Podcasts about goethe

Congratulations to these authors of extraordinary Late Historical Fiction! Find your next great historical read in the Goethe First Place and Grand Prize Winners!

Neste vídeo Gonzalo Córdoba fala sobre as perspectivas técnicas, estéticas e educacionais da iluminação na Argentina. Gonzalo Córdoba é iluminador, cenógrafo, diretor, artista visual, professor e pesquisador. Em produções de ópera, criou a iluminação para Ariadne auf Naxos, Così fan tutte, Candide, Tri Sestri, O Cônsul para Ruben Szuchmacher, O Estupro de Lucrécia, Wozzeck, A Flauta Mágica, O Morcego, Madama Butterfly para Horacio Pigozzi, O Traviata, Italiana em Argel, Serse para Pablo Maritano, cenografia e luzes para Leonor Manso em Lucia de Lammermoor e Tosca, para María Jaunarena em A Flauta Mágica, Outra Volta do Parafuso, Medea, Conde Ory e para Ana D'Anna em El barbero de Sevilla, Bohéme, Rigoletto, Hoffman's Tales, Turandot. Com André Heller Lopez iluminou Don Pasquale, Lucia de Lammermoor, Manon Lescaut, Merry Widow, Faust, Cosi fan tutte e As Bodas de Fígaro.Como diretor: "Proyecto Appia" para Enclaves no CETC, "El Límite de Schiller", iluminação da Puente de la Boca, Linha Azul do metrô de Buenos Aires. Mude a encenação de Emma Bovary e Maní con chocolate 2 com Ana Bovo, bem como "los Persas" de Ésquilo e "La Inhumana" com Alejandra Radano. Dirigiu Marta Roca em "Palabras Cuerdas". Escreveu dois ensaios sobre iluminação cênica "La Trampa de Goethe" e "La Iluminación Escénica", editados por El Rojas.Foi comtemplado com o Prémio Teatros do Mundo por "El Experimento Damanthal" e ACE 2005 por "Las Troyanas" e "Enrique IV"; Meu Deus". Ganhou os prêmios Teatros del Mundo em 2013 e o Maria Guerrero 2014 por Querido Ibsen, Soy Nora, Love Love e Cabaña Suiza, o Prêmio Trinidad Guevara 2015 por "La nueva autoridad" e em 2016 o Prêmio Trinidad Guevara por "Desonrado". Prêmio "Hugo" por Love Musik, 2017 Florencio Sánchez por "Todas as coisas do mundo" e Prêmio KONEX 2011.Atualmente trabalha como Professor na Universidade Nacional das Artes na disciplina de Projeto II, em História da Iluminação Cênica na carreira de design de iluminação de espetáculos, e em Teatro Musical. É membro da Associação ADEA de Designers Cênicos da Argentina.@‌gonzaloemicordova | SITE: gonzalocordova.com.ar

Die Noten zu Allegris Miserere hält der Vatikan streng geheim. Doch einem berühmten Teenager aus Salzburg gelingt es, sie nach einmaligem Hören komplett aufzuschreiben… Von Volker Sellmann.

Where did Lord Byron and Percy Shelley come to sip coffee while they jotted down their verses? Where did Bizet and Berlioz go to discuss their work? Where could Casanova be found trying to pick up girls? Caffè Greco, where else? Having opened in 1760, Antico Caffè Greco is the oldest café in Rome and the second-oldest in all of Italy! And you can still go there and sit where Hawthorne, Ibsen, Gogol, Goethe, Canova, and many many other literary, art, and musical greats rubbed elbows and drank coffee. On this episode, we visit the famous café, grab some espresso ourselves, and discuss what it feels like to drink coffee in the same place so many brilliant thinkers over the generations did the same.   Hear this episode transformed into a bedtime story by Sleep With Me podcast's Drew Ackerman (aka Dear Scooter).   If you'd like to learn more about Literary Rome, download Tiffany's VoiceMap audio tour Rome for Readers, a self-guided walking tour that takes you past the residences of the most famous foreign writers who visited and lived in Rome.   ***Katy's sister Dana has recently been diagnosed with stage 4 agressive brain cancer. To help with the staggering medical costs—her specialist is outside her insurance network—as well of the costs of temporarily relocating to San Francsico for her treatments, please consider donating to her GoFundMe. Anything you can contribute will be extremely helpful. Thank you.   ***The Bittersweet Life podcast has been on the air for an impressive 10+ years! In order to help newer listeners discover some of our earlier episodes, every Friday we are now airing an episode from our vast archives! Enjoy!*** ------------------------------------- COME TO ROME WITH US: For the third year in a row, we are hosting an intimate group of listeners for a magical and unforgettable week in Rome, this October 2025! Discover the city with us as your guides, seeing a side to Rome tourists almost never see. Find out more here. ADVERTISE WITH US: Reach expats, future expats, and travelers all over the world. Send us an email to get the conversation started. BECOME A PATRON: Pledge your monthly support of The Bittersweet Life and receive awesome prizes in return for your generosity! Visit our Patreon site to find out more. TIP YOUR PODCASTER: Say thanks with a one-time donation to the podcast hosts you know and love. Click here to send financial support via PayPal. (You can also find a Donate button on the desktop version of our website.) The show needs your support to continue. START PODCASTING: If you are planning to start your own podcast, consider Libsyn for your hosting service! Use this affliliate link to get two months free, or use our promo code SWEET when you sign up. SUBSCRIBE: Subscribe to the podcast to make sure you never miss an episode. Click here to find us on a variety of podcast apps. WRITE A REVIEW: Leave us a rating and a written review on iTunes so more listeners can find us. JOIN THE CONVERSATION: If you have a question or a topic you want us to address, send us an email here. You can also connect to us through Twitter, Facebook, and Instagram. Tag #thebittersweetlife with your expat story for a chance to be featured! NEW TO THE SHOW? Don't be afraid to start with Episode 1: OUTSET BOOK: Want to read Tiffany's book, Midnight in the Piazza? Learn more here or order on Amazon. TOUR ROME: If you're traveling to Rome, don't miss the chance to tour the city with Tiffany as your guide!  

Die Anfertigung von Totenmasken ist eine uralte Kulturtechnik. Zu den bekanntesten Beispielen aus der Frühgeschichte zählt die goldene Maske des Tutenchamun. Nachdem diese Tradition in der Renaissance wieder auflebte, erkannte man den Totenmasken im 19. Jahrhundert einen künstlerischen und musealen Wert zu. In diesem Zuge entstand die Sammlung an der Berliner Universität, die heute noch Bestandteil der Sammlungen der Humboldt-Universität ist. Am 16. April 1925 war ein Autor der Altonaer Neuesten Nachrichten, der mit dem Kürzel UE signiert, nach Berlin gereist, um sich eine Ausstellung an eben dieser Universität anzusehen und über sie zu berichten. Wessen Abbild er zwischen den Totenmasken von Schiller, Voltaire und Robespierre dort noch begegnete, weiß Frank Riede.

Erstaunlich viele Hörerinnen werden dies zu interessant zum Einschlafen finden, zumindest höre ich jetzt, seitdem ich in den Smart Home Zug eingestiegen bin, dass doch sehr viele andere auch mit drin sitzen. Vorher war mir das unbekannt, wie weit verbreitet das ist.

Letzte Instanz: Jeden Morgen Poems for Laila: Last Cigarette (with Judith Hermann) Infamis: Apologies Brandl & Schmitt: Great Western Blues Sophie Hunger: A protest song Anna Aaron: Mary Ruth Avec: Dead Nils Koppruch: Den Teufel tun Einstürzende Neubauten: Die Wellen Fiji: In every dream home a heartache In Strict Confidence: Erde Ade Inchtabokatables: Healing Hands Die Krupps: Alive Kingdom Come: Silhouette Paintings

2:49:06 – Frank in NYC and New Jersey, plus the Other Side. Topics include: Bryant Park, Goethe, polymath, outdoor seating, Eataly Caffè, mystery pencil case, Sarasa Grand Vintage pens, Station Unlimited, Calling All Listeners (12/6/09), Flea Devil, Black Mirror, red balloon, Blue Prince, Person of Interest (2011–2016), PEPs, science, edge of perception, editing of reality, Florida survey, […]

2:49:06 – Frank in NYC and New Jersey, plus the Other Side. Topics include: Bryant Park, Goethe, polymath, outdoor seating, Eataly Caffè, mystery pencil case, Sarasa Grand Vintage pens, Station Unlimited, Calling All Listeners (12/6/09), Flea Devil, Black Mirror, red balloon, Blue Prince, Person of Interest (2011–2016), PEPs, science, edge of perception, editing of reality, Florida survey, […]

Einfach mal raus aus dem ganzen Irrsinn und eine Woche nix. Nix essen, nix Beziehung, nix Trump, dafür positiver Stress im Eiswasser. Eine Fastenkur bringt Suse und Hajo Schumacher wieder in die Spur, allerdings wohlweislich getrennt. Teil 2 des getrennten Fastenabenteuers in Mecklenburg.Es geht ja nicht nur um das Ringen mit dem Hunger; beim Fasten gehen einem noch ganz andere Sachen durch den Kopf. Wie umgehen mit dem Mindfuck? Und woher kommt plötzlich dieses sagenhafte Gefühl von tiefer Erholung? Aus guten Gründen getrennt haben sich Hajo und Suse Schumacher jeweils eine Woche lang fit und fröhlich gehungert und gewandert. Unsere Themen: Schlafen lernen mit Goethe. Neues Lieblingswort: Verstoffwechselung. Das Glück außerhalb der Komfortzone. Neugier auf unbekannte Körperreaktionen. Den eigenen Adler aufsteigen lassen und einfach mal sich selbst begucken. Stolz genießen. Sensibilität und Dankbarkeit schärfen. Folge 925.Fasten Teil 1 - Abnehmen, Einlauf, LeberwurstanfallSteig´ rein, schrei´s raus - Eisbaden mit Sukkadas Auer. Michael Meisheit + Hajo SchumacherLügen haben schnelle Beine – Laufende Ermittlungen, Band 2Droemer Verlag, 2025.Suse SchumacherDie Psychologie des Waldes, Kailash Verlag, 2024Michael Meisheit + Hajo Schumacher Nur der Tod ist schneller – Laufende Ermittlungen, Kriminalroman, Droemer Knaur Verlag.Kathrin Hinrichs + Hajo SchumacherBuch: "Ich frage für einen Freund..." Das Sex-ABC für Spaß in den besten JahrenKlartext Verlag.Kostenlose Meditationen für mehr Freundlichkeit (Metta) und Gelassenheit (Reise zum guten Ort) unter suseschumacher.deDem MutMachPodcast auf Instagram folgen Hosted on Acast. See acast.com/privacy for more information.

Raphael Coelho e Ênio Macedo convidam Guilherme Kenzo para falar sobre abordagem de suicídio no PS em três casos.Precisa de ajuda? Ligue 188 - Centro de valorização da vida.Referências:1. Stene-Larsen, Kim, and Anne Reneflot. “Contact with primary and mental health care prior to suicide: A systematic review of the literature from 2000 to 2017.” Scandinavian journal of public health vol. 47,1 (2019): 9-17. doi:10.1177/14034948177462742. Walby, Fredrik A et al. “Contact With Mental Health Services Prior to Suicide: A Systematic Review and Meta-Analysis.” Psychiatric services (Washington, D.C.) vol. 69,7 (2018): 751-759. doi:10.1176/appi.ps.2017004753. Sher, L. “Preventing suicide.” QJM : monthly journal of the Association of Physicians vol. 97,10 (2004): 677-80. doi:10.1093/qjmed/hch1064. Domaradzki, Jan. “The Werther Effect, the Papageno Effect or No Effect? A Literature Review.” International journal of environmental research and public health vol. 18,5 2396. 1 Mar. 2021, doi:10.3390/ijerph180523965. https://www.planalto.gov.br/ccivil_03/leis/leis_2001/l10216.htm#:~:text=LEI%20No%2010.216%2C%20DE,modelo%20assistencial%20em%20sa%C3%BAde%20mental6. https://mpce.mp.br/wp-content/uploads/2018/04/20180061-OMS-Prevencao-do-Suicidio-Manual-para-profissionais-da-midia.pdf7. Niederkrotenthaler, Thomas et al. “Role of media reports in completed and prevented suicide: Werther v. Papageno effects.” The British journal of psychiatry : the journal of mental science vol. 197,3 (2010): 234-43. doi:10.1192/bjp.bp.109.0746338. Phillips, D P. “The influence of suggestion on suicide: substantive and theoretical implications of the Werther effect.” American sociological review vol. 39,3 (1974): 340-54.9. Jack, Belinda. “Goethe's Werther and its effects.” The lancet. Psychiatry vol. 1,1 (2014): 18-9. doi:10.1016/S2215-0366(14)70229-910. Jack, Belinda. “Goethe's Werther and its effects.” The lancet. Psychiatry vol. 1,1 (2014): 18-9. doi:10.1016/S2215-0366(14)70229-911. Guinovart, Martí et al. “Towards the Influence of Media on Suicidality: A Systematic Review of Netflix's 'Thirteen Reasons Why'.” International journal of environmental research and public health vol. 20,7 5270. 27 Mar. 2023, doi:10.3390/ijerph2007527012. Cipriani, Andrea et al. “Lithium in the prevention of suicide in mood disorders: updated systematic review and meta-analysis.” BMJ (Clinical research ed.) vol. 346 f3646. 27 Jun. 2013, doi:10.1136/bmj.f364613. BOTEGA, Neury Jose. Crise Suicida: Avaliação e manejo. Porto Alegre: Artmed, 2015.14. Seena Fazel, Bo Runeson. Suicide. N Engl J Med 2020;382:266-274. DOI: 10.1056/NEJMra190294415. Gustavo Turecki et al. Suicide and suicide risk. Nat Rev Dis Primers. 2019. Oct 24;5(1):74. doi: 10.1038/s41572-019-0121-0.16. https://www.setembroamarelo.com/17. Cartilha de prevenção de suicídio: https://www.gov.br/saude/pt-br/centrais-de-conteudo/publicacoes/cartilhas/2024/cartilha-prevencao-de-suicidios.pdf/view18. Baldaçara L, Rocha GA, Leite VDS, Porto DM, Grudtner RR, Diaz AP, Meleiro A, Correa H, Tung TC, Quevedo J, da Silva AG. Brazilian Psychiatric Association guidelines for the management of suicidal behavior. Part 1. Risk factors, protective factors, and assessment. Braz J Psychiatry. 2021 Sep-Oct;43(5):525-537. doi: 10.1590/1516-4446-2020-0994. PMID: 33111773; PMCID: PMC8555650. - https://pubmed.ncbi.nlm.nih.gov/33111773/19. Baldaçara L, Grudtner RR, da S Leite V, Porto DM, Robis KP, Fidalgo TM, Rocha GA, Diaz AP, Meleiro A, Correa H, Tung TC, Malloy-Diniz L, Quevedo J, da Silva AG. Brazilian Psychiatric Association guidelines for the management of suicidal behavior. Part 2. Screening, intervention, and prevention. Braz J Psychiatry. 2021 Sep-Oct;43(5):538-549. doi: 10.1590/1516-4446-2020-1108. Erratum in: Braz J Psychiatry. 2021 Sep-Oct;43(5):563. doi: 10.1590/1516-4446-2020-0025. PMID: 33331533; PMCID: PMC8555636. - https://pubmed.ncbi.nlm.nih.gov/33331533/20. https://cvv.org.br/wp-content/uploads/2023/08/manual_prevencao_suicidio_profissionais_saude.pdf21. https://www.gov.br/saude/pt-br/centrais-de-conteudo/publicacoes/boletins/epidemiologicos/edicoes/2024/boletim-epidemiologico-volume-55-no-04.pdf

Prinzip: Sieben Meter Seidenband Set: Kipper Keule Berluc: Hallo Erde, hier ist Alpha Epitaph: On the road Krokus: Fire Mass: Shoot out Viva: Break out Accept: Starlight Beast: Time Machine Running Wild: Chains and leather Breslau: Spinne Straight Shooter: High Speed Lover Lucifer's Friend: Action

https://youtu.be/8wKAKmydUlg Podcast audio: Johann Wolfgang Goethe's dramatic poem Faust is a monumental work of Romantic literature that presents one man's ceaseless striving to transcend the limitations of human knowledge and experience. By exploring some of the most profound and moving passages from the poem, this talk by Nicolas Krusek provides a glimpse of Goethe's grand-scale themes and characterizations, and demonstrate the rich rewards to be gained by joining his hero—the “good man” with the “darkling aspiration”—on his quest to discover the “highest wisdom” of life. Recorded live on June 18 in Anaheim, CA as part of OCON 2024.

Es war eine ganz besondere „Übersetzungsarbeit“: über ein Jahr lang haben Regisseur Daniel Cremer und Dramaturgin Mascha Luttmann an ihrer Neufassung des „Faust“ von Johann Wolfgang von Goethe gearbeitet. Herausgekommen ist ein Kondensat in kurzen, einfachen Sätzen, das aber doch viel mehr als nur das Handlungsgerüst ist. Daniel Cremer betont, dass seine Neufassung aus tiefem Respekt vor dem Originaltext entstanden ist. Ihm ist es wichtig, dass dieses weltberühmte Meisterwerk für alle zugänglich wird, auch für Menschen, die nicht perfekt Deutsch sprechen oder über viel Vorbildung verfügen.

#ItalianSecrets #ElkeHeslmeyer #DNEWS24 #Goethe#ItalienischeReise #tiramisu Wie begann sie eigentlich, diese Liebe der Deutschen zu Bella Italia? Auf den Spuren des ersten Italien-Influencers Johann Wolfgang von Goethe.

Im April 2023 machten wir einen Spaziergang durch die Altstadt von Salzwedel (Sachsen-Anhalt). Dabei sahen wir uns die restaurierten Fassaden der Häuserzeilen an. Neben einer Tür war ein Schild angebracht mit folgenden Worten: »In diesem Haus übernachtete Johann Wolfgang von Goethe ...« ich stutzte – der Text ging weiter: »... nie«. Diese humorvolle Inschrift brachte mich ins Nachdenken: Es gibt einige Orte, an denen Johann Wolfgang von Goethe auf seinen Reisen tatsächlich übernachtet hat. Oft kündet ein entsprechendes Schild von diesem Umstand, ohne den Zusatz »nie«. Die heutigen Bewohner eines solchen Hauses sind stolz darauf, dass der »größte Deutsche« einmal dort eine Nacht zugebracht hat. Entsprechendes gilt auch für viele andere berühmte Dichter, Komponisten, Maler, Forscher usw.Doch in der weitaus überwiegenden Zahl der Gebäude in Deutschland hat nie eine berühmte Person übernachtet. Und für die Menschen, die in solchen »normalen« Häusern leben, ist dies auch nicht sehr entscheidend.Ganz anders ist das jedoch hinsichtlich der Frage, ob der Sohn Gottes Einzug in das Haus meines Lebens halten konnte – oder nicht. Der Tagesvers macht deutlich, dass Jesus Christus, ja, Gott selbst, tatsächlich bei Menschen wohnen wollen. Die Voraussetzung dafür ist, dass wir ihm unser Herz öffnen und unser Leben zur Verfügung stellen. Wenn ein Mensch diese Einstellung im Herzen hat, zieht dort nicht irgendein Prominenter ein, sondern Jesus Christus selbst wird mit seinem Vater bei einem solchen Menschen wohnen. Und wenn Jesus so in meinem Leben einzieht, geschieht das nicht nur für eine Nacht, sondern für die Ewigkeit.Wie dramatisch ist es daher, wenn über einem Leben steht: Hier hat Gott nie gewohnt!Martin ReitzDiese und viele weitere Andachten online lesenWeitere Informationen zu »Leben ist mehr« erhalten Sie unter www.lebenistmehr.deAudioaufnahmen: Radio Segenswelle

Kratzen: Reichtum Kratzen: Immer Die Nerven: Das Glas zerbricht und ich gleich mit Gewalt: Trans Safi: Der Golem Freunde der italienischen Oper: Der Garten Eisbrecher: Das neue normal Oomph! Feat. Nina Hagen: Fieber DAF/DOS: Kom xPropaganda: The night Gut und Irmler: Früh Ah! Kosmos & Hainbach: Feather Falls Kai Niggemann: The pretty blaze Kai Niggemann: Called Phoenix Kai Niggemann: Heart Murmur

OST und SUED in Hamburg. Und die Zugfahrt bringt schon das erste Erlebnis mit sich. Und eure Lieblingskategorie "Die drei Todsünden" wird mal wieder bespielt.

Nach der Verhaftung des Istanbuler Bürgermeisters Ekrem Imamoglu sieht Johannes Ebert, Generalsekretär der Goethe-Institute, einen Anstieg der Anmeldungen für Deutschkurse in der Türkei.

Beinahe wäre ihm das Bundesverdienstkreuz verliehen worden. Zusammen mit dem Schauspieler Thomas Rühmann hatte Tobias Morgenstern das „Theater am Rand“ in Zollbrücke im Oderbruch ins Leben gerufen; denn, so meint er: „Vom Rand sieht man besser“. Das Theater hat tatsächlich einen besonderen Blick ermöglicht. Das vermochte allein schon die Musik, die weit mehr ist als Instrumentalmusik, wie sie Goethe nicht mochte und als „halbes Ding“ angesehen hat. Morgensterns Musik ist vollständig. Sie ist aufgeladen mit dem Streben nach komplexer Schönheit. Sie ist ohne Worte, aber inhaltsschwer. Das zeigte sich schon am spektakulären Erfolg seiner Gruppe L'art de Passage mit dem Programm „Sehnsucht nach Veränderung“. Morgenstern berichtet, wieso es doch nicht zur Verleihung des Bundesverdienstkreuzes kam, und lässt uns von seiner Musik kosten, in der wir eine Grundstimmung vorfinden, die sich die gute Laune nicht verderben und sich die Träume nicht nehmen lässt.

Ein Tagebuch zeigt uns die Welt, in der Piranesi lebt, wie er lebt, was er sieht, was er fühlt, die Fragen, die er sich stellt.Vorangestellt sind 2 Zitate: Das Erste: “Ich bin der große Gelehrte, der das Experiment durchführt. Natürlich brauche ich Versuchspersonen, an denen ich es durchführen kann.” Es ist C. S. Lewis Prequel “The Magicians Nephew” der Reihe “Die Chroniken von Narnia” entnommen, das auf andere Welten verweist.Das 2. Zitat, ungleich länger, wird Laurence Arne-Syles zugeschrieben, der in einem Interview in The Secret Garden, veröffentlicht im Mai 1976, unter anderem sagt: “Man nennt mich Philosoph oder Wissenschaftler oder Anthropologe. Ich bin nichts davon. Ich bin Anamnesiologe. Ich erforsche, was vergessen wurde. Ich erspüre, was ganz und gar verschwunden ist. Ich arbeite mit Abwesenheiten, mit Lautlosigkeiten, mit merkwürdigen Lücken zwischen Dingen. Eigentlich bin ich mehr Zauberer als alles andere.”Laurence Arne-Syles, der sich mit den vergessenen Dingen beschäftigt, mit Leerstellen, von denen unsere Welt voll bzw. leer ist, wurde nicht vergessen (nur falls die Frage auftaucht, ob man ihn kennen sollte). Er ist eine Erfindung der Autorin Susanna Clarke, vielleicht auch eine Erinnerung, die verloren gegangen ist?Titelheld Piranesi, der ziemlich sicher ist, dass er nicht Piranesi heißt, sich aber nicht erinnern kann, wie er einst genannt wurde, lebt in einer seltsamen Welt.Wir lernen sie durch die detailreichen und präzise formulierten Tagebucheinträge Piranesis kennen, aus denen das Werk besteht.Ein erster Anhaltspunkt, dass Piranesis Welt nicht die unsere ist, oder doch zumindest verschieden, ist die seltsame Datierung seiner Einträge: Es gibt Tage und Monate, aber das Jahr ist “ das Jahr, in dem der Albatros in die südwestlichen Hallen kam.”Piranesi lebt in einem großen, unendlichen Haus, dass aus so vielen Hallen besteht, dass er zwar eine Vielzahl bereist, jedoch - in keiner Richtung - je das Ende erreicht hat und das aus drei Ebenen besteht: in der untersten sind tiefe Gewässer, Ozeane, die Ebbe und Flut unterworfen sind. In der obersten funkeln des nachts die Gestirne und ziehen tagsüber Wolken. Auf der mittleren Ebene finden sich zahllose Räume unterschiedlichster Größe und Beschaffenheit, denen eins gemein ist: sie sind von zahllosen Mamorplastiken bevölkert, die unterschiedlichste Formen, Menschen und Fabelwesen zeigen, einige scheinen neuer zu sein als andere, sie bilden unterschiedliche Gefühle, Handlungen und Situationen, reale Natursituationen und mystische Begebenheiten ab.In den Tiefen der Ozeane leben Fische, und Vögel begleiten Piranesi.Das Haus versorgt ihn, er fühlt sich geborgen und - er hat keine Wünsche.Er zeichnet gewissenhaft die Gezeiten auf, um gefährliche Fluten vorherzusagen. Bevor diese kommen, bringt er seine wenigen Habseligkeiten, zu denen seine Aufzeichnungen gehören, in einer Tasche in höhere Gefilde in Sicherheit. Er isst Fisch und nutzt getrockneten Seetang als Feuermaterial. Sein frugaler Lebensstil fordert von ihm Planung und Umsicht. In seinen Aufzeichnungen versucht Piranesi, die Plastiken des Hauses in ihrer Vollständigkeit zu beschreiben, ein Ziel, dass unmöglich zu erreichen scheint. Verzweiflung oder Ängste finden sich nicht in den Tagebucheintragungen.Zweimal in der Woche trifft er sich mit dem Anderen, dessen Kleidung Piranesi als elegant beschreibt und den er als ungefähr 20 Jahre älter schätzt. Der Andere besitzt Sachen, die sich nicht im Haus finden und schenkt Piranesi ab und zu hilfreiche Dinge wie feste Schuhe und einen Schlafsack. Die Frage nach der Herkunft dieser Dinge kommt Piranesi nicht in den Sinn.Piranesi assistiert - so seine Annahme - dem Anderen bei einem andauernden Experiment und unternimmt dafür Reisen in weiter entfernte Räume. Das Ziel des Anderen kennt er nicht. Brüche und Spalten in Piranesis zufriedener Existenz erscheinen, wenn er auf Widersprüche stößt: so scheint er schon immer im Haus zu leben, kann sich aber nur an die letzten 5 Jahre erinnern.Die Wahrnehmung des Hauses durch Piranesi und den Anderen ist grundsätzlich verschieden: dem Anderen erscheint es als Labyrinth, als potentiell gefährlich, ein Ort, dessen Geheimnisse er mithilfe von Piranesi entschlüsseln und dadurch Macht gewinnen will. Ihr erinnert euch: Wissen ist Macht. Während Piranesi sich instinktiv im Haus bewegt und geborgen fühlt, kann der Andere das Haus nur durch die Beobachtungen Piranesis verstehen bzw. den Versuch unternehmen, es über ihn zu verstehen.Unsere Zweifel an Piranesis Einschätzungen, die allein durch seine Tagebucheinträge vermittelt werden, nehmen zu. Er erscheint in seinem Urvertrauen und seiner Gelassenheit kindhaft. Seine Zufriedenheit scheint seltsam, wissen wir doch um die Bedeutung zwischenmenschlicher Beziehungen und Erkenntnis, aber wie definieren und bestimmen wir diese?Die Abwesenheit anderer Menschen scheint Piranesi nicht zu berühren oder zu beunruhigen. Auf seinen Wanderungen hat er die Skelette 13 anderer gefunden. Er bringt diese an von den Fluten unerreichbare Höhen und schenkt ihnen Blumen.Die Selbstgenügsamkeit seiner Isolation weckt Erinnerungen an die Zeit unserer Zwangsisolationen, das Werk wurde jedoch weit vor der Pandemie begonnen. Piranesi zeigt, dass Alleinsein und Einsamkeit sehr unterschiedliche Gefühle sind. Seine Begegnung der Welt des Hauses gegenüber kann für das Ideal der Romantik gelesen werden, dass es der Sinn des Lebens ist, in tiefer Verbindung mit der Natur zu leben, sich bewusst zu sein, Teil eines größeren Ganzen zu sein, neben Tieren, Pflanzen, anstatt sich die Natur untertan zu machen und sich mit ihrer Zerstörung selbst zu zerstören.Beispielhaft für Piranesis Verbundenheit mit der Natur steht seine Begegnung mit dem Albatros, die ihm so wichtig erscheint, dass er das Jahr nach diesem Ereignis benannt. Der Albatros ist ein mystischer Vogel, derjenige mit der größten Flügelspannweite, die bis zu 3,50 Meter betragen kann, und er kann mehrere hundert Kilometer durch die Lüfte gleiten, ohne mit den Flügeln zu schlagen. Als Piranesi das erste Mal auf den Albatros trifft, glaubt er eine Vision zu haben, als dieser versucht zu landen. Piranesi handelt, wie er es immer tut: Er umarmt die Natur und ihre Bewohner mit offenen Armen. Beide verlieren ihr Gleichgewicht, erholen sich, und Piranesi gibt dem Albatros und seinem Gefährten Seetang, damit sie sich für ihre Brut ein Nest bauen können.Zunehmend wird unser Protagonist durch seine Aufzeichnungen, Träume, Erinnerungen und Unstimmigkeiten in diesen auf Missverhältnisse zwischen seinen Annahmen über die Welt des Hauses selbst aufmerksam. Später wird sich das Werk von den beschreibenden Tagebucheinträgen zu einem Thriller hin entwickeln, der nach Identität, dem Umgang mit dem Leben und den Lebenden fragt und neben den Gefühlen der vollkommenen Zufriedenheit in den Schatten den Horror der Anderen beiläufig und dann gar nicht mehr beiläufig erahnen lässt.Der Name Piranesi verweist auch auf einen Graveur, der eine Serie über imaginierte Gefängnisse schuf. Und er versaute Goethe den Besuch Roms: dieser war von den Veduten Piranesis zu Rom so hingerissen, dass er die Realität enttäuschend fand.Und so ergeht es uns bei der Lektüre: imaginierte Grandezza, die vor Grausamkeiten liegt. Und die Frage nicht beantwortet, ob es vorzuziehen ist, die zugrundeliegenden Wahrheiten zu kennen oder im Frieden mit den Verhältnissen zu leben. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit lobundverriss.substack.com

Zwei Wochen lang steht Dichterfürst Johann Wolfgang von Goethe im Zentrum des Schwyzer Literaturfests. Auf seinen Reisen besuchte Goethe nämlich dreimal den Talkessel Schwyz. Gespräche, Filme, Lesungen und Musik stehen auf dem Programm. Weiter in der Sendung: · Der Zuger Noé Roth qualifizierte sich an der Freestyle-WM für den Aerials-Final. · Am Luzerner School Dance Award zeigten mehr als 1000 Kinder und Jugendliche ihr Tanz-Können.

This week, we tried an experiment: a Substack live event! Matthew Gasda wrote a popular article about Romanticism, his contribution to an ongoing debate. Samuel Kimbriel had a few disagreements with Gasda's piece. In the spirit of Wisdom of Crowds, we hosted our first-ever live-streamed Substack debate.It went pretty well! We hope to host more. By popular demand, here is a video recording of that debate. Please continue the discussion in the comments below!— Santiago Ramos, executive editorRequired Reading:* Matthew Gasda, “A Few Doubts About Neo-Romanticism” (WoC).* CrowdSource: “Hopeful Romantics” (WoC).* Ted Gioia, “Notes Toward a New Romanticism” (The Honest Broker).* Ross Barkan, “The zeitgeist is changing. A strange, romantic backlash to the tech era looms” (Guardian).Recommendations:Matthew Gasda: * Terence Malick, To the Wonder (YouTube).* Johann Wolfgang von Goethe, The Sorrows of Young Werther (Amazon). * Any biography of Goethe (Amazon). Samuel Kimbriel:* Percy Bysshe Shelley, “Hymn to Intellectual Beauty” (Poets.org). * Novalis, Hymns to the Night (Amazon). Santiago Ramos:* Ludwig von Beethoven, Piano Concerto Number 4, Second Movement (YouTube). Wisdom of Crowds is a platform challenging premises and understanding first principles on politics and culture. Join us! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit wisdomofcrowds.live/subscribe

Frau Goethe liest (FGL) - "Der Herzschlag der Toten" von Ralf Dorweiler – Rezension(Hördauer ca. 7 Minuten)Mord im Hamburg des 19. Jahrhunderts, geheimnisvolle Totenfotografie und ein Ermittler unter Druck – "Der Herzschlag der Toten" versetzt uns in eine Zeit, in der die Fotografie nicht nur Erinnerungen schuf, sondern auch Verbrechen aufdeckte. Was hat es mit den schaurigen Aufnahmen auf sich? Und wie beeinflussen sie die Ermittlungen?In "Der Herzschlag der Toten" verbindet Ralf Dorweiler die Entwicklung der Fotografie in der Kriminalistik mit einem fesselnden fiktiven Verbrechen zu einem historischen Krimi. Die Rezension und ein paar Fakten zur Totenfotografie hören Sie in unser Podcastepisode. Eine Rezension von Heike Stepprath.Sprecherin Heike Stepprath Hat Ihnen diese Rezension gefallen,mögen Sie vielleicht auch diese Sendung.Schnitt: Jupp Stepprath, Realisation: Uwe Kullnick Ich heißeHeike Stepprath und blogge unter Frau Goethe liest. Vor wenigen Jahren habe ich mich zum Studium von Public Relations entschlossen und das mit meiner Vorliebe zur Literatur verbunden. Mein Bücherregal ist mit Belletristik, Krimis, aber vor allem historischen Romanen gefüllt. Lesen ist bei mir eine Tagesroutine, die auch an stressigen Tagen unbedingt dazu gehört. Rund 120 Bücher lese ich jährlich und davon werden 80 rezensiert. Zum Austausch mit anderen Lesebegeisterten nutze ich liebend gerne Leserunden, Blogtouren, und Interviews. Artikel und Berichte über Veranstaltungen ergänzen das Thema rund ums Buch. Häufig habe ich Gelegenheit, Autoren zu treffen und mit ihnen Podcasts aufzunehmen.⁠Wenn dir Rezensionen gefallen, hör doch mal hier hinein.⁠⁠Unsere Live-Sendungen im Pixel (Gasteig)⁠

Gabriella Bosco"I frutti del Congo"Alexandre VialattePrehistorica Editorewww.prehistoricaeditore.itI Frutti del Congo, è innanzitutto un volantino pubblicitario di una magnifica donna nera che porta con sé dei limoni d'oro. Ma anche i sogni degli scolari di una cittadina della montagnosa Alvernia, per i quali questa illustrazione simboleggia l'impresa estrema, la poesia stessa dell'esistenza.Cos'è del resto l'adolescenza? Proprio questa è la questione cui l'autore risponde, senza di fatto avere bisogno di rispondere, in questo romanzo. Vialatte infatti ci mostra l'adolescenza, con le sue stravaganze, le sue sublimi aspirazioni, i suoi amori febbrili; ci mostra al tempo stesso una città di provincia con le sue kermesse, il suo assassino, il suo dottore, il liceo e la piazza.Ode alla poesia del quotidiano, alla creatività e all'evasione, ma anche dura critica della società di consumo, I Frutti del Congo si dà come “uno dei più grandi romanzi francesi del XX secolo” – secondo il critico Pierre Jourde –, il capolavoro dell'avventura immaginata. Si tratta di un'opera dall'ambizione altissima, fulgida metafora della Letteratura.Alexandre Vialatte, divenuto celebre per aver fatto conoscere per primo ai francesi le opere di Kafka, e per avere tradotto autori del calibro di Nietzsche, Goethe, von Hoffmannsthal, Mann, Brecht, Alexandre Vialatte (1901 Magnac-Laval – 1971 Parigi) ha nel corso degli anni dato prova di un'immensa creatività artistica, che lo ha portato a spaziare dalla poesia alla cronaca letteraria, per arrivare al romanzo. Ha pubblicato presso alcune delle più prestigiose case editrici d'oltralpe, tra le quali Gallimard e Juillard. Oggi, è universalmente annoverato dalla Critica nella categoria dei grandi classici senza tempo.Gabriella Bosco, la traduttrice di questo libro, insegna letteratura francese all'Università di Torino. Si occupa di teoria della letteratura, stadiando in particolare le neo-avanguardie e le scritture narrative in prima persona. Scrive di letteratura su varie testate italiane e francesi. Traduce romanzi e saggi. Tra gli autori tradotti Eugène Ionesco, Samuel Beckett, Philippe Forest.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Herrenmagazin: Ich bin für Dich da Wolfgang Ambros: Es lebe der Zentralfriedhof Die Buben im Pelz: Bella Ciao Shiny Gnomes: Bubble Burst All diese Gewalt: Zu Staub werden Deine Lakaien: Return Stendal Blast & Veljanov: Nur ein Tag Stereoblonde: Top of the world The Beauty of Gemina: Whispers of the seasons Camouflage: The Great Commandment Armageddon Dildos: Tanz auf dem Vulkan ASP: Ich will brennen Bap: Bahnhofskino Sankt Otten: Das endgültige Scheitern der Melancholie

Mit einem Gespräch über die norwegische Literaturszene, neuen Büchern über eine Blumenhändlerin und Brooklyn und der Frage: Wäre Goethe heute TikTok-Star?

Interest in Prometheus revived in the Romantic revolutionary age. Short poems by Goethe and Byron show his as defiant rebel. Shelley's famous Preface to his Prometheus Unbound. The influence of Milton's titanic rebel, Satan.

 Today, people get bullied to suicide through the Internet.This is becoming more and more a problem.Why? Because we think that the Internet is a real worldand it is a viral world or an illusion.Everybody can be bullied with exposing secrets that only they know.For instance, a girl messaged me and like to communicate through Skype.She wanted that we both see us via Skype. And then she wanted to see my prick… I don't care for nudity, because I was grown up so. Nudity is for me normal, even inside of my home I am nude and also my previous girlfriend was nude.Afterward, she liked to blackmail me. I said I don't care, you can publish everything that you want from me. Afterward, I directly informed Facebook from that …The people are more connected with Facebook than with real people and through that, they can be humiliated. Don't take Facebook seriously it is just an illusion. When You make Facebook always think that all contacts are an only illusion. You never can count on Facebook friends. We can lose only our ego through humiliation. We can't lose anything more.Make a joke about your humiliation, never take it seriously.Tell me, from any successful person who got not bullied or humiliated. It is a part of our life. Don't care if other people are making jokes about you.Humiliation can show you that:1.) you are not connected, 2.) you depend on the appreciation of others,3.) you don't have any identity, and4.) you can't define yourself.I got quite often bullied and had all of my friends in my life for a half year against me even I didn't have done anything wrong… And after that half year, some of them apologized… Still, I remained connected to God and saw the world as an illusion.  When you have everybody against you, you have done something for yourself. (Bhagwan, Osho) Because only then you are free to do what you want. If the reputation is ruined, it lives quite unabashed. (Wilhelm Bush)If they laugh at what they do not understand let them go, do not worry about plebs, let them drool. (Goethe)I don't care what other people think about me, that is their business. (Bob Proctor) My Video: Don't care for Bullying  https://youtu.be/4bl6WXmCUiIMy Audio: https://divinesuccess.net/wp-content/uploads/2021/Podcast.B/Don't-care-for-Bullying.mp3

Ich war in London, aber dieses Mal mit der Firma, nicht mit der Familie. Es war sehr schön, sehr anstrengend, und sehr inspirierend!

Fiddler's Green/The O'Reilly's And The Paddyhats: The songs that built my life La Brass Banda: Autobahn Berlinski Beat: Berliner Pflanze The Busters: Wish you were here Bligg: Us Mänsch Kutti MC: Dini Stadt Drahdiwaberl: L.M.A.O. Eisbrecher: Kaltfront Eisbrecher: Everything is wunderbar Eisbrecher: Tränen lügen nicht Eisbrecher: Zeitgeist (feat. Joachim Witt) Eisbrecher: Die Hoffnung stirbt zuletzt (feat.Sotiria) Eisbrecher: Satt

Christian writers made Pandora the Classical Eve, disobedient the “cause of all our woe.” But in the 17th-19th centuries, Pandora was transvalued as a redemptive figure, especially by Calderón de la Barca and Goethe (influenced by Calderón) in a fragment called Pandora.

Neeve: C'est la vie Finn Moriz: Versehen Garish: Pardon Smokestack Lightnin': Big City of Dreams Beth Wimmer: When it rains Soap & Skin: Mystery of love Avec: Everywhere Neuzeitliche Bodenbeläge: Im Dunkeln Hans Nieswandt: Wheels of love The Shower: Als wärs das letzte Mal Die Selektion: Herzschlag der Figur Joachim Witt feat. Heilung: Die Wölfe ziehen Eisbrecher: Kaltfront Rammstein: Deutschland (Remix)

Hello to you listening in Hackensack, New Jersey!Coming to you from Whidbey Island, Washington this is Stories From Women Who Walk with 60 Seconds for Time Out Tuesday and your host, Diane Wyzga.I'm a gardener in the Pacific Northwest. Right now I have what's called a “winter-looking garden.” The cherry trees, maples, and plants are mostly brown, not at all looking like what I expect will be flourishing in the next few months.Deep down in the cold soil they are getting.Goethe said, “Sometimes our fate resembles a fruit tree in winter. Looking at its sad appearance who would think that those stiff branches, those jagged twigs would turn green again and blossom and bear fruit next spring; but we hope they will, we know they will.”And he said, “One ought, every day at least, to hear a little song, read a good poem, see a fine picture, and if it were possible, to speak a few reasonable words.”Question: How are you keeping your own good self flourishing these days?Be well, do good work, and keep in touch.      You're always welcome: "Come for the stories - Stay for the magic!" Speaking of magic, I hope you'll subscribe, follow, share a 5-star rating and nice review on your social media or podcast channel of choice, bring your friends and rellies, and join us again! You will have wonderful company as we continue to walk our lives together. Be sure to stop by my Quarter Moon Story Arts website, check out the Services, arrange a Discovery Call, and Opt In to stay current with me as "Wyzga on Words" on Substack. Stories From Women Who Walk Production TeamPodcaster: Diane F Wyzga & Quarter Moon Story ArtsMusic: Mer's Waltz from Crossing the Waters by Steve Schuch & Night Heron MusicAll content and image © 2019 to Present Quarter Moon Story Arts. All rights reserved.

How can we rethink schools to meet the future? What does this have to do with the invention of the printing press, the prevalence of desk calculators, or the spread of Google? And how is this connected to the writer Goethe, a digital replica of the philosopher Aristotle, or the two lasting bequests that we should give our children? Join Eagleman this week for surprises about what AI means for the next generation.

De rode draad door alle wilde manoeuvres van Donald Trump is zijn ambitie om de politieke verhoudingen op wereldschaal fundamenteel te veranderen. Hij wil daartoe een deal sluiten met Vladimir Poetin en dan samen met Xi Jinping. En daarbij zijn Volodymyr Zelensky en de Europese Unie alleen maar lastige obstakels. Maar hoe doe je zoiets? Hoe krijg je de 'grootmachten' bij elkaar en kom je tot een succesvol machtsevenwicht? Daarvan kent de wereldgeschiedenis een zeldzaam en uniek voorbeeld. Het Congres van Wenen in 1814-1815 bracht de allergrootste heersers in Europa en wereldwijd bijeen. Keizers, koningen, de tsaar en hun diplomaten streken neer langs de Donau en palaverden. Een leerzaam en inspirerend relaas. Met tal van waarschuwingen uit de finesses van het spel om de macht.‘Wenen' mondde uit in een groot verdrag dat de kaart van Europa geheel opnieuw tekende. Jaap Jansen en PG Kroeger vertellen het verhaal van maanden van onderhandelen, spioneren, sjoemelen en ‘the art of the deal'. ***Deze aflevering is mede mogelijk gemaakt met donaties van luisteraars die we hiervoor hartelijk danken. Word ook vriend van de show!In onze podcast te adverteren of ons sponsoren? Zend een mailtje naar adverteren@dagennacht.nlOp sommige podcast-apps kun je niet alles lezen. De complete tekst plus linkjes en een overzicht van al onze eerdere afleveringen vind je hier***We weten heel veel over Wenen van toen. Dankzij brieven, dagboeken, spionageverslagen en memoires van even kleurrijke als briljante mensen die zich met het machtsspel bemoeiden. Een van hen was een Belgische prins die de lieveling was van de Weense salons, iedereen kende en met ze roddelde: Charles-Joseph de Ligne. Een ander de Pruisische geleerde en ambassadeur Wilhelm von Humboldt, bevriend met Goethe. En de sluwe ras-opportunist Charles-Maurice de Talleyrand, die evengoed koningen en keizers diende als de revolutie.Zo kunnen we op de voet volgen hoe de sleutelfiguur van dit Congres - gastheer Klemens von Metternich - alles zo organiseerde, dat hij de spin in het web was en bleef. Hij zorgde dat het eindresultaat een groot succes werd. Zijn slotverklaring en het verdrag zorgden decennia voor rust en vrede. Daar zijn dan ook belangrijke lessen uit te trekken voor de grootmachten van 2025. Heeft Trump een idee van zo'n wereldwijd machtsevenwicht of zit hij vast in denken over vazallen en het uitruilen van territoria, van Panama tot Groenland en van de Donbas tot Taiwan?Hebben Poetin en Trump basisbeginselen voor een wereldwijd akkoord die leidt tot een nieuwe balans? Metternich had dat en warempel lijkt Xi Jinping nog het meest op hem. Het Congres van Wenen was niet alleen hard werken aan politiek en diplomatie. Het was het ultieme society event. Gekroonde hoofden, kunstenaars, spionnen, charmante dames en journalisten werden door Metternich en het frivole hofleven van Wenen vermaakt met eindeloos entertainment. Bals, opera, banketten, jachtpartijen en salons volgden elkaar maandenlang op. “Hoe loopt het congres? Het congres loopt niet, het danst”, klonk het lachend. Zelfs Beethoven pikte er een graantje van mee! Door een doordachte en innovatieve, rationele organisatie van de onderhandelingen lukte het Metternich om alle neuzen dezelfde kant op te krijgen. De tsaar, het Britse Empire en Habsburg kregen wat zij ambieerden. Pruisen werd een nieuwe grootmacht en ondanks Napoleons nederlaag werd Frankrijk als belangrijk land in ere hersteld. Niemand van de grootmachten bleef gefrustreerd en wraakzuchtig achter. De slachtoffers van destijds zijn verbluffend actueel: Polen, Moldavië, de Balten, Oekraïne, Italië en vooruitstrevende Duitse idealisten. Zo valt er voor ons in 2025 van alles te leren nu de grote wereldspelers als in Wenen toen een nieuw machtsevenwicht lijken te willen opleggen. Heeft de EU haar ambities en rol op orde hierbij? Wie is de Metternich van nu?***Deze aflevering bevat enkele muziekfragmenten: Wellington's Victory (Beethoven / Berlin Philharmonic Orchestra, Herbert von Karajan), Hoffnungsstrahlen (Joseph Lanner), Der Glorreiche Augenblick (Beethoven)***Verder luisteren487 - Donder en bliksem in het Oval Office484 - Hoe Trump chaos veroorzaakt en de Europeanen in elkaars armen drijft476 – Trump II en de gevolgen voor Europa en de NAVO458 - De gedroomde nieuwe wereldorde van Poetin en Xi455 - De bufferstaat als historische - maar ongewenste - oplossing voor Oekraïne447 - Als Trump wint staat Europa er alleen voor373 - Nederland en België: de scheiding die niemand wilde350 - 100 jaar Henry Kissinger339 – De geopolitiek van de 19e eeuw is terug. De eeuw van Bismarck336 - Timothy Garton Ash: Hoe Europa zichzelf voor de derde keer opnieuw uitvindt305 - Andrea Wulf, Hoe rebelse genieën twee eeuwen later nog ons denken, cultuur en politiek beïnvloeden200 - De Heerser: Machiavelli's lessen zijn nog altijd actueel190 - Napoleon, 200 jaar na zijn dood: zijn betekenis voor Nederland en Europa71 - Caroline de Gruyter en Habsburg40- De geniale broers Von Humboldt21 - Poetins rolmodel tsaar Nicolaas I***Tijdlijn00:00:00 – Deel 100:37:35 – Deel 201:36:39 – Deel 301:43:21 – Einde Zie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

The Holy Father has proclaimed 2025 as a Jubilee year, and pilgrims are already flocking to Rome to cross the thresholds of the major basilicas, and to visit the tombs of Sts. Peter and Paul. Original host of the Way of the Fathers podcast, Mike Aquilina, and current host of the podcast, James L. Papandrea, talk about jubilee and pilgrimage, and introduce listeners to the first (of hopefully many) Way of the Fathers pilgrimage. If you're interested in going on pilgrimage to Sicily, December 1-11, 2025, with Mike, and Jim, and Fr. Kevin Barrett, you can find more information at this link:    https://www.206tours.com/cms/stpaulcenter/aquilina/   Why Sicily?    “Sicily,” said Goethe, “is the key to everything.” It was the site where Plato imagined his perfect republic. Sicily gave Rome its first taste of Empire. Homer set much of his Odyssey in Sicily: Scylla and Charybdis, the forge of Hephaestus … It's the land of the Cyclops, the place where Icarus hit the ground when his wings began to melt. St. Paul spent three days there. For St. Augustine it was a land of wonders — a mountain that burned always and was not consumed. For St. Basil it was a synonym for luxury. Sicily was the definition of Hellenic. It was profoundly Latin. It was the land that gave the Church its Greek popes. It was the land that gave the Church its virgin-martyrs, Agatha and Lucy. For those who suffer ailments of the eye or breast, it is a pilgrim destination. It's Byzantine. It's Roman. It's Phoenician and African. It's stubbornly Christian through years of Muslim rule. It's Norman. It's Spanish. It's stunningly beautiful. The food is amazing. It's where the Godfather movies were filmed. In December it will be warm there and offer unusual wares and delights for Christmas shoppers. Consider joining Catholic author Mike Aquilina, historian James L. Papandrea, and Fr. Kevin Barrett on a unique pilgrimage, co-sponsored by the St. Paul Center for Biblical Theology, 206 Tours, and the Apostolate for Family Consecration. (This pilgrimage is not run by CatholicCulture.org.)   SIGN UP for Catholic Culture's newsletter: https://www.catholicculture.org/newsletters

Galaxy Transport: Loy Arcane Allies: Accumulation Sounds of New Soma: Rhode Island Sounds of New Soma: Higgs-Bosonometer Sounds of New Soma: Antineuraling Eloy: The Pyre Grobschnitt: Food Sicore Grobschnitt: Solar Music Pt. 2 Grobschnitt: Mühlheim Special

Heute sprechen wir über die wahrscheinlich mit bekannteste deutsche Persönlichkeit, nämlich Johann Wolfgang von Goethe! Viel Spaß!

Full episode w/ Nathan (Looming Totality/Y2K_Mindset) on the ideas and sociology of Megalopolis, his hypothesis on the Long 2014, the past decade of slop, and why utopian thinking is goodDavid Graeber, Elective Affinities by Goethe, The Theory of the Leisure Class: An Economic Study of Institutions (1899), by Thorstein Veblen, The Chalice and the Blade by Riane Eisler, Nixon shock/OPEC crisis, Axial Age, The Lord of the Rings - Boris Groys, Sports Gambling, Linux, Creative Commons movement, "This was made for me"

Good evening and a huge welcome back to the show, I hope you've had a great day and you're ready to kick back and relax with another episode of Brett's old time radio show. Hello, I'm Brett your host for this evening and welcome to my home in beautiful Lyme Bay where it's just perfect. I hope it's just as nice where you are. You'll find all of my links at www.linktr.ee/sundaynightmystery A huge thankyou for joining me once again for our regular late night visit to those dusty studio archives of Old Time radio shows right here at my home in the united kingdom. Don't forget I have an instagram page and youtube channel both called brett's old time radio show and I'd love it if you could follow me. Feel free to send me some feedback on this and the other shows if you get a moment, brett@tourdate.co.uk #sleep #insomnia #relax #chill #night #nighttime #bed #bedtime #oldtimeradio #drama #comedy #radio #talkradio #hancock #tonyhancock #hancockshalfhour #sherlock #sherlockholmes #radiodrama #popular #viral #viralpodcast #podcast #podcasting #podcasts #podtok #podcastclip #podcastclips #podcasttrailer #podcastteaser #newpodcastepisode #newpodcast #videopodcast #upcomingpodcast #audiogram #audiograms #truecrimepodcast #historypodcast #truecrime #podcaster #viral #popular #viralpodcast #number1 #instagram #youtube #facebook #johnnydollar #crime #fiction #unwind #devon #texas #texasranger #beer #seaton #seaside  #smuggler #colyton #devon #seaton #beer #branscombe #lymebay #lymeregis #brett #brettorchard #orchard #greatdetectives #greatdetectivesofoldtimeradio #detectives #johnnydollar #thesaint #steptoe #texasrangers             sleep insomnia relax chill night nightime bed bedtime oldtimeradio drama comedy radio talkradio hancock tonyhancock hancockshalfhour sherlock sherlockholmes radiodrama popular viral viralpodcast podcast brett brettorchard orchard east devon seaton beer lyme regis village condado de alhama spain murcia The New Adventures of Sherlock Holmes is a radio drama series which aired in the USA from 1939 to 1950, it ran for 374 episodes, with many of the later episodes considered lost media. The series was based on the Sherlock Holmes stories by Arthur Conan Doyle. Some of the surviving episode recordings may be found online, in various audio quality condition. For most of the show's run, the program starred Basil Rathbone as Sherlock Holmes and Nigel Bruce as Dr. Watson. Other actors played Holmes and Watson in later seasons. Production From the outset of the show, the series was billed in different listings under various titles including Sherlock Holmes, Sherlock Holmes and Doctor Watson, and other titles. The most popularly remembered title is The New Adventures of Sherlock Holmes. On occasion, the title of a radio episode differs from that of its original story – for example, the radio adaption of "The Adventure of the Red Circle" is entitled "Mrs. Warren's Lodger". From 1939 until 1943, episodes were adapted or written by Edith Meiser[4] who had written the earlier series The Adventures of Sherlock Holmes which aired from 1930 to 1935. Meiser left the show after disagreements with a sponsor over the amount of violence in the program. It is also reported that Meiser left the show to focus on other projects. From 1943 onward, most episodes were written by the team of Denis Green and Anthony Boucher with some early episodes written by Green and Leslie Charteris. Edith Meiser returned to write for the show for its seventh season. Max Ehrlich and Howard Merrill wrote the episodes of season 8. Denis Green returned as a writer for the last season. Originally, the show starred Basil Rathbone as Sherlock Holmes and Nigel Bruce as Doctor Watson. Together, they starred in 220 episodes which aired weekly on Mondays from 8:30 to 9:00 pm. Basil Rathbone's last episode as the famous detective was "The Singular Affair of the Baconian Cipher". He was eager to separate himself from the show to avoid being typecast in the role. Tom Conway replaced him in the starring role, though Nigel Bruce got top billing. The new series lasted 39 episodes, and Bruce and Conway then left the series. From then until 1950 the series continued with various actors playing the two principal parts. The show first aired on the Blue Network but later moved to the Mutual Broadcasting System. The show moved to Mutual in 1943 at the start of its fourth season. The series was originally broadcast from Hollywood. During World War II, the show was also broadcast overseas through the Armed Forces Radio Service. The program aired on ABC instead of Mutual for its sixth and ninth seasons. Many episodes were recorded in front of a live audience. Cast Sherlock Holmes: Basil Rathbone (1939–1946) Tom Conway (1947) John Stanley (1947–1949) Ben Wright (The Singular Affair of the Ancient Egyptian Curse in 1947, as stand-in for Tom Conway, 1949–1950 as a regular) Dr. Watson: Nigel Bruce (1939–1947) Joseph Kearns (The Haunting of Sherlock Holmes in 1946, stand-in for Nigel Bruce) Alfred Shirley (1947–1948) Ian Martin (1948) Wendell Holmes (credited as "George Spelvin") (1948–1949) Eric Snowden (The Terrifying Cats in 1946, as a stand-in for Nigel Bruce, 1949–1950 as a regular) There is only a limited amount of information available about additional cast members, since complete cast lists are available only for a handful of episodes. In multiple episodes, Mary Gordon played Mrs. Hudson, a role she also played in the 1939–1946 Sherlock Holmes film series featuring Rathbone and Bruce. Professor Moriarty was played by multiple actors in the radio series, including Joseph Kearns (who also played Watson) and Lou Merrill. Frederick Worlock played Inspector Lestrade in at least three known episodes. Worlock also played different roles in multiple films in the 1939–1946 film series, such as the role of Geoffrey Musgrave in Sherlock Holmes Faces Death. Lestrade was played by Bernard Lenrow in the seventh season and Horace Braham in the eighth season. Rex Evans played Mycroft Holmes in at least two known episodes. Evans played an assassin in the Sherlock Holmes film Pursuit to Algiers. In each episode, the announcer would be presented as arriving at the home of Dr. Watson, then retired, who would share a story about Holmes and his adventures. The announcer for the first three seasons of the show was Knox Manning. In various episodes of the fourth season, the announcers were Owen Babbe, Marx Hartman, and Bob Campbell. Harry Bartell became the announcer for the fifth season. The announcer for the sixth season was Joseph Bell. Bell had previously been the announcer for The Adventures of Sherlock Holmes. Cy Harrice took over the role for the seventh and eighth seasons. Herb Allen was the announcer for the ninth season.[28] Actors who performed in multiple roles on the show include Verna Felton, Paula Winslowe, Carl Harbord (who also played Inspector Hopkins in the Sherlock Holmes film Dressed to Kill), Herbert Rawlinson, Paul Frees, Theodore von Eltz, and June Foray. Sponsors The show's announcer acted as the spokesman for the sponsor. Grove's Bromo Quinine sponsored the show for the first three seasons. Petri Wine was the sponsor for the fourth and fifth seasons. Petri Wine stopped sponsoring the show after the end of the fifth season. While Rathbone left the show at the same time, the reason Petri ceased their sponsorship was unconnected to Rathbone's departure according to one source, which states that the decision was made because it was more affordable for Petri to sponsor the radio series The Casebook of Gregory Hood instead. The sponsor for the series was Kreml Hair Tonic for the show's sixth season, and the Trimount Clothing Co. for the seventh season. Trimount renewed their sponsorship for the eighth season. Petri Wine returned as the sponsor for the ninth season. By May 1950, it was confirmed that Petri did not plan to renew their sponsorship if the series continued. Episodes Season 1 (October 2, 1939 – March 11, 1940; 24 episodes) started with an adaptation of "The Adventure of the Sussex Vampire" and ended with an adaptation of "The Adventure of the Retired Colourman". The last episode of the season was originally intended to be an adaptation of "The Final Problem". It is not known why the change was made, but it may be because "The Final Problem" had already been used on radio several times. It was announced on the penultimate show that "The Final Problem" would be the last episode; in the final episode, Watson said he had changed his mind about which story he was going to tell. Season 2 (September 29, 1940 – March 9, 1941; 24 episodes) started with an adaptation of "The Adventure of the Empty House". The last episode was an adaptation of "The Adventure of Shoscombe Old Place". The season included a six-episode serial adapted from The Hound of the Baskervilles. Season 3 (5 October 1941 – March 1, 1942; 22 episodes) started with an adaptation of "The Adventure of the Illustrious Client" and ended with an episode titled "The Giant Rat of Sumatra". An episode also titled "The Giant Rat of Sumatra", inspired by a reference in "The Adventure of the Sussex Vampire", had previously aired in 1932 in the second season of the radio series The Adventures of Sherlock Holmes. Season 4 (May 7, 1943 – May 28, 1945; 109 episodes) started with a dramatization of "The Adventure of the Copper Beeches". The last episode of the season is titled "Dance of Death". According to the Pittsburgh Press, Nigel Bruce "astounded sound engineers" by imitating the sound of a seagull required for the episode "Death in Cornwall", which aired on February 7, 1944. Some episodes in this season and the following two seasons were novelized by H. Paul Jeffers in his 2005 book The Forgotten Adventures of Sherlock Holmes. Season 5 (September 3, 1945 – May 27, 1946; 39 episodes) started with an episode titled "The Case of the Limping Ghost", based on an incident in "The Adventure of the Crooked Man". The last episode of the season was "The Singular Affair of the Baconian Cipher", suggested by an incident in The Sign of Four. This was the last season with Basil Rathbone playing Sherlock Holmes.[42] Rathbone and Bruce also appeared on the CBS radio program Request Performance in November 1945, and swapped roles as Holmes and Watson in a short sketch performance on the program. Some of the episodes in this season were novelized by Ken Greenwald in his book The Lost Adventures of Sherlock Holmes (1989). Season 6 (October 12, 1946 – July 7, 1947; 39 episodes) started with the episode "The Adventure of the Stuttering Ghost", suggested by an incident in "The Adventure of the Noble Bachelor". The season ended with "The Adventure of the Iron Maiden".[45] This was the last season with Nigel Bruce playing Watson. Season 7 (September 28, 1947 – June 20, 1948; 39 episodes) started with "The Case of the Dog Who Changed His Mind" and ended with an adaptation of "The Adventure of the Veiled Lodger". Season 8 (September 12, 1948 – June 6, 1949; 39 episodes) started with an episode titled "The Case of the Unwelcome Ambassador" and ended with an episode titled "The Adventure of the Red Death". Season 9 (September 21, 1949 – June 14, 1950; 39 episodes) started with an episode with an unknown title. The second episode, which aired on September 28, 1949, was titled "The Eloquent Corpse". Many of this season's episodes, including the last two episodes, have unknown titles. The last episode with a known title is "Command Performance", which aired on May 31, 1950.             Sherlock Holmes is a fictional detective created by British author Arthur Conan Doyle. Referring to himself as a "consulting detective" in his stories, Holmes is known for his proficiency with observation, deduction, forensic science and logical reasoning that borders on the fantastic, which he employs when investigating cases for a wide variety of clients, including Scotland Yard. The character Sherlock Holmes first appeared in print in 1887's A Study in Scarlet. His popularity became widespread with the first series of short stories in The Strand Magazine, beginning with "A Scandal in Bohemia" in 1891; additional tales appeared from then until 1927, eventually totalling four novels and 56 short stories. All but one[a] are set in the Victorian or Edwardian eras, between about 1880 and 1914. Most are narrated by the character of Holmes's friend and biographer Dr. John H. Watson, who usually accompanies Holmes during his investigations and often shares quarters with him at the address of 221B Baker Street, London, where many of the stories begin. Though not the first fictional detective, Sherlock Holmes is arguably the best known. By the 1990s, there were already over 25,000 stage adaptations, films, television productions and publications featuring the detective, and Guinness World Records lists him as the most portrayed human literary character in film and television history. Holmes' popularity and fame are such that many have believed him to be not a fictional character but a real individual; numerous literary and fan societies have been founded on this pretence. Avid readers of the Holmes stories helped create the modern practice of fandom. The character and stories have had a profound and lasting effect on mystery writing and popular culture as a whole, with the original tales as well as thousands written by authors other than Conan Doyle being adapted into stage and radio plays, television, films, video games, and other media for over one hundred years. Inspiration for the character Sir Arthur Conan Doyle (1859–1930), Sherlock Holmes's creator, in 1914 Edgar Allan Poe's C. Auguste Dupin is generally acknowledged as the first detective in fiction and served as the prototype for many later characters, including Holmes. Conan Doyle once wrote, "Each [of Poe's detective stories] is a root from which a whole literature has developed ... Where was the detective story until Poe breathed the breath of life into it?" Similarly, the stories of Émile Gaboriau's Monsieur Lecoq were extremely popular at the time Conan Doyle began writing Holmes, and Holmes's speech and behaviour sometimes follow those of Lecoq. Doyle has his main characters discuss these literary antecedents near the beginning of A Study in Scarlet, which is set soon after Watson is first introduced to Holmes. Watson attempts to compliment Holmes by comparing him to Dupin, to which Holmes replies that he found Dupin to be "a very inferior fellow" and Lecoq to be "a miserable bungler". Conan Doyle repeatedly said that Holmes was inspired by the real-life figure of Joseph Bell, a surgeon at the Royal Infirmary of Edinburgh, whom Conan Doyle met in 1877 and had worked for as a clerk. Like Holmes, Bell was noted for drawing broad conclusions from minute observations.[13] However, he later wrote to Conan Doyle: "You are yourself Sherlock Holmes and well you know it". Sir Henry Littlejohn, Chair of Medical Jurisprudence at the University of Edinburgh Medical School, is also cited as an inspiration for Holmes. Littlejohn, who was also Police Surgeon and Medical Officer of Health in Edinburgh, provided Conan Doyle with a link between medical investigation and the detection of crime. Other possible inspirations have been proposed, though never acknowledged by Doyle, such as Maximilien Heller, by French author Henry Cauvain. In this 1871 novel (sixteen years before the first appearance of Sherlock Holmes), Henry Cauvain imagined a depressed, anti-social, opium-smoking polymath detective, operating in Paris. It is not known if Conan Doyle read the novel, but he was fluent in French.[19] Similarly, Michael Harrison suggested that a German self-styled "consulting detective" named Walter Scherer may have been the model for Holmes. Fictional character biography Family and early life Magazine cover featuring A Study in Scarlet, with drawing of a man lighting a lamp The cover page of the 1887 edition of Beeton's Christmas Annual, which contains Holmes's first appearance (A Study in Scarlet) Details of Sherlock Holmes' life in Conan Doyle's stories are scarce and often vague. Nevertheless, mentions of his early life and extended family paint a loose biographical picture of the detective. A statement of Holmes' age in "His Last Bow" places his year of birth at 1854; the story, set in August 1914, describes him as sixty years of age.[21] His parents are not mentioned, although Holmes mentions that his "ancestors" were "country squires". In "The Adventure of the Greek Interpreter", he claims that his grandmother was sister to the French artist Vernet, without clarifying whether this was Claude Joseph, Carle, or Horace Vernet. Holmes' brother Mycroft, seven years his senior, is a government official. Mycroft has a unique civil service position as a kind of human database for all aspects of government policy. Sherlock describes his brother as the more intelligent of the two, but notes that Mycroft lacks any interest in physical investigation, preferring to spend his time at the Diogenes Club. Holmes says that he first developed his methods of deduction as an undergraduate; his earliest cases, which he pursued as an amateur, came from his fellow university students. A meeting with a classmate's father led him to adopt detection as a profession. Life with Watson Holmes (in deerstalker hat) talking to Watson (in a bowler hat) in a railway compartment Holmes (right) and Watson in a Sidney Paget illustration for "The Adventure of Silver Blaze" In the first Holmes tale, A Study in Scarlet, financial difficulties lead Holmes and Dr. Watson to share rooms together at 221B Baker Street, London. Their residence is maintained by their landlady, Mrs. Hudson. Holmes works as a detective for twenty-three years, with Watson assisting him for seventeen of those years. Most of the stories are frame narratives written from Watson's point of view, as summaries of the detective's most interesting cases. Holmes frequently calls Watson's records of Holmes's cases sensational and populist, suggesting that they fail to accurately and objectively report the "science" of his craft: Detection is, or ought to be, an exact science and should be treated in the same cold and unemotional manner. You have attempted to tinge it [A Study in Scarlet] with romanticism, which produces much the same effect as if you worked a love-story or an elopement into the fifth proposition of Euclid. ... Some facts should be suppressed, or, at least, a just sense of proportion should be observed in treating them. The only point in the case which deserved mention was the curious analytical reasoning from effects to causes, by which I succeeded in unravelling it. Nevertheless, when Holmes recorded a case himself, he was forced to concede that he could more easily understand the need to write it in a manner that would appeal to the public rather than his intention to focus on his own technical skill. Holmes's friendship with Watson is his most significant relationship. When Watson is injured by a bullet, although the wound turns out to be "quite superficial", Watson is moved by Holmes's reaction: It was worth a wound; it was worth many wounds; to know the depth of loyalty and love which lay behind that cold mask. The clear, hard eyes were dimmed for a moment, and the firm lips were shaking. For the one and only time I caught a glimpse of a great heart as well as of a great brain. All my years of humble but single-minded service culminated in that moment of revelation. After confirming Watson's assessment of the wound, Holmes makes it clear to their opponent that the man would not have left the room alive if he genuinely had killed Watson. Practice Holmes' clients vary from the most powerful monarchs and governments of Europe, to wealthy aristocrats and industrialists, to impoverished pawnbrokers and governesses. He is known only in select professional circles at the beginning of the first story, but is already collaborating with Scotland Yard. However, his continued work and the publication of Watson's stories raise Holmes's profile, and he rapidly becomes well known as a detective; so many clients ask for his help instead of (or in addition to) that of the police that, Watson writes, by 1887 "Europe was ringing with his name" and by 1895 Holmes has "an immense practice". Police outside London ask Holmes for assistance if he is nearby. A Prime Minister and the King of Bohemia visit 221B Baker Street in person to request Holmes's assistance; the President of France awards him the Legion of Honour for capturing an assassin; the King of Scandinavia is a client; and he aids the Vatican at least twice. The detective acts on behalf of the British government in matters of national security several times and declines a knighthood "for services which may perhaps some day be described". However, he does not actively seek fame and is usually content to let the police take public credit for his work. The Great Hiatus Holmes and Moriarty wrestling at the end of a narrow path, with Holmes's hat falling into a waterfall Holmes and archenemy Moriarty struggle at the Reichenbach Falls; drawing by Sidney Paget The first set of Holmes stories was published between 1887 and 1893. Conan Doyle killed off Holmes in a final battle with the criminal mastermind Professor James Moriarty[ in "The Final Problem" (published 1893, but set in 1891), as Conan Doyle felt that "my literary energies should not be directed too much into one channel". However, the reaction of the public surprised him very much. Distressed readers wrote anguished letters to The Strand Magazine, which suffered a terrible blow when 20,000 people cancelled their subscriptions to the magazine in protest. Conan Doyle himself received many protest letters, and one lady even began her letter with "You brute". Legend has it that Londoners were so distraught upon hearing the news of Holmes's death that they wore black armbands in mourning, though there is no known contemporary source for this; the earliest known reference to such events comes from 1949. However, the recorded public reaction to Holmes's death was unlike anything previously seen for fictional events. After resisting public pressure for eight years, Conan Doyle wrote The Hound of the Baskervilles (serialised in 1901–02, with an implicit setting before Holmes's death). In 1903, Conan Doyle wrote "The Adventure of the Empty House"; set in 1894, Holmes reappears, explaining to a stunned Watson that he had faked his death to fool his enemies. Following "The Adventure of the Empty House", Conan Doyle would sporadically write new Holmes stories until 1927. Holmes aficionados refer to the period from 1891 to 1894—between his disappearance and presumed death in "The Final Problem" and his reappearance in "The Adventure of the Empty House"—as the Great Hiatus. The earliest known use of this expression dates to 1946. Retirement In His Last Bow, the reader is told that Holmes has retired to a small farm on the Sussex Downs and taken up beekeeping as his primary occupation. The move is not dated precisely, but can be presumed to be no later than 1904 (since it is referred to retrospectively in "The Adventure of the Second Stain", first published that year). The story features Holmes and Watson coming out of retirement to aid the British war effort. Only one other adventure, "The Adventure of the Lion's Mane", takes place during the detective's retirement. Personality and habits Holmes examining a bicycle with Watson standing behind in "The Adventure of the Priory School" from 1904. Sidney Paget's illustrations in The Strand Magazine iconicised both characters. Watson describes Holmes as "bohemian" in his habits and lifestyle.[54] Said to have a "cat-like" love of personal cleanliness, at the same time Holmes is an eccentric with no regard for contemporary standards of tidiness or good order. Watson describes him as in his personal habits one of the most untidy men that ever drove a fellow-lodger to distraction. [He] keeps his cigars in the coal-scuttle, his tobacco in the toe end of a Persian slipper, and his unanswered correspondence transfixed by a jack-knife into the very centre of his wooden mantelpiece. ... He had a horror of destroying documents. ... Thus month after month his papers accumulated, until every corner of the room was stacked with bundles of manuscript which were on no account to be burned, and which could not be put away save by their owner. While Holmes can be dispassionate and cold, during an investigation he is animated and excitable. He has a flair for showmanship, often keeping his methods and evidence hidden until the last possible moment so as to impress observers. His companion condones the detective's willingness to bend the truth (or break the law) on behalf of a client—lying to the police, concealing evidence or breaking into houses—when he feels it morally justifiable. Except for that of Watson, Holmes avoids casual company. In "The Gloria Scott", he tells the doctor that during two years at college he made only one friend: "I was never a very sociable fellow, Watson ... I never mixed much with the men of my year." The detective goes without food at times of intense intellectual activity, believing that "the faculties become refined when you starve them". At times, Holmes relaxes with music, either playing the violin[62] or enjoying the works of composers such as Wagner and Pablo de Sarasate. Drug use Holmes in a blue bathrobe, reclining against a pillow and smoking his pipe 1891 Paget portrait of Holmes smoking his pipe for "The Man with the Twisted Lip" Holmes occasionally uses addictive drugs, especially in the absence of stimulating cases. He sometimes used morphine and sometimes cocaine, the latter of which he injects in a seven-per cent solution; both drugs were legal in 19th-century England. As a physician, Watson strongly disapproves of his friend's cocaine habit, describing it as the detective's only vice, and concerned about its effect on Holmes's mental health and intellect. In "The Adventure of the Missing Three-Quarter", Watson says that although he has "weaned" Holmes from drugs, the detective remains an addict whose habit is "not dead, but merely sleeping". Watson and Holmes both use tobacco, smoking cigarettes, cigars, and pipes. Although his chronicler does not consider Holmes's smoking a vice per se, Watson—a physician—does criticise the detective for creating a "poisonous atmosphere" in their confined quarters. Finances Holmes is known to charge clients for his expenses and claim any reward offered for a problem's solution, such as in "The Adventure of the Speckled Band", "The Red-Headed League", and "The Adventure of the Beryl Coronet". The detective states at one point that "My professional charges are upon a fixed scale. I do not vary them, save when I remit them altogether." In this context, a client is offering to double his fee, and it is implied that wealthy clients habitually pay Holmes more than his standard rate. In "The Adventure of the Priory School", Holmes earns a £6,000 fee (at a time where annual expenses for a rising young professional were in the area of £500). However, Watson notes that Holmes would refuse to help even the wealthy and powerful if their cases did not interest him. Attitudes towards women As Conan Doyle wrote to Joseph Bell, "Holmes is as inhuman as a Babbage's Calculating Machine and just about as likely to fall in love." Holmes says of himself that he is "not a whole-souled admirer of womankind", and that he finds "the motives of women ... inscrutable. ... How can you build on such quicksand? Their most trivial actions may mean volumes". In The Sign of Four, he says, "Women are never to be entirely trusted—not the best of them", a feeling Watson notes as an "atrocious sentiment". In "The Adventure of the Lion's Mane", Holmes writes, "Women have seldom been an attraction to me, for my brain has always governed my heart." At the end of The Sign of Four, Holmes states that "love is an emotional thing, and whatever is emotional is opposed to that true, cold reason which I place above all things. I should never marry myself, lest I bias my judgement." Ultimately, Holmes claims outright that "I have never loved." But while Watson says that the detective has an "aversion to women",[85] he also notes Holmes as having "a peculiarly ingratiating way with [them]". Watson notes that their housekeeper Mrs. Hudson is fond of Holmes because of his "remarkable gentleness and courtesy in his dealings with women. He disliked and distrusted the sex, but he was always a chivalrous opponent." However, in "The Adventure of Charles Augustus Milverton", the detective becomes engaged under false pretenses in order to obtain information about a case, abandoning the woman once he has the information he requires. Irene Adler Irene Adler is a retired American opera singer and actress who appears in "A Scandal in Bohemia". Although this is her only appearance, she is one of only a handful of people who best Holmes in a battle of wits, and the only woman. For this reason, Adler is the frequent subject of pastiche writing. The beginning of the story describes the high regard in which Holmes holds her: To Sherlock Holmes she is always the woman. I have seldom heard him mention her under any other name. In his eyes she eclipses and predominates the whole of her sex. It was not that he felt any emotion akin to love for Irene Adler. ... And yet there was but one woman to him, and that woman was the late Irene Adler, of dubious and questionable memory. Five years before the story's events, Adler had a brief liaison with Crown Prince of Bohemia Wilhelm von Ormstein. As the story opens, the Prince is engaged to another. Fearful that the marriage would be called off if his fiancée's family learns of this past impropriety, Ormstein hires Holmes to regain a photograph of Adler and himself. Adler slips away before Holmes can succeed. Her memory is kept alive by the photograph of Adler that Holmes received for his part in the case. Knowledge and skills Shortly after meeting Holmes in the first story, A Study in Scarlet (generally assumed to be 1881, though the exact date is not given), Watson assesses the detective's abilities: Knowledge of Literature – nil. Knowledge of Philosophy – nil. Knowledge of Astronomy – nil. Knowledge of Politics – Feeble. Knowledge of Botany – Variable. Well up in belladonna, opium, and poisons generally. Knows nothing of practical gardening. Knowledge of Geology – Practical, but limited. Tells at a glance different soils from each other. After walks, has shown me splashes upon his trousers, and told me by their colour and consistence in what part of London he had received them. Knowledge of Chemistry – Profound. Knowledge of Anatomy – Accurate, but unsystematic. Knowledge of Sensational Literature – Immense. He appears to know every detail of every horror perpetrated in the century. Plays the violin well. Is an expert singlestick player, boxer, and swordsman. Has a good practical knowledge of British law. In A Study in Scarlet, Holmes claims to be unaware that the Earth revolves around the Sun since such information is irrelevant to his work; after hearing that fact from Watson, he says he will immediately try to forget it. The detective believes that the mind has a finite capacity for information storage, and learning useless things reduces one's ability to learn useful things. The later stories move away from this notion: in The Valley of Fear, he says, "All knowledge comes useful to the detective", and in "The Adventure of the Lion's Mane", the detective calls himself "an omnivorous reader with a strangely retentive memory for trifles". Looking back on the development of the character in 1912, Conan Doyle wrote that "In the first one, the Study in Scarlet, [Holmes] was a mere calculating machine, but I had to make him more of an educated human being as I went on with him." Despite Holmes's supposed ignorance of politics, in "A Scandal in Bohemia" he immediately recognises the true identity of the disguised "Count von Kramm". At the end of A Study in Scarlet, Holmes demonstrates a knowledge of Latin. The detective cites Hafez,[98] Goethe,[99] as well as a letter from Gustave Flaubert to George Sand in the original French. In The Hound of the Baskervilles, the detective recognises works by Godfrey Kneller and Joshua Reynolds: "Watson won't allow that I know anything of art, but that is mere jealousy since our views upon the subject differ." In "The Adventure of the Bruce-Partington Plans", Watson says that "Holmes lost himself in a monograph which he had undertaken upon the Polyphonic Motets of Lassus", considered "the last word" on the subject—which must have been the result of an intensive and very specialized musicological study which could have had no possible application to the solution of criminal mysteries. Holmes is a cryptanalyst, telling Watson that "I am fairly familiar with all forms of secret writing, and am myself the author of a trifling monograph upon the subject, in which I analyse one hundred and sixty separate ciphers." Holmes also demonstrates a knowledge of psychology in "A Scandal in Bohemia", luring Irene Adler into betraying where she hid a photograph based on the premise that a woman will rush to save her most valued possession from a fire. Another example is in "The Adventure of the Blue Carbuncle", where Holmes obtains information from a salesman with a wager: "When you see a man with whiskers of that cut and the 'Pink 'un' protruding out of his pocket, you can always draw him by a bet ... I daresay that if I had put 100 pounds down in front of him, that man would not have given me such complete information as was drawn from him by the idea that he was doing me on a wager." Maria Konnikova points out in an interview with D. J. Grothe that Holmes practises what is now called mindfulness, concentrating on one thing at a time, and almost never "multitasks". She adds that in this he predates the science showing how helpful this is to the brain. Holmesian deduction Colour illustration of Holmes bending over a dead man in front of a fireplace Sidney Paget illustration of Holmes examining a corpse for "The Adventure of the Abbey Grange" Holmes observes the dress and attitude of his clients and suspects, noting skin marks (such as tattoos), contamination (such as ink stains or clay on boots), emotional state, and physical condition in order to deduce their origins and recent history. The style and state of wear of a person's clothes and personal items are also commonly relied on; in the stories, Holmes is seen applying his method to items such as walking sticks, pipes, and hats. For example, in "A Scandal in Bohemia", Holmes infers that Watson had got wet lately and had "a most clumsy and careless servant girl". When Watson asks how Holmes knows this, the detective answers: It is simplicity itself ... my eyes tell me that on the inside of your left shoe, just where the firelight strikes it, the leather is scored by six almost parallel cuts. Obviously they have been caused by someone who has very carelessly scraped round the edges of the sole in order to remove crusted mud from it. Hence, you see, my double deduction that you had been out in vile weather, and that you had a particularly malignant boot-slitting specimen of the London slavey. In the first Holmes story, A Study in Scarlet, Dr. Watson compares Holmes to C. Auguste Dupin, Edgar Allan Poe's fictional detective, who employed a similar methodology. Alluding to an episode in "The Murders in the Rue Morgue", where Dupin determines what his friend is thinking despite their having walked together in silence for a quarter of an hour, Holmes remarks: "That trick of his breaking in on his friend's thoughts with an apropos remark ... is really very showy and superficial."[112] Nevertheless, Holmes later performs the same 'trick' on Watson in "The Cardboard Box" and "The Adventure of the Dancing Men". Though the stories always refer to Holmes's intellectual detection method as "deduction", Holmes primarily relies on abduction: inferring an explanation for observed details. "From a drop of water," he writes, "a logician could infer the possibility of an Atlantic or a Niagara without having seen or heard of one or the other." However, Holmes does employ deductive reasoning as well. The detective's guiding principle, as he says in The Sign of Four, is: "When you have eliminated the impossible, whatever remains, however improbable, must be the truth." Despite Holmes's remarkable reasoning abilities, Conan Doyle still paints him as fallible in this regard (this being a central theme of "The Yellow Face"). Forensic science See caption 19th-century Seibert microscope Though Holmes is famed for his reasoning capabilities, his investigative technique relies heavily on the acquisition of hard evidence. Many of the techniques he employs in the stories were at the time in their infancy. The detective is particularly skilled in the analysis of trace evidence and other physical evidence, including latent prints (such as footprints, hoof prints, and shoe and tire impressions) to identify actions at a crime scene, using tobacco ashes and cigarette butts to identify criminals, utilizing handwriting analysis and graphology, comparing typewritten letters to expose a fraud, using gunpowder residue to expose two murderers, and analyzing small pieces of human remains to expose two murders. Because of the small scale of much of his evidence, the detective often uses a magnifying glass at the scene and an optical microscope at his Baker Street lodgings. He uses analytical chemistry for blood residue analysis and toxicology to detect poisons; Holmes's home chemistry laboratory is mentioned in "The Naval Treaty". Ballistics feature in "The Adventure of the Empty House" when spent bullets are recovered to be matched with a suspected murder weapon, a practice which became regular police procedure only some fifteen years after the story was published. Laura J. Snyder has examined Holmes's methods in the context of mid- to late-19th-century criminology, demonstrating that, while sometimes in advance of what official investigative departments were formally using at the time, they were based upon existing methods and techniques. For example, fingerprints were proposed to be distinct in Conan Doyle's day, and while Holmes used a thumbprint to solve a crime in "The Adventure of the Norwood Builder" (generally held to be set in 1895), the story was published in 1903, two years after Scotland Yard's fingerprint bureau opened. Though the effect of the Holmes stories on the development of forensic science has thus often been overstated, Holmes inspired future generations of forensic scientists to think scientifically and analytically. Disguises Holmes displays a strong aptitude for acting and disguise. In several stories ("The Sign of Four", "The Adventure of Charles Augustus Milverton", "The Man with the Twisted Lip", "The Adventure of the Empty House" and "A Scandal in Bohemia"), to gather evidence undercover, he uses disguises so convincing that Watson fails to recognise him. In others ("The Adventure of the Dying Detective" and "A Scandal in Bohemia"), Holmes feigns injury or illness to incriminate the guilty. In the latter story, Watson says, "The stage lost a fine actor ... when [Holmes] became a specialist in crime." Guy Mankowski has said of Holmes that his ability to change his appearance to blend into any situation "helped him personify the idea of the English eccentric chameleon, in a way that prefigured the likes of David Bowie". Agents Until Watson's arrival at Baker Street, Holmes largely worked alone, only occasionally employing agents from the city's underclass. These agents included a variety of informants, such as Langdale Pike, a "human book of reference upon all matters of social scandal", and Shinwell Johnson, who acted as Holmes's "agent in the huge criminal underworld of London". The best known of Holmes's agents are a group of street children he called "the Baker Street Irregulars". Combat Long-barreled revolver with a black handle British Army (Adams) Mark III, the type probably carried by Watson Pistols Holmes and Watson often carry pistols with them to confront criminals—in Watson's case, his old service weapon (probably a Mark III Adams revolver, issued to British troops during the 1870s).[139] Holmes and Watson shoot the eponymous hound in The Hound of the Baskervilles, and in "The Adventure of the Empty House", Watson pistol-whips Colonel Sebastian Moran. In "The Problem of Thor Bridge", Holmes uses Watson's revolver to solve the case through an experiment. Other weapons As a gentleman, Holmes often carries a stick or cane. He is described by Watson as an expert at singlestick, and uses his cane twice as a weapon. In A Study in Scarlet, Watson describes Holmes as an expert swordsman, and in "The Gloria Scott", the detective says he practised fencing while at university.[59] In several stories ("A Case of Identity", "The Red-Headed League", "The Adventure of the Six Napoleons"), Holmes wields a riding crop, described in the latter story as his "favourite weapon". Personal combat Holmes fighting Holmes outfighting Mr Woodley in "The Solitary Cyclist" The detective is described (or demonstrated) as possessing above-average physical strength. In "The Yellow Face", Holmes's chronicler says, "Few men were capable of greater muscular effort." In "The Adventure of the Speckled Band", Dr. Roylott demonstrates his strength by bending a fire poker in half. Watson describes Holmes as laughing and saying, "'If he had remained I might have shown him that my grip was not much more feeble than his own.' As he spoke he picked up the steel poker and, with a sudden effort, straightened it out again." Holmes is an adept bare-knuckle fighter; "The Gloria Scott" mentions that Holmes boxed while at university. In The Sign of Four, he introduces himself to McMurdo, a prize fighter, as "the amateur who fought three rounds with you at Alison's rooms on the night of your benefit four years back". McMurdo remembers: "Ah, you're one that has wasted your gifts, you have! You might have aimed high if you had joined the fancy." In "The Yellow Face", Watson says: "He was undoubtedly one of the finest boxers of his weight that I have ever seen." In "The Solitary Cyclist", Holmes visits a country pub to make enquiries regarding a certain Mr Woodley which results in violence. Mr Woodley, Holmes tells Watson, ... had been drinking his beer in the tap-room, and had heard the whole conversation. Who was I? What did I want? What did I mean by asking questions? He had a fine flow of language, and his adjectives were very vigorous. He ended a string of abuse by a vicious backhander, which I failed to entirely avoid. The next few minutes were delicious. It was a straight left against a slogging ruffian. I emerged as you see me. Mr. Woodley went home in a cart. Another character subsequently refers to Mr Woodley as looking "much disfigured" as a result of his encounter with Holmes. In "The Adventure of the Empty House", Holmes tells Watson that he used a Japanese martial art known as baritsu to fling Moriarty to his death in the Reichenbach Falls. "Baritsu" is Conan Doyle's version of bartitsu, which combines jujitsu with boxing and cane fencing.       The Golden Age of Radio Also known as the old-time radio (OTR) era, was an era of radio in the United States where it was the dominant electronic home entertainment medium. It began with the birth of commercial radio broadcasting in the early 1920s and lasted through the 1950s, when television gradually superseded radio as the medium of choice for scripted programming, variety and dramatic shows. Radio was the first broadcast medium, and during this period people regularly tuned in to their favourite radio programs, and families gathered to listen to the home radio in the evening. According to a 1947 C. E. Hooper survey, 82 out of 100 Americans were found to be radio listeners. A variety of new entertainment formats and genres were created for the new medium, many of which later migrated to television: radio plays, mystery serials, soap operas, quiz shows, talent shows, daytime and evening variety hours, situation comedies, play-by-play sports, children's shows, cooking shows, and more. In the 1950s, television surpassed radio as the most popular broadcast medium, and commercial radio programming shifted to narrower formats of news, talk, sports and music. Religious broadcasters, listener-supported public radio and college stations provide their own distinctive formats. Origins A family listening to the first broadcasts around 1920 with a crystal radio. The crystal radio, a legacy from the pre-broadcast era, could not power a loudspeaker so the family must share earphones During the first three decades of radio, from 1887 to about 1920, the technology of transmitting sound was undeveloped; the information-carrying ability of radio waves was the same as a telegraph; the radio signal could be either on or off. Radio communication was by wireless telegraphy; at the sending end, an operator tapped on a switch which caused the radio transmitter to produce a series of pulses of radio waves which spelled out text messages in Morse code. At the receiver these sounded like beeps, requiring an operator who knew Morse code to translate them back to text. This type of radio was used exclusively for person-to-person text communication for commercial, diplomatic and military purposes and hobbyists; broadcasting did not exist. The broadcasts of live drama, comedy, music and news that characterize the Golden Age of Radio had a precedent in the Théâtrophone, commercially introduced in Paris in 1890 and available as late as 1932. It allowed subscribers to eavesdrop on live stage performances and hear news reports by means of a network of telephone lines. The development of radio eliminated the wires and subscription charges from this concept. Between 1900 and 1920 the first technology for transmitting sound by radio was developed, AM (amplitude modulation), and AM broadcasting sprang up around 1920. On Christmas Eve 1906, Reginald Fessenden is said to have broadcast the first radio program, consisting of some violin playing and passages from the Bible. While Fessenden's role as an inventor and early radio experimenter is not in dispute, several contemporary radio researchers have questioned whether the Christmas Eve broadcast took place, or whether the date was, in fact, several weeks earlier. The first apparent published reference to the event was made in 1928 by H. P. Davis, Vice President of Westinghouse, in a lecture given at Harvard University. In 1932 Fessenden cited the Christmas Eve 1906 broadcast event in a letter he wrote to Vice President S. M. Kinter of Westinghouse. Fessenden's wife Helen recounts the broadcast in her book Fessenden: Builder of Tomorrows (1940), eight years after Fessenden's death. The issue of whether the 1906 Fessenden broadcast actually happened is discussed in Donna Halper's article "In Search of the Truth About Fessenden"[2] and also in James O'Neal's essays.[3][4] An annotated argument supporting Fessenden as the world's first radio broadcaster was offered in 2006 by Dr. John S. Belrose, Radioscientist Emeritus at the Communications Research Centre Canada, in his essay "Fessenden's 1906 Christmas Eve broadcast." It was not until after the Titanic catastrophe in 1912 that radio for mass communication came into vogue, inspired first by the work of amateur ("ham") radio operators. Radio was especially important during World War I as it was vital for air and naval operations. World War I brought about major developments in radio, superseding the Morse code of the wireless telegraph with the vocal communication of the wireless telephone, through advancements in vacuum tube technology and the introduction of the transceiver. After the war, numerous radio stations were born in the United States and set the standard for later radio programs. The first radio news program was broadcast on August 31, 1920, on the station 8MK in Detroit; owned by The Detroit News, the station covered local election results. This was followed in 1920 with the first commercial radio station in the United States, KDKA, being established in Pittsburgh. The first regular entertainment programs were broadcast in 1922, and on March 10, Variety carried the front-page headline: "Radio Sweeping Country: 1,000,000 Sets in Use." A highlight of this time was the first Rose Bowl being broadcast on January 1, 1923, on the Los Angeles station KHJ. Growth of radio Broadcast radio in the United States underwent a period of rapid change through the decade of the 1920s. Technology advances, better regulation, rapid consumer adoption, and the creation of broadcast networks transformed radio from a consumer curiosity into the mass media powerhouse that defined the Golden Age of Radio. Consumer adoption Through the decade of the 1920s, the purchase of radios by United States homes continued, and accelerated. The Radio Corporation of America (RCA) released figures in 1925 stating that 19% of United States homes owned a radio. The triode and regenerative circuit made amplified, vacuum tube radios widely available to consumers by the second half of the 1920s. The advantage was obvious: several people at once in a home could now easily listen to their radio at the same time. In 1930, 40% of the nation's households owned a radio,[8] a figure that was much higher in suburban and large metropolitan areas. The superheterodyne receiver and other inventions refined radios even further in the next decade; even as the Great Depression ravaged the country in the 1930s, radio would stay at the centre of American life. 83% of American homes would own a radio by 1940. Government regulation Although radio was well established with United States consumers by the mid-1920s, regulation of the broadcast medium presented its own challenges. Until 1926, broadcast radio power and frequency use was regulated by the U.S. Department of Commerce, until a legal challenge rendered the agency powerless to do so. Congress responded by enacting the Radio Act of 1927, which included the formation of the Federal Radio Commission (FRC). One of the FRC's most important early actions was the adoption of General Order 40, which divided stations on the AM band into three power level categories, which became known as Local, Regional, and Clear Channel, and reorganized station assignments. Based on this plan, effective 3:00 a.m. Eastern time on November 11, 1928, most of the country's stations were assigned to new transmitting frequencies. Broadcast networks The final element needed to make the Golden Age of Radio possible focused on the question of distribution: the ability for multiple radio stations to simultaneously broadcast the same content, and this would be solved with the concept of a radio network. The earliest radio programs of the 1920s were largely unsponsored; radio stations were a service designed to sell radio receivers. In early 1922, American Telephone & Telegraph Company (AT&T) announced the beginning of advertisement-supported broadcasting on its owned stations, and plans for the development of the first radio network using its telephone lines to transmit the content. In July 1926, AT&T abruptly decided to exit the broadcasting field, and signed an agreement to sell its entire network operations to a group headed by RCA, which used the assets to form the National Broadcasting Company. Four radio networks had formed by 1934. These were: National Broadcasting Company Red Network (NBC Red), launched November 15, 1926. Originally founded as the National Broadcasting Company in late 1926, the company was almost immediately forced to split under antitrust laws to form NBC Red and NBC Blue. When, in 1942, NBC Blue was sold and renamed the Blue Network, this network would go back to calling itself simply the National Broadcasting Company Radio Network (NBC). National Broadcasting Company Blue Network (NBC Blue); launched January 10, 1927, split from NBC Red. NBC Blue was sold in 1942 and became the Blue Network, and it in turn transferred its assets to a new company, the American Broadcasting Company on June 15, 1945. That network identified itself as the American Broadcasting Company Radio Network (ABC). Columbia Broadcasting System (CBS), launched September 18, 1927. After an initially struggling attempt to compete with the NBC networks, CBS gained new momentum when William S. Paley was installed as company president. Mutual Broadcasting System (Mutual), launched September 29, 1934. Mutual was initially run as a cooperative in which the flagship stations owned the network, not the other way around as was the case with the other three radio networks. Programming In the period before and after the advent of the broadcast network, new forms of entertainment needed to be created to fill the time of a station's broadcast day. Many of the formats born in this era continued into the television and digital eras. In the beginning of the Golden Age, network programs were almost exclusively broadcast live, as the national networks prohibited the airing of recorded programs until the late 1940s because of the inferior sound quality of phonograph discs, the only practical recording medium at that time. As a result, network prime-time shows would be performed twice, once for each coast. Rehearsal for the World War II radio show You Can't Do Business with Hitler with John Flynn and Virginia Moore. This series of programs, broadcast at least once weekly by more than 790 radio stations in the United States, was written and produced by the radio section of the Office of War Information (OWI). Live events Coverage of live events included musical concerts and play-by-play sports broadcasts. News The capability of the new medium to get information to people created the format of modern radio news: headlines, remote reporting, sidewalk interviews (such as Vox Pop), panel discussions, weather reports, and farm reports. The entry of radio into the realm of news triggered a feud between the radio and newspaper industries in the mid-1930s, eventually culminating in newspapers trumping up exaggerated [citation needed] reports of a mass hysteria from the (entirely fictional) radio presentation of The War of the Worlds, which had been presented as a faux newscast. Musical features The sponsored musical feature soon became one of the most popular program formats. Most early radio sponsorship came in the form of selling the naming rights to the program, as evidenced by such programs as The A&P Gypsies, Champion Spark Plug Hour, The Clicquot Club Eskimos, and King Biscuit Time; commercials, as they are known in the modern era, were still relatively uncommon and considered intrusive. During the 1930s and 1940s, the leading orchestras were heard often through big band remotes, and NBC's Monitor continued such remotes well into the 1950s by broadcasting live music from New York City jazz clubs to rural America. Singers such as Harriet Lee and Wendell Hall became popular fixtures on network radio beginning in the late 1920s and early 1930s. Local stations often had staff organists such as Jesse Crawford playing popular tunes. Classical music programs on the air included The Voice of Firestone and The Bell Telephone Hour. Texaco sponsored the Metropolitan Opera radio broadcasts; the broadcasts, now sponsored by the Toll Brothers, continue to this day around the world, and are one of the few examples of live classical music still broadcast on radio. One of the most notable of all classical music radio programs of the Golden Age of Radio featured the celebrated Italian conductor Arturo Toscanini conducting the NBC Symphony Orchestra, which had been created especially for him. At that time, nearly all classical musicians and critics considered Toscanini the greatest living maestro. Popular songwriters such as George Gershwin were also featured on radio. (Gershwin, in addition to frequent appearances as a guest, had his own program in 1934.) The New York Philharmonic also had weekly concerts on radio. There was no dedicated classical music radio station like NPR at that time, so classical music programs had to share the network they were broadcast on with more popular ones, much as in the days of television before the creation of NET and PBS. Country music also enjoyed popularity. National Barn Dance, begun on Chicago's WLS in 1924, was picked up by NBC Radio in 1933. In 1925, WSM Barn Dance went on the air from Nashville. It was renamed the Grand Ole Opry in 1927 and NBC carried portions from 1944 to 1956. NBC also aired The Red Foley Show from 1951 to 1961, and ABC Radio carried Ozark Jubilee from 1953 to 1961. Comedy Radio attracted top comedy talents from vaudeville and Hollywood for many years: Bing Crosby, Abbott and Costello, Fred Allen, Jack Benny, Victor Borge, Fanny Brice, Billie Burke, Bob Burns, Judy Canova, Eddie Cantor, Jimmy Durante, Burns and Allen, Phil Harris, Edgar Bergen, Bob Hope, Groucho Marx, Jean Shepherd, Red Skelton and Ed Wynn. Situational comedies also gained popularity, such as Amos 'n' Andy, Easy Aces, Ethel and Albert, Fibber McGee and Molly, The Goldbergs, The Great Gildersleeve, The Halls of Ivy (which featured screen star Ronald Colman and his wife Benita Hume), Meet Corliss Archer, Meet Millie, and Our Miss Brooks. Radio comedy ran the gamut from the small town humor of Lum and Abner, Herb Shriner and Minnie Pearl to the dialect characterizations of Mel Blanc and the caustic sarcasm of Henry Morgan. Gags galore were delivered weekly on Stop Me If You've Heard This One and Can You Top This?,[18] panel programs devoted to the art of telling jokes. Quiz shows were lampooned on It Pays to Be Ignorant, and other memorable parodies were presented by such satirists as Spike Jones, Stoopnagle and Budd, Stan Freberg and Bob and Ray. British comedy reached American shores in a major assault when NBC carried The Goon Show in the mid-1950s. Some shows originated as stage productions: Clifford Goldsmith's play What a Life was reworked into NBC's popular, long-running The Aldrich Family (1939–1953) with the familiar catchphrases "Henry! Henry Aldrich!," followed by Henry's answer, "Coming, Mother!" Moss Hart and George S. Kaufman's Pulitzer Prize-winning Broadway hit, You Can't Take It with You (1936), became a weekly situation comedy heard on Mutual (1944) with Everett Sloane and later on NBC (1951) with Walter Brennan. Other shows were adapted from comic strips, such as Blondie, Dick Tracy, Gasoline Alley, The Gumps, Li'l Abner, Little Orphan Annie, Popeye the Sailor, Red Ryder, Reg'lar Fellers, Terry and the Pirates and Tillie the Toiler. Bob Montana's redheaded teen of comic strips and comic books was heard on radio's Archie Andrews from 1943 to 1953. The Timid Soul was a 1941–1942 comedy based on cartoonist H. T. Webster's famed Caspar Milquetoast character, and Robert L. Ripley's Believe It or Not! was adapted to several different radio formats during the 1930s and 1940s. Conversely, some radio shows gave rise to spinoff comic strips, such as My Friend Irma starring Marie Wilson. Soap operas The first program generally considered to be a daytime serial drama by scholars of the genre is Painted Dreams, which premiered on WGN on October 20, 1930. The first networked daytime serial is Clara, Lu, 'n Em, which started in a daytime time slot on February 15, 1932. As daytime serials became popular in the early 1930s, they became known as soap operas because many were sponsored by soap products and detergents. On November 25, 1960, the last four daytime radio dramas—Young Dr. Malone, Right to Happiness, The Second Mrs. Burton and Ma Perkins, all broadcast on the CBS Radio Network—were brought to an end. Children's programming The line-up of late afternoon adventure serials included Bobby Benson and the B-Bar-B Riders, The Cisco Kid, Jack Armstrong, the All-American Boy, Captain Midnight, and The Tom Mix Ralston Straight Shooters. Badges, rings, decoding devices and other radio premiums offered on these adventure shows were often allied with a sponsor's product, requiring the young listeners to mail in a boxtop from a breakfast cereal or other proof of purchase. Radio plays Radio plays were presented on such programs as 26 by Corwin, NBC Short Story, Arch Oboler's Plays, Quiet, Please, and CBS Radio Workshop. Orson Welles's The Mercury Theatre on the Air and The Campbell Playhouse were considered by many critics to be the finest radio drama anthologies ever presented. They usually starred Welles in the leading role, along with celebrity guest stars such as Margaret Sullavan or Helen Hayes, in adaptations from literature, Broadway, and/or films. They included such titles as Liliom, Oliver Twist (a title now feared lost), A Tale of Two Cities, Lost Horizon, and The Murder of Roger Ackroyd. It was on Mercury Theatre that Welles presented his celebrated-but-infamous 1938 adaptation of H. G. Wells's The War of the Worlds, formatted to sound like a breaking news program. Theatre Guild on the Air presented adaptations of classical and Broadway plays. Their Shakespeare adaptations included a one-hour Macbeth starring Maurice Evans and Judith Anderson, and a 90-minute Hamlet, starring John Gielgud.[22] Recordings of many of these programs survive. During the 1940s, Basil Rathbone and Nigel Bruce, famous for playing Sherlock Holmes and Dr. Watson in films, repeated their characterizations on radio on The New Adventures of Sherlock Holmes, which featured both original stories and episodes directly adapted from Arthur Conan Doyle's stories. None of the episodes in which Rathbone and Bruce starred on the radio program were filmed with the two actors as Holmes and Watson, so radio became the only medium in which audiences were able to experience Rathbone and Bruce appearing in some of the more famous Holmes stories, such as "The Speckled Band". There were also many dramatizations of Sherlock Holmes stories on radio without Rathbone and Bruce. During the latter part of his career, celebrated actor John Barrymore starred in a radio program, Streamlined Shakespeare, which featured him in a series of one-hour adaptations of Shakespeare plays, many of which Barrymore never appeared in either on stage or in films, such as Twelfth Night (in which he played both Malvolio and Sir Toby Belch), and Macbeth. Lux Radio Theatre and The Screen Guild Theater presented adaptations of Hollywood movies, performed before a live audience, usually with cast members from the original films. Suspense, Escape, The Mysterious Traveler and Inner Sanctum Mystery were popular thriller anthology series. Leading writers who created original material for radio included Norman Corwin, Carlton E. Morse, David Goodis, Archibald MacLeish, Arthur Miller, Arch Oboler, Wyllis Cooper, Rod Serling, Jay Bennett, and Irwin Shaw. Game shows Game shows saw their beginnings in radio. One of the first was Information Please in 1938, and one of the first major successes was Dr. I.Q. in 1939. Winner Take All, which premiered in 1946, was the first to use lockout devices and feature returning champions. A relative of the game show, which would be called the giveaway show in contemporary media, typically involved giving sponsored products to studio audience members, people randomly called by telephone, or both. An early example of this show was the 1939 show Pot o' Gold, but the breakout hit of this type was ABC's Stop the Music in 1948. Winning a prize generally required knowledge of what was being aired on the show at that moment, which led to criticism of the giveaway show as a form of "buying an audience". Giveaway shows were extremely popular through 1948 and 1949. They were often panned as low-brow, and an unsuccessful attempt was even made by the FCC to ban them (as an illegal lottery) in August 1949.[23] Broadcast production methods The RCA Type 44-BX microphone had two live faces and two dead ones. Thus actors could face each other and react. An actor could give the effect of leaving the room by simply moving their head toward the dead face of the microphone. The scripts were paper-clipped together. It has been disputed whether or not actors and actresses would drop finished pages to the carpeted floor after use. Radio stations Despite a general ban on use of recordings on broadcasts by radio networks through the late 1940s, "reference recordings" on phonograph disc were made of many programs as they were being broadcast, for review by the sponsor and for the network's own archival purposes. With the development of high-fidelity magnetic wire and tape recording in the years following World War II, the networks became more open to airing recorded programs and the prerecording of shows became more common. Local stations, however, had always been free to use recordings and sometimes made substantial use of pre-r

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Fernsehserien. Wenn das nichts zum Einschlafen ist. Würdet Ihr Euch einen Reacher-Podcast anhören?

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Melvyn Bragg and guests discuss one of the most consequential battles of recent centuries. On 20th September 1792 at Valmy, 120 miles to the east of Paris, the army of the French Revolution faced Prussians, Austrians and French royalists heading for Paris to free Louis XVI and restore his power and end the Revolution. The professional soldiers in the French army were joined by citizens singing the Marseillaise and their refusal to give ground prompted their opponents to retreat when they might have stayed and won. The French success was transformative. The next day, back in Paris, the National Convention abolished the monarchy and declared the new Republic. Goethe, who was at Valmy, was to write that from that day forth began a new era in the history of the world.With Michael Rowe Reader in European History at King's College LondonHeidi Mehrkens Lecturer in Modern European History at the University of AberdeenAndColin Jones Professor Emeritus of History at Queen Mary, University of LondonProducer: Simon TillotsonReading listT. C. W. Blanning, The French Revolutionary Wars, 1787-1802 (Hodder Education, 1996)Elizabeth Cross, ‘The Myth of the Foreign Enemy? The Brunswick Manifesto and the Radicalization of the French Revolution' (French History 25/2, 2011)Charles J. Esdaile, The Wars of the French Revolution, 1792-1801 (Routledge, 2018)John A. Lynn, ‘Valmy' (MHQ: Quarterly Journal of Military History, Fall 1992)Munro Price, The Fall of the French Monarchy: Louis XVI, Marie Antoinette and the baron de Breteuil (Macmillan, 2002)Simon Schama, Citizens: A Chronicle of the French Revolution (Penguin Books, 1989)Samuel F. Scott, From Yorktown to Valmy: The Transformation of the French Army in an Age of Revolution (University Press of Colorado, 1998)Marie-Cécile Thoral, From Valmy to Waterloo: France at War, 1792–1815 (Palgrave Macmillan, 2011)In Our Time is a BBC Studios Audio Production

Melvyn Bragg and guests discuss one of the most consequential battles of recent centuries. On 20th September 1792 at Valmy, 120 miles to the east of Paris, the army of the French Revolution faced Prussians, Austrians and French royalists heading for Paris to free Louis XVI and restore his power and end the Revolution. The professional soldiers in the French army were joined by citizens singing the Marseillaise and their refusal to give ground prompted their opponents to retreat when they might have stayed and won. The French success was transformative. The next day, back in Paris, the National Convention abolished the monarchy and declared the new Republic. Goethe, who was at Valmy, was to write that from that day forth began a new era in the history of the world.With Michael Rowe Reader in European History at King's College LondonHeidi Mehrkens Lecturer in Modern European History at the University of AberdeenAndColin Jones Professor Emeritus of History at Queen Mary, University of LondonProducer: Simon TillotsonReading listT. C. W. Blanning, The French Revolutionary Wars, 1787-1802 (Hodder Education, 1996)Elizabeth Cross, ‘The Myth of the Foreign Enemy? The Brunswick Manifesto and the Radicalization of the French Revolution' (French History 25/2, 2011)Charles J. Esdaile, The Wars of the French Revolution, 1792-1801 (Routledge, 2018)John A. Lynn, ‘Valmy' (MHQ: Quarterly Journal of Military History, Fall 1992)Munro Price, The Fall of the French Monarchy: Louis XVI, Marie Antoinette and the baron de Breteuil (Macmillan, 2002)Simon Schama, Citizens: A Chronicle of the French Revolution (Penguin Books, 1989)Samuel F. Scott, From Yorktown to Valmy: The Transformation of the French Army in an Age of Revolution (University Press of Colorado, 1998)Marie-Cécile Thoral, From Valmy to Waterloo: France at War, 1792–1815 (Palgrave Macmillan, 2011)In Our Time is a BBC Studios Audio Production

Kollmorgen: All the wild animals Tired Eyes Kingdom: Edge Isabelle Pabst: Bilder verlier'n Propaganda: They call me Nocebo Die Wilde Jagd: In Wonnenhieben (ft. The Allegorist) Boris Blank: Resonance Joachim Spieth: Irradiance Brandt Brauer Frick: Mad Rush Konformer: Noris Noir Monika Roscher Bigband: Witches Brew

Die Themen: Flohmarktfund entpuppt sich als wertvolles Meisterwerk; die anstehende Super Bowl Halbzeit-Show von Kendrick Lamar, New Yorkerin weigert sich nach geplatzter Hochzeit Pakistan zu verlassen; Goethe und Schiller umarmen sich dank KI; was Migration den Sozialstaat wirklich kostet; Andrew Tate Verfahren scheitert in Rumänien; der Graf von Unheilig über sein dramatisches Comeback; Jaden Smith trägt ein Dach als Fashion und das neue, sexy Album von FKA Twigs Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/ApokalypseundFilterkaffee

Nothing is so unworthy of a civilised nation as allowing itself to be governed without opposition by an irresponsible clique that has yielded to base instinct. It is certain that today every honest German is ashamed of his government.Who among us has any conception of the dimensions of shame that will befall us and our children when one day the veil has fallen from our eyes and the most horrible of crimes - crimes that infinitely outdistance every human measure - reach the light of day? If the German people are already so corrupted and spiritually crushed that they do not raise a hand, frivolously trusting in a questionable faith in lawful order of history; if they surrender man's highest principle, that which raises him above all other God's creatures, his free will; if they abandon the will to take decisive action and turn the wheel of history and thus subject it to their own rational decision; if they are so devoid of all individuality, have already gone so far along the road toward turning into a spiritless and cowardly mass - then, yes, they deserve their downfall. Goethe speaks of the Germans as a tragic people, like the Jews and the Greeks, but today it would appear rather that they are a spineless, will-less herd of hangers-on, who now - the marrow sucked out of their bones, robbed of their centre of stability - are waiting to be hounded to their destruction. So it seems - but it is not so. Rather, by means of gradual, treacherous, systematic abuse, the system has put every man into a spiritual prison. Only now, finding himself lying in fetters, has he become aware of his fate. Only a few recognised the threat of ruin, and the reward for their heroic warning was death. We will have more to say about the fate of these persons. If everyone waits until the other man makes a start, the messengers of avenging Nemesis will come steadily closer; then even the last victim will have been cast senselessly into the maw of the insatiable demon. Therefore every individual, conscious of his responsibility as a member of Christian and Western civilisation, must defend himself as best he can at this late hour, he must work against the scourges of mankind, against fascism and any similar system of totalitarianism. Offer passive resistance - resistance - wherever you may be, forestall the spread of this atheistic war machine before it is too late. - the white rose papers 1942 SOURCE: https://libcom.org/library/white-rose-leaflet-1DONATE:www.pcrf.netGET AN OCCASIONAL PERSONAL EMAIL FROM ME: www.makeyourdamnbedpodcast.comTUNE IN ON INSTAGRAM FOR COOL CONTENT: www.instagram.com/mydbpodcastOR BE A REAL GEM + TUNE IN ON PATREON: www.patreon.com/MYDBpodcastOR WATCH ON YOUTUBE: www.youtube.com/juliemerica The opinions expressed by Julie Merica and Make Your Damn Bed Podcast are intended for entertainment purposes only. Make Your Damn Bed podcast is not intended or implied to be a substitute for professional medical advice, diagnosis or treatment. Get bonus content on PatreonSupport this show http://supporter.acast.com/make-your-damn-bed. Hosted on Acast. See acast.com/privacy for more information.