Podcasts about Carus

Amid the chaos of World War II, a secret project emerged from the depths of military innovation—Project X-Ray. It was an idea so strange, so deceptively simple, it bordered on madness: an army of bats, each carrying a hidden firestorm. Under the cover of night, they would infiltrate enemy cities, vanishing into eaves and rafters—silent and unseen. Without warning, flames would erupt from the shadows, consuming everything in their wake. Designed to spread fear as much as fire, the plan was as terrifying as it was eccentric and most would have been excused for believing it could surely never work. But then, if necessity was the mother of invention, bravery was surely the mother of success, and as the world found out in 1945, the war effort needed something bold.  SOURCES Couffer, Jack (1992) Bat Bomb: World War II's Other Secret Weapon. University of Texas Press, TX, USA. Alperovitz, Gar (1995) The Decision to use the Atomic Bomb. Harper Collins, London, UK. Ham, Paul (2011) Hiroshima Nagasaki. Harper Collins, London, UK. McNichols, Charles L and Carus, Clayton D. (1942) One Way to Cripple Japan: The Inflammable Cities of Osaka Bay. Harper's, June 1942, pp. 29-36. NY, USA. Trimble, William F. & Lewis, David (1988) Lytle S. Adams, the Apostle of Nonstop Airmail Pickup. Technology and Culture, Vol. 29, No. 2 (Apr., 1988), pp. 247-265. The Johns Hopkins University Press, USA. ------- For almost anything, head over to the podcasts hub at darkhistories.com Support the show by using our link when you sign up to Audible: http://audibletrial.com/darkhistories or visit our Patreon for bonus episodes and Early Access: https://www.patreon.com/darkhistories The Dark Histories books are available to buy here: http://author.to/darkhistories Dark Histories merch is available here: https://bit.ly/3GChjk9 Connect with us on Facebook: http://facebook.com/darkhistoriespodcast Or find us on Twitter: http://twitter.com/darkhistories & Instagram: https://www.instagram.com/dark_histories/ Or you can contact us directly via email at contact@darkhistories.com or join our Discord community: https://discord.gg/cmGcBFf The Dark Histories Butterfly was drawn by Courtney, who you can find on Instagram @bewildereye Music was recorded by me © Ben Cutmore 2017 Other Outro music was Paul Whiteman & his orchestra with Mildred Bailey - All of me (1931). It's out of copyright now, but if you're interested, that was that. Learn more about your ad choices. Visit megaphone.fm/adchoices

Isis Carus, experta en finanzas personales, inversiones y gestión financiera para emprendimientos, nos comparte su sabiduría sobre finanzas personales y cómo lograr un control efectivo del dinero.Junto a Ángel Mendoza, exploran temas clave como la intención detrás del dinero y cómo nuestra relación con él puede influir en nuestra vida financiera. Además, se aborda una problemática relevante: la brecha salarial de género, donde las mujeres siguen ganando menos que los hombres por el mismo trabajo.El poder de las palabras es un hecho y en esta charla descubrimos cómo ser agradecidos con el dinero y recibirlo siempre con buenas intenciones puede transformar nuestra relación con él.¿Quieres aprender cómo tener un control real sobre tus finanzas y hacer que el dinero trabaje a tu favor? ¡Este episodio es para ti!

Joining us on Zero Ambitions this week is Chris Carus co-founder of Loco Home Retrofit, a Glasgow-based 'emerging one-step shop'.Loco Home Retrofit is a retrofit operation that's most interesting for its approach to developing a viable retrofit offer, focused on building trust in communities and with its supply chain as a means to catalysing the decarbonisation of our homes (or at least Glasgow's homes). And now, they're hiring, seeking to fill three positions (below) so if you know of anyone suitable please share the ads:Marketing and community engagement manager Technical manager Innovation programme managerAs much as anything else, we love how they think about the retrofit challenge. Their considered approach to building a proposition and a method is what has really sold us, possibly because it resonates with our UX-focused approach to everything, but mainly because it seems to make sense.Notes from the showThe Loco Home Retrofit websiteChris on LinkedIn Loco Home Retrofit on LinkedInAll three job ads, againChris's interview with BE-ST after winning the Gamechanger award at the Accelerate to Zero Awards 2023Designing an ‘optimal' domestic retrofit programme by Aaron Gillich et al (2017) – The paper Chris couldn't remember the name forLoco Home Retrofit's 2023/24 impact report detailing their innovation efforts to dateResearch Report - The right time for heat pumps in retrofit (Alan Clarke for Passive House Trust) – the other paper that Chris and Jeff reference**SOME SELF-PROMOTING CALLS TO ACTION**We don't actually earn anything from this, and it's quite a lot of work, so we have to promote the day jobs.Follow us on the Zero Ambitions LinkedIn page (we still don't have a proper website)Jeff, Alex, and Dan about websites, branding, and communications - zap@eiux.agency; Everything is User ExperienceSubscribe and advertise with Passive House Plus (UK edition here too)Check Lloyd's Substack: Carbon UpfrontJoin ACANJoin the AECB Join the IGBCCheck out Her Own Space, the renovation and retrofit platform for women**END OF SELF-PROMOTING CALLS TO ACTION**

In our latest Plastic. Climate. Future. podcast, Michael Carus and Lara Dammer from Nova Institute shed light on the vital work of the Renewable Carbon Initiative (RCI) and its role in transitioning to a sustainable, circular carbon economy.Key Highlights from the Episode:• Leading the Way with RCI: Michael and Lara explain how the Renewable Carbon Initiative focuses on replacing fossil-based carbon with renewable alternatives from biomass, recycling, and CO2 utilization.• Policy as a Catalyst: They discuss the importance of well-designed incentives and regulations in accelerating innovation and investment in green technologies.• Europe's Competitive Edge: A candid look at the challenges Europe faces in staying at the forefront of sustainability, including the need for stronger policy frameworks and infrastructure.• A Balanced Approach to Carbon: Michael and Lara emphasize the importance of leveraging all renewable carbon sources to meet the demands of a sustainable future.This episode offers an engaging and thought-provoking discussion about the future of carbon management and the path to a greener, more circular economy.

The Lost Medieval Library Found in a Romanian Church – Medievalists.net Lucrèce: la poésie en pleine nature https://pca.st/episode/5a56f558-1f95-4c48-a80a-77d1889c01cd Carus, Titus Lucretius (c. 99–c. 55) – De Rerum Natura, On the Nature of Things: Home https://www.poetryintranslation.com/PITBR/Latin/LucretiusDeRerumNaturahome.php Estado laico e a pescaria de peixes pequenos | Questão de Ciência https://revistaquestaodeciencia.com.br/apocalipse-now/2022/08/13/estado-laico-e-pescaria-de-peixes-pequenos Overview of Antroposophy – ChatGPT https://chatgpt.com/share/67488042-2b5c-8006-ae86-3a5ecde13d61 Nouveaux ... Read more The post o poema que mudou o mundo! appeared first on radinho de pilha.

As the wild and crazy experiment of the 3rd century winds to a conclusion, a man named Carus steps into the purple, with an imperial dynasty ready to go. But Rome has grown unwieldy. Challenged by enemies from beyond and within, it will take quite a leader to hold the empire together. Guest: Associate Professor Caillan Davenport (Head of the Centre for Classical Studies at the Australian National University)

“Yenidoğan Çetesi” mağduru aileler neler yaşadıklarını Aposto'ya anlattı. İstanbul Barosu Başkanlığı'na Değişim İçin Avukatlar Grubu'ndan İbrahim Özden Kaboğlu seçildi. Bu bölüm Carus hakkında reklam içermektedir. 1953'ten bu yana zarafetin simgesi olan İngiliz markası Laura Ashley, Sonbahar-Kış 24/25 sezonundan sınırlı sayıdaki özel çanta koleksiyonunu Carus'ta modaseverlerle buluşturuyor. İlk 200 siparişe özel sepette %20 ekstra indirim fırsatını yakalamak için burayı ziyaret edebilirsiniz. Aposto Gündem'e buradan ulaşabilirsiniz.

In this bonus episode I am joined by Seth Carus, as we explore some of the earliest allegations of biological warfare- as well as the more recent modern developments, which transformed ancient fears, into Cold War era weapon systems.   Do check out these two studies, I think they are great:  Carus, W. Seth. "The history of biological weapons use: what we know and what we don't." Health security 13.4 (2015): 219-255. Carus, W. Seth. "A century of biological-weapons programs (1915–2015): reviewing the evidence." The Nonproliferation Review 24.1-2 (2017): 129-153.    And also thanks to Adrienne Mayor, who drew my attention to this work on the Caffa siege, and recent work on the spread of the Black Death in the 14th century more broadly.  https://www.journals.uchicago.edu/doi/abs/10.1086/711596  https://hcommons.org/deposits/objects/hc:50220/datastreams/CONTENT/content  https://www.thelancet.com/journals/lanmic/article/PIIS2666-5247(20)30176-2/fulltext          

I det här avsnittet inleder vi i vanlig ordning med uppdatering om våra senaste bidrag till forskningsfronten. Efter det går vi in på biologisk krigföring. Från en tysk sabotageoperation på amerikanska fastlandet under första världskriget till vad ny genteknik kan innebära för hotbilden från skräddarsydda virus och bakterier. Källor: Carus, W. Seth (2017). A Short History of Biological Warfare: from Pre-History to the 21st Century. Center for the Study of Weapons of Mass Destruction, Occasional Paper 12. Washington D.C.: National Defense University PressChattopadhyay, Subhayan, Ingesson, Tony, Rinaldi, Alberto, Larsson, Oscar, Widen, J. J., Almqvist, Jessica, & Gisselsson, David (2024). "Weaponized genomics: potential threats to international and human security", Nature Reviews. Genetics, 25:1, 1-2. https://doi.org/10.1038/s41576-023-00677-8Föreläsning: Tjeckoslovakiska säkerhetstjänsten (StB) och den internationella terrorismenhttps://youtu.be/DK7i3TGNX6EIngesson Tony (2024). ”Tactical Communications and Secrecy in Contemporary Conflict: Historical and Technological Perspectives” i Hefler M. (red.) Intelligence and Contemporary Conflict: Communication in Diplomacy, Statecraft and War. Stockholm: Bokförlaget Stolpehttps://www.bokus.com/bok/9789189882157/intelligence-and-contemporary-conflict/Ingesson Tony (2024). ”Spy Hunters in a High-Trust Society: A Study of Secrecy, Suspicion, and Cooperation in Swedish Counterintelligence in the 1980s” i Vrist Rønn K, Diderichsen A, Hartmann M, Hartvigsen M (red.) Intelligence Practices in High-Trust Societies: Scandinavian Exceptionalism? Basingstoke: Routledgehttps://www.bokus.com/bok/9781032617039/intelligence-practices-in-high-trust-societies/Preston, Richard (1994). The Hot Zone: the Chilling True Story of an Ebola Outbreak. London: Transworld PublishersRichterova, Daniela (2018). ”Terrorists and Revolutionaries: The Achilles Heel of Communist Surveillance”, Surveillance & Society Vol. 16, No. 3.https://ojs.library.queensu.ca/index.php/surveillance-and-society/article/view/6958Wilkinson, Mark (2012). ”The Battle of Stalingrad, Biological Weapons, and the Expert Witness: Challenging Single-Source Evidence in Intelligence Studies”, International Journal of Intelligence and CounterIntelligence, 25:4, 795-813

Today Stacey sits down with her friend Blouke Carus to discuss the lessons he's learned in his 96 years of life. Among his many accomplishments, Blouke was Chairman Emeritus of the Carus Corporation, the former Chairman of the Carus publishing company, and a former member of the President's National Council on Education Research - but his wisdom transcends titles as he offers simple, actionable advice for living a long, happy and fulfilling life.

Christine Carus - Die Klarheit der Gedanken schafft Positivität, Energie und Leichtigkeit bei gleichzeitigem Erfolg! Mit meinem Konzept der “Gedankenhygiene” motiviere und inspiriere ich Menschen Verantwortung für Ihre Handlungen zu übernehmen. Ich unterstütze meine Coachees, Gestalter Ihres Lebens zu werden, zu sein und/oder zu bleiben. Mehr über Christine Carus erfährst du hier: https://christine-carus.de www.linkedin.com/in/christine-carus-65090b1a3 www.facebook.com/CoachCarus www.facebook.com/chrstijne.carus.5 Mehr zur BuchWerkstatt findest Du hier: https://www.instagram.com/reginalehrkind/ https://www.linkedin.com/in/reginalehrkind/ https://reginalehrkind.de https://www.youtube.com/@BuchWerkstatt Mail: info@reginalehrkind.de

POTERE AL POPOLO – S.VARIN – ON. DAVIDE BERGAMINI – M.CARUS – A.VILLA – D.ROMANI – JOSEPH BRIE – GEN. R. VANNACCI – E.POZZOLI – 10 – 04 – 2024 ORE 13

Esra Carus'un 30 yıla yayılan üretimlerini bir araya getiren Yas, Yasa, Yasak sergisini ziyaret ediyoruz.  Mikrofon Carus ve sergi küratörü Nazlı Pektaş'ta. Mine Özerden'den Hannah Arendt'e varıncaya dek sohbet ediyoruz.

Title: Ospedaletti Track: Porpora: De Profundis - Gloria Patri and Sicut erat Artist: The Vocal Concert Dresden Dresdner Instrumental-Concert, are conducted by Peter Kopp. Publisher: ℗ 2008 Carus

waarin we, mijmerend bij oude ruïnes, zien hoe de antieke wereld grondig door elkaar wordt geschud en ons afvragen waarom het Romeinse imperium verdween.WIJ ZIJN: Jonas Goossenaerts (inhoud en vertelstem), Filip Vekemans (montage), Benjamin Goyvaerts (inhoud) en Laurent Poschet (inhoud).MET BIJDRAGEN VAN: Prof. dr. Jeroen Wijnendaele (expert Romeinse politieke geschiedenis), Prof. dr. em. Hans Hauben (specialist oudheidkunde, Hellenistische en Romeinse geschiedenis), Prof. dr. Sofie Remijsen (specialiste oudheidkunde, Romeinse en Hellenistische geschiedenis), dr. Valérie Weyns (specialiste Hellenistische geschiedenis), Jona Lendering (historicus, journalist, blogger), Laurens Luyten (stem Edward Gibbon en Romeinse auteurs).WIL JE ONS EEN FOOI GEVEN? http://fooienpod.com/geschiedenisvoorherbeginners. Al schenkt u tien cent of tien euro, het duurt tien seconden met een handige QR-codeMEER WETEN? Onze geraadpleegde en geciteerde bronnen: Beard, M. (2016), SPQR. A History of Ancient Rome. Profile Books. Londen. Beard, M. (2023), Emperor of Rome. Profile Books. Londen. Gibbon, E. (2010), The Decline and Fall of the Roman Empire. Everyman's Library. Londen. Goldsworthy, A. (2017), Pax Romana. Orion Publishing Group. Londen. Goldsworthy, A. (2010), How Rome fell. Death of a Superpower. Yale University Press. Yale. Wijnendaele, J. (2012), Romeinen en barbaren. De ondergang van het Romeinse rijk in het westen. Standaard Uitgeverij. Antwerpen. Heather, P. (2009), The Fall of the Roman Empire. A new History of Rome and the Barbarians. Oxford University Press. Oxford. Harper, K. (2019), The fate of Rome. Climate, disease and the end of an empire. Princeton University Press. Princeton.Beeld: Wikimedia CommonsOverzicht van de officiële keizers in de 3de eeuw: Alexander Severus (222-235), Maximinus Thrax (235–238), Gordian I en Gordian II (238), Philip the Arab (244–249), Decius (249–251), Trebonianus Gallus (251–253), Aemilianus (253), Valerian (253–260), Saloninus (260), Claudius Gothicus (268–270), Quintillus (270), Aurelian (270–275), Tacitus (275–276), Florianus (276), Probus (276–282), Carus (282–283), Diocletian (284–305)Overzicht van tegenkeizers en troonpretendenten in de 3de eeuw: Sallustius (c. 227), Taurinus (datum onzeker), Ovinius Camillus (mogelijk fictief), Magnus (235), Quartinus (235), Sabinianus (240), Iotapianus (248), Pacatian (248), Silbannacus (datum onzeker), Licinianus (250), Priscus (251–252), Valens Senior (datum onzeker), Ingenuus (260) , Macrianus Major, Macrianus Minor en Quietus (260-261), Regalianus (260), Balista (261), Piso (261), Valens (261), Memor (261), Mussius Aemilianus (261-262), Celsus (mogelijk fictief), Saturninus (mogelijk fictief), Trebellianus (mogelijk fictief), Censorinus (269–270) (mogelijk fictief), Sponsianus (datum onzeker), Domitianus (270–271), Felicissimus (271), Septimius (271) in Dalmatia, Urbanus (271) (mogelijk fictief), Firmus (273), Bonosus (280), Proculus (280), Saturninus (280), Sabinus Julianus (283-285), Amandus and Aelianus (285), Carausius: (286–293), Allectus: (293–296), Domitius Domitianus: (297), Aurelius Achilleus: (297–298), Eugenius: (303)Keizers van het Gallische keizerrijk (tijdelijk afgescheurd deel van het Romeinse Rijk): Postumus (260–269), Laelian (269, usurpator), Marius 269, Victorinus (268/69–271), Domitian II (271, usurpator), Tetricus I (271–274), Tetricus II (273–274), Faustinus (273-274, usurpator)Keizers van het Palmyreense keizerrijk (tijdelijk afgescheurd deel van het Romeinse Rijk): Vaballathus (267?-272), Zenobia (272-273), Antiochus (273)Zie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

Title: Ospedale degl'Incurabili Track: Hasse Laudate pueri: VIII. Sicut erat Artist: Emanuela Galli, Maria Grazia Schiavo, Dresdner Instrumental-Concert, Vocal Concert Dresden & Peter Kopp Publisher: ℗ 2008 Carus

ROBIN CARUS (Casting Director) has cast everything from iconic commercials to groundbreaking theatre to independent film and television. Upcoming & Current Projects: Windows (at Lincoln Center), This is Not a Time for Peace (Theatre Row). Selected Regional & Off-Broadway: Pay The Writer (Signature Theatre), Two Jews, Talking (starring Josh Mostel and Richard Masur at Theatre at St. Clement's), The Remarkable Mister Holmes (North Coast Rep), Chicken and Biscuits (Queens Theatre), Pip's Island Film: Urban Ed, The Thursday Night Club, Green Flake Television: Now Hear This (PBS). Robin won Webby, Hermes, Davey and Telly Awards for her contribution to Project Sing Out! Live/Virtual Events: Hadassah International, Governor Gretchen Whitmer of Michigan, Fair Fight and the Warnock/Ossoff campaigns in Georgia, the Hudson Guild, the New Works Virtual Festival for the Actors Fund, the World Union For Progressive Judaism. For almost 10 years she was the Casting Director for TheatreworksUSA, where she cast over 200 national tours and countless works in development, as well as, their Off-Broadway series at the Lucille Lortel Theatre - including the revival of Seussical. Robin is also an Adjunct Professor in the Department of Theatre and Speech at CCNY - the City College of New York. Member of the Casting Society of America. ▬▬▬▬▬▬▬▬ ROBIN CARUS ⌲ IMDb: https://www.imdb.com/name/nm3445839/ ⌲ IG: https://www.instagram.com/robincarus/?hl=en ⌲ Facebook: https://www.facebook.com/robincaruscasting/ ⌲ X: https://twitter.com/robincarus?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor ▬▬▬▬▬▬▬▬ The Moving Spotlight Podcast ⌲ iTunes: https://podcasts.apple.com/us/podcast/the-moving-spotlight/id1597207264 ⌲ Spotify: https://open.spotify.com/show/7cjqYAWSFXz2hgCHiAjy27 ⌲ Patreon: https://www.patreon.com/themovingspotlight ⌲ ALL: https://linktr.ee/themovingspotlight ▬▬▬▬▬▬▬▬ #RobinCarus #RobinCarusCasting #TerryBerland #TerryBerlandCasting #NewYork #NewYorkCasting #NYTheatre #Musical #OffBroadway #Emmys #TVTime #iTunes #Actor #ActorsLife #Believe #Success #Inspiration #Netflix #Hulu #Amazon #HBO #AppleTV #Showtime #Acting #Artist #Theatre #Film #YourBestBadActing #Content #CorbinCoyle #JohnRuby #RealFIREacting #TMS_Pod --- Support this podcast: https://podcasters.spotify.com/pod/show/the-moving-spotlight/support

As a horror movie, John Carpenter's The Thing seems to have it all: amazing practical effects, body horror, psychological drama, Kurt Russell ... Indeed, there is only one element this movie lacks, and that is anything at all corresponding to the titular villain. There is no thing in The Thing! What we have instead is a process, a pattern, a way for which the term "thing" is as good as any other. (What is a thing anyway?) In this episode, Phil and JF, having decided that Carpenter's film qualifies as a Christmas movie because there is snow (and a dog) in it, explore the metaphysical implications of a cult classic. Support us on Patreon (https://www.patreon.com/weirdstudies). Buy the Weird Studies sountrack, volumes 1 (https://pierre-yvesmartel.bandcamp.com/album/weird-studies-music-from-the-podcast-vol-1) and 2 (https://pierre-yvesmartel.bandcamp.com/album/weird-studies-music-from-the-podcast-vol-2), on Pierre-Yves Martel's Bandcamp (https://pierre-yvesmartel.bandcamp.com) page. Listen to Meredith Michael and Gabriel Lubell's podcast, Cosmophonia (https://cosmophonia.podbean.com/). Visit the Weird Studies Bookshop (https://bookshop.org/shop/weirdstudies) Find us on Discord (https://discord.com/invite/Jw22CHfGwp) Get the T-shirt design from Cotton Bureau (https://cottonbureau.com/products/can-o-content#/13435958/tee-men-standard-tee-vintage-black-tri-blend-s)! REFERENCES John Carpenter, The Thing (https://www.imdb.com/title/tt0084787/) Weird Studies, Episode 100 on Carpenter Films (https://www.weirdstudies.com/100) Weird Studies, Episode 157 on Videodrome (https://www.weirdstudies.com/157) Ridley Scott, Blade Runner (https://www.imdb.com/title/tt0083658/) Ridley Scott Alien (https://www.imdb.com/title/tt0083658/) Thomas Aquinas, On Being and Essence (https://sourcebooks.fordham.edu/basis/aquinas-esse.asp) Haecceity (https://plato.stanford.edu/entries/medieval-haecceity/#HaecDunsScot) Ernest Fenollosa, The Chinese Written Characters as a Medium for Poetry (https://bookshop.org/a/18799/9781014296146) Weird Studies, Episode 89 on ‘Mumbo Jumbo' (https://www.weirdstudies.com/89) Weird Studies, Episode 127 on ‘The Impossibility of Automating Ambiguity' (https://www.weirdstudies.com/127) Wikipedia, “Quiddity” (https://en.wikipedia.org/wiki/Quiddity) Vilhelm Hammershøi, (https://en.wikipedia.org/wiki/Vilhelm_Hammersh%C3%B8i) Danish painter Jez Conolly, The Thing (https://www.amazon.com/Thing-Devils-Advocates-Jez-Conolly/dp/1906733775) Arthur Schopenhauer, The World as Will and Representation (https://bookshop.org/a/18799/9780460875059) Dylan Trigg, The Thing a Phenomenology of Horror (https://bookshop.org/a/18799/9781782790778) Plato, The Timaeus (https://bookshop.org/a/18799/9781500405182) Lucretius, “On the Nature of Things” (https://classics.mit.edu/Carus/nature_things.1.i.html) Clive Barker, The Great and Secret Show (https://bookshop.org/a/18799/9780060933166)

On the Nature of Things by Titus Lucretius Carus audiobook. On the Nature of Things, written in the first century BCE by Titus Lucretius Carus, is one of the principle expositions on Epicurean philosophy and science to have survived from antiquity. Far from being a dry treatise on the many topics it covers, the original Latin version (entitled De Rerum Natura) was written in the form of an extended poem in hexameter, with a beauty of style that was admired and emulated by his successors, including Ovid and Cicero. The version read here is an English verse translation written by William Ellery Leonard. Although Leonard penned his version in the early twentieth century, he chose to adhere to both the vocabulary and meter (alternating between pentameter and hexameter) of Elizabethan-era poetry. While the six untitled books that comprise On the Nature of Things delve into a broad range of subjects, including the physical nature of the universe, the workings of the human mind and body, and the natural history of the Earth, Lucretius repeatedly asserts throughout the work that his chief purpose is to provide the reader with a means to escape the 'darkness of the mind' imposed by superstition and ignorance. To this end he offers us his enlightening verses, that through them might be revealed to us 'nature's aspect, and her laws' Learn more about your ad choices. Visit megaphone.fm/adchoices

Noss chors preschenta en quella emissiun in potpurri da musica svizra da chors. La selecziun duai inspirar ils chors svizzers e per l'autra preschentar la diversitad musicala che noss pajais porscha. Per noss chors po quest disc esser in'inspiraziun ed ina funtauna per emprender e forsa era registrar novas chanzuns. I duess dentant era mussar a chors internaziunals il stgazi musical svizzer. Quai cun chanzuns en tuttas linguas naziunalas sco era per englais e latin. E quai cun melodias da cumponistas e cumponists svizzers. Il chor da giuvenils svizzer e lur dirigent Nicolas Fink han registrà 28 chanzuns. Cun quai porschan els in sustegn tar il cudesch da notas ch'è cumparì ensemen cun il disc en la chasa editura Carus. Per quest'emissiun avain nus discurrì cun il dirigent Patrick Secchiari. El è stà ina da las persunas ch'han tschernì las chanzuns per il project «Swiss Choral Music». Patrick Secchiari è in dirigent da chors cun var 20 onns experientscha. Actualmain dirigia el ils chors da chombra da Seftigen e Glaruna sco er in'agen ensemble vocal cun il num «ardent» ed il Teamchor Jona. Ultra da quai s'engascha il dirigent bernais era en la scolaziun. Tranter auter dat el instrucziun da diriger a la scola auta dals arts da Berna ed è responsabel per la scolaziun d'experts ed expertas per l'Uniun svizra da chant «SCV». Ensemen cun il dirigent Johannes Meister è el l'editur dal carnet e dal disc cumpact ed ha tschernì las chanzuns per il disc «Swiss Choral Music». La schelta na saja betg stada simpla, ha Patrick Secchiari tradì. Igl è dentant era stà in pensum ambizius ch'ils editurs han imponì a sasez. Arranschar in disc che cuntegna tuttas linguas naziunalas, cun cumponists e cumponistas da l'entir pajais e lura er anc musica da chors pli nova. Cun il disc «Swiss Choral Music» è quai dentant gartegià stupent. I cuntegna era chanzuns en differents grads da difficultad uschia che blers chors naziunals ed internaziunals pon piclar or il meglier adattà per lur chantaduras e chantadurs.

En este capítulo platicamos con Isis Carus de Finanzas color de Rosa sobre varias barreras que específicamente las mujeres enfrentan en su camino hacia su propia libertad financiera, y un poco de cómo las pueden combatir.

Las finanzas personales son más importantes de lo que creemos y sin embargo, son un tema casi tabú que no estamos acostumbrados a tocar personalmente, ni en la vida en pareja. Fatima y Lorenza, entrevistaron a Isis Carus, la mente detrás de Finanzas color de rosa, para obtener tips sobre inversiones, finanzas sanas y relaciones largas...o no. Síguenos en todas las redes como @sonoropodcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

Prominent personal injury lawyer Henry Carus has been in practice for four decades. While it has not always been an easy ride, it is a journey he is still very much enjoying, and here, he shares some pertinent wisdom for other practitioners striving for such longevity in the profession. In this episode of The Lawyers Weekly Show, host Jerome Doraisamy speaks with Henry Carus + Associates principal Henry Carus about his reflections on over four decades in legal practice, how and why he chose this vocational pathway, why it is so critical to be respected as a practitioner, the numerological concepts that are meaningful to him, and how he looks to incorporate such principles into his practice. Mr Carus also delves into his approach to managing and looking after staff, the practical ways to stay on track with one's approach to practice and leadership, the importance of continual learning (regardless of one's tenure), lessons he's learnt in 40 years of lawyering, the wisdom he's gleaned, and his advice for those coming through the ranks. If you like this episode, show your support by rating us or leaving a review on Apple Podcasts (The Lawyers Weekly Show) and by following Lawyers Weekly on social media: Facebook, Twitter and LinkedIn. If you have any questions about what you heard today, any topics of interest you have in mind, or if you'd like to lend your voice to the show, email editor@lawyersweekly.com.au for more insights!

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Will Page returns to the show for a “state of the industry” episode. In last year's appearance he correctly called out the slowdown in streaming subscriptions, bubbles in web3, and more.Will believes the value of copyrighted music could hit $45 billion annually when the 2022 numbers are calculated — up $5 billion from 2021, which is already an all-time high for the industry.  Another massive shift is glocalisation”: the trend of local music dominating the domestic charts, as opposed to Western artists. This phenomenon isn't just being felt in music, but across every industry, from film to education.We covered both these trends, plus many more. Here's all our talking points: 1:33 Why the music industry is actually worth $40+ billion annually7:03 Physical music sales on the up and up10:47 How publisher and labels split up copyright value16:59 The rise of “glocalisation” will impact every industry34:39 DSP carnivores vs. herbivores 40:23 Why video vs. music streaming isn't a perfect comparison 46:31 Music as a premium offering in the marketplace 51:38 How to improve streaming royalties  1:06:05 AI music benefits that goes overlooked 1:10:07 Will's latest mix pays homage to Carole KingGlocalisation report: https://www.lse.ac.uk/european-institute/Assets/Documents/LEQS-Discussion-Papers/EIQPaper182.pdfWill Page's 2023 Believe in Humanity:https://www.mixcloud.com/willpagesnc/2023-believe-in-humanity/Listen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuest: Will Page, @willpageauthorThis episode is sponsored by DICE. Learn more about why artists, venues, and promoters love to partner with DICE for their ticketing needs. Visit dice.fmTrapital is home for the business of hip-hop. Gain the latest insights from hip-hop's biggest players by reading Trapital's free weekly memo. TRANSCRIPT[00:00:00] Will Page: I put so much emotional time and effort into making these mixes happen and going out for free.They get your DJ slots, but more importantly, it goes back to what makes me wanna work in music, which was a lyric from Mike G and the Jungle Brothers from that famous album done by the forties of Nature, where he said, it's about getting the music across. It's about getting the message across. It's about getting it across without crossing over.How can I get art across an audience without delegating its integrity? And it's such an honor to have this mixed drop in this Friday I mean, that's, made my year and we're not even into June yet.[00:00:30] Dan Runcie Intro: Hey, welcome to the Trapital Podcast. I'm your host and the founder of Trapital, Dan Runcie. This podcast is your place to gain insights from executives in music, media, entertainment, and more who are taking hip hop culture to the next level.[00:00:56] Dan Runcie Guest Intro: Today's episode is all about the state of the music industry, and we're joined by the One and Only, Will Page. He is a fellow at the London School of Economics. He's an author of Tarzan Economics and Pivot, and he is the former chief economist at Spotify. Will's second time on the podcast. Now, the first time we talked all about the future of streaming and where things are going in music, and we picked that conversation, backed up.We talked about a bunch of trends including the glocalisation of music, which is from a new report that Will had recently put out. We also talked about why he values the music industry to be close to a 40 billion industry, which is much higher than a lot of the reports about recorded music itself.And we also talk about a bunch of the topics that are happening right now, whether it's ai, how streaming should be priced, the dynamic between record labels and streaming services, and a whole lot more love. This conversation will always brings it with these conversations, so I hope you enjoy it as much as I did. Here's our chat.[00:02:00] Dan Runcie: All right, today we have the one and only Will Page with us who is recording from a beautiful location. I don't know if you're listening to the pod you can't see, but will tell us where you are right now.[00:02:09] Will Page: So great to be back like a boomerang on Trapital. Dan, and I'm coming to you from the Platoon Studios. Part of the Apple Company Platoon is our label services company, which is owned by Apple. They're doing great stuff with the artists like Amapiano music from South Africa. And the best place I can describe to you here, it's like a Tardus.Have you've ever seen Dr. Who? There's a tiny door in this tall yard music complex in North London just behind Kings Cross. When you enter that tiny door, you enter this maze of the well class spatial audio recording studios of Apple. And it's an honor they've given me this location to come to Trapital today.[00:02:41] Dan Runcie: Well we're gonna make the best of it here and it's always great to have you on, cuz Last year, last year's episode felt like a state of the industry episode, and that's where I wanna start things off this year with this episode.A couple months ago, you put out your post in your Tarzan economics where you said that this industry is not a 2020 5 billion industry, the way others say. Mm-hmm. You say, no, this is almost a 40 billion industry. So let's break it down. How did you arrive there and what's the backstory?[00:03:12] Will Page: I get goosebumps when you say that you think like 10 years ago we were talking about a 14 billion business and now it's a 40, you know, skews a slurred Scottish pronunciation, but let's just be clear from one four to four zero, how did that happen?Well the origins of that work, and you've been a great champion of it, Dan, is for me to go into a cave around about October, November and calculate the global value of copyright and copyright is not just what the record labels publish, that famous IFPIGMR report that everyone refers to, but it's what collecting studies like ask F and BMI collect what publishers generates through direct licensing.You have to add A plus B plus C labels, plus collecting societies plus publishers together. Then the complex part, ripping out the double counting and doing all the add-backs, and you get to this figure of 39.6 billion, which as you say, you round it up, it begins with a four. And I think there's a few things that we can kind of get into on this front.I think firstly we should discuss the figure. I'll you a few insights there. Secondly, I think we should discuss the division. And then thirdly, I want to cover the physical aspect as well. So if you think about the figure, we've got 39.6 billion. We know it's growing. I think what's gonna be interesting when I go back into that cave later this year to redo that number, it's gonna be a lot bigger.Dan, I'll see it here on Trapital First. I think a 40 billion business in 2021 is gonna be closer to a 45 billion business in 2022. And one of the reasons why it's not labels and streaming, it's a combination of publishers are reporting record collections, essentially they're playing catch up with labels, booking deals that perhaps labels booked a year earlier.And collecting studies are gonna get back to normal after all the damage of the pandemic. And when you drive those factors in where you have a much bigger business than we had before. So for the people listening to your podcast who are investing in copyright, this party's got a waiter run. You know, don't jump off the train yet cause this thing is growing[00:05:18] Dan Runcie: And the piece I want to talk about there is the publishing side of this. If you look at the breakdown of the numbers you have, the publishing is nearly, publishing plus is nearly 13 billion itself. The major record labels own most of the largest publishers right now. Why isn't this number just automatically included? Wouldn't it be in everyone's advantage to include the fact that yes, Universal Music Group and Universal Music Publishing Group are together, part of the entity that make this, whether it's them, it's Warner Chapel, it's others. Why isn't this just the top line number that's shared in all of the other reports?[00:05:56] Will Page: It would be nice if it was, and indeed, I think the publishing industry around about 2001 used to do this. They haven't done it since. But it's like spaghetti. It's the best way I can describe it. I mean, how do you measure publisher income? You know, is it gross receipts by the publisher? Is it the publisher plus the collecting Saudi? That is money that went straight to the songwriter and didn't touch the publisher. So what the publisher holds onto what we call an industry, a net publisher, shares all these weird ways of measuring this industry that we have to be clear on.And it's, not easy. but I think what we do in the report is we try and make it bite size. We try and make it digestible to work out how much of that publisher's business came through, CMOs, the S gaps and BMIs this X over here PS music and how much do they bring in directly? And that allows you to understand a couple of things.Firstly, how do they compare vi to vis labels in terms of their overall income? And secondly, how do they compare when they go out to market directly, let's say putting a sync and a TV commercial or movie versus generating money through collective licensing that is radio or TV via ASCAP or bmr. So you get an interpretation of how these publishers are making those numbers work as well.[00:07:03] Dan Runcie: That makes sense. And then when we are able to break it down, we see a few numbers that roll up into it. So from a high level, at least what you shared from 2021, we have that 25.8 billion number from the recorded side. So that does fall in line with what we see from what the IPIs and others share. 10 billion Sure.From the publishing. And then you do have, the next 3.5 and then a little sliver there for royalty free and for the publishers' direct revenue that doesn't come from the songwriters. The next piece though, within the elements of how all of the revenue flows into that. We've talked a lot about streaming and we've talked, we'll get into streaming in a little bit, but I wanna talk about the physical side cause that was the second piece that you mentioned.We've all talked about vinyl, but it's not just vinyl. So could you talk a bit about where the trends are right now with physical sales and why this is such a huge factor for this number?[00:07:56] Will Page: Who would've thought on a Trapital podcast in May, 2023. We'll be talking about physical as a second topic on the agenda, but it's worth it. I mean, it's not a rounding era anymore. It's not chump change. in America, physical revenues largely vinyl outpaced the growth of streaming for the second year straight. It's not as big as streaming, but it's growing faster and it has been growing faster for two years now. That's crazy. Here in the uk the value of physical revenues to the UK music industry has overtaken the value of physical to Germany.Quick bit of history. For years, decades, Germans used to buy CDs. that's fallen off a cliff. They've given up on CDs. Whereas over here in Britain, we've all started buying vinyl again. So the value of vinyl in Britain is worth more than the value of CDs to Germans, that type of stuff you didn't expect to see.And if you go out to Asia, you see the CD market still strong. You've still got people who buy more than one copy of the same cd, of the same band. Don't ask me to explain the rationale for that, but it happens and it moves numbers. But after all this, when the dust settles, I mean a couple of observations, all the data to me is suggesting that 55, 60% of vinyl buyers don't actually own a record player.So I think it was Peter Drucker who said, the seller really knows what they're selling, and I don't think you're selling intellectual property or music cop right here. What we're actually selling is merchandise, you know, Taylor Swift, I got an email from Taylor Swift team saying they've got a marble blue vinyl coming out this week.Now we're talking about vinyl in the same way we used to talk about stone wash jeans, marble blue. This is like the fourth version of the same 11 songs priced at 29 99. Let's just figure that out for a second. I'm willing to give you 10 bucks a month to, access a hundred million songs on streaming services, but I'm also, it's the same person.I'm also willing to give you 30 bucks to buy just 10 of them. This is expensive music and I might not even be listening to it cause I don't even have a record player.[00:09:55] Dan Runcie: This is the fascinating piece about how we're calculating this stuff because the vinyl sales and all of that has been reported widely as a great boom to the industry and it has been.We've seen the numbers and in a lot of ways it brings people back to the era of being able to sell the hard copy of the thing itself, but it's much closer to selling a t-shirt or selling a sweatshirt or selling some type of concert merchant. It actually is the actual physical medium itself. So it'll be fascinating to see how that continues to evolve, how that embraces as well. On your side though, as a personal listener, do you buy any vinyls yourself that you don't listen to, that you just keep on display or?[00:10:34] Will Page: It's like your shoe collection, isn't it? Yes, right. Is the answer to that. But no, I mean, I will say that I got 3000 fi funk records in the house and they're all in alphabetical chronological order.So if they haven't been listened to, at least I know where to find them.[00:10:48] Dan Runcie: That's fair. That makes sense. So let's talk about the third piece of this, and that's the division of this. So you have the B2C side and you have the B2B side. Can we dig into that?[00:10:59] Will Page: Sure. this is, I think the backdrop for a lot more of the sort of thorny conversations happening in the music industry is now, you may have heard that in the UK we've had a three year long government inquiry into our business.We had the regulator turn over the coals, and so there's a lot of interest in how you split up this 40 billion dollar piece of pie. who gets what? And the division I'm gonna talk about here is labels an artist on one side. Songwriters and publishers on the other side as it currently stands, I would keep it simple and say two thirds of that 40 billion dollars goes to the record label and the artist, one third goes to the publisher and the songwriter.Now, when I first did this exercise back in 2014, it was pretty much 50 50, and when you see things which are not 50 50 in life, you're entitled to say, is that fair? Is it fair that when a streaming service pays a record label a dollar, it pays the publisher and the songwriter around 29 cents? If you're a publisher, a songwriter, you might say, that's unfair, cuz I'm getting less than them.I have preferences, issues, and I have any issues with this division. Well, let's flip it around. If you look at how B2B world works, licensing at the wholesale level, let's say you're licensing the bbc, for example, if your song's played on the bbc, you're gonna get 150 pounds for a play. 90 pounds goes to the songwriter and the publisher, 60 pounds goes to the artist and a record label.Now, is that fair? Why does the publisher win in the B2B market? By the record, label wins in the B2C market. And the one, the lesson I want to give your listeners is one from economics, and it's rarely taught university these days, but back in 1938, 1939, in a small Polish town called la. Now part of the Ukraine, ironically, free Polish mathematicians sat in a place called a Scottish Cafe, ironic for me, and invented a concept called Fair Division.And the question they posed was, let's imagine there's a cake and there's two people looking at that cake getting hungry. There's Dan Runcie over in the Bay Area and there's Will page back in Edinburgh. What's the best way to divide that cake up? And the conclusion they came up with is you give Will page, the knife.Aha, I've got the power to cut the cake. But you give Dan Runcie the right to choose which half. Damn, I've gotta make that cut really even otherwise, Dan's gonna pick the bigger half and I'll lose out. And this divider two model gave birth to the subject of fair Division and it simply asked, what makes a fair division fairer?How can I solve a preference? How can I solve for envy? I want that slice, not that slice. I'm unhappy cause Dan got that slice and not that slice. There's a whole bunch of maths in this. We had a third person that gets more complex. But I just wanna sow that seed for your listeners, which is when we ask questions like, why is it the label gets a dollar and the publisher gets 29 cents?There's gotta be some rationale why you know who bets first? Is it the label that bets first or the publisher who commits most? Is it label that commits most marketing spend or the publisher? These types of questions do with risk, often help answer questions of fair division, or to quote the famous Gangstar song, who's gonna take the weight?Somebody's gotta take a risk when you play this game, and perhaps there's a risk reward trade off, which is telling us who gets what Share of the spoils.[00:14:15] Dan Runcie: Let's unpack this a little bit because it's easy to see. May not be fair, but it's easy to see why the record labels get preference on the B2C side because as I mentioned before, the record labels have acquired a lot of the publishers, and especially in the streaming era, they were prioritizing that slice of the pie, their top line, as opposed to what essentially is the subsid subsidiary of their business, the publishing side.Why is it flipped with sync? Well, how did that dynamic end up being that way?[00:14:47] Will Page: That's an anomaly, which is actually blatantly obvious. You just don't think about it. And the way it was taught to me is anyone can record a song, but only one person can own a song. So I think, let's give an example of, I don't know, a Beach Boy song where I could ask for the original recording of that Beach Boy song to be used in the sync.Or I could get a cover band. So let's say I got a hundred thousand dollars to clear the rights of that song, and the initial split should be 50 50. If a band is willing to do a version of it for 10,000, the publisher can claim 90,000 of the budget and get the option. If the record label objects and says, well, I wish you used a master.Well, you got a price under the 10,000 to get the master in. So this kind of weird thing of bargaining power, if you ever hear. Let me scratch that again. Let me start from the top. Let me give you a quick example, Dan, to show how this works. One of my favorite sort of movies to watch when you're Bored and killing Time is The Devil's Swear, Prada great film.And then that film is a song by Seal called Crazy, incredible song, timeless. That guy has, you know, timeless hits to his name, but it's not him recording it. Now, what might have happened in that instance is the film producer's got a hundred thousand to get the song in the movie, and he's looking to negotiate how much you pay for publishing, how much you pay for label.Now the label is getting, you know, argumentative, wanting more and more, and the publisher is happy with a certain fee. Well, the film producer's got an option. Pay the publisher of the a hundred thousand, pay him 90,000, given the lion share of the deal. And then just turn the label and say, screw you. I'm gonna get a covers bant and knock me out.A decent version of it. And this happens all the time in TV films, in commercials, you'll hear covers of famous songs. And quite often what's happening there is you gotta pay the publisher the lion share of your budget and then just cough up some small chains to the covers bant to knock out a version.And then, so just a great reminder, Dan of anyone can record a song, but only one person can own the song that is the author. And that's why negotiating and bargaining power favors publishes in sync over the record labels.[00:16:59] Dan Runcie: That makes sense. And as you're saying that, I was thinking through five, six other examples of cover songs I've seen in many popular TV shows and movies.And this is exactly why?[00:17:08] Will Page: It's always car commercials. For some reason, every car commercial's got cover in a famous song. You think, remember that weird Scottish guy down Ronie Trapital? Yeah. That's what's happened. The publishers pool the rug from under the record label's feet at negotiation table.Another super important observation about the glocalisation trend, Dan, is I'm gonna take one of those 10 countries as our spotlight, Poland. Now the top 10 in Polands or Polish, the top 20 in Poland, or Polish. In fact, if you go to the top 40, it's pretty much all Polish bands performing in Polish, and you could say that's localization.But stop the bus. Most of those acts are performing hip hop, which is by itself a US genre. So perhaps we've got glocalisation of genre, but localization of language and artist. And that's a very important distinction for us to dissect. And perhaps it's for the anthropologist, the sociologist, to work out what's going on here.But it's not as straightforward as it's just local music. It's local music, but it's global genres, which is driving us forward.[00:18:08] Dan Runcie: And that's a great point for the people that work at record labels and other companies making decisions too, because there's been so much talk about hip hop's decline. But so much of that is focused on how this music is categorized and a lot of it's categorized solely on.What is considered American hip hop. But if you look at the rise of music in Latin America, which has been one of the fastest growing regions in the world, most of that music is hip hop. Bad Bunny considers himself a hip hop artist. You just brought up this example of Polish hip hop being one of the most popular genres there.So when we think about. How different genres get categorized, which genres get funding. Let's remember that key piece because hip hop is this culture and it's global, and that's gonna continue. So let's make sure that we are not taking away from a genre that is really one of the most impactful and still puts up numbers if we're categorizing it in the right way.[00:19:04] Will Page: Damn straight. I mean, I think genres are often like a square peg trying to fit into a round hole and in a paper published by London School of Economics, I was honored to use that line that I think I said on trap last time, which is rap is something you do. Hip hop is something you live. Rap could be the genre, hip hop could be the lifestyle.Maybe what those Polish acts getting to the top of the charts of doing is representing a lifestyle, but they're doing it in their mother tongue.[00:19:28] Dan Runcie: Well said. Agreed. Well, let's switch gears a bit. One topic that I wanna talk about, and I actually gave a talk recently, and I referenced you from this term, and its of music, was the glocalisation of music and why this is happening and what it means for Western music specifically in the us. But first, if you could define that term and explain why this is so important in music right now.[00:19:53] Will Page: Well, I'm so excited to be on Trapital talking about this because we are now officially published by London School of Economics, so I'm gonna make my mom and dad proud of me. At last Backstory, paperback of my book, guitars in Economics, retitled to Pivot. Apparently WH Smith's Travel and Hudson Travel said books with economics in their titles Don't sell an airport.So we've rebranded the whole book to Pivot and it's in airports, which is a result. that book, that paperback came out on the 6th of February and that night I was on the BBC one show and they had this great happy, clappy family friendly story. They wanted to bounce off me. They said, Hey, will, Isn't it great that the top 10 songs in Britain last year were all British ex?For the first time in 60 years, Britain got a clean sweep of the top 10 in the music charts. And I said, curb your enthusiasm because we're seeing it elsewhere. The top 10 in Germany, were all German. Top 10 in Italy, all Italian, ditto France, deto Poland. And if you go to Spain, the top 10, there were all Spanish language, but largely Latin American.So it's not just a British thing that we've seen this rise of local music on global streaming platforms. We're seeing it everywhere, cue some gulps and embarrassments live in the TV studio. But I made my point and I came out of that interview thinking. Well that stunned them. It's gonna stu more people.And I said about working on a paper called glocalisation, which with a Scottish accent, it's hard to pronounce. Let's see how you get on with it. Not localization and not glocalisation. Emerging to by definition and by practice glocalisation. I teamed up with this wonderful author, Chris Riva, who'd be a great guest on your show.He did a wonderful blog piece you may have read, called Why is There No Key Changes in Music anymore? It's a really beautiful piece of music writing and there isn't. Nobody uses key changes in the conclusion of songs. And we set out to do this academic study to explain to the world what's been happening in music and why it's relevant to everyone else.And what we saw across 10 European countries was strong evidence of local music dominating the top of the charts in these local markets on global platforms. Now history matters here. We didn't see this with local High street retailers, America, British, Canadian music dominated those charts. We still don't see it in linear broadcast models like radio and television, you know, it's still English language repertoire dominating those charts. But when it comes to global streaming, unregulated free market, global streaming, we see this phenomenal effect where local music is topping the charts. And you know, you look at what does it mean for us English language countries like ourselves?It means things get a little bit tough. It means exporting English language repertoire into Europe becomes harder and harder. Maybe I'll just close off with this quite frightening thought, which is Britain is one of only three net exporters of music in the world. The other two being your country, United States and Sweden.Thanks to a phenomenal list of Swedish songwriters and artists. And I can't think of the last time this country's broken a global superstar act since Dua Lipa in 2017. Dan, we used to knock them out one, two a year. 2017 was a long time ago, and it's been pretty dry since.[00:23:13] Dan Runcie: And that's a great point for the people that work at record labels and other companies making decisions too, because there's been so much talk about hip hop's decline. But so much of that is focused on how this music is categorized and a lot of it's categorized solely on.What is considered American hip hop. But if you look at the rise of music in Latin America, which has been one of the fastest growing regions in the world, most of that music is hip hop. Bad Bunny considers himself a hip hop artist, you just brought up this example of Polish hip hop being one of the most popular genres there.So when we think about, how different genres get categorized, which genres get funding. Let's remember that key piece because hip hop is this culture and it's global, and that's gonna continue. So let's make sure that we are not taking away from a genre that is really one of the most impactful and still puts up numbers if we're categorizing it in the right way.[00:24:07] Will Page: Damn straight. I mean, I think genres are often like a square peg trying to fit into a round hole and in a paper published by London School of Economics, I was honored to use that line that I think I said on trap last time, which is rap is something you do. Hip hop is something you live. Rap could be the genre, hip hop could be the lifestyle.Maybe what those Polish acts getting to the top of the charts of doing is representing a lifestyle, but they're doing it in their mother tongue.[00:24:32] Dan Runcie: Well said. Agreed. This is something that's been top of mind for me as well because technology in general has a way of making regions and making people in particular regions closer together than it does making the world bigger. It's like in, in a sense, technology can make the world seem bigger, but it actually makes it seem smaller, right? And I think that algorithms and bubbles that come from that are another symptom of this.But this is going to have huge implications for Western music. You mentioned it yourself. All of these markets that are used to being export markets, when they no longer have the strength to be able to have those exports, how does that then change the underlying product? How does that then change the budgets, the expectations of what you're able to make? Because if you're still trying to maintain that same top line revenue, you're still trying to maintain those airwaves you have, it's gonna cost you more money to do that, because you can't rely on the few Western superstars that you have to get, that you have to have equivalent of a superstar or at least a middle tier star in every region that you once had strong market share that you could export in.And it's gonna change cost structures. It's gonna change focus. And a lot of these expansions that we've seen of record labels, especially Western record labels, having strong footprints in different regions across the world, they're not just gonna need to have presence, they're gonna need to have strong results.And in many ways, try to rival the own companies that are in those comp, in those regions, the homegrown record labels, because every country is trying to do their own version of this and it's gonna be tight. This is one of the challenges that I think is only gonna continue to happen.[00:26:14] Will Page: You're opening up a real can of worms. I get it. Pardon to your listeners, we're getting excited here. Day of publication, first time we've been able to discuss it on air, but I know I'm onto something huge here and you've just illustrated why just a few remarks. One, some of the quotes that we have in the paper were just phenomenal. We have Apple included in the paper. We have Amazon, Steve Boom, the head of that media for Amazon in charge of not just music, but Twitch audio books, the whole thing. He's looking at all these media verticals. He makes this point where he says, as the world becomes more globalized, we become more tribal. Stop right there, as he just nailed it.What's happening here? It's The Economist can only explain so much. This is what's so deep about this topic. I wanna toss it to the anthropologist of sociologists to make sense of what I've uncovered, but it's massive. Now let's take a look at what's happening down on the street level with the record labels and the consumers. You know, the record labels are making more money and they're devolving more power to the local off seats. You know the headcount in the major labels, local off season, Germany, France, and Vietnam or wherever is doubled in the past five years. It hasn't doubled in the global headquarters. That's telling you something.If you look at how labels do their global priority list, maybe every month, here's 10 songs we want you to prioritize globally. So I had a look at how this is done, and across the year I saw maybe 8, 10, 12 artists in total, and there's 120 songs. There's not that many artists. You think about how many local artists are coming out the gate every week hitting their local labels or local streaming staff, up with ideas, with showcases and so on.Not a lot of global priority. Then you flip it and you think about the consumer, you know, they've had linear broadcast models for 70 years where you get what you're given. I'm gonna play this song at this time and you're gonna have to listen to it. FM radio, TV shows now they're empowered with choice and they don't want that anymore.They want what's familiar. What comforts them. They want their own stars performing in their own mother tongue topping those charts. So this has got way to go. Now, a couple of flips on this. Firstly, what does this mean for artists? And then I'm gonna take it out of media, but let's deal with artists.Let's imagine a huge festival in Germany. 80,000 people now festival can now sell out with just German X, no problem at all. So when the big American X or British X commanded like a million dollars a headlining fee, you wanna go play that festival. That promoter can turn around and say, sorry man, I can't generate any more money by having you on my bill.How much are you gonna pay me to get on stage? Price maker, price taker? You see what happens. And then the last thing, and there's so much more in this paper for your listeners to get to, and let's please link to it and you'll take, I'll take questions live on your blog about it as well, but. There's a great guy called Chris Deering, the father of the Sony PlayStation. Did you play the Sony PlayStation back in the day? Were you're a fan of the PlayStation.[00:29:08] Dan Runcie: Oh, yeah. PS one and PS two. Yeah. Okay.[00:29:11] Will Page: You, oh, so you, you're an OG PlayStation fella. So he's the father of the PlayStation and launching the PlayStation in the nineties and into the nineties. He offered us observation, which is when they launched a SingStar, which was karaoke challenge.In the PlayStation, he says, we always discussed why the Swedish version of SingStar was more popular in Sweden than the English version Science. Intuitive enough. Let me break it down. Gaming back then was interactive music was not, you interacted with your PlayStation, that's why you killed so much time with it. Music was just a CD and a plastic case that broke your fingernails when you tried to open it. That's how the world worked back then and gaming offered you choice. I could try and do karaoke with those huge global English language hits where I could go further down the chart and buy the Swedish version and sing along to less well known Swedish hits. And the consumer always picked the Swedish version. So as a bellwether, as a microcosm, what I think Chris Ding was teaching us was we saw this happening in gaming long before you started seeing it happen with music. 20 years ago when there was interactive content, which gaming was, music wasn't, and consumers had a choice, which gaming offered a music didn't.They went local. Today, Dan, we're dealing with music lists, A interactive, and B offers choice. And what we're seeing is local cream is rising to the top of the charts.[00:30:33] Dan Runcie: And we're seeing this across multimedia as well. We're seeing it in the film industry too. Even as recent as five, 10 years ago, you release any of the blockbuster movies that were successful in the us, almost all of them had some overseas footprint.Some of them definitely vary based on the genre, but they were always there. But now China specifically had been such a huge market for the Hollywood and Box office specifically, but now they're starting to release more of their own high ed movies and those are attracting much more audiences than our export content can one.Two, the Chinese government in general is just being very selective about what they allow and what they don't allow. And then three, with that, that's really only leaving certain fast and furious movies and Avatar. That's it. The Marvel movies are hit and missed depending on what they allow, what they don't allow, and how, and it's just crazy to see the implications that has had for Marvel Studios for everyone else in Hollywood as well.When you think about it, and we're seeing this across multimedia, I think there's a few trends here that makes me think about, one is. Population growth in general and just where those trends are and how different corporations can approach the opportunity. Because I look at Nigeria, you look at Ethiopia, these are some of the fastest growing countries in the world.And you look at the music that is rising more popular than ever, whether it's Amapiano or it's Afrobeats, that's only going to continue to grow. And that's only from a few regions in the huge continent of Africa. So when we're thinking about where success is gonna come from, where that lines up with infrastructure, people have been seeing it for years.But the reason that we're seeing the growth in Africa, the growth in Latin America, the growth in a lot of these markets is this trend of glocalisation and it's only going to increase. So if we're thinking about where we wanna invest dollars, where we wanna build infrastructure in the future, we not just being folks that live in the western world, but also elsewhere in the world, this is where things are heading.[00:32:37] Will Page: Let me come in down the middle and then throw it out to the side. So, Ralph Simon, a longtime mentor of mine, is quoted in the paper and where he's actually gonna moderate the address here at the Mad Festival here in London, which is for the marketing and advertising community here, where he says, what you've uncovered here that headwind of glocalisation is gonna affect the world of marketing and advertising this time next year.That's what will be the buzzword in their head. So if you think about, I don't know, a drinks company like Diagio, maybe they've got a globalized strategy and a globalized marketing budget. When they start seeing that you gotta go fishing where the fish are and the fish are localized, they're gonna devolve that budget and devolve that autonomy down to local offices. So the wheels of localization, this rise of local, over global, they've only just got started, if I've called it right. We're onto something way bigger than a 20 minute read LSE discussion paper. This goes deep, deep and far beyond economics. But then you mentioned as well China, I mean just one offshoot observation there, which is to look at education.If you look at the UK university system, about a third, if not more, of it is subsidized by the Chinese government and Chinese students here. Great for business, slightly dubious in its business, besties, charging one student more than another student for the same product. But that's what we do over here.And I recently, we made a fellow of Edmar University's Futures Institute, which is an honor to me, you know, gets me back home more often. Fine. And I was learning from them that. The quality of students coming from China to study here in Britain and across Europe is getting worse and worse. Why? Cuz the best students have got the best universities in China.They no longer need to travel. So there's a classic export import dilemma of, for the past 10, 15 years, universities have built a complete treasury coffer base of cash around selling higher education to the Chinese. And now the tables are turning. I don't need to send my students to you universities anymore.I'll educate them here. Thank you very much. So, like I say, this stuff is a microcosm. It's got a can of worms that can open in many different directions[00:34:39] Dan Runcie: And it's gonna touch every industry that we know of to some extent, especially as every industry watches to be global to some extent. This is going to be a big topic moving forward.Let's shift gears a bit. One of the terms that was really big for us. That came from our podcast we did last year. We talked about herbivores and we talked about carnivores, and we talked about them in relation to streaming. We haven't touched on streaming yet, and this will be our opportunity to dig down into it, but mm-hmm.For the listeners, can we revisit where that came from, what that means, and also where this is heading? What does this mean for music streaming right now as it relates to the services and competition?[00:35:24] Will Page: Well, when I first came on Trapital, that was in a small Spanish village of Cayo De Suria and I didn't think I'd come up with an expression that would go viral from a small village in Spain to be, you know, quoted from in Canada, in America.And Dan, this is quite hilarious. we have a new secretary of state of culture here in the UK. The right Honorable MP, Lucy Fraser KG, Smart as a whip. Brilliant. And when I first met her, you know what the first thing she said was, I listened to you on Trapital. I wanted to ask you about this thing you've got going called herbivores and carnivores.So right the way through to the corridors of power, this expression seems to have traveled. What are we talking about? Well, the way I framed it was for 20 years we've had these streaming services, which essentially grow without damaging anyone else. Amazon is up. Bigger subscriber numbers. Apple's got bigger subscriber numbers.YouTube and Nancy's bigger subscriber numbers. And then Spotify. Nancy's bigger subscriber numbers. Everyone's growing each other's gardens. That's fine. That's herbivores. What happens when you reach that saturation point where there's no more room to grow? The only way I can grow my business is stealing some of yours.That's carnivores. And the greatest example is simply telcos. We're all familiar with telcos. We all pay our broadband bills. How do telcos compete? Everybody in your town's got a broadband account, so the only way you can compete is by stealing someone else's business. The only way here in Britain Virgin Media can compete is by stealing some of skies.The only way that at and t competes is by stealing some of com. So that's carnival competition. Now, the key point for Trapital listeners is we don't know what this chapter is gonna read like cuz we've never had carus pronounce that word correctly. Carus behavior before. We've never seen a headline that said, Spotify's down 2 million subs and apple's up 2 million, or Amazon's up 3 million and you know, YouTube is down 3 million.We don't know what that looks like. So I think it's important for Trapital to start thinking about logical, plausible scenarios. You kick a one obvious one, which is again, a lesson from the telcos. When we do become carnivores, do we compete on price or do we compete on features? Let me wheel this back a second, you know, we'll get into pricing in more depth later. But downward competition on price tends to be how carnivores compete, and that'll be a fascinating development given that we've not seen much change in price in 22 years in counting or as we saw with Apple, they roll out spatial audio, they charge more for it, they've got a new feature, and they charge more for that feature.So do we see downward competition blood on the carpet price competition, or do we see. Upward competition based on features. I don't know which one it's gonna be. It's not for me to call it. I don't work for any of these companies. I've worked with these companies, but I don't work for any of them directly.But we have to start discussing these scenarios. How's this chapter gonna read when we start learning of net churn amongst the four horseman streaming services that's out there. It's gonna be a fascinating twist, and I'm beginning, Dan, I'm beginning to see signs of con behavior happening right now, to be honest with you.I can see switchers happening across the four, so I think we're getting there in the US and the UK. What are those signs you see? I'm just seeing that in terms of subscriber growth, it's a lot bumpier than before. Before it is just a clear trajectory. The intelligence I was getting was, everyone's up, no one needs to bother.Now I flag, you know, I signed the siren. I'm beginning to see, you know, turbulence in that subscriber growth. Someone could be down one month, up the next month. Maybe that's just a little bit of churn. The ending of a trial period, you don't know. But now for me, the smoke signals are some of those services are seeing their gross stutter.Others are growing, which means we could start having some switching. I can add to that as well. Cross usage is key here. I really hammered this home during my 10 years at Spotify, which is to start plotting grids saying, who's using your service? This person, that person, and next person now ask what other services are they using?And some data from America suggests that one in four people using Apple music are also using Spotify. And one in four people using Spotify are also using Apple Music. Cross usage confirmed. So if that was true, what do you make of that? With a public spending squeeze? With inflation, with people becoming more cost conscious in the economy with less disposable income, maybe they wanna wheel back from that and use just one, not two. And that's where we could start seeing some net churn effects taking place as well. So, you know, imagine a cross usage grid in whatever business you're working on. If your Trapital listeners and ask that question, I know who's using my stuff, what else are they using? Um, that's a really, really important question to ask to work out how this carnivore scenario is gonna play out.How are we gonna write this chapter?[00:40:23] Dan Runcie: This is interesting because it reminds me of the comparisons that people often make to video streaming and some of the dynamics there where prices have increased over the years. I know we've talked about it before to tend to a 12 years ago Netflix was cheaper than Spotify was from a monthly, US price group subscription.And now tough, tough. It's right. And now it's nearly twice the price of the current price point. That it is. The difference though, when we're talking about when you are in that carnival, when you're in that carnival market, what do you compete on? Features or price? Video streaming, you can compete on features essentially because the content is differentiated.If you want to watch Wednesday, that Netflix series is only one platform that you can watch it on. Yeah, you need to have that Netflix subscription, but in music it's different because if you wanna listen to SZA's SOS album, that's been dominating the charts. You can listen to it on any of these services.So because there are fewer and fewer limitations, at least, if your goal, main goal from a consumption perspective is to listen to the music, how do you then differentiate, which I do think can put more pressure on price, which is very interesting because there is this broader pricing debate that's happening right now about why prices should be higher.And we've seen in the past six plus months that Apple has at least raised its prices. Amazon has done the same, at least for new subscribers. Spotify has announced that it will but hasn't yet and this is part of that dynamic because on one hand you have these broader economic trends as you're calling them out, but on the other hand you do have the rights holders and others pushing on prices to increase.And then you have the dynamic between the rights holders and then the streaming services about who would then get the increased revenue that comes. So there's all of these fascinating dynamics that are intersecting with this her before shift to carnivores[00:42:23] Will Page: For sure. Let me just go around the block of those observations you offered us. All relevant, all valid and just, you know, pick off a few of them. If we go back to Netflix, I think Netflix has a, not a herbivore. I'm gonna talk about alcohol here cause it's late in the day in the UK. A gin and tonic relationship with its competitors. That is, if Dan Runcie doesn't pay for any video streaming service, and let's say Netflix gets you in and I'm the head of Disney plus, I say, well, thank you Netflix.That makes it easier for me to get Dan to pay for Disney Plus too. They compliment each other. They are genuine complimentary goods. They might compete for attention. You know who's got the best exclusive content, who's gonna renew the friends deal, whatever, you know, who's gonna get Fresh Prince of Bel Air on?That could be a switch or piece of content too, but when you step back from it, it's gin and tonic. It's not different brands of gin, that's really important technology, which is they've grown this market of video streaming. They've increased their prices and the same person's paying for 2, 3, 4 different packages.If I added up, I'm giving video streaming about 60 quid a month, and I'm giving music streaming 10 and the sixties going up and the music's staying flat. So it's bizarre what's happened in video streaming because the content is exclusive. Back to, how do music carnivores play out again? Could we see it play out in features?I listen to airport cause they've got classical and I listen to Spotify because it got discovered weekly. Is that plausible? Personally, I don't buy it, but you can sow that seed and see if it takes root, as well. I think just quick pause and Apple as well. I think two things there. They've launched Apple Classical. That's a very, very good example of differentiating a product because it's a standalone app like podcast as a standalone app. The way I look at that is you can go to the supermarket and buy all your shopping. You can get your Tropicana orange juice, you can get your bread, get your eggs, get your meat, get your fish or you could go to a specialist butcher and buy your meat there instead. Apple Classical for me is the specialist butcher as opposed to the supermarket, and they're offering both in the same ecosystem. It'd be incredible if they preload out the next iOS update and give 850 million people an Apple classical app.Imagine if they did that for Jazz, my friend. Imagine if they did that for jazz. Just if Apple's listening, repeat, do that for jazz. So there's one example. The other example from Apple is to go back to bundling. You know we talk about 9.99 a month. I chewed your ear off about this topic last time I was on your show.Just to remind your listeners, where did it come from? This price point in pound Sterling, in Euro in dollar that we still pay for on the 20th of May, 2023. It came from a Blockbuster video rental card that is when reps, he got its license on the 3rd of December, 2001. Not long after nine 11, a record label exec said if it cost nine 90 nines, rent movies from Blockbuster.That's what it should cost to rent music. And 22 years plus on, we're still there, ran over. But what does this mean for bumbling strategies? How much does Apple really charge? If I give $30 a month for Apple One, which is tv, music, gaming news, storage and fitness, all wrapped up into one price. Now, there's a famous Silicon Valley investi called James Barksdale.Dunno if you've heard of him from the Bay Area where you're based. And he had this famous quote where he said, gentlemen, there's only two ways to make money in business. Bundling and unbundling. What we've had for the past 10 years is herbivores. Unbundling. Pay for Netflix, don't pay for Comcast. Pay for Spotify. Don't pay for your CDs, fine. What we might have in the next 10 years is carnivores bundling, which is a pendulum, swings back towards convenience of the bundle and away from the individual items. So Apple, take 30 bucks a month off my bank balance. Please take 40. All I want is one direct debit. I don't care about the money, I just want the bundle.And I don't want to see 15 direct debits every month. I just wanna see one. I think that's a very plausible scenario for how the next 10 years it's gonna play out as we shift from herbivores to carnivores[00:46:31] Dan Runcie: And the bundle benefits, the companies that have the ability to do that, right? You can do that through Amazon Prime and get your video, your music, your free shipping or whatever is under that umbrella. You could do that through Apple. You mentioned all the elements under Apple one. Spotify has some element of this as well, whether it's exclusive podcasting and things like that. So you're starting to see these things happen, one thing that you mentioned though earlier, you're talking about going through the supermarket and all of the items that you could get there versus going to the specialty butcher.One of the unique aspects of the supermarket thing though, is that. You go into the supermarket, yes, you can get your high-end Tropicana, or you can get the generic store brand, but you're gonna pay more for that high-end Tropicana because you're paying for the brand, you're paying for everything else that isn't gonna necessarily be the same as the generic one.That may not necessarily be the same quality or the same taste. We're seeing this a bit in the streaming landscape now and some of the debates that were happening. You've heard the major record label executives talk about how they don't necessarily want their premium music. They see their content as HBO level and it's being in a playlist next to rain music, or it's next to your uncle that is playing some random song on the banjo and they're getting essentially the same price going to the rights holders for that song.And in the supermarket that's obviously very different, each item has its own differentiator there, or econ has its own price point there and its own cost, but that isn't necessarily the same thing in music. Of course, the cost of each of those tracks may be different, but the revenue isn't. So that's gonna be, or that already is a whole debate that's going on right now. Do you have thoughts on that?[00:48:21] Will Page: Well, you tossed top Tropicana, let me go grab that carton for a second. It's one of the best economic lessons I ever learned was visiting a supermarket in America cuz it's true to say that when you go into one of your American supermarkets, an entire aisle of that precious shelf space, it's dedicated to selling inferior brands of orange juice next to Tropicana.Just very quickly what's happening there, the undercover economist, if you want, is a bargaining power game. Tropicana knows The reason Dan Runcie pulled the car over, got the trolley, went into that supermarket is to get a staple item of Tropicana and other stuff. By the time it gets to the till, Tropicana could be $5.By the time he gets to till he spent $50. So here, subscriber acquisition cost contribution is really high. They're getting you into the mall. What you do once you're in the mall is anyone's business, but they got you in. Otherwise you would've gone to the deli across the street. So they could say to the supermarket, I'm gonna charge you $7 to sell that Tropicana for $5 in my supermarket.Supermarket knows this, they know that Tropicana's got the bargaining paris. They counter by saying, here's an entire shell space of awful brands of orange juice to curb your bargaining power to see if the consumer wants something different. Now is this Will Page taking a stupid pill and digressing down Tropicana Alley. No. Let's think about this for a second today, Dan, there's a hundred thousand songs being onboarded onto streaming services. Is there anybody what? Marching up and down Capitol Hill saying We want a hundred thousand songs. No, the floodgates have opened them. It's all this content. Two new podcasts being launched every minute.All this content, all of these alternative brands to Tropicana. But you just wanted one. And I think the record labels argument here is that one Cardinal Tropicana is worth more than everything else you're offering by its side. So we wanna rebalance the scales. Now this gets really tricky and very contentious, but what is interesting, if you wanna take a cool head on this topic, it's to learn from the collecting studies, which is not the sexiest thing to say on a Trapital podcast, but it's to look at your Scaps and your BMIs and understand how they distribute the value of money for music.Since their foundation in the 1930s, scap has never, ever treated music to have the same value. They have rules, qualifications, distribution, allocation practices, which change the value of music. And they don't have data scientists then. And to be honest, I don't think they have data scientists now, but they always have treated the value of music differently.When they were founded, they had a classical music distribution pot and a distribution pot for music that wasn't classical music. Ironically, their board was full of classical composers, and I think that's called embezzlement, but we'll leave that to the side. What we have here is a story of recognizing music as different value in the world of collecting Saudi.I call that Jurassic Park, but in the world of music streaming with all those software developers and engineers and data scientists, 22 years of 9.99 money coming in and the Prorata model, which means every song is worth the same for money going out, and that's your tension. That's your tension. How do you get off that?Tension is anyone's business. We got some ideas we can discuss. User-centric is one, autocentric is another. I've got a few ideas for my own, but I want your audience to appreciate. In straight no chaser language we call it. That's the undercurrent of what's going on here. How do you introduce Trapitalism to communism?[00:51:38] Dan Runcie: You mentioned there's artist centric, user-centric, but you mentioned some ideas you had of your own. What are those ideas?[00:51:44] Will Page: Can I bounce it off? Use my intellectual punch bag for a quick second. Yes, and I've worked 'em all. I've worked on the artist centric model. I've worked on artist growth models. That's up on YouTube. I've worked on user centric, but I'm just, I'm worried that these models, these propositions could collapse the royalty systems that these streaming services work under. The introduction of user centric or artist centric could become so complex, so burdensome, the royalty systems could break down.That's a genuine concern I have. It's not one you discuss when you talk about your aspirations and the land of milk and honey of our new streaming model that you envisage. Back in the engine room when you see how royalties are allocated and calculated and distributed out to right holders, I mean they're under stress anyway.Any more stress could snap it. So I come at this model, my proposition from the one that's least likely to break the system. I'm not saying it's the best model, but it's the least like least likely to have adverse impact on the system. And it came from my DCMS Select Committee performance in the UK Parliament, which your listeners can watch, we can give the link out, which is I said to the committee in terms of how you could change the model.What about thinking about duration? This wheel back since 1980s when B BBC radio plays, let's say Bohemian Rhapsody, it will pay for that song twice what it would pay for. You're my best friend, members of Queen wrote both songs, both released within three, four years of each other, but one lasts twice as long as another.So duration is not new. We factor in duration a lot in our music industry. We just never thought about it. If you look at Mexico, the Mexican collecting Saudi, which is so corrupt as an inside an army barracks, if you look there, they have sliding scales, duration. They factor in time, but they say the second minute is what?Less than the first. But I'm giving you more for more time just adding, decreasing scale. Germany, they have ranges in your country. America, mechanical licensing collective, the MLC in Nashville, they have overtime songs that last more than six minutes get a 1.2 multiplier. So I've been thinking about how could you introduce duration to this business?And the idea I've come up with is not to measure time. That'd be too complex, too burdensome. Every single song, measuring every second of consumption. How do you audit there? If you're an artist manager, but I wanna measure completion, then I think this is the answer. I want songs that are completed in full to receive a bonus and songs that are skipped before they end to receive a penalty.Not a huge bonus, not a huge penalty, but a tweak. A nudge that says, I value your attention. I value great songs, and you listen to these great songs and it captures my entire attention. You deserve something more. But if I skipped out after the first chorus, you deserve something less. I think that small nudge is a nudge in the right direction for this industry, and it wouldn't break the systems.So there it is. Tell me now, have I taken a stupid pill?[00:54:42] Dan Runcie: What I like about it, and I've heard other people in the industry mention this too, you're able to get something closer to what we do see in video streaming. I forget which app is specifically, but their threshold is 75%. So they acknowledge that yes, if you don't wanna watch the credits, you don't wanna listen to the closeout, that's fine.But if we at least get you for 75%, then we are gonna count that, and then that then can get used internally. That can then get used in different areas. But I think it provides everyone better data and analysis, much better data to be able to break down than. Whether or not you listen to the first 30 seconds, that's such a low threshold, but that's essentially where we are today.I think the biggest thing, regardless of what path is chosen, because as you and I both know, there's trade-offs to everyone. So instead of going through all the negative parts about it, I think it's probably more helpful to talk about it collectively, you accept the fact that there are trade-offs. You accept the fact that people are gonna try to game the system regardless of how you go about it.Because we have seen duration work elsewhere and it does get at that particular thing that we're trying to get at there is help there. And you mentioned other things such as, yes, if you're listening to the Bohemian Rhapsody, you, which I think is at least seven minutes and 15 seconds, most likely longer versus two minute song that is clearly idealized for the streaming era.There still should be maybe some slight difference there because listening to a minute and 30 seconds is very different than listening to five minute and 45 seconds to be able to hit that 75% threshold. So between that and then I've heard other topics such as which artists you start your session with should have some type of multiplier on there, and as opposed to someone that gets algorithmically recommended to you to be able to put some more onus on the on-demand nature of music streaming.The tough thing is that these things do get tough in general. Anytime there's any type of multiplier or factor in, there still is a zero sum pot that we're taking the money out of. So accepting the trade-offs, I like the direction, I think that there's a few ways to go about it that could make it more interesting, but in general, I do think that any of the proposed options I've seen at least, allow a bit more of a true economic reflection of where the reality is as opposed to where things are today.And I understand where things are today. It's easy. It's easy to report, it's easy to collect on and pay people out, relatively speaking. But like anything, there's trade offs.[00:57:14] Will Page: Yeah, it's really easy today. Even drummers can work out their royalties and no offense to drummers, but that's telling you something.But two points on my dura

The complete audiobook is available for purchase at Kobo.com: https://www.kobo.com/au/en/audiobook/dharma-the The Dharma or The Religion of Enlightenment By Paul Carus Narrated by Denis Daly Paul Carus (1852-1919) was a scholar, translator and researcher into comparative religion. He was a prolific author, producing works on philosophy, mathematics and science as well as translations of major Chinese and Japanese spiritual classics. Carus was a pioneer in the promotion of inter-religious dialogue, and was a speaker at the World Parliament of Religions held in Chicago, in 1893. Although he refused to ally himself with a specific religious denomination, Carus had a particular reverence for Buddhism, and in 1896, published this succinct guide to the basic doctrines of the religion.

The complete audiobook is available for purchase at Audible.com: https://rb.gy/6xq1qz The Canon of Reason and Virtue Lao-Tze's Tao Teh King By Lao Tze Narrated by Denis Daly This enigmatic scripture is attributed to the mysterious sage Lao Tze, who is believed to have lived in the sixth century BCE. In the present translation by religious scholar Paul Carus, the title is presented as The Canon of Reason and Virtue, and in the body of the text Carus renders the word usually translated as “Tao” as “reason.” This book is an extract from the author's larger work, Lao-Tze's Tao Teh King. The latter contained an historical introduction, the Chinese text, a transliteration, explanatory notes and an index, including the Chinese terms. The present text is limited to that portion which would have been of universal interest to the English-speaking world, the English translation. Carus noted that the term Tao (word, reason) corresponded quite closely with the Greek term Logos, which is featured in the Gospel of John. Carus also found correspondences with other Christian concepts such as the ethics of requiting hatred with goodness, the return to primitive simplicity and purity, and the power of non-resistance.

Bright on Buddhism Episode 53 - Who is Maudgalyayana? What role does he play in the texts? What are some stories about him? Resources: Berezkin, Rostislav (21 February 2015), "Pictorial Versions of the Mulian Story in East Asia (Tenth–Seventeenth Centuries): On the Connections of Religious Painting and Storytelling", Fudan Journal of the Humanities and Social Sciences, 8 (1): 95–120, doi:10.1007/s40647-015-0060-4, S2CID 146215342;Brekke, Torkel (1 September 2007), "Bones of Contention: Buddhist Relics, Nationalism and the Politics of Archaeology", Numen, 54 (3): 270–303, doi:10.1163/156852707X211564;Buswell, Robert E. Jr.; Lopez, Donald S. Jr. (2013), Princeton Dictionary of Buddhism. (PDF), Princeton, NJ: Princeton University Press, ISBN 978-0-691-15786-3;Carus, Paul (1905), "Ashvajit's Stanza and Its Signigicance", Open Court, 3 (6);Daulton, J. (1999), "Sariputta and Moggallana in the Golden Land: The Relics of the Buddha's Chief Disciples at the Kaba Aye Pagoda" (PDF), Journal of Burma Studies, 4 (1): 101–128, doi:10.1353/jbs.1999.0002, S2CID 161183926;Ditzler, E.; Pearce, S.; Wheler, C. (May 2015), The Fluidity and Adaptability of Buddhism: A Case Study of Maudgalyāyana and Chinese Buddhist identity;Gethin, Rupert (2011), "Tales of miraculous teachings: miracles in early Indian Buddhism", in Twelftree, Graham H. (ed.), The Cambridge companion to miracles, Cambridge Companions to Religions, Cambridge University Press, ISBN 978-0-521-89986-4;Gifford, Julie (2003), "The Insight Guide to Hell" (PDF), in Holt, John Clifford; Kinnard, Jacob N.; Walters, Jonathan S. (eds.), Constituting communities Theravada Buddhism and the religious cultures of South and Southeast Asia, Albany: State University of New York Press, ISBN 0-7914-5691-9;Harvey, Peter (2013), An introduction to Buddhism: teachings, history and practices (PDF) (second ed.), New York: Cambridge University Press, ISBN 978-0-521-85942-4;Huntington, J.C. (1985). "The Origin of the Buddha Image: Early Image Traditions and the Concept of Buddhadarsanapunya". In Narain, A. K. (ed.). Studies in Buddhist Art of South Asia. Delhi: Kanak Publications. Archived (PDF) from the original on 2017-11-11.;Karaluvinna, M. (2002), "Mahā-Moggallāna", in Malalasekera, G. P.; Weeraratne, W. G. (eds.), Encyclopaedia of Buddhism, vol. 6, Government of Sri Lanka[dead link];Keown, D. (1996), "Karma, character, and consequentialism", The Journal of Religious Ethics (24);Ladwig, Patrice (2012), "Feeding the dead: ghosts, materiality and merit", in Williams, Paul; Ladwig, Patrice (eds.), Buddhist funeral cultures of Southeast Asia and China, Cambridge: Cambridge University Press, ISBN 978-1-107-00388-0 Do you have a question about Buddhism that you'd like us to discuss? Let us know by finding us on email or social media! https://linktr.ee/brightonbuddhism Credits: Nick Bright: Script, Cover Art, Music, Voice of Hearer, Co-Host Proven Paradox: Editing, mixing and mastering, social media, Voice of Hermit, Co-Host --- Send in a voice message: https://podcasters.spotify.com/pod/show/brightonbuddhism/message

The City of LaSalle held a press conference on Thursday afternoon to update the media and the public regarding yesterday's fire at the Carus chemical plant located 1500 8th Street in Lasalle. Brent Bader with the City of Lasalle addressed the Shelter at Home recommendation that was issued by the City for the 3rd and 4th ward areas that surround the Carus plant stating that the length of the Shelter at Home order was out of an abundance of caution as multiple sources of information were being brought together to give the best care and advice to residents affected. Robert Kondreck with the Illinois EPA gave a statement indicating that they are continuing to monitor air quality but noting that thus far there have been "no detections above our action levels." The Illinois EPA also addressed questions regarding the clean up of the 'purple substance that had been seen in the immediate aftermath of the explosion and fire. According to the EPA, and reiterated by Carus representative, Allen Gibbs, the substance can easily be washed away with water. Pet owners should limit exposure by washing the substance away from areas where pets may eat or drink and by washing pets that may have been outside during the event.

Bright on Buddhism Episode 44 - Who is Sariputra? What role does he play in the texts? How does this role change over time? Resources: Kevin Trainor: Buddhism: An Illustrated Guide; Donald Lopez: Norton Anthology of World Religions: Buddhism; Silk, Jonathan A. (2019), Brill's encyclopedia of Buddhism Vol Two, Hinüber, Oskar von,, Eltschinger, Vincent,, Bowring, Richard, 1947-, Radich, Michael, Leiden, ISBN 978-90-04-29937-5, OCLC 909251257; Robert E Buswell: Encyclopedia of Buddhism: Sariputra; Hecker, Hellmuth; Nyanaponika Thera (2003), Great Disciples of the Buddha: Their Lives, Their Works, Their Legacy (PDF), Simon and Schuster, ISBN 978-0-86171-381-3, archived from the original (PDF) on 2017-09-24; Bodhi, Bhikkhu; Dhamma, Rewata (1993), A comprehensive manual of Abhidhamma : the Abhidhammattha sangaha of Ācariya Anuruddha (1st BPS Pariyatti ed.), BPS Pariyatti Edition, ISBN 978-1-928706-02-1; Buswell, Robert E. Jr. (2004), Encyclopedia of Buddhism (PDF), New York, NY: Macmillan Reference, USA, ISBN 0-02-865718-7, archived (PDF) from the original on 2018-06-29, retrieved 2020-02-22; Buswell, Robert E. Jr.; Lopez, Donald S. Jr. (2013), Princeton Dictionary of Buddhism. (PDF), Princeton, NJ: Princeton University Press, ISBN 978-0-691-15786-3, archived (PDF) from the original on 2018-06-12, retrieved 2020-02-22; Carus, Paul (1905), "Ashvajit's Stanza and Its Significance", Open Court, 3 (6), archived from the original on 2020-10-27, retrieved 2020-02-22; Irons, Edward (2007), Encyclopedia of Buddhism (PDF), New York: Facts on File, ISBN 978-0-8160-5459-6, archived from the original (PDF) on 2017-05-17, retrieved 2020-02-22; Lopez, Donald S. (2016), The Lotus Sūtra : a biography, Princeton University Press, ISBN 978-0-691-15220-2; Shaw, Sarah (2013), "Character, Disposition, and the Qualities of the Arahats as a Means of Communicating Buddhist Philosophy in the Suttas" (PDF), in Emmanuel, Steven M. (ed.), A companion to Buddhist philosophy (first ed.), Chichester, West Sussex: Wiley-Blackwell, ISBN 978-0-470-65877-2, archived (PDF) from the original on 2017-08-28, retrieved 2020-02-22; Bodhi, Bhikkhu (trans.) (2009). Right View. A translation of the Sammādiṭṭhi Sutta. Attributed to Sariputra Do you have a question about Buddhism that you'd like us to discuss? Let us know by finding us on email or social media! https://linktr.ee/brightonbuddhism Credits: Nick Bright: Script, Cover Art, Music, Voice of Hearer, Co-Host Proven Paradox: Editing, mixing and mastering, social media, Voice of Hermit, Co-Host

Today, we are talking to Robin Carus, CSA. She is a casting director who has had a life-long passion for the craft of casting. Her aunt and mentor is veteran casting director, Terry Berland. We talk about her childhood, being an intern for Seinfeld, and where she sees herself. As always you can reach me on Twitter, Instagram, and Facebook with my name Justin Younts. Thank you for listening and sit back and enjoy. https://www.facebook.com/robincaruscasting https://www.instagram.com/robincarus/

¿Cuál es tu relación con tus finanzas, mi querida? Lo ideal es tener una relación saludable para mejorar tu estilo de vida. Una relación saludable con tus finanzas es lo que Isis Carus de Finanzas Color de Rosa nos enseñará en este episodio. Además, me encantó que compartió consejos para que sepas como llevar adecuadamente tus finanzas personales. Isis Carus es Economista y se especializa en Finanzas Personales, le apasiona enseñar a mujeres a gestionar mejor sus finanzas para que logren sus metas y sueños. ¡Toma tu café o tu té! Y disfruta de este episodio ☕️ -- ✨R E G A L O S : · ¿Ya tienes mi guía de regalo "Disfruta tu Negocio, No lo sufras"? Accede aquí · Te enseño a crear Estrategias Digitales para tu emprendimiento en esta Masterclass Gratuita ✨G U Í A : · Sé diferente en redes sociales con esta guía de Posicionamiento en Redes Sociales · Atrae más clientes con esta guía de ¿Cómo vender sin importar el número de seguidores? ✨M E N C I O N A D O : Conoce a Isis: · Instagram · Facebook ✨P L A T I Q U E M O S : · web · instagram · pinterest · youtube · facebook

Bryan Caplan and I discuss the ideas of the iconoclast social critic and psychiatrist Thomas Szasz. Dr. Caplan won the Thomas Szasz award in 2005 for his paper, The Economics of Szasz: Preferences, Constraints, and Mental Illness. We have a wide-ranging conversation about Szasz, his ideas, and how to help ourselves and others when struggling with life. Dr. Caplan shares some of his personal experiences with depression during Covid and how he got out of it. Related Episodes Bryan Caplan on Parenting: https://youtu.be/JM0dGLRgko0 Anthony Stadlen on Szasz: https://youtu.be/wzVVLgpgLBA Jeffrey Schaler on Szasz: https://youtu.be/7wySu4S1w14 Christopher Lane on Shyness: https://youtu.be/GrV46aVkNvM Irvin Kirsch on Antidepressants: https://youtu.be/PtubmyA3BgU Related Videos John Nash on Schizophrenia: https://youtu.be/SizS1nOOeJg Take These Broken Wings (Documentary about Schizophrenia): https://youtu.be/EPfKc-TknWU Titicut Follies (Mistreatment of Involuntary Patients): https://youtu.be/e-wVwtN5f-U Crazywise Film: https://youtu.be/IXnmBIYaIZE Jim Van Os on Schizophrenia: https://youtu.be/sE3gxX5CiW0 Chapters: 00:00 Intro to Bryan Caplan https://twitter.com/bryan_caplan 00:35 Selfish Reasons to Have More Kids https://amzn.to/3NZcxQg 00:56 How did you discover Thomas Szasz? 01:33 The Untamed Tongue https://amzn.to/3NYtTwI 02:07 Insanity: The Idea and Its Consequences https://amzn.to/3aAp3bn 02:34 Myth of Mental Illness https://amzn.to/3ANgIvp 02:57 Ceremonial Chemistry https://amzn.to/3P4IBU5 03:25 How long did it take you to understand Szasz? 06:13 What do you think most people misunderstood about Szasz? 08:14 Heavy drinkers respond to incentives https://wp.me/p8ReVr-1i5 10:55 How homosexuality got declassified as a disease 11:41 Transvestism 12:34 The Useful Lie https://wp.me/p8ReVr-1eT 12:56 Responsibility 14:34 Criticisms of Szasz 15:42 Szasz as a philosopher of mind https://wp.me/p8ReVr-rs 16:34 Scott Alexander https://slatestarcodex.com/2015/10/07/contra-caplan-on-mental-illness/ 17:53 Drapetomania https://g.co/kgs/5qVtCe 18:06 What was it like to meet Szasz? https://www.econlib.org/archives/2012/09/thomas_szasz_a.html 19:29 Suicide https://amzn.to/3RuQS5w 20:05 Why do you think Szasz wrote so much? 21:00 Did you get pushback when writing your paper on Szasz? 22:19 Shakespeare and Szasz 23:24 Has Szasz helped you in your personal life? 27:12 Brittany Spears 28:27 Addiction is a Choice https://wp.me/p8ReVr-9U 29:05 Karl Kraus https://wp.me/p8ReVr-1hz 29:51 Szasz's political beliefs 31:13 Suicide 32:29 Epicurus https://epicurus.net/en/menoeceus.html 32:54 Julian Simon https://amzn.to/3P4Kct3 35:17 Surround yourself with friends 36:11 How do you stay productive? 37:51 Lucretius http://classics.mit.edu/Carus/nature_things.html 39:01 How do you deal with depression during Covid? 41:16 Faith in Freedom https://amzn.to/3caLvIq 41:38 Free will https://econfaculty.gmu.edu/bcaplan/freewill 43:38 Writing advice 44:45 The Baader Meinhof Complex https://youtu.be/2UPrDdb0r70 46:43 Economics of Szasz http://econfaculty.gmu.edu/bcaplan/pdfs/szasz.pdf 49:50 Rational vs. Irrational 52:53 Schizophrenia https://amzn.to/3AK5yb3 56:10 Biographies of schizophrenics https://amzn.to/3IBtJu0 59:15 Hearing voices https://youtu.be/sE3gxX5CiW0 --- Send in a voice message: https://anchor.fm/aaronolson/message Support this podcast: https://anchor.fm/aaronolson/support

Bryan Caplan and I discuss the ideas of the iconoclast social critic and psychiatrist Thomas Szasz. Dr. Caplan won the Thomas Szasz award in 2005 for his paper, The Economics of Szasz: Preferences, Constraints, and Mental Illness. We have a wide-ranging conversation about Szasz, his ideas, and how to help ourselves and others when struggling with life. Dr. Caplan shares some of his personal experiences with depression during Covid and how he got out of it. Related Episodes Bryan Caplan on Parenting: https://youtu.be/JM0dGLRgko0 Anthony Stadlen on Szasz: https://youtu.be/wzVVLgpgLBA Jeffrey Schaler on Szasz: https://youtu.be/7wySu4S1w14 Christopher Lane on Shyness: https://youtu.be/GrV46aVkNvM Irvin Kirsch on Antidepressants: https://youtu.be/PtubmyA3BgU Related Videos John Nash on Schizophrenia: https://youtu.be/SizS1nOOeJg Take These Broken Wings (Documentary about Schizophrenia): https://youtu.be/EPfKc-TknWU Titicut Follies (Mistreatment of Involuntary Patients): https://youtu.be/e-wVwtN5f-U Crazywise Film: https://youtu.be/IXnmBIYaIZE Jim Van Os on Schizophrenia: https://youtu.be/sE3gxX5CiW0 Chapters: 00:00 Intro to Bryan Caplan https://twitter.com/bryan_caplan 00:35 Selfish Reasons to Have More Kids https://amzn.to/3NZcxQg 00:56 How did you discover Thomas Szasz? 01:33 The Untamed Tongue https://amzn.to/3NYtTwI 02:07 Insanity: The Idea and Its Consequences https://amzn.to/3aAp3bn 02:34 Myth of Mental Illness https://amzn.to/3ANgIvp 02:57 Ceremonial Chemistry https://amzn.to/3P4IBU5 03:25 How long did it take you to understand Szasz? 06:13 What do you think most people misunderstood about Szasz? 08:14 Heavy drinkers respond to incentives https://wp.me/p8ReVr-1i5 10:55 How homosexuality got declassified as a disease 11:41 Transvestism 12:34 The Useful Lie https://wp.me/p8ReVr-1eT 12:56 Responsibility 14:34 Criticisms of Szasz 15:42 Szasz as a philosopher of mind https://wp.me/p8ReVr-rs 16:34 Scott Alexander https://slatestarcodex.com/2015/10/07/contra-caplan-on-mental-illness/ 17:53 Drapetomania https://g.co/kgs/5qVtCe 18:06 What was it like to meet Szasz? https://www.econlib.org/archives/2012/09/thomas_szasz_a.html 19:29 Suicide https://amzn.to/3RuQS5w 20:05 Why do you think Szasz wrote so much? 21:00 Did you get pushback when writing your paper on Szasz? 22:19 Shakespeare and Szasz 23:24 Has Szasz helped you in your personal life? 27:12 Brittany Spears 28:27 Addiction is a Choice https://wp.me/p8ReVr-9U 29:05 Karl Kraus https://wp.me/p8ReVr-1hz 29:51 Szasz's political beliefs 31:13 Suicide 32:29 Epicurus https://epicurus.net/en/menoeceus.html 32:54 Julian Simon https://amzn.to/3P4Kct3 35:17 Surround yourself with friends 36:11 How do you stay productive? 37:51 Lucretius http://classics.mit.edu/Carus/nature_things.html 39:01 How do you deal with depression during Covid? 41:16 Faith in Freedom https://amzn.to/3caLvIq 41:38 Free will https://econfaculty.gmu.edu/bcaplan/freewill 43:38 Writing advice 44:45 The Baader Meinhof Complex https://youtu.be/2UPrDdb0r70 46:43 Economics of Szasz http://econfaculty.gmu.edu/bcaplan/pdfs/szasz.pdf 49:50 Rational vs. Irrational 52:53 Schizophrenia https://amzn.to/3AK5yb3 56:10 Biographies of schizophrenics https://amzn.to/3IBtJu0 59:15 Hearing voices https://youtu.be/sE3gxX5CiW0 --- Send in a voice message: https://anchor.fm/aaronolson/message Support this podcast: https://anchor.fm/aaronolson/support

Emine Eroğlu'nun hazırlayıp sunduğu Endüstri Harmanı Programına Sanatçı ve Tasarımcı Esra Carus konuk oldu.

Emine Eroğlu'nun hazırlayıp sunduğu Endüstri Harmanı Programına Sanatçı ve Tasarımcı Esra Carus konuk oldu.

As Anglo-American capitalism swept across the globe in the nineteenth century, the school of Japanese Buddhism most closely associated with the thoroughly discredited feudal government, Zen, was struggling to rebrand. Meanwhile, Paul Carus, a German immigrant serving as court philosopher to a zinc magnate in LaSalle, Illinois, published a book identifying Buddhism as a possible source for the “Religion of Science” purified of all superstitions, which he believed must become the ideology of modern, capitalist “Teutonic peoples” (Anglo-Saxons and Germans both). Enthralled by this welcome departure from the standard dogma, accepted no less in Japan than in Anglo-America, that Christianity was the source of everything modern, capitalist, and democratic, young Suzuki Teitarō (who had spent no more than a few days visiting a Buddhist temple) eagerly translated Carus' book on Buddhism into Japanese and asked to go and study at his feet. Thus began eleven years in Illinois, where the man later known as D.T. Suzuki imbibed Carus' ideas on “modernizing” religion—and, crucially, techniques for claiming whiteness on behalf of a non-Anglo-Saxon people—that would serve him so well decades later when he suddenly started talking about “Zen”. See acast.com/privacy for privacy and opt-out information.

El día de hoy hablamos con la crack de las finanzas Isis Carus de @finanzascolorderosa de cómo armar un presupuesto, el fondo de paz y cómo sentirnos tranquilos emocionalmente con nuestras finanzas. ¡Que lo disfruten! --- Support this podcast: https://anchor.fm/frecuencia-alta/support

El día de hoy hablamos con la crack de las finanzas Isis Carus de @finanzascolorderosa de cómo armar un presupuesto, el fondo de paz y cómo sentirnos tranquilos emocionalmente con nuestras finanzas. ¡Que lo disfruten! --- Support this podcast: https://anchor.fm/frecuencia-alta/support

In episode 6.16, I sit down with Frank Carus. The (now) former director of the Mount Washington Avalanche center talks about his career and experiences working in the presidential range of the White Mountains in New Hampshire. The MWAC is one of two US National Forest Avalanche Centers that hold the responsibility of responding to rescues within their forecast area. Frank recounts a couple unfortunate avalanche accidents that have some lessons for us all. Music on this episode was created by Age Diamanté.

En este episodio les traigo a mi primera invitada especial, con la cual platiqué acerca del mundo del maquillaje y como Jeffrey Star nos tiene que patrocinar aunque nos caiga mal.

Eesti Filharmoonia Kammerkoor ja Tallinna Kammerorkester Tõnu Kaljuste juhatusel esitavad muusikat Antonio Vivaldi missast ja vesprist.

Wolfgang Amadeus Mozarti sünniaastapäeva eel esitab Eesti Filharmoonia Kammerkoor Tõnu Kaljuste juhatusel Mozarti vaimuliku sisuga muusikat.

¿Por qué nunca hablamos de dinero? En este episodio de #evos invitamos a Isis Carus, creadora de finanzas color de rosa. Isis nos lleva de la mano en esta conversación para liberarnos de pensamientos limitantes acerca del dinero. Desde que somos niños nos enseñan a tener un título profesional, un trabajo de ensueño ¿y después qué sigue? Nadie nos enseñó cómo funciona el dinero en nuestra vida diaria, y a todos nos gusta la buena vida. Existen muchas maneras de crecer y organizar tu dinero, nunca es tarde para comenzar a hacernos cargo de nuestras finanzas, hoy en día miles de mujeres se esfuerzan por salir adelante para gozar de su independencia financiera.

Heute im Podcast "Die Chefredakteurin" Teil 2 mit dem Interview von Professor Dr. med. D. Michael Albrecht, Medizinischer Vorstand des Universitätskrankenhauses Carl Gustav Carus in Dresden und Vorstand des Verbandes der Universitätsklinika in Deutschland. Auch heute geht es wieder um das Thema Corona: Wie sieht es momentan an der Basis aus? Außerdem hat Prof. Albrecht und sein Team im Verbund mit anderen Universitätskliniken in Deutschland über 100 Studien begleitet. Was sind die Erkenntnisse, was weis man über den Virus? Hört in das interessante Interview gern rein. Die Chefredakteurin Anja K. Fließbach erreicht Ihr über: https://www.instagram.com/disy_fliessi/ https://www.facebook.com/anjafliessbach https://www.linkedin.com/in/anja-fließbach oder www.disy-magazin.de

1,5 Jahre Corona und man sollte glauben, dass über den Virus inzwischen alles bekannt ist. Die Chefredakteurin Anja K. Fließbach hat mit einer echten Koryphäe der Medizin - Professor Dr. med. D. Michael Albrecht über das Thema Corona und die aktuelle Lage in den Kliniken gesprochen. Prof. Albrecht ist seit Juli 2012 erster Vorsitzender des VUD und seit 2006 Mitglied des Vorstands. Der Professor für Anästhesie leitet seit 2002 als Medizinischer Vorstand das Universitätskrankenhaus Carl Gustav Carus Dresden, in dem er schon seit 1994 Direktor der Klinik für Anästhesie und Intensivtherapie war. Von 1999 bis 2002 war er Dekan der Medizinischen Fakultät an der Technischen Universität Dresden. Der gebürtige Münchner ist zudem vielfacher Gutachter und Mitglied in mehreren Universitätsklinika-Aufsichtsräten sowie nationalen als auch internationalen Gremien. Die Chefredakteurin Anja K. Fließbach erreicht Ihr über: https://www.instagram.com/disy_fliessi/ https://www.facebook.com/anjafliessbach https://www.linkedin.com/in/anja-fließbach oder www.disy-magazin.de

"The Gospel" is going LIVE for the first time ever with up and coming podcaster Carus Epps. We learn about his sports podcast show, "Carolina Friday Night Lights" and his non-profit organization, "Beaufort Boys of Distinction.

This week Ginny was off recording without Charlie for much of the week. But don't worry, they are still together for the discussion of events and adventures around Cincinnati, including an epic day on a boat and an amazing dinner at Woodhouse Kitchen + Bar for a birthday celebration. In the next installment of their industry spotlight series, Ginny interviews Emmy Friedrichs, General Manager at The Mercer OTR about her unique perspective on wine and cocktails plus how her love of dogs got her back into the industry. Next she talks with Carus Waggoner of Second Sight Spirits about a recent Carriage House Farm dinner that featured four cocktails with Second Sight Rum. We try the drinks and talk about the inspiration behind them throughout the dinner. Enjoy! 

Ginny Tonic knows her way around a distillery so she was very excited to talk with Carus Wagner of Second Sight Spirits for this week's episode. Carus and his best friend started a small distillery in Ludlow, Kentucky after working together building sets for Cirque du Soleil. She talks with him about life changes which inspired them to start a craft distillery.