Podcasts about Venice

Here is Dr. Seth Postell's sermon on 11/16/25 titled, "Israel According To Red Pill Or Blue Pill Theology?" from Romans 11:11-16. Freedom Bible Church is a nondenominational church located at 5550 S. Sumter Blvd in North Port, Florida. The name “Freedom” comes from 2 Corinthians 3:17, "Now the Lord is the Spirit, and where the Spirit of the Lord is, there is freedom." Our desire is to be a God-centered church, not man-centeredFreedom Bible Church is a Bible based church located at 5550 S. Sumter Blvd in North Port, Florida. The name “Freedom” comes from 2 Corinthians 3:17, "Now the Lord is the Spirit, and where the Spirit of the Lord is, there is freedom." Our desire is to be a God-centered church, not man-centered.Website: https://freedombiblechurch.com/Facebook: https://www.facebook.com/freedombiblepcInstagram: https://www.instagram.com/freedombiblechurchOur church members come from North Port, Wellen Park, West Port, Port Charlotte, Punta Gorda, Venice, and Englewood.

Sayaka Matsui is General Counsel and Representative Executive Officer at Unilever Japan. Sayaka shares how she unlearned something that she thought was helping her to do better. When she did that amazing things happened and she reached new career heights as well as achieving personal goals too. If you are wondering if your career path is “on track” or you are struggling with self criticism, this episode is for you!If you enjoyed this episode and it inspired you in some way, we'd love to hear about it and know your biggest takeaway. Head over to Apple Podcasts to leave a review and we'd love it if you would leave us a message here!In this episode you'll hear:How reading a children's story-book version of Merchant of Venice at age 10 sparked Sayaka's interest in lawSayaka's transition from private practice to corporate planning and eventually to General CounselThe transformative impact of spending two years in the United States How Sayaka unlearned her habit of nightly self-criticism and embraced vulnerability About SayakaSayaka Matsui is the Representative Executive Officer and General Counsel of Unilever Japan Holdings G.K., where she leads legal, compliance, and risk management for one of the world's most recognised global brands.Before joining Unilever in 2019, she held legal roles at Credit Saison, Waseda Legal Commons Law Office, Daizawa Law Office, and Nagashima Ohno & Tsunematsu. Sayaka also spent a year as a Visiting Scholar at the University of California, Berkeley, broadening her global perspective on law and social impact.She is deeply committed to the next generation of legal talent, providing programs to law schools and judicial apprentices to promote understanding of in-house legal work, and in 2025, she was appointed as a member of MEXT's advisory committee on law schools.Sayaka holds a J.D. (Professional) and LL.B. from Waseda University.In her spare time, she loves watching international TV dramas and learning foreign languages.Connect with SayakaLinkedIn: https://www.linkedin.com/in/sayaka-matsui-881a61188/ Connect with Catherine LinkedIn https://www.linkedin.com/in/oconnellcatherine/Instagram: https://www.instagram.com/lawyeronair

One of Rick's favorite Venice tour guides lets us in on changes afoot in Italy's city of dreams. Then the tireless Senior Nomads share lessons from a dozen years on the road as they unpack their suitcases and settle down for good. And a gastronomic guide invites us to dig into the best bites from across the continent. For more information on Travel with Rick Steves - including episode descriptions, program archives and related details - visit www.ricksteves.com.

Sometime around the year 1450, a monk living just outside of Venice created one of the greatest maps of the medieval world.  It was an enormous map, even by modern standards, and it had a level of detail that had never been seen before.  It took years to make and was a major advancement in cartography.  Perhaps most importantly, it contained many details that no one had yet verified firsthand.  Learn more about the Fra Mauro map, how it was created, and its significance on this episode of Everything Everywhere Daily. Sponsors Quince Go to quince.com/daily for 365-day returns, plus free shipping on your order! Mint Mobile Get your 3-month Unlimited wireless plan for just 15 bucks a month at mintmobile.com/eed Stash Go to get.stash.com/EVERYTHING to see how you can receive $25 towards your first stock purchase. Newspaper.com Go to Newspapers.com to get a gift subscription for the family historian in your life! Subscribe to the podcast!  https://everything-everywhere.com/everything-everywhere-daily-podcast/ -------------------------------- Executive Producer: Charles Daniel Associate Producers: Austin Oetken & Cameron Kieffer   Become a supporter on Patreon: https://www.patreon.com/everythingeverywhere Discord Server: https://discord.gg/UkRUJFh Instagram: https://www.instagram.com/everythingeverywhere/ Facebook Group: https://www.facebook.com/groups/everythingeverywheredaily Twitter: https://twitter.com/everywheretrip Website: https://everything-everywhere.com/  Disce aliquid novi cotidie Learn more about your ad choices. Visit megaphone.fm/adchoices

2:02:22 – Frank in New Jersey, plus the Other Side. Topics include: Podcast Expo 2006, Here is a piece of… “Portable Night” (thanks to Escapist for the pic), artifacts of The Overnightscape, balconies, showing up, We Are Rewind Cassette Player, new Tortoise album Touch, Flea Devil Ltd., Doctor Who: The Stones of Venice, septarian, polychrome jasper, labradorite, […]

2:02:22 – Frank in New Jersey, plus the Other Side. Topics include: Podcast Expo 2006, Here is a piece of… “Portable Night” (thanks to Escapist for the pic), artifacts of The Overnightscape, balconies, showing up, We Are Rewind Cassette Player, new Tortoise album Touch, Flea Devil Ltd., Doctor Who: The Stones of Venice, septarian, polychrome jasper, labradorite, […]

Na contradição entre o tempo que passa e a eternidade que perdura, não devemos desapontar aqueles que nos procuram para nos encher de ouro a boca, vindos com outro balanço e outra razão, e que tantas vezes aproveitam algum enredo tempestuoso, sendo certo, como notou Borges, que a chuva é uma coisa que sem dúvida ocorre no passado. Devemos então definir uma resistência a partir desse espanto de que o tempo, a nossa substância, possa ser partilhado. Contra a obscenidade da evidência, e o próprio mundo, que hoje não parece existir senão em função da publicidade que lhe pode ser feita num outro mundo, o cinema propõe-se como uma arte da exploração do tempo, sendo capaz de reinstaurar o presente, e procura, assim, superar as imagens que não estão já do lado da verdade dialéctica do "ver" e do "mostrar", mas que se passaram inteiramente para o lado da promoção e da publicidade, ou seja, do poder. "O nosso trabalho será mostrar como os indivíduos, reunidos como povos na escuridão, punham a arder o seu imaginário para aquecer o seu real", escreve Godard, exaltando a era do cinema mudo. "E como acabaram por deixar apagar a chama ao ritmo das conquistas sociais, contentando-se em mantê-la em lume brando – é então o cinema sonoro e a televisão num canto da sala." Baudrillard espantou-se com essa espécie de fantasmagoria técnica, esse ritual de protecção daqueles que buscam por todos os meios afastar o silêncio e a noite, num receio de virem à superfície de si mesmos, e fala-nos da "televisão programada vinte e quatro horas sobre vinte e quatro horas, e que muitas vezes funciona de uma forma alucinante nas salas vazias da casa ou nos quartos de hotel por ocupar". Dá o exemplo dessa sinistra espectralidade que encontrou em hotéis de beira de estrada por toda a América, e de um cujas "cortinas estavam rasgadas, a água cortada, as portas a bater; mas no ecrã fluorescente de cada quarto o locutor descrevia a subida da nave espacial". E depois acrescenta: "Nada há de mais misterioso do que uma televisão a funcionar num quarto vazio, é bastante mais estranho do que um homem a falar sozinho ou uma mulher a sonhar em frente das caçarolas. Dir-se-ia que outro planeta nos fala, de repente a televisão revela-se pelo que é: vídeo de um outro mundo, não se dirigindo no fundo a ninguém, libertando indiferentemente as suas imagens, e indiferente às suas próprias mensagens (é facilmente imaginável a funcionar ainda depois do desaparecimento do homem)." Num mundo sem as investigações e o labor que são próprios do cinema, das artes que resistem ao abandono da substância temporal, essas sínteses, cortes, montagens e extensões dolorosas que constituem um modo de fazer o seu próprio atraso, para se "refazer" e para se fazer, como nos diz Serge Daney, num mundo em que não somos já capazes de mostrar o acontecimento a suceder enquanto acontecimento, o real torna-se apenas essa indústria de tudo o que nos escapa, continuando a engrossar os elementos alucinatórios e a trivialidade das fantasias que nos atravessam e degradam todo o processo de consciência. Assim, estamos absorvidos num loop de uma realidade que, na forma como abunda em reflexos e em interpolações, estende uma distância intransponível, esse desfasamento que produz o fantasma. "Hoje em dia, nenhuma performance pode prescindir de um ecrã de controlo não para se ver ou para se reflectir, como a distância e a magia do espelho, não: como refracção instantânea e em profundidade", assinala Baudrillard. "O vídeo, em toda a parte, serve apenas para isso: ecrã de refracção extática que já não tem nada da imagem, da cena ou da teatralidade tradicional, que já não serve de modo algum para jogo ou para contemplação, serve para se estar ligado a si próprio. Sem esta ligação circular, sem esta rede breve e instantânea que um cérebro, um objecto, um acontecimento, um discurso criam ligando-se a si próprios, sem este vídeo perpétuo, nada tem hoje sentido. O estádio vídeo substituiu o estádio do espelho." Todas as ligações se destinam a conduzir uma energia que possa alastrar superficialmente, e isto a um ponto tal que os ecrãs estabelecem uma cadeia de reflexos ininterrupta, congelandoa realidade, não ficando dependente do acontecimento, substituindo-o ao gerar esse imenso circuito que já não se deixará demover do seu frenesim constante e que alcança uma des-sublimação espectacular de todos os nexos, das causas e até do próprio pensamento. Trata-se de um abandono da corporeidade, dos limites e das tensões físicas, da relação biológica, instaurando um tempo sem tempo, que já não obedece aos ciclos da mortalidade e regeneração. Assim, os pólos e as oposições dissolvem-se e o que força esse efeito de design total, que apaga qualquer atrito ou resistência, é a lógica da ligação. "Não se trata de ser, nem mesmo de ter um corpo, mas de estar ligado ao próprio corpo. Ligado ao sexo, ligado ao próprio desejo. Conectados às próprias funções como a diferença de energia ou a ecrãs vídeo. Hedonismo em ligação directa: o corpo é um enredo cuja curiosa melopeia higienista corre entre os inumeráveis estúdios de reculturação, de musculação, de estimulação e de simulação que vão de Venice a Tupanga Canyon, e que descrevem uma obsessão colectiva e assexuada." Neste quadro de elisões que se concertam, a própria relação sexual torna-se um ritual arcaico, uma relíquia de um mundo em que as tensões ainda se definiam pelo gozo que se tirava em provar a diferença que se encontrava no outro, no campo do desconhecido. Num mundo em que tudo se converte ao mesmo, o circuito já não tropeça, não falha. E isto, num plano íntimo, acaba po corresponder a esse desejo de afastar toda a dor, todo o embate entre modos ou "ficções" defendidas por esse diferencial energético. "Houve um tempo em que as coisas levavam tempo para existir, através de processos lentos, penosos, dolorosos: era preciso tempo para construir, e esse tempo tinha valor", nota Daney. Mas hoje, pelo contrário, a urgência vai no sentido de alcançar imediatamente os benefícios, e isto significa destruir o campo artístico na sua capacidade de reaver um acontecimento, apossar-se dele por meio de uma linguagem, reapreciá-lo, produzir uma transformação do sentido. Há um princípio de sobrevivência que, ao ser levado a um extremo, põe em causa até o real, aplanando tudo. Baudrillard rejeita inscrever todo este fenómeno como expansão narcísica, alertando para o erro de se abusar deste termo na definição deste tipo de efeitos. "Não é um imaginário narcísico que se desenvolve em torno do vídeo ou da estéreo-cultura, é um efeito de auto-referência ilimitada, é um curto-circuito que liga imediatamente o mesmo ao mesmo, e portanto sublinha simultaneamente a sua intensidade à superfície e a sua insignificância em profundidade." Neste episódio, e no rescaldo de mais uma edição do DocLisboa, Cíntia Gil fez uma acostagem corsária para nos ajudar a encontrar um fio e uma razão mais funda nesse esforço de densificação do real que o cinema assume enquanto um dos seus processos de forma a integrar em nós o mundo enquanto experiência. Tendo dirigido aquele festival de cinema entre 2012 e 2019, esta programadora continua a reclamar esse papel de quem engendra e articula percursos como um modo de intervir e fazer cinema, procurando refundar um espaço crítico, que indaga e desassossega, precisamente para que o tempo possa ser reclamado de novo como essa substância difícil e que, mais do que ligações, nos fornece as possibilidades de resgatar a presença e essa zona activa, comum.

Travel in Italy is more fun when you add in a stop at one of Italy's smaller towns, where life continues as it has for centuries. Presenting charming Orvieto in Italy's central Umbria region. Perched high on a hilltop, this delightful town is perfectly positioned between Rome and Florence for a slow paced adventure exploring local culture, food and wine.Read the full episode show notes here > untolditaly.com/299**Untold Italy's Umbria tour - details here - 2026 spaces filling fast** NEW! - the Untold Italy app - access our entire podcast history ad free and searchable - DOWNLOAD FOR iOS  •  DOWNLOAD FOR ANDROIDThe app is FREE to download and check out our Milan guide and general travel content. Upgrade to PREMIUM  for a one time fee to access Rome, Florence, Venice, Sorrento, Cinque Terre, Amalfi Coast, Capri, Ischia, Tuscany, Lake Como, Lake Garda, Veneto, Lombardy, Campania, Lazio, Puglia, Abruzzo, Calabria, Umbria, Molise, Sardinia with much more to comeSupport the showSubscribe to our mailing list and get our FREE Italy trip planning toolkit - subscribe hereNeed help with your trip? Check out our Trip Planning ServicesJoin us on tour. Browse our Trip scheduleFollowSubstackInstagram • Facebook • YouTube Editorial InformationThe Untold Italy travel podcast is an independent production. Podcast Editing, Audio Production and Website Development by Mark Hatter. Production Assistance and Content Writing by the other Katie Clarke 

Venice is a museum without walls — but behind her doors, each palace tells a different story.In this episode, Monica takes you through the city's most fascinating museums — places where beauty, history, and imagination still breathe.In this episode:

How has the classical music industry approached representation and how has the new music community forged new paths to embrace diverse musics? On tonight's episode of Obbligato on APEX Express, Isabel Li is joined by violinist Shalini Vijayan, who discusses her vibrant career and reflects upon the ways contemporary classical music can build community.  Violinist Shalini Vijayan, deemed “a vibrant violinist” by Mark Swed of the Los Angeles Times is an established performer and collaborator on both coasts. Always an advocate for modern music, Shalini was a founding member and Principal Second Violin of Kristjan Jarvi's Absolute Ensemble, having recorded several albums with them including 2001 Grammy nominee, Absolution. Shalini was also a founding member of the Lyris Quartet, one of Los Angeles' most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series, for Jacaranda Music and helped to found the Hear Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles.  Shalini performed for over a decade with Southwest Chamber Music and can be heard on their Grammy nominated Complete Chamber Works of Carlos Chávez, Vol. 3. She has been a featured soloist with the Los Angeles Master Chorale in Chinary Ung's Spiral XII and Tan Dun's Water Passion, including performances at the Ravinia Festival. As a chamber musician, Shalini has collaborated with such luminaries as Billy Childs, Chinary Ung, Gabriela Ortiz, and Wadada Leo Smith on whose Ten Freedom Summers she was a soloist. Shalini joined acclaimed LA ensemble, Brightwork New Music in 2019 and also serves as the curator for Brightwork's Tuesdays@Monkspace series, a home for contemporary music and performance in Los Angeles. As a teacher, she has been on the faculty of the Nirmita Composers Workshop in both Siem Reap and Bangkok and coaches composition students through the Impulse New Music Festival.  Shalini received her B.M. and M.M. degrees from Manhattan School of Music as a student of Lucie Robert and Ariana Bronne. As a member of the New World Symphony in Miami Beach, Florida, Shalini served as concertmaster for Michael Tilson Thomas, John Adams, Reinbert de Leeuw and Oliver Knussen. She was also concertmaster for the world premiere performances and recording of Steven Mackey's Tuck and Roll for RCA records in 2000. Shalini was a member of the Pacific Symphony Orchestra for ten seasons and also served as Principal Second Violin of Opera Pacific. She lives in Los Angeles with her son, husband and two dogs and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  Check out more of her work at:  https://brightworknewmusic.com/tuesdays-at-monk-space/  https://www.lyrisquartet.com/    Transcript  Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the APEX Express.    00:01:03 Isabel Li  You're listening to Obbligato, which is a segment about the Asian American Pacific Islander community, specifically in classical music.  00:01:11 Isabel Li  I'm your host, Isabel Li, and today joining me is Shalini Vijayan, who is a violinist, established performer, and always an advocate for modern music.  00:01:21 Isabel Li  Shalini is also a founding member of the Lyris Quartet, one of Los Angeles most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series for Jacaranda Music, and helped to found the Here and Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles. She joined acclaimed LA ensemble Brightwork New Music in 2019, and also serves as the curator for Brightwork's Tuesdays at Monk Space series. She currently lives in Los Angeles with her son, husband and two dogs, and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  00:02:04 Isabel Li  Well, Shalini, thank you so much for joining me in this conversation today.  00:02:09 Shalini Vijayan  I'm so happy to be with you.  00:02:11 Isabel Li  Awesome. I'd like to just get to know you and your story. How do you identify and what communities do you consider yourself a part of?  00:02:18 Shalini Vijayan  I use the pronouns she, her, and I. Um, I identify as South Asian. I grew up in an Indian family. My parents immigrated to the US in the sixties to teach at medical school. And I grew up with a great deal of Indian culture. And I've spent a lot of time going back and forth to India from the time that I was very young. You know, it's interesting because I feel like in LA, where I live and work specifically, there is so much overlap between all of our different musical communities. You know, I went to school in New York, and I feel like there I was much more, I'm very connected to the new music community in New York and felt really kind of entrenched in that at the time I was there. And after coming to LA, I realized that, um, there are a lot of musicians doing so many different things. That's one of the things I love about Los Angeles, actually. And, you know, I'm definitely very, very rooted in the new music community in LA. And that was where I made my first sort of connections when I first moved to Los Angeles. But I also, you know, worked in an orchestra when I first came to LA. I played in the Pacific Symphony for almost ten seasons, and so I became a part of that community as well. And you know, as the years went on, I also became much more involved in the studio music community of LA studio musicians playing on movie scores, playing on television shows, records, what have you, Awards shows, all sorts of things. And these are all very distinct communities in LA in music. But I see a ton of overlap between all of them. There are so many incredibly versatile musicians in Los Angeles that people are able to really very easily move from one of these groups to the other and, you know, with a great deal of success. And I feel like it gives us so much variety in our lives as musicians in LA, you don't feel like you're ever just in one lane. You can really occupy all these different kinds of spaces.  00:04:23 Isabel Li  Right, yeah. So you're classically trained, from what I know, and you describe yourself as an advocate for modern music. So why modern music?  00:04:33 Shalini Vijayan  That's a great question. I have have had to answer this question quite a bit over the years, especially to non-musicians. And it's always an interesting story for me. You know, as a violinist in particular, you know, we have such a storied history of repertoire and pedagogy, and there is such an incredible, um, library of music that we have access to from the very standard classical repertoire. And there is a great deal to be learned about the instrument and about music from playing all that repertoire. I think at some point when I was in high school, I started to become interested in more modern music. And actually I grew up in Davis in Northern California.   My parents both taught at the university there, at the medical school and in Sacramento. Nearby there was a festival of modern American music that I think still goes on to this day at Cal State University, Sacramento. And it was really a great festival. And at that time, you know, they would bring professional artists, they'd have composers, they'd have commissions, all sorts of things. But at the time that I was like in high school, they also had a junior division to the festival, and I was asked to play a couple pieces in the Festival of, um, Modern Works, and I can't remember at this time what the pieces were, but it left such a huge impression on me. And I think what I really took away from that experience as a kid is that in my studies as a violinist, I was always being asked to sort of live up to this history and this legacy of violin music and violin playing in Western classical music. And it's a very high bar. And it's, um, you know, of course, there's so much great stuff there. But there was something so freeing about playing this music that had either never been played or not been recorded. So there was nothing to reference in terms of listening to a recording, um, and listening to how you, you know, quote, should be playing it that it made me feel, uh, you know, all this, this freedom to really interpret the music, how I felt, rather than feeling like I had to live up to a standard that had been set for me, you know, decades or centuries before. And I think that really something really clicked for me with that, that I wanted to have that kind of freedom when I, when I was playing. And so from there on out, um, you know, when I went to college and I really sought out opportunities in new music as much as I could.  00:07:00 Isabel Li  So you were first exposed to new music when you were in high school. Did that influence your decision to become a musician at all? Or were you already set on becoming a musician and that was just part of what shaped your works over the years.  00:07:15 Shalini Vijayan  I think by that time, I had already decided that I wanted to be a musician. I mean, as you know, so many of us as musicians and I think particularly string players, we decide so young because we start our instruments at such a young age and we start studying so early. Um, that I think by that time I, I had decided I wanted to do music, but this sort of opened another door for me that made me realize that it wasn't just one path in music necessarily. I think it's very easy as a, as a kid and as a violinist to think you admire these great soloists that you see and, you know, people like Perlman and, you know, Isaac Stern, who were the stars of the time when I was growing up. But, you know, you get to be in high school and you realize that hasn't happened yet. It's probably not going to happen. And so, you know, what's then then what's your path forward? How do you find a life in music if you're not going to be one of these stars? And I think, you know, new music really opened up that opportunity for me. And yeah, made me look at things a little differently for sure.  00:08:18 Isabel Li  And currently you're in the contemporary classical music ensemble, Brightwork newmusic, and you curate the ensemble's concert series, Tuesdays @ Monk Space. So how do you go about curating concerts with music by contemporary or living composers? What do you look for?  00:08:33 Shalini Vijayan  Well, right now I'm really focused on trying to represent our new music community in LA at Monk Space, which is such, you know, we have such a diverse community of musicians, not just in the makeup of who the people are making the music or writing the music, but also in just the styles of music. And so I think I try to really represent a very diverse set of aesthetics in our season. Um, you know, everything from, you know, last season we had, uh, Niloufar Shiri, who is a traditional Persian kamancheh player, but she also she can play very in a very traditional way, but she also plays with a jazz pianist. And, you know, it does all this very improvisatory stuff. And, you know, then we would have other programs where everything is very much written out and very through, composed and you know, it's been a very wide variety. And, you know, when I try to build the season, I try to make sure that it's really balanced in terms of, you know, the different types of things you'll be hearing because not every audience member is going to want to engage with every type of music. Um, or, you know, if we if we really stuck to one style and it was just in that language for the whole season, then I feel like we would, you know, alienate potential audience members. But with this, I feel like if we can bring people in for one concert and they're really into it, then hopefully they'll come to something else that is new and different for them and be exposed to something that they may really get into after that. So yeah, I think diversity and variety is really where I try to start from.  00:10:09 Isabel Li  How does that engage the community? Have you observed audience reception to this type of new music when there are composers from all different types of backgrounds?  00:10:20 Shalini Vijayan  Yeah, definitely. I mean, I think that each composer and each artist brings their own community into the space, which and so that's another. I feel like another strong reason why I try to make things very different from concert to concert. And, you know, we have some younger players who come in and bring in, you know, everyone from college students to, you know, their friends and family. And then, you know, really established composers. Like this season we have Bill Roper, who is kind of a legend in the music community in LA. Mult instrumentalist and composer who has been around for decades. And, you know, I think people will come out just because they want to see him and he's such a draw. And, um, you know, I, I also would love to be able to incorporate more world music into the series. Like I said, we did do Niloufar concert, which I felt like I really hoped would like engage with the Persian community in LA as well. And a couple seasons ago we had Rajna Swaminathan, who is, I just think, an incredible artist. Um, she plays mridangam, which is a South Indian percussion instrument, but she also writes for Western instruments, uh, and herself. And we had her and a pianist and then Ganavya, who's a vocalist who's amazing. And, you know, Ganavya had her own following. So we had and Rajna has her own following. So we had a whole full audience that night of people who I had never seen in the space before. And that was for me. That's a success because we're bringing in new friends and new engagement. And, um, I was really excited about that. When I'm able to make those kinds of connections with new people, then that feels like a success to me.  00:12:05 Isabel Li  Certainly.  00:12:06 Isabel Li  Let's hear one of Shalini's performances. This is an excerpt from the 10th of William Kraft's “Encounters”, a duologue for violin and marimba, performed here by Shalini Vijayan with Southwest Chamber Music.  00:12:20 [MUSIC – Encounters X: Duologue for Violin & Marimba]  00:17:18 Isabel Li  An excerpt from William Kraft's Encounters, the 10th of which is called Duologue for Violin and Marimba, that was performed by Shalini Vijayan, the violinist, with Southwest Chamber Music.  00:17:31 Isabel Li  And Shalini is here with me in conversation today. We've been discussing contemporary music and her involvement in the new music scene, specifically in Los Angeles.  00:17:40 Isabel Li  Music is all about community, drawing people together. So going back to how you describe yourself as an advocate for modern music, what are other ways that you have advocated for modern music besides curating the concert series?  00:17:53 Shalini Vijayan  Well, over the years, um, you know, I feel like in all the ensembles I've been in, there's been a real focus on commissioning composers and on performing works that have not been, uh, either performed or recorded before. And I feel like the only way to really get the music out there is to, obviously, is to play it and hopefully to be able to record it. We've worked especially with the lyrics quartet. We've worked with so many young composers in LA either just strictly, you know, contemporary classical composers or even film composers who, um, have works that they'd like to have recorded. And, you know, it's been great to see a lot of those people go on to really amazing things and to be a part of their journey, uh, and to help support them. And, uh, the other thing that the quartet has been heavily involved in and now Bright Work Ensemble has been involved in as well, is the Here Now music festival, which has been going on in LA for well over a decade now. We were involved in the first, um, seasons of that festival. We've been one of the resident ensembles since the very beginning, and that festival is dedicated to the music of LA and Southern California composers. And, um, we have a call for scores every year that we, the four of us in the quartet, are part of the panel that reviews all the scores, along with a lot of our other colleagues, um, who are involved with the festival, and Hugh Levick, who is the artistic director of the festival and has we've worked side by side with him on this for a very long time. And that's also been a fantastic avenue for, um, meeting new composers, hearing new works, having them performed. And the thing I always say about that festival every time it comes around, usually in the spring we have at least three concerts. It's this incredible coming together of the new music community in Southern California, where all these great composers and all these amazing players come together and play these series of concerts, because there's such a vast number of pieces that end up getting programmed. They can't rely on just like one group or one or two groups to play them. So it really pulls in a lot of players from all over town. And I don't know, it always just feels like a really fun time, a fun weekend for all of us to see each other and connect. And, um, and again, just build our community to be even stronger.  00:20:20 Isabel Li  That's really cool. How do you ignite interest in new music? Because this is a genre that I think is slightly underrepresented or just underrepresented in general in both the classical music community and the music industry as a whole.  00:20:35 Shalini Vijayan  That's a great question, and I think it's a really important question for our whole industry and community. How do you engage people in new music and get them into a concert? Um, you know, I think one of the biggest hurdles for classical music in general, I will say, um, when I talk to people about why they don't want to come to a concert or why they don't want to, you know, let's say, go see the LA Phil or, you know, wherever, whatever city they're in, the major cultural music institution. I think there is a misconception generally that, oh, it's, you know, I have to be dressed a certain way or I it's going to be really stuffy. And, um, I, you know, I don't know what to wear or I don't know how I'm supposed to dress or how I'm supposed to act when I'm in the concert. Am I going to clap at the wrong time? You know, is it going to be really long? And, you know, and I and I get it, you know, I mean, I understand why that would be uncomfortable for a lot of people.   And it's not, um, it's something that necessarily everyone has grown up with or that it's been a part of their life. So I think it's really up to us, as you know, when we're on the side of programming concerts or putting together festivals or whatever, um, that we make things more accessible in terms of, um, concert length and interaction with audience. And, um, you know, I think it's I know I've been told so many times and I really think it's important that I think audiences love it when performers talk to them, when they talk about the music and, and set things up for a listener. I think that puts a kind of context on things that makes it so much easier for perhaps a new audience member, someone who's never come to a concert before to feel at ease and feel like, okay, I know what I'm getting into.   One of our, actually our former executive director at Brightwork, Sarah Wass, who was fantastic, and I was very happy to work with when I was just starting out programming, Monk Space had the idea of putting on the program the running time of the pieces, and I think even that is just something that, like, can prepare people for what they're getting into when they're about to listen to something new. And in terms of the music itself, I think that if someone, especially a younger person, doesn't feel like they have any connection to Beethoven or Brahms or Mozart, they might actually feel more connected to someone who is their age or a little older.   Someone who has had similar life experiences to them, or grown up in the same era as them, rather than someone who grew up, you know, in the seventeen hundreds. You know, there can be more of a real connection there, and that that person is writing this music and reflection of their life and their experiences. And, um, you know, again, I think that kind of context is important for a listener. And yeah. And then just lastly, I would say also, I feel like our space at Monk space is very inviting. It's very low key. It's, um, you know, it's casual, it's comfortable. Role. Um, we have, you know, snacks and a bar and, you know, everyone is very relaxed at intermission and has a good time. And I mean, for me, every time we host one of those concerts, I feel like I'm hosting a little party, you know? That's what it feels like for me. And that's what I want it to feel like for the audience as well.  00:23:52 Isabel Li  That brings up a really good point in that new music can make classical music or a new classical music, contemporary music, more accessible to different audiences. And certainly I've definitely heard the complaint from people over the years about classical music being a little too uptight. Would you say that these are two different genres?  00:24:11 Shalini Vijayan  I think that there is overlap, and I think, you know, for an ensemble like ours, like Brightwork, we have chosen to make our focus new music. So that's our thing. That's what we do. Um, and, uh, all of our concerts and our programming reflect that. Very rarely do we do anything that's not considered a contemporary piece. Um, but, you know, if you do look at some of our major institutions, like I think the LA Phil and I think the San Francisco Symphony, um, earlier, you know, like in the nineties under MTT, really started to pave the way for incorporating contemporary music into a standard classical format. And, you know, I think that's been very important. And I think it's really changed the way that orchestras have programmed across the country. And there has been such a nurturing of contemporary music in larger spaces. Now that I think that kind of overlap has started to happen much more frequently. I think that in more conservative settings, sometimes there's pushback against that. And even even, you know, in some of the places that I play, you know, sometimes with with the lyrics quartet, um, we are asked to just purely program standard classical repertoire, and we will occasionally throw in a little short piece, you know, just to try and put something in there, you know, something that's very accessible. Um, and, uh, you know that we know the audience will like so that we can help them, you know, kind of get over that fear of connecting to a newer piece. And I, I think in some ways, that's where the path forward lies, is that we have to integrate those things, you know, in order to keep kind of the old traditions of classical music alive. I think we have to keep the newer tradition alive as well, and find a way to put them in the same space.  00:26:00 Isabel Li  I certainly agree with that.  00:26:01 Isabel Li  Let's hear more of Shalini's work in new music. This is a performance of the first movement of Atlas Pumas by Gabriela Ortiz. Violinist Shalini Vijayan is joined by percussionist Lynn Vartan.  00:26:18 [MUSIC – Atlas Pumas, mvt 1 by Gabriela Ortiz]  00:29:21 Isabel Li  The first movement of Gabriela Ortiz's Atlas Pumas played here by violinist Shalini Vijian, and Lynn Vartan plays the marimba.  00:29:30 Isabel Li  And Shalini is actually joining us here for a conversation about new music, performances, identity, and representation.  00:29:38 Isabel Li  Many Asian American Pacific Islander artists in music have varying relationships between their art and their identity. I was wondering, to what extent do you feel that perhaps your South Asian identity intersects or influences the work that you do with music?  00:29:54 Shalini Vijayan  Growing up, um, you know, I grew up in a in a university town in Northern California and, you know, a lot of highly educated and, you know, kids of professors and, you know, but still not the most terribly diverse place. And then going into classical music. And this was, you know, in the early nineties when I went to college, um, it still was not a particularly it was very much not a diverse place at all. And, um, there certainly were a lot of Asian students at, um, Manhattan School of Music where I did my my studies.   But I would say it was a solid decade before I was ever in any sort of classical music situation where there was another South Asian musician. I very, very rarely met any South Asian musicians, and it wasn't until I went to the New World Symphony in the early late nineties, early two thousand, and I was a musician there. I was a fellow in that program there for three years that I walked into the first rehearsal, and there were three other South Asian, I think, of Indian descent musicians in the orchestra, and I was absolutely blown away because I literally had not, um, other than here and there at some festivals, I had not met any other South Asian classical musicians.   So it was really like that was the hallmark moment for me. It was a really big deal. And coming with my family, coming from India, you know, there is such a strong tradition of Indian classical music, of Carnatic music and Hindustani music. And, um, it's such a long, long tradition. And, you know, the people who have studied it and lived with it are, you know, they study it their whole lives to be proficient in it. And it's such an incredible, incredible art form and something that I admire so much. And I did as a kid. Take a few lessons here and there. I took some Carnatic singing lessons, um, and a little bit of tabla lessons when I was very young. Um, but I think somewhere in middle school or high school, I kind of realized that it was, for me at least, I wasn't, um, able to put enough time into both because both of them, you know, playing the violin in a Western classical style and then studying Indian classical music require a tremendous amount of effort and a tremendous amount of study. And I at that point chose to go with Western classical music, because that's what I'd been doing since I was five years old. But there has always kind of been this longing for me to be more connected to Indian classical music. Um, I'll go back again to Rajna. When I presented Rajna Swaminathan on Monk Space a couple of years ago, it was a really meaningful thing for me, because that's kind of what I'd always wanted to see was a joining together of that tradition, the Indian tradition with the Western tradition. And, um, I'm so happy that I'm starting to see that more and more with a lot of the artists that are coming up now. But at the time when I was young, it just it felt almost insurmountable that to to find a way to bring the two together. And, um, I remember very clearly as a kid listening to this, um, there was an album that Philip Glass did with Ravi Shankar, and I thought that was so cool at the time. And I used to listen to it over and over again because I just again, I was so amazed that these things could come together and in a, in a kind of successful way. Um, but yeah, there is, you know, there there's a part of me that would still love to go back and explore that more that, that side of it. Um, and but I will say also, I'm very happy now to see a lot more South Asian faces when I, you know, go to concerts on stage and in the audience. And, you know, a lot of composers that I've worked with now, um, of South Asian descent, it's been, you know, I've worked with Reena Esmail and Anuj Bhutani and Rajna and, um, there's so many more, and I'm so glad to see how they're all incorporating their connection to their culture to, to this, you know, Western kind of format of classical music. And they're all doing it in different ways. And it's it's really amazing.  00:34:22 Isabel Li  That's fantastic.  00:34:24 Isabel Li  I was wondering if you could maybe describe what this merging or combination of different styles entails. Do you think this makes it more accessible to audiences of two different cultures?  00:34:36 Shalini Vijayan  For me, one example, before I started running the series at Tuesdays at Monk Space, Aron Kallay, who is our Bright Work artistic director, had asked me to come and do a solo show on Monk Space, which I did in November of 2019.  00:34:52 Shalini Vijayan  And at the time, I wanted to commission a piece that did exactly that, that, that, um, involved some sort of Indian classical instrument or kind of the language of Indian classical music. And so I actually did reach out to Reena Esmail, and she wrote me a very cool piece called blaze that was for tabla and violin. Um, and I really had so much fun doing that. And Reena, Reena really has a very fluid way of writing for the violin, which she actually was a violinist, too. So she's she's really good at doing that. But being able to write for any melodic instrument or for the voice, which she does quite a bit as well, and incorporating sort of the tonality of Indian classical music, which obviously has its own scales and, um, has its own harmonic, harmonic world that is different from the Western world, um, but finds a way to translate that into the written note notation that we require as, uh, Western classical musicians. And, you know, I think that's the biggest gap to bridge, is that in Indian classical music, nothing is notated. Everything is handed down in an oral tradition, um, over the generations. And for us, everything is notated. And in Indian classical music, you know, there's much more improvisation. And now, of course, with modern classical music, there now is a lot more improvisation involved. But in our old standard tradition, obviously there isn't. And in the way that we're trained, mostly we're not trained to be improvisers. And um, so it's it was great. She has a great way of writing so that it kind of sounds like things are being tossed off and sounding sounds like they're being improvised, but they are actually fully notated, um, which I really appreciated.  00:36:50 Isabel Li  Yeah.  00:36:51 Isabel Li  So your career has spanned orchestras, recording ensembles, chamber music. Having had so much experience in these types of performance, what does representation in classical music mean to you?  00:37:04 Shalini Vijayan  Well, representation is is very important because we're talking about a tradition that was built on white men from centuries ago, European white men. And and it's again, it's an incredible tradition and there's so much great repertoire. But I'm going to circle back to what you were saying or what you asked me about connecting to audiences and, you know, connecting to audiences with new music. It's I think people like to see themselves reflected in the art that they choose. They choose to consume. And, you know, whether that's movies or television or music, I think that's how you connect with your audience is by being a bit of a mirror.  I think the only way that we can really continue to connect with a diverse audience is by having that type of diverse representation on our stages and on our recordings. And again, also not just the people, but the types of music, too. You know, musical tastes run wide, genres run wide as well. And it's I think It's good for all of us to be exposed to a lot of different kinds of music, to figure out what we connect with the most. And, um, yeah, the only way we can do that is by really, you know, opening our arms to a, a much wider variety of styles of music. And so I, you know, I mentioned improvisation, improvisation earlier. And I think that is something that's now starting to happen so much more in modern classical music. And, you know, I think there's something about the energy that a player has when they're improvising that is maybe not something that an audience member could quantify verbally, but there's a looseness and a freedom there that I think, you know, for a lot of audience members, they probably really can connect to. And, you know, that's a lot of why people go and listen to jazz is because there's so much freedom and there's so much improvisation.   I've been very lucky to be able to work with, um, Wadada Leo Smith, who's a trumpet player and composer. I've worked with him for probably almost ten years now. And um, through Wadada, actually, I have learned to become much more comfortable with improvising on stage and not within a jazz language of any kind or any kind of harmonic structure necessarily, but within the language of his music, which is very unique and very open and very free and, um, but also has a really strong core in its connection to history. And, um, you know, he's written a lot of amazing works about the civil rights movement and about a lot of, you know, important moments in history for our country. And, um, that's been a real learning experience for me to connect with him in that, in that way and learn from him and learn to be more comfortable with improvisation. Because I think growing up, improvisation for me always meant jazz, and that was not a language I was comfortable in. And um, or even, you know, jazz or rock music or folk music or whatever, you know, it was just not something that came naturally to me as a kid to, I mean, I listened to all of it. I listened to everything when I was a kid, but I never played in any of those styles. And I think the older you get, the scarier it gets to start branching out in those ways. But, um, I think, uh, that's been a an incredible, like, new branch of my life in the last decade has been working with Wadada.  [MUSIC – “Dred Scott, 1857,” from Ten Freedom Summers, by Wadada Leo Smith]  00:42:23 Isabel Li  An excerpt of Wadada Leo Smith's music to give you a sense of the jazz influences in these types of contemporary new music pieces that also touch on pieces of history. This was an excerpt from his album, Ten Freedom Summers, which also consists of compositions based on pieces of American history. For example, what we just heard was from a piece called Dred Scott, 1857.  00:42:49 Isabel Li  Now that I realize that we've been having a conversation about new music, I realize that, hmm, when does new music really start? So if you take a look at maybe music history, when does new music really become new music?  00:43:07 Shalini Vijayan  I guess it depends on who you ask, probably. Um, it's it's pretty recent. You know, it has to be really legitimately pretty new. And, um, again, you know, if you ask an audience member, um, and I think of some of my friends or family who are maybe who are not musicians who come to concerts, and I'm always so interested in talking to them and hearing their opinions about things. Um, you know, they will listen to Bartok and say, oh, that sounds like new music to me. But, you know, Bartok, Bartok passed away a long time ago, and it's, you know, and for me, that's more like canon now. You know, that's like now for me, part of the the standard repertoire. But there was a time when Bartok was new music. And I think for, you know, maybe the listeners who are more comfortable with the very diatonic, you know, world of Beethoven, Brahms, Mozart, then something like Bartok really does sound so modern for me. Boy, maybe around the time that minimalism started, you know, John Adams and Steve Reich, Terry Riley, Philip Glass, all of that for me feels like maybe that's the older like the The edge of new music now even though that was that would be the eighties, probably seventies 80s, you know, but that we're talking about like, you know, fifty years ago. So yeah, I mean, it's not that new, but those are all still living composers. So maybe, maybe that's part of what it is for me is that it's the composers of our era, the composers who are alive, who we can communicate with and ask questions of. And, um, you know, at the very least, if you can't talk to John Adams, you can talk to somebody who has worked directly with him and get their impressions of how something should be played, um, as opposed to composers who have been gone for hundreds of years. And you can't have that level of communication with them. I think that, for me is what new music, new music is about. It's about working with living composers and, um, having that type of interaction.  00:45:15 Isabel Li  Yeah. So would the word or the phrase contemporary classical music, be a little oxymoronic in a sense?  00:45:26 Shalini Vijayan  No, I don't think so. I think it's still part of the same tradition. Um, yeah. I really do think it is, because I think there is a lineage there. Um, for a lot of composers, not all of them, um, that I mean, I think particularly if you're writing for, let's say, an orchestra or a string quartet or sort of one of these very standard classical ensembles. Um, even if you're writing in a very new language and you're writing in a very different way, I think there is still a through line to the canon of classical music. I guess for me, new music and classical music are not mutually exclusive. I think they can be the same. So I don't I don't think they're totally different. I think that there is a lot of a lot of overlap.  00:46:16 Isabel Li  For sure, considering how new music fits into the classical music or the classical music industry as a whole. Have you noticed any sorts of shifts in the classical music industry in the past several decades in regards to diversity, equity, inclusion? And have you just noticed any changes?  00:46:35 Shalini Vijayan  I have noticed some changes. I mean, I think that most organizations in this country are making an effort to be more inclusive in their programming now. And, um, you know, another another South Asian composer who I just think is fantastic is Nina Shekhar. And, um, she has had pieces played by the New York Phil for the last couple seasons. I mean, you know, so on on major, major stages, I feel like now I'm seeing more representation and that is definitely Encouraging and, um, you know, uh, same for Anuj and Rajna and Reena. They've all, you know, had their works done by major ensembles. And, um, I think I think there is definitely movement in that direction, for sure. I think it could always be more.   I think also for women and women composers, women performers, I think that has also always been a struggle to find enough representation of women composers and you know, especially if like as I mentioned before, when you're in a situation where an organization asks you to program a concert, like, let's say, for our quartet and wants much more standard repertoire than it does limit you, you know, how because there isn't much from the older canon. You know, there is. You know, there's Fanny Mendelssohn and Clara Schumann and, um, you know, I think in the last five to ten years they've both been played a lot more, which is great. But, you know, I think, uh, there's so many amazing female composers right now that I think are starting to get much more recognition. And I think that just needs to be more, more and more, um, but, uh, you know, that is why, again, like on those programs, sometimes we try to just sneak one modern piece in because it's important for those voices to be heard as well. But yes, I do see some forward movement in that direction with, um, classical programming. And, you know, you just have to hope that the intent is always genuine in those situations. And I think, um, you know, I think that's the most important thing. And giving a platform to those voices is really important.  00:48:59 Isabel Li  How would you go about arts advocacy during this current time when, well, the arts are being defunded and devalued by our current administration and how everything is going on right now?  00:49:10 Shalini Vijayan  Yeah, it's really, really difficult right now. And, um, you know, I think a lot of arts organizations are losing a lot of government funding. Obviously, I know of a couple projects that lost their NEA funding because of DEI, and which is so disheartening. And, um, I think, you know, there's going to be a lot of leaning on private donors to try and, uh, make up that difference or, you know, private foundations to make up the difference in funding, hopefully. And, um, uh, you know, it's yeah, it's scary. It's  a scary time. And I think, you know, even for private funding and, um, private donors, it's, you know, everyone is feeling stressed and feeling concerned about our future right now, just as a country. and there's so much uncertainty. And, um, but I think people who really rely on the arts for all the things that it can provide, you know, an escape and pleasure and, you know, stimulation of a different kind. And especially in a time like this, when you want to be able to get away from maybe what's going on around you, you know, I'm hoping we can find a way to really come together and, um, kind of, you know, rally around each other and find a way to support each other. But, um, I think it is going to be hard for the next few years if we can't find ways to replace that funding that so many people have lost. And I certainly don't think that anyone wants to back away from the progress that's been made with inclusion and representation, you know, just to get funding. So I know we have to be very creative with our path ahead and find a way to, to keep doing what we're doing in this current environment.  00:51:07 Isabel Li  Yeah, on a brighter note, I read about your work with Lyris Quartet earlier this year when you presented a concert with Melodia Mariposa called Altadena Strong with the Lyris Quartet, raising funds for those who have been affected by the LA fires. Can you talk a bit about the power of music? And we're going to end on a stronger note here about the power of music in bringing communities together and accelerating community healing.  00:51:31 Shalini Vijayan  Well, I have to say that concert was really a special one for us. You know, um, so many musicians were affected by the fires in LA. And, you know, I, I've lived in LA for over twenty years now, almost twenty five years and, um, certainly seen my share of wildfires and disasters, but this one hit so much more close to home than any of the other ones have. And, you know, I know at least twenty five people who lost their homes in between the Palisades and Altadena and Altadena in particular.   When I moved to LA, it was a place where a lot of musicians were moving to because you could it was cheaper and you could get a lot of space, and it's beautiful. And, you know, they really built a beautiful community there among all the musicians out there. And it's just heartbreaking, um, to see how many of them have lost everything. And I have to say, Irina Voloshina, who is the woman who runs Melodia Mariposa, and just an amazing violinist and an amazing, wonderful, warm, generous person. You know, she started that series in her driveway during COVID as a way to just keep music going during the pandemic, and it really turned into something so great. And she's, you know, got a whole organization with her now and puts on multiple concerts a year. And when she asked us if we would play that concert for the community in Altadena is, you know, there's no question that we were going to do it. I mean, we absolutely jumped at the chance to support her and support the organization and that community. And people really came out for that concert and were so excited to be there and were so warm and, um, you know, and and she talked to the crowd and really connected with everybody on a very personal level, because she also lost her home in Altadena and, um, you know, it was it was a really meaningful show for all of us. And again, those are the moments where you realize that you can use this art to really connect with people that you may have never met before and show your your love for them, you know, through music, as corny as that may sound, but it's true.  00:53:54 Isabel Li  Yeah, definitely. Well, thank you so much, Shalini, for sharing your visions, your knowledge with new music and community building with us today. Thank you so much for being on Obbligato.  00:54:07 Shalini Vijayan  Thank you so much for having me, Isabel. It was really a pleasure.  00:54:10 Isabel Li  What a wonderful conversation that was with LA-based violinist Shalini Vijayan. If you go to kpfa.org, you can check out more of her work. I put the links to two of her ensembles, Brightwork New Music and Lyris Quartet up on kpfa.org. And thank you for listening to our conversation here on Obbligato on Apex Express.  00:54:32 Isabel Li  We thank all of you listeners out there. Keep resisting, keep organizing, keep creating, and sharing your visions with the world. Your voices are important.  00:54:42 Isabel Li  APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, and Cheryl Truong. Tonight's show was produced by Isabel Li. Thanks to the team at KPFA for their support. Have a great night.  [OUTRO MUSIC]  The post APEX Express – 11.13.25 – Obbligato with Violinist Shalini Vijayan appeared first on KPFA.

In this episode of “On Show”, we explore the exhibition “Mamluks: Legacy of an Empire” with Fakhera Alkindi, Senior Curatorial Assistant at Louvre Abu Dhabi. The Mamluks were once enslaved soldiers who rose to power and ruled over a vast empire stretching from Egypt to Syria between 1250 and 1517. Known for their military strength, they also fostered a golden age of cultural exchange and artistic achievement. Join us for a guided walkthrough of this landmark exhibition, developed in collaboration with the Musée du Louvre, and discover the stories, people, and connections that shaped one of the Islamic world’s most influential dynasties. The exhibition “Mamluks: Legacy of an Empire” is on show at Louvre Abu Dhabi from 17 September 2025 to 25 January 2026. “On Show” is a podcast produced by the Louvre Abu Dhabi.Our warm thanks to Fakhera Alkindi for her kind participation. This podcast episode is also available in Arabic and French on the Louvre Abu Dhabi mobile app and our website: louvreabudhabi.ae Executive production: Amine Kharchach, Marine BottonPost-production, music and mix: Making WavesShow cover: Sarah AlNuaimi Artwork credits: Venetian School, A Venetian Diplomatic Mission Received by the Governor of Damascus, Italy, Venice, 1511, Oil on canvas, Paris, Musée du Louvre, Department of Paintings, INV-100. Photo © 2024 GrandPalaisRmn (musée du Louvre) / Gabriel de CarvalhoSee omnystudio.com/listener for privacy information.

Viva l'Italia! We took 50 listeners on an epic journey filled with history, architecture, camaraderie and SO MUCH delicious food! From the ancient layers of Rome through the castles and hilltop villages of Tuscany, the art and influence of the Medici in Florence, to the romance of Venice, this trip was unforgettable! The travelers join us, in their own voices, to tell you all about our adventures. Learn more about your ad choices. Visit podcastchoices.com/adchoices

E & T are back this week talking about marathon signs, the Louvre jewel heist, and a big announcement that they've made a pivot and are hosting a trip to Greece! (no more Bali trip). Teresa is back from her parents big anniversary weekend and ready to Walk it Off about waiting in line culture. The NY Post's recent article claims waiting on line is the latest NYC trend. Teresa also shares her latest sober challenges. The end of the episode features a Patreon Preview. Join the Patreon to support the show and get extra & ad free episodes here OR on Apple & Spotify Podcasts:⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/twostandupgals⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Submit your questions here: Twostandupgals@gmail.com*NEW GREECE TRIP! Crete, Greece June 5th-11th, 2026: https://forms.gle/bNcNaVpC81onJx8VAITALY TRIP! Oct 9th – Oct 17th, 2026 Venice, Florence, & Rome, ($125 discount until end of November) Itinerary & sign ups here: https://groups.goaheadtours.com/tours/erica-spera-vfsg2026Not interested in Greece or Italy? Take our Travel Survey here: https://forms.gle/mYY5Ss7szCowAj2u8Watch full episodes on our YouTube Channel Here: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/@TwoStandUpGalsPodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Spotify playlist here of the music we're listening to every week & reference on the podcast

Venice Jardine, M.S. is an ethnographic researcher and the author of master's theses "I'll Stay Where You Want Me To Stay: How Latter-Day Saints Navigate Conflicting Social Values While Remaining Committed to Their Faith." (Source: https://scholarsarchive.byu.edu/cgi/viewcontent.cgi?article=11355&context=etd)From her abstract: While recent efforts in religious studies have focused on why many Americans seem to be leaving religion entirely, much less is understood about why many others choose to remain committed to their faith--especially when they hold many of the same social values, doubts, or divergent opinions that others cite for leaving. Within a Latter-day Saint context especially, very little research has been done to explore the experiences of those navigating the complexities of competing ethical affordances while remaining committed to their faith. (Source: https://scholarsarchive.byu.edu/etd/10346/)I hope you enjoy listening to Venice share about her research and especially her viewpoint on 'The 3 Ethics: Autonomy, Community & Divinity' in episode #227 as much as I enjoyed interviewing and learning about it from her. You can find Venice on IG: https://www.instagram.com/venice.ada/____________________________Have you heard of Emotional Alchemy? >>>⁠Check out my new channel/podcast "The Inner Catalyst"⁠https://open.spotify.com/show/2ENr1LapF3HksEIXLXjGbx?si=5f27d1df29354e5e____________________________Register for First Friday's Free coaching and learn other ways to work with me: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://paperbell.me/meagan-skidmore⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠meaganskidmorecoaching.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.⁠⁠⁠Please help the podcast grow by following, leaving a 5 star review on Spotify or Apple podcasts and sharing with friends.Living Beyond the Shadow of Doubt™ is a proud member of the Dialogue Podcast Network [⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠DialogueJournal.com/podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠].Hopeful Spaces, a monthly support group facilitated by Meagan Skidmore Coaching, is a ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Dallas Hope Charities⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ component of Hopeful Discussions sponsored by Mercedes-Benz Financial Services USA. Send an email to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠chc@dallashopecharities.org⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ to join.

Send us a textIn today's episode we are featuring some Unexpected Books for the Holiday Season.  We have Christmas capers, ghost stories, and lots more...jingle, jingle!Featured Books:The Usual Santas: A Collection of SOHO Crime Christmas Capers by 18 SOHO crime authors (LH)Hercule Poirot's Christmas by Agatha Christie (LH)The Valancourt Book of Victorian Christmas Ghost Stories: Volume 3 (LH)Letters from Father Christmas by J.R.R. Tolkien (LH) A Redbird Christmas by Fannie Flagg (LP)The Deal of a Lifetime by Fredrik Backman (LP)The Santa Trial by Tess Thompson (LP)The Best Christmas Pageant Ever by Barbara Robinson (LP)The Dogs of Venice by Steven Rowley (LP)Books Mentioned in This Episode:Fried Green Tomatoes by Fanny FlaggThe Hobbit by J.R.R. TolkienLord of the Rings by J.R.R. TolkienBeartown by Fredrik BackmanMy Friends by Fredrik BackmanMan Called Ove by Fredrik BackmanAdditional Books That Go Along with Our Stack:One Day in December by Josie SilverSmall Things Like These by Claire KeeganLet It Glow by Marissa Meyer and Joanne LevyWays to contact us:Join us on Patreon for extra content: https://www.patreon.com/c/BookBumblePodcastFollow us on Instagram - @thebookbumbleFacebook:  Book BumbleOur website:  https://thebookbumble.buzzsprout.comEmail:  bookbumblepodcast@gmail.comSupport the showWe would love to have you rate and review us, subscribe, follow us on Insta, and join our Team Patreon! It won't be the same without you!

"I fall in love with places" - Cy TwomblyWhile still reflecting on the life of Cy Twombly, I muse over a few artists that have been influenced by Italy (and my artistic process). There is just something about the visual beauty and the history of Italy that seems to impact many artists, writers and creatives. I go further into thoughts on the art of Cy Twombly and Robert Rauschenberg throwing his art into the Arno River in Florence after a disparaging critic's comment, and how artists move forward regardless of popularity or understanding. Generally the people catch up later. For some like Julian Schnabel they hit their stride early.  Schnabel said, Italy had a “massive impression” on him.  He lived in Milan earlier in his career creating work influenced by place and the landscape. A visit to the Scrovegni Chapel in Padua had such an impact on his psyche he changed the way he painted. You can see this shift in his documentary in Julian Schnabel: A Private Portrait. He later purchased land in New York City and turned it into a Venetian Palazzo. Palazzo Chupi is bright pink building and an ambitious manifestation of his own artistic temperament. The visual beauty of Venice influences many of us in varying ways.  I go on a personal journey on this episode contemplating the life of the artists and my own. Later in the share I muse over the life and inspirations of Cy Twombly, Julian Schnabel, Basquiat and Picasso. "blurring, blotching, writing and inscribing were purposely obscured by superimposing" - Thierry Greub on Twombly's painting processPentimento .... "Pentimento: a visible trace of earlier painting beneath a layer or layers of paint on a canvas". "The word pentimento is derived from the Italian 'pentirsi', which means to repent or change your mind. Pentimento is a change made by the artist during the process of painting. These changes are usually hidden beneath a subsequent paint layer".Musical Scores by Richard JohnstonShownotes at MichelleJohnston.lifeA Writer in Italy InstagramSubstack - At My TableMichelle's Books© 2025  A Writer In Italy - travel, books, art and lifeMusic Composed by Richard Johnston © 2025Support the show

After the most chaotic intro EVER, it's onto the secret Em has been keeping from Michael, she's hard launched a new profile on Feeld, the dating app for open minded individuals! Michael does the investigative work on her profile, plus she spills the tea on the 221 likes she got from a plethora of mostly younger men, even sharing photographic evidence with Michael. Em's basically only interested in looking, but revelations have been made. Then Em reveals how a simple question and a flick of her hair at the local soccer oval on the weekend, scored her a slightly unsettling saucy note from some random dad wedged into her car door handle. They also reveal the story of a Noosa note drop Em planned but that actually never happened. Hear SOME of the content within plus get the beginnings of Em and Michael's thoughts and feels having watched the first 3 episodes of Kim Kardashian and the divas of Ryan Murphy's ‘All's Fair'. The full chat is only available in our Sealed Section, on our premium service Emsolation Extra, where you'll also hear about their fave new MUST watch TV series ‘Plur1bus', they also watch the new footage of J'lo and Ben Affleck kissing in Venice and Em reveals some of the hectic research and prep she's done for her upcoming ‘Wicked: For Good' interviews in Singapore. Get access for just $1.87 a week, or watch the full video of both episodes back to back via the Supercast website for $2.50 a week at emsolation.supercast.com Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we're sharing all the details of our recent trip to Italy, specifically Florence and Venice. If you're planning to travel to one of those places, or if you're in the mood to just travel vicariously through our stories, it's gonna be a big story time episode today.   Thank you to this week's sponsor: For a limited time, you can try OneSkin with 15% off using code [MESS] at oneskin.co. Visit GrowTherapy.com/MESS today to get started   Florence: What we did : Art museum Combo movie theater/book store Perfume shop What we ate: Cacio e pepe Squash blossom Gnocchi What we bought: Got tiny tattoos Emma - silk scarf, stove-top espresso maker charm necklace Elsie - moth and butterfly platter, Italian translation of The Secret History, 3 toys for Oscar, marbled journal, tiny marbled books for kids   Venice: What we did: Canals Peggy Guggenheim collection Gondola tour What we ate: Pizza Pasta Sign up for Elise's newsletter at elisejoy.com   Book report Elsie: Perfection by Vincenzo Latronico Emma: Secret History by Donna Tartt   You can support us by leaving us a couple of 5 star recipe reviews this week at abeautifulmess.com Have a topic idea for the podcast? Write in to us at podcast@abeautifulmess.com or leave us a voicemail at 417-893-0011.  

 Join hosts J.D. Barker, Christine Daigle, Jena Brown, and Kevin Tumlinson as they discuss the week's entertainment news, including stories about a new fund for literary arts organizations, James Patterson's podcast, and how to read a book and feed a neighbor. Then, stick around for a chat with Orson Scott Card!Orson Scott Card is the author of the novels Ender's Game, Ender's Shadow, and Speaker for the Dead, which are widely read by adults and younger readers. His most recent series, the young adult Pathfinder series (Pathfinder, Ruins, Visitors), the fantasy Mithermages series (Lost Gate, Gate Thief, Gatefather) and the Side Step series (Wakers, Reawakening) are taking readers in new directions.Besides these and other science fiction novels, Card writes contemporary fantasy (Magic Street, Enchantment, Lost Boys), biblical novels (Stone Tables, Sarah), the American frontier fantasy series The Tales of Alvin Maker (beginning with Seventh Son), poetry (An Open Book), and many plays and scripts, including his "freshened" Shakespeare scripts for Romeo & Juliet, The Taming of the Shrew, and The Merchant of Venice.Card was born in Washington and grew up in California, Arizona, and Utah. He served a mission for the LDS Church in Brazil in the early 1970s. Card currently lives in Greensboro, North Carolina, with his wife, Kristine Allen Card. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

The Merchant of Venice; Act 3, Scene 1 ShylockNovember 10, 2025 The villainy you teach me I will execute, and it shall go hard but I will better the instruction.” Actor and storyteller Saul Rubinek takes us inside his one-man show Playing Shylock, now on stage at the Polonsky Shakespeare Center in New York City. Rubinek explores Shylock's confounding genesis and reveals why one of Shakespeare's so-called “minor” roles continues to be one of the most groundbreaking, misunderstood and controversial characters in theater history. Click here to see the Folio Version. Click here for a Modern Version of the Text. Click here for more information about Playing Shylock. Click here for Saul's book, All in the Telling. Click here for a transcript of "The Stranger's Case" by Thomas More.

Here is Pastor Frank Vargo's sermon on 11/9/25 titled, "Correction With Compassion" from 1 Timothy 5:1-8. Freedom Bible Church is a nondenominational church located at 5550 S. Sumter Blvd in North Port, Florida. The name “Freedom” comes from 2 Corinthians 3:17, "Now the Lord is the Spirit, and where the Spirit of the Lord is, there is freedom." Our desire is to be a God-centered church, not man-centeredFreedom Bible Church is a Bible based church located at 5550 S. Sumter Blvd in North Port, Florida. The name “Freedom” comes from 2 Corinthians 3:17, "Now the Lord is the Spirit, and where the Spirit of the Lord is, there is freedom." Our desire is to be a God-centered church, not man-centered.Website: https://freedombiblechurch.com/Facebook: https://www.facebook.com/freedombiblepcInstagram: https://www.instagram.com/freedombiblechurchOur church members come from North Port, Wellen Park, West Port, Port Charlotte, Punta Gorda, Venice, and Englewood.

Drift through the charming canals of Venice as gentle water sounds, distant sounds, and the chirps of birds create a serene daytime atmosphere — perfect for relaxation, reading, or daydreaming.Want access to an ad-free, 8-hour version of this episode? Try Deep Sleep Sounds Premium free for 7 days: https://sleepsounds.supercast.com/.Create a mix of your favorite sounds by downloading the Deep Sleep Sounds App at: https://deepsleepsounds.onelink.me/U0RY/app.Having an issue with Deep Sleep Sounds or want to ask us a question? Check out our Frequently Asked Questions.  Our AppsRedeem exclusive, unlimited access to premium content for 1 month FREE in our mobile apps built by the Slumber Studios team:Slumber App: slumber.fm/deepsleepsounds Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Flight reductions across the country continue for the second day in a row as the government shutdown drags on. Los Angeles City Council will take up a proposal to overhaul rate hikes for rent-controlled units in the city, potentially increases at 3%. One man’s quest to turn the city of Venice into a board game. Plus, more. Support The L.A. Report by donating at LAist.com/join and by visiting https://laist.com Visit www.preppi.com/LAist to receive a FREE Preppi Emergency Kit (with any purchase over $100) and be prepared for the next wildfire, earthquake or emergency!Support the show: https://laist.com

Fluent Fiction - Italian: High Waters and Hope: A Venice Tale of Survival and Cure Find the full episode transcript, vocabulary words, and more:fluentfiction.com/it/episode/2025-11-08-23-34-02-it Story Transcript:It: L'autunno avvolge Venezia come una coperta grigia, mentre l'acqua alta continua a sommergere la città.En: L'autunno wraps Venezia like a gray blanket, while the high waters continue to submerge the city.It: Luca e Marco osservano l'acqua dalle finestre rotte del loro rifugio.En: Luca and Marco watch the water from the broken windows of their refuge.It: Marco tossisce piano, mentre Luca gli accarezza la testa, preoccupato.En: Marco coughs softly, while Luca strokes his head, worried.It: Sa che deve muoversi in fretta.En: He knows he needs to move quickly.It: "Giulia ci aspetta," dice Luca con determinazione.En: "Giulia is waiting for us," says Luca with determination.It: Sta parlando di una scienziata che ha conosciuto recentemente, una donna che dice di sapere come e dove trovare una cura.En: He is speaking about a scientist he recently met, a woman who claims to know how and where to find a cure.It: I tre si incontrano in Piazza San Marco, dove il suono dei passi è attutito dall'acqua che sale.En: The three meet in Piazza San Marco, where the sound of footsteps is muffled by the rising water.It: La nebbia avvolge la piazza, rendendo ogni movimento incerto.En: The fog envelops the square, making every movement uncertain.It: Giulia li guida con passo sicuro verso un'ex struttura di ricerca.En: Giulia guides them confidently toward a former research facility.It: "Era qui che lavoravo," dice sottovoce, mentre aggirano una colonna spezzata.En: "This is where I used to work," she says in a low voice, as they navigate around a broken column.It: Le calli sono come un labirinto liquido.En: The calli are like a liquid labyrinth.It: Ogni svolta sembra portare più vicino al pericolo che alla salvezza.En: Every turn seems to bring them closer to danger than to safety.It: Luca tiene stretto Marco, il cui respiro è affannoso.En: Luca holds Marco tight, whose breathing is labored.It: Giulia parla mentre camminano, spiegando che nella struttura potrebbero ancora esserci gli appunti dei ricercatori e una speranza per Marco.En: Giulia speaks as they walk, explaining that within the facility, researchers' notes and a hope for Marco may still exist.It: Finalmente arrivano.En: Finally, they arrive.It: L'edificio è mezzo sommerso, ma ancora accessibile.En: The building is half-submerged, but still accessible.It: Luca e Giulia aprono la porta con sforzo, entrando in una stanza piena di vecchi macchinari.En: Luca and Giulia open the door with effort, entering a room full of old machinery.It: Frugano tra i documenti, acqua che goccia dal soffitto.En: They rummage through the documents, water dripping from the ceiling.It: "Trovato!"En: "Found it!"It: esclama Giulia, sollevando una cartella di appunti.En: exclaims Giulia, lifting a folder of notes.It: Luca la guarda con speranza.En: Luca looks at her with hope.It: Tra i documenti, trovano anche una fiala.En: Among the documents, they also find a vial.It: È un trattamento sperimentale.En: It is an experimental treatment.It: Con abilità, Giulia somministra la dose a Marco.En: With skill, Giulia administers the dose to Marco.It: Luca trattiene il fiato mentre osserva i segni di miglioramento sul volto del fratello.En: Luca holds his breath as he watches signs of improvement on his brother's face.It: "Ce la farà?"En: "Will he make it?"It: chiede, con una speranza disperata.En: he asks, with desperate hope.It: Le acque salgono, prendendo possesso del laboratorio.En: The waters rise, taking over the laboratory.It: Devono andarsene, e in fretta.En: They must leave, and quickly.It: Usciti, le strade sembrano oceani.En: Once outside, the streets seem like oceans.It: Luca si sente perso, ma qualcosa cambia.En: Luca feels lost, but something changes.It: La forza e determinazione dentro di lui si risvegliano.En: The strength and determination within him awaken.It: Non è solo.En: He is not alone.It: Ha fiducia in Giulia e sa che Marco sta migliorando.En: He trusts Giulia and knows that Marco is improving.It: Attraversano Venezia nuotando, spingendosi avanti tra le onde.En: They cross Venezia by swimming, pushing forward through the waves.It: Quando finalmente raggiungono un luogo sicuro, Marco sorride.En: When they finally reach a safe place, Marco smiles.It: Gli occhi brillano di nuova energia.En: His eyes shine with new energy.It: Luca abbraccia Giulia.En: Luca embraces Giulia.It: "Grazie," dice, con gratitudine profonda.En: "Thank you," he says, with deep gratitude.It: Londra non è più solo un cumulo di rovine e storie perdute.En: Londra is no longer just a pile of ruins and lost stories.It: È un nuovo inizio per loro.En: It is a new beginning for them.It: Un'isola di speranza in un mare di incertezza.En: An island of hope in a sea of uncertainty.It: Assieme, sanno che possono superare qualunque ostacolo.En: Together, they know they can overcome any obstacle. Vocabulary Words:autumn: l'autunnoblanket: la copertahigh waters: l'acqua altarefuge: il rifugiocoughs: tossiscestrokes: accarezzaworried: preoccupatodetermination: la determinazionescientist: la scienziataclaim: affermasquare: la piazzafog: la nebbiamovement: il movimentoconfidently: con sicurezzalabyrinth: il labirintodanger: il pericolosafety: la salvezzabreathing: il respirolabored: affannosoresearchers: i ricercatorinotes: gli appuntiroom: la stanzamachinery: i macchinarirummage: fruganoceiling: il soffittofolder: la cartellavial: la fialaexperimental: sperimentaletreatment: il trattamentohope: la speranza

Dedicated to the enjoyment of the public from the very beginning, this palace was never Isabella's house. Rather, it is a Venetian-style palace filled with art, history, and beauty that reflects her rt collecting aesthetic and taste. The house-museum is the world of Isabella Stewart Gardner, the fiery socialite and adventurous spirit who turned her […] The post From Venice to Boston: The TRUE Story of America's Craziest Art Collection & the Thieves Who Stole It appeared first on Veronica Winters Painting.

Dave Rubin of "The Rubin Report" talks to Michael Malice and Alex Stein about newly elected democrat socialist New York City Mayor Zohran Mamdani breaking his first promise and asking for more money to fund his transition into office; Scott Jennnings delivering some uncomfortable truths to CNN's David Axelrod about Zohran Mamdani's views on the class warfare between the oppressors and the oppressed; Nancy Pelosi finally retiring from political office at 85 years of age; Cam Higby asking Zohran Mamdani voters how he will pay for all of his programs if his tax the rich plans cause the wealthy to leave New York City; Palantir CEO Alex Karp the real reason why brainwashed Ivy League graduates would vote for Zohran Mamdani; Jennifer Lawrence telling the New York Times' Lulu Garcia-Navarro how she came to the realization that celebrities opinions on politics don't actually change people's minds; Sydney Sweeney giving a cold icy stare to GQ's Katherine Stoeffel for her tone-deaf question about the controversy surrounding her American Eagle Jeans ad campaign; and much more. Today's Sponsors: Juvent - Stop joint pain and stiffness with the Juvent Micro-Impact Platform. In the US, the Juvent device is considered investigational for the treatment of osteoporosis or improvement/maintenance of bone mineral density. Our claims have not been reviewed or cleared by the FDA to treat any disease or condition. The JUVENT® Micro-Impact Platform® is registered as a Class I medical device for exercise and rehabilitation." Go to http://Juvent.com/RUBIN and use the code RUBIN to save $300 on your own Juvent. Venice.Ai - Use Ai that doesn't spy on you or censor the AI. Ai is valuable and you shouldn't need to give up your privacy to use it. Go to https://venice.ai/dave and use code DAVE to get 20% off a pro plan and enjoy private, uncensored AI. Covepure - A countertop water purifier certified to remove up to 99.9% of impurities including fluoride, PFAs, fertilizer runoff, pharmaceuticals, and others. Go to https://covepure.com/rubin to get $200 off for a limited time only!  

Love traveling off the beaten path in Italy? There's a special place near the shores of Lake Garda that you probably haven't heard of but it will charm you in a minute. Join us as we visit Palazzo Novello in the small town of Montichiari in Italy's Lombardy region.Read the full episode show notes here > untolditaly.com/298NEW! - the Untold Italy app - access our entire podcast history ad free and searchable - DOWNLOAD FOR iOS  •  DOWNLOAD FOR ANDROIDThe app is FREE to download and check out our Milan guide and general travel content. Upgrade to PREMIUM  for a one time fee to access Rome, Florence, Venice, Sorrento, Cinque Terre, Amalfi Coast, Capri, Ischia, Tuscany, Lake Como, Lake Garda, Veneto, Lombardy, Campania, Lazio, Puglia, Abruzzo, Calabria, Umbria, Molise, Sardinia with much more to comeSupport the showSubscribe to our mailing list and get our FREE Italy trip planning toolkit - subscribe hereNeed help with your trip? Check out our Trip Planning ServicesJoin us on tour. Browse our Trip scheduleFollowSubstackInstagram • Facebook • YouTube Editorial InformationThe Untold Italy travel podcast is an independent production. Podcast Editing, Audio Production and Website Development by Mark Hatter. Production Assistance and Content Writing by the other Katie Clarke 

Former champion jockey Richard Dunwoody joins me to talk about how photography has become a part of his life after racing, and there are questions about the sport that defined him, too. A three-time Champion Jockey in the UK, Richard won two Grand Nationals and a Cheltenham Gold Cup on the legendary Desert Orchid. He helped define jump racing in Britain and Ireland during one of its most competitive eras. But that was only chapter one. After stepping out of the weighing room, Richard set out on endurance rides across South America and took on challenges that carried him far beyond the racecourse. Now, he travels with a camera, chasing stories in places a long way from grandstands and bookmakers. In this conversation, we talk about photography, adventure, and the discipline that links both worlds, plus what happens when the noise of competition finally stops. Also in the show, Lee Cobbs writes about retracing his roots and finding new angles in a familiar town, Arran Carter-Cheetham shares stories from his photographic adventures that took him halfway round the world to the so-called "Venice of the East," and on that note, I have news about a photographic retreat to the real Venice! Christopher Kincaid reckons he might just live in the best place in the world, and Matties Wesche is filming tandem parachute jumps from 10,000 feet. Links to all guests and features will be on the show page, my sincere thanks to our Extra Milers, without whom we wouldn't be walking each week and Arthelper.ai, giving photographers smart tools to plan, promote, and manage your creative projects more easily. WHY: A Sketchbook of Life is available here.

Emily Huston-Pounds shares her adventure in Italy at the Venice Marathon.For coaching questions email me at Justarunner65@gmail.com

We all knew the art market slowed slow down, but we didn't realize the rules were being rewritten, too. Advisor, curator, and reporter Elisa Carollo joins Madison Beale on The Artalogue today to discuss the most important questions arising in the art market today.:Will there be more gallery shut downs? How are galleries adapting in a post-boom, post-digital art market?  What can the next generation dealers do to keep their heads above water? Today, we connect the dots between prices, context, and staying power.We start with Elisa's journey navigating secondary and primary markets, curation, and daily reporting, and how that unique vantage point helps Carollo understand what moves value in contemporary and ultra‑contemporary art. She breaks down the pandemic's fast‑track effect on emerging artists, why rapid price spikes can backfire, and how institutional recognition, biennials, and critical writing broaden demand beyond a handful of bidders.The conversation then turns to the gallery crunch: mounting fair schedules, rising rents, thin teams, and the danger of overgrowth. Carollo explores how dealers these days believe that community is driving more sustainable sales. We also spotlight hopeful momentum, from the Studio Museum in Harlem's reopening to Venice's next chapter, and revisit the Malta Biennial as a model for site‑specific, context‑rich curation that builds meaning as well as markets in places less frequented by the art world's usual travel circuit.Carollo offers grounded advice for aspiring art writers: be present in the industry, wear different hats, and ask better questions. If you care about how artworks earn their place (and keep it) this conversation is your field guide to an art world under renovation. Subscribe to The Artalogue, share with a friend who collects or curates, and leave a review telling me what part of the market you want explored next!Follow Elisa Carollo on Instagram Connect with the Artalogue: Madison Beale, HostBe a guest on The Artalogue Podcast

Volume 67 of Brad & Mira For the Culture...Brad copes with the transactional nature of obscure podcaster fame...decides to attend AWP...Mira's big gay Halloween in Venice...Is Anthony Hopkins autistic?...a Mississippi mama shoots a missing Mississippi monkey...Bill Maher goes out with Al Pacino's 31-year-old baby mama..RIP to the frozen burrito king billionaire...& more... *** ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Otherppl with Brad Listi⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ is a weekly podcast featuring in-depth interviews with today's leading writers. Available where podcasts are available: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, etc. Get ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠How to Write a Novel,⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ the debut audio course from DeepDive. 50+ hours of never-before-heard insight, inspiration, and instruction from dozens of today's most celebrated contemporary authors. Subscribe to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Brad's email newsletter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Support the show on Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Merch⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠  ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Bluesky⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email the show: letters [at] otherppl [dot] com The podcast is a ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠proud affiliate partner of Bookshop⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, working to support local, independent bookstores. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of Venice Talks, Monica sits down with Marco Cammozzo, founder of MC Leather, to explore the fascinating world of Venetian leather craftsmanship — where ancient techniques meet sustainable innovation.From the scent of tanned hides to the rhythm of skilled hands, Marco shares how his work blends tradition, creativity, and environmental awareness in a modern Venice that still beats with artisan spirit.✨ Key points from the conversation:The story of MC Leather and its deep Venetian rootsHow craftsmanship and sustainability can truly coexistThe transformation of raw material into timeless designThe role of artisans in preserving Venice's identity✨ Credits:Hosted by Monica CesaratoProduced by Monica Cesarato, Sentire MediaGuest: Marco Cammozzo from Mc Leather

Few names are as synonymous with wild Florida as Clyde Butcher. Known for his striking black and white large-format photography, Clyde has spent decades capturing the soul of Florida's landscapes, from the ghostly cypress swamps of Big Cypress National Preserve to the vast wetlands of the Everglades. In this episode, I sit down with Clyde in Venice to talk about his story, beginning to end, and what it truly means to see Florida, not just look at it. We spend quite a bit of time reflecting on his early years, his shift from architectural focus and sailing to Florida's swamps, and how personal tragedy and rediscovery changed his relationship with the land and lens.This conversation also explores how Clyde's photography became a tool for conservation and education, the quiet stillness of the swamp, the changing face of Florida's wild places, and the role of art in helping people reconnect with nature. Whether you've stood in front of one of Clyde's mural-sized prints or are just discovering his work, this episode is not only inspiration, but a reminder of why wild Florida is worth protecting and what we stand to lose if we don't. Links:Clyde Butcher Official WebsiteBig Cypress GalleryClyde Butcher's Florida Gallery in VeniceFollow Clyde Butcher on InstagramFlorida Wildlife Corridor FoundationJoin Us at the Lake Wales Ridge Fire FestIf you'd like to learn more about prescribed fire and the experts that make them happen, join us at the Lake Wales Ridge Fire Fest on November 8th, from 10:00 AM to 5:00 PM at Highlands Hammock State Park in Sebring, Florida. We'll be hosting a live podcast recording and expert panel featuring Elysia and other leaders in fire ecology.Learn more here: https://www.archbold-station.org/events/fire-fest-2025/

Ever wondered what happens when you cross a high-fantasy campaign setting, a Louisiana bayou, and a magical eel with moonshine for blood? The RPGBOT crew found out the hard way when they sat down with Drew Foulke, the founder of Norse Foundry and Hexed Publishing, to talk about his new system-agnostic roleplaying world: Titanskeep. It's a world where gods and titans feud like divorced parents with cosmic custody issues, and adventurers are just trying to survive long enough to figure out whether the lich-titan is actually the good guy. Join the RPGBOT Patreon Want to hear episodes like this ad-free and before anyone else? Join the RPGBOT Patreon today. Get early access to recordings, bonus discussions, and the chance to listen live as Tyler, Randall, and Ash interview RPG creators like Drew Foulke, Keith Baker, and more. Your support helps keep the dice rolling (and the Billy Eels wiggling). Show Notes In this episode of the RPGBOT.Podcast, hosts Randall James, Tyler Kamstra, and Ash Ely sit down with Drew Foulke, founder of Norse Foundry and Hexed Publishing, to explore the upcoming Titanskeep campaign setting — a high-fantasy, system-agnostic world designed for Dungeons & Dragons (5e/2024), Pathfinder 2e, and beyond. Titanskeep, set in the living world of Kalidor, pits gods against titans in a divine power struggle that reshapes the world's fate. Players can join guilds, align with deities, or swear loyalty to mighty titans — and every choice changes the ongoing narrative. Built to support convention-based raid events, local game store play, and ongoing modular releases, Titanskeep promises a living campaign ecosystem that evolves through player decisions. Drew discusses Hexed Publishing's approach to system-agnostic design, collaboration with industry legends like Ed Greenwood, Keith Baker, B. Dave Walters, and Deven Rue, and his goal of producing a constantly supported RPG world rather than a one-and-done campaign book. Tyler shares his own experience designing monsters for the Houdan region, a New Orleans-meets-Venice bayou crawling with illusion-magic, giant bugs, and the now-legendary Billy Eel — complete with random mutations and "moonshine in its veins." Throughout the conversation, the hosts and Drew dive into: The challenge of creating a 5e and Pathfinder 2e compatible RPG setting. The use of guild systems, living world events, and player-driven raids. The design philosophy of Norse Foundry: making dice and props that players actually use. The plan for Titanskeep's Kickstarter (October 2026), free Patreon content, and playtesting rewards. The future of Hexed Publishing, from Gazetteers to modular adventure paths, and how community playtesting shapes their development. Key Takeaways System-Agnostic Design: Titanskeep bridges 5e, 2024 D&D, and Pathfinder 2e, with future support for systems like Daggerheart, Savage Worlds, and Fate. High Fantasy, Low Tech: Magic drives Titanskeep's world; technology exists only where titans allow it. Living World Structure: Players influence world events through guilds, deities, and Titan allegiance — shaping global outcomes. Convention Integration: The setting includes a raid-style convention system, where multiple tables impact shared encounters and titanic battles. Collaborative Worldbuilding: Drew enlisted industry veterans like Ed Greenwood, Keith Baker, B. Dave Walters, Jay Foster, Deven Rue, and Crystal Sully. Player Rewards: Free adventures, Patreon-exclusive ancestries, and physical props (like keys, pins, and holy symbols) connect the digital world to your table. The Billy Eel Legacy: A chaotic creature from the Houdan region, proof that player imagination and worldbuilding can get delightfully weird. Ongoing Support: Titanskeep isn't a single book — it's a long-term evolving campaign world with modules, Gazetteers, and live play updates. Community-Driven Playtesting: Players providing feedback can win $50 Norse Foundry gift cards. Kickstarter 2026: The official launch of Titanskeep will include free metal D20s for backers from the Patreon or newsletter list. Explore Titanskeep & Norse Foundry Ready to step into a world where gods and titans wage endless war — and you might just become one? Visit Titanskeep.com and join the Patreon at patreon.com/HextRPG for free playtest content, ancestries, and adventures. Check out Norse Foundry for premium metal dice, RPG accessories, and updates on upcoming Titanskeep Kickstarter 2026 releases. Support the creators, roll some legendary dice, and remember — if your eel starts sweating moonshine, maybe it's time to roll for Constitution. Welcome to the RPGBOT Podcast. If you love Dungeons & Dragons, Pathfinder, and tabletop RPGs, this is the podcast for you. Support the show for free: Rate and review us on Apple Podcasts, Spotify, or any podcast app. It helps new listeners find the best RPG podcast for D&D and Pathfinder players. Level up your experience: Join us on Patreon to unlock ad-free access to RPGBOT.net and the RPGBOT Podcast, chat with us and the community on the RPGBOT Discord, and jump into live-streamed RPG podcast recordings. Support while you shop: Use our Amazon affiliate link at https://amzn.to/3NwElxQ and help us keep building tools and guides for the RPG community. Meet the Hosts Tyler Kamstra – Master of mechanics, seeing the Pathfinder action economy like Neo in the Matrix. Randall James – Lore buff and technologist, always ready to debate which Lord of the Rings edition reigns supreme. Ash Ely – Resident cynic, chaos agent, and AI's worst nightmare, bringing pure table-flipping RPG podcast energy. Join the RPGBOT team where fantasy roleplaying meets real strategy, sarcasm, and community chaos. How to Find Us: In-depth articles, guides, handbooks, reviews, news on Tabletop Role Playing at RPGBOT.net Tyler Kamstra BlueSky: @rpgbot.net TikTok: @RPGBOTDOTNET Ash Ely Professional Game Master on StartPlaying.Games BlueSky: @GravenAshes YouTube: @ashravenmedia Randall James BlueSky: @GrimoireRPG Amateurjack.com Read Melancon: A Grimoire Tale (affiliate link) Producer Dan @Lzr_illuminati

At the Wildix Partner Day in Venice, Technology Reseller News Publisher Doug Green spoke with Jon Arnold, Principal of J Arnold & Associates, for a candid analyst perspective on Wildix's strategy and its growing impact on the SMB and channel markets. Arnold noted that while Wildix may be lesser known in North America, its channel-first model, AI-driven innovation, and SMB focus set it apart from larger UCaaS players. “Wildix isn't trying to be everything to everyone — they're laser-focused on SMBs that want modern, ROI-driven communications, not just dial tone,” said Arnold. “They understand how to meet these businesses where they are, whether they're still on legacy PBX systems or rebuilding after the pandemic's patchwork solutions.” He emphasized that Wildix's message is no longer about PBX replacement, but about transforming communications into a strategic asset. “Voice is no longer just about making phone calls — it's data. Once AI enters the picture, conversations become business intelligence, and that's where Wildix is delivering real value,” Arnold explained. Arnold also praised the company's verticalized offerings, including AI-powered retail and healthcare solutions that demonstrate tangible returns for customers and simplify the sales process for MSPs. “They're giving the channel out-of-the-box vertical solutions with integrations already done — that's gold for partners, because it accelerates time to market and reduces disruption,” he said. From workflow automation and open APIs to remote-friendly deployment, Arnold concluded that Wildix exemplifies a vendor that both lives and delivers on the distributed-work model. “They've stayed true to their SMB roots while bringing the power of AI to that market — and that's a story worth paying attention to,” he added. Learn more about Jon Arnold's research and market insights at jarnoldassociates.com.

At the Wildix Partner Day in Venice, Technology Reseller News Publisher Doug Green sat down with industry analyst Dave Michels to discuss his impressions of Wildix's first-ever analyst event and what it reveals about the future of UCaaS, AI, and the channel. Michels, a respected voice in enterprise communications and author of TalkingPointz, described the event as “a real look inside a company that's not just talking about digital transformation — they're living it.” “Wildix zigs where everyone else zags,” Michels said. “They've built a single-tenant UCaaS architecture for the cloud — something almost nobody else is doing — and it's full of advantages. Customers don't care if it's multi-tenant or single-tenant; they care about flexibility, data residency, and performance. Wildix has figured that out.” Michels noted that Wildix's 100% remote workforce and decentralized culture reflect the flexibility it delivers to customers. “They actually practice what they preach,” he said. “They've built a distributed organization that uses their own tools every day, and that authenticity shows through.” A key differentiator discussed was Wildix's hardware-integrated UCaaS ecosystem, including x-hoppers — an AI-enabled communications platform for retail and frontline workers — and x-bees, designed for knowledge workers and collaboration. “The x-hoppers headset is a perfect example of applied AI — it's connected, voice-activated, and aware of business workflows,” Michels observed. “If a shelf runs out of stock, it can alert staff automatically. It's an intelligent, practical use of AI that drives immediate ROI.” Looking ahead to 2026, Michels said that AI is reshaping every part of the communications stack — and that this shift favors channel partners. “AI is the magic drug right now,” he explained. “But to really leverage AI, companies need expertise — and that's coming back to the channel. We're seeing a major swing toward partners because they know how to implement, customize, and deliver these complex, outcome-driven solutions.” Michels concluded that Wildix's approach — flexible deployment options, integrated AI, and strong partner alignment — mirrors where the entire industry is heading: toward configurable, outcome-focused communications. Learn more about Dave Michels' insights and commentary at talkingpointz.com.

Ever wondered what happens when you cross a high-fantasy campaign setting, a Louisiana bayou, and a magical eel with moonshine for blood? The RPGBOT crew found out the hard way when they sat down with Drew Foulke, the founder of Norse Foundry and Hexed Publishing, to talk about his new system-agnostic roleplaying world: Titanskeep. It's a world where gods and titans feud like divorced parents with cosmic custody issues, and adventurers are just trying to survive long enough to figure out whether the lich-titan is actually the good guy. Join the RPGBOT Patreon Want to hear episodes like this ad-free and before anyone else? Join the RPGBOT Patreon today. Get early access to recordings, bonus discussions, and the chance to listen live as Tyler, Randall, and Ash interview RPG creators like Drew Foulke, Keith Baker, and more. Your support helps keep the dice rolling (and the Billy Eels wiggling). Show Notes In this episode of the RPGBOT.Podcast, hosts Randall James, Tyler Kamstra, and Ash Ely sit down with Drew Foulke, founder of Norse Foundry and Hexed Publishing, to explore the upcoming Titanskeep campaign setting — a high-fantasy, system-agnostic world designed for Dungeons & Dragons (5e/2024), Pathfinder 2e, and beyond. Titanskeep, set in the living world of Kalidor, pits gods against titans in a divine power struggle that reshapes the world's fate. Players can join guilds, align with deities, or swear loyalty to mighty titans — and every choice changes the ongoing narrative. Built to support convention-based raid events, local game store play, and ongoing modular releases, Titanskeep promises a living campaign ecosystem that evolves through player decisions. Drew discusses Hexed Publishing's approach to system-agnostic design, collaboration with industry legends like Ed Greenwood, Keith Baker, B. Dave Walters, and Deven Rue, and his goal of producing a constantly supported RPG world rather than a one-and-done campaign book. Tyler shares his own experience designing monsters for the Houdan region, a New Orleans-meets-Venice bayou crawling with illusion-magic, giant bugs, and the now-legendary Billy Eel — complete with random mutations and "moonshine in its veins." Throughout the conversation, the hosts and Drew dive into: The challenge of creating a 5e and Pathfinder 2e compatible RPG setting. The use of guild systems, living world events, and player-driven raids. The design philosophy of Norse Foundry: making dice and props that players actually use. The plan for Titanskeep's Kickstarter (October 2026), free Patreon content, and playtesting rewards. The future of Hexed Publishing, from Gazetteers to modular adventure paths, and how community playtesting shapes their development. Key Takeaways System-Agnostic Design: Titanskeep bridges 5e, 2024 D&D, and Pathfinder 2e, with future support for systems like Daggerheart, Savage Worlds, and Fate. High Fantasy, Low Tech: Magic drives Titanskeep's world; technology exists only where titans allow it. Living World Structure: Players influence world events through guilds, deities, and Titan allegiance — shaping global outcomes. Convention Integration: The setting includes a raid-style convention system, where multiple tables impact shared encounters and titanic battles. Collaborative Worldbuilding: Drew enlisted industry veterans like Ed Greenwood, Keith Baker, B. Dave Walters, Jay Foster, Deven Rue, and Crystal Sully. Player Rewards: Free adventures, Patreon-exclusive ancestries, and physical props (like keys, pins, and holy symbols) connect the digital world to your table. The Billy Eel Legacy: A chaotic creature from the Houdan region, proof that player imagination and worldbuilding can get delightfully weird. Ongoing Support: Titanskeep isn't a single book — it's a long-term evolving campaign world with modules, Gazetteers, and live play updates. Community-Driven Playtesting: Players providing feedback can win $50 Norse Foundry gift cards. Kickstarter 2026: The official launch of Titanskeep will include free metal D20s for backers from the Patreon or newsletter list. Explore Titanskeep & Norse Foundry Ready to step into a world where gods and titans wage endless war — and you might just become one? Visit Titanskeep.com and join the Patreon at patreon.com/HextRPG for free playtest content, ancestries, and adventures. Check out Norse Foundry for premium metal dice, RPG accessories, and updates on upcoming Titanskeep Kickstarter 2026 releases. Support the creators, roll some legendary dice, and remember — if your eel starts sweating moonshine, maybe it's time to roll for Constitution. Welcome to the RPGBOT Podcast. If you love Dungeons & Dragons, Pathfinder, and tabletop RPGs, this is the podcast for you. Support the show for free: Rate and review us on Apple Podcasts, Spotify, or any podcast app. It helps new listeners find the best RPG podcast for D&D and Pathfinder players. Level up your experience: Join us on Patreon to unlock ad-free access to RPGBOT.net and the RPGBOT Podcast, chat with us and the community on the RPGBOT Discord, and jump into live-streamed RPG podcast recordings. Support while you shop: Use our Amazon affiliate link at https://amzn.to/3NwElxQ and help us keep building tools and guides for the RPG community. Meet the Hosts Tyler Kamstra – Master of mechanics, seeing the Pathfinder action economy like Neo in the Matrix. Randall James – Lore buff and technologist, always ready to debate which Lord of the Rings edition reigns supreme. Ash Ely – Resident cynic, chaos agent, and AI's worst nightmare, bringing pure table-flipping RPG podcast energy. Join the RPGBOT team where fantasy roleplaying meets real strategy, sarcasm, and community chaos. How to Find Us: In-depth articles, guides, handbooks, reviews, news on Tabletop Role Playing at RPGBOT.net Tyler Kamstra BlueSky: @rpgbot.net TikTok: @RPGBOTDOTNET Ash Ely Professional Game Master on StartPlaying.Games BlueSky: @GravenAshes YouTube: @ashravenmedia Randall James BlueSky: @GrimoireRPG Amateurjack.com Read Melancon: A Grimoire Tale (affiliate link) Producer Dan @Lzr_illuminati

At the Wildix Partner Day in Venice, Italy, Technology Reseller News Publisher Doug Green spoke with Stewart Donnor, Sales Engineers Manager at Wildix, about how the company's channel-first innovation and AI-powered automation are redefining the unified communications experience for partners and their customers. “Wildix is 100% channel, and our engineering team works side-by-side with partners from discovery through deal close,” Donnor explained. “We design every deployment around the customer's exact workflow — no cookie-cutter solutions.” Donnor described Wildix's flexible, customizable UCaaS and PBX ecosystem that bridges the gap between traditional telephony and modern digital engagement. The platform supports cloud, hybrid, and hardware PBXs, integrates with Microsoft Teams, CRM systems, and digital channels such as WhatsApp and SMS, and now incorporates Wilma AI — an agentic automation tool capable of handling workflows across more than 500 third-party applications. “AI is now our best employee — it never takes time off and it's always ready to work,” Donnor said. “We're using automation not to replace people, but to extend customer access and improve employee experience.” The Wildix product stack — including x-bees for collaboration and x-hoppers for retail and frontline environments — demonstrates this blend of innovation and practicality. By embedding communication into headsets and mobile endpoints, Wildix gives store associates real-time access to AI-driven knowledge and instant customer assistance, improving both staff retention and ROI. For organizations reassessing their communications post-COVID, Wildix provides migration flexibility for both legacy PBX users and those looking to upgrade hastily adopted UCaaS systems. “Many companies made quick decisions during COVID and had to compromise,” Donnor noted. “Now they're ready for a solution that restores capability without giving up control — and that's where Wildix shines.” With weekly software releases, a direct feedback loop between sales engineering and product development, and security built into every instance, Donnor emphasized Wildix's commitment to keeping partners and customers on the cutting edge. “We're agile, European-born, and secure by design. Each build is unique — future-proofing isn't just a promise, it's baked into our DNA.” To learn more about Wildix's AI-driven UCaaS and partner ecosystem, visit wildix.com.

At the Wildix Partner Day in Venice, Italy, Technology Reseller News Publisher Doug Green sat down with Steve Osler, CEO of Wildix, to discuss how the company is using AI and automation to transform unified communications — and to empower partners with new revenue opportunities. “The main reason to move to Wildix today isn't just to unify communications — it's to automate and improve business processes, especially with AI,” said Osler. “We're helping companies replace human interactions in routine communication and integrate AI to boost sales and efficiency.” Founded in 2005 in Trento, Italy, Wildix began as a PBX innovator before becoming one of the first companies to deliver a WebRTC-based unified communications platform in 2012. Two decades later, the company is now focused on the next evolution: agentic AI and business process automation. Osler explained that AI is not simply a feature but a catalyst for business transformation. From automated scheduling and customer engagement to Salesforce-integrated workflows, Wildix enables customers to achieve measurable ROI while giving partners full ownership of their customer relationships and billing. “We don't publish price lists because every solution delivers a different value,” Osler noted. “A basic PBX may be $10 per user, but the same platform, integrated with AI and CRM automation, can be worth thousands.” Wildix's vertical specialization is also central to its strategy. Products such as x-bees, a sales tool integrated with Salesforce, and x-hoppers, a communications platform for retail frontline workers, demonstrate how narrowing focus creates greater differentiation and customer value. On the topic of Microsoft Teams integration, Osler emphasized that Wildix complements rather than competes with Teams. “We provide the telephone services and smart automation that Teams can't — the goal isn't to deliver dial tone, but to deliver value,” he said. Looking ahead to 2026, Osler stressed that partner enablement is key to Wildix's growth. “We're training partners not just to sell AI, but to understand it — to identify the right use cases, show value, and implement fast.” For Wildix, AI isn't a distant concept; it's a practical, deployable advantage. As Osler concluded with a smile: “The best way to learn more about Wildix? Ask AI.” Learn more about Wildix and its channel-first UCaaS and AI automation strategy at wildix.com.

Join hosts J.D. Barker, Christine Daigle, Jena Brown, and Kevin Tumlinson as they discuss the week's entertainment news, including stories about a new fund for literary arts organizations, James Patterson's podcast, and how to read a book and feed a neighbor. Then, stick around for a chat with Orson Scott Card!Orson Scott Card is the author of the novels Ender's Game, Ender's Shadow, and Speaker for the Dead, which are widely read by adults and younger readers. His most recent series, the young adult Pathfinder series (Pathfinder, Ruins, Visitors), the fantasy Mithermages series (Lost Gate, Gate Thief, Gatefather) and the Side Step series (Wakers, Reawakening) are taking readers in new directions.Besides these and other science fiction novels, Card writes contemporary fantasy (Magic Street, Enchantment, Lost Boys), biblical novels (Stone Tables, Sarah), the American frontier fantasy series The Tales of Alvin Maker (beginning with Seventh Son), poetry (An Open Book), and many plays and scripts, including his "freshened" Shakespeare scripts for Romeo & Juliet, The Taming of the Shrew, and The Merchant of Venice.Card was born in Washington and grew up in California, Arizona, and Utah. He served a mission for the LDS Church in Brazil in the early 1970s. Card currently lives in Greensboro, North Carolina, with his wife, Kristine Allen Card.

At the Wildix Partner Day in Venice, Italy, Technology Reseller News Publisher Doug Green sat down with Jason Uslan of Wildix to discuss how the European-born UCaaS and PBX provider is helping small and midsize businesses modernize communications while preserving the trusted channel relationship. “Wildix is 100% channel — we only go to market through our partners,” Uslan explained. “That local partner knows the customer, understands their workflows, and can tailor the solution to fit their needs.” Wildix's unified platform enables SMBs to consolidate fragmented communications — legacy PBX, Microsoft Teams, CRM tools, and email — into a single, flexible system focused on both customer and employee experience. Designed for scalability, the Wildix solution gives partners full control over deployment, billing, and customer ownership while offering end users a seamless, device-agnostic experience across office and remote environments. Uslan emphasized that Wildix fits the SMB market “because it's built for it.” The platform is fully customizable down to the user level, integrates natively with Microsoft Teams and leading CRMs, and supports open APIs for third-party extensions through partners like Red Cactus. “We don't want to disrupt how people work — we want to help them work smarter, faster, and better,” he said. Looking ahead, AI will play a central role in Wildix's evolution. Uslan noted that the company approaches AI “with an ROI mindset — helping SMBs do more without replacing people, by making their teams more efficient.” From improving coaching and analytics through its x-bees employee experience (EX) tools to driving better customer experience (CX), Wildix is positioning partners and customers alike for the next decade of intelligent, integrated communications. To learn more about Wildix solutions and partner opportunities, visit wildix.com.

Did you know there's MAGIC in your Meditation Practice? Say Goodbye to Anxiety and Hello to More Peace & More Prosperity! Here Are the 5 Secrets on How to Unleash Your Meditation Magic https://womensmeditationnetwork.com/5secrets Join Premium! Ready for an ad-free meditation experience? Join Premium now and get every episode from ALL of our podcasts completely ad-free now! Just a few clicks makes it easy for you to listen on your favorite podcast player. Become a PREMIUM member today by going to --> https://WomensMeditationNetwork.com/premium With a deep, open breath, snuggle up in your bed,and untether the thoughts  looming tight in your head. LONG PAUSE Feel the soft sheets  as they kiss your skin. You sink into their coolness,  and pull your blanket up again. LONG PAUSEBreathe once more,  deep, long, and slow, and as you exhale, let any last thoughts go. Join our Premium Sleep for Women Channel on Apple Podcasts and get ALL 5 of our Sleep podcasts completely ad-free! Join Premium now on Apple here --> https://bit.ly/sleepforwomen Join our Premium Meditation for Kids Channel on Apple Podcasts and get ALL 5 of our Kids podcasts completely ad-free! Join Premium now on Apple here → https://bit.ly/meditationforkidsapple Hey, I'm so glad you're taking the time to be with us today. My team and I are dedicated to making sure you have all the meditations you need throughout all the seasons of your life. If there's a meditation you desire, but can't find, email us at Katie Krimitsos to make a request. We'd love to create what you want! Namaste, Beautiful,

Father Casey Jones is a priest of the Diocese of Venice, Florida. He currently serves as the pastor of St. Elizabeth Seton Parish and school in Naples, Florida. In Today's Show: Why was All Saints Day not a day of obligation this year? How can a lukewarm Catholic begin anew? Did the Holy Spirit and Jesus have a beginning if God did not? Book recomendations for Bible study Do our prayers benefit those from other religions? How can we tell if God is really speaking to us? How many decades should I pray for the 1st Saturday devotion? Is there a moment that stood out to Father Casey during his time as a priest?  Visit the show page at thestationofthecross.com/askapriest to listen live, check out the weekly lineup, listen to podcasts of past episodes, watch live video, find show resources, sign up for our mailing list of upcoming shows, and submit your question for Father!

Here is Pastor Frank Vargo's sermon on 11/2/25 titled, "Times of Refreshing" from Acts 3:19-26. Freedom Bible Church is a nondenominational church located at 5550 S. Sumter Blvd in North Port, Florida. The name “Freedom” comes from 2 Corinthians 3:17, "Now the Lord is the Spirit, and where the Spirit of the Lord is, there is freedom." Our desire is to be a God-centered church, not man-centeredFreedom Bible Church is a Bible based church located at 5550 S. Sumter Blvd in North Port, Florida. The name “Freedom” comes from 2 Corinthians 3:17, "Now the Lord is the Spirit, and where the Spirit of the Lord is, there is freedom." Our desire is to be a God-centered church, not man-centered.Website: https://freedombiblechurch.com/Facebook: https://www.facebook.com/freedombiblepcInstagram: https://www.instagram.com/freedombiblechurchOur church members come from North Port, Wellen Park, West Port, Port Charlotte, Punta Gorda, Venice, and Englewood.

A transmission from Becoming Press' Πάμε Βενετία! conference in Venice this past September.Contributions in order from:Palais SinclaireLucas Ferraço NassifAlessandro SbordoniEzili-i SabbahMaks ValenčičRheaDocumented by Polymnia

My guest today is Karin Wallerstein. She is the CEO of the Venice Chamber of Commerce, located in Venice, California. Meet Karin Wallerstein. Karin Wallerstein was born in New Jersey and has been a Venice resident for over 14 years.   Karin brings drive, energy and love for the Venice Community into her role as Chief...

Welcome to another episode of the HOZ Comedy Podcast with Joey. On this episode of the podcast, we welcome our good friend Dimitri Venice, who takes listeners on a hilarious and honest ride through his comedy journey—from wild dab stories and panic attacks to chasing a Netflix special dream. The crew dives into everything from Chicago vs. New York culture and pizza debates to Attitude Era wrestling, aliens, and cannabis-fueled creativity. Packed with sharp takes, laugh-out-loud moments, and behind-the-scenes stories, this episode proves that Dimitri's comedy is as bold and unpredictable as his life.

Ready to discover your perfect way to travel Italy? Listen in and explore the pros and cons of independent travel versus tours with our expert team of travel planners and tour hosts. Learn about logistics and authentic experiences and discover how curiosity can help you unlock an unforgettable Italian adventure with plenty of jaw dropping sights, history, culture, food, wine, and local connections.Untold Italy ToursTrip Planning ServicesUntold Italy AppRead the full episode show notes here > untolditaly.com/297NEW! - the Untold Italy app - access our entire podcast history ad free and searchable - DOWNLOAD FOR iOS  •  DOWNLOAD FOR ANDROIDThe app is FREE to download and check out our Milan guide and general travel content. Upgrade to PREMIUM  for a one time fee to access Rome, Florence, Venice, Sorrento, Cinque Terre, Amalfi Coast, Capri, Ischia, Tuscany, Lake Como, Lake Garda, Veneto, Lombardy, Campania, Lazio, Puglia, Abruzzo, Calabria, Umbria, Molise, Sardinia with much more to comeSupport the showSubscribe to our mailing list and get our FREE Italy trip planning toolkit - subscribe hereNeed help with your trip? Check out our Trip Planning ServicesJoin us on tour. Browse our Trip scheduleFollowSubstackInstagram • Facebook • YouTube Editorial InformationThe Untold Italy travel podcast is an independent production. Podcast Editing, Audio Production and Website Development by Mark Hatter. Production Assistance and Content Writing by the other Katie Clarke 

E & T are back this week and Erica is fresh off her bestie's wedding weekend. They discuss the JLo Howard Stern interview where she claims she has "never been truly loved". Then they discuss a recent article "The Rise of the Avoidant Woman" and their thoughts on if women are truly being avoidant or if they are simply setting higher standards and stronger boundaries while dating. The gals then discuss some of their own frustrations with dating lately. The end of the episode features a Patreon Preview.Join the Patreon to support the show and get extra & ad free episodes here OR on Apple & Spotify Podcasts:⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/twostandupgals⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Submit your questions here: ⁠Twostandupgals@gmail.com⁠*NEW GREECE TRIP! Crete, Greece June 5th-11th, 2026: ⁠https://forms.gle/bNcNaVpC81onJx8VA ⁠Erica's ITALY TRIP! Oct 9th – Oct 17th, 2026 Venice, Florence, & Rome, ($150 discount applied until October 31st) Itinerary here: ⁠https://groups.goaheadtours.com/tours/erica-spera-vfsg2026⁠Not interested in Greece or Italy? Take our Travel Survey here: ⁠https://forms.gle/mYY5Ss7szCowAj2u8⁠Watch full episodes on our YouTube Channel Here: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/@TwoStandUpGalsPodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Submit your questions here: ⁠Twostandupgals@gmail.com⁠Benson Boone cover "When We Were Young": ⁠https://www.youtube.com/watch?v=lwPjKhcqLSQ&list=RDlwPjKhcqLSQ&index=1⁠We started making a Spotify playlist of the music we're listening to every week / reference on the podcast: ⁠https://open.spotify.com/playlist/2QDR97tEDUK3L6x9jLBCkM?si=bi1m6B4eRsS9VwYEI71R-g⁠

From the lagoon of Venice to revolutionary Russia, counterintelligence has always been an important aspect of statecraft. In Brief Histories, the new monthly special from True Spies, series producer Joe Foley is your guide to this secret world - alongside a treasure-trove of stories and expert knowledge from our archive. From SPYSCAPE, the home of secrets and skills. A Cup And Nuzzle production. Series producer: Joe Foley. Learn more about your ad choices. Visit megaphone.fm/adchoices