Gobierno – Israel – Nuevos podcasts
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The official podcast of the Business and Enterprise Systems Directorate. We run the systems that run the Air Force…moving money, manpower, and materiel.
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ืืืื ืืจื ืขื ืืืื ืขืืจืื ืืืื
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ืชืืื ืืืช ืืจืืืื ืืช ืืืืืืื ืืฆืืื ืฉื ื ืืืกืื ืืฉืืขื ืืืืงืืืืจ.
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ืืชืืืืช ืืืืืื ืฉืจื ืืืืฉืื ืืื ืืื ืกืืกืื.
ืื ืกืืคืจื ืื ื ืฉืกืืจ ืืขืืืคืืืืช ืืฉืชื ื, ืฉืืืคืืื ืืืฉืืจืืช ืืื ืืืืืจืื ืฉื ืืฉืืฉื ืืืืงืืืืจ, ืืื ืื ืคืฉืื ืขืืจื ืืืขืฉืื. ืื ืฆืืื ืืช ืื ืฉืชืฉืืืช ืืื ืฉืื ื ืืืงืืืืช ืืืจืื, ืืื ืืงืื ืืช ืืืืคืื ืฉืชืื ื ื ืืืจืืื ืืชืืืืืืช ืืืกืืื ืืช ืืจืื ืืืชืจ.
ืืคืืืงืืกื ืขืืืช ืชืืืจ ืชืืฉืืฃ ืืคื ืืื ืืช ืืกืืกืื ืืืืชื-ื ืจืืื ืืื-ืืื – ืืืขืจืืช ืืืฉืคื ืืืื ืืืื, ืืืกืคื ืืืืกืื ืฉื ืืืื ื, ืืืฉืืจื, ืืฉืืจืืชื ืืืช, ืืชืจืืืช, ืืชืงืฉืืจืช, ืืืงืืืื, ืืคืจืืืืช ืฉืื ื, ืืขืืจ ืฉืืชื ืืจืื ืื ืืื ืืืืฅ ืืืืืืืช ืืืื ืช ืืฉืจืื – ืืชืจืื ืืื ืจืืืง ืืืฉืคืขื ืฉืืื ืขื ืืืฆืืืืช ืฉืื ื ืืืืื ืืืืืข, ืื ืื ื ืขืฆืืจ ืืืชื ืืืื. -
Welcome to ‘Peace & Power,’ Where we discuss how America uses its diplomatic, military, and other instruments of national power to seek and preserve peace.
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ืฉืืืืช ืืืืืคื ืืืืื ืืืฉืจืืื ืืืืืงืจืืื
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ืืื ืื ืืกืืจื ืืืืืคืช ืืืงื ืขืืืื ืืืื ืืื ืืืืข ืฉืฉืืื ืืจืื ืืกืฃ!
ืืื ืคืจืง ื ืืื ืืื ืืืคืื ืืขืฉืืื ืืืืืข ืืขื ืขืจื, ืื ืืืขืื ืืชืืืืื ืืื ืขืืกืง ืืืื ืื.
ืืคืืืงืืกื ืฉืื ื ืชืงืืื ืืื ืฉื ืืืงืฆืืข ืชืฉืืืืช ืืฉืืืืช ืฉืืขืกืืงืืช ืืช ืืืื ื: ืืื ืืืืืืช ืืืืขืืช ืืขืืืืื ืข"ืค ืืืงื ืืขืืืื? ืื ืืคืฉืจ ืืขืฉืืช ืื ืื ืงืืืืชื ืืช ืื ืฉืืืืข ืืื? ืืืฆื ืืชืืฆืขืช ืืืืืคื ืืคืืขื ืืืชื ื ืืื ืืงืจืืช ืืืขืกืืงืื ืืืืจื ืฉืืขืืืืื ืืงืืื ืืช ืืืกืฃ ืฉืืื? ืืจืืข, ืืื ืืืืืืช ืืฉ ืืืืืืืืื ืืงืื, ืืื ื ืื ืืขืจ ืืืขืืืืื ืืืจืื?
ืื ืืื ืืขืื ืืคืืืงืืกื ืฉืขืืืืื ืืืขืกืืงืื ืืืืืื ืืืืืื ืื!
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ืคืืืงืืกื ืขื ืืืืืจื ืืงืืขืื ืฉื ืืืฉืคื, ืืชืื ืื ืืืืื ืืืช ืืืืืจ ืืืฉืจืื (ืืื ืืขืืจ).
ืืืืื ืื ืืฆืืื ืืืชื ื ืืขืืืง ืืฉืืืืช, ืืืชืืจืื, ืืืืืืฉืื ืืืืืฆืืืช ืืืฉืคืืขืื ืขื ืืืืื ืฉื ืืืื ื ืืืืฉืืื ืืฉืืชืคืช ืขื ืืื ื ืืชื ืืืฉืคืืข ืขืืืื. ืืคืืืงืืกื ืืืคืง ืชืืืื ืืืืืจ ื ืืืื ืืงืืจืก ืืงืืื ืขื ืืืื ืืืช ืืืืจ, ืืกืืืข ืชืื ืช ืจืืื ืืื ืืืจืกืืืช ืื-ืืืจืืื ืื ืื, ืืืชืืืืช ืืืืืื ืืงืืืื ืืืืืช ืืืืจืื ืืืืืืื ืืืื ืืืจืกืืื. ืืืื ืืื ืืืคืง ืืืืคื ืขืฆืืื. ืืื ืืื ื ืืืชืจ ARTLIST, ืืืฆืืจื IamDayLight ืืืืฆืจ GROOVY PANDA. -
Many of us will be familiar with the image of the House of Commonsโ infamous green benches. But what does it really feel like to be in the Chamber, working in the โmother of Parliamentsโ? This is what the History of Parliament Trustโs Oral History project seeks to find out, interviewing former MPs about their time in Westminster- and beyond. Now, for the first time, we have gathered some of the reflections within our vast archive of interviews into one place, allowing you a true insiderโs view into life as a Member of Parliament.
What drove these individuals to enter political life? How did they secure their seat or win an election? And what impact did this job have on their personal life?
Hosted by Dr Emma Peplow, Head of Contemporary History at the History of Parliament Trust, and Dr Alex Lock, historian and curator at the British Library, this podcast spotlights some of the brilliant interviews from MPs who sat between the 1950s and early 2000s within our 200+ strong archive, using never before heard clips and highlighting the unique insights that oral history interviews provide.
Listen to โTales from the Green Benches: an Oral History of Parliamentโ to hear stories from the heart of the Commons, from those who sat on those very benches.
A podcast from the History of Parliament Trust.
Presented by Dr Emma Peplow and Dr Alex Lock, produced by Melissa FitzGerald at Zinc Audio. With additional writing from Dr Priscila Pivatto and script editing from Connie Jeffery. All interviews are deposited at the British Library. Find a catalogue of interviews on our website.
Artwork by [email protected]
Hosted on Acast. See acast.com/privacy for more information.
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ะะพะดะบะฐัั ะ ัััะบะพะน ัะปัะถะฑั ะะตะถะดัะฝะฐัะพะดะฝะพะณะพ ัะฐะดะธะพ ะขะฐะนะฒะฐะฝั «ะกะพะฝ ะฒ ะบัะฐัะฝะพะผ ัะตัะตะผะต» ะฟัะตะดะปะฐะณะฐะตั ะฝะฐัะธะผ ัะปััะฐัะตะปัะผ ะฒะผะตััะต ะฟัะพัะตััั ัะฐะผัะน ะทะฝะฐะผะตะฝะธััะน ัะตะดะตะฒั ะบะธัะฐะนัะบะพะน ะปะธัะตัะฐัััั ะธ «ะฟัะพะถะธัั» ัะพะผะฐะฝ ะฒะผะตััะต ั ะตะณะพ ะณะตัะพัะผะธ. ะ ะพะผะฐะฝ ะฆะฐะพ ะกัั-ัะธะฝั - ััะพ ัะตะปะฐั ะฒัะตะปะตะฝะฝะฐั, ะธััะปะตะดะพะฒะฐะฝะธะตะผ ะบะพัะพัะพะน ะทะฐะฝะธะผะฐะตััั ะพัะดะตะปัะฝัะน ัะฐะทะดะตะป ะบะธัะฐะตะฒะตะดะตะฝะธั - «ั ัะฝััั», ะธะปะธ «ะบัะฐัะฝะพะฒะตะดะตะฝะธะต»; ะฒะพะบััะณ ััะถะตัะฝัั ะปะธะฝะธะน ะธ ะณะตัะพะตะฒ (ะฝะต ะณะพะฒะพัั ัะถะต ะพะฑ ะฐะฒัะพัััะฒะต) ัะพะผะฐะฝะฐ ะฒะตะดัััั ัะตะปัะต «ะฒะพะนะฝั», ั ัะพะผะฐะฝะฐ ะผะฝะพะถะตััะฒะพ ะฟะพะบะปะพะฝะฝะธะบะพะฒ ะธ ัะฐะฝ-ะบะปัะฑะพะฒ, ะฝะพ ะดะปั ัะธัะพะบะพะณะพ ะทะฐะฟะฐะดะฝะพะณะพ ัะธัะฐัะตะปั ะพะฝ ะดะพ ัะธั ะฟะพั ะพััะฐัััั ะปะฐััะพะผ ั ะดัะฐะณะพัะตะฝะฝะพัััะผะธ, ะทะฐะฟะตัััะผ ะฝะฐ ะบะปัั.
ะั ั ะฒะฐะผะธ ัะฑะตะดะธะผัั, ััะพ ัะธัะฐัั «ะกะพะฝ ะฒ ะบัะฐัะฝะพะผ ัะตัะตะผะต» - ัะพะฒัะตะผ ะฝะต ัะปะพะถะฝะพ ะธ ะพัะตะฝั ัะฒะปะตะบะฐัะตะปัะฝะพ, ะพัะพะฑะตะฝะฝะพ ะตัะปะธ ะดะพะฑััั ะบะปัั ะบ ััะพะผั ะปะฐััั. ะญัะพั ะบะปัั ั ะฝะฐั ะตััั: ะฒ ะฟัะตะบัะฐัะฝะพะผ «ะขะพะปะบะพะฒะฐะฝะธะธ "ะกะฝะฐ ะฒ ะบัะฐัะฝะพะผ ัะตัะตะผะต"» ะธะทะฒะตััะฝะพะณะพ ัะฐะนะฒะฐะฝััะบะพะณะพ ะฟะธัะฐัะตะปั ะะฐะน ะกัะฝั-ัะฝะฐ, ะฑะพะปััะพะณะพ ัะตะฝะธัะตะปั ะธ ะณะปัะฑะพะบะพะณะพ ะทะฝะฐัะพะบะฐ ััะพะณะพ ัะพะผะฐะฝะฐ, ะผั ะฝะฐะนะดัะผ ะพัะฒะตัั ะฝะฐ ะฑะพะปััะธะฝััะฒะพ ะฒะพะฟัะพัะพะฒ, ะฒะพะทะฝะธะบะฐััะธั ะฟะพ ั ะพะดั ััะตะฝะธั, ะธ ัะทะฝะฐะตะผ ะผะฝะพะณะพ ะฝะพะฒะพะณะพ ะธ ะธะฝัะตัะตัะฝะพะณะพ ะพ ะบะธัะฐะนัะบะพะน ะบัะปััััะต ะธ ัะธะฒะธะปะธะทะฐัะธะธ ะฒัะพัะพะน ะฟะพะปะพะฒะธะฝั 18 ะฒะตะบะฐ (ะดะฐ ะธ ะฝะต ัะพะปัะบะพ).
ะ ัะตัะตะฝะธะต ะฑะปะธะถะฐะนัะตะณะพ ััะตะฑะฝะพะณะพ ะณะพะดะฐ ะบะฐะถะดัั ะฟััะฝะธัั ะผั ั ะฒะฐะผะธ ะฑัะดะตะผ ะฟะพะณััะถะฐัััั ะฒ ะฒะพะปัะตะฑะฝัะน «ะกะพะฝ ะฒ ะบัะฐัะฝะพะผ ัะตัะตะผะต».
ะะพะดะบะฐัั ัะพะฟัะพะฒะพะถะดะฐะตััั ัะตะปะตะณัะฐะผ-ะบะฐะฝะฐะปะพะผ: https://t.me/vKrasnomTereme, ะณะดะต ัะฐะทะผะตัะฐัััั ะดะพะฟะพะปะฝะธัะตะปัะฝัะต ะผะฐัะตัะธะฐะปั.
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ืืจืืืื ืืืืื ืืคืืืงืืกื ืฉื ืืคืืืช ืืฉืจืื ืืืชื ื, ืื ื ืืืจ ืขื ืื ืื ืฉืืืขืจ ืืคืืืืืืงื ืืืฉืจืืืืช, ืืื ืืืืืืืช ืืืื ืคืืืืจืื.
ื ืืจื ืื ืฉืื ืืชืืืืื ืฉืื ืื, ืืืืจืื ืืืืื ืื ืืืขืืช ืืืจืืช, ืื ืฉืืฉืืชืฃ ืืืืื ืื ืืจืฆืื ืืฉื ืืช. -
ืขืืื ืืืจืืฉ ืืงืจื ืงืืืจืื ืืื ืืฉืืื ืืฉืืืืื ืขื ืฉืืจืช ื ืืฉืืื ืืืขืจืื ืืคืืืืืืงื ืืืฉืจืืืืช
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ืืืื ืช ืืฉืจืื ืืืฉืืจ ืงืืืื, ืืฉืืืืช ืขื ืืื ืืืืืช ืฆืคืืช, ื ืืงืืืช ืืืืชืืจืืช ืืชืืื. ืื ื ืืืื ืืื ื, ืืืฉ ืืฉืคืื, ืืื, ืคืขืื ืฆืืืืจ ืืืขืืงืจ, ืืืืื ืืืืื ืืืื ืฉื ืืืื ืช ืืฉืจืื. ืืคืืืงืืกื "ืืื ืืืืืช ืฉื ืืืืจ" ืื ื ืจืืฆื ืฉื ืืืจ ืืื ืืช ืื ืืืืืช ืืขืชืื. ืื ืฉืื ืฉืฉืืืืื ืืืฉืจืื ืฉื ืืืืจ ืืืืืื ืืจืืื, ืืชืงื ืืืื ืืช ืืื ืืืืฉ. ืืื ืคืจืง, ืืืจื ืื ืืืืื ืืื ืืืืืช ืืืืืื ืชืืืืื ืืืืจื ืืืฉืจืืืืช ืืื ืืฉืืืข ืืช ืกืืคืืจื, ืืืื ืื ืืฉืืื ืืืขืจืื ืืืฆืืืจ ืืื ืืืื ืืื ืืืืืช ืืืฉื ืืืฉืจืื.
ืืคืืืงืืกื ืืื, ืืืงืืฉ ืืืืจื ืฉื ืืืจื ืืืื, ืื ื ืืืื ืืดื, ืฉื ืจืฆื ืขื ืืื ืืืืื ืืืขืฉ ื- 11/09/2001.
ืื ื ืืื ืฆืืื ื ื ืืื ืืืืืชื ืืืจืฅ ืืื ืืืืชื ืขืฆืืื. ืื ื ืืื ืื ืืื, ืืืกืื ืืื ืฉืื ืื ื ืื ืื ืฆืจืืืื ืืื ืืืื.
ืื ื ืืื, ืื ืื ื ื ืชืงื ืืื. -
Welcome to Guardify Real Evidence, your go-to podcast for insights and discussions on the evolving world of digital evidence and social impact. Join us as we explore how technology, people, and processes unite to reshape the landscape of justice and community collaboration. Delve into thought-provoking conversations on restorative justice, uncovering how innovation and collaboration can help communities work together for a better, more equitable future. Tune in for expert perspectives, compelling stories, and the latest in digital evidence management.
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ืืืจืชื ืืฉืืฉื ืขื ื ืืื ืืืงืจ
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Music & The Cities vi porta a fare un giro nelle piรน importanti cittร italiane, attraverso le trame del loro tessuto musicale.
Il silenzio delle strade ormai puรฒ sembrarci assordante, ma la musica continua ad attraversare la vita delle cittร . Music & The Cities รจ il nuovo podcast in cui vi racconterรฒ il tessuto culturale e sociale del nostro paese da nord a sud, insieme ad alcuni dei protagonisti della scena creativa italiana.
Piรน di trenta tra artisti, scrittori e giornalisti, per un ritratto corale: dai salotti ai club, dal centro alle periferie, dal giorno alla notte. Ogni cittร con la sua scena musicale, la sua storia e le sue evoluzioni. Music & The Cities racconta le differenze, mostra il rapporto con i fermenti creativi contemporanei, individua i segnali per il futuro.
La serie รจ prodotta da Happy Few e Studio 33, una supernova musicale, meta di appassionati del suono da tutto il mondo. Tutti gli episodi sono disponibili in italiano, nella versione estesa curata da Raffaele Costantino e Matteo Strada, e in inglese, con la curatela e la voce dalla gior-nalista Megan Iacobini de Fazio.
Progetto commissionato dal Ministero degli Affari Esteri e delle Cooperazione Internazionale.
Music & The Cities is the new podcast that takes you on a tour of the most important Italian cities, through the prism of their musical textures. It tells you about the cultural and social texture of our country from North to South, by engaging some of the leading players of the Italian creative scene.
More than thirty artists, writers, and journalists, for a choral portrait: from salons to clubs, from the center to the suburbs, from day to night. Each city with its music scene, its history, and its evolutions. Music & The Cities talks about the differences, shows the relationship with the contemporary creative energies, identifies the signals for the future.
This series is produced by Happy Few and Studio 33. All episodes are available in Italian - in the extended version edited by Raffaele Costantino and Matteo Strada - and in English, curated by the journalist Megan Iacobini de Fazio.
Music & The Cities is a project commissioned by the Italian Ministry of Foreign Affairs and International Cooperation. -
ืคืืืงืืกื "ืืืืื ืืืืื" ืฉื ืฉืืจืืช ืืชื ืืกืืืจ ืืืฉืฃ ืืช ืขืืืื ืืืืจืื ืฉื ืืืืื ืืืืืืืช ืืืืืื ืืืืืืืืช ืืืืืืืืช. ืื ื ืืืืื ืื ืืชืื ืืืืื ืก ืืขืืื ืืืืืื ืืืงืื ืชืืื ื ืืงืืคื ืฉื ืืืชืืจืื ืืืืฉืืืืช ืืฉืืจื ืืืืืจืื ืฉื ืืจืืื ืืืืืื ืืืืืื ืฉื ืืฉืจืื.
ืืืืื | ืืืืืื | ืืืืคื
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ืื ืื ืื ืขื ืขืืืื ืงืฆืจ ืขื ืื ืื ืฉืฆืจืื ืืืขืช ืืืืฉืืช ืืืืฅ.
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ืืืืฉื ืืจืื ืฆืืื ืขื ืืื ืฉืื ืฉืขืืฉืื ืืช ืืขืจืืช ืืืืคืช ืืืืง.
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ืื ืื ืฉืฆืจืื ืืื ืืืชืืื ืคืจืืืงื ืืืืื ืืจืฉืืืืช ืืืงืืืืืช - ืื ืฉืื ืืืืื ืืืชืืืขืฅ ืืืชื, ืืืช ืืืืคืื ืืื ืืืืืงืื ืืืฉืื. ืืคืืืงืืกื ืืืคืง ืืืืงืื ืืืืง ืืงืืืื ืืงืฆืืขืืช ืืืืืช ืฉื ืคืืชืื ืืืืื ืืจืฉืืืืช ืืืงืืืืืช, ืืืกืืจืช ”ืืืื ืงืืืืืช ืืืืืืช ืืฉืืืื ืืืงืืื”, ืืืฉืืชืฃ ืืืฉืจื ืืคื ืื ืืงืจื ืจืฉ”ื.
ืื ืื ืืืจ ืืืืื ืืืข ืืืฉื ืฉื ืืืฉืชืชืคืื ืืชืื ื ืืกืืื ื ืืืงืฆืืขื. ืืื ืืจืืืช ืื ืืืจ ืืกืืื, ืื ืืื, ืื ืืืฉืืจ ืืื ืกืื ืฉืืื ืืฆื ืืฉืจื ืืคื ืื ืื ืงืจื ืจืฉ”ื ืืืืจืื, ืืืืืชื ืื ืืืืคื ืืืฆืืขื. - Mostrar más
