Podcasts about BM

Yeni İnsani Mutabakat, küresel insani yardım mimarisinde operasyonel verimlilik vaat etmektedir; ancak mevcut haliyle yapısal dönüşüm için gerekli yerelleşme, erişim ve koruma odaklı yaklaşımları ihmal etmektedir. Yazan: Dr. Selman Salim Kesgin  Seslendiren: Halil İbrahim Ciğer

İran'a yönelik BM yaptırımları yaklaşık 10 yıl aradan sonra yeniden devreye girdi. Can Holding soruşturması kapsamında Yönetim Kurulu Başkanı Kemal Can tutuklandı, Turgay Ciner hakkında yakalama kararı çıkarıldı.Bu bölüm AstraZeneca Türkiye hakkında reklam içermektedir. AstraZeneca Türkiye, “Kalpten Kalbe Hikâyeler” ile erken teşhisin önemine dikkat çekiyor. “Kalpten Kalbe Hikâyeler” videosunu buradan izleyebilirsiniz.

İşaret dili olmazsa olmaz! #DünyaHali

Avrupa devletleriyle nükleer müzakerelerde yapılan teklifleri “hakaret” olarak gören İran'a karşı BM yaptırımları yeniden devreye sokuldu. İranlı komutanlar hazırlık seviyelerini ele aldı. İsrail'le yeni bir savaş ihtimali arttı mı? İran ekonomisi nasıl etkilendi? Anadolu Ajansı Tahran Muhabiri Ahmet Dursun anlatıyor.

Geçen hafta BM'de üye ülkelerin bir araya geldiği ve dünyada sorunların konuşulduğu önemli bir hafta oldu. BM bir yandan, küresel sorunların, çatışmaların, iklim değişikliğinin, insan hakları gibi konuların gündeme getirildiği bir alan olurken diğer yandan BM'nin sorunları çözememesi ve aktif rol oynamaması nedeniyle ağır eleştirilerin yükseldiği bir platform oldu.

İtiraf etmeliyim ki, BM'nin kuruluşunun 80. sene-i devriyesi için yapılan toplantı, orada yapılan konuşmalar ve bunun hemen akabinde Beyaz Saray'da tertip edilen; Trump ve Erdoğan'ın başkanlık ettiği müzâkereler bu yazının ikinci bölümü için tasarladığı değerlendirmeleri yeniden şekillendirdi.

İşaret dili olmazsa olmaz! #DünyaHali

Başlıktaki cümle BM kürsüsünde, Kolombiya Devlet Başkanı Gustavo Petro tarafından kuruldu. Tıpkı Cumhurbaşkanımız Tayyip Erdoğan'ın konuşması gibi Petro da tarihi önemde bir konuşma yaptı. Petro konuşmasında ayrıca şunu da söyledi: “Üstün ırk diye bir şey yoktur. Tanrının seçilmiş halkı diye bir şey yoktur. Bu ne ABD'dir ne İsrail'dir. Tanrının seçilmiş halkı tüm insanlıktır.”

BM'de sonuçlarını merak ettiğim üç toplantı vardı. Bir. ABD Başkanı Trump'ın “en önemli görüşmem” dediği, aralarında Cumhurbaşkanı Erdoğan'ın da olduğu Müslüman liderlerle Gazze zirvesi. İki. Erdoğan-Trump görüşmesi. Üç. Daha önce 25 Eylül'de yapılacağı açıklanan, daha sonra 29 Eylül'e kaldığı söylenen, Suriye-İsrail sınır güvenliği görüşmelerinin yapılacağı ABD himayesindeki zirve.

Tramp bir saatlik konuşmasında her zamanki gibi ABD'nin iç meselelerinden bahsetti. Önceki başkanı kötüledi. BM'de boş lâflar duyduğunu söyledi. Gazze'yi de unutmadı. Barıştan yana olduğunu belirtti fakat hemen ardından “Filistin'i tanımak Hamas'a ödüldür” dedi. Bir şey daha öğrendik onun sözlerinden. “Dünyada en çok yargılanan din Hristiyanlık” imiş. Yargılayan mı demek istedi, sormak gerekir.

Birleşmiş Milletler Genel Kurulu'na hitap eden ABD Başkanı Donald Trump'ın dünyayı şoke ettiğini söyleyebiliriz. Diğer ülkelerin göç nedeniyle "cehenneme gideceğini" ima ettikten sonra bilimsel verileri inkâr ederek iklim değişikliğini bir kurmaca olarak niteledi. Sonra da BM'nin savaşları sona erdirmek için yeterli çaba göstermediğini söyledi.

Enerji Günlüğü Haber Bülteni:Türkiye'nin ve Dünyanın Enerji Gündemienerjigunlugu.net

Birleşmiş Milletlerde (BM) var olan trafiğe bakıldığında konuşulacak çok şey olduğu söylenebilir. Filistin'in tanınması konusunda özellikle Fransa ve İngiltere'nin ortaya koyduğu tavır BM nezdinde en fazla tartışılan hususlardan biri. Henüz, İsrail soykırımını durdurma noktasında herhangi bir somut faydası söz konusu olmasa da tanınma yolunda atılan adımlar, İsrail'in izolasyonu anlamında sembolik bir öneme sahip.

Dünya liderleri New York'ta bir araya gelirken Birleşmiş Milletler Genel Kurulu'nda bu haftanın temel temaları olarak barış, iklim, sorumlu inovasyon, toplumsal cinsiyet eşitliği, kalkınma finansmanı ve BM reformu öne çıkıyor.

22 faili meçhul cinayeti kapsayan Uğur Davası'nın 13. duruşmasında Mehmet Ağar ilk kez tanık olarak dinlendi. BM Genel Kurulu öncesi konuşan Guterres, BM ilkelerinin hiç olmadığı kadar saldırı altında olduğunu söyledi.Bu bölüm Anisah Coffee hakkında reklam içermektedir. Anisah Coffee, abartıdan ve gösterişten uzak, mütevazı bir anlayışla gerçek kahveyi ulaşılabilir hale getiriyor. Filtreden kafeinsiz kahveye, Türk kahvesinden Espresso'ya özenle seçilen ve titizlikle kavrulan kahveler Anisah Coffee'de sizi bekliyor. Üstelik, Eylül ayı boyunca %12 indirimle. Ayrıntılı bilgiye buradan ulaşabilirsiniz.

BM Antlaşması'nın dünya siyasetiyle daha uyumlu hale gelmesi, Güvenlik Konseyi'nin veto gücünün sınırlandırılmasını ve Genel Kurul'un güçlendirilerek hukuku uygulama ve tüm devletlerin suçlara karşı yetkiyle donatılmasını gerektiriyor. Yazan: Richard FalkSeslendiren: Halil İbrahim Ciğer

Takeaways The transition from performing can lead to an identity crisis.It's important to rediscover who you are outside of performance.Community support is crucial for artists during transitions.Reinvention is not betrayal; it's an expansion of self.Connecting with nature can help ground and inspire creativity.Surround yourself with people who reflect your true essence.Journaling can be a powerful tool for self-discovery.Embrace new roles outside of your artistic lane.It's okay to feel lost; give yourself time to adjust.Your offstage life can be just as fulfilling as your onstage life.   Host Bri Cooper What's up! https://linktr.ee/harbourfortheartsEmail: 728productions@gmail.com Thanks to our partners at THRIVE MARKET! Join today and get 30% off your first order as well as a gift up to $60. Visit www.thrivemarket.com/bricoopermezzo Instagram Harbour for the Arts Instagram Bri Cooper, Mezzo Soprano, MBA, BM (@bricooper.mezzosoprano) • Instagram photos and videos Spotify Playlists Harbour for the Arts Tik Tok Bri Cooper Mezzo Soprano SHOPPING Shop my merch!Merch Need a part-time job! Try Reflex app for retail assignments; use my referral code bcooper621 https://workreflex.com/?code=BCOOPER621 Use my Rakuten Code

ABD'nin 1990'ların sonunda olduğu gibi 2023 yılı itibarıyla sadece uluslararası örgütlerden ve BM ihtisas kurumlarından ayrılmakla kalmayıp aynı zamanda ABD'yi BM'den tamamen çıkarmak yönünde adımlar atmak için harekete geçtiğini görüyoruz. Yazan: Prof. Dr. Aylin Ünver Noi  Seslendiren: Halil İbrahim Ciğer

140'tan fazla ülkenin devlet ve hükümet başkanı New York'taki Birleşmiş Milletler Genel Merkezi'nde, BM Genel Kurulu haftası için bir araya geliyor. Bu yıl BM'nin 80 yılı olması ve gündemdeki konular başta da Gazze'deki soykırım nedeniyle BM'de yoğun bir gündem var.

İsrail'in saldırıları Gazze'yi cehenneme çevirmişken, Birleşmiş Milletler Genel Kurulu toplantıları için geri sayım başladı. İsrail'in Gazze'yi enkaza, Gazzelileri de açlığa mahkum etmesine tepki gösteren bazı Batılı ülkeler, Filistin Devleti'ni resmen tanımak için harekete geçiyor. Halihazırda BM'ye üye 193 ülkeden 146'sı Filistin'i bağımsız bir devlet olarak resmen tanıyor. Bunlara dünyanın en zengin yedi ülkesi; Amerika, Kanada, İngiltere, Fransa, Almanya, İtalya ve Japonya dahil değil. Ancak gelecek hafta Fransa bu gruptan çıkarak Filistin'i tanıyan ülkeler arasına katılacak. Fransa Cumhurbaşkanı Macron artık aleni şekilde Tel Aviv'i eleştiriyor. İngiltere de Filistin'i "tanıma" kararı almak üzere. Avrupa Birliği ise ticaret anlaşmasını askıya almaya hazırlanıyor. Sadece siyasi ve ekonomik değil, İsrail sanat ve spor arenasında da yalnızlaşıyor. İspanya bu alanda girişimleriyle dikkat çekiyor. İspanya önce İsrail'in men edilmemesi nedeniyle Eurovizyon şarkı yarışmasına katılmayacağını açıkladı. Ardından “2026 Dünya Kupası'na İsrail gelirse biz yokuz” dedi. Artık birçok ülke İsrail'e karşı ses yükseltiyor. Ekonomi, diplomasi, sanat ve spor alanlarında Tel Aviv'in yalnızlaştırılması, Gazze'deki katliamları durdurabilecek mi? Filistin'in tanınması neden önemli? Kayıttayız'da bu sorulara yanıt arandı.

Mahkemelerin kararlarını bina edeceği güvenilir delillerin başında BM raporları gelmektedir. Bu anlamda UAD ve UCM'nin bu rapora rağmen soykırım neticesine varmaması mahkemelerin kararlarını tartışmaya açacaktır. Yazan: Doç. Dr. Ali Osman Karaoğlu  Seslendiren: Halil İbrahim Ciğer

Episodio 716 de Contralínea En Vivo conducido por Anahí Del Ángel y Aníbal García: -Deudas ilegítimas en el Sur Global, y la responsabilidad del FMI, el BM y el G7- Transmisión 23 de octubre de 2024 CONTRALÍNEA EN VIVO se transmite de lunes a viernes a partir de las 10:00hrs (hora del centro de México) a través de Facebook live, YouTube y Telegram. La MESA DE ECONOMÍA POLÍTICA se trasmite todos los lunes a partir de las 14:00hrs. Nuestro programa de análisis, AMÉRICA INSUMISA, se trasmite los martes a partir de las 14hrs. AGENDA DE SEGURIDAD NACIONAL es los miércoles a partir de las 14:00hrs Estamos en Facebook, YouTube, Twitter, TikTok, Instagram, Whatsapp y Telegram como Contralínea. Escúchanos en Spotify, Apple Podcast e Ivoox como Contralínea Audio.

Takeaways Transitioning into other interests is okay.The decision between personal life and career is crucial.Leaving performing arts doesn't mean abandoning artistry.Your skills as a performer are transferable to other careers.Presence and public speaking are key skills for any field.Collaboration and adaptability are essential in new roles.Emotional intelligence is a valuable asset.Creative problem-solving is a vital skill.Facing fear with faith can lead to new opportunities.Reflecting on your skills can help in career transitions.   Host Bri Cooper Email: 728productions@gmail.com Thanks to our partners at THRIVE MARKET! Join today and get 30% off your first order as well as a gift up to $60. Visit www.thrivemarket.com/bricoopermezzo Instagram Harbour for the Arts Instagram Bri Cooper, Mezzo Soprano, MBA, BM (@bricooper.mezzosoprano) • Instagram photos and videos Spotify Playlists Harbour for the Arts Tik Tok Bri Cooper Mezzo Soprano SHOPPING Shop my merch!Merch Need a part-time job! Try Reflex app for retail assignments; use my referal code bcooper621 https://workreflex.com/?code=BCOOPER621 Use my Rakuten Code

It's Bubbles' Mushrooms time! We're off to a great start and it's a great start to your Monday with your favorite podcast of the day. Katie visited her old job to see her old friends and there were some old Olympians there, Luke is excited for a new video game, number one fan Rob's daughter got a big surprise in the mail, we read a viewer email from Brian regarding the heat death of the universe, Edward has a sweet movie theater update and then we talk about some brand new cars! Slap your drink into the cupholder, fire up your BMW and plug in your Rivian with us this week only on BM! Follow us on Instagram and lots of other socials @bubbmush and email the show at bubbmush@gmail.com - thanks for checking out the show!

In this episode of Coaster Radio, Mike and EB both mourn and laud the end of the Vekoma Flying Dutchman era....the final one left standing just closed at Six Flags America. They also have news about Universal's new theme park in the UK, and a rumored B&M dive coaster coming to Texas. They also explore the potential re-theme of Verbolten at Busch Gardens and the extended licensing agreement for Peanuts characters in Six Flags parks. Then, it's time for Round 4 of our interactive game show - THE ULTIMATE!

Die Strohmänner sind zurück aus der Sommerpause! BÄM – da simmer wieder – und wir sind gekommen, um zu bleiben. Wir strotzen nur so vor Energie und haben richtig Bock. In der ersten Episode beginnen wir mal ganz neu. Von nun an wird es immer einen Aufhänger, ein Thema von einem von uns beiden geben, mit dem er den anderen überrascht. Den Anfang macht Dr. Dynamite aus Schweden mit einem ordentlichen Kracher! Wir tauschen uns zunächst aber erstmal aus über die Highlights und bemerkenswertesten Erlebnisse der Sommerpause. Wir sprechen also über den Schlamm in Wacken und Axl Rose. Dann geht's rein ins Thema „Strohmann“ als rhetorisches Mittel und Unart der heutigen öffentlichen Debatte. Freut Euch mit uns zusammen auf die neue Staffel KSS! Ab jetzt bleibt alles gut!

In this heartfelt episode, we explore the emotional and professional journey of performing artists who transition out of the spotlight and into new careers. From identity shifts to unexpected reinventions, our guests share raw reflections on what it means to leave behind a life on stage. We unpack the grief, the growth, and the grit it takes to redefine success beyond applause. Whether you're contemplating a pivot or simply curious about life after performance, this conversation offers validation, insight, and hope. Because sometimes, the most powerful act is knowing when to take your final bow—and what comes next. Host Bri Cooper   Email: 728productions@gmail.com   Thanks to our partners at THRIVE MARKET! Join today and get 30% off your first order as well as a gift up to $60. Visit www.thrivemarket.com/bricoopermezzo   Instagram Harbour for the Arts   Instagram Bri Cooper, Mezzo Soprano, MBA, BM (@bricooper.mezzosoprano) •  Instagram photos and videos   Spotify Playlists Harbour for the Arts   Tik Tok Bri Cooper Mezzo Soprano   SHOPPING   Shop my merch! Merch    Need a part-time job! Try Reflex app for retail assignments; use my referal code  bcooper621  https://workreflex.com/?code=BCOOPER621   Use my Rakuten Code      

This week, Alex and Liza are out to find their dad - he's on a hunting trip, and he hasn't been home in a few days. That's right, we're back for season 2 and we're jumping in with a big hitter - Supernatural's “Fan Fiction”. Who will shed a single man tear, and will anybody have a BM scene (boy melodrama)?Thoughts and feelings on the episode? You can reach us @oncemorewithtv on Instagram, Tiktok, and Facebook. We're not sure what Bluesky is, but we're there too! You can also email us at oncemorewithtv@gmail.com.If your feelings are just effusive praise, please be sure to leave us a rate & review, and make sure you're subscribed so you don't miss an episode.

#DoğaKonuşmaları

İsrail Başbakanı Binyamin Netanyahu, Gazze Şehri'ni ele geçirme planlarını onaylarken, rehinelerin serbest bırakılması ve savaşın İsrail'in şartlarına göre sona erdirilmesi için müzakerelerin yeniden başlatılmasını emretti. Bu gelişme, yardım kuruluşlarının ağır yaralı hastaları tahliye etmek için yarıştığı ve BM yetkililerinin yaklaşan insan kaynaklı kıtlık konusunda uyardığı ve çocuklarda yetersiz beslenmenin kriz seviyelerine ulaştığı bir dönemde yaşandı.

BÄM! Da sind sie wieder, eure beiden Lieblingszeltplatzwächter mit der Lizenz zum Blödsinn machen. Und wie es sich für Volldeppen gehört, muss hier erstmal jedes noch so kleine Anekdötchen der letzten Monate publikumswirksam verbraten werden. Hier der Versuch einer inhaltlichen (LOL!!) Zusammenfassung: •⁠ ⁠Berlin-Reisebus-Spaß mit Elias •⁠ ⁠München ohne Nightlife •⁠ ⁠Nachbarn, kommentiert bitte nicht immer alles! •⁠ ⁠Lifehack: Holt euch doch mal ne Trillerpfeife! •⁠ ⁠Zu kleine Rucksäcke: Was ist da drin und wieso? Ach ja, und dann wird es hinten raus doch noch leicht fußballig mit den sechs Trainerwechseln in Liga 1 und ersten - sehr vorsichtigen - Vorausblicken in den kommenden Buli-Betrieb. Kurvis, was haben wir euch vermisst und ihr uns anscheinend auch. Ab heute darf wieder gekurvt werden ❤️ Learn more about your ad choices. Visit podcastchoices.com/adchoices

Glossier joins TikTok Shop, Adidas rewrites nostalgia, back‑to‑school spend pulls forward, Prime vs Walmart deals, UK ultrafast delivery, loyalty reboots, agentic AI pilots, France's “Drive,” Mango's stylist AI, Gulf luxury momentum, Reliance x Shein, live commerce scale.Welcome to a four‑region special of Five Things Friday.USA with Jill Dvorak (NRF): Glossier lands on TikTok Shop; Adidas' Superstar reboot taps cross‑generational creators; Cannes Lions confirms the shift from big‑agency dominance to creator ecosystems; NRF back‑to‑school shoppers are starting earlier; Prime Day stretches to four days while Walmart and Nordstrom counterprogram; BNPL remains a swing factor.UK with Simon Solomon (Need It For Tonight): Festival activations drive real‑time demand; “messy cool” vs “clean girl” aesthetics; ultrafast convenience as lifestyle, not logistics; Adidas' culture‑led run (and a New Balance flagship worth a visit).UK (extended): Loyalty evolves from vouchers to membership and recognition; retailers test agentic AI for operations; pop‑ups become the culture engine; athleisure's “bigger vs impactful” store strategy face‑off.Europe: France's Le Drive grabs share; a grocer integrates with a full‑stack e‑grocery partner; Spain's BM optimizes store design for local, upmarket feel; Mango's Stylist AI gets field‑tested.APAC: The Gulf defies luxury's slowdown with experience‑first flagships (and Shanghai's showpiece store turns heads); Australia's sales uptick masks a fast‑fashion flood; Reliance x Shein changes supply dynamics; live commerce delivers 24/7 in SEA and is coming west with Gen Z.Guests: Jill Dvorak (NRF), Simon Solomon (Need It For Tonight), Alex [Europe], Ryf Quail & Laura Doonan (APAC).Links & mentions:– NRF research (back‑to‑school), Prime Day/Walmart/Nordstrom, Adidas Superstar campaign, Glossier on TikTok Shop, festival activations, UK ultrafast delivery, France “Le Drive,” Mango Stylist AI, Gulf luxury developments, Reliance x Shein, L'Oréal live commerce.Follow & partner: RetailNews.ai • TheRetailPodcast.comCTA: Reply with one signal you're betting on this quarter and why.

Never let it be said we won't overdeliver content in this barren time of Non-Who as we have a feature interivew with former editor of Doctor Who Magazine and current TV Choice writer Tom Spilsbury as he and Steven pore over the current state of Doctor Who, the larger state of streaming, the business case for library content, and more! Plus we have news of The Whoniverse Show from BBC Studios, a new book about action dollies called Go Figure, a surfeit of Big Finish things both neato and keen, and more! Links: Support Radio Free Skaro on Patreon Radio Free Skaro turns 19! The Whoniverse Show: New digital series launches on the Doctor Who YouTube channel ‘The Art of Time Travel' coming November 20 B&M 2025 The Fifteenth Doctor's Tardis B&M 2025 History of the Daleks Set #21 Eve of The Daleks Doctor Who Magazine 620 released Go Figure from Roundel Books due September The Time Team Unearthed from Roundel Books due October Big Finish Dark Gallifrey: Master! – Part Two released Big Finish The Sixth Doctor Adventures: Bad Terms released Big Finish festive audio dramas due later in 2025 Big Finish Audio Novellas range debuts Jan 2026 Flux convention in March 2026 in Birmingham has 3 Doctors – Eccleston, Whittaker, Gatwa Long Island Doctor Who happening Aug 22-24 Interview: Tom Spilsbury

Amy gets served in Copenhagen and she doesn't like it, Ryan is a slam poet, what your apartment smells like, rental car fur in NYC, Ryan accidentally lathers himself dry with body wash and goes out for the day(s), Ryan celebrated Pride, Brian doesn't like summer, stop sending FB friend requests, an airport gate agent queen goes off on Amy, Ryan tries some jokes as a wedding officiant and it doesn't pay off, Ryan gets stuck on a ride at PlayLand, a PLT listener has a BM horror story and as always we end with a game!! Hosted on Acast. See acast.com/privacy for more information.

Calvin Harris, Oliver Heldens, Siloé, Funambulista, Bad Gyal, Béele, Melendi, Luck Ra, BM, Lola Indigo, Kryss y más Seguimos viajando a diario por la mejor música del momento y los temazos que nunca pasan de moda. Todos los estilos en un mismo programa. Estamos apunto de acabar temporada, no nos faltéis mañana a nuestro penúltimo programa de la temporada, que nunca se dice el último. PAZ Y MUSICA tropa disfruten con la música

In this episode I'm joined by historian Alexandra Birch to talk about the role of music and sound in Nazi Germany and the Holocaust. We discuss her recent book Hitler's Twilight of the God's: Music and the Orchestration of War and Genocide in Europe, how music and sound contributed to genocide and Nazi identity formation, how the Nazis used music to embed their mythology and ideology into everyday people's lives, the types of music and composers that the Nazi command structure favored or regulated, the psychology of genocide from the victim and perpetrator perspective and how music may have figured into that, some misconceptions and common misunderstandings about music during the Holocaust, the soundscape of horror inside a concentration camp, some of Alexandra's thoughts on holocaust denialism and the role of museums in preserving history, and much more.  Dr. Alexandra Birch is a professional violinist and historian who works comparatively on the Nazi Holocaust and Soviet mass atrocity, including the Gulag through the lens of music and sound. She holds a PhD in History from the University of California Santa Barbara, and a BM, MM, and DMA from Arizona State University in violin performance. Previously, she was a fellow at the US Holocaust Memorial Museum, the Wilson Center, and the Vienna Wiesenthal Institute, where she released CDs of recovered music and finished her first book Hitler's Twilight of the Gods: Music and the Orchestration of War and Genocide in Europe. Her current project “Sonic Shatterzones, The Intertwined Spaces, Sound and Music of Nazi and Soviet Atrocity,” investigates eight case studies of the Holocaust in the USSR and Gulag, including indigenous interactions with Solovki, new recordings of Weinberg's compositions from his time in Tashkent, sound recordings of the Gulag in Kazakhstan and of Auschwitz-Birkenau, and post-Soviet world premiere compositions, creating a humanizing look at incomprehensible violence. -Consider Supporting the Podcast!- Leave a rating or review on apple podcasts or spotify! Support the podcast on Patreon: https://www.patreon.com/reflectinghistory Check out my podcast series on Aftersun, Piranesi, Arcane, The Dark Knight Trilogy, and Nazi Germany and the Battle for the Human Heart here: https://www.reflectinghistory.com/bonuscontent Try my podcast series "Nazi Germany and the Battle for the Human Heart"-- What led to the rise of Nazi Germany? The answer may surprise you…Why do 'good' people support evil leaders? What allure does fascism hold that enables it to garner popular support? To what extent are ordinary people responsible for the development of authoritarian evil? This 13 part podcast series explores these massive questions and more through the lens of Nazi Germany and the ordinary people who collaborated or resisted as the Third Reich expanded. You'll not only learn about the horrifying, surprising, and powerful ways in which the Nazis seized and maintained power, but also fundamental lessons about what fascism is-how to spot it and why it spreads. Through exploring the past, I hope to unlock lessons that everyone can apply to the present day. Check it out on my Patreon page at: https://www.patreon.com/reflectinghistory. Try my podcast series "Piranesi: Exploring the Infinite Halls of a Literary Masterpiece"-- This podcast series is a deep analysis of Susanna Clark's literary masterpiece "Piranesi." Whether you are someone who is reading the novel for academic purposes, or you simply want to enjoy an incredible story for it's own sake, this podcast series goes chapter by chapter into the plot, characters, and themes of the book...“The Beauty of the House is immeasurable; it's kindness infinite.” Piranesi lives in an infinite house, with no long-term memory and only a loose sense of identity. As the secrets of the House deepen and the mystery of his life becomes more sinister, Piranesi must discover who he is and how this brings him closer to the “Great and Secret Knowledge” that the House contains. Touching on themes of memory, identity, mental health, knowledge, reason, experience, meaning, reflection, ideals, and more…Piranesi will be remembered as one of the great books of the 21st century. Hope you enjoy the series as much as I enjoyed making it. Check it out at https://www.patreon.com/reflectinghistory. Subscribe to my newsletter! A free email newsletter offering historical perspective on modern day issues, behind the scenes content on my latest podcast episodes, and historical lessons/takeaways from the world of history, psychology, and philosophy: https://www.reflectinghistory.com/newsletter.

Evangelism On Fire Family! You asked for it—and I'm here to deliver! By popular demand, I'm replaying the top three Evangelism On Fire podcast episodes of all time!Starting TODAY, I'm bringing you the #1 most listened-to episode in our podcast's history: Episode 162 – “Jesus' Mission is Our Mission.”Next week, get ready for the #2 fan favorite: Episode 125 – “Sharing Your Faith in Jesus with Others (Part 1).”Then in three weeks, I'll share our #3 all-time favorite episode: “Built to Share the B

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. On tonight's edition of Obbligato on APEX Express, which focuses on AAPI artists, musicians, and composers in the classical music world, host Isabel Li is joined by LA based performer and composer Richard An, who plays and creates new avant-garde music, usually with the ensemble House on Fire, and his music has been performed by the LA Phil and the Calder Quartet to name a few. Join us in our conversation, exploring the possibilities of avant-garde music, raising questions regarding Asian identities in the classical music world, and Richard's insights on art making during a time when Trump's cuts to the NEA are affecting artists and institutions nationwide. Featured Music: Sonatrinas: https://richardan.bandcamp.com/album/sonatrinas i got the electroshock blues: https://rasprecords.bandcamp.com/album/i-got-the-electroshock-blues   RICHARD AN (b.1995) is a performer and composer, born and raised in Los Angeles. Richard plays new music – usually with House on Fire – co-founded the tiny backpack new music series, and has performed with Monday Evening Concerts' Echoi Ensemble, Piano Spheres, The Industry and on Bang on a Can's LOUD Weekend. Richard plays piano and percussion, and has been known to sing, conduct, and teach. Richard's music has been performed by the Los Angeles Philharmonic Orchestra, Calder Quartet, HOCKET, C3LA, and more. His music has been released on CMNTX Records. Richard has a BM in Composition from USC and an MFA from CalArts. He is on faculty at the Pasadena Waldorf School, Glendale Community College and Harvard-Westlake. He plays taiko and tabla, and makes YouTube videos. Learn more about Richard's work on his website: https://richardanmusic.com/ Richard's social media: https://www.instagram.com/richardanmusic/ If you are in LA and want hear Richard's work, he's playing with House on Fire at the Sierra Madre Playhouse on August 17! https://www.sierramadreplayhouse.org/event/richardan2025   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. 00:00:46 Isabel Li Good evening and welcome back to a new episode of Apex Express on KPFA, 94.1 FM. We are bringing you an Asian and Asian American view from the Bay and around the world. I'm your host, Isabel Li, and tonight is a new edition of Obbligato, which explores AAPI identities and classical music. Tonight I'm joined by LA based performer and composer Richard An, who plays and creates new avant-garde music, usually with the ensemble House on Fire, and his music has been performed by the LA Phil and the Calder Quartet to name a few. Join us in our conversation, exploring the possibilities of avant-garde music, raising questions regarding Asian identities in the classical music world, and Richard's insights on art making during a time when Trump's cuts to the NEA are affecting artists and institutions nationwide. 00:01:41 Isabel Li Welcome to the show. Welcome to APEX Express, Richard. My first question for you is how do you identify and what communities would you say that you're a part of? 00:01:50 Richard An My name is Richard An I use he/him pronouns and I'm a second generation Korean American. My parents are both Korean. My dad came from Busan, which is a large city in South Korea, and my mom was born in Seoul and then moved to South America and then made her way up to Los Angeles where they met. And as for identity, like, I think Korean American would be the most accurate one. This is and I think an ever evolving part of first of all my identity and the way that it intersects with my practice and also I think that's the case with many Asian American artists, I mean artists from immigrant families, you know, the the matter of your identity, especially if you feel more distanced from it for one reason or another, is like an unsolved question for everyone like there is no one answer. That works for people and that's a thing that me people like myself I think will be exploring for our entire lives. When I introduce myself to people, I say that I'm a classical musician. And at the very core of it, that is true. That's not a lie. And I am, you know, a part of the classical music community in Los Angeles. But as time goes on, I have noticed and realized. That I tend to align myself more with like the avant-garde and experimental contemporary music communities of Los Angeles, which has certainly an overlap with the classical community, both in practice and historically, but yeah, I I would say those are the sort of two biggest ones, classical musicians and experimental avant-garde, contemporary musicians, whatever label you want to use for that. 00:03:47 Isabel Li Yeah. Some of our listeners might not know what avant-garde music entails. Can you — how would you describe avant-garde music to someone who might not be as familiar with this particular movement? 00:03:57 Richard An Yeah. So avant-garde music, a sort of flippant and joking way to to talk about it is ugly music or music. You know, my dad, for example, wouldn't like, but I think. It's music that either interfaces with elements or confronts facets or issues in music that aren't typical of other kinds of music. The music that you might hear that is labeled of on guard might be noisy or dissonant or uncomfortable, or any kind of, you know, adjectives that are synonyms for noisy or ugly, but I have come to love that kind of music, you know 1. Because of the the kind of questions that they might ask about our perceptions of music and two, because I guess one way to put it is that to be a classical musician, you need to be in a practice room for many hours a day for many years and go to what is unfortunately a college, which is usually very expensive and I guess for lack of a better term, paywalled for like you need to have the kind of resources that allow you to attend a four year undergrad and then a two year masters and then a three-year doctorate. But avant-garde music, contemporary music, experimental music doesn't necessitate that kind of thing. Often those musicians do have a background that gives them some amount of, you know, virtuosity or facility in an instrument. But like some of the best experimental musicians. Alive and some of the best ones that I know have no, like extensive training in a particular instrument and some may not have a degree in music at all. And that's one thing that I in like that separates it from classical music is that. 00:05:44 Richard An Classical music can be, unfortunately a little bit exclusionary. I don't think by any one specific design, but the fact that you need so many hours and very specific instructions from a mentor that necessitate that kind of relationship. But experimental music, I think does a little bit better job of diversifying or making it feel more equitable. 00:06:12 Isabel Li That's a great point, actually. One of my questions following up with that was what do you think is possible with this genre, which you kind of mentioned earlier with perhaps how this genre makes classical music a little bit more equitable for those who are interested in this field. In your experience, composing, what do you think makes the genre special, and how do you go about it? 00:06:35 Richard An One thing that I've noticed about being involved in the sort of contemporary experimental avant-garde music sphere is that it makes me a better listener, and I think other people who attend these concerts will agree. Like for example a large part of this kind of music is drone or repetition or, you know, like long spans of unchanging sound. And if the the sound that is being produced at face value is not changing, well then what do you notice about it? What do you grab on to and one of the most, I think, gratifying experiences is listening deeper and realizing that, ohh, even though you know for example this piano playing two notes for 30 minutes might not like the instructions will say to do the same thing for 30 minutes, but your experience as a human being will certainly change over those 30 minutes, even if the the notes are not like you will notice the slight fluctuations in the way that someone is playing, you will notice the beating patterns in the pitches on an instrument that may not be perfectly in tune, you will note other ambient sounds, you will note like you will notice so much more about the world when you are confronted with the kind of music that you know. You can say it forces you to listen to these sounds but also invites you to listen to these things. And I think that's really, really special. That's not to say that that can't happen with other kinds of music. Or even with classical music. Surely you know there are many, many ways to listen to everything. But I've noticed this within myself. When I listen to long, repetitive drone based music that it really opens my ears and makes me a more active participant as a listener. 00:08:30 Isabel Li It's a great point actually. Part of my work– because I studied music, history and theory in college– was how music can engage various listeners to participate. Have you composed anything that perhaps engages the listener in this more of a participatory setting? 00:08:47 Richard An Yeah. So I guess in order the some of the stuff that I've done to engage the audience, I guess both literally, and maybe more figuratively is, I wrote a piece last year for the Dog Star festival, which is a a contemporary and experimental music festival that is actually happening right now, at the time of this recording. It's a multi week long festival that focuses on music of this type that was founded by people in the sort of CalArts music world. But I wrote a piece for that last year for three melodicas, which are these basically toy instruments that look like keyboards, but you blow into them and you blowing air through these makes the sound happen. It's basically like if you cross a harmonica and a piano together. But I I wrote a piece for three of these, playing essentially the same notes. And because these instruments are pretty cheap, and they're often considered toys or, you know, instruments for children, they're not tuned to the exact way that, like a piano or a vibraphone or an expensive instrument might be. But I wanted to use that for my advantage. For example, if I play an F# on one melodica the same F# on another melodica will not be exactly the same and playing those two pitches together will produce what's known as a a beat or beat frequency. Which is, you know, a complicated, you know, mathematic physics thing, but basically 2 notes that are really, really close, but not quite together will create a kind of third rhythm because the the pitches are so close. Like, for example, if if I play an A at 4:40 and another A at 441, you will notice that difference of 1 Hertz inside of your ears. And that's a really cool phenomenon that happens explicitly because you were there listening to the piece. They don't happen necessarily, you know, like in, in recorded formats like, it's a very difficult thing to capture unless you are in the room with these instruments. And the fact that we had this audience of, let's say, 40 people meant that all forty of these people were experiencing these beat frequencies and another really cool factor of this is depending on where you are located in the room. With the way that the beats will sound in your ears are different and purely by the fact of acoustics like a wave bouncing off of the wall over on your left, will feel really different if you are closer or further from that wall. So not only do the audiences ears themselves, you know, invite these this this participation, but the pure physicality of each listener means that they will have a very slightly different experience of what the piece is, and again like this will happen in any concert. If you're at a classical show, if you're at a rock show if, if you're further from the stage, if you're further to the left or right, you will get a slightly different position in the stereo field that the musicians are playing in, but pieces like what I wrote and many others that exist emphasize this kind of like acoustic phenomena. That is really, really fascinating to listen to. 00:12:23 Isabel Li That's fascinating. And to get a sense of Richard's work, we'll be hearing coming up next. The short excerpt from his album Sonatrinas. This is the duo excerpt performed by Wells Leng, Katie Aikam, Kevin Good and composer Richard An himself. [COMP MUSIC: Sonatrinas (Excerpt: Duo)] 00:17:38 Richard An And so the back story for this piece is this was written for one of my recitals at CalArts. I was planning on playing this piece by Michael Gordon called Sonatra, which is a really, really beautiful and difficult piece for solo piano that I gave myself as an assignment, which I was not able to do with the amount of time. And, you know, like I just didn't give myself enough time to do this thing, so I still had this program of several pieces written with the idea of having this Michael Gordon Sonatra in the middle, but now that that sort of middle part was gone, there was a bunch of pieces about a piece that didn't exist. So in order to fill that hole, I wrote this piece called Sonatrinas which is a cheeky nod to the Michael Gordon Sonatra, but also to the fact that each part of this is kind of a diminutive Sonata form. Everything has a sort of ABA– here's some idea. Here's a different idea, and now we go back to that first idea. Every single part of this has a little bit of that in it. 00:18:51 Isabel Li Yeah, that's fascinating. Even the name itself reminds me of Sonata form in classical music, where it's kind of like an ABA section. As you sort of talked about earlier. And it's really cool that you're adapting this in a more avant-garde context. This is a reminder you're listening to Apex Express. Today we are interviewing composer and musician Richard An. 00:19:12 Isabel Li I think the general question that I have next is can you tell me a bit about what drew you to music and how you got your start in music, how you got introduced to it and what things have inspired you over the years? 00:19:24 Richard An Yeah. So a real quick sort of, I guess, history of my involvement with music is that I started piano lessons when I was pretty young, either three or four years old. I continued that until I was 12 or 13. I decided I really wanted to become a musician. I started taking composition lessons with this composer, AJ McCaffrey, who is really responsible for a lot of what I know and my successes, if you can call it that. He got me into a lot of the music that I am into now and set the foundation for what I would study and what I would write he was one of the instructors for this program called the LA Phil Composer Fellowship program, which back when I was a participant from 2011 to 2013, was a program hosted by the Los Angeles Philharmonic that took 4 high school age students every two years. And you know, they they taught us, you know, everything. How a young composer needs to know how instruments work, how to write a score, how to talk to musicians, how to do everything that a that a composer needs to learn how to do and at the end of this program, after the two years the young composers write a piece for the at the LA Philharmonic. So I was extremely lucky that by the age of 17 I was able to write a piece for orchestra and get that played and not just any orchestra, with the Los Angeles Philharmonic, you know, undisputedly one of the best orchestras in the world. Right. And then after that I I went to USC for my undergrad and then went to CalArts for my masters. And then here we are now. And that those are sort of the like, you know if someone writes a biography about me, that's what we'll be, you know, involved in the thing. But I really started to develop my love for music in my freshman and sophomore year. In high school I I started to get into more and more modern composers. I started to get into more and more noisy things and a lot of this coincided actually with the passing of my mother. She died when I was 14 and you know that in any human the death of a parent will cause you to reevaluate and rethink aspects of your life. Things that you thought were certainties will not be there anymore. So for me, I stopped taking piano lessons and I sort of went headfirst into composition and which is why my degrees are specifically in composition and not piano. Had my mother's passing not happened, you know, who knows what I would be doing now? Maybe I'm not a composer at all. Maybe I'm not into avant-garde music at all, but because things happen the way that they did, I suddenly took a quick turn into avant-garde music and my involvement there only grew more and more and more. Until you know where I am today, I'm almost 30 years old, so I've been listening to and a participant of this music for maybe 15 years or so and I'm quite happy. 00:22:43 Isabel Li That's awesome to hear. 00:22:45 Isabel Li And perhaps a testament to Richard one's very versatile compositional style and avant-garde music coming up next are three pieces from his album i got the electroshock blues. There are five pieces in the album in total, but we will be hearing three of them. The first one called “feeling, scared today,” the second one, “pink pill,” and the fifth one, “la la.” [COMP MUSIC: i got the electroshock blues: 1. “feeling, scared today”, 2. “pink pill”, 3. “la la”.] 00:36:41 Richard An Earlier last year, I released a collection of live recordings under the title of I got the Electroshock Blues. Electroshock Blues is a song by the band Eels I encountered at a pivotal moment in my life. This was right around the time that my mother passed and this record and this song is heavily centered in grief. The main musician in the Eels, Mark Oliver Everett, was dealing with the passing of multiple family members and people who were close to him so it hit me in just the right way at just the right time. And because of that, this song specifically has stayed with me for many, many years. I found myself coming back to the contents of this song as I was composing and all the pieces on this album, of which there are 5 heavily take material from this song, whether that's words, chords, the melody. I really, you know, take it apart, dissect it and use those as ingredients in the pieces that I have written here and all of these are live recordings except for the first piece which was recorded in my studio. I just sort of overdubbed the parts myself, and there are credits in the liner notes for this album, but I just want to say that. The first piece which is called “feeling, scared today,” was originally written for the Hockett piano duo, which is a duo comprised of Thomas Kotcheff and Sarah Gibson. Sarah Gibson was a really close friend of mine who passed away last year and now this piece which in some way came out of a feeling of grief now has renewed meaning and another facet or aspect of this piece is centered in grief now. Because this was dedicated to Thomas and Sarah. Yeah. So these pieces are all derived from this one song. 00:38:57 Isabel Li That's a beautiful response. Thank you so much. Kind of following along your background and how you got to where you are. How do you think your identity has informed your work as a composer and musician? And this could be– you can interpret this in any way that you wish. 00:39:11 Richard An Yeah, this is a really interesting question. The question of how my identity interfaces with my music. In my art, particularly because no person's answer is quite the same, and I don't necessarily have this figured out either. So for a little bit of I guess for a little bit of context on me, I'm second generation Korean American, but I've never been to Korea and I never went to Korean school. My parents never really emphasize that part of my education. You could call it assimilation. You can call it whatever, but I think they valued other aspects of my growth than my explicit tie to Koreanness or, you know my specific identity as a Korean or Korean American, and because of that, I've always felt a little bit awkwardly distanced from that part of my identity, which is something that I will never be completely rid of. So in in a world and the field where whiteness is sort of the default part you know, particularly because you know, classical music does come from Europe, you know, for hundreds of years, like all of the development in this particular kind of music did happen in a place where everyone was white. So because of that background of where I come from and where my musical activity comes from, whiteness has been the default and still feels like it is. So me looking the way that I do as, an obvious not white person, as a person of color will always have a little bit of an outsider status to the thing. And with that comes the question of what are you bringing to classical music? What do you bring to the kind of music that you're creating? Like for example, the most I think the most well known East Asian composers are people like Toru Takemitsu or Tan Dun, people who will interface with their Asianness, in many different ways, but that often involves bringing, for example, a Japanese scale into your classical composition, or bringing a Japanese instrument into your classical composition. Those are, you know, examples of of of pieces by Toru Takemitsu, and other, you know, very successful. Asian American composers now may do similarly. Texu Kim is maybe someone who can also give insight into this, but nothing about me feels explicitly Korean, maybe besides the way that I look. And besides, the way that I grew up a little bit like I've never been to Korea. What right does that give me as a Korean, to for example, use a Korean instrument or use a Korean scale? I've never studied that music. I've never studied that culture. I in in some arguments I would be guilty of cultural appropriation, because I, you know, have not done the work to study and to properly represent. And for example, like Pansori, if I were to use that in any of my music. 00:42:46 Richard An But then the the the difficult question is well, then who does have the right? Does being Korean give me all the license that I need to incorporate aspects of my identity? And if I am not Korean, does that, does that bar my access to that kind of music forever? Another way of looking at this is, I've studied North Indian Classical Hindustani music for a while. I've played tabla and and studied that music at CalArts and I really, really love playing tabla. It's it doesn't make its way into my composition so much, but it is certainly a big part of my musicianship and who I am and, like, but am I barred from using ideas or aspects of that music and culture and my music because simply for the fact that I am not Indian? Many musicians would say no. Of course you've done your homework, you've done your research. You're doing due diligence. You're you're representing it properly. And many people who study this music will say music cannot go forward if it's not like the innervated and continued and studied by people like me who are not explicitly South Asian or Indian. That's an example of the flip side of this of me using or representing the music from a culture that I am not a part of, but again, am I really Korean? I've never been there. I wasn't born there. I speak the language conversationally. But this is an extremely long winded way of saying that I feel a tenuous connection to my Korean this my Korean American identity that hasn't been solved, that isn't solved and probably will never be completely solved. But I think that's exciting. I think that's an evolving aspect of my music and will continue to be that way as long as I continue to be involved in music and as as long as I continue to write. 00:45:05 Isabel Li Yeah, absolutely. That's a wonderful response. Actually. I was, as I was studying different types of world music and learning how people kind of borrow from different cultures. There is this always, this kind of question like ohh, like which types of musical elements from which cultures can I incorporate and obviously the aspects of personal identity definitely play into that a little bit. And part of my senior thesis in college was studying AAPI artists in classical music, and specifically that there are a lot of Asian-identifying musicians in the classical music world. But as you kind of mentioned earlier, I think classical music is very much still like grounded in whiteness and has this kind of air of elitism to it just because of its roots. How do you think this kind of identity intersects with the classical music world? And forgive me if you've already kind of talked about it before, but it's an interesting juxtaposition between like, for example, musicians who identify as AAPI or Asian in this kind of genre that is very– it's very associated with whiteness. Could you kind of talk about the dynamics of how these two aspects of like culture kind of interplay with one another? 00:46:26 Richard An Yeah, absolutely. So, you know, there are ways that I personally feel like I intersect with classical music with reference to my identity, and that also plays with the sort of cultural expectations, like there are stereotypes of Asian musicians, of Asian classical musicians. But there are not necessarily the same the same kind of stereotypes with white classical musicians. A very dominant like stereotype that you'll run into is the young Asian prodigy who practices 10 hours a day and may therefore be labeled as mechanical or unfeeling or, you know, are involved in in this a lot. So much so to the fact to the to the point where to excel an Asian American classical musician or as an Asian classical musician, in general, seems to always carry that stereotype. Like you know, Seong-Jin Cho's success as a pianist may not necessarily be attributed to his musicianship or his skill as a pianist. Because he is an Asian person, an Asian guy. Like how much of his success is because of the perceived tiger mom-ness that he might have existed under? How much of it is attributed to the same type of stereotypes that are labeled like that that label the five year old pianist on YouTube that that is clearly better than I am? Like some of these stereotypes help and some of these don't, but the I think it's undeniable that they exist in a way that doesn't in a way that doesn't carry for white people in the classical music sphere. And I think part of that is that classical music is still rooted in its Eurological identity. I think I'm using that correctly. That's an idea from George Lewis. Eurological versus Afrological. The context that I'm using Eurological right now is specifically in reference to George Lewis, who is a composer, trombonist, and musicologist who, I think coined the two terms to differentiate the roots of different styles of music, and you know, I haven't read enough to confidently say, but classical music is Eurological by example and like jazz would be Afrological by an example and the contexts in which they develop and exist and grew up are fundamentally different, which is what makes them different from each other. And again like this needs a little bit more research on my part. 00:49:23 Richard An Yeah, and because the classical music is so rooted in this thing, I don't believe that the stereotypes that exist for Asian classical musicians exist for white people. And I think that is something that will naturally dissipate with time, like after another 100 years of Asians, and, you know, people of color in, you know, every country in the world, with their continued involvement and innova otypes will disappear like this. You know, it may require certain concerted efforts from certain people, but I do believe that after a while these things will not exist. They'll sort of equalize right in the same way. That the divisions that we make between a Russian pianist and a French pianist and a German pianist, though you know people still do study those things like those aren't really dividing lines quite as strong as an Asian composer or an Indian composer might be. 00:50:27 Isabel Li Thank you for that perspective. I think it's, I think these are conversations that people don't kind of bring up as much in the classical music world and it's great that, you know, we're kind of thinking about these and probably possibly like opening some conversations up to our listeners hopefully. And so my next kind of pivot here is as you know with our current administration, Trump has canceled millions of dollars in National Endowment of the Arts grants, and it's been affecting arts organizations all over the nation. And I was kind of wondering, have you been affected by these cuts to arts programs and what kinds of advice would give upcoming musicians or composers in this era? 00:51:07 Richard An Yeah, that's a yeah, that's a big thing. And like, you know, changing day by day, right. So the Trump administration's effects on my life as a musician is simultaneously huge and also not really that much. So in one way these grant cuts have not affected my personal musical life because I haven't ever received a government grant for any of my arts making. So in one way like my life is the same, but in many, many, many other ways it has changed. Like I am involved with and I work with concert series and organizations and nonprofits that do rely on NEA funding and other government arts based funding. And if they have less money to fund their next season, that means certain projects have to be cut. That means certain musicians have to be paid less. That means certain programs have to change, especially if these funding cuts are aimed towards DEI or quote and quote, woke programming like that is, you know this that will by design disproportionately affect people of color in this field, which already you know, like is in a Eurocentric urological tradition like this is already something that people of color don't have a head start in if the funding cuts are aimed at certain types of programming that will disadvantage already disadvantaged groups of people, well then I don't know, that's even–we're starting even later than other people might be, and you know, like, if a musicians, if a person's reaction to this is despair, I think that's reasonable. I think that is an absolutely, like that's an appropriate reaction to what is fundamentally an attack on your voice as an artist. But I I have for as long as I can, you know, I have always worked under the impression that I will have to do the thing myself, and that's in the piece of advice that I give for a lot of people. You shouldn't necessarily wait for this ensemble to come pick you to play or or to to, you know, commission you to write a piece if you want to write the piece, you should do it and figure out how to put it on yourself. If you want to perform you know music by a certain composer, you should do it and then figure out how to do it yourself. That certainly comes from a place of privilege, like I can do this because I have enough work as a musician to be able to pay for the the passion projects it comes from a place of privilege, because I live in Los Angeles and the resources and musicians and other people who I would like to collaborate with live here, so you know, completely acknowledging and understanding that I I do believe that it's better to ask for forgiveness than to ask for permission. I think if you're a young musician and are feeling some despair about these funding cuts and you know the many, many, many other transgressions against humanity by this current administration. 00:54:38 Richard An I recommend you just go out and do it yourself. You find your people, you find your community, you pull favors, you work long nights and you do it and the reward will firstly be the good you're putting out into the world and then the the art you're making. But also this will be paid in kind by the community you're building, the musicians you're working with. And the the connections you make like you know I I have, I am currently conducting this interview from a studio space that I am renting out in Pasadena that I have built over the last two years that I do all of my rehearsals and my performances in, and that I, you know, host rehearsals and performances for other people, and this cannot happen and could not have happened without the goodwill and help and contribution from other people. When I say go out and do it yourself, I'm not saying that you as a human being are alone. I'm saying you don't need to wait for institutional approval or permission to go out and do these things. Get your friends and do them themselves. And my optimistic belief is that the support and the work will follow. 00:55:53 Isabel Li Richard, thank you so much for sharing your perspectives and your voice on this show today. And thank you to our many listeners of KPFA on tonight's episode of Obbligato on Apex Express. Which focuses on the AAPI community of the classical music world. There were some inspirational words on arts and arts making by Richard An musician and composer based in Los Angeles. 00:56:18 Isabel Li Please check our website kpfa.org to find out more about Richard An and his work as well as the state of the arts during this period of funding cuts. 00:56:29 Isabel Li We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world, your voices and your art are important. 00:56:41 Isabel Li APEX Express is produced by Ayame Keane-Lee, Anuj Vaidya, Cheryl Truong, Jalena Keane-Lee, Miko Lee, Preeti Mangala Shekar and Swati Rayasam. Tonight's show was produced by Isabel Li. Have a great evening. The post APEX Express – 8.7.25 – Obbligato with Richard An appeared first on KPFA.

Yunanistan'ın "deniz parkı" hamlesini, 2019'da Türkiye-Libya arasında imzalanan ve Ekim 2020'de BM tarafından da tescil edilen Deniz Yetki Alanları Mutabakatını pratikte geçersiz kılma çabası olarak değerlendirmek yanlış olmayacaktır. Yazan: Prof. Dr. Hüseyin IşıksalSeslendiren: Halil İbrahim Ciğer

BUFFALO, NY — August 1, 2025 — A new #research paper featured on the #cover of Volume 17, Issue 7 of Aging (Aging-US) was #published on July 25, 2025, titled “Systemic factors in young human serum influence in vitro responses of human skin and bone marrow-derived blood cells in a microphysiological co-culture system.” The study, led by first author Johanna Ritter and corresponding author Elke Grönniger from Beiersdorf AG, Research and Development Hamburg, shows that components in young human blood serum can help restore youthful properties to skin, but only when bone marrow cells are also present. This discovery highlights the role of bone marrow in supporting skin health and may allow for novel approaches aimed at slowing or reversing visible signs of aging. The research explored how factors present in blood serum, already known to influence aging in animal studies, act on human cells. Using an advanced system that mimics human circulation, the researchers connected a 3D skin model with a 3D bone marrow model. They found that young human serum alone was not enough to rejuvenate skin. However, when bone marrow cells were present, these serum factors changed the activity of those cells, which then secreted proteins that rejuvenated skin tissue. “Interestingly, we detected a significant increase in Ki67 positive cells in the dynamic skin model co-cultured with BM model and young serum compared to the model co-cultured with BM and old serum, indicating an improved regenerative capacity of the tissue.” Detailed analysis indicated that young serum stimulated the bone marrow to produce a group of 55 proteins, with 7 of them demonstrating the ability to boost cell renewal, collagen production, and other features associated with youthful skin. These proteins included factors that improved energy production in cells and reduced signs of cellular aging. Without the interaction between skin and bone marrow cells, these rejuvenating effects did not occur. This finding explains why earlier experiments in mice, where young and old animals shared a blood supply, showed rejuvenation across organs. It suggests that bone marrow-derived cells are critical messengers that transform signals from blood into effects on other tissues, including the skin. While these results are preclinical and not from human trials, they offer a starting point for new strategies in regenerative medicine and skin care. By identifying specific proteins that may carry rejuvenating signals, the study points to a new way to address age-related changes. Researchers emphasize that further studies will be needed to confirm these effects in humans and to test how these proteins can be safely and effectively applied in future therapies. Overall, this research is an important step in understanding how young blood serum factors influence human tissue and could guide the development of novel methods to maintain healthier skin as people age. DOI - https://doi.org/10.18632/aging.206288 Corresponding author - Elke Grönniger - elke.groenniger@beiersdorf.com Video short - https://www.youtube.com/watch?v=_4spcgzPcEk Sign up for free Altmetric alerts about this article - https://aging.altmetric.com/details/email_updates?id=10.18632%2Faging.206288 Subscribe for free publication alerts from Aging - https://www.aging-us.com/subscribe-to-toc-alerts To learn more about the journal, please visit our website at https://www.Aging-US.com​​ and connect with us: Facebook - https://www.facebook.com/AgingUS/ X - https://twitter.com/AgingJrnl Instagram - https://www.instagram.com/agingjrnl/ YouTube - https://www.youtube.com/@AgingJournal LinkedIn - https://www.linkedin.com/company/aging/ Bluesky - https://bsky.app/profile/aging-us.bsky.social Pinterest - https://www.pinterest.com/AgingUS/ Spotify - https://open.spotify.com/show/1X4HQQgegjReaf6Mozn6Mc MEDIA@IMPACTJOURNALS.COM

Cross-border battles between Thailand and Cambodia have spread to new areas as fighting between the southeast Asian neighbours continues for a third day. We hear from both sides of the boundary. Also on the programme: President Trump arrives in Scotland; and the matcha mania putting pressure on tea suppliers. (Photo: A Cambodian military personnel stands on a BM-21 Grad multiple rocket launcher, around 40 km (24 miles) from the disputed Ta Moan Thom temple, Cambodia, July 25, 2025. Credit: REUTERS/Soveit Yarn)

What Is Something That Can Instantly Ruin Your Day? Welcome to VOLUME 182 of The Bracket. Kenjac is host alongside Tommy Smokes, Nick, KB, Ebo and Blutman Follow The Bracket ►TWITTER - https://twitter.com/BracketPod ►INSTAGRAM - https://www.instagram.com/thebracket/ Follow Kenjac ►TWITTER - https://twitter.com/JackKennedy ►INSTAGRAM - https://www.instagram.com/jackennedy/ ►TIKTOK - https://www.tiktok.com/@ken_jac Intro - (0:00) No Charge vs Headache - (2:43) Bag Break v Mouth Break - (8:35) Sticky vs spill on shirt - (15:440 Cheah-In - (19:55) Cheah-In winner v Bike Delivery - (30:42) Bad Coworker v Wet Socks - (39:46) Car issues vs shower BM - (44:29) Forgot headphones v loud music on transit - (50:33) Cheah in - (55:31) Cheah in winner v BM Pants - (1:04:33) Playoffs - (1:09:31) Finals - (1:21:07) Download the Gametime app today and use code BRACKET for $20 off your first purchase Get your first month of BlueChew FREE Just use promo code BRACKET at checkout and pay five bucks for shipping. https://BlueChew.com See Oh, Hi! starring Molly Gordon & Logan Lerman, only in theaters on July 25! Tickets are on sale now at https://ohhimovie.com #RuinedDay #BarstoolSportsYou can find every episode of this show on Apple Podcasts, Spotify or YouTube. Prime Members can listen ad-free on Amazon Music. For more, visit barstool.link/lightscamerabarstool

Gazze'deki yardım kuruluşları ve BM görevlileri bölgedeki kıtlığın arttığını ve açlıktan ölenlerin sayısının arttığını söylüyor.

Welcome Back NSG!!This week we celebrate Dajs birthday as she talks her birthday plans and of course Tahoe has an issue with them. Then we talk Andrew Shultz and his disappointment in Trump, the floods in Texas, Justin Blu questions the Target boycott, a young lady gets told to go home, co-parenting when your BM is in a bind, who you're helping first when everybody needs some help, and a date with an interesting ending. ENJOY!

Yep, we're back again with another episode of Bubbles' Mushrooms - everyone's #1 podcast. This week Luke has some new drops to unveil, Max and Edward made a discovery while on a road trip, we read some viewer email from our newest regular viewer and we also got a photo emailed from one of our longest viewers. Katie has gone ahead and quit her job, we search the internet for a new weird type of pornography (shocking, we know), Luke and Jac are gonna buy a house this week, Edward talks about 1980's music again, Luke almost hit a few hobos with his car and as always we play our weekly game. Since Jac has been on the show for quite some time now, Edward decided it was time for a little bit of hazing and asks her some questions from the days of yore. But, since Luke and Katie have heard all of the answers to these questions before, they are required to remember all of the answers. Do you think Jac is smarter than Katie and Luke's special dum-dum brain? Find out this week only on BM! Remember to smash like on Instagram and Facebook @bubbmush and email the show at bubbmush@gmail.com - Thanks for checking us out! #bootbarn #onlypaws #conflict #honeybooboo #microdosing #barometricpressure #heatdome #heavymetal #homeowner #magnesium #racingheart #qdoba #tearsforfears #helmetkid #skylander

This is a massive update episode! I update on my duodenum revision, my galbladder moving down 50cm, my bile reflux, my twisted intestine, and my weight. I also talk about my gym experience, I read a listener's message, and talk even more about my BM's. This might be the last bonus until I get down to 250. And the final will be when I reach 220. In the meantime, you might get an interview or three. Stay tuned. No telling when they might appear. Thanks for listening. Love you. Byeeee.

Mais de R$ 500 milhões. Este foi o valor desviado das chamadas contas de reserva do banco BMP em apenas duras horas e meia durante a madrugada da última quarta-feira (2). Hackers invadiram o sistema de empresas responsáveis por intermediar transferências entre bancos e fizeram o maior ataque do tipo ao Sistema Financeiro Nacional (SFN). Para explicar como este mega ataque foi feito, Natuza Nery conversa com Darlan Helder, repórter de tecnologia do g1, e com Ronaldo Lemos, cientista-chefe do Instituto Tecnologia e Sociedade (ITS) do Rio de Janeiro. Darlan detalha como a ofensiva foi feita e as suspeitas que recaem sobre um técnico de TI da empresa de tecnologia B&M. Preso, ele confessou ter repassado para hackers sua senha para entrar no sistema sigiloso que conecta bancos ao PIX. Em troca, ele diz ter recebido R$ 15 mil. Foi com a senha dele que os criminosos conseguiram desviar milhões de reais – fontes da TV Globo estimam que a quantia pode chegar a R$ 800 milhões. Depois, Ronaldo Lemos explica por que, ao mirar o “coração do sistema financeiro”, o ataque se tornou tão emblemático. Ronaldo avalia as brechas dos sistemas de segurança dos bancos e aponta o que pode ser feito para corrigir falhas. Para ele, é preciso a criação de um “alarme” para alertar quando transações suspeitas estão em curso.

This episode I discuss the Diddy Verdict and I discuss he got found on 2 of the 5 charges. I discuss the previous uses and success of RICO cases hurt the FEDs case for the RICO charge. Then i discuss DDG going back and forth posting with Hallie and how this is toxic BM and BD relationship 101. Then i talk about the BBB and how Americans don't Vote towards their tax bracket and more.Want More Content? 2 ways to get it1. Subscribe my Savage Smoke Sessions on Spotify ( $4.99 a month)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://podcasters.spotify.com/pod/show/smokethisova/subscribe⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠2. Become A Premium SmokerSubscribe to the Premium Smoke Room On Loyalfans⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.loyalfans.com/PremiumSmokeRoom⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Want More Content. Become a Premium Smoker⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠for 5 Premium Podcasts , Special Events and More $25.99 a monthSponsored ByHottest Adult Mag Online⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://eroticismmagazine.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Hottest Adult Film Company⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠blusherotica.com/videos⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠SmokeKind The King Of THCa⁠⁠⁠⁠⁠⁠⁠⁠https://smokekind.com/?ref=bobbie_lucas⁠⁠⁠⁠⁠⁠⁠⁠PassDat Clothing⁠⁠⁠⁠⁠⁠⁠⁠https://www.teepublic.com/user/the-inhaling-potnas⁠⁠⁠Porn/ Music/ Social Media⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://allmylinks.com/pornrapstar⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Get The Merch:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.bonfire.com/store/s-t-o-merch-store/Cover Model: Rylee Rabbithttps://x.com/MsRyleeRabbit