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Augustas Šuliauskas, Karolis Tiškevičius ir Lukas Malinauskas aptaria Kauno „Žalgirio” vargus ir evakuaciją iš Tel Avivo, naują komandą LKL ir bausmę Vaidui Vaškevičiui. Tinklalaidės partneriai: – Antėja. Kiek stiprus tavo imuniteto skydas – ar jo užtektų visam sezonui? „Antėja“ siūlo imuniteto įvertinimo programą ir mažakraujystės tyrimus su –35 % nuolaida, galiojančia iki 02.01. Daugiau: https://www.anteja.lt/menesio-pasiulymai – PROTEIN M – tai daugiau nei sūrelis, tai tavo kasdienė pagalba gerai savijautai. Išbandyk ir pamilk! – Nealkoholinis alus „Gubernija”, daugiau informacijos – https://gubernija.lt/ – Susitinkame stebėti rungtynių BasketNews ambasadoje! Vietų rezervacija čia: https://actionbyapollo.lt/vilnius/activity/basketnews-transliacijos/ Temos: Pasveikinkite gildijos vadą (0:00); Grėsmingoje situacijoje atsidūręs „Žalgiris” ir blogas precedentas Eurolygoje (2:22); Kvestionuotini epizodai Tel Avive (8:35); Williamso-Gosso trūkumas ir Francisco pastangos (21:11); Įspūdinga Wrighto atkarpa, bet skausminga realybė (33:34); Niūri „Žalgirio” tendencija (41:37); Susiskaldymas Eurolygoje ir Pauliaus Motiejūno ateitis (48:08); Nauja komanda LKL (54:59); Dainiaus Adomaičio atodūsis (59:42); NBA – pagyros Kasparui Jakučioniui (1:09:23); Reakcija į žiūrovų komentarus (1:13:45); Laisvės atėmimo bausmė „Jonavos” prezidentui (1:21:11).

Individually they were just like those guys who like to hang around the comic book shop and talk comics but together they form EMX! Check out Thacher's books a DemonWeaselStudios.com In this eXplicit, uncut and unedited episode of EMX we review Marvel Comics X-Men books of November 2025: Amazing X-Men (2025) #2 Binary  (2025) #2 Cloak or Dagger #2 Expatriate X-Men  (2025) #2 Iron & Frost  (2025) #2 The Last Wolverine  (2025) #2 Laura Kinney: Sabretooth  (2025) #2 Longshots  (2025) #2 Omega Kids  (2025) #2 Radioactive Spider-Man #2 Rogue-Storm  (2025) #2 Sinister's Six  (2025) #2 Unbreakable X-Men  (2025) #2 Undeadpool  (2025) #2 X-Men - Book of Revelation  (2025) #2 X-Men of Apocalypse (2025) #1 X-Vengers  (2025) #2 [RSS] Subscribe [RSS] EMX Subscribe [Apple Podcasts] Subscribe [Google Podcast] Subscribe All Podcasts  Email: EMP@EarthsMightiestPodcast.com Website: http://www.EarthsMightiestPodcast.comFacebook Group: http://facebookgroup.earthsmightiestpodcast.com/Viet's Website: http://www.comedianviet.comThacher's Website: http://www.DemonWeasel.com  

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Tonight's show features Asian Refugees United and Lavender Phoenix in conversation about art, culture, and organizing, and how artists help us imagine and build liberation. Important Links: Lavender Phoenix: Website | Instagram Asian Refugees United: Website | Instagram | QTViệt Cafe Collective Transcript: Cheryl: Hey everyone. Good evening. You tuned in to APEX Express. I'm your host, Cheryl, and tonight is an AACRE Night. AACRE, which is short for Asian Americans for Civil Rights and Equality is a network made up of 11 Asian American social justice organizations who work together to build long-term movements for justice. Across the AACRE network, our groups are organizing against deportations, confronting anti-blackness, xenophobia, advancing language justice, developing trans and queer leaders, and imagine new systems of safety and care. It's all very good, very important stuff. And all of this from the campaigns to the Organizing to Movement building raises a question that I keep coming back to, which is, where does art live In all of this, Acts of resistance do not only take place in courtrooms or city halls. It takes place wherever people are still able to imagine. It is part of how movements survive and and grow. Art is not adjacent to revolution, but rather it is one of its most enduring forms, and tonight's show sits in that very spirit, and I hope that by the end of this episode, maybe you'll see what I mean. I;d like to bring in my friends from Lavender Phoenix, a trans queer API organization, building people power in the Bay Area, who are also a part of the AACRE Network. This summer, Lavender Phoenix held a workshop that got right to the heart of this very question that we're sitting with tonight, which is what is the role of the artist in social movements? As they were planning the workshop, they were really inspired by a quote from Toni Cade Bambara, who in an interview from 1982 said, as a cultural worker who belongs to an oppressed people, my job is to make the revolution irresistible. So that raises a few questions worth slowing down for, which are, who was Toni Cade Bambara? What does it mean to be a cultural organizer and why does that matter? Especially in this political moment? Lavender Phoenix has been grappling with these questions in practice, and I think they have some powerful answers to share. So without further ado, I'd like to introduce you to angel who is a member of Lavender Phoenix. Angel: My name is Angel. I use he and she pronouns, and I'm part of the communications committee at LavNix. So, let's explore what exactly is the meaning of cultural work.  Cultural workers are the creators of narratives through various forms of artistic expression, and we literally drive the production of culture. Cultural work reflects the perspectives and attitudes of artists and therefore the people and communities that they belong to. Art does not exist in a vacuum. You may have heard the phrase before. Art is always political. It serves a purpose to tell a story, to document the times to perpetuate and give longevity to ideas. It may conform to the status quo or choose to resist it. I wanted to share a little bit about one cultural worker who's made a really big impact and paved the way for how we think about cultural work and this framework. Toni Cade Bambara was a black feminist, cultural worker, writer, and organizer whose literary work celebrated black art, culture and life, and radically supported a movement for collective liberation. She believed that it's the artist's role to serve the community they belong to, and that an artist is of no higher status than a factory worker, social worker, or teacher. Is the idea of even reframing art making as cultural work. Reclaimed the arts from the elite capitalist class and made clear that it is work, it does not have more value than or take precedence over any other type of movement work. This is a quote from an interview from 1982 when Toni Cade Bambara said, as a cultural worker who belongs to an oppressed people, my job is to make revolution irresistible. But in this country, we're not encouraged and equipped at any particular time to view things that way. And so the artwork or the art practice that sells that capitalist ideology is considered art. And anything that deviates from that is considered political, propagandist, polemical, or didactic, strange, weird, subversive or ugly. Cheryl: After reading that quote, angel then invited the workshop participants to think about what that means for them. What does it mean to make the revolution irresistible? After giving people a bit of time to reflect, angel then reads some of the things that were shared in the chat. Angel: I want my art to point out the inconsistencies within our society to surprised, enraged, elicit a strong enough reaction that they feel they must do something. Cheryl: Another person said, Angel: I love that art can be a way of bridging relationships. Connecting people together, building community. Cheryl: And someone else said. Angel: I want people to feel connected to my art, find themselves in it, and have it make them think and realize that they have the ability to do something themselves. Cheryl: I think what is rather striking in these responses that Angel has read aloud to what it means to make art that makes the revolution irresistible isn't just aesthetics alone, but rather its ability to help us connect and communicate and find one another to enact feelings and responses in each other. It's about the way it makes people feel implicated and connected and also capable of acting. Tony Cade Bambara when she poses that the role of cultural workers is to make the revolution irresistible is posing to us a challenge to tap into our creativity and create art that makes people unable to return comfortably to the world as is, and it makes revolution necessary, desirable not as an abstract idea, but as something people can want and move towards  now I'm going to invite Jenica, who is the cultural organizer at Lavender Phoenix to break down for us why we need cultural work in this political moment. . Speaker: Jenica: So many of us as artists have really internalized the power of art and are really eager to connect it to the movement.  This section is about answering this question of why is cultural work important.  Cultural work plays a really vital role in organizing and achieving our political goals, right? So if our goal is to advance radical solutions to everyday people, we also have to ask ourselves how are we going to reach those peoples? Ideas of revolution and liberation are majorly inaccessible to the masses, to everyday people. Families are being separated. Attacks on the working class are getting worse and worse. How are we really propping up these ideas of revolution, especially right in America, where propaganda for the state, for policing, for a corrupt government runs really high. Therefore our messaging in political organizing works to combat that propaganda. So in a sense we have to make our own propaganda. So let's look at this term together. Propaganda is art that we make that accurately reflects and makes people aware of the true nature of the conditions of their oppression and inspires them to take control of transforming this condition. We really want to make art that seeks to make the broader society aware of its implications in the daily violences, facilitated in the name of capitalism, imperialism, and shows that error of maintaining or ignoring the status quo. So it's really our goal to arm people with the tools to better struggle against their own points of views, their ways of thinking, because not everyone is already aligned with like revolution already, right? No one's born an organizer. No one's born 100% willing to be in this cause. So, we really focus on the creative and cultural processes, as artists build that revolutionary culture. Propaganda is really a means of liberation. It's an instrument to help clarify information education and a way to mobilize our people. And not only that, our cultural work can really model to others what it's like to envision a better world for ourselves, right? Our imagination can be so expansive when it comes to creating art. As organizers and activists when we create communication, zines, et cetera, we're also asking ourselves, how does this bring us one step closer to revolution? How are we challenging the status quo? So this is exactly what our role as artists is in this movement. It's to create propaganda that serves two different purposes. One, subvert the enemy and cultivate a culture that constantly challenges the status quo. And also awaken and mobilize the people. How can we, through our art, really uplift the genuine interests of the most exploited of people of the working class, of everyday people who are targets of the state and really empower those whose stories are often kept outside of this master narrative. Because when they are talked about, people in power will often misrepresent marginalized communities. An example of this, Lavender Phoenix, a couple years ago took up this campaign called Justice for Jaxon Sales. Trigger warning here, hate crime, violence against queer people and death. Um, so Jaxon Sales was a young, queer, Korean adoptee living in the Bay Area who went on a blind like dating app date and was found dead the next morning in a high-rise apartment in San Francisco. Lavender Phoenix worked really closely and is still connected really closely with Jaxon's parents, Jim and Angie Solas to really fight, and organize for justice for Jaxon and demand investigation into what happened to him and his death, and have answers for his family. I bring that up, this campaign because when his parents spoke to the chief medical examiner in San Francisco, they had told his family Jaxon died of an accidental overdose he was gay. Like gay people just these kinds of drugs. So that was the narrative that was being presented to us from the state. Like literally, their own words: he's dead because he's gay. And our narrative, as we continue to organize and support his family, was to really address the stigma surrounding drug use. Also reiterating the fact that justice was deserved for Jaxon, and that no one should ever have to go through this. We all deserve to be safe, that a better world is possible. So that's an example of combating the status quo and then uplifting the genuine interest of our people and his family. One of our key values at Lavender Phoenix is honoring our histories, because the propaganda against our own people is so intense. I just think about the everyday people, the working class, our immigrant communities and ancestors, other queer and trans people of color that really fought so hard to have their story told. So when we do this work and think about honoring our histories, let's also ask ourselves what will we do to keep those stories alive? Cheryl: We're going to take a quick music break and listen to some music by Namgar, an international ethno music collective that fuses traditional Buryat and Mongolian music with pop, jazz, funk, ambient soundscapes, and art- pop. We'll be back in just a moment with more after we listen to “part two” by Namgar.    Cheryl: Welcome back.  You are tuned in to APEX express on 94.1 KPFA and 89.3 KPFB B in Berkeley and online at kpfa.org.  That song you just heard was “part two” by Namgar, an incredible four- piece Buryat- Mongolian ensemble that is revitalizing and preserving the Buryat language and culture through music. For those just tuning in tonight's episode of APEX Express is all about the role of the artist in social movements. We're joined by members of Lavender Phoenix, often referred to as LavNix, which is a grassroots organization in the Bay Area building Trans and queer API Power. You can learn more about their work in our show notes. We talked about why cultural work is a core part of organizing. We grounded that conversation in the words of Toni Cade Bambara, who said in a 1982 interview, as a cultural worker who belongs to an oppressed people, my job is to make revolution irresistible. We unpacked what that looks like in practice and lifted up Lavender Phoenix's Justice for Jaxon Sales campaign as a powerful example of cultural organizing, which really demonstrates how art and narrative work and cultural work are essential to building power Now Jenica from Levner Phoenix is going to walk us through some powerful examples of cultural organizing that have occurred in social movements across time and across the world. Speaker: Jenica: Now we're going to look at some really specific examples of powerful cultural work in our movements. For our framework today, we'll start with an international example, then a national one, a local example, and then finally one from LavNix. As we go through them, we ask that you take notes on what makes these examples, impactful forms of cultural work. How does it subvert the status quo? How is it uplifting the genuine interest of the people? Our international example is actually from the Philippines. Every year, the Corrupt Philippines president delivers a state of the nation address to share the current conditions of the country. However, on a day that the people are meant to hear about the genuine concrete needs of the Filipino masses, they're met instead with lies and deceit that's broadcasted and also built upon like years of disinformation and really just feeds the selfish interests of the ruling class and the imperialist powers. In response to this, every year, BAYAN, which is an alliance in the Philippines with overseas chapters here in the US as well. Their purpose is to fight for the national sovereignty and genuine democracy in the Philippines, they hold a Peoples' State of the Nation Address , or PSONA, to protest and deliver the genuine concerns and demands of the masses. So part of PSONA are effigies. Effigies have been regular fixtures in protest rallies, including PSONA. So for those of you who don't know, an effigy is a sculptural representation, often life size of a hated person or group. These makeshift dummies are used for symbolic punishment in political protests, and the figures are often burned. In the case of PSONA, these effigies are set on fire by protestors criticizing government neglect, especially of the poor. Lisa Ito, who is a progressive artists explained that the effigy is constructed not only as a mockery of the person represented, but also of the larger system that his or her likeness embodies. Ito pointed out that effigies have evolved considerably as a form of popular protest art in the Philippines, used by progressive people's movements, not only to entertain, but also to agitate, mobilize and capture the sentiments of the people. This year, organizers created this effigy that they titled ‘ZomBBM,' ‘Sara-nanggal' . This is a play on words calling the corrupt president of the Philippines, Bongbong Marcos, or BBM, a zombie. And the vice president Sara Duterte a Manananggal, which is a, Filipino vampire to put it in short, brief words. Organizers burnt this effigy as a symbol of DK and preservation of the current ruling class. I love this effigy so much. You can see BBM who's depicted like his head is taken off and inside of his head is Trump because he's considered like a puppet president of the Philippines just serving US interests. Awesome. I'm gonna pass it to Angel for our national perspective. Angel: Our next piece is from the national perspective and it was in response to the AIDS crisis. The global pandemic of HIV AIDS began in 1981 and continues today. AIDS is the late stage of HIV infection, human immunodeficiency virus, and this crisis has been marked largely by government indifference, widespread stigma against gay people, and virtually no federal funding towards research or services for everyday people impacted. There was a really devastating lack of public attention about the seriousness of HIV. The Ronald Reagan administration treated the crisis as a joke because of its association with gay men, and Reagan didn't even publicly acknowledge AIDS until 19 85, 4 years into the pandemic. Thousands of HIV positive people across backgrounds and their supporters organize one of the most influential patient advocacy groups in history. They called themselves the AIDS Coalition to Unleash Power or ACT up. They ultimately organize and force the government and the scientific community to fundamentally change the way medical research is conducted. Paving the way for the discovery of a treatment that today keeps alive, an estimated half million HIV positive Americans and millions more worldwide. Sarah Schulman, a writer and former member of ACT Up, wrote a list of ACT UPS achievements, including changing the CDC C'S definition of aids to include women legalizing needle exchange in New York City and establishing housing services for HIV positive unhoused people. To highlight some cultural work within ACT Up, the AIDS activist artist Collective Grand Fury formed out of ACT Up and CR and created works for the public sphere that drew attention to the medical, moral and public issues related to the AIDS crisis. Essentially, the government was fine with the mass deaths and had a large role in the active killing off of people who are not just queer, but people who are poor working class and of color. We still see parallels in these roadblocks. Today, Trump is cutting public healthcare ongoing, and in recent memory, the COVID crisis, the political situation of LGBTQ people then and now is not divorced from this class analysis. So in response, we have the AIDS Memorial Quilt, this collective installation memorializes people who died in the US from the AIDS crisis and from government neglect. Each panel is dedicated to a life lost and created by hand by their friends, family, loved ones, and community. This artwork was originally conceived by Cleve Jones in SF for the 1985 candlelight March, and later it was expanded upon and displayed in Washington DC in 1987. Its enormity demonstrated the sheer number at which queer folk were killed in the hiv aids crisis, as well as created a space in the public for dialogue about the health disparities that harm and silence our community. Today, it's returned home to San Francisco and can be accessed through an interactive online archive. 50,000 individual panels and around a hundred thousand names make up the patchwork quilt, which is insane, and it's one of the largest pieces of grassroots community art in the world. Moving on to a more local perspective. In the Bay Area, we're talking about the Black Panther Party. So in October of 1966 in Oakland, California, Huey Newton and Bobby Seale founded the Black Panther Party for self-defense. The Panthers practiced militant self-defense of black communities against the US government and fought to establish socialism through organizing and community-based programs. The Black Panthers began by organizing arm patrols of black people to monitor the Oakland Police Department and challenge rampant rampant police brutality. At its peak, the party had offices in 68 cities and thousands of members. The party's 10 point program was a set of demands, guidelines, and values, calling for self-determination, full employment of black people, and the end of exploitation of black workers housing for all black people, and so much more. The party's money programs directly addressed their platform as they instituted a free B Breakfast for Children program to address food scarcity Founded community health clinics to address the lack of adequate, adequate healthcare for black people and treat sickle cell anemia, tuberculosis, and HIV aids and more. The cultural work created by the Black Panther Party included the Black Panther Party newspaper known as the Black Panther. It was a four page newsletter in Oakland, California in 1967. It was the main publication of the party and was soon sold in several large cities across the US as well as having an international readership. The Black Panther issue number two. The newspaper, distributed information about the party's activities and expressed through articles, the ideology of the Black Panther Party, focusing on both international revolutions as inspiration and contemporary racial struggles of African Americans across the United States. Solidarity with other resistance movements was a major draw for readers. The paper's international section reported on liberation struggles across the world. Under Editor-in-Chief, David Du Bois, the stepson of WEB Du Bois, the section deepened party support for revolutionary efforts in South Africa and Cuba. Copies of the paper traveled abroad with students and activists and were tra translated into Hebrew and Japanese. It reflected that the idea of resistance to police oppression had spread like wildfire. Judy Juanita, a former editor in Chief Ads, it shows that this pattern of oppression was systemic. End quote. Paper regularly featured fiery rhetoric called out racist organizations and was unabashed in its disdain for the existing political system. Its first cover story reported on the police killing of Denzel Doel, a 22-year-old black man in Richmond, California. In all caps, the paper stated, brothers and sisters, these racist murders are happening every day. They could happen to any one of us. And it became well known for its bold cover art, woodcut style images of protestors, armed panthers, and police depicted as bloodied pigs. Speaker: Jenica: I'm gonna go into the LavNix example of cultural work that we've done. For some context, we had mentioned that we are taking up this campaign called Care Not Cops. Just to give some brief background to LavNix, as systems have continued to fail us, lavender Phoenix's work has always been about the safety of our communities. We've trained people in deescalation crisis intervention set up counseling networks, right? Then in 2022, we had joined the Sales family to fight for justice for Jaxon Sales. And with them we demanded answers for untimely death from the sheriff's department and the medical examiner. Something we noticed during that campaign is that every year we watch as people in power vote on another city budget that funds the same institutions that hurt our people and steal money from our communities. Do people know what the budget is for the San Francisco Police Department? Every year, we see that city services and programs are gutted. Meanwhile, this year, SFPD has $849 million, and the sheriff has $345 million. So, honestly, policing in general in the city is over $1 billion. And they will not experience any cuts. Their bloated budgets will remain largely intact. We've really been watching, Mayor Lurie , his first months and like, honestly like first more than half a year, with a lot of concern. We've seen him declare the unlawful fentanyl state of emergency, which he can't really do, and continue to increase police presence downtown. Ultimately we know that mayor Lurie and our supervisors need to hear from us everyday people who demand care, not cops. So that leads me into our cultural work. In March of this year, lavender Phoenix had collaborated with youth organizations across the city, youth groups from Chinese Progressive Association, PODER, CYC, to host a bilingual care, not cops, zine making workshop for youth. Our organizers engaged with the youth with agitating statistics on the egregious SFPD budget, and facilitated a space for them to warm up their brains and hearts to imagine a world without prisons and policing. And to really further envision one that centers on care healing for our people, all through art. What I really learned is that working class San Francisco youth are the ones who really know the city's fascist conditions the most intimately. It's clear through their zine contributions that they've really internalized these intense forms of policing in the schools on the streets with the unhoused, witnessing ice raids and fearing for their families. The zine was really a collective practice with working class youth where they connected their own personal experiences to the material facts of policing in the city, the budget, and put those experiences to paper.   Cheryl: Hey everyone. Cheryl here. So we've heard about Effigies in the Philippines, the AIDS Memorial Quilt, the Black Panther Party's newspaper, the Black Panther and Lavender Phoenix's Care Cop zine. Through these examples, we've learned about cultural work and art and narrative work on different scales internationally, nationally, locally and organizationally. With lavender Phoenix. What we're seeing is across movements across time. Cultural work has always been central to organizing. We're going to take another music break, but when we return, I'll introduce you to our next speaker. Hai, from Asian Refugees United, who will walk us through, their creative practice, which is food, as a form of cultural resistance, and we'll learn about how food ways can function as acts of survival, resistance, and also decolonization. So stay with us more soon when we return.   Cheryl: And we're back!!. You're listening to APEX express on 94.1 KPFA, 89.3 KPFB in Berkeley. 88.1. KFCF in Fresno and online@kpfa.org. That was “Juniper” by Minjoona, a project led by Korean American musician, Jackson Wright.  huge thanks to Jackson and the whole crew behind that track.  I am here with Hai from Asian Refugees United, who is a member QTViet Cafe Collective. A project under Asian Refugees United. QTViet Viet Cafe is a creative cultural hub that is dedicated to queer and trans viet Liberation through ancestral practices, the arts and intergenerational connection. This is a clip from what was a much longer conversation. This episode is all about the role of the artist in social movements and I think Hai brings a very interesting take to the conversation. Hai (ARU): I think that what is helping me is one, just building the muscle. So when we're so true to our vision and heart meets mind and body. So much of what QTViet Cafe is, and by extension Asian refugees and like, we're really using our cultural arts and in many ways, whether that's movement or poetry or written word or song or dance. And in many ways I've had a lot of experience in our food ways, and reclaiming those food ways. That's a very embodied experience. We're really trying to restore wholeness and health and healing in our communities, in our bodies and our minds and our families and our communities that have been displaced because of colonization, imperialism, capitalism. And so how do we restore, how do we have a different relationship and how do we restore? I think that from moving from hurt to healing is life and art. And so we need to take risk and trying to define life through art and whatever means that we can to make meaning and purpose and intention. I feel like so much of what art is, is trying to make meaning of the hurt in order to bring in more healing in our lives. For so long, I think I've been wanting a different relationship to food. For example, because I grew up section eight, food stamps, food bank. My mom and my parents doing the best they could, but also, yeah, grew up with Viet food, grew up with ingredients for my parents making food, mostly my mom that weren't necessarily all the best. And I think compared to Vietnam, where it's easier access. And there's a different kind of system around, needs around food and just easier access, more people are involved around the food system in Vietnam I think growing up in Turtle Island and seeing my parents struggle not just with food, but just with money and jobs it's just all connected. And I think that impacted my journey and. My own imbalance around health and I became a byproduct of diabetes and high cholesterol and noticed that in my family. So when I noticed, when I had type two diabetes when I was 18, made the conscious choice to, I knew I needed to have some type of, uh, I need to have a different relationship to my life and food included and just like cut soda, started kind of what I knew at the time, exercising as ways to take care of my body. And then it's honestly been now a 20 year journey of having a different relationship to not just food, but health and connection to mind, body, spirit. For me, choosing to have a different relationship in my life, like that is a risk. Choosing to eat something different like that is both a risk and an opportunity. For me that's like part of movement building like you have to. Be so in tune with my body to notice and the changes that are needed in order to live again. When I noticed, you know, , hearing other Viet folks experiencing diet related stuff and I think knowing what I know also, like politically around what's happening around our food system, both for the vie community here and also in Vietnam, how do we, how can this regular act of nourishing ourselves both be not just in art, something that should actually just honestly be an everyday need and an everyday symbol of caregiving and caretaking and care that can just be part of our everyday lives. I want a world where, it's not just one night where we're tasting the best and eating the best and being nourished, just in one Saturday night, but that it's just happening all the time because we're in right relationship with ourselves and each other and the earth that everything is beauty and we don't have to take so many risks because things are already in its natural divine. I think it takes being very conscious of our circumstances and our surroundings and our relationships with each other for that to happen. I remember reading in my early twenties, reading the role of, bring Coke basically to Vietnam during the war. I was always fascinated like, why are, why is Coke like on Viet altars all the time? And I always see them in different places. Whenever I would go back to Vietnam, I remember when I was seven and 12. Going to a family party and the classic shiny vinyl plastic, floral like sheet on a round table and the stools, and then these beautiful platters of food. But I'm always like, why are we drinking soda or coke and whatever else? My dad and the men and then my family, like drinking beer. And I was like, why? I've had periods in my life when I've gotten sick, physically and mentally sick. Those moments open up doors to take the risk and then also the opportunity to try different truth or different path. When I was 23 and I had just like crazy eczema and psoriasis and went back home to my parents for a while and I just started to learn about nourishing traditions, movement. I was Very critical of the us traditional nutrition ideas of what good nutrition is and very adamantly like opposing the food pyramid. And then in that kind of research, I was one thinking well, they're talking about the science of broths and like soups and talking about hard boiling and straining the broth and getting the gunk on the top. And I'm like, wait, my mom did that. And I was starting to connect what has my mom known culturally that now like science is catching up, you know? And then I started just reading, you know, like I think that my mom didn't know the sign mom. I was like, asked my mom like, did you know about this? And she's like, I mean, I just, this is, is like what ba ngoai said, you know? And so I'm like, okay, so culturally this, this is happening scientifically. This is what's being shared. And then I started reading about the politics of US-centric upheaval of monocultural agriculture essentially. When the US started to do the industrial Revolution and started to basically grow wheat and soy and just basically make sugar to feed lots of cows and create sugar to be put in products like Coke was one of them. And, and then, yeah, that was basically a way for the US government to make money from Vietnam to bring that over, to Vietnam. And that was introduced to our culture. It's just another wave of imperialism and colonization. And sadly, we know what, overprocessed, like refined sugars can do to our health. And sadly, I can't help but make the connections with what happened. In many ways, food and sugar are introduced through these systems of colonization and imperialism are so far removed from what we ate pre colonization. And so, so much of my journey around food has been, you know, it's not even art, it's just like trying to understand, how do we survive and we thrive even before so many. And you know, in some ways it is art. 'cause I making 40 pounds of cha ga for event, , the fish cake, like, that's something that, that our people have been doing for a long time and hand making all that. And people love the dish and I'm really glad that people enjoyed it and mm, it's like, oh yeah, it's art. But it's what people have been doing to survive and thrive for long, for so long, you know? , We have the right to be able to practice our traditional food ways and we have the right for food sovereignty and food justice. And we have the right to, by extension, like have clean waters and hospitable places to live and for our animal kin to live and for our plant kin to be able to thrive. bun cha ga, I think like it's an artful hopeful symbol of what is seasonal and relevant and culturally symbolic of our time. I think that, yes, the imminent, violent, traumatic war that are happening between people, in Vietnam and Palestine and Sudan. Honestly, like here in America. That is important. And I think we need to show, honestly, not just to a direct violence, but also very indirect violence on our bodies through the food that we're eating. Our land and waters are living through indirect violence with just like everyday pollutants and top soil being removed and industrialization. And so I think I'm just very cognizant of the kind of everyday art ways, life ways, ways of being that I think that are important to be aware of and both practice as resistance against the forces that are trying to strip away our livelihood every day. Cheryl: We just heard from Hai of Asian refugees United who shared about how food ways function as an embodied form of cultural work that is rooted in memory and also survival and healing. Hai talked about food as a practice and art that is lived in the body and is also shaped by displacement and colonization and capitalism and imperialism. I shared that through their journey with QTV at Cafe and Asian Refugees United. High was able to reflect on reclaiming traditional food ways as a way to restore health and wholeness and relationship to our bodies and to our families, to our communities, and to the earth. High. Also, traced out illness and imbalance as deeply connected to political systems that have disrupted ancestral knowledge and instead introduced extractive food systems and normalized everyday forms of soft violence through what we consume and the impact it has on our land. And I think the most important thing I got from our conversation was that high reminded us that nourishing ourselves can be both an act of care, an art form, and an act of resistance. And what we call art is often what people have always done to survive and thrive Food. For them is a practice of memory, and it's also a refusal of erasure and also a very radical vision of food sovereignty and healing and collective life outside of colonial violence and harm. As we close out tonight's episode, I want to return to the question that has guided us from the beginning, which is, what is the role of the artist in social movements? What we've heard tonight from Tony Cade Bambara call to make revolution irresistible to lavender Phoenix's cultural organizing here, internationally to Hai, reflections on food ways, and nourishing ourselves as resistance. It is Really clear to me. Art is not separate from struggle. It is how people make sense of systems of violence and carry memory and also practice healing and reimagining new worlds in the middle of ongoing violence. Cultural work helps our movements. Endure and gives us language when words fail, or ritual when grief is heavy, and practices that connect us, that reconnect us to our bodies and our histories and to each other. So whether that's through zines, or songs or murals, newspapers, or shared meals, art is a way of liberation again and again. I wanna thank all of our speakers today, Jenica, Angel. From Lavender Phoenix. Hi, from QTV Cafe, Asian Refugees United, And I also wanna thank you, our listeners for staying with us. You've been listening to Apex Express on KPFA. Take care of yourselves, take care of each other, and keep imagining the world that we're trying to build. That's important stuff. Cheryl Truong (she/they): Apex express is produced by Miko Lee, Paige Chung, Jalena Keane-Lee, Preeti Mangala Shekar. Shekar, Anuj Vaidya, Kiki Rivera, Swati Rayasam, Nate Tan, Hien Nguyen, Nikki Chan, and Cheryl Truong  Cheryl Truong: Tonight's show was produced by me, cheryl. Thanks to the team at KPFA for all of their support. And thank you for listening!  The post APEX Express – January 1, 2026 – The Role of the Artist in Social Movements appeared first on KPFA.

Und das wäre Teil 2 des großen "Spiele des Jahres 2025"-Plauschangriffs, wo es nochmal große Brecher von Juli bis Dezember zu besprechen gab. Auch hier wieder podcast-technisch mit Gregor, Fabian, Ilyass und Viet. Wir gehen danach erstmal in die Winterpause, hören uns danach wieder mit neuen Podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

Lai darbinieki justos labi darba vietā, ir vērts padomāt par svētkiem un to, kā cilvēki jūtas, tos sagaidot. Kā pamanīt personāla vēlmes un emocijas, sniedzot arī atbalstu, ja tas nepieciešams, izzinām raidījumā Kā labāk dzīvot. Analizē Latvijas Personāla vadīšanas asociācijas valdes priekšsēdētāja Eva Selga, kognitīvi biheiviorālās terapijas (KBT) terapeite Agnese Orupe un "Sense of Team" vadītājs Valdis Vanags.

Unser alljährlicher Spiele-Recap-Podcast ist wieder da, und zwar mit der bewährten Truppe rund um Gregor, Fabian, Viet und Ilyass. Das in unserer Betrachtung sehr interessante 2025 ging schon in der ersten Hälfte gut los, die im Plauschangriff heute durchleuchtet wird. Werbung: https://linktr.ee/Podcastsrbtv Learn more about your ad choices. Visit megaphone.fm/adchoices

Greg and Ed discuss the long, strange and complex history between Thailand and Cambodia in an attempt to shed some light on the tragic current conflict. Greg begins with some early history. The majority of Southeast Asia was once part of the Khmer Empire based in Angkor. Eventually Thai kingdoms in Sukhothai and Ayutthaya achieved independence, but tension between the two powers was constant. In a complex maelstrom of alliance and conflict, each power borrowed, copied and outright stole selected cultural artifacts from each other, such that untangling the exact pedigree of multiple shared cultural touchstones can be difficult. Like many empires in history, the Khmer power began to wane in the face of territorial integrity, outside threats, inside warring, and eventually,  the rise of Thai kingdoms (as well as Viet ones), all of which led to the slow decline of Angkor. In the late 1800s, the Khmers sought the protection of France, who bullied Siam into ceding territory that would eventually become modern Cambodia. Japan played a similar role in World War II. After the war in Vietnam, radical communists took over Cambodia and destroyed many institutions of modernity, but their extreme nature led them to be invaded by Vietnam, who eventually installed Hun Sen as prime minister. When Vietnam faltered in the 80s and 90s, Cambodia turned to China as a patron.  When Thaksin Shinawatra, an outsider among the Thai elite, rose to power, he formed an unlikely bond with the Hun Sen clan in Cambodia. However, the recent Shinawatra foray into legalized casinos in Thailand was too much for the friendship, and Hun Sen betrayed Thaksin's daughter, leading to the downfall of her government. Both countries used the incident and long-gestating disputes over the border to stoke nationalist fervor, and provocations eventually led to all out conflict. Greg and Ed agree that while the two countries have clear issues to settle, the ongoing violence can only make matters worse, and diplomacy, with or without the help of Donald Trump, must prevail.  Note that this episode was recorded on December 10, so there may or may not have been important developments by the time you hear this.  

Stāsta mākslas vēsturniece, Latvijas Nacionālā mākslas muzeja izstāžu kuratore Baiba Vanaga; pārraides producente – Inta Zēgnere Latvijas Nacionālā mākslas muzeja galvenā ēka 20. gadsimta sākumā celta Rīgas pilsētas mākslas muzeja vajadzībām. Šis muzejs tika izveidots uz 1868. gadā dibinātās Pilsētas gleznu galerijas (Städtische Gemäldegalerie) bāzes, un tā krājuma pamatu veidoja no Rīgas tirgotāja Domeniko de Robiani (Domenico de Robbiani) iegādātā mākslas darbu kolekcija un vairāki nozīmīgi dāvinājumi. Kopš 1872. gada pilsētai piederošie mākslas darbi tika izstādīti kopā ar nesen dibinātās Rīgas Mākslas biedrības (Rigascher Kunstverein) kolekciju. Galerijā lielākoties bija uzkrātas un apskatāmas Rietumeiropā iepriekšējos gadsimtos radītās gleznas un ļoti maz vietējo autoru mākslas darbu. Gatavojoties Rīgas pilsētas mākslas muzeja atklāšanai 1905. gadā, tā direktors Vilhelms Neimanis (Wilhelm Neumann) izvērtēja pilsētai un Rīgas Mākslas biedrībai piederošo kolekciju mākslas darbu kvalitāti. Mazliet vairāk nekā pusi no kopumā 492 priekšmetiem viņš atzina par muzeja necienīgiem. Vērtīgākie mākslas darbi no abām kolekcijām tika izvietoti muzeja pastāvīgajā ekspozīcijā un iekļauti katalogos, bet pārējie nonāca glabātuvē vai darba telpās pie sienām. Neliela daļa Rīgas pilsētai piederošo mākslas darbu tika atsavināti, atsevišķus atdodot atpakaļ dāvinātāju pēctečiem, bet vairākus pārdodot. Tā, piemēram, 1906. gadā piecas no pilsētai piederošajām gleznām Neimanis piedāvāja Berlīnes un Brandenburgas reģiona vēsturei veltītajam Merkišes muzejam (Märkisches Museum). Tās bija 19. gadsimta sākumā Rīgā strādājušā Karla Traugota Fehelma (Carl Traugott Fechhelm) gleznas, kurās attēloti vairāki Berlīnes pilsētas laukumi, tāpēc uzrunātais muzejs tās labprāt iegādājās, samaksājot vienu tūkstoti marku. Uzskatot, ka ekspozīciju veidošanā "rūpēm par vietējo mākslu, īpaši mazākos reģionālajos un pilsētu muzejos, ir jābūt prioritātei", jaunizveidotā muzeja krājuma veidošanā Neimanis koncentrējās uz Baltijas izcelsmes 19. gadsimta un 20. gadsimta sākuma mākslinieku daiļrades atspoguļojumu. Darbojoties pilsētas piešķirtā budžeta ierobežojošajos rāmjos, viņš mērķtiecīgi centās iegādāties Latvijā un Igaunijā dzimušo mākslinieku darbus, īpaši no tiem autoriem, kas izpelnījušies starptautisku atpazīstamību. No Baltijas mākslinieku izstādes par godu Rīgas pilsētas mākslas muzeja atvēršanai 1905. gadā kolekcijai tika nopirkti divi darbi – Gerharda fon Rozena (Gerhard von Rosen) glezna “Pavasara ainava” (1905) un Jaņa Rozentāla kompozīcija “No pļavas (No darba)” (1903), kas arī mūsdienās tiek augstu vērtēta un ir skatāma Latvijas Nacionālā mākslas muzeja ekspozīcijā. Visvairāk pirkumu veikts Vietējo mākslinieku darbu izstādē par labu Sarkanā Krusta žēlsirdīgo māsu apvienībai, kas notika 1915. gada pavasarī un pēc kuras muzeja krājums papildināts ar 15 vienībām, to vidū, piemēram, Lūcijas Mīramas (Lucie Miram) kluso dabu “Dzeltenās rozes” (ne vēlāk par 1915) un Jāņa Roberta Tillberga pilsētas ainavu “Rīga” (1912). Kolekcijas papildināšanā prioritāte bija tiem autoriem, kuru darbu krājumā vēl nebija vai kuru veikums tajā bija atspoguļots nepietiekami. Tomēr bija atsevišķi autori, no kuriem iegādātas vairākas gleznas. Piemēram, no Igaunijā dzimušā reliģisko ainu gleznotāja, Diseldorfas Mākslas akadēmijas profesora Eduarda fon Gebharta (Eduard von Gebhardt), ko Neimanis uzskatīja par “izcilāko no Baltijas provincēm cēlušos mākslinieku”, muzejs kopumā nopirkta trīs darbus. Turklāt viens no pirkumiem kļuva par dārgāko muzeja agrīnajā vēsturē, un 1913. gadā no pilsētas budžeta pat tika piešķirts ārkārtas finansējums, lai divu gadu laikā apmaksātu Gebharta gleznas “Pazudušais dēls” (1908) iegādi par vairāk nekā deviņiem tūkstošiem rubļu. Muzeja zīmējumu un iespiedgrafikas kolekcijas Neimaņa vadības laikā tika papildinātas daudz bagātīgāk par glezniecības kolekciju. To noteica gan direktora īpašā interese par grafiku, gan arī darbu uz papīra salīdzinoši zemākās cenas. Muzejs iegādājās visu 20. gadsimta sākuma zināmāko dažādās grafikas tehnikās strādājošo baltiešu darbus – visvairāk iepirktas Morica fon Grīnevalta (Moritz von Gruenewaldt) akvatintas un kokgriezumi un Gerharda Kīzericka (Gerhard Kieseritzky) oforti, no māksliniecēm – Alises Dmitrijevas (Alice Dmitrijew) krāsainie kokgriezumi. Kolekciju papildināja arī dāvinājumi. Tā, piemēram, 1909. gadā muzejs iegādājās nesen mirušā Artura Baumaņa kompozīciju “Jauns līvu kareivis” (1889) un vēl astoņas studijas, bet pārējo mākslinieka atstāto radošo mantojumu – vairāk nekā astoņus simtus zīmējumu, skiču un studiju – saņēma kā dāvinājumu. Šo kolekciju iepazīšanai tika iekārtots īpašs Grafikas kabinets, kurp apmeklētāji divas reizes nedēļā varēja doties un līdzīgi kā bibliotēkā lūgt izsniegt apskatei interesējošos mākslas darbus. Muzeja krājuma veidošanā vēl viena no prioritātēm Neimanim bija ģipša nolējumu kolekcijas veidošana īpaši projektētajai Skulptūru zālei. Tās piepildīšanai direktors mērķtiecīgi atlasīja un pasūtīja mākslas vēsturē nozīmīgu Senās Grieķijas, Senās Romas un renesanses skulptūru kopijas, kas mūsdienās skatāmas Muzeju krātuves ekspozīcijā “Skulptūru mežs”. Var pārmest, ka Neimanis muzeja krājumam iegādājās salīdzinoši maz latviešu mākslinieku darbu, īpaši no 20. gadsimta sākumā strādājošajiem autoriem, un pavisam nedaudz no mākslinieču paveiktā. Jādomā, ka to pamatā ietekmēja direktora pētnieciskā interese par iepriekšējo gadsimtu mākslu, norobežošanās no aktuālās mākslas izvērtēšanas un diezgan konservatīvā gaume, nevis noraidošā attieksme pret latviešiem vai sievietēm. Turklāt vēlāko vēsturisko apstākļu dēļ 19. gadsimta un 20. gadsimta sākuma Baltijas vācu mākslinieku darbi muzeja krājumā ienāca pavisam maz, tāpēc Neimaņa izvēle kolekciju veidošanā koncentrēties uz šo autoru veikumu mūsdienu kontekstā ir vērtējama kā nozīmīga.  

12-3-2025: Wake Up Missouri with Randy Tobler, Stephanie Bell, John Marsh, and Producer Drake

Stāsta mākslas vēsturniece, Latvijas Nacionālā mākslas muzeja izstāžu kuratore Baiba Vanaga; pārraides producente – Inta Zēgnere Šī gada septembrī apritēja 120 gadi kopš Latvijas Nacionālā mākslas muzeja galvenās ēkas, kādreizējā Rīgas pilsētas mākslas muzeja, atvēršanas sabiedrībai. Tā ir pirmā speciāli mākslas muzeja vajadzībām celtā būve Baltijā, un tās arhitekts Vilhelms Neimanis (Wilhelm Neumann) kļuva arī par muzeja pirmo direktoru. Tomēr līdzīgi kā mūsdienās ar Laikmetīgās mākslas muzeja celtniecības iecerēm, arī toreiz viss nevedās raiti un bija nepieciešami vairāk nekā 30 gadi, līdz ideja par mākslas muzeja nepieciešamību izvērtās jaunbūvē. Rīgas pilsētas mākslas muzeja ēkas tapšanas priekšvēsture saistāma ar 19. gadsimta 70. gadiem, kad Pilsētas gleznu galerijas direktors un vienlaicīgi arī Rīgas Mākslas biedrības vadītājs, rātskungs Augusts Holanders (August Hollander) meklēja piemērotākās telpas pilsētai piederošās gleznu kolekcijas eksponēšanai un rosināja uzbūvēt muzeju. 1876. gadā tika izsludināts starptautisks projektu konkurss mākslas un zinātnes muzeja ēkai, plānojot tajā izvietot ne tikai pilsētas un Rīgas Mākslas biedrības kolekcijas, bet arī vairāku zinātnisko biedrību – Vēstures un senatnes pētītāju, Praktizējošo ārstu un Dabaspētnieku biedrības – savāktos krājumus. 54 kandidātu konkurencē par labāko tika atzīts Berlīnes arhitekta Rūdolfa Špēra (Rudolph Speer) piedāvājums. Tomēr izrādījās, ka pilsētai nepietiek līdzekļu muzeja celtniecībai, un Pilsētas gleznu galerija turpināja uzņemt apmeklētājus nomātās telpās – kopš 1879. gada rātskungam, vēlākajam pilsētas galvam Ludvigam Kerkoviusam (Ludwig Kerkovius) piederošajā namā Todlēbena (tag. Kalpaka) bulvārī 4 – ēkā, kur mūsdienās mājo Latvijas Universitātes bibliotēka. 1897. gadā vēlreiz tika izsludināts starptautisks projektu konkurss mākslas muzeja ēkai, kas atrastos pie pilsētas kanāla. 18 piedāvājumu konkurencē uzvarēja Pēterburgas arhitekta Maksimiliana Kitnera (Maximilian Küttner) piedāvājums. Tomēr tas netika realizēts, jo muzejam paredzētā vieta tika atdota Otrā pilsētas teātra (tagadējā Latvijas Nacionālā teātra) būvniecībai. Interesanti, ka mākslas muzeja Zinātnisko dokumentu centrā saglabātajos projektu konkursa metos ir gan tāds variants, kur muzeja ēkas novietojums plānots tieši tajā vietā, kur mūsdienās stāv Latvijas Nacionālais teātris, gan tādi piedāvājumi, kuros muzeja atrašanās vieta ir nedaudz atvirzīta tālāk no toreizējās Nikolaja (tagadējās Krišjāņa Valdemāra) ielas, uzreiz aiz būvniecības laukuma teātrim. Pēc 1901. gadā notikušajām vērienīgajām Rīgas 700 gadu jubilejas svinībām un Esplanādes nonākšanas pilsētas īpašumā tika nolemts tās malā celt mākslas muzeju. Tā būvprojekta izstrādi uzticēja tobrīd jau Rīgā strādājošajam arhitektam un mākslas vēsturniekam Vilhelmam Neimanim. Izvēle nebija nejauša, jo viņa interese par muzeju arhitektūru bija ilgstoša. Jau gatavojoties ārpusklašu mākslinieka grāda iegūšanai Pēterburgas Mākslas akadēmijā 19. gadsimta 70. gados, Neimanis izstrādāja gleznu galerijas ēkas projektu. Viņš bija sagatavojis arī 1897. gada muzeja konkursa programmu, un 1898. gadā tika atklāts viņa projektētais Kurzemes provinces muzejs Jelgavā – pirmā speciāli muzeja vajadzībām celtā ēka Latvijā, kas gan līdz mūsdienām nav saglabājusies. Par Neimaņa konsultantiem pilsētas mākslas muzeja ēkas projektēšanā tika uzaicināti starptautiski eksperti – vācu arhitekts Pauls Valots (Paul Wallot), kura zināmākais darbs ir Reihstāga ēka Berlīnē, un Baltijas izcelsmes mākslas vēsturnieks Voldemārs fon Zeidlics (Woldemar von Seidlitz), kurš bija Drēzdenes Karalisko mākslas un zinātnes kolekciju ģenerāldirekcijas galvenā amatpersona. Sākotnēji Neimanis piedāvāja mākslas muzeju būvēt kā stūra ēku ar izteiksmīgu akcenta kupolu un centrālo ieeju no Nikolaja un Elizabetes ielas stūra. Tomēr konsultācijās ar abiem ekspertiem tika izlemts par labu mūsdienās redzamajam variantam – garenbūvei ar majestātisku ieejas kolonādi un barokālu frontonu. Projektējot muzeja ēku Berlīnes historisma arhitektūras ietekmētās formās, Neimanis pats izstrādāja arī visus interjera risinājumus. Mūsdienās šīs oriģinālās detaļas vispilnīgāk redzamas vēsturiskās ēkas vestibilos. Atbilstoši arhitekta sākotnējai iecerei 1906. gadā tika uzaicināti ainavisti Vilhelms Purvītis un Gerhards fon Rozens (Gerhard von Rosen), lai augšstāva vestibilā uzgleznotu sešas monumentālas linetes ar Vidzemes, Kurzemes un Igaunijas pilsētu un lauku ainavām. Bet kāda cita augšstāva vestibila rotāšanas iecere – vērienīga plafona kompozīcija, kurā attēlota Rīgas personifikācija un mākslu alegorijas –, gan netika realizēta. Rīgas pilsētas mākslas muzeja pamatakmens ielikts 1903. gada 27. maijā (pēc vecā stila), un divu gadu laikā ēka tika pabeigta, izmaksājot pilsētai 234 tūkstošus rubļu un tikai par četriem tūkstošiem pārtērējot plānoto budžetu. Neskatoties uz revolūcijas dramatiskajiem notikumiem, 1905. gada 14. septembrī (pēc vecā stila) notika muzeja svinīgā atklāšana. Uz to bija aicināti 400 viesi, un muzeja direktors Neimanis tiem vadīja īpašu ekskursiju, kas noslēdzās ar ziediem izrotātajā Skulptūru zālē, kur tika pasniegta tēja un atspirdzinājumi. Vietējā presē jauno muzeja ēku gan dēvēja par dārgumu un mākslas templi, kāda Rīgā nedrīkstētu trūkt, gan arī kritizēja kā brutāli neveiklu un estētiskās jūtas aizvainojošu. Mūsdienās, šķiet, varam piekrist gleznotājam Janim Rozentālam, kurš rakstā par muzeja atklāšanu žurnālā "Vērotājs" atzīmēja: "Vienkāršā, vēsi cienīgā baroko būve gan nedod neko jaunu un pārsteidzošu, bet ir skaidra un dabiski noteikta savās konstruktīvās daļās un atstāj ne greznu, bet atturīgi lepnu un dižu iespaidu." (1905, Nr. 10)  

In der 72. Folge sägen sich Viet und Jolina in euren Podcast-Feed und haben viele aktuelle Anime im Gepäck: Chainsaw Man - Reze Arc, Tatsuki Fujimoto 17-26, One Punch Man Staffel 3, My Hero Academia The Final Season, Splintercell: Deathwatch, Hazbin Hotel und My Status as an Assassin obviously exceeds the Hero's. Timecodes: 00:00:00 Start 00:01:30 Jolina war in Japan 00:11:45 One Punch Man Season 3 (Crunchyroll) 00:23:00 Chainsaw Man The Movie: Reze Arc (Kino, Crunchyroll) 00:36:40 Tatsuki Fujimoto 17-26 (Prime Video) 00:39:52 My Hero Academia Final Season (Crunchyroll) 00:45:53 My Status as an Assassin obviously Exceeds the Hero's (Crunchyroll) 00:50:01 Splinter Cell: Deathwatch (Netflix)

Individually they were just like those guys who like to hang around the comic book shop and talk comics but together they form EMX! Check out Thacher's books a DemonWeaselStudios.com In this eXplicit, uncut and unedited episode of EMX we review Marvel Comics X-Men books of October 2025: Amazing X-Men (2025) #1 Binary  (2025) #1 Expatriate X-Men  (2025) #1 Iron & Frost  (2025) #1 The Last Wolverine  (2025) #1 Laura Kinney: Sabretooth  (2025) #1 Longshots  (2025) #1 Omega Kids  (2025) #1 Radioactive Spider-Man #1 Rogue-Storm  (2025) #1 Sinister's Six  (2025) #1 Unbreakable X-Men  (2025) #1 Undeadpool  (2025) #1 World of Revelation  (2025) #1 X-Men - Age of Revelation Overture  (2025) #1 X-Men - Book of Revelation  (2025) #1 X-Vengers  (2025) #1 [RSS] Subscribe [RSS] EMX Subscribe [Apple Podcasts] Subscribe [Google Podcast] Subscribe All Podcasts  Email: EMP@EarthsMightiestPodcast.com Website: http://www.EarthsMightiestPodcast.comFacebook Group: http://facebookgroup.earthsmightiestpodcast.com/Viet's Website: http://www.comedianviet.comThacher's Website: http://www.DemonWeasel.com  

Nacionālā apvienība un Apvienotais saraksts atbalstīs prezidenta lēmumu Stambulas konvenciju atdot nākamajai Saeimai; citas frakcijas paliek pie sava. Saeimas Cilvēktiesību un sabiedrisko lietu komisija otrdien, 4. novembrī, neatbalstīja Jāņa Sikšņa kandidatūru Sabiedrisko elektronisko plašsaziņas līdzekļu padomes (SEPLP) locekļa amatam. Provizoriskie zaudējumi lauksaimniekiem šogad laika apstākļu dēļ pārsniedz 100 miljonus eiro. Eiropas Komisija prezentē paplašināšanās ziņojumu. Vietējās vēlēšanas ASV – mēraukla sabiedrības attieksmei pret republikāņiem un demokrātiem Trampa laikmetā

Individually they were just like those guys who like to hang around the comic book shop and talk comics but together they form EMX! In this eXplicit, uncut and unedited episode of EMX we review Marvel Comics X-Men books of September 2025: Exceptional X-Men #13 Hellverine #10 Magik #9-10 Storm #12 Uncanny X-Men #20-21 Wolverine #13 X-Men #22 [RSS] Subscribe [RSS] EMX Subscribe [Apple Podcasts] Subscribe [Google Podcast] Subscribe All Podcasts Email: EMP@EarthsMightiestPodcast.com Website: http://www.EarthsMightiestPodcast.comFacebook Group: http://facebookgroup.earthsmightiestpodcast.com/Viet's Website: http://www.comedianviet.comThacher's Website: http://www.DemonWeasel.com

The one where Green Blooded Bastard watches The Big Shave. The Big Shave is a 1967 six-minute body horror short film directed by Martin Scorsese. It is also known as Viet '67.

Was für eine volle Games-Packung! Wir besprechen GHOST OF YŌTEI, zeigen euch das dazugehörige Interview mit Game Director Nate Fox. Außerdem gibt's SONIC RACING: CROSSWORLDS und das Klassiker-Comeback FINAL FANTASY TACTICS: THE IVALICE CHRONICLESf. Gregor bringt von einem SEGA-EVENT allerlei – Überraschung! – YAKUZA-News mit, außerdem diskutiert die Runde Ankündigungen rund um WOVERINE, FORZA HORIZON 6 und mehr. Ach ja, natürlich muss es auch um die EA-ÜBERNAHME gehen, krasse Sache! DIGIMON STORY TIME STRANGER, SIMON THE SORCERER ORIGINS, HADES II und mehr runden diesen geilen GAME TALK ab. Und vielen Dank und ganz viel Liebe an Viet! Rocket Beans wird unterstützt von Peugeot. Learn more about your ad choices. Visit megaphone.fm/adchoices

Individually they were just like those guys who like to hang around the comic book shop and talk comics but together they form EMX! In this eXplicit, uncut and unedited episode of EMX we review Marvel Comics X-Men books of August 2025: Exceptional X-Men #12 Giant-Size X-Men #2 Hellverine #9 Laura Kinney - Wolverine #9 Magik #8 Phoenix #14 Psylocke #10 Storm #11 Uncanny X-Men #19 Wolverine #12 X-Men - Tooth and Claw #1 X-Men #20-21 Deadpool-Wolverine #8 Emma Frost - The White Queen #3 Spider-Man & Wolverine #4 Wolverine and Kitty Pryde #5 Wolverine by Chris Claremont #1 Wolverines and Deadpools #2 [RSS] Subscribe [RSS] EMX Subscribe [Apple Podcasts] Subscribe [Google Podcast] Subscribe All Podcasts  Email: EMP@EarthsMightiestPodcast.com Website: http://www.EarthsMightiestPodcast.comFacebook Group: http://facebookgroup.earthsmightiestpodcast.com/Viet's Website: http://www.comedianviet.comThacher's Website: http://www.DemonWeasel.com  

In Teil 2 unseres DCEU-Plauschangriffs geht es weiter mit richtigen "Krachern" wie BLACK ADAM, BLUE BEETLE oder dem zweiten AQUAMAN, aber auch der Übergang zu James Gunn inkl. dem exzellenten THE SUICIDE SQUAD wird von Gregor, Viet und Vitus thematisiert. Und, was ist euer Liebling? Werbung: https://linktr.ee/Podcastsrbtv Learn more about your ad choices. Visit megaphone.fm/adchoices

"The power of storytelling is to save us.... and to destroy us." Pulitzer Prize-winning author, Viet Thanh Nguyen, is deeply shaped by his identity as a refugee. Viet describes his upbringing, one without many books, one that dealt with violence and isolation, and one that made him incredibly interested in the Vietnam War. The two bond over the shared burdens that family takes on to start a new life and Viet talks about what it was like winning the most prestigious prize in literature for his debut novel, and how he was propelled from a professor to a public figure. Viet also speaks to the importance of sharing and uplifting refugee stories amidst the digital and political dangers facing today's society. Viet's latest book, “To Save and to Destroy”, an exploration of otherness and a call for political solidarity, is available now wherever you get your books. Learn more about your ad choices. Visit podcastchoices.com/adchoices

"The power of storytelling is to save us.... and to destroy us." Pulitzer Prize-winning author, Viet Thanh Nguyen, is deeply shaped by his identity as a refugee. Viet describes his upbringing, one without many books, one that dealt with violence and isolation, and one that made him incredibly interested in the Vietnam War. The two bond over the shared burdens that family takes on to start a new life and Viet talks about what it was like winning the most prestigious prize in literature for his debut novel, and how he was propelled from a professor to a public figure. Viet also speaks to the importance of sharing and uplifting refugee stories amidst the digital and political dangers facing today's society. Viet's latest book, “To Save and to Destroy”, an exploration of otherness and a call for political solidarity, is available now wherever you get your books. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Nachedem Gregor, Vitus und Viet das Snyderverse besprochen haben, ist nun das gesamte Film-DC-Extended-Universe dran! Im ersten von zwei Teilen setzen wir uns u.a. mit SUICIDE SQUAD, AQUAMAN, WONDER WOMAN und auch SHAZAM auseinander. Dazu gibt es einen kleinen Bonus mit einem Interview mit Tommy Morgenstern, der Stimme hinter Son Goku und Thor aus dem MCU! Werbung: https://linktr.ee/Podcastsrbtv Learn more about your ad choices. Visit megaphone.fm/adchoices

Vilniuje yra keli vaikai, kurie vis dar neturi vietos mokykloje. Kodėl taip yra ir ką daryti?Aktualus klausimas: kaip sekasi naikinti invazinius šliužus?LRT tyrimų skyriaus surinkti duomenys rodo, kad Vilniaus miesto savivaldybės administracijos direktoriumi tapus konservatoriui Adomui Bužinskui, jo žmonos darbovietei ėmė sektis sostinės viešuosiuose pirkimuose. Pats Bužinskas sako, kad jo šeiminiai ryšiai pirkimams neturi jokios įtakos.Pasienyje su Rusija ir Baltarusija kariuomenė blokuoja kelius, vedančius į jau uždarytus pasienio kontrolės punktus. Tačiau kai kurių savivaldybių atstovai sako, kad šios blokados, esant nelaimei, gali trukdyti tarnyboms.Šįkart „LRT ieško sprendimų“ komanda domisi matematikos mokymu mokyklose. Valstybinio egzamino šiemet neišlaikė maždaug ketvirtadalis abiturientų, pernai – dešimtadalis.Ved. Edvardas Kubilius

Būtu ideāli, ja primāri mēs izvēlētos Latvijā ražotu pārtiku, bet mūsdienās tikai ar patriotismu cauri netiksi. Vietējam ražotājam nepieciešami trumpji, ar ko pārliecināt patērētāju izvēlēties pašmāju preci. Ar ko iespējams "pārtrumpot" importēto pārtiku? Raidījumā Kā labāk dzīvot vērtē Latvijas Pārtikas uzņēmumu federācijas padomes priekšsēdētāja Ināra Šure, Latvijas Lauku konsultāciju un izglītības centra Lauku attīstības nodaļas vadītāja Elīna Ozola, uzņēmuma "FOOD UNION" vadītājs Eiropā un Latvijā Artūrs Čirjevskis un Latvijas maiznieku biedrības pārstāvis maizniekmeistars Normunds Skauģis. "Mūsu pircējs izvēlas vidusceļu, gan skatās kvalitāti, gan skatās, kas ir iepakojumā, gan arī skatās uz drošību," norāda Ināra Šure. "Jo loģistikas ķēde ir īsāka, jo drošāka ir pārtika," turpina Ināra Šure. "Tas nozīmē, ka visērtākā un vislabākā ir vietējā pārtika ar savu kvalitāti, jo mūsu pārtikā ir trīs galvenie kritēriji – drošība, kvalitāte un atbalstām vietējo ražotāju. Šie "trīs vienā" ir svarīgākais, ko vajadzētu saprast pircējam, pat ja ir nedaudz dārgāks produkts, ir savai veselībai labāk, tautai un valstij labāk." Artūrs Čirjevskis salīdzina ar Dāniju un vērtē, ka tur sentiments pēc vietējiem ražojumiem ir mazāks, nekā novēro Latvijā. "Tādu plašu plauktu ar svaigiem produktiem, kā Latvijā, varbūt arī Baltijā, jūs nekur neredzēsiet. Tik daudz svaiga sortimenta - deserti, jogurti, biezpiena sieriņi. Lielākoties Rietumeiropā plauktā var redzēt 4-5 jogurtus un tie paši būs vienkārši, bez lielām ogām, iekļāvumiem," atzīst Artūrs Čirjevskis. Ināra Šure tomēr norāda, ka piena produktu segmentā vajadzētu vairāk orientēties uz vietējiem, jo tikai 50 % ir vietējais piens.  "Igaunijā gandrīz 90% pērk vietējo produktu, Lietuvā tas ir nedaudz zemāk. Mums ir izteikti tas, ka aizvedam pienu daudz uz Lietuvu un atved jau ar pievieno vērtību produktu. Tas nav pareizi. Svarīgas ir tirgotāju stratēģijas," vērtē Ināra Šure. Ar savu produkciju noteikti varam nodrošināt Latviju gan ar jogurtiem, gan sieriņiem, gan pienu. Tas, ka plauktā stāv importa jogurti, sviests, ir ļoti nepareizi no vietējo tirgotāju stratēģijām." 

Dans cet épisode spécial enregistré au DLTDC Penthouse à Chamonix, on revient sur une édition 2025 de l'UTMB marquée par une météo extrême, des favoris en difficulté et l'émergence d'une nouvelle génération.Avec Vincent Viet(team manager Salomon) et Joseph Mestrallet (Performance Scientist), on analyse les performances de François d'Haene, Courtney Dauwalter, Tom Evans, Ben Dhiman et la victoire impressionnante de Ruth Croft et Camille Bruyas ! Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Individually they were just like those guys who like to hang around the comic book shop and talk comics but together they form EMX! In this eXplicit, uncut and unedited episode of EMX we review Marvel Comics X-Men books of July 2025: Exceptional X-Men #11 Giant-Size House of M #1 Hellverine #8 Laura Kinney - Wolverine #8 Magik #7 Phoenix #13 Psylocke #9 Storm #10 Uncanny X-Men #17-18 Wolverine #11 X-Men - Age of Revelation #0 X-Men - Hellfire Vigil #1 X-Men #19 Wolverines & Deadpools #1 [RSS] Subscribe [RSS] EMX Subscribe [Apple Podcasts] Subscribe [Google Podcast] Subscribe All Podcasts  Email: EMP@EarthsMightiestPodcast.com Website: http://www.EarthsMightiestPodcast.comFacebook Group: http://facebookgroup.earthsmightiestpodcast.com/Viet's Website: http://www.comedianviet.comThacher's Website: http://www.DemonWeasel.com  

Today's episode features an interview with Viet Huynh from Hygreen, a company introducing an autonomous, solar-powered robotic lawnmower called Go, designed for residential use. The discussion highlights the mower's advanced features, including an AI camera for precise mapping and obstacle avoidance, ensuring it stays out of designated "no-go" areas like ponds or flower beds. Eric and Viet explore how this technology offers convenience, sustainability, and time-saving benefits for homeowners, suggesting it could allow individuals to focus on other pursuits like gardening or enjoying their ponds. The conversation also touches on the potential for this innovation to redefine the landscape industry, allowing professionals to shift from basic mowing to higher-margin services. The product is set for mass production in October and aims for a February 2026 release, with future plans including an autonomous pool cleaner. Key Takeaways: • Reclaim your time by automating tedious household chores like lawn mowing to focus on activities you enjoy.   • Invest in smart home technology to enhance your daily life and free up personal time.   • Prioritize higher-value pursuits such as gardening or building ponds, by delegating time-consuming tasks.   • Opt for sustainable solutions like electric, mulching mowers to benefit the environment and reduce noise pollution.   • Explore new innovations that leverage AI and robotics to improve efficiency and convenience in your home and lifestyle.  

Darba vietā būtu jājūtas labi katram - kā to panākt un kādi kritēriji ļauj iegūt "Ģimenei draudzīgas darbavietas" nosaukumu, skaidrojam raidījumā Kā labak dzīvot. Stāsta Sabiedrības integrācijas fonda eksperte dažādības vadības jautājumos Karolīna Auziņa, Sabiedrības integrācijas fonda Ģimeņu atbalsta programmu nodaļas vadītājas vietnieks Lauris Liepiņš, Getliņi EKO Ilgtspējas vadītāja Inese Avota un "Draugiem Group" Personāla attīstības un pieredzes vadītāja Agnese Bergmane. Līdz 9. septembrim uzņēmumi var pieteikties Sabiedrības integrācijas fonda novērtējumiem "Dažādībā ir spēks!" un "Ģimenei draudzīga darbavieta". "Abu novērtējumu mērķis ir rosināt darba devēju interesi un motivāciju veidot atvērtu un iekļaujošu darba vidi visiem. Darba devējus aicināt būt atvērtiem dažādībai, kas mūsu sabiedrībā ir, atzīstot, ka tas labs resurss un virzītājspēks organizācijām attīstīties, augt, pilnveidoties. Novērtējumi veidoti tā, lai darba devēji varētu izvērtēt jau esošo praksi, kā arī iegūt ieteikumus no ekspertiem, kā pilnveidoties, skaidro Karolīna Auziņa. 2024. gadā veiktās Sabiedrības integrācijas fonda aptaujas dati liecina, ka 24% darbinieku kā būtiskāko ieguvumu no iekļaujošas darba vides ieviešanas atzīst labāku darba un privātās dzīves līdzsvaru, 22% - lojalitātes pieaugumu darba vietai. "Mūsu lielākais mērķis bija paskatīties pašiem uz sevi, kur esam dažādības vadības un ģimenei draudzīga uzņēmuma jomās," par izvēli iesaistīties stāsta Inese Avota. "Ikdienā tā nav pirmā lieta, uz ko koncentrēties, bet šāds atskaites punkta, ka reizi trijos gados veicam novērtējumu par ģimenes statusu un par dažādības vadību katru gadu, tas ir labs brīdis paskatīties, kas ir izdarīts, kāds ir ir progress un kas ir jādara rīt, lai kļūtu vēl labāki." Viņa arī atzīst, ka neatsverams ir ekspertu padoms un idejas, kā virzīties tālāk. 

Individually they were just like those guys who like to hang around the comic book shop and talk comics but together they form the Earth's Mightiest Podcast ! Check out Seth's book Dalrak the Mighty (Global Comix)! In this episode talk about whatever comes to mind as of of July 23rd, 2025 SPOILERS for   Squid Game Season 3 (Netflix) Twisted Metal (Peacock) Sandman Season 2 Pt. 1 (Netflix) Kpop Demon Hunters (Netflix) Pokerface (Peacock) Ironheart (Disney+) Samurai Troopers aka Ronin Warriors (Tubi) Always Sunny in Philadelphia (Hulu) Predator: Killer of Killers (Hulu) WWE: Evolution (Peacock) LUNAR Remastered Collection (Video Game) Saga of Tanya the Evil (Crunchyroll) Microstream RPG (Steam) Star War Unlimited Card Game Something is Killing the Children Kamikaze: Vol. 4 on Kickstarter [RSS All] Subscribe [Google Play All] Subscribe [iTunes] Subscribe Music: EMP theme song By Tribe One http://tribeonewon.wordpress.com/   Email: TheAvengers@EarthsMightiestPodcast.com Website: http://www.EarthsMightiestPodcast.comFacebook Group: https://www.facebook.com/groups/EMPcast/Viet's Website: http://www.comedianviet.com

Individually they were just like those guys who like to hang around the comic book shop and talk comics but together they form EMX! In this eXplicit, uncut and unedited episode of EMX we review Marvel Comics X-Men books of June 2025: Exceptional X-men #10 Giant-Size X-Men Age of Apocalypse #1 Giant-Size X-Men Dark Phoenix Saga #1 Hellverine #7 Laura Kinney - Wolverine #7 Magik #6 Phoenix #12 Psylocke #8 Storm #9 Uncanny X-Men #16 Weapon X-Men #5 Wolverine #10 X-Men #17-18 Deadpool/Wolverine (2025) #6 Emma Frost - The White Queen #1 Wolverine and Kitty Pryde #3 X-Men - From the Ashes - Demons and Death #1 [RSS] Subscribe [RSS] EMX Subscribe [Apple Podcasts] Subscribe [Google Podcast] Subscribe All Podcasts  Email: EMP@EarthsMightiestPodcast.com Website: http://www.EarthsMightiestPodcast.comFacebook Group: http://facebookgroup.earthsmightiestpodcast.com/Viet's Website: http://www.comedianviet.comThacher's Website: http://www.DemonWeasel.com  

SUMMARY In this episode of Whistlekick Martial Arts Radio, host Andrew Adams speaks with Viet Le, a martial artist and neurologist, about his journey through various martial arts styles, including Taekwondo and Northern Shaolin. Viet shares insights on the cultural and philosophical aspects of martial arts, his experiences training in China and Taiwan, and how his medical background informs his martial arts practice. The conversation also touches on the importance of competition, the future of martial arts training, and the intersection of martial arts and medicine. TAKEAWAYS Viet Le started training in martial arts at a young age due to his father's influence. He achieved a black belt in Taekwondo at just 11 years old. Viet transitioned back to Northern Shaolin after a break from martial arts. Cultural and philosophical aspects of martial arts are now more important to Viet than competition. Training in China and Taiwan provided Viet with new perspectives on martial arts. Viet emphasizes the importance of transparency in martial arts teaching. He believes that martial arts should bring joy and happiness to practitioners. Viet has trained in various martial arts styles beyond just kung fu. He advocates for basic first aid skills for martial artists. Viet aims to pass down the art he has learned to future students.

Režisér a scenárista Dužan Duong natočil snímek Letní škola, 2001, který se označuje za první český viet film. O nostalgii po začátku tisíciletí, menšinách v menšině, vietnamské cestě za lepším životem v Česku, ale i dalších tématech mluví režisér v rozhovoru pro podcast Vlna.

Im Plauschangriff besprechen wir heute das Werk von Zack Snyder, insbesondere die Superhelden-Filme wie MAN OF STEEL, BATMAN V. SUPERMAN und die JUSTICE LEAGUE! Aber auch noch seinen anderen Streifen werden Gegenstand der Diskussion von Gregor, Vitus und Viet - wir können doch schliesslich nicht 300 und WATCHMEN auslassen, oder? Plus unser Review zu JAMES GUNN'S SUPERMAN! Learn more about your ad choices. Visit megaphone.fm/adchoices

Susikurti daržą ar sodą galima ir biure. Štai viename Vilniaus centre, esančiame biure – tikras daržas. 13-ame aukšte puikiai dera ne tik žalumynai, aromatiniai augalai, bet ir daržovės.Vasarą į Kuršių Neriją plūstelėjus lankytojams, dalis jų pasigenda vietų automobiliams. Neatidžiai palikus automobilį, gali tekti susimokėti baudą. Kai kurie poilsiautojai kelia klausimą, kodėl iš vairuotojų reNkamos riNkliavos negalima įrengti tinkamesnės infrastruktūros?„Niekas manęs nebeįkalbės rengti trečio pilietybės referendumo“, - taip sako užvakar ketvirtai kadencijai perrinkta Pasaulio lietuvių bendruomenės valdybos pirmininkė Dalia Henke. Pokalbis apie pilietybę, lietuviškumo puoselėjimą ir kitus viso pasaulio lietuviams svarbius klausimus.Minint 100-ąsias partizano Juozo Jakavonio-Tigro gimimo metines, jo sodyboje, Varėnos rajone, šiandien atidaromas krašto partizanų muziejus. Jo patalpoms specialiai atkurta autentiška Tigro sodybos klėtis, rūsyje įrengta garso instaliacija.Europai siekiant plėsti gynybos pajėgumus ir kosmose, ieškoma būdų, kaip paleisti daugiau orbitinių raketų iš žemyno. Akys krypsta į Šiaurę – du nedidelius Švedijos ir Norvegijos kosmodromus.Ved. Darius Matas

STAŇTE SE SOUČÁSTÍ KOMUNITY STUDIA N A POSLOUCHEJTE CELÉ DÍLY NA HEROHERO.CO/STUDION, VÁŠ ÚČET MŮŽETE PROPOJIT TAKÉ SE SPOTIFY „Nechci machrovat, ale tolik Vietnamců v Thermalu ještě nebylo,“ rozesmál hlediště při slavnostním uvedení svého snímku režisér Dužan Duong. Jeho debut Letní škola, 2001 je prvním českým celovečerním viet-filmem a přináší na plátno zkušenost, která v domácí kinematografii dosud chyběla. „Vietnamci říkají, že je film v některých momentech dojímá a zároveň jim připadá autentický. To je pro mě velká validace,“ říká Duong ve speciálu Studia N z karlovarského filmového festivalu. „Mainstreamové kinematografie bylo v Čechách už dost, chtěl bych vidět například příběhy z romské komunity. Pojďme koukat i dál,“ říká Duong. Letní škola podle něj není fikce, ale sdílená zkušenost: „Devadesát pět procent věcí, které vidíte ve filmu, se stalo buď mně, nebo mým kamarádům. Je to pravda.“ Silné jsou nejen příběhy, ale i emoce, které film zpracovává. „Vietnamci neumí chválit. Když tě celý život nikdo nechválí, nemůžeš být spokojený. Pro mě osobně je směšné se chválit, neumím to. Ukazovat emoce je pro Vietnamce něco zvláštního. Filmy dělám proto, abych s těmi emocemi mohl pracovat. Je to pro mě forma autoterapie,“ vysvětluje. „Byl bych rád, kdyby si lidé po zhlédnutí filmu uvědomili, jestli mají dobrý vztah se svými rodiči. A pokud ne, tak aby je vzali do kina a pak spolu doma otevřeli nějaké trauma, které mezi nimi visí.“ Ve Studiu N se svěřuje s vlastním traumatem, které by chtěl se svými rodiči probrat on sám. S Filipem Titlbachem se bavili i o českém rasismu, tržnicích jako paralelních světech nebo o tom, proč chce, aby víc příběhů z okrajů pronikalo do českého filmu. Celou epizodu najdete na herohero.co/studion.

Simon and Rachel speak with the novelist and academic Viet Thanh Nguyen. Born in Vietnam, Viet came to the United States as a refugee in 1975. He completed a PhD in English at Berkeley, moved to Los Angeles for a teaching position at the University of Southern California, and has been there ever since, now as a chair of English and Professor of American Studies and Ethnicity. Viet's first novel, "The Sympathizer", published in 2015, won the Pulitzer Prize for Fiction and became a New York Times bestseller. HBO also turned "The Sympathizer" into a TV series in 2024, directed by Park Chan-wook. Viet's other books include "The Committed", a sequel to "The Sympathizer", "Nothing Ever Dies: Vietnam and the Memory of War" (a finalist for the National Book Award in non-fiction and the National Book Critics Circle Award) and "Race and Resistance: Literature and Politics in Asian America". We spoke to Viet about branching from academia into writing fiction, "The Sympathizer", and "The Cleaving," an anthology of work by Vietnamese diaspora writers.  We've made another update for those ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠who support the podcast on the crowdfunding site Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. We've added 40 pages of new material to the package of successful article pitches that goes to anyone who supports the show with $5 per month or more, including new pitches to the New York Times, the Washington Post and the BBC. The whole compendium now runs to a whopping 160 pages. For Patreons who contribute $10/month we're now also releasing bonus mini-episodes. Thanks to our sponsor, Scrivener, the first ten new signs-ups at $10/month will receive a lifelong license to Scrivener worth £55/$59.99 (eight are left). This specialist word-processing software helps you organise long writing projects such as novels, academic papers and even scripts. Other Patreon rewards include signed copies of the podcast book and the opportunity to take part in a monthly call with Simon and Rachel.A new edition of “Always Take Notes: Advice From Some Of The World's Greatest Writers” - a book drawing on our podcast interviews - is available now. The updated version now includes insights from over 100 past guests on the podcast, with new contributions from Harlan Coben, Victoria Hislop, Lee Child, Megan Nolan, Jhumpa Lahiri, Philippa Gregory, Jo Nesbø, Paul Theroux, Hisham Matar and Bettany Hughes. You can order it via ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Amazon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Waterstones⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.You can find us online at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠alwaystakenotes.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, on Twitter @takenotesalways and on Instagram @alwaystakenotes. Always Take Notes is presented by Simon Akam and Rachel Lloyd, and produced by Artemis Irvine. Our music is by Jessica Dannheisser and our logo was designed by James Edgar.

PERFECT DARK? Tot. EVERWILD? Tot. MICROSOFT hat mal wieder den XBOX-Wald gerodet, wir sprechen über Auswirkungen und mögliche Zukunftsszenarien. Gespielt haben wir auch, zum Beispiel den kommenden CAPCOM-Titel PRAGMATA. Außerdem haben sich Viet und Fabian ONIMUSHA: WAY OF THE SWORD vorführen lassen. Viet ist zusätzlich mit UMAMUSUME, PEAK und MECHA BREAK beschäftigt. Gregor bekommt derweil nostalgische Gefühle bei der IREM COLLECTION VOLUME 3. Viel Freude mit dem neuen GAME TALK!

Wir haben das Thema "Call of Duty" ja bereits im Plauschangriff behandelt... allerdings war das 2012 und wir sind damals bis Black Ops 2 gekommen, welches ironischerweise im Jahr 2025 spielt. Umso passender ist es nun, wenn wir das Thema wieder aufgreifen und im Plauschangriff mit Gregor, Viet und Vitus nun auch all die Jahre mit Advanced Warfare, Infinite Warfare, WWII, Black Ops 3 bis 7, die Modern Warfare Reboots, Warzone uvm. in der 2025'er Ausgabe ganz frisch belabern! Werbung: https://linktr.ee/Podcastsrbtv Learn more about your ad choices. Visit megaphone.fm/adchoices

WERBUNG | [Link weiter unten] Sichert euch jetzt eure Portion Daily Energy! Entdecke die Bohnen Favorites von HOLY und unsere leckeren Empfehlungen für Neueinsteiger - gesund & ganz ohne unnötigen Kalorien. Mit dem Code “AD5” gibt es sogar 5 € extra Rabatt für Neukunden und mit dem Code “AD” warten außerdem zusätzlich 10% Rabatt auf Bestandskunden. /WERBUNG Der japanische Dolmetscher, Übersetzer und Youtuber Hiro Yamada ist zu Gast bei ALMOST DAILY. Er beschäftigt sich intensiv mit der Vermittlung japanischer Kultur auf seinem Channel EINFACH JAPANISCH. Gemeinsam mit Etienne, Gregor und Viet spricht er über den kulturellen Alltag in Japan, die Eigenheiten des Tourismusbooms, Klischees und Missverständnisse zwischen Ost und West. Neben Städten wie Tokio, Osaka oder Kyoto geht es natürlich auch um die Welt der ANIMES, MANGAS und VIDEOSPIELE – von RETRO-GAMING in AKIHABRA bis zur Frage, was es mit PACHINKO-AUTOMATEN und KATZEN-CAFÉS auf sich hat. Es geht auch um Hiros Arbeit als MANGA-Übersetzer für Titel wie HUNTER x HUNTER oder VINLAND SAGA. Alles in allem also eine Folge voller Hintergründe, praktischen Tipps für Japan-Reisende und differenzierten Blicken auf ein Land, das für viele mehr Mythos als Realität ist. Rocket Beans wird unterstützt von Holy und YellowTec.

Individually they were just like those guys who like to hang around the comic book shop and talk comics but together they form EMX! In this eXplicit, uncut and unedited episode of EMX we review Marvel Comics X-Men books of May 2025: Exceptional X-Men (2024) #9 Giant-Size X-Men (2025) #1 Hellverine (2025) #6 Laura Kinney - Wolverine #6 Magik (2025) #5 Phoenix  (2024) #11 Psylocke (2025) #7 Storm (2024) #8 Uncanny X-Men (2024) #14-15 Weapon X-Men (2025) #4 Wolverine (2024) #9 X-Factor (2024) #10 X-Men (2024) #16 Cable - Love and Chrome (2025) #5 [RSS] Subscribe [RSS] EMX Subscribe [Apple Podcasts] Subscribe [Google Podcast] Subscribe All Podcasts  Email: EMP@EarthsMightiestPodcast.com Website: http://www.EarthsMightiestPodcast.comFacebook Group: http://facebookgroup.earthsmightiestpodcast.com/Viet's Website: http://www.comedianviet.comThacher's Website: http://www.DemonWeasel.com  

MORBIUS, MADAME WEB, KRAVEN THE HUNTER und gleich 3 mal VENOM - 6 Filme, um sie zu knechten! Gemeinsam mit Viet hat sich Gregor dem sogenannten Sony Spider-Man Universe angenommen, einer Filmserie über Spider-Man... ohne Spider-Man. Damit unser heroischer Netz-Spritzer aber nicht zu kurz kommt, haben wir hier auch seine Film-Geschichte im Kino durchleuchtet und uns den aktuellen Stand des MCU mal ausführlich angeschaut. Werbung: https://linktr.ee/Podcastsrbtv Learn more about your ad choices. Visit megaphone.fm/adchoices

Individually they were just like those guys who like to hang around the comic book shop and talk comics but together they form EMX! In this eXplicit, uncut and unedited episode of EMX we review Marvel Comics X-Men books of April 2025: Exceptional X-Men (2024) #8 Hellverine (2025) #5 Laura Kinney - Wolverine #5 Magik (2025) #4 NYX (2024) #10 Phoenix  (2024) #10 Psylocke (2025) #6 Sabretooth - The Dead Don't Talk (2025) #5 Storm (2024) #7 Uncanny X-Men (2024) #13 Weapon X-Men (2025) #3 Wolverine (2024) #8 X-Factor (2024) #9 X-Force (2024) #10 X-Men (2024) #14-15 [RSS] Subscribe [RSS] EMX Subscribe [Apple Podcasts] Subscribe [Google Podcast] Subscribe All Podcasts  Email: EMP@EarthsMightiestPodcast.com Website: http://www.EarthsMightiestPodcast.comFacebook Group: http://facebookgroup.earthsmightiestpodcast.com/Viet's Website: http://www.comedianviet.comThacher's Website: http://www.DemonWeasel.com  

Dave and Alonso cover a wide swatch of the current cinema. Subscribe (and review us) at Apple Podcasts, follow us @linoleumcast on Bluesky, Instagram, and Twitter, what's your price for flight. Join our club, won't you? Alonso's American CInematheque screening series, June 14, 21, and 28. Alonso on the Pride! Live authors' panel, June 19. (Tickets are free but reservations are encouraged.) Alonso on TCM, June 23, starting at 8pm EDT.

Nach einem produktions-bedingten Ausflug in die Classic-Zeit des Plauschangriff-Podcasts sind wir zurück mit einer brandneuen Ausgabe und dem sogenannten Korea-Report 2025! Gregor war mit Talkgast Lotta in Korea für 2 Wochen und hat jede Menge Eindrücke und Infos mitgebracht, zu denen Viet als ehemaliger Korea-Reisender seinen Senf beisteuern kann. Freut euch auf viele Anekdoten u.a. über Essen, die Hongdae-Guys, wie es auf der DMZ-Tour nahe Nordkorea ist und was sonst noch für Reisende wichtig zu wissen wäre, Werbung: https://linktr.ee/Podcastsrbtv Learn more about your ad choices. Visit megaphone.fm/adchoices

Federico analiza el borrador de la amnistía del TC al que ha tenido acceso Libertad Digital, "son analfabetos dispuestos a engañarnos". Federico Jiménez Losantos analiza el texto de propuesta de sentencia sobre la amnistía que considera legal su aplicación a los golpistas no entrando en el delito de malversación. Dice Federico que "son analfabetos dispuestos a engañarnos".

Nous sommes en septembre 1932. Après plusieurs années passées en France, Bao Dai, le jeune empereur du Viêt-nam est de retour. Plus exactement il revient à Hué, capitale de l'Annam, la région du centre du pays, sous protectorat français. Malgré des efforts de modernisation et un désir d'indépendance, le règne de Bao Dai est fortement contraint par la réalité coloniale et souvent discrédité par sa personnalité perçue comme dilettante. On le dit talentueux mais manquant de volonté. Et pourtant, durant la Seconde Guerre mondiale, après l'entrée des Japonais, il proclama l'indépendance en mars 1945. Mais face à la Révolution d'Août qui voit les communistes prendre le pouvoir, il choisit d'abdiquer. Devenu Conseiller suprême du Viet Minh, il est isolé mais les Français le ramènent au pouvoir en 1949. A la fin de la guerre d'Indochine, qui aboutit à la partition du « Vietnam », son rêve d'unité s'évanouit. Il part alors pour un long exil en France, menant une vie privée de jet-setteur qui fera les délices de la presse people de l'époque. Que faut-il retenir de ce personnage au double visage, ballotté par les tumultes de l'histoire ? Partons sur les traces de Bao Dai, dernier empereur du Viêt-nam… Avec nous : Daniel Grandclément, journaliste, réalisateur, écrivain. Bao Dai – Le dernier empereur du Viêt-nam » éditions Perrin. Sujets traités : Bao Dai, empereur, Viêt-nam, Annam, protectorat, colonial, indépendance , révolution, Viet Minh, Indochine, Vietnam Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

This episode of Beyond the Ballot: Student Stories of Civic Engagement, dives into the challenges and motivations behind youth voting in Kentucky. Join hosts Viet and Addison as they unpack what drives young Kentuckians to the polls, or keeps them away, and explore how civic engagement is evolving in the Bluegrass State.This podcast is part of Beyond the Ballot: Student Stories of Civic Engagement, a collaborative journalistic package by KSVT's storytelling team. This series aims to tell the complex stories of how students in our Commonwealth are engaging with civics inside and outside of the classroom. To hear more stories from this series, follow us on Instagram @kystuvoiceteam or visit our website at ksvt.org.

Individually they were just like those guys who like to hang around the comic book shop and talk comics but together they form EMX! In this eXplicit, uncut and unedited episode of EMX we review Marvel Comics X-Men books of March 2025: X-Manhunt Uncanny X-Men (2024) #11 NYX  (2024) #9 Storm (2024) #6 X-Men (2024) #13 X-Factor (2024) #8 Exceptional X-Men (2024) #7 X-Force (2024) #9 X-Manhunt Omega (2025) #1 Hellverine (2025) #4 Laura Kinney - Wolverine (2025) #4 Magik (2025) #3 Phoenix (2024) #9 Psylocke (2025) #5 Sabretooth - The Dead Don't Talk (2025) #4 Uncanny X-Men (2024) #12 Weapon X-Men (2025) #2 Wolverine (2024) #7 [RSS] Subscribe [RSS] EMX Subscribe [Apple Podcasts] Subscribe [Google Podcast] Subscribe All Podcasts  Email: EMP@EarthsMightiestPodcast.com Website: http://www.EarthsMightiestPodcast.comFacebook Group: http://facebookgroup.earthsmightiestpodcast.com/Viet's Website: http://www.comedianviet.comThacher's Website: http://www.DemonWeasel.com  

In Kevin Nguyen's latest novel, a series of violent attacks leads the United States government to incarcerate all Vietnamese Americans in various camps throughout the country. The novel, titled My Documents, follows a group of cousins sent to different camps who attempt to figure out how to change their circumstances. Nguyen talks about his book ahead of an April 9 event at Books Are Magic.

Individually they were just like those guys who like to hang around the comic book shop and talk comics but together they form EMX! In this eXplicit, uncut and unedited episode of EMX we review Marvel Comics X-Men books of February 2025: Cable - Love and Chrome #2 Exceptional X-Men #6 Hellverine #3 Laura Kinney - Wolverine #3 Magik #2 Mystique #5 NYX #8 Phoenix #8 Psylocke #4 Sabretooth - The Dead Don't Talk #3 Sentinels #5 Storm #5 Uncanny X-Men #10 Weapon X-Men #1 Wolverine #6 X-Factor #7 X-Force #8 X-Men #11-12 [RSS] Subscribe [RSS] EMX Subscribe [Apple Podcasts] Subscribe [Google Podcast] Subscribe All Podcasts  Email: EMP@EarthsMightiestPodcast.com Website: http://www.EarthsMightiestPodcast.comFacebook Group: http://facebookgroup.earthsmightiestpodcast.com/Viet's Website: http://www.comedianviet.comThacher's Website: http://www.DemonWeasel.com  

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