Podcasts about In Holland

Maar liefst een kwart van alle jongeren heeft op dit moment een schuld (hypotheek en studieschuld buiten beschouwing gelaten). De bedragen variëren enorm; het kan gaan om tientjes maar ook om een schuld van 20.000 euro.  Te gast is Paula Smith, pedagoog en onderzoeker werkzaam bij InHolland. Zij onderzoekt samen met jongeren en professionals hoe schulden te voorkomen zijn. 

1/4: Burma '44: The Battle That Turned World War II in the East Hardcover – June 11, 2024 by  James Holland  (Author) https://www.amazon.com/Burma-44/dp/0802160581 In February 1944, in one of the most astonishing battles of World War II, a ragtag collection of British clerks, drivers, doctors, muleteers, and other base troops, stiffened by a few dogged Yorkshiremen and a handful of tank crews, managed to defeat a much larger and sophisticated contingent of some of the finest infantry in the Japanese army on their march towards India. What became known as the Battle of the Admin Box, fought amongst the paddy fields and jungle of Northern Arakan over a fifteen-day period, turned the battle for Burma. Not only was it the first decisive victory for Allied troops against the Japanese, more significantly, it demonstrated how the Japanese could be defeated. Lessons learned in this otherwise insignificant corner of the Far East set up the campaign in Burma that would follow, as General William Slim's Fourteenth Army finally turned the tide of the war in the East. In Burma '44, acclaimed World War II historian James Holland offers a dramatic tale of victory against incredible odds. As momentous as the Battle of the Bulge ten months later, the Admin Box was a triumph of human grit and heroism and remains one of the most significant yet underappreciated conflicts of the entire war. In Holland's hands, it is finally given its proper place in the history of World War II. 1944 Burma

2/4:  Burma '44: The Battle That Turned World War II in the East Hardcover – June 11, 2024  by  James Holland  (Author) https://www.amazon.com/Burma-44/dp/0802160581 In February 1944, in one of the most astonishing battles of World War II, a ragtag collection of British clerks, drivers, doctors, muleteers, and other base troops, stiffened by a few dogged Yorkshiremen and a handful of tank crews, managed to defeat a much larger and sophisticated contingent of some of the finest infantry in the Japanese army on their march towards India. What became known as the Battle of the Admin Box, fought amongst the paddy fields and jungle of Northern Arakan over a fifteen-day period, turned the battle for Burma. Not only was it the first decisive victory for Allied troops against the Japanese, more significantly, it demonstrated how the Japanese could be defeated. Lessons learned in this otherwise insignificant corner of the Far East set up the campaign in Burma that would follow, as General William Slim's Fourteenth Army finally turned the tide of the war in the East. In Burma '44, acclaimed World War II historian James Holland offers a dramatic tale of victory against incredible odds. As momentous as the Battle of the Bulge ten months later, the Admin Box was a triumph of human grit and heroism and remains one of the most significant yet underappreciated conflicts of the entire war. In Holland's hands, it is finally given its proper place in the history of World War II. 1944 Burma

3/4: Burma '44: The Battle That Turned World War II in the East Hardcover – June 11, 2024 by  James Holland  (Author) https://www.amazon.com/Burma-44/dp/0802160581 In February 1944, in one of the most astonishing battles of World War II, a ragtag collection of British clerks, drivers, doctors, muleteers, and other base troops, stiffened by a few dogged Yorkshiremen and a handful of tank crews, managed to defeat a much larger and sophisticated contingent of some of the finest infantry in the Japanese army on their march towards India. What became known as the Battle of the Admin Box, fought amongst the paddy fields and jungle of Northern Arakan over a fifteen-day period, turned the battle for Burma. Not only was it the first decisive victory for Allied troops against the Japanese, more significantly, it demonstrated how the Japanese could be defeated. Lessons learned in this otherwise insignificant corner of the Far East set up the campaign in Burma that would follow, as General William Slim's Fourteenth Army finally turned the tide of the war in the East. In Burma '44, acclaimed World War II historian James Holland offers a dramatic tale of victory against incredible odds. As momentous as the Battle of the Bulge ten months later, the Admin Box was a triumph of human grit and heroism and remains one of the most significant yet underappreciated conflicts of the entire war. In Holland's hands, it is finally given its proper place in the history of World War II. 1944 Burma

4/4: Burma '44: The Battle That Turned World War II in the East Hardcover – June 11, 2024 by  James Holland  (Author) https://www.amazon.com/Burma-44/dp/0802160581 In February 1944, in one of the most astonishing battles of World War II, a ragtag collection of British clerks, drivers, doctors, muleteers, and other base troops, stiffened by a few dogged Yorkshiremen and a handful of tank crews, managed to defeat a much larger and sophisticated contingent of some of the finest infantry in the Japanese army on their march towards India. What became known as the Battle of the Admin Box, fought amongst the paddy fields and jungle of Northern Arakan over a fifteen-day period, turned the battle for Burma. Not only was it the first decisive victory for Allied troops against the Japanese, more significantly, it demonstrated how the Japanese could be defeated. Lessons learned in this otherwise insignificant corner of the Far East set up the campaign in Burma that would follow, as General William Slim's Fourteenth Army finally turned the tide of the war in the East. In Burma '44, acclaimed World War II historian James Holland offers a dramatic tale of victory against incredible odds. As momentous as the Battle of the Bulge ten months later, the Admin Box was a triumph of human grit and heroism and remains one of the most significant yet underappreciated conflicts of the entire war. In Holland's hands, it is finally given its proper place in the history of World War II. 1944 Burma

Lowlands Science is een terugkerend onderdeel op het grootschalige festival in Biddinghuizen. Wetenschappers van universiteiten, HBO-instellingen en onderzoeksinstituten grijpen de kans aan om te vertellen over hun onderzoek én data te verzamelen onder de 65.000 potentiële proefpersonen. Verslaggevers Tess en Sander mengen zich onder de festivalbezoekers en dragen ook hun steentje bij.  * In een glazen cabine onder de druk van publiek en opzwepende muziek probeert Tess een puzzel op te lossen. Socioloog Thijs Bol (https://www.uva.nl/profiel/b/o/t.bol/t.bol.html) van de Universiteit van Amsterdam onderzoekt op deze manier de invloed van prestatiedruk en hoopt meer te weten te komen over hoe jongeren kijken naar de maakbaarheid van hun eigen succes. * In Holland's Next Embryo Model (https://www.nemokennislink.nl/publicaties/hollands-next-embryo-model/)worden op de catwalk verschillende embryo-modellen gepresenteerd die onderzoekers gebruiken om vroege levensontwikkeling te bestuderen. Aan de publieksjury de taak om te hun mening te geven over de ethische vragen die deze modellen oproepen. Een maatschappelijke discussie in klein, waarbij de argumenten en overwegingen van de festivalgangers input kunnen zijn voor beleidsmakers en de politiek. * Taalwetenschapper Martijn Wieling (https://www.martijnwieling.nl/) van de Rijksuniversiteit Groningen is benieuwd wie op basis van spraak beter kan herkennen uit welk deel van het land iemand komt: de mens of een AI-systeem? Door te luisteren naar andere bezoekers moeten deelnemers aan het onderzoek beoordelen waar ze denken dat iemand vandaan komt. Ook wordt er nieuwe spraakdata verzameld door zinnen in te spreken met karakteristieke klanken. Zo kunnen spraaktechnologieën, zoals automatische spraakherkenning of tekst-naar-spraaksystemen, uiteindelijk verbeterd worden.  Podcast Focus wordt gemaakt op de NTR wetenschapsredactie door:   Redactie: Stijn Goossens Verslaggeving & techniek: Tess de Bruijn, Sander Nieuwenhuijsen Eindredactie: Sander Nieuwenhuijsen, Gerda Bosman   Vragen? Mail de redactie: wetenschap@ntr.nl (mailto:wetenschap@ntr.nl)   Wil je op de hoogte blijven van onze programma's? Abonneer je dan op de NTR Wetenschap Nieuwsbrief (https://ntr.dmd.omroep.nl/x/plugin/?pName=subscribe&MIDRID=S7Y1BwAA04&pLang=nl&Z=1317075972)

Special Vinyl edition of the Sessions podcast - you won't believe your ears! Wonderful music from Italy this time as we welcome Sergio Calzone, Andrea Bellucci and Lorenzo Montanà. Top quality Ambient music that you will never forget. I will be playing tracks from 2 LP's that really stand out in vinyl land. In Holland: temperatures have been high, sunshine intense, the studio has seen over 31C. Your patience will be rewarded: let's have a walk into the Wilderness and share these moments together… ⭐️ Soundscapes by FloatSpace / various sources⭐️ Music performed by Iluiteq, Lorenzo Montanà From the album “The Loss of Wilderness” : -A Sylvan Elegy-The Remains of a Fragile Landscape-Glacier Ice Falling into the Sea From the album “Katà Métron” : -Aletheia-Pneuma-Daimon Sessions podcast is mixed, edited, layered, cooked, steamed, processed and finalized by *TC* in the Ambient Zone - The Netherlands. Thank you for your support and donations. Help us to continue this Journey, Thank You! ———> NEW SHOW NOTES VERSION———> PLEASE SEND ANY FEEDBACK IF YOU WANT———> admin@ambient.zone———> visit our site www.ambient.zone

Na zijn studie aan InHolland en de Universiteit van Amsterdam, en zijn ervaring als designer bij het Europese hoofdkantoor van Tommy Hilfiger, besloot Olaf zijn eigen modemerk te starten. Toen hij dat merk vol passie begon, viel de financiële kant erg tegen. Met de hulp van een investeerder slaagde Olaf erin zijn merk te professionaliseren, maar na 3 jaar voelde hij beperkingen op zijn visie en besloot hij de investeerder uit te kopen. In 2023 staat Olaf opnieuw aan het roer als Managing Director van zijn nu 30-koppige bedrijf. Ontdek hoe hij zijn ondernemersreis heeft gevormd, inclusief zijn huidige streven naar verdere groei en ontwikkeling aan de Nyenrode Universiteit.

Heute sprechen wir mit Annebeth Demaeght, Doktorandin an der Hochschule Offenburg, über ihre Arbeit & Forschung zur User Experience (UX). Wieso UX nicht nur im Verkauf wichtig ist, und was wir daraus lernen können, erklärt sie in diesem Interview. Wir wünschen wie immer viel Spaß beim Hören! Quellen: Customer Experience Tracking Labor der Hochschule Offenburg https://bw.hs-offenburg.de/labore/customer-experience-tracking Normen DIN EN ISO 9241-110: Ergonomie der Mensch-System-Interaktion - Teil 110: Interaktionsprinzipien (ISO 9241-110:2020) https://www.din.de/de/mitwirken/normenausschuesse/naerg/veroeffentlichungen/wdc-beuth:din21:320862700 DIN EN ISO 9241-210: Ergonomie der Mensch-System-Interaktion - Teil 210: Menschzentrierte Gestaltung interaktiver Systeme (ISO 9241-210:2019) https://www.din.de/de/mitwirken/normenausschuesse/naerg/veroeffentlichungen/wdc-beuth:din21:313017070 Literatur Ekman, P., & Friesen, W. V. (1978). The facial action coding system (FACS). A technique for the measurement of facial action. Palo Alto: Consulting Psychologists Press. Gast, O. (2018). User Experience im E-Commerce. Messung von Emotionen bei der Nutzung interaktiver Anwendungen. Springer Gabler, Wiesbaden. https://doi.org/10.1007/978-3-658-22484-4 Müller, A., Miclau, C., Demaeght, A. (2020). Customer Experience: Die Messung und Interpretation von Emotionen im Dialogmarketing. In: Holland, H. (eds) Digitales Dialogmarketing. Springer Gabler, Wiesbaden. https://doi.org/10.1007/978-3-658-28973-7_26-1 Müller, A., Miclau, C., Demaeght, A. (2022). Digitale Kundeninteraktionen empirisch erforschen. In: Graumann, M., Burkhardt, A., Wenger, T. (eds) Aspekte des Managements der Digitalisierung. Business - Innovation - High Tech. Springer Gabler, Wiesbaden. https://doi.org/10.1007/978-3-658-36889-0_2 Kontakt: leadershipleichtgelernt@gmx.de

Die Bundesregierung ist erst zwei Jahre alt, aber nach dem Debakel um die Schuldenbremse und die Haushaltskrise prophezeit so mancher schon Neuwahlen. Vor kurzem wurde in Argentinien der anarcho-kapitalistische Libertäre Javier Milei zum Präsidenten gewählt. In Holland gewann Geert Wilders die Wahlen. Ganz klar Protestwahlen von Bürgern, die die Schnauze voll haben vom politischen Establishment und seinen leeren Versprechen. Könnten solche Wahlergebnisse auch in Deutschland passieren? Gibt es genug deutsche Protestwähler, um z.B. eine Protestpartei wie die AfD an die Macht zu bringen? Wäre das ein Fortschritt oder ein Disaster?  Und ganz allgemein: Welche Partei soll man eigentlich wählen? Welche bringt das Land nach vorne und welcher Politiker kann Deutschland in eine bessere Zukunft führen?

Afgelopen weken hebben onze Chicks alle straten en hoeken van Rotterdam-Zuid afgestruind om zoveel mogelijk jonge meiden te interviewen. Hoe ervaren jonge meiden namelijk de openbare ruimte in dit gedeelte van Rotterdam? Veiligheidsbeleving Rotterdam-Zuid komt niet altijd even positief naar voren in de media. Zo bleek zelfs uit een recent onderzoek (2021) van onderzoekers Fischer en Vanderveen van de Erasmus Universiteit in Rotterdam, dat veel jonge vrouwen zich onprettig of zelfs onveilig voelen in de buitenruimte op Rotterdam-Zuid. Het is dus ontzettend belangrijk om erachter te komen wat er moet veranderen om van Rotterdam-Zuid een fijne plek te maken voor jonge meiden, maar hier zijn nog veel meer inzichten voor nodig. Straatinterviews In samenwerking met Hogeschool Inholland hebben onze Chicks een aantal vragen opgesteld en straatinterviews afgelegd. Deze interviews zijn namelijk heel belangrijk voor het onderzoek van de Hogeschool en kunnen gebruikt worden om de behoeftes van jonge meiden in kaart te brengen. Workshop Lijkt het jou leuk om mee te praten over jouw ervaringen in Rotterdam-Zuid? Eind oktober gaat Inholland workshops organiseren waarbij een aantal meiden mee mogen denken over wat er in de wijk verbeterd moet worden. Na je deelname ontvang je €20! Hier vind je meer informatie over de workshops! Podcast In de podcast bespreken we niet alleen onze inzichten over de interviews, maar zul je ook een aantal quotes te horen krijgen. Ben jij benieuwd wat er uit ons onderzoek gekomen is? De aflevering staat nu online. Houd onze website en Spotify in de gaten voor meer!

On this episode, my guest is Nick Hunt, the author of three travel books about journeys by foot, including Outlandish: Walking Europe's Unlikely Landscapes. His articles have appeared in The Guardian, Emergence, The Irish Times, New Internationalist, Resurgence & Ecologist and other publications. He works as an editor and co-director for the Dark Mountain Project. His latest book is an alternate history novel, Red Smoking Mirror.Show NotesAwe and the Great SecretOn Focus, Sight and SubjectivityThe Almost Lost Art of WalkingPilgrimage and the Half Way PointWhat if Left of Old-School Hospitality in our Times?When Borders Matter LessHospitality and PainThe Costs of InterculturalityAsking Permission: On Not Being WelcomeFriendship, Hospitality, and ExchangeHomeworkNick Hunt's Official WebsiteRed Smoking MirrorEssay: Bulls and ScarsTranscript[00:00:00] Chris Christou: Welcome Nick to the End of Tourism podcast. Thank you so very much for joining us today. [00:00:05] Nick Hunt: Very nice to be here, Chris. [00:00:07] Chris Christou: I have a feeling we're in for a very special conversation together. To begin, I'm wondering if you could offer us a glimpse into your world today, where you find yourself, and how the times seem to be rolling out in front of you, where you are.[00:00:22] Nick Hunt: Wow, that's a good, that's a good question. Geographically, I'm in Bristol, in the southwest of England, which is the city I grew up in and then moved away from and have come back to in the last five or so years. The city that I sat out the pandemic, which was quite a tough one for various reasons here and sort of for me personally and my family.But the last year really has just felt like everyone's opening out again and it feels... it's kind of good and bad. There was something about that time, I don't want to plunge straight into COVID because I'm sure everyone's sick of hearing about it, but the way it, it froze the world and froze people's personal lives and it froze all the good stuff, but it also froze a lot of the more difficult questions.So, I think in terms of kind of my wider work, which is often, focused around climate change, extinction, the state of the planet in general, the pandemic was, was oddly, you didn't have to think about the other problems for a while, even though they were still there. It dominated the airspace so much that everything else just kind of stopped.And now I find that in amongst all the joy of kind of friends emerging again and being able to travel, being able to meet people, being able to do stuff, there's also this looming feeling of like, the other problems are also waking up and we're looking at them again. [00:01:56] Chris Christou: Yeah. We have come back time to time in the last year or two in certain interviews of the pod and, and reflected a little bit on those times and considered that there was, among other things, it was a time where there was the possibility of real change. And I speak more to the places that have become tourist destinations, especially over touristed and when those people could finally leave their homes and there was nobody there that there was this sense of Okay, things could really be different [00:02:32] Nick Hunt: Yeah.As well. Yeah. I know there, there was a kind of hope wasn't there that, "oh, we can change, we can, we can act in, in a huge, unprecedented way." Maybe that will transfer to the environmental problems that we face. But sadly that didn't happen. Or it didn't happen yet. [00:02:53] Chris Christou: Well, time will tell. So Nick, I often ask my guests to begin with a bit of background on how their own travels have influenced their work, but since so much of your writing seems to revolve around your travels, I've decided to make that the major focus of our time together. And so I'd like to begin with your essay Bulls and Scars, which appears in issue number 14 of Dark Mountain entitled TERRA, and which was republished in The Best British Travel Writing of the 21st Century.[00:03:24] Nick Hunt: A hyperbolic, a hyperbolic title, I have to say. [00:03:29] Chris Christou: And in that exquisite essay on the theme of wanderlust, you write, and I quote, "always this sense, when traveling, will I find it here? Will the great secret reveal itself? Is it around the next corner? There is never anything around the next corner except the next corner, but sometimes I catch fragments of it.This fleeting thing I am looking for. That mountainside, that's a part of it there. The way the light falls on that wall. That old man sitting under a mulberry tree with his dog sleeping at his feet. That's a part of the secret too. If I could fit these pieces together, I would be completed. Waking on these sacks of rice, I nearly see the shape of it. The outlines of the secret loom, extraordinary and almost whole. I can almost touch it. I think. Yes, this is it. I am here. I have arrived, but I have not arrived. I am traveling too fast. The moment has already gone, the truck rolls onwards through the night, and the secret slides away.This great secret, Nick, that spurs so much of our wanderlust. I'm curious, where do you imagine it comes from personally, historically, or otherwise? [00:04:59] Nick Hunt: Wow. Wow. Thank you for reading that so beautifully. That was an attempt to express something that I think I've always, I've always felt, and I imagine everybody feels to some extent that sense of, I guess you could describe it as "awe," but this sense that I, I first experienced this when I was a kid.I was about maybe six, five or six years old, maybe seven. I can't remember. Used to spend a lot of time in North Wales where my grandparents lived and my mum would take me up there and she loved walking. So we'd go for walks and we were coming back from a walk at the end of a day. So it was mountains. It was up in Snowdonia.And I have a very vivid memory of a sunset and a sheep and a lamb and the sky being red and gold in sense that now I would describe it as awe, you know, the sublime or something like that. I had no, no words for it. I just knew it was very important that I, I stayed there for a bit and, and absorbed it.So I refused to walk on. And my mom, I'll always be grateful for this. She didn't attempt to kind of pull my hand and drag me back to the car cuz she probably had things to do. But she walked on actually and out of sight and left me just to kind of be there because she knew that this was an important thing.And for me, that's the start of, of the great secret. I think this sense of wanting to be inside the world. I've just been reading some Ursula LeGuin and there's a short story in her always coming home. I think it's called A Hole in the Air. And it's got this kind of conceit of a man stepping outside the world and he kind of goes to a parallel version of his world and it's the one in which some version of us lives.And it's the kind of, you know, sort of fucked up war-like version where everything's kind of terrible and polluted, dangerous and violent and he can't understand it. But this idea of he's gone outside the world and he can't find his way back in. And I think this is a theme in a lot of indigenous people.This idea of kind of being inside something and other cultures being outside. I think a lot, all of my writing and traveling really has been about wanting to get inside and kind of understand something. I don't know. I mean, I dunno what the secret is because it's a secret and what I was writing about in that essay was, I think in my twenties particularly, I kind of imagined that I could find this if I kept moving.The quicker the better because you're covering more ground and more chance of finding something that you're looking for, of knowing what's around the next corner, what's over the next hill. You know, even today I find it very difficult to kind of turn back on a walk before I've got to the top of a hill or some point where I can see what's coming next.It feels like something uncompleted and then I'm sure, as I imagine you did, you know, you were describing to me earlier about traveling throughout your twenties and always kind of looking for this thing and then realizing, what am I actually, you know, what am I doing? What am I actually looking for?Mm-hmm. So I still love traveling, obviously, but I don't feel this kind youthful urge just to keep moving, keep moving, keep moving, see more things, you know, experience more. And then I think you learn when you get a bit older that maybe that's not the way to find whatever it is that you are kind of restless for.Maybe that's when you turn inside a little bit more. And certainly my travels now are kind of shorter and slower than they were before, but I find that there's a better quality of focus in the landscapes or places that before I would've kind of dismissed and rushed through are now endlessly fascinating.And allowing more time to kind of stay in a place has its own value. [00:09:19] Chris Christou: Well, blessings to your mother. What's her name if I can ask? Her name's Caroline. It's the same name as my wife. So it's a source of endless entertainment for my friends. Well, thank you, Caroline, for, for that moment, for allowing it to happen.I think for better or worse, so many of us are robbed of those opportunities as children. And thinking recently about I'll have certain flashbacks to childhood and that awe and that awe-inspiring imagination that seems limitless perhaps for a young child and is slowly waned or weaned as we get older.So thank you to your mother for that. I'm sure part of the reason that we're having this conversation today. And you touched a little bit on this notion of expectation and you used the word focus as well, and I'm apt to consider more and more the the question of sight and how it dominates so much of our sense perception and our sense relationships as we move through our lives and as we move across the world.And so I'd like to bring up another little excerpt from Bulls and Scars, which I just have to say I loved so much. And in the essay you write, quote, "I know nothing about anything. It's a relief to admit this now and let myself be led. All I see is the surface of things. The elaborate hairstyle of a man, shaved to the crown and plastered down in a clay hardened bun, a woman's goat skin skirt, fringed with cowrie shelves and not the complex layers of meaning that lie beneath. I understand nothing of the ways in which these things fit together, how they collide or overlap. There are symbols I cannot read, lines I do not see."End quote. And so this, this reminded me. I have walking through a few textile shops here in Oaxaca some years ago with a friend of mine and he noted how tourists tend towards these textile styles, colors and designs, but specifically the ones that tend to fit their own aesthetics and how this can eventually alter what the local weavers produce and often in service to foreign tastes.And he said to me, he said, "most of the time we just don't know what we're looking at." And so it's not just our inability to see as a disciplined and locally formed skill that seems to betray us, but also our unwillingness to know just that that makes us tourists or foreigners in a place. My question to you is, how do you imagine we might subvert these culturally conjured ways of seeing, assuming that's even necessary? [00:12:24] Nick Hunt: Well, that's a question that comes up an awful lot as a travel writer. And it's one I've become more aware of over these three books I've written, which form a very loose trilogy about, they're all about walking in different parts of Europe.And I've only become more aware of that that challenge of the traveler. There's another line in that essay that something like " they say that traveling opens doors, but sometimes people take their doors with them." You know, it's not necessarily true, but any means that seeing the world kind of widens your perspective. A lot of people just, you know, their eyes don't change no matter where they go. And so, I know that when I'm doing these journeys, I'm going completely subjectively with my own prejudices, my own mood of the day which completely determines how I see a place and how I meet people and what I bring away from it.And also what I, what I give. And I think this is, this is kind of an unavoidable thing really. It's one of the paradoxes maybe at the heart of the kind of travel writing I do, and there's different types of travel writers. Some people are much more conscientious about when they talk to people, it's, you know, it's more like an interview.They'll record it. They'll only kind of quote exactly what they were told. But even that, there's a kind of layer of storytelling, obviously, because they are telling a story, they're telling a narrative, they're cutting certain things out of the frame, and they're including others. They're exaggerating or amplifying certain details that fit the narrative that they're following.I think an answer to your question, I, I'm not sure yet, but I'm hopefully becoming more, more aware. And I think one thing is not hiding it, is not pretending that a place as I see it, that I, by any means, can see the truth, you know, the kind of internal truth of this place. There's awareness that my view is my view and I think the best thing we can do is just not try and hide that to include it as part of the story we tell. Hmm. And I, I noticed for my first book, I did this long walk across Europe that took about seven and a half months. And there were many days when I didn't really want to be doing it.I was tired, sick, didn't want to be this kind of traveling stranger, always looking like the weirdo walking down the street with a big bag and kind of unshaved sunburnt face. And so I noticed that some villages I walked into, I would come away thinking, my God, those people were awful.They were really unfriendly. No one looked at me, no one smiled. I just felt this kind of hostility. And then I'd think, well, the common factor in this is always me. And I must have been walking into that village looking shifty, not really wanting to communicate with anyone, not making any contact, not explaining who I was.And of course they were just reflecting back what I was giving them. So I think, just kind of centering your own mood and the baggage you take with you is very important. [00:15:46] Chris Christou: Yeah. Well, I'd like to focus a little bit more deeply on that book and then those travels that you wrote about anyways, in Walking the Woods and the Water.And just a little bit of a background for our listeners. The book's description is as follows. "In 1933, Patrick Leigh Fermor set out in a pair of hobnail boots to chance and charm his way across Europe. Quote, like a tramp, a pilgrim, or a wandering scholar. From the hook of Holland to Istanbul. 78 years later, I (you) followed in his footsteps.The book recounts a seven month walk through Holland, Germany, Austria, Slovakia, Hungary, Romania, Bulgaria, and Turkey on a quest to discover what remains of hospitality, kindness to strangers, freedom, wildness, adventure, and the deeper occurrence of myth and story that still flow beneath Europe's surface.Now before diving a little bit more deeply into these questions of hospitality and xenophobia or xenophilia, I'd like to ask about this pilgrimage and the others you've undertaken, especially, this possibility that seems to be so much an endangered species in our times, which is our willingness or capacity to proceed on foot as opposed to in vehicles.And so I'm curious how your choice to walk these paths affected your perception, how you experienced each new place, language, culture, and people emerging in front of you. Another way of asking the question would be, what is missed by our urge to travel in vehicles?[00:17:36] Nick Hunt: Well, that first walk, which set off the other ones, I later did. It could only have been a walk because the whole idea was to follow the footsteps of Patrick Leigh Fermor, who was a very celebrated travel writer who set out in 1933 with no ambition or kind of purpose other than he just wanted to walk to Istanbul.And it was his own kind of obsessive thing that he wanted to do. And I was deeply influenced by his book. And I was quite young and always thought I wanted to kind of try. I I was just curious to see the Europe that he saw was, you know, the last of a world that disappeared very shortly afterwards because he saw Germany as this unknown guy called Adolf Hitler, who was just emerging on the scene. He walked through these landscapes that were really feudal in character, you know, with counts living in castles and peasants working in the fields. And he, so he saw the last of this old Europe that was kind of wiped out by, well first the second World War, then communism in Eastern Europe and capitalism, in Western Europe and then everywhere.So it's just had so many very traumatic changes and I just wanted to know if there was any of what he saw left, if there was any of that slightly fairytale magic that he glimpsed. So I had to walk because it, it just wouldn't have worked doing it by any other form of transport. And I mean, initially, even though I'd made up my mind, I was going to go by foot and I knew I wasn't in a hurry. It was amazing how frustrating walking was in the first couple of weeks. It felt almost like the whole culture is, you know, geared around getting away, got to go as quickly as possible.In Holland actually I wasn't walking in remote mountains, I was walkingthrough southern industrial states and cities in which a walker feels, you feel like an outcast in places you shouldn't really be. So, it took a couple of weeks for my mind to really adjust and actually understand that slowness was the whole purpose. And then it became the pleasure.And by halfway through Germany, I hadn't gone on any other form of transport for maybe six weeks, and I stayed with someone who, he said, "I'm going to a New Year's Eve party in the next town." It was New Year's Eve. The next town was on my route. He said, "you know, I'm driving so I might as well take you there."So I said, "great," cuz it'd been a bit weird to kind of go to this town and then come back again. It was on my way. So, I got in a car and the journey took maybe half an hour and I completely panicked, moving at that speed, I was shocked by how much of the world was taken away from me, actually, because by then I'd learned to love spotting these places, you know, taking routes along, along rivers and through bits of woodland.I was able to see them coming and all of these things were flashing past me. We crossed the Rhine, which was this great river that I'd been following for weeks. And it was like a stream, you know, it was a puddle. It was kind of gone under the bridge in two seconds. Wow. And it really felt like I had this, this kind of guilt, to be honest.It was this feeling of what was in that day that I lost, you know, what didn't I see? Who didn't I meet? I've just been sitting in the passenger seat of a car, and I have no sense of direction. The thing about walking is you're completely located at all times. You walk into the center of a city and you've had to have walked through the suburbs.You've seen the outskirts, and it helps, you know, well that's north. Like, you know, I came from that direction. That's south. That's where I'm going. If you take a train or get in a car, unless you're really paying attention, you are kind of catapulted into the middle of this city without any concept of what direction you're going in next.And I didn't realize how disorienting that is because we're so used to it. We do it all the time. And this was only a kind of shadow of what was to come at the very end of my journey, cuz I got to Istanbul after seven and a half months. I was in a very weird place that I've only kind of realized since all that time walking.And I stayed a couple of weeks in Turkey and then I flew home again, partly cuz I had a very patient and tolerant and forgiving girlfriend who I couldn't kind of stretch it out any, any longer. And initially I think I'd been planning to come back on like hitchhiking or buses and trains. But in the end I was like, "you know, whatever, I'll just spend a couple days more in Turkey, then I'll get on a plane."And I think it was something like three hours flying from Istanbul and three hours crossing a continent that you spent seven and a half months walking. And I was looking down and seeing the Carpathian mountains and the Alps and these kind of shapes of these rivers, some of which I recognized as places I'd walked through.And again, this sense of what am I missing, that would've been an extraordinary journey going through that landscape. Coming back. You mentioned pilgrimage earlier, and someone told me once, who was doing lots of work around pilgrimage that, you know, in the old days when people had to walk or take a horse, if you were rich, say you started in England, your destination was Constantinople or Jerusalem or Rome, that Jerusalem or Rome wasn't the end of your journey.That was the exact halfway point, because when you got there, you had to walk back again. And on the way out, you'd go with your questions and your openness about whatever this journey meant to you. And then on the way back, you would be slowly at the pace of walking, trying to incorporate what you'd learnt and what you'd experienced into your everyday life of your village, your family, your community, you know, your land.So by the time you got back, you'd had all of that time to process what happened. So I think with that walk, you know, I, I did half the pilgrimage thinking I'd done all of it, and then was plunged back into, actually went straight back to the life I'd been living before in, in London as if nothing had ever happened.And I think for the year after that walk, my soul hadn't caught up with my body by any means. Mm-hmm. I was kind of living this strange sort of half life that felt very familiar because I recognized everything, but I felt like a very different person, to be honest and it took a long time to actually process that.But I think if I'd, even if I'd come back by, you know, public transport of some sort it would've helped just soften the blow. [00:25:04] Chris Christou: What a context to put it in, softening the blow. Hmm. It reminds me of the etymology of travel as far as I've read is that it used to mean an arduous journey.And that the arduous was the key descriptor in that movement. It reminds me of, again, so many of my travels in my twenties that were just flash flashes of movement on flights and buses. And that I got back to Canada. And the first thing was, okay, well I'm outta money, so I need to get back to work and I need to make as much money as possible.And there just wasn't enough time. And there wasn't perhaps time, period, in order to integrate what rolled out in front of me over those trips. And I'm reminded of a story that David Abram tells in his book Becoming Animal about jet lag. And perhaps a hypothesis that he has around jet lag and that we kind of flippantly use the excuse or context of time zones to explain this relative sense of being in two places at once.To what extent he discussed this, I don't remember very well, but just this understanding of when we had moved over vast distances on foot in the past, that we would've inevitably been open and apt to the emerging geographies languages, foods even cultures as we arrive in new places, and that those things would've rolled out very slowly in front of us, perhaps in the context of language heavily.But in terms of geography, I imagine very slowly, and that there would've been a kind of manner of integration, perhaps, for lack of a better word in which our bodies, our sensing bodies, would've had the ability to confront and contend with those things little by little as we moved. And it also reminds me of this book Rebecca Solnit's R iver of Shadows, where she talks about Edward Muybridge and the invention of the steam engine and the train and train travel.And how similarly to when people first got a glimpse of the big screen cinema that there was a lot of bodily issues. People sometimes would get very nauseous or pass out or have to leave the theater because their bodies weren't used to what was in front of them.And in, on the train, there were similar instances where for the first time at least, you know, as we can imagine historically people could not see the foreground looking out the train window. They could only see the background because the foreground was just flashing by so quickly.Wow, that's interesting. Interesting. And that we've become so used to this. And it's a really beautiful metaphor to, to wonder about what has it done to a people that can no longer see what's right there in front of them in terms of not just the politics, in their place, but the, their home itself, their neighbors, the geography, et cetera.And so I'm yet to read that book in mention, but I'm really looking forward to it because it's given me a lot of inspiration to consider a kind of pilgrimage to the places where my old ones are from there in, in southeastern Europe and also in Southwestern England.[00:28:44] Nick Hunt: Hmm.Yeah. That is a, so I'm still thinking about that metaphor of the train. Yeah. You don't think of that People wouldn't have had that experience of seeing the foreground disappear. And just looking at the distance, that's deeply strange and inhuman experience, isn't it? Hmm.[00:29:07] Chris Christou: Certainly. And, you know, speaking of these, these long pilgrimages and travels, my grandparents made their way from, as I mentioned, southwestern England later Eastern Africa and, and southeastern Europe to Canada in the fifties and sixties. And the peasant side of my family from what today is northern Greece, Southern Macedonia, brought a lot of their old time hospitality with them.And it's something that has always been this beautiful clue and key to these investigations around travel and exile. And so, you know, In terms of this old time hospitality, in preparing for this interview, I was reminded of a story that Ivan Illich once spoke of, or at least once, wrote about of a Jesuit monk living in China who took up a pilgrimage from Peking to Rome just before World War II, perhaps not unlike Patrick Leigh Fermor. Mm-hmm. And Illich recalled the story in his book, Rivers North of the Future as follows. He wrote, quote, "at first it was quite easy, he said (the Jesuit said,) in China, he only had to identify himself as a pilgrim, someone whose walk was oriented to a sacred place and he was given food, a handout, and a place to sleep.This changed a little bit when he entered the territory of Orthodox Christianity. There, they told him to go to the parish house where a place was free or to the priest's house. Then he got to Poland, the first Catholic country, and he found that the Polish Catholics generously gave him money to put himself up in a cheap hotel.And so the Jesuit was recalling the types of local hospitality he received along his path, which we could say diminished the further he went. Now, I'd love it if you could speak perhaps about the kinds of hospitality or, or perhaps the lack there of you experienced on your pilgrimage from the northwest of Europe to the southeast of Europe.And what, if anything, surprised you? [00:31:26] Nick Hunt: Well, that was one of my main interests really, was to see if the extraordinary hospitality that my predecessor had experienced in the 1930s where he'd been accommodated everywhere from, peasants' barns to the castles of Hungarian aristocrats and everything in between. I wanted to see if that generosity still existed. And talking about different ways of offering hospitality when he did his walk, one of the fairly reliable backstops he had was going to a police officer and saying "I'm a student. I'm a traveling student." That was the kind of equivalent to the pilgrim ticket in his day in a lot of parts of Europe. "I'm a student and I'm going from one place to the next," and he would be given a bed in the local police station. You know, they'd open up a cell, sleep there for the night, and then he'd leave in the morning. And I think it sometimes traditionally included like a mug of beer and some bread or soup or something, but even by his time in the thirties, it was a fairly well established thing to ask, I dunno how many people were doing it, but he certainly met in Germany, a student who was on the road going to university and the way he was going was walking for days or weeks.That wasn't there when I did my work. I don't think I ever asked a policeman, but in a couple of German towns, I went to the town hall. You know, the sort of local authority in Germany. They have a lot of authority and power in the community. And I asked a sort of bemused receptionist if I could claim this kind of ancient tradition of hospitality and spend the night in a police station, and they had no idea what I was talking about.Wow. And I think someone in a kind of large village said, "well, that's a nice idea, but I can't do that because we've got a tourist industry and all the guest house owners, you know, they wouldn't be happy if we started offering accommodation for free. It would put them out of business." Wow. And I didn't pay for accommodation much, but I did end up shelling out, you know, 30, 40 euros and sleeping in a, B&B.But having said that, the hospitality has taken on different forms. I started this journey in winter, which was the, when Patrick Leigh Fermor started, in December. So, I kind of wanted to start on the same date to have a similar experience, but it did mean walking through the coldest part of Europe, you know, Germany and Austria in deep snow and arriving in Bulgaria and Turkey when it was mid-summer.So I went from very cold to very hot. And partly for this reason, I was nervous about the beginning, not knowing what this experience was gonna be like. So, I used the couch surfing website, which I think Airbnb these days has probably kind of undercut a lot of it, but it was a free, very informal thing where people would provide a bed or a mattress or a place on the floor, a sofa for people passing through.And I was in the south of Germany before I ran out of couch surfing stops. But I also supplemented that with sleeping out. I slept in some ruined castles on the way. Hmm. I slept in these wooden hunting towers that no hunters were in. It wasn't the season. But they were freezing, but they were dry, you know, and they gave shelter.But I found that the language of hospitality shifted the further I went. In Holland, Germany, and Austria, people were perfectly, perfectly hospitable and perfectly nice and would put me up. But they'd say, when do you have to leave? You know, which is a perfectly reasonable question and normally it was first saying the next morning.And I noticed when I got to Eastern Europe, the question had shifted from when do you want to leave to how long can you stay? And that's when there was always in Hungary and then in Romania in particular and Bulgaria, people were kind of finding excuses to keep me longer. There would be, you know, it's my granddad's birthday, we're gonna bake him a cake and have a party, or we're going on a picnic, or we're going to the mountains, or we're going to our grandmother's house in the countryside. You should see that.And so my stays did get longer, the further southeast I got, partly cuz it was summer and everybody's in a good mood and they're doing things outdoors and they're traveling a bit more. But yeah, I mean the hospitality did shift and I got passed along as Patrick Leigh Fermor had done. So someone would say, you're going this way.They look at my map, you're going through this town. I've got a cousin, or I know a school teacher. Maybe you can sleep in the school and give a talk to the students the next day. So, all of these things happened and I kind of got accommodated in a greater variety of places, a nunnery where I was fed until I'd hardly move, by these nuns, just plain, homemade food and rakia and wine. And I stayed at a short stay in a psychiatric hospital in France, Sylvania. Talking of the changes that have happened to Europe, when Patrick Leigh Fermor stayed there it was a country house owned by a Hungarian count. His assets had since been liquidated, you know, his family dispossessed in this huge building given to the Romanian State to use as a hospital, and it was still being run that way.But the family had kind of made contact, again, having kept their heads down under communism, but realized they had no use for a huge mansion with extensive grounds. There was no way they could fill it or maintain it. And so it was continued to be used as a hospital, but they had a room where they were able to stay when they passed through.So I spent a few nights there. So everything slowed down was my experience, the further southeast I got. And going back actually to one of your first questions about, why walk? And what do you notice from walking? One of the things you really notice is the incremental changes by which, culture changes as well as landscape.You see the crossovers. You see that people in this part of Holland are a bit like this people in this part of Germany over the border. You know, borders kind of matter less because you see one culture merging into another. Languages and accents changing. And sometimes those changes are quite abrupt, but often they're all quite organic and the food changes, the beer changes, the wine changes, the local cheese or delicacies change.And so that was one of the great pleasures of it was just kind of understanding these many different cultures in Europe as part of a continuum rather than these kind of separate entities that just happen to be next door to each other. [00:38:50] Chris Christou: Right. That's so often constructed in the western imagination through borders, through state borders.[00:38:58] Nick Hunt: Just talking of borders, they've only become harder, well for everyone in the places I walk through. And I do wonder what it would be like making this journey today after Brexit. I wouldn't be able to do it just quite simply. It's no longer possible for a British person to spend more than three months in the EU, as a visitor, as a tourist.So I think I could have walked to possibly Salzburg or possibly Vienna, and then had to come back and wait three months before continuing the journey. So I was lucky, you know, I was lucky to do it in the time I did. Mm-hmm. [00:39:38] Chris Christou: Mm-hmm. I'm very much reminded through these stories and your reflections of this essay that Ivan Illich wrote towards the end of his life called "Hospitality and Pain."And you know, I highly, highly recommend it for anyone who's curious about how hospitality has changed, has been commodified and co-opted over the centuries, over the millennia. You know, he talks very briefly, but very in depth about how the church essentially took over that role for local people, that in the Abrahamic worldview that there was generally a rule that you could and should be offering three days and nights of sanctuary to the stranger for anyone who'd come passing by and in part because in the Christian world in another religious worldviews that the stranger could very well be a God in disguise, the divine coming to your doorstep. We're talking of course, about the fourth and fifth centuries.About how the church ended up saying, no, no, no, don't worry, don't worry. We got this. You, you guys, the people in the village, you don't have to do this anymore. They can come to the church and we'll give them hospitality. And of course, you know, there's the hidden cost, which is the, the attempt at conversion, I'm sure.Yeah. But that later on the church instituted hospitals, that word that comes directly from hospitality as these places where people could stay, hospitals and later hostels and hotels and in Spanish, hospedaje and that by Patrick Lee firm's time we're talking about police stations.Right. and then, you know, in your time to some degree asylums. It also reminded me of that kind of rule, for lack of a better word of the willingness or duty of people to offer three days and nights to the stranger.And that when the stranger came upon the doorstep of a local person, that the local person could not ask them what they were doing there until they had eaten and often until they had slept a full night. But it's interesting, I mean, I, I don't know how far deep we can go with this, but the rule of this notion, as you were kind of saying, how the relative degree of hospitality shifted from [00:42:01] Nick Hunt: when do you have to leave to how long how long can you stay? [00:42:05] Chris Christou: Right. Right. That Within that kind of three day structure or rule that there was also this, this notion that it wasn't just in instituted or implemented or suggested as a way of putting limits on allowing a sense of agency or autonomy for the people who are hosting, but also limiting their hospitality.Kind of putting this, this notion on the table that you might want to offer a hundred days of hospitality, but you're not allowed. Right. And what and where that would come from and why that there would be this necessity within the culture or cultures to actually limit someone's want to serve the stranger.[00:42:54] Nick Hunt: Yeah, that's very interesting. Yeah. Mm-hmm. Yeah. I wonder where that came from. I mean, three is always a bit of a magic number, isn't it? Mm-hmm. But yeah, it sounds like that maybe comes from an impulse from both sides somehow. [00:43:09] Chris Christou: Mm-hmm. Nick, I'd like to come back to this question of learning and learning with the other of, of interculturality and tourism. And I'd like to return to your essay, Bulls and Scars, momentarily with this excerpt. And it absolutely deserves the title of being one of the best travel writing pieces of the 21st century. And so in that essay you write, "if we stay within our horizons surrounded by people who are the same as us, it precludes all hope. We shut off any possibility of having our automatic beliefs, whether good or bad, right or wrong, smashed so their rubble can make new shapes. We will never be forced to understand that there are different ways to be human, different ways to be ourselves, and we desperately need that knowledge, even if we don't know it yet."Hmm. And now I don't disagree at all. I think we are desperately in need of deeper understandings of what it means to be human and what it means to be human together. The argument will continue to arise, however, at what cost? How might we measure the extent of our presence in foreign places and among foreign people, assuming that such a thing is even possible.[00:44:32] Nick Hunt: Yeah, that's a question that's at the heart of that essay, which I don't think we've said is set in the South Omo Valley in Ethiopia. And part of it is about this phenomenon of tribal safaris, you know, which is as gross as it sounds, and it's rich western people driving in fleets of four by fours to indigenous tribal villages and, you know, taking pictures and watching a dance and then going to the next village.And the examples of this that I saw when I was there, I said, when I said in the essay, you couldn't invent a better parody of tourists. It was almost unbelievable. It was all of the obnoxious stereotypes about the very worst kind of tourists behaving in the very worst possible way, seemingly just no self reflection whatsoever, which was disheartening.And that's an extreme example and it's easy to parody because it was so extreme. But I guess what maybe you're asking more is what about the other people? What about those of us who do famously think of ourselves as as travelers rather than tourists? There's always that distinction I certainly made when I was doing it in my twenties.So I'm not a tourist, I'm a traveler. It's like a rich westerner saying that they're an "expat" rather than an immigrant when they go and live in a foreign country that's normally cheaper than where they came from. Yeah, that's a question again, like the great secret, I don't think I answer in that essay.What I did discover was that, it was much more nuanced than I thought it was originally. Certainly on a surface, looking at the scenes that I saw, what I saw as people who were completely out of their depth, out of their world, out of their landscape, looking like idiots and being mocked fairly openly by these tribal people who they were, in my view, exploiting. They didn't look like they were better off in a lot of ways, even though they had the, thousand dollars cameras and all the expensive clothes and the vehicles and the money and obviously had a certain amount of power cuz they were the ones shelling out money and kind of getting what they wanted.But it wasn't as clear cut as I thought. And I know that's only a kind of anecdote. It's not anything like a study of how people going to remote communities, the damage they do and the impact they have. I've got another another example maybe, or something that I've been working on more recently, which comes from a journey that I haven't not written anything about it yet.But in March of this year, I was in Columbia and Northern Columbia. The first time for a long time that I've, gone so far. All of my work has been sort of around Europe, been taking trains. I mean, I got on a plane and left my soul behind in lots of ways, got to Columbia and there were various reasons for my going, but one of the interests I had was I had a contact who'd worked with the Kogi people who live in the Sierra Nevada des Santa Marta Mountains on the Caribbean coast.An extraordinary place, an extraordinary people who have really been isolated at their own instigation, since the Spanish came, and survived the conquest with a culture and religion and economy, really more or less intact, just by quietly retreating up the mountain and not really making a lot of fuss for hundreds of years, so effectively that until the 1960s, outsiders didn't really know they were there. And since then there has been contact made from what I learned really by the Kogi rather than the other way around. Or they realized that they couldn't remain up there isolated forever.Maybe now because people were starting to encroach upon the land and settle and cut down forests. And there was obviously decades of warfare and conflict and drug trafficking and a very dangerous world they saw outside the mountains. And this journey was very paradoxical and strange and difficult because they do not want people to visit them.You know, they're very clear about that. They made a couple of documentary films or collaborated in a couple of documentary films in the late nineties and sort of early two thousands where they sent this message to the world about telling the younger brothers as they call us, where they're going wrong, where we are going wrong, all the damage we're doing.And then after that film, it was really, that's it. "We don't wanna communicate with you anymore. We've said what we have to say, leave us alone." You know, "we're fine. We'll get on with it." But they, the contact I had I arranged to meet a sort of spokesman for this community, for this tribe in Santa Marta.Kind of like an, a sort of indigenous embassy in a way. And he was a real intermediary between these two worlds. He was dressed in traditional clothes, lived in the mountains but came down to work in this city and was as conversant with that tribal and spiritual life as he was with a smartphone and a laptop.So he was really this kind of very interesting bridge character who was maintaining a balance, which really must have been very difficult between these two entirely different worldviews and systems. And in a series of conversations with him and with his brother, who also acts as a spokesman, I was able to talk to them about the culture and about the life that was up there, or the knowledge they wanted to share with me.And when it came time for me to ask without really thinking that it would work, could I have permission to go into the Sierra any further because I know that, you know, academics and anthropologists have been welcomed there in the past. And it was, it was actually great. It was a wonderful relief to be told politely, but firmly, no.Hmm. No. Mm. You know, it's been nice meeting you. If you wanted to go further into the mountains. You could write a, a detailed proposal, and I thought this was very interesting. They said you'd need to explain what knowledge you are seeking to gain, what you're going to do with that knowledge and who you will share that knowledge with.Like, what do you want to know? And then we would consider that, the elders, the priests, the mammos would consider that up in the mountains. And you might get an answer, but it might take weeks. It could take months because everything's very, very slow, you know? and you probably wouldn't be their priority.Right. And so I didn't get to the Sierra, and I'm writing a piece now about not getting to the place where you kind of dream of going, because, to be completely honest, and I know how, how kind of naive and possibly colonial, I sound by saying this, but I think it's important to recognize part of that idea of finding the great secret.Of course, I wanted to go to this place where a few Westerners had been and meet people who are presented or present themselves as having deep, ecological, ancestral spiritual knowledge, that they know how to live in better harmony with the earth. You know, whether that's true or not, that in itself is a simplified, probably naive view, but that's the kind of main story of these people.Why wouldn't I want to meet them? You know, just the thought that not 50 miles away from this bustling, polluted city, there's a mountain range. It's one of the most biodiverse places on the planet that has people who have kept knowledge against all odds, have kept knowledge for 500 years and have not been conquered and have not been wiped out, and have not given in.You know, obviously I wanted to go there, but it was wonderful to know that I couldn't because I'm not welcome. Mm. And so I'm in the middle of writing a piece that's a, it's a kind of non-travel piece. It's an anti travel piece or a piece examining, critically examining that, that on edge within myself to know what's around the next corner.To look over the horizon to get to the top of the mountain, you know, and, and, and explore and discover all of that stuff. But recognizing that, it is teasing out which parts of that are a genuine and healthy human curiosity. And a genuine love of experiencing new things and meeting new people and learning new things and what's more of a colonial, "I want to discover this place, record what I find and take knowledge out."And that was one thing that I found very interestingly. They spoke very explicitly about seeking knowledge as a form of extraction. For hundreds of years they've had westerners extracting the obvious stuff, the coal, the gold, the oil, the timber, all the material goods. While indigenous knowledge was discounted as completely useless.And now people are going there looking for this knowledge. And so for very understandable reasons, these people are highly suspicious of these people turning up, wanting to know things. What will you do with the knowledge? Why do you want this knowledge? And they spoke about knowledge being removed in the past, unscrupulously taken from its proper owners, which is a form of theft.So, yeah, talking about is appropriate to be talking about this on the end of tourism podcast. Cause yeah, it's very much a journey that wasn't a journey not hacking away through the jungle with the machete, not getting the top of the mountain, you know, not seeing the things that no one else has seen.Wow. And that being a good thing. [00:54:59] Chris Christou: Yeah. It brings me back to that question of why would either within a culture or from some kind of authoritative part of it, why would a people place limits to protect themselves in regards to those three days of allowing people to stay?Right. And not for longer. Yes. [00:55:20] Nick Hunt: Yeah, that's very true. Mm-hmm. Because people change, the people that come do change things. They change your world in ways big and small, good and bad. [00:55:31] Chris Christou: You know, I had a maybe not a similar experience, but I was actually in the Sierra Nevadas maybe 12 years ago now, and doing a backpacking trip with an ex-girlfriend there.And the Columbian government had opened a certain part of the Sierra Nevadas for ecotourism just a few years earlier. And I'm sure it's still very much open and available in those terms. And it was more or less a a six day hike. And because this is an area as well where there were previous civilizations living there, so ruins as well.And so that that trip is a guided trek. So you would go with a local guide who is not just certified as a tour guide, but also a part of the government program. And you would hike three days and hike back three days. And there was one lunch where there was a Kogi man and his son also dressed in traditional clothing. And for our listeners, from what I understand anyways, there are certain degrees of inclusion in Kogi society. So the higher up the mountain you go, the more exclusive it is in terms of foreigners are not allowed in, in certain places.And then the lower down the mountain and you go, there are some places where there are Kogi settlements, but they are now intermingling with for example, these tourists groups. And so that lunch was an opportunity for this Kogi man to explain a little bit about his culture, the history there and of course the geography.And as we were arriving to that little lunch outpost his son was there maybe 10, 15 feet away, a few meters away. And we kind of locked eyes and I had these, very western plastic sunglasses on my head. And the Kogi boy, again, dressed in traditional clothing, he couldn't speak any English and couldn't speak any Spanish from what I could tell.And so his manner of communicating was with his hands. And he subtly but somewhat relentlessly was pointing at my sunglasses. And I didn't know what to do, of course. And he wanted my sunglasses. And there's this, this moment, and in that moment so much can come to pass.But of course afterwards there was so much reflection to be taken in regards to, if I gave him my sunglasses, what would be the consequence of that, that simple action rolling out over the course of time in that place. And does it even matter that I didn't give him my sunglasses, that I just showed up there and had this shiny object that, that perhaps also had its consequence rolling out over the course of this young man's life because, I was one of 10 or 12 people that day in that moment to pass by.But there were countless other groups. I mean, the outposts that we slept in held like a hundred people at a time. Oh, wow. And so we would, we would pass people who were coming down from the mountain and that same trek or trip and you know, so there was probably, I would say close to a hundred people per day passing there.Right. And what that consequence would look like rolling out over the course of, of his life. [00:59:11] Nick Hunt: Yeah. You could almost follow the story of a pair of plastic sunglasses as they drop into a community and have sort of unknown consequences or, or not. But you don't know, do you? Yeah. Yeah. I'm, it was fascinating knowing that you've been to the same, that same area as well. Appreciated that. What's, what's your, what's your last question? Hmm. [00:59:34] Chris Christou: Well, it has to do with with the end of tourism, surprisingly.And so one last time, coming back to your essay, Bulls and Scars, you write, " a friend of mine refuses to travel to countries poor than his own. Not because he is scared of robbery or disease, but because the inequality implicit in every human exchange induces a squirming, awkwardness and corrosive sense of guilt.For him, the power disparity overshadows everything. Every conversation, every handshake, every smile and gesture. He would rather not travel than be in that situation." And you say, "I have always argued against this view because the see all human interactions as a function of economics means accepting capitalism in its totality, denying that people are driven by forces other than power and greed, excluding the possibility of there being anything else.The grotesque display of these photographic trophy hunters makes me think of him now." Now I've received a good amount of writing and messages from people speaking of their consternation and guilt in terms of "do I travel, do I not travel? What are the consequences?" Et cetera. In one of the first episodes of the podcast with Stephen Jenkinson, he declared that we have to find a way of being in the world that isn't guilt delivered or escapist, which I think bears an affinity to what you've written.Hmm. Finally, you wrote that your friend's perspective excludes "the possibility of there being anything else." Now I relentlessly return on the pod to the understanding that we live in a time in which our imaginations, our capacity to dream the world anew, is constantly under attack, if not ignored altogether.My question, this last question for you, Nick, is what does the possibility of anything else look like for you?[01:01:44] Nick Hunt: I think in a way I come back to that idea of being told we can't give you free accommodation here because, what about the tourist industry? And I think that it's become, you know, everything has become monetized and I get the, you know, the fact that that money does rule the world in lots of ways.And I'd be a huge hypocrite if I'd said that money wasn't deeply important to me. As much as I like to think it, much as I want to wish it away, it's obviously something that dictates a very large amount of what I do with my life, what I do with my time. But that everything else, well, it's some, it's friendship and hospitality and openness I think.It's learning and it's genuine exchange, not exchange, not of money and goods and services, but an actual human interaction for the pleasure and the curiosity of it. Those sound like very simple answers and I guess they are, but that is what I feel gets excluded when everything is just seen as a byproduct of economics.And that friend who, you know, I talked about then, I understand. I've had the experience as I'm sure you have of the kind of meeting someone often in a culture or community that is a lot poorer, who is kind, friendly, hospitable, helpful, and this nagging feeling of like, When does the money question come?Mm-hmm. And sometimes it doesn't, but often it does. And sometimes it's fine that it does. But it's difficult to kind of place yourself in this, I think, because it does instantly bring up all this kind of very useless western guilt that, you know, Steven Jenkinson talked about. It's not good to go through the world feeling guilty and suspicious of people, you know. 'When am I gonna be asked for money?' Is a terrible way of interacting with anyone to have that at the back of your, your mind.And I've been in situations where I've said can I give you some money? And people have been quite offended or thought it was ridiculous or laughed at me. So, it's very hard to get right. But like I say, it's a bad way of being in the world, thinking that the worst of people in that they're always, there's always some economic motive for exchange.And it does seem to be a kind of victory of capitalism in that we do think that all the time, you know, but what does this cost? What's the price? What's the price of this friendliness that I'm receiving? The interesting thing about it, I think, it is quite corrosive on both sites because things are neither offered nor received freely.If there's always this question of what's this worth economically. But I like that framing. What was it that Steven Jenkinson said? It was guilt on one side and what was the other side of the pole? [01:05:07] Chris Christou: Yeah. Neither guilt delivered or escapist. [01:05:11] Nick Hunt: Yeah. That's really interesting. Guilt and escapism. Because that is the other side, isn't it?Is that often traveling is this escape? And I think we can both relate to it. We both experience that as a very simple, it can be a very simple form of therapy or it seems simple that you just keep going and keep traveling and you run away from things. And also that isn't a helpful way of being in the world either, although it feels great, at the time for parts of your life when you do that.But what is the space between guilt and escapism? I think it really, the main thing for me, and again, this is a kind of, it sounds like a, just a terrible cliche, but I guess there's a often things do is I do think if you go and if you travel. And also if you stay at home with as open a mind as you can it does seem to kind of shape the way the world works.It shapes the way people interact with you, the way you interact with people. And just always keeping in mind the possibility that that things encounters, exchanges, will turn out for the best rather than the worst. Mm-hmm. You develop a slight sixth sense I think when traveling where you often have to make very quick decisions about people.You know, do I trust this person? Do I not trust this person? And you're not aware you're doing it, but obviously you can get it wrong. But not allowing that to always become this kind of suspicion of "what does this person want from me?" Hmm. I feel like I've just delivered a lot of sort of platitudes and cliches at the end of this talk.Just be nice, be, be open. Try to be respectful. Do no harm, also don't be wracked with guilt every exchange, because who wants to meet you if you are walking around, ringing your hands and kind of punching yourself in the face. Another important part of being a traveler is being a good traveler.Being somebody who people want coming to their community, village, town, city and benefit from that exchange as well. It's not just about you bringing something back. There's the art of being a good guest, which Patrick Leigh Fermor, to come back to him, was a master at. He would speak three or four different languages, know classical Greek poetry, be able to talk about any subject.Dance on the table, you know, drink all night. He was that kind of guest. He was the guest that people wanted to have around and have fun with mostly, or that's the way he presented himself, certainly. In the same way, you can be a good, same way, you can be a good host, you can be a good guest, and you can be a good traveler in terms of what you, what you bring, what you give.[01:08:20] Chris Christou: Mm-hmm. Yeah. I think what it comes down to is that relationship and that hospitality that has for, at least for people in Europe and, and the UK and and Western people, descendants, culturally, is that when we look at, for example, what Illich kind of whispered towards, how these traditions have been robbed of us.And when you talk about other cliches and platitudes and this and that, that, we feel the need to not let them fall by the wayside, in part because we're so impoverished by the lack of them in our times. And so, I think, that's where we might be able to find something of an answer, is in that relationship of hospitality that, still exists in the world, thankfully in little corners.And, and those corners can also be found in the places that we live in.[01:09:21] Nick Hunt: I think it exists that desire for hospitality because it's a very deep human need. When I was a kid, I, I was always, for some reason I would hate receiving presents.There was something about the weight of expectation and I would always find it very difficult to receive presents and would rather not be given a lot of stuff to do with various complex family dynamics. But it really helped when someone said, you know, when someone gives you a present, it's not just for you, it's also for them. You know, they're doing it cuz they want to and to have a present refused is not a nice thing to do.It, it, that doesn't feel good for the person doing it. Their need is kind of being thrown back at them. And I think it's like that with hospitality as well. We kind of often frame it as the person receiving the hospitality has all the good stuff and the host is just kind of giving, giving, giving, but actually the host is, is getting a lot back. And that's often why they do it. It's like those people wanting, people to stay for three days is not just an act of kindness and selflessness. It's also, it feeds them and benefits them and improves their life. I think that's a really important thing to remember with the concept of hospitality and hosting.[01:10:49] Chris Christou: May we all be able to be fed in that way. Thank you so much, Nick, on behalf of our listeners for joining us today and I feel like we've started to unpack so much and there's so much more to consider and to wrestle with. But perhaps there'll be another opportunity someday.[01:11:06] Nick Hunt: Yeah, I hope so. Thank you, Chris. It was great speaking to you. [01:11:12] Chris Christou: Likewise, Nick. Before we finish off, I'd just like to ask, you know, on behalf of our listeners as well how might people be able to read and, and purchase your writing and your books? How might they be able to find you and follow you online?[01:11:26] Nick Hunt: So if you just look up my, my name Nick Hunt. My book should, should come up. I have a website. Nick hunt scrutiny.com. I have a, a book, a novel actually out in July next month, 6th of July called "Red Smoking Mirror."So that's the thing that I will be kind of focusing on for the next bit of time. You can also find me as Chris and I met each other through the Dark Mountain Project, which is a loose network of writers and artists and thinkers who are concerned with the times we're in and how to be human in times of crisis and collapse and change.So you can find me through any of those routes. Hmm. [01:12:17] Chris Christou: Beautiful. Well, I'll make sure that all those links are on the homework section on the end of tourism podcast when it launches. And this episode will be released after the release of your new, your book, your first novel. So, listeners will be able to find it then as well.[01:12:34] Nick Hunt: It will be in local shops. Independent bookshops are the best. [01:12:40] Chris Christou: Once again, thank you, Nick, for your time. [01:12:42] Nick Hunt: Thank you. Get full access to ⌘ Chris Christou ⌘ at chrischristou.substack.com/subscribe

Sehr geehrte Frau von den Benken, falls Ihre Tochter zufällig Marie heißt, dann hören Sie diesen Podcast bitte nicht. Denn Sommerspezial des Mutmachpodcasts von Funke beichtet Autorin und Influencerin Marie von den Benken, wo sie als Nachwuchs-Model mit 16 Jahren wirklich gewesen ist. Nein, nicht in dem langweiligen Ferienhaus in Holland, sondern in, Achtung, New York. Die Erklärung ist einleuchtend: In Holland bekommen Teenager problemlos alle möglichen ungesunden Sachen, aber in New York gibt´s ohne Ausweis nicht mal ein Lightbeer. Seien Sie also nachsichtig, liebe Frau von den Benken. Meine erste Reise - das Sommerspezial des Mutmachpodcasts von Funke. Kurz, aber täglich berichten Prominente vom ersten Mal ganz allein unterwegs, von Liebe, Drama, Drogen, Affären, Verhaftungen, Kohldampf und chronisch leeren Portemonnaies. Mit dabei: Micky Beisenherz, Dunja Hayali, Justizminister Marco Buschmann, SPD-Chefin Saskia Esken, BDI-Chef Siegfried Rußwurm, Verlegerin Julia Becker, ARD-Grande Thomas Baumann, Klimaaktivistin Louisa Neubauer, Quatschmacher Oliver Kalkofe, MdB Marie-Agnes Strack-Zimmermann, Moderator Jörg Thadeusz, Autorin Anja Goerz, Influencerin Lou Dellert, Zukunftsforscher Tristan Horx, Schriftstellerin Anne Rabe, Comedian Tony Bauer, Schriftsteller Ingo Schulze, Twitter-Gigantin Marie von den Behnken, Liedermacher Rolf Zuckowski, Menschenrechtlerin Düzen Tekkal, Schriftstellerin Verena Hagedorn, Dr. Matthias Marquardt, Fotografin Anne Hufnagl, Staatsrechtler Professor Alexander Thiele, Scherzkeks Peter Wittkamp, Psychologin Anne Otto und viele mehr. Folge 623.

Dromen waarmaken = Fast-track Legal ‘We omhelzen die beren op de weg gewoon. De struggles die we tegenkwamen hebben we opgelost.' Dat deden ze met elkaar; de docenten van Albeda en Zadkine en Hogeschool Inholland. Samenwerken is de kracht van Fast-track Legal; voor elkaar, met elkaar en door elkaar. Plus het geloof in de studenten: wat kunnen ze wél? In de podcast praten Okan Öztürk, Peter van Lente, Birol Ona en Chantal Damsma over het versnelde traject van mbo naar hbo rechten. De mbo juridische opleidingen van het Albeda en Zadkine gaan daarin hand in hand met de rechtenopleiding van Inholland.

Rinto celebrated this year his 40 years career. In Holland he's well known as one of the old timers but, if you met him, you know that his humbleness matches his experience and dedication.    Natural born storyteller, Rinto shared with us some grounding words, valuable especially to young tattooers in this age where the digital medias shape the distribution of information. Some of those things you can't learn on your phone, they must be lived in the shop.  You can find Rinto in Burgum, Netherlands at Rinto Tattoo Shop   You can follow updates on the podcast on Instagram and at stefbastian.com

Roger Moreno Rathgeb ist Musiker, Komponist und Weltbürger, wie er sich selber nennt. Längst hat er sich international einen Namen gemacht. Mit seinem klassisches Werk «Requiem for Auschwitz» hat er die Herzen des Publikums berührt. Auch das der früheren niederländischen Königin Beatrix. Als Musiker zog es Roger Moreno Rathgeb in den 1980er Jahren um die Welt. In Holland ist der heute 66-Jährige Künstler sesshaft geworden. Er lebt in der kleinen holländischen Stadt Vaals, die an Deutschland und Belgien grenzt: «Es ist ruhig hier in Vaals. Wenn ich Halligalli suche, gehe ich ins Zentrum nach Aachen.» Der Schweizer fühlt sich in den verschiedensten Musikrichtungen zu Hause. Das Musizieren hat sich der Zürcher Roger Moreno Rathgeb selber beigebracht: «Ich fing erst mit 10 Jahren, Gitarre zu spielen.» Mittlerweile ist er ein wahrer Musikvirtuose und spielt die unterschiedlichsten Instrumente. Vor allem aber, ist Roger Moreno Rathgeb bekannt als Akkordeonkünstler. Mit seiner Gypsy-Ensemble «Tabor» feiert er grosse Erfolge. «Beatrix ist total unkompliziert!» Die frühere Königin Beatrix ist schon vor vielen Jahren auf den Schweizer Musiker und Komponist Roger Moreno Rathgeb aufmerksam geworden. Seither wird er regelmässig zu Hofe geladen und darf private Konzerte geben. Auch kürzlich spielte der 66-Jährige in einem Trio zu Ehren des Muttertages vor der Königsfamilie. Das strenge Hofprotokoll nimmt die abgedankte Königin eher gelassen, sagt Roger Moreno Rathgeb: «Beatrix ist völlig unkompliziert. Darum lieben sie die Menschen, weil sie so volksnah ist.»  

Over precies een week kunnen we in Nederland stemmen voor de Provinciale Staten en de waterschappen. Maar wie staan er dan in het stemhokje? Zijn dat vooral de volwassenen en ouderen, of zien we daar ook jongeren terug? Deze groep blijkt zich namelijk een stuk minder aangesproken te voelen zich politiek bezig te houden. Ruben spreekt er vandaag over met Femke Kaulingfreks, lector aan InHolland, en Younes Douari, van het jongerenplatform represent jezelf. 

Die Fragen der Woche mit Eva Vlaardingerbroek! Eva ist eine der scharfsinnigsten Beobachterinnen der europäischen Politik, sie analysiert furchtlos, was schief läuft auf der Welt. Und sie hat besonders ein Auge auf Deutschland gerichtet: Die Niederländerin ist die unbequemste und ehrlichste Nachbarin, die sich unsere Bundesregierung nur vorstellen kann. In dieser Woche: Warum erklärt Kanzler Olaf Scholz eigentlich die Migrations-Krise nicht zur Chefsache? Ein spannendes Gespräch zwischen Eva und Julian Reichelt über die Politik der offenen Grenzen … Und: Was hat es eigentlich mit dem Vorschlag von Yusuke Narita – japanischer Wirtschaftswissenschaftler von der berühmten (und sehr linken …) US-Uni Yale – auf sich, der das Problem mit der überalternden Gesellschaft mit Massenselbstmord von älteren Menschen in den Griff kriegen will? Eva ist überzeugt: Das ist wieder einmal der Auswuchs eines linken Todes-Kults, der da durchbricht. In Holland haben die Linken kürzlich erst vorgeschlagen, Menschen über 70 keine medizinische Operationen mehr anzubieten …

Volgens Williams en Parr (2004) zijn er vier innovatiestrategieën. Welke strategie het beste werkt, hangt volgens hen af van het wel of niet duidelijk zijn van zowel de aanpak als het beoogde eindresultaat. Als zowel de aanpak als het beoogde eindresultaat niet duidelijk zijn, dan spreekt hij over ‘een expeditie'. Mijn naam is Manon Joosten en ik ben op zo'n expeditie. Reis je even met me mee? Misschien zelfs wandelend? Het is een aanrader, zeker als je vandaag nog niet buiten bent geweest kan dit je moment zijn. Vanuit het lectoraat Design Thinking van Guido Stompff aan de Hogeschool Inholland heb ik als docent onderzoeker ruim 1,5 jaar mee gekeken en meegedaan met expedities van 3 verschillende teams: De Master Leren & Innoveren, het leernetwerk Anders Afronden van domein Creative Business en de Nieuwe Leraren Academie. Deze laatste club heeft als innovatieopdracht het curriculum van de Inholland pabo meer responsief, meer divers, meer aantrekkelijk, meer ruimte en meer samen te maken. Voor meer info mail naar manon.joosten@inholland.nl Voor het model kijk op:

Inflation, steigende Energiepreise und eine in der Coronaschleife festgefahrene Bundesregierung beschäftigen die Deutschen. Die ökologischen Themen geraten angesichts dieser angespannten Lage aus dem Blick, wobei sie für die heutigen Energiepreise mitverantwortlich sind. Denn ohne die Energiewende, das deutsche Mammutprojekt seit dem Jahr 2011, wäre die Abhängigkeit der Bundesrepublik vom russischen Gas weitaus niedriger. Darüber hinaus führt uns die neue Energiekrise vor Augen, dass das, was auf unseren Äckern wächst, in den benötigten Mengen nur deswegen gedeiht, weil wir mit ebenjener Energie gewonnenen Dünger durch unsere Felder schleusen. Oftmals in solcher Konzentration, dass es sich negativ auf die Umwelt auswirkt. In Holland möchte man diesen Eintrag nun signifikant eindämmen. Das Ergebnis wäre ein Betriebssterben. Welche Auswirkungen es auf die landwirtschaftliche Produktion vor Ort haben könnte, ist noch nicht ganz abzusehen. Hollands Bauern protestieren vehement. In Sri Lanka stellte man von heute auf morgen und ohne die notwendige Vorbereitung auf 100 Prozent Öko-Landbau um, das Ergebnis: eine Hungersnot. Folgt man den Spuren der aktuellen Krise, so führen sie einen vom russischen Erdgas über die ukrainischen Getreidefelder zum holländischen Schweinemastbetrieb und das Schlachtfeld „Landwirtschaft“, auf dem über die letzten Jahrzehnte über ökologische Auswirkungen und die Versorgung der Weltbevölkerung gestritten wurde, eröffnet sich in seiner ganzen Zwiespältigkeit. Thore Stein, AfD-Abgeordneter in Mecklenburg-Vorpommern und umweltpolitischer Sprecher der dortigen Landtagsfraktion, spricht mit uns über einen gebeutelten Sektor in der Zwickmühle, an dem einerseits unsere Leben hängen und der andererseits die Böden übernutzt und gefährdet, auf denen er wirtschaftet.

Part 23 The Renaissance - Rebirth In the 14th and 15th centuries there was a great European revival of interest in the values of classical Greek and Roman literature, art, philosophy and politics. It started in Italy and spread throughout Europe. Scholars were called humanists as they moulded their life on the teachings of the great Greek and Roman classical literature. There was also an increase in other areas of life: scholastic freedom grew exponentially, Roman morality, paganism, the Greek New Testament and the study thereof, and many new universities throughout Europe were started. 1. Leading Spokesmen In amidst all this was the Church, which was continuing to change - and to the dismay of the Roman Catholic hierarchy, to the detriment of the established Church. Here are but 3 men – all of whom spoke brave words and lived brave lives! Girolamo Savonarola (1452-1498) - Italian preacher of reform and the hero of many early Protestants. He became a Dominican monk after studying humanism and medicine. He affected the masses by his preaching and transformed the lives of many intellectuals through his thinking. He showed the impurities and corruption of the Roman Catholic system and spoke against the exploitation of the poor. Savonarola was well known for speaking prophecies about civic glory and called for Christian renewal. Eventually Savonarola was excommunicated and executed for denouncing the Pope and the corrupt papal court. Here is one thing that Savonarola wrote: The Pope may err, and that in two ways, either because he is erroneously informed, or from malice. As to the latter cause we leave that to the judgment of God, and believe rather that he has been misinformed. In our own case I can prove that he has been falsely persuaded. Therefore any one who obstinately upholds the excommunication and affirms that I ought not to preach these doctrines is fighting against the kingdom of Christ, and supporting the kingdom of Satan, and is himself a heretic, and deserves to be excluded from the Christian community. John Colet (1466-1519) - a brilliant humanist at Oxford, and influenced Savonarola. He was enlightened and caused the epistles of Paul to live again in message. In 1512, as Dean of St. Paul's, he declared vicious and depraved lives of the church the worst heresy of all times which led to first reforming the bishops and it would spread to all. The church laws could not be enforced until the bishops became new men. Colet taught his students to keep the Bible and the Apostle's Creed. Here is a quote from his convocation sermon of 1512: “You are come together today, fathers and right wise men, to hold a council. In which what you will do and what matters you will handle, I do not yet know, but I wish that, at length, mindful of your name and profession, you would consider of the reformation of ecclesiastical affairs; for never was there more necessity and never did the state of the Church more need endeavors. For the Church – the spouse of Christ – which He wished to be without spot or wrinkle, is become foul and deformed.” Colet went on to conclude: “If, by chance, I should seem to have gone too far in this sermon—if I have said anything with too much warmth—forgive it me, and pardon a man speaking out of zeal, a man sorrowing for the ruin of the Church; and passing, by any foolishness of mine, consider the thing itself.” Desiderius Erasmus Roterodamus (1467-1536) He was a student of John Colet and the greatest of all humanists. Professor of Divinity and Greek at Cambridge Uni. He aimed to reform Roman Catholic Church, from within and so didn't leave the church. As a result he was attacked by both the Roman Catholic Church and the Protestants. The Roman Catholic Church for heretical teaching, and by the Protestants for lacking courage. In 1516, he produced the Greek version of the New Testament because he wanted to make it understood by everyone. He was educated by Brethren of the Common Life, was ordained as a Priest in 1492 and laid the egg which Martin Luther later hatched. 2. Modern devotional movement. In Holland and Northern Europe, during this period, there was a renewed interest in a personal devotional life with God. One such group was the 'Brethren of the Common Life', who emphasised personal devotion, poverty, chastity and obedience in a semi-monastic lifestyle. Thomas a'Kempis (1380-1471). Thomas a' Kempis was born in Germany in 1380 to a blacksmith and a schoolmistress. In 1392, he started at school and while there encountered the devotional group, Brethren of the Common Life. From there, Thomas joined a monastery and became a prolific copyist and writer – copying by hand the Bible four times. His most noted work today though, .is the 'Imitation of Christ', still one of the most widely read devotional books, even though it is distinctly Roman Catholic in doctrine it is both scriptural and Christ-centred. The "Imitation of Christ" a devotional book divided into 4 parts. Part 1 - "Helpful Counsels of the Spiritual Life." Part 2 - "Directives for the Interior Life." Part 3 - "On Interior Consolation" Part 4 - "On the Blessed Sacrament" Here are some quotes from that book – ahead of its time in many ways! "At the Day of Judgement we shall not be asked what we have read, but what we have done." — The Imitation of Christ, Book I, Chapter 3 "For man proposes, but God disposes" — The Imitation of Christ, Book I, Chapter 19 "If, however, you seek Jesus in all things, you will surely find Him. " — The Imitation of Christ, Book 2, Chapter 7 You can download a copy of this book for free from CCEL: Tap or click here to save this as an audio mp3 file

"In Holland bin ich weltberühmt" spottete Harry Mulisch noch zu Beginn der achtziger Jahre. Doch dann wurde er es wirklich – nämlich weltberühmt: 1992 brachte ihm sein großer Roman "Die Entdeckung des Himmels" den internationalen Durchbruch.

"In Holland bin ich weltberühmt" spottete der niederländische Schriftsteller Harry Mulisch noch zu Beginn der achtziger Jahre. Doch dann wurde er es wirklich - nämlich weltberühmt: 1992 brachte ihm sein großer Roman "Die Entdeckung des Himmels" den internationalen Durchbruch. Autorin: Jutta Duhm-Heitzmann Von Jutta Duhm-Heitzmann.

"Geh mal auf die Suche nach der Schönheit.", sagt der holländische Fotokünstler Erwin Olaf.Eine Hommage an den Menschen, die Liebe und die Sexualität. Ein Gespräch mit dem holländischen Fotokünstler, der sich selbst als Regisseur seiner Arbeiten sieht. In Holland ist er bereits ein Star, nun erobert er auch den Rest der Welt. Erwin ist eine der prominenten Stimmen in seinem Land der sich für das Recht des Einzelnen auf Selbstbestimmung einsetzt. In den Niederlanden gilt er bereits zu den bekanntesten und erfolgreichsten Künstlern unserer Zeit. Er hat mit seinen Werken unzählige Preise gewonnen. Und ist ein ausgesprochen liebenswürdiger Mensch.

Kia ora,Welcome to Tuesday's Economy Watch where we follow the economic events and trends that affect Aotearoa/New Zealand.I'm David Chaston and this is the International edition from Interest.co.nz.Today we lead with news stress is driving protests in countries as diverse as the Netherlands and China.But first, there was a US Treasury 3 year bond auction earlier today delivering higher yields. It was very well supported delivering a median yield of 3.04%, up from 2.87% at the prior equivalent event a month ago.In the US we should also note that now more than 5% of new car sales are electric, which is considered a tipping point from where mass adoption of EVs will rise fast from here. (In New Zealand we are at about 3%.)More electric demand is problematic for some states there. Demand due to summer heat alone is drawing warnings in Texas that they face blackouts again this year.Wall Street is getting ready for their Q2 earnings reports and expectations are low for what is to come. Overall, earnings growth of +4.3% is anticipated for this upcoming set, the lowest gains since 2020. Big banks and other financial companies will dominate the early part of the scheduled releases later this week. PepsiCo will report tomorrow and Delta Air Lines on Thursday, NZT. They start a flood of releases.In Japan, machinery order data for May was weak, but no weaker than expected for that month. They fell -5.6% in May from April, posting their first drop in three months and nearly matching forecasts for a -5.5% contraction. But they were up +7.4% from year ago levels which was better than expected. Analysts suggested that Japanese firms could be delaying spending due to rising energy and raw material prices that have been aggravated by soaring import costs due to a weakening yen.The arguably more important Japanese machine tool order data for June came in a very strong +17% higher than a year ago, maintaining the same strong level as for May.China is successfully pumping bank debt out the door is a rather spectacular way. In June, new yuan loans increased by ¥2.81 tln (+NZ$0.7 tln), a year-on-year increase of +24% taking their total bank debt to ¥205 tln (NZ$50 tln) or 173% of annual economic activity. For perspective, the same ratio in New Zealand is 148% and for the US is just 70%.China isn't shaking its pandemic risks and new lockdowns seem inevitable, keeping supply chain troubles bubbling away.Meanwhile, China has a new and explosive bank-run risk. A large crowd of angry Chinese bank depositors faced off with police on Sunday, some roughed up as they were taken away, in a case that has drawn attention because of earlier attempts to use a COVID-19 tracking app to prevent them from mobilising. Hundreds of people held up banners and chanted slogans on the steps of the branch of China's central bank in the city of Zhengzhou, Henan Province, about 620 km southwest of Beijing. Video taken by a protester shows plainclothes security teams being pelted with water bottles and other objects as they charge the crowd. The protesters are among thousands of customers who opened accounts at six rural banks in Henan and neighbouring Anhui Province that offered higher interest rates. They later found they could not withdraw their funds after media reports that the head of the banks' parent company was on the run and wanted for financial crimes. This is the type of bank run by depositors that Beijing fears.In Holland demonstrations of a different nature where "huge protests" have swept the country triggered by the introduction of laws designed to cut nitrogen and ammonia emissions by -50% by 2030, and by -75% in protected nature reserves known as Natura 2000 areas. The latest demonstrations were sparked by a government announcement in June suggesting some farm closures were inevitable when they released a detailed map showing which areas needed reductions from -12% to -95%.And we should also note that foot & mouth cattle disease has broken out in Indonesia, and travelers from Bali especially are at risk of bringing it back. The risk is much higher for Australia of course, but it is not trivial for us either.The UST 10yr yield starts today back down at 2.99% and an -9 bps fall from yesterday.The price of gold will open today at US$1736/oz which is -US$7 lower than this time yesterday.And oil prices have moved back down -US$1 to just under US$101.50/bbl in the US, while the international Brent price is still just over US$105/bbl.The Kiwi dollar will open today down more than -½c from this time yesterday at 61.3 USc. Against the Australian dollar we are +½c firmer at 90.8 AUc. Against the euro we are unchanged at 60.8 euro cents. That means our TWI-5 starts today at just on 70.4 and a minor -20 bps lower.The bitcoin price has slipped fractionally since this time yesterday and is now at US$20,595 and down +1.4%. Volatility over the past 24 hours has been moderate at +/-2.2%You can find links to the articles mentioned today in our show notes.And get more news affecting the economy in New Zealand from interest.co.nz.Kia ora. I'm David Chaston and we'll do this again tomorrow.

In deze aflevering gaat Eva in gesprek met Patty Joosten, accountmanager InHolland. Patty is een echte weldoener en een duizendpoot. Zo reisde ze af naar het eiland Samos om vluchtelingen bij te staan namens de stichting Live for Lives Foundation, werkt ze met asielhonden en is ze ontwikkelingscoach. In deze podcast bespreken Patty en Eva onder meer dat een diploma niet wil zeggen dat je karakter bij een bepaalde functie past. Patty groeide door naar haar huidige functie zonder de nodige papieren te hebben ervoor. ‘Ik vind het heel bijzonder dat ik een willekeurig HBO-diploma nodig heb om mijn werk te kunnen doen. Ik ga niet vier jaar studeren voor iets terwijl ik tijdens mijn loopbaan al leer en van waarde ben', aldus Patty. Heeft Patty hiermee haar kansen gegrepen of heeft ze in haar eigen weg kansen gecreëerd? Ontwikkel persoonlijk. Volg Eva ook op Instagram @evarookmaker en volg haar we naar succes.Ga voor meer informatie naar de website www.evarookmaker.nl en steun de beweging via https://evarookmaker.nl/bijdragen/ Luistertip! Ontdek de specials van dit seizoen en ga vandaag nog aan de slag met de waarde van jouw persoonlijke ontwikkeling:Leer assertief tegenover jezelf worden Leer persoonlijk je eigen gezondheid metenLeer je persoonlijkheid herinrichten voor groei

In deze aflevering is Chanel Matil Lodik te gast. Chanel is zakenvrouw, moeder, vriendin van, autist, activist, marketeer, influencer, spreker, journalist en diversiteit & inclusie expert. Dit najaar kwam Het Antiracismehandboek uit en mag ze de titel A.W. Bruna Uitgevers-auteur aan het rijtje toevoegen. Wij hebben de podcast met Chanel Matil Lodik opgenomen op Powervrouwendag. Deze dag vond plaats op Internationale Vrouwendag. Een dag waar wij Powervrouwen in de spotlight zetten. De interviewer is Kelly Van Bakel 4e jaar student Creative Business in Haarlem.

FAKE ZECHSTEIN ???Why wont major US brands give certificates of origin? 90% of magnesium comes from China. This chemically treated low quality magnesium is shipped to the USA as creams, lotions, pills and flakes. It is sold to US brands as Zechstein without trademark.Get The Originalin Glass.One Ingredient.Call our source inHolland.

De regio als klaslokaal. Als expeditieleider van Kenniswerkplaats Den Helder sluit Heleen Bouwmans studenten van Inholland aan op maatschappelijk vraagstukken. Jelle Ris zoomt in op haar (pedagogisch) handelen, deels geïnspireerd op werk van Gert Biesta.

Subscribe Apple | Google | Spotify | Stitcher | iHeart   Support The Daily Gardener Buy Me A Coffee   Connect for FREE! The Friday Newsletter | Daily Gardener Community   Historical Events 1661 Birth of Georg Joseph Kamel ("CAH-mel"), Czech pharmacist, naturalist, and Jesuit missionary. Georg was born in Brno (pronounced "burr-no"), the city where Gregor Mendel lived in a monastery and experimented with peas. In 1688, after graduating from a mission school in Vienna, he was sent to the Philippines, which was then a Spanish colony, and he ended up spending the rest of his life helping the people as a doctor and botanizing in his free time. Early on, he once confided in a friend. There is no physician here but four brorthers who know little more than my pair of trousers. Georg also worked as a pharmacist and a botanist at the College in Manila. He set up the first pharmacy in the Philipines, and he ran it according to Austrian standards. Georg Joseph Kamel was a true naturalist. He enjoyed learning everything he could about the natural world. His work as an herbalist led him to explore the medicinal potential of the plants he encountered, and he valued the way locals treated ailments. For instance, he believed that low doses of the Saint Ignatius bean - the source of strychnine - had medicinal value since Filipinos used it to treat cholera. But modern research has proved otherwise, and even trace amounts of strychnine damage the liver and the kidneys. Thanks to his work treating the sick, Georg was well known. He treated the poor for free, and he happily received many plants from grateful locals to plant in his medicinal garden. Between his own collecting efforts and the plants received from locals, Georg completed the first flora of the Philippines. Georg sent a copy of his flora to his peer and friend, John Ray, who, in turn, included the Philippine flora in the appendix of the third volume of his great work-  the Historia Plantarum - the history of plants. Georg also named several plants. He called the ubiquitous ornamental houseplant the kalanchoe ("kal-an-KOH-ee"), which was based on the Philipino name for the plant. Georg also was the first person to describe the tea plant or the Camellia, which is why Carl Linneaus named the Camellia in honor of Georg Joseph Kamel. He used Georg's Latinized last name, Camellus, for the genus name Camellia, which translates to "helper to the priest." Sadly, Georg Joseph Kamel died young at 45 from an intestinal infection.   1748 Death of William Kent (books about this person), English landscape gardener, artist, and designer. Before William's picturesque approach to landscapes, gardens were formal, following Dutch or French design principles that used a geometric and orderly layout. But William started out as a painter and not a landscape architect, and when he worked on landscapes, he approached them as a living canvas. He once wrote, All gardening is landscape painting. For William to make art out of the earth, he needed scenery, and he went to great lengths to accomplish his visions. He moved soil to create rolling hills; he used swaths of land for lush lawns, groves of trees for interest and contrast, and paths with benches for the characters/visitors that he envisioned arriving on the scene. William planned for people to walk or ride through his landscapes in the same way that people might dot the landscape of one of his paintings. William often placed elements in the garden against a green backdrop, a hillside, or a group of evergreens, to accent the piece's beauty. Much of what William Kent attempted to do has become mainstream. As gardeners, we often must contend with unattractive areas in the landscape: fences, sheds, or utility areas. Well, William Kent faced these same concerns for his beautiful landscapes. At Rousham, William employed a haha or wall sunken into a ditch instead of fencing to keep the gardens separate from grazing land. He also improved the exterior of an eyesore - an old mill - by adding gothic elements. He also added a folly to look like a ruin with three arches that William called the eye-catcher. William wanted visitors at Rousham to look off in the distance toward the eye-catcher and feel the expansiveness of the property. It was William Kent who said, Garden as though you will live forever.   1899 Birth of Gladys Taber, American author, columnist, and animal lover. Gladys wrote over fifty books that ran from fiction to cookbooks, children's books to poetry. She once wrote, Nothing decorates a room like books.  There they are, waiting to decorate the mind, too! She's best remembered for her series about life at Stillmeadow, her farm in rural Connecticut. She also wrote about her smaller Cape Cod home called Still Cove. Stillmeadow and Still Cove were the most common topics of her columns for Ladies Home Journal (1937 - 1957) and Family Circle (1959 - 1967).  Gladys was a gardener, and she once wrote, A garden is evidence of faith.  It links us with all the misty figures of the past who also planted and were nourished by the fruits of their planting.   Two other quotes offer a glimpse into Gladys's humble spirit. She wrote, As long as you have a window, life is exciting. and Traveling is all very well if you can get home at night. I would be willing to go around the world if I came back in time to light the candles and set the table for supper.   National Licorice Day The botanical name for licorice (books about this topic) means "sweet root," In Dutch, the word for licorice means "sweet wood." The secret to the flavor (which is 50 times sweeter than sugar) is hidden in the plant's very long roots and rhizomes. In Holland and elsewhere, children who grew up chewing on licorice root would suck out the sweet sugars and spit out the pulp. The licorice plant is a perennial shrub in the legume or pea family - don't confuse it with the annual trailing dusky licorice plant that gets popped in summer containers. In addition to its culinary uses, licorice has been used medicinally. The glycyrrhetinic acid in licorice causes the body to hold salt and water. Armies gave licorice to soldiers and horses when water was in short supply. In ancient times, Hippocrates used licorice to treat cough. Licorice is also used for digestion. It helps regulate the activity in your stomach. in fact, Napoleon used licorice to treat his tummy troubles. So there you go. Happy National Licorice Day — whether you enjoy it as a sweet treat or a natural aid to help you feel better.   Grow That Garden Library™ Book Recommendation The Five Minute Garden by Laetitia Maklouf  This book came out in 2020, and the subtitle is How to Garden in Next to No Time. Laetitia is a garden writer, a garden communicator, and a content creator, and she's a very busy mom. Laetitia's active lifestyle was the impetus for her to develop ways to maximize short bursts of time in the garden. Now before you dismiss her book out of hand and say, "Five Minutes? That can't be done," Laetitia's book may surprise you. I think what Laetitia's done here is ingenious because this book is packed with five-minute ideas - tasks to do in the garden for big impact. So readers can pick and choose at random what they have time to do or what they're interested in doing.  Don't forget that we're using discretionary effort when we garden, which means we are making a choice. And while some of us may not be able to get enough time in the garden (as in, we would love to spend every spare minute in the garden), that's just not the case for everyone. I know, I know. But that's just the truth of it. Now, of course, not everything in Laetitia's book will apply to your garden. We all have different gardens but never fear — there are plenty of ideas in Laetitia's book. Laetitia's to-dos may spark even more ideas that pertain just to you, which is the whole idea. If you are at a loss for where to begin in the garden, this book is your mix and match idea generator. The bottom line here is that you can tackle your garden with little bursts of energy every day. And, that's way better than just throwing up your hands and saying, forget about it - because we all know what happens then - then you're not in the garden at all. Next, the garden grows out of control, and a doom spiral of plants and weeds commences, which becomes a problem for you and your garden and your neighbors. So I like this five minutes strategy. It's not overwhelming, and it's very, very simple. The other thing that I enjoy is how Laetitia organized the book. She's used those headings to group tasks together. So you'll see headings like Spruce Up or Chop or Nurture or even Project. Laetitia herself says that she tends to do one activity from each of those heading areas over the course of a week.  But Laetitia reminds us that the important thing here is just to begin - pick one thing at random from the relevant month in the book - and then go out and start on that because at some point, your future self will thank you, and you'll look back, and realize how far you've come in your garden. Come to think about it, that's exactly what I do in the summer with my student gardeners — just on a bit bigger scale. Instead of five minutes, I'm out there for two hours, with between six and eight student gardeners. It's actually not even two hours because we spend about fifteen minutes talking about the state of the garden and the day's tasks. Then we always spend the last fifteen minutes taking pictures of the garden and downloading what we just accomplished. Essentially, what I'm doing is taking Laetitia's book and then enlisting the aid of helpers. This is how I get things done in my garden despite my arthritis. To me, it is all about short bursts of time and helpers.  And, you know, taking it slow and working in short bursts is essential this time of year (in spring). Then when you are finished and come back into the house, you still have the energy to do all the other things that need to get done in your life. And you don't resent your garden - that's the last thing you want to do. Just this week, I was reading posts on Twitter from gardeners I know in England who are out gardening because spring has sprung there, and the flowers and the spring bulbs are blooming. Plants are popping up, and the garden accelerates very quickly. Of course, people are out in force in their gardens, satisfying their pent-up desire. But these Twitter posts are loaded with gardeners who also say, "Oh my gosh, I went out there, and I totally overdid it. Now I can't walk. I can't move."  And so now they have to pay the price for that, and they have to take it easy for the next couple of days. So, this is where Laetitia's approach is not only smart but effective, and it can spare you from potential injury. And, if you're someone who struggles with garden overwhelm and you don't know where to start or what to do, then Laetitia's book just might be the ticket for you. This is a lovely little book with an adorably illustrated cover. It's got all these cute little flowers in a garland, and then there are garden tools, like a shovel and a watering can. It's very, very sweet. So I also think that this book would be a great little gift book. For instance, if you have a garden club, this book would be perfect for giving to a new member; something to keep in mind... This book is 232 pages of garden to-dos month-by-month so that you, too, can enjoy a five-minute garden.  You can get a copy of The Five Minute Garden by Laetitia Maklouf and support the show using the Amazon link in today's show notes for around $10.  Great deal. Helpful book.   Botanic Spark 1898 Birth of Clare Ellaine Hope Leighton, English American artist and writer. Although Clare was an excellent writer (and both of her parents were writers), she is remembered for her wood engravings of rural life. In 1935, she wrote and illustrated Four Hedges, A Gardener's Chronicle.  Clare's book is chock-full of beautiful images and her experiences creating a garden in the English countryside. Clare's book is full of little nuggets like,   It is better to have a few weeds and untidy edges to our flower beds, and to enjoy our garden, than to allow ourselves to be dominated by it.   She also wrote, It is a greater act of faith to plant a bulb than to plant a tree.   Finally, Clare shared a little story about a friend who had just lost her father in a moving passage about the therapeutic powers of nature. The massacre of dandelions is a peculiarly satisfying occupation, a harmless and comforting outlet for the destructive element in our natures. It should be available as a safety valve for everybody. Last May, when the dandelions were at their height, we were visited by a friend whose father had just died; she was discordant and hurt, and life to her was unrhythmic. With visible release she dashed into the orchard to slash at the dandelions; as she destroyed them her discords were resolved. After two days of weed slaughtering her face was calm. The garden had healed her.   Thanks for listening to The Daily Gardener And remember: For a happy, healthy life, garden every day.

As opposed to the fighting in North Africa or the brutal Eastern Front, prior to 1944 the German soldiers stationed in the west enjoyed good food, wine and the company of the local women. All the while they were unaware that they were often being lured in by those brave men and women who refused to submit to Hitler's tyranny. In Holland, three young women would wage a secret war against their occupiers using their innocent and youthful looks to lower their enemy's guard before they struck out like a deadly Black Widow spider. They did not embrace leading their lives this way. They had no blood lust, rather they simply did what had to be done in the cause of freedom. This is their story. Welcome to Wars of the World.

Northern Europe is generally a good place to look for how the world should function sustainably. In Holland, Geert van der Veer's organisation Herenboeren enables groups of 200 people to co-invest in a farm and take control of the food supply in their area. In a housing estate in Kildare, Pat Pender and his neighbours have transformed wasted land to do the same at an even more local level.

Edited on November 4, 2021: Hi listeners! With Halloween behind, grocery stores have set out candy canes and my own sister-in-law decorated for Christmas yesterday! For me, I'm not ready for Christmas, mainly because I truly believe there should be an entire season to celebrate Thanksgiving! In that spirit, I'm re-releasing one of my favorite episodes ever, an interview with Paul Kelly, turkey farmer. While the entire flock of Kelly Bronze turkeys in the UK has been sold for Christmas already, Kelly Brozen recently expanded into the US and there *ARE* Thanksgiving turkeys still available here - contact information is available right here in the show notes. I'm excited to cook my first Kelly Bronze this season, thanks to their generosity, and will be sharing the experience in my Instagram stories - you can follow me there and if you cook a Kelly Bronze this year also, please let me know. OK, here we go with this fun, uplifting interview with Paul Kelly that will get you into the Thanksgiving spirit for sure! Original Content: Kelly Bronze turkeys have been the centerpiece of the Royal Family's Christmas dinner and have been specially requested by dignitaries as far as Dubai. Their turkeys are featured on the menus of Michelin-starred restaurants and the Bronze family have been celebrated across the UK.... But it wasn't always this way. In fact, there was a time when the Kelly family was in dire straits financially. The turkey market was oversaturated and as far as prices, well, as Paul says, it was a race to the bottom. Paul and his parents became the laughingstock of the turkey industry, when they traveled the UK buying up every non-genetically-modified turkey they could find and decided to rear the turkeys according to their natural life cycle. Most shocking of all the Kelly family allowed their turkeys to live and roam in the great outdoors.  It's really a great success story and, beyond that, Paul is truly a great storyteller. Not everyone could make the history and life cycle of turkeys interesting, but I *promise* you'll be hanging on Paul's every nugget of knowledge and laughing all the way through.  (Oh, and p.s. Paul didn't give me a turkey recipe! He gave me one of the most adventurous, challenging recipes I've made for the podcast thus far - his mother's Steak and Kidney Pudding. I had lots of questions for him about this, and in the end, we genuinely enjoyed the result!!) Listen to Paul Now Highlights of my interview with Paul Kelly of Kelly Bronze Turkeys I could use all sorts of fancy titles, but I hate that sort of thing The life cycle of the mass produced turkey (which grows 10x faster than the natural turkey) The natural, non-modified life cycle of turkeys The reaction when they began rearing turkeys outside In Holland, you need a license to keep animals OUTSIDE Predators for turkeys in Virginia vs the UK The 5 stages of development in any animal - and how the stages affect the taste of an animal Why a slow-grown turkey doesn't need to be brined, basted, or enhanced in any way “Every turkey in the history of the world originated from Mexico” - a history lesson about turkeys The evolution of the modern white turkey - why it was popuarized - and what happened to the Bronze Turkeys The innovative, entrepreneurial approach of the Kelly family Why free-range alone doesn't improve the taste of a turkey The critical reason dry-plucking the turkey massively improves the taste Michelin-starred restaurants feature Kelly Bronze Turkey Tartar “I wake up every morning and feel I must be the luckiest man alive.” Why America was the perfect next market “At the end of the day, quality wins.” “If anyone is passionate about something, everyone listens” The power of transparency in business “The consumer never really got involved in the conversation” “A man's wealth is always measured by the fewness of his wants” ...

In deze podcast spreek ik met Diana. Zij is onder andere Lerarenopleider Rekenen-Wiskunde bij InHolland. Zij bereidt studenten voor op de meest gevreesde toets voor PABO studenten, de rekentoets. Hoe doe je dat? Hoe zorg je ervoor dat ze met vertrouwen de toets maken? Diana deelt hoe zij het doet. Daarnaast is ze betrokken bij verschillende onderwijsinnovaties. Begeleid ze studenten als SLB-er en is ze genomineerd voor Docent van het jaar van InHolland. Kortom genoeg om over te praten en laat je inspireren door deze enthousiaste docent! Veel luisterplezier! Liefs Marian Meer tips/informatie?? Zie: https://gelukkigestudent.nl/ of volg me via Instagram: https://www.instagram.com/gelukkigestudent/

In Holland ist auf einem U-Boot ein schlafendes Walross entdeckt worden - hunderte Kilometer weit weg von seiner eigentlichen Heimat. Für Bruno Dietel war das der perfekte Anlass, mal über euren Schlaf zu sprechen. Könnt ihr bei der Party einpennen, obwohl die Musik voll aufgedreht ist? Oder wälzt ihr euch stundenlang und findet einfach nicht zur Ruhe? Vielleicht seid ihr aber auch so gut und beherrscht den perfekten Power-Nap. Egal welcher Schlaftyp - Hauptsache ihr wart zwischen 22 und 0 Uhr wach und konntet Bruno im Radio davon erzählen!

3 True Scary Trick Or Treat Horror Stories is a collection of stories from those that Got more Tricks and Treats... but really wanted the treats. Want YOUR Story Featured In A Video On This Channel? Send It My Way! Direct ➤ https://www.astheravendreams.com/submit Subreddit ➤ https://reddit.com/r/TheRavensDream Or you can email it to me at AsTheRavenDreams at either gmail or outlook. Get Up to 24 hour EARLY ACCESS to my content, Your name in my videos, various other perks and even FREE ATRD Swag, all while supporting the channel! Join My Patreon, or Channel Memberships for as little as $1 a MONTH! Patreon ➤ https://patreon.com/AsTheRavenDreams Memberships ➤ https://www.youtube.com/channel/UCkW0ihdMHfBUjQrMKjRto6g/join And Remember- you are loved, you are valid, and you are important Subscribble to the Chibble! ➤ https://www.youtube.com/c/astheravendreams?view_as=subscriber?sub_confirmation=1 My True Crime Channel ➤ https://www.youtube.com/c/RavenInvestigates Listen On Spotify! ➤ https://open.spotify.com/show/1EFYMKPBTTkmKyDla2JE1Q Wear The Nevermore (MERCH SHOP) ➤ https://www.atrd.Shop Follow me on Twitter ➤ https://twitter.com/RavensDreamYT Everywhere Else ➤ https://www.astheravendreams.com/the-nevermore [TIMESTAMPS/CREDIT] 0:00 ➤ Hit That THUMBS UP Button if you like the video! 0:28 ➤ Story 1 11:54 ➤ Story 2 19:17 ➤ Story 3 28:28 ➤ Leave A Comment, Let Me Know What You Thought! ➤ In Holland's embassy in Moscow, two Siamese cats kept meowing and clawing at the walls of the building. Their owners finally investigated, thinking they would find mice. Instead, they discovered microphones hidden by Russian spies. ➤All stories within are used w/ Either direct permission from the author- or under some level of CC license (where noted) True Stories are not verified, and should all be considered 'supposedly true'. ➤Some Fonts used are from https://www.misprintedtype.com - Eduardo Recife makes some AMAZING fonts! ➤If you need to contact me for Business purposes, please contact me at AsTheRavenDreams@Gmail.com and indicate that the email is for business. ➤All videos come with a content warning for language, potentially triggering situations, and disturbing content. Viewer Discretion is ALWAYS advised... I do scary stories- it's not all rainbows and daisies around these parts. #TrueHalloweenStories #AsTheRavenDreams #TrickOrTreatStories Be sure to *subscribe* if you like any of the following; Glitch In The Matrix Stories, Creepy Encounter Stories, Deepweb horror stories, Darkweb Stories, Reddit scary stories, True Scary Stories, Creepypasta, Reddit ghost stories, Or really anything- my channel is pretty diverse. --- Support this podcast: https://anchor.fm/astheravendreams/support

In Holland hebben ze het graag over Holland in plaats van over Zeeland. Maar Zeeland is ook deel van Nederland! Dat zorgde jaren geleden voor verhitte discussies in de trein bij Willem.

Seid ihr genervt, wenn vor euch an der Supermarktkasse jemand zu lange mit der Kassiererin schnackt? In Holland gibt es jetzt einen Markt, der hat extra eine Kasse zum Klönen reserviert. Kein Witz, da musste Olli Hansen natürlich hin. Wozu so eine Klökasse überhaupt gut sein soll und welche Mottokassen noch in Planung sind, erfahrt ihr….

Vandaag heb ik eindelijk weer SMAC sushi gemaakt. Dit zou ik echt vaker willen maken als het niet zoveel tijd zou kosten. In dezelfde tijd kan ik voor mezelf voor twaalf dagen aan maaltijden maken. In Holland is SMAC verkrijgbaar ipv SPAM. Mijn versie van "musubi" / "spam sushi" dus. Deze podcast is het audio gedeelte van mijn gelijknamige YouTube vlog. Sommigen vinden mijn verhalen rustgevend. Kijk mee als je het leuk vindt❣️ https://youtu.be/6EuavZVHZl0 Met onder andere: - Unox Magere Smac - Saitaku Sushi nori - Saitaku Geroosterd zwart sesamzaad

In Holland stehen die Zeichen auf Normal. In acht Tagen werden dort die Corona-Abstandsregeln entfallen, und es werden dann auch wieder volle Fußballstadien, Theater und Konzertsäle erlaubt sein. Von Ferdinand Quante.

Explaining the Hazards of Failing to Reside in the Dwelling the Risk of Loss of Which Was Insured https://zalma.com/blog Insurance companies often see disputes relating to the terms “domicile” and “residence” when dealing with a homeowners policy. It is important, therefore, that everyone in the business of insurance must understand the meaning, and application, of the terms to insurance claims and how they relate to individuals and corporations that are insured or insurers. Although a person may have more than one residence, he or she may only have one domicile at any one time. [Nat'l Artists Mgmt. Co. v. Weaving, 769 F. Supp. 1224, 1227 (S.D.N.Y. 1991)]. The controlling factor in determining residency, on the other hand, is intent, as evidenced primarily by the acts, of the person whose residence is questioned. [Farmers Auto Insurance Ass'n v. Williams, 213 Ill. App. 3d 310, 314 (2001), Direct Auto Ins. Co. v. Grigsby, 2020 IL App (1st) 182642-U (Ill. App. 2020).] In the context of automobile insurance exclusions, residence is determined on a case-by-case basis using factors such as intent and relative permanence. [Potter v. State Farm Mut. Auto. Ins. Co., 996 P.2d 781, 783 (Colo. App. 2000); Grippin v. State Farm Mut. Auto. Ins. Co., 409 P.3d 529 (Colo. App. 2016)] In Holland v Trinity Health Care Corp, 287 Mich App 524, 527-528; 791 NW2d 724 (2010) the Court defined the verb “reside” as to dwell permanently or for a considerable time, to live. In doing so, the Court expressly explained that the definition of "reside" is not synonymous with the legal definition of "domicile," which may have a more technical meaning than intended in the home insurance context under the policy language at issue. The term “reside” requires that the insured actually live at the property. The homeowners policy language unambiguously requires that the property at issue be the insured's "residence premises" for coverage to apply. It does not require that the property be the Insured's domicile. The "insured location" was defined in relevant part to mean "the residence premises," and the "residence premises" was defined to mean the dwelling where the insureds "reside and which is shown as the 'residence premises' in the Declarations." Faced with such clear and unambiguous language, a court is required to enforce the exact language of the policy that unambiguously required the insured to reside at the insured premises at the time of the loss. If the insured resided in a different location there could be no coverage. © 2021 – Barry Zalma --- Support this podcast: https://anchor.fm/barry-zalma/support

What you'll learn in this episode: Why Marie-José developed the Marzee Graduate Prize to help young jewelry artists How she secured the historic building her gallery and apartment are located in Who Marie-José's favorite artists are, such as Dorothea Prühl Why the term “art jewelry” is redundant How the pandemic inspired Marie-José to look closer to home for exhibition ideas About Marie-José van den Hout Born in Roermond in the Netherlands, Marie-José van den Hout grew up in a family of three generations of ecclesiastical gold- and silversmiths. It was in the workshop of her grandfather, a renowned craftsman who specialized in repoussé and chasing, that her passion for gold grew and flourished. Alongside two of her brothers, Marie-José worked in her father's studio before studying gold- and silversmithing and then fine art at the Academy of Fine Arts in Maastricht. She established Galerie Marzee in Nijmegen in 1979 and was honored with the title of Officer of the Order of Oranje-Nassau at the gallery's 40th anniversary celebrations in June 2019. Additional Resources: Website Instagram Facebook Openingstijden / opening hoursdi-vr 10.00-18.00 uur, za 10.00-17.00 uur Tue-Fri 10am-6pm, Sat 10am-5pm Photos: Otto Künzli, Quidam XVIII, 2019, brooch; Corian, plastic, operculum, acrylic paint, steel, 75 x 87 mm  Rudolf Kocéa, Tears, 2019, necklace; fine silver, enamel, stainless steel, pendant: 80 x 110 x 20 mm, L 600 mm  Barbara Paganin, Rose, 2017, necklace; polymethylmethacrylate, oxidised silver, gold, 200 x 200 x 20 mm    Vera Siemund, untitled, 2019, necklace; enamelled copper, copper, steel, silver, 100 x 60 x 40 mm  Dorothea Prühl, necklace, Raben im Kreis (Ravens in a circle) 2020, titanium and gold    Transcript: Located in a former grain warehouse on the banks of the River Waal in the Netherlands, Galerie Marzee is the largest (and some would say the most influential) art jewelry gallery in the world. The gallery was founded in 1979 by Marie-José van den Hout, who has spent her lifetime immersed in jewelry, goldsmithing, and art. She joined the podcast to talk about the exhibitions she's working on now, why she dedicates so much time to helping art and jewelry students, and how an exhibition of combs put Galerie Marzee on the map. Read the episode transcript below.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. Today, my guest is Marie-José van den Hout, founder and owner of Galerie Marzee, the world's largest art jewelry gallery. The gallery is located in the Netherlands. Marie is a highly regarded leader in the field of art jewelry and has an interesting story, which we'll hear about today. Marie-José, welcome to the podcast. Marie: Thank you. Sharon: Tell us about your jewelry journey. You studied metalsmithing. When did you start liking art jewelry or jewelry? Marie: I started at eight, I think. Well, my journey started when I was four or five years old. My great-grandfather, although I never knew him, and my grandfather and my father were gold and silversmiths, but they didn't make jewelry; they made objects for Roman Catholic churches. I grew up with all these objects, which now are exported from Europe to America because there are too many and museums can't have them anymore. Anyway, when I was four years old, my father made a ring for me, and I was very proud of that ring. I was not interested in jewelry. He sometimes made rings for friends or for my mother, but he made a ring for me when I was a child and I took it. I was allowed, against his wishes to be honest, to take it to kindergarten. In the class, I very proudly showed this ring. At the time, those classes were huge, 40, 50 children, so it went around the class and it never came back to me, the ring. I was very shy; I didn't dare say anything to the teacher, so I went home without a ring. Many years later, I had an exhibition with Manuel Vilhena. He's a Portuguese jeweler. He had his exhibition and he made a ring from a string, just a simple string, and he said, “This is your ring. I know why you started the jewelry gallery; because you're still looking for your ring.” I found this such a beautiful story.  So, my journey started when I was four, but to be honest, it didn't really, because I was not interested in jewelry at all, not a bit. I always used to like drawing and painting. In those times, you learned to do those crafts at home, and the best teachers are your parents. At the academy where I went in Maastricht, they once asked my father—they wanted him to be a teacher at the academy, and he said, “No, no, no, no, I'm not interested.” But then we, my two brothers and me, went to the academy. We had to, because you were not allowed to work as a gold and silversmith and make pieces when you didn't have the—what do you call this? The mark you have.  Sharon: The hallmark? Marie: Yes, you had to go to the academy to get this hallmark. We did go there every day, the three of us by car. It was two hours' drive from our home, but in the end, it turned out I was not that interested, so I changed direction and went to painting and sculpture. Sharon, there is something I'm not that proud of. I met a man—I was 20, 21—my first boyfriend, who I thought was such a fantastic artist and painter that I stopped doing that altogether and I returned to gold and silversmithing. In the end, we worked at home designing, doing all the crafts.  As a child, I loved to go to my grandfather. He was very well-known for making those figures in gold and silver, and he was invited all over the world, all over Europe to restore church treasures. Although we are Dutch, my father was born in Cologne, because my grandfather at the time worked in Cologne restoring the treasury of the Dome of Cologne. My aunt was born in Brussels in Belgium, where my grandfather worked for the Dome of Brussels, and so on. He worked in Paris. At the same time, what he did—I loved my grandfather—after his work, he was always sitting in museums. You know those people who are sitting there and copying famous paintings? I once went to Paris to a museum, and I saw a painting and thought, “No, this can't be. My grandfather did this.” It turned out it was a famous painting by Monet. So, my life, my youth, was all in art, in gold, painting and silversmithing. But in the end, I didn't do all those things because I married, and within a year I had three children because I have twins. Sharon: Not much time between. Marie: Not that much. Sharon: With everything else, yeah. Marie: In the meantime, my father had died, and my two brothers didn't make those church things anymore. There was not much interest in those at the time, so they turned to jewelry. Both made jewelry, but my younger brother—I liked him very much; we had a very good relationship—he asked me, “I think you could be a very good shopkeeper and I would like to start a shop in Roermond.” He lived in  Roermond, which is 100 kilometers south of Nijmegen, and he had several shops already in Holland. I said, “O.K., I'll do this. It's possible do this while having children.” So, I did this for some time. It was modern jewelry, but not the kind I was interested in.  At the time, I visited another gallery, and I have to confess I was much more interested in the sort of art jewelry there. So I changed my policy; I went everywhere to look at this sort of jewelry. In the end, my brother was not so happy with my change of thought, and he said, “I don't want you to have my jewelry anymore,” which, Sharon, was a shame, because it was good jewelry. It sold very well. It was mostly gold and diamonds, but in a modern way. So, suddenly I could hardly survive, because the sort of jewelry we are dealing with now is very hard to sell. Sharon: I'm sorry—did you say very hard to sell? Marie: Very hard to sell, yes. It's really difficult. Anyway, I worked very hard, 12 hours a day. I was always working. My children were complaining. They said to me—I have three children—and they said, “Mom, you hear me, but you're not listening.” Now, they're proud of me, and two of them, when I stop, will carry on with the gallery. This is more or less the beginning of this journey. In the very beginning, the work I showed looked like what Galerie Ra showed. In the end it was completely different, because I traveled through Europe, traveled to academies, traveled to artists and so on, and I had my complete own style. It's what I'm doing now. Sharon: So just in case people don't about Galerie Ra, can you tell us a little bit about that? Marie: Galerie Ra in Amsterdam was a small gallery funded by Paul Derrez and Louis Martin, two of them. Later on Paul carried on on his own, and last year, after I think 40 years, he stopped with his gallery. He had to rent a shop in Amsterdam, and once every five years you have to have a new contract, and he thought, “This is too long for me. In the meantime, I can't stop because I still have to pay the rent.” So, he stopped, and last week on Koningsdag, King's Day, he got a medal from the king. He is an officer in the Order of Orange-Nassau; that is how our kingdom is called. I had this honor two years ago with the 40th anniversary of the gallery. In 2019, I also got this order. You can compare it with OBE in Britain. Sharon: Wow!  Marie: It is sort of like that. It's a huge medal. If people would have asked me, “Would you be interested in having anything like this?” I would say, “What nonsense. No, please, no,” but at the anniversary in 2019— Sharon: The 48th anniversary. Marie: I was so surprised and I was so proud. Sharon: That's quite an honor, wow! Marie: It was really nice. They said, “We were so frightened you would say”—I told you I can be quite undiplomatic—“Oh, what a horrible medal,” because it's not a very nice design. It's old, of course, but I didn't say it. I was very honored. All of this was based on the fact that I do so much for young artists. Sharon: You do. Marie: With the annual graduate show. Sharon: Tell us about the annual graduate show. It's so well-known.  Marie: I started this 30 years ago. I'm now in this beautiful building. It's a huge building overlooking the River Waal, and it has four stories. At the time, I was in a smaller building, not that small really, but I wanted to do something completely different. I said, “I'd like to work with young people and see if I can guide them or travel with them in their development.” I started making exhibitions that were quite small. I had an academy in Amsterdam. I had Maastricht and Utrecht, and I think Holzheim in Germany. It was quite small, but it in end, it developed. Now, it's 740, 750 schools from all over the world. Mostly there are between 17 and 19 participants, and all the floors of the gallery are full of young graduate work.  What can I say about this? In the beginning, there was just the show and the opening. Later on, 10 years ago, I started having a symposium on Monday. The participants came to Holland from everywhere, from America, from Australia, from Japan. So then on Monday, all the participants showed their work to their colleagues. There was this huge show, and, for instance, the first artist took one of her or his pieces out of the show, put it on the next graduate—so he or she was the model—and then they started talking about the work. It went on and on, sort of like—what do you call it?—it went from one to the other. Of course, they were not used to talking in public, so it was quite emotional. People were very nervous, but it was heartbreakingly beautiful. Also the fact that they came from all over the world, it was really something. People traveling from America, it's not that expensive to travel to Holland, but from Australia, it's a really expensive trip. From Japan it's really expensive, so it's very good they came.  Then 10 years ago, I started to award the Marzee Prize, the Marzee Graduate Prizes. They were awarded to six to eight people, but sometimes there was so much beautiful work that I had 10 people. The prize consisted of a workshop in Ravary, an estate in Belgium. Some friends of mine built a large workshop there. It's paradise, where they can work for a whole week. Everyone has a bedroom and we cook together; we talk together. It's working deep into the night; also drinking deep into the night. Unfortunately, last year we didn't have this workshop. We are not allowed to travel. This year there will probably not be a workshop, either, so that's a pity. The borders are still closed. We are not allowed to travel to Germany, which from here is only five kilometers. Belgium is a bit further, but we are not allowed.  A few years ago, also to try to help young people, I started Intro in Amsterdam. My son, who you just saw, has studied in Amsterdam. He's a lawyer. I rented a place for him 30 years ago. I still have that place, but it was redone two years ago and made into a gallery workshop. In 2019, I was awarded another prize, Gallerist of the Year 2019 by RISD, Rhode Island School of Design.   Sharon: Wow!  Marie: Yeah, maybe you didn't know that.  Sharon: Now it's coming back. Yes, I do remember that. Marie: It was a real surprise. It was very nice. I had to travel to RISD because they set up a show for me in the museum. Then Tracy, the head of the department, said, “I would like you to participate and organize everything in Amsterdam at Intro. I would like for you to run this gallery for three years.” I was the Gallerist of the Year for three years, and we started to do this. The board liked it very much, so for a year we have had two internships there. You can live there; you can work there. It's a beautiful workshop and a beautiful gallery. They make exhibitions with the graduates, but last year there was nothing because they had to return to America. They were not allowed to come here, but probably in August or September there will be two people from RISD again. Not everyone was allowed to participate in Amsterdam at Intro. We selected 20 people per year who could show their work and have exhibitions in Amsterdam. I hoped it would help, but we still have to see because it was interrupted by this horrible Covid disaster. That's my graduate show. There is much more to it.  Sharon: Administering something like that is such a big task. Coming from a traditional background of jewelry and fine art, what attracted you to art jewelry? How did you transition? Marie: The jewelry my brother made was not so far from what you call art jewelry. I'm not such a fan of the term art jewelry, although I don't know what else we should call it. I don't know. Jewelry was not only the thing I did. When the gallery existed for 10 years, I made an exhibition of combs. Sharon: Clothes? Marie: Combs, to comb your hair. Sharon: Combs, O.K. Marie: I did this because I thought a comb is a piece you can use, and I had objects in the gallery you could use. I also sometimes had exhibitions with fine arts, and I had jewelry. I had all three in the small gallery at the time, so I thought a comb has all those elements in it. It's graphic, you can use it as a utensil, and you can wear it as a piece of jewelry. I asked 400 artists in the whole world to make a comb, and I selected 80 pieces for a traveling show. This was really the start of the gallery, because I had a fantastic graphic designer who made a book for it. I had an interior designer who made huge showcases for it. I traveled to museums to ask if they would be interested to have the exhibition after it had been in my gallery. I had the luck that I went to Rotterdam to a famous museum, Boijmans van Beuningen, and they said they would gladly have the exhibition, but they wanted it as a premiere. That was not what I wanted, because I wanted it for my 10thanniversary, and then they said, “No, we want it first.” It was a very good decision to do this, because after that, all the newspapers were full, all the magazines were full, and all the museums wanted to have this exhibition. I have had this exhibition in Tokyo, in Cologne, in Frankfurt, in Pforzheim. My name was there, and then I decided to buy 40 of those pieces. They are now in my collection. My collection is more than 2,000 pieces, I think, and they mirror the history of the gallery. That exhibition was the real start of the gallery. That's when it started to become international. Sharon: For anybody who hasn't been to the current gallery, the building is incredible. It's worth going just to see the building itself. How long have you been in that building? Marie: This is a building channeled with history. There is a history to this building. The town of Nijmegen owns the building, and it used to be a grain warehouse in the beginning of the 20th century. It's around 1900 or even older. They wanted to tear it down to have a hotel here, a Holiday Inn, if you can imagine, but there were some parties in town who wanted culture in this building. I had to fight Holiday Inn. I remember very well, Sharon, that Holiday Inn's director called me and said, “Ms. Van der Hout, why don't you let us buy the building and you can have the ground floor?” Sharon, you know those hotels that have a gallery on the ground, those galleries are mostly horrible. In the end, I won the fight. In 1992, the building was mine; I bought it, but it was ruined. I showed the architect the building, and we had to climb on ladders because the town had decided to tear it down and everything was taken out. The wooden floors were taken out. The only thing left were the beams and those beautiful walls, of course, but that was all. I climbed on that ladder and I fell down and broke my back. Sharon: Oh my gosh! Marie: I lost part of my memory, which is sometimes annoying. On the whole, it's O.K., but I broke my back. I could have been in a wheelchair. When I fell down, I woke up after a half hour or an hour and walked to my art gallery. That seemed a bit strange, so they called a doctor and ambulance and I was taken to the hospital. They said, “You're O.K. You can go because you walked,” and I said, “No, I can't get up anymore.” Then I had this scan and they saw that my back was broken in three places. Sharon: Oh my gosh, you got up and walked! Marie: I was in a cast for a long time. I thought, “Maybe this is too big a task for me. Maybe this was a warning.” Then I thought, “Oh no, I'm going to build an elevator so everyone who is in a wheelchair can see all the floors.” Every day I'm glad I made that decision. Sharon: The building is so fabulous. Did you have a vision for what you wanted? I'm sure you worked closely with the architect, but what was in your mind? Marie: I had a bit in my mind, but my ideas at the time were that it should be wide and so on. I had a fantastic architect, a really fantastic architect, and he didn't want it to be wide; he wanted the walls as they were. We have concrete floors because it was the only possibility. Thanks to this architect—he was a very well-known Dutch architect, by the way, because the town said, “We want this to be a fantastic architectural place. You can invite three architects and we'll pay for that, but the architect you take, you will have to pay him yourself.” They never paid those other architects, by the way, but never mind. I'm so very glad with this architect, and sometimes I see him. Two years ago, he was married for I don't know how many years, and he said, “Marie, I want to go visit the buildings in Holland I'm most proud of”—there are several museums he built—“and you have one of those buildings. If it's O.K. with you, I'd like to have a party here.” He said, “You used it so well. It's so well done now.” I travel a lot—not at the moment, of course—but every time I come home to my building, I feel relieved.  Sharon: It's home.  Marie: It's not only home, it's my first building I remember very well. Once I went on a holiday, and I came back home and I stood in front of my first gallery. I was still in my car in front of the first gallery, and I said to someone, “I don't want to get out. I don't want to do it anymore.” Here, every time I come back, it's rest and peace; it's fantastic. I don't know. Sharon: It is an amazing building  Marie: And inside it's fantastic, of course.  Sharon: You're in a fabulous location. I want to let people know when they go to the gallery, they may need a lot of time because you have a lot of—it's not one small gallery. Marie: No, it's not. I started collecting from the very beginning. I always bought something from my exhibitions, because if people didn't do it, I had to do it. I have a huge collection, but the pieces I have from the beginning are maybe not that interesting. Since then, I have the best pieces. It's fantastic. I have a huge collection of Dorothea Prühl, the necklace I'm wearing now— Sharon: Say the name again. Marie: Dorothea Prühl. Sharon: Dorothea Prühl. It's a fabulous necklace made of wood. Marie: Yeah, there was an exhibition two years ago in New York. Do you know Nancy and Georgio? Sharon: No. Marie: They have the Magazzino, the museum for Italian Art near New York. It's a fantastic, beautiful museum. Anyway, they had an exhibition about arte povera in New York, and there was a famous artist—I can't remember the name; that's my memory—who gave a talk there. The sculptor was there, a famous artist from Italy, and he came to me and said, “You have a fantastic necklace.” It was this necklace. I told Dorothea, of course, because that's a famous sculptor and all her work is like this. There's something else which may be interesting; you know I'm working with schools. Sharon: No, tell us about that. It doesn't surprise me, but tell me about that. Marie: Apart from the private shows. Dorothea Prühl, for instance, she is from Eastern Germany. Sharon: I just want to interrupt, because some people listening have never heard of Dorothea Prühl, who is one of the leading and most well-established art jewelers. Continue, I'm sorry. Marie: She was teaching in Halle in former Eastern Germany. I got to know her work because I went to an exhibition in Halle with her and her class and another teacher. I saw the work and thought, “I would like to have this in the gallery.” The well-known German artist who was there with me said, “There's no way she will do this. She doesn't like Wessies.” Do you know Wessies? People from the west, Western Europe. But I thought, “You know what? I'm going to call her.” So, I called her, and then came this voice. She was a heavy smoker, Sharon, and I said, “I want to make an appointment with you. Is that O.K?” “Oh, yes.”  It was sort of love at first sight.  Sharon: We understand. Marie: Sometimes you have this immediate connection, so I went there. The work she did with her students was fantastic, and then and there I decided I was going to do school exhibitions. I said, “I want you to have an exhibition with your whole class in the gallery for five years. Every spring you will have an exhibition.” They did, and it was always a beautiful exhibition. I bought a lot of pieces for the collection from this exhibition. After those five years, I asked Iris Eichberg. At that time, she was teaching at an academy, and I asked if she would be interested in working with us. She said, “I can't do it. I'm not happy with the level of what's being done here.” Then I decided I would go to the Royal College in London first, with Otto Kunzli in Munich. Otto Kunzli had a show here for five years with his students, also in spring. Then I started to make it a bit shorter, three years with the Royal College with Hans Stauffer. He was the head of the department. At the moment, I'm working with Nuremburg. This is our fourth year. At the end of this month, they will set up an exhibition, also a class exhibition. Do you know that I publish magazines of all the exhibitions? Sharon: Yes. Marie: And we always buy pieces. I really like to work with students. I really like to do this. Sharon: What is it that you like about it? Marie: I don't know, the way that they're open to things. I like that they‘re still developing. By the way, the only school where there were more boys in class was in Munich. In Holland, there was only one boy. In Munich, there were a lot of boys. Most schools just have girls, although in the end, the boys got famous.  Sharon: That's the way it is, yes. Marie: Yes, that's the way it is. Sharon: I was really interested to read that you don't like the term art jewelry. We call it art jewelry because, as you say, there's not another term, but why don't you like the term art jewelry? Marie: Because I think if you're talking about painting, you don't say art paintings or art culture or art design or arts this and that. It's a discipline like all other disciplines. You have paintings, and some are art and some are not. It's the quality that makes it art. It's sometimes not a quality we see now, but it may be that in a hundred years what we now define as art is not what they think of those pieces later on. I don't know. For me it's jewelry, although it's difficult because jewelry is not a well-respected art form. Sharon: Right. Marie: Not at all. Every day I still have to convince people that this is a full-blown art discipline. Sharon: Because you're on the front lines, what do you see as the future of this kind of jewelry? Call it avant garde jewelry, call it art jewelry. It's different than gold and diamonds, in a sense. Marie: It's different. The jewelry that sells best is still gold, unfortunately. Not unfortunately, because I love gold, but there is all gold. A few years ago, I was invited to make an exhibition with Vicenza in Italy. Vicenza is the gold town of Italy. It's where the gold industry is, where they make all those fashion jewelry pieces, and there is a museum. The director asked me, “Will you please make an exhibition for our art jewelry department?” They have design jewelry, fashion jewelry, and art jewelry. The one who made an exhibition before me was Helen Drutt, and she also made an exhibition in the art department. I thought, “Well, O.K., I'm going to make this exhibition, and I'm going to make it only with gold because I'll show them that there is different work you can make with gold.” She told me, “This is my best exhibition ever.” It was a beautiful golden arts jewelry exhibition in their museum. The last year of the exhibition, unfortunately, the last part, was during Covid. What can you do.  Sharon: You don't often see gold in a lot of the art jewelry galleries. Was it difficult to find pieces that you felt belonged in the exhibition? Marie: No. I showed pieces from my collection.  Sharon: Your personal collection? Marie: My personal collection. I have several beautiful golden pieces of Dorothea Prühl. I have several Dutch artists who work in gold. I have enough to show a lot of work. It was 50 pieces, I think. Sharon: O.K., wow!  Marie: I have some from the students from Holland, which reminds me there were two pieces, one big color piece from a student from Holland and one big brooch. Sharon: Do you see an increase in interest with a la carte jewelry and things made of alternative materials, like plastic or wood? Marie: I think this is returning in jewelry. You can make jewelry out of all sorts of materials, and for me, it doesn't really matter. The only thing I don't like so much in jewelry is plastic, because I don't like plastic very much, but for the rest it's fine. What I don't buy anymore is rubber jewelry because it disintegrates. I have rubber pieces in my collection, and they were made of horrible material. I didn't throw them out; I put them in envelopes and kept them, but no. It's difficult to get people interested in jewelry. One of the things I did to get people interested in it, I made a series of exhibitions in museums. It's called “Jewelry, the Choice of, and I followed with the name of the town. I did 10 of those exhibitions in Dutch museums, one in the European parliament in Brussels and another one, my best one, in St. Andrews in Scotland. That exhibition was magic.  What happens normally is that in Holland, the director of the museum selects 25 women and men who they want to come to the gallery. They come by bus for a whole day, and I select pieces from the collection. It's like a Tupperware party, but I want them to get interested in jewelry. Obviously, at St. Andrews that was not possible, that people would come by bus to Scotland. So, the director asked everyone to give her a photo, and she wrote something about the work people did so I could get to know who those people were. I found it very difficult to not see someone and not try something on. So what I did, I had these photos in the gallery for three weeks, and I spread them out on my top floor on this large table. Every day I walked past those photos, looked at the photos, and thought, “Who are you? Who are you?” Then the museum came to collect the pieces I selected for those 24 people. I have to admit I was quite nervous, because what if the people didn't like those pieces and said, “I don't want to wear this,” or “I will wear it, but I don't like it”? But I went there, and we had a meeting in one of the castles. Every quarter of an hour, someone came in and I was supposed to give them the piece of jewelry I selected for them, have them put it on and tell them something about this piece, about the artist. After that, they were interviewed for a movie; there was a movie made for this exhibition. I gave a big gold brooch to the first person who came in, a student from Holland, Christine Matthias, I went to her and said, “I'm giving you the sun,” and she had—how do you say it—goose bumps. Sharon: Goose bumps, yes. Marie: She said, “How do you know?” “How do I know what?” “Yesterday I saw the sun spinning.” O.K., that was number one. The next one was a man, and I gave him a silver brooch of a lizard, a beautifully made small brooch of a lizard, and his wife said, “Last year he wrote a poetry book about lizards.” I was flabbergasted, Sharon, and this went on and on. Not everyone had this reaction, but a lot did. The British people are good talkers, and I told everyone something about the piece of jewelry. Later on, as I said, there was a movie made, and they had to tell something about this piece. They were so well-spoken about it. They looked closely at those pieces. There was an understanding of what the artist had done. It was my best exhibition to promote jewelry with people. I am friends with the director; we eat together every year when there is a Collect in London—except this year, because there is no Collect. Those experiences make my life as a gallerist so beautiful, so exciting.  With this Covid disaster we had to stay home, so we had no visitors and the gallery was closed, and I thought, “You know what? I don't know many people in Nijmegen. I'm focused abroad; I'm focused on faraway places. Who do I know here on my street, for instance?” On the old street of Nijmegen—it's a beautiful street with fantastic houses—I hardly know anyone. I thought, “I'm going to make an exhibition with 25, 30 people, and I will keep it to my street.” So, now I'm making an exhibition called “In My Street.” A few hours ago, we had the first photographs with a photographer who lives on the street of people who have lived the longest on this street, a man and wife who have lived here for 60 years. We're doing that now, and we will probably make 35 photos and have an exhibition here. At this time last year, I invited the former director of the museum of the town who lived on this street. He's a very introverted man, and I went to him and said, “I'd like you to participate in this exhibition,” and he said, “No, no.” In the end, I convinced him he had to do it, and he said, “But only if the exhibition is in your place,” because he likes beauty. Last week I heard that he died. I want the photos to be taken of people in their own houses. He had this fantastic office in the front of his home, full of books and a huge desk, that was beautiful to photograph in, but he's not there anymore, so it's just— Sharon:Yeah, it's a shame.  Marie: Yeah, it's a shame, but I think it will be a beautiful exhibition, very near home. My idea now is this “In My Street.” I want other streets to make the same exhibition and come to the gallery. Everyone can see “In My Street” and have 25 people. We have a whole grid around town with everyone. Now I'm home on my own street. The first time I went to visit people, someone said to me, “Of course you don't know anyone. You never come out of your gallery.” It's not true, but I live on top of my gallery, so I go by elevator, get out on my terrace and go in my house.  Sharon: You put the pandemic to good use with this. Marie: Yes. Sharon: Marie, I could talk to you forever. Thank you so much. This is great, because it's so hard when you're at a show to talk to anyone for more than three seconds. It's great to hear your whole story, and thank you for sharing it with us. Marie: Thank you, Sharon. There's much more.  We will have images posted on the website. You can find us wherever you download your podcasts, and please rate us. Please join us next time when our guest will be another jewelry industry professional who will share their experience and expertise. Thank you so much for listening. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.  

Soms gaan dingen ook heel goed, zelfs in het beleid van Onderwijs, Cultuur en Wetenschap. Bij al het gemopper over heel wat onderwijsvernieuwingen moet worden vastgesteld dat een van ingrijpendste en omvangrijkste hervormingen een klinkend succes is gebleken. De vorming van het modern hoger beroepsonderwijs en de ontwikkeling van de hogescholen als sleutelinstituties van de kenniseconomie. Jaap Jansen en PG Kroeger duiken in deze podcast in de historie achter dat succes en de toekomstmogelijkheden. Welke lessen kunnen ‘het onderwijs', ‘de Haagse politiek' en ‘de polder' hieruit trekken?Betrouwbare Bronnen is te gast bij de jubilerende Hogeschool Leiden – deze week 35 jaar geleden opgericht – waar ze deze bijzondere ontwikkeling van het hbo en de kennissector actief hebben meegemaakt. Jaap en PG praten met de Leidse bestuursvoorzitter Sander van den Eijnden, die ook de chef was van de Open Universiteit; met de voorzitter van ict-basisstructuur SURF, Jet de Ranitz, die ook Inholland en de Amsterdamse Hogeschool voor de Kunsten leidde; en Ron Bormans, voorzitter van de Hogeschool Rotterdam.Openhartig vertellen zij over de soms turbulente ontwikkeling van de nieuwe vorm van hoger onderwijs die vanuit het hbo gerealiseerd is. De hogescholen werden partners van de professies waar zij talenten voor vormen en daarmee ontstond een eigensoortige verstandhouding met wat men daar ‘het werkveld' noemt. Het effect is dat elke revolutie op de arbeidsmarkt, in technologie en economische ontwikkeling allereerst doorwerkt binnen hun opleidingen. Bovendien werd juist het hbo de emancipatiemotor voor jongeren uit niet klassiek-academische milieus die zich zo op hoog niveau konden ontplooien.De hogescholen hebben in de decennia sinds hun start – zoals Leiden vanaf 1986 – in hoog tempo een eigen identiteit en cultuur moeten ontwikkelen. ‘Een beetje Rotterdams' is die, zegt Jet de Ranitz. In de coronacrisis bleek de ‘can do'-mentaliteit van het hbo opnieuw een belangrijk pluspunt. ‘Never waste a good crisis' is ook nu weer een impliciet motto. Duidelijk wordt dat een aantal fundamentele vanzelfsprekendheden en interne automatismen in deze opnieuw zo turbulente periode fors ter discussie zijn komen te staan.De aanbevelingen voor de kabinetsformatie zijn verrassend. De hbo-bestuurders willen niet soebatten om meer geld. Het fundamenteel doordenken en lessen trekken uit de voorbije coronafase is voor hen veel wezenlijker. Meer ruimte voor de eigen visie en verwezenlijking van kwaliteit in het beroepsonderwijs, ook in het licht van de internationalisering, de digitalisering en ‘een leven lang ontwikkelen' evenzeer.***Deze aflevering is mede mogelijk gemaakt door de Hogeschool Leiden en door donaties van luisteraars via de site Vriend van de Show. Sponsoring of adverteren is ook mogelijk. Stuur een mailtje naar adverteren@dagennacht.nl en we nemen contact met u op!***Verder luisteren199 - Kabinetsformatie 2021: Olof van der Gaag en de snelle overgang naar duurzame energie192 - Kabinetsformatie 2021: Het gaat over hun toekomst: jongeren voor het eerst aan tafel in de formatie183 - Samen slimmer worden: het Leidse kennisecosysteem als aanjager van duurzame groei126 - De kracht van hoger onderwijs108 - De universiteiten willen weer voluit aan de slag***Tijdlijn00:00:00 – Intro00:02:03 – Deel 101:08:55 – Deel 201:30:29 – Uitro01:31:15 – Einde Privacy Policy and California Privacy Notice.

Rutger Boxhoorn, docent Creative Business, staat centraal in deze aflevering. We wandelen door Inholland Rotterdam. We hebben het met deze creatieve docent én ondernemer over zijn eerste dag bij Inholland, hoe het is om een eigen bedrijf te combineren met het docentschap, wat hij hoopt dat studenten meekrijgen na een samenwerking met hem en waar hij staat als we hem in 2040 tegenkomen bij de Inholland Reünie. Wil je meer informatie over werken bij Hogeschool Inholland? Bekijk dan: www.inholland.nl/werkenbij.

Maarten Bosch geeft les in product- en receptontwikkeling én diverse productbereidingen bij de opleiding Food, Commerce & Technology op Inholland Delft en Amsterdam. Heeft een passie voor eten & drinken. Hij heeft sinds 2018, samen met twee vrienden, een eigen brouwerij: Beste Maten Brouwerij. Hoe was zijn eerste dag bij Inholland? Wat vindt hij het belangrijkste dat studenten meekrijgen na een samenwerking? Waarom is hij ooit gestart met een eigen bierbrouwerij? Hoe is het om praktijkdocent te zijn? En wat is zijn visie op de toekomst van onderwijs? Wil je meer informatie over werken bij Hogeschool Inholland? Bekijk dan: www.inholland.nl/werkenbij.

SHOW NOTES (May 4, 2021)SEGMENT 1Our host Kevin Barbaro is coming to your from South Carolina. Kevin started this show to highlight his own program as well as college track and field. He is happy to be back at Talk Alternative Broadcasting because of it's engaging dialogue driven content.SEGMENT 2Kevin talks about some track and field news. Football player DK Metcalf will be running 100mm at the USATF Golden Games. Before discussing this further Kevin decided to open up about the two people he has lost in the last year, his sister Wendy and close friend Philip Bower. Continuing with his thoughts on the USATF Golden Games, Kevin discusses the difference between football fast and track fast. He believes that DK Metcalf will get smoked but Kevin is grateful for the press that comes with his presence, it's good for the sport. Kevin thinks that Bo Jackson is the fastest NFL player.SEGMENT 3Kevin introduces his guest Yuri Poole, lead singer and founder of Paul McCartney tribute band The McCartney Years. He's always had a love of Paul McCartney. His father had the original pressings of Beetle's records and hearing those records was his aha moment. This is when he realized that he wanted to be a musician and learned to play the guitar. In his early 20's Yuri auditioned for a Beetles production that traveled across Europe and Asia. He got a callback that night and in the 3 weeks leading to the tour he studied Paul McCartney's mannerisms and songs. When he came to America he started, the McCartney years. Yuri met a man who was a regional manager for the Hard Rock Chain. The man told him that he was great but he needed to find his niche and build upon that.SEGMENT 4Yuri was raised in Holland and now lives in Ontario. He has a 44 acre farm manned Port Holland where he grows tulips. It has been a great way for him to keep busy and stay in place during the pandemic. With the help of one of his childhood friends, Yuri learned how to grow tulips and work within that industry. In the fall, he planted 10,000 bulbs. You can see their farm at @farmfairytales on instagram.TRANSCRIPT00:00:38.100 --> 00:00:57.000 Kevin Barbaro Productions: hey everybody welcome back, hopefully, you can hear me this is Kevin Barber Oh, and welcome to coffee talk XL man, my first episode back baby on talk radio dot nyc and it's been a long time, and last time I was on the show was, I want to say.00:00:59.370 --> 00:01:07.470 Kevin Barbaro Productions: or so, when I was on the network my buddy Sam is back in the control booth in New York City right now and i'm actually.00:01:08.640 --> 00:01:23.430 Kevin Barbaro Productions: broadcasting to you right now, from myrtle beach South Carolina and actually the cool thing about my life was a lot of cool things about my life man, but one of the cool things about my life is the fact that I travel all over the country.00:01:26.130 --> 00:01:35.220 Kevin Barbaro Productions: I live a unique existence and in that unique existence i'm going to be taking you on a journey.00:01:36.270 --> 00:01:46.050 Kevin Barbaro Productions: In a lot of different ways on this show so join me every Tuesday night at eight o'clock and live here on talk radio dot nyc.00:01:46.710 --> 00:01:53.160 Kevin Barbaro Productions: Or, of course, you can go to Facebook and go to the talking alternative and you'd be able to watch the live feed right now.00:01:53.610 --> 00:02:09.210 Kevin Barbaro Productions: rocking two cameras Sam I know you can't talk to me right now, but I can chat with me, but I decided to give the two camera thing is shot man and just to be a little bit different of course everybody's getting a on the one camera view here you got a pretty good.00:02:10.800 --> 00:02:13.440 Kevin Barbaro Productions: You get a pretty good view of the backside of my bedroom.00:02:14.760 --> 00:02:18.420 Kevin Barbaro Productions: And then the other view you know you've got you've got me.00:02:20.100 --> 00:02:24.390 Kevin Barbaro Productions: squared up here, so I just got a note that the that the Internet.00:02:26.130 --> 00:02:38.340 Kevin Barbaro Productions: A little spotty here, we got a storm coming through I literally live, I want to say 10 minutes from the ocean here in myrtle beach and, of course, if it does store man it's gonna be for like four minutes because that's that's usually the case but.00:02:39.360 --> 00:02:48.450 Kevin Barbaro Productions: On my first episode back I just kind of want to take everybody through you know just a reader's digest version of what's been going on in my life.00:02:48.900 --> 00:02:57.930 Kevin Barbaro Productions: A lot of things, been going on since I was on the show, since I had my last show, and if you hear cats in the background man i've i've actually become.00:02:58.650 --> 00:03:04.050 Kevin Barbaro Productions: The crazy cat guy and which is a whole other story so i'll share that in a minute, but.00:03:05.040 --> 00:03:13.890 Kevin Barbaro Productions: For those people that are tuning in for the first time, coffee talk is actually, this is actually the fourth version of coffee talk so coffee talk so.00:03:14.730 --> 00:03:20.970 Kevin Barbaro Productions: And I was actually I got a credit my my buddy Sam who's back in the booth and and the owner of the of the station.00:03:21.720 --> 00:03:33.360 Kevin Barbaro Productions: Because I was going to call it coffee talk IV, but he was one I said man, I like coffee Doc excel better because I was that was my other choice so cough dog excellent is man, but the.00:03:36.420 --> 00:03:51.870 Kevin Barbaro Productions: The whole genesis of coffee talk is that going way back to like 2000 gosh 2009 I want to say I started radio show in Toledo Ohio I was on FM station in Toledo, and was actually broadcast live.00:03:53.070 --> 00:04:06.960 Kevin Barbaro Productions: sort of broadcast I mean there was a there was a camera in the control booth and it was a regular terrestrial radio station and the interesting thing about coffee talk the original coffee talk was that it was actually centered around.00:04:08.820 --> 00:04:15.990 Kevin Barbaro Productions: college cross country and track and field, and because at the time I was deep into a long career and.00:04:18.570 --> 00:04:25.800 Kevin Barbaro Productions: As an nc double a division one head coach for cross country and track and I was at the University of Toledo, we have a great team championship teams and.00:04:26.070 --> 00:04:36.870 Kevin Barbaro Productions: had a great career till went belly up that's all other story and that's a whole nother episode or two, but in any event, I started this show I started coffee talk, because I, I wanted to.00:04:37.890 --> 00:04:41.790 Kevin Barbaro Productions: Have a show that was not only highlighting.00:04:44.190 --> 00:04:55.920 Kevin Barbaro Productions: Not only highlighting on my program, of course, but also, it was highlighting just in general, you know track and field and I had guests on from all.00:04:58.710 --> 00:05:12.270 Kevin Barbaro Productions: Over the country and, and it was sorry, it was my first episode man so i'm trying to read the notes coming through from the control booth and i'm trying to talk so, but in any event, it was about college track and field, so I would have.00:05:13.590 --> 00:05:20.190 Kevin Barbaro Productions: I would have different guests on the show from all over the country from different programs and.00:05:21.360 --> 00:05:28.860 Kevin Barbaro Productions: And that way that they could highlight their own programs, you know and it wasn't just about mine, and so there was a taped version of that show which was.00:05:29.340 --> 00:05:38.610 Kevin Barbaro Productions: Essentially, the very first college track and field podcast and now, and of course it's almost a decade now, since I was a college coach but.00:05:39.180 --> 00:05:53.460 Kevin Barbaro Productions: Now it seems like just about every other coach in the country has their own podcast and which is cool man, I mean I I dig it, you know I dig you know people want to have conversation I, I think that.00:05:54.840 --> 00:06:06.420 Kevin Barbaro Productions: You know, in my world i'm more interested in having dialogue with people i'm not necessarily interested in having a monologue and I, you know, of course, a lot of.00:06:09.570 --> 00:06:19.260 Kevin Barbaro Productions: Gas and i'm we're not just talking track and field, but a lot of podcasts in general, it turns into just the big monologue that's why I love being on talk radio.00:06:19.860 --> 00:06:28.230 Kevin Barbaro Productions: dot nyc and the talking alternative because these shows every show on this channel every show that you can tune into.00:06:28.650 --> 00:06:36.300 Kevin Barbaro Productions: Is a dialogue and even if it's just one person like I am right now talking you feel as though you're engaged in the conversation.00:06:36.720 --> 00:06:42.570 Kevin Barbaro Productions: And the whole goal is, you know to be positive, to be uplifting to give people advice.00:06:43.140 --> 00:06:54.060 Kevin Barbaro Productions: To tell stories and and, hopefully, everyone can take something away from it, you know I live a different life, then i'm sure most of the other posts on the on the station, but.00:06:54.600 --> 00:07:04.080 Kevin Barbaro Productions: In in my world because I I live in so many different roles i've so many different things going on but i've realized in order to be successful.00:07:07.920 --> 00:07:16.140 Kevin Barbaro Productions: In all areas of my life I have to be learning from all these other different areas and and and I may I may be applying things that I learned as a college coach.00:07:16.500 --> 00:07:29.640 Kevin Barbaro Productions: To how I run my concert production company or or or vice versa, you know and so it's a it's great to be back on here and so anyway coffee talk it evolved.00:07:30.090 --> 00:07:39.690 Kevin Barbaro Productions: actually had coffee talk to, which was actually a cup of tea oh that was on the same station because coffee talk became the most popular.00:07:41.010 --> 00:07:47.430 Kevin Barbaro Productions: Show on that station and then they asked me to do a music based one, so we would do you know music from you know.00:07:48.270 --> 00:07:57.090 Kevin Barbaro Productions: All different genres but basically the whole gist of the show was that it was to educate people about you know i'm kind of music nerd so so it's no.00:07:57.600 --> 00:08:05.370 Kevin Barbaro Productions: it's not a big stretch and i'm a concert promoter now real life, and so you know it was um.00:08:06.060 --> 00:08:22.320 Kevin Barbaro Productions: It was a great show, then everything went belly up with my coaching career is you know big fallout, it was embarrassing and all the different things, and then I went through a huge transition transformation in my life and.00:08:23.340 --> 00:08:40.800 Kevin Barbaro Productions: and actually we're going to we're going to switch to just the one camera because I think that the Internet is just not holding up here, for us, so let me just switch this real quick and hopefully this is going to improve the the broadcast here, so an event.00:08:43.980 --> 00:08:48.060 Kevin Barbaro Productions: Getting back and Sam let me know if the audio is coming through a lot better now but.00:08:49.410 --> 00:09:09.240 Kevin Barbaro Productions: went on to decide, you know I had to start my whole life over as a as a as a as an actor, which was what I chose, I mean I was, I was just coaching all those years, and it was really the only career, I ever had, and so I ended up you know basically.00:09:10.290 --> 00:09:21.090 Kevin Barbaro Productions: Making the decision that I that I want to be an actor, you know I and and I don't want to say it was whimsical Okay, but, but I did.00:09:21.900 --> 00:09:30.870 Kevin Barbaro Productions: pack up everything and move to New York City on a whim, so that I could do so that I could do this and i'll tell that story i've told it before, on the other, shows no.00:09:31.500 --> 00:09:41.730 Kevin Barbaro Productions: i'll tell it again, but just not right now, and so, when I moved to New York City, and this was this was back almost a decade ago now.00:09:43.080 --> 00:09:47.610 Kevin Barbaro Productions: I had that experience of being on the radio and, and so I.00:09:50.130 --> 00:10:01.920 Kevin Barbaro Productions: I I ended up coming here to talk radio dot nyc or or the talking alternative and and having coffee talk 3.0 well what ended up happening randomly was that.00:10:03.000 --> 00:10:07.920 Kevin Barbaro Productions: I get a phone call or a phone call or an email I can't remember which, but it was this cat from mountain.00:10:08.940 --> 00:10:09.570 Kevin Barbaro Productions: out know.00:10:10.590 --> 00:10:21.480 Kevin Barbaro Productions: Northwest and he said hey man, you know I I stumbled across your your show, because I was live, just like I am right now versus no video feedback then but.00:10:22.500 --> 00:10:33.120 Kevin Barbaro Productions: But anyway, we he said I really like your show he's like if you ever thought about being on terrestrial radio and am and FM stations I explained them.00:10:36.060 --> 00:10:37.470 Kevin Barbaro Productions: yeah man dude I was on.00:10:38.790 --> 00:10:50.220 Kevin Barbaro Productions: Regular radio for all those years back in Toledo so long story short we're going to be going here to our first commercial break here but long story short, I ended up.00:10:52.770 --> 00:10:56.580 Kevin Barbaro Productions: And sorry i'm gonna have to go to the notes, here again, real quick.00:10:57.780 --> 00:11:07.530 Kevin Barbaro Productions: So okay I got you know, Sam thanks appreciate it about the Internet still being a little bit wobbly it's because we got a storm coming through so we're just gonna have to deal with it at this point, but.00:11:09.090 --> 00:11:09.630 Kevin Barbaro Productions: anyway.00:11:10.770 --> 00:11:26.460 Kevin Barbaro Productions: The show ended up being picked up for national syndication and so coffee talk 3.0 went from until about 2016 and it was a nationally syndicated show that was on in 56 different cities on am and FM stations.00:11:27.090 --> 00:11:44.940 Kevin Barbaro Productions: Every Sunday morning, and it was you know it's still the same format, it was me talking about just life in general, having get us on from different walks of life and and and but it just became a tremendous amount of work, I can't even explain to you the amount of work that it takes to.00:11:46.500 --> 00:11:47.670 Kevin Barbaro Productions: tape a.00:11:48.870 --> 00:11:55.830 Kevin Barbaro Productions: one hour long show like I do now that has commercial breaks every 15 minutes ish 14 minutes ish.00:11:56.910 --> 00:12:05.730 Kevin Barbaro Productions: And then edit that into a nationally syndicated format, so that it can be on in all 56 different cities, at the same.00:12:09.300 --> 00:12:19.980 Kevin Barbaro Productions: Time and the commercial breaks were different, so I had to edit out there was only three minutes of time out of its way to edit basically a 48 minute show or 49 Minutes show down to.00:12:20.280 --> 00:12:25.050 Kevin Barbaro Productions: 38 minutes or 36 minutes or something like this and it just became like it was just too much so.00:12:25.800 --> 00:12:34.110 Kevin Barbaro Productions: So I ended up deciding to not do the radio show anymore, but right now i'm excited to be back on the air and the show.00:12:34.650 --> 00:12:42.510 Kevin Barbaro Productions: is going to be live every Tuesday, going to be talking about my life as an actor that my my buddy Yuri here is going to be on the show here in a little bit with us.00:12:42.810 --> 00:12:54.750 Kevin Barbaro Productions: And what my life is an actor, I also own a concert production company and and and a live event production company I got a lot to talk about with that and i'm also partners in a construction company, but.00:12:55.470 --> 00:13:04.860 Kevin Barbaro Productions: Here myrtle beach one or two partners, and then on top of that, I started my own cat rescue and I am the crazy cat guy and we'll be talking about that.00:13:05.280 --> 00:13:08.190 Kevin Barbaro Productions: In just a couple of minutes when we come back from our commercial break but.00:13:08.940 --> 00:13:15.570 Kevin Barbaro Productions: Keep with me here we're going to be back from commercial at about a 30 i'm going to have my buddy your report he's gonna be my guest here.00:13:16.080 --> 00:13:26.460 Kevin Barbaro Productions: One of the more interesting news that I know he's the lead singer of and the founder of the McCartney years, which is a famous worldwide famous.00:13:27.390 --> 00:13:38.040 Kevin Barbaro Productions: tribute to Paul McCartney, not just Beatles but the wings and but also what makes it so interesting is a lot of things, but one is he started his own to a farm.00:13:38.370 --> 00:13:54.900 Kevin Barbaro Productions: in Canada and we're going to talk about that in just a little bit and they've started farm school so he'll be with us at about 830 will be back here in just a couple of minutes so just stay tuned and thank you for listening here to coffee talk XL on talk radio dot nyc.00:16:54.360 --> 00:17:02.880 Kevin Barbaro Productions: There we go a welcome back everyone to coffee talk XL this is Kevin barbro and you're listening on talk radio dot nyc and.00:17:03.360 --> 00:17:14.910 Kevin Barbaro Productions: just getting back to what I was saying before the commercial break excited to be back on the on the air side have my weekly show back and we're going to be talking about a lot of things from acting to to.00:17:15.510 --> 00:17:26.670 Kevin Barbaro Productions: business to the music industry and whatnot but you know, of course, also a big part of my life through all of these years is the world of athletics, and so.00:17:27.150 --> 00:17:35.610 Kevin Barbaro Productions: I like to talk about you know, not necessarily the mainstream sports course I love track and field, because that's I was a college coach for that, for many years.00:17:35.940 --> 00:17:41.220 Kevin Barbaro Productions: And so we're gonna be talking about some college track and field, going to be talking about track and field just in general, because it just.00:17:41.700 --> 00:17:51.810 Kevin Barbaro Productions: A big bit of news it's kind of hit the airwaves just in the last like 48 hours is about DK mccaffrey the the Seattle seahawks wide receiver.00:17:52.140 --> 00:18:02.820 Kevin Barbaro Productions: going to enter the USA tf golden games on NBC on Sunday and we're going to talk about that here, in just a minute, but before I get to all that I do want to take a second.00:18:03.630 --> 00:18:16.800 Kevin Barbaro Productions: I don't want to be debbie downer man, but I do want to take a second and just talk, talk for a minute about two really important people in my life that that I lost this past year and i'd be remiss.00:18:17.490 --> 00:18:26.760 Kevin Barbaro Productions: If I didn't mention this because it is something huge has happened since the last time I had my show, and so the the first loss was that sadly.00:18:27.300 --> 00:18:37.650 Kevin Barbaro Productions: my sister Wendy passed away and those people that know me and have known me for all these years, dating way back when I was a college coach.00:18:38.070 --> 00:18:49.800 Kevin Barbaro Productions: They know that I was actually the guardian of her three kids from the time that they were to form six to the time that they were 810 and 12 and.00:18:50.520 --> 00:19:00.180 Kevin Barbaro Productions: You know it's a sad situation it's a sad story, I mean we find positive and in everything but back then, what happened was my sister.00:19:00.750 --> 00:19:15.090 Kevin Barbaro Productions: She had fallen into a deep depression and and you know mental health is is a big issue that really affects all of us directly and indirectly, but my sister lost her husband.00:19:16.230 --> 00:19:19.110 Kevin Barbaro Productions: Back in 2004 and.00:19:20.670 --> 00:19:22.500 Kevin Barbaro Productions: fell into a deep depression wasn't able to.00:19:23.790 --> 00:19:30.240 Kevin Barbaro Productions: Take care of herself, let alone take care of the kids, and so I actually am valentine's day in.00:19:33.330 --> 00:19:34.530 Kevin Barbaro Productions: I picked him up and.00:19:35.700 --> 00:19:55.170 Kevin Barbaro Productions: They live with me for for six years till she got back on her feet and changed my life completely it may be more responsible, maybe you know I went from single guy basically just doing whatever I wanted to to all of a sudden, I got people relying on me and so.00:19:56.280 --> 00:19:59.700 Kevin Barbaro Productions: They went back to live with her, and you know she still.00:20:02.190 --> 00:20:11.670 Kevin Barbaro Productions: will continue to struggle on and then in March of this past year, she passed away from complications from alcohol from liver and and kidneys and you know it's it's.00:20:14.970 --> 00:20:27.000 Kevin Barbaro Productions: it's sad to watch somebody that you care about struggle so deeply with just trying to get over her, and we all experienced adversity in our lives, my sister experience probably more than the.00:20:30.660 --> 00:20:40.860 Kevin Barbaro Productions: average person does, I mean she not only had lost her husband at a young age her husband passed away when he was 43 she was only 34 at the time 33 at the time.00:20:41.550 --> 00:20:53.970 Kevin Barbaro Productions: And every you know you never know how much somebody can handle because 10 years before that, even before her kids were born she lost a child to leukemia is usually two and a half caitlin and.00:20:54.300 --> 00:21:03.030 Kevin Barbaro Productions: So, by the time I sisters what 33 years old she's already buried a baby and her husband and you know everybody's got their breaking point.00:21:03.990 --> 00:21:16.950 Kevin Barbaro Productions: And so, in any event, she lost that battle and and we all miss her so much now i'm back to being the the the parent, you know of course they're grown now they're 18 a Nicholas.00:21:17.340 --> 00:21:27.450 Kevin Barbaro Productions: My nephew he's still in high school, but the other two cassie and Alex they're they're 18 and 20 and and or 19 and 21 now and and they're living up in Ohio and.00:21:30.870 --> 00:21:36.120 Kevin Barbaro Productions: And i'm just so proud of them were just in our family isn't like a really family, but this is our family, you know.00:21:36.630 --> 00:21:48.480 Kevin Barbaro Productions: And then the other person I lost one of my very best friends in the entire world, and anybody that met him knows that i'm not this isn't hyperbole this isn't just.00:21:49.290 --> 00:22:00.360 Kevin Barbaro Productions: You know, building something up you know, to talk about somebody that passed me this is genuinely one of the nicest coolest interesting people that you can meet and his name is phil Bauer.00:22:00.990 --> 00:22:16.860 Kevin Barbaro Productions: Philip was a Johnny cash impersonator but he but he was actually he was so much more than that, I mean he was just incredibly smart guy incredibly nice incredibly kind and giving and very funny like probably.00:22:17.970 --> 00:22:25.710 Kevin Barbaro Productions: You know I I I consider myself, have a good sense of humor a lot of people think I got his sense of humor it takes a lot for me to think somebody else's funny.00:22:26.460 --> 00:22:37.260 Kevin Barbaro Productions: This dude was funny and we had a lot of great stories and I traveled as a concert promoter I was promoting a lot of his shows, so I would rent the venue and sell the tickets.00:22:37.800 --> 00:22:50.040 Kevin Barbaro Productions: hope to make a profit and etc, so we traveled around the country numerous numerous times and just you know it was just one of those things man, we did a show up in Wisconsin right before.00:22:51.120 --> 00:22:54.690 Kevin Barbaro Productions: right before March of this year and.00:22:55.710 --> 00:23:00.960 Kevin Barbaro Productions: want to say it was march guy time is flying by so fast, but we did a show up in Wisconsin.00:23:01.440 --> 00:23:11.430 Kevin Barbaro Productions: He was complaining, because he didn't have a lot of energy and and he was experiencing some stomach pain, he thought that he had a hernia that seat he thought that he was having some complication that.00:23:12.120 --> 00:23:23.610 Kevin Barbaro Productions: And went to the hospital, because the pain got excruciating and dude it was like worst case scenario, yet huge tumor on his liver, a huge tumor.00:23:24.660 --> 00:23:26.430 Kevin Barbaro Productions: On his coat.00:23:29.100 --> 00:23:38.970 Kevin Barbaro Productions: When and one of them ruptured I mean it was just and literally i've never experienced it I haven't experienced a lot of loss, I mean, obviously I lost my sister and i've lost people that care about but.00:23:39.390 --> 00:23:49.140 Kevin Barbaro Productions: I haven't had a ton of loss in my life, and this was a tough one to swallow my sisters, we kind of saw it coming and obviously was tough to swallow, but with Philip.00:23:49.560 --> 00:24:00.870 Kevin Barbaro Productions: It was like we're here we're having fun we're in Wisconsin and 10 days later he's dead and it just you can't even wrap your head around it, or maybe you can maybe you've been through something like that, but.00:24:01.830 --> 00:24:09.120 Kevin Barbaro Productions: You know, I just wanted to send a shout out to all the people that know fill up because a lot of my friends know who he is a lot of.00:24:09.570 --> 00:24:19.050 Kevin Barbaro Productions: The people that are in my life in the world of music know who he is, and you know, he was just a great guy and my heart goes out to kimmy his wife who's.00:24:19.530 --> 00:24:32.940 Kevin Barbaro Productions: Just the purest of hearts as well and and i'm gonna miss both Wendy and Philip so but just wanted to touch on a couple of things on in the world of sports here before we get on to.00:24:33.750 --> 00:24:41.070 Kevin Barbaro Productions: The second commercial break and then, when we come back i'm going to bring your report on here the lead singer and founder of the McCartney years but.00:24:41.430 --> 00:24:58.860 Kevin Barbaro Productions: Like I was saying before this past commercial break Seattle seahawks wide receiver DK metcalf has entered the USA tf USA track and field golden games on NBC it's gonna be on Sunday may 9 at 430 Eastern time from.00:25:01.470 --> 00:25:14.670 Kevin Barbaro Productions: mount SAC and so here's the deal is is why does such a big deal in the world to track and field that was track and field coach many years man long time and and track I was college track athlete track track is my first love in terms of sports and.00:25:15.870 --> 00:25:20.430 Kevin Barbaro Productions: The one thing that true track and field fans can't stand.00:25:21.630 --> 00:25:31.110 Kevin Barbaro Productions: Is when we're watching other sports particularly particularly football and inevitably you can watch any.00:25:31.650 --> 00:25:43.410 Kevin Barbaro Productions: broadcast have an nfl game and I guarantee you I guarantee you they're going to see a play happen they're going to see a defensive back or wide receiver that's fast football fast.00:25:43.890 --> 00:25:53.790 Kevin Barbaro Productions: And they're gonna say inevitably he's got world class speed he's got world class B that's all they talked about he's got world class view, let me tell you something man, let me tell you something man.00:25:55.770 --> 00:26:16.920 Kevin Barbaro Productions: What looks fast on TV and what is fast in real life are two completely different things because it's just a matter of perception, you know I i'm 51 years old man, I can go outside find a bunch of slow people videotape myself and you would think that that that I was.00:26:18.090 --> 00:26:22.920 Kevin Barbaro Productions: You know, speed demon but the reality is i'm just maybe faster than the people I chose to run again.00:26:26.520 --> 00:26:38.220 Kevin Barbaro Productions: So i'm not saying i'm not saying DK metcalf isn't fast okay what i'm saying is that he's going to get smoked on the track on Sunday mark my words.00:26:38.970 --> 00:26:45.030 Kevin Barbaro Productions: First of all, and and I know we're going to go to commercial break here in a couple of minutes and then we'll come back and we'll talk with Yuri but.00:26:45.390 --> 00:26:50.730 Kevin Barbaro Productions: Let me tell you something, this is my take on the whole thing Okay, I think it's great for the sport of track and field.00:26:51.330 --> 00:26:58.320 Kevin Barbaro Productions: You have to get track and field is the purest of sports, it is one of the oldest sports, it is the Olympic sport.00:26:59.100 --> 00:27:13.710 Kevin Barbaro Productions: And so I love it, I think that that the amount of press that it's getting right now from the mainstream media because of DK deciding to line up and hey man kudos to this cat right he's not hyping himself up.00:27:14.100 --> 00:27:19.410 Kevin Barbaro Productions: On Twitter and instagram and things like this, you know he just he's like hey man i'm just going to run.00:27:19.890 --> 00:27:31.500 Kevin Barbaro Productions: Because Everybody talks about how fast, he is and you see video clips in Google right now and you've seen one ridiculous play that is the one everybody sees where where he ended up catching somebody who would intercepted the ball.00:27:32.580 --> 00:27:38.100 Kevin Barbaro Productions: And and running them down and then get a touchdown but the reality is do.00:27:39.210 --> 00:27:46.740 Kevin Barbaro Productions: This guy 642 29 Okay, he ran a 433 40 in college at the combine.00:27:47.520 --> 00:27:58.740 Kevin Barbaro Productions: The reality is Bo Jackson is the fastest nfl player ever to play oh Jackson you would say had world class P, but the reality of Bo Jackson was he ran track and college.00:27:59.400 --> 00:28:10.230 Kevin Barbaro Productions: He qualified for to nc double a indoors never made the final that's the guy that ran 4.12 seconds for 40 yards my take and we're going to go to commercial break my take on this Sunday.00:28:10.620 --> 00:28:19.740 Kevin Barbaro Productions: you're going to see at 40 meters DK metcalf maybe winning that race by 85 meters DK mccaskill the moonwalk Okay, because.00:28:20.280 --> 00:28:31.080 Kevin Barbaro Productions: At 642 29 and no track and field experience since high school and he wasn't even spring reason hurdler it just thinking to happen it's good for the sport my money is that he.00:28:34.320 --> 00:28:43.500 Kevin Barbaro Productions: said i'm a Batman so we'll be back here in just a couple of minutes I don't have my buddy Yuri pool from the McCartney years joining me and we're going to talk McCartney years and we're not tulips bro we're gonna talk to us bro.00:28:44.190 --> 00:28:49.410 Kevin Barbaro Productions: And we'll be back in a minute, this is coffee talk excel on talk radio dot nyc.00:31:34.800 --> 00:31:39.060 Kevin Barbaro Productions: hey welcome back to coffee talk XL, and this is Kevin barbro you're.00:31:39.060 --> 00:31:42.150 Kevin Barbaro Productions: Listening here on talk radio dot nyc.00:31:42.540 --> 00:31:50.790 Kevin Barbaro Productions: Just coming back from the break, as I was saying before real quick just to follow up on on the whole DK metcalf thing.00:31:51.360 --> 00:31:57.360 Kevin Barbaro Productions: i'm not saying he's not fast, but he just think world class fast and we're going to find that out pretty soon so.00:31:58.050 --> 00:32:13.650 Kevin Barbaro Productions: With me tonight dude I got one of my one of my good buddies one of the more interesting cats that i've met in my life and he's broadcasting right now, from it from an amazing four miles that he has up in Canada it's Yuri pool you worry how you doing today buddy.00:32:14.430 --> 00:32:17.370 Yuri Pool: hey Kevin i'm doing great how are you.00:32:17.850 --> 00:32:20.280 Kevin Barbaro Productions: Man i'm just living it brother and.00:32:23.220 --> 00:32:32.550 Kevin Barbaro Productions: And i'm digging through the hair out well I know those people that are watching the feed will be able to see it, but of course you're going to see him podcast you gotta you gotta Mane of hair going on now brother he.00:32:32.970 --> 00:32:33.960 Yuri Pool: Is no longer care.00:32:34.380 --> 00:32:39.480 Yuri Pool: yeah well yeah it is pandemic here but it's also a bit of a.00:32:40.650 --> 00:32:46.590 Yuri Pool: test to see how long I could grow my hair before the next show, because you know the funny The funny thing is.00:32:47.910 --> 00:33:01.890 Yuri Pool: In between in between tours I would always grow my beard and you know if i'd meet up with my guys in between tours everybody would be able to tell how long it was since my last gig but.00:33:02.760 --> 00:33:15.690 Yuri Pool: Obviously you know after about three or four months that beard became ridiculously big so it's like Okay, you know what i'm just gonna let the hair girl so well yeah, this is what it looks like if you don't.00:33:16.500 --> 00:33:31.140 Yuri Pool: Cut your hair for was it 1415 months, I know I lost track of time, but yeah the last time I got my haircut was, I think it was like early February 2020 so yeah that's yeah.00:33:31.200 --> 00:33:37.080 Yuri Pool: It looks pretty mean again go back to my days you know they used to wear leather jackets and cowboy boots.00:33:37.260 --> 00:33:38.130 yeah.00:33:40.230 --> 00:33:54.660 Kevin Barbaro Productions: Well, for my guests here on coffee talk XL I had mentioned already, that you had founded the McCartney years and you're the leader, you are Paul McCartney and McCartney years tribute, and so I.00:33:55.200 --> 00:34:10.980 Kevin Barbaro Productions: want to talk a little bit about just not so much even just specifically the McCartney years but you know you guys run that show it first of all it's an actual concert it's not like don't.00:34:13.590 --> 00:34:26.070 Kevin Barbaro Productions: pointed just see a tribute and somebody karaoke you know something, this is a full scale live concert, where you are able to transform the stage into Paul McCartney and wings and and his career.00:34:26.430 --> 00:34:34.230 Kevin Barbaro Productions: Tell everybody a little bit about how when did you just wake up one day and say you know what I think I sound like Paul McCartney.00:34:36.570 --> 00:34:39.720 Yuri Pool: Oh man um I mean i've always had.00:34:40.410 --> 00:34:55.170 Yuri Pool: A great love for mccartney's music, a fact, but I mean you know a lot of people do I mean if you just look at the amount of audiences that come and see your shows very diverse demographic and demographically and geographically.00:34:55.710 --> 00:35:20.940 Yuri Pool: um I mean for me the Aha moments to become a musician and to play the music of the Beatles or you know which later became occurred to me was really my dad's records my dad has all the original lps the original original English pressing from the 1960s, in his.00:35:22.320 --> 00:35:49.170 Yuri Pool: record collection at home and occasionally we on in our home but um for me the Aha moment was when my dad spun those records for me and and that's the moment I knew I wanted to become a musician and and play the music of the Beatles that's really all I wanted to do um I mean I.00:35:50.250 --> 00:35:51.480 Yuri Pool: got my first guitar.00:35:51.480 --> 00:35:51.990 When I was.00:35:53.580 --> 00:35:54.090 In Holland.00:35:55.800 --> 00:36:05.490 Yuri Pool: yeah so yeah so yeah I actually have to go back there a go back in time, a little further I grew up in Holland in the bulb fields which we'll.00:36:06.090 --> 00:36:18.420 Yuri Pool: Talk about later as well in here but um yeah I grew up in Holland and and the Beatles or or immensely famous in the Netherlands, they came to the Netherlands in 1964.00:36:18.840 --> 00:36:31.380 Yuri Pool: I asked my dad if he he'd been there, because it was born in 47 so that was right around yet another time he he would have been able to go, but he said he didn't which I didn't understand, but all right.00:36:32.940 --> 00:36:48.480 Yuri Pool: yeah so I mean I I I guy guitar from my mom when I was 11 years old, and the first song that I learned how to play was Obama do blah blah and literally from that day, for I wanted to play every single song.00:36:49.050 --> 00:36:59.100 Yuri Pool: And, by which time my dad actually taped all the LP Center little cassettes, and I would play them every day until they disintegrated.00:36:59.700 --> 00:37:15.390 Yuri Pool: And the crazy thing about it is, is that I still draw from that knowledge that I acquired over like a decade of listening to those tapes every day to be able to recognize every single instrument in every single beatle song.00:37:16.410 --> 00:37:22.650 Yuri Pool: So I mean I just don't want to listen to the Beatles I hear everything you know I hit the drums the bass, I hear all the.00:37:23.040 --> 00:37:28.230 Yuri Pool: The the the pianos and the synthesizers later on, and all the little.00:37:28.680 --> 00:37:48.720 Yuri Pool: little bits that are happening in the songs the handclaps and whatever it's just for me it's like a multi color painting in front of me, so you know I mean naturally i'm wanting to play the Beatles I I found myself in a position when I was in my early 20s.00:37:51.030 --> 00:37:52.830 Yuri Pool: going to see a friend in England.00:37:53.880 --> 00:38:09.660 Yuri Pool: was an audition being held for a Beatles production that traveled traveled all across Europe, they had been in in Japan parts of Asia as well, I was hugely interested, I think, for me it was more about.00:38:10.680 --> 00:38:18.120 Yuri Pool: connecting with like minded individuals, because I was like well why would they hire a Dutchman from Holland to do this job.00:38:18.750 --> 00:38:27.840 Yuri Pool: So I went for the audition and I I I got a couple of songs and you know saying some of this stuff they wanted me to sing and and.00:38:28.470 --> 00:38:39.330 Yuri Pool: went home later that night in London that was living in London, England and I got the call the same night and said, if I wanted to join the band, and I had like three weeks to learn the entire show.00:38:40.860 --> 00:38:43.170 Yuri Pool: Worse, I said yeah no problem.00:38:43.260 --> 00:38:53.640 Yuri Pool: You know, you know as things go my dad always used to say first tell him, you can do it then figure out how are you going to do it, so I was kind of like in a situation like that.00:38:54.270 --> 00:38:56.730 Yuri Pool: Where I had to sort of figure out how to be.00:38:57.150 --> 00:39:11.580 Yuri Pool: A become Paul McCartney in three weeks, so I I played, day and night for like three weeks straight looked at myself in the mirror, you know, a kiss because I knew obviously how Paul McCartney moved and you know i'd seen a lot of the Beatles by that time.00:39:12.210 --> 00:39:26.460 Yuri Pool: Even though was way beyond my time so and I had a guy that did Lennon in the band, he was very strict and you really helped me sort of nail down the authenticity of everything so.00:39:26.970 --> 00:39:36.660 Yuri Pool: um so it working in that band for about four years really gave me a good basis stuff and McCartney years because I know.00:39:37.440 --> 00:39:46.650 Yuri Pool: After about four years i've seen a lot, you know, I was one of the only few guys in England that could play all the instruments, you know piano and.00:39:47.100 --> 00:39:49.410 Yuri Pool: bass and guitar you know the whole spectrum of the.00:39:49.890 --> 00:40:08.250 Yuri Pool: Beatles from the early years later years, so I was quite busy with that so i've been playing in a lot of bands, so I sort of figured out after four years what I wanted in a tribute and and you know it's look of the things I really liked about how they were doing things.00:40:09.240 --> 00:40:22.530 Yuri Pool: um so yeah sort of I wanted to do something different um by that time I knew every song of the Beatles a really enjoy playing it, but I felt like I wanted more I felt like.00:40:23.130 --> 00:40:31.830 Yuri Pool: Paul mccartney's music and especially the wings was so overshadowed by by the Beatles and but yet at the same time very.00:40:32.160 --> 00:40:43.830 Yuri Pool: Very well known, I mean you know when you think about yeah songs like let them lead that and on the run and all those you know when you start naming those songs people know them, but nobody was playing them nobody was doing a show.00:40:44.790 --> 00:40:58.200 Yuri Pool: To to Paul McCartney and wings it's been a few guys by that time that we're sort of doing his whole spectrum, you know the the some of the wings stuff but then, a lot of his solo material.00:40:58.650 --> 00:41:09.450 Yuri Pool: After that, as well, I figured I really wanted to to do wings, but then you would be a hard sell because you know if you just play wings, I felt like that was a very narrow narrow market.00:41:10.290 --> 00:41:21.720 Yuri Pool: um so I had an opportunity in North America friend of mine in Canada, asked me to to come and play in the in a band for a little bit so that's how I got sort of.00:41:22.140 --> 00:41:37.980 Yuri Pool: injected into the North American music scene and coming from England people over here were like wow you know your Beatles stuff it's like spot on and and you know it's funny because a friend of mine, used to say, many years ago, once you start doing the Beatles.00:41:39.000 --> 00:41:50.370 Yuri Pool: It can never let you go, you can never let it go, but it cannot let ever let you go good, because people will always you know you around saying that so yeah I went to Canada and and the same thing happened and it's like.00:41:51.420 --> 00:42:05.820 Yuri Pool: You know why don't I start something out here so really literally off the plane I started the McCartney years, in fact, I have some really old sketches still where I was trying to draw logo and all of that.00:42:06.960 --> 00:42:11.130 Yuri Pool: yeah so I got a couple of guys together made like a pretty quick.00:42:12.270 --> 00:42:15.660 Yuri Pool: show a little setlist with some of the songs I really wanted to play.00:42:17.190 --> 00:42:29.880 Yuri Pool: And did that for about five years, and you know, back then, the McCartney years is really more like a project like it was really more about the music than anything else.00:42:30.570 --> 00:42:41.490 Yuri Pool: And then I I met a guy, who was a was a manager or regional manager, for the hard rock chain, and he worked a lot in the US.00:42:42.240 --> 00:42:56.940 Yuri Pool: And, Canada and we connected and and he told me point blank he said, you know you're really you're really great but um you know if you really want to take the show to the next level, you should find your nish.00:42:57.390 --> 00:43:09.960 Yuri Pool: And and build upon that and and I thought about that for a couple of weeks, and then I woke up one morning it's like you know what wings over America was one of the the the.00:43:10.590 --> 00:43:24.120 Yuri Pool: Probably the greatest tour that Paul McCartney did during wings in the 1970s, and it was right here in North America, I mean he you know played from Detroit to Atlanta, like all over the place.00:43:24.690 --> 00:43:28.620 Yuri Pool: And that's why I wanted to do so, I literally I bought the.00:43:29.310 --> 00:43:41.460 Yuri Pool: DVD and and looked at the DVD and listen to the music much in the same way that I was listening to those tapes that I had when I was a kid and studied it note by note.00:43:41.880 --> 00:43:54.210 Yuri Pool: All the moves and everything in it and the great thing about it was that that show contains songs from the Beatles as well, so here, I had an opportunity to play wings, but also to play.00:43:54.690 --> 00:44:04.920 Yuri Pool: The songs by the Beatles which really you know just holds the whole show together, you can pull those Beatles fans into the into the show.00:44:05.490 --> 00:44:09.810 Yuri Pool: And that, for me, was the Aha moment when it came to them a curtain years.00:44:10.680 --> 00:44:18.720 Yuri Pool: And and and that's how I started really focusing on getting the McCartney years into that wings over America.00:44:19.080 --> 00:44:41.520 Yuri Pool: Look and sound and that's when I started just going crazy on everything wanted to everything to be authentic from what we're wearing to to to how we look, and even the instruments we play and I know you and I have talked about this so many times, and you know I know you understand this.00:44:42.540 --> 00:44:43.410 Yuri Pool: so well.00:44:44.640 --> 00:44:54.870 Yuri Pool: The the the the level of authentic authenticity that you want to create needs to include the original instruments and a fan like myself.00:44:56.280 --> 00:45:04.140 Yuri Pool: wants to see that in the show, so I started acquiring all these instruments from all over the world, because I mean.00:45:04.200 --> 00:45:06.060 Kevin Barbaro Productions: A lot of these instruments Yuri.00:45:06.090 --> 00:45:06.420 Yuri Pool: i'm going to.00:45:06.480 --> 00:45:11.940 Kevin Barbaro Productions: cut you off there for one half a second and we're going to come back and pick up with the instruments and the authenticity.00:45:12.270 --> 00:45:24.060 Kevin Barbaro Productions: And because we're going to go to commercial break right now we're gonna be back in just another minute or so and you're listening to coffee, talk, talk radio dot nyc this is coffee talk XL and give them Barbara will be back in just a minute.00:45:31.530 --> 00:45:31.740 In.00:47:37.830 --> 00:47:51.960 Kevin Barbaro Productions: and welcome back everybody to coffee talk X, though i'm Kevin Barbara and you're listening to talk radio dot nyc i'm here today and I last segment i'm finishing up our discussion here with your ripple Yuri is the founder and.00:47:54.660 --> 00:48:07.200 Kevin Barbaro Productions: Lead singer of the McCartney years you can you can go to their website, which is the McCartney years.net and you'll be able to see some videos and and catch up on their tour, you can also follow them on Facebook and on instagram.00:48:07.560 --> 00:48:22.200 Kevin Barbaro Productions: And, and as Yuri was saying just before the break there one of the amazing amazing things about the show itself it's an actual full scale concert it's not just some karaoke thing, but with the authentic.00:48:23.100 --> 00:48:31.830 Kevin Barbaro Productions: Paul McCartney instruments so that he's completely replicating the actual sound and because that's what makes it different than just.00:48:32.220 --> 00:48:46.170 Kevin Barbaro Productions: Any other tribute, is the fact that you're picking up all the little idiosyncrasies the tiny things that make it Paul McCartney, and so that, when you close your eyes, you feel like you're listening to Paul McCartney, even though it's my it's my duty.00:48:48.870 --> 00:49:08.580 Kevin Barbaro Productions: Yuri right and so that's that's that to me, I think, is is the probably the best part of the entire show itself and I enjoy because I also promote the show, so you know put my money where my mouth is brother, but getting back man I I do want to touch on.00:49:09.840 --> 00:49:24.480 Kevin Barbaro Productions: You mentioned obviously grew up in Holland and you grew up in in the bulb fields, and so you live in Canada now you live in Ontario and you own a farm a of all how big is the farm and be evolved.00:49:25.530 --> 00:49:36.030 Kevin Barbaro Productions: Take us on a little journey on how all of a sudden now you want to take over the Tulip industry because dude I didn't know this until I went and visited you I didn't know this at all that.00:49:36.990 --> 00:49:44.970 Kevin Barbaro Productions: Basically, all tulips come from Holland, I didn't know that I, in a million years I never would have guessed that and so tell me.00:49:45.870 --> 00:49:58.140 Kevin Barbaro Productions: How this is evolving and kind of give us a little lay the land there for people that are that are listening in on what what new Holland, was what you call your farm what it looks like and what it's what it's all about.00:49:59.340 --> 00:50:02.970 Yuri Pool: yeah so so we live on a on a.00:50:04.020 --> 00:50:11.430 Yuri Pool: 44 acre farm so yo its decent size 25 acres is his foreign land and.00:50:12.600 --> 00:50:25.680 Yuri Pool: yeah so I mean we obviously in 2020 in March, that every musician experience was everybody's sort of got sent home because the industry collapse due to covert.00:50:26.520 --> 00:50:41.010 Yuri Pool: And you know that was awful and in in that hit I mean hit everybody in the band really hard, because I used to tell my guys in my crews like you know I don't know what's going to happen, but we have to try and stay put.00:50:42.300 --> 00:51:02.520 Yuri Pool: And you know my guys they're great they do all they've got they get busy, and all of that nobody's board, you know we all remain friends through through all of this really strong we meet like this zoom every week, so you know, for me, was also like I gotta do something.00:51:03.810 --> 00:51:08.370 Yuri Pool: To keep busy you know I mean you can only do so much music in your studio.00:51:09.960 --> 00:51:16.140 Yuri Pool: I wanted to get out and especially because the summer was coming, and you know my roots have always been following me quite literally.00:51:16.680 --> 00:51:31.590 Yuri Pool: um I grew up in in and around the ball fields in the Netherlands and around this time of year, and last year, the same time, obviously what you see along the coastline of and melons is just color everywhere.00:51:33.720 --> 00:51:45.540 Yuri Pool: Like like 10s of thousands of acres of ball fields flowering tulips like red, yellow purple white you name it everything is there and it's just fantastic majestic it's great.00:51:47.130 --> 00:51:49.440 Yuri Pool: You know, so I started thinking about like.00:51:50.730 --> 00:52:03.150 Yuri Pool: crazy ideas anything, how it started them carden years it's like i'm gonna start the band i'm going to play the music of Paul McCartney i'm going to travel the world with it, you know when I first set that people are like okay yeah right.00:52:03.990 --> 00:52:10.800 Yuri Pool: So that's what I thought you know why don't I take a little bit of Holland, right here.00:52:11.160 --> 00:52:25.200 Yuri Pool: put it in in in all the land that we have and grow to live, so I got in touch with one of my old neighborhood buddies that now happens because now everybody's old right your neighborhood bodies now all of a sudden 30 years older.00:52:25.560 --> 00:52:35.400 Yuri Pool: So you know I got in touch with him and it's like hey you know I have this crazy idea just want to grow tulips here can you help me out so.00:52:35.970 --> 00:52:43.620 Yuri Pool: he's been like answering all my questions because I knew very little of the industry, other than that i've worked at the farm, you know.00:52:44.310 --> 00:52:57.330 Yuri Pool: I i've seen obviously a lot of it, but the be insights I had no idea so i've been like on the Internet and messenger and everything with my buddy for ages, about how to grow to lips.00:52:57.930 --> 00:53:08.070 Yuri Pool: So yeah I just literally important 10,000 to live balls from the Netherlands and bought like a planter machine over there and the harvester machine.00:53:08.610 --> 00:53:20.430 Yuri Pool: And then I got like in last week and I last fall I just decided to to blend blend the bulbs and and right now they're just all flowering and it's it's amazing and.00:53:21.330 --> 00:53:36.810 Yuri Pool: yeah I I feel like you know, this is something that that we can do over here much in the same way that McCartney here the mccartney's Linda Linda and Paul have cheap on their farm and the horses and.00:53:37.470 --> 00:53:45.870 Yuri Pool: You know it's just a great way to stew relax feel good about what you're doing and it's so much more than.00:53:46.170 --> 00:53:55.680 Yuri Pool: Just the color it's just the fact that you're putting in all that work and then you look out the window in the morning and you see a sea of color that's 10,000 balls that you planted yourself so.00:53:56.220 --> 00:54:05.070 Yuri Pool: it's a very satisfying thing, but at the same time yeah people like what are you going to do with them like just keep growing them and hopefully.00:54:06.390 --> 00:54:11.160 Yuri Pool: start a little business out of it that's sort of like the long term goal, I guess.00:54:12.330 --> 00:54:13.650 Kevin Barbaro Productions: become immediately have.00:54:14.130 --> 00:54:18.030 Kevin Barbaro Productions: um so these 10,000 bulbs that you have.00:54:19.080 --> 00:54:26.760 Kevin Barbaro Productions: And they're blossoming and if you go to if you go on to instagram go to farm fairy tales that's actually Jennifer who's your wife.00:54:27.540 --> 00:54:35.310 Kevin Barbaro Productions: And she chronicles their life on the farm and it's beautiful like that she's an amazing photographer, by the way, I didn't realize that was.00:54:35.730 --> 00:54:48.600 Kevin Barbaro Productions: And, but you can see Yuri and gentlemen, there and and their two little ones on the fields but and we only have a couple minutes left, but basically the 10,000 bulbs they're blooming now.00:54:49.110 --> 00:54:59.370 Kevin Barbaro Productions: Okay, because I can see him on on instagram what happens now do you then replant does that does that 10,000 become 20,000 or how's that work.00:55:00.690 --> 00:55:12.270 Yuri Pool: yeah so so what I what we do is we take all the heads of the the the two lips it's The saddest thing about being a tool bald farmer, I should say.00:55:12.720 --> 00:55:18.570 Yuri Pool: um but yeah you take a take off the heads of the two lips, and that will happens is instead of all the energy.00:55:18.990 --> 00:55:27.960 Yuri Pool: that's in the plan going to the the flower making seed it's going back into the bulb and what happens to the ball ground is the one ball that you plant it.00:55:28.440 --> 00:55:38.760 Yuri Pool: Now grows three or four or five little bulbs, so what happens is when you take that so when when the plan starts dying off, which is a sign that.00:55:39.180 --> 00:55:47.760 Yuri Pool: for you to know this Okay, the bulb is now fully grown you take them out of the ground so you end up with like between three usually between three and four times as many bulbs.00:55:48.090 --> 00:56:02.910 Yuri Pool: That you put in the ground so the 10,000 that I have been there, right now, this summer, about admitted late June will be yeah between 30 and 40,000 and then they will go back into the ground in the fall.00:56:03.180 --> 00:56:10.380 Kevin Barbaro Productions: And man that's amazing well listen Yuri I gotta I gotta cut it short man, I could talk for hours bro so i'm going to have to.00:56:10.380 --> 00:56:11.040 Kevin Barbaro Productions: Have you by now.00:56:12.120 --> 00:56:14.340 Kevin Barbaro Productions: But listen yeah you know what I can.00:56:15.390 --> 00:56:23.670 Kevin Barbaro Productions: But I really appreciate you being on if you want to follow Yuri and Jennifer and their life go to the form fairy tales on.00:56:23.970 --> 00:56:25.440 Yuri Pool: On in send them all.00:56:26.100 --> 00:56:31.020 Yuri Pool: Like poor poor tall and is sort of like the the name of our farm.00:56:33.030 --> 00:56:45.270 Yuri Pool: People can people can see what we're doing there so it's yeah poor tall and and then obvious obviously the McCartney years and then our farm fairy tales it's like jennifer's like chronicle of everything that we do, including the music so.00:56:45.510 --> 00:56:51.900 Kevin Barbaro Productions: awesome man Thank you so much Yuri listen we're going to be back i'm going to be back yuri's not be back i'm going to be back next week.00:56:52.230 --> 00:56:53.340 Kevin Barbaro Productions: Every Tuesday night.00:56:53.430 --> 00:57:05.130 Kevin Barbaro Productions: Thanks man, I appreciate it brother we'll catch up again soon bro, but you can catch me here at eight o'clock every Tuesday night coffee talk XL we're talking sports music acting.00:57:05.640 --> 00:57:12.900 Kevin Barbaro Productions: Two lives bro you name it we're going to be talking about it, thanks for listening and we'll be back next week on talk radio dot nyc.

Inholland-docenten staan centraal bij de podcastserie ‘Rondje om.' In deze aflevering luister je naar teamleider Social Work bij Inholland Rotterdam, Peter Kruys. Waarom is hij docent geworden? Hoe is het om teamleider te worden in een lockdown? Wat zijn Peters drijfveren? Wat kan er beter in het onderwijs? En wat doet Peter in 2040? Wil je meer informatie over werken bij Hogeschool Inholland? Bekijk dan: www.inholland.nl/werkenbij.

Inholland-docenten staan centraal bij de podcastserie ‘Rondje om.' In deze aflevering luister je naar docent Business, IT & Management bij Inholland Alkmaar, Marion Veenstra. Waarom is zij docent geworden? Wat zijn haar drijfveren? Welke dingen leert zij van studenten? Hoe staat zij haar mannetje bij de opleiding? Wat kan er beter in het onderwijs? En wat is de gemene deler in alles wat zij doet? Wil je meer informatie over werken bij Hogeschool Inholland? Bekijk dan: www.inholland.nl/werkenbij.

Hij vernoemde zijn dochter naar de eerste vrouw in de ruimte. Valentina. Erik Laan, docent bij de opleiding Luchtvaarttechnologie in Delft. Hij is expert op het gebied van ruimtevaart. Want naast zijn werk als docent is hij ook consultant voor grote bedrijven wereldwijd.  Waar komt zijn passie voor ruimtevaart vandaag?  Hoe is het om hybride-docent te zijn en zijn eigen bedrijf te combineren met het docentschap?  Wat heeft Erik geholpen om zijn plek te vinden bij Inholland? Hoe maak ingewikkelde materie, zoals ruimtevaart, begrijpbaar voor studenten?  En wat moeten studenten meekrijgen na een samenwerking met Erik? Wil je meer informatie over werken bij Hogeschool Inholland? Bekijk dan: www.inholland.nl/werkenbij.

Vestas are using timber to build wind turbines, claiming that compared to more traditional forms of construction using concrete and steel, timber is a more sustainable product. In Holland, the Dutch Mountains is a new project featuring a "U-shaped" twin tower system that forms a unique structure in the Dutch skyline. The "Off-site Wood" app for Autodesk has been launched.  Rotho Blaas have a new platform called "My Project" with a 'Thermal Module' to support the design of buildings, to mitigate risk of mould and condensation.  In Sweden we hear about the municipal and arts building, the timber project includes a not only a brilliant looking design, however a function and future proofing building. DIALOG super tower "the beacon of hope" at 105 storeys the HTT (Hybrid Timber Tower) aims to lead the world in building with timber.  We continue our hunt for Bill Gates to get him to come on the podcast. Production by Deeelicious Beats Music "Game Play" by Quality QuestPodcast is a Mass Timber Construction Journal Production www.masstimberconstruction.com  Rotho Blaas Solutions designed for building in wood that are easily accessible adapting to the needs of all.