Podcasts about special prize

Given the shameful American sacrifice of Ukraine, there will be few timelier movies than Anna Kryvenko's upcoming “This House is Undamaged”,. It will be an Orwellian documentary examining the Russian destruction of Mariupol, the Ukrainian city devastated by Putin's invasion in 2022. Krivenko, a Fellow at the Artist in Residence program, Institute for Advanced Studies at CEU, explains how Russian authorities are rapidly rebuilding and selling properties there while erasing Ukrainian history and creating the big lie of Mariupol as a historically Russian city. Kryvenko, originally from Kyiv, also discusses the parallels between Putin's and Trump's lies about Ukraine, summarizing their fundamental misrepresentation of the truth as a "carnival of hypocrisy."Here are the five KEEN ON takeaways from our conversation with Kryvenko:* The Russians are engaged in a systematic erasure of Mariupol's Ukrainian identity, not just through physical reconstruction but through an aggressive propaganda campaign that claims the city was "always Russian." This reconstruction effort began shortly after the city's destruction in 2022.* Pre-war Mariupol was not characterized by deep Russian-Ukrainian divisions as Russian propaganda claims. According to Kryvenko, language differences weren't a source of conflict before political forces deliberately weaponized them.* The rebuilding of Mariupol has a dark commercial aspect - Russians are selling apartments in reconstructed buildings, sometimes in properties where the original Ukrainian owners were killed, and marketing them as vacation properties while ignoring the city's tragic recent history.* There's a humanitarian crisis unfolding as some Ukrainians are being forced to return to occupied Mariupol because they have nowhere else to live, with Kryvenko citing statistics that around 150,000 people returned to occupied territories by the end of 2024.* The filmmaker is using a unique methodology of gathering evidence through social media content, vlogs, and propaganda materials to document both the physical transformation of the city and the narrative being constructed around it, rather than traditional documentary filming techniques.Transcript of Anna Kryvenko InterviewAndrew Keen: Hello, everybody. As the situation in Ukraine becomes more absurd, it seems as if the lies of Donald Trump and the lies of Vladimir Putin are becoming increasingly similar. Trump has been talking about Zelensky and Ukraine, what is described as a barrage of lies. As CNN reports, Trump falsely called Zelensky a dictator. It's becoming more and more absurd. It's almost as if the whole script was written by some Central European or East Central European absurdist. Meanwhile, the Russians continue to lie as well. There was an interesting piece recently in the Wall Street Journal about Russia wanting to erase Ukraine's future and its past. My guest today, Anna Kryvenko, is a filmmaker. She's the director of an important new movie in the process of being made called "This House Is Undamaged." She's a visual fellow at the Central European University, and she's joining us from Budapest today. Congratulations on "This House is Undamaged." Before we talk specifically about the film, do you agree with my observations that there seems to be an increasingly eerie synergy between the lies coming out of Washington, D.C. and Moscow, between Trump and Putin?Anna Kryvenko: I think the situation is becoming more crazy and absurd. That's a better word to use in this situation. For me, all of this looks like some carnival of hypocrisy. It's unbelievable that someone can use the word "dictator" in comparison with Vladimir Putin or speaking about this 4% of the people who support Zelensky when he says it's only four persons. It looks completely absurd. And this information comes from Moscow, not from actual Ukrainian statistics.Andrew Keen: The phrase you use "carnival of hypocrisy" I think is a good description. I might even use that in the title of this conversation. It's almost as if Trump in particular is parodying himself, but he seems so separated from reality that it seems as if he's actually being serious, at least from my position in California. How does it look from your perspective in Budapest? You're originally from Ukraine, so obviously you have a particular interest in this situation.Anna Kryvenko: I don't even know what to think because it's changing so fast into absurd situations. Every day when I open the news, I'm speaking with people and it looks like some kind of farce. You're expecting that the next day someone will tell you that this is a joke or something, but it's not. It's really hard to believe that this is reality now, but unfortunately it is.Andrew Keen: Kundera wrote his famous novel "The Joke" as a parody of the previous authoritarian regime in Central Europe. Your new movie, "This House is Undamaged" - I know you are an artist in residence at the Institute for Advanced Study at Central European University - is very much in that vein. Tell us about the project.Anna Kryvenko: We're in work in progress. I was doing research in the archives and internet archives. This documentary film will explore the transformation of Mariupol, a Ukrainian city that was destroyed by the Russian invasion in 2022. I will use only archives and found footage materials from people who are in Mariupol now, or who were in Mariupol at the time of invasion, who were actually trying to film what's going on. Sometimes I'll also use propaganda images from Russia, from Russian authorities. In May 2022, Mariupol, after intense fighting, was almost completely destroyed.Andrew Keen: Tell us the story of Mariupol, this town on the old border of Russia and Ukraine. It's in the southeast of Ukraine.Anna Kryvenko: It's on the shore of the Azov Sea. It's part of Donetsk region. It was always an industrial city, most known for the Azovstal factory. In 2022, after incredible brutality of Russian war against Ukraine, this strategically important city was almost completely destroyed in May 2022 and was occupied by Russian government. About 90% of buildings were destroyed or demolished in some way.Andrew Keen: The Russians have essentially leveled the town, perhaps in the same way as the Israelis have essentially destroyed Gaza.Anna Kryvenko: Exactly. For a lot of people, we have this image of destroyed Mariupol until today. But after these terrible events, the Russians started this big campaign to rebuild the city. Of course, we know it was done just to erase all the scars of war, to erase it from the city's history. They started the reconstruction. Some people who stayed in Mariupol thought they would have new housing since they had no place to live. But business is business - Russian authorities started to sell these apartments to Russian citizens.Andrew Keen: I'm surprised Trump hasn't got involved. Given his real estate background and his cozy relationship with Putin, maybe Trump real estate will start selling real estate in Mariupol.Anna Kryvenko: I was thinking the same thing this last week. It was looking like such an absurd situation with Mariupol. But now we are in this business mode again with Ukraine and all the minerals. It's only the economical part of war they look at.Andrew Keen: He probably would come up with some argument why he really owns Mariupol.Anna Kryvenko: Yes.Andrew Keen: Coming back to the Wall Street Journal piece about Russia wanting to erase Ukraine's future and its past - you're originally from Kyiv. Is it the old East Central European business of destroying history and creating a new narrative that somehow conforms to how you want history to have been made?Anna Kryvenko: I was really shocked at how fast this idea of Russian Mariupol is repeating after two years in Russian media, official and semi-professional blogs, YouTube, and so forth. As a person working with this type of material, watching videos every day to find what I need, I'm listening to these people doing propaganda from Mariupol, saying "we are citizens of the city and it's always been Russian." They're repeating this all the time. Even when I'm hearing this - of course it was always a Ukrainian city, it's completely absurd, it's 100% disinformation. But when you're hearing this repeated in different contexts all the time, you start to think about it.Andrew Keen: It's the same tactics as Trump. If you keep saying something, however absurd it sounds or is, if you keep saying it enough times, some people at least start believing it. You're not a historian or political scientist, but Mariupol is in the part of Ukraine which had a significant population of Russian-speaking people. Some of the people that you're filming and featuring in your movie - are they Russians who have moved into Mariupol from some other part of Russia, or are they people originally from Mariupol who are somehow embracing their new Russian overlords?Anna Kryvenko: The people I'm watching on social media, most of them say they're from Mariupol. But you can find journalistic articles showing they're actually paid by the Russian government. It's paid propaganda and they're repeating the same narrative. It's important that they're always repeating "we were born in Mariupol" and "we want the city to be Russian." But of course, you can see it's from the same propaganda book as 2014 with Crimea. They're repeating the same narrative from Soviet times - they just changed "Soviet Union" to "Russia" and "the West" to "European Union."Andrew Keen: You grew up in Kyiv, so you're familiar with all these current and historical controversies. What's your take on Mariupol before 2020, before it was flattened by the Russians? Was it a town where Russian-speaking and Ukrainian people were neighbors and friends? Were there always deep divisions between the Russian and Ukrainian speaking populations there?Anna Kryvenko: It's hard to explain because you need to dig deeper to explain the Russian-speaking and Ukrainian-speaking parts of Ukraine. But it was never a problem before Yanukovych became prime minister and then president. It was his strategy to create this polarization of Ukraine - that the western part wants to be part of the European Union and the eastern part wants to be part of Russia because of language, and they cannot live together. But it's not true. For me as a person from Kyiv, from the center of the country, with friends from different parts of Ukraine, it was never a problem. I'm from a Russian-speaking family and have many friends from Ukrainian-speaking families. It was never a question. We were in a kind of symbiotic connection. All schools were in Ukrainian, universities in Ukrainian. We were bilingual. It was not a problem to communicate.Some of this division came from Yanukovych's connections to Putin and his propaganda. It was important for them to say "we are Russian-speaking people, and because we are Russian-speaking, we want to be part of Russia." But I have friends from Mariupol, and after 2014, when war in eastern Ukraine started and Mariupol was bombed a few times, it became a really good city to live in. There were many cultural activities. I know friends who were originally from Mariupol, studied in Kyiv in theater or visual art, and went back to Mariupol because it was a good place for their art practice. Ukraine is still a bit centralized, with most activity in Kyiv, Kharkiv, Lviv, and the big cities, but Mariupol wasn't a city with internal conflict. It's weird that so fast after 2022, people started saying it was always problematic in wanting to be part of Russia. It was never like that.Andrew Keen: It's as if I lived for a year in Bosnia before the civil war, and it was almost as if ethnicity was invented by the nationalist Serbian regime. It seems as if the Putin regime is doing or has done the same thing in the eastern part of Ukraine.Anna Kryvenko: Yes.Andrew Keen: You talk to lots of friends still and you're from Kyiv originally, and obviously your professional life remains focused on the situation. In late February 2025, what's your sense of how Ukrainians are feeling given what Trump is now saying?Anna Kryvenko: I think a lot of people in Ukraine or Ukrainians abroad are feeling lonely, that they don't have support. Again we are in this situation where you have big deals about Ukraine without Ukraine. You feel like nothing, just an empty space on a map with minerals or sea access. We're just sitting there waiting while they're agreeing on deals. That's the negative layer. But it's important for all Ukrainians to be together and speak about the situation. After Trump's words about the 4% support for Zelensky, there were statistics from last year showing 57-55% support for Zelensky. Today, after these few days, new statistics show 65% support.Andrew Keen: Zelensky started his political career as a satirical comedian, and it's as if he's participating in his own comedy - as if he's almost paid Trump to promote him. What about the broader take on the US? Obviously Trump isn't all America, but he was just elected a couple of months ago. Are your Ukrainian friends and associates, as well as many people at the Central European University in Budapest, taking this as a message from America itself, or are people able to separate Trump and America?Anna Kryvenko: This is a hard question because we always know that you have a president or representative figure, but that's not the whole state. I spoke with someone from our university who was in Pennsylvania before the election, and he said all the people were pro-Trump. The logic was really simple - "he's good" and "he will stop this war" - though people sometimes don't even know which war or which country. They're just repeating the same talking points.Andrew Keen: It's sort of Orwellian in the sense that it's just war and it doesn't really matter who's involved - he's just going to stop it.Anna Kryvenko: It reminded me of how everyone was repeating about Lukashenko from Belarus that "he's a good manager" and can manage things, and that's why he's still president - not that he's a dictator killing his opponents. They use this to explain why he's good and people choose him. Now with Trump, they say "he's a good businessman," but we can see how this business works. Today, someone from Trump's administration said Zelensky needs to stop being arrogant because Trump is in a bad mood. In what world are we living where this is used as an argument?Andrew Keen: Coming back to real estate, he probably sees Mariupol as a nice strip on the Black Sea, like Gaza, which he sees as a valuable strip on the Mediterranean for real estate development. I found an interesting piece online about the Russian invasion, "When Buildings Can Talk: The Real Face of Civilian Infrastructure Ruined by Russian Invaders." In a way, your project "This House is Undamaged" is your way of making buildings talk. Is that fair?Anna Kryvenko: I think it's the best description you can use.Andrew Keen: Perhaps you might explain how and why.Anna Kryvenko: This name "This House is Undamaged" might or might not be the final name. For me, it's important because after the first months when it started to be a Russian city, some people were trying to sell apartments just to have some money. The reconstruction started a bit later. They were using video websites like Craigslist. It immediately became Russian, part of Russian territory. People from different Russian regions who saw this opportunity were trying to buy something because prices were so cheap. People needed money to buy a ticket and go to other cities or to relatives. In every advertisement, there was this phrase "this house has no damages" or "this house is undamaged." You had to put it there even if it wasn't true - you could see pictures where one building had a hole, but they were still saying "this house is undamaged."Andrew Keen: It's just again coming back to the carnival of hypocrisy or the carnival of absurd hypocrisy - you see these completely destroyed homes, and then you have the signs from the Russians saying this house is undamaged.Anna Kryvenko: It was also interesting why some people from Russia want to buy apartments in Mariupol, in these reconstructed buildings with weird pro-Russian murals - it's like Stalinism. They don't even know where Mariupol is - they think it's somewhere near Crimea, but it's not the Black Sea, it's the Azov Sea, an industrial region. It's not the best place to live. But they think it will be some kind of resort. They're living somewhere in Russia and think they can buy a cheap apartment and use it as a resort for a few months. This is absurd because the city was completely destroyed. You still have mass graves. Sometimes they're selling apartments where they can't even find the owner because the whole family is dead.On Google Maps, someone made an alternative version where you can see all the buildings that were destroyed, because officially you can't find this information anywhere. People were putting crosses where they knew someone died in a building - entire families. And after this, people are buying their apartments. For me, this is unbearable. You can do research about what you're doing, but people are lazy and don't want to do this work.Andrew Keen: It comes back to the Journal piece about Russia literally erasing not just Ukraine's past but also its future, creating a culture of amnesia. It's chilling on so many levels. But it's the old game - it's happened before in that part of the world and no doubt will happen again. As a filmmaker, what particular kind of political or aesthetic responsibility do you have? People have been writing - I mentioned Kundera, Russian writers, Gogol - satires of this kind of absurd political power for centuries. But as a filmmaker, what kind of responsibility do you have? How does your form help you make this argument of essentially restoring the past, of telling the truth?Anna Kryvenko: A lot of filmmakers in Ukraine, with the start of invasion, just brought cameras and started making films. The first goal wasn't to make a film but to document the crimes. My case is different - not only because my family's in Ukraine and I have many friends there and lived there until my twenties. For the last ten years, since the Maidan events in 2013-2014, I started working with archive and found footage material. This is my methodology. For me, it's not important to go somewhere and document. It's more interesting to use media deconstruction from propaganda sources, maybe from Ukrainian sources also because it's a question of ideology.One of my favorite materials now is people doing vlogs - just with their camera or mobile phone going from Russia to Crimea or back. You only have two ways to go there because airports aren't working, so you go through the Kerch-Crimea bridge. Now because of Mariupol's strategic location, you can go through there, so you have two different roads. People from different Russian cities sometimes film their road and say "what is this, is it destroyed?" This is the average Russian person, and you can hear the propaganda they're repeating or what they're really thinking. For me, it's important to show these different points of view from people who were there or are there now. I don't have the opportunity as a Ukrainian citizen to go there. Through this method, in the near future when I finish this film, we can have testimonies from the inside. We don't need to wait for the war to end because we don't know how or when it ends. It's important to show it to people who maybe don't know anything about what's going on in Mariupol.Andrew Keen: Given the abundance of video on the internet, on platforms like YouTube, how do you distinguish between propaganda and truth yourself in terms of taking some of these segments to make your film? It could be conceivable that some of the more absurd videos are put out by Ukrainians to promote their own positions and undermine the Russians. Have you found that? Is there a propaganda war on YouTube and other platforms between Ukrainian and Russian nationalists? And as a filmmaker who's trying to archive the struggle in an honest way, how do you deal with that?Anna Kryvenko: Of course, there are many people, and Mariupol is the best example because the Russian government is paying people to repeat pro-Russian ideology. Sometimes you can see just an average person from Mariupol going with a camera and shooting something without speaking - this is just documentation. Sometimes you have Russian people there for some days just saying something. And of course, you get different segments of real propaganda from some ministry in Russia with drone material and big music. I'm always trying to question myself: What am I looking at? Who is speaking? On technical aspects, why is this like this? It helps me to be holistic.Of course, I'm from Ukraine, and sometimes this is the most uncomfortable - you can hear actual people from Mariupol saying something you don't want to hear because it's not your point of view on the war. But these are people really from the city giving some kind of realistic point of view on the situation. It's sad, but there were statistics at the end of 2024 that about 150,000 people were returning to occupied territories, not only to Mariupol but all occupied territories. Maybe 40% were coming back to register their property and then returning to Ukrainian territory, but many people are returning to Mariupol because they don't have anywhere to live in Ukraine. It's not hundreds but thousands of people. As Ukrainians, we're not comfortable with this because we're all in different situations. But if something's not comfortable for my point of view, it doesn't mean it's bad or good.Andrew Keen: It's an important project. I know your artist residency at the Central European University is finishing at the end of February. You're going to focus on finishing the movie. When do you think it will be ready and what are your ambitions for the finished movie? Will you put it online, in theaters? What's your ideal?Anna Kryvenko: If everything goes well, we can finish it in a year and a half because it will be a long process of editing and working with rights. We only started working on it six months ago, and it's starting to go faster. Documentary making is a long process because of funding and everything. Even though I don't need to go somewhere physically, it's still a long process with a lot of waiting. First, we're thinking about festivals, maybe a theater release, maybe we'll have some broadcasters because it's an important topic to show to a wider audience. After a year, we'll see.Andrew Keen: If "Buildings Can Talk" is the subtitle of this upcoming movie "This House is Undamaged," it's a really important project about Mariupol. Thank you for being on the show. I'm going to have to get you back when the movie is done because I can't wait to see it.Anna Kryvenko: Thank you so much. Thank you.Keen On America is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.Anna Kryvenko (1986, Ukraine) is a video and fine art photography artist based in Prague and Kyiv. She is a Fellow at the Artist in Residence program, Institute for Advanced Studies at Central European University. She graduated from the Centre for Audio-Visual Studies at the Film and TV School of the Academy of Performing Arts (FAMU, Prague). Her films and performances were screened at Dok Leipzig, ZagrebDox, Visions du Reel Nyon, Fluidum Festival, Jihlava Documentary Film Festival, etc. With her found-footage film Silently Like a Comet, she won the prize for the Best Experimental Act at FAMUFEST, Prague (CZ), and a few others. Her film Listen to the Horizon won the prize for the Best Czech Experimental Documentary, Jihlava IDFF (CZ). Her first feature documentary film My Unknown Soldier won the Last Stop Trieste 2018 Postproduction Award, Special Mention at Zagreb Dox, the Special Prize of the Jury at IDFF CRONOGRAF, and the Andrej Stankovič Prize. Her newest short film Easier Than You Think won the Jury Award of the Other Vision Competition 2022 (PAF, Czech Republic).Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting the daily KEEN ON show, he is the host of the long-running How To Fix Democracy interview series. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

8-4-2-1 Exercise, History of Tuning, Songwriting Challenge #40 & A Rare Signed CDVideo Podcast & Timestamps:https://forum.ukuleleunderground.com/threads/practices-all-chords-uses-one-shape-80-the-ukulele-underground-podcast-154.168086/Why makes a Chord Shape the "Standard"? Why are Ukulele's tuned the way they are? Magic Mike is back on the podcast to help the guys answer these questions and more. The Crew offers advice on Chord Changes in American Pie, and how someone can practice "Tricky" changes. Mike gives a "brief" history on Equal Temperament and Instrument Tunings before the guys explain what makes some keys easier to play on different instruments. The next Songwriting Challenge is set, and there's a pretty Special PRIZE to go along with it. The podcast ends with Mike describing how he uses Aldrine to teach performing to his Students, and Aldrine reveals what his Walkout/Hype song is.

This week we're excited to present a conversation from the 62nd New York Film Festival with The Seed of the Sacred Fig director Mohammad Rasoulof.   The Seed of the Sacred Fig opens at FLC on November 27. Get tickets at filmlinc.org/fig A target of Iran's hardline conservative government for his films' criticism of the state, director Mohammad Rasoulof fled his home country to avoid an eight-year prison sentence, though he hadn't finished editing his latest film yet. His searing drama The Seed of the Sacred Fig won a Special Prize from the jury and three other awards on its premiere at the Cannes Film Festival. The film is every bit as urgent and gripping as its real-life backstory would portend: longtime government worker Iman (Missagh Zareh) has just received a major promotion to the role of judge's investigator, to the hopeful delight of his wife Najmeh (Soheila Golestani); at the same moment, a series of student protests against the government have exploded in the streets, stoking the sympathies of their independent-minded daughters Rezvan (Mahsa Rostami) and Sana (Setareh Maleki). The growing wedge between progressive children and traditional parents intensifies through a series of unsettling events that put Iman's future in jeopardy. Both paranoia thriller and domestic drama, The Seed of the Sacred Fig is above all an epic of anti-patriarchal political conviction. An NYFF62 Main Slate selection. A NEON release. This conversation was moderated by NYFF programmer Rachel Rosen.

Strap yourself in! Despite reassuring you that it won't be another marathon episode; well it turns out we lied. Two more funny and cringe worthy stories (for different reasons), followed by a couple of juicy questions; the first on how she's different with her bull and a second that give us an insight into her type of man. If that's not enough.. Bully's Special Prize...an update on her meet with The Chef. Oh and listen out for a few special announcements. Hope you enjoy! Hosted on Acast. See acast.com/privacy for more information.

This morning, Rhonda and Lindsey went head to head for a special prize pack (thanks to Chris Janson!). 

This morning's 5 @ 8:35 pitted Laura in Wheaton up against Melissa in Aurora. It was a real nail bitter for a special prize pack from Chris Janson!

For a Prize Pack that features a Grill. bluetooth speaker, chairs and more (all thanks to Chris Janson), Karen and Todd competed in a round of Country Trivia.

Simon Alvey, Will Cooling and Dr Luke Middup return from their holidays to discuss politicians behaving badly. We look at the crisis that has engulfed the Scottish National Policy with several senior officials arrested as the police investigate their expenses and the party scrambles for a new auditor. We then turn to Dominc Raab being forced to resign after being identified as having bullied several civil servants, and Diane Abbot having the whip withdrawn after sending an anti-semitic letter to  The Observer

Bully's Special Prize, Toilet paper two grow Mushrooms,Breakfast Baked Potato, Crusts are my favourite!

Nick is joined by Lydia Hislop for a bumper edition of the popular daily Horseracing podcast, taking in the best from across the globe. Nick is in Florida for the Pegasus World Cup, but they begin by touring Britain in search of clues and insight ahead of this weekend's key Trials day at Cheltenham, including Gary Moore, Henry Daly and Jeremy Scott in the conversation. Trainer Gay Kelleway joins the show, upset at a BHA order that mandates her and other trainers to stalls test every debutant in their yards. Meanwhile, in the US, Nick talks to Florent Geroux, rider of Pegasus favourite Cyberknife, while Henry Beeby previews the Goffs UK January Sale and looks forward to the rebranding of Land Rover sale this summer, and Andrew 'Bert' Black from Chasemore Farm is this week's Weatherbys Bloodstock Guest. Nick and Lydia also ask why and to what effect racing is now urgently pressing its stakeholders into action on affordability checks.

Nick is joined by Lydia Hislop for a bumper edition of the popular daily Horseracing podcast, taking in the best from across the globe. Nick is in Florida for the Pegasus World Cup, but they begin by touring Britain in search of clues and insight ahead of this weekend's key Trials day at Cheltenham, including Gary Moore, Henry Daly and Jeremy Scott in the conversation. Trainer Gay Kelleway joins the show, upset at a BHA order that mandates her and other trainers to stalls test every debutant in their yards. Meanwhile, in the US, Nick talks to Florent Geroux, rider of Pegasus favourite Cyberknife, while Henry Beeby previews the Goffs UK January Sale and looks forward to the rebranding of Land Rover sale this summer, and Andrew 'Bert' Black from Chasemore Farm is this week's Weatherbys Bloodstock Guest. Nick and Lydia also ask why and to what effect racing is now urgently pressing its stakeholders into action on affordability checks.

Science in Parallel's season two concludes with a conversation about answering important questions in biology and medicine with leadership class supercomputers, including urgent issues that came up during the COVID-19 pandemic. You'll hear from Anda Trifan of the University of Illinois, Urbana-Champaign and Amanda Randles of Duke University. Starting as a chemist, Anda is completing a Ph.D. in biophysics and quantitative biology at the University of Illinois Urbana-Champaign where she has studied molecular strategies that make certain cells turn cancerous. In early 2020, she joined an Argonne National Laboratory team that pivoted to working on the pandemic, and she modeled how SARS-CoV-2 infects cells, how it replicates and how it spreads through aerosols. Amanda is an assistant professor of biomedical engineering at Duke University with roots in physics and computer science. Much of her work now focuses on large-scale simulations of how blood flows through a person's unique network of vessels. During the pandemic, her team applied their expertise to calculations that could help physicians figure out how to split ventilators between patients who weren't exact matches, a critical problem in early 2020 when these devices were in short supply. Both Anda and Amanda completed Department of Energy Computational Science Graduate Fellowships. Between them, they have worked on a total of five projects that have been finalists for either the ACM Gordon Bell Prize or the Special Prize for COVID-19 research. Adding to the excitement of their pandemic work: They both navigated the at-home adventure of raising very young children during lockdown. They talk about what drives them, the challenge of working at the cutting edge of HPC and biology and medicine, and their advice for other researchers, particularly other women in science.

Want to win a full scholarship for my program New Sound? All you need to do is to RATE and REVIEW the podcast on your favorite podcast platform, take a screenshot of the review, and send it to us at hello@hadarshemesh.com Learn more about New Sound: https://hadarshemesh.com/join/ New Sound is the only program for speakers of English as a second language that focuses on everything you need to own your English and be heard. With a passionate community of students and a stellar team of coaches, you'll discover the most intuitive step-by-step training program designed to help you open up your English and a world of opportunities.

Good Morning Monaco MONDAY MARCH 28, 2022 published by NEWS.MC Subscribe to our daily email newsletter Monaco's World Plastics Summit makes its mark first time out It was only the first time the event had been held, but there was no doubt at all that Monaco's World Plastics Summit was a blockbuster success in bringing together top minds from across the globe to address one of the world's most pressing problems... PwC Monaco gets full cybersecurity marks Frédéric Fautrier, Director of the Monegasque Digital Security Agency (AMSN), has presented the new Systems Security Audit Service Provider Information Diploma (PASSI) to Frank Vanhal, Partner PwC Monaco and Stefan Thibault, Director of Cybersecurity at PwC... Dubai becomes bolthole of choice for many oligarchs According to multiple reports from Dubai, there has been an influx of very wealthy Russians in recent weeks as sanctions have started to bite in Europe and the US... Another top green award for Monte-Carlo Beach Monte-Carlo Beach has won 1st Special Prize in the Hotel & Lodge Awards 2022 Green Category, as awarded by Hotel & Lodge magazine, a top tourist magazine in France... As Western brands exit, Russia looks east Russia is looking to China, India, Iran and Turkey to plug the gap created by an exodus of western retail companies, an industry body said on Friday... Verstappen edges out Leclerc for Saudi GP win Charles Leclerc looked set to claim back-to-back wins as he put on another dominant display, this time at the Jeddah Corniche Circuit in the Saudi Arabian Grand Prix, but Max Verstappen... More recoveries than new cases at weekend No Monaco residents tested positive for coronavirus on Sunday, March 27, while 76 were declared fully-recovered. The Saturday figures were 40 new cases and 68 recoveries. DULY NOTED: Authorities in Moscow have seized a number of Audemars Piguet watches worth millions of euros in retaliation for Swiss sanctions, NZZ am Sonntag reported - customs offences were cited as the reason. Meanwhile, Nestlé continues to operate in Russia. Copyright © 2020 NEWS SARL. All rights reserved. North East West South (NEWS) SARL. RCI: 20S08518 - NIS: 6312Z21974 --- Send in a voice message: https://anchor.fm/monacodailynews/message

Here in Episode 42 of the No Name Music Cast, it is Joy's turn to pick the topic and she chooses to discuss the UK TV show Top Of The Pops!We talk about Pans People, Radio 1 DJ's and artists who appeared on the show multiple times over the years.We also discuss ABBA Box sets, the Brit Pop wars and your parents sewing your name in your school clothes.Tim also gives a run down on UK's top TV game show of all time - Bullseye!Thanks for listening, and don't forget to 'Like' our page on Facebook:https://www.facebook.com/NoNameMusicCast/  

Join the Canary Community for a chance to win a Groov RIO & Special Prize

Food guilt! Self-sabotage! When self-improvement becomes toxic or obsessive and so much more! Don't miss this Q&A with me and Chris!  Mentioned in Today's Episode:  Salted Caramel GBX (the code 30968 saves you $10 on your first order SleepPlus 75 Questions Download 

Terence Crawford vs Shawn Porter is ON!  Set to fight on Nov. 20th  |  Teofimo Lopez wants to fight everyone.. except Loma?  |  Jaime Munguia passes on WBC Eliminator against Derevyanchenko to fight who?  |   Canelo vs Plant get special Belt  |  Gary Russell Jr falls out of rankings due to Inactivity  PLUS  |    Oscar Valdez vs Robson Conceicao Review Youtube.com/BrewsandBoxingComment, Like and Subscribe!

My guest is the first female film Director/Producer in the United Arab Emirates. She has written and directed both for film and television. As a working professional, her accolades include being ranked among the Top 50 most powerful personalities in Arab Cinema, and 100 most powerful Arabs under 40 by Arabian Business Magazine. She’s been awarded the Visionary of the Year Award at the Arabian Business Awards and has been Brand Ambassador for Canon Middle East since 2011. She was recently received the Black Swan Award for Women Empowerment - Asia One 2019, and Businesswoman of the Year Award – in the Gulf Business Awards 2020. Please welcome, film producer Nayla Al Khaja. Bio Nayla Al Khaja is the first female film Director/Producer in the United Arab Emirates and is CEO of Nayla Al Khaja Films (previously D-Seven Motion Pictures). In 2007 Nayla also founded The Scene Club, Dubai’s first film club, which now counts over 22,000 registered members.  She has written and directed several films, all presented and awarded in international film festivals. She is currently developing her first feature film, Animal. In 2006, she was awarded the title of Best Emirati Filmmaker during the Dubai International Film Festival (DIFF). She then shot three short films: Once (2009), Malal (2010) and The Neighbor (2013). Malal received the Muhr Emirati Award at DIFF 2010 and The Neighbor was awarded Best Emirati Film at the 2014 Abu Dhabi Film Festival. In 2016, she shot the pilot of her first feature film, Animal, nominated for the Muhr Emirati Awards at DIFF 2016. The short film received the Jury’s Special Prize for Best Short Fiction at the Italian Movie Award in Pompeii, Italy, in September 2017. Al Khaja’s accolades include being ranked among the Top 50 most powerful personalities in Arab Cinema, and 100 most powerful Arabs under 40 by Arabian Business Magazine. She’s also been awarded the Visionary of the Year Award at the Arabian Business Awards, and she is Brand Ambassador for Canon Middle East since 2011. She was recently declared Entrepreneur of the Year during the Gulf Business Awards 2017. Her topics range from Women Empowerment in the Middle East to Women Entrepreneurs. She can also discuss how to combat fear and chase one’s dreams, based on her extraordinary true-life story being the first female filmmaker in the UAE. She has also tackled taboo topics, such as breaking down the Arab Woman stereotype and how to stand out in a male dominated industry. Over the years, Al Khaja’s dedication to develop the UAE’s film industry and her advocacy for Women in Cinema, helped her reputation of trustworthy professional grow. Today, she keeps supporting and mentoring local talents, and is considered a reference in the Middle East. Recorded on: 16th March 2021 Links: More about Nayla More about Maria Franzoni Ltd Connect with Maria on LinkedIn Connect with Maria on FaceBook More about London Speaker Bureau Connect with London Speaker Bureau on LinkedIn To book any of the speakers featured on the Speaking Business podcast, click here Listen here: Podfollow Libsyn  Itunes  Stitcher Spotify

Who's the Halloween QUEEN in the office? We played a Halloween themed game to find out... With a very SPECIAL PRIZE for the winner!

Content Warning: This recording contains mentions of racial trauma, violence against Black and Brown people and racial slurs that can be disturbing or triggering.The second event of the BSR Fine Arts Talks | Talk Justice series will be a conversation between artist Phoebe Boswell (Bridget Riley Fellow 2019) and Dr Angelica Pesarini (NYU Florence). Pesarini, whose research is dedicated to the analysis of the intersections of race, gender and citizenship in colonial and postcolonial Italy responds to Phoebe's visual essay 'Stranger In The Village', which documents her experience of both an artist residency and a growing consciousness within an increasingly hostile Europe. Combining draftswomanship and digital technology, Boswell creates immersive installations and bodies of work that layer drawing, animation, sound, video and interactivity in an effort to find new languages robust yet open and multifaceted enough to house, centre and amplify voices and histories which, like her own, are often systemically marginalised or sidelined as ‘other'.Phoebe Boswell explores the sense of ‘belonging' and is anchored to a restless state of diasporic consciousness, combining traditional drawing with digital technology. Her practice draws on her own experiences of belonging, having been born in Kenya and brought up in the Arabian Gulf; she now lives and works in London. Her works are created in an effort to find new languages robust yet open and multifaceted enough to house, centre and amplify voices and histories which, like her own, are often systemically marginalised or sidelined as ‘other'. Her work has been exhibited widely, including Kristin Hjellegjerde, Carroll / Fletcher, and Tiwani Contemporary; and has screened at the Sundance, BFI London, BlackStar, Underwire and LA Film Festivals, British Animation Awards, and CinemAfrica amongst others. She participated in the Göteborg International Biennial for Contemporary Art 2015, the Biennale de l'Image en Mouvement 2016 at the Centre d'Art Contemporain in Geneva and received the Future Generation Art Prize's Special Prize in 2017, consequently exhibiting as part of the Collateral Events programme at the 57th Venice Biennale. Boswell will unveil a new largescale public moving image work in Geneva in December 2019, and a solo exhibition at New Art Exchange, Nottingham in 2020.Angelica Pesarini was awarded a Ph.D. in Sociology in 2015 from the Centre for Interdisciplinary Gender Studies at the University of Leeds. She is currently a Lecturer in Social and Cultural Analysis at NYU Florence where she teaches Black Italia, a course entirely dedicated to the intersectional analysis of racial identity in Italy. Angelica previously worked at Lancaster University as a Lecturer in Gender, Race and Sexuality. Her current work investigates dynamics of race performativity with a focus on colonial and postcolonial Italy and she also works on the racialization of the Italian political discourse on immigration. She has previously conducted research on gender roles and the development of economic activities within some Roma communities in Italy and she has analysed strategies of survival, risks and opportunities associated with male prostitution in Rome. She has been published in a number of journals and edited volumes and she is currently writing a monograph of her first book.

On this special bi-lingual episode I speak to Niño Rubén - a young and talented Spanish bassoonist. He is joined by his friend Carmen Hildago, who assists us in translation. One of the most fascinating, and innovative solo bassoonists currently. Rubén is also a great composer. He won the Special Prize of the 1stSeville Double Reed Society in Spain for his outstanding performance and musical talents. After his Bachelor studies, he became a finalist in the RTVE Virtuosos National Competition and started caving out his own unique path. Improvising and composing at a very young age, he has presented his own compositions at many festivals, and is particularly focused on researching the art of the flamenco. We speak about interesting topics such as his passion for flamenco music, and the historical significance of the flamenco. We also talk about breaking barriers in classical music by making the bassoon the protoganist and soloist in concerts, how he started improvising and composing and his compositions and favourite concerts. We also compare our creative process and discuss the connection between silence and creativity, how he found his own voice and compositional style and him searching and finding his artistic freedom. We also share some fun facts about ourselves and discuss collaborating on a Corona playlist together. To find out more about him, please visit: https://www.ninoruben.net/

Michael Jordan once had a chance to make almost 100 million dollars for two hours of work.

Welcome to Secrets of Organ Playing Podcast episode 528! Today's guest is a German organist Martin Sander who is an internationally renowned concert soloist and professor of organ at the Hochschule für Musik (University of Music) Detmold as well as at the University of Music in Basel. He studied at the Hochschule für Musik und Theater Hannover with Ulrich Bremsteller, organ, and Gerrit Zitterbart, piano and received his "Konzertexamen" degree in 1994. Master classes with Harald Vogel, Luigi Ferdinando Tagliavini, Flor Peeters, Daniel Roth and other renowned teachers completed his musical education. After having won one of the highest national awards, the Mendelssohn Prize in Berlin (1986), he succeeded in winning three of the most important international organ competitions: the International competition of the ARD in Munich (1987, 2nd Prize; a First Prize was not awarded), the International J.S. Bach Competition in Leipzig (1988, First Prize and Special Prize), and the organ competition of Prague Spring Festival (1989, First Prize). Other successes were the 2nd Prize at the International Organ Competition "Anton Bruckner" in Linz, Austria (1986) and the 2nd Prize at the First International Organ Competition Musashino-Tokyo (1988). He has given recitals in many important churches and concert halls (amongst others, Cathedrals in Passau, Munich, Vienna, Helsinki, and Trondheim, Berlin Philharmony and Schauspielhaus, Herkules Hall Munich, Meistersinger Hall Nuremberg, Gewandhaus Leipzig, Brucknerhaus Linz, Dvorák Hall Prague, Tchaikovsky Hall Moscow, Kapella and Philharmony St. Petersburg, Suntory-Hall Tokyo, Izumi-Hall Osaka, Aichi Arts Center Nagoya, Teatro Municipal de São Paulo) and performed at renowned festivals (Bach Festival Stuttgart, Internationale Orgelwoche Nürnberg, Göttinger Händelfestspiele, Niedersächsische Musiktage, Musikfestspiele Saar, Prague Spring Festival, Wiener Musiksommer, Bach-Tage Odense, Festival Toulouse-les-Orgues, Philadelphia Bach Festival, and others). Read some press reviews here. Among the orchestras he played with as a soloist are the Berlin Symphony Orchestra, Bach-Collegium Stuttgart, Händel Festival Orchestra Halle/Saale, Radio-Philharmonie Hannover, Bochumer Symphoniker (all in Germany), Basel Sinfonietta (Switzerland), Szolnók Symphonie (Hungary), Filharmonia Pomorska Bydgosz (Poland), Fukuoka Symphonietta (Japan), Orchestra of the Teatro Municipal de São Paulo (Brazil). Various German and foreign stations recorded many of his concerts and invited him for productions. Especially successful was a TV recording of the organ sonata by Julius Reubke which also appeared on CompactDisc and was awarded the German critics' prize, "Preis der deutschen Schallplattenkritik". His other CompactDiscs span the range from North German baroque music to the 20th century. A number of live recordings are available on YouTube. From 1999 to 2012, he worked as a professor of organ at the Hochschule für Kirchenmusik (College of Church Music) in Heidelberg. Since 2011, he is professor of organ at the Hochschule für Musik (University of Music) in Detmold. Additionally, from 2008 on, he is teaching at the Hochschule für Musik (University of Music) in Basel (as the successor of Guy Bovet). He conducted numerous master classes, amongst others in Prague (State Academie of Musical Arts AMU), Warsaw (Academy of Music "F. Chopin"), St. Petersburg, Kazan, Seoul (Yonsei University), São Paulo, and at historical organs of different times in Salzgitter-Ringelheim (Schweimb and John 1696/1707), Grauhof near Goslar (Chr. Treutmann d.Ä. 1734-1737), Verden/Aller (Furtwängler&Hammer 1916), and Heidelberg (Voit&Söhne 1903). In this episode Martin Sander shares his insights about organ playing, being competition judge and physical chemistry. Relevant link: ​http://www.martinsander.de

Enjoy our chat with Thomas Sainsbury - Thomas Sainsbury grew up in Matamata, a small rural town in the Waikato. He completed a BA at Auckland University, majoring in English Literature and Theatre, and became involved as a writer, director and performer for university productions and the underground theatre scene. After graduating, Sainsbury formed Fingerprints and Teeth Productions, a theatre company for which he wrote and produced several plays becoming a ‘powerhouse of creativity’, writing, performing and directing countless plays, as well as writing for television. Sainsbury has won Playmarket’s Young Playwright of the Year four times and has been a finalist for the Bruce Mason Award and the Playmarket New Play Award. His play The Canary also won Playmarket’s 2010 Special Prize for an Auckland Playwright. Several plays, including The Christmas Monologues, . . . and then you die and A Simple Procedure have had seasons in London and Australia. He is the co-writer of the television series Super City for which he has won a SWANZ for Best Comedy Script. Recorded and Edited - Matt Eller Theme Music - Ricky Simmonds

No one is safe from this man's tongue - Steve Allen takes to the airwaves on LBC every weekday morning from 4am until 7am and on weekends from 5am until 7am. Hear all of Steve's show with the news, travel and breaks taken out.

A festival of cinema from the Middle East and Gulf, organised by, and at, the Institut du Monde Arabe in Paris has been revived. The 10-day Festival des Cinémas Arabes programmed films from across the Arabic-culture countries, giving a boost to the Institute's regular cinema programme. At a lively ceremony at the Institut on 8 July, prizes rewarded emerging talents especially. The Festival des Cinémas Arabes awards at the Arab World Institute (IMA) in Paris were as follows: Fiction category: Joint winners of the short and medium features: Affability by Ahmad Nader (Egypt, 2017) and Land Of Our Fathers by Ulaa Salim (Iraq, 2017)IMA award for best actress: Zahraa Ghandour in The Journey by Mohamed Jabarah Al Daradji (Iraq/Qatar/France/The Netherlands/UK, 2017)IMA award for best actor : a collective award to the castof The Lunch by Lucien Bourjeily, (Lebanon, 2017)IMA/TV5MONDE award for first feature: Benzine by Sarra Abidi (Tunisia, 2017Jury Special/Hyatt Paris Madeleine feature award: The Lunch by Lucien Bourjeily, (Lebanon, 2017)IMA Grand Prix/BMCE Bank feature award: The Journey by Mohamed Jabarah Al Daradji (Iraq/Qatar/France/The Netherlands/UK, 2017) Documentary category:- Jury's Special Short and Medium Documentary award: And an Image was Born by Firas Khoury (Palestine, 2017)Sculpting in time by Youssef Nasser (Egypt, 2017)IMA Short and Medium Documentary award: Train-trains 2 : A Bypass by Rania Stephan (Lebanon, 2017)Jury's Special Prize with Titra Film for Documentary Feature : Of Sheep and Menby Karim Sayad(Algeria/Qatar/France/Switzerland, 2017)Grand Prix IMA/ El Gouna Film Festivalfor Documentary Feature: The Band by Albaqer Jafeer (Iraq/Lebanon, 2017)

Episode 25 of the Talk72 Podcast. Sean Makin hosts, with Steven Downes, Josh Lindley, Rory Steel and Nathan Spafford. This week includes an interview with @TheFLZone's Charlie, a Leyton Orient fan, as well as talking about Mark Robins' appointment at Coventry City, Bristol City, Charlton (on the pitch this time), Blackburn Rovers, Stevenage, Wolves, Newport, Fleetwood, Millwall, and, of course, Huddersfield.

Gediminas Urbonas is artist and educator, and co-founder (with Nomeda Urbonas) of Urbonas Studio – an interdisciplinary research program that advocates for the reclamation of public culture in the face of overwhelming privatization, stimulating cultural and political imagination as tools for social change. Often beginning with archival research, their methodology unfolds complex participatory works investigating the urban environment, architectural developments, and cultural and technological heritage. The Urbonases have established their international reputation for socially interactive and interdisciplinary practice exploring the conflicts and contradictions posed by the economic, social, and political conditions of countries in transition. Working in collaboration they develop models for social and artistic practice with the interest to design organizational structures that question relativity of freedom. They use art platform to render public spaces for interaction and engagement of the social groups, evoking local communities and encouraging their cultural and political imagination. Combining the tools of new and traditional media, their work frequently involves collective activities such as workshops, lectures, debates, TV programs, Internet chat-rooms and public protests that stand at the intersection of art, technology and social criticism. They are also co-founders of VILMA (Vilnius Interdisciplinary Lab for Media Art), and VOICE, a net based publication on media culture. They have exhibited internationally including the San Paulo, Berlin, Moscow, Lyon and Gwangju Biennales – and Manifesta and Documenta exhibitions – among numerous other international shows, including a solo show at the Venice Biennale and MACBA in Barcelona. Their work was awarded a number of high level grants and residency awards, including the Lithuanian National Prize (2007); a fellowship at the Montalvo Arts Center in California (2008); a Prize for the Best International Artist at the Gwangju Biennale (2006) and the Special Prize for the best national pavilion at the Venice Biennale (2007). Their writings on artistic research as a form of intervention to social and political crisis was published in the books Devices for Action (2008) by MACBA Press, Barcelona and Villa Lituania (2008) by Sternberg Press. Gediminas Urbonas is Associate Professor in Visual Arts at ACT – the MIT Program in Art, Culture and Technology.

Entretien mené par Rosita Boisseau, journaliste pour le Monde, le magazine Danser et Télérama, dans le cadre de la collection Dancer’s Studio. Sidi Larbi Cherkaoui a débuté comme chorégraphe en 1999 dans Anonymous Society, une comédie musicale contemporaine d’Andrew Wale. Depuis lors, il a signé de nombreuses chorégraphies, qui lui ont valu une série de prix parmi lesquels le Fringe First Award, le Barclay Theatre Award à Londres, le Special Prize au BITEF Festival de Belgrade, le prix Nijinski à Monte-Carlo, le Movimentos, le Helpmann Award en Australie.Pour clôturer la soirée des Nijinski Awards, destinés à récompenser les artistes et productions chorégraphiques les plus importants de la scène internationale actuelle, le chorégraphe Sidi Larbi Cherkaoui propose une pièce originale (In Memoriam) créée exclusivement pour l’occasion avec les danseuses et danseurs des Ballets de Monte-Carlo et en collaboration avec l’ensemble vocal corse : A Filetta. La pureté de la polyphonie Corse se mêle étroitement à la poésie des corps. Sidi Larbi Cherkaoui fait advenir l’harmonie sur scène.

Tonight on CabaRadio with Teddy Smooth Teddy is away so Eroc welcomes guest host Frank York live in studio. Also joining us live the amazing soulful vocal stylings of Dusty Bones, its Renee Therrien. Plus a few more surprises. Special Prize pack giveaways for the upcoming Madagascar 3 movie, as well as a few other prize giveaways. All that and more!!!CabaRadio with Teddy SmoothTuesdays at 11pmCITR 101.9fm or online at http://citr.ca/-----------------------------------------------------MISSED A SHOW?Check out all our shows online at http://citr.ca/ under "Shows" or in the Itunes store under citr -- cabaradioDownload them to your MP3 player or listen online to any of the shows at your convenience!http://feeds.feedburner.com/Citr--Cabaradio

Dancing With Elephants Listener Feedback Show for Episode 054. New Let Them Hear You Contest Announcements: Clinton of comedy4cast has donated a Large comedy4cast Coffee Mug to be include in the Runner-Up Prize Package. Check it out here. And PD Love of The DaddyCast has a Special Prize if the winner of the Let Them Hear You Contest is a listener of The DaddyCast. Check it out by listening to TDC-090 Etiquette for play dates. Feedback Roll Call:Jen of the The Dinkycast called to let us know that they don't pinch in Cleveland on Saint Patrick's Day... Too bad she an Alan are moving to Chicago where we have that rule. Paul from Alberta Canada wrote to let us know he has finally caught up and heard every episode of DWithE... To him it is a sad day, to us we're simply astonished that he accomplished this feat.Amy M of South Carolina wrote with a recipe for left over Peeps and to tell us that her daughter wants to join Dr. Floyd's Imagination Nation Rangers.Matt, Dawn, Emily, and Makenzy sent us an audio clip to tell us how much they enjoy the show. Thank you. Papabear wrote to tell us that they have basically the same toy rule in their home. Forget to pick-up your toys and you chance not seeing them for a long time.Finally, Jim of Iowa wrote to say he liked the title for the last show and to tell Greg about the