it's everywhere and it makes our experiences better.  You'll be a display nerd in no time.  Jenn Heinold: I'm working on it. So have you always been in the trade show business?  Jenn Heinold: I have, yes, I dedicated my career to trade shows. I am super passionate about what happens in a face-to-face environment. I love the serendipity of it. I love that what I do helps businesses grow. The community aspect is amazing, right? Bringing people together with a common goal or challenge. The education that we can provide at trade shows. You can do a month's worth of meetings in three days. You can do a trip around the world in three days in some cases, right?  So I just love the format and really believe in what it can do for businesses and I'm excited to produce InfoComm. Because you had some background working with technology trade shows, has there been much of a learning curve? Setting apart the obvious that there are different companies and all that, but I guess their needs aren't all that dissimilar, are they?  Jenn Heinold: No, I think the commonality in working on technology shows is that you have the same structure where there are channel partners that are working to sell and integrate products, but then you also have all of the end users who use a specific technology. So I think it's important for us to be a forum for both Pro AV as well as our end-user audiences, and make sure that they each are fulfilled and feel welcome at the show and find value in the show.  You went to Integrated Systems Europe a few weeks ago, I saw you there. That was your first big Pro AV trade show, I assume, and I'm curious about your impressions.  Jenn Heinold: Oh, gosh, I was blown away by ISE. How could you not be? But for me, I was just so impressed by what the exhibitors did on the show floor. They really pulled out all the stops for ISE and the energy is amazing. It was so valuable for me to see the technology all together in real life, and then also to be able to meet with exhibitors here directly to know what are your strategic priorities for 2025 and beyond. Who should I be focusing on making sure that I have at the show, so it's the best for our exhibitors and our attendees alike?  I'm sure you were walking around with people like your boss Dave Labuskes both at ISE and InfoComm. Did you get some sense that ISE is its own thing? InfoComm runs differently. Yes, there are the same vendors and everything else, but apart from the obvious of Barcelona versus Orlando or Las Vegas, it does do things differently in some respects, at least. Jenn Heinold: Yeah, absolutely. I unfortunately don't yet have the comparison for InfoComm. I know what our plans are and what we're focusing on. ISE clearly has an amazing global footprint and InfoComm, while it is international, does skew a little bit more to North America just based on the location.  I think we at InfoComm have a much more training program and educational offering, which I really think is valuable. We need to not only nurture our current workforce and make sure that they have all the tools they need to succeed, but focus on the next generation as well, and I'm really proud that InfoComm does that. One of the things about ISE, as you said, there's not as much of a focus on training, there are certainly conferences and things like that, but it's more aimed at end users.  Do you find that you're getting exhibitors and other people saying, hey, it would be great if we had more end users if there was more kind of focus on that part of it, as opposed to, I sometimes refer to InfoComm is something of a gearhead show, and I don't mean that negatively, but it attracts the people who are going to go look at things like cable connectors and mounting infrastructure and so on and stuff that maybe somebody who's an experiential designer for a creative tech shop maybe doesn't care that much about. Jenn Heinold: Yeah. I will say that for 2025, we definitely are emphasizing the end-user audience. They are a key segment for us. Actually, one of the first things I did within my first week, Dave, was look at our end-user segments and compare what groups naturally grew when we were in Orlando versus Las Vegas, right? Just who organically was coming to the show and what I saw was a big increase in education when we're in Orlando, house of worship, retail, restaurants, and hospitality. None of this probably surprises you, but as we built out our marketing campaign, we've decided to really double down our investment on those segments that are organically growing in Orlando. I grew up in trade shows and marketing, so this has really been a passion project for me. Making sure that we have the right audience in InfoComm 2025 is my number one priority and I had to prioritize when I started at AVIXA so I had six months to really execute the show. So if there is one thing that I'm focused on day in and day out, it's the audience at InfoComm this year. When you say audience, are you hearing from exhibitors that they want to see more I end users or they want to see more partners because I think of an InfoComm as being a hyper-efficient way for a manufacturer to have a touch with a whole bunch of existing and potential resellers, and maybe not as worried about having like General Motors or some big retailer walking around.  Jenn Heinold: I hear both, Dave, and I think distributors and integrators are a super important part of the ecosystem, just as the end users are. We are putting more end users on Stage on the show floor this year, as well as within our conference program and I think, having the end users talk about how they are using AV technology only drives more end users to come to the show. That's what they want to hear, right? Uses cases of how they had successful installations, and how they have better employee engagement because of their conferencing and collaboration tools. We've got some retailers actually who will present how they're deploying AV technology in their stores, and what it's doing to improve their business. So we are making a real focus on that piece along with, of course, all the traditional content and certification we offer for the gearheads, as you said. I assume that's a bit of a tactic as well in, that if you invite, the Head of Digital for a big bank or big retail or whatever it may be to the show to do a speaking gig, there's a decent chance he or she is gonna bring some other people with them and then you've got people with big bank on the name tag walking around the show and you're able to talk about, look at the kinds of companies we're attracting. Jenn Heinold: That's absolutely a tactic. The other tactic is when we market to these end-user segments, and they go to our website, perhaps cold, having not really known much about InfoComm, and they see like-minded people on the website speaking, they realize it's an event for them too.  When you got involved, was there a discussion about how are things working right now? The old line about, if it ain't broke, don't fix it? Or were there things that you were told that are where we would like to grow, here's like where we would like to change things, that sort of thing?  Jenn Heinold: Yeah, I mentioned some of the deep dive I took into the show data when I first started. I also read the last five or so years' Exhibitor and Attendee Surveys. In reading those, one thing that bubbled up was just the onsite experience overall, and it is hard when you compare a U.S.-based show to an ISE at the Fira Barcelona is lovely and the food options are really healthy and great, and, unfortunately, we're a little bit behind in the United States on those things, but we are making  It's mind-blowing.  Jenn Heinold: It is a little embarrassing sometimes, but, I will tell you, I have already met with the team in Orlando. I actually was there about three weeks ago and talked about how we want to upgrade the food and beverage experience, have healthier options, and have more seating. So you will see an upgrade in the onsite experience as well.  That's something that we've done mindfully. When you have a better experience, you want to spend more time on the show floor, right? So, there's definitely another strategic priority for us.  Might as well talk about it now, I, people like me would be very happy if we never went to Orlando or Las Vegas again, and in the past, long before your time, InfoComm did move around a little bit. I remember the first one I went to was in Anaheim, and then it got in this rota of, back and forth between Orlando and Las Vegas.  Is that a finite thing or is that just how things are going to be?  Jenn Heinold: I don't think it's finite. The reality is InfoComm can fit in about five convention centers in the United States based on its size and Orlando and Vegas are two of them. Chicago could be an option, Atlanta, and New Orleans might work, but there are just not that many venues that can hold a show of our size, and also where the cities have the infrastructure to host us, so we are a little hamstrung that way.  I'm not opposed to looking at other cities. I think when we look at different cities, of course, we look at the cost structure. We look at the audience that is within a couple of hundred-mile radius and how accessible it is for air travel and everything else. I'm not opposed to it. We do have quite a few years booked already for Orlando and Las Vegas, but it's definitely something that I'm looking into.  If you come to the show, you'll see a lot of questions about our future cities and where we might be in the post-show survey, because it's something that I'd like to look into in the future. You've only been with AVIXA for three to four months, so you don't have a reference point for last year, but I'm going to ask anyway, what's going to be different this year with the show?  Jenn Heinold: Yeah, I mentioned our focus on the audience. That is a big priority for us. We always do local tours where you're able to see Avian Action. But this year I'm really proud that we're in Orlando. We've got a few new tours added to the schedule. One is, the Cirque de Soleil show behind the scenes in Disney Springs. We are going back to the University of Central Florida. We're also doing a large mega-church in Orlando for a house of worship tour. So we've added some fresh content there.  We also have a brand new panel discussion that we're launching this year called 2030 Vision. It will be moderated by Dave Labuskes, and we've got three visionaries from our industry, plus an end user up on stage to talk about what Pro AV look like in 2030, and what are the factors shaping our market. Our visionaries will be from Shure, Crestron, and Diversified. I'm really excited about having some different content models at InfoComm.  I talked earlier about the upgraded experiences. Again, we're really being mindful about making the event more comfortable and enjoyable to be a part of. I think in the last couple of years, AVIXA has really put a push on AVIXA Exchange and AVIXA TV. So I get a sense there's a lot more effort to educate the ecosystem and also use very modern ways to do it. It's not just the written word and case studies and so on. You're doing a lot of proper broadcast studio on-site at ISE and I assume probably something similar at Orlando.  Jenn Heinold: Yeah, absolutely. We'll have our AVIXA TV studios. The coolest thing about that, beyond being able to watch some of the interviews as they are recorded live, is that you get to see a fully functional broadcast studio on the show floor, right? You get to see how technology converges. It's not about just one box. It's about the whole solution and being able to present the whole solution is really special for us.  We've also got three stages. You mentioned AVIXA TV, that's more of a campfire format, right? So huddle around, and talk about different challenges that we're facing. We have our technology innovation stage which is really about highlighting new products that are coming to market and then we have our innovation Spotlight Stage and with the Spotlight Stage, we will have some exhibitors presenting thought leadership, but we also have some content partners there like Digital Signage Federation Plaza. We'll talk about lighting and staging. IABM will focus on the broadcast market opportunity and specifically the intersection of broadcast AV and IT. And FutureWorks who will talk about content creation.  Are you getting into some areas that - I saw at ISE that I didn't have enough time to really get over there and look at any, but it's enough just to get through those four days - but things like drones?  Jenn Heinold: We don't have a dedicated section of the show floor for drones. But certainly, there is some content about the use of drones projection mapping, and other applications.  What about the digital signage side? Through the years, AVIXA at InfoComm has tried to do “digital signage” pavilions, zones, and all kinds of things, and then in the last two to four years, I'm not sure of the number, you've worked with the Digital Signage Federation on a conference day called D Sign. Is that being replicated this year?  Jenn Heinold: Yeah, that'll return and we also have some content with Invidis who will cover a lot of digital signage as well so it's still a huge focus for us as part of the show. One of the attempts has always been to try to create an area thematically around it, but I've always told people that's super difficult because there are exhibitors who've been at that show for 10-20 years, and they have their spot. So it's hard to just say, okay, all of you digital science companies, you go over here, the audio people maybe do. Jenn Heinold: Yes. We don't have a dedicated pavilion for digital signage, but it gets back to our conversation earlier, Dave, I think it's a little bit less about one very specific piece of technology and more about the larger application and I think that's where our industry is going, and that's why really we can't box in those digital signage providers, right? Because they're doing so much more than just just a digital signage display.  Yeah, and that applies to just about any discipline these days that everything is cross-pollinating.  Jenn Heinold: Yes. So I think you'll see certainly some applications come to life at InfoComm 2025 and it'll be an even bigger part of our event design for 2026 where we are already having those conversations around what Infocomm 2026 looks like, which is really exciting. There was some noise at ISE around some of the major exhibitors, like notably Samsung, suggesting that they're not going to be at the show, that they're pulling their big stand, and this and that, and those were swatted down at the time, but I'm curious where that's at.  Jenn Heinold: Yeah, I personally speak to Samsung about every other week and they will be participating at InfoComm 2025. Will it be in the large booth presence that they have had in the past? Quite frankly, no, but, they will be there. They will have products on display. We welcome them and we're working with them to find the right marketing solution for what their needs are today and into the future as well. I find that weird because they had a massive presence at ISE and you would think they want to be there and if they're just doing whisper rooms, that sort of thing, it seems an odd decision. Is there something behind that? I read stuff about Korean politics or whatever, Korean government stuff that may be in the way of it. Jenn Heinold: I think that's a better question for them to answer, certainly, but they will do more than just a whisper room. They will have a presence at the show and we're working with them very closely on that. And they've been great partners. We want to continue to partner with them in a way that's mutually beneficial to both. Of course. Are you seeing some new exhibitors? Again, I respect that this is all new to you, but, some significant exhibitors coming into the InfoComm that maybe didn't do in the past.  Jenn Heinold: Yeah, I'm seeing, some more kiosk manufacturers. We're hearing more and more about that. Retail seems to be a really big end-user segment. That's a priority. We Just signed up AWS and they're bringing their equivalent of the Fire Stick for digital signage to the show. So those applications are fun to see and new for us.  We are always looking at a little bit of AI technology, we're always looking to make sure that we're introducing new and innovative technology to the show floor and one of the most fulfilling things for me is when you see those new tech come in and they might come in a 10 x 10 in the far corner of the hall and then they work their way there, work their way up, and have a bigger and bigger presence. Does your team do much coaching for some of the overseas exhibitors?  I'm particularly thinking about Chinese LED manufacturers who show up at these shows and it's always been a source of frustration and bewilderment for me that they'll spend a lot of money to bring all their tech over and bring a bunch of people over, and then when I wander into their booths and start asking questions, they don't tend to have many, if any people who can speak much in the way of English. So do your people coach them by saying, “Guys, if you're gonna do this, here's our advice!”  Jenn Heinold: We do.  It doesn't necessarily work?  Jenn Heinold: We do and we also try to help our exhibitors with their marketing campaigns and how to promote their presence at the show, and how to save money. A lot of the services are deadline-driven and talk through all of those things.  Yeah, we do that. We partner with sales agents as well that are in the country and we encourage them to work with their exhibitors as well as to coach them on exhibiting. I don't know if that is not necessarily working, but I do think it's a longer process because there are so many elements that tie into that. Yeah, and it's not easy to if you're in Shenzhen or Beijing or whatever, you just logically don't have a whole bunch of English-speaking people, but, I guess it's not that easy either to hire interpreters to come over and get questions thrown at them about chip on board and pixel pitch and things like that the interpreter is not going to understand either.  Jenn Heinold: That can be a challenge. We hire some interpreters for our own staff to help interact. And, yeah, it definitely can be a challenge. I do think we are so close. You travel internationally. I travel internationally and with Google Translate and so many new AI tools, I feel like we are so close to really having some breakthrough moments with that though. It's so much easier now.  Like the Facebook glasses, and there's some other ones out there where they can do real-time translation and it'll just show up on the lens, which would be amazing for just about anything I do once I leave this country or leave this continent. Jenn Heinold: Yeah, I see it too. I'm hopeful that'll really transform our shows.  I have to ask about the current political and economic climate with tariffs and everything else. How are AVIXA and InfoComm navigating their way through some of that?  Jenn Heinold: Yeah, I think it certainly comes up quite often. I mentioned that was doing a trip in South America, Mexico last week, and I think it's a concern for our exhibitors, and what we can do is just help support their efforts. I feel really confident that our exhibitors know how to run their business and know how to do it well, and they will pivot and make adjustments I have studied the AV industry over the last few months, having joined AVIXA and having seen how our industry navigated COVID and having worked for an organization that had multiple trade shows prior where I saw a lot of industries not navigate COVID as well as the AV industry, I'm super impressed with how agile and smart our exhibitors are.  I think this is just another challenge that we face. I have every confidence that we'll be able to navigate this too.  Do you have any sense of companies deciding, given everything that's going on, really don't want to travel to the U.S. right now?  I'm Canadian, so I suspect there's a whole bunch of people north of the U.S. border who are having second thoughts about, okay, do I really want to go to Florida right now or in June with all this stuff about Canada being the 51st state and so on. Jenn Heinold: Yeah, so right now, we haven't had a lot of pushback on traveling to the United States. We have been able to maintain the exhibitors on our show floor, but it's certainly something that I'm watching very closely.  As a show organizer, I do think it's our job to make sure that everyone feels welcome and that's what I'm focusing on.  Yeah, I think most Canadians like me, I've got a bazillion friends in the U.S. and I would miss them and everything else and I don't think they're the ones who are stirring the pot here. So it's just unfortunate.  Jenn Heinold: Yes, absolutely.  We'll just leave it at that, right?  Jenn Heinold: Yeah.  So tell me about Mexico City. I'm curious how you guys, not really rationalize that, but you have to counterbalance that. Okay. If you do a show in Mexico City for LATAM, does that siphon away some of what is in InfoComm US?  Jenn Heinold: I wasn't part of the initial launch conversations, but I will tell you having managed regional portfolios of shows, in my past life and now being part of a regional portfolio show, I really think that all ships rise with the tide, Dave, and having an event in the country and more specifically, the In the native language and being able to serve that community who may not be able to travel will only lift up and put calm in the U.S. as well. So I'm really excited about it.  The pride that the local community feels to have InfoComm in their backyard is really palpable and energizing. I'm proud that we're able to do the regional event, and I do think that it'll feed even more of the audience to InfoComm in the U.S. because in many ways it's a great introduction to the brand and we can say, now you experience this and please come to the U.S.  show as well.  Finally, I'm curious how things are tracking. I know that with ISE, I heard probably eight weeks out or something like that, it was going to be very busy, probably break records, and so on. I'm curious about what you're hearing or tracking for Orlando and also for Mexico City although I know Mexico is well out.  Jenn Heinold: Yeah, so for Orlando, our show floor is about 95 percent sold. We're targeting around 410,000 net square feet of exhibit space and for registrations, we're targeting 40,000 which is back to pre-pandemic numbers. Right now we're pacing really well. I'm watching it very closely, of course, and I'd love to check-in with you a little closer to the event and be able to share since we still have a few months to go. But all the indicators are really good for InfoComm in the U.S. We actually just added some hotel room nights because we were getting full with the hotels we're seeing our website traffic, pretty significantly year over year. We have to look at the full picture, but there are some really positive early indicators for InfoComm.  It's probably a bit too early to know much about Mexico City, right? Jenn Heinold: Mexico City's registration will open up in June, actually at InfoComm in the U.S. We've sold about 80% of the show floor. It's a much smaller show floor than InfoComm in the U.S., but I'm really happy with the early interest from exhibitors and support from the local community. We're hoping for about 5,000 attendees in Mexico City. All right. Thank you very much for giving me an update.  Jenn Heinold: Thank you. I really enjoyed our conversation.

Les ultra-violets émis par le soleil du printemps peuvent-être tout aussi nocifs que ceux émis en été. Cela dépend de la position de la Terre vis à vis du soleil, et donc de la date. Explication. Ecoutez La pluie et le beau temps avec Marina Giraudeau du 08 avril 2025.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Ecoutez Ca va beaucoup mieux avec Jimmy Mohamed du 07 avril 2025.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Si tinge ancora più di giallo la tragica morte del bimbo francese sparito a luglio 2023.Support this podcast at — https://redcircle.com/storia/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Do you avoid chaos? Can you recognize when your body is trying to tell you something? Are you afraid of the unknown?In this conversation, Sarah is joined by former Cirque du Soleil acrobat turned somatic depth coach Antonia Dolhaine. Working in a way that Sarah describes as the future, Antonia has mixed multiple modalities with her own experiences to make her work unique. Antonia shares her journey to working as a somatic depth coach and details common themes that arise with her clients, from mind-body disconnections to fear-led success. They also discuss depth psychology, nervous system healing, and why shapeshifting is imperative for growth.You'll learn:Why chaos is a needed ingredient of changeHow to harness the unknownHow to build embodied awarenessHow to access your unconsciousThe power of your imaginationIf you feel like there are missing components in your integration practices, this episode is for you.Antonia Dolhaine is a former Cirque du Soleil acrobat turned somatic depth coach and author of the weekly substack, SpaceUnknown. She specializes in supporting uncommonly creative and ambitious powerhouses to transform the fear-driven patterns of struggle that fueled their current success into the freedom and ease needed to inhabit the next octave of their unique genius.Sign up to Antonia's Substack hereCheck out Antonia's Instagram here and website hereMOON STUDIO WORKSHOP LINKSFuture Self Workshop.Our Hermit Year.Mystic Vision Workshop.Join the Moon Studio Patreon.Buy the 2025 Many Moons Lunar Planner.Subscribe to our newsletter.Find Sarah on Instagram.

Contrairement à ce que l'on pourrait penser, la masse de la Terre n'est pas constante. Elle évolue au fil du temps, à cause de plusieurs phénomènes naturels qui provoquent des gains et des pertes de matière. Et selon les scientifiques, le bilan global est négatif : la Terre perd chaque année environ 55 000 tonnes de masse, soit environ 140 tonnes par jour.Des apports venus de l'espaceChaque jour, la Terre reçoit des matériaux venus de l'espace, principalement sous forme de météorites, de poussières cosmiques et de micrométéoroïdes. Ce phénomène ajoute environ 100 tonnes de matière par jour, soit environ 36 500 tonnes par an. Ces particules sont si petites qu'elles passent généralement inaperçues, mais leur accumulation est constante.La dilatation liée au réchauffementUn autre phénomène, plus discret, est lié au réchauffement climatique. En chauffant, l'atmosphère, les océans et même la croûte terrestre se dilatent légèrement, ce qui augmente très légèrement la masse par l'ajout d'énergie. Cette énergie se convertit en équivalent-masse selon la célèbre équation d'Einstein E=mc2E = mc^2. Cela représenterait environ 160 tonnes supplémentaires par an.Une réaction nucléaire interne qui consomme de la masseAu cœur de la Terre, des réactions de désintégration nucléaire naturelle ont lieu en permanence. Elles produisent de l'énergie thermique, notamment dans le manteau, mais au passage, elles consomment un peu de masse. Ce phénomène entraîne une perte estimée à environ 16 tonnes par an. C'est infime, mais c'est un processus permanent.Des fuites dans l'espaceLe principal facteur de perte de masse, cependant, vient de l'atmosphère terrestre. Certains gaz légers comme l'hélium ou l'hydrogène, une fois suffisamment énergisés par le Soleil, peuvent s'échapper dans l'espace. Ces gaz, les plus légers de tous, atteignent parfois la vitesse de libération de la Terre et ne reviennent jamais. Ce processus fait perdre à la planète environ 96 600 tonnes de matière par an.Un bilan négatifEn additionnant les apports (+36 660 t/an) et les pertes (-96 616 t/an), on obtient un déficit d'environ 55 000 tonnes par an, soit 140 tonnes par jour. Rapporté aux 6 000 milliards de milliards de tonnes de masse terrestre, c'est négligeable… mais réel. La Terre devient chaque jour un tout petit peu plus légère. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

What happens when an artist watches the same show 84 times over three decades? Something magical emerges at the intersection of art, ritual, and the sacred.Captain Frodo and juggler Jay Gilligan dive deep into the fascinating psychology of repeated viewing, exploring why we'll happily listen to songs hundreds of times but typically see a live performance just once. This conversation challenges our cultural assumptions about consumption while revealing how each viewing of the same performance can uncover new layers of meaning, detail, and artistic intention.The discussion takes unexpected turns through the landscape of artistic development, questioning whether isolation or immersion best serves creative growth. Jay's incredible story of watching a VHS recording of Cirque du Soleil's Mystere daily for an entire year becomes a lens through which to examine ritual, meaning-making, and the spiritual dimensions of performance. When does a theatrical experience transcend entertainment and become something akin to church?For performers, this episode offers profound insights about taking your craft seriously, understanding your lineage, and finding depth in repetition. For audiences, it provides a new way of appreciating live performance—not as a one-time experience but as a potentially sacred ritual that rewards those who return with open hearts and curious minds.Whether you're a seasoned performer or simply someone who appreciates the magic of live entertainment, this conversation will transform how you think about the performances you create or witness. Captain Frodo's heartfelt reflections on the privilege of performing remind us all that great art isn't just what happens on stage—it's the invisible connection created between performer and audience that makes each moment unique, even when performing the same act for the thousandth time.Support the show...Now you can get t-shirts and hoodies with our wonderful logo. This is the best new way to suport the podcast project. Become a proud parader of your passion for Showmanship and our glorious Craft whilst simultanously helping to gather more followers for the Way.You'll find the store here: https://thewayoftheshowman.printdrop.com.auIf you want to help support this podcast it would be tremendous if you wrote a glowing review on iTunes or Spotify.If you want to contact me about anything, including wanting me to collaborate on one of your projects you can reach me on thewayoftheshowman@gmail.comor find out more on the Way of the Showman website.you can follow the Way of Instagram where it is, not surprisingly thewayoftheshowman.If you find it in you and you have the means to do so, you can suport the podcast financially at:https://www.buymeacoffee.com/captainfrodo

Pourquoi étudier le climat martien ?  Que nous apprend l'atmosphère de Vénus ? Pistes de réponses aussi sidérales que sidérantes du planétologue François Forget, spécialiste de l'exploration du système solaire et des environnements planétaires et exo-planétaires... (Rediffusion du 29 janvier 2024) Allons voir ailleurs dans le système solaire (et même au-delà), quelles sont les conditions atmosphériques, climatologiques, géologiques, environnementales des planètes qui gravitent autour de notre Soleil et autour des milliers d'exoplanètes découvertes à ce jour, avec en filigrane cette question vertigineuse : qu'est-ce qui a permis à la Terre de faire émerger la vie ? Et d'être- à l'heure actuelle et en l'état des connaissances- la seule à l'abriter ? À quelles conditions pourrait-on en trouver des traces ailleurs ? Et comment la maintenir sur Terre ?Avec François Forget, planétologue français, spécialiste de l'exploration du Système solaire et des environnements planétaires.François Forget a signé la préface du livre Astrobiologie : à la recherche de la vie extraterrestre de Andrew May. Il a également participé au commissariat scientifique de l'exposition permanente Mission spatiale qui se tient à la Cité des Sciences. 

Pourquoi étudier le climat martien ?  Que nous apprend l'atmosphère de Vénus ? Pistes de réponses aussi sidérales que sidérantes du planétologue François Forget, spécialiste de l'exploration du système solaire et des environnements planétaires et exo-planétaires... (Rediffusion du 29 janvier 2024) Allons voir ailleurs dans le système solaire (et même au-delà), quelles sont les conditions atmosphériques, climatologiques, géologiques, environnementales des planètes qui gravitent autour de notre Soleil et autour des milliers d'exoplanètes découvertes à ce jour, avec en filigrane cette question vertigineuse : qu'est-ce qui a permis à la Terre de faire émerger la vie ? Et d'être- à l'heure actuelle et en l'état des connaissances- la seule à l'abriter ? À quelles conditions pourrait-on en trouver des traces ailleurs ? Et comment la maintenir sur Terre ?Avec François Forget, planétologue français, spécialiste de l'exploration du Système solaire et des environnements planétaires.François Forget a signé la préface du livre Astrobiologie : à la recherche de la vie extraterrestre de Andrew May. Il a également participé au commissariat scientifique de l'exposition permanente Mission spatiale qui se tient à la Cité des Sciences. 

durée : 00:34:55 - Les Nuits de France Culture - par : Albane Penaranda - Connaissez-vous la communauté des Litvaks ? En 2008, Victor Malka reçoit dans "Maison d'Études", Henri Minczeles et Yves Plasseraud pour "Litvaks", un ouvrage consacré au monde englouti des Juifs de Lituanie, cosigné avec Suzanne Pourchier aux éditions La Découverte. - réalisation : Virginie Mourthé - invités : Henri Minczeles; Yves Plasseraud Juriste, président du groupement pour les droits des minorités.

durée : 00:22:08 - Les Nuits de France Culture - par : Albane Penaranda - En 1953, trente ans après son installation en France, le peintre Marc Chagall s'entretient avec Georges Charbonnier dans "Couleurs de notre temps" sur la Chaîne Nationale. - réalisation : Virginie Mourthé - invités : Marc Chagall Peintre et graveur naturalisé français

durée : 00:15:54 - Les Nuits de France Culture - par : Albane Penaranda - En 1952, à Vence, au micro de Robert Sadoul, le peintre Marc Chagall évoque les illustrations qu'il a créées pour le roman "Les Âmes mortes" de Nicolas Gogol. - réalisation : Virginie Mourthé - invités : Marc Chagall Peintre et graveur naturalisé français

durée : 00:30:42 - Les Nuits de France Culture - par : Albane Penaranda - En 1980, une exposition présente, à Nice, les illustrations de Marc Chagall des "Psaumes de David" et d'autres thèmes bibliques. C'est l'occasion d'évoquer l'oeuvre gravée du peintre, ses estampes, gravures, lithographies et eaux fortes, moins connues que ses peintures. - réalisation : Virginie Mourthé

durée : 01:29:57 - Les Nuits de France Culture - par : Albane Penaranda - Le peintre Marc Chagall a 90 ans en 1977. Cette année-là, le Louvre lui consacre une exposition qui met en valeur sa production de la décennie écoulée. Avec les voix de Marc Chagall, André Malraux, Georges Auric et de nombreuses archives. - réalisation : Virginie Mourthé - invités : Marc Chagall Peintre et graveur naturalisé français; André Malraux Écrivain et homme politique français; Sylvie Andreu; Georges Auric

durée : 00:31:02 - Les Nuits de France Culture - par : Albane Penaranda - Deuxième entretien de la Nuit avec Meret Meyer, petite-fille du peintre Marc Chagall et Ambre Gauthier, docteure en histoire de l'art, toutes deux commissaires de l'exposition "Chagall, du noir et blanc à la couleur" à Aix-en-Provence. - réalisation : Virginie Mourthé - invités : Meret Meyer Éditrice, co-commissaire de l'exposition Chagall du noir et blanc à la couleur; Ambre Gauthier Docteure en Histoire de l'art, co-commissaire de l'exposition "Chagall du noir et blanc à la couleur"

durée : 00:30:50 - Les Nuits de France Culture - par : Albane Penaranda - La musique, la danse et le théâtre imprègnent l'oeuvre du peintre Marc Chagall. Ces sources d'inspiration sont évoquées dans "Présence des arts" en 1984. Martine Cadieu propose une voyage poétique et musicale dans les œuvres de Chagall pour le spectacle, comme le plafond de l'Opéra de Paris. - réalisation : Virginie Mourthé

durée : 00:51:36 - Les Nuits de France Culture - par : Albane Penaranda - En 1980, François Leyritz invite Pierre Provoyeur, conservateur du Musée Chagall de Nice, pour présenter les peintures composant "Le Message Biblique" de Chagall. - réalisation : Virginie Mourthé

durée : 00:06:32 - Les Nuits de France Culture - par : Albane Penaranda - Dernier entretien avec Meret Meyer, petite-fille du peintre, vice-présidente du comité Marc Chagall et Ambre Gauthier, docteure en histoire de l'art, commissaires de l'exposition "Chagall, du noir et blanc à la couleur" à Aix-en-Provence. - réalisation : Virginie Mourthé - invités : Meret Meyer Éditrice, co-commissaire de l'exposition Chagall du noir et blanc à la couleur; Ambre Gauthier Docteure en Histoire de l'art, co-commissaire de l'exposition "Chagall du noir et blanc à la couleur"

En 2024, le Japon a accueilli un nombre record de 37 millions de touristes étrangers, du jamais-vu. C'est en grande partie dû au cours du yen qui, depuis deux ans, a dégringolé à un niveau plancher, historiquement bas. Mais – revers de la médaille – au Pays du Soleil levant également, le sur-tourisme pose de plus en plus de problèmes. À Kyoto notamment, ainsi que dans les localités proches du Mont Fuji, où la pratique de tarifs différenciés en fonction de la nationalité des clients se répand dans l'archipel. Dans un nombre grandissant de restaurants, d'hôtels ou de musées, par exemple, les touristes étrangers sont priés de payer davantage que les Japonais. Et cette évolution ne fait pas l'unanimité. L'an dernier, les touristes étrangers venus au Japon y ont dépensé la somme faramineuse de 8 000 milliards de yens – près de 50 milliards d'euros –, soit davantage que le montant des exportations de semi-conducteurs nippons ou des recettes générées à l'international par le « cool Japan », comme l'on dénomme le secteur du manga, des films d'animation et des jeux vidéo.Le Japon 10% plus cher pour les étrangersUne manne providentielle donc, pour une économie nationale qui ne va pas bien. Pour autant, Kotaro ne culpabilise pas d'avoir instauré des tarifs différenciés : dans son restaurant, les clients étrangers paient 10% de plus que les Japonais. Car, ne parlant pas un mot d'anglais, il a dû engager une serveuse bilingue et faire traduire et imprimer des menus en plusieurs langues. Et puis, à ses yeux, ce système offre un grand avantage : « Sans cette petite contribution que je demande gentiment aux clients étrangers, j'aurais dû répercuter la hausse du prix des produits alimentaires sur mes tarifs, et donc proposer des menus moins abordables, au détriment de mes clients japonais. »À Asakusa, le quartier le plus touristique de Tokyo, les avis divergent. Pour cet homme, « en termes d'hospitalité, je trouve ça moyen. On devrait remercier, et pas pénaliser, tous ces touristes qui nous font l'honneur de leur visite ». Une femme estime que « quelques yens en plus ou en moins, ils s'en fichent. Ils roulent sur l'or grâce au taux de change ».« Je ne suis pas du tout sûre que les Japonais en vacances à l'étranger apprécieraient de devoir payer plus que les locaux », confie une autre. Et pour cet habitant de Tokyo, « trier les clients en fonction de leur origine, on a beau dire, mais, au bout du compte, cela relève du délit de faciès. C'est très délicat. Le cliché de ''l'infinie courtoisie japonaise'' va en prendre un coup ».À lire aussiJapon: avec 36,8 millions de touristes étrangers en 2024, le pays fait face aux défis du surtourismeLes touristes étrangers, eux, sont tout autant partagés. Un premier confie : « Si cela devient vraiment difficile pour les Japonais en raison de la hausse du coût de la vie, c'est peut-être une bonne idée de pratiquer de tels tarifs différenciés. » Un autre déclare : « Ces prix majorés pour les visiteurs étrangers, selon moi, automatiquement, ça va les dissuader. Certains vont trouver inéquitable de devoir payer plus. »Certains commerçants vont encore plus loin. À la devanture de ce minuscule restaurant de nouilles, par exemple, un écriteau rédigé en anglais informe que l'accès est réservé aux clients parlant le japonais. Son gérant se justifie : « Je suis nul en langues étrangères, n'ai pas les moyens d'engager du personnel bilingue et suis tout seul à la fois en cuisine et au service. Donc les dialogues improbables en français, en espagnol ou en swahili via des applis ou 'Google Translate', désolé, mais non merci : je suis beaucoup trop débordé pour cela. »Le droit japonais tolère de telles restrictions d'accès fondées sur la nationalité ou la langue, considérant qu'elles relèvent de la liberté commerciale.À lire aussiJapon: les experts mettent en garde contre une éruption du mont Fuji

durée : 00:41:32 - Les Nuits de France Culture - par : Albane Penaranda - Albane Penaranda reçoit Meret Meyer, petite-fille du peintre, vice-présidente du comité Marc Chagall et Ambre Gauthier, docteure en histoire de l'art. Toutes deux sont commissaires de l'exposition "Chagall, du noir et blanc à la couleur" qui s'est tenue en 2018-2019 à Aix-en-Provence. - réalisation : Virginie Mourthé - invités : Meret Meyer Éditrice, co-commissaire de l'exposition Chagall du noir et blanc à la couleur; Ambre Gauthier Docteure en Histoire de l'art, co-commissaire de l'exposition "Chagall du noir et blanc à la couleur"

Quatre personnes, dont les grands-parents du petit Émile Soleil disparu en juillet 2023 dans les Alpes-de-Haute-Provence, ont été placées en garde à vue pour "homicide volontaire" et "recel de cadavre". Ecoutez l'analyse de Maître Julien Pinelli, avocat de la grand-mère d'Émile. Ecoutez L'invité d'Amandine Bégot du 27 mars 2025.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Ce jeudi 27 mars, les gardes à vue des grands-parents, de l'oncle et de la tante du petit Émile Soleil ont été levées. Ils sont ressortis libres. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Chaque jour, retrouvez le journal de 19h de la rédaction d'Europe 1 pour faire le tour de l'actu.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Quatre personnes, dont les grands-parents du petit Émile Soleil disparu en juillet 2023 dans les Alpes-de-Haute-Provence, ont été placées en garde à vue pour "homicide volontaire" et "recel de cadavre". Ecoutez l'analyse de Maître Julien Pinelli, avocat de la grand-mère d'Émile. Ecoutez L'invité d'Amandine Bégot du 27 mars 2025.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Pascal Praud revient pendant deux heures, sans concession, sur tous les sujets qui font l'actualité. Vous voulez réagir ? Appelez-le 01.80.20.39.21 (numéro non surtaxé) ou rendez-vous sur les réseaux sociaux d'Europe 1 pour livrer votre opinion et débattre sur grandes thématiques développées dans l'émission du jour. Vous voulez réagir ? Appelez-le 01.80.20.39.21 (numéro non surtaxé) ou rendez-vous sur les réseaux sociaux d'Europe 1 pour livrer votre opinion et débattre sur grandes thématiques développées dans l'émission du jour.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Pascal Praud revient pendant deux heures, sans concession, sur tous les sujets qui font l'actualité. Vous voulez réagir ? Appelez-le 01.80.20.39.21 (numéro non surtaxé) ou rendez-vous sur les réseaux sociaux d'Europe 1 pour livrer votre opinion et débattre sur grandes thématiques développées dans l'émission du jour. Vous voulez réagir ? Appelez-le 01.80.20.39.21 (numéro non surtaxé) ou rendez-vous sur les réseaux sociaux d'Europe 1 pour livrer votre opinion et débattre sur grandes thématiques développées dans l'émission du jour.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Chaque jour, retrouvez le journal de 19h de la rédaction d'Europe 1 pour faire le tour de l'actu.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

durée : 00:08:39 - La Question du jour - par : Marguerite Catton - L'enquête sur l'affaire Émile Soleil a pris un nouveau tournant hier avec le placement en garde à vue de ses grands-parents, de son oncle et de sa tante. Disparu en 2023, les enquêteurs avaient retrouvé il y a un an les ossements de l'enfant. Comment les affaires non élucidées sont-elles traitées ? - réalisation : Félicie Faugère - invités : Jacques Dallest Magistrat honoraire, consultant judiciaire, ancien Procureur de la république à Marseille (2008 à 2013).

Dans cette édition :Les grands-parents et l'oncle et la tante du petit Émile Soleil, disparu dans les Alpes de Haute-Provence en juillet 2023, sont entendus par les enquêteurs de la police judiciaire de Marseille et leur garde à vue a été prolongée de 24 heures.Les enquêteurs ont resserré leurs investigations sur le cercle familial après avoir épuisé toutes les pistes du côté du lieu de la disparition, le hameau du Haut-Vernay.Les éléments recueillis lors de la perquisition au domicile du couple de grands-parents près d'Aubagne, ainsi que l'analyse du SUV et de la remorque du grand-père, pourraient s'avérer déterminants pour faire avancer l'enquête.Les habitants du Haut-Vernay, qui connaissent bien les grands-parents d'Émile, attendent avec impatience de connaître la vérité sur cette affaire qui devient de plus en plus insoutenable.Le Rassemblement National, représenté par Jordan Bardella et Marion Maréchal, a été invité pour la première fois en Israël par le gouvernement israélien, un événement capital pour le parti qui souhaite se présenter comme un allié d'Israël dans la lutte contre l'antisémitisme.Notre équipe a utilisé un outil d'Intelligence artificielle via les technologies d'Audiomeans© pour accompagner la création de ce contenu écrit.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

In this deeply personal and moving episode of Mum Era, Renee Bargh shares the intimate details of her recent home birth, supported by her private midwife, Janine O'Brien. Janine was also the midwife for co-host Olivia Davies' home birth with her son, making this conversation feel especially tender and connected.Together, they explore the layers of emotional connection, the importance of safe, supported environments in birth, and the healing power of telling our birth stories. From navigating fear to celebrating unexpected joy, this conversation is a love letter to women's health, sovereignty in birth choices, and the midwives who hold space through one of life's most sacred transitions.Sponsor: iL Tuttohttps://www.iltutto.com.auDiscount code for 20% off: MUM20Instagram: @iltuttoGuest: Janine O'BrienInstagram: ⁠@janineatibirthConnect with Mum Era Podcast Email: ⁠hello@mumerapodcast.com⁠ Website: ⁠mumerapodcast.com⁠ Instagram:  ⁠@mumerapodcast⁠ Connect with Renee:  Instagram:  ⁠@reneebargh⁠ Connect with Olivia:  Instagram: ⁠@oliviajdavies⁠

When does unmasking the magic behind a theatrical masterpiece enhance rather than diminish its wonder? Join Captain Frodo and Jay Gilligan as they peel back the curtain on Cirque du Soleil's Mystere, revealing the fascinating evolution of this groundbreaking Las Vegas production over its remarkable 31-year run.Franco Dragone emerges as the passionate, sometimes volatile creative force who shaped Mystere through improvisation and emotional imagery rather than traditional storytelling. "I work with images and emotions," he would say, crafting scenes that resonated on a visceral level rather than an intellectual one. The conversation reveals how his creative vision about "the origins of the universe" translated into the show's iconic elements - from the giant inflatable snail named Alice to the baby with the red ball who captures audiences' imaginations.Behind every theatrical wonder lies human reality - sometimes beautiful, sometimes troubling. Dangerous falls from stilts in fog-slicked conditions, and the clown who was fired after cutting the wrong powerful man's necktie during a pre-show bit. Yet these stories don't diminish the magic; they highlight the extraordinary commitment required to create something that transcends ordinary entertainment.Most compelling is how Mystere has evolved while maintaining its essence. Original elements have been modified or removed, performers have changed countless times, and budget cuts have reduced the cast size. Today's performers bring new relationships and chemistry to characters that didn't previously interact, breathing fresh life into a production that refuses to become a museum piece. As Jay reflects, "It's the difference between making a movie and making a show...the show is happening actually for real, every night."Discover why meeting your heroes doesn't always destroy the mystery - sometimes it reveals something even more magical: that ordinary people, through extraordinary dedication, can create experiences that continue to resonate with audiences for decades. Subscribe now for our final episode on Mystere, where we'll explore what we can learn from knowing one thing deeply.Support the show...Now you can get t-shirts and hoodies with our wonderful logo. This is the best new way to suport the podcast project. Become a proud parader of your passion for Showmanship and our glorious Craft whilst simultanously helping to gather more followers for the Way.You'll find the store here: https://thewayoftheshowman.printdrop.com.auIf you want to help support this podcast it would be tremendous if you wrote a glowing review on iTunes or Spotify.If you want to contact me about anything, including wanting me to collaborate on one of your projects you can reach me on thewayoftheshowman@gmail.comor find out more on the Way of the Showman website.you can follow the Way of Instagram where it is, not surprisingly thewayoftheshowman.If you find it in you and you have the means to do so, you can suport the podcast financially at:https://www.buymeacoffee.com/captainfrodo

Quatre personnes, dont les grands-parents du petit Émile Soleil, disparu en juillet 2023 dans les Alpes-de-Haute-Provence, ont été placées en garde à vue pour "homicide volontaire" et "recel de cadavre". Écoutez l'analyse du général François Daoust, ancien directeur de l'Institut de recherche criminelle de la gendarmerie nationale. Ecoutez L'invité de Yves Calvi du 25 mars 2025.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Quatre personnes, dont les grands-parents du petit Émile Soleil, disparu en juillet 2023 dans les Alpes-de-Haute-Provence, ont été placées en garde à vue pour "homicide volontaire" et "recel de cadavre". Écoutez l'analyse du général François Daoust, ancien directeur de l'Institut de recherche criminelle de la gendarmerie nationale. Ecoutez L'invité de Yves Calvi du 25 mars 2025.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

durée : 00:29:06 - Une histoire particulière - par : Lou Quevauvillers - Du globe terrestre gigantesque devant l'école aux huit petits pavillons aux murs amovibles que forment les classes, tout est pensé pour que les élèves étudient tout en étant au maximum exposés au soleil ! - réalisation : Rafik Zénine

In this episode, I'm joined by my former client turned dear friend, and visionary leader Melissa Fernandez — Cirque du Soleil performer turned postpartum doula turned powerhouse agency CEO—to talk all about the inaugural Doula Agency Owner Summit happening in Atlanta this April... and why I said YES to being there in person. (JOIN US - limited seating at this event - secure your spot at the link below).We dive deep into the real behind-the-scenes of agency leadership, community building, and creating what doesn't exist—especially when you feel the nudge to disrupt the norm and follow your own path.If you've ever felt the pull to lead differently…If you're building (or dreaming of building) a team…If you know there's a better way to do business, birthwork, and beyond…This episode is for you.I'm officially inviting you to come hang out with us in Atlanta this spring. This is more than a summit—it's a movement. And we would love to have you there.In This Episode:How Melissa went from “I don't want to run an agency” to leading the #1 postpartum doula agency in AtlantaThe myths that keep birthworkers from expanding (and how to release them)What it really means to lead with heart and step into your role as CEOWhy business is changing—and how to evolve with itWhat makes this summit different from any other event in the industryWhy I'm showing up in person, and how you'll know if this space is for youAn invitation to connect, collaborate, and rise together Join Us: Doula Agency Owner Summit | April 28–30 | Atlanta, GA In-person tickets are limited. Virtual tickets also available.https://nicholejoy--theatlantapostpartumdoula.thrivecart.com/agency-summit/Use the link above to grab your spot, learn more, or reach out with questions.Let's Connect:DM me @nichole_joy__ if you're planning to come or want to meet up in Atlanta. I'd love to hear from you!Connect with Melissa Fernandez, the owner of the #1 Postpartum Doula Agency in Atlanta, The Atlanta Postpartum Doula @the.atlanta.postpartum.doulaADDITIONAL LINKS AND SUCH:Ways to work with Nichole: ⁠ https://www.nicholejoy.com/moreTry Honeybook & get 25% off:⁠ https://share.honeybook.com/nichole35768⁠Try Descript with my link: ⁠ https://get.descript.com/c9non205vptz⁠

Toutes les réponses à tes questions ! Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Bob McCarthy is a leading expert in sound system design and optimization, with over 40 years in the industry. He pioneered Source Independent Measurement (SIM®) in 1984 and has worked on major productions, including Metallica, Cirque du Soleil, and Broadway hits like Wicked and Les Misérables. His book, Sound Systems: Design and Optimization, is a go-to resource for audio professionals worldwide. A sought-after educator and consultant, Bob continues to shape the future of live sound through his work, seminars, and ongoing projects with top artists and venues.This episode is brought to you by Artistry In Motion and GearSource

Vénus, la deuxième planète du Système solaire, intrigue les astronomes depuis des siècles. Elle possède une particularité unique : sa rotation est rétrograde, c'est-à-dire qu'elle tourne sur elle-même dans le sens opposé à la plupart des autres planètes, y compris la Terre. Alors que la plupart des planètes tournent dans le même sens que leur révolution autour du Soleil, Vénus tourne sur elle-même dans le sens inverse. Comment expliquer ce phénomène étrange ?Une rotation atypique et extrêmement lenteLa majorité des planètes, dont la Terre, tournent d'ouest en est, dans le même sens que leur révolution autour du Soleil. En revanche, Vénus tourne d'est en ouest. En d'autres termes, si l'on pouvait observer le Soleil depuis la surface de Vénus, il semblerait se lever à l'ouest et se coucher à l'est, à l'opposé de ce que l'on observe sur Terre.De plus, la rotation de Vénus est extrêmement lente : une journée vénusienne dure 243 jours terrestres, soit plus longtemps qu'une année sur Vénus, qui ne dure que 225 jours terrestres ! Autrement dit, une journée sur Vénus est plus longue que son année.L'hypothèse d'une collision gigantesqueL'explication la plus courante pour cette rotation inversée repose sur l'hypothèse d'un impact géant survenu il y a plusieurs milliards d'années. À l'origine, Vénus aurait probablement tourné dans le même sens que les autres planètes. Cependant, une collision avec un astre massif aurait modifié son axe de rotation, provoquant un ralentissement et même une inversion progressive du mouvement.Une autre hypothèse suggère que ce changement serait dû aux effets gravitationnels du Soleil sur l'atmosphère dense de Vénus. La planète étant enveloppée d'une épaisse couche de gaz, des forces de marée gravitationnelles auraient pu agir sur sa rotation au fil du temps, inversant progressivement son sens de rotation.Une planète pleine de mystèresVénus reste une planète fascinante, et son comportement atypique continue d'intriguer les scientifiques. En plus de sa rotation inversée, elle est recouverte d'une atmosphère extrêmement dense et toxique, composée principalement de dioxyde de carbone, avec des températures atteignant 475°C en surface. Ces conditions extrêmes rendent son exploration difficile, mais de nombreuses missions spatiales cherchent encore à percer ses mystères.En conclusion, si Vénus tourne dans le sens inverse des autres planètes, c'est probablement à cause d'un choc colossal ou d'une influence gravitationnelle sur le long terme. Ce phénomène en fait l'une des planètes les plus étranges et captivantes du Système solaire. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Caroline Sicard, artistic director for Cirque du Soleil at Vidanta World Riviera Maya in Mexico, speaks with Sherman Dejon of Insider Travel Report about JOYÀ, the resort's immersive residency show. Sicard shares insights on the production's evolving storyline, Mexican cultural influences, live music, intricate costumes and the purpose-built theater. She also highlights the VIP experience, pre-show dinner, and why JOYÀ is an unforgettable experience for all ages. For more information, visit www.cirquedusoleil.com/joya. All our Insider Travel Report video interviews are archived and available on our Youtube channel  (youtube.com/insidertravelreport), and as podcasts with the same title on: Spotify, Pandora, Stitcher, PlayerFM, Listen Notes, Podchaser, TuneIn + Alexa, Podbean,  iHeartRadio,  Google, Amazon Music/Audible, Deezer, Podcast Addict, and iTunes Apple Podcasts, which supports Overcast, Pocket Cast, Castro and Castbox.  

In this episode of The Epic Universal Podcast, Jim Hill and Eric Hersey take a nostalgic journey through Universal's lesser-known history, focusing on the Ma & Pa Kettle film series and its unexpected impact on Universal Studios Hollywood. Along the way, they also dive into the latest Universal news and rumors. Highlights include: The Ma & Pa Kettle Film Legacy: How these quirky, small-town characters became box office gold for Universal in the 1940s and 50s. The Ma & Pa Kettle Petting Zoo: How Universal repurposed the set into a real farm attraction for guests in the early days of the studio tour. The Evolution of Universal Studios Hollywood: From petting zoos to world-class attractions, how the park transitioned into the entertainment giant it is today. Epic Universe Updates: The latest behind-the-scenes insights from team member previews, including first reactions to Monsters Unchained and Isle of Berk. Stardust Racers Testing Issues: What happened when Universal's new dueling coaster stalled on the track? Cirque du Soleil in Vegas: Eric shares his experience seeing the long-running Mystère show and how Cirque compares to other theme park entertainment. This episode blends Hollywood history, Universal's evolving theme park legacy, and the latest attraction updates. Whether you're a longtime film buff or excited for the future of Universal parks, this one's for you! Support Our Sponsor: Be Our Guest Vacations Planning your next Universal vacation? Be Our Guest Vacations is a Platinum-level Earmarked travel agency with concierge-level service to make every trip magical. Their team of expert agents plans vacations across the globe, from Disney and Universal to cruises and adventures, ensuring you have the best possible experience without the stress. Book Now Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode 132 - Finding Your Bold and Confident Voice In this episode of the Faith and Family Filmmakers podcast, Jaclyn welcomes back Julia Langley for part two of their interview. Julia introduces her community, Bold and Confident Voices, which aims to elevate people's confidence and vocal abilities through group training sessions and self-paced courses. Julia also shares her personal journey of overcoming a severe accident and PTSD, and how it led her to expand her coaching to a global scale. The discussion highlights the importance of confident communication in various aspects of life, from job interviews to pitching, and emphasizes the value of perseverance and faith in achieving one's goals.Welcome and IntroductionBold and Confident VoicesWeekly Vocal Training SessionsNew Course for SpeakersImportance of Confidence in CommunicationPersonal Transformation StoriesConfidence when PitchingJulia's Life-Changing AccidentExpanding Beyond Vocal TechniqueChoosing Your WordsKeep Moving ForwardFind Julia's New Course for SpeakersBio:Julia Langley helps ambitious performers learn how to use their voice more boldly and confidently. With over 15 years as a featured singer for Cirque du Soleil she has performed on stages in over 20 different countries and all 50 States.In 2019, she was hit by a jeep while riding her bicycle leaving her with injuries that changed her life forever. Four surgeries later and a diagnosis of PTSD, Julia started from ground zero, and with courage and resilience got her life back on track. She believes she was given a second chance and has dedicated herself to empower others to share their story and truly be the force they were born to be in this world.Julia's Online Community: https://www.skool.com/bold-and-confident-voices-9012/aboutJulia on LinkedIn: https://www.linkedin.comJulia on Instagram: https://www.instagram.com/cirquesingerjules/Julia on Instagram: https://www.facebook.com/cirquesingerjulesEdited by Michael RothFAFF Association Online Meetups: https://faffassociation.com/#faff-meetingsScreenwriters Retreat - Mexico: https://www.faffassociation.com/writers-retreatJaclyn's Book - In the Beginning, Middle and End: A Screenwriter's Observations of LIfe, Character, and God: https://www.amazon.com/dp/B0D9R7XS9VVIP Producers Mentorship Program https://www.faffassociation.com/vip-producers-mentorship The Faith & Family Filmmakers podcast helps filmmakers who share a Christian worldview stay in touch, informed, and inspired. Releasing new episodes every week, we interview experts from varying fields of filmmaking; from screenwriters, actors, directors, and producers, to film scorers, talent agents, and distributors. It is produced and hosted by Geoffrey Whitt and Jaclyn Whitt , and is...

Episode 131 - Cirque du Soleil: World Tour and Beyond In this episode of the Faith and Family Filmmakers podcast, Jaclyn introduces Julia Langley, a seasoned performer with over 15 years of experience with Cirque de Soleil. Julia shares her inspiring journey from childhood performances in church to touring 20 countries and all 50 US states. In 2019, a life-changing accident left her with injuries and a diagnosis of PTSD, but with resilience, she rebuilt her life. Julia discusses her unwavering faith, her early experiences in music, and her transition from a corporate career to professional singing. She emphasizes the importance of courage, persistence, and listening to one's calling. Julia also touches on the challenging and rewarding experiences on the road with Cirque de Soleil and her current focus on helping others use their voices boldly through her community, Bold and Confident Voices.Highlights Include:Welcome and IntroductionJulia's Background and CareerEarly Life and First PerformancesChallenges and ResiliencePursuing a Career in MusicJoining Cirque de SoleilLife on the RoadJulia' Masterclass and Personal GrowthConclusion and Contact InformationBio:Julia Langley helps ambitious performers learn how to use their voice more boldly and confidently. With over 15 years as a featured singer for Cirque du Soleil she has performed on stages in over 20 different countries and all 50 States.In 2019, she was hit by a jeep while riding her bicycle leaving her with injuries that changed her life forever. Four surgeries later and a diagnosis of PTSD, Julia started from ground zero, and with courage and resilience got her life back on track. She believes she was given a second chance and has dedicated herself to empower others to share their story and truly be the force they were born to be in this world.Julia's Online Community: https://www.skool.com/bold-and-confident-voices-9012/aboutJulia on LinkedIn: https://www.linkedin.comJulia on Instagram: https://www.instagram.com/cirquesingerjules/Julia on Instagram: https://www.facebook.com/cirquesingerjulesEdited by Michael RothFAFF Association Online Meetups: https://faffassociation.com/#faff-meetingsScreenwriters Retreat - Mexico: https://www.faffassociation.com/writers-retreatJaclyn's Book - In the Beginning, Middle and End: A Screenwriter's Observations of LIfe, Character, and God: https://www.amazon.com/dp/B0D9R7XS9VVIP Producers Mentorship Program https://www.faffassociation.com/vip-producers-mentorship The Faith & Family Filmmakers podcast helps filmmakers who share a Christian worldview stay in touch, informed, and inspired. Releasing new episodes every week, we interview experts from varying fields of filmmaking; from screenwriters, actors, directors, and producers, to film...

Enjoy the majesty of Cirque Mechanics: Pedal Punk on March 29th at Hendricks Live! with the help of The Smiley Morning Show! Listen this week for your chance to win tickets to experience what's been called the "Greatest Contribution to the American Circus since Cirque du Soleil!"See omnystudio.com/listener for privacy information.

Step into the enchanting world of "Mystere," where the lines between circus, theater, and artistry blur into an unforgettable experience. In this episode, we unfold the remarkable story behind one of the Cirque du Soleil's most iconic productions, exploring how it reshaped modern entertainment. Listen as we discuss its innovative approach to storytelling, the emotional depth of its performances, and the sheer magic that captivates audiences worldwide.Join us as we dive deep into the show's creative vision, led by Franco Dragone and his team, who broke barriers to redefine the circus landscape. Mystere invites viewers on a journey, appealing to the senses and challenging preconceived notions of performance art through stunning visuals and dynamic storytelling. We share insights on the unique challenges performers face within the show, discovering how anonymity and collective identity play a crucial role in their craft.The episode also touches on the impact of technology in enhancing audience interaction and expectations of live performances. We reflect on the show's enduring legacy, how it paved the way for future productions, and its evolution over the years. Whether you're a circus enthusiast or new to the world of performance arts, you won't want to miss this fascinating exploration! You'll gain valuable insights into the deeper meanings woven into every act. Be part of this journey and share your own experiences with us! Don't forget to subscribe or leave a review!Support the show...Now you can get t-shirts and hoodies with our wonderful logo. This is the best new way to suport the podcast project. Become a proud parader of your passion for Showmanship and our glorious Craft whilst simultanously helping to gather more followers for the Way.You'll find the store here: https://thewayoftheshowman.printdrop.com.auIf you want to help support this podcast it would be tremendous if you wrote a glowing review on iTunes or Spotify.If you want to contact me about anything, including wanting me to collaborate on one of your projects you can reach me on thewayoftheshowman@gmail.comor find out more on the Way of the Showman website.you can follow the Way of Instagram where it is, not surprisingly thewayoftheshowman.If you find it in you and you have the means to do so, you can suport the podcast financially at:https://www.buymeacoffee.com/captainfrodo