Podcasts about Brox

2:15:33 – Frank in New Jersey, plus the Other Side. Topics include: Insert Coin, Gorf (Midway, 1981), Synchronicity (Visionary Software, 1989), Avondale Bridge, the holidays and Phish, Tape Land, Nightstation Ride One, Nightstation Ride Two, Vampire Survivors, drones, timelines, alien contact, 1929 entering the public domain on Jan. 1, The Cocoanuts (1929), The Marx Brothers, The Brox […]

2:15:33 – Frank in New Jersey, plus the Other Side. Topics include: Insert Coin, Gorf (Midway, 1981), Synchronicity (Visionary Software, 1989), Avondale Bridge, the holidays and Phish, Tape Land, Nightstation Ride One, Nightstation Ride Two, Vampire Survivors, drones, timelines, alien contact, 1929 entering the public domain on Jan. 1, The Cocoanuts (1929), The Marx Brothers, The Brox […]

First video podcast with Brox Boulder! Enjoy an entertaining and informative interview with one of Wrestling's great indie performers. --- Support this podcast: https://podcasters.spotify.com/pod/show/lee-gaugh/support

Brox v. Woods Hole, Martha's Vyd & Nantucket S.S. Auth.

Author Otis D. Gore Gives Hope and Inspiration in “The Audacity of Doubt” https://otisdgoreauthor.com/Doubt-Pushing-Through BOOKOtis D. Gore's latest book, The Audacity of Doubt, is more than just a collection of personal stories and reflections; it's a beacon of hope for anyone struggling with self-doubt and seeking resilience. In this transformative work, Gore takes readers on a journey through his own life, offering a candid exploration of the trials and triumphs that have shaped his understanding of doubt and perseverance. Writing The Audacity of Doubt was not an easy feat for Gore. As the author explains, the process required him to confront some of the most challenging moments of his life—moments that were fraught with uncertainty and introspection. Gore's narrative is one of vulnerability and honesty, qualities that he believes are essential for crafting a story that resonates deeply with readers who may be facing similar challenges. The book is not just a recounting of Gore's personal experiences. Instead, it is carefully constructed to balance authenticity with relatability. Gore meticulously crafts each chapter to not only share his journey but also to provide a universal message of inspiration. He integrates practical strategies and relatable anecdotes, transforming the abstract concept of overcoming doubt into something tangible and actionable. Throughout the writing process, Gore faced his own bouts of self-doubt. However, these moments only reinforced the book's core message: pushing through uncertainty and fear is essential to achieving something meaningful. Gore's determination to offer readers genuine insights led him to explore new depths of his own psyche, making the book a testament to the power of resilience and self-belief. The Audacity of Doubt offers more than just encouragement; it provides a roadmap for personal growth. Each chapter is a unique blend of storytelling and actionable advice, designed to help readers confront their fears, embrace resilience, and unlock their full potential. Gore's use of personal anecdotes alongside practical strategies makes the book an essential guide for anyone looking to break free from the constraints of self-doubt and live their best life. In a world where doubt often feels like a constant companion, The Audacity of Doubt stands out as a powerful tool for self-empowerment. Otis D. Gore's journey of overcoming his own doubts serves as a powerful reminder that while doubt may never fully disappear, it does not have to dictate the course of our lives. Instead, by confronting our fears and embracing our resilience, we can forge a path forward that is not only meaningful but also transformative. Equally important, Otis D. Gore is deeply passionate about public speaking and inspiring others through his words. With a strong belief in the power of communication to effect change, he is eager to share his insights on overcoming self-doubt and embracing audacity with a broader audience. Gore's ultimate goal is to deliver a TEDx speech, where he can connect with people on a global scale and encourage them to challenge their own limitations, just as he has done throughout his life and career. For anyone ready to take that step, The Audacity of Doubt offers the guidance and inspiration needed to turn uncertainty into strength and hesitation into action. Dive into this transformative journey and discover the audacity to overcome your own doubts. Website: https://otisdgoreauthor.com/Become a supporter of this podcast: https://www.spreaker.com/podcast/creator-to-creators-with-meosha-bean--4460322/support.

Ryggkirugi eller ikke? Dr. Brox snakker med den erfarne ortopeden dr. Hellum.  Aktuelle ressurser Oppsummering akutte ryggsmerter - Brox (Helsebiblioteket, 2021) Episoden er redigert av Ronja Ose Velle i regi av FORMI. Ansvarlige for podcasten er legene Sigrid Skatteboe, Niels Gunnar Juel og Andreas Saga Romsdal.

Vi føler selv at vi begynner å få noen år på baken i denne bransjen. Vi har sett faget utvikle seg og ta ulike retninger. Vi har sett hvordan sosiale medier snudde opp-ned på informasjonstilgang, fagforståelse og diskusjonsklima. Vi føler vi har kommet dit at vi kan påberope oss en viss klinisk erfaring. Likevel, vi er ikke i nærheten av mannen du nå skal få høre. Jens Ivar Brox er overlege ved avdeling for fysikalsk medisin og rehabilitering, Ullevål, OUS og Professor ved medisinsk fakultet ved Universitetet i Oslo.Han er utdannet idrettslege, vært landslagslege i friidrett, medlem av Nasjonalt Råd for fysisk aktivitet og Nasjonalt Råd for kunnskapsbasert medisin. Han har vært med på å vinne nasjonale og internasjonale priser innen idrettsmedisinsk, skulder-, rygg- og yrkesmedisinsk forskning.Så langt tilbake som i 1993 - altså for 30 år siden - publiserte han den første studien som sammenlignet treningsterapi med kirurgi for subacromielle smerter. Siden den gang har publiseringslisten vokst seg stadig lengre, og gjennom et langt liv i både klinikk og akademia er det med stor glede vi fikk diskutere skuldre da, nå og i fremtiden med èn av de virkelige bautaene i fagfeltet. KURS: VONDT-podcasten arrangerer skulderfagdag på Apexklinikken lørdag 27.01.24. Ved å bli en patreon får du kraftig rabatt på fagdagen. Les mer og bestill din billett herPATREON: Fra 2024 spør vi lytterne våre om å bidra til podcasten ved å bli patreons. For prisen av en Oslokaffe i måneden gir du oss muligheten til å fortsette podcasten, samtidig som du skaffer deg selv VIP-billetter til VONDT fellesskapet. Her får du blant annet tilgang på lukket diskusjonsforum, referanselister fra episodene, mulighet til å stille gjestene spørsmål og rabatter på kurs&fagdager. Les mer og bli en patreon i dag på: patreon.com/vondt REFERANSER:Brox JI, et al. Arthroscopic surgery compared with supervised exercises in patients  with rotator cuff disease (stageII impingement syndrome). BMJ. 1993;307(6909):899-903.Chester R, et al. Psychological factors are associated with the outcome of physiotherapy for people with shoulder pain: a multicentre longitudinal cohort study. Br J Sports Med. 2016.Haahr JP, Andersen JH. Exercises may be as efficient as subacromial decompression in patients with subacromial stage II impingement: 4-8-years' follow-up in a prospective, randomized study. Scand J Rheumatol. 2006;35(3):224-8.Ketola S, et al. Which patients do not recover from shoulder impingement syndrome, either with operative treatment or with nonoperative treatment? Acta Orthop. 2015;86(6):641-6.Ketola S, et al. Arthroscopic decompression not recommended in the treatment of rotator cuff tendinopathy: a final review of a randomised controlled trial at a minimum follow-up of ten years. Bone Joint J. 2017;99-B(6):799-805.Louwerens JK, et al. Prevalence of calcific deposits within the rotator cuff tendons in adults with and without subacromial pain syndrome: clinical and radiologic analysis of 1219 patients. J Shoulder Elbow Surg. 2015;24(10):1588-93.Moosmayer S, et al. Ultrasound guided lavage with corticosteroid injection versus sham lavage with and without corticosteroid injection for calcific tendinopathy of shoulder: randomised double blinded multi-arm study. BMJ. 2023;383:e076447.MUSIKK: Joseph McDade - Mirrors

Word Life, aka the King of all Fresh, is a talented rap artist from The Bronx, New York, who now resides in Dallas, Texas. He is known for his hard work and dedication, earning him a large fan base and a rising star reputation in the hip-hop scene. On RED, Wod Life talks about his journey into the music industry and shares about so many of his experiences in his life and career. Listen Now!

Capítulo especial! tuvimos oportunidad de entrevistar a un talento mexicano increíble, Mariela es artista/pintora apasionada de la F1. Nos platica un poco acerca de ella, sus pinturas y la pasión por retratar la F1 en un cuadro y conocer a Pato Quack Quack!

The whole gang is back as Jon ranks his most hopeless local teams in order. Was this a lazy way to generate content or a strategic move from Brox to get to brag on the Wolves for once? Yes and yes. Hosted on Acast. See acast.com/privacy for more information.

Newsletter: https://www.infostelle-peru.de/newsletter-infoperu/ Die Informationsstelle Peru e.V. fördert den Austausch und Lernen in beide Richtungen – mit dem Ziel einer global vernetzten und solidarischen Zivilgesellschaft. Eines der vorrangigen Anliegen sind die Förderung der Menschenrechte (inklusive der wirtschaftlichen, sozialen und kulturellen Menschenrechte), der Schutz des Regenwaldes im Amazonasraum und seiner Bevölkerung, die kritische Begleitung der extraktiven Wirtschaft und der daraus resultierenden sozialen und Umweltprobleme und Konflikte, sowie der Abbau ungleicher und ungerechter Welthandelsbeziehungen. Kontaktdaten: Informationsstelle Peru e.V.Kronenstr. 16a79100 FreiburgVertreten durch:Heinz Schulze, Elke Falley-Rothkopf, Norma DrieverKontakt:Telefon: 0761-7070840Telefax: 0761-709866E-Mail: info@infostelle-peru.de

Richard Brox möchte den Menschen auf der Straße eine Stimme geben und will mit seinen Erfahrungen für das Thema Obdachlosigkeit sensibilisieren.

Mehr als 45.000 Obdachlose in Deutschland sind namentlich bekannt. Die Dunkelziffer liegt um ein Vielfaches höher. Richard Brox war dreißig Jahre lang einer von ihnen. Heute betreut er nichtsesshafte Menschen, die schwerkrank im Hospiz oder Krankenhaus liegen. Moderation: Ralph Erdenberger. Von WDR 5.

Richard Brox hat über 30 Jahre auf der Straße (oder auch Platte) gelebt. Was Richard in dieser Zeit alles erlebt hat und wie er es auch geschafft hat von der Straße wegzukommen, erfährst du in dieser Folge.Hier geht es zu den Büchern von Richard Brox:https://amzn.to/3GgvlsZhttps://amzn.to/3sT1x2mHier erfährst du mehr über Richard Brox:https://helmut-richard-brox.blogspot.com/https://ohnewohnung-wasnun.blogspot.com/

The Wolves should be good, the Vikings keep winning, the Gophers beat Iowa, Brox is getting a garage heater and yet we still find things to complain about. Where there's a will there's a way. Hosted on Acast. See acast.com/privacy for more information.

Um programa sobre a Historia do Blues e dos seus interpretes. Os mais de 100 anos de história do blues possuem um significado imensurável para a música. Afinal, estamos falando do estilo que inspirou o rock n' roll, o soul e parte significativa da música pop ao redor do mundo. 

On August 27th many brave and fearless dental technicians will take to the water and road to participate in the 2023 Chicago Triathlon (https://www.chicagotriathlon.com/). They don't do it for fame or personal gain, but to raise money for the Foundation For Dental Laboratory Technology (https://dentallabfoundation.org/). PLEASE head over to dentallabfoundation.org (https://dentallabfoundation.org/) and click the DONATE TODAY button. Log in and choose the “Race for the Future” option. There you can put the name of a racer you want to sponsor. You can put: Barb Warner Team Abutments (Elvis Dahl, Mark Williamson, Bobby Kennedy) Voices From the Bench (50/50 split between Barb and Elvis' team) We LOVE meeting new people as shows and we LOVE hearing stories of labs being successful. This week brings two more conversations that we got while at the Ivoclar (https://www.ivoclar.com/en_us) table at LMT Lab Day West 2023. First up is Chad Brox from Performance Dental Lab (https://www.performancedentallab.com/) near the strip in Las Vegas. Chad talks about being a 3rd generation lab owner, growing up in the lab, and what he is looking for at Lab Day. Then we chat with Eddie Corrales, who has a unique lab with an interesting workflow. His lab CAD Smiles (https://www.cadsmiles.com/) is known for going into an office, using their software, mills, and material can create a full smile same day. Eddie talks about discovering this service, traveling the world, and helping doctors sell cases. If you are looking for a ceramic (https://www.ivoclar.com/en_us/products/equipment/programat-ceramic-furnaces) or sintering furnace (https://www.ivoclar.com/en_us/products/equipment/programat-sinter-furnace-s2) and want an incredible deal, look no further! Ivoclar (https://www.ivoclar.com/en_us) has their 3 Ways to Save promotion on NOW. Connect with an Ivoclar Sales representative today to learn about how you can save on a new furnace OR, email customer service at cs.us@ivoclar.com. Tell them you heard it on the podcast and get FREE Ground Shipping by using promo code 724. Special Guests: Chad Brox and Eddie Corrales.

El novato Anthony Volpe no va para ningun lado. Los niños de Boston comieron. Nuevas reglas dando resultados positivos. --- Support this podcast: https://podcasters.spotify.com/pod/show/baseballahora/support

Episode 164 of A History of Rock Music in Five Hundred Songs looks at "White Light/White Heat" and the career of the Velvet Underground. This is a long one, lasting three hours and twenty minutes. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three minute bonus episode available, on "Why Don't You Smile Now?" by the Downliners Sect. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I say the Velvet Underground didn't play New York for the rest of the sixties after 1966. They played at least one gig there in 1967, but did generally avoid the city. Also, I refer to Cale and Conrad as the other surviving members of the Theater of Eternal Music. Sadly Conrad died in 2016. Resources No Mixcloud this week, as there are too many songs by the Velvet Underground, and some of the avant-garde pieces excerpted run to six hours or more. I used a lot of resources for this one. Up-Tight: The Velvet Underground Story by Victor Bockris and Gerard Malanga is the best book on the group as a group. I also used Joe Harvard's 33 1/3 book on The Velvet Underground and Nico. Bockris also wrote one of the two biographies of Reed I referred to, Transformer. The other was Lou Reed by Anthony DeCurtis. Information on Cale mostly came from Sedition and Alchemy by Tim Mitchell. Information on Nico came from Nico: The Life and Lies of an Icon by Richard Witts. I used Draw a Straight Line and Follow it by Jeremy Grimshaw as my main source for La Monte Young, The Roaring Silence by David Revill for John Cage, and Warhol: A Life as Art by Blake Gopnik for Warhol. I also referred to the Criterion Collection Blu-Ray of the 2021 documentary The Velvet Underground.  The definitive collection of the Velvet Underground's music is the sadly out-of-print box set Peel Slowly and See, which contains the four albums the group made with Reed in full, plus demos, outtakes, and live recordings. Note that the digital version of the album as sold by Amazon for some reason doesn't include the last disc -- if you want the full box set you have to buy a physical copy. All four studio albums have also been released and rereleased many times over in different configurations with different numbers of CDs at different price points -- I have used the "45th Anniversary Super-Deluxe" versions for this episode, but for most people the standard CD versions will be fine. Sadly there are no good shorter compilation overviews of the group -- they tend to emphasise either the group's "pop" mode or its "avant-garde" mode to the exclusion of the other. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I begin this episode, there are a few things to say. This introductory section is going to be longer than normal because, as you will hear, this episode is also going to be longer than normal. Firstly, I try to warn people about potentially upsetting material in these episodes. But this is the first episode for 1968, and as you will see there is a *profound* increase in the amount of upsetting and disturbing material covered as we go through 1968 and 1969. The story is going to be in a much darker place for the next twenty or thirty episodes. And this episode is no exception. As always, I try to deal with everything as sensitively as possible, but you should be aware that the list of warnings for this one is so long I am very likely to have missed some. Among the topics touched on in this episode are mental illness, drug addiction, gun violence, racism, societal and medical homophobia, medical mistreatment of mental illness, domestic abuse, rape, and more. If you find discussion of any of those subjects upsetting, you might want to read the transcript. Also, I use the term "queer" freely in this episode. In the past I have received some pushback for this, because of a belief among some that "queer" is a slur. The following explanation will seem redundant to many of my listeners, but as with many of the things I discuss in the podcast I am dealing with multiple different audiences with different levels of awareness and understanding of issues, so I'd like to beg those people's indulgence a moment. The term "queer" has certainly been used as a slur in the past, but so have terms like "lesbian", "gay", "homosexual" and others. In all those cases, the term has gone from a term used as a self-identifier, to a slur, to a reclaimed slur, and back again many times. The reason for using that word, specifically, here is because the vast majority of people in this story have sexualities or genders that don't match the societal norms of their times, but used labels for themselves that have shifted in meaning over the years. There are at least two men in the story, for example, who are now dead and referred to themselves as "homosexual", but were in multiple long-term sexually-active relationships with women. Would those men now refer to themselves as "bisexual" or "pansexual" -- terms not in widespread use at the time -- or would they, in the relatively more tolerant society we live in now, only have been in same-gender relationships? We can't know. But in our current context using the word "homosexual" for those men would lead to incorrect assumptions about their behaviour. The labels people use change over time, and the definitions of them blur and shift. I have discussed this issue with many, many, friends who fall under the queer umbrella, and while not all of them are comfortable with "queer" as a personal label because of how it's been used against them in the past, there is near-unanimity from them that it's the correct word to use in this situation. Anyway, now that that rather lengthy set of disclaimers is over, let's get into the story proper, as we look at "White Light, White Heat" by the Velvet Underground: [Excerpt: The Velvet Underground, "White Light, White Heat"] And that look will start with... a disclaimer about length. This episode is going to be a long one. Not as long as episode one hundred and fifty, but almost certainly the longest episode I'll do this year, by some way. And there's a reason for that. One of the questions I've been asked repeatedly over the years about the podcast is why almost all the acts I've covered have been extremely commercially successful ones. "Where are the underground bands? The alternative bands? The little niche acts?" The answer to that is simple. Until the mid-sixties, the idea of an underground or alternative band made no sense at all in rock, pop, rock and roll, R&B, or soul. The idea would have been completely counterintuitive to the vast majority of the people we've discussed in the podcast. Those musics were commercial musics, made by people who wanted to make money and to  get the largest audiences possible. That doesn't mean that they had no artistic merit, or that there was no artistic intent behind them, but the artists making that music were *commercial* artists. They knew if they wanted to make another record, they had to sell enough copies of the last record for the record company to make another, and that if they wanted to keep eating, they had to draw enough of an audience to their gigs for promoters to keep booking them. There was no space in this worldview for what we might think of as cult success. If your record only sold a thousand copies, then you had failed in your goal, even if the thousand people who bought your record really loved it. Even less commercially successful artists we've covered to this point, like the Mothers of Invention or Love, were *trying* for commercial success, even if they made the decision not to compromise as much as others do. This started to change a tiny bit in the mid-sixties as the influence of jazz and folk in the US, and the British blues scene, started to be felt in rock music. But this influence, at first, was a one-way thing -- people who had been in the folk and jazz worlds deciding to modify their music to be more commercial. And that was followed by already massively commercial musicians, like the Beatles, taking on some of those influences and bringing their audience with them. But that started to change around the time that "rock" started to differentiate itself from "rock and roll" and "pop", in mid 1967. So in this episode and the next, we're going to look at two bands who in different ways provided a model for how to be an alternative band. Both of them still *wanted* commercial success, but neither achieved it, at least not at first and not in the conventional way. And both, when they started out, went by the name The Warlocks. But we have to take a rather circuitous route to get to this week's band, because we're now properly introducing a strand of music that has been there in the background for a while -- avant-garde art music. So before we go any further, let's have a listen to a thirty-second clip of the most famous piece of avant-garde music ever, and I'll be performing it myself: [Excerpt, Andrew Hickey "4'33 (Cage)"] Obviously that won't give the full effect, you have to listen to the whole piece to get that. That is of course a section of "4'33" by John Cage, a piece of music that is often incorrectly described as being four minutes and thirty three seconds of silence. As I've mentioned before, though, in the episode on "Papa's Got a Brand New Bag", it isn't that at all. The whole point of the piece is that there is no such thing as silence, and it's intended to make the listener appreciate all the normal ambient sounds as music, every bit as much as any piece by Bach or Beethoven. John Cage, the composer of "4'33", is possibly the single most influential avant-garde artist of the mid twentieth century, so as we're properly introducing the ideas of avant-garde music into the story here, we need to talk about him a little. Cage was, from an early age, torn between three great vocations, all of which in some fashion would shape his work for decades to come. One of these was architecture, and for a time he intended to become an architect. Another was the religious ministry, and he very seriously considered becoming a minister as a young man, and religion -- though not the religious faith of his youth -- was to be a massive factor in his work as he grew older. He started studying music from an early age, though he never had any facility as a performer -- though he did, when he discovered the work of Grieg, think that might change. He later said “For a while I played nothing else. I even imagined devoting my life to the performance of his works alone, for they did not seem to me to be too difficult, and I loved them.” [Excerpt: Grieg piano concerto in A minor] But he soon realised that he didn't have some of the basic skills that would be required to be a performer -- he never actually thought of himself as very musical -- and so he decided to move into composition, and he later talked about putting his musical limits to good use in being more inventive. From his very first pieces, Cage was trying to expand the definition of what a performance of a piece of music actually was. One of his friends, Harry Hay, who took part in the first documented performance of a piece by Cage, described how Cage's father, an inventor, had "devised a fluorescent light source over which Sample" -- Don Sample, Cage's boyfriend at the time -- "laid a piece of vellum painted with designs in oils. The blankets I was wearing were white, and a sort of lampshade shone coloured patterns onto me. It looked very good. The thing got so hot the designs began to run, but that only made it better.” Apparently the audience for this light show -- one that predated the light shows used by rock bands by a good thirty years -- were not impressed, though that may be more because the Santa Monica Women's Club in the early 1930s was not the vanguard of the avant-garde. Or maybe it was. Certainly the housewives of Santa Monica seemed more willing than one might expect to sign up for another of Cage's ideas. In 1933 he went door to door asking women if they would be interested in signing up to a lecture course from him on modern art and music. He told them that if they signed up for $2.50, he would give them ten lectures, and somewhere between twenty and forty of them signed up, even though, as he said later, “I explained to the housewives that I didn't know anything about either subject but that I was enthusiastic about both of them. I promised to learn faithfully enough about each subject so as to be able to give a talk an hour long each week.” And he did just that, going to the library every day and spending all week preparing an hour-long talk for them. History does not relate whether he ended these lectures by telling the housewives to tell just one friend about them. He said later “I came out of these lectures, with a devotion to the painting of Mondrian, on the one hand, and the music of Schoenberg on the other.” [Excerpt: Schoenberg, "Ode to Napoleon Buonaparte"] Schoenberg was one of the two most widely-respected composers in the world at that point, the other being Stravinsky, but the two had very different attitudes to composition. Schoenberg's great innovation was the creation and popularisation of the twelve-tone technique, and I should probably explain that a little before I go any further. Most Western music is based on an eight-note scale -- do, re, mi, fa, so, la, ti, do -- with the eighth note being an octave up from the first. So in the key of C major that would be C, D, E, F, G, A, B, C: [demonstrates] And when you hear notes from that scale, if your ears are accustomed to basically any Western music written before about 1920, or any Western popular music written since then, you expect the melody to lead back to C, and you know to expect that because it only uses those notes -- there are differing intervals between them, some having a tone between them and some having a semitone, and you recognise the pattern. But of course there are other notes between the notes of that scale. There are actually an infinite number of these, but in conventional Western music we only look at a few more -- C# (or D flat), D# (or E flat), F# (or G flat), G# (or A flat) and A# (or B flat). If you add in all those notes you get this: [demonstrates] There's no clear beginning or end, no do for it to come back to. And Schoenberg's great innovation, which he was only starting to promote widely around this time, was to insist that all twelve notes should be equal -- his melodies would use all twelve of the notes the exact same number of times, and so if he used say a B flat, he would have to use all eleven other notes before he used B flat again in the piece. This was a radical new idea, but Schoenberg had only started advancing it after first winning great acclaim for earlier pieces, like his "Three Pieces for Piano", a work which wasn't properly twelve-tone, but did try to do without the idea of having any one note be more important than any other: [Excerpt: Schoenberg, "Three Pieces for Piano"] At this point, that work had only been performed in the US by one performer, Richard Buhlig, and hadn't been released as a recording yet. Cage was so eager to hear it that he'd found Buhlig's phone number and called him, asking him to play the piece, but Buhlig put the phone down on him. Now he was doing these lectures, though, he had to do one on Schoenberg, and he wasn't a competent enough pianist to play Schoenberg's pieces himself, and there were still no recordings of them. Cage hitch-hiked from Santa Monica to LA, where Buhlig lived, to try to get him to come and visit his class and play some of Schoenberg's pieces for them. Buhlig wasn't in, and Cage hung around in his garden hoping for him to come back -- he pulled the leaves off a bough from one of Buhlig's trees, going "He'll come back, he won't come back, he'll come back..." and the leaves said he'd be back. Buhlig arrived back at midnight, and quite understandably told the strange twenty-one-year-old who'd spent twelve hours in his garden pulling the leaves off his trees that no, he would not come to Santa Monica and give a free performance. But he did agree that if Cage brought some of his own compositions he'd give them a look over. Buhlig started giving Cage some proper lessons in composition, although he stressed that he was a performer, not a composer. Around this time Cage wrote his Sonata for Clarinet: [Excerpt: John Cage, "Sonata For Clarinet"] Buhlig suggested that Cage send that to Henry Cowell, the composer we heard about in the episode on "Good Vibrations" who was friends with Lev Termen and who created music by playing the strings inside a piano: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] Cowell offered to take Cage on as an assistant, in return for which Cowell would teach him for a semester, as would Adolph Weiss, a pupil of Schoenberg's. But the goal, which Cowell suggested, was always to have Cage study with Schoenberg himself. Schoenberg at first refused, saying that Cage couldn't afford his price, but eventually took Cage on as a student having been assured that he would devote his entire life to music -- a promise Cage kept. Cage started writing pieces for percussion, something that had been very rare up to that point -- only a handful of composers, most notably Edgard Varese, had written pieces for percussion alone, but Cage was: [Excerpt: John Cage, "Trio"] This is often portrayed as a break from the ideals of his teacher Schoenberg, but in fact there's a clear continuity there, once you see what Cage was taking from Schoenberg. Schoenberg's work is, in some senses, about equality, about all notes being equal. Or to put it another way, it's about fairness. About erasing arbitrary distinctions. What Cage was doing was erasing the arbitrary distinction between the more and less prominent instruments. Why should there be pieces for solo violin or string quartet, but not for multiple percussion players? That said, Schoenberg was not exactly the most encouraging of teachers. When Cage invited Schoenberg to go to a concert of Cage's percussion work, Schoenberg told him he was busy that night. When Cage offered to arrange another concert for a date Schoenberg wasn't busy, the reply came "No, I will not be free at any time". Despite this, Cage later said “Schoenberg was a magnificent teacher, who always gave the impression that he was putting us in touch with musical principles,” and said "I literally worshipped him" -- a strong statement from someone who took religious matters as seriously as Cage. Cage was so devoted to Schoenberg's music that when a concert of music by Stravinsky was promoted as "music of the world's greatest living composer", Cage stormed into the promoter's office angrily, confronting the promoter and making it very clear that such things should not be said in the city where Schoenberg lived. Schoenberg clearly didn't think much of Cage's attempts at composition, thinking -- correctly -- that Cage had no ear for harmony. And his reportedly aggressive and confrontational teaching style didn't sit well with Cage -- though it seems very similar to a lot of the teaching techniques of the Zen masters he would later go on to respect. The two eventually parted ways, although Cage always spoke highly of Schoenberg. Schoenberg later gave Cage a compliment of sorts, when asked if any of his students had gone on to do anything interesting. At first he replied that none had, but then he mentioned Cage and said “Of course he's not a composer, but an inventor—of genius.” Cage was at this point very worried if there was any point to being a composer at all. He said later “I'd read Cowell's New Musical Resources and . . . The Theory of Rhythm. I had also read Chavez's Towards a New Music. Both works gave me the feeling that everything that was possible in music had already happened. So I thought I could never compose socially important music. Only if I could invent something new, then would I be useful to society. But that seemed unlikely then.” [Excerpt: John Cage, "Totem Ancestor"] Part of the solution came when he was asked to compose music for an abstract animation by the filmmaker Oskar Fischinger, and also to work as Fischinger's assistant when making the film. He was fascinated by the stop-motion process, and by the results of the film, which he described as "a beautiful film in which these squares, triangles and circles and other things moved and changed colour.” But more than that he was overwhelmed by a comment by Fischinger, who told him “Everything in the world has its own spirit, and this spirit becomes audible by setting it into vibration.” Cage later said “That set me on fire. He started me on a path of exploration of the world around me which has never stopped—of hitting and stretching and scraping and rubbing everything.” Cage now took his ideas further. His compositions for percussion had been about, if you like, giving the underdog a chance -- percussion was always in the background, why should it not be in the spotlight? Now he realised that there were other things getting excluded in conventional music -- the sounds that we characterise as noise. Why should composers work to exclude those sounds, but work to *include* other sounds? Surely that was... well, a little unfair? Eventually this would lead to pieces like his 1952 piece "Water Music", later expanded and retitled "Water Walk", which can be heard here in his 1959 appearance on the TV show "I've Got a Secret".  It's a piece for, amongst other things, a flowerpot full of flowers, a bathtub, a watering can, a pipe, a duck call, a blender full of ice cubes, and five unplugged radios: [Excerpt: John Cage "Water Walk"] As he was now avoiding pitch and harmony as organising principles for his music, he turned to time. But note -- not to rhythm. He said “There's none of this boom, boom, boom, business in my music . . . a measure is taken as a strict measure of time—not a one two three four—which I fill with various sounds.” He came up with a system he referred to as “micro-macrocosmic rhythmic structure,” what we would now call fractals, though that word hadn't yet been invented, where the structure of the whole piece was reflected in the smallest part of it. For a time he started moving away from the term music, preferring to refer to the "art of noise" or to "organised sound" -- though he later received a telegram from Edgard Varese, one of his musical heroes and one of the few other people writing works purely for percussion, asking him not to use that phrase, which Varese used for his own work. After meeting with Varese and his wife, he later became convinced that it was Varese's wife who had initiated the telegram, as she explained to Cage's wife "we didn't want your husband's work confused with my husband's work, any more than you'd want some . . . any artist's work confused with that of a cartoonist.” While there is a humour to Cage's work, I don't really hear much qualitative difference between a Cage piece like the one we just heard and a Varese piece like Ionisation: [Excerpt: Edgard Varese, "Ionisation"] But it was in 1952, the year of "Water Music" that John Cage made his two biggest impacts on the cultural world, though the full force of those impacts wasn't felt for some years. To understand Cage's 1952 work, you first have to understand that he had become heavily influenced by Zen, which at that time was very little known in the Western world. Indeed he had studied with Daisetsu Suzuki, who is credited with introducing Zen to the West, and said later “I didn't study music with just anybody; I studied with Schoenberg, I didn't study Zen with just anybody; I studied with Suzuki. I've always gone, insofar as I could, to the president of the company.” Cage's whole worldview was profoundly affected by Zen, but he was also naturally sympathetic to it, and his work after learning about Zen is mostly a continuation of trends we can already see. In particular, he became convinced that the point of music isn't to communicate anything between two people, rather its point is merely to be experienced. I'm far from an expert on Buddhism, but one way of thinking about its central lessons is that one should experience things as they are, experiencing the thing itself rather than one's thoughts or preconceptions about it. And so at Black Mountain college came Theatre Piece Number 1: [Excerpt: Edith Piaf, "La Vie En Rose" ] In this piece, Cage had set the audience on all sides, so they'd be facing each other. He stood on a stepladder, as colleagues danced in and around the audience, another colleague played the piano, two more took turns to stand on another stepladder to recite poetry, different films and slides were projected, seemingly at random, onto the walls, and the painter Robert Rauschenberg played scratchy Edith Piaf records on a wind-up gramophone. The audience were included in the performance, and it was meant to be experienced as a gestalt, as a whole, to be what we would now call an immersive experience. One of Cage's students around this time was the artist Allan Kaprow, and he would be inspired by Theatre Piece Number 1 to put on several similar events in the late fifties. Those events he called "happenings", because the point of them was that you were meant to experience an event as it was happening rather than bring preconceptions of form and structure to them. Those happenings were the inspiration for events like The 14 Hour Technicolor Dream, and the term "happening" became such an integral part of the counterculture that by 1967 there were comedy films being released about them, including one just called The Happening with a title track by the Supremes that made number one: [Excerpt: The Supremes, "The Happening"] Theatre Piece Number 1 was retrospectively considered the first happening, and as such its influence is incalculable. But one part I didn't mention about Theatre Piece Number 1 is that as well as Rauschenberg playing Edith Piaf's records, he also displayed some of his paintings. These paintings were totally white -- at a glance, they looked like blank canvases, but as one inspected them more clearly, it became apparent that Rauschenberg had painted them with white paint, with visible brushstrokes. These paintings, along with a visit to an anechoic chamber in which Cage discovered that even in total silence one can still hear one's own blood and nervous system, so will never experience total silence, were the final key to something Cage had been working towards -- if music had minimised percussion, and excluded noise, how much more had it excluded silence? As Cage said in 1958 “Curiously enough, the twelve-tone system has no zero in it.” And so came 4'33, the piece that we heard an excerpt of near the start of this episode. That piece was the something new he'd been looking for that could be useful to society. It took the sounds the audience could already hear, and without changing them even slightly gave them a new context and made the audience hear them as they were. Simply by saying "this is music", it caused the ambient noise to be perceived as music. This idea, of recontextualising existing material, was one that had already been done in the art world -- Marcel Duchamp, in 1917, had exhibited a urinal as a sculpture titled "Fountain" -- but even Duchamp had talked about his work as "everyday objects raised to the dignity of a work of art by the artist's act of choice". The artist was *raising* the object to art. What Cage was saying was "the object is already art". This was all massively influential to a young painter who had seen Cage give lectures many times, and while at art school had with friends prepared a piano in the same way Cage did for his own experimental compositions, dampening the strings with different objects. [Excerpt: Dana Gillespie, "Andy Warhol (live)"] Duchamp and Rauschenberg were both big influences on Andy Warhol, but he would say in the early sixties "John Cage is really so responsible for so much that's going on," and would for the rest of his life cite Cage as one of the two or three prime influences of his career. Warhol is a difficult figure to discuss, because his work is very intellectual but he was not very articulate -- which is one reason I've led up to him by discussing Cage in such detail, because Cage was always eager to talk at great length about the theoretical basis of his work, while Warhol would say very few words about anything at all. Probably the person who knew him best was his business partner and collaborator Paul Morrissey, and Morrissey's descriptions of Warhol have shaped my own view of his life, but it's very worth noting that Morrissey is an extremely right-wing moralist who wishes to see a Catholic theocracy imposed to do away with the scourges of sexual immorality, drug use, hedonism, and liberalism, so his view of Warhol, a queer drug using progressive whose worldview seems to have been totally opposed to Morrissey's in every way, might be a little distorted. Warhol came from an impoverished background, and so, as many people who grew up poor do, he was, throughout his life, very eager to make money. He studied art at university, and got decent but not exceptional grades -- he was a competent draughtsman, but not a great one, and most importantly as far as success in the art world goes he didn't have what is known as his own "line" -- with most successful artists, you can look at a handful of lines they've drawn and see something of their own personality in it. You couldn't with Warhol. His drawings looked like mediocre imitations of other people's work. Perfectly competent, but nothing that stood out. So Warhol came up with a technique to make his drawings stand out -- blotting. He would do a normal drawing, then go over it with a lot of wet ink. He'd lower a piece of paper on to the wet drawing, and the new paper would soak up the ink, and that second piece of paper would become the finished work. The lines would be fractured and smeared, broken in places where the ink didn't get picked up, and thick in others where it had pooled. With this mechanical process, Warhol had managed to create an individual style, and he became an extremely successful commercial artist. In the early 1950s photography was still seen as a somewhat low-class way of advertising things. If you wanted to sell to a rich audience, you needed to use drawings or paintings. By 1955 Warhol was making about twelve thousand dollars a year -- somewhere close to a hundred and thirty thousand a year in today's money -- drawing shoes for advertisements. He also had a sideline in doing record covers for people like Count Basie: [Excerpt: Count Basie, "Seventh Avenue Express"] For most of the 1950s he also tried to put on shows of his more serious artistic work -- often with homoerotic themes -- but to little success. The dominant art style of the time was the abstract expressionism of people like Jackson Pollock, whose art was visceral, emotional, and macho. The term "action paintings" which was coined for the work of people like Pollock, sums it up. This was manly art for manly men having manly emotions and expressing them loudly. It was very male and very straight, and even the gay artists who were prominent at the time tended to be very conformist and look down on anything they considered flamboyant or effeminate. Warhol was a rather effeminate, very reserved man, who strongly disliked showing his emotions, and whose tastes ran firmly to the camp. Camp as an aesthetic of finding joy in the flamboyant or trashy, as opposed to merely a descriptive term for men who behaved in a way considered effeminate, was only just starting to be codified at this time -- it wouldn't really become a fully-formed recognisable thing until Susan Sontag's essay "Notes on Camp" in 1964 -- but of course just because something hasn't been recognised doesn't mean it doesn't exist, and Warhol's aesthetic was always very camp, and in the 1950s in the US that was frowned upon even in gay culture, where the mainstream opinion was that the best way to acceptance was through assimilation. Abstract expressionism was all about expressing the self, and that was something Warhol never wanted to do -- in fact he made some pronouncements at times which suggested he didn't think of himself as *having* a self in the conventional sense. The combination of not wanting to express himself and of wanting to work more efficiently as a commercial artist led to some interesting results. For example, he was commissioned in 1957 to do a cover for an album by Moondog, the blind street musician whose name Alan Freed had once stolen: [Excerpt: Moondog, "Gloving It"] For that cover, Warhol got his mother, Julia Warhola, to just write out the liner notes for the album in her rather ornamental cursive script, and that became the front cover, leading to an award for graphic design going that year to "Andy Warhol's mother". (Incidentally, my copy of the current CD issue of that album, complete with Julia Warhola's cover, is put out by Pickwick Records...) But towards the end of the fifties, the work for commercial artists started to dry up. If you wanted to advertise shoes, now, you just took a photo of the shoes rather than get Andy Warhol to draw a picture of them. The money started to disappear, and Warhol started to panic. If there was no room for him in graphic design any more, he had to make his living in the fine arts, which he'd been totally unsuccessful in. But luckily for Warhol, there was a new movement that was starting to form -- Pop Art. Pop Art started in England, and had originally been intended, at least in part, as a critique of American consumerist capitalism. Pieces like "Just what is it that makes today's homes so different, so appealing?" by Richard Hamilton (who went on to design the Beatles' White Album cover) are collages of found images, almost all from American sources, recontextualised and juxtaposed in interesting ways, so a bodybuilder poses in a room that's taken from an advert in Ladies' Home Journal, while on the wall, instead of a painting, hangs a blown-up cover of a Jack Kirby romance comic. Pop Art changed slightly when it got taken up in America, and there it became something rather different, something closer to Duchamp, taking those found images and displaying them as art with no juxtaposition. Where Richard Hamilton created collage art which *showed* a comic cover by Jack Kirby as a painting in the background, Roy Lichtenstein would take a panel of comic art by Kirby, or Russ Heath or Irv Novick or a dozen other comic artists, and redraw it at the size of a normal painting. So Warhol took Cage's idea that the object is already art, and brought that into painting, starting by doing paintings of Campbell's soup cans, in which he tried as far as possible to make the cans look exactly like actual soup cans. The paintings were controversial, inciting fury in some and laughter in others and causing almost everyone to question whether they were art. Warhol would embrace an aesthetic in which things considered unimportant or trash or pop culture detritus were the greatest art of all. For example pretty much every profile of him written in the mid sixties talks about him obsessively playing "Sally Go Round the Roses", a girl-group single by the one-hit wonders the Jaynettes: [Excerpt: The Jaynettes, "Sally Go Round the Roses"] After his paintings of Campbell's soup cans, and some rather controversial but less commercially successful paintings of photographs of horrors and catastrophes taken from newspapers, Warhol abandoned painting in the conventional sense altogether, instead creating brightly coloured screen prints -- a form of stencilling -- based on photographs of celebrities like Elvis Presley, Elizabeth Taylor and, most famously, Marilyn Monroe. That way he could produce images which could be mass-produced, without his active involvement, and which supposedly had none of his personality in them, though of course his personality pervades the work anyway. He put on exhibitions of wooden boxes, silk-screen printed to look exactly like shipping cartons of Brillo pads. Images we see everywhere -- in newspapers, in supermarkets -- were art. And Warhol even briefly formed a band. The Druds were a garage band formed to play at a show at the Washington Gallery of Modern Art, the opening night of an exhibition that featured a silkscreen by Warhol of 210 identical bottles of Coca-Cola, as well as paintings by Rauschenberg and others. That opening night featured a happening by Claes Oldenburg, and a performance by Cage -- Cage gave a live lecture while three recordings of his own voice also played. The Druds were also meant to perform, but they fell apart after only a few rehearsals. Some recordings apparently exist, but they don't seem to circulate, but they'd be fascinating to hear as almost the entire band were non-musician artists like Warhol, Jasper Johns, and the sculptor Walter de Maria. Warhol said of the group “It didn't go too well, but if we had just stayed on it it would have been great.” On the other hand, the one actual musician in the group said “It was kind of ridiculous, so I quit after the second rehearsal". That musician was La Monte Young: [Excerpt: La Monte Young, "The Well-Tuned Piano"] That's an excerpt from what is generally considered Young's masterwork, "The Well-Tuned Piano". It's six and a half hours long. If Warhol is a difficult figure to write about, Young is almost impossible. He's a musician with a career stretching sixty years, who is arguably the most influential musician from the classical tradition in that time period. He's generally considered the father of minimalism, and he's also been called by Brian Eno "the daddy of us all" -- without Young you simply *do not* get art rock at all. Without Young there is no Velvet Underground, no David Bowie, no Eno, no New York punk scene, no Yoko Ono. Anywhere that the fine arts or conceptual art have intersected with popular music in the last fifty or more years has been influenced in one way or another by Young's work. BUT... he only rarely publishes his scores. He very, very rarely allows recordings of his work to be released -- there are four recordings on his bandcamp, plus a handful of recordings of his older, published, pieces, and very little else. He doesn't allow his music to be performed live without his supervision. There *are* bootleg recordings of his music, but even those are not easily obtainable -- Young is vigorous in enforcing his copyrights and issues takedown notices against anywhere that hosts them. So other than that handful of legitimately available recordings -- plus a recording by Young's Theater of Eternal Music, the legality of which is still disputed, and an off-air recording of a 1971 radio programme I've managed to track down, the only way to experience Young's music unless you're willing to travel to one of his rare live performances or installations is second-hand, by reading about it. Except that the one book that deals solely with Young and his music is not only a dense and difficult book to read, it's also one that Young vehemently disagreed with and considered extremely inaccurate, to the point he refused to allow permissions to quote his work in the book. Young did apparently prepare a list of corrections for the book, but he wouldn't tell the author what they were without payment. So please assume that anything I say about Young is wrong, but also accept that the short section of this episode about Young has required more work to *try* to get it right than pretty much anything else this year. Young's musical career actually started out in a relatively straightforward manner. He didn't grow up in the most loving of homes -- he's talked about his father beating him as a child because he had been told that young La Monte was clever -- but his father did buy him a saxophone and teach him the rudiments of the instrument, and as a child he was most influenced by the music of the big band saxophone player Jimmy Dorsey: [Excerpt: Jimmy Dorsey, “It's the Dreamer in Me”] The family, who were Mormon farmers, relocated several times in Young's childhood, from Idaho first to California and then to Utah, but everywhere they went La Monte seemed to find musical inspiration, whether from an uncle who had been part of the Kansas City jazz scene, a classmate who was a musical prodigy who had played with Perez Prado in his early teens, or a teacher who took the class to see a performance of Bartok's Concerto for Orchestra: [Excerpt: Bartok, "Concerto for Orchestra"] After leaving high school, Young went to Los Angeles City College to study music under Leonard Stein, who had been Schoenberg's assistant when Schoenberg had taught at UCLA, and there he became part of the thriving jazz scene based around Central Avenue, studying and performing with musicians like Ornette Coleman, Don Cherry, and Eric Dolphy -- Young once beat Dolphy in an audition for a place in the City College dance band, and the two would apparently substitute for each other on their regular gigs when one couldn't make it. During this time, Young's musical tastes became much more adventurous. He was a particular fan of the work of John Coltrane, and also got inspired by City of Glass, an album by Stan Kenton that attempted to combine jazz and modern classical music: [Excerpt: Stan Kenton's Innovations Orchestra, "City of Glass: The Structures"] His other major musical discovery in the mid-fifties was one we've talked about on several previous occasions -- the album Music of India, Morning and Evening Ragas by Ali Akhbar Khan: [Excerpt: Ali Akhbar Khan, "Rag Sindhi Bhairavi"] Young's music at this point was becoming increasingly modal, and equally influenced by the blues and Indian music. But he was also becoming interested in serialism. Serialism is an extension and generalisation of twelve-tone music, inspired by mathematical set theory. In serialism, you choose a set of musical elements -- in twelve-tone music that's the twelve notes in the twelve-tone scale, but it can also be a set of tonal relations, a chord, or any other set of elements. You then define all the possible ways you can permute those elements, a defined set of operations you can perform on them -- so you could play a scale forwards, play it backwards, play all the notes in the scale simultaneously, and so on. You then go through all the possible permutations, exactly once, and that's your piece of music. Young was particularly influenced by the works of Anton Webern, one of the earliest serialists: [Excerpt: Anton Webern, "Cantata number 1 for Soprano, Mixed Chorus, and Orchestra"] That piece we just heard, Webern's "Cantata number 1", was the subject of some of the earliest theoretical discussion of serialism, and in particular led to some discussion of the next step on from serialism. If serialism was all about going through every single permutation of a set, what if you *didn't* permute every element? There was a lot of discussion in the late fifties in music-theoretical circles about the idea of invariance. Normally in music, the interesting thing is what gets changed. To use a very simple example, you might change a melody from a major key to a minor one to make it sound sadder. What theorists at this point were starting to discuss is what happens if you leave something the same, but change the surrounding context, so the thing you *don't* vary sounds different because of the changed context. And going further, what if you don't change the context at all, and merely *imply* a changed context? These ideas were some of those which inspired Young's first major work, his Trio For Strings from 1958, a complex, palindromic, serial piece which is now credited as the first work of minimalism, because the notes in it change so infrequently: [Excerpt: La Monte Young, "Trio for Strings"] Though I should point out that Young never considers his works truly finished, and constantly rewrites them, and what we just heard is an excerpt from the only recording of the trio ever officially released, which is of the 2015 version. So I can't state for certain how close what we just heard is to the piece he wrote in 1958, except that it sounds very like the written descriptions of it I've read. After writing the Trio For Strings, Young moved to Germany to study with the modernist composer Karlheinz Stockhausen. While studying with Stockhausen, he became interested in the work of John Cage, and started up a correspondence with Cage. On his return to New York he studied with Cage and started writing pieces inspired by Cage, of which the most musical is probably Composition 1960 #7: [Excerpt: La Monte Young, "Composition 1960 #7"] The score for that piece is a stave on which is drawn a treble clef, the notes B and F#, and the words "To be held for a long Time". Other of his compositions from 1960 -- which are among the few of his compositions which have been published -- include composition 1960 #10 ("To Bob Morris"), the score for which is just the instruction "Draw a straight line and follow it.", and Piano Piece for David  Tudor #1, the score for which reads "Bring a bale of hay and a bucket of water onto the stage for the piano to eat and drink. The performer may then feed the piano or leave it to eat by itself. If the former, the piece is over after the piano has been fed. If the latter, it is over after the piano eats or decides not to". Most of these compositions were performed as part of a loose New York art collective called Fluxus, all of whom were influenced by Cage and the Dadaists. This collective, led by George Maciunas, sometimes involved Cage himself, but also involved people like Henry Flynt, the inventor of conceptual art, who later became a campaigner against art itself, and who also much to Young's bemusement abandoned abstract music in the mid-sixties to form a garage band with Walter de Maria (who had played drums with the Druds): [Excerpt: Henry Flynt and the Insurrections, "I Don't Wanna"] Much of Young's work was performed at Fluxus concerts given in a New York loft belonging to another member of the collective, Yoko Ono, who co-curated the concerts with Young. One of Ono's mid-sixties pieces, her "Four Pieces for Orchestra" is dedicated to Young, and consists of such instructions as "Count all the stars of that night by heart. The piece ends when all the orchestra members finish counting the stars, or when it dawns. This can be done with windows instead of stars." But while these conceptual ideas remained a huge part of Young's thinking, he soon became interested in two other ideas. The first was the idea of just intonation -- tuning instruments and voices to perfect harmonics, rather than using the subtly-off tuning that is used in Western music. I'm sure I've explained that before in a previous episode, but to put it simply when you're tuning an instrument with fixed pitches like a piano, you have a choice -- you can either tune it so that the notes in one key are perfectly in tune with each other, but then when you change key things go very out of tune, or you can choose to make *everything* a tiny bit, almost unnoticeably, out of tune, but equally so. For the last several hundred years, musicians as a community have chosen the latter course, which was among other things promoted by Bach's Well-Tempered Clavier, a collection of compositions which shows how the different keys work together: [Excerpt: Bach (Glenn Gould), "The Well-Tempered Clavier, Book II: Fugue in F-sharp minor, BWV 883"] Young, by contrast, has his own esoteric tuning system, which he uses in his own work The Well-Tuned Piano: [Excerpt: La Monte Young, "The Well-Tuned Piano"] The other idea that Young took on was from Indian music, the idea of the drone. One of the four recordings of Young's music that is available from his Bandcamp, a 1982 recording titled The Tamburas of Pandit Pran Nath, consists of one hour, thirteen minutes, and fifty-eight seconds of this: [Excerpt: La Monte Young, "The Tamburas of Pandit Pran Nath"] Yes, I have listened to the whole piece. No, nothing else happens. The minimalist composer Terry Riley describes the recording as "a singularly rare contribution that far outshines any other attempts to capture this instrument in recorded media". In 1962, Young started writing pieces based on what he called the "dream chord", a chord consisting of a root, fourth, sharpened fourth, and fifth: [dream chord] That chord had already appeared in his Trio for Strings, but now it would become the focus of much of his work, in pieces like his 1962 piece The Second Dream of the High-Tension Line Stepdown Transformer, heard here in a 1982 revision: [Excerpt: La Monte Young, "The Second Dream of the High-Tension Line Stepdown Transformer"] That was part of a series of works titled The Four Dreams of China, and Young began to plan an installation work titled Dream House, which would eventually be created, and which currently exists in Tribeca, New York, where it's been in continuous "performance" for thirty years -- and which consists of thirty-two different pure sine wave tones all played continuously, plus purple lighting by Young's wife Marian Zazeela. But as an initial step towards creating this, Young formed a collective called Theatre of Eternal Music, which some of the members -- though never Young himself -- always claim also went by the alternative name The Dream Syndicate. According to John Cale, a member of the group, that name came about because the group tuned their instruments to the 60hz hum of the fridge in Young's apartment, which Cale called "the key of Western civilisation". According to Cale, that meant the fundamental of the chords they played was 10hz, the frequency of alpha waves when dreaming -- hence the name. The group initially consisted of Young, Zazeela, the photographer Billy Name, and percussionist Angus MacLise, but by this recording in 1964 the lineup was Young, Zazeela, MacLise, Tony Conrad and John Cale: [Excerpt: "Cale, Conrad, Maclise, Young, Zazeela - The Dream Syndicate 2 IV 64-4"] That recording, like any others that have leaked by the 1960s version of the Theatre of Eternal Music or Dream Syndicate, is of disputed legality, because Young and Zazeela claim to this day that what the group performed were La Monte Young's compositions, while the other two surviving members, Cale and Conrad, claim that their performances were improvisational collaborations and should be equally credited to all the members, and so there have been lawsuits and countersuits any time anyone has released the recordings. John Cale, the youngest member of the group, was also the only one who wasn't American. He'd been born in Wales in 1942, and had had the kind of childhood that, in retrospect, seems guaranteed to lead to eccentricity. He was the product of a mixed-language marriage -- his father, William, was an English speaker while his mother, Margaret, spoke Welsh, but the couple had moved in on their marriage with Margaret's mother, who insisted that only Welsh could be spoken in her house. William didn't speak Welsh, and while he eventually picked up the basics from spending all his life surrounded by Welsh-speakers, he refused on principle to capitulate to his mother-in-law, and so remained silent in the house. John, meanwhile, grew up a monolingual Welsh speaker, and didn't start to learn English until he went to school when he was seven, and so couldn't speak to his father until then even though they lived together. Young John was extremely unwell for most of his childhood, both physically -- he had bronchial problems for which he had to take a cough mixture that was largely opium to help him sleep at night -- and mentally. He was hospitalised when he was sixteen with what was at first thought to be meningitis, but turned out to be a psychosomatic condition, the result of what he has described as a nervous breakdown. That breakdown is probably connected to the fact that during his teenage years he was sexually assaulted by two adults in positions of authority -- a vicar and a music teacher -- and felt unable to talk to anyone about this. He was, though, a child prodigy and was playing viola with the National Youth Orchestra of Wales from the age of thirteen, and listening to music by Schoenberg, Webern, and Stravinsky. He was so talented a multi-instrumentalist that at school he was the only person other than one of the music teachers and the headmaster who was allowed to use the piano -- which led to a prank on his very last day at school. The headmaster would, on the last day, hit a low G on the piano to cue the assembly to stand up, and Cale had placed a comb on the string, muting it and stopping the note from sounding -- in much the same way that his near-namesake John Cage was "preparing" pianos for his own compositions in the USA. Cale went on to Goldsmith's College to study music and composition, under Humphrey Searle, one of Britain's greatest proponents of serialism who had himself studied under Webern. Cale's main instrument was the viola, but he insisted on also playing pieces written for the violin, because they required more technical skill. For his final exam he chose to play Hindemith's notoriously difficult Viola Sonata: [Excerpt: Hindemith Viola Sonata] While at Goldsmith's, Cale became friendly with Cornelius Cardew, a composer and cellist who had studied with Stockhausen and at the time was a great admirer of and advocate for the works of Cage and Young (though by the mid-seventies Cardew rejected their work as counter-revolutionary bourgeois imperialism). Through Cardew, Cale started to correspond with Cage, and with George Maciunas and other members of Fluxus. In July 1963, just after he'd finished his studies at Goldsmith's, Cale presented a festival there consisting of an afternoon and an evening show. These shows included the first British performances of several works including Cardew's Autumn '60 for Orchestra -- a piece in which the musicians were given blank staves on which to write whatever part they wanted to play, but a separate set of instructions in *how* to play the parts they'd written. Another piece Cale presented in its British premiere at that show was Cage's "Concerto for Piano and Orchestra": [Excerpt: John Cage, "Concerto for Piano and Orchestra"] In the evening show, they performed Two Pieces For String Quartet by George Brecht (in which the musicians polish their instruments with dusters, making scraping sounds as they clean them),  and two new pieces by Cale, one of which involved a plant being put on the stage, and then the performer, Robin Page, screaming from the balcony at the plant that it would die, then running down, through the audience, and onto the stage, screaming abuse and threats at the plant. The final piece in the show was a performance by Cale (the first one in Britain) of La Monte Young's "X For Henry Flynt". For this piece, Cale put his hands together and then smashed both his arms onto the keyboard as hard as he could, over and over. After five minutes some of the audience stormed the stage and tried to drag the piano away from him. Cale followed the piano on his knees, continuing to bang the keys, and eventually the audience gave up in defeat and Cale the performer won. After this Cale moved to the USA, to further study composition, this time with Iannis Xenakis, the modernist composer who had also taught Mickey Baker orchestration after Baker left Mickey and Sylvia, and who composed such works as "Orient Occident": [Excerpt: Iannis Xenakis, "Orient Occident"] Cale had been recommended to Xenakis as a student by Aaron Copland, who thought the young man was probably a genius. But Cale's musical ambitions were rather too great for Tanglewood, Massachusetts -- he discovered that the institute had eighty-eight pianos, the same number as there are keys on a piano keyboard, and thought it would be great if for a piece he could take all eighty-eight pianos, put them all on different boats, sail the boats out onto a lake, and have eighty-eight different musicians each play one note on each piano, while the boats sank with the pianos on board. For some reason, Cale wasn't allowed to perform this composition, and instead had to make do with one where he pulled an axe out of a single piano and slammed it down on a table. Hardly the same, I'm sure you'll agree. From Tanglewood, Cale moved on to New York, where he soon became part of the artistic circles surrounding John Cage and La Monte Young. It was at this time that he joined Young's Theatre of Eternal Music, and also took part in a performance with Cage that would get Cale his first television exposure: [Excerpt: John Cale playing Erik Satie's "Vexations" on "I've Got a Secret"] That's Cale playing through "Vexations", a piece by Erik Satie that wasn't published until after Satie's death, and that remained in obscurity until Cage popularised -- if that's the word -- the piece. The piece, which Cage had found while studying Satie's notes, seems to be written as an exercise and has the inscription (in French) "In order to play the motif 840 times in succession, it would be advisable to prepare oneself beforehand, and in the deepest silence, by serious immobilities." Cage interpreted that, possibly correctly, as an instruction that the piece should be played eight hundred and forty times straight through, and so he put together a performance of the piece, the first one ever, by a group he called the Pocket Theatre Piano Relay Team, which included Cage himself, Cale, Joshua Rifkin, and several other notable musical figures, who took it in turns playing the piece. For that performance, which ended up lasting eighteen hours, there was an entry fee of five dollars, and there was a time-clock in the lobby. Audience members punched in and punched out, and got a refund of five cents for every twenty minutes they'd spent listening to the music. Supposedly, at the end, one audience member yelled "Encore!" A week later, Cale appeared on "I've Got a Secret", a popular game-show in which celebrities tried to guess people's secrets (and which is where that performance of Cage's "Water Walk" we heard earlier comes from): [Excerpt: John Cale on I've Got a Secret] For a while, Cale lived with a friend of La Monte Young's, Terry Jennings, before moving in to a flat with Tony Conrad, one of the other members of the Theatre of Eternal Music. Angus MacLise lived in another flat in the same building. As there was not much money to be made in avant-garde music, Cale also worked in a bookshop -- a job Cage had found him -- and had a sideline in dealing drugs. But rents were so cheap at this time that Cale and Conrad only had to work part-time, and could spend much of their time working on the music they were making with Young. Both were string players -- Conrad violin, Cale viola -- and they soon modified their instruments. Conrad merely attached pickups to his so it could be amplified, but Cale went much further. He filed down the viola's bridge so he could play three strings at once, and he replaced the normal viola strings with thicker, heavier, guitar and mandolin strings. This created a sound so loud that it sounded like a distorted electric guitar -- though in late 1963 and early 1964 there were very few people who even knew what a distorted guitar sounded like. Cale and Conrad were also starting to become interested in rock and roll music, to which neither of them had previously paid much attention, because John Cage's music had taught them to listen for music in sounds they previously dismissed. In particular, Cale became fascinated with the harmonies of the Everly Brothers, hearing in them the same just intonation that Young advocated for: [Excerpt: The Everly Brothers, "All I Have to Do is Dream"] And it was with this newfound interest in rock and roll that Cale and Conrad suddenly found themselves members of a manufactured pop band. The two men had been invited to a party on the Lower East Side, and there they'd been introduced to Terry Phillips of Pickwick Records. Phillips had seen their long hair and asked if they were musicians, so they'd answered "yes". He asked if they were in a band, and they said yes. He asked if that band had a drummer, and again they said yes. By this point they realised that he had assumed they were rock guitarists, rather than experimental avant-garde string players, but they decided to play along and see where this was going. Phillips told them that if they brought along their drummer to Pickwick's studios the next day, he had a job for them. The two of them went along with Walter de Maria, who did play the drums a little in between his conceptual art work, and there they were played a record: [Excerpt: The Primitives, "The Ostrich"] It was explained to them that Pickwick made knock-off records -- soundalikes of big hits, and their own records in the style of those hits, all played by a bunch of session musicians and put out under different band names. This one, by "the Primitives", they thought had a shot at being an actual hit, even though it was a dance-craze song about a dance where one partner lays on the floor and the other stamps on their head. But if it was going to be a hit, they needed an actual band to go out and perform it, backing the singer. How would Cale, Conrad, and de Maria like to be three quarters of the Primitives? It sounded fun, but of course they weren't actually guitarists. But as it turned out, that wasn't going to be a problem. They were told that the guitars on the track had all been tuned to one note -- not even to an open chord, like we talked about Steve Cropper doing last episode, but all the strings to one note. Cale and Conrad were astonished -- that was exactly the kind of thing they'd been doing in their drone experiments with La Monte Young. Who was this person who was independently inventing the most advanced ideas in experimental music but applying them to pop songs? And that was how they met Lou Reed: [Excerpt: The Primitives, "The Ostrich"] Where Cale and Conrad were avant-gardeists who had only just started paying attention to rock and roll music, rock and roll was in Lou Reed's blood, but there were a few striking similarities between him and Cale, even though at a glance their backgrounds could not have seemed more different. Reed had been brought up in a comfortably middle-class home in Long Island, but despised the suburban conformity that surrounded him from a very early age, and by his teens was starting to rebel against it very strongly. According to one classmate “Lou was always more advanced than the rest of us. The drinking age was eighteen back then, so we all started drinking at around sixteen. We were drinking quarts of beer, but Lou was smoking joints. He didn't do that in front of many people, but I knew he was doing it. While we were looking at girls in Playboy, Lou was reading Story of O. He was reading the Marquis de Sade, stuff that I wouldn't even have thought about or known how to find.” But one way in which Reed was a typical teenager of the period was his love for rock and roll, especially doo-wop. He'd got himself a guitar, but only had one lesson -- according to the story he would tell on numerous occasions, he turned up with a copy of "Blue Suede Shoes" and told the teacher he only wanted to know how to play the chords for that, and he'd work out the rest himself. Reed and two schoolfriends, Alan Walters and Phil Harris, put together a doo-wop trio they called The Shades, because they wore sunglasses, and a neighbour introduced them to Bob Shad, who had been an A&R man for Mercury Records and was starting his own new label. He renamed them the Jades and took them into the studio with some of the best New York session players, and at fourteen years old Lou Reed was writing songs and singing them backed by Mickey Baker and King Curtis: [Excerpt: The Jades, "Leave Her For Me"] Sadly the Jades' single was a flop -- the closest it came to success was being played on Murray the K's radio show, but on a day when Murray the K was off ill and someone else was filling in for him, much to Reed's disappointment. Phil Harris, the lead singer of the group, got to record some solo sessions after that, but the Jades split up and it would be several years before Reed made any more records. Partly this was because of Reed's mental health, and here's where things get disputed and rather messy. What we know is that in his late teens, just after he'd gone off to New

If you're an introvert & you're ready to say bye-bye to the rules in business and start creating content and selling in your own way, this episode is for you

When you have the "Bully's Bully" on your side what more do you need!? On this week's Can Crusher's Spotlight, Mark "The Mark" sits down and talks wrestling, life, ways to chill at home, and so much more with the one and only, Brox Boulder!Find out why Brox wanted to get involved in pro wrestling from the start and why he continues to push himself each and every night to be the best he can be. Mark stirs the pot a bit to help promote an upcoming match with Boulder's friend & mentor Bobby Blaze, as he takes on the GOAT of Pro Wrestling Jock Samson. However the guys get back on the same page as they exchange notes about podcasting, family time, video games and training! So much to unpack in this episode, so just give it a listen!Collar X Elbow - The Wrestling Brand Use promo code CanCrushers to save 10% off your order!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the showRemember, just because your trash it doesn't mean you can't do great things! It's called a garbage CAN not a garbage CAN NOT!Order your Can Crushers Merch: https://can-crushers-wrestling-podcast.creator-spring.com/

This was such a wholesome conversation and honestly, I could have spoken to Mia all day. Mia is a business coach for introverts! And being an introvert herself she tells me all about her journey into the online space. I resonated with so much of what she was saying. Also a fellow introvert, I know what it's like to be shy or a little bit more reserved than others AND how to turn this into a superpower. Follow Mia: https://www.instagram.com/miabrox/ If you liked today's podcast episode we would be so grateful if you would leave us a review on iTunes. When you do take a screenshot and DM it to Ela and she will send you my HOW TO CREATE CONTENT GUIDE as a little thank you! Ela Mazur Creative: https://www.elamazurcreative.com/ GET IN TOUCH: hello@elamazurcreative.com Youtube: https://www.youtube.com/channel/UCRr2BhTxtLdGTTByC61sPLA?view_as=subscriber Instagram: https://www.instagram.com/elamazurcreative/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/elamazurcreative/message

Brox v. Woods Hole, Martha's Vyd & Nantucket S.S. Auth.

I denne episoden snakker jeg (Henriette Einevoll Husby aka Businesshenriette) business med Athina Brox CEO av Bro-X Agency som hjelper kunder med å lage innhold, drifte sosiale medier, og med å bli mer synlig på nett, dette startet hun i år (2022) og har hatt enorm suksess allerede. Men Athina har hatt en spennende karriere før hun hoppet ut i det som Gründer. Hun har vært danser, Miss Universe-kandidat, tatt en bachelorgrad på to år og solgt luksusleiligheter i Miami.Dette er en sterk, ung, fremadstormende dame med skyhøye mål og en gjennomføringsevne som få har. Vi snakker om Athinas vei til drømmen om USA, hvordan hun er blitt som hun er blitt, hva som driver henne, motiverer henne og ikke minst hvordan andre kan gjøre det samme!Athina på SoMe:@miss_brox@bro_xagencyVi ses og snakkes på @businesshenriette

WarRoom Battleground EP 127: MAGA In The Brox Are Coming For AOC; The Religion Of Globalism Is On The Rise; Should COVID Vaccines Be Banned For Pregnant Women

Akutte ryggsmerter! Legge seg ned eller ut å løpe? Neurontin? MR hot or not? Dr. Brox svarer. Aktuelle ressurser Oppsummering akutte ryggsmerter - Brox (Helsebiblioteket, 2021) Videoer om undersøkelse ved Fagbokforlaget Videoer om undersøkelse ved UiO For LiS-leger kan denne podcasten bidra til å oppnå læringsmål om diagnostikk av rygglidelser i FMR, ortopedi og revmatologi: FMR-048, ORT-018, REV-010.   Ansvarlige for podcasten er legene Sigrid Skatteboe, Niels Gunnar Juel og Andreas Saga Romsdal.

Brox boulder and juan --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Danelle and Brodie talk with Annie Brox, the founder of Origo Farm, an agtech business that recently won both a Boosting Female Founding grant (one of only 3 in WA) as well as an Accelerating Commercialisation grant in 2019, for her farm-based IoT platform and devices business. From growing up in a farming family in Norway, to working in telecoms, she arrived in Western Australia to found Origo, that works with farmers to improve connectivity as well as providing IoT hardware devices and a platform to improve efficiency. "Get to know your customers, early on, really really get to know your customers. Do the hard yards with your customers. Get in customers, early early on. And just tell them, openly, I'm thinking about this, would you like to be on board, in terms of giving me feedback. Don't choose all the nice ones that say yes, yes, yes, yes…” ~ Annie Brox. For more: www.origo.farm ~~ Startup West is recorded at Riff studios in beautiful downtown Perth, Western Australia; produced by Startup News, edited by Carmen Yee Kai Wen and brought to you thanks to support from Spacecubed, Curtin University, RSM, the City of Perth, Dinner Twist and Tekkon. Startup West acknowledges the Whadjuk Nyoongar people, traditional owners of the lands and waters of Perth, where this podcast was recorded, and we pay our respects to Elders past, present and emerging.

Brox boulder --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

brox boulder

In this episode I spoke with Mia Brox from She Dreams All Day! We covered everything you need to know to build a dreamy business, shine online with confidence and avoid the dreaded introvert hangover! Because - as Mia says - Quiet people can do AMAZING things! Connect with Mia Brox - She Dreams All Day - on Instagram HERE! Check out her signature course "Her Quiet Influence" HERE! Join the Productivity Party with ClickUp and "Dream Plan Do" HERE! If you loved what you heard here let's continue the convo over on my instagram HERE! Check out my daily TikTok Vlogs and lessons HERE! Don't forget to download my FREE Manifest Your Income Goals Meditation HERE!

#RewindWithBesa - @besagordon is back for this week's episode of the #RewindWithBesa in which she taps in with @papablackdavinci and has a new song on the hoirzon? Papa Black also put Besa up on @2oopaidtk and she was so blown away be his sound she featured him on her @kube933 blog. Besa also touches on the latest in national entertainment news including the Grammys, Drake's new shoe deal, Cardi B showing up big for the Brox, and Kanye trying to get to his daughter's birthday party. #WWConverge #BlackMediaMatters #BlackSeattle #BlackInSeattle #ConvergeMusic

Jon and Brox go all in on the NBA. YOU'VE BEEN WARNED. We get sappy about our beloved Wolves, then give in-season bros & turds, offer a few medium-spice takes and end with predictions. And a special guest stops by which - believe us when we tell you - you do not want to miss. See acast.com/privacy for privacy and opt-out information.

021. The beauty of running an online business is that you can do so in the comfort of your own home.In your pajamas, yoga pants, whatever your jam is...You can create your own schedule and really just do you every day.If that sounds like an introvert paradise to you, you're not alone!For introvert Mia Brox of She Dreams All Day blog, blogging seemed like the perfect way to express her creative side and make some extra income, while staying out of the limelight. She even launched her blog in secret, and didn't share her name or picture with her audience for quite a while. But eventually, she realized if she wanted to grow her blog to the next level, she needed to create a personal connection with her audience--which meant actually sharing more about herself as a person.Mia has been a Create and Go student since 2018, has taken all of our courses, and is one of our favorite success stories. With the skills and knowledge from our courses, plus a lot of passion and determination, she was able to grow her blog from fresh start-up in 2018 to making over $10,000 each month in 2021!Today, Mia is sharing how she went from anonymous blogger to popular YouTuber and business coach, and how you can do the same. In this episode, Mia and I are discussing:How Mia started blogging, and eventually found her nicheWhich social media platforms work best for her blogHow she incorporates coaching into her businessThe insecurities many bloggers face (including the extroverts!)How Mia grew her blog to over $10,000/monthAnd more.For additional resources and show notes, visit the episode podcast page on our website.Resources and Mentions:Mia's Blog: SheDreamsAllDay.com Mia's Instagram: @shedreamsalldayMia's YouTube: Mia Brox: Introvert Life & MindsetCreate and Go Courses Mia took: Launch Your Blog BizSEO Blueprint for BloggersPinterest Traffic AvalancheSix-Figure BloggerTutorial: How to Start a Successful BlogStart your first blog with our Free 5-Day Blogging BootcampFor more information and resources, check out the podcast page on our website.

021. The beauty of running an online business is that you can do so in the comfort of your own home.In your pajamas, yoga pants, whatever your jam is...You can create your own schedule and really just do you every day.If that sounds like an introvert paradise to you, you're not alone!For introvert Mia Brox of She Dreams All Day blog, blogging seemed like the perfect way to express her creative side and make some extra income, while staying out of the limelight. She even launched her blog in secret, and didn't share her name or picture with her audience for quite a while. But eventually, she realized if she wanted to grow her blog to the next level, she needed to create a personal connection with her audience--which meant actually sharing more about herself as a person.Mia has been a Create and Go student since 2018, has taken all of our courses, and is one of our favorite success stories. With the skills and knowledge from our courses, plus a lot of passion and determination, she was able to grow her blog from fresh start-up in 2018 to making over $10,000 each month in 2021!Today, Mia is sharing how she went from anonymous blogger to popular YouTuber and business coach, and how you can do the same. In this episode, Mia and I are discussing:How Mia started blogging, and eventually found her nicheWhich social media platforms work best for her blogHow she incorporates coaching into her businessThe insecurities many bloggers face (including the extroverts!)How Mia grew her blog to over $10,000/monthAnd more.For additional resources and show notes, visit the episode podcast page on our website.Resources and Mentions:Mia's Blog: SheDreamsAllDay.com Mia's Instagram: @shedreamsalldayMia's YouTube: Mia Brox: Introvert Life & MindsetCreate and Go Courses Mia took: Launch Your Blog BizSEO Blueprint for BloggersPinterest Traffic AvalancheSix-Figure BloggerTutorial: How to Start a Successful BlogStart your first blog with our Free 5-Day Blogging Bootcamp

No programa de ontem demos a conhecer mais dois artistas de blues. Warren Haynes natural da cidade Asheville - Carolina do Norte - EUA e de Kyla Brox natural de Stockport, Manchester - Inglaterra.

FOLLOW MIAhttps://www.instagram.com/miabrox/Her Quiet Influence: https://shedreamsallday.com/her-quiet-influence See acast.com/privacy for privacy and opt-out information.

Ob Intervall-, Suppen- oder Heilfasten – Fastenkuren sind gerade (Obacht, Wortspiel!) in aller Munde. Und zugegebenermaßen, spielen wir schon länger immer mal wieder mit dem Gedanken, unserem Körper zuliebe eine Zeitlang den Verzicht auf Nahrung zu wagen. Doch gerade im Alltag mit Kind(ern), der ohnehin schon oft hektisch ist, gibt es – zumindest in unseren Köpfen – viele Barrieren, die uns bisher immer noch haben zögern lassen.  Wir wollten mehr wissen uns haben uns eine Expertin eingeladen: Emma Krogmann von Brox. Mit ihr sprechen wir über die verschiedenen Arten des Fastens, darüber, was Fastenkuren für uns tun können, inwiefern sie unseren Körper in seiner Funktion unterstützen können und was das eigentlich alles mit „bitte einmal feucht durchwischen“ zu tun hat.

This week's Warcraft Lore discussion we went over the story that led to Alexandros Mograine getting sent to Maldraxxus. And then we wrapped up with Rhonin, Kori, and Brox getting sent to the War of the Ancients.   Gin was drinking Device Brewing Co from Sacramento - Curious Haze: 7% ABV   BattleTags: Gin#12414 & Fear#1681   For more info go to https://morallygreypod.com Send us an email: show@morallygreypod.com Become a patron at https://patreon.com/morallygreypod

#MenschenbeiAnnette #AnnetteRadüg #RichardBrox #30Jahreobdachlos #Bestsellerautor #Bestseller #KeinDachüberdemLeben #Lebensgeschichte #Literaturpreis #Literatur #Mannheim #Taiwan #helmutrichardbrox.blogspot.com #Radio21 #RocklandRadio #AntenneSylt

I dag er det 117 år siden brødrene Wright tok til vingene på stranda ved Kitty Hawk. Det var den første dingsen som var tyngre enn luft, og kunne holde seg i lufta. Og det med sykkeldeler, i følge Johan Brox. Siden det også lakker mot jul blir det hjul-spesial, med felg, og eikebonanza, og bare bittelitt juletreprat. Dette blir også siste episode i det vi kan kalle sesong 1. Kom gjerne med innspill til ny sesong!

This week Leo and Steve interview the phenomenal, award winning Kyla Brox. Kyla has won the European and British Blues Challenges as well as reaching the Semi finals of the International Blues Challenge in Memphis. Her latest album, Pain & Glory, reached No. 1 in the IBBA (Independent Blues Broadcasters Association) charts for April and was the most played album across the IBBA radio network for the whole of 2019.Kyla talks about growing up in a musical family, her extensive touring and who she considers to be her main influences. She gives her take on the music industry, before picking her fantasy dinner guests and her personal bard (and much more).Check Kyla out: www.kylabrox.com

Terminamos temporada, la octava, con este programa en el que hablamos largo y tendido sobre Packs de juegos incluyendo el regreso de una voz conocida en el Podcast. Entrevistamos a Javier Arévalo Baeza “Jare”, autor de Stardust y Brox y protagonista de la industria del videojuego desde su nacimiento hasta la actualidad. Una gozada repasar tantos años de una forma tan detallada y con tanta información. Además del repaso de rigor a los nuevos juegos homebrew dedicamos un apartado específico a tratar el segundo crowdfunding del ZX Spectrum Next. Un éxito comercial sin precedentes pero, ¿es elevado el precio? ¿Es sensato un plazo de entrega tan amplio? De todo esto hablaremos. Aquí acaba la temporada ocho. Esperamos que la hayáis disfrutado y nos escuchamos pronto en la novena.

Lette karbonglis ruller på veiene. Men var alt bedre før likevel? Denne gangen snakker jeg med Johan Brox, som forteller om utviklingen i tursykler for nesten hundre år siden, og hvordan mange av innovasjonene i sykkelverdenen kom fra nettopp tursykling og ikke konkurransesykling.

Episode 32 - Kyla BroxThe Swan Song Project Podcast features a range of Songwriters to talk about songwriting and bereavement.Swan Song founder Ben Buddy Slack asks each guest to:A) Share one of their songs and talk a bit about how they wrote itB) Share a songwriting tip that could be useful to new and aspiring songwriters.C) Share a song that is meaningful to them in some way relating to bereavement.Kylas song choice is "Walking in Memphis" by Mark Cohn.Hear it here - https://www.youtube.com/watch?v=PgRaf...https://www.kylabrox.com/https://www.facebook.com/KylaBroxPage/Facebook: TheSwanSongProject | Instagram: @Swansongproject Twitter: @swansongprouk | LinkedIn: The Swan Song ProjectHope you enjoy it.www.swansongproject.co.uk See acast.com/privacy for privacy and opt-out information.

Hvorfor begynner noen barn å hate skolen? Rebekka Brox Liabø droppet selv ut fra videregående. I dag driver hun skriveverksted for ungdom og jobber for at så få som mulig skal falle fra.

Brox Broxenia the archaic practice of matchmaking caught on camera.

Wer bin ich? Was ist das "Ich" eigentlich? Und wie bringt man solche zentralen Fragen des Lebens in die Welt als Führungskraft ein? Konrad Knops, Gründer und Geschäftsführer von Brox, berichtet von seiner Reise vom Osteopath zum CEO, seinem durchaus spirituellen Weg zum eigenen "Selbst" und den hilfreichen Sichtweisen für das Navigieren im täglichen Chaos eines Berliner StartUps.

Minneapolis burns, including a police station, as the demands for justice in the police murder of an unarmed black man, George Floyd. Four white police officers involved in the murder have been fired, but the video of one officer with his knee on Floyd’s neck for several minutes while he cried out “I can’t breathe” have the community calling for more widespread justice. Protests have started to spread across the nation as well.  Trump took to Twitter to help insight violence against Minneapolis protesters calling them “THUGS,” suggesting that the military should be brought in to suppress the protests, and threatening “when the looting starts, the shooting starts.”  And it’s official. More than 100,000 Americans are dead from COVID-19. That horrific milestone was reached as states are planning on or have already opened up. Yet, as the Washington Post reported this week, rural areas are increasingly becoming the areas hit hardest by the coronavirus. And while those states hit hard by COVID-19 early in the outbreak are beginning to flatten their curves, the rest of the country’s numbers are continuing to skyrocket up.  Over Memorial Day weekend, the Lake of the Ozarks in Missouri was the place to be, apparently. Thousands of people flooded pool parties and resorts in violation of the state’s and county’s COVID-19 restrictions. The Governor of St. Louis County had to issue a travel advisory after videos of the parties went viral urging “those who ignored protective practices to self-quarantine for 14 days or until testing negative for COVID-19.” What are the chances of that, do you think?  After aggressive efforts to combat the spread of the coronavirus, South Korea made the decision to reopen its schools. Now more than 500 schools have had to shut their doors again after spikes in new cases.  New York Rep. Eliot Engle, the hawkish Democrat who chairs the House Foreign Affairs Committee and who has ties to defense contractors, may just lose a primary challenge to Jamaal Bowman, a progressive champion for the district representing parts of the Brox and Westchester.  PA Republican leaders in the House were exposed for a COVID-19 cover-up in the Capitol.  House Representative Andy Lewis came down with the virus and tested positive on May 14th.  When he told leadership that he tested positive, leadership only told other Republicans to quarantine.  Who cares if the House Democrats get sick.   PA State Representative Brian Sims, unloads on Republican State House leadership after learning that House Majority Leader, Mike Turzai and other members of the House Republican leadership covered-up the fact that several Republican members had tested positive for COVID-19. Rep. Russ Diamond, who has been the biggest loudmouth about how everything is safe and that that Governor Wolf is a tyrant, was one of the Republicans who tested positive for COVID-19. The COVID coverup didn’t stop House Republicans from voting on Russ Diamond’s resolution to suspend Governor Tom Wolf’s emergency declaration. Oh, 8 Democrats voted for Russ Diamond’s bill to open up PA. This is AFTER the news broke of the PA GOP COVID-19 cover-up. Bernie Sanders endorses Daylin Leach’s Primary challenger Amanda Capaletti & endorsed Nikil Saval who is the editor of N+1 and running against Larry Farnese.   In another chapter of “you just don’t get it, do you,” Pennsylvania’s department of education is working with the Data Recognition Corporation to find ways of getting parents to give their kids standardized tests in the event that schools remained closed in the fall due to the pandemic. I don’t know about you, but I was really disappointed when my kids’ PSSA’s and other standardized tests were canceled this year. The good news is that Pennsylvania is not the only state attempting to push high-stakes testing into students’ homes.  Oh, and who’s Matt Brouillette again? Netflix’s Space Force starring Steve Carell premiers TODAY!  Wednesday’s attempt by SpaceX and NASA to launch astronauts to the International Space Station from U.S. soil for the first time in almost 10 years had to be postponed due to weather. The new launch date is set for tomorrow, Saturday, May 30 @ 3:22 pm. Sean bought a desk fan. Big news. He needed it after going down the YouTube rabbit hole on Nicholas Cage. If you’re looking for some excellent sci-fi pandemic reading, check out Station Eleven, by Emily St. John Mandel.  I’ll report back on some of the new offerings at Free Will’s online store. I’ve had a chance to check out Haymaker Meadery’s Dandy - Sparkling Mead with Plum and Jasmine Green Tea - 6.5% ABV. And I also picked up a 4-pack of Relax and Chill, a hazy IPA Hazy Pale Ale Brewed with oats and hopped with Simcoe, Calypso, and Centennial- 5.5% ABV. You can check out all their stuff to pick up or get delivered at https://freewillbrewing.store/.

Críticas Sobre La Marcha es un podcast donde improvisamos micro críticas y reflexiones en torno al audiovisual. Este episodio pertenece a la sección "La crítica durante el confinamiento", donde diferentes integrantes del mundo de la crítica comentan cómo la crisis del coronavirus ha modificado su manera de consumir cine (si es que lo ha hecho), y cómo esto se ha visto reflejado en su manera de hacer crítica (si es que se ha reflejado).

#AnnetteRAdüg #MenschenbeiAnnette #RichardBrox #keinDachübermLeben #PlädoyereinerRandkultur #30Jahreobdachlos #Gabenzaun #Obdachlose #Radio21 #RocklandRadio #AntenneSylt

Richard Brox ist wohl der bekannteste Obdachlose in Deutschland - beziehungsweise Berber, wie er sich selber nennt. Seit mehr als 30 Jahren ist die Straße sein Zuhause. Nachdem er vor gut 10 Jahren Günter Wallraff kennenlernte, begann Brox, sich mit dem Erlebten auseinanderzusetzen: Mit seiner von Gewalt geprägten Kindheit, den fehlenden Bindungen und dem Leben ohne Dach über dem Kopf. Einfühlsam und ungeschönt schildert Richard Brox in "Kein Dach über dem Leben" nicht nur, was er alles Schreckliches erlebt hat, sondern auch, wie er es geschafft hat, sich freizukämpfen. 21 Wochen hält sich seine Lebensgeschichte in der Kategorie Sachbuch in der Spiegel-Bestsellerliste.

Richard Brox ist wohl der bekannteste Obdachlose in Deutschland - beziehungsweise Berber, wie er sich selber nennt. Seit mehr als 30 Jahren ist die Straße sein Zuhause. Nachdem er vor gut 10 Jahren Günter Wallraff kennenlernte, begann Brox, sich mit dem Erlebten auseinanderzusetzen: Mit seiner von Gewalt geprägten Kindheit, den fehlenden Bindungen und dem Leben ohne Dach über dem Kopf. Einfühlsam und ungeschönt schildert Richard Brox in "Kein Dach über dem Leben" nicht nur, was er alles Schreckliches erlebt hat, sondern auch, wie er es geschafft hat, sich freizukämpfen. 21 Wochen hält sich seine Lebensgeschichte in der Kategorie Sachbuch in der Spiegel-Bestsellerliste.

I denne episoden diskuterer vi problemet rundt spesifisitet. Hvorfor diagnostiseres 90% av korsryggspasienter med "uspesifikke korsryggssmerter" mens vi i andre ledd er mer spesifikke med mindre forskning? Vi tar utgangspunkt i kvalitativ forskning på subakromielt impingement og diskuterer hvordan vi rammer inn budskapet i vår kommunikasjon med pasienten har mye å si for den konteksten vi skaper for behandling og ultimativt hvor vellykket vi er med vår rehabilitering.   Hvordan har den kulturelle bagasjen og finansieringen av intervensjoner formet skulderområdet? AKTUELL LITTERATUR:Cuff, A., et al.: Subacromial impingement syndrome – What does this mean to and for the patient? A qualitative study. Musculoskeletal Science and Practice, 2018. 33: p. 24-28.Neer, C.S., 2nd: Impingement lesions. Clin Orthop Relat Res, 1983(173): p. 70-7.Neer, C.S., 2nd: Anterior acromioplasty for the chronic impingement syndrome in the shoulder: a preliminary report. J Bone Joint Surg Am, 1972. 54(1): p. 41-50.Brox, J.I., et al.: Arthroscopic surgery compared with supervised exercises in patients  with rotator cuff disease (stageII impingement syndrome). BMJ, 1993. 307(6909): p. 899-903.Ketola, S., et al.: Does arthroscopic acromioplasty provide any additional value in the treatment of shoulder impingement syndrome? A TWO-YEAR RANDOMISED CONTROLLED TRIAL. J Bone Joint Surg Br., 2009. 91(10): p. 1326-34.Ketola, S., et al.: Which patients do not recover from shoulder impingement syndrome, either with operative treatment or with nonoperative treatment? Acta Orthop, 2015. 86(6): p. 641-6.Ketola, S., et al.: Arthroscopic decompression not recommended in the treatment of rotator cuff tendinopathy: a final review of a randomised controlled trial at a minimum follow-up of ten years. Bone Joint J, 2017. 99-B(6): p. 799-805.Haahr, J.P., et al.: Exercises may be as efficient as subacromial decompression in patients with subacromial stage II impingement: 4-8-years' follow-up in a prospective, randomized study. Scand J Rheumatol, 2006. 35(3): p. 224-8.Haahr, J.P., et al.: Exercises versus arthroscopic decompression in patients with subacromial impingement: a randomised, controlled study in 90 cases with a one year follow up. Ann Rheum Dis, 2005. 64(5): p. 760-4.Paavola, M., et al.: Subacromial decompression versus diagnostic arthroscopy for shoulder impingement: randomised, placebo surgery controlled clinical trial. BMJ, 2018. 362: p. k2860.Beard, D.: Arthroscopic subacromial decompression for subacromial shoulder pain (CSAW): a multicentre, pragmatic, parallel group, placebo-controlled, three-group, randomised surgical trial. The Lancet, 2017.MUSIKK: Joseph McDade-Mirrors

"T'agrada el Blues?" presenta Kyla Brox (Stockport Anglaterra), cantant de blues anglesa, en el seu

#AnnetteRadüg# MenschenBeiAnnette #RichardBrox #GünterWallraff #KeinDachÜberDemLeben #Obdachlos

Julianne Brox startet på en Norgesturné fra Tromsø til Lillestrøm, med flere organisasjoner i ryggen. Følg drømmen ikke strømmen med Julianne Brox.

Konrad Knops, Gründer des Start-Ups Brox – ein Stratege, der sich sein Durchsetzungsvermögen nicht nur durch jahrelanges Kung-Fu Training angeeignet hat, sondern auch durch eine ganz wundervolle Neugier, die ihn seit jeher in seinem Alltag zu begleiten scheint. Das Leben in allen Facetten strahlt für Konrad tiefe Faszination aus, die er, wie er selbst sagt, im Hier und Jetzt erlebt. Konrad Knops beschäftigt sich seit mehr als 15 Jahren mit dem Thema Langlebigkeit und reiste dafür nach Südamerika, China, Indien und Tibet. In Berlin leitete er die Praxis URBAN HEALTH mit Fokus auf Naturmedizin und Prävention, bevor er das Unternehmen Brox gründete. Hinter Brox stehen Bio-Knochenbrühen als auch Vitalpilzbrühen, die als das neue Superfood gelten. Über Superfoods und die innere Mitte Ganz überraschend nahm uns Konrad mit auf eine lebensbejahende Reise durch die philosophischen Grundfragen unseres Alltags. In unserem Gespräch erzählt uns Konrad somit, was es mit seinem Konzept von Leben auf sich hat. Dabei lässt er uns nicht nur Wissen, wie es zur Gründung von Brox kam, sondern was es mit der ganz besonderen Vision dahinter auf sich hat. Knochen- und Aktivpilzbrühe voller Kraft und heilender Wirkung So sprechen wir nicht nur über Denkweisen sondern auch Praktiken, die Konrad anwendet um seinem Ziel der Langlebigkeit näher zu kommen. Seine ganz persönlichen Bio-Hacks sind weniger konventionell dennoch effektiv wenn es darum geht Symptome wie Leaky-Gut oder ähnliches zu bekämpfen oder gar weitere Symptome rund um Magen-Darm präventiv zu behandeln. Was es dabei nicht nur mit der Knochenbrühe auf sich hat, sondern Aktivpilzen - sprich Adaptogenen, aber auch die Einnahme bewusstseinserweiternder Mittel, lässt uns Konrad im Detail in unserem Gespräch wissen. "Unsere Vision ist es, Menschen dazu zu unterstützen, ihre optimale Gesundheit zu erreichen. Unsere Mission ist es, uralte Weisheiten mit Erkenntnissen aus moderner Wissenschaft zu vereinen, um physische und digitale Produkte anzubieten, die einen gesunden, natürlichen Lifestyle in der heutigen Zeit unterstützen.", Konrad Knops.  WORÜBER WIR NOCH GESPROCHEN HABEN Das Unternehmen Brox, das Konzept, die Produkte und Philosophie dahinter Die ganzheitliche Sicht der Dinge durch die Lehre der Osteopathie, der Verbindung von Schmerz zu Organ - im speziellen des Darms Ernährungstherapeutische Ansätze und Wirkungsweisen von Bio-Knochen- als auch Viralpilzbrühen als auch Adaptogene uvm.  Functional Food und dessen Auswirkung auf das Immunsystem, Darmgesundheit, Autoimmunerkrankungen, Gelenkerkrankungen Bedeutung von Kollagen, L-Glutamin, Magnesium und Kalzium Ernährungs-Routine und Säulen von Ernährung WEITERE LINKS Konrad Knops auf Instagram Über Brox - Bio-Knochenbrühe als Superfood MEHR ZU the kyōō Folge uns auf Instagram @thekyoo_podcast https://www.instagram.com/thekyoo_podcast/ Finde mehr Infos und weitere Folgen auf unserer Website  https://www.the-kyoo.com Hinterlasse uns ein Kommentar und eine Bewertung auf iTunes Du nutzt lieber Spotify?   Fragen? Wir sind immer da für dich! Schreib uns eine Mail an hello@the-kyoo.com – wir freuen uns auf  

Von Konrads ganzheitlicher und spiritueller Haltung erfahren wir schon ganz zu Beginn in seiner Vorstellung mit den "drei Schlagworten". Der Co-Gründer von Bone Brox ist Physiotherapeut, Osteopath und beschäftigt sich seit vielen Jahren ausgiebig mit dem Thema Langlebigkeit. In der Osteopathie fand Konrad schon früh den Zugang zu den großen und ganzheitlichen Zusammenhängen, der "meta" Bedeutung von Bewegung. Hier kam er auch das erste Mal mit der "magischen Heilenergie" in Kontakt . Doch Konrad hat nicht nur vielen tausenden Patienten geholfen, sondern auch aus einem Impuls heraus mit seinem Co-Gründer Jin die Knochenbrühe Manufaktur "Bone Brox" gegründet, um uns mit diesem wertigen (Heil)Produkt den Wunsch nach wohligen Momenten zurückzubringen. Konrads größte Erkenntnisse und Lehren erfährt er durch permanentes Ausprobieren: Probieren mit seiner Aufmerksamkeit und Achtsamkeit wirklich im Moment zu sein, sich auf täglichen inneren ritualisierten Reisen immer wieder bewusst dem mit Unbekannten auseinanderzusetzen und Dankbarkeit zu leben. Sein persönlicher Schlüssel für ein ganzheitlich gesundes Leben und Langlebigkeit liegt für Konrad im Bewusstsein zur Verbindung, zur ihm selbst, zur Natur und vor allem zum großen Ganzen. Vor allem aber in der übergeordneten Bedeutung der "Bewegung", die letztlich alles erst ermöglicht und in den Fluss bringt. Sein "wozu und warum im Leben" liegt für Konrad im Erfahrungen sammeln, in und auf jedweder Ebene - fortlaufend erlebt er "Neues" ganz von selbst, indem er sich fortlaufend dem Unbekannten widmet. Sein Rat an den Teenager Konrad? "Lass Dir mehr Zeit" Ein schöner Impuls....wenn IHR einen Rat von Konrad möchtet: schreibt ihm gern unter konrad@bonebrox.de

If silence could tell us a story about itself, what would it say? This could be the question that Jane Brox answers in her most recent book, Silence: A Social History of One of the Least Understood Elements in Our Lives (Houghton Mifflin Harcourt, 2019). Brox is the award-winning author of several acclaimed works of literary nonfiction, including Brilliant: The Evolution of Artificial Light and Clearing Land: Legacies of the American Farm. In her fascinating study, Brox explores how silence impacts people both as individuals and as communities, by considering how silence has shaped two of the most archetypal institutions in western society: the monastery and the penitentiary. But she also considers the ways in which silence has particularly impacted the lives of women — both inside and outside such institutions. Silence has always been important to my life, partly because I'm a writer and to me, there's never enough silence when I'm working. Not only when I'm working at the page, but before and afterwards — that's the place in which the work grows. — Jane Brox Brox offers us tremendous insight into how silence is critical to her process as a creative writer. Having first encountered silence in her childhood on a farm, she grew up to embrace the writer's life, and discovering how essential silence has been to her ability to think — and create — in a comprehensive way. She talks about having a long-standing appreciation for Thomas Merton, which led to her organizing her book around his story — and the story of an obscure nineteenth-century convict from America's first penitentiary. But she also looks at how women have experienced silence in some very different ways from men's experience of silence. What emerged for Brox was a deepened appreciation for just how complex the human relationship to silence really is — that a simplistic distinction between "imposed silence" (in the penitentiary) and "chosen silence" (in the monastery) simply does not adequately reveal just how nuanced the social history of silence truly is. Some of the resources and authors we mention in this episode: Jane Brox, Silence: A Social History of One of the Least Understood Elements in Our Lives Jane Brox, Brilliant: The Evolution of Artificial Light Jane Brox, Clearing Land: Legacies of the American Farm Jane Brox, Five Thousand Days Like This One: An American Family History Jane Brox, Here and Nowhere Else: Late Seasons of a Farm and its Family Thomas Merton, The Seven Storey Mountain Thomas Merton, The Sign of Jonas Thomas Merton, The Intimate Merton: His Life from His Journals Thomas Merton, A Life in Letters William Shakespeare, The Complete Works Benjamin Rush, The Autobiography of Benjamin Rush Eugenia Ginzburg, Journey Into the Whirlwind Sara Maitland, A Book of Silence Tillie Olsen, Silences Seamus Heaney, Field Work Agnes Day, Light in the Shoe Shop: A Cobbler's Contemplations Silence is an extreme place; and it's total exposure. Even the most balanced person is tested there. That's in part why people seek it, to see where they will go; that's in party why people flee it, because it's so terrifying. There's no protection in the silence... There's no place to  hide in silence. — Jane Brox Episode 54: The Social History of Silence: A Conversation with Jane Brox Hosted by: Kevin Johnson With: Cassidy Hall, Carl McColman Guest: Jane Brox Date Recorded: February 4, 2019

If silence could tell us a story about itself, what would it say? This could be the question that Jane Brox answers in her most recent book, Silence: A Social History of One of the Least Understood Elements in Our Lives (Houghton Mifflin Harcourt, 2019). Brox is the award-winning author of several acclaimed works of literary nonfiction, including Brilliant: The Evolution of Artificial Light and Clearing Land: Legacies of the American Farm. In her fascinating study, Brox explores how silence impacts people both as individuals and as communities, by considering how silence has shaped two of the most archetypal institutions in western society: the monastery and the penitentiary. But she also considers the ways in which silence has particularly impacted the lives of women — both inside and outside such institutions. Silence has always been important to my life, partly because I'm a writer and to me, there's never enough silence when I'm working. Not only when I'm working at the page, but before and afterwards — that's the place in which the work grows. — Jane Brox Brox offers us tremendous insight into how silence is critical to her process as a creative writer. Having first encountered silence in her childhood on a farm, she grew up to embrace the writer's life, and discovering how essential silence has been to her ability to think — and create — in a comprehensive way. She talks about having a long-standing appreciation for Thomas Merton, which led to her organizing her book around his story — and the story of an obscure nineteenth-century convict from America's first penitentiary. But she also looks at how women have experienced silence in some very different ways from men's experience of silence. What emerged for Brox was a deepened appreciation for just how complex the human relationship to silence really is — that a simplistic distinction between "imposed silence" (in the penitentiary) and "chosen silence" (in the monastery) simply does not adequately reveal just how nuanced the social history of silence truly is. Some of the resources and authors we mention in this episode: Jane Brox, Silence: A Social History of One of the Least Understood Elements in Our Lives Jane Brox, Brilliant: The Evolution of Artificial Light Jane Brox, Clearing Land: Legacies of the American Farm Jane Brox, Five Thousand Days Like This One: An American Family History Jane Brox, Here and Nowhere Else: Late Seasons of a Farm and its Family Thomas Merton, The Seven Storey Mountain Thomas Merton, The Sign of Jonas Thomas Merton, The Intimate Merton: His Life from His Journals Thomas Merton, A Life in Letters William Shakespeare, The Complete Works Benjamin Rush, The Autobiography of Benjamin Rush Eugenia Ginzburg, Journey Into the Whirlwind Sara Maitland, A Book of Silence Tillie Olsen, Silences Seamus Heaney, Field Work Agnes Day, Light in the Shoe Shop: A Cobbler's Contemplations Silence is an extreme place; and it's total exposure. Even the most balanced person is tested there. That's in part why people seek it, to see where they will go; that's in party why people flee it, because it's so terrifying. There's no protection in the silence... There's no place to  hide in silence. — Jane Brox Episode 54: The Social History of Silence: A Conversation with Jane Brox Hosted by: Kevin Johnson With: Cassidy Hall, Carl McColman Guest: Jane Brox Date Recorded: February 4, 2019

Thema: Food-Startup Salesinsights Du hast BROX bereits in der „Höhle der Löwen“ gesehen? Bist du neugierig was danach geschah und ob nun Investoren an Board sind?Dann darfst du diese Folge über das Food-Startup aus Berlin nicht verpassen.Erfahre wie und wo produziert wird, welche Vertriebsstrategien verfolgt werden und wie die Brühe zu dir nach Hause kommt. Christian Ierep – Vertriebsverantwortlicher für Europa gibt uns exklusive Einblicke in das BROX - Universum und erzählt uns was er sonst noch so in der Lebensmittelszene treibt. Jetzt Podcast anhören und näheres erfahren. Have fun and stay hungry! Oder so.Link zum Blogbeitrag über BROX.+++ SPONSOR IN DIESEM PODCAST +++TASTE ELEMENTS - FoodStartup für innovative Produkte für die GastronomieMehr Infos auf www.tasteelements.com +++ INFOS IN EIGENER SACHE +++Besuche auch unsere Seite www.hobizand.com. Dort findest du weitere Informationen zu den Sendungen, aber auch Möglichkeiten uns zu kontaktieren. Vielleicht möchtest du uns ja Feedback geben oder dich oder jemand anderen für ein ein Interview vorschlagen. This Podcast is powered by GERSTA GmbH - Startup Partner and Management Services.

Knochenbrühe ist voll im Trend und das nicht ohne Grund, denn in ihr stecken viele wertvolle Aminosäuren und gesunde Fette, wie Jin-Woo von Brox mir heute verrät.

@TinDogPodcast reviews 4th Doctor 8.4 - THE FALSE GUARDIAN from @BigFinish   Synopsis Ann Kelso doesn’t like mysteries. Keen to investigate the trail of the Sinestrans, she sets the TARDIS on a new course... but flies into danger.   Arriving on a desolate world that the Doctor finds somehow familiar, the TARDIS crew discover that something is wrong with time. The inhabitants of an unusual complex are experimenting at the command of their enigmatic director... somebody who has quite a strong grudge against the Doctor.   Facing an old foe who was presumed dead, the travellers are soon trapped in a diabolical scheme. But is it just the tip of the iceberg?   This story continues in  (Note that this release is one of four collected together in ) Written By: Guy Adams Directed By: Nicholas Briggs Cast Tom Baker (The Doctor), Jane Slavin (WPC Ann Kelso), John Leeson (K9), John Shrapnel (Nigel Colloon), Anna Acton (Brox), Blake Ritson (Elmore), Roger May(Mac Foley), Tracy Wiles (Drones). Other parts played by members of the cast. Producer David Richardson Script Editor John Dorney Executive Producers Jason Haigh-Ellery and Nicholas Briggs  

  She lives in Norway, have a house full of kids, animals, and coloring supplies. In this episode you get to know May Brox (also known as "May mei") a bit more, and hear her best coloring tips: Like how you can create a glitter-effect, without using actual glitter, and what to think about when you use water mediums in the books that don´t have water color paper. And why she likes the Misfits coloring books so much. And of course the story about how one of her colorings will be the cover for a new coloring book, that soon will be released. 

IT'S TESTIMONY WITH TONJA EDWARDS AKA "Sassy" with Guests Michael Brox LAPD Detective lll and Yolanda Davidson ........... We will be taking your calls at: 323-649-8268

"Kein Dach über dem Leben" heißt der Bestseller von Richard Brox. Er erzählt darin seinen eigenen Lebensweg, denn er ist seit Jahrzehnten wohnungslos. Unermüdlich baut er Brücken zwischen denen, die draußen stehen und denen im Innern, die lieber wegsehen.

Hablamos del horrible asesinato de Junior, un muchacho de 15 años que fue confundido por una pantilla en el Brox. Además hablamos con Alejandra Espinoza sobre la nueva cara de Nuestra Belleza Latina. Además hablamos de #PermitPatty una mujer que llamó al 911 para acusar a una niña de 8 años por estar vendiendo agua en la calle.

Encoding Cultures: Leben mit intelligenten Maschinen | Konferenz Fr, 27.04.2018 – Sa, 28.04.2018 Medientheater Die jüngsten Fortschritte im Feld der künstlichen Intelligenz revolutionieren unser Denken und Handeln. Sie lassen grundlegende Veränderungen, die unsere Gesellschaft in den kommenden Jahren erfassen werden, erahnen. Das interdisziplinäre Symposium bringt WissenschaftlerInnen, ProgrammiererInnen und EntwicklerInnen, KulturtheoretikerInnen und KünstlerInnen daher nun in Dialog mit einer breiteren Öffentlichkeit. Die Vorträge und Diskussionen geben Einblick in den neuesten Stand der Forschung und Entwicklung im Bereich des maschinellen Lernens und fragen nach den aktuellen und langfristigen Auswirkungen dieser Technologie auf Wissenschaft, Wirtschaft, Politik, Kunst und Gesellschaft. /// Recent advances in the field of artificial intelligence are revolutionizing the way in which we think and act. They give an idea of the fundamental changes that will affect our society in the coming years. The interdisciplinary symposium brings scientists, programmers and developers, cultural theorists and artists into dialogue with a broader public. The lectures and discussions provide insight into the latest state of research and development in the field of machine learning and ask about the current and long-term effects of this technology on science, business, politics, art and society.

Marcel* aus Neumünster hat seine Wohnung verloren. Wie es dazu kam und was sich in seinem Leben verändern muss, berichtet der 23-Jährige in Episode 19 von „Schnack & Thumby“. Der junge Mann gehört zu den 18 bis 25-Jährigen in Schleswig-Holstein, bei denen die Wohnungsnot in den vergangenen Jahren stark zugenommen hat. Hinzukommt, dass auch die Anzahl von wohnungslosen Männern und Frauen, die älter als Marcel sind, gestiegen ist und sich diese Entwicklung noch fortsetzen wird. Woran liegt das? Die Gründe nennt Friedrich Keller von der Diakonie Schleswig-Holstein. Einer der schon seit 30 Jahren auf der Straße lebt, ist Richard Brox. Der 54-Jährige hat ein Buch darüber geschrieben, es wurde ein Bestseller. Die Tantiemen will Brox aber nicht für sich, sondern mit dem Geld schwerkranken Obdachlosen helfen.

Willkommen zum letzten Herdgeflüster Podcast dieser Berlin Food Week. Und damit zu einem Rundgang durch das BIKINI BERLIN an der Gedächtniskirche. Beim Good Food Market trifft Johannes Paetzold auf Azada Olivenöl aus Spanien, auf Seedheart Frühstücksmüsli, auf Brühe von Brox, auf ein begehbares Kochbuch und ein Reisekochbuch aus China, auf Agrilution und den Kräuteranbauschrank für zu Hause.

In this episode, the Goods from the Woods Boys sit down with comedian and Pat's good buddy from New York, Devin Blake! This episode is all about wandering drunk around the Big Apple, living in a shed in the San Fernando Valley, and the extremely odd habits of Devin's former roommate named "Euler". We also pay tribute to Brian "The Family Man" Power from Family Auto Mart by putting him into the Goods from the Woods Hall of Fame! Follow Devin on Twitter @DevinJBlake. Song of the week this week: "Everything is Everything" by the Black Diamond Heavies.  Follow the show @TheGoodsPod  Rivers is @RiversLangley  Dr. Pat is @PM_Reilly  Mr. Goodnight is @SepulvedaCowboy  Pick up a Goods from the Woods t-shirt at: http://prowrestlingtees.com/TheGoodsPod

Det er siste helga før valget, og OmAdresserts faste panel er på plass sammen med tidligere politiker Ynge Brox for å oppsummere årets valgkamp.

Oh Boy! Ry Madara is in the hot seat for the fifth installment of the "Get to Know R2 Series".  Uncle Buck wraps up his northern Mass. camping experience.  Catfish survives his trip to the Brox in NY.  For more Sonic Campfire go to www.RutandRiverPursuits.com . Follow us on Social Media by searching Rut and River Pursuits or @R2Pursuits. 

En este programa volvemos a tener una entrevista doble: en la primera parte charlamos con el flautista malagueño Fernando Brox sobre su álbum Secreto y en la segunda con el saxofonista catalán Albert Cirera sobre su álbum Suite salada. Ambos son trabajos publicados por la discográfica Underpool. Disfruta del Jazz con JazzTK.com.

En este programa volvemos a tener una entrevista doble: en la primera parte charlamos con el flautista malagueño Fernando Brox sobre su álbum Secreto y en la segunda con el saxofonista catalán Albert Cirera sobre su álbum Suite salada. Ambos son trabajos publicados por la discográfica Underpool. Disfruta del Jazz con JazzTK.com.

Mario Ferrer on live mixing some tracks with our friends of the promotion team "Pleasures" and the Brox Pizzareia Artesanal crew!

Spesialgjest i denne utgaven av "OmAdressert" er filmskaper Rune Denstad Langlo, mannen bak filmen "Welcome to Norway". Sammen med Tone Sofie Aglen, Terje Eidsvåg og Harry Tiller oppsummeres nyhetsuka, sett fra Midt-Norge

En este podcast vamos a hablar del héroe más importante que Azeroth jamás ha conocido ni conocerá. Un héroe del que se conoce muy poco, pues forma parte de las novelas y no aparece en el juego. Pero la historia, sin Brox, o Broxigar el Rojo, no sería la misma que conocemos.

Alpha man capítulos 4,5 y 6. En un mundo postapocalíptico, un grupo de personas lucha por sobrevivir y salvar lo que queda de humanidad. Mi nombre es Brox y o s contare mi historia con la ayuda de un DDE (Dispositivo Diario Electrónico). Espero que sepáis apreciar el informe que os proporciono, pues si este desastre se ocasiono en mi mundo, el vuestro que es una realidad paralela a la mia y muy parecida a mi mundo, ¿quien sabe si pasará?.

Alpha man capítulos 1,2 y 3. En un mundo postapocalíptico, un grupo de personas lucha por sobrevivir y salvar lo que queda de humanidad. Mi nombre es Brox y os contare mi historia con la ayuda de un DDE (Dispositivo Diario Electrónico). Espero que sepáis apreciar el informe que os proporciono, pues si este desastre se ocasiono en mi mundo, el vuestro que es una realidad paralela a la mia y muy parecida a mi mundo, ¿quien sabe si pasará?.

Bonus: Are Sende Osen er på besøk og forteller om håret sitt, chilisesongen, indianske navn fritt etter hukommelsen, grillmesteren på Hamar og løper videre. Rune og Torfinn blir sittende igjen og snakke om Egersund. Velbekomme!

Another cray episode of Rebirth radio hosted by Aeraphis of UCONent this episode features tracks from such up and coming artist as Cash Profit,Jeda Sky, Lyrical Lee Deuce Broadway, Chezdo Valentine, Disdain, Fatale, Stix ft Noetic, Brett Carroll, North Philly Hozman, The Fallen Son, art work done by Joseph Meloy

UCON podkast Rebirth radio unsigned artist from around the globe this show features tracks from such up and coming artist as D Weathers, Ever Supreme, Official Burn, Tito Montana, Swag Cliq, Young Shotta, Denzil Porter, Red Sea, Earl Franchise, Noah Vinson art work done by Joseph Meloy

Four hot new bangers straight off the street, featuring artists Ques from Brox,NYC, Yung Onyx from Queens NYC, Peezee outta Lewisville, TX, Causez Company from Sacramento, CA, and Thadd Williams from Hampton, VA. JMack Quizzes Major on some sports trivia, talk on the Hip Hop is Dead debate, fine ass females and more. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Four hot new bangers straight off the street, featuring artists Ques from Brox,NYC, Yung Onyx from Queens NYC, Peezee outta Lewisville, TX, Causez Company from Sacramento, CA, and Thadd Williams from Hampton, VA. JMack Quizzes Major on some sports trivia, talk on the Hip Hop is Dead debate, fine ass females and more. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Four hot new bangers straight off the street, featuring artists Ques from Brox,NYC, Yung Onyx from Queens NYC, Peezee outta Lewisville, TX, Causez Company from Sacramento, CA, and Thadd Williams from Hampton, VA. JMack Quizzes Major on some sports trivia, talk on the Hip Hop is Dead debate, fine ass females and more.