Podcasts about Amadeus

Álvaro Blasco, socio-director de atl Capital repasa las cuentas de Telefónica, Banco Santander, Amadeus y Faes Farma.

El director de inversiones de Kau Markets analiza los títulos de Deutsche Telekom, Airbus, Amadeus, Novo Nordisk, entre otros.

Registrata durante l'evento “The Future of Travel – From Innovation to Reinvention” di Accenture, questa puntata apre un doppio episodio dedicato al futuro del turismo.Con Stefania Filippone (Accenture) parliamo del ruolo umano nell'era dell'AI e del bilanciamento tra dati e emozioni.Alessandro Petazzi (CEO, lastminute.com) racconta come il dynamic packaging e l'intelligenza artificiale stanno ridefinendo il viaggio digitale.Francesco Galati (Mr. Franz) porta la prospettiva delle mappe umane e delle esperienze costruite dai dati raccolti sul campo.Chiude Barbara Baldini (Explora Journeys), con una riflessione sul viaggio trasformativo e sul nuovo concetto di lusso come connessione con sé stessi, con gli altri e con le destinazioni.Una conversazione sul futuro dell'esperienza di viaggio, tra algoritmi e sensibilità.➡️ La seconda parte, con Amadeus, Intellera e Turismo Torino, sarà online la prossima settimana.

This week's featured shows are the BBC's Riot Women and Leonard and Hungry Paul.Damo and Adam discuss the BBC's Have I Got News For You?, Celebrity Traitors and The Newsreader, Sky/NOW's The Iris Affair, Revival, The Chair Company, Peacemaker and Task, Apple TV's The Last Frontier, , Black Rabbit and Wayward on Netflix and Prime Video's Gen V.Trailers and linksPluribus comes to Apple TV on 7th November - https://www.youtube.com/watch?v=a6lzvWby9UEClaire Danes and Matthew Rhys star in Netflix thriller The Beast in Me - https://www.youtube.com/watch?v=8iNHGKcP0cM 13th NovemberTeaser trailer for Sky's Amadeus with Will Sharpe, Paul Bettany and Gabrielle Creevy - https://www.youtube.com/watch?v=tCooUh3plsI Due in DecemberA teaser date announcement for Hijack season 2 - https://www.youtube.com/watch?v=CsNQklfcJLoYou can subscribe to the Exclusive Strand of TV DNA to get bonus content here - https://creators.spotify.com/pod/profile/tv-dna-podcast/subscribe We can't wait for you to hear our thoughts on the latest episodes and for you to give us yours too. You can find and follow us on all the socials @tvdnapodYou can also email us on tvdnapod@gmail.com And, you can now check out our YouTube channel - https://www.youtube.com/@TVDNA-t7uWe have recent specials on Blue Lights, Married at First Sight and Slow Horses, our back catalogue includes House of the Dragon, Silo and Stranger Things. Listen here https://open.spotify.com/show/7eh93AAcO5y1m5jdEcTqAk?si=7l1do-YcQNS-eQ1YMIdCHAWe're on Apple Podcasts, Spotify, Google Podcasts, Pocket Casts, Podcast Addict, Breaker and Radio Public so be sure to subscribe to the pod and please leave us a review. Thanks as always to JComp for our logo and Roman Senyk Music for our theme. Adam, Grace, Neil, Damian and Isabel

Ep #92: Voices of Survival — A Conversation with Filmmaker James ConeyThank you for listening to noseyAF! So happy to have your ears!Good Stuff Only

In this episode of Toni Unleashed, Toni talks with Amadeus and Tamaris, founders of Chocolate Detox for Dogs, the world's first over-the-counter chocolate neutralizer for pets. After nearly losing his dog to chocolate poisoning, physicist and patent attorney Amadeus created a safe, science-backed product every pet parent should keep in their first-aid kit. They discuss how Chocolate Detox works, why minutes matter after ingestion, and how vets are embracing it as a practical, affordable solution. The conversation also covers new products on the way, including grape detox, THC detox, and Safe Lick, a paw wipe that neutralizes lawn chemicals linked to cancer in dogs. Learn more at chocolatedetoxfordogs.com and follow @CD4Dogs on social media.

Two powerhouses of the culture link up on The Boom Bap Hour! Emmy Award-winning emcee and storyteller Devine Carama joins Brooklyn-born producer Amadeus 360, protégé of Kid Capri, to talk about their new collab Guardians of the Boom Bap. Packed with sharp bars, classic beats, and raw Hip-Hop energy, this project takes it back to the essence while pushing the culture forward.

Michael Sheen is an award-winning actor.After finding his love for the stage with the West Glamorgan Youth theatre as a teenager, he studied at the Royal Academy of Dramatic Art in London. He spent the 1990s making a name for himself as a stage actor, shining in the classics from Romeo and Juliet to Peer Gynt as well as in 20th century masterpieces such as Look Back in Anger and Amadeus, receiving several Olivier Award nominations along the way.A relocation to the US in the early 2000s with his then partner, the actress Kate Beckinsale, and their young daughter Lily prompted a move into films. His breakthrough came in 2003 when he portrayed Tony Blair in a Stephen Frears film called The Deal. It was the beginning of what became an unlikely specialism: morphing into real people from recent history: Kenneth Williams, David Frost, Brian Clough, Chris Tarrant, and Prince Andrew – with two more outings as Tony Blair thrown in for good measure.Michael was born in Newport, South Wales, in February 1969, the eldest of two children to Meyrick and Irene. He grew up in Port Talbot from the age of eight and considers it his hometown. His first love was football, and he was spotted as youngster by an Arsenal talent scout to play for their youth team. His parents decided against moving the family to London and he turned to acting instead and graduated from RADA in 1991.Alongside the classic dramas, his range extends to appearing in fantasy and science fiction films such as The Twilight Saga and Tron: Legacy. Michael has said that the most meaningful project to him was a modern restaging of the passion play in Port Talbot in 2011, which involved the participation of a thousand local people, because it opened his eyes to the difficulties many of them were experiencing. He has since used his own money to fund the 2019 Homeless World Cup in Cardiff and set up an organisation which supports community groups. Michael lives in Wales with his partner, the actress Anna Lundberg, and their two young daughters. DISC ONE: Vienna - Ultravox DISC TWO: The Ecstasy Of Gold - Ennio Morricone DISC THREE: Desire - Talk Talk DISC FOUR: Gimme Shelter - The Rolling Stones DISC FIVE: Ready for Drowning - Manic Street Preachers DISC SIX: Passion - Peter Gabriel DISC SEVEN: Dark Secret - Lau DISC EIGHT: Oh Yeah - Yello BOOK CHOICE: The Hero with a Thousand Faces by Joseph Campbell LUXURY ITEM: A football CASTAWAY'S FAVOURITE: Vienna - Ultravox Presenter: Lauren Laverne Producer: Sarah TaylorThere are more than 2000 programmes in our archive available for you to listen to. We have cast away other notable actors including Sir Anthony Hopkins and some of the people Michael has played including Kenneth Williams, Chris Tarrant and Tony Blair. You can find all those episodes and more by searching BBC Sounds.

durée : 01:28:59 - Une heure et plus, un compositeur : Wolfgang Amadeus Mozart - par : Aurélie Moreau - Né en 1756 à Salzbourg, Mozart est l'un des plus grands génies de la musique. Pianiste virtuose et compositeur prolifique, il a laissé une œuvre exceptionnelle : symphonies, concertos, opéras, musique de chambre et musique sacrée, exploitant toutes les formes musicales de son époque. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Exceltur prepara un relevo en su presidencia con la posible incorporación de Luis Maroto, consejero delegado de Amadeus, en sustitución de Gabriel Escarrer, quien dejará el cargo en el primer trimestre de 2026. El cambio se produce tras la reciente salida del vicepresidente ejecutivo José Luis Zoreda y marca una nueva etapa en la dirección del principal lobby del sector.El Ayuntamiento de Madrid ha reconocido a Natalia Bayona, directora ejecutiva de la Organización Mundial del Turismo (ONU Turismo), por su impacto positivo en la ciudad y su labor en la promoción del desarrollo turístico a través de la innovación, la educación y la inversión. Residente en España desde 2016, Bayona ha impulsado proyectos clave desde ONU Turismo, como la primera academia online en turismo y una red global de startups del sector.Ouigo iniciará el 14 de diciembre una nueva conexión directa entre Barcelona y Sevilla, con una frecuencia diaria de ida y vuelta y paradas en Zaragoza, Madrid y Córdoba. Con esta ruta transversal, la compañía amplía su red de alta velocidad en España y refuerza la conectividad entre el noreste, centro y sur del país.Trece Comunidades Autónomas han firmado en Sevilla una Declaración Institucional durante el Tourism Innovation Summit para expresar su preocupación por la política turística del Gobierno central y proponer un nuevo marco de colaboración que refuerce el liderazgo del sector en España. Las regiones firmantes, que concentran la mayor parte de la actividad turística del país, reivindican el valor estratégico del turismo y abogan por un modelo basado en la sostenibilidad, la calidad y la competitividad.Pangea Travel Store continuará su expansión internacional en 2026 con la apertura de su primera tienda en Estados Unidos, ubicada en Miami. Tras su reciente debut en México, la agencia española iniciará su entrada en el mercado estadounidense de forma gradual con un establecimiento de tamaño medio que servirá como prueba para futuras aperturas en el país.

Miss Peppermint wears a lot of hats (and wigs): drag queen, first openly trans woman on RuPaul's Drag Race, Broadway actress, Traitors contestant – and through it all, vocal trans rights activist. She's also hilarious, fabulous, and unapologetically herself. In this episode, Peppermint dishes on her early queer icons (think Prince and Amadeus), the danger and drama of the '90s NYC nightclub scene – and why she's always wanted to be anything but “basic and predictable.” Here are her songs. Prince - 7 Wolfgang Amadeus Mozart - Symphony No. 35 in D Major, K. 385 “Haffner” Lenny Kravitz - Believe Bush - Glycerine Deborah Cox - Nobody's Supposed To Be Here Stars On 54 - If You Could Read My Mind Ariana Grande - no tears left to cry

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¡Vótame en los Premios iVoox 2025! Mark Hamill siempre será Luke Skywalker. Su interpretación del jedi marcó su carrera en uno de sus primeros papeles y desde entonces ha tenido que luchar contra ello. Sin embargo, tras 50 años de carrera ha compartido rodajes con directores tan diversos como John Carpenter, Samuel Fuller, Jess Franco, Mike Flanagan, Kevin Smith o Matthew Vaughn. Tras su paso por la primera saga de Star Wars, fue el primer Amadeus en su versión teatral y se embarcó en una reputada carrera como actor de doblaje que le ha llevado a encarnar a personajes como el Joker animado y muchos otros más, Un auténtico fan de la cultura pop, que comparte muchas de nuestras aficiones: fan acérrimo de los Beatles y coleccionista de cómics y memorabilia. Uno de los nuestros que merece nuestro sentido homenaje y que a día de hoy tiene status de leyenda. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

El Ayuntamiento de Palma ha aprobado la prohibición total del alquiler turístico en el municipio, así como la apertura de nuevos albergues y la actividad de los party boats. La medida, que tendrá carácter retroactivo, mantiene solo las 639 viviendas turísticas actualmente autorizadas, sin posibilidad de crear nuevas plazas.Continental ha dado paso a Aumovio SE, una nueva empresa independiente nacida de su división Automotive, con el objetivo de liderar la movilidad del futuro mediante soluciones seguras, conectadas y autónomas. Con presencia en 25 países y más de 86.000 empleados, la compañía centrará su actividad en cuatro áreas clave: seguridad, experiencia de usuario, redes y movilidad autónoma.Iberia ha lanzado el “Círculo SAF”, una alianza con Amadeus, BBVA, Repsol y Telefónica para promover el uso de combustible sostenible de aviación (SAF) en los viajes de negocios y el transporte de mercancías. La iniciativa busca reducir entre un 10% y un 30% las emisiones asociadas a estas actividades y avanzar en la descarbonización del sector aéreo.Cataluña acogerá del 22 al 24 de octubre el Global Ecotourism Forum 2025 en el Hotel Món Sant Benet, un encuentro internacional que reunirá expertos y líderes del sector para impulsar el ecoturismo regenerativo, sostenible y accesible. El foro abordará retos como el cambio climático, la inclusión y la innovación tecnológica, promoviendo la conservación del medio natural y la generación de oportunidades económicas y empleo local.World2Meet (W2M), división de viajes del Grupo Iberostar, ha anunciado la adquisición de la italiana Ixpira, especialista en distribución hotelera, con el objetivo de reforzar su contratación directa en los mercados italiano y balcánico. La transacción, prevista para enero de 2026, busca combinar la experiencia local de Ixpira con el alcance global de W2M, ampliando su cartera de productos y su competitividad en el sector B2B.Ryanair reforzará su presencia en los grandes aeropuertos españoles este invierno, con un aumento del 12% en su oferta en Alicante-Elche y del 8% en Valencia, pese a recortar un millón de plazas en aeródromos regionales. En Alicante, operará 79 rutas —10 de ellas nuevas— hacia destinos europeos y africanos.

We're back with Season 2 of The Abbie Knights Show! Kicking things off in a big way, host Abbie Knights sits down with none other than super producer Amadeus — the musical genius behind hits for Chris Brown, Trey Songz, Jennifer Lopez, 50 Cent, and so many more. In this episode, Amadeus opens up about his journey in the music industry, what it takes to create timeless records, and the lessons he's learned working with some of the biggest names in entertainment. Don't miss this exclusive conversation filled with insight, inspiration, and behind-the-scenes stories from one of the industry's most respected producers. Subscribe to never miss an episode of The Abbie Knights Show and stay tuned for more incredible guests this season! "Empowering Voices, Inspiring Change" Follow Abbie Knights: Instagram: AbbieKnights | TaksRadio TikTok: TAKSRadio Follow Amadeus: Instagram: AmadeusPBM

In this episode, Johnny talks with Luciano Pollastri, Global Talent Director at Amadeus, about how AI can amplify, not replace, human potential. Luciano shares his personal journey from skeptic to innovator, how he's built thousands of AI agents to boost learning and creativity, and why he believes we all need to become “managers of artificial resources.” A passionate, deeply human conversation on AI, skills, and the future of work.

Dans cet épisode de Head of Design, Paul Menant reçoit Mégane Martini, DesignOps Manager et Lead chez Amadeus. Ensemble, ils reviennent sur la structuration d'une équipe DesignOps dans un grand groupe mondial, le lien avec le design system, les outils internes et la montée en maturité UX.

Join us November 8th 10AM PST for our 24 Hour Charity Stream For BC Children's HospitalDonate & See The Schedule At The Link Below!https://www.extra-life.org/participants/558436TOPICSTwo-Face & Amadeus Arkham Casting Rumors For The Batman Part 2The Smashing Machine Review & Box Office WoesMonster Ed Gein Review-Get All Episodes Ad-Free Plus Exclusive & Early Access To Episodes On https://www.patreon.com/GeekVerse-When You Subscribe To Our Patreon You Help Us Grow The Podcast and Create New Content Guest On Shows, Pick Films For Us To Review, Send Topics & More! -GeekVerse.ca is where you can find all the info on the show and where you can find it! -Come Chat With The Hosts, Join Our Discord! https://discord.gg/R5dY4CwTBecome a supporter of this podcast: https://www.spreaker.com/podcast/geekverse-podcast--4201268/support.

Welcome fellow adventurers! This week, the guys discuss another part of the foundation which is warfare. The clips are from "LOTR," "Amadeus," "Gladiator," and "Wild Hogs."  Be sure to check out our other podcasts, Masculine Journey After Hours and Masculine Journey Joyride for more great content!

Dans cet épisode #174, nous allons parler de Qala, sorti en 2022, et très attendu après le succès de Bulbbul (épisode 81).Entre Black Swan et Amadeus, Qala a-t-il su nous séduire dans ce thriller psychologique flirtant avec l'horreur ? Suivez-nous sur insta : bollywood_versus et twitter : BV_podcast

Der 11. September lieferte den USA den Vorwand, geopolitische Interessen unter dem Deckmantel der Terrorabwehr zu verfolgen. Der »War on Terror« führte zu einer gefährlichen Erosion des Völkerrechts, die unsere Welt heute prägt. Artikel vom 11. September 2025: https://jacobin.de/artikel/krieg-gegen-terror-world-trade-center-afghanistan-al-qaida-bin-laden-bush Seit 2011 veröffentlicht JACOBIN täglich Kommentare und Analysen zu Politik und Gesellschaft, seit 2020 auch in deutscher Sprache. Die besten Beiträge gibt es als Audioformat zum Nachhören. Nur dank der Unterstützung von Magazin-Abonnentinnen und Abonnenten können wir unsere Arbeit machen, mehr Menschen erreichen und kostenlose Audio-Inhalte wie diesen produzieren. Und wenn Du schon ein Abo hast und mehr tun möchtest, kannst Du gerne auch etwas regelmäßig an uns spenden via www.jacobin.de/podcast. Zu unseren anderen Kanälen: Instagram: www.instagram.com/jacobinmag_de X: www.twitter.com/jacobinmag_de YouTube: www.youtube.com/c/JacobinMagazin Webseite: www.jacobin.de

Welcome to a new episode of I Am House Radio with your host, Crystal Waters. Playing the best new House Music from around the world. Unknown - Deep In The Melody (Papa Lu Edit)Theo Parrish ft Jerrald James - Dan RyanDennis Ferrer, Jerome Sydenham - JeroLouie Vega, Elements of Life, Ursula Rucker, NuLife Journey's Prelude (Nulife Remix)Miguel Migs - Make A Change (Dub The Tech Mix)Axel Boman - Twinkle TwinkleDJ Romain - Deep InfernoEddie Matos, Disko Method - Get Your Mind TogetherRon Carroll, Amadeus, Church Is One Foundation, Testament - Get with HimCappo, Mondragon - ComedownCoflo feat Rawb Boss - Ring The AlarmThe Illustrious Blacks - OutlawJKriv - BlueprintDJ Spen - The Fifth (of Beethoven)Matias Aguayo - El Internet

Send us a textLinking the Travel Industry is a business travel podcast where we review the top travel industry stories that are posted on LinkedIn by LinkedIn members.  We curate the top posts and discuss with them with travel industry veterans in a live session with audience members.  You can join the live recording session by visiting BusinessTravel360.comYour Hosts are Riaan van Schoor, Ann Cederhall and Aash ShravahStories covered on this podcast episode include -The U.S. Department of Transportation orders Delta Air Lines and Aeromexico to end their 8-year long joint venture.Amadeus and Lufthansa start tests with the EU Digital Identity Wallet. Michael J. Goldrich's post about Tripadvisor's AI strategy attracts a lot of comments.American Express (card/financial services) launches a travel app. Corporate Travel Management (CTM) UK/EU has again postponed releasing its 2025 full year accounts, following last month's trading suspension on the Australian Stock Exchange (ASX) due to financial accounting errors.Dohop and Citilink Indonesia team up with a new alternative interline platform that opens up 47 new destinations and 86 unique connections for travellers through partnerships with Scoot and Air India Express.Kirill Stati's post about the sad state of corporate OBTs sparks plenty of discussion.Extra StoriesYou can subscribe to this podcast by searching 'BusinessTravel360' on your favorite podcast player or visiting BusinessTravel360.comThis podcast was created, edited and distributed by BusinessTravel360.  Be sure to sign up for regular updates at BusinessTravel360.com - Enjoy!Support the show

Our unintentional Musical Month in September ends by going classical, to the original OG of music: Wolfgang Amadeus Mozart! Special guest Richard Kirkham joins Kristen and Emily to talk about this Milos Forman classic, the way this became an '80s classic, and who the hell is Tom Hulce? Be sure to follow us via social media at @ticklish_biz on X and @ticklishbiz everywhere else. Also like and subscribe to us on all podcast apps and, if you love us, leave us a review. Find Kristen and Emily's books wherever you buy books. Kristen's latest, ⁠⁠Popcorn Disabilities⁠⁠, is available to pre-order now before it releases on November 13th!     •    Love T shirts, pins, and other merch? ⁠⁠The merch shop is live⁠⁠!      •    ICMYI, the best way to support Ticklish Biz is to ⁠⁠become a Patron⁠⁠:     •    ⁠⁠Follow Emily's Instagram⁠⁠    •    ⁠⁠Follow Kristen's Instagram⁠⁠ This episode was created thanks to our Patrons: Ali Moore Danny David Floyd Gates mcf Rachel Clark Shawn Goodreau A Button Called Smalls Chris McKay Jacob Haller Peter Blitstein Peter Bryant Reyna Moya-James Bridget M. Hester Cat Cooper Daniel Tafoya David Baxter Diana Madden Harry Holland Jamie Carter Karen Yoder Lucy Soles Nick Weerts Patrick Seals Richard Silver Rosa Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, we cover Boutique Corporation securing its place as one of only three third-party operators for Accor in Thailand, strengthening its role in hotel management with a growing portfolio across major cities. At the same time, a global Amadeus study shows 64% of travelers would pay for AI assistants to deliver in-trip information, signaling rising expectations for hyper-personalized and reliable travel technology.Are you new and want to start your own hospitality business?Join our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook group⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow Boostly and join the discussion:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠LinkedIn⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Want to know more about us? Visit our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Stay informed and ahead of the curve with the latest insights and analysis.

Send us a textLinking the Travel Industry is a business travel podcast where we review the top travel industry stories that are posted on LinkedIn by LinkedIn members.  We curate the top posts and discuss with them with travel industry veterans in a live session with audience members.  You can join the live recording session by visiting BusinessTravel360.comYour Hosts are Riaan van Schoor, Ann Cederhall and Aash ShravahStories covered on this podcast episode include -United Airlines and ITA Airways (inspired by Alitalia) will start a loyalty and codeshare partnership on Sep 15th.Amadeus partners with electronic bag tag provider BAGTAG.Skift's research into US traveller's use of #AI for trip planning confirms what we thought.China's COMAC aircraft gains more use outside of China.The post that got away. Read Martin Soler's reflection on the self-service culture in travel today.You can subscribe to this podcast by searching 'BusinessTravel360' on your favorite podcast player or visiting BusinessTravel360.comThis podcast was created, edited and distributed by BusinessTravel360.  Be sure to sign up for regular updates at BusinessTravel360.com - Enjoy!Support the show

Forrest, Conan Neutron, Kristina Oakes and Lauren Chouinard talk about Milos Forman's 1984 Amadeus! Starring Tom Hulce as Mozart and F. Murray Abraham as SalieriKnown for its liberties with historical fact as much as the intense revenge story it put on screen between rival composers Wolfgang Amadeus Mozart and Antonio Salieri. #amadeus #mozart #wolfgang #vienna #joseph #salieri #classicalmusic #salzburg #filmpodcast #moviepodcast #movie #revenge #rivalry #oneflewoverthecuckoosnest #cuckoosnest #oscars #bestpicture #bestdirector #bestactor We are also streaming on @thisspacetv throw them a followJoin our discord: https://discord.gg/ZHU8W55pnhJoin our Patreon to get all our After Parties https://www.patreon.com/MovieNightExtra

What does the future of hospitality look like in an era of AI, personalization, loyalty and sustainability? And how can providers keep pace with rising guest expectations?In this special episode of dojo.live, we sat down with Paco Pérez-Lozao Rüter, President of Hospitality at Amadeus IT Group, during the company's media event in New York City. The conversation unpacks insights from Amadeus' latest global research report, Connected Journeys: How will technology transform travel in the next decade? and explores what it all means for the future of hospitality.From the role of generative AI in shaping inspiration, search, and booking to the evolving power of hotel loyalty programs, Paco shares a forward-looking perspective on how technology is reshaping the guest journey. We discuss why disruption management is emerging as a true competitive differentiator, where automation must be balanced with the human touch, and how hoteliers can leverage modern retailing and personalization while safeguarding traveler privacy.The conversation also touches on sustainability, industry-wide tech gaps, and the pace of adoption—highlighting the opportunities and challenges that lie ahead as hospitality providers move from “crawl” to “run” mode. Packed with data and insights from Amadeus' research, this episode offers a clear-eyed view of how travel is evolving and what hospitality leaders need to know to stay ahead.About Paco Pérez-LozaoPaco Pérez-Lozao leads Amadeus' global Hospitality business since 2018, including its Destinations line, overseeing tech solutions that help hotels and destination organizations grow, optimize operations, and elevate the traveler experience. Since spearheading the creation of the Hospitality business unit in Amadeus, he has played a key role in positioning Amadeus as a trusted technology partner across the hospitality and travel ecosystem.A seasoned executive with over 30 years in travel technology, Paco has held senior roles in Commercial, Corporate Strategy, M&As, and Business Development at Amadeus, contributing to the company's diversification and expansion into new markets. He previously led the Strategic Growth Business Unit to support growth in key areas of the travel sector, such as Airport IT, Travel Intelligence, and Digital Payments. Some of these Amadeus businesses have evolved to become top players in their respective sectors.Paco began his career in consulting at Accenture and holds an MBA from INSEAD, along with two engineering degrees from the Technical University of Aachen, in Germany. He brings a global perspective and a deep understanding of the intersection between technology, travel, and investment.

It's Kristen's birthday month and she decided to celebrate with the biggest (fake) rock band of all time. Kristen, Emily, and guest Alan Cerny sit down to talk This is Spinal Tap, the way it plays with the documentary format, and try hard not to spend the whole time quoting it.   Next Time: We unintentionally spend September in the year 1984 so we're looking at (another) musical feature, the Milos Forman classic biopic Amadeus. Be sure to follow us via social media at @ticklish_biz on X and @ticklishbiz everywhere else. Also like and subscribe to us on all podcast apps and, if you love us, leave us a review. Find Kristen and Emily's books wherever you buy books. Kristen's latest, ⁠Popcorn Disabilities⁠, is available to pre-order now before it releases on November 13th!     •    Love T shirts, pins, and other merch? ⁠The merch shop is live⁠!      •    ICMYI, the best way to support Ticklish Biz is to ⁠become a Patron⁠:     •    ⁠Follow Emily's Instagram⁠    •    ⁠Follow Kristen's Instagram⁠ This episode was created thanks to our Patrons: Ali Moore Danny David Floyd Gates mcf Rachel Clark Shawn Goodreau A Button Called Smalls Chris McKay Jacob Haller Peter Blitstein Peter Bryant Reyna Moya-James Bridget M. Hester Cat Cooper Daniel Tafoya David Baxter Diana Madden Harry Holland Jamie Carter Karen Yoder Lucy Soles Nick Weerts Patrick Seals Richard Silver Rosa Learn more about your ad choices. Visit megaphone.fm/adchoices

Asians and Asian Americans are numerous within the classical music industry, but their identities are often politicized and racialized in this Eurocentric musical genre. For the third episode of Obbligato on APEX Express, Isabel Li discusses this intersection with Mari Yoshihara, Professor of American Studies at the University of Hawaiʻi at Mānoa and Professor at the Center for Global Education at the University of Tokyo, Japan; author of many books, including Musicians from a Different Shore: Asians and Asian Americans in Classical Music (2007) and Dearest Lenny: Letters from Japan and the Making of the World Maestro (2019). Tonight's episode features music by Chinese American composer Zhou Tian. To learn more about Mari and her work, please visit her website: https://www.mariyoshihara.com/index.html  Musicians from a Different Shore: https://tupress.temple.edu/books/musicians-from-a-different-shore-2 Dearest Lenny: https://global.oup.com/academic/product/dearest-lenny-9780190465780?cc=jp&lang=en&  Transcript  Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the Apex Express.    00:00:53 Isabel Li  Good evening. You're listening to KPFA 94.1 FM. My name is Isabel Li and I'm delighted to be hosting a new edition of Obbligato on Apex Express, which is a semimonthly segment specifically about AAPI identities in classical music. Tonight's guest is someone I have been incredibly excited to speak to because her writings have actually very much informed my studies and research. In fact, her books are exactly about the subject matter of Obbligato. I am honored to be speaking to Mario Yoshihara, Professor of American Studies at the University of Hawaiʻi at Mānoa and Professor at the Center for Global Education at the University of Tokyo, Japan; author of many books, including Musicians from a Different Shore: Asians and Asian Americans in Classical Music, published in 2007, and Dearest Lenny: Letters from Japan and the Making of the World Maestro, which was published in 2019. Welcome to Obbligato on Apex Express. Mari, how are you doing?  00:01:55 Mari Yoshihara  I'm doing fine. Thank you for having me.  00:01:58 Isabel Li  Of course, my first question for you is how do you identify and what communities are you a part of?  00:02:06 Mari Yoshihara  Oh well, that's actually a little bit complicated I am. I am a Japanese woman who have spent a little bit over well, maybe not more than a little more than half of my life in the United States. Born in New York but raised in Tokyo, educated mostly in Japan, but also earned my graduate degrees in the United States and most of my academic career has been in Hawaii, so I've been in American academia for almost 30 years now, but I also have a dual appointment with the University of Tokyo in Japan. So I split my time between Japan and Hawaii now.  00:02:54 Isabel Li  Can you tell us a little bit about your work and your books? I had a chance to read Musicians from a Different Shore, but how would you summarize your research to someone who might not have read your book?  00:03:04 Mari Yoshihara  So I am a scholar of American studies, which is an interdisciplinary field that has anything to do with America broadly defined. And within that, my area of expertise is about, well, I would say I'm a scholar of US cultural history. US Asian relations, mostly US, East Asian relations, especially in the cultural dimension, cultural studies, gender studies, Asian American studies, etc. And so I have written a number of books, both in English and Japanese, but the one that you're referring to, Musicians from a Different Shore, is a book that I did research for more than 20 years ago and was published in 2007. It's a study of Asians and Asian Americans and classical music. So it was partly historical in that I examined the ways. which Western music, so-called western classical music, was introduced to East Asia and how also East Asians became have become so successful and prominent in this field that is generally considered a white European elite art form, so it was partly historical, but then the rest of the book was based on my ethnographic field work and interviews among Asians and Asian Americans in classical music looking at how well who these people are in the first place and then also how musicians, Asian and Asian musicians themselves, understand the relationship between their racial and cultural identity on the one hand, and their practice of Western classical music on the other, so that was my study.   And then I also wrote another book called Dearest Lenny. It's about—the subtitle is Letters from Japan and the Making of the World Maestro. It's about Leonard Bernstein's relationship with two very special individuals in Japan. And through that story, I interweave an account of various things. For one thing, how Leonard Bernstein became a world maestro and also the relationship between politics and arts, gender, sexuality, art and commerce, etcetera, etcetera. So that was my most recent book published in English and then, I'm sure we'll talk more about this, but I'm currently doing a follow up research on the on Musicians from a Different Shore, taking into account all the changes that have been taking place in the classical music industry in the United States in the past, I would say five years or so especially so that's my that's the abbreviated version of my research.  00:05:55 Isabel Li  That's really cool, and I also want to ask you about these changes, if you can talk a little bit about the classical music world. I feel like classical music is one of those genres that seems to be unchanging on the outside. But as a scholar of classical music, what types of changes have you observed that has influenced how AAPI identities play into this world?  00:06:18 Mari Yoshihara  Yeah, I think especially in the last, I would say, yeah, 5 to 10 years, especially in the last five years, classical music industry in the United, I mean I say specifically in the United States because I don't see the similar kind of changes taking place in Japan where I'm currently located. And I also don't really know the situation in Europe. But the field of classical music in the US is changing. I think most significantly because of movements like the Black Lives Matter movement and also with the onset of COVID and the rise of anti Asian hate, there's been a lot more heightened awareness about how issues of race and also class shapes classical music. So there's a lot more vibrant conversations and debates about these topics in the industry and also in terms of AAPI community, are the biggest changes, the biggest change I'm seeing is that Asian and Asian American musicians themselves are being a lot more vocal and active in issues of race and racism in the field and there I've encountered many Asian and Asian American musicians who have, for instance, you know organized events or organizations, or taken up various forms of advocacy and activism on these issues. So compared to, say, 20 years ago, 20, 25 years ago, when I was doing the original research, I see a lot more kind of, you know, explicit awareness and awareness and articulation of these issues by Asian and Asian American musicians themselves.  00:08:12 Isabel Li  That's really interesting. Just because classical music is also one of those genres, that doesn't seem like a genre that most people explicitly associate with politics or activism. What are some examples of these, like activist movements that you've observed within the Asian American community in classical music?  00:08:32 Mari Yoshihara  So for instance, some Asian and Asian American musicians are are becoming a lot more vocal about the actual like racism or sexism that they have themselves experienced, or that they witness in the industry, like in in schools, conservatories, orchestras, opera companies, etc. Either through the media or you know their own writing, and also like speaking up within the organizations that they work in. So that's one. There are other kinds of advocacy and activism in that they demand more diverse repertoire, and I think the repertoire is in terms of the industry industry changes. That's the area that's changing the most, the the kind of repertoire that many orchestras for instance perform have become a lot more– I mean overall it's still very white, European centered– but in terms of the actual numbers of pieces that are performed, works by living, composers and composers of color, women composers, etcetera. That is significantly increased in the last 10 years and that is, you know significantly to do with the advocacy and activism on the part of, you know, artists of color.  So yeah, so things like that and then, you know, many Asian, Asian American artists are doing their own programming, for instance, like event organizing programming. So yeah, those are the areas that I see changes. I see things happening that I didn't see 25 years ago.  00:10:20 Isabel Li  Definitely. I remember reading your book, and your book has been published since 2007, so a lot of changes have happened since then. But in general, when you did your research at first, what how would you summarize the dynamic of Asian identities, Asian American identities in this very Eurocentric field, it's a juxtaposition of two different cultures and identities that a lot of people also observe in orchestras. There's a large population of Asian and Asian American musicians, conductors just in general. It's a very large population, but yet this identity is still not quite represented in media. It's not quite seen, so talk to us a bit about this juxtaposition and how you observe these dynamics in your research.  00:11:10 Mari Yoshihara  Yeah. So. The thing is, Asians and Asian Americans are indeed numerically overrepresented in classical music, in the sense that compared to the general public, the the the proportion of Asians and Asian Americans in the overall US population, the number of Asian and Asian Americans in classical music indexed by things like the student body at major conservatories or membership roster of US orchestras, etcetera, Asians and Asian Americans percentage is higher than the general population, right. So in terms of the numbers, Asians and Asian Americans are, quote unquote overrepresented. But those numbers are not reflected in the actual like voice, power and influence that they have in the industry.   So that was my finding back 2025 years ago and I think that's still true today. Also, the thing about Asian, Asian American musicians is that it's a racialized category. They are seeing and treated as Asian. It's this racial category. But their identities and experiences as Asians is not at all uniform, right?   Some of these Asian musicians are Asian Americans, like multi generational Asian Americans whose parents or grandparents or great grandparents etcetera have come to the United States and they themselves are U.S. citizens. So that's one group.   Many Asian musicians working in the United States are people who were born and raised in Asia, places like China or South Korea, Japan, etcetera, and came to the United States as international students to study music, often at the college level, college conservatory level, so obviously these people have very different sense of identity and experience as Asians compared to say, you know 3rd, 4th generation Chinese Americans or 1.5 Korean Americans.   There are other people who live in the United States because they were very talented, very young musicians, and the whole whole family immigrated to the United States specifically for their music education. So Midori, the famous violinist, Midori is a case, example of this, but there are also a number of other, especially among Koreans and Chinese. There are families, the whole family immigrated to the United States when the child was a very promising musician at age 7 or something. So that's one group. They too have a different sense of identity and experience of Asians than the two former groups that I that I talked about.   There are other people who also came to the United States because not because of the music education, but because of their parents' profession, for instance. And they have transnational kind of family ties and you know, they move, they go back and forth between US and Asia, for instance. And then there are also mixed roots families where one parent is Asian and the other is non Asian.   And then there are also Asians who were born and raised in Europe for other parts of the globe and then came to the United States, for either personal or professional reasons.   So in other words, they're all Asians in terms of their racial identity. But what that means is really quite diverse and their experience as Asian and Asian American musicians is also quite diverse. So it's not as if you know, just because they're Asian, they share some kind of experience and identities around which they coalesce. So that's, you know, that was true 20, 25 years ago. And I think that's still true today.  More and more Asian musicians are coming to the United States to study, study or work in classical music, but especially because of this, like new influence, this Asian category is becoming even more diverse. However, because of the COVID, you know the rise of Anti Asian hate during the COVID pandemic, I think that heightened the awareness of, you know, these different kinds of Asians, the heightened awareness that they are Asians. First and foremost, you know, in, in that in the sense of being racialized in the United States. So I have talked with a number of musicians, Asians and Asian American musicians, who did not really, hadn't thought about their Asianness before. It wasn't at the forefront of their identity before, but during this rise of anti Asian hate it they became they basically became more politicized. You know, they had quite a politicized language and awareness to think about race and racism especially against Asians and Asian Americans.  00:16:31 Isabel Li  Yeah, that's a great point. It is a such a diverse group and there are so many different identities, even within just the Asian American framework AAPI, as a label is very, very diverse. And that applies to classical music as well. But I think there's also this social perception of Asian and Asian Americans as a group that also relates to the model minority stereotype that's historically been present and, for example, a lot of people might think of, like a young Asian or Asian American musician as being like a prodigy because they are technically skilled at their instrument, where like these social perceptions that exist both in media and in the culture around us, why do you think that is?  00:17:15 Mari Yoshihara  Well, that as you said, there is a model minority myth and there is a stereotype of Asians and Asian Americans as being very studious and diligent, but also quiet, right? I mean, they just quietly follow, like, obedient, obediently follow the instructions and that translates in the field of music as the stereotype that Asian musicians are technically very proficient but artistically non expressive. I mean, that's a very common stereotype that yeah, you know, practically any Asian, Asian Americans in classical music have been subjected to, you know, quite regularly and frequently. And I think that, yeah, that just comes with the overall kind of racial stereotype of Asians and Asians and Asian Americans in American society at large. And also the fact that, you know, classical music, especially in terms of instrumental performance, it is an area that is, it's something that is, indeed, technically very demanding, right? You need many, many years of disciplined training and a lot of practice. And there is a myth of merit– well, no, not entirely a myth– but there is this this very, you know, dearly held faith in meritocracy in classical music. The idea that if you have the chops you will be rewarded, you will be recognized and you know, no matter what kind of great artistic idea you might have, if you can't play the notes, you can't play the notes. That kind of ethos of meritocracy is particularly strong in classical music because of the technical demands of the genre, and that and that kind of, you know, goes hand in hand with the model minority methods for Asian Americans.  00:19:20 Isabel Li  Definitely. That's really interesting and another part of your book that was quite fascinating to me when I first read it was chapter 3. You talked about the intersection of gender as well as, you know, racial identity in classical music. The chapter is called Playing Gender and you talk about, I think at large don't necessarily associate classical music with a discipline that provides a stable job. It is an art form and there is kind of an uphill battle for artists in a sense like a starving artist myth there. We're not even a myth. Like if there's a starving artist image, whereas the image of a very successful classical musician there's this duality that you also mentioned in one of your other chapters about class. So what really interested me in for this chapter was that there was this intersection of power in classical music of who would go down the path that might not be traditionally as successful. How do you think gender dynamics play into this and how do you think they might have shifted within the last two decades or so?  00:20:20 Mari Yoshihara  Huh. I'm not sure if it has shifted all that much in the last two decades, but as you said, because music I mean, not just classical music, but music. Like, you know, arts in general is a field that is very like economically insecure in terms of career, right?   But at the same time. Classical music is associated with kind of, you know, bourgeois identity and just kind of overall cultivation and so, many Asian, Asian American parents are very eager to send their kids to, say, piano lessons, violin lessons, cello lessons, etcetera. To, you know, give them a well-rounded education and also because it is considered useful tool, you know, when you're going to college and stuff like, you know being, you know, being able to show that you're very talented violinist, for instance, is believed to help your college application.  So there's this, you know, both stereotype and reality that like, you know, places like Julliard Pre-College, very competitive, you know, school, like music education program for kids is filled with Asian, Asian American, you know, students and their parents who are waiting, waiting for them to come out of school.   So there's that. But how gender plays into this is that while both men and women are do study music at a young age. When it comes to, you know, choosing say, college, like what they would, what they would pursue at the college level, far fewer male students tend to choose music as their college major or go to conservatory and pursue it as a as a career. But I think it's both their own choice. And also especially for Asian and Asian Americans, like parental pressure to not pursue music professionally because of, you know, financial insecurity.   So there's that, and also how that plays into the actual experiences of Asian, Asian Americans musicians who do study music is that I have heard from a number of female Asian musicians that either their peers or especially their teachers are doubtful that they are actually serious about music. There is a stereotype that, you know, say for instance, Japanese or Korean female students at Juilliard School, Manhattan School or whatever, they are there because they, you know, they want to study music and then find a good husband and marry, you know, a lawyer or doctor or engineer or something. [laughs] And and not that that doesn't happen. But that's a stereotype of, you know, that's a racialized and gender stereotype that comes from these, you know, gender and class and racialized dynamics.  00:23:35 Isabel Li  And just for clarification, is the classical music world at large still a male dominated field?  00:23:41 Mari Yoshihara  Yes. Oh yes. Definitely. I mean, it depends on the segment of you know, I mean classical music is itself quite diverse. So if you look at, for instance, the string section, especially the violin section of the New York Philharmonic for instance, you will find that like, I think the majority of those violin players are Asian women, perhaps. But if you look at say for instance, the Faculty of Conservatories or music directors and major orchestras and said, I mean still very male dominated.  00:24:23 Isabel Li  Yeah. Yeah, definitely. I like how your book also has so many different layers for each chapter. So Chapter 3 was about the gender intersection with this, with this identity, and Chapter 4, was it Chapter 4, I believe it was about class, Class Notes, and you've already mentioned a little bit about how class plays into the perception of music, how class influences gender even. But there's a statement in there that you said that, “it's misleading to characterize Asian musicians as just coming from the upper middle class.” And it makes sense that people would think of musicians coming from this economic bracket, because classical music is an in and of itself a very kind of expensive undertaking. You need so many lessons, so many instruments. But tell us why this statement would be misleading.  00:25:15 Mari Yoshihara  Because I mean, first of all, most of the overwhelmed, I would say overwhelming majority of the Asian, Asian American musicians that I interviewed come from middle class backgrounds, many of them from so-called like professional executive class backgrounds in, meaning that their parents hold these professional executive positions, right. And that's why they were able to afford advanced musical studies from a fairly young age. They need, you know, sustained and disciplined and often costly, you know, lessons, you know, competitions, etcetera, auditions, travel, etcetera. So that's for sure, yeah.   At the same time, there are also Asian musicians who come from less privileged backgrounds, you know, immigrant families who have, because quite a few. I mean overall Asian American population, many immigrants experience downward social mobility upon immigrating to the United States because of, you know, oftentimes linguistic barriers or you know, or plain old racism. And so you're not Asian families that immigrate to the United States, like, for instance, if the parents have professional positions back in South Korea, oftentimes they become, you know, for instance, you know, small business owners and they experience downward social mobility. I mean, that's a very common scenario. Yeah, so now all Asian, Asian American musicians grow up in a privileged environment.  00:27:06 Isabel Li  Definitely a great point. Now before we move on to some discussions about Mari's research. First of all, thank you for tuning in to Obbligato on APEX Express, we'll be taking a short music break and as mentioned earlier, a great way to increase diversity within classical music is to uplift works by living composers. If you're listening to my first.  00:27:26 Isabel Li  Episode 2 months ago, you'll know that I featured music by Chinese American composer Zhou Tian. I'm happy to say that coming up next is one of Zhou's compositions inspired by a trip to Italy. This is a piece called Hidden Grace performed by the Formosa Trio.  27:45 – COMP MUSIC – Hidden Grace  00:35:34 Isabel Li  That was a piece called Hidden Grace, composed by Zhou Tian for a fascinating instrumentation of flute, Viola and heart coming up for our second piece. In this interview, break another movement by Zhou Tian, the third movement of his double concerto for violin and Viola, called Rendezvous.  35:58 – COMP MUSIC – Double Concerto for Violin and Viola, III. Rendezvous  00:41:09 Isabel Li  Noah Bendix-Balgley on violin, Shanshan Yao on viola, and the Hangzhou Philharmonic, playing the third and final movement of Zhou Tian's Double Concerto for violin and viola. So back to the conversation with Professor Mari Yoshihara.  00:41:25 Isabel Li  As you also mentioned before, you're working on an updated version of Musicians from a Different Shore. Can you talk–I don't know how much you can talk about your, like upcoming projects, but are you using similar research methods to what you've done before using ethnographic field work? You've mentioned the new changing dynamics of classical music in the United States with new waves of activism and awareness. What are some new topics of your chapters that you might focus on? So for your 2007 publication, you talked about your gender and class and how these intersect with identity. Are there any new things that you're drawing upon here?  00:42:02 Mari Yoshihara  Yeah. So I'm using basically the same research method. I'm interviewing actually some of the same people that appeared in Musicians from a Different Shore. Some people kept in touch with over the years, I've gone back to them and interviewed them to see the trajectories of their careers since the first time I interviewed them. But then I've also interviewed a bunch of other, you know, new musicians that I'm speaking with for the first time. So it's essentially an interview and ethnographic fieldwork-based research.  I told you earlier about I think one of the biggest changes is, as I said before, the activism and advocacy on the part of Asian, Asian American musicians themselves. So I have one chapter about that. Like, what? How? What kinds of advocacy and activism they're engaged in.   Another big change that I'm seeing is that compared to 20 years ago, there are a lot more Asian musicians in the field of opera.  00:43:01 Isabel Li  Ohh yeah.  00:43:02 Mari Yoshihara  Uh. Both as singers. Yeah, many of them singers, but also in other, you know, like for instance opera, you know, pianist for opera or be opera directors, et cetera. There are many more Asians in this particular field than what I saw 20 years ago. And I talked about this a little bit in my first book, but opera is a very particular kind of field within classical music.   How race plays into opera is very different from other areas of classical music because it's a theatrical art form. It's visually oriented, you know art form. And because singers have to be cast in order to, you know, sing on stage. So the racial politics in opera, you know, unfolds very differently from, say, for pianists or cellists or conductors or or composers.   So I now have a whole chapter about opera, especially Madame Butterfly, that this very fraught work, you know, opera that many Asian and Asian Americans have love hate relationships. A lot of pigeon-holing that happens in that through that opera. But also, production of new opera by Asian and Asian American artists, composers, directors, singers, etcetera. So I have a whole chapter about that.   And then I also will have another chapter about, you know, what it means to, you know, sit at the table, basically. Like stand on the podium and sit at the table, stand on the podium. Not only, I mean I will, I will have a whole discussion about Asian and Asian Americans conductors, but not only in that literal sense of, you know, standing at the podium, but like being at the table like in other words, not only, Asian and Asian American musicians playing music that are given to them and they are assigned to them that they're hired to play, but also having a real voice in the organizational and institutional dimensions of classical music industry. So the kinds of people, Asians, who are in these positions more executive positions with decision making power what their experiences are like. I'm going to have a chapter about that.   So those are some of my ideas. I'm still in the middle of the project, so I can't. I can't see the whole picture, but those are some of my current ideas.  00:45:48 Isabel Li  I see. And do you have an idea of when this book will be published or an updated version?  00:45:54 Mari Yoshihara  Well [laughs], my goal rather ambitious goal is to have it published in 2027, because that would be 20 years since Musicians from a Different Shore, so that would be ideal if I can make that.  00:46:08 Isabel Li  Well, yeah. Nice. That's really exciting, definitely. I will also kind of bridge, I guess my part of the research into this part of the interview, since I'd love to talk to you a little bit more about how classical music in general is portrayed in media.   So as I've introduced myself before, I had a back, I have a background in media studies as well as music history and theory. And what was really interesting to me in my senior thesis while I was doing research for that was I coined this term and it could just be loosely associated with the genre of film. But it's the “classical music film.” So think of any narrative fictional film you can think of with a classical musician in there. So it could be like Amadeus, where I think of like Tár. If you watch Tár like a lot of these depictions are quite understandably white and European, but they my senior thesis I've never really seen any depictions of Asian American or Asian classical musicians? I was wondering if you have ever watched a film like that, or could maybe talk a bit about maybe the lack of representation in media, how media plays into how people perceive classical music as a genre as a whole.  00:47:23 Mari Yoshihara  That is a very interesting question. I think you know, because of the stereotype of Asian and Asian American model minority and model minority stereotype often is associated with, you know, violin or piano-playing Asian American kids, I think. Asian, Asian American characters who are, you know, these kind of musical classical music geniuses appear here and there. But the ones that center on such a character as the main, you know, like the protagonist, come to think of it, I'm not sure if I've seen. I mean, I've seen several Korean dramas, you know, character, but those are Korean dramas, not Asian American, so more American works with Asian classical musicians…  00:48:21 Isabel Li  And I think also classical music as a genre is. It's interesting because classical music is also kind of underrepresented. It's not quite in the mainstream. And then one of my final questions for you is I do also want to take a second to acknowledge that your book was actually one of the only books that I could find about this topic. I think there are not that many other books about Asian and Asian Americans in classical music. I think there are a few other books and a few and definitely some papers that talk about this, but what got you interested in this field? And I don't know if you think there's a scarcity of information, but do you think there's relative scarcity of information about this topic?  00:49:01 Mari Yoshihara  Yeah. So how I got into it is. So I was a pretty serious student of piano when I was a child. That's like, yeah, that really kind of preoccupied my childhood and adolescence. But then I, for various reasons I ended up not going to a music Conservatory and became an academic.   And then once I entered academia and became a scholar of American studies, all I was studying was like race, gender, class. I mean, that's what  we do in American studies. And my first book, which was originally my doctoral dissertation, was a cultural history of orientalism and white women. So that was a study of the intersections of race and gender and to some extent class in American history.   So once I finished that book, I was thinking about what projects to work on next. And I happened to turn on the TV, and it just so happens that the Vienna Phil New Year's concert, conducted by Seiji Ozawa was playing on the TV and that was sort of my “aha” moment because I had always known or, you know, kind of generally aware that Asians and Asian Americans are, if not necessarily overrepresented, but, you know, they're quite numerous, you know. They're present. Their numerical presence is quite notable in classical music that is often associated with white, you know, European culture, elite culture.  So I was kind of curious about that phenomenon, but I hadn't really thought too much about it until I watched Seiji Ozawa were conducting the Vienna Phil. And that's when I thought, well, maybe I can kind of combine my classical music background and my academic training in studies of race, gender, class into this project. So that's when I decided to work on. You know, this topic of Asians and Asian Americans, classical music.  I think the reason that there hadn't been at least a book-length study on the topic until my book is that for one thing, classical music is considered to be kind of a very abstract absolute form of music. This ethos that it is kind of transcends– that it is a universal, transcendental kind of genre, that is sort of above things like politics or race or gender. Like it shouldn't matter that these, you know, individual identity, racialized gender identity shouldn't matter vis-à-vis the universalism of classical music. I mean that kind of ethos is very strong in this particular genre of music. I think that has a lot to do with it.   And also the study of classical music until rather recently, like musicological study of classical music, really tended to be focused on the study of composers and their works, right? It was the textual that, like it, was an analysis of Beethoven Symphony or, you know, Bach Fugues, etcetera. Yeah. It was really focused on the study of the score, the study of the composer's ideas, as reflected in the score, I mean that was the centerpiece of musicological approach to classical music.  And so sort of more sociological anthropological study of the musical practice is a relatively new approach in in the field of musicology. I'm not a musicologist. So that's not how I'm trained. But I think the academic approach to classical music was not very, kind of, open to the kinds of topics that I raised in Musicians from a Different Shore.  00:53:12 Isabel Li  Definitely. I see. And my very final fun question for you is can you name three of your favorite classical music pieces for any recommendations you have for the audience who might be listening, who might be wondering what they will listen to next?  00:53:27 Mari Yoshihara  Well, OK well. Pieces well, because I wrote a book about Leonard Bernstein. I mean, I ended up– I wrote a book about Leonard Bernstein. Not necessarily because I was an avid fan of Bernstein. It just kind of happened this this project. But nonetheless of while I was doing research and writing the book I did listen to a lot of Bernstein. I and I have come to really love Bernstein music and so. And you know, of course, everybody knows West Side Story, but he actually wrote many other pieces that may not be as well known.   Well among the pieces that I like, I like…which one should I choose? I will choose. Ohh well, I'll choose a piece that I learned myself as a pianist.  I learned the piece called “Touches” that he wrote. It was a commission piece for the Van Cliburn International Piano Competition, and it's kind of yeah, it's a chorale and variation. So that's very interesting and very interesting and very Bernstein-esque so well.   I'll OK, as an American study scholar. I'll, I'll stick with American pieces. I like someone Barber a lot. I like Barber “Excursions,” which I also learned to play.  00:55:04 Isabel Li  Yeah.  00:55:09 Isabel Li  Tough question.  00:55:11 Mari Yoshihara  Umm, Mason Bates piece that I also learned, “White Lies For Lomax.” This one was also, I believe…was it commissioned by the Cliburn? But no, maybe it wasn't. Yeah, I think it was commissioned. But anyway, I played it at the Van Cliburn International– the amateur competition of the Cliburn competition.  I did all these. So like Bernstein, Bates, Amy Beach piece I also played. Yeah, I'll stop there. I I wish you had prepped me for that then [laughs]–  00:55:42 Isabel Li  Oh my gosh. Great responses.  00:55:46 Mari Yoshihara  Hard to think on the spot.  00:55:47 Isabel Li  Yeah, I totally get that. Whenever people ask me for my favorite composer, I never have an answer. No, so I totally get it.   Well, thank you so much for your time, Mari. And thank you for your wonderful insights. I'll put the link to your books so that people can learn about your works on APEX Express on kpfa.org. So thank you so much for your time, Mari.  00:56:07 Mari Yoshihara  Thank you.  00:56:09 Isabel Li  As mentioned, please check our website kpfa.org to find out more about Mari Yoshihara, her scholarship, and links to two of her books. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world. Your voices are important.  00:56:31 Isabel Li  APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, and Cheryl Truong. Tonight's show was produced by Isabel Li. Thanks to the team at KPFA  for their support. Have a great night.  [OUTRO MUSIC]  The post APEX Express – 09.04.2025 – Obbligato with Mari Yoshihara appeared first on KPFA.

Vistazo a la opa BBVA - Sabadell, a IAG y a Amadeus con Álvaro Blasco, de atl Capital.

"Reel Faith: Amadeus" (8-24-2025) - Rev. Mike Graves by Country Club Christian Church Sermons

BONUS: The Platform-as-Product Revolution: How to Turn Your Biggest Cost Center Into Your Secret Weapon With Alvaro Lorente In this BONUS episode we explore a topic that's creating a lot of discussion—and sometimes confusion—in the software community: Platform Teams vs DevOps. In this conversation, we dive into Alvaro Lorente's journey from delivery teams to platform leadership, exploring how to treat platforms as products, avoid common pitfalls, and build bridges between engineering and product leadership. The Evolution from DevOps Role to Platform Team "DevOps is a culture, not a role." Alvaro's journey into platform work began when he joined a company where the infrastructure team was left behind and struggling with traditional DevOps approaches. Initially, they had a single DevOps person who became a bottleneck rather than an enabler. This experience highlighted a fundamental misunderstanding that many organizations face—treating DevOps as a job title rather than a cultural shift toward collaboration and shared responsibility. The team experimented with a "DevOps buddy" approach, placing experienced individuals within each delivery team, before eventually consolidating into a dedicated platform team with the clear intention of treating it as a product-focused unit. Platform as a Product: A Scaling Strategy "Platform as a product is a scaling strategy. Look for common problems that you can then solve once, and serve many." The concept of treating platforms as products emerged from recognizing that feature delivery teams have continuity and ongoing needs that a platform team should serve. Rather than solving their own problems first, successful platform teams focus on making other teams' work easier and more comfortable while managing costs effectively. This approach requires identifying common problems across multiple teams and creating solutions that can be implemented once but serve many. The key insight is that platform teams exist to facilitate the delivery of value in a scalable way for other teams, not to pursue their own technical interests. Understanding Your Customer and Validating Value "I want to see platform team members talking to their customers. Understand their pains, and what they struggle with." Effective platform teams operate like any other product team by actively listening to their customer-teams rather than pushing ideas onto them. This means platform team members should regularly engage with their internal customers to understand pain points and struggles. Success requires defining clear KPIs for the platform and focusing on the quality of deliverables including release notes, demos, bug fixing processes, and feature prioritization. The validation comes from observing whether teams willingly adopt platform features rather than being mandated to use them. Building Bridges with Product Leadership "Focus on the key impact and value that the platform team can bring to the company." Making the case for investing product talent in platform teams requires demonstrating concrete business value. This includes quantifying how many incidents are being resolved faster or prevented entirely, and highlighting the money saved through internal platform development versus external solutions. Platform work offers excellent growth opportunities for Product Owners, serving as a training ground for product thinking and stakeholder management. The focus should always be on measurable impact rather than technical complexity. Avoiding Common Platform Team Traps "Don't just start working on what you think is important! Start with the Product process, listen to the client-teams, and help them directly." When standing up a platform team, several critical mistakes can derail success. The most important trap to avoid is immediately diving into what the platform team thinks is important without first understanding customer needs. Platform teams should resist delivery pressure that might compromise quality and never mandate adoption of their features—teams should want to use what the platform provides. Treating the platform as a genuine product with quality standards is essential, and leaders should view the creation of a platform team as the beginning of a change management process rather than just a technical reorganization. Resources and Continuous Learning "One size does NOT fit all!" For teams looking to improve their platform work, Alvaro recommends Camille Fournier's work on platform teams and resources focused on "The value of product thinking in platform teams." The key is to get experiments running within your team and recognize that there's no universal solution—each organization must find its own path based on its unique context and needs. About Alvaro Lorente Currently Director of Engineering at Voxel (an Amadeus company), Alvaro is a software engineer who has grown in the people leadership path, experimenting with everything from product development to startups and open source projects. He embraces the idea of being a jack of all trades, helping wherever needed to drive value and impact. You can connect with Alvaro Lorente on LinkedIn and follow his insights through his Substack newsletter titled Leads Horizons.

Send us a textSPECIAL NOTE: SEASON 15 OF THE GOOD, THE POD AND THE UGLY CELEBRATES THE USE OF THE PRACTICAL AND DIGITAL EFFECT KNOWN AS THE SQUIB. IRL GUN VIOLENCE IS INTOLERABLE AND RENOUNCED BUT... CINEMATIC VIOLENCE WILL BE CELEBRATED IN A WAY WHICH WILL DISTURB SOME LISTENERS.  TGTPTU returns to its regularly scheduled Squib Games (S15) with the earlier of its latest temporal pincer movement pairing, TO LIVE AND DIE IN LA (1985).  Directed by William Friedkin, this is another Big Willie movie but not a Wyler: the second William has the credited surname of Peterson and this is his first film. William Peterson was so new to film acting that he called his fellow Chicagoan thespian buddy John Malkovich to see what he should quote as his asking price to play the lead character of Richard Chance, a thrill-seeking Secret Service agent who'll lose his partner only days from retirement (red-shirted partner's, not Chance's) and will get a new partner in John Pankow's Agent John Vukovich to pervert in his (Chance's) vengeful pursuit of a counterfeiter played by Willem Dafoe. (Next year Peterson would play another officer of the law in Manhunter as covered during TGTPTU's Mann Aged Season {S5,E5}; as an EPISODE CORRECTION Pankow did not portray Wolfgang Amadeus Mozart in Miloš Forman's film Amadeus but had done so at the Broadhurst Theatre, replacing Tim Curry.)  Because it's a Friedkin flick, there's an epic car chase meant to top The French Connection; because it's shot from a Friedkin script (adapted from a novel by former Secret Service agent Gerald Petievich, who receives a cowriting credit), there was a lot of improvisation on set driven by the actors, with both the ending and opening scenes re/written during shooting. Mentioning actors, the film is stacked with supporting roles by Dean Stockwell, John Turturro (who'll get more mention later in Season 15), and the Michael Mann-created film noir for television Crime Story's very own Darlanne Fluegel (listen back to S5,E6 for insights on this TV series).   TGTPTU hosts become split on the merits of the film. Thomas describes the movie as The Friends of Eddie Coyle (1973) on neon cocaine, but—no spoilers—you'll have to listen to the ep for whether he believes this is a good thing. Also, Jack lets out the three-legged dog and Ryan, while finding it impossible to resist singing the title, has issue with William Pederson. Ken convinces everyone to Wang Chung tonight.  THEME SONG BY: WEIRD A.I.Email: thegoodthepodandtheugly@gmail.comFacebook: https://m.facebook.com/TGTPTUInstagram: https://instagram.com/thegoodthepodandtheugly?igshid=um92md09kjg0Bluesky: @goodpodugly.bsky.socialYouTube: https://www.youtube.com/channel/UC6mI2plrgJu-TB95bbJCW-gLetterboxd (follow us!):Podcast: goodpoduglyKen: Ken KoralRyan: Ryan Tobias

Winner of eight Academy Awards including Best Picture, Miloš Forman's masterpiece tells the story of Mozart through the envious eyes of his rival Salieri. But how did a Czech director come to make a classic Viennese tale? And what's the real story behind "too many notes"?Join John, Westy, and Matt as they dive deep into the making of a theatrical triumph turned cinematic classic. From Peter Shaffer adapting his own stage play to Tom Hulce's rock-and-roll approach to playing Mozart (yes, really), we explore how Forman transformed a Broadway hit into one of cinema's great achievements.We uncover the fascinating production history, including the painstaking recreation of 18th-century Vienna, the decision to film in Prague during the Cold War, and which Hollywood legends (plus a Rolling Stone) were originally considered for the lead roles. Plus, discover how F. Murray Abraham's performance as Salieri became the perfect embodiment of jealousy and genius, and why this film makes you simultaneously want to compose a symphony and maybe poison your neighbour (we don't recommend the latter).This is the story of how one of history's greatest composers became the subject of one of cinema's greatest films—told the way only All The Right Movies can tell it.Telling the story of Hollywood, one movie at a time.Connect with ATRM: To support what we do, access our archive and listen to exclusive episodes, become an ATRM patron:Listen on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Listen on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Listen on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter/X: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@ATRightMovies⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Subscribe to our channel⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@allthe_rightmovies ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@allthe_rightmovies⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Join our movie group⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Bluesky: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@alltherightmovies.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@alltherightmovies⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠alltherightmovies.com⁠⁠⁠⁠

GATEWAY CINEMA is a multi-part series of conversations centered on key ideas in film studies. In these conversations, we interpret and celebrate a set of eclectic feature films from across generations and from around the world, including “La Haine”, “Drum”, “Alien 3 (Assembly Cut)”, “Come and See”, “Perfect Days”, “Sweet Smell of Success”, “The Swimmer”, “Amadeus (Director's Cut)”, “Bring Me the Head of Alfredo Garcia”, “Friday”, “Marie Antoinette”, “The Night of the Hunter”, “Crank” and “Crank 2: High Voltage”, “Portrait of a Lady Fire”, “The Fabulous Baron Munchausen”, “Joker: Folie a Deux”, “Welcome to the Dollhouse”, “Heathers”, and “The Death of Stalin”.***Referenced media in GATEWAY CINEMA, Episode 8:"Alien 3 (Assembly Cut)” (David Fincher, 1992/2003)“Indiana Jones and the Temple of Doom” (Steven Spielberg, 1984)“Ghostbusters” (Ivan Reitman, 1984)“Gremlins” (Joe Dante, 1984)“The Karate Kid” (John G. Avildsen)“Purple Rain” (Albert Magnoli, 1984)“Silver Spoons” (Martin Cohan, Howard Leeds, and Ben Starr, 1982-1987)“Red Dawn” (John Milius, 1984)“Stop Making Sense” (Jonathan Demme, 1984)“The Terminator” (James Cameron, 1984)“At the Movies” (Gene Siskel and Roger Ebert, 1982-1986)“Conan the Barbarian” (John Milius, 1982)“Body Double” (Brian De Palma, 1984)“The Killing Fields” (Roland Joffé, 1984)“A Nightmare on Elm Street” (Wes Craven, 1984)“Beverly Hills Cop” (Martin Brest, 1984)“Dune” (David Lynch, 1984)“The Cotton Club” (Francis Ford Coppola, 1984)“The Cotton Club: Encore” (Francis Ford Coppola, 2017)“Starman” (John Carpenter, 1984)“E.T.” (Steven Spielberg, 1982)“The Thing” (John Carpenter, 1982)“Come and See” (Elen Klimov, 1985)“Star Wars” (George Lucas, 1977)“Time Bandits” (Terry Gilliam, 1981)“The Smurfs and the Magic Flute” (José Dutillieu, 1975)“Style Wars” (Tony Silver, 1983)“Mary Poppins” (Robert Stevenson, 1964)Audio quotation in GATEWAY CINEMA, Episode 8:“Amadeus (Director's Cut)” (Miloš Forman, 1984/2002), including “Piano Concerto In E Flat, K. 482; 3rd Movement” (1785), “Die Entfuhrung Aus Dem Serail: Finale” (1781), “Symphony 29 in A Major, 1st Movement” (1774), https://www.youtube.com/playlist?list=PLq6-EneBMiNHmdqqE_5TmkJ9neViFMvTL“Rock Me Amadeus” by Falco (1985), https://www.youtube.com/watch?v=cVikZ8Oe_XA&list=RDcVikZ8Oe_XA&start_radio=1“Purple Rain” (Albert Magnoli, 1984)“Come and See” (Elem Klimov, 1985), including “Requiem in D minor, K. 626: Sequentia, Lacrimosa” by Wolfgang Amadeus Mozart (1791)

In this multi-part series, we've focused on just one movie to explore a key idea in film studies. But this one choice means we've left out multitudes. Here is the larger set of also-rans we wrestled with before finally choosing “Amadeus (Director's Cut)”.***Referenced media in GATEWAY CINEMA, Episode 8A:“Born to Kill” (Robert Wise, 1947)“Dillinger” (Max Nosseck, 1945)“Reservoir Dogs” (Quentin Tarantino, 1992)“The Devil Thumbs a Ride” (Felix E. Feist, 1947)“Withnail and I” (Bruce Robinson, 1987)“Mean Streets” (Martin Scorsese, 1973)“The Babadook” (Jennifer Kent, 2014)Audio quotation in GATEWAY CINEMA, Episode 8A:“Vintage Movie Projector | Sound Effect | Feel The Past Film Industry” by n Beats, https://www.youtube.com/watch?v=JhUICp5XeJ4“Film Clapperboard Green Screen Effect With Sound” by Jacob Anderson, https://www.youtube.com/watch?v=P1sEiCa-yic“Slide projector changing with clicks” by (Soundsnap), https://www.soundsnap.com/tags/slide_projector?page=2

Que ce soit en France, au Japon, aux États-Unis... partout autour du globe, la question du métissage suscite le débat, voire déchaine les passions. Pourtant, nos sociétés sont de plus en plus cosmopolites. Au Brésil, par exemple, la population métisse est devenue majoritaire, selon les chiffres du dernier recensement publié en 2022. Quant au Québec, 5% des nouveau-nés avaient un parent natif du Canada et l'autre de l'étranger en 1980 ; cette statistique est passée à 12% en 2023, selon le bilan démographique du Québec. Avoir des origines multiples n'a donc plus rien d'exceptionnel, mais l'identité, l'appartenance n'en sont pas moins des sujets d'actualité. À la fois pour ceux qui demandent « tu viens d'où ? » et pour ceux à qui s'adresse la question. Le besoin de mettre son interlocuteur dans une case semble encore bien présent. Mais pourquoi s'intéresser aux origines de son voisin ? Par curiosité, pour comprendre la différence ou pour l'exclure ? Et comment vivre ses identités multiples quand on est métis ? Cette émission est une rediffusion du 7 avril 2025. Avec Maïka Sondarjee, professeure en Développement international et Mondialisation à l'Université d'Ottawa au Canada. Autrice de Tu viens d'où – réflexions sur le métissage et les frontières ? (Éditions Lux, 2025). En fin d'émission, ♦ un nouvel épisode de notre série Le succès des repats réalisée par Charlie Dupiot. Aujourd'hui, le portrait de Tisya Mukuna, le café à la mode kinoise. Ils et elles sont originaires d'Afrique centrale et ont décidé de rentrer chez eux... C'est le moment du « Succès des Repats » ! Tisya Mukuna 32 ans, est née à Kinshasa. Elle a suivi l'essentiel de sa scolarité en France, entre la Normandie et Paris où elle a fait une école de commerce. Après un master en négociation des affaires en Chine, à Shanghai, elle a travaillé chez Microsoft, pour des agences de publicité ou encore une succursale de magasin bio. Il y a six ans, Tysia Mukuna décide de rentrer en République démocratique du Congo pour lancer sa marque de café, « La Kinoise ». Notre reporter Charlie Dupiot l'a rencontrée chez elle à l'automne 2024, dans son appartement de Kinshasa. ♦ un reportage de Tom Malki qui s'est rendu à l'exposition Game Story à Versailles en banlieue parisienne. L'exposition retrace 70 ans d'histoire du jeu vidéo. Une plongée dans l'histoire du jeu vidéo. L'exposition Game Story qui se tient jusqu'au 16 avril à Versailles, à l'ouest de Paris, vous propose de découvrir la plus grande collection de jeux vidéo et de consoles d'Europe et d'y jouer ! De quoi ravir les enfants, mais aussi les plus nostalgiques. Reportage de Tom Malki. Programmation musicale : ► Jëli – Amadeus feat. Waly B. Seck ► Ils me rient tous au nez – Theodora.

Que ce soit en France, au Japon, aux États-Unis... partout autour du globe, la question du métissage suscite le débat, voire déchaine les passions. Pourtant, nos sociétés sont de plus en plus cosmopolites. Au Brésil, par exemple, la population métisse est devenue majoritaire, selon les chiffres du dernier recensement publié en 2022. Quant au Québec, 5% des nouveau-nés avaient un parent natif du Canada et l'autre de l'étranger en 1980 ; cette statistique est passée à 12% en 2023, selon le bilan démographique du Québec. Avoir des origines multiples n'a donc plus rien d'exceptionnel, mais l'identité, l'appartenance n'en sont pas moins des sujets d'actualité. À la fois pour ceux qui demandent « tu viens d'où ? » et pour ceux à qui s'adresse la question. Le besoin de mettre son interlocuteur dans une case semble encore bien présent. Mais pourquoi s'intéresser aux origines de son voisin ? Par curiosité, pour comprendre la différence ou pour l'exclure ? Et comment vivre ses identités multiples quand on est métis ? Cette émission est une rediffusion du 7 avril 2025. Avec Maïka Sondarjee, professeure en Développement international et Mondialisation à l'Université d'Ottawa au Canada. Autrice de Tu viens d'où – réflexions sur le métissage et les frontières ? (Éditions Lux, 2025). En fin d'émission, ♦ un nouvel épisode de notre série Le succès des repats réalisée par Charlie Dupiot. Aujourd'hui, le portrait de Tisya Mukuna, le café à la mode kinoise. Ils et elles sont originaires d'Afrique centrale et ont décidé de rentrer chez eux... C'est le moment du « Succès des Repats » ! Tisya Mukuna 32 ans, est née à Kinshasa. Elle a suivi l'essentiel de sa scolarité en France, entre la Normandie et Paris où elle a fait une école de commerce. Après un master en négociation des affaires en Chine, à Shanghai, elle a travaillé chez Microsoft, pour des agences de publicité ou encore une succursale de magasin bio. Il y a six ans, Tysia Mukuna décide de rentrer en République démocratique du Congo pour lancer sa marque de café, « La Kinoise ». Notre reporter Charlie Dupiot l'a rencontrée chez elle à l'automne 2024, dans son appartement de Kinshasa. ♦ un reportage de Tom Malki qui s'est rendu à l'exposition Game Story à Versailles en banlieue parisienne. L'exposition retrace 70 ans d'histoire du jeu vidéo. Une plongée dans l'histoire du jeu vidéo. L'exposition Game Story qui se tient jusqu'au 16 avril à Versailles, à l'ouest de Paris, vous propose de découvrir la plus grande collection de jeux vidéo et de consoles d'Europe et d'y jouer ! De quoi ravir les enfants, mais aussi les plus nostalgiques. Reportage de Tom Malki. Programmation musicale : ► Jëli – Amadeus feat. Waly B. Seck ► Ils me rient tous au nez – Theodora.

Today, I'm thrilled to announce my interview with Oscar nominee Mary Elizabeth Mastrantonio. Tune in to hear some of the stories of her legendary career, including her unconventional path to WEST SIDE STORY, how THE HUMAN COMEDY fulfilled a childhood dream, what Brian De Palma taught her during SCARFACE, the thrill of singing SUNDAY IN THE PARK WITH GEORGE, how AMADEUS inspired her to take acting lessons, why Aldonza in MAN OF LA MANCHA is a thankless role, dancing for Jerome Robbins, how THE MARRIAGE OF FIGARO changed courses in rehearsal, why THE KNIFE was ahead of its time, her relationship with Joseph Papp, how she almost starred in KISS ME, KATE, the extended rehearsal process for THE COLOR OF MONEY, how theater is different in London, balancing jet lag with LAW AND ORDER, how Roger Rees led the company of THE WINSLOW BOY, and so much more. Don't miss this candid conversation with a star of stage and screen.

Is Amadeus really about Mozart—or Satan's fall from grace? Kathryn Laffrey and Alix Murray break down genius, envy, and divine music in the 1984 film. A chilling study of pride and the sacred. The post Amadeus (1984) appeared first on StarQuest Media.

Merriam-Webster's Word of the Day for August 5, 2025 is: contentious • kun-TEN-shuss • adjective Contentious describes something that is likely to cause people to argue or disagree or that involves a lot of arguing. When used of a person, contentious describes someone likely or willing to argue. // I think it's wise to avoid such a contentious topic at a dinner party. // After a contentious debate, members of the committee finally voted to approve the funding. // The dispute involves one of the region's most contentious leaders. See the entry > Examples: “Next up will be Peter Shaffer's ‘Amadeus,' which opened in 1979 and won the Tony for best play in 1981 with Ian McKellen winning lead actor honors. ... The story is a fictional account of the contentious relationship between Wolfgang Amadeus Mozart and his rival, Antonio Salieri, the court composer of the Austrian emperor.” — Jessica Gelt, The Los Angeles Times, 12 June 2025 Did you know? If everyone has a bone to pick now and then, contentious types have entire skeletons. While English has plenty of words for people prone to fighting—combative and belligerent among them—contentious implies a fondness for arguing that others find particularly tedious or wearying. Thankfully, even the most contentious cranks and crabs among us have no cause to quibble over the history of the word contentious, as its origins are very clear: contentious comes (by way of Middle French) from the Latin adjective contentiōsus, meaning “persistent, obstinate, argumentative, or quarrelsome.”

Amadeus expects its new partnership with Google Flights and Google Cloud to enhance its airline business by integrating advanced AI tools into its Nevio platform, following a previously failed alliance with ITA Software. Skift Research's latest U.S. Traveler Trends report shows a surge in American travel, with AI tools like ChatGPT playing a growing role in how people plan and book trips, while direct bookings decline and OTAs rebound. Meanwhile, Booking Holdings reports strong ad performance on Google and a 25% year-over-year increase in social media marketing spend, signaling a shift in digital travel advertising strategy. Don't Count Out Google Travel Search – Booking.com Still Sees Gains Amadeus and Google Join Forces — Again — To Bolster Flights Business U.S. Traveler Trends 2025: More Social Media and AI, a Rebound for Online Travel Agencies Connect with Skift LinkedIn: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.linkedin.com/company/skift/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ WhatsApp: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://whatsapp.com/channel/0029VaAL375LikgIXmNPYQ0L/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Facebook: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://facebook.com/skiftnews⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/skiftnews/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.threads.net/@skiftnews⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Bluesky: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://bsky.app/profile/skiftnews.bsky.social⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ X: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/skift⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Subscribe to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@SkiftNews⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and never miss an update from the travel industry.

Tonight... On the North American Friends Movie Club.A flawed genius.A jealous rival.And the biggest wigs and hats a human skeleton can sustain.We watched the 1984 period biographical drama film - AmadeusSo slip on a pair of shoes with one big buckle. And take your revenge against a cruel and uncaring god.Because we're the Mozarts of podcasts and our new song starts right now. Hosted on Acast. See acast.com/privacy for more information.

Schwarze Fräcke auf der Bühne - und ergraute Köpfe im Parkett? Wird in klassischen Konzerten irgendwann niemand mehr husten, weil sich zum älteren Publikum kein jüngeres hinzugesellt und es dann irgendwann leer wird im Konzertsaal? Das wäre schade um so viele atemberaubende, anrührende und mitreißende Melodien. Und es wäre schade um viele Generationen, die dann von diesen Meisterwerken nichts mehr mitbekämen. Ein brillantes Orchester kann brillante Musik - so alt sie auch sein mag - in jedem Augenblick spielend wieder auferstehen lassen. Und die Klänge dieser Musik können ihr Publikum mit derselben Frische erreichen, mit der sie einst komponiert wurden. Die Musik ist so lebendig wie die Menschen, die sie spielen, voller Leidenschaft, Liebe, Wut oder Trauer. Aber wie kann ihr Götterfunke überspringen, gerade auch auf junge Leute? Was lockt Menschen „back to Bach“? Wie funktioniert Tschaikowski auf TikTok? Und kann Amadeus auch heute noch rocken? Hören wir dazu den jungen Pianisten Louis Philippson, den Intendanten des Rheingau-Musikfestivals Michael Herrmann, den Dramaturgen des hr-Sinfonieorchester Andreas Maul und Tobias Kämmerer, Moderator der Spotlight-Konzerte des hr-Sinfonieorchesters. Podcast-Tipp, heute mal für die ganz jungen und Jung-Gebliebenen unter Ihnen: Das Geheimnis - Musikalische Rätsel und Krimis zum Mitraten Rätselkrimis für Kinder: Welche unbekannte Macht hat die Zauberflöte gestohlen? Wozu braucht ein Werwolf die Mondscheinsonate? Und wo kommt eigentlich diese gruselige Stimme her? Bei uns wird jede Woche ein neuer, spannender Rätselfall gelöst. Musik spielt immer eine Rolle. Und das Beste ist: Ihr könnt bei allen geheimnisvollen Abenteuern mitraten. https://www.ardaudiothek.de/sendung/das-geheimnis-musikalische-raetsel-und-krimis-zum-mitraten/urn:ard:show:2f55dd7fdf9023b3/

In the 1980's seeing the Orion Pictures logo before a movie meant you were about to watch a quality film. Oscar winners like "Amadeus" and "Platoon" were joined by genre defining movies like "Robocop" and "Terminator" in the Orion Pictures family. The problem was that many of these movies were not making any money, and very soon Orion Pictures was doomed to bankruptcy.Join Ty and RD as they look back and discuss the past, and new future, for Orion Pictures.Download the podcast for free.

In this episode, Wedding chaos erupts as Any reveals secrets to her family, Greg faces scheduling issues, Juan surprises Jess with demands, Sarper disappears (but is immediately found in the Valley by Miles), Mina receives shocking news during Shawn and Alliya's disrupted day and much more!If you like the showConsider supporting usClick the links below!Join our livestreams on Twitchhttps://www.twitch.tv/420dayfianceJoin our Discord serverhttps://discord.gg/pr6wE9sK64Gain access to The Vault and morehttps://open.acast.com/public/patreon/fanSubscribe/6354533Buy our merch!https://www.420dayfiance.com/merch Hosted on Acast. See acast.com/privacy for more information.

Today, I'm thrilled to announce my episode with Broadway veteran Sally Murphy, who will recreate her role as Julie Jordan in Carousel my next Backstage Babble Live! concert on Monday, July 7 at 7 PM. In-person and livestream tickets are available here: https://54below.org/events/charles-kirschs-backstage-babble-live-4/ Tune in to hear some of the stories of her legendary career, including observing the audience reaction at AUGUST: OSAGE COUNTY, a fateful audition for ASSASSINS, how Nicholas Hytner guided her during CAROUSEL, performing without speaking in THE WILD PARTY, keeping up THE MINUTES during the pandemic, working with Sheldon Harnick and Jerry Bock on FIDDLER ON THE ROOF, backstage games during A MAN OF NO IMPORTANCE, her upcoming role in AMADEUS, the challenges of starring in LINDA VISTA, being mentored by Lois Smith during THE GRAPES OF WRATH and beyond, telling a true story in BRUTAL IMAGINATION, and so much more. Don't miss this expansive conversation with one of Broadway's best actresses.

Mark O'Connell returns to Casual Space to discuss one of the most extraordinary scientific collaborations in human history: the 1957 International Geophysical Year. With his signature wit and storytelling style, Mark takes us on the journey behind his NEW book, The Year Science Changed Everything, revealing how 6,000 scientists from 66 nations put aside political differences to study Earth's greatest mysteries—from the depths of the ocean to the edge of space. Beth and Mark explore the ripple effects of this global effort, including the formation of the Antarctic Treaty, the surprising roots of the Artemis Accords, and what IGY can teach us about tackling today's climate crisis. You'll hear how a Steely Dan song sparked Mark's decades-long curiosity, how scientific rivalries shaped history, and yes—even how a penguin nap could put you in violation of an international agreement. It's part history lesson, part love letter to science, and all kinds of fun. You'll also get a behind-the-scenes look at Mark's next creative project: a comedy script about astronomers Johannes Kepler and Tycho Brahe—think Amadeus meets Knives Out, with a golden nose and planetary motion thrown in.     About Mark O'Connell Mark O'Connell is the author of The Year Science Changed Everything: 1957's International Geophysical Year and the Future of Our Planet, published by Prometheus Books. He also wrote The Close Encounters Man, a biography of astronomer and UFO researcher J. Allen Hynek. In addition to writing books, Mark is a seasoned screenwriter with credits on Star Trek: The Next Generation and Deep Space Nine, and he teaches screenwriting at DePaul University in Chicago.