Podcasts about Dresden

In this episode of Gangland Wire, I sit down with retired FBI agent Geoff Kelly, a specialist in art theft investigations who inherited one of the most notorious unsolved cases in American history—the 1990 robbery at the Isabella Stewart Gardner Museum. He recently wrote a book about this theft titled 13 Perfect Fugitives: The True Story of Mob, Murder, and the World’s Largest Art Heist. Kelly's law enforcement career began as a New York City transit police officer before transitioning to the FBI. Like many agents, he initially sought violent crime work. Instead, he was assigned to economic crimes before eventually transferring to a violent crime squad. It was there that he encountered the Gardner case—a cold case largely untouched by senior agents at the time. The robbery itself remains extraordinary: two men posing as police officers gained entry to the museum and stole 13 works of art, including masterpieces by Rembrandt. More than three decades later, none of the works have been recovered. Inside the Gardner Heist Geoff explains how art theft is often misunderstood. Popular culture portrays refined, sophisticated criminals orchestrating elaborate capers. The reality, he says, is usually more opportunistic and frequently violent. Art theft often intersects with organized crime, drug trafficking, and even homicide. Massachusetts has a documented history of art-related crimes, and several individuals connected to the Gardner investigation met violent ends. The criminal underworld surrounding stolen art is less about wealthy collectors hiding paintings in private vaults and more about leverage—using artwork as collateral in criminal negotiations. The FBI's Art Crime Evolution Following the 2003 looting of Iraq's National Museum during the Baghdad invasion, the FBI formalized its Art Crime Team. Kelly discusses how intelligence gathering, informants, and international cooperation became central tools in recovering stolen artifacts. He emphasizes that solving art crimes often depends less on forensic breakthroughs and more on human intelligence. Informants remain essential, especially in cases where organized crime overlaps with high-value theft. Kelly also discusses his upcoming book, 13 Perfect Fugitives, which explores the intersections of mobsters, murder, and the illicit art market. Organized Crime and the Reality of Stolen Art Drawing on my own experience working organized crime in Kansas City, I found clear parallels between traditional mob rackets and art theft networks. The same structures—intimidation, secrecy, and violence—apply. Once a painting disappears into criminal circulation, it becomes a liability as much as an asset. Kelly challenges the myth that thieves profit easily from masterpieces. High-profile works are difficult to sell. The black-market art world is volatile and dangerous. In many cases, the artwork becomes bargaining collateral rather than a cash windfall. A Case Still Waiting for Closure More than 30 years later, the Gardner Museum still displays empty frames where the paintings once hung. Kelly remains committed to the idea that public awareness may eventually generate new leads.  The Gardner heist stands as both a cultural tragedy and a criminal mystery—one that continues to intersect with organized crime, violence, and international intrigue. Hit me up on Venmo for a cup of coffee or a shot and a beer @ganglandwire Click here to “buy me a cup of coffee” Subscribe to the website for weekly notifications about updates and other Mob information. To go to the store or make a donation or rent Ballot Theft: Burglary, Murder, Coverup, click here To rent ‘Brothers against Brothers’ or ‘Gangland Wire,’ the documentaries click here.  To purchase one of my books, click here. Transcript [0:00] Hey, you guys, Gary Jenkins back here in studio Gangland Wire. Y’all know me. I’m a retired Kansas City Police Intelligence Unit detective and now podcaster and documentary filmmaker. I have in the studio today… Jeff Kelly, he’s a now-retired FBI agent. He was an expert in recovering stolen artifacts and art pieces. He was involved. He wasn’t involved in the original theft of the Boston art theft, the Isabella Stewart Gardner Museum, but he ended up inheriting that case. So welcome, Jeff. Hi. Thanks, Gary. Nice to be here. And guys, I need to mention this right off the bat. Jeff has a book, 13 Perfect Fugitives, The True Story of the Mob, Murder, and the World’s Largest Art Heist. Be out on Amazon. I’ll have links down below in the show notes if you want to get that book. I think it would be pretty interesting. I was telling Jeff, I just interviewed Joe Ford, the million-dollar detective, the guy that goes after classic cars, and I read that book. I love these kind of caper kind of books and caper crimes. Those are the ones I like the best is the caper crimes. And Jeff is an expert at working caper crimes. And that’s what these are, capers. So Jeff, how did you get into this? Now you came on the FBI. You were a policeman before, I believe. So tell the guys a little bit about yourself and your FBI career. Yeah, I started out with the Metropolitan Transportation Authority Police in New York City. It was a transit cop. I did that for three years. And then I got into the FBI in October of 95. [1:30] And my goal was always, I wanted to work violent crime. That’s what drew me to law enforcement in the first place, working bank robberies and kidnappings and fugitives. I had to do my five years on working economic crime, telemarketing fraud. It was interesting, but not all that exciting. And finally in 2000, I got my transfer to the violent crime squad. And I loved working it. And I did it for my entire career from then on, right up until my retirement in 2024. But back then, art theft was considered a major theft violation, [2:01] and it was worked by the Violent Crime Squad. And so in 2002… My supervisor dumped this old moribund cold case in my lap. It was the Isabella Stewart Gardner Museum heist. [2:15] Nobody wanted it on the squad, so they figured, let’s give it to the new guy. I was ecstatic to get it because I’d heard about it. I went to school in Boston. I went to Boston University and graduated the year before it happened, but I knew about it. [2:28] That’s how I started working this case, this particular case, and then the following year during the U.S., there was a, the U.S. And coalition forces invaded Baghdad in Iraq. And during a 36-hour period, more than 15,000 objects of very, very important cultural history were looted from the National Museum of Iraq. And it’s really one of the most important museums in the world in terms of our shared history. Kind of the cradle of civilization over there in the Tigers and Euphrates River. Yeah, and that was the time when the FBI kind of belatedly realized that there was no art crime team to investigate this. And of course, FBI agents have been working art theft like any other property crime since the beginning of the FBI’s existence, but there was no codified team. So they did a canvas for the team in 2004 and I applied for it because at this point I’d been working the Gardner case for a couple of years and really was fascinated by it and made the team. And so then over the next 20 years, we continued to expand the team both in size and in scope and in our intelligence base and knowledge base. And when I left the Bureau in 2024, it was and still is a tremendous team with a lot of very dedicated and professional agents and professional support. [3:51] Now, guys, if you don’t know about the Isabella Stewart Gardner case, there was a Netflix documentary on it a few years ago. It was an art museum in Boston. [4:01] Two guys showed up. They had Boston police uniforms on, and they got in. They basically, it was an armed robbery, and they took control of the museum. The guards were in there late at night and took these really valuable paintings out. I believe you told me earlier they were Remington paintings. We’ll get into that. And it was a violent crime. It was an armed robbery of paintings, and you told me about other armed robberies of paintings. I think you got into some other armed robberies of paintings. You always think of, as you mentioned before, the Thomas Crown Affair character that goes out and does these sophisticated art thefts. That’s not always true, is it? It’s never that way, but it doesn’t matter. Don’t let the facts get in the way of a good story. Everybody wants to believe that art thefts are pulled off by the Thomas Crown Affairs and these gentlemen thieves repel in through skylights and do all that fancy stuff, put it in their underground lair. That’s just not the way it works. But if you look to art theft. [4:55] Massachusetts really is a cradle of art theft in this country, and it’s very unique. The first armed robbery of a museum occurred in Boston in 1972. It was committed by a guy named Al Monday, who was a prolific art thief. And they stole four pieces from the Worcester Art Museum in central Massachusetts with a gun. They ended up shooting the guard. And one of the pieces that they stole was a Rembrandt called St. Bartholomew. [5:26] And in keeping with the milieu of true art thieves, the paintings were stored on a pig farm just over the state line in Rhode Island. And when this Connecticut safecracker by the name of Chucky Carlo, who was looking at some serious time in prison for some of the crimes that he committed, when he found out that Al Monday had these paintings, he just simply kidnapped Al Monday and stuck a gun in his ribs and said he would kill him if he didn’t give him the paintings. which is no honor among thieves. And Al turned over the paintings, Chucky returned them, and he got a very significant break on his pending jail sentence. Right here in 1972, Boston thieves see Rembrandt as a valuable get-out-of-jail-free card. [6:09] And then if we jump forward three years to 1975, there was a very skilled art thief, really a master thief by the name of Miles Conner. I interviewed Miles for my book. It was very gracious of him to sit down with me for it. And he had robbed or committed a burglary of the Woolworth estate up in Maine, the family, the five and dime family magnets. And he got caught for it because he tried to sell those paintings to an undercover FBI agent. And so he was looking at 12 years in prison for it. And he was out on bail. And he reached out to a family friend who was a state trooper. And he asked him, how can I get away with this one? How can I get out of this? Because he was in serious trouble. The trooper’s response was meant to be hyperbolic. The trooper said, Miles, it’s going to take you a Rembrandt to get out of this one. [6:57] And so Miles said, okay, I’ll go get a Rembrandt. And he got a crew together and they did a daylight smash and grab at the Museum of Fine Arts in Boston, just across the street from the Gardner. And they stole Rembrandt, the girl in a gold-trimmed cloak. [7:12] And he was able to return that painting. Instead of doing 12 years, he did 28 months. And he even managed to, he told me he even managed to get the $10,000 reward in the process. So you have this atmosphere in Massachusetts that Rembrandts are a valuable commodity, right? They can help you out in a jam. And so I think it’s no coincidence that in 1990, when the Gardner Museum heist came down, the Gardner Museum had this array of motion sensors all throughout the museum. It would alert to wherever you went, every gallery, hallway, whatever. [7:49] And we know from these motion sensors that after, as you said, the two guys went in disguised as cops and bluffed their way into the museum, they made a beeline for the Dutch room, which is the room of all things Rembrandt. They stole three Rembrandts. They stole a fourth piece called Landscape with an Obelisk, which was actually by Govard Flink, but it had been misattributed to Rembrandt until the mid 80s. And then they took a large Rembrandt oil-on-panel off the wall and it was recovered the next morning leaning against a piece of furniture. We believe they just overlooked it in the dark. So out of the 13 pieces taken, three were Rembrandt, a fourth was misattributed to Rembrandt, and there was going to be a 14th piece taken, which was also Rembrandt. It definitely falls into that theory that this was going to be a hold-on to these pieces for a while and see if you can use them for a break. [8:48] Interesting. Now, back in the 70s, for example, when somebody would work in an art robbery like that or an art theft, you got your tried and true ways of working a crime. You got to have sources, you got to have witnesses, and hopefully you can get a crime like this. You can get a source that says, hey, this guy, we had a guy in Kansas City that he was a fence for these kinds of guys. He had an antique auction and he took all this stuff and got it somewhere else. So at the time, just use your regular police methods. And what changed over the years as you’ve done this? Yeah, certainly we’ve become much more sophisticated with the techniques that we use. But at the end of the day, it’s always still going to be intelligence. But I found from working my entire career in violent crime, virtually my whole career in violent crime, the sources are crucial. Having a good informant can make and break a case. And working art theft investigations, you’re certainly going to have the same types of fences of informants, fences for stolen property and what they’re hearing about what organized crime guys are doing and what drug guys are doing. But it also opened up a whole new avenue of sources for me as working in art investigations, because now you’ve got pawn shops and gallery owners and auction houses, and they’re in a position to know when not only when stolen artwork is coming in, but also fakes and forgeries. We spoke about this, that. [10:16] Somebody comes in with one valuable piece that would be very difficult for somebody in his or her position to come across one piece like this, let alone a dozen of them. That really points to probably a fake. And so that’s really the key to solving these things is just having a good intelligence base who’s going to let us know about when something comes up that’s either stolen or it’s been forged. [10:43] Brings up a question. In my mind, did you ever work a gallery owner or a gallery [10:48] that then would filter in, knowingly filter in some fakes every once in a while? They couldn’t do it 100% of the time, but you could certainly make some extra money by filtering fakes out of it because many people would get it and they’d never know. Nobody would ever know. Listen, it is a really difficult thing when you’re working these types of crimes because unlike bank robber, you go into a bank and you stick them up with a gun and take them on. It’s not up to the government to be able to prove at trial that you knew that the bank was insured by the FDIC. You went in and you robbed it, you committed the offense. When you’re talking about interstate transportation of stolen property or possession of stolen property, there are what’s called specific intent crimes, meaning you have to prove the element of knowledge. You have to be able to prove that the person knew that that item was stolen. Not that it said it was stolen. and you had to show that they knew it. And that’s a really high hurdle to overcome. And typically what we do to try and prove that specific intent is we’re going to go through. [11:53] Recorded statements made to a source or to an undercover or emails or texts or something that we can show that this person knew that item was stolen. And so we would see that a lot in auction houses and galleries. There’s a lot of willful blindness where a lot of gallery owners and auction houses, they’re going to look the other way because it’s too lucrative to pass up. And in fact, in 2015, the art crime team, once we received information that ISIL or ISIS was using looted cultural property from Syria and Iraq as a form, a viable form of terrorism financing. And we put auction houses and gallery owners on notice in 2015, and we basically told them that if you’re selling objects of cultural patrimony or cultural heritage with a dubious provenance, like a wink and a nod, you may be unwittingly or wittingly funding terrorism. While we never charged anybody with it, hopefully it was an eye-opener that when you’re getting into this world, it’s not a victimless crime. There are very real victims involved. [13:07] And that’s one of the things that really is interesting about working our crime investigations. And I used to get ribbed by my friends who were not on the art crime team about [13:18] where like the wine and cheese squad were raised and everything. But our subjects are far from it. We’re dealing with organized crime, gangs, terrorists. This is no joke. These are serious individuals and the stakes are high. And in the Gardner case, three or four people that we believe were involved in the heist were murdered a year after the Gardner case crime occurred. Yeah, I was just going to go back to that a little bit, as we said before, a little bit like the Lufthansa case. All of a sudden, everybody that was involved in the theft. Started dropping like flies. So tell the guys about that. That is really interesting. [14:00] Yeah. So the two individuals that we believe went into the museum dressed as cops, just a week shy of the one-year anniversary, one of the guys was found dead in his apartment of an acute overdose of cocaine, intravenous. And his family admitted that he used Coke, but they said he was terrified of needles. He was scared of needles. So it really looked to be like a hotshot, an intentional overdose of cocaine. Two weeks later, the other guy who we believe went into the museum with him, his wife reported him missing. And a couple of weeks later, his bullet riddled body was recovered in the trunk of his car out by Logan Airport in East Boston. There was another member of that crew. These were all part of the same crew. This Carmelo Merlino, who was a Boston mobster, had an auto shop down in the Dorchester section of Boston. Another member of his crew, a guy named Bobby, six weeks after the heist, he brought in, he visited a jeweler in the downtown crossing jewelry district in Boston. He came in with this object and he unwrapped it. It was an eagle. [15:03] It was the finial from the Napoleonic flag that was stolen in the Gardner heist. And he asked the jeweler, how much is this thing worth? And the jeweler looked at it and he said, it’s worth nothing. Because he immediately recognized it as one of the people that had been stolen six weeks earlier from the Gardner heist. And then a few months later, Bobby was stabbed to death and nearly decapitated on the front porch of his house. And the responding police saw that his house had been broken into and ransacked like his killers had been looking for something. There was a fourth guy, Jimmy, who bragged to his girlfriend a few months after the heist that he had a couple of pieces from the Gardner Museum hidden in his attic. [15:47] And in February of 1990, 11 months after the heist, he was executed on his front porch in what the local police called a mob hit. So, yeah, these are the types of crimes that have a tendency to have a chilling effect on anybody who harbors any aspirations to come forward with information. Yeah, and we talked earlier a little bit about, like, the crime itself, and the statute of limitations is up on that, what you said, and the crime itself, but how we talked a little bit and explained to them about how this could be part of a RICO case. And you’ve got the murders and you’ve got the actual theft and whatever they did with the paintings, then maybe you could get over after a Bob boss as a Rico case. Tell the guys a little bit about doing that. Yeah. [16:32] I’ve heard it so many times in more than two decades that I worked the case and people would say, geez, why don’t people come forward? They’re just paintings. There are so many times they’re just paintings. They’re like, yeah, they are, but there’s two things about that. Number one, there’s some dead bodies on these paintings, three or four, and that there’s no statute of limitations for murder. And so if you implicate yourself in the theft or you implicate yourself in possessing or transporting these paintings at any time, the fear is that you’re then implicating yourself in a homicide. And the other aspect of this, which I think has a chilling effect, is the fact that transportation of stolen property is one of the predicate acts for RICO, racketeering influence corrupt organization case. And RICO is basically, Gary, is basically an entire organization is corrupt. Yeah. There’s no legitimate purpose. It’s what we think about the mob and the [17:27] FBI has taken down the mob in the past. So if you implicate yourself in stolen property and you’re part of organized crime, that’s one of the predicate acts for a RICO. And that’s basically life sentences. And so one of my goals in the years and years that I worked in this case was to try and convince people that you could come forward with information and the U S attorney’s offices, whether it’s up in Boston or new Haven or Philadelphia. [17:58] Would be willing to figure out a way to get the paintings back with immunity from prosecution for a RICO case. Look, that’s a high hurdle. That’s a high hurdle to convince somebody that if you come forward, you’re not going to get charged and you’re eligible for millions of dollars in reward. That’s a tough bill to swallow, but it’s the truth. I’m retired from the FBI now. I can tell you that it was, it’s a, it was, and still is a bona fide offer. And that’s one of the goals that I’ve always tried to impress on anyone is the opportunity to become a millionaire without going to jail. There you go, Jeff. Can you, now you’re not with the Bureau anymore. Can you go out, if you could go out and find them and bring them in, could you collect that reward? I would certainly hope so. [18:48] I can’t tell you how many of my friends thought that I had some of these paintings stashed in my basement. Waiting for retirement to go turn them in the next day. I think half the guys I worked with were expecting to see me pull into the parking lot of the FBI. [19:01] Big package, but no. But yeah, I suppose I could. By this point, I can tell you the amount of my very being that I put into this case over two days. Yeah. I just would love to see these paintings go back just because they need to be back at the museum. That’s where they belong. Now, these crimes, they seem, You said there’s a lot of murders attached to this. They seem a little boring. Did you have any exciting moments trying to pop anybody or do any surveillances? I know we did a big surveillance of a bunch of junkies that were going around stealing from small museums around the Midwest. And we follow them here in Kansas City. And they would have been pretty exciting had we had a confrontation with them. Did you have any exciting moments in this? It actually was a fascinating case. And for the first, there’s the really boring aspects of this job and tedious aspects. And I would say that in my, two decades working this case, I probably did, I don’t know, 50, 60, 70 consent searches, searching in attics and basements and crawling through crawl spaces and just getting sweaty and covered in cobwebs. But the break in the case for me came in 2009 when one of the guys who was part of Merlino’s crew who was deceased, his niece came forward to me and told me that the paintings. Some of them had been hidden up in this guy’s hide at his house up in Maine. I went up to Maine with Anthony Amore, who’s the director of security for the Gardner Museum. We worked on this case together for years. [20:29] And then we found that hide. And then we interviewed, right from there, we went and interviewed Guarenti. That’s the guy, Bobby Guarenti. We interviewed his widow and she broke down and admitted that he once showed her the paintings and she gave them to a guy down in Connecticut. And we identified that guy and we interviewed him. My name is Bobby Gentile. He’s a made member of the Philly Mob. He got straightened out with his crew back in the late 90s. [20:54] And he refused to cooperate. And then that’s where we really just started getting, using a lot of ingenuity to try and break it. And an agent down in the New Haven office, a guy by the name of Jamie Lawton, he joined our team and we started working this case. And he had a source who knew Gentile, Bobby Gentile, and the source started buying drugs from Gentile. Ah, there we go. We ended up arresting Gentile and we did a search warrant at his house. And it was crazy. Like we recovered, I want to say seven handguns, loaded handguns lying all over the place. He had a pump action shotgun hanging by the front door. He had high explosives. We had to evacuate the house and call him the bomb squad. But the interesting thing was he had the March 19th, 1990 edition of the Boston Herald with headlines about the Gardner heist and tucked inside that newspaper was a handwritten list of all the stolen items. With what looked like their black market values. This is in the house of a guy who swore up and down that he’d never heard of the Gardner Museum. And we were able to figure out who wrote the list. It was written by none other than Al Monday, who’s the guy that did the first armed robbery of a museum, of a Rembrandt. And we interviewed him and he told us that he wrote that list for Bobby Gentile and his buddy up in Maine, Bobby Garanti, because they had a buyer for the paintings and they wanted to know what they were worth. [22:24] So yeah, and then Gentile took 30 months. [22:28] He wouldn’t cooperate. And while he was incarcerated, we turned two of his closest friends to becoming sources. And so when he got out of prison in February or April of 2014, they started talking to him and talked about the gardener and they said they might know somebody who’d want to buy him. That’s how we then introduced an undercover agent. Gentile was introduced to Tony, this undercover FBI agent. Over six months, they had long talks about selling the paintings. Unfortunately, before Gentile would sell the paintings, he wanted to do a drug deal first, which we couldn’t allow to happen. We can’t let drugs walk on the street. So we had to take it down. And although we’d seized all these guns from Gentile back in 2012, he told the sources the FBI didn’t get all of his guns. Because of that disturbing comment, one of the sources asked Gentile if he could buy a gun for him. And Gentile sold him a loaded 38. So we arrested him again. And he still refused to cooperate. I don’t respect what he did for a living or a lot of the things that he did, but you do have to respect his adherence to his values. However, misguided they may have been, he took the code of omerta, the code of silence to heart, and he took it to his grave. He died, I think, in 2021 after going to prison a second time. [23:50] While we never got any paintings back, it was a tremendous ride, and I’m confident they will come back. It’s just going to be a question of when. Yeah, that kind of brings up the question that you hear people speculate. Did you ever run across this? Is there actually any rich old guys or an Arab sheik or somebody that buys stuff like this and then really keeps it and never shows it to anybody? Does that unicorn really exist? everybody wants that to be true i know virtually it’s not yeah there’s there’s never been a case of some wealthy what we call the doctor no theory some some reclusive billionaire with his underground lair filled with all the illicit stolen treasures of the world yeah that’s it’s never happened yeah i guess you never say never but but no look the majority statistically about three-quarters of everyone that collects art in this country does it for, and I assume it’s probably worldwide, does it for the investment potential. There’s a lot of money to be made in collecting art. It rarely, if ever, drops in value. So that’s why people collect art. If there’s somebody who has a particular piece that they want so badly that they’re going to commission its theft, it’s more the stuff of Hollywood. It could happen, but we’ve never seen that happen yet. Interesting. [25:14] We did have one case here where we had a medical doctor and he had it on the wall of his house. And it was, I believe it was a Western artist named Remington that these junkies stole out of Omaha. But it was such a minor piece that he could show it to anybody and they wouldn’t. They would say, oh, that’s cool. You got a Remington. [25:30] There’s plenty of those around. And he could afford a real deal Remington anyhow. So it wasn’t that big a deal. And that’s really what it comes down to is that art, high-end art does get stolen. It gets stolen quite often. The art market is about $60 billion, and the FBI, we estimated about $6 to $8 billion of that is illicit, whether it’s theft or fakes and forgeries. It’s a tremendous market, but it’s mostly second and third tier items. [26:02] Really valuable, well-known pieces. They do get stolen, but that’s the easy part. The easy part is stealing it. The hard part is monetizing it. That’s why you very rarely see recidivism among art thieves, high-end art thieves, because you do it once, and now you’re stuck with the thing. It’s easier to steal something else. You got to go out and boost fur coats and stuff to make a living. Exactly. Do a jewelry store robbery down there and make a living. And that’s exactly the point. That’s why you’re seeing a sea change in terms of art thefts, museum thefts. The Louvre was a great example of that. Dresden green vault robbery where 100 million euros in gems were stolen back in 2019 yeah. [26:45] Gems and jewelry, it can be broken down. It’s going to greatly diminish their value, but you can recut a gem. You can melt down the setting. You can monetize it for a greatly diminished value, but at least you can monetize it. You can’t cut up a Rembrandt into smaller pieces. [27:02] It’s only valuable as a whole complete piece. Yeah. I’m just thinking about that. We got a couple of guys, Jerry Scalise and Art Rachel in Chicago, flew to London, robbed a really valuable piece, the Lady Churchill’s diamond or something, I don’t remember, but really valuable piece and mailed it to somebody on their way to the airport and then got caught when they got back to Chicago and brought back to London and did 14 years in England and they never gave up that piece and nobody could, it never appeared anywhere, but it was just cut up and they didn’t make hardly any money off of it. Yeah. Look, there’s a, there’s much more profitable ways to. Yeah. To make an illicit living than stealing high-end artwork, but it does still get stolen. And that’s one of the cruel ironies when you’re talking about art theft is if somebody has a $20,000 piece of jewelry or a very expensive watch, they’re most likely going to lock it up in a safe in their bedroom or something. But you have a $10 million piece of artwork, you probably got it on the mantle. You’ve got it over the fireplace or in the front foyer of your house and probably doesn’t have a passive alarm system protecting it or security screws to keep it from being taken off the wall because people want to show it off. Yeah. It’s way too enticing. [28:24] Really? So, yes, you need to keep the word out there and keep this in people’s minds. And I’m sure the museum tries to do this in some ways in order, hopefully, that maybe somebody will say, oh. Yeah. [28:38] I think I saw that somewhere in this news program or on this podcast. [28:42] I’ll put some pictures on the podcast when I end up editing this. No, please do, Kerry. And that’s the thing. That’s the basis for the title of my book is it really is a fugitive investigation. And that’s how I work this case is fugitives and perfect fugitives because they’re not like their human counterparts. They’re not going to get tripped up on the silly things that we need to do as human beings, getting a driver’s license or whatnot. Yeah. [29:09] And so that’s how I worked the case. The FBI was really, I was always impressed with the FBI’s support that they gave me on this investigation. We did billboard campaigns and social media and a lot of things to get these images out there to the public, hoping it might resonate with somebody. And that’s really my goal for this book. I felt it should be written. I felt it’s an important case. Certainly, it’s something that I wanted to write about. It’s something that’s very important to me. [29:42] But it’s yet another attempt to apprehend these fugitives. And I’m hopeful that somebody, it might resonate with somebody. Somebody’s going to see something. And there’s so much disinformation and misinformation that’s out there in the media about this case. People are endlessly, all these armchair detectives, and I don’t say it in a deprecating way. Good for them. Work as hard as you can. But if you want to work this case from your armchair, great. but you should be going off accurate information because there’s a lot of bad information that’s out there on the internet. And if you want to help out, if you want to collect that $10 million reward, great, but you should be going off the most accurate factual information that’s available. Yeah. And you probably ought to go down to the deep seamy underbelly of Philadelphia or Boston or somewhere and get involved with a mob and then work your way up and make different cocaine deals and everything. And eventually you might be trusted enough that some might say, oh yeah, I’ve got those in this basement. I would suggest there’s better hobbies. [30:47] That could be hazardous to your health. I wouldn’t recommend it. Yes, it could. All right. Jeffrey Kelly, the book is 13 Perfect Tuesdays. Those are the paintings that were stolen that you’ll see on the podcast on the YouTube channel. The true story of the mob, murder, and the world’s largest art heist. Jeffrey, thanks so much for coming on to tell us about this. Thanks, Gary. Thanks for having me.

7. The Devastating Aftermath The firebombing results in 105,000 deaths, surpassing the destruction in Dresden and Hamburg. LeMay's success validates his tactical gamble, leading to the systematic burning of other Japanese cities throughout the summer. Scott notes that this conventional campaign had already crippled Japan before the atomic bomb. (16)1946 TOKYO

Klaus Bischoff ist Rekordspieler der Schachbundesliga und deutscher Rekordmeister im Blitzschach. Außerdem kennt man ihn als Kommentator von Schachturnieren - ein Metier, das er von Helmut Pfleger übernommen hat. Neben seiner weiteren Turnierplanung äußert er sich im Talk mit Jonathan Carlstedt aber auch über die aktuelle Situation im Deutschen Schachbund, denn er ist mit der Präsidentin Ingrid Lauterbach verheiratet. Bischoff kritisiert die vielen Angriffe auf seine Frau und erläutert, dass diese noch ein großes Ziel während ihrer Amtszeit hat: den großen Schachgipfel in Dresden (16.-26.7.) gut und schön über die Bühne zu bringen. Folge direkt herunterladen ℹ Die besten Schachmaterialien im Chess Tigers Online Shop: Chess Tigers Shop

Laages, Michael www.deutschlandfunkkultur.de, Fazit

McAnally's Pubcast - A Dresden Files PodcastHere we discuss Chapter 14 in which Harry becomes a magical fly on the wall of Little Chicago and we put on a play!White Night Chapter 14 Summary:Harry fires up Little Chicago and tracks Grey Cloak to get more information.Find Us Elsewhere:Do you want to follow up with us for even more Dresden? We're all over the internet - you can email us at pubcast@freeflowrambling.com, or you can track us down at Facebook, Instagram, Discord, X (formerly known as Twitter), Reddit, our Dresden Files website, or our parent website. If you want hypnotic visuals with your podcast, you can find us at YouTube. Not enough? Why not show your support by clicking here and donating or joining us on our Patreon. Also, if you're in the market for some merch, you can click here. If you still aren't satisfied, click here and tell us all about it!

TRIGGERWARNUNG: Sexismus & Tieropfer Christine M. (24) steckt in einer Phase, in der in ihrem Leben scheinbar alles schiefgeht. Im Büro macht sie einen folgenschweren Fehler und wird von ihrem cholerischen Chef zusammengestaucht. Auf dem Heimweg wird sie in der U-Bahn von einem "Sexstrolch" begrapscht – und als wäre das nicht genug, macht ihr Freund Dirk am selben Abend auch noch per Anrufbeantworter Schluss. Ja, wir befinden uns im Jahr 2006 (oder irgendwann davor) Frustriert und verletzt stößt Christine im Fernsehen auf eine Dokumentation über moderne Hexen. Die Idee fasziniert sie: Als Hexe könnte sie stark, unabhängig und unangreifbar sein. Besessen von diesem Gedanken sucht sie im Internet nach Gleichgesinnten und gerät an eine selbsternannte Hexe namens Memra. Schritt für Schritt lässt Christine sich in eine dubiose Szene hineinziehen, zahlt hohe Geldbeträge für angebliche „Ausbildung“ und glaubt schließlich, kurz davor zu stehen, selbst zur Hexe geweiht zu werden. Doch bei einem geheimen Ritual erkennt sie plötzlich, dass sie in einen gefährlichen Betrug hineingeraten ist. Am Ende bleibt ihr eine bittere Erkenntnis: Keine Magie kann ihr Leben retten – nur sie selbst. Danke für diese abgefahrene Story an unseren lieben Fan Sven aus Dresden, der tatsächlich ein altes Heft aus dem Jahr 2006 für uns aufgestöbert hat und sagen wir mal so, it's a ride - more stories to come! ** Dieses Mal ist die tolle Sima Dhillon zu Gast, Taxiunternehmerin und Gründerin des Flintaxi Wien - ein Taxiangebot für FLINTA-Personen (Frauen, Lesben, inter, nicht-binäre, trans und agender Personen), das einen sicheren und respektvollen Fahrraum schaffen soll, insbesondere für Menschen, die sich in herkömmlichen Taxis oder nachts allein unsicher fühlen. Unsere Tatjana hat Sima bei der Kunstperformance „Taxi Tales“ kennengelernt, die die Geschichte der ersten Taxifahrerin Wiens erzählt.  Mehr Informationen zu Sima und dem Flintaxi gibt es auch auf Instagram! Und da es unbedingt mehr FLINTA-Personen braucht, die zukünftig den Taxilenker*innen Beruf ausüben, damit es auch ein breites Angebot geben kann - hier mehr zur Taxilenker*innenausbildung in Wien. ** **Euch hat diese Geschichte gefallen, aufgeregt oder ihr habt euch darin sogar wiedererkannt?** Das interessiert uns brennend! Schreibt uns in Kommentaren über Facebook und Instagram unter @drama_carbonara_podcast. Dort werdet ihr auch die in den Geschichten besprochenen Fotos finden und endlich sehen können, was wir sehen ... Falls ihr noch mehr fantastische Geschichten mit uns lesen wollt, können wir euch schon jetzt versprechen: das Repertoire ist unerschöpflich, wir staunen jedes Mal aufs Neue, was möglich ist. Abonniert Drama Carbonara auf allen gängigen Podcast Plattformen Über Sternchen, Bewertungen und Kommentare freuen wir uns natürlich auch extrem und feiern diese gern auch prominent in unserem Social Media Feed! Jede zweite Folge kommen ja großartige Gastlerser*innen zu uns ins Wiener Drama-Hauptquartier und unterstützt uns mit Interpretationen und Improvisationen. Wenn ihr einen Wunschgast für uns habt oder gern selbst mal vorbeischauen wollt, sagt Bescheid! Wir können nichts versprechen, aber wir freuen uns immer über Vorschläge. Wenn ihr Lust auf Extra-Content habt und euren Lieblingspodcasts auch finanziell unterstützen wollt , dann tut das herzlich gern mit einem Abonnement auf Steady und kommt in den Genuss des kompletten "Drama Carbonara"-Universums! Falls ihr daran interessiert seid, Werbung in unserem Podcast zu schalten, setzt euch bitte mit Stefan Lassnig von Missing Link in Verbindung. Verbindlichsten Dank! **Link zur Podcast Hörer:innen UMFRAGE!Danke für die Mitarbeit und euer wertvolles Feedback :) & hier zur legendären Spotify Drama Carbonara Soundtrack Playlist - folgen folgen folgen!! liebe Freund:innen des unberechenbaren Musik-Algorithmus!

Moritz, Alexander www.deutschlandfunkkultur.de, Fazit

In der heutigen Folge stellen wir Euch den Streckenguide für den Megamarsch Dresden 2026 presented by Columbia vor. Es ist unser erster Megamarsch in Deutschland in der Saison 2026. Wir sind zum neunten Mal in Dresden & zum ersten Mal gibt es in Dresden die neue 25 km Variante, zusätzlich zu den klassischen 50 km!Viel Spaß beim Zuhören!Falls Du Interesse daran hast, bei uns Helfer zu werden und uns bei einem Megamarsch zu unterstützen, dann schreib uns gerne eine E-Mail an helfer@megamarsch.de oder füll das Helferformular unter aus.https://www.megamarsch.de/helferWir freuen uns auf ein tolles Event mit dir!Du hast noch kein Ticket oder willst wissen, wo der Megamarsch überall stattfindet? Dann schau doch mal hier und sicher Dir noch heute dein Ticket für die Challenge deines Lebens: https://www.megamarsch.de/Ihr wollt immer Up-Do-Date sein und nichts über das Thema Extremsport & Wandern, Megamarsch und Motivation verpassen? Dann folgt uns auf Spotify, Apple Podcast und überall da, wo es Podcasts gibt. Aktiviert die Glocke, damit ihr keine einzige Folge mehr verpasst und bewertet doch gerne unseren Podcast, damit wir uns stets verbessern können.Eure Moderatoren,Moritz und Max

Vom Flüchtlingskind zum rastlosen Volksschauspieler - so geht Wolfgang Stumphs 80-jährige Lebensgeschichte in einem Satz. Eng ist diese Zeit auch mit der Geschichte der DDR verbunden. Nach der Wiedervereinigung bleibt er einer der prägendsten ostdeutschen Künstler. Als etwas naiver Sachse Stumpi wird er in Gunther Emmerlichs Unterhaltungssendung "Showkolade" zur Kultfigur. Zum gesamtdeutschen Publikumsliebling machen ihn Rollen im Film "Go Trabi Go" und der Sitcom "Salto Postale" - der Dresdner Kabarettist und Schauspieler wird zum Inbegriff des kleinen Mannes.

Cari entdeckt „die dunkle Seite Neuseelands" und berichtet von gefährlichen Szenen im dortigen Straßenverkehr. Manuel war einen Tag in Dresden und begeistert, wie freundlich die Menschen dort sind. Außerdem erklären wir den Ausdruck „sich an etwas sattsehen", empfehlen mehrere Podcast-Interviews und beantworten eure Fragen zu deutschen Artikeln und zur Modalpartikel „halt".   Transkript und Vokabelhilfe Werde ein Easy German Mitglied und du bekommst unsere Vokabelhilfe, ein interaktives Transkript und Bonusmaterial zu jeder Episode: easygerman.org/membership   Sponsoren Hier findet ihr unsere Sponsoren und exklusive Angebote: easygerman.org/sponsors   Ausdruck der Woche: sich sattsehen sattsehen (Wiktionary)   Empfehlungen der Woche Lage der Nation Episode 466 Lage der Nation Episode 467   Eure Fragen Kasia aus Polen fragt: Wann benutzt man das Wort "halt"? HALT + EBEN - German Modal Particles Explained (Super Easy German 197) Bassam aus Ägypten fragt: Wie wichtig sind Artikel? How to know a word's gender (Super Easy German 70) Hast du eine Frage an uns? Auf easygerman.fm kannst du uns eine Sprachnachricht schicken.   Support Easy German and get interactive transcripts, live vocabulary and bonus content: easygerman.org/membership

Join Prokoptôn, a private community of dedicated practicing Stoics working together to improve. Learn more at https://skool.com/prokopton -- Support my work for as little as $1 a month: https://stoicismpod.com/members -- Subscribe to my Stoic Brekkie newsletter: https://stoicbrekkie.com -- I pull heavily from Leonidas Konstantakos' "Stoicism and Just War Theory" doctoral dissertation in this episode. I encourage you to download it and read it yourself: ⁠https://digitalcommons.fiu.edu/record/13724⁠ -- In this episode, I take up a difficult question: can war ever be just in Stoicism? Not justified. Not strategically useful. Not legal. But truly just — meaning virtuous and right. I begin by setting aside the two dominant modern frameworks for thinking about war: utilitarianism and deontology. Utilitarianism evaluates war based on consequences. If enough good results from it, the war can be defended. Deontology evaluates war based on rules. Some actions are always wrong, regardless of outcomes. Stoicism does neither. Using the firebombing of Dresden and the ticking time bomb scenario, I explain how the Stoic approach shifts the focus away from body counts and legal rules and onto character. For the Stoic, external outcomes — even death and destruction — are morally indifferent. What matters is the internal condition of the agents making decisions. Are they acting from justice, courage, and wisdom? Or from fear, ambition, pride, or the desire to dominate? Drawing on Cicero's On Duties and later Stoic interpretation, I outline the core criteria: right intention, proper authority, discrimination, and war as a last resort aimed at peace. A war undertaken from a corrupted value structure — where victory is treated as a good in itself — reflects vice. A war undertaken from rational concern for preserving the cosmopolis, after all other paths have been exhausted, may be just. I also address torture and why the Stoic rejects it, not because of rule-following or cost-benefit calculations, but because it corrupts the agent. It reflects disordered judgment and a failure of oikeiôsis — a failure to recognize another rational being as part of the same moral community. Stoicism is not rule-based. It is character-based. I then turn to the present. We cannot fully know the internal motives of national leaders. We can only infer. War may be just or unjust depending on the reasoning behind it. That reasoning is ultimately visible only to the agent and their daimon — their inner rational faculty. Finally, I bring the question home. Most of us are not heads of state. But the Stoic framework for just war is simply Stoic ethics scaled up. The same question applies in everyday conflict: am I acting from virtue, or from ego and fear? The work of the prokoptôn is constant self-examination, especially when stakes are high. War can be just in Stoicism. But only if it is conducted by people whose souls are ordered toward peace, whose intentions are clean, and whose reason has honestly left them no alternative. Listening on Spotify? Leave a comment! Share your thoughts. Learn more about your ad choices. Visit megaphone.fm/adchoices

In dieser Folge tauche ich tief ins Thema Bankdrücken ein – aber mit dem Fokus auf Kletterer. Welche Muskeln wirklich arbeiten? Wie hängen Brust-, Schulter- und Trizepsaktivität mit deinen Zügen an der Wand zusammen? Ich erkläre dir, warum Bankdrücken trotz seines Rufes als „reine Brustübung“ ein wichtiger Bestandteil fürs Antagonistentraining ist – und worauf du bei Technik und Schulterstabilität achten musst, um Verletzungen zu vermeiden.Außerdem: sinnvolle Alternativen wie enge, breite oder Pike-Liegestütze und die richtige Intensität im Training wählen.

It's EV News Briefly for Sunday 01 March 2026, everything you need to know in less than 5 minutes if you haven't got time for the full show.Patreon supporters fund this show, get the episodes ad free, as soon as they're ready and are part of the EV News Daily Community. You can be like them by clicking here: https://www.patreon.com/EVNewsDailyVOLKSWAGEN HITS 2 MILLION EV DELIVERIESVolkswagen delivered its 2 millionth battery electric vehicle — an ID.3 handed to customer Kirsten Vormbrock at the Transparent Factory in Dresden — capping a journey that began with the e-up! in 2013. The ID.4 leads the tally with roughly 901,000 units sold globally, while the brand now looks ahead to four new affordable EVs including the ID. Polo, arriving in 2026.ŠKODA GIVES SUPERB HATCH A 200 KW PHEVŠkoda has unveiled a 200 kW plug-in hybrid for the Superb Hatch, pairing a 1.5 TSI petrol engine with an 85 kW electric motor and a 25.7 kWh battery — making it the most powerful combustion-engine model in Škoda's current lineup. The launch reflects growing demand: one in four Superb models now sells with a PHEV powertrain, and more than 68,000 Superb iV models have been delivered since 2019.CANADA OPENS CHINA-BUILT EV QUOTA AT 6.1% TARIFFCanada began accepting import permit applications from 1 March 2026, allowing up to 49,000 China-built EVs per year to enter at a 6.1% tariff — a sharp cut from the 106.1% rate imposed in 2024 — on a first-come, first-served basis. Tesla, Polestar, and Volvo are considered frontrunners to use the allocation, which Ottawa plans to scale to 70,000 vehicles annually by 2030, with 50% of that expanded quota reserved for EVs below a set price threshold.CUPRA SETS 5 MARCH BORN FACELIFT REVEALCupra will unveil the Born facelift on 5 March, bringing harder-edged front and rear styling that aligns the model visually with the newer Terramar and Tavascan, plus expected interior upgrades including more premium materials and a revised infotainment layout. The refresh matters commercially: the Born has sold nearly 30,000 units in the UK alone since its 2022 launch, and Cupra will also soon introduce the smaller Raval electric hatchback from approximately £23,000.RANGE ROVER VELAR EV SPOTTED ON WINTER TESTA Range Rover Velar EV prototype has been caught in European winter testing, revealing a dramatically reshaped body with a cab-forward stance, angular haunches, and a fastback-leaning roofline that breaks sharply from traditional boxy SUV design. Crucially, it will be the first Jaguar Land Rover model built on the new 800-volt Electric Modular Architecture (EMA) platform, which is engineered to deliver over 300 miles of range and faster charging capability.RIVIAN LAUNCHES RAD PERFORMANCE SUB-BRANDRivian has launched the Rivian Adventure Department (RAD), a dedicated performance sub-brand targeting harder and faster off-road driving that puts it in direct competition with Land Rover's Octa and Ford's Raptor line. RAD formalises the engineering team already responsible for the R1S and R1T Quad Motor variants, giving Rivian's performance ambitions an official identity and a public-facing platform.TESLA TELLS MODEL Y OWNERS TO CHARGE GENTLYTesla has updated the Model Y Owner's Manual to advise owners to rely on home Level 1 or Level 2 charging for daily use — keeping limits at 80% — and to reserve Superchargers for road trips, warning that frequent DC fast charging accelerates long-term battery degradation. For long-term storage, Tesla recommends parking at approximately 50% state of charge and flagging that features like Sentry Mode and Dog Mode can silently drain the battery at roughly 1% per day while the car sits idle.VOLVO PLOTS FASTER ZERO-EMISSION TRUCK PUSHVolvo Group is accelerating its battery-electric heavy truck strategy from a position of strength, holding a 19% share of the European heavy-truck market for the second consecutive year. Its flagship FH Aero Electric packs 780 kWh of batteries for up to 600 km of range and supports megawatt charging that takes the pack from 20% to 80% in just 45 minutes — aligning recharge stops with mandatory driver rest breaks.LYTEN TAKES OVER NORTHVOLT'S SWEDISH BATTERY ASSETSLyten has completed its acquisition of Northvolt's Swedish operations — covering Northvolt Ett, Ett Expansion, and Northvolt Labs — in a deal encompassing nearly $5 billion in book value, 16 GWh of manufacturing capacity, and Europe's largest battery R&D centre. The company plans to restart lithium-ion NMC cell production at the Skellefteå site in the second half of 2026, and will use Northvolt Labs in Västerås to advance its proprietary lithium-sulfur battery technology.BRIM EXPLORER ORDERS TWO ELECTRIC TRIMARANSOslo-based Brim Explorer has signed contracts for two fully electric trimarans — each 24 metres long, carrying 180 passengers — which the firm claims will be the world's most efficient battery-powered vessels upon their spring 2027 delivery. The boats will operate silent, emission-free sightseeing cruises along Norway's coast with a battery-only range of 100 nautical miles at speeds up to 20 knots, expanding Brim's existing five-vessel fleet.

Der Koch im Hotel in Dresden hält ein Impulsreferat über ethische Grundsätze im Gastronomiewesen und erklärt, dass man kundenorientiert arbeiten müsse. Immer die Wünsche der Leute im Auge behalten. Ständig auf dem nicht immer einfachen Kurs der unbed…

Jeden vierten Sonnabend im Monat von 17.00 - 18.00 Uhr mit KLANGtherapeut, STRAH, Paul F. und Boon - LIVE aus dem coloRadio Studio in Dresden auf 98.4 & 99.3 MHz UKW, DAB+ (A7) und MINIMALRADIO.DE www.strategenimradio.eu | www.coloradio.org | www.minimalradio.de | www.linktr.ee/minimalradio | www.instagram.com/strategenimradio

UP2DATE - jeden vierten Donnerstag im Monat von 21.00 - 00.00 Uhr live on Air auf minimalradio.de, DAB+ Kanal 7A und auf coloRadio 98,4 & 99,3 UKW. Party Dates für den Folgemonat, Record News & DJ Sets von Christopher Holl aus Leipzig, Effacer aus Chemnitz & Digital Kaos aus Dresden. www.minimalradio.de | www.coloradio.org | www.rundfunkkombinat.de | linktr.ee/minimalradio

Jeden 4. Samstag im Monat, 22.00 - 24.00 Uhr, mit KLANGtherapeut und Studiogästen auf coloRadio 98.4 & 99.3 MHz, DAB+ und MINIMALRADIO. www.coloradio.org | www.minimalradio.de | www.linktr.ee/minimalradio

Paula Modersohn-Becker war eine Malerin, die ihrer Zeit voraus war. Geboren 1876 in Dresden, lebte sie nur 31 Jahre – und hinterließ doch ein Werk, das die Kunstgeschichte nachhaltig veränderte. Zwischen Worpswede und Paris fand sie zu einer Bildsprache, die klar, reduziert und von großer innerer Kraft geprägt ist. In einer Epoche, in der Frauen kaum eigenständig als Künstlerinnen auftreten konnten, ging sie unbeirrt ihren eigenen Weg. Sie stellte ihre Arbeit in den Mittelpunkt ihres Lebens, reiste allein nach Paris und vertraute ihrem künstlerischen Instinkt. Ihre Bilder zeigen Kinder, Frauen und Mütter nicht als idealisierte Figuren, sondern als stille, würdige Menschen. Ihre Formen sind vereinfacht, ihre Farben ruhig – und gerade darin liegt ihre besondere Kraft. Besonders bewegend sind ihre Selbstporträts. Mit offenem Blick und großer Ehrlichkeit malte sie sich selbst – als Frau, als Künstlerin, als fühlendes Wesen. Ihr „Selbstbildnis am 6. Hochzeitstag“ gilt heute als eines der ersten Selbstbildnisse einer Frau, die sich selbst nackt und selbstbewusst darstellt. Es ist ein Bild von Mut, innerer Gewissheit und schöpferischer Kraft. Paula Modersohn-Becker malte nicht nur – sie schrieb auch. In zahlreichen Briefen und Tagebuchblättern hielt sie ihre Gedanken, Zweifel und Hoffnungen fest. Diese Texte geben Einblick in ihr inneres Ringen, in ihren künstlerischen Anspruch und in ihr starkes Bedürfnis nach Selbstbestimmung. Bild und Wort gehören bei ihr eng zusammen und machen ihr Werk bis heute lebendig. Zum 150. Geburtstag von Paula Modersohn-Becker rückt ihr Werk noch einmal besonders in den Blick. Wer sich auf sie einlässt, entdeckt nicht nur eine bedeutende Vertreterin der frühen Moderne, sondern eine Künstlerin von großer innerer Klarheit. Ihre Bilder und ihre Worte zeigen eine Frau, die ihrer Überzeugung treu blieb und unbeirrt ihren eigenen Weg ging. Gerade heute wirken diese Haltung und dieser Mut überraschend nah. Ihr Vermächtnis ist lebendig – in der Kraft ihrer Bilder und in der stillen Entschlossenheit, die aus ihnen spricht.

Im Interview verrät uns Juliane Bumbel, was die Neue Mensa neben Dönerspieß und Pizzaofen noch so für Studis zu bieten hat und was mit dem Burgertag passiert. Ein Beitrag von Marco Muß und Anna Abraham

Wolf Hall composer Debbie Wiseman and Scottish classical composer Jay Capperauld are Jeffrey Boakye and Anna Phoebe's studio guests as they add five more tracks. Starting with a hip-shake in Colombia, they head to South Africa, a state secondary school in London, the firebombing of Dresden, and finally to Honolulu for a Canadian lament.Producer Jerome Weatherald Presented with musical direction by Jeffrey Boakye and Anna PhoebeThe five tracks in this week's playlist:Hips Don't Lie by Shakira Zithande by Freshlyground Another Brick in the Wall, Part 2, by Pink Floyd String Quartet No 8, 2nd mvt: Allegro Molto by Dmitri Shostakovich Big Yellow Taxi by Joni MitchellOther music in this episode:Rock Your Baby by George McCrae Our Gilded Veins by Jay Capperauld With Love by Thin Lizzy Amores Como El Nuestro by Jerry Rivera Dance Like This by Wyclef Jean The Time of Our Lives by Toni Braxton and Il Divo Waka Waka (This Time for Africa) by Shakira and Freshlyground Chicken to Change by Freshlyground Endlings by Jay Capperauld

McAnally's Pubcast - A Dresden Files PodcastHere Maggie and Jes are at it again discussing Chapter 12 and 13 because we recorded two episodes in one day while Tansenn was a sad sack of potatoes.White Night Chapter 12 Summary:Mouse uses his Temple Dog bark to awaken the residents of Anna's apartment. Harry and Elaine help evacuate the building.White Night Chapter 13 Summary:Harry uses his intellect to tail after Grey Cloak. He obtains a chip of paint from the man's car to use for later.Find Us Elsewhere:Do you want to follow up with us for even more Dresden? We're all over the internet - you can email us at pubcast@freeflowrambling.com, or you can track us down at Facebook, Instagram, Discord, X (formerly known as Twitter), Reddit, our Dresden Files website, or our parent website. If you want hypnotic visuals with your podcast, you can find us at YouTube. Not enough? Why not show your support by clicking here and donating or joining us on our Patreon. Also, if you're in the market for some merch, you can click here. If you still aren't satisfied, click here and tell us all about it!

Bei ihm war der Name Programm: August der Starke. Der 1,76 m große, kräftig gebaute König Sachsens war zu seinen Lebzeiten um 1.700 ein attraktiver Mann. Sachsens obersten Monarchen werden viele Liebschaften nachgesagt. Doch wie viele waren es eigentlich?

Heute geht es um eine Frage, die viele von uns kennen. Wann ist ein Tag in der Streetphotography eigentlich gelungen?
Dann, wenn ein starkes Bild entstanden ist?
Oder schon dann, wenn wir einfach draußen waren und etwas erlebt haben? Ausgangspunkt ist eine Szene aus der Dokumentation „Die Farben von Liebe und Krieg – Der Fotograf Steve McCurry“.
Darin beschreibt McCurry, dass die Fotos manchmal nur ein Bonus sind.
Wichtiger ist das Unterwegssein.
Das Beobachten.
Das Erleben des Moments. Darüber möchte ich heute gemeinsam mit Florian Renz sprechen.
Florian war schon einmal hier zu Gast, als wir auf das Meet & Street 25 in Dresden zurückgeblickt haben. Und genau deshalb ist er der richtige Gesprächspartner für diese Frage:
Fotografieren wir den Moment — oder sind wir im Moment?

Gordon Corera contends that to truly understand Vladimir Putin, you have to understand the phenomenon of Chekism. Read by Leighton Pugh.Image: Vladimir Putin's East German Stasi identification card issued while he worked as a KGB agent in Dresden in 1985. Credit: Pictorial Press Ltd

Roth, Andreas www.deutschlandfunk.de, Tag für Tag

Schreibblockaden, Sprachlosigkeit und der Versuch, den Schrecken in Worte zu fassen: Ukrainische Autorinnen und Autoren gehen unterschiedlich mit dem mittlerweile vier Jahre andauernden Angriffskrieg Russlands gegen die Ukraine um. Leben als ukrainische Hausärztin in Deutschland – Iryna Fingerovas Roman „Zugwind“ Eine von ihnen ist Iryna Fingerova. Sie kam 2018 aus Odesa nach Deutschland und arbeitet als Ärztin in Dresden. Außerdem schreibt sie. Gerade ist ihr dritter Roman erschienen. In „Zugwind“ erzählt sie von einer Frau, die ihr nicht unähnlich ist: Mira Zehmann kommt auch aus Odesa und lebt als Hausärztin in Deutschland. Ihre Praxis wird zu einer Anlaufstelle für ukrainische Geflüchtete. Einige kommen, weil sie einfach jemanden zum Reden brauchen. Die meisten aber wünschen sich von der Ärztin ein Mittel, das sie sofort gesund macht. Die Diagnose, die alle teilen, lautet: Krieg. Was die Flucht aus der Ukraine mit den Menschen macht, davon erzählt Fingerova als Ärztin mit einer sachlichen, genauen Art. Aber auch mit einem sehr menschlichen Blick.

Melitta Bentz invented the coffee filter in 1908 and changed coffee culture forever. Through the decades and after reckoning with its relationship with the Third Reich, the company she founded in her Dresden apartment endures today. Research: “The Weimar Republic 1918-1929 - EdexcelChanges in society, 1924–29.” https://www.bbc.co.uk/bitesize/guides/z9y64j6/revision/8#:~:text=Hourly%20wages%20rose%20in%20real,crisis%2C%20such%20as%20the%20hyperinflation DEUTSCHES REICH REICHSPATENTAMТ PATENTSCHRIFT. “Melitta-Werke Akt.-Ges. in Minden, Westf. Filterpapiereinsatz für Kaffeeaufbrühfilter u. dgl.” https://www.dpma.de/docs/dpma/veroeffentlichungen/de653796a_melitta1937.pdf German Patent and Trademark Office. “The invention of the coffee filters.” https://www.dpma.de/english/our_office/publications/ingeniouswomen/110jahrekaffeefilter/index.html “The History of Leipziger Messe.” https://www.leipziger-messe.de/en/company/portrait/history/ KOSSACK, KRISTAN. “Betriebsalltag und Unternehmensentwicklung eines NS-Musterbetriebs im Spiegel seiner Werkzeitung.” Westfälische Zeitschrift 155. 2005. http://www.westfaelische-zeitschrift.lwl.org “Melitta Bentz - the woman who invented the coffee filter.” Europeana. https://www.europeana.eu/en/stories/melitta-bentz-the-woman-who-invented-the-coffee-filter “Melitta Bentz KG - coffee filter.” Deutsches-Kunststoff Museum. https://www.deutsches-kunststoff-museum.de/sammlung/virtuelles-museum/k-2002-00982/ Morris, Jonathan. “Coffee: A Global History.” Reaktion Books. 2019. Moses, Claire. “Overlooked No More: Melitta Bentz, Who Invented the Coffee Filter.” New York Times. Sept. 5, 2018. https://www.nytimes.com/2018/09/05/obituaries/melitta-bentz-overlooked.html “Our History.” Melitta Group. https://www.melitta-group.com/en/unternehmen/unsere-geschichte Wierling, Dorothee. “Coffee.” International Encyclopedia of the First World War. https://encyclopedia.1914-1918-online.net/article/coffee/ See omnystudio.com/listener for privacy information.

Hat Leipzig den gefährlichsten Bahnhof Deutschlands? Bahn, Polizei und Stadt geben alles, um den Hotspot im Herzen Leipzigs sicherer, sauberer (und auch mausfreier) zu machen! Wir, Eure freundlichen Hosts Daniel Heinze und Guido Corleone, reden drüber in der neuen Folge von HELDENSTADT, dem Leipziger Wohnzimmerpodcast der LVZ. Moin und Servus nach Dresden und Umgebung! ;) Wie immer gibt's bei uns alles, was Leipzig gerade so beschäftigt: Das Ordnungstelefon ist jetzt auch nachts erreichbar. Endlich Ruhestörungen melden, wenn sie passieren! Außerdem klären wir, was der Verkauf der Höfe am Brühl eigentlich für uns als Shopper bedeutet. Und: Das ZDF bringt „Wetten, dass...“ zurück – mit den Kaulitz-Brüdern! Nur… warum zur Hölle ausgerechnet in Halle?! Unter dem Motto „50 Visionen für Leipzig“ hat die LVZ frische Ideen für die Stadt gesammelt: Öffentliche Badestellen mitten in der City? Eine Housing-First-Strategie für Wohnungslose? Mehr Support für die Café-Kultur? Bring it on! Be-Beat-and-Rhythm: Der Top-Veranstaltungstipp ist diesmal die nahende Buchmesse. Das diesjährige Programm ist raus und in Sachen Ticketing und Einlass ist einiges neu. Außerdem legen wir Euch zwei Konzerte ans Herz: Simmcat im Noch Besser Leben und Hanna Rautzenberg im Naumanns. Reddit sei Dank lernt ihr schließlich noch eine ganz besondere Lokalität in Bahnhofsnähe besser kennen - Bock auf Bierchen? Ganz viel Leipzig für Eure Ohren und Herzen - viel Spaß mit der Flussbadestelle unter den Leipzig-Podcasts: „HELDENSTADT. Der LVZ-Podcast aus Leipzig mit Daniel Heinze und Guido Corleone“, Folge vom 23. Februar 2026! Folgt dem Podcast in Eurer Podcast-App, damit neue Episoden automatisch angezeigt werden! @heldenstadt sind wir bei Instagram, Mastodon, Threads und Facebook. Dankeeee!

Send a textAs it's been a while; a new Q&A!!This week I answer questions on protein-levels for postpartum recovery (for athletes and non-athletes) and I explain why I think most people DO NOT need a Personal Trainer that specialises/has experience with a particular condition (AFTER rehab is completed, of course, because I'm not a maniac)As always; HPNB only has 5 billing cycles. So this means that you not only get 3 months FREE access, no obligation! BUT, if you decide you want to do the rest of the program, after only 5 months of paying $10/£8 a month you now get FREE LIFE TIME ACCESS! That's $50 max spend, in case you were wondering. Though I'm not terribly active on  Instagram and Facebook you can follow us there. I am however active on Threads so find me there! And, of course, you can always find us on our YouTube channel if you like your podcast in video form :) Visit healthypostnatalbody.com and get 3 months completely FREE access. No sales, no commitment, no BS. Email peter@healthypostnatalbody.com if you have any questions, comments or want to suggest a guest/topic       Playing us out "Dresden the Flamingo".

McAnally's Pubcast - A Dresden Files PodcastHere Maggie and Jes discuss Chapter 9, 10 and 11 with wild abandon! Of all people to provide structure, Tansenn is an odd choice...White Night Chapter 9 Summary:Harry and Lasciel go over Thomas' War Room and a hidden occupant at the Ordo Lebe's meeting.White Night Chapter 10 Summary:Harry goes back to Anna Ash's apartment. Harry disables the ward and enters the place in fear for the woman's life and apprehends another Private Investigator.White Night Chapter 11 Summary:Harry and Elaine share information on the killings just before they figure out the building is on fire.Find Us Elsewhere:Do you want to follow up with us for even more Dresden? We're all over the internet - you can email us at pubcast@freeflowrambling.com, or you can track us down at Facebook, Instagram, Discord, X (formerly known as Twitter), Reddit, our Dresden Files website, or our parent website. If you want hypnotic visuals with your podcast, you can find us at YouTube. Not enough? Why not show your support by clicking here and donating or joining us on our Patreon. Also, if you're in the market for some merch, you can click here. If you still aren't satisfied, click here and tell us all about it!

Welcome to this week’s edition of the Farmer Rapid Fire on RealAg Radio brought to you by Corteva Crop Protection! On today’s show, host Lyndsey Smith is joined by: Philip Shaw of Dresden, Ont;. Korey Peters of Randolph, Man.; Shane Strydhorst of Neerlandia, Alta.; Jocelyn Velestuk of Broadview, Sask.; and, Corteva Agronomist Trevor Herzog of... Read More

Welcome to this week’s edition of the Farmer Rapid Fire on RealAg Radio brought to you by Corteva Crop Protection! On today’s show, host Lyndsey Smith is joined by: Philip Shaw of Dresden, Ont;. Korey Peters of Randolph, Man.; Shane Strydhorst of Neerlandia, Alta.; Jocelyn Velestuk of Broadview, Sask.; and, Corteva Agronomist Trevor Herzog of... Read More

Moritz, Alexander www.deutschlandfunkkultur.de, Länderreport

In the first part of this two-episode series on the tombs of the tomb builders, host Stephanie Rice journeys beyond the iconic monuments of the Giza Plateau to explore the long-overlooked settlement of the pyramid workers.Often overshadowed by the Great Pyramids themselves, the massive wall known as Heit el-Ghurab, aka the “Wall of the Crow”, once concealed the remains of a thriving community. Ongoing excavations have revealed barracks, bakeries, administrative buildings, and, most importantly, carefully constructed cemeteries that challenge long-standing myths about enslaved labor or alien technologies.This episode examines the archaeological evidence for a socially stratified yet respected workforce: laborers buried in modest but well-built tombs, artisans interred higher on the hillside, and even small mastabas and pyramids constructed for workers. Through burial architecture, grave goods, and settlement remains, we uncover a story not of disposable bodies, but of skilled Egyptians who brought their regional traditions with them in life and in death.Offline Sources Cited:David, A. Rosalie (editor). 1996. The Pyramid Builders of Ancient Egypt: A Modern Investigation of Pharaoh's Workforce. Routledge, London New York.Forshaw, Roger. Trauma Care, Surgery and Remedies in Ancient Egypt: A Reassessment.Lehner, Mark. 2015. Labor and the Pyramids: The Heit El-Ghurab “Workers Town” at Giza. In , pp. 397–522.Lehner, Mark. 2023. Combinatorial Evolution and Heterogeneous Cohabitation at the Giant Pyramids. Journal of Urban Archaeology 8:21–46.Steinkeller, Piotr, and Michael Hudson. 2015. Labor in the Ancient World: A Colloquium Held at Hirschbach (Saxony), April 2005. International Scholars Conference on Ancient Near Eastern Economies No. volume 5. ISLET, Dresden.TranscriptsFor transcripts of this episode head over to: https://archpodnet.com/tpm/31LinksThe Past Macabre Research Notes on SubstackSee photos related to episode topics on InstagramLoving the macabre lore? Treat your host to a coffee!Website | The Giza Plateau Mapping ProjectWebsite | Information about the worker's cemetery at Heit al-Ghurab from the Egyptian Ministry of Tourism and AntiquitiesArchPodNetAPN Website: https://www.archpodnet.comAPN on Facebook: https://www.facebook.com/archpodnetAPN on Twitter: https://www.twitter.com/archpodnetAPN on Instagram: https://www.instagram.com/archpodnetAPN ShopAffiliatesMotion Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Ramona Carlier in conversation with David Eastaugh https://www.youtube.com/watch?v=S0JCoMYpiA0 Mo-dettes were a multinational all-female post-punk band, formed in 1979 by guitarist Kate Korris, an original member of the Slits and brief member of the Raincoats, and bassist Jane Crockford, a former member of Bank of Dresden. Ramona Carlier (vocals) and June Miles-Kingston (drums) completed the line-up.

Der VfB Stuttgart stand auf Platz 18, als Sebastian Hoeneß Bruno Labbadia als Cheftrainer ablöste. Und der Rest ist Geschichte. Anlässlich der Möglichkeit, dass Sebastian Hoeneß gegen Köln zum zweiterfolgreichsten VfB-Trainer der Vereinsgeschichte aufsteigt, zeichnen wir den Weg vom Abstiegskandidaten zum CL-Teilnehmer nach. Außerdem: Dynamo Dresden ist 2026 noch ungeschlagen - wie haben sie das geschafft?

McAnally's Pubcast - A Dresden Files PodcastWe cover Chapter 7&8 where Tansenn made a Hibernaculum pun and Jes cut it to outtakes, so Tansenn made that part a free sample in Patreon! Also... Harry! White Night Chapter 7 Summary:After surviving the blast from the car bomb, Murphy and Harry split up to follow down leads. Harry goes to Thomas' apartment and finds some unsettling items.White Night Chapter 8 Summary:Harry makes up a flamboyant story for the building's Security and accompanying Police Officer. He's asked to leave the premise but before he asks a tagalong to make mental notes.Find Us Elsewhere:Do you want to follow up with us for even more Dresden? We're all over the internet - you can email us at pubcast@freeflowrambling.com, or you can track us down at Facebook, Instagram, Discord, X (formerly known as Twitter), Reddit, our Dresden Files website, or our parent website. If you want hypnotic visuals with your podcast, you can find us at YouTube. Not enough? Why not show your support by clicking here and donating or joining us on our Patreon. Also, if you're in the market for some merch, you can click here. If you still aren't satisfied, click here and tell us all about it!

 Hosted by Lou, alongside Jesse and Karen, the episode review highlights significant plot points, character arcs, and intricate relationships. The team discusses pivotal moments such as Miller's drastic actions against Dresden, the strategic tensions between Earth and Mars, and the burgeoning dynamic between Naomi and Drummer. They analyze Miller's psychological journey and the moral complexities of key characters like Christian and Amos. Additionally, they speculate on the next steps to tackle the proto-molecule threat and the fate of the Nauvoo spaceship. The episode features a blend of deep dive analyses and light-hearted banter, making it a must-listen for fans seeking a comprehensive breakdown. 

Moritz Simon Geist is a music producer and researcher working with sound, robotics and algorithms. Beginning his academic career in semiconductor sciences as a PhD student, Geist made a career shift to focus on art and music, where he now merges sound with robotics and algorithms. His approach to electronic music, which involves creating sound through mechanical robots, has earned him international recognition. In 2012, Geist's first work, the "Drum Robot MR-808," went viral, and he has since explored the sound making and producing of electronic music with robots and mechanics as well as releasing many influential and viral works. Geist's compositions are influenced by a broad range of musical styles, including various electronic music genres and classical music, creating a unique and experimental sound. Over the years, he has collaborated with a range of renowned artists, including Mouse On Mars, Tyondai Braxton, Robert Lippok, and Thieß Mynther. His work has been showcased at many international venues and events such as the Venice Biennale, South by Southwest (SXSW), the Philharmonie de Paris, and the Elbphilharmonie in Hamburg. He has also presented his work in Japan, Australia, and South Korea. From 2017 - 2020 he held a master class at the NYU Berlin. His contributions to the field have been recognized with numerous awards, such as the ISEA Conference 2024, the Working Grant ZER01NE Seoul in 2023, German Pop Music Prize 2022, and the VIA VUT Award in 2019. Life and education Geist has a classical music education on piano, clarinet and classic music, but turned to electronic, punk and noise music in his student years. After finishing his diploma in electrical engineering and starting his PhD in a research facility, he turned to work as a freelance artist full-time in 2012. Works In 2012 Geist build his first robotic music instrument the “MR-808”, designed after the classic electronic drum machine “TR-808”. The “MR-808” features 12 drum instruments which are beaten by small robots, such as a snare, toms or bass drum. The instrument is controlled with MIDI, and can be played by the audience. The work gained a lot of attention online and was displayed at many occasions. The installation won the Cynetart Prize 2014 and is part of the touring exhibition 'Electro' by the Philharmonie de Paris alongside works of Jeff Mills and Jean-Michel Jarre. Tripods One (2017) In 2017 Geist released the installation “Tripods One”, which is a small robotic music system featuring five robotic percussive robots. In an interview for the magazine Fast Company Geist states he wanted to create DIY futuristic instruments which have something new to them, and which don't reference something that already exists. The installation won the Visual Music Award 2017 and was nominated for the design price of saxonia 2018. Album “Robotic Electronic Music” (2018) In 2018 Geist released his debut Album “Robotic Electronic Music” distributed by Kompakt Distribution and produced by Andi Thoma from the band Mouse On Mars. On the 8-Track Album, Geist used only physical instruments, and it was sold with the claim of being the first techno album entirely played by robots. Collaboration In 2014, Geist started a collaboration with the electronic duo Mouse On Mars. They played together at international occasions, such as the Moog Festival or at the Elbphilharmonie Hamburg. In 2018, the Mouse on Mars Album Dimensional People was released, for which Geist built a custom made robotic music system. With this system it is possible to trigger various objects and percussion elements with MIDI. Exhibitions Since 2016, Geist has exhibited several works at museums, for example at the AIx Music exhibition at the Ars Electronica Center or at the Science Museum Milano. In 2019, Geist was nominated for the VIA/VUT Award alongside Holly Herndon, who won the title. Since 2020, Geist runs a studio also doing corporate works in Dresden, Germany

Awkward | Pain in Our Families by Dresden.Church

Probst, Carsten www.deutschlandfunkkultur.de, Fazit

Im Ausstellungsbetrieb und bei Auktionen rangieren sie immer noch hinter den männlichen Kollegen. Warum ist das so? Dresden und Bremen feiern jetzt die Expressionistin Paula Modersohn-Becker zum 150. Geburtstag. In London und New York gibt es dieses Jahr große Frida-Kahlo-Schauen. Sind Künstlerinnen dennoch ein Sonderfall? Ändern Gegenbeispiele nichts? Was macht Künstlerinnen wertvoll? Michael Köhler diskutiert mit Rita Kersting – Co-Direktorin Museum Ludwig Köln; Prof. Dr. Rainer Stamm – Direktor Osthaus Museum Hagen; Dr. Kia Vahland –Publizistin und Kunstkritikerin, Süddeutsche Zeitung

Zwei späte Tore schocken Schalke im Heimspiel gegen Dresden. Edin Dzeko und Adil Aouchiche überzeugen - doch nicht alle S04-Profis spielen gut.

The first Art Basel Qatar art fair is now open in Qatar's capital, Doha, and The Art Newspaper's art market editor, Kabir Jhala, joins Ben Luke to discuss its impact, as well as reflecting on the wider artistic outlook in Qatar and the Middle East. The author of a new catalogue raisonné of the work of Albrecht Dürer argues that a painting of the artist's father in the National Gallery in London, long thought to be a copy after Dürer's original, is in fact an autograph work. Our special correspondent in London, Martin Bailey, tells us about the arguments for and against its authenticity. And this episode's Work of the Week is actually a pair of works. That is because there is a compelling double header opening at the Albertinum in Dresden this weekend, the exhibition Paula Modersohn-Becker and Edvard Munch: The Big Questions of Life. The exhibition's co-curator Andreas Dehmer discusses Selbstbildnis mit Hand am Kinn or Self-Portrait with Hand on Chin (1906) by Modersohn-Becker and Vampir or Vampire (1895) by Munch with our digital editor, Alexander Morrison.Art Basel Qatar continues until Saturday, 7 February.Christof Metzger, Albrecht Dürer: The Complete Paintings. Selected Drawings and Prints, Taschen, £175 (hb)Paula Modersohn-Becker and Edvard Munch: The Big Questions of Life, Albertinum, Dresden, 8 February-31 May.To buy The Art Newspaper's guidebook The Year Ahead 2026, an authoritative look at the year's unmissable art exhibitions, museum openings and significant art events, visit theartnewspapershop.com. £14.99 or the equivalent in your currency. Hosted on Acast. See acast.com/privacy for more information.

In August 1813, amid the German Campaign of the Napoleonic Wars, Napoleon faced one of his greatest challenges — the combined might of Austria, Prussia, and Russia. The Battle of Dresden would become his last major battlefield triumph, showcasing his tactical genius even as the empire began to crumble.Special guest Winston Valentine discusses Napoleon's maneuvers, use of terrain, and daring counterattacks that crushed the Coalition forces under Schwarzenberg. Learn about the heroic stand of Marshal Saint-Cyr, the daring charge of the Imperial Guard, and the tragic defeat of General Vandamme at Kulm just days later.

Unser heutiger Gast ist Unternehmer, Ingenieur und Pionier – ein Mensch, der früh erkannt hat, dass Technologie nicht nur effizient, sondern auch regenerativ sein muss. Er hat Wirtschaftsingenieurwesen mit Schwerpunkt Maschinenbau, Logistik und Innovationsmanagement an den Technischen Universitäten in Kaiserslautern und Dresden studiert und begann seine Karriere als Berater und Managementtrainer. Doch eine Idee ließ ihn nicht mehr los: Was wäre, wenn wir den Wind dort nutzen könnten, wo er am stärksten und konstantesten weht, hoch oben am Himmel? 2001 gründete er SkySails mit dem Ziel, große Frachtschiffe per Zugdrachen anzutreiben. Die Vision war groß, die Technologie bahnbrechend, doch der Markt war zögerlich. Also pivotierte das Unternehmen. Heute entwickelt SkySails mit über 60 Expert:innen Systeme zur Stromgewinnung aus Höhenwinden an Land. Die Kraft der Atmosphäre, eingefangen durch autonome Zugdrachen, wird zu einer neuen Quelle sauberer Energie. Und damit zu einem echten Baustein für die Energiewende. Als „Ökomanager des Jahres“ und Träger des Roland Gutsch Awards hat er früh Anerkennung erhalten, doch geblieben ist er vor allem eines: ein begeisterter Segler, ein kreativer Ingenieur und ein Unternehmer, der lieber mit Prototypen arbeitet als mit PowerPoints. Seit mehr als acht Jahren beschäftigen wir uns in diesem Podcast mit der Frage, wie Arbeit den Menschen stärkt, statt ihn zu schwächen. Wir haben in über 500 Episoden mit fast 700 Persönlichkeiten darüber gesprochen, was sich bereits verändert hat und was sich weiter ändern muss. Wie hält man an einer Idee fest und lässt sie trotzdem los, wenn es nötig ist? Warum scheitert so viel klimafreundliche Innovation nicht an der Technik, sondern an politischen Rahmenbedingungen und Strukturen? Und was bedeutet unternehmerische Verantwortung, wenn man die Energieversorgung von morgen mitgestalten will? Fest steht: Für die Lösung unserer aktuellen Herausforderungen brauchen wir neue Impulse. Wir suchen weiter nach Methoden, Vorbildern, Erfahrungen, Tools und Ideen, die uns dem Kern von New Work näher bringen. Darüber hinaus beschäftigt uns von Anfang an die Frage, ob wirklich alle Menschen das finden und leben können, was sie im Innersten wirklich, wirklich wollen. Ihr seid bei On the Way to New Work, heute mit Stephan Wrage. [Hier](https://linktr.ee/onthewaytonewwork) findet ihr alle Links zum Podcast und unseren aktuellen Werbepartnern

Awkward | Sin in Our Lives by Dresden.Church

Heftige Proteste in Minneapolis nach Tötung eines Mannes durch ICE-Beamte, Wirtschaftsflügel der CDU will Recht auf Teilzeitarbeit deutlich einschränken, Dritte und letzte Runde der Parlamentswahl in Myanmar beendet, Entwaffnung der Hamas im Gazastsreifen stockt, Fast 180 Millionen Menschen in den USA von Schnee und Eisregen betroffen, Ergebnisse des 19. Spieltags der Fußball-Bundesliga, Schwere Ausschreitungen beim Fußballspiel Magdeburg gegen Dresden mit etwa 64 verletzten Polizisten, Deutschland besiegt Norwegen mit 30:28 bei Handball-Europameisterschaft, Unglücklich fliegende Skier bei Skiflug-Weltmeisterschaft in Oberstdorf, Das Wetter Hinweis: Die Beiträge zur Fußball-Bundesliga und zur Handball-Europameisterschaft dürfen aus rechtlichen Gründen nicht auf tagesschau.de gezeigt werden.

EPISODE SUMMARY Minnie, a young and impulsive vampire from the 1920s, lost control again. She hurt someone again. And she can't face it - so instead, she imagines a cozy town. An idyllic place where her only troubles are bees and nosy neighbors.  SHOW NOTES New in Town Minnies story - Paint the Town Red on MFD One Shot News & Updates One Shot Patreon One Shot TWITCH Back my upcoming game! Follow the cast here! Dillin ----------------------------------------------------- Know Your Rights Toolkits Find and call your representatives and be heard (US) Find and call your members of Parliament and be heard (Canada) Find and call your members of Parliament and be heard (UK) ---------------------------------------------------- Music Used in This Episode My Hometown, Skittlegirl Sound Winning Big in the 1970s, Dresden The Flamingo Lounge Lover (LOFI), Dresden The Flamingo Waffles, Dresden The Flamingo Cozy Place, Skittlegirl Sound Village by the Sea, Skittlegirl Sound The Grand Spiegeltent, Dresden the Flamingo Editing and sound design by ⁠⁠⁠⁠⁠⁠Shaghik Manè. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the agricultural flatlands of southern Hungary, the soil tells a story. For generations, these fields produced paprika and wheat. Today, excavators carve the foundations of an industrial revolution.Trenches now stretch across the landscape—not for irrigation, but for the utility infrastructure of a battery plant that will consume as much water as a town of 50,000 people. The land, once sold for a pittance, has been revalued at seventeen times its purchase price to accommodate the Chinese guest.Eight hundred kilometres northwest, in the exhausted industrial heart of Wolfsburg, Germany, a different excavation proceeds. Production workers at Volkswagen face the incomprehensible: the company announced the permanent shutdown of its Dresden plant, as the final car rolled off the production lines in December, marking the first factory closure in its 88-year history. The crown jewel of German manufacturing shutters domestic factories.These twin excavations—one rising near Budapest, the other crumbling in Wolfsburg—reveal how electric vehicles reshape the automotive industry. The European automotive sector, long the engine of continental prosperity, faces an existential reckoning. China's undisputed champion, BYD, has a lot of say in how this all turns out.Welcome back to a bonus edition of the podcast. My name is Martyn Lee and over the last few weeks I've been looking into the future of Chinese-made, or European-made but Chinese-funded EVs. I'll have a look at some of the big names over the course of the coming months, but today we'll start at the top – BYD.  A reminder you can get the podcasts ad-free supporting my work on Patreon.