Podcasts about hungarian american

The gifted young Hungarian/American pianist Julia Hamos presents Ellis Island, one of the most impressive solo piano debut releases in recent memory, featuring works by Kurtag, Bartok, Ligeti, Meredith Monk, Charles Mingus and Schubert. Promotional video - https://www.facebook.com/reel/621337480674569Ligeti's Fanfares - https://www.youtube.com/watch?v=tItbf6F-M3ALink to purchase - https://www.prestomusic.com/classical/products/9759948--ellis-island?srsltid=AfmBOorpob-cx3Rc0JrrcaEg1sIz9QHIn6gnHJQ7ssacJ2q_cgF5Irm-

In this episode, James Lawther and Jimmy Barber discuss “Flow”, a mental state where we achieve peak performance whilst our actions feel effortless. They discuss how Hungarian-American psychologist Mihaly Csikszentmihalyi discovered this phenomenon, and they also explore the benefits of being in the “Flow” state and its effect on happiness. The discussion leads to practical tips on achieving and maintaining flow state - setting clear goals, challenging yourself, eliminating distractions, and creating the best environment. Finally, the hosts share personal experiences and recommend resources for further understanding. You can tune in to learn how to boost your performance and enjoyment at work.They also carry on their British obsession with the weather and share some research secrets!Ali Abdaal - YouTubeGot a question - get in touch. Click here.

Welcome back to Part 2 of our interview with Kati Csoman along with my co-host Dr. Anna Fenyvesi in our series of Celebrating Hungarian Heritage Together. If you haven't listened to part one of Kati's family story where she talks about her dad, Endre's emigration to the US and his contributions to the American Hungarian community, you can certainaly do that either before or after you listen to this episode. You will still be able to appreciate the Csoman family story regardless of which order you listen. In this episode we are picking up where we left off with the Csoman Family Legacy where you will hear all about Kati's  Hungarian American experiences as a first born American Hungarian of immigrants, and her continued contributions to the American Hungarian legacy. You will certainly feel the Hungarian connection when listening to Kati's story, and you will realize that you are not alone in your Hungarian Heritage journey. Listen along as we Celebrate Hungarian heritage together.If you're interested in purchasing a copy of Hungarian Roots and American Dreams, either in English or in Hungarian, or if you are interested in joining the Facebook group, you will find that information below, as well as, how you can get in contact with Dr. Anna Fenyvesi. If you're interested in getting in contact with Kati Csoman, please send us an email and we will forward your contact information to Kati with her permission. If you have feedback or questions about this episode or you would like to connect with me at the podcast, you will also find that information below. If you've enjoyed this episode and you're interested in learning more about this Hungarian Heritage community, please don't hesitate to reach out. I would love to hear from you. Our theme music is Hungarian Dance by Pony Music, used with special license from Envato Market. Don't forget to subscribe, rate, and review wherever you listen to your podcasts. Thanks again for listening, and until next time, make sure you Stay Hungarian Heritage Strong!  SziastokCONNECT with Dr. Anna Fenyvesi Instagram: @hungarianroots_americandreamsFacebook : Hungarian Roots and American DreamsEmail : fenyvesi@lit.u-szeged.huPurchase a copy of Hungarian Roots and American Dreams through this email: hungarianrootsamericandreams@rootstories.huCONNECT with the Podcast Website: www.myhungarianheritage.com Email: Christine@myhungarianheritage.comInstagram: @hungarianheritagepodcastFacebook: Hungarian Heritage Podcast  *If you would like to get in touch with Katie Csoman, you can reach out to either Anna or myself and we will connect you by email with Kati's permission.         

They told her she would never succeed, now her work has saved millions. In this episode, Ryan talks with Dr. Katalin Karikó, the scientist behind the mRNA technology that led to COVID-19 vaccines. She grew up in rural Communist Hungary, faced rejection after rejection, got demoted, and struggled financially but she never stopped chasing the science. Dr. Katalin Karikó opens up to Ryan about her experiences as an immigrant in the U.S., the grind of scientific discovery, enjoying the process rather than focusing solely on outcomes, misinformation in the scientific community, and the responsibility of scientists to communicate effectively with the public.Dr. Katalin Karikó is a Hungarian American biochemist who specializes in RNA-mediated mechanisms. She won the 2023 Nobel Prize in Physiology or Medicine with her colleague Dr. Drew Weissman for their discoveries concerning nucleoside base modifications that enabled the development of effective mRNA vaccines against COVID-19. Read the New York Times feature on Dr. Katalin Karikó hereFollow Dr. Katalin Karikó on Instagram @katalin_kariko Check Dr. Katalin Karikó's memoir Breaking Through: My Life in Science

Gábor István Szabó (March 8, 1936 – February 26, 1982) was a Hungarian-American guitarist who made significant contributions to jazz music.

USAID “Sen. Ted Cruz, R-Texas, slammed the U.S. Agency for International Development [USAID] after The Daily Signal highlighted its longstanding partnership with the leftist funding network established by Hungarian American billionaire George Soros.” (DailySignal.com) Cruz pointed out that the woke leftists running USAID were in step with the priorities of George Soro and his global NGO network. USAID has been scrutinized since day one of Trump's presidency when he put a freeze on foreign aid spending. Trump appointed Elon Musk to head the Department of Government Efficiency, popularly known as DOGE, to help weed out waste and inefficiency. Musk has...Article Link

Hálaadás  Amerikában – Töröcsik Dániel és Béres Attila (DR BRS)   Ebben a rendhagyó MÓKA Podcast epizódban két különleges vendég, Töröcsik Dániel és Béres Attila, ismertebb nevén DR BRS, csatlakozott hozzánk egy igazán sokoldalú és elgondolkodtató beszélgetésre. A Hálaadás apropóján indultunk, de hamarosan olyan témákba merültünk, amelyek mindannyiunk életét érintik – még ha néha nehéz is róluk beszélni.   Töröcsik Dániel: Dani a magyar kulturális élet egyik kiemelkedő alakja. tetováló művészként bokszolóként és árulóként ismert, aki nemcsak Magyarországon, hanem az Egyesült Államokban élő magyar közösségek számára is fontos hang. Őszintesége és humorérzéke révén olyan témákat is képes könnyedén megközelíteni, amelyek máskor tabunak számítanak. Dani rendkívül nyitott személyiség, aki mindig szívesen osztja meg gondolatait a hagyományokról, értékekről és az emberek közötti kapcsolódásról.   Béres Attila (DR BRS): Attila egy valódi zenei ikon, aki a modern magyar popkultúrában egyedi stílust képvisel. DJ-ként és producerként olyan slágereket hozott létre, amelyek mindenki számára ismerősek lehetnek. Zenei karrierje mellett rendkívül elgondolkodtató meglátásai vannak a világ működéséről, és a podcast során megmutatta azt a mélyebb oldalát, amelyet ritkán láthatunk a reflektorfényben.   Témák, amikről beszélgettünk:  1. Hálaadás Amerikában és Magyarországon:    2. Szexuális zaklatás – P Diddy be trollkodta magát a podkesztünkbe    3. Halloween és Valentin-nap – Magyarország vs. Amerika    4. Hit, Isten, vallás   Miért érdemes meghallgatnod ezt az epizódot?   Ez a podcast nemcsak szórakoztató, hanem elgondolkodtató is. A humor és a mélyebb tartalom tökéletes egyensúlyával Dani és Attila képesek voltak a legkomplexebb témákat is könnyedén és őszintén megközelíteni. Ha kíváncsi vagy, hogyan látják a magyarok Amerikát, hogyan alakulnak át az ünnepek, vagy csak szeretnél egy jót nevetni és közben elmerülni a lélek mélyebb kérdéseiben, akkor ez az epizód neked szól.  

Professor László Boros is a Hungarian-American biochemist known for his research in cancer metabolism, deuterium-depleted water, and mitochondrial function. He has extensively studied how deuterium, a heavier isotope of hydrogen, affects cellular metabolism and its implications for health, particularly in relation to cancer and metabolic diseases.   ✅ Dr Chaffee's website: www.thecarnivorelife.com ✅Join my PATREON for early releases, bonus content, and weekly Zoom meetings! https://www.patreon.com/AnthonyChaffeeMD ✅Sign up for our 30-day carnivore challenge and group here! https://www.howtocarnivore.com/ ✅Stockman Steaks, Australia Discount link for home delivered frozen grass-fed and grass finished pasture raised meat locally sourced here in Australia! Use discount code "CHAFFEE" for free gift with qualifying orders! http://www.stockmansteaks.com.au/chaffee ✅ 60-minute consultation with Dr Chaffee https://calendly.com/anthonychaffeemd/60-minute-consultation   Sponsors and Affiliates: ✅ Brand Ambassador for Stone and Spear tallow and soaps referral link https://www.stoneandspeartallow.com/?ref=gx0gql8b Discount Code "CHAFFEE" for 10% off ✅ Carnivore t-shirts from the Plant Free MD  www.plantfreetees.com ✅THE CARNIVORE BAR: Discount Code "Anthony" for 10% off all orders!   https://the-carnivore-bar.myshopify.com/?sca_ref=1743809.v3IrTuyDIi ✅Schwank Grill (Natural Gas or Propane) https://glnk.io/503n/anthonychaffeemd $150 OFF with Discount Code: ANTHONYMD ✅X3 bar system with discount code "DRCHAFFEE" https://www.kqzyfj.com/click-100676052-13511487 ✅Cerule Stem cells https://DrChaffee.cerule.com ✅CARNIVORE CRISPS: Discount Code "DRCHAFFEEMD" for 10% off all orders! www.carnivorecrisps.com ✅Shop Amazon https://www.amazon.com/shop/anthonychaffeemd?ref=ac_inf_hm_vp   And please like and subscribe to my podcast here and Apple/Google podcasts, as well as my YouTube Channel to get updates on all new content, and please consider giving a 5-star rating as it really helps!   This podcast is for general informational purposes only and does not constitute the practice of medicine, nursing or other professional health care services, including the giving of medical advice, and no doctor/patient relationship is formed. The use of information on this podcast or materials linked from this podcast is at the user's own risk. The content of this podcast is not intended to be a substitute for professional medical advice, diagnosis, or treatment. Users should not disregard or delay in obtaining medical advice for any medical condition they may have and should seek the assistance of their health care professionals for any such conditions. Music Credit: Music by: bensound.com License code: MPTEUCI8DAXJOKPZ Music: bensound.com License code: FJQPPMCJLHEOYGQB Music: Bensound.com/royalty-free-music License code: KQAKMWSXIH3MJ4WX Music I use: https://www.bensound.com License code: 58NN4QOSKWJ7ASX9   

This is the Catchup on 3 Things by The Indian Express and I'm Flora Swain.Today is the 9th of December and here are the headlines.India called for a “peaceful and inclusive Syrian-led political process” which respects the interests and aspirations of all sections of Syrian society, in its first statement today since the fall of Syrian President Bashar al-Assad on Sunday. Bashar al-Assad fled Syria for Russia after Islamist rebels managed to advance and capture Damascus on Sunday. The Syrian conflict since 2011 had been frozen for the last few years and the Assad regime had managed to stave off any possible insurrection but that changed in the last few days, as the rebels advanced against the Syrian regime's army.The Lok Sabha faced disruptions amid slogans raised by Opposition MPs, leading to an adjournment. In the Rajya Sabha, Leader of the House JP Nadda made a brief statement seeking a discussion on the Soros issue. Meanwhile, Congress has called for a comprehensive debate on the India-China ties, encompassing strategic and economic policies. This comes as a response to External Affairs Minister S Jaishankar's recent briefing in Lok Sabha on key developments in bilateral relations following the agreement on patrolling along the Line of Actual Control in easter Ladakh.After the Maharashtra Assembly Speaker's election was formally announced in the House today, the Assembly passed the confidence vote in favour of  Devendra Fadnavis led government by majority voice vote. BJP MLA Rahul Narvekar was elected as the Speaker unopposed after Opposition Maha Vikas Aghadi parties refused to file nomination. The confidence motion in the assembly was accepted as ruling coalition has 237 MLAs in 288 member assembly. The Opposition MVA has placed a formal demand seeking the Leader of Opposition post and the Deputy Speaker post in the Assembly.In its second list of candidates for the Delhi Assembly elections scheduled in February 2025, the Aam Aadmi Party today changed nominees in 20 of the 70 constituencies in the Capital. There are widespread changes in the AAP candidate list, with the ruling party dropping 13 of its sitting MLAs. Two sitting MLAs, Manish Sisodia and Rakhi Bidlan, have been fielded from new constituencies of Jundpura and Manipur, respectively. Avadh Ojha, a popular UPSC coaching teacher and motivational speaker who joined the AAP recently, replaced Manish Sisodia in Patparganj. Meanwhile, Union Minister of Parliamentary Affairs Kiren Rijiju said today that the alleged links between the Congress and Hungarian-American businessman should be considered “serious” and urged the opposition party  to fight unitedly against “anti-India forces”. He also said the matter should not be viewed through a “political lens.” The BJP minister's statement comes a day after the BJP alleged that former Congress president Sonia Gandhi has links to an organisation financed by the George Soros Foundation and which has backed the idea of Kashmir as an independent nation.This was the Catch Up on 3 Things by The Indian Express.

Welcome to this episode of the Hungarian Heritage Podcast, where I had the pleasure of speaking with Monika Marianna Kiss, a Hungarian born artist who has been involved in the arts since she was a young girl in Nyiregyhaza, Hungary. Monika is an award-winning opera singer, composer, actor, dancer, world traveler, and a critically acclaimed abstract painter. Monika will share where she draws inspiration for her abstract fine art paintings, her recent Hungarian American series of paintings, and we will also discuss her goals for opening an art gallery. Of course, we will also talk about Monika's Hungarian heritage journey to the United States, where she draws inspiration from the positive American spirit that she blends into the colorful palettes of her art. I am certainly excited to continue following Monika's art journey. Don't' forget to check below for information about how you can connect with Monika, and to find all of the places you can follow her on social media.  If you have feedback or questions about this episode or you would like to connect with me at the podcast, you will find all of the ways to contact me below.. If you've enjoyed this episode and you're interested in learning more about this Hungarian Heritage community, please don't hesitate to reach out. I would love to hear from you.  Our theme music is Hungarian Dance by Pony Music, used with special license from Envato Market. Don't forget to subscribe, rate and review wherever you listen to your podcasts. Thanks again for listening, and until next time, make sure you Stay Hungarian Heritage Strong!  SziastokCONNECT with Monika Marianna KissInstagram: @mkmfineartFacebook: Monika Marianna Kiss-HalleranWebsite: www.mkmfineart.com CONNECT with the Podcast Website: www.myhungarianheritage.com Email: Christine@myhungarianheritage.comInstagram: @hungarianheritagepodcastFacebook: Hungarian Heritage Podcast   

Join your host Ellie Cleary in this conversation with Dr Mia Hetenyi where we dive deeply into the wisdom and healing potential of Chiron the so called "wounded healer" in astrology, from a more wholistic, empowered perspective. We explore how we can transmute the Chiron "wound", and why the places that we feel Chiron can turn out to be our greatest gifts. Dr. Mia Hetényi is a grief doula, psychospiritual mentor, ritual facilitator, initiated Dagara Diviner, AstroSophist and Hungarian-American medicine woman with a doctorate in clinical psychology from the California Institute of Integral Studies.Her life's work has culminated in founding the Dreaming Awake Institute. Here vision is to foster conscious, loving and generative spaces for grief tending, ancestral healing and recovering our sense of interdependent humanity through remembering both the healing technology of ritual and the spiritually transformative nature of grief.Connect with Mia: Instagram: https://www.instagram.com/sacred_alchemyWebsite: www.dreamingawake.orgBook a Medicine natal chart reading with Mia: https://calendly.com/dreamingawake/medicineIf you enjoyed today's episode please do leave a rating and review on your podcast app to help more people find this show. Thank you! To connect with me, head over to elliecleary.com to join my newsletter or connect with me on Instagram or Facebook @ellieclearycoachingTo our rising!

Some of the greatest scientific advancements of all time were made completely on accident or weren't recognized until far after the discoverer's death. But how do you stay motivated as a scientist when things don't go according to plan? To tackle this topic, we're interviewing Dr. Karikó, a Nobel Prize winner who's had her fair share of ups and downs through decades of researching mRNA. Join us in a conversation about her thoughts on prioritizing health through hard work, future applications of mRNA technology, and the power of focusing on self-improvement amidst a world full of comparisons.Dr. Katalin Karikó is a Hungarian-American researcher known for her work in mRNA technology. In 2023, she was awarded the Nobel Prize in Physiology or Medicine along with Dr. Drew Weissman for the applications of her work in modifying mRNA to develop COVID-19 vaccines. Dr. Karikó is also a senior vice president at BioNTech and an adjunct professor of Neurosurgery at the University of Pennsylvania. 

Fluent Fiction - Hungarian: Love in Savannah: How a Chance Meeting Sparked a Joint Passion Find the full episode transcript, vocabulary words, and more:fluentfiction.org/love-in-savannah-how-a-chance-meeting-sparked-a-joint-passion Story Transcript:Hu: Savannah nyár közepén mindig tele van élettel.En: Savannah is always full of life in the middle of summer.Hu: A River Street vibrálóan eleven a kávézók és boltok sorával.En: River Street is vibrantly alive with its rows of cafés and shops.Hu: Egy ilyen kávézóban, a Corner Café-ben, találkozott először Zoltán és Eszter.En: It was in one such café, the Corner Café, where Zoltán and Eszter first met.Hu: Zoltán egy magyar férfi, aki a tech iparban dolgozik Savannah-ban.En: Zoltán is a Hungarian man working in the tech industry in Savannah.Hu: Szenvedélye a fényképezés volt.En: His passion was photography.Hu: Mindig a tökéletes pillanatot kereste.En: He was always looking for the perfect moment.Hu: Egy hétfő reggel lépett be a Corner Café-ba, hogy megigyon egy kávét és átnézze legújabb képeit.En: One Monday morning, he walked into the Corner Café to have a coffee and review his latest photos.Hu: Eszter, egy fiatal magyar-amerikai nő, szintén itt volt.En: Eszter, a young Hungarian-American woman, was also there.Hu: A helyi egyetemen tanult tengerbiológiát.En: She was studying marine biology at the local university.Hu: Szeretett új helyeket felfedezni Savannah-ban.En: She loved exploring new places in Savannah.Hu: Aznap reggel kutatási anyagokat tanulmányozott egy asztalnál.En: That morning, she was studying research materials at a table.Hu: Zoltán rendelt egy kávét és leült mellettük lévő asztalhoz.En: Zoltán ordered a coffee and sat at the table next to her.Hu: Amikor leejtette a fényképezőgépét, Eszter rákérdezett:- Szép kamera!En: When he dropped his camera, Eszter asked: - Nice camera!Hu: Foglalkozol fényképezéssel?En: Do you do photography?Hu: Zoltán mosolyogva válaszolt:- Igen, ez a szenvedélyem.En: Zoltán smiled and replied: - Yes, it's my passion.Hu: És te, mivel foglalkozol?En: And you, what do you do?Hu: - Tengerbiológiát tanulok.En: - I study marine biology.Hu: A helyi vizek élővilága érdekel – mondta Eszter.En: I'm interested in the local waters' wildlife – said Eszter.Hu: A beszélgetésük gyorsan folytatódott.En: Their conversation continued quickly.Hu: Zoltán elmesélte, hogy új fényképezési helyeket keres.En: Zoltán shared that he was looking for new photography spots.Hu: Eszter pedig elmondta, hogy kutatási anyagokat gyűjt a River Street környékén.En: Eszter mentioned that she was collecting research materials around the River Street area.Hu: Mindketten megértették, hogy időbe telik, amíg találkozásokra időt tudnak szánni.En: They both understood that it would take time to schedule meetings.Hu: De Eszter kíváncsi volt Zoltán munkájára és Zoltán is érdeklődött Eszter kutatásai iránt.En: But Eszter was curious about Zoltán's work, and Zoltán was also interested in Eszter's research.Hu: Egy nap Zoltán csatlakozott egy helyi fényképész csoporthoz.En: One day, Zoltán joined a local photography group.Hu: Új inspirációt keresett.En: He was seeking new inspiration.Hu: Eszter pedig úgy döntött, hogy a város történelmi részeit fedezi fel.En: Eszter decided to explore the historical parts of the city.Hu: Így találkozhattak a River Street különböző pontjain.En: That's how they could meet at various points along River Street.Hu: A találkozások azonban mindig rövidek voltak.En: However, their meetings were always brief.Hu: Mindketten elfoglaltak voltak.En: Both were busy.Hu: De egyszer mindketten jelentkeztek egy környezetvédelmi tisztító akcióra a Savannah folyó mentén.En: But once, they both signed up for an environmental cleanup event along the Savannah River.Hu: Aznap, miközben együtt szedték a szemetet, észrevették, hogy sok közös értékük van.En: That day, while picking up litter together, they noticed they had many values in common.Hu: Mindketten tisztelték a természetet és szerettek volna valami jót tenni érte.En: They both respected nature and wanted to do something good for it.Hu: Zoltán megörökítette a pillanatot a fényképezőgépével, és Eszter megosztotta kutatási eredményeit Zoltánnal.En: Zoltán captured the moment with his camera, and Eszter shared her research findings with Zoltán.Hu: Eldöntötték, hogy közös projektbe kezdenek.En: They decided to start a joint project.Hu: Zoltán fotókkal dokumentálta Eszter kutatásait a helyi élővilágról.En: Zoltán documented Eszter's research on the local wildlife with his photos.Hu: Egyikük sem gondolta, hogy a munkájuk lesz az alapja egy új kapcsolatnak.En: Neither of them imagined that their work would be the foundation of a new relationship.Hu: Zoltán nyitottabbá vált arra, hogy összekapcsolja személyes és szakmai életét.En: Zoltán became more open to connecting his personal and professional life.Hu: Eszter megtanulta, hogy az együttműködés boldogabbá és hatékonyabbá teszi a munkát.En: Eszter learned that collaboration makes work happier and more effective.Hu: Együttérzőbbé és boldogabbá váltak.En: They became more compassionate and happier.Hu: A közös projektjük során pedig mélyebb kapcsolatot alakítottak ki egymással.En: During their joint project, they developed a deeper connection with each other.Hu: A River Street továbbra is ugyanabban a nyüzsgő városrészben maradt.En: River Street remained the same bustling part of the city.Hu: De Zoltán és Eszter számára ez lett a hely, ahol szerelmük és közös munkájuk kezdődött.En: But for Zoltán and Eszter, it became the place where their love and joint work began.Hu: Találtak egyensúlyt az életükben, és együtt néztek előre egy fényesebb jövő felé.En: They found balance in their lives and looked forward to a brighter future together.Hu: A nyár végére Zoltán és Eszter nemcsak munkatársak, hanem partnerek is lettek az életben.En: By the end of summer, Zoltán and Eszter became not just colleagues but partners in life. Vocabulary Words:vibrantly: vibrálóanmoment: pillanatmarine: tengerwildlife: élővilágshared: megosztottabrief: rövidspotted: észrevettékcleanup: tisztító akciólitter: szemétvalues: értékekrespect: tiszteletdocumented: dokumentáltafoundation: alapjacollaboration: együttműködéshappier: boldogabbcompassionate: együttérzőbustling: nyüzsgőbalance: egyensúlybrighter: fényesebbpassion: szenvedélyreview: átnézzeresearch: kutatáscollecting: gyűjtinspiration: inspirációhistorical: történelmivarious: különbözőjoined: csatlakozottnoticed: észrevettékfindings: eredményeitrelationship: kapcsolat

Ananyo Bhattacharya's "The Man from the Future: The Visionary Life of John Von Neumann" is a fascinating book about the Hungarian-American mathematician. It's a shame that most of us know little about the man. Dr Bhattacharya digs deep into the mathematician's early days and how he went on to have a lasting impact in different fields including nanotechnology, game theory, artificial intelligence and quantum physics.

With the global media's attention trained on Gaza since October 7, things have worsened for Palestinians in the occupied West Bank, and near impossible for journalists to cover.With their movement severely restricted, dozens of Palestinian journalists have been arrested, often held without trial or charge.Contributors:Anan Quzmar - JournalistAssal Rad - Middle East Scholar and AuthorMariam Barghouti - Writer and JournalistOren Ziv - Journalist, +972 MagazineOn our radar:Ahead of an upcoming election in India, there has been a slew of movie releases built around key Modi government talking points. Producer Tariq Nafi discusses Bollywood's role in electioneering.George Soros - Financier, philanthropist Or bogeyman?Hungarian-American billionaire financier and philanthropist George Soros has been at the centre of countless conspiracy theories. Flo Phillips sifts through fact and fiction to understand how the crusade against Soros became one of the most destructive smear campaigns of the 21st century and a blueprint for others.Featuring:Emily Tamkin - Author, The Influence Of SorosHannes Grassegger - Reporter and Founder, Polaris NewsMarius Dragomir - Director, Center For Media, Data and Society (CMDS)Credits: George Soros images courtesy of the Open Society Foundations

Support me by becoming wiser and more knowledgeable – check out Mihaly Csikszentmihalyi's collection of books for sale on Amazon here: https://amzn.to/3TARybi If you purchase a book through this link, I will earn a 4.5% commission and be extremely delighted. But if you just want to read and aren't ready to add a new book to your collection yet, I'd recommend checking out the ⁠⁠⁠Internet Archive⁠⁠⁠, the largest free digital library in the world. If you're really feeling benevolent you can buy me a coffee or donate over at ⁠https://ko-fi.com/theunadulteratedintellect⁠⁠. I would seriously appreciate it! __________________________________________________ Mihaly Robert Csikszentmihalyi (29 September 1934 – 20 October 2021) was a Hungarian-American psychologist. He recognized and named the psychological concept of "flow," a highly focused mental state conducive to productivity. He was the Distinguished Professor of Psychology and Management at Claremont Graduate University. Earlier he served as the head of the department of psychology at the University of Chicago and of the department of sociology and anthropology at Lake Forest College. Audio source here Full Wikipedia entry here Mihaly Csikszentmihalyi's books here --- Support this podcast: https://podcasters.spotify.com/pod/show/theunadulteratedintellect/support

Civil society groups in Turkey say their future hangs in the balance as more and more international donors pull out or cut back their support. Overseas funding is drying up as Turkish President Recep Tayyip Erdogan steps up his crackdown against critical voices. Buoyed by his re-election in May, Erdogan is continuing to make life difficult for elements of Turkey's civil society that he accuses of threatening democracy.Now organisations like Spod, an LGBTQ+ advocacy group in Istanbul, are also facing a financial battle for survival. Since the elections, fewer of the group's applications for international funding are being accepted, claims Spod's general coordinator Ogulcan Yediveren."It is the data, it's not an evaluation," he says. "It is almost impossible to continue do all these activities based on volunteering. So this funding is important for organisations to survive."Yediveren warns the shortfall in funding will inevitably impact the group's activities, which include providing telephone helplines and legal and psychological support for LGBTQ+ people.  International funding is Spod's only source of income, he explains. "We don't have any other financial resource. So as long as we receive these international funds, we can continue our activities."Shifting prioritiesThe crackdown is adding to international donors' concerns over how effective Turkish civil society organisations really are. "I heard and I was told that donors do not see the output, the impact of such things – the outcome, effectively, for the money that they invest in Turkey," says Sinan Gokcen, head of the Turkish branch of the Sweden-based Civil Rights Defenders group."They are thinking: 'Well, we've been supporting civil society organisations for several years but we don't see any change.'"Gokcen believes there has been a decline in international funding as a result."This has been intensified, especially after the election period," he says. "And finally, for some big donors, the war in Ukraine took their money – they prioritised supporting civil society organisations within Ukraine."The earthquakes in southern Turkey in February also saw donors switch support away from civil society organisations and towards humanitarian relief. Far from Turkey's earthquake zone, volunteers seek ways to helpExodusThe list of major donors withdrawing their support continues to grow. Open Society Foundations, founded by Hungarian-American philanthropist George Soros, was once a significant supporter of Turkey's civil society – until it pulled out in 2018, blaming government pressure."Open Society is no longer funding in Turkey – I think it was around 2 million dollars for civil society and an extra 2 million funding for refugee organisations," says Ekrem Murat Celikkan, co-director of Hafiza Merkezi, an association working to support human rights and justice. "The Chrest Foundation from the US also stopped funding because it was targeted by the pro-government press severely," he adds, recounting that both the family that runs the foundation and the groups they supported were subjected to hostile coverage.The Chrest Foundation confirmed in an email it was ending its financial support of civil society in Turkey, citing unspecified reasons. But the foundation said some groups may be eligible for support in the future. Philanthropist jailedDomestic financial support is also drying up after Turkish philanthropist Osman Kavala was given a life sentence for seeking to overthrow the government.Kavala was imprisoned for supposedly backing the 2013 Gezi Park protests against Erdogan's rule – a decision condemned by both Washington and the European Court of Human Rights.But Erdogan robustly defends the verdict."There is a person who financed the terrorists in the Gezi events. Now he is behind bars," Erdogan bellowed in a 2018 speech, referring to Kavala without naming him."And who is behind him? The famous Hungarian Jew Soros. This person sends people across the world to divide and tear up nations and uses the large amount of money he possesses to this effect."Soros's Open Society Foundations denied any link to the protests, and pulled out of Turkey days after Erdogan's speech.No more space to shrinkErdogan routinely accuses civil society groups of conspiring against him with international donors. The president is continuing to introduce new controls, while prominent members of civil society have found themselves arrested and prosecuted. Leading Turkish doctor convicted over call for chemical weapons inquiry“We shrank and shrank and there's no space to shrink anymore. So this is the end of the story," warns Gokcen of Civil Rights Defenders. "We are squeezed in a very narrow field in terms of civil society activism and organisations."For Yediveren, who continues to send applications for international funding for Spod amid renewed attacks on Turkey's LBGTQ+ communities, the future is bleak. "If these civil society organisations collapse, there will be no independent support mechanism to empower ourselves," he warns."Probably we will find new ways to come together, and somehow we will create a safe space for ourselves, but probably we will not be as visible as now. And visibility is very important, because this polarisation also feeds homophobia."

The Nobel Assembly awarded Katalin Kariko and Drew Weissman for their discoveries that enabled the development of effective mRNA vaccines against COVID-19.

Edward Teller (Hungarian: Teller Ede; January 15, 1908 – September 9, 2003) was a Hungarian-American theoretical physicist who is known colloquially as "the father of the hydrogen bomb" and one of the creators of the Teller–Ulam design. Teller was known for his scientific ability and his difficult interpersonal relations and volatile personality. Born in Hungary in 1908, Teller emigrated to the United States in the 1930s, one of the many so-called "Martians", a group of prominent Hungarian scientist émigrés. He made numerous contributions to nuclear and molecular physics, spectroscopy (in particular the Jahn–Teller and Renner–Teller effects), and surface physics. His extension of Enrico Fermi's theory of beta decay, in the form of Gamow–Teller transitions, provided an important stepping stone in its application, while the Jahn–Teller effect and the Brunauer–Emmett–Teller (BET) theory have retained their original formulation and are still mainstays in physics and chemistry. Teller made contributions to Thomas–Fermi theory, the precursor of density functional theory, a standard modern tool in the quantum mechanical treatment of complex molecules. In 1953, with Nicholas Metropolis, Arianna Rosenbluth, Marshall Rosenbluth, and Augusta Teller, Teller co-authored a paper that is a standard starting point for the applications of the Monte Carlo method to statistical mechanics and the Markov chain Monte Carlo literature in Bayesian statistics. Teller was an early member of the Manhattan Project, which developed the first atomic bomb. He made a serious push to develop the first fusion-based weapons, but ultimately fusion bombs only appeared after World War II. He co-founded the Lawrence Livermore National Laboratory and was its director or associate director. After his controversial negative testimony in the Oppenheimer security hearing of his former Los Alamos Laboratory superior, J. Robert Oppenheimer, the scientific community ostracized Teller. Teller continued to find support from the U.S. government and military research establishment, particularly for his advocacy for nuclear energy development, a strong nuclear arsenal, and a vigorous nuclear testing program. In his later years, he advocated controversial technological solutions to military and civilian problems, including a plan to excavate an artificial harbor in Alaska using a thermonuclear explosive in what was called Project Chariot, and Ronald Reagan's Strategic Defense Initiative. Teller was a recipient of the Enrico Fermi Award and the Albert Einstein Award. He died on September 9, 2003, in Stanford, California, at 95. Original video ⁠⁠here Full Wikipedia entry ⁠⁠here⁠⁠ Edward Teller's books ⁠⁠here --- Support this podcast: https://podcasters.spotify.com/pod/show/theunadulteratedintellect/support

Cornelius (Cornel) Lanczos (February 2, 1893 – June 25, 1974) was a Hungarian-Jewish, Hungarian-American and later Hungarian-Irish mathematician and physicist. According to György Marx he was one of The Martians. He was born in Fehérvár (Alba Regia), Fejér County, Kingdom of Hungary to Jewish parents, Károly Lőwy and Adél Hahn. Lanczos' Ph.D. thesis (1921) was on relativity theory. He sent his thesis copy to Albert Einstein, and Einstein wrote back, saying: "I studied your paper as far as my present overload allowed. I believe I may say this much: this does involve competent and original brainwork, on the basis of which a doctorate should be obtainable ... I gladly accept the honorable dedication." In 1924 he discovered an exact solution of the Einstein field equation representing a cylindrically symmetric rigidly rotating configuration of dust particles. This was later rediscovered by Willem Jacob van Stockum and is known today as the van Stockum dust. It is one of the simplest known exact solutions in general relativity and is regarded as an important example, in part because it exhibits closed timelike curves. Lanczos served as assistant to Albert Einstein during the period of 1928–29. In 1927 Lanczos married Maria Rupp. He was offered a one-year visiting professorship from Purdue University. For a dozen years (1927–39) Lanczos split his life between two continents. His wife Maria Rupp stayed with Lanczos' parents in Székesfehérvár year-around while Lanczos went to Purdue for half the year, teaching graduate students matrix mechanics and tensor analysis. In 1933 his son Elmar was born; Elmar came to Lafayette, Indiana with his father in August 1939, just before WW II broke out.  Maria was too ill to travel and died several weeks later from tuberculosis. When the Nazis purged Hungary of Jews in 1944, of Lanczos' family, only his sister and a nephew survived. Elmar married, moved to Seattle and raised two sons. When Elmar looked at his own firstborn son, he said: "For me, it proves that Hitler did not win." During the McCarthy era, Lanczos came under suspicion for possible communist links. In 1952, he left the U.S. and moved to the School of Theoretical Physics at the Dublin Institute for Advanced Studies in Ireland, where he succeeded Erwin Schrödinger and stayed until his death in 1974. In 1956 Lanczos published Applied Analysis. The topics covered include "algebraic equations, matrices and eigenvalue problems, large scale linear systems, harmonic analysis, data analysis, quadrature and power expansions...illustrated by numerical examples worked out in detail." The contents of the book are stylized "parexic analysis lies between classical analysis and numerical analysis: it is roughly the theory of approximation by finite (or truncated infinite) algorithms." Original video ⁠⁠here Full Wikipedia entry ⁠⁠here⁠⁠ Cornelius Lanczos' books ⁠⁠here --- Support this podcast: https://podcasters.spotify.com/pod/show/theunadulteratedintellect/support

Katalin Karikó is a Hungarian-American biochemist. She is one of the inventors of mRNA technology. Full transcript available at: thejspod.com. Episode recorded on 15 February 2023.See omnystudio.com/listener for privacy information.

Spending time with the Breaking Ice theater based diversity, equity, and inclusion program gave rise to a question: How might new insights about how the brain works might help us better understand the how and why of our continuing struggle with difference? Here is what ensued. LISTEN TO Breaking Ice Chapter 1LISTEN TO Breaking Ice Chapter 2Change the Story / All Episodes Change the Story Collections - Our full catalogue of Episodes in 12 Collections: Justice Arts, Art & Healing, Cultural Organizing, Arts Ed./Children & Youth, Community Arts Training, Music for Change, Theater for Change, Change Making Media, Creative Climate Action, Art of the RuralNotable MentionsBreaking Ice is the award-winning program of Pillsbury House Theatre that for over 20 years has been “breaking the ice” for courageous and productive dialogue around issues of diversity, equity and inclusion in the workplace. A diverse company of professional actors portrays real-life situations that are customized to meet the goals, needs and culture of each unique organization we serve.Pillsbury House and Theater is a groundbreaking “new model for human service work that recognizes the power of the arts and culture to stimulate community participation, investment and ownership.” Mihaly Csikszentmihalyi: was a Hungarian-American psychologist. He recognized and named the psychological concept of "flow", a highly focused mental state conducive to productivity.[1][2] He was the Distinguished Professor of Psychology and Management at Claremont Graduate University. He was also the former head of the department of psychology at the University of Chicago and of the department of sociology and anthropology at Lake Forest College.[3]SourcesQuestion 2: How does our environment what we think and believe? 1.Lobel, T. (2014) Sensations: The New Science of Physical Intelligence, Simon & Schuster.2 Eagleman, David. The Brain: The Story of You. Pg., 105, Vintage Books, 2017Question 4: Why are stories...

This week Hungarian-American actor, writer, comedian, improviser & Broadway star Peter Grosz (The Menu, Veep, Seth Meyers, Colbert) joins Lucie on the podcast to talk lessons from his Hungarian/Romanian immigrant father, improv brain, the value in travel and taking risks, rooming with Seth Meyers, where persistence comes from, his big Trump-diarrhea fantasy, being on Broadway & so much more! Check out the Patreon for early access to episodes, extras and a fun community www.patreon.com/luciepohl  Follow Peter on IG @petergrosz & follow the podcast @immigrantjampodcast Please take a few seconds to leave us a review & rating:-)  Thank you for listening

Zoltan Bathory is a Hungarian-American musician and martial artist. He is the founder and rhythm guitarist of Las Vegas-based heavy metal band Five Finger Death Punch. In 2010, he was named Golden God's "Best Shredder" by Metal Hammer magazine. 5.11 Stores are your one-stop shop for some of the world's most innovative technical apparel, footwear, and gear. From revolutionary backpacks, purpose-built boots, functional fitness gear, and of course, their legendary tactical pants. So, the next time you see one of those five eleven signs, make a pit stop and explore the world of 5.11, or if you can't wait, visit them online at 511tactical.com and use code CLINT to save 20% in-store and online. That's code CLINT at your local five eleven store or head to 511tactical.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

SPONSORED BY: easyDNS - domain name registrar provider and web host. Use special code: TRIGGERED for 50% off when you visit https://easydns.com/triggered/ Dr Sebastian Gorka is a British-born Hungarian-American media personality, military and intelligence analyst, and former government official who served in the Trump administration as a Deputy Assistant to the President in 2017. In 2020, President Trump named Gorka to the National Security Education Board which provides strategic consultation. He has his own TV show and is the author of two books; national best-seller, 'Defeating Jihad', and 'Why We Fight…Defeating America's Enemies with No Apologies.' Join our exclusive TRIGGERnometry community on Locals! https://triggernometry.locals.com/ OR Support TRIGGERnometry Here: https://www.subscribestar.com/triggernometry https://www.patreon.com/triggerpod Bitcoin: bc1qm6vvhduc6s3rvy8u76sllmrfpynfv94qw8p8d5 Music by: Music by: Xentric | info@xentricapc.com | https://www.xentricapc.com/ YouTube:  @xentricapc   Buy Merch Here: https://www.triggerpod.co.uk/shop/ Advertise on TRIGGERnometry: marketing@triggerpod.co.uk Join the Mailing List: https://www.triggerpod.co.uk/sign-up/ Find TRIGGERnometry on Social Media:  https://twitter.com/triggerpod https://www.facebook.com/triggerpod/ https://www.instagram.com/triggerpod/ About TRIGGERnometry:  Stand-up comedians Konstantin Kisin (@konstantinkisin) and Francis Foster (@francisjfoster) make sense of politics, economics, free speech, AI, drug policy and WW3 with the help of presidential advisors, renowned economists, award-winning journalists, controversial writers, leading scientists and notorious comedians. 00:00 Intro  01:56 Dr Sebastian Gorka's Background 04:59 Putin's Invasion of Ukraine 08:22 What is the National Security Interest for Supporting Ukraine? 10:54 Has the West Antagonised Russia? 16:39 Complaints About Sending Money to Ukraine 21:09 The US Document Leak 24:00 Conspiracy Chronicles 26:13 Extreme Views from the Left & Right 31:32 The Ukraine Situation if Trump Had Been in Power 34:49 How Can Ukraine be Resolved? 36:05 Will Trump be Re-elected? 43:58 Sponsor Message: easyDNS 45:02 Will Trump Heal or Worsen Division in America? 56:37 Trump After Losing the Election 1:01:34 Dr Gorka's Thoughts on Ron DeSantis 1:09:13 The Difference Between Healing Divides & Saving the Nation 1:15:29 Will Joe Biden Run Again? 1:17:33 What's the One Thing We're Not Talking About?

Hungarian-American billionaire George Soros has once again been in the news, after figures on the American right linked him to the prosecution of Donald Trump. But its not the first time the former banker has been linked to conspiracy theories around the world. Ali and Paul spoke to disinformation expert Ernie Piper about the man himself, how to critique him properly, and how blaming George Soros for everything links to anti-semitic tropes which have existed for hundreds of years. Elsewhere in the podcast, we looked at misinformation around the arrest of Nicola Sturgeon's husband, and explained what was going on with the emergency alerts which will pop up on millions of people's phones on Sunday.

Az epizódban Leszkó Miklóssal, a Hungarian-American Business Leaders Scholarship jelenlegi ösztöndíjasával beszélgettünk a programról, amely következő évfolyamára 2023. április 16-ig várja a jelentkezőket. Miklós sok hasznos és érdekes élményt osztott meg eddigi tapasztalatairól, meglátásairól. Én egyébként MCC Fellowshipen kezdtem meg a szemeszteremet pár hete a Quinnipiac University-n belüli Central European Institute-nál, amely már 2008 óta működik együtt az MCC-vel. Azt hiszem, hogy egy igazán értékes és egyedi lehetőségről beszélgettünk.Az MCC Podcast adásaiban érdekes emberekkel izgalmas témákról beszélgetünk. Feldolgozzuk a közélet, a gazdaság, a társadalom fontosabb aktuális történéseit, de olyan kérdéseket is napirendre veszünk, mint például a művészet, a család vagy a vallás. Vendégeink között oktatóink, kutatóink, vendégelőadóink kapnak helyet. Mindenkinek kellemes időtöltést és szellemi feltöltődést kívánunk.

This episode's guest is artist, educator, and global cultural leader, Eric Booth. Eric's passion is activating the artistry of others to foster wellness, create thriving communities and change behaviors for the better. Eric has written seven books, taught at Juilliard, Stanford, Lincoln Center, and consulted on arts, learning, teaching, and innovation across the globe.BIOIn 2015 Eric Booth was given the nation's highest award in arts education (the first artist to receive it). He began as a Broadway actor, and became a businessman (his company became the largest of its kind in the U.S. in 7 years), and author of seven books, including the bestseller The Everyday Work of Art, Playing for Their Lives (the only book about music for social change programs around the world) and Tending the Perennials, and over 30 published articles. He has been on the faculty of Juilliard (12 years), Tanglewood (5 years), The Kennedy Center (20 years), and Lincoln Center Education (for 41 years). He serves as a consultant for many arts organizations (including seven of the ten largest U.S. orchestras), cities, states and businesses around the U.S., and in 11 other countries. He has founded and led teaching artist training programs around the world. A frequent keynote speaker, he gave the closing keynote to UNESCO's first world arts education conference, and founded the International Teaching Artist Collaborative. Website : ericbooth.netNotable MentionsAnton Checkhov: 29 January 1860[note 2] – 15 July 1904[note 3]) was a Russian[3] playwright and short-story writer who is considered to be one of the greatest writers of all time. His career as a playwright produced four classics, and his best short stories are held in high esteem by writers and critics.[The Bear: A Joke in One Act, or The Boor (Russian: Медведь: Шутка в одном действии, tr. Medved': Shutka v odnom deystvii, 1888), is a one-act comedic play written by Russian author Anton Chekhov. The play was originally dedicated to Nikolai Nikolaevich Solovtsov, Chekhov's boyhood friend and director/actor who first played the character Smirnov.Mihaly Csikszentmihalyi: 29 September 1934 – 20 October 2021) was a Hungarian-American psychologist. He recognized and named the psychological concept of "flow", a highly focused mental state conducive to productivity.

Eva Haller is a Hungarian-American philanthropist, activist, and executive. Her service includes Trustee of the University of California, Santa Barbara, co-founder and President of the Campaign Communications Institute of America, Visiting Professor at Glasgow Caledonian University, Board member of Counterpart International, Sing for Hope, and Creative Visions. Born in 1930 in Budapest, Hungary, she was hidden among students at the Scottish Mission, which was raided by soldiers when they discovered that the Institute was hiding Jewish students. Eva convinced a Nazi officer that she was too young and too beautiful to die and to let her escape; she remained in hiding throughout World War II. Eva eventually reached New York, where she cleaned houses and concurrently earned a master's degree in social work from Hunter College. In 1965, she joined Dr. Martin Luther King, Jr. in the Selma march. Along with her late husband, Murray Roman, Eva co-founded the Campaign Communications Institute of America, a marketing and research company that revolutionized the use of telemarketing in political campaigns. In 1968 Murray and Eva Roman set off to volunteer with UNICEF in Southeast Asia for close to a year. The couple returned to the United States with a renewed commitment to social issues. She and Murray re-opened their business, which became one of the first to advocate for women's rights. With help from the proceeds of their successful business, they continued the pursuit of their philanthropy. Eva married Yoel Haller in 1987 and has continued to pursue her philanthropic career. Eva is widely revered and honored with numerous awards.On this episode of Outside In, Eva talks with Jon about her driving forces, why she's an instinctual survivor and to whom and what she owes her philanthropy,

This episode of the Hungarian Heritage podcast is the third in a three part series of guests who are all of Hungarian decent, that were all born in the United States, but have three very different experiences about being a Hungarian American. In this series we touch upon what their Hungarian connection has been throughout their lives so far, how they have stayed connected with their Hungarian heritage, and for this episode you will hear about how my guest  has just recently taken the leap to make a deeper connection to his previously untapped Hungarian Heritage. In this third episode of the series, you will hear from Glen Tickle, and he has a healthy fraction of Hungarian heritage, but as you will hear in the episode, he spent most of his life with little connection or information about his Hungarian ancestry. Recently, though,  that has all changed for Glen Tickle, and you will hear all about Glen's language learning experience, his quest for Hungarian citizenship, as well as, how he weaves being Hungarian into his comedy act. Most importantly, you will find that Glen's experience being a fraction of Hungarian, doesn't make him any less excited to embrace the Hungarian Culture. So, thanks for listening to this episode about Glen Tickle's Hungarian American experience, and I hope that his words have inspired you. Don't forget to check the show notes below for information on how to follow Glen Tickle and find out where and when he will be performing his comedy act. Remember, even If you only have a fraction of Hungarian heritage, you can still embrace that part of your culture and enjoy all that it has to offer, just like Glen Tickle. Keep following along, and we will continue expanding this community we are building.Thanks for listening and don't forget to subscribe, rate and review! Here are all the ways to connect with Glen TickleYou can follow Glen Tickle on Instagram at:https://www.instagram.com/glentickle/You can access Glen Tickle's YouTube DryBar episode here:https://www.youtube.com/watch?v=tqvwoI2u7ZAYou can access Glen Tickle's show schedule on his website: https://www.glentickle.com/Follow the Hungarian Heritage Podcast on Instagram:@hungarianheritagepodcastContact the Hungarian Heritage Podcast at:Hungarianheritagepodcast@gmail.comThe Hungarian Heritage Podcast's Website www.thehungarianheritagepodcast.comFollow the Hungarian Heritage Podcast on Facebook:https://www.facebook.com/The-Hungarian-Heritage-Podcast-101947522533811Subscribe to The Hungarian Heritage Podcast's mailing list:https://thehungarianheritagepodcast.com/subscribe 

Dr Haas looks at the life and music of Miklós Rózsa (Hungarian: [ˈmikloːʃ ˈroːʒɒ]; April 18, 1907 – July 27, 1995). He was a Hungarian-American composer trained in Germany (1925–1931) and active in France (1931–1935), the United Kingdom (1935–1940), and the United States (1940–1995), with extensive sojourns in Italy from 1953 onward. Best known for his nearly one hundred film scores, he nevertheless maintained a steadfast allegiance to absolute concert music throughout what he called his "double life".

This episode of the Hungarian Heritage podcast is the second in a three part series of guests who are all of Hungarian decent, that were all born in the United States, but have three very different experiences about being a Hungarian American. In this series we touch upon what their Hungarian connection has been throughout their lives so far, how they have stayed connected with their Hungarian heritage, and what that looks like for all of them going forward. In this second episode of the series, you will hear from Kat Royer, a first generation Hungarian, with one Hungarian parent, making her fifty percent Hungarian. You will hear how Kat grew up spending time in her father's Hungarian restaurant in Chicago, how the connection to her Hungarian heritage has changed, and not necessarily in a bad way, since she was a little kid. Most importantly, you will hear how Kat has turned her passion for her Hungarian heritage into a new blog called The Paprikas(h) Girl, and I am sure you will want to check it out after hearing what she has to say about being an American girl with a Hungarian heart! Thanks for listening to this episode about Kat Royer's Hungarian American experience, and I hope that her words have inspired you to check out her blog and maybe even plan a trip to the Tokaj wine region using the curated guide on her blog. Whether you're looking to dive deeper, take your first trip to Hungary or make your first connection to your Hungarian Heritage, Kat Royer's blog, The Paprikas(h) Girl, is a great place to start, because after all, she is an American Girl with a Hungarian Heart.  Thanks for listening and don't forget to subscribe, rate and review! Here are all the ways to connect with Kat Royer, The Paprikash Girl:You can follow Paprikash Girl  on Instagram at:https://www.instagram.com/paprikashgirl/You can follow Paprikash Girl  on her blog where you can find all of the information about the Tokaj Wine Region we spoke about in the episode, plus so much more :www.paprikashgirl.comFollow the Hungarian Heritage Podcast on Instagram:@hungarianheritagepodcastContact the Hungarian Heritage Podcast at:Hungarianheritagepodcast@gmail.comThe Hungarian Heritage Podcast's Website www.thehungarianheritagepodcast.comFollow the Hungarian Heritage Podcast on Facebook:https://www.facebook.com/The-Hungarian-Heritage-Podcast-101947522533811Subscribe to The Hungarian Heritage Podcast's mailing list:https://thehungarianheritagepodcast.com/subscribe 

This episode of the Hungarian Heritage podcast is the first in a three part series of guests who are all of Hungarian decent that were all born in the United States, but have three very different experiences about being a Hungarian American. In this series we touch upon what their Hungarian connection has been throughout their lives so far, how they have stayed connected with their Hungarian heritage, and what that looks like for all of them going forward. In this first episode of the series, you will hear from Bianca Fabian, a first generation Hungarian, with two Hungarian parents. You will hear how Bianca went through all of the typical Hungarian things including attending Hungarian school as a kid, her language learning experience, as well as what her hopes and concerns are for herself and her future children regarding maintaining the Hungarian heritage.  You will also get a sneak peek or a sneak listen to something fun that will be coming up in the near future. Thanks for listening to this episode about Bianca's Hungarian American experience, and I hope that her words have inspired you to take a chance and look to make your connection back into your Hungarian community, or start looking where you can make your first connection to your Hungarian Heritage. Oh and did you hear about the special event that we will be planning for the near future? Stay tuned to the podcast and my social media for more information about that event in the near future. Thanks for listening and don't forget to subscribe, rate and review! Here are all the ways to connect with Bianca Fabian:Contact Bianca's Fabian at her business Command Collective: COMMANDCOLLECTIVE mobile:  347.476.2948site:  www.commandcollectivepr.comemail:  bianca@commandcollectivepr.cominsta: @commandcollectiveYou can also follow Bianca Fabian on Instagram at:@biancafabianFollow the Hungarian Heritage Podcast on Instagram:@hungarianheritagepodcastContact the Hungarian Heritage Podcast at:Hungarianheritagepodcast@gmail.comThe Hungarian Heritage Podcast's Website www.thehungarianheritagepodcast.comFollow the Hungarian Heritage Podcast on Facebook:https://www.facebook.com/The-Hungarian-Heritage-Podcast-101947522533811 Subscribe to The Hungarian Heritage Podcast's mailing list:https://thehungarianheritagepodcast.com/subscribe

Hello Interactors,The social sciences sometimes unfairly get a bad wrap for being a ‘soft science'. But are they? In pursuit of a better understanding the role uncertainty plays in economic analysis, I stumbled across some research that ties John Maynard Keynes's embrace of uncertainty with a resolute defense of the ‘soft sciences' by one of the heroes of the ‘hard sciences.' And you thought physics was hard.As interactors, you're special individuals self-selected to be a part of an evolutionary journey. You're also members of an attentive community so I welcome your participation.Please leave your comments below or email me directly.Now let's go…CYBERSAIL“The hard sciences are successful because they deal with the soft problems; the soft sciences are struggling because they deal with the hard problems.” This quote is by the groundbreaking Austrian American polymath, Heinz von Foerster from his essays on information processing and cognition. He went on to state: “If a system is too complex to be understood it is broken up into smaller pieces. If they, in turn, are still too complex, they are broken up into even smaller pieces, and so on, until the pieces are so small that at least one piece can be understood.” This strategy, he's observed, has proven successful in the “hard sciences” like mathematics, physics, and computer science but poses challenges to those in the “soft sciences” like economics, sociology, psychology, linguistics, anthropology, and others.He continues, “If [social scientists] reduce the complexity of the system of their interest, i.e., society, psyche, culture, language, etc., by breaking it up into smaller parts for further inspection they would soon no longer be able to claim that they are dealing with the original system of their choice. This is so, because these scientists are dealing with essentially nonlinear systems whose salient features are represented by the interactions between whatever one may call their “parts” whose properties in isolation add little, if anything, to the understanding of the workings of these systems when each is taken as a whole. Consequently, if he wishes to remain in the field of his choice, the scientist who works in the soft sciences is faced with a formidable problem: he cannot afford to lose sight of the full complexity of his system, on the other hand it becomes more and more urgent that his problems be solved.”Von Foerster studied physics in Austria and Poland and moved to the United States in 1949. He started his career in 1951 as a professor of electrical engineering at the University of Illinois. In 1958 he received grant funding from various federal government agencies to start a Biological Computer Laboratory.Von Foerster understood the cognitive process humans use to break down large complex problems into smaller discrete linear steps. With the advent of computers, they then typed those instructions into punch cards and fed them into the computer to process. A linear process of which humans and computers can both do. He and his lab then devised a way for a computer to do something humans cannot – conduct multiple calculations at the same time by breaking them into smaller and smaller pieces “until the pieces are so small that at least one piece can be understood.”  With that they invented the world's first parallel processor.While von Foerster helped to bring about a machine that could do what a human could not, they also discovered what a human can do that a machine cannot. Indeed, a parallel computer can break down and execute calculations across a network of instructions, but it can't take in additional input from its environment and decide to adjust course depending on the nature of the results. It operates in a closed system with the information it has been given and with limited input.  I like the metaphor of sailing to better understand this. When I'm at the tiller of a sailboat steering with a course in mind, I must continually monitor the environment (i.e. wind speed, direction, tides, currents, ripples, waves), the sails (angles, pressures, sail shape, obstructions), the crew (safety, comfort, skill, attitude, joy, fear, anxiety) and the course and speed of the boat (too fast, too slow, tack, jibe, steer). I am using all my senses which continually input information as conditions change. My brain is making calculations and judgements resulting in decisions that in turn impact the conditions. For example, a sudden turn and the sails will fail, the water under the boat will be redirected, air and water pressure gradients will shift, and a crew member may fall or go overboard. All these shifts in conditions in turn impact my subsequent calculations and decisions instant by instant. It's a persistent feedback loop of information created by human interactions with the boat, the crew, and with nature.  A computer cannot yet steer as a human would in such conditions. They lack the necessary level of sensory input from changing environmental conditions as well as judgement and control over the information these senses provide. The study of the information derived from these complex phenomena derives its name from the Greek word for “navigator”: κυβερνήτης (kubernḗtēs), or as it has come to be called – Cybernetics. How we got from ‘kuber' to ‘cyber' I'm not sure, but I have a hunch that is about to be revealed.KEYNESIAN BRAIN CHAINOne of the founders of Cybernetics in the 1940s, Norbert Weiner, defined it as “the entire field of control and communication theory, whether in the machine or in the animal.” Other founders said it is the study of “circular causal and feedback mechanisms in biological and social systems." Another member of the founding group, the influential cultural anthropologist Margaret Mead, said it's "a form of cross-disciplinary thought which made it possible for members of many disciplines to communicate with each other easily in a language which all could understand."Von Foerster's seminars in Cybernetics grew to be very popular at the University of Illinois in the 1960s and 70s. But these early adopters were not the first to use this term to describe complex social information exchanges creating causal feedback loops. In 1834 the French mathematician, inventor of the telegraph, and namesake of the electrical current measurement Amp, André-Marie Ampère, used the term cybernétique to describe the “the art of governing or the science of government.” Perhaps that's how we got from ‘kuber' to ‘cyber'.Either way, whether it's political science, economics, or other social sciences of so-called “soft sciences” these early cross-discipline thinkers felt the urge to find ways to solve hard problems. Problems so complex they become impossible to deal with or track ­– they become intractable. One economics professor emeritus out of the University of Versailles Saint-Quentin-en-Yvelines, Robert Delorme, encountered these intractable problems in his work. He has since sought ways to establish a framework to deal with such problems that draws on the work of von Foerster. But also, on someone we mentioned last week, the famous British economist John Maynard Keynes.Delorme was studying institutional patterns in public spending between Great Britain and France over long time periods. This yielded a great deal of quantitative data, but also qualitative data including behavioral differences between how governments and markets interacted with each other and within each country. Delorme also studied traffic fatality data between the two countries and hit the same challenge. While there were mounds of quantitative data, the qualitative data was quite specific to the country, their driving cultures, the individual accident circumstances, and the driver's individual behavior. In trying to break these complex problems down into smaller and smaller pieces, he hit the dilemma von Forester spoke of. The closer he got understanding the massive mound of data in front of him, the further from his initial research economic question he got.To better model the uncertainty that culminated from behaviors and interactions in the system Delorme turned to the tools of complexity economics. He considered real-world simulation tools like complex adaptive systems (CAS), agent-based computational economics (ACE), agent-based models (ABM), and agent-based simulation (ABS). But he realized this tool-first approach reminded him of the orthodox, or ‘classical' style of economic inquiry Keynes was critical of. While he recognized these tools were necessary and helpful, they were insufficient at explaining the complexity that arises out of the events in “the real world”.Delorme quotes Keynes from his 1936 book, The General Theory of Employment, Interest, and Money where he recognizes Keynes's own need to break complex problems into smaller and smaller pieces while still staying true to the actual problem. Keynes acknowledged, “the extreme complexity of the actual course of events…” He then reveals the need to break the problem down into “less intractable material upon which to work…” to offer understanding “to actual phenomena of the economic system (…) in which we live…”According to Delorme, Keynes, his economic philosophy, approach, and writings have been criticized over the years for lacking any kind of formalization of the methodologies he used to arrive at his conclusions and theories. So, Delorme did the work to comb through his writing to uncover an array of consistent patterns and methodological approaches which he's patched back together and formalized.He found that Keynes, like a helmsman of a boat, adapted and adjusted his approach depending on the complexity of the subject matter provided by the economic environment. When faced with intractable problems, he applied a set of principles and priorities Delorme found useful in his own intractable problems. The priority, he found, was to take a ‘problem first' approach by confronting the reality of the world rather than assuming the perfect conditions of a mythical rational world common in traditional economics.Again, using sailing as a metaphor, imagine the compass showing you're heading north toward your desired destination, but the wind is to your face and slowing you down. It's time to decide and act in response to the environmental conditions. Disregard the tool for now, angle the boat east or west, fill the sails, and zig zag your way toward your northerly goal while intermittently returning to the tool, the compass.What Delorme found next was Keynes's embrace of uncertainty. Instead of finding comfort in atomizing and categorizing to better assess risk, Keynes found comfort in acknowledging the intricacies of the organic interdependence that comes with interactions within and among irrational people and uncertain systems and environments. He rejected the ‘either-or' of dualism and embraced the ‘both-and' open-endedness of uncertainty. In other words, when there is a sudden shift in wind direction, the helmsperson can't either ram the tiller to one side or adjust the sails. They must both move the tiller and adjust sails.REPLICATE TO INVESTIGATETo better deal with complex phenomena, and to further form his framework for how to deal with them, Delorme also found inspiration in the work of one of my inspirations, Herb Simon.What Delorme borrowed from Simon was a way “in which the subject must gather information of various kinds and process it in different ways in order to arrive at a reasonable course of action, a solution to the problem.” This process, as characterized by the cybernetic loop, takes an input by gathering information and assesses and decides on a reasonable course of action. This solution in turn causes a reaction in the system creating an output that is then sensed and returned into the loop as input. This notion of a looping system made of simple rules to generate variations of itself is reminiscent of the work by a third inspiration for Delorme, John von Neumann.Von Neumann was a Hungarian American polymath who made significant contributions to mathematics, physics, economics, and computer science. He developed the mathematical models behind game theory, invented the merge-sort algorithm in computer science, and was the first known person to create self-replicating cellular automata. And for all you grid paper doodlers out there, he first did it first on grid paper with a pencil. Now these simple processes are done on the computer.By assigning very simple ‘black and white' rules to cells in a grid (for example, make a cell white or black based on whether neighboring cells are black or white) one can produce surprisingly complex animate and self-replicating behavior. One popular example is Gosper's gliding gun. It features two simple cellular arrows that traverse back and forth left to right across the screen on a shared path. When they collide, they produce animated smaller and simpler cellular offspring, an automaton, that rotate as they animate themselves diagonally to the lower right corner of the page or screen.Delorme noticed von Neumann used this self-replication phenomena to describe a fundamental property of complex systems. If the complexity of automata is under a certain threshold of complexity, the automaton it produces will be less complex or degenerative – as is the case with Gosper's arrow. However, if the threshold of complexity is exceeded it can over produce. Or, in the words of von Neumann, “if properly arranged, can become explosive.”What Delorme's research suggests, I think, is that to address complex intractable economic problems one must devise a looping recursive system of inquiry that self-replicates output intended to affect the next decision by the researcher. This makes the researcher both an observer and a participant in the search for solutions. The trick is to maintain a certain threshold of complexity such that the output doesn't, again, become overwhelming or explosive.In other words, instead of pointing tools at a mound of data in attempts to describe a static snapshot of what is in the world, create a circular participatory system that recursively produces something that affects how one might adjust what it produces in near real time.As Delorme writes, “Complexity is not inherent to reality but to our knowledge of reality, it is derivative rather than inherent.” He then quotes science philosopher Lee McIntyre, who offers, “complexity exists ‘not merely as a feature of the world, but as a feature of our attempts to understand the world.”I'm not sure what this kind of system looks like practically speaking, but I think the software tool developed by the economist Steve Keen, Minsky, is a start. Keen created this dynamic simulation software to model approaches to macroeconomics after he predicted the 2008 financial crisis. He hopes to entice people away from the static, equilibrium-fixated style of economics taught and practiced today.The amount of data available to dynamically assess economic outcomes involving complex human behavior, human-made systems, and the natural world continues to push thresholds of complexity. We are creators, observers, and interactors of information in our own self-perpetuating recursive constructions of reality. But as von Forester suggested, even as we break down complex problems into parts, we can't lose sight of the whole.That reminds me of a quote from another ‘von' the linguist and philosopher Wilhelm von Humboldt – the younger brother of the famous naturalist Alexander von Humboldt. In 1788 he wrote, "Nothing stands isolated in nature, for everything is combined, everything forms a whole, but with a thousand different and manifold sides. The researcher must first decompose and look at each part singly and for itself and then consider it as a part of a whole. But here, as often happens, he cannot stop. He has to combine them together again, re-create the whole as it earlier appeared before his eyes." This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit interplace.io

I am so glad to have finally connected with @irisxsagitta she is so rad to chat with. She shared with us how she got started with photography. Then we got into social media and the relationships that we have with different platforms. From there we got into the intention of shooting, the importance of the tangible, and creating images just for yourself. We got into film stocks and then Polaroid. Such a rad time hanging out with Iris, I hope y'all enjoy this chat!'Iris Sagitta is a Hungarian-American queer photographer and model based in Manhattan specializing in self-portraiture and film photography. She strives to depict intimacy and beauty in and out of the studio through layered compositions and cinematic colors. Sagitta constantly experiments with new formats of film and post-processing techniques to evoke nostalgia in every audience.'Follow Iris at https://www.instagram.com/irisxsagitta/Photography Chat is a weekly Instagram Live @merlindb hosts every Thursday at 5pmPST/8pmESTGive me a follow if you want to see the episodes live https://www.instagram.com/merlindb/Support this podcast at — https://redcircle.com/photographychat/donations

On this episode of Adventures In Good Music Dr. Karl Haas presents the music of film composer Miklós Rózsa (April 18, 1907 – July 27, 1995). He was a Hungarian-American composer best known for his nearly one hundred film scores, he nevertheless maintained a steadfast allegiance to absolute concert music throughout what he called his "double life". Rózsa achieved early success in Europe with his orchestral Theme, Variations, and Finale (Op. 13) of 1933, and became prominent in the film industry from such early scores as The Four Feathers (1939) and The Thief of Bagdad (1940). The latter project brought him to Hollywood when production was transferred from wartime Britain, and Rózsa remained in the United States, becoming an American citizen in 1946. During his Hollywood career, he received 17 Academy Award nominations including three Oscars for Spellbound (1945), A Double Life (1947), and Ben-Hur (1959), while his concert works were championed by such major artists as Jascha Heifetz, Gregor Piatigorsky, and János Starker.

This week Annie tells Phoebe all about Maria Telkes, otherwise known as The Sun Queen - a Hungarian-American biophysicist, scientist and inventor who successfully developed the first solar thermal storage systems which were used to create one of the first solar-heated homes which started the American Solar Housing Boom in the 1970s. Support this show http://supporter.acast.com/chickstory. Hosted on Acast. See acast.com/privacy for more information.

This past week, Not the Bee posted a resurfaced 1989 clip of George Soros and Joe Biden talking about the "de-nationalization" and "radical reorganization" of economies. The two were specifically addressing Poland after the fall of the Soviet Union and the collapse of communism – at least predicated on the Soviet expression of it. It's surreal to see a much younger Soros – who in our day is probably the nearest thing to a real-life Lex Luthor supervillain, funding a slew of Progressive, Globalist, Socialist politicians and radical initiatives in the U.S. and around the world – smiling and talking casually when I was 2 or 3 years old about how to reorganize the economies of entire nations opportunistically with a future President of the United States of America. It is also surreal to see a younger Joe Biden – who needs no introduction, except perhaps to remind himself who he is and what he's doing here anyway – sitting down with the Hungarian-American billionaire and being very deferential toward him. In other news, Dictionary.com asks whether we should use BCE instead of BC to talk about years. A brief overview of how AD and BC came to be contains nestled in its questions certain insinuations about whether we can know what year Christ was born. And that is frankly silly, given that we're told a certain Roman census was ordered then, whatever the controversy among biblical scholars and skeptics regarding Quirinius. The important thing I would draw your attention to is how the author of the article at Dictionary.com admits that we're still measuring to and from Jesus Christ even if the terms CE and BCE are chosen over AD and BC. Yet CE and BCE are preferable to some because they are either not Christians themselves, or else they are trying overly hard not to offend non-Christians. This brings us to 'Battle for the American Mind' by Pete Hegseth with David Goodwin. First off, let me just say that I had low expectations for this book as soon as I knew a Fox News personality had written it. This was, however, an excellent read, and it far exceeded my biases. When Corey A. DeAngelis tweeted out on August 19th that nearly 2 million fewer students have enrolled in public schools, with the short caption “Mass exodus,” I cheered to see it second-hand. I am still locked out of my Twitter account, after all, for clapping back at a certain Chris Jolly Hale from Tennessee over the confirmation hearings of Supreme Court Justice Ketanji Brown Jackson. But all these parents in my generation need a viable alternative to the public schools and their vision. This has become clear to so many of them at the confluence of Common Core, COVID lockdowns, Critical Race Theory, and the promotion of radical Gender Theory alongside declining academic performance and increasing rates of substance abuse and suicide among our youth. Having written and self-published 'And This Is Why We Homeschool' in 2020, I dedicated the second of four sections to the history of American public education because I felt it was important that we know how this all came to be the circumstance. But Hegseth and Goodwin here have written a book which takes the themes of my work in that section and expands them into a sturdy stand-alone work that is robust, well-researched, and of the utmost importance for us to read and understand. In short, the prescription in 'Battle for the American Mind' is a return to the foundation of Western Civilization - Classical Education. Its case is well-argued and needful, and we all need to hear it. --- Send in a voice message: https://anchor.fm/garrett-ashley-mullet/message Support this podcast: https://anchor.fm/garrett-ashley-mullet/support

Rebirthing is a very deep and potent process in which death and grief have to happen before we start stepping into our purpose. Dr. Mia and Nina touch on topics such as death, grief, addiction, ancestry, co-dependency, and more. “ Were looking for something to save us, but going down into this brokenness is really what saves us.” -Dr. Mia Hetenyi Here's some of what Nina and Dr. Mia share during this sacred exchange. Mia's rebirth story and the moments that anchored her into who she is today Grief and death- Is it the pathway to liberation? Diving into the roots of ancestry to extract your medicine Dr. Mia Hetenyi is a writer, grief doula, spiritual mentor, and initiated Hungarian-American medicine woman with a PsyD in Clinical Psychology from the California Institute of Integral Studies. She is the founder of the Dreaming Awake Institute, a school for grief work, codependency recovery, and ancestral healing. Her website is under construction, but you can sign up for her email list via her social media. Mia's Instagram

Karl Haas (December 6, 1913 – February 6, 2005) was a German-American classical music radio host, known for his sonorous speaking voice, humanistic approach to music appreciation. Miklós Rózsa (Hungarian: [ˈmikloːʃ ˈroːʒɒ]; April 18, 1907 – July 27, 1995) was a Hungarian-American composer trained in Germany (1925–1931) and active in France (1931–1935), the United Kingdom (1935–1940), and the United States (1940–1995), with extensive sojourns in Italy from 1953 onward. Best known for his nearly one hundred film scores, he nevertheless maintained a steadfast allegiance to absolute concert music throughout what he called his "double life".

Transform your waking life into something intentional and empowering. Flow happens when you are fully present and engaged in what you are doing and timelessly committed to the activity. Applied to any type of art or work, it creates an efficiency and clarity of purpose that feel great and can also be applied to everyday activities like brushing teeth or walking to the mailbox. It can transform your waking life into something intentional and empowering. Mihaly Csikszentmihalyi discovered that people find genuine satisfaction during a state of consciousness called Flow. In this state they are completely absorbed in an activity, especially an activity which involves their creative abilities. During this “optimal experience” they feel “strong, alert, in effortless control, unselfconscious, and at the peak of their abilities.” In the footsteps of Maslow, Csikszentmihalyi insists that happiness does not simply happen. It must be prepared for and cultivated by each person, by setting challenges that are neither too demanding nor too simple for ones abilities.Mihaly Robert Csikszentmihalyi (1934 - 2021) was a Hungarian-American psychologist. He recognized and named the psychological concept of "flow", a highly focused mental state conducive to productivity. He was the Distinguished Professor of Psychology and Management at Claremont Graduate University. He is also the founder and co-director of the Quality of Life Research Center (QLRC). The QLRC is a nonprofit research institute that studies positive psychology, the study of human strengths such as optimism, creativity, intrinsic motivation, and responsibility.From the Archives: This live interview was recorded on October 10,  1996 on the nationally syndicated radio program, hosted by Laura Lee . See more at www.lauralee.com

When presidents become TikTok stars, influencers report live from bomb shelters and photographers capture the unimaginable, we find ourselves in March 2022 and a war is raging in Europe. Today, the power of images is a decisive factor in the development of wars. During the ongoing Russian invasion of Ukraine their power is used by very different actors with various intentions. Spreading disinformation and manipulating visual media for propaganda is one of them. So is the need to inform people outside of Ukraine and call for awareness and empathy. Therefore, it is time to analyze the power of images and discuss the responsibilities that comes with their production, consumption and sharing. How do we handle images of war in Social Media, and how much reality can a photograph catch after all? Daniela Apaydin (IDM) talks to Daniela Ingruber, war researcher and media theorist at the Austrian Democracy Lab, University of Continuing Education Krems. Our guest recommendation: The works of the Hungarian-American war photographer Robert Capa, and from the German photojournalist Gerda Taro. Find more here: https://www.magnumphotos.com/photographer/robert-capa/ References mentioned in the program: One of the first modern war correspondent William Howard Russell. One of the first war photographer Roger Fenton. The Falling Man from Richard Drew, picture of a man falling from the World Trade Center during the 09/11 attacks in New York.The French sociologist, philosopher and cultural theorist Jean Baudrillard. The song Taro, from English indie-rock band Alt-J. Guest: Dr. Daniela Ingruber is a war researcher and political philosopher, media theorist and a consulter for film productions and film festivals. She currently works at the University for Continuing Education Krems (UWK). Host: Daniela Apaydin, Research Associate at IDM Production and editing: Emma Hontebeyrie, Research Associate at IDM See acast.com/privacy for privacy and opt-out information.

PART 1 - today's episode is the first in a two-part series on the topic of creativity. Today, we talk about how creativity benefits and encourages our well-being, as well as the elements that make up creativity. We look at the work of Hungarian American psychologist Mihaly Csikszentmihalyi, who wrote the book Creativity and apply that information to benefit our mental health. Next week, we'll look at how we can be more creative and discuss the creative process of people who are recognised as having creative genius.

Isabelle, David welcome Isabelle's husband, Bobby, and David's friend and clinician, Noah (who also have ADHD) and all connect four weeks into the lockdown of 2020 to meet virtually and play online game to help beat the pandemic fears and the scared and cooped-up blues. We're overstimulated with grief, shame, sorrow, anxiety, etc, and yet under stimulated with the lack of transitions, being cooped up in our house, seeing the same two rooms every day. David talks about missing novel chaos, and also, what game should they play? After spending a while playing some online games together, Isabelle talks about gaming as a coping strategy; game play as a way to cope. The opposite of play is not work, it's depression, or neural death. A play state is new neural connections firing and wiring together (neurologically similar to learning, see below for more!). We're often play-deprived anyway as adults. We're in a place of a lot of pain and depression as a society; toxic positivity aside, people are experiencing a lot of loss, and we experience grief and depression when we have loss. When we're in it for so long, it's important to know how we get out—and play might not be a go-to or feel intuitive or easy—even David wanted to not play but talk about other things, like functioning in a society without clear rules or boundaries. But it meant a lot to David to try to play. Noah points out that we are missing human interaction, limited ability to be in the world, getting that social itch scratched in a safer way. Bobby had fun playing a game. Isabelle drops some knowledge about play: play as an impulse, like sleep, common to social mammals. It's an impulse that can even be prioritized about other needs, such a food. Example of polar bear playing with huskies while starving and waiting to go into their hunting grounds (and then returning when not hungry) How we need play as neotenous (juvenile) brained creatures. Washing dishes could be play, even—if you're in the flow state, not something you have to do, but maybe you hum on the way to the car. Really social, too. Recognizing that play is a hard subject for those of us who experienced neglect or other traumas that impacted whether or how we could play. Safety needs to be established for play to happen: play happens whether or not you believe you did in the past, but how you viewed your past as playful or play-deprived or whether you had enough safety.More on play Stuart Brown, MD - Ted Talk that mentions consequences of play deprivation National Institute for Play (co-founded by Stuart Brown) To check out more about play and learn more about the polar bear story, check out his book (co-written with Christopher Vaughan): Play: How It Shapes the Brain, Opens the Imagination, and Invigorates the Soul Husky playing with polar bear story (Real Wild documentary) — please note, initially the polar bears were hungry, and then they would return every year and keep playing even when not (for the full story, see above book) ISABELLE'S DEFINITIONS Play: an impulse and a human right, according to the UN. Borrowing from Stuart Brown's definition, includes a purposeless, a continuity desire (want to keep doing it) and is often a simulation where you can take risks with no consequences (or limited consequences, like animals play fighting, they're not going to bite down as hard). Play can be daydreaming, writing, art-making, watching a movie, doing dishes, humming a song. On a neurological level, play in the same as learning (a neural state where neural connections are being wired), which is the opposite of the brain state of depression (or neural slow-down or death). Flow state: A term coined by Hungarian-American psychologist Mihaly Csikszentmihalyi, it's a state of being or performance where you are in the zone: fully absorbed or engaged in your task, you lose a sense of time and self (you get lost in it, your worries or self-consciousness melts away).For more on flow, check out Csikszentmihalyi's seminal book: Flow: The Psychology of Optimal ExperienceFor a cool article on how flow may work in the brain: The Neuroscience of the Flow State: Involvement of the Locus Coeruleus Norepinephrine System-----visit somethingshinypodcast.com for full show notes, links, and more!-----Cover Art by: Sol VázquezTechnical Support by: Bobby Richards

Dr. Sebastian Gorka is a Hungarian-American military and intelligence analyst who served as Deputy Assistant to President Donald J. Trump. He joins the show to tell the story of how his family escaped a communist dictatorship and explains how radical ideas can infiltrate a society. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Dr. Sebastian Gorka is a Hungarian-American military and intelligence analyst who served as Deputy Assistant to President Donald J. Trump. He joins the show to tell the story of how his family escaped a communist dictatorship and explains how radical ideas can infiltrate a society.

Children of the night; what podcasts they make! Listen in horror as we detail the life of Hungarian-American actor Bela Lugosi, and tell the haunting story of how a once talented leading man became pigeonholed in the role of the monstrous Count Dracula. Some might go so far as to say that this episode is our Halloween Spooktacular but we cannot officially endorse such a claim. Sources: "Biography" Bela Lugosi: Hollywood's Dark Prince Bela Lugosi Biography – Bela Lugosi – The Official SiteA Look At Bela Lugosi's Relationship With Boris KarloffAdam McShane, Joey Bednarski, and Cosmo Nomikos are stand up comedians based out of Chicago, IL.AJL is part of the Lincoln Lodge Podcast Network: https://www.thelincolnlodge.com/podcasts

DR. HENRIETTE J. RUNTE, a college professor, podcaster, speaker, and cancer survivor now in Germany, joined us to discuss her career, her thought processes when growing up as opposed to now, and her amazing place in this world.  FROM HER BIO: "I am first generation Hungarian-American, but I have been living in Hamburg, Germany since 2001. I grew up in Communist Romania as a Hungarian minority. My dad was the national Olympic weightlifting coach and defected due to serious political problems. My mother and I were separated from him for two and a half years. Afterwards, my parents reunited in Texas, where my dad became a strength coach at Texas A&M. Growing up, there was incredible pressure to make my parents' immigration worthwhile. I had to learn how to be American real quick, learn to speak the language, integrate, roll up my sleeves, and achieve. I collected degrees as symbols of achievement. I started taking college classes when I was 15. I finished a Bachelor's Degree in Human Biology, finished Pre-Med, and completed a BA in French in only three years. I went on to get an MA in French and a PhD in French Literature, focusing on the sociological effects of theater on the community. I started teaching at KU when I was barely 21 years old. But even beyond that, I taught aerobics and kickboxing – did it all officially, got certified and everything. I was intent on showing that I was achieving. As far as my career was concerned, I spoke at conferences around the world, taught and directed numerous exchange programs for several universities, and didn't stop until I became Head of Modern Languages at a prestigious university in Germany. I have been working in my current position since 2007. I love my job and the contact I have with my students. It is an absolute privilege to be able to shape young minds and be inspired by them on a daily basis." cultureum.com

DR. HENRIETTE J. RUNTE, a college professor, podcaster, speaker, and cancer survivor now in Germany, joined us to discuss her career, her thought processes when growing up as opposed to now, and her amazing place in this world.  FROM HER BIO: "I am first generation Hungarian-American, but I have been living in Hamburg, Germany since 2001. I grew up in Communist Romania as a Hungarian minority. My dad was the national Olympic weightlifting coach and defected due to serious political problems. My mother and I were separated from him for two and a half years. Afterwards, my parents reunited in Texas, where my dad became a strength coach at Texas A&M. Growing up, there was incredible pressure to make my parents' immigration worthwhile. I had to learn how to be American real quick, learn to speak the language, integrate, roll up my sleeves, and achieve. I collected degrees as symbols of achievement. I started taking college classes when I was 15. I finished a Bachelor's Degree in Human Biology, finished Pre-Med, and completed a BA in French in only three years. I went on to get an MA in French and a PhD in French Literature, focusing on the sociological effects of theater on the community. I started teaching at KU when I was barely 21 years old. But even beyond that, I taught aerobics and kickboxing – did it all officially, got certified and everything. I was intent on showing that I was achieving. As far as my career was concerned, I spoke at conferences around the world, taught and directed numerous exchange programs for several universities, and didn't stop until I became Head of Modern Languages at a prestigious university in Germany. I have been working in my current position since 2007. I love my job and the contact I have with my students. It is an absolute privilege to be able to shape young minds and be inspired by them on a daily basis." cultureum.com

On the eve of the Pope's visit to Budapest, the CEA Magazine talks to Joseph Novak, the President of the American-Hungarian Baptist Church. He shares his views about why the historic event will possibly be a clash between the Pope and Hungarian prime minister Viktor Orbán, the rifts within the Catholic Church in Hungary, and the major change that the Hungarian-American community has witnessed in the last decade.

Today I talk with Cecilia Tomori about maternal and children's health in the midst of the pandemic. Cecília Tomori is Associate Professor and Director of Global Public Health and Community Health at the Johns Hopkins School of Nursing, with a joint appointment at the Johns Hopkins Bloomberg School of Public Health. She is a Hungarian-American anthropologist and public health scholar whose work addresses the structural and sociocultural drivers that shape patterns of health and illness. Dr. Tomori has collaborated with colleagues at Johns Hopkins and beyond on breastfeeding, infant sleep, and infectious disease prevention. She has authored three books on breastfeeding and reproduction, and numerous publications on a range of public health issues, including the COVID-19 pandemic.

Key Resources for Productivity On My Quest for the Best with Bill Ringle, the podcast for ambitious small business leaders, I have had the pleasure and privilege of meeting and learning from world-class authorities on the topic of productivity as it applies to business leaders of small and mid-sized firms. Table of ContentsThe Essential Guide to Productivity for Small Business LeadersUse this table of contents to easily find helpful resources. Key Resources for ProductivityWhat is Productivity?Productivity Includes:Industry Leaders and Sources for ProductivityTop Works in the Productivity Domain for Small Business LeadersDavid Allen is one of the top productivity consultants in America. Stephen Covey was an author, educator, businessman, and motivational speaker. James Clear is a bestselling non-fiction author whose book sold more than 5 million copies worldwide. Mihaly Csikszentmihalyi is a Hungarian-American psychologist and professor at Claremont University. He is best-known for his work and recognition of the psychological concept of flow, a highly focused mental state conducive to productivity. Martin Seligman is a top figure in the scientific community of positive psychology. Angela Duckworth is the Rosa Lee and Egbert Chang Professor of Psychology at the University of Pennsylvania. She is best-known for her work in grit and self-control. Brian Tracy is a top motivational speaker, and bestselling author of self-help books. He wrote over eighty books which are translated to many languages and sold worldwide. Greg McKeown is a top tier business strategist and speaker know for his leadership programs. Tim Ferris is an author, lifestyle-guru, businessman and host to one of the most popular podcast show is America, The Tim Ferris Show.James Loehr and Tony Schwartz – James is a world-class performance-psychologist, author, and co-founder of the Johnson & Johnson Human Performance Institute. Tony Schwartz is a journalist, author, and the founder and president of The Energy Project.Sam Horn is a world-class speaker, author, and communication strategist.Productivity Resources on My Quest for the BestFeatured Interviews on Productivity300: Live and lead without limits or procrastination with guest expert Sam Horn197: Deconstructing Essentialism, The Disciplined Pursuit of Less for Small Business Leaders with Greg McKeown328: The secret to having your habits propel you to success with guest expert Marc Reklau​​283: Ask the Right Questions, But Take No Shortcuts on the Road to Success with Jeff Haden​​283: Ask the Right Questions, But Take No Shortcuts on the Road to Success with Jeff Haden102: So Good They Can't Ignore You – Featured Interview with Cal Newport200: Chris Bailey – Use Your Hyperfocus to Accomplish More in Astonishingly Little Time282: How to Break The rough to New Levels of Achievement through Asking with Mark Victor Hansen311: Making Transformational Changes with guest expert Jen Groover320: Avoid Squandering Your Energy and Attention on Things that Don't Matter with guest expert Eileen McDargh308: Aligning your organizational style with your personality traits with guest expert Kelly McMenamin288: Create your destiny through clear vision and skillful asking with guest expert Crystal Hansen330: Courtney Kenney, author of Creating Space to Thrive: Get Unstuck, Reboot Your Creativity and Change Your Life289: Think of therapy as a shortcut to freedom from past hurts with guest expert Robert Grigore316: Having a strong mindset is different from having a closed mind with guest expert Marcia Reynolds​​287: Becoming the best version of yourself and helping each person on your team do the same with guest expert Mitzi Perdue266: How to use your mindset to unlock your abilities and success with Maki Moussavi261: Using authority, warmth, and energy to get exceptional results with Steve Herz244: Julie Winkle Giulioni discusses career conversations organizations need and employees want199: Highly Sensitive Entrepren...

In this episode, host Charlie Connelly explores the life of Hungarian-American actress and socialite Zsa Zsa Gábor. With one of the most unforgettable personalities of the 20th century, she helped create a modern celebrity. Marrying nine times, she is remembered as a serial bride who would shoot off one-liners about her various husbands on multiple talk shows. Henry Kissinger called her one of the brightest women he had ever met, regardless of her fiery Hungarian temper that often landed her in hot water. But, Gábor could never understand why this shocked people, after all, she often quipped, Hungarians are descendants of Genghis Khan and Atilla the Hun. Enjoyed this episode? Let us know by tweeting @TheNewEuropean

Hungarian-American psychologist, Mihaly Csikszentmihalyi, discovered the state of flow thanks to the technological innovation of pagers in the 1970. From Wikipedia - In an interview with Wired magazine, Csíkszentmihályi described flow as "being completely involved in an activity for its own sake. The ego falls away. Time flies. Every action, movement, and thought follows inevitably from the previous one, like playing jazz. Your whole being is involved, and you're using your skills to the utmost." Episode ResourcesMihaly Csikszentmihalyi - https://en.wikipedia.org/wiki/Mihaly_CsikszentmihalyiThe Experience Sampling Method - https://link.springer.com/chapter/10.1007/978-94-017-9088-8_2Ted Talk - Flow, the secret to happiness by Mihaly Csikszentmihalyi https://www.ted.com/talks/mihaly_csikszentmihalyi_flow_the_secret_to_happiness?language=enEpisode HighlightsWhat Flow feels likeDefinition of the Experience Sampling Method (ESM) and how it was developedHow the ESM is different from a surveyProblems with the original Experience Sampling MethodHow ESM has been adapted to use smartphones and emoji to measure emotional awarenessOriginal podcast theme music by Lance Keltner. https://www.youtube.com/user/lancekeltner This episode of the #FeelingsMatter Podcast was recorded and mixed at MSR Studios in Saint Paul, MN. Copyright 2021, all rights reserved. No reproduction, excerpting, or other use without written permission.This episode is sponsored byMindful Appy, the only software suite for the Net Emotional IndexTMhttps://mindfulappy.com/Join the conversation! Share how #FeelingsMatter to you via Facebook Messengerm.me/MindfulAppyEmojiAppDon't miss a moment of the conversation, subscribe to the show on your favorite podcasting platform and sign-up for the #FeelingsMatter newsletter - https://mindfulappy.com/resources/introducing-the-feelings-matter-podcast

This week's episode covers violence in Myanmar, the murders in Atlanta, prosecutions related to Jan 6th, and the death of a Hungarian-American fascist.

New Jersey is known for a lot of things both good and bad. Jersey Shore. Atlantic City. Bruce Springsteen. Bon Jovi. Thomas Edison. Whitney Houston. Hot dog eating contests. It’s about to become famous for one more thing. Comedian Dr. Max Sheppard. In some ways, this Hungarian American (she is a legal resident of both countries) might seem like a New Jersey cliche. She is Jewish. Never married, single mother. But if you take a deep dive into her personality you will see that she is much more than that. She is intelligent. Clever. Thoughtful. Determined. And as she will tell you herself, she has done her hard living on the inside. Max started her comedy career two and a half years ago. That’s not a lot of time by comedy standards, but this lady doesn’t take anything lightly. She has a doctorate degree. In her other life, she is an educator close to retirement. She applies the same approach to comedy as she does her life… she gives it all that she’s got. She has performed at top clubs in New York, New Jersey and Montreal. She trained with the famed Upright Citizen’s Brigade. She participated in the 24hr Slam Video Contest and appeared on an episode of the web-series, “Bruber”.. She was accepted into the Meadowlands Comedy Festival. She is starting to make a name for herself. Even though Max seems to connect well with the women in the audience, she is by no means a stereotypical female comedian. Sure she may touch on certain subjects that women relate to… being a Jewish mother (or Shmother, if you will), breastfeeding, being raised by her own delirious and eccentric mother, etc, because she IS a woman, after all. But she also talks about lofty subjects such as physics. She talks about travel. She isn’t trying to be one of the boys, or snarkily rip on the opposite sex. She tells stories of her life. She makes honest, personal observations that resonate with human beings from all walks of life. She isn’t a cartoon. Far from it. She is a 3D rendering of a life well lived. She is visceral and she is real. She is a soft-spoken force to be reckoned with. When it comes down to it, all Max wants to do is make people laugh. The laughter brings her to life and fuels her fire. She finally found the piece that has been missing from her life, and that piece is standing on a stage, in front of a microphone, baring her soul for all to see. She has a lifetime of stories to tell. And she has just started to tell them.

PLUS 0010 WHY IS IT FORBIDDEN TO CRITICIZE GEORGE SOROS? Richard welcomes a researcher/broadcaster to discuss Hungarian-American billionaire, investor, philanthropist George Soros and the immense political influence he wields through OpenSocietyFoundations.org   George Freund is an award winning blogger and a fiercely independent researcher and investigator.  He is a frequent guest-host of The Power Hour radio program.

Join the Episode after party on Discord! Link: https://discord.gg/ZzJSrGP New quantum paradox throws the foundations of observed reality into question Link: https://www.space.com/quantum-paradox-throws-doubt-on-observed-reality.html If a tree falls in a forest and no one is there to hear it, does it make a sound? Perhaps not, some say. And if someone is there to hear it? If you think that means it obviously did make a sound, you might need to revise that opinion. We have found a new paradox in quantum mechanics — one of our two most fundamental scientific theories, together with Einstein's theory of relativity — that throws doubt on some common-sense ideas about physical reality. Quantum mechanics vs. common sense Take a look at these three statements: •When someone observes an event happening, it really happened. •It is possible to make free choices, or at least, statistically random choices. •A choice made in one place can't instantly affect a distant event. (Physicists call this “locality”.) These are all intuitive ideas, and widely believed even by physicists. But our research, published in Nature Physics, shows they cannot all be true — or quantum mechanics itself must break down at some level. Quantum mechanics works extremely well to describe the behavior of tiny objects, such as atoms or particles of light (photons). But that behavior is … very odd. In many cases, quantum theory doesn't give definite answers to questions such as "where is this particle right now?" Instead, it only provides probabilities for where the particle might be found when it is observed. For Niels Bohr, one of the founders of the theory a century ago, that's not because we lack information, but because physical properties like "position" don't actually exist until they are measured. And what's more, because some properties of a particle can't be perfectly observed simultaneously — such as position and velocity — they can't be real simultaneously. Observer - In 1961, the Hungarian-American theoretical physicist Eugene Wigner devised a thought experiment to show what's so tricky about the idea of measurement. He considered a situation in which his friend goes into a tightly sealed lab and performs a measurement on a quantum particle — its position, say. However, Wigner noticed that if he applied the equations of quantum mechanics to describe this situation from the outside, the result was quite different. Instead of the friend's measurement making the particle's position real, from Wigner's perspective the friend becomes entangled with the particle and infected with the uncertainty that surrounds it. Chinese rocket booster appears to crash near school during Gaofen 11 satellite launch Link: https://www.space.com/china-launches-gaofen-11-satellite-rocket-crash.html A Chinese Long March 4B rocket successfully launched a new Earth-watching satellite Monday (Sep. 7) but the booster's spent first stage narrowly missed a school when it fell back to Earth, witness videos show. The Long March 4B rocket lifted off from the Taiyuan Satellite Launch Center in north China, at 1:57 p.m. local time (1:57 a.m. EDT, 0557 GMT). It carried the powerful Gaofen 11 (02) Earth observation satellite, an optical observation satellite capable of returning high resolution images, showing features as smaller than 3 feet (1 meter) across. Amateur footage posted on Chinese social media site Weibo following the launch apparently shows the first stage of the Long March 4B falling to Earth and exploding into a cloud of orange smoke. The footage was captured near the Lilong village, Gaoyao Town in the Luonan county of Shaanxi province, according to its author. One piece of footage appears to be taken from a school yard with children's voices audible and a plume of smoke visible in the distance. The Long March 4B first stage uses a mix of toxic hydrazine and nitrogen tetroxide for propellant. Contact with either could bring serious effects on health. China's main state-owned space contractor said in January it would aim for around 40 launches in 2020, with commercial launch service providers additionally carrying out their own missions. SpaceX says its Starlink satellite internet can download 100 megabits per second, and 'space lasers' transfer data between satellites Link: https://www.msn.com/en-us/news/technology/spacex-says-its-starlink-satellite-internet-can-download-100-megabits-per-second-and-space-lasers-transfer-data-between-satellites/ar-BB18GPrW?li=BBnb7Kz In private beta testing of its Starlink internet satellites, SpaceX says it has found low latency and high download speeds of 100 megabits per second. "Space lasers" also transferred hundreds of gigabytes of data between two Starlink satellites during a test, the company said. Visit Business Insider's homepage for more stories. SpaceX says early tests of its rapidly growing fleet of internet-providing satellites are yielding promising results. Internal tests of a beta version of internet service from the company's Starlink project show "super low latency and download speeds greater than 100 [megabits] per second," Kate Tice, a SpaceX senior certification engineer, said during a live broadcast of a Starlink launch on Thursday. "That means our latency is low enough to play the fastest online video games, and our download speeds are fast enough to stream multiple HD movies at once and still have bandwidth to spare," Tice added. The Starlink initiative eventually aims to send tens of thousands of broadband satellites into orbit, blanketing Earth in affordable, high-speed internet. SpaceX CEO Elon Musk has said that he hopes Starlink will get rural and remote regions online. Already, the company has launched more than 700 satellites. Tice also announced that SpaceX recently completed a test of two orbiting satellites that are equipped with inter-satellite links — informally known as "space lasers." This technology enables Starlink satellites to transfer data directly to each other in orbit, instead of beaming it to the ground and back. "With these space lasers, these Starlink satellites were able to transfer hundreds of gigabytes of data. Once these space lasers are fully deployed, Starlink will be one of the fastest options available to transfer data around the world," she said. Show Stuff Join the episode after party on Discord! Link: https://discord.gg/ZzJSrGP The Dark Horde Podcast: https://www.spreaker.com/show/the-dark-horde The Dark Horde, LLC – http://www.thedarkhorde.com Twitter @DarkHorde or https://twitter.com/HordeDark Support the podcast and shop @ http://shopthedarkhorde.com UBR Truth Seekers Facebook Group: https://www.facebook.com/groups/216706068856746 UFO Buster Radio: https://www.facebook.com/UFOBusterRadio YouTube Channel: https://www.youtube.com/channel/UCggl8-aPBDo7wXJQ43TiluA To contact Manny: manny@ufobusterradio.com, or on Twitter @ufobusterradio Call the show anytime at (972) 290-1329 and leave us a message with your point of view, UFO sighting, and ghostly experiences or join the discussion on www.ufobusterradio.com Mail can be sent to: UFO Buster Radio Network PO BOX 769905 San Antonio TX 78245 For Skype Users: bosscrawler

Join the Episode after party on Discord! Link: https://discord.gg/ZzJSrGP New quantum paradox throws the foundations of observed reality into question Link: https://www.space.com/quantum-paradox-throws-doubt-on-observed-reality.html If a tree falls in a forest and no one is there to hear it, does it make a sound? Perhaps not, some say. And if someone is there to hear it? If you think that means it obviously did make a sound, you might need to revise that opinion. We have found a new paradox in quantum mechanics — one of our two most fundamental scientific theories, together with Einstein's theory of relativity — that throws doubt on some common-sense ideas about physical reality. Quantum mechanics vs. common sense Take a look at these three statements: •When someone observes an event happening, it really happened. •It is possible to make free choices, or at least, statistically random choices. •A choice made in one place can't instantly affect a distant event. (Physicists call this “locality”.) These are all intuitive ideas, and widely believed even by physicists. But our research, published in Nature Physics, shows they cannot all be true — or quantum mechanics itself must break down at some level. Quantum mechanics works extremely well to describe the behavior of tiny objects, such as atoms or particles of light (photons). But that behavior is … very odd. In many cases, quantum theory doesn't give definite answers to questions such as "where is this particle right now?" Instead, it only provides probabilities for where the particle might be found when it is observed. For Niels Bohr, one of the founders of the theory a century ago, that's not because we lack information, but because physical properties like "position" don't actually exist until they are measured. And what's more, because some properties of a particle can't be perfectly observed simultaneously — such as position and velocity — they can't be real simultaneously. Observer - In 1961, the Hungarian-American theoretical physicist Eugene Wigner devised a thought experiment to show what's so tricky about the idea of measurement. He considered a situation in which his friend goes into a tightly sealed lab and performs a measurement on a quantum particle — its position, say. However, Wigner noticed that if he applied the equations of quantum mechanics to describe this situation from the outside, the result was quite different. Instead of the friend's measurement making the particle's position real, from Wigner's perspective the friend becomes entangled with the particle and infected with the uncertainty that surrounds it. Chinese rocket booster appears to crash near school during Gaofen 11 satellite launch Link: https://www.space.com/china-launches-gaofen-11-satellite-rocket-crash.html A Chinese Long March 4B rocket successfully launched a new Earth-watching satellite Monday (Sep. 7) but the booster's spent first stage narrowly missed a school when it fell back to Earth, witness videos show. The Long March 4B rocket lifted off from the Taiyuan Satellite Launch Center in north China, at 1:57 p.m. local time (1:57 a.m. EDT, 0557 GMT). It carried the powerful Gaofen 11 (02) Earth observation satellite, an optical observation satellite capable of returning high resolution images, showing features as smaller than 3 feet (1 meter) across. Amateur footage posted on Chinese social media site Weibo following the launch apparently shows the first stage of the Long March 4B falling to Earth and exploding into a cloud of orange smoke. The footage was captured near the Lilong village, Gaoyao Town in the Luonan county of Shaanxi province, according to its author. One piece of footage appears to be taken from a school yard with children's voices audible and a plume of smoke visible in the distance. The Long March 4B first stage uses a mix of toxic hydrazine and nitrogen tetroxide for propellant. Contact with either could bring serious effects on health. China's main state-owned space contractor said in January it would aim for around 40 launches in 2020, with commercial launch service providers additionally carrying out their own missions. SpaceX says its Starlink satellite internet can download 100 megabits per second, and 'space lasers' transfer data between satellites Link: https://www.msn.com/en-us/news/technology/spacex-says-its-starlink-satellite-internet-can-download-100-megabits-per-second-and-space-lasers-transfer-data-between-satellites/ar-BB18GPrW?li=BBnb7Kz In private beta testing of its Starlink internet satellites, SpaceX says it has found low latency and high download speeds of 100 megabits per second. "Space lasers" also transferred hundreds of gigabytes of data between two Starlink satellites during a test, the company said. Visit Business Insider's homepage for more stories. SpaceX says early tests of its rapidly growing fleet of internet-providing satellites are yielding promising results. Internal tests of a beta version of internet service from the company's Starlink project show "super low latency and download speeds greater than 100 [megabits] per second," Kate Tice, a SpaceX senior certification engineer, said during a live broadcast of a Starlink launch on Thursday. "That means our latency is low enough to play the fastest online video games, and our download speeds are fast enough to stream multiple HD movies at once and still have bandwidth to spare," Tice added. The Starlink initiative eventually aims to send tens of thousands of broadband satellites into orbit, blanketing Earth in affordable, high-speed internet. SpaceX CEO Elon Musk has said that he hopes Starlink will get rural and remote regions online. Already, the company has launched more than 700 satellites. Tice also announced that SpaceX recently completed a test of two orbiting satellites that are equipped with inter-satellite links — informally known as "space lasers." This technology enables Starlink satellites to transfer data directly to each other in orbit, instead of beaming it to the ground and back. "With these space lasers, these Starlink satellites were able to transfer hundreds of gigabytes of data. Once these space lasers are fully deployed, Starlink will be one of the fastest options available to transfer data around the world," she said. Show Stuff Join the episode after party on Discord! Link: https://discord.gg/ZzJSrGP The Dark Horde Podcast: https://www.spreaker.com/show/the-dark-horde The Dark Horde, LLC – http://www.thedarkhorde.com Twitter @DarkHorde or https://twitter.com/HordeDark Support the podcast and shop @ http://shopthedarkhorde.com UBR Truth Seekers Facebook Group: https://www.facebook.com/groups/216706068856746 UFO Buster Radio: https://www.facebook.com/UFOBusterRadio YouTube Channel: https://www.youtube.com/channel/UCggl8-aPBDo7wXJQ43TiluA To contact Manny: manny@ufobusterradio.com, or on Twitter @ufobusterradio Call the show anytime at (972) 290-1329 and leave us a message with your point of view, UFO sighting, and ghostly experiences or join the discussion on www.ufobusterradio.com Mail can be sent to: UFO Buster Radio Network PO BOX 769905 San Antonio TX 78245 For Skype Users: bosscrawler

British born, Hungarian-American host of the America First talk show - https://www.sebgorka.com/, former Deputy Assistant to President Trump, gun lover, triggerer of the left Please support the Delingpod by becoming a patron - either at Subscribestar or Patreon https://www.subscribestar.com/jamesdelingpole https://www.patreon.com/jamesdelingpole  

How did George Soros become an international bogeyman? In this episode of KennanX, Jill Dougherty speaks with Emily Tamkin about the proliferation of conspiracy theories surrounding the Hungarian-American philanthropist and investor, from Eastern Europe and Russia to the United States. Emily Tamkin is author of The Influence of Soros: Politics Power and the Struggle for an Open Society.

This week's episode of Sunday Folk is with Elliott Morse, a musician and a raconteur from Tucson, Arizona. He is also the great-great-grandson of Adolph Zukor, the Hungarian-American founder of Paramount Pictures.

Note: This is a new version because I uploaded the wrong file originally   Episode seventy-one of A History of Rock Music in 500 Songs continues our look at British music TV by looking at the first time it affected American R&B, and is also our final look at Johnny Otis. Patreon backers also have a ten-minute bonus episode available, on "Short Shorts" by the Royal Teens, a group whose members went on to be far more important than one might expect.  Also, this is the first of hopefully many podcasts to come where Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/  ----more----   Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode.  Much of the information on Otis comes from Midnight at the Barrelhouse: The Johnny Otis Story by George Lipsitz.  I've also referred extensively to two books by Otis himself, Listen to the Lambs, and Upside Your Head! Rhythm and Blues on Central Avenue. I've used two main books on the British side of things:  Pete Frame's The Restless Generation is the best book available looking at British 50s rock and roll from a historical perspective. Be warned, though -- his jokey and irreverent style can, when dealing with people like Larry Parnes (who was gay and Jewish) very occasionally tip over into reinforcing homophobic and anti-semitic stereotypes for an easy laugh. Billy Bragg's Roots, Radicals, and Rockers: How Skiffle Changed the World is one of the best books I've read on music at all, and talks about the problems between the musicians' unions. This three-CD set provides a great overview of Otis' forties and fifties work, both as himself and with other artists. Many of the titles will be very familiar to listeners of this podcast.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript And so we come to our last look at Johnny Otis, one of those people who has been turning up throughout the early episodes of the podcast. Indeed, he may continue to appear intermittently until at least the late sixties, as an influence and occasional collaborator. But the days of his influence on rock and roll music more or less came to an end with the rise of the rockabillies in the mid fifties, and from this point on he was not really involved in the mainstream of rock and roll. But in one of those curious events that happens sometimes, just as Otis was coming to the end of the run of hits he produced or arranged or performed on for other people, and the run of discoveries that changed music, he had a rock and roll hit under his own name for the first and only time. And that hit was because of the Six-Five Special, the British TV show we talked about last week: [Excerpt: Johnny Otis, "Willie and the Hand Jive"] The way this podcast works, telling stories chronologically and introducing new artists as they come along, can sometimes make it seem like the music business in the fifties was in a constant state of revolution, with a new year zero coming up every year or two. "First-wave rockabilly is *so* January through August 1956, we're into late 1958 and everything's prototype soul now, granddad!" But of course the majority of the podcast so far has looked at a very small chunk of time, concentrating on the mid 1950s, and plenty of people who were making hits in 1955 were still having very active careers as of 1958, and that's definitely the case for Johnny Otis. While he didn't have that many big hits after rockabilly took over from R&B as the predominant form of rock and roll music, he was still making important records. For example, in 1957 he produced and co-wrote "Lonely, Lonely Nights" for Little Julian Herrera and the Tigers, which became a local hit, and which he thought at the time was the first big record to feature a Chicano singer. We're going to talk about the Chicano identity in future episodes of the show, but Chicano (or Chicana or Chicanx) is a term that is usually used for Americans of Mexican origin. It can be both an ethnic and a cultural identifier, and it has also been used in the past as a racial slur. It's still seen as that by some people, but it's also the chosen identifier for a lot of people who reject other labels like Hispanic or Latino. To the best of my knowledge, it's a word that is considered acceptable and correct for white people to use when talking about people who identify that way -- which, to be clear, not all Americans of Mexican descent do, by any means -- but I'm very happy to have feedback about this from people who are affected by the word. And Little Julian Herrera did identify that way, and he became a hero among the Chicano population in LA when "Lonely Lonely Nights" came out on Dig Records, a label Otis owned: [Excerpt: Little Julian Herrera and the Tigers, "Lonely, Lonely Nights"] But it turned out shortly afterwards that Herrera wasn't exactly what he seemed. Police came to Otis' door, and told him that the person he knew as Julian Herrera was wanted on charges of rape. And not only that, his birth name was Ron Gregory, and he was of Jewish ethnicity, and from a Hungarian-American family from Massachusetts. Apparently at some point he had run away from home and travelled to LA, where he had been taken in by a Mexican-American woman who had raised him as if he were her own son. That was pretty much the end of Little Julian Herrera's career -- and indeed shortly after that, Dig Records itself closed down, and Otis had no record contract. But then fate intervened, in the form of Mickey Katz. Mickey Katz was a comedian, who is now probably best known for his famous family -- his son is Joel Grey, the star of Cabaret, while his granddaughter, Jennifer Grey, starred in Dirty Dancing and Ferris Bueller's Day Off. Katz's comedy consisted of him performing parodies of currently-popular songs, giving them new lyrics referencing Jewish culture. A typical example is his version of "Sixteen Tons", making it about working at a deli instead of down a mine: [Excerpt: Mickey Katz, "Sixteen Tons"] Even though Katz's music was about as far from Otis' as one can imagine, Katz had been a serious musician before he went into comedy, and when he went to see Otis perform live, he recognised his talent as a bandleader, and called his record label, urging them to sign him. Katz was on Capitol, one of the biggest labels in the country, and so for the first time in many years, Otis had guaranteed major-label distribution for his records. In October 1957, Capitol took the unusual step of releasing four Johnny Otis singles at the same time, each of them featuring a different vocalist from his large stable of performers. None did especially well on the American charts at the time, but one, featuring Marie Adams and the Three Tons of Joy, would have a major impact on Otis' career. Marie Adams was someone who had been on the R&B scene for many years, and had been working with Otis in his show since 1953. She'd been born Ollie Marie Givens, but dropped the Ollie early on. She was a shy woman, who had to be pushed by her husband to audition for Don Robey at Peacock Records. Robey had challenged her to sing along with Dinah Washington's record "Harbor Lights": [Excerpt: Dinah Washington, "Harbor Lights"] When she'd proved she could sing that, Robey signed her, hoping that he'd have a second Big Mama Thornton on his hands. And her first single seemed to confirm him in that hope -- "I'm Gonna Play the Honky Tonks" went to number three on the R&B chart and became one of the biggest hit records Peacock had ever released: [Excerpt: Marie Adams, "I'm Gonna Play the Honky Tonks"] But her later career with Peacock was less successful. The follow-up was a version of Johnny Ace's "My Song", which seems to have been chosen more because Don Robey owned the publishing than because the song and arrangement were a good fit for her voice, and it didn't do anything much commercially: [Excerpt: Marie Adams, "My Song" Like many of Peacock's artists who weren't selling wonderfully she was handed over to Johnny Otis to produce, in the hopes that he could get her making hits. Sadly, he couldn't, and her final record for Peacock came in 1955, when Otis produced her on one of many records recorded to cash in on Johnny Ace's death, "In Memory": [Excerpt: Marie Adams, "In Memory"] But that did so poorly that it's never had an official rerelease, not even on a digital compilation I have which has half a dozen other tributes to Ace on it by people like Vanetta Dillard and Linda Hayes. Adams was dropped by her record label, but she was impressive enough as a vocalist that Otis -- who always had an ear for great singing -- kept her in his band, as the lead singer of a vocal trio, the Three Tons of Joy, who were so called because they were all extremely fat. (I say this not as a criticism of them. I'm fat myself and absolutely fat-positive. Fat isn't a term of abuse in my book). There seems to be some debate about the identity of the other two in the Three Tons of Joy. I've seen reliable sources refer to them as two sisters, Sadie and Francine McKinley, and as *Adams'* two sisters, Doris and Francine, and have no way of determining which of these is correct. The three of them would do synchronised dancing, even when they weren't singing, and they remained with Otis' show until 1960. And so when Capitol came to release its first batch of Johnny Otis records, one of them had vocals by Marie Adams and the Three Tons of Joy. The song in question was "Ma! He's Making Eyes At Me", a vaudeville song which dated back to 1921, and had originally sounded like this: [Excerpt: Billy Jones, "Ma! She's Making Eyes at Me"] In the hands of the Otis band and the Three Tons of Joy, it was transformed into something that owed more to Ruth Brown (especially with Marie Adams' pronunciation of "mama") than to any of the other performers who had recorded versions of the song over the decades: [Excerpt: Johnny Otis and his Orchestra with Marie Adams and the Three Tons of Joy: "Ma, He's Making Eyes At Me"] In the US, that did nothing at all on the charts, but for some reason it took off massively in the UK, and went to number two on the pop charts over here. It was so successful, in fact, that there were plans for a Johnny Otis Show tour of the UK in 1958. Those plans failed, because of something I've not mentioned in this podcast before, but which radically shaped British music culture, and to a lesser extent American music culture, for decades. Both the American Federation of Musicians and their British equivalent, the Musicians' Union, had since the early 1930s had a mutual protectionist agreement which prevented musicians from one of the countries playing in the other. After the Duke Ellington band toured the UK in 1933, the ban came into place on both sides. Certain individual non-instrumental performers from one country could perform in the other, but only if they employed musicians from the other country. So for example Glenn Miller got his first experience of putting together a big band because Ray Noble, a British bandleader, had had hits in the US in the mid thirties. Noble and his vocalist Al Bowlly were allowed to travel to the US, but Noble's band wasn't, and so he had to get an American musician, Miller, to put together a new band. Similarly, when Johnnie Ray had toured the UK in the early fifties, he'd had to employ British musicians, and when Lonnie Donegan had toured the US on the back of "Rock Island Line"'s success, he was backed by Johnny Burnette and the Rock and Roll Trio -- Donegan was allowed to sing, but not allowed to play guitar. In 1955, the two unions finally came to a one-in-one-out agreement, which would last for the next few decades, where musicians from each country could tour, but only as a like-for-like swap. So Louis Armstrong was allowed to tour the UK, but only on condition that Freddie Randall, a trumpet player from Devon, got to tour the US. Stan Kenton's band toured the UK, while the Ted Heath Orchestra (which was not, I should point out, led by the Prime Minister of the same name) toured the US. We can argue over whether Freddie Randall was truly an adequate substitute for Louis Armstrong, but I'm sure you can see the basic idea. The union was making sure that Armstrong wasn't taking a job that would otherwise have gone to a British trumpeter. Similarly, when Bill Haley and the Comets became the first American rock and roll group to tour the UK, in 1957, Lonnie Donegan was allowed to tour the US again, and this time he could play his guitar. The Three Tons of Joy went over to the UK to appear on the Six-Five Special, backed by British musicians and to scout out some possible tour venues with Otis' manager, but the plans fell through because of the inability to find a British group who could reasonably do a swap with Otis' band. They came back to the US, and cut a follow-up to "Ma, He's Making Eyes at Me", with vocals by Marie and Johnny Otis: [Excerpt: Johnny Otis and Marie Adams, "Bye Bye Baby"] That's an example of what Johnny Otis meant when he said later that he didn't like most of his Capitol recordings, because he was being pushed too far in a commercial rock and roll direction, while he saw himself as far closer in spirit to Count Basie, Lionel Hampton, or Louis Jordan than to Elvis Presley or Buddy Holly. The song is just an endless litany of the titles of recentish rock and roll hits, with little to recommend it. It made the top twenty in the UK, mostly on the strength of people having bought the previous single. The record after that was an attempt to capitalise on "Ma! He's Making Eyes At Me" -- it was another oldie, this time from 1916, and another song about making eyes at someone. Surely it would give them another UK hit, right?: [Excerpt: Marie Adams, "What Do You Want To Make Those Eyes At Me For?"] Sadly, it sank without a trace -- at least until it was picked up by Emile Ford and the Checkmates, who released a soundalike cover version, which became the last British number one of the fifties and first of the sixties, and was also the first number one hit by a black British artist and the first record by a black British person to sell a million copies: [Excerpt: Emile Ford and the Checkmates, "What Do You Want To Make Those Eyes At Me For?"] We'll be hearing more from Ford's co-producer on that record, a young engineer named Joe Meek, later in the series. But Otis had another idea for how to crack the British market. While the Three Tons of Joy had been performing on Six-Five Special, they had seen the British audiences doing a weird dance that only used their arms. It was a dance that was originally popularised by a British group that was so obscure that they never made a record, and the only trace they left on posterity was this dance and three photos, all taken on the same night by, of all people, Ken Russell. From those photos, the Bell Cats were one of the many British bands trying to sound like Bill Haley and the Comets. Their regular gig was at a coffee house called The Cat's Whisker, where they were popular enough that the audience were packed in like sardines -- the venue was so often dangerously overcrowded that the police eventually shut it down, and the owner reopened it as the first Angus Steak House, an infamous London restaurant chain. In those Bell Cats performances, the audience were packed so tightly that they couldn't dance properly, and so a new dance developed among the customers, and spread -- a dance where you only moved your hands. The hand jive. That dance spread to the audiences of the Six-Five Special, so much that Don Lang and his Frantic Five released "Six-Five Hand Jive" in March 1958: [Excerpt: Don Lang and His Frantic Five, "Six-Five Hand Jive"] Oddly, despite Six-Five Special not being shown in Sweden, that song saw no less than three Swedish soundalike cover versions, from (and I apologise if I mangle these names) Inger Bergrenn, Towa Carson, and the Monn-Keys. The Three Tons of Joy demonstrated the hand jive to Otis, and he decided to write a song about the dance. There was a fad for dance songs in 1958, and he believed that writing a song about a dance that was popular in Britain, where he'd just had a big hit -- and namechecking those other dances, like the Walk and the Stroll -- could lead to a hit followup to "Ma He's Making Eyes At Me". The dance also appealed to Otis because, oddly, it was very reminiscent of some of the moves that black American people would do when performing "Hambone", the folk dance-cum-song-cum-game that we discussed way back in episode thirty, and which inspired Bo Diddley's song "Bo Didlley". Otis coupled lyrics about hand-jiving to the Bo Diddley rhythm -- though he would always claim, for the rest of his life, that he'd heard that rhythm from convicts on a chain gang before Diddley ever made a record: [Excerpt: Johnny Otis, "Willie and the Hand Jive"] Surprisingly, the record did nothing at all commercially in the UK. In fact, its biggest impact over here was that it inspired another famous dance. Cliff Richard cut his own version of "Willie and the Hand Jive" in 1959: [Excerpt: Cliff Richard and the Shadows, "Willie and the Hand Jive"] His backing band, the Shadows, were looking for a way to liven up the visual presentation of that song when they performed it live, and they decided that moving in unison would work well for the song, and worked out a few dance steps. The audience reaction was so great that they started doing it on every song. The famous -- or infamous -- Shadows Walk had developed. But while "Willie and the Hand Jive" didn't have any success in the UK, in the US it became Otis' only top ten pop hit, and his first R&B top ten hit as a performer in six years, reaching number nine on the pop charts and number one on the R&B charts. This was despite several radio stations banning it, as they assumed the "hand jive" was a reference to masturbation -- even though on Otis' TV shows and his stage performances, the Three Tons of Joy would demonstrate the dance as Otis sang. As late as the nineties, Otis was still having to deal with questions about whether "Willie and the Hand Jive" had some more lascivious meaning. Of course, with him now being on a major label, he had to do follow-ups to his big hit, like "Willie Did The Cha-Cha": [Excerpt: Johnny Otis, "Willie Did The Cha-Cha"] But chart success remained elusive, and nothing he did after this point got higher than number fifty-two on the pop charts. The music industry was slowly moving away from the kind of music that Otis had always made -- as genres got narrower, his appreciation for all forms of black American music meant that he no longer appealed to people who wanted one specific style of music. He was also becoming increasingly involved in the civil rights movement, writing a weekly newspaper column decrying racism, helping his friend Mervyn Dymally who became the joint first black person elected to statewide office in the USA since the reconstruction, and working with Malcolm X and others. He had to deal with crosses burning on his lawn, and with death threats to his family -- while Otis was white, his wife was black. The result was that Otis recorded and toured only infrequently during the sixties, and at one point was making so little as a musician that his wife became the main breadwinner of the family while he was a stay-at-home father. After the Watts riots in 1965, which we'll talk about much more when we get to that time period, Otis wrote the book Listen to the Lambs, a combination political essay, autobiography, and mixture of eyewitness accounts of the riots that made a radical case that the first priority for the black community in which he lived wasn't so much social integration, which he believed impossible in the short term due to white racism, as economic equality -- he thought it was in the best interests, not only of black people but of white people as well, if black people were made equal economic participants in America as rapidly as humanly possible, and if they should be given economic and political control over their own lives and destinies. The book is fierce in its anger at systemic racism, at colonialism, at anglocentric beauty standards that made black people hate their own bodies and faces, at police brutality, at the war in Vietnam, and at the systemic inequalities keeping black people down. And over and again he makes one point, and I'll quote from the book here: "A newborn Negro baby has less chance of survival than a white. A Negro baby will have its life ended seven years sooner. This is not some biological phenomenon linked to skin colour, like sickle-cell anaemia; this is a national crime, linked to a white-supremacist way of life and compounded by indifference". Just to remind you, the word he uses there was the correct word for black people at the time he was writing. Some of the book is heartrending, like the description from a witness -- Otis gives over thirty pages of the book to the voices of black witnesses of the riots -- talking about seeing white police officers casually shoot black teenagers on the street and make bullseye signals to their friends as if they'd been shooting tin cans. Some is, more than fifty years later, out of date or "of its time", but the sad thing is that so many of the arguments are as timely now as they were then. Otis wrote a follow-up, Upside Your Head, in the early nineties inspired by the LA riots that followed the Rodney King beating, and no doubt were he alive today he would be completing the trilogy. But while politics had become Otis' main occupation, he hadn't stopped making music altogether, and in the late sixties he was contacted by Frank Zappa, who was such a fan of Otis that he copied his trademark beard from Otis. Otis and Zappa worked together in a casual way, with Otis mostly helping Zappa get in touch with musicians he knew who Zappa wanted to work with, like Don "Sugarcane" Harris. Otis also conducted the Mothers of Invention in the studio on a few songs while Zappa was in the control room, helping him get the greasy fifties sound he wanted on songs like "Holiday in Berlin": [Excerpt: The Mothers of Invention, "Holiday in Berlin, Full Blown"] Apparently while they were recording that, Otis was clapping his hands in the face of the bass player, Roy Estrada, who didn't like it at all. Given what I know of Estrada that's a good thing. Otis' teenage son Shuggie also played with Zappa, playing bass on "Son of Mr. Green Genes" from Zappa's Hot Rats album. Zappa then persuaded a small blues label, Kent Records, which was owned by two other veterans of the fifties music industry, the Bihari brothers, to sign Otis to make an album. "Cold Shot" by the New Johnny Otis Show featured a core band of just three people -- Otis himself on piano and drums, Delmar "Mighty Mouth" Evans on vocals, and Shuggie playing all the guitar and bass parts. Shuggie was only fifteen at the time, but had been playing with his father's band since he was eleven, often wearing false moustaches and sunglasses to play in venues serving alcohol. The record brought Otis his first R&B hit since "Willie and the Hand Jive", more than a decade earlier, "Country Girl": [Excerpt: The Johnny Otis Show, "Country Girl"] Around the same time, that trio also recorded another album, called "For Adults Only", under the name Snatch and the Poontangs, and with a cover drawn by Otis in a spot-on imitation of the style of Robert Crumb. For obvious reasons I won't be playing any of that record here, but even that had a serious sociological purpose along with the obscene humour -- Otis wanted to preserve bits of black folklore. Songs like "The Signifying Monkey" had been performed for years, and had even been recorded by people like Chuck Berry and Willie Dixon, but they'd always stripped out the sexual insults that make up much of the piece's appeal. Otis would in later years laugh that he'd received accusations of obscenity for "Roll With Me Henry" and for "Willie and the Hand Jive", but nobody had seemed bothered in the slightest by the records of Snatch and the Poontangs with their constant sexual insults. "Cold Shot" caused a career renaissance for Otis, and he put together a new lineup of the Johnny Otis Show, one that would feature as many as possible of the veteran musicians who he thought deserved exposure to a new audience. Probably the highest point of Otis' later career was a 1970 performance at the Monterey Jazz Festival, where his band featured, along with Johnny and Shuggie, Esther Phillips, Big Joe Turner, Eddie "Cleanhead" Vinson, Roy Milton, Pee Wee Crayton, Ivory Joe Hunter, and Roy Brown: [Excerpt: The Johnny Otis Show featuring Roy Brown, "Good Rocking Tonight"] That performance was released as a live album, and Clint Eastwood featured footage of that show -- the band performing "Willie and the Hand Jive" -- in his classic film Play Misty For Me. It was probably the greatest example of Otis' belief that all the important strands of black American music shared a commonality and could work in combination with each other. For the next few decades, Otis combined touring with as many of his old collaborators as possible -- Marie Adams, for example, rejoined the band in 1972 -- with having his own radio show in which he told people about black musical history and interviewed as many old musicians as he could, writing more books, including a cookbook and a collection of his art, running an organic apple juice company and food store, painting old blues artists in a style equally inspired by African art and Picasso, and being the pastor of a Pentecostal church -- but one with a theology so broadminded that it was not only LGBT-affirming but had Buddhist and Jewish congregants. He ran Blues Spectrum Records in the seventies, which put out late-career recordings by people like Charles Brown, Big Joe Turner, and Louis Jordan, some of them their last ever recordings. And he lectured in the history of black music at Berkeley. Johnny Otis died in 2012, aged ninety, having achieved more than most of us could hope to achieve if we lived five times that long, and having helped many, many more people to make the most of their talents. He died three days before the discovery of whom he was most proud, Etta James, and she overshadowed him in the obituaries, as he would have wanted.

Note: This is a new version because I uploaded the wrong file originally   Episode seventy-one of A History of Rock Music in 500 Songs continues our look at British music TV by looking at the first time it affected American R&B, and is also our final look at Johnny Otis. Patreon backers also have a ten-minute bonus episode available, on “Short Shorts” by the Royal Teens, a group whose members went on to be far more important than one might expect.  Also, this is the first of hopefully many podcasts to come where Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/  —-more—-   Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.  Much of the information on Otis comes from Midnight at the Barrelhouse: The Johnny Otis Story by George Lipsitz.  I’ve also referred extensively to two books by Otis himself, Listen to the Lambs, and Upside Your Head! Rhythm and Blues on Central Avenue. I’ve used two main books on the British side of things:  Pete Frame’s The Restless Generation is the best book available looking at British 50s rock and roll from a historical perspective. Be warned, though — his jokey and irreverent style can, when dealing with people like Larry Parnes (who was gay and Jewish) very occasionally tip over into reinforcing homophobic and anti-semitic stereotypes for an easy laugh. Billy Bragg’s Roots, Radicals, and Rockers: How Skiffle Changed the World is one of the best books I’ve read on music at all, and talks about the problems between the musicians’ unions. This three-CD set provides a great overview of Otis’ forties and fifties work, both as himself and with other artists. Many of the titles will be very familiar to listeners of this podcast.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript And so we come to our last look at Johnny Otis, one of those people who has been turning up throughout the early episodes of the podcast. Indeed, he may continue to appear intermittently until at least the late sixties, as an influence and occasional collaborator. But the days of his influence on rock and roll music more or less came to an end with the rise of the rockabillies in the mid fifties, and from this point on he was not really involved in the mainstream of rock and roll. But in one of those curious events that happens sometimes, just as Otis was coming to the end of the run of hits he produced or arranged or performed on for other people, and the run of discoveries that changed music, he had a rock and roll hit under his own name for the first and only time. And that hit was because of the Six-Five Special, the British TV show we talked about last week: [Excerpt: Johnny Otis, “Willie and the Hand Jive”] The way this podcast works, telling stories chronologically and introducing new artists as they come along, can sometimes make it seem like the music business in the fifties was in a constant state of revolution, with a new year zero coming up every year or two. “First-wave rockabilly is *so* January through August 1956, we’re into late 1958 and everything’s prototype soul now, granddad!” But of course the majority of the podcast so far has looked at a very small chunk of time, concentrating on the mid 1950s, and plenty of people who were making hits in 1955 were still having very active careers as of 1958, and that’s definitely the case for Johnny Otis. While he didn’t have that many big hits after rockabilly took over from R&B as the predominant form of rock and roll music, he was still making important records. For example, in 1957 he produced and co-wrote “Lonely, Lonely Nights” for Little Julian Herrera and the Tigers, which became a local hit, and which he thought at the time was the first big record to feature a Chicano singer. We’re going to talk about the Chicano identity in future episodes of the show, but Chicano (or Chicana or Chicanx) is a term that is usually used for Americans of Mexican origin. It can be both an ethnic and a cultural identifier, and it has also been used in the past as a racial slur. It’s still seen as that by some people, but it’s also the chosen identifier for a lot of people who reject other labels like Hispanic or Latino. To the best of my knowledge, it’s a word that is considered acceptable and correct for white people to use when talking about people who identify that way — which, to be clear, not all Americans of Mexican descent do, by any means — but I’m very happy to have feedback about this from people who are affected by the word. And Little Julian Herrera did identify that way, and he became a hero among the Chicano population in LA when “Lonely Lonely Nights” came out on Dig Records, a label Otis owned: [Excerpt: Little Julian Herrera and the Tigers, “Lonely, Lonely Nights”] But it turned out shortly afterwards that Herrera wasn’t exactly what he seemed. Police came to Otis’ door, and told him that the person he knew as Julian Herrera was wanted on charges of rape. And not only that, his birth name was Ron Gregory, and he was of Jewish ethnicity, and from a Hungarian-American family from Massachusetts. Apparently at some point he had run away from home and travelled to LA, where he had been taken in by a Mexican-American woman who had raised him as if he were her own son. That was pretty much the end of Little Julian Herrera’s career — and indeed shortly after that, Dig Records itself closed down, and Otis had no record contract. But then fate intervened, in the form of Mickey Katz. Mickey Katz was a comedian, who is now probably best known for his famous family — his son is Joel Grey, the star of Cabaret, while his granddaughter, Jennifer Grey, starred in Dirty Dancing and Ferris Bueller’s Day Off. Katz’s comedy consisted of him performing parodies of currently-popular songs, giving them new lyrics referencing Jewish culture. A typical example is his version of “Sixteen Tons”, making it about working at a deli instead of down a mine: [Excerpt: Mickey Katz, “Sixteen Tons”] Even though Katz’s music was about as far from Otis’ as one can imagine, Katz had been a serious musician before he went into comedy, and when he went to see Otis perform live, he recognised his talent as a bandleader, and called his record label, urging them to sign him. Katz was on Capitol, one of the biggest labels in the country, and so for the first time in many years, Otis had guaranteed major-label distribution for his records. In October 1957, Capitol took the unusual step of releasing four Johnny Otis singles at the same time, each of them featuring a different vocalist from his large stable of performers. None did especially well on the American charts at the time, but one, featuring Marie Adams and the Three Tons of Joy, would have a major impact on Otis’ career. Marie Adams was someone who had been on the R&B scene for many years, and had been working with Otis in his show since 1953. She’d been born Ollie Marie Givens, but dropped the Ollie early on. She was a shy woman, who had to be pushed by her husband to audition for Don Robey at Peacock Records. Robey had challenged her to sing along with Dinah Washington’s record “Harbor Lights”: [Excerpt: Dinah Washington, “Harbor Lights”] When she’d proved she could sing that, Robey signed her, hoping that he’d have a second Big Mama Thornton on his hands. And her first single seemed to confirm him in that hope — “I’m Gonna Play the Honky Tonks” went to number three on the R&B chart and became one of the biggest hit records Peacock had ever released: [Excerpt: Marie Adams, “I’m Gonna Play the Honky Tonks”] But her later career with Peacock was less successful. The follow-up was a version of Johnny Ace’s “My Song”, which seems to have been chosen more because Don Robey owned the publishing than because the song and arrangement were a good fit for her voice, and it didn’t do anything much commercially: [Excerpt: Marie Adams, “My Song” Like many of Peacock’s artists who weren’t selling wonderfully she was handed over to Johnny Otis to produce, in the hopes that he could get her making hits. Sadly, he couldn’t, and her final record for Peacock came in 1955, when Otis produced her on one of many records recorded to cash in on Johnny Ace’s death, “In Memory”: [Excerpt: Marie Adams, “In Memory”] But that did so poorly that it’s never had an official rerelease, not even on a digital compilation I have which has half a dozen other tributes to Ace on it by people like Vanetta Dillard and Linda Hayes. Adams was dropped by her record label, but she was impressive enough as a vocalist that Otis — who always had an ear for great singing — kept her in his band, as the lead singer of a vocal trio, the Three Tons of Joy, who were so called because they were all extremely fat. (I say this not as a criticism of them. I’m fat myself and absolutely fat-positive. Fat isn’t a term of abuse in my book). There seems to be some debate about the identity of the other two in the Three Tons of Joy. I’ve seen reliable sources refer to them as two sisters, Sadie and Francine McKinley, and as *Adams’* two sisters, Doris and Francine, and have no way of determining which of these is correct. The three of them would do synchronised dancing, even when they weren’t singing, and they remained with Otis’ show until 1960. And so when Capitol came to release its first batch of Johnny Otis records, one of them had vocals by Marie Adams and the Three Tons of Joy. The song in question was “Ma! He’s Making Eyes At Me”, a vaudeville song which dated back to 1921, and had originally sounded like this: [Excerpt: Billy Jones, “Ma! She’s Making Eyes at Me”] In the hands of the Otis band and the Three Tons of Joy, it was transformed into something that owed more to Ruth Brown (especially with Marie Adams’ pronunciation of “mama”) than to any of the other performers who had recorded versions of the song over the decades: [Excerpt: Johnny Otis and his Orchestra with Marie Adams and the Three Tons of Joy: “Ma, He’s Making Eyes At Me”] In the US, that did nothing at all on the charts, but for some reason it took off massively in the UK, and went to number two on the pop charts over here. It was so successful, in fact, that there were plans for a Johnny Otis Show tour of the UK in 1958. Those plans failed, because of something I’ve not mentioned in this podcast before, but which radically shaped British music culture, and to a lesser extent American music culture, for decades. Both the American Federation of Musicians and their British equivalent, the Musicians’ Union, had since the early 1930s had a mutual protectionist agreement which prevented musicians from one of the countries playing in the other. After the Duke Ellington band toured the UK in 1933, the ban came into place on both sides. Certain individual non-instrumental performers from one country could perform in the other, but only if they employed musicians from the other country. So for example Glenn Miller got his first experience of putting together a big band because Ray Noble, a British bandleader, had had hits in the US in the mid thirties. Noble and his vocalist Al Bowlly were allowed to travel to the US, but Noble’s band wasn’t, and so he had to get an American musician, Miller, to put together a new band. Similarly, when Johnnie Ray had toured the UK in the early fifties, he’d had to employ British musicians, and when Lonnie Donegan had toured the US on the back of “Rock Island Line”‘s success, he was backed by Johnny Burnette and the Rock and Roll Trio — Donegan was allowed to sing, but not allowed to play guitar. In 1955, the two unions finally came to a one-in-one-out agreement, which would last for the next few decades, where musicians from each country could tour, but only as a like-for-like swap. So Louis Armstrong was allowed to tour the UK, but only on condition that Freddie Randall, a trumpet player from Devon, got to tour the US. Stan Kenton’s band toured the UK, while the Ted Heath Orchestra (which was not, I should point out, led by the Prime Minister of the same name) toured the US. We can argue over whether Freddie Randall was truly an adequate substitute for Louis Armstrong, but I’m sure you can see the basic idea. The union was making sure that Armstrong wasn’t taking a job that would otherwise have gone to a British trumpeter. Similarly, when Bill Haley and the Comets became the first American rock and roll group to tour the UK, in 1957, Lonnie Donegan was allowed to tour the US again, and this time he could play his guitar. The Three Tons of Joy went over to the UK to appear on the Six-Five Special, backed by British musicians and to scout out some possible tour venues with Otis’ manager, but the plans fell through because of the inability to find a British group who could reasonably do a swap with Otis’ band. They came back to the US, and cut a follow-up to “Ma, He’s Making Eyes at Me”, with vocals by Marie and Johnny Otis: [Excerpt: Johnny Otis and Marie Adams, “Bye Bye Baby”] That’s an example of what Johnny Otis meant when he said later that he didn’t like most of his Capitol recordings, because he was being pushed too far in a commercial rock and roll direction, while he saw himself as far closer in spirit to Count Basie, Lionel Hampton, or Louis Jordan than to Elvis Presley or Buddy Holly. The song is just an endless litany of the titles of recentish rock and roll hits, with little to recommend it. It made the top twenty in the UK, mostly on the strength of people having bought the previous single. The record after that was an attempt to capitalise on “Ma! He’s Making Eyes At Me” — it was another oldie, this time from 1916, and another song about making eyes at someone. Surely it would give them another UK hit, right?: [Excerpt: Marie Adams, “What Do You Want To Make Those Eyes At Me For?”] Sadly, it sank without a trace — at least until it was picked up by Emile Ford and the Checkmates, who released a soundalike cover version, which became the last British number one of the fifties and first of the sixties, and was also the first number one hit by a black British artist and the first record by a black British person to sell a million copies: [Excerpt: Emile Ford and the Checkmates, “What Do You Want To Make Those Eyes At Me For?”] We’ll be hearing more from Ford’s co-producer on that record, a young engineer named Joe Meek, later in the series. But Otis had another idea for how to crack the British market. While the Three Tons of Joy had been performing on Six-Five Special, they had seen the British audiences doing a weird dance that only used their arms. It was a dance that was originally popularised by a British group that was so obscure that they never made a record, and the only trace they left on posterity was this dance and three photos, all taken on the same night by, of all people, Ken Russell. From those photos, the Bell Cats were one of the many British bands trying to sound like Bill Haley and the Comets. Their regular gig was at a coffee house called The Cat’s Whisker, where they were popular enough that the audience were packed in like sardines — the venue was so often dangerously overcrowded that the police eventually shut it down, and the owner reopened it as the first Angus Steak House, an infamous London restaurant chain. In those Bell Cats performances, the audience were packed so tightly that they couldn’t dance properly, and so a new dance developed among the customers, and spread — a dance where you only moved your hands. The hand jive. That dance spread to the audiences of the Six-Five Special, so much that Don Lang and his Frantic Five released “Six-Five Hand Jive” in March 1958: [Excerpt: Don Lang and His Frantic Five, “Six-Five Hand Jive”] Oddly, despite Six-Five Special not being shown in Sweden, that song saw no less than three Swedish soundalike cover versions, from (and I apologise if I mangle these names) Inger Bergrenn, Towa Carson, and the Monn-Keys. The Three Tons of Joy demonstrated the hand jive to Otis, and he decided to write a song about the dance. There was a fad for dance songs in 1958, and he believed that writing a song about a dance that was popular in Britain, where he’d just had a big hit — and namechecking those other dances, like the Walk and the Stroll — could lead to a hit followup to “Ma He’s Making Eyes At Me”. The dance also appealed to Otis because, oddly, it was very reminiscent of some of the moves that black American people would do when performing “Hambone”, the folk dance-cum-song-cum-game that we discussed way back in episode thirty, and which inspired Bo Diddley’s song “Bo Didlley”. Otis coupled lyrics about hand-jiving to the Bo Diddley rhythm — though he would always claim, for the rest of his life, that he’d heard that rhythm from convicts on a chain gang before Diddley ever made a record: [Excerpt: Johnny Otis, “Willie and the Hand Jive”] Surprisingly, the record did nothing at all commercially in the UK. In fact, its biggest impact over here was that it inspired another famous dance. Cliff Richard cut his own version of “Willie and the Hand Jive” in 1959: [Excerpt: Cliff Richard and the Shadows, “Willie and the Hand Jive”] His backing band, the Shadows, were looking for a way to liven up the visual presentation of that song when they performed it live, and they decided that moving in unison would work well for the song, and worked out a few dance steps. The audience reaction was so great that they started doing it on every song. The famous — or infamous — Shadows Walk had developed. But while “Willie and the Hand Jive” didn’t have any success in the UK, in the US it became Otis’ only top ten pop hit, and his first R&B top ten hit as a performer in six years, reaching number nine on the pop charts and number one on the R&B charts. This was despite several radio stations banning it, as they assumed the “hand jive” was a reference to masturbation — even though on Otis’ TV shows and his stage performances, the Three Tons of Joy would demonstrate the dance as Otis sang. As late as the nineties, Otis was still having to deal with questions about whether “Willie and the Hand Jive” had some more lascivious meaning. Of course, with him now being on a major label, he had to do follow-ups to his big hit, like “Willie Did The Cha-Cha”: [Excerpt: Johnny Otis, “Willie Did The Cha-Cha”] But chart success remained elusive, and nothing he did after this point got higher than number fifty-two on the pop charts. The music industry was slowly moving away from the kind of music that Otis had always made — as genres got narrower, his appreciation for all forms of black American music meant that he no longer appealed to people who wanted one specific style of music. He was also becoming increasingly involved in the civil rights movement, writing a weekly newspaper column decrying racism, helping his friend Mervyn Dymally who became the joint first black person elected to statewide office in the USA since the reconstruction, and working with Malcolm X and others. He had to deal with crosses burning on his lawn, and with death threats to his family — while Otis was white, his wife was black. The result was that Otis recorded and toured only infrequently during the sixties, and at one point was making so little as a musician that his wife became the main breadwinner of the family while he was a stay-at-home father. After the Watts riots in 1965, which we’ll talk about much more when we get to that time period, Otis wrote the book Listen to the Lambs, a combination political essay, autobiography, and mixture of eyewitness accounts of the riots that made a radical case that the first priority for the black community in which he lived wasn’t so much social integration, which he believed impossible in the short term due to white racism, as economic equality — he thought it was in the best interests, not only of black people but of white people as well, if black people were made equal economic participants in America as rapidly as humanly possible, and if they should be given economic and political control over their own lives and destinies. The book is fierce in its anger at systemic racism, at colonialism, at anglocentric beauty standards that made black people hate their own bodies and faces, at police brutality, at the war in Vietnam, and at the systemic inequalities keeping black people down. And over and again he makes one point, and I’ll quote from the book here: “A newborn Negro baby has less chance of survival than a white. A Negro baby will have its life ended seven years sooner. This is not some biological phenomenon linked to skin colour, like sickle-cell anaemia; this is a national crime, linked to a white-supremacist way of life and compounded by indifference”. Just to remind you, the word he uses there was the correct word for black people at the time he was writing. Some of the book is heartrending, like the description from a witness — Otis gives over thirty pages of the book to the voices of black witnesses of the riots — talking about seeing white police officers casually shoot black teenagers on the street and make bullseye signals to their friends as if they’d been shooting tin cans. Some is, more than fifty years later, out of date or “of its time”, but the sad thing is that so many of the arguments are as timely now as they were then. Otis wrote a follow-up, Upside Your Head, in the early nineties inspired by the LA riots that followed the Rodney King beating, and no doubt were he alive today he would be completing the trilogy. But while politics had become Otis’ main occupation, he hadn’t stopped making music altogether, and in the late sixties he was contacted by Frank Zappa, who was such a fan of Otis that he copied his trademark beard from Otis. Otis and Zappa worked together in a casual way, with Otis mostly helping Zappa get in touch with musicians he knew who Zappa wanted to work with, like Don “Sugarcane” Harris. Otis also conducted the Mothers of Invention in the studio on a few songs while Zappa was in the control room, helping him get the greasy fifties sound he wanted on songs like “Holiday in Berlin”: [Excerpt: The Mothers of Invention, “Holiday in Berlin, Full Blown”] Apparently while they were recording that, Otis was clapping his hands in the face of the bass player, Roy Estrada, who didn’t like it at all. Given what I know of Estrada that’s a good thing. Otis’ teenage son Shuggie also played with Zappa, playing bass on “Son of Mr. Green Genes” from Zappa’s Hot Rats album. Zappa then persuaded a small blues label, Kent Records, which was owned by two other veterans of the fifties music industry, the Bihari brothers, to sign Otis to make an album. “Cold Shot” by the New Johnny Otis Show featured a core band of just three people — Otis himself on piano and drums, Delmar “Mighty Mouth” Evans on vocals, and Shuggie playing all the guitar and bass parts. Shuggie was only fifteen at the time, but had been playing with his father’s band since he was eleven, often wearing false moustaches and sunglasses to play in venues serving alcohol. The record brought Otis his first R&B hit since “Willie and the Hand Jive”, more than a decade earlier, “Country Girl”: [Excerpt: The Johnny Otis Show, “Country Girl”] Around the same time, that trio also recorded another album, called “For Adults Only”, under the name Snatch and the Poontangs, and with a cover drawn by Otis in a spot-on imitation of the style of Robert Crumb. For obvious reasons I won’t be playing any of that record here, but even that had a serious sociological purpose along with the obscene humour — Otis wanted to preserve bits of black folklore. Songs like “The Signifying Monkey” had been performed for years, and had even been recorded by people like Chuck Berry and Willie Dixon, but they’d always stripped out the sexual insults that make up much of the piece’s appeal. Otis would in later years laugh that he’d received accusations of obscenity for “Roll With Me Henry” and for “Willie and the Hand Jive”, but nobody had seemed bothered in the slightest by the records of Snatch and the Poontangs with their constant sexual insults. “Cold Shot” caused a career renaissance for Otis, and he put together a new lineup of the Johnny Otis Show, one that would feature as many as possible of the veteran musicians who he thought deserved exposure to a new audience. Probably the highest point of Otis’ later career was a 1970 performance at the Monterey Jazz Festival, where his band featured, along with Johnny and Shuggie, Esther Phillips, Big Joe Turner, Eddie “Cleanhead” Vinson, Roy Milton, Pee Wee Crayton, Ivory Joe Hunter, and Roy Brown: [Excerpt: The Johnny Otis Show featuring Roy Brown, “Good Rocking Tonight”] That performance was released as a live album, and Clint Eastwood featured footage of that show — the band performing “Willie and the Hand Jive” — in his classic film Play Misty For Me. It was probably the greatest example of Otis’ belief that all the important strands of black American music shared a commonality and could work in combination with each other. For the next few decades, Otis combined touring with as many of his old collaborators as possible — Marie Adams, for example, rejoined the band in 1972 — with having his own radio show in which he told people about black musical history and interviewed as many old musicians as he could, writing more books, including a cookbook and a collection of his art, running an organic apple juice company and food store, painting old blues artists in a style equally inspired by African art and Picasso, and being the pastor of a Pentecostal church — but one with a theology so broadminded that it was not only LGBT-affirming but had Buddhist and Jewish congregants. He ran Blues Spectrum Records in the seventies, which put out late-career recordings by people like Charles Brown, Big Joe Turner, and Louis Jordan, some of them their last ever recordings. And he lectured in the history of black music at Berkeley. Johnny Otis died in 2012, aged ninety, having achieved more than most of us could hope to achieve if we lived five times that long, and having helped many, many more people to make the most of their talents. He died three days before the discovery of whom he was most proud, Etta James, and she overshadowed him in the obituaries, as he would have wanted.

Note: This is a new version because I uploaded the wrong file originally   Episode seventy-one of A History of Rock Music in 500 Songs continues our look at British music TV by looking at the first time it affected American R&B, and is also our final look at Johnny Otis. Patreon backers also have a ten-minute bonus episode available, on “Short Shorts” by the Royal Teens, a group whose members went on to be far more important than one might expect.  Also, this is the first of hopefully many podcasts to come where Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/  —-more—-   Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.  Much of the information on Otis comes from Midnight at the Barrelhouse: The Johnny Otis Story by George Lipsitz.  I’ve also referred extensively to two books by Otis himself, Listen to the Lambs, and Upside Your Head! Rhythm and Blues on Central Avenue. I’ve used two main books on the British side of things:  Pete Frame’s The Restless Generation is the best book available looking at British 50s rock and roll from a historical perspective. Be warned, though — his jokey and irreverent style can, when dealing with people like Larry Parnes (who was gay and Jewish) very occasionally tip over into reinforcing homophobic and anti-semitic stereotypes for an easy laugh. Billy Bragg’s Roots, Radicals, and Rockers: How Skiffle Changed the World is one of the best books I’ve read on music at all, and talks about the problems between the musicians’ unions. This three-CD set provides a great overview of Otis’ forties and fifties work, both as himself and with other artists. Many of the titles will be very familiar to listeners of this podcast.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript And so we come to our last look at Johnny Otis, one of those people who has been turning up throughout the early episodes of the podcast. Indeed, he may continue to appear intermittently until at least the late sixties, as an influence and occasional collaborator. But the days of his influence on rock and roll music more or less came to an end with the rise of the rockabillies in the mid fifties, and from this point on he was not really involved in the mainstream of rock and roll. But in one of those curious events that happens sometimes, just as Otis was coming to the end of the run of hits he produced or arranged or performed on for other people, and the run of discoveries that changed music, he had a rock and roll hit under his own name for the first and only time. And that hit was because of the Six-Five Special, the British TV show we talked about last week: [Excerpt: Johnny Otis, “Willie and the Hand Jive”] The way this podcast works, telling stories chronologically and introducing new artists as they come along, can sometimes make it seem like the music business in the fifties was in a constant state of revolution, with a new year zero coming up every year or two. “First-wave rockabilly is *so* January through August 1956, we’re into late 1958 and everything’s prototype soul now, granddad!” But of course the majority of the podcast so far has looked at a very small chunk of time, concentrating on the mid 1950s, and plenty of people who were making hits in 1955 were still having very active careers as of 1958, and that’s definitely the case for Johnny Otis. While he didn’t have that many big hits after rockabilly took over from R&B as the predominant form of rock and roll music, he was still making important records. For example, in 1957 he produced and co-wrote “Lonely, Lonely Nights” for Little Julian Herrera and the Tigers, which became a local hit, and which he thought at the time was the first big record to feature a Chicano singer. We’re going to talk about the Chicano identity in future episodes of the show, but Chicano (or Chicana or Chicanx) is a term that is usually used for Americans of Mexican origin. It can be both an ethnic and a cultural identifier, and it has also been used in the past as a racial slur. It’s still seen as that by some people, but it’s also the chosen identifier for a lot of people who reject other labels like Hispanic or Latino. To the best of my knowledge, it’s a word that is considered acceptable and correct for white people to use when talking about people who identify that way — which, to be clear, not all Americans of Mexican descent do, by any means — but I’m very happy to have feedback about this from people who are affected by the word. And Little Julian Herrera did identify that way, and he became a hero among the Chicano population in LA when “Lonely Lonely Nights” came out on Dig Records, a label Otis owned: [Excerpt: Little Julian Herrera and the Tigers, “Lonely, Lonely Nights”] But it turned out shortly afterwards that Herrera wasn’t exactly what he seemed. Police came to Otis’ door, and told him that the person he knew as Julian Herrera was wanted on charges of rape. And not only that, his birth name was Ron Gregory, and he was of Jewish ethnicity, and from a Hungarian-American family from Massachusetts. Apparently at some point he had run away from home and travelled to LA, where he had been taken in by a Mexican-American woman who had raised him as if he were her own son. That was pretty much the end of Little Julian Herrera’s career — and indeed shortly after that, Dig Records itself closed down, and Otis had no record contract. But then fate intervened, in the form of Mickey Katz. Mickey Katz was a comedian, who is now probably best known for his famous family — his son is Joel Grey, the star of Cabaret, while his granddaughter, Jennifer Grey, starred in Dirty Dancing and Ferris Bueller’s Day Off. Katz’s comedy consisted of him performing parodies of currently-popular songs, giving them new lyrics referencing Jewish culture. A typical example is his version of “Sixteen Tons”, making it about working at a deli instead of down a mine: [Excerpt: Mickey Katz, “Sixteen Tons”] Even though Katz’s music was about as far from Otis’ as one can imagine, Katz had been a serious musician before he went into comedy, and when he went to see Otis perform live, he recognised his talent as a bandleader, and called his record label, urging them to sign him. Katz was on Capitol, one of the biggest labels in the country, and so for the first time in many years, Otis had guaranteed major-label distribution for his records. In October 1957, Capitol took the unusual step of releasing four Johnny Otis singles at the same time, each of them featuring a different vocalist from his large stable of performers. None did especially well on the American charts at the time, but one, featuring Marie Adams and the Three Tons of Joy, would have a major impact on Otis’ career. Marie Adams was someone who had been on the R&B scene for many years, and had been working with Otis in his show since 1953. She’d been born Ollie Marie Givens, but dropped the Ollie early on. She was a shy woman, who had to be pushed by her husband to audition for Don Robey at Peacock Records. Robey had challenged her to sing along with Dinah Washington’s record “Harbor Lights”: [Excerpt: Dinah Washington, “Harbor Lights”] When she’d proved she could sing that, Robey signed her, hoping that he’d have a second Big Mama Thornton on his hands. And her first single seemed to confirm him in that hope — “I’m Gonna Play the Honky Tonks” went to number three on the R&B chart and became one of the biggest hit records Peacock had ever released: [Excerpt: Marie Adams, “I’m Gonna Play the Honky Tonks”] But her later career with Peacock was less successful. The follow-up was a version of Johnny Ace’s “My Song”, which seems to have been chosen more because Don Robey owned the publishing than because the song and arrangement were a good fit for her voice, and it didn’t do anything much commercially: [Excerpt: Marie Adams, “My Song” Like many of Peacock’s artists who weren’t selling wonderfully she was handed over to Johnny Otis to produce, in the hopes that he could get her making hits. Sadly, he couldn’t, and her final record for Peacock came in 1955, when Otis produced her on one of many records recorded to cash in on Johnny Ace’s death, “In Memory”: [Excerpt: Marie Adams, “In Memory”] But that did so poorly that it’s never had an official rerelease, not even on a digital compilation I have which has half a dozen other tributes to Ace on it by people like Vanetta Dillard and Linda Hayes. Adams was dropped by her record label, but she was impressive enough as a vocalist that Otis — who always had an ear for great singing — kept her in his band, as the lead singer of a vocal trio, the Three Tons of Joy, who were so called because they were all extremely fat. (I say this not as a criticism of them. I’m fat myself and absolutely fat-positive. Fat isn’t a term of abuse in my book). There seems to be some debate about the identity of the other two in the Three Tons of Joy. I’ve seen reliable sources refer to them as two sisters, Sadie and Francine McKinley, and as *Adams’* two sisters, Doris and Francine, and have no way of determining which of these is correct. The three of them would do synchronised dancing, even when they weren’t singing, and they remained with Otis’ show until 1960. And so when Capitol came to release its first batch of Johnny Otis records, one of them had vocals by Marie Adams and the Three Tons of Joy. The song in question was “Ma! He’s Making Eyes At Me”, a vaudeville song which dated back to 1921, and had originally sounded like this: [Excerpt: Billy Jones, “Ma! She’s Making Eyes at Me”] In the hands of the Otis band and the Three Tons of Joy, it was transformed into something that owed more to Ruth Brown (especially with Marie Adams’ pronunciation of “mama”) than to any of the other performers who had recorded versions of the song over the decades: [Excerpt: Johnny Otis and his Orchestra with Marie Adams and the Three Tons of Joy: “Ma, He’s Making Eyes At Me”] In the US, that did nothing at all on the charts, but for some reason it took off massively in the UK, and went to number two on the pop charts over here. It was so successful, in fact, that there were plans for a Johnny Otis Show tour of the UK in 1958. Those plans failed, because of something I’ve not mentioned in this podcast before, but which radically shaped British music culture, and to a lesser extent American music culture, for decades. Both the American Federation of Musicians and their British equivalent, the Musicians’ Union, had since the early 1930s had a mutual protectionist agreement which prevented musicians from one of the countries playing in the other. After the Duke Ellington band toured the UK in 1933, the ban came into place on both sides. Certain individual non-instrumental performers from one country could perform in the other, but only if they employed musicians from the other country. So for example Glenn Miller got his first experience of putting together a big band because Ray Noble, a British bandleader, had had hits in the US in the mid thirties. Noble and his vocalist Al Bowlly were allowed to travel to the US, but Noble’s band wasn’t, and so he had to get an American musician, Miller, to put together a new band. Similarly, when Johnnie Ray had toured the UK in the early fifties, he’d had to employ British musicians, and when Lonnie Donegan had toured the US on the back of “Rock Island Line”‘s success, he was backed by Johnny Burnette and the Rock and Roll Trio — Donegan was allowed to sing, but not allowed to play guitar. In 1955, the two unions finally came to a one-in-one-out agreement, which would last for the next few decades, where musicians from each country could tour, but only as a like-for-like swap. So Louis Armstrong was allowed to tour the UK, but only on condition that Freddie Randall, a trumpet player from Devon, got to tour the US. Stan Kenton’s band toured the UK, while the Ted Heath Orchestra (which was not, I should point out, led by the Prime Minister of the same name) toured the US. We can argue over whether Freddie Randall was truly an adequate substitute for Louis Armstrong, but I’m sure you can see the basic idea. The union was making sure that Armstrong wasn’t taking a job that would otherwise have gone to a British trumpeter. Similarly, when Bill Haley and the Comets became the first American rock and roll group to tour the UK, in 1957, Lonnie Donegan was allowed to tour the US again, and this time he could play his guitar. The Three Tons of Joy went over to the UK to appear on the Six-Five Special, backed by British musicians and to scout out some possible tour venues with Otis’ manager, but the plans fell through because of the inability to find a British group who could reasonably do a swap with Otis’ band. They came back to the US, and cut a follow-up to “Ma, He’s Making Eyes at Me”, with vocals by Marie and Johnny Otis: [Excerpt: Johnny Otis and Marie Adams, “Bye Bye Baby”] That’s an example of what Johnny Otis meant when he said later that he didn’t like most of his Capitol recordings, because he was being pushed too far in a commercial rock and roll direction, while he saw himself as far closer in spirit to Count Basie, Lionel Hampton, or Louis Jordan than to Elvis Presley or Buddy Holly. The song is just an endless litany of the titles of recentish rock and roll hits, with little to recommend it. It made the top twenty in the UK, mostly on the strength of people having bought the previous single. The record after that was an attempt to capitalise on “Ma! He’s Making Eyes At Me” — it was another oldie, this time from 1916, and another song about making eyes at someone. Surely it would give them another UK hit, right?: [Excerpt: Marie Adams, “What Do You Want To Make Those Eyes At Me For?”] Sadly, it sank without a trace — at least until it was picked up by Emile Ford and the Checkmates, who released a soundalike cover version, which became the last British number one of the fifties and first of the sixties, and was also the first number one hit by a black British artist and the first record by a black British person to sell a million copies: [Excerpt: Emile Ford and the Checkmates, “What Do You Want To Make Those Eyes At Me For?”] We’ll be hearing more from Ford’s co-producer on that record, a young engineer named Joe Meek, later in the series. But Otis had another idea for how to crack the British market. While the Three Tons of Joy had been performing on Six-Five Special, they had seen the British audiences doing a weird dance that only used their arms. It was a dance that was originally popularised by a British group that was so obscure that they never made a record, and the only trace they left on posterity was this dance and three photos, all taken on the same night by, of all people, Ken Russell. From those photos, the Bell Cats were one of the many British bands trying to sound like Bill Haley and the Comets. Their regular gig was at a coffee house called The Cat’s Whisker, where they were popular enough that the audience were packed in like sardines — the venue was so often dangerously overcrowded that the police eventually shut it down, and the owner reopened it as the first Angus Steak House, an infamous London restaurant chain. In those Bell Cats performances, the audience were packed so tightly that they couldn’t dance properly, and so a new dance developed among the customers, and spread — a dance where you only moved your hands. The hand jive. That dance spread to the audiences of the Six-Five Special, so much that Don Lang and his Frantic Five released “Six-Five Hand Jive” in March 1958: [Excerpt: Don Lang and His Frantic Five, “Six-Five Hand Jive”] Oddly, despite Six-Five Special not being shown in Sweden, that song saw no less than three Swedish soundalike cover versions, from (and I apologise if I mangle these names) Inger Bergrenn, Towa Carson, and the Monn-Keys. The Three Tons of Joy demonstrated the hand jive to Otis, and he decided to write a song about the dance. There was a fad for dance songs in 1958, and he believed that writing a song about a dance that was popular in Britain, where he’d just had a big hit — and namechecking those other dances, like the Walk and the Stroll — could lead to a hit followup to “Ma He’s Making Eyes At Me”. The dance also appealed to Otis because, oddly, it was very reminiscent of some of the moves that black American people would do when performing “Hambone”, the folk dance-cum-song-cum-game that we discussed way back in episode thirty, and which inspired Bo Diddley’s song “Bo Didlley”. Otis coupled lyrics about hand-jiving to the Bo Diddley rhythm — though he would always claim, for the rest of his life, that he’d heard that rhythm from convicts on a chain gang before Diddley ever made a record: [Excerpt: Johnny Otis, “Willie and the Hand Jive”] Surprisingly, the record did nothing at all commercially in the UK. In fact, its biggest impact over here was that it inspired another famous dance. Cliff Richard cut his own version of “Willie and the Hand Jive” in 1959: [Excerpt: Cliff Richard and the Shadows, “Willie and the Hand Jive”] His backing band, the Shadows, were looking for a way to liven up the visual presentation of that song when they performed it live, and they decided that moving in unison would work well for the song, and worked out a few dance steps. The audience reaction was so great that they started doing it on every song. The famous — or infamous — Shadows Walk had developed. But while “Willie and the Hand Jive” didn’t have any success in the UK, in the US it became Otis’ only top ten pop hit, and his first R&B top ten hit as a performer in six years, reaching number nine on the pop charts and number one on the R&B charts. This was despite several radio stations banning it, as they assumed the “hand jive” was a reference to masturbation — even though on Otis’ TV shows and his stage performances, the Three Tons of Joy would demonstrate the dance as Otis sang. As late as the nineties, Otis was still having to deal with questions about whether “Willie and the Hand Jive” had some more lascivious meaning. Of course, with him now being on a major label, he had to do follow-ups to his big hit, like “Willie Did The Cha-Cha”: [Excerpt: Johnny Otis, “Willie Did The Cha-Cha”] But chart success remained elusive, and nothing he did after this point got higher than number fifty-two on the pop charts. The music industry was slowly moving away from the kind of music that Otis had always made — as genres got narrower, his appreciation for all forms of black American music meant that he no longer appealed to people who wanted one specific style of music. He was also becoming increasingly involved in the civil rights movement, writing a weekly newspaper column decrying racism, helping his friend Mervyn Dymally who became the joint first black person elected to statewide office in the USA since the reconstruction, and working with Malcolm X and others. He had to deal with crosses burning on his lawn, and with death threats to his family — while Otis was white, his wife was black. The result was that Otis recorded and toured only infrequently during the sixties, and at one point was making so little as a musician that his wife became the main breadwinner of the family while he was a stay-at-home father. After the Watts riots in 1965, which we’ll talk about much more when we get to that time period, Otis wrote the book Listen to the Lambs, a combination political essay, autobiography, and mixture of eyewitness accounts of the riots that made a radical case that the first priority for the black community in which he lived wasn’t so much social integration, which he believed impossible in the short term due to white racism, as economic equality — he thought it was in the best interests, not only of black people but of white people as well, if black people were made equal economic participants in America as rapidly as humanly possible, and if they should be given economic and political control over their own lives and destinies. The book is fierce in its anger at systemic racism, at colonialism, at anglocentric beauty standards that made black people hate their own bodies and faces, at police brutality, at the war in Vietnam, and at the systemic inequalities keeping black people down. And over and again he makes one point, and I’ll quote from the book here: “A newborn Negro baby has less chance of survival than a white. A Negro baby will have its life ended seven years sooner. This is not some biological phenomenon linked to skin colour, like sickle-cell anaemia; this is a national crime, linked to a white-supremacist way of life and compounded by indifference”. Just to remind you, the word he uses there was the correct word for black people at the time he was writing. Some of the book is heartrending, like the description from a witness — Otis gives over thirty pages of the book to the voices of black witnesses of the riots — talking about seeing white police officers casually shoot black teenagers on the street and make bullseye signals to their friends as if they’d been shooting tin cans. Some is, more than fifty years later, out of date or “of its time”, but the sad thing is that so many of the arguments are as timely now as they were then. Otis wrote a follow-up, Upside Your Head, in the early nineties inspired by the LA riots that followed the Rodney King beating, and no doubt were he alive today he would be completing the trilogy. But while politics had become Otis’ main occupation, he hadn’t stopped making music altogether, and in the late sixties he was contacted by Frank Zappa, who was such a fan of Otis that he copied his trademark beard from Otis. Otis and Zappa worked together in a casual way, with Otis mostly helping Zappa get in touch with musicians he knew who Zappa wanted to work with, like Don “Sugarcane” Harris. Otis also conducted the Mothers of Invention in the studio on a few songs while Zappa was in the control room, helping him get the greasy fifties sound he wanted on songs like “Holiday in Berlin”: [Excerpt: The Mothers of Invention, “Holiday in Berlin, Full Blown”] Apparently while they were recording that, Otis was clapping his hands in the face of the bass player, Roy Estrada, who didn’t like it at all. Given what I know of Estrada that’s a good thing. Otis’ teenage son Shuggie also played with Zappa, playing bass on “Son of Mr. Green Genes” from Zappa’s Hot Rats album. Zappa then persuaded a small blues label, Kent Records, which was owned by two other veterans of the fifties music industry, the Bihari brothers, to sign Otis to make an album. “Cold Shot” by the New Johnny Otis Show featured a core band of just three people — Otis himself on piano and drums, Delmar “Mighty Mouth” Evans on vocals, and Shuggie playing all the guitar and bass parts. Shuggie was only fifteen at the time, but had been playing with his father’s band since he was eleven, often wearing false moustaches and sunglasses to play in venues serving alcohol. The record brought Otis his first R&B hit since “Willie and the Hand Jive”, more than a decade earlier, “Country Girl”: [Excerpt: The Johnny Otis Show, “Country Girl”] Around the same time, that trio also recorded another album, called “For Adults Only”, under the name Snatch and the Poontangs, and with a cover drawn by Otis in a spot-on imitation of the style of Robert Crumb. For obvious reasons I won’t be playing any of that record here, but even that had a serious sociological purpose along with the obscene humour — Otis wanted to preserve bits of black folklore. Songs like “The Signifying Monkey” had been performed for years, and had even been recorded by people like Chuck Berry and Willie Dixon, but they’d always stripped out the sexual insults that make up much of the piece’s appeal. Otis would in later years laugh that he’d received accusations of obscenity for “Roll With Me Henry” and for “Willie and the Hand Jive”, but nobody had seemed bothered in the slightest by the records of Snatch and the Poontangs with their constant sexual insults. “Cold Shot” caused a career renaissance for Otis, and he put together a new lineup of the Johnny Otis Show, one that would feature as many as possible of the veteran musicians who he thought deserved exposure to a new audience. Probably the highest point of Otis’ later career was a 1970 performance at the Monterey Jazz Festival, where his band featured, along with Johnny and Shuggie, Esther Phillips, Big Joe Turner, Eddie “Cleanhead” Vinson, Roy Milton, Pee Wee Crayton, Ivory Joe Hunter, and Roy Brown: [Excerpt: The Johnny Otis Show featuring Roy Brown, “Good Rocking Tonight”] That performance was released as a live album, and Clint Eastwood featured footage of that show — the band performing “Willie and the Hand Jive” — in his classic film Play Misty For Me. It was probably the greatest example of Otis’ belief that all the important strands of black American music shared a commonality and could work in combination with each other. For the next few decades, Otis combined touring with as many of his old collaborators as possible — Marie Adams, for example, rejoined the band in 1972 — with having his own radio show in which he told people about black musical history and interviewed as many old musicians as he could, writing more books, including a cookbook and a collection of his art, running an organic apple juice company and food store, painting old blues artists in a style equally inspired by African art and Picasso, and being the pastor of a Pentecostal church — but one with a theology so broadminded that it was not only LGBT-affirming but had Buddhist and Jewish congregants. He ran Blues Spectrum Records in the seventies, which put out late-career recordings by people like Charles Brown, Big Joe Turner, and Louis Jordan, some of them their last ever recordings. And he lectured in the history of black music at Berkeley. Johnny Otis died in 2012, aged ninety, having achieved more than most of us could hope to achieve if we lived five times that long, and having helped many, many more people to make the most of their talents. He died three days before the discovery of whom he was most proud, Etta James, and she overshadowed him in the obituaries, as he would have wanted.

As we wrap up Season 1 of Starling, we look at how our personality and psychological make up influence our creativity. There are many myths around artists and creative people being tourtured souls or egotistical weirdos, but...there is research that says successful creatives are actually something "different". As we explore 10 traits laid out by Hungarian American psychologist Mihaly Csikszentmihalyi, we connect it to other things we have discussed this season. Follow This Link to find tons of curated content around this episode. There you will find the article I referenced, as well as the questions and practices I discuss. The playlist for this episode is there as well as a link to join the Starling Creative Living Member group.Thanks so much for listening in for the first season of Starling!

Sean Connery drops in on Pete and Fran followed by a discussion of 1995's 'Tank Girl'. Will it be better than 'Robin Hood: Prince of Thieves'? Additionally, Fran misunderstands the time phone and interviews Zsa Zsa Gabor, socialite, actress, singer and psychic. Show Notes Sir Thomas Sean Connery is a retired Scottish actor and producer, who has won an Academy Award, two BAFTA Awards, one being a BAFTA Academy Fellowship Award, and three Golden Globes, including the Cecil B. DeMille Award and a Henrietta Award. Tank Girl is a 1995 American science fiction film directed by Rachel Talalay. Based on the British post-apocalyptic comic series of the same name by Alan Martin and Jamie Hewlett that was originally published in Deadline magazine, the film stars Lori Petty, Naomi Watts, Ice-T and Malcolm McDowell. Tank Girl is set in a drought-ravaged Australia, years after a catastrophic impact event. It follows the antihero Tank Girl (Petty) as she, Jet Girl (Watts), and genetically modified supersoldiers called the Rippers fight "Water & Power", an oppressive corporation led by Kesslee (McDowell). Zsa Zsa Gabor was a Hungarian-American actress and socialite. Her sisters were actresses Eva and Magda Gabor. Gabor began her stage career in Vienna and was crowned Miss Hungary in 1936. She emigrated from Hungary to the United States in 1941.

With apologies that Jonny says Tommy Ramone (i.e. Thomas Erdelyi) was Bulgarian-American when he actually Hungarian-American.

This week's episode is with Timea Balogh, a Hungarian-American writer and translator with an MFA in creative writing from the University of Nevada, Las Vegas. A 2017 American Literary Translators Association Travel Fellow, her translations have appeared or are forthcoming in The Offing, Two Lines Journal, Waxwing, Split Lip Magazine, Arkansas International, and the Wretched Strangers anthology from Boiler House Press, among others. Her debut original short story was published in Juked magazine and was nominated for a PEN/Robert J. Dau Short Story Prize for Emerging Writers. She has stories forthcoming with Prairie Schooner and Passages North and poems forthcoming with Homonym Journal. Come September, she will study literary translation at the Balassi Institute in Budapest. Timea's poem "Versions", which she reads on the episode, can be found here along with two others: https://www.homonymjournal.com/issue-6/timea-balogh/

John Martin III sailed across the frigid Bering Sea in a 8-foot Walker Bay sailing dinghy. He landed in Siberia after 14 days at sea when wild currents pushed him wildly off course. He planned to sneak into China after sailing down the Yukon River. First he sailed the Tanana River. He departed his native Anchorage, Alaska in the tiny rowing sailboat. He worked his way up the rivers to the Yukon before departing for his wife and son in China. Martin lacked a passport because of his past brushes with the law. He was forced to land in Siberia to avoid being sucked into the Arctic Ocean. After a dangerous beach landing in Lavrentiya in the remote Chukotka region of Russia on August 1, 2018, after 14 days he was detained by Russian authorities for several months before being deported back to his native Alaska. That is where he gave this exclusive interview to Slow Boat Sailing. Photos of his trip were reproduced with John Martin's webpage www.nooceantoowide.com. He plans to write a book of his story. Did low oil pressure cause the Viking Sky to nearly sink? The Norwegian Maratime Authority (NWA) has issued their findings on why the 2-year old, 749-foot Viking Sky cruise ship lost all diesel engine power on Saturday, March 23, 2019. The engine oil pressure got too low due to up to 26-foot seas on the rocky southern Norway coast. Only anchors hastily deployed saved the 1,379 people onboard from abandoning a sinking ship hundreds of meters from the rocks. 479 people were airlifted off the boat. 1,373 lives were in the balance on the 749-foot cruise ship Viking Sky. After losing all its engines on March 23, 2019, signalling a "Mayday" distress call, and anchoring off a lee shore in 6-to-8-meter waves and gale force conditions, several engines were working on March 24, 2019. The Viking Sky launched in 2017. The MV Hagland Captain a 300-foot cargo ship had to be abandoned by all 9 crew due to engine failure. The rescue of the Hagland Captain crew by helicopter delayed the air lift of the guests of the MV Viking Sky. Over half of its 915 passengers were air lifted by CHC Helicopters and the Southern Norway rescue services (Hovedrningssentralen) on March 23 ,to March 24. MV Viking Sky arrived in Molde, Norway at 16:30, on Sunday, March 24, 2019. Istvan Kopar went from last (13th place) to 4th place from day 27 to day 263 of the 2018 Golden Globe Race. The Hungarian-American solo sailor battled broken steering, busted windvanes, lost log lines, broken radios, and peeling fingernails to best 14 other competitors at the start of the the 2018 Golden Globe Race (GGR). The GGR 2018 is a retro race that bans the use of satellite phones and GPS navigation. Kopar got a 24-hour time penalty added to his 263 days at sea because of an unsanctioned stop and sat phone use. All the first four finishers of the sailboat race for full-keel yachts of 32-to-36 feet long have been penalized for breaking the retro rules of the yacht race. 10.25.2017Video by Petty Officer 3rd Class Jonathan R Clay Commander, Amphibious Force 7th Fleet USS Ashland (LSD 48) renders assistance to two distressed American mariners in the Pacific ocean, Oct. 25, whose sailboat had strayed well of its original course. Ashland was operating in the Indo-Asia-Pacific region on routine deployment when the received the message to help.The Slow Boat Sailing t-shirts and mug are at https://teespring.com/slow-boat-sailing https://teespring.com/slow-boat-sailing-mug https://teespring.com/women-s-tee-slow-boat-sailing Support the videos atwww.Patreon.com/slowboatsailing On the Slow Boat Sailing Podcast Linus Wilson has interviewed the crew of Sailing SV Delos, WhiteSpotPirates (Untie the Lines), Chase the Story Sailing, Gone with the Wynns, MJ Sailing, Sailing Doodles, SV Prism, Sailing Miss Lone Star, and many others. Get Linus Wilson’s bestselling sailing books:Slow Boat to the Bahamashttps://www.amazon.com/dp/B018OUI1Q2 Slow Boat to Cubahttps://www.amazon.com/dp/B01MFFX9AGhttps://gumroad.com/l/cubabookand How to Sail Around the World-Part Timehttps://www.amazon.com/dp/B01B0OFYNWhttps://gumroad.com/l/sailinghave been #1 sailing ebook bestsellers on Amazon.You can get the full audiobook of Sailing to Treasure Island by Captain John C. Voss. at http://www.Patreon.com/slowboatsailing SAILING TO TREASURE ISLAND: The Cruise of the XORA (Annotated) by Captain J.C. VossThe paperback athttps://www.amazon.com/dp/1790302390orhttp://www.lulu.com/shop/captain-jc-voss/sailing-to-treasure-island-the-cruise-of-the-xora/paperback/product-23887731.html or the eBook athttp://www.lulu.com/shop/captain-jc-voss/sailing-to-treasure-island-the-cruise-of-the-xora/ebook/product-23887490.html or audiobookhttps://www.audible.com/pd/B07LC35H18/?source_code=AUDFPWS0223189MWT-BK-ACX0-136779&ref=acx_bty_BK_ACX0_136779_rh_us Get the paperback or eBookSailing the Ogre: The Log of a Woman Wanderer (Annotated)by Mabel M. Stockathttps://www.amazon.com/dp/B07MB8BF3C/or the audiobook at www.Patreon.com/slowboatsailingor audiblehttps://www.audible.com/pd/B07N7LT2DQ/?source_code=AUDFPWS0223189MWT-BK-ACX0-140980&ref=acx_bty_BK_ACX0_140980_rh_us Associate Producers Larry Wilson, Kevin Yager, and Rick Moore (SSL).Sign up for our free newsletter for access to free books and other promotions at http://www.slowboatsailing.comCopyright Linus Wilson, Oxriver Publishing, Vermilion Advisory Services, LLC, 2019

Integral expert and therapist Bence Ganti talks Ken Wilber, what is “integral” anyway, body therapy, psychodrama, constellations work, “fields”, “subtle energy”, armouring, meditation vs. therapy (and why meditation alone isn't enough), engaged spirituality, shadow work , centaurs, and risks in the integral world. We also take an extended dive into adult development - how people grow - and the changing embodied aspect of this and conflicts between stages. Lastly, we talk to Bence (who is a Hungarian American) about cultural differences in embodiment as he's well placed for this; and finish with an invitation to the European Integral Conference.  http://www.benceganti.com https://integraleuropeanconference.com

Join Heather & Jon as they get in the flow about Flow!  How can we assist our kids in finding their flow?  What gets us in the zone?  Listen up and find out! Mentioned in this episode:      First - my apologies - Mihaly Csikszentmihalyi is Hungarian American, not Polish as stated in                     the episode.      Flow        Jason Silva

In physics, radiation is the emission or transmission of energy in the form of waves or particles through space or through a material medium. Hiroshima By John Hersey http://www.newyorker.com/magazine/1946/08/31/hiroshima Operation Sandstone was a series of nuclear weapon tests in 1948. It was the third series of American tests, following Trinity in 1945 and Crossroads in 1946, and preceding Ranger. Like the Crossroads tests, the Sandstone tests were carried out at the Pacific Proving Grounds, although at Enewetak Atoll rather than Bikini Atoll. They differed from Crossroads in that they were conducted by the Atomic Energy Commission, with the armed forces having only a supporting role. The purpose of the Sandstone tests was also different: they were primarily tests of new bomb designs rather than of the effects of nuclear weapons. Three tests were carried out in April and May 1948 by Joint Task Force 7, with a work force of 10,366 personnel, of whom 9,890 were military. The successful testing of the new cores in the Operation Sandstone tests rendered every component of the old weapons obsolete. Even before the third test had been carried out, production of the old cores was halted, and all effort concentrated on the new Mark 4 nuclear bomb, which would become the first mass-produced nuclear weapon. More efficient use of fissionable material as a result of Operation Sandstone would increase the U.S. nuclear stockpile from 56 bombs in June 1948 to 169 in June 1949. The United States Atomic Energy Commission (AEC) was an agency of the United States government established after World War II by Congress to foster and control the peacetime development of atomic science and technology.:91–102 President Harry S. Truman signed the McMahon/Atomic Energy Act on August 1, 1946, transferring the control of atomic energy from military to civilian hands, effective from January 1, 1947. This shift gave the first members of the AEC complete control of the plants, laboratories, equipment, and personnel assembled during the war to produce the atomic bomb. During its initial establishment and subsequent operationalization, the AEC played a key role in the institutional development of Ecosystem ecology. Specifically, it provided crucial financial resources, allowing for ecological research to take place. Perhaps even more importantly, it enabled ecologists with a wide range of groundbreaking techniques for the completion of their research. In the late 1950s and early 1960s, the AEC also approved funding for numerous bio-environmental projects in the Arctic and near-Arctic. These projects were designed to examine the effects of nuclear energy upon the environment and were a part of the Commission’s attempt at creating peaceful applications of atomic energy. Edward Teller was a Hungarian-American theoretical physicist who was born in Hungary, and is known colloquially as "the father of the hydrogen bomb", although he claimed he did not care for the title. He made numerous contributions to nuclear and molecular physics, spectroscopy, and surface physics. His extension of Enrico Fermi's theory of beta decay, in the form of Gamow–Teller transitions, provided an important stepping stone in its application, while the Jahn–Teller effect and the Brunauer–Emmett–Teller (BET) theory have retained their original formulation and are still mainstays in physics and chemistry. Teller also made contributions to Thomas–Fermi theory, the precursor of density functional theory, a standard modern tool in the quantum mechanical treatment of complex molecules. In 1953, along with Nicholas Metropolis, Arianna Rosenbluth, Marshall Rosenbluth, and Augusta Teller, Teller co-authored a paper which is a standard starting point for the applications of the Monte Carlo method to statistical mechanics.

In a rare departure from interviews with scientists and engineers, STEM-Talk Host Dawn Kernagis and IHMC Director Ken Ford interview Jeffrey “Skunk” Baxter about his life as a musician and founding member of Steely Dan, and how he went on to become a defense consultant on the Senate Armed Services Committee. The two fields seem completely different, but Baxter explains the similarities between them and talks about how improvising in jazz is a skill that can carry over into defense analytics and tactics. Baxter’s bio includes playing with a number of well-known bands, such as Steely Dan and The Doobie Brothers. As a studio musician for 35 years, Baxter recorded with Donna Summer, Dolly Parton, Ringo Starr and Rod Stewart. He was a record producer for Carl Wilson, the Beach Boys and Stray Cats. He also composed music for movies and television. He has achieved a certain renown in Washington as an advisor and consultant for multiple agencies and defense technology companies. He chaired a Congressional Advisory Board on missile defense and was a senior fellow at the Potomac Institute. Baxter also holds a unique affiliation with IHMC as “senior thinker and raconteur.” He and Ken go way back—to Ken’s own days in the rock ‘n’ roll business, which the two discuss in the interview. Baxter’s IHMC bio is available at http://www.ihmc.us/groups/jbaxter/. More information on him is at https://en.wikipedia.org/wiki/Jeff_Baxter or https://www.facebook.com/skunkbaxter/. In 2009, Baxter gave an IHMC lecture entitled “The Revolution in Intelligence.” https://www.youtube.com/watch?v=1GRkCyvIz70 2:12: Dawn reads a five-star iTunes review. 3:04: Dawn reads Baxter’s bio and introduces Jeff and Ken. 4:38: Baxter talks about musicians who influenced him growing up, from Beethoven and Chopin to Thelonious Monk and Ella Fitzgerald. 5:05: Baxter was five years old when his mother gave him a great gift: “She taught me to read.” 6:04: Baxter read a lot of military history because of his father, who spent five years in active duty and 20 years in the reserves. 7:00: Baxter describes his beginnings as a musician. 8:00: His love of the complexity and improvisational nature of jazz helped prepare him for work in the intelligence community. 10:25: Ken asks Baxter to talk about his days in the ‘70s as a founding member of Steely Dan. 11:15: Baxter shares his insights about studio recordings. 12:27: Baxter notes that a long time ago Ken was very involved in rock ‘n’ roll as an agent who booked and managed bands. 15:30: Baxter talks about Steely Dan and the unsung hero of the band, Roger Nichols, who was the engineer. 17:30: Baxter describes his transition from Steely Dan to The Doobie Brothers. 21:11: Ken comments that the evolution of The Doobie Brothers was remarkable. He asks Baxter about bringing Mike McDonald to the band. 23:20: Dawn asks about Baxter’s transition from full-time rock musician to advisor on missile defense. 23:30: Baxter quips: “A radar is just an electric guitar on steroids.” 25:35: Writing a paper on converting the Aegis system to do theater missile defense on a mobile platform led Baxter to a position as a missile defense consultant on the Senate Armed Services Committee. 26:28: Baxter describes D.C. as “a whole new world to me” filled with “unbelievably talented, smart patriotic men and women.” 27:25: How Baxter used Beethoven, Bach, Jimmy Hendrix and Pink Floyd to teach radar at the National Geospatial Intelligence Agency. 28:50: Edward Teller, the Hungarian-American theoretical physicist, was also a concert pianist. Baxter talks about how he began to realize that more and more physicists he met were also musicians. 29:48: Dawn asks how Baxter was received by the defense community in D.C., given his rock band background. 31:33: Baxter talks about his first ‘brutal” press conference on missile defense (not considered back then by the press as a worthy endea...

A Hungarian-American singer performs "The Fisherboy's Sweetheart" in Delray, a Detroit neighborhood

The Tank team discuss their favorite magician, Erik Weisz (aka Harry Houdini). The Hungarian-American handcuff king brought escapology to center stage and challenged the spiritualist movement with incredible showmanship. All this and more!