Podcasts about kadewe

174: Es geht um Mut, Fokus, Disziplin und Unternehmertum auf höchstem Level. Erfahre, wie eine deutsche Unternehmerin ihre nachhaltige Taschenmarke aus Berlin in die USA bringt, sich ein komplett neues Netzwerk aufbaut und dabei ihre Rolle als Mutter genauso lebt wie das tägliche Business. Lili Radu ist Gründerin und Geschäftsführerin von VEE COLLECTIVE, der am schnellsten wachsenden Taschenmarke Deutschlands. Gemeinsam mit ihrem Mann Patrick Löwe definiert sie das Konzept der modischen Handtasche völlig neu. Ihre Produkte vereinen Fashion, Funktionalität und Nachhaltigkeit und sprechen damit moderne, unabhängige Frauen an, die eine vielseitige Tasche für ihren Multi-Tasking-Alltag suchen. Mit Erfolg. VEE ist weltweit in den besten Kaufhäusern gelistet, darunter Neiman Marcus, Saks, Bloomingdale‘s, KaDeWe, Selfridges und Lane Crawford. Vor kurzem ist Lili mit ihrer Familie nach New York gezogen, um den amerikanischen Markt zu erobern. Dort haben die ultraleichten Taschen aus 100% recycelten und veganen Materialien bereits eine große Fangemeinde. Seit 2024 ist VEE COLLECTIVE eine zertifizierte B Corp und damit Teil einer globalen Bewegung, die für eine integrative, gerechte und regenerative Wirtschaft steht. Lili setzt nicht nur Trends, sondern will beweisen, dass Mode „made in Germany“ wieder weltweit erfolgreich sein kann. Mehr zu VEE COLLECTIVE gibt es hier: https://www.vee-collective.com/

“I'm devoid of caution, and it's got me in to plenty of trouble in my time” - Louise Adler Louise Adler is a leading figure in Australia's literary and cultural landscape — a distinguished publisher, editor, and intellectual who has played a key role in shaping Australia's literary voice.On the menu this episode is; fruit salad at the Fruit Salad Farm, "Continental" cooking, and the food hall at KaDeWe in Berlin. Along the way, Louise shares the hilarious story of her first “date” with husband Max Gillies, moving family tales of escape during World War II, and her powerful views on why we cannot turn away from the war in Gaza. Louise's social cause is The Jewish Council, who support Palestinian freedom and justice and are united in their opposition to Israel's continued policies aimed at the destruction of Palestinian life.Send us a textTo find out more about the project and Savva - head to threefoodmemories.comInsta - @savvasavas @threefoodmemoriesEmail us at threefoodmemories@plated.com.au, we'd love to hear from you! TFM is produced and edited by Lauren McWhirter with original music by Russell Torrance.

On the menu; Fruit salad at the Fruit Salad Farm, "Continental" cooking, and the food hall at KaDeWe in Berlin. Like this? Tell your friends about it and listen to the full episode - out tomorrow!Send us a textTo find out more about the project and Savva - head to threefoodmemories.comInsta - @savvasavas @threefoodmemoriesEmail us at threefoodmemories@plated.com.au, we'd love to hear from you! TFM is produced and edited by Lauren McWhirter with original music by Russell Torrance.

Wenn es irgendwo in einem Laden eine Säule gibt, auf der viele prominente Kund:innen unterschrieben haben oder hier und da Autogrammkarten hängen, dann könntet ihr beim angesagtesten Spray-Tan der Stadt gelandet sein. Ist ihr auf alle Fälle passiert. Und so frisch angesprüht noch mal ins KaDeWe spazieren – was soll da schiefgehen?! Und es steht eine kleine Strandzeit in Sitges vor der Tür. Erst mal erholen vom Ausflug ins Berghain und schauen, ob irgendein Jürgen dort auf ihn wartet.Schreibt doch mal wieder: hallo@zsvpodcast.deUnseren Instagram-Account findet ihr hier: https://www.instagram.com/zsvpodcastUnd hier geht's direkt zu TikTok: https://www.tiktok.com/@zumscheiternverurteilt+++ Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: LINK +++Unsere allgemeinen Datenschutzrichtlinien finden Sie unter https://art19.com/privacy. Die Datenschutzrichtlinien für Kalifornien sind unter https://art19.com/privacy#do-not-sell-my-info abrufbar.

Joachim Llambi - das war gestern ein echter Schock nach dem Quadrell. Dafür hatte Thomas das schönste Shopping Erlebnis seines Lebens: Guter Parkplatz, keinen Pelz auf der Zunge und Augen, die zu seinem Hintern passen.Wenn ihr Lust habt Ab17-Mitglied zu werden: https://steadyhq.com/de/ab17/aboutWir gehen auf Tour: https://www.eventim.de/event/ab17-podcast-ab17-wosch-world-tour-colosseum-berlin-19610645/?affiliate=GMDTermine17.04.2025 Frankfurt/Oder, Kleist Forum25.04.2025 Bernau, Stadthalle am Steintor26.04.2025 Cottbus, Filmtheater Weltspiegel10.05.2025, Dresden, Alter Schlachthof23.05.2025 Leipzig, Kupfersaal24.05.2025 Potsdam, Waschhaus30.05.2025 Berlin, Colosseum Hosted on Acast. See acast.com/privacy for more information.

Eins vorweg: diese Folge wurde vor dem Beginn des Dschungelcamps aufgezeichnet, dennoch gehen Julian F.M. Stoeckel und Jim Krawall auf „Ich bin ein Star holt mich hier raus“ ein. Außerdem geht es um Neuanfänge, Wege aus der Komfortzone, Angela Merkel, den neuen Cast von LOL und das KaDeWe. Viel Spaß mit einer Mischung aus Presseclub, WiSo und Exclusiv - Weekend … __ Dieser Podcast wird unterstützt von Juwel1.de - der Online-Shop für Vintage-Schmuck.  Wenn Du mit Deinem Unternehmen Partner von Stoeckel und Krawall werden willst, Fragen oder Anregungen hast, schreib uns gerne: podcast@stoeckelundkrawall.de 

Heute vor 10 Jahren überfielen Räuber in Berlin die Schmuckabteilung im Kaufhaus des Westens.

In unserer 49. Folge der KUNSTPAUSE – einer Sonderfolge zu Weihnachten aus dem KaDeWe - sprechen Charlotte Paulus und Felix von Boehm mit dem Kunstautor, Kunstliebhaber und Kolumnisten Sebastian Hoffmann über das Werk „Der Ring“ (1985) des Berliner Künstlers Norbert Radermacher an der Potsdamer Brücke: ein massiver Bronzering, der wie ein Rettungsring zwei gelbe Stahlstreben der Brücke zusammenhält. Das Werk gehört zu Radermachers Serie „Stücke für Städte“ und wurde 1993 von den Freunden der Nationalgalerie erworben.

Die italienische Justiz hat Haftbefehl gegen den Gründer der insolventen Immobilien- und Handelsgruppe Signa erlassen. Zu Benkos Imperium gehörten auch KaDeWe und Galeria. Mehr.

In unserer 206. Podcast-Folge dreht sich alles um die Planung unserer ultimativen (fiktiven) Halloween-Party! Wir brainstormen über unsere Wunschgäste und deren möglicher Kostümierung – Frauke Ludowig als Madonna, Ramon als Kate Moss und vielleicht Pamela Anderson als Britney. Klar, dass David Hasselhoff und Markus Schenkenberg auf unserer Gästeliste nicht fehlen dürfen! Wie ist wohl unser Partymotto? Aber was wäre eine Party ohne skurrile Snacks? Wir servieren euch natürlich "La Kräbs de Mumu","Cerme de Spröhmund" den legendären "Brownie de Puü Puüüü". Obendrein gibt's als Welcome-Drink den ikonischen Papas Spritz. Klingt doch nach einem Fest, oder? Ach, und Halloween im KaDeWe – wäre das nicht mal eine Idee? Zum Schluss gibt's noch eine gruselige Halloween-Geschichte. Macht euch bereit für spooky Vibes und verrückte Party-Pläne! Und was hat es wohl mit den Einlegesohlen auf sich?

In dieser Folge spricht Jason Modemann mit Julian Vincent Jessen, dem CEO von Devhelden, einer der führenden App-Agenturen im E-Commerce-Bereich. Julian teilt spannende Insights darüber, warum Shopping-Brands wie Snocks, Koro und KaDeWe auf maßgeschneiderte Apps setzen, um ihre Conversion Rate um bis zu 800 % zu steigern und ihren Average Order Value um bis zu 30 % zu erhöhen. Und Pssst: Jason schafft es, Julian eine konkrete Preisvorstellung für die Entwicklung einer eigenen App zu entlocken!

Wie so oft im Leben hilft es auch in dieser Ausgabe *Baywatch Berlin* besser zu verstehen, wenn man dem Gesagten einen Kontext liefert. Wenn man einfach nur so erfährt, dass Thomas ein für ein komplettes Wochenende angesetztes Familientreffen ausgerechnet auf einem Mittelaltermarkt abhält, wirft das zunächst erstmal Fragen auf. Wenn man dann im weiteren Verlauf erfährt, dass obskure Urlaubserlebnisse bereits eine lange Tradition in der Familie Schmitt haben, kommt einem das schon nicht mehr so unlogisch vor. Schwammen doch seine Vorfahren in den Achtzigern noch in Lloret de Mar mit Kackwürsten um die Wette, so strahlt das Zusammentreffen an der Met-Schänke im Wolfspelz gleich ein paar Nuancen heller. Man muss sich einfügen, und wenn man am richtigen Ort die passenden Klamotten trägt, fällt man ja auch überhaupt nicht auf. Wie es sich allerdings anfühlt, wenn man all das nicht von sich behaupten kann, weiß in dieser Woche der Weihnachtself höchstpersönlich aus dem KaDeWe zu berichten. Was gab's noch zu berichten? Klaas hat das erste Mal in der Geschichte von *Baywatch Berlin* keine Antwort auf eine Checkerfrage, Stefan Raab hat am Strand einen Walpenis gefunden und Regina Halmich hat Klaas 7.000 Wiener Würstchen ins Büro geschickt. Wenn ich hier jetzt nochmal drüberlese, kommt es mir so vor, als wäre ein bisschen was durcheinandergeraten, aber thematisch kommt das schon alles vor. Nun sind Sie gefragt! Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/BaywatchBerlin

Die Europawahl steht kurz bevor und irgendwie ist diese besondere Partnerschaft zwischen 27 Ländern ja auch eine Art Club. Nur eben etwas größer und mit mehr Sprachen und Mitgliedern als der Sunset Club. Und wenn Sophie und Joko eins wissen, dann, dass in guten Clubs Demokratie und konstruktiver Austausch essentiell sind. Deswegen auch diese Woche wieder der wirklich wichtige Appell an alle geilen Pfeile und beyond: geht wählen, macht ein Kreuzchen und setzt euch ein, für den großen Club, von dem wir alle Teil sind. Aber wie immer gibt es noch andere, brisante und vielleicht ähnlich wichtige Themen zu beleuchten - wie etwa der extrem seltsame Moment, in dem Sophie in ihrem naural habitat KaDeWe überraschend auf ihre beiden Work Husbands trifft, die endlose Vielfalt des Dong Xuan Center in Berlin Lichtenberg, Jokos SEX Pullover und die schiere Magie, Herausforderung und Freude einer neuen Staffel von “Wer stiehlt mir die Show?” Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/sunset_club

Arthur returns to Berlin for a late May gallery road trip with Alise, before she takes on a new position as a gallery director in Portugal.Still piecing together the best exhibitions of Berlin Gallery Weekend, our art drivers head to Haverkampf Leistenschneider, to see Aubrey Levinthal's exhibition ‘Cloud Cover'. It's hard to overstate the poetry of this show. There is so much to take in – so many stories to unravel in each composition – that it really deserves to be seen in person, before closing on 15 June.From there, the drive and conversation meander towards KaDeWe, the Frank Auerbach exhibition ‘The Charcoal Heads' at The Courtauld, and a discussion of how exactly the show will continue with Alise no longer in Berlin (spoiler: Arthur will call her on the car phone, and there may be one or two new guest hosts in the passenger seat).

Der Mann, der "Dagobert" war, heißt eigentlich Arno Funke. Anfang der 1990er Jahre wurde er bundesweit bekannt, weil er Kaufhäuser erpresste und die Polizei jahrelang in einem Katz- und Mausspiel an der Nase herum führte. Von Thomas Daun.

Eigentlich hätte Schmitt in dieser Woche bekannt machen sollen wer noch alles in der Nationalmannschaft mitmachen darf. Nachdem die Rolle “Schrottbösewicht” im DFB Verkündungsensemble aber leider schon mit Jo Gerner besetzt war, ging der Henkelpott an ihm vorüber und er hatte nun plötzlich mehr Freizeit als geplant. Was also tun mit so einer angebrochenen Frühlingswoche? Genau! Ein perfekter Zeitpunkt um die neue scheiss-teure Sonnenbrille in die High Society einzuführen! Erinnern wir uns doch alle noch an unseren Freund Udo Walz, der in der Hoffnung erkannt zu werden in freien Minuten gerne mal ein paar Rolltreppenfahrten im KaDeWe absolvierte, so stellte sich Goggle-Thommy (Szene-Name) in dieser Woche in ähnlicher Manier stundenlang in die Schlange beim Edeka-Bäcker, um dort als der “interessante Sonnenbrillenmillionär”Eindruck zu hinterlassen. Ob's geklappt hat? Ansichtssache, aber müsst ihr selber hören. Wenn er (das Sonnenbrillenarschloch) jetzt meint, dass ich (Autor von Myhammer.de) sowas hier nicht ausplaudern soll, kann er seine geile Brille ja gerne zum Pfandleiher bringen und für die Knete Medienanwalt Christian Schertz beauftragen, dass er mir den sogennanten “Arsch weg klagt” (Juristenjargon). Über den gibts nämlich jetzt ne Doku & ob die langweilig oder interessant ist, entscheiden die drei Podcaster in dieser Folge nach altbewährter Kackwurst-Skala. Spannend! Ansonsten war Witwenschüttler Jakob schon wieder umsonst im Fussballstadion & Klaas hat schlechte Laune weil er irgendwo etwas länger warten musste. Ist er nicht gewohnt, normalerweise warten ja immer alle auf ihn. Ansonsten haben die drei auch noch Nemo gefunden. Nämlich gut. Douze Points & viel Spass! Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/BaywatchBerlin

Joko hat einen Vogel. In seinem Keller. Und Wasser steht dort auch mindestens kniehoch. Sogar seine goldene Schalplatte von Jeanette Biedermann ist ganz verquollen. Dieser surreale Zustand bildet heute den anekdotischen und höchstwahrscheinlich auch bakteriellen Nährboden für eine Folge voller kleiner und großer Dramen. Joko geht gar so weit zu fragen, was er dem Universum getan hat, dass er eine solch seelische und physische Pein verdient hat. Vor lauter Schmerz bemerkt er kaum, dass Sophie wieder einmal ins kleine Studio verbannt wurde und morgens voll auf Cortisol kaum mehr Zeit zum Rätseln hat. Zum Glück vergessen beide aber immer wieder ihr ganz persönliches “Wasser im Keller” und können sich auch heiteren Themen widmen, wie etwa: performatives Shoppen im KaDeWe, die Umarmung der eigenen Schrulligkeit, das Spektrum der Rockstarhaftigkeit auf dem OMR Festival und die philosophische Frage, ob man selbst High Culture oder doch etwa der Assi ist. Und versprochen, nächste Woche wird es endlich wieder um Sophies große Klimmzug-Challenge gehen. Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/sunset_club

Thomas ist im Unmzugstress und hat keine Zeit, wird aber würdig vertreten - und zwar von niemand Geringerem als: Helge Mark! Inhalt: 0:00 Fake Accounts 3:34 Hazel als Pferdemädchen 6:28 Helges Serie “Brüt” 14:13 Hazel als Social Media-Coach 16:05 Serie vs. TikTok 22:00 Sex-Szenen & Penissocke 26:55 Intimitätskoordinatorin 30:40 Method Acting 34:57 König der Löwen & Frozen 43:06 Kilos für eine Oscar Nominierung 51:00 Helges Name ist komisch Link zur ersten Folge mit Helge Mark https://hazel-thomas-hoererlebnis.podigee.io/41-alle-lieben-helge-mit-internet-wundermann-helge-mark Helges Liberty https://www.tiktok.com/@helgemark/video/7102060264786300165 Hazels Pferdepost https://www.instagram.com/p/C4XrA4RMNbh/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA== Serie „Brüt“ mit Helge Mark https://story.ndr.de/bruet/index.html * Helge meint „Heroine“ Musical Darstellering Willemijn Verkaik https://de.wikipedia.org/wiki/Willemijn_Verkaik Hazels Opening bei „Wer stiehlt mir die Show?“ https://www.instagram.com/reel/C0_tJ5WMm55/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA== Uber Eats Music Hall https://de.wikipedia.org/wiki/Uber_Eats_Music_Hall KaDeWe Insolvenz https://www.tagesschau.de/wirtschaft/unternehmen/kadewe-berlin-insolvenzantrag-100.html#:~:text=Die%20KaDeWe%2DGruppe%2C%20zu%20der,bestellt%2C%20teilte%20das%20Unternehmen%20mit. Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/hoererlebnis

Seit einigen Monaten herrscht Unruhe beim Luxuskaufhaus Kadewe in Berlin. Denn der Miteigentümer Signa ist insolvent. Jetzt ist offenbar die Immobilie am Wittenbergplatz verkauft worden. Das "Handelsblatt" berichtet, dass die thailändische "Central Group" gut eine Milliarde Euro gezahlt hat. Von Victor Gojdka

Von Kaufhauskönigen, Konsumtempeln und Weißen Wochen Warenhäuser und ihre Geschichte „Kathedralen des Handels“ nannte der französische Schriftsteller Emile Zola die großen Kaufhäuser. Sie ähnelten Tempel oder Palästen. Die Berliner Warenhäuser waren in Größe, Vielfalt und Innovationskraft unübertroffen. Die faszinierende Welt der Warenhäuser steht im Mittelpunkt unserer neuen Folge, die als Live-Podcast in den Räumen der Zentralen Landesbibliothek stattgefunden hat. Unsere Gäste sind die Warenhaus-Experten Nils Busch-Petersen (Hauptgeschäftsführer des Handelsverbandes Berlin-Brandenburg) und Andreas Malich sowie Szenenbilder Lars Schwuchow. Mit ihnen reisen wir in die Anfangsgeschichte der Kaufhäuser und in ihre Hochzeit in den 20er Jahren zurück. Tietz, Wertheim oder Jandorf waren die Namen der überwiegend jüdischen Gründer. Einer von ihnen, Sohn eines Viehhändlers, hatte seinen durchschlagenden Erfolg mit einem Kissen für den „Power Nap“. Ein anderer war stolzer Träger des großen Elefantenorden vom Königreich Siam bekommen. Wir fragen unsere Gäste, wo in Berlin die „Straße der Damen“ war, warum das Kadewe eigentlich hätte Wadewe heißen müsste, was das Städtchen Birnbaum im heutigen Polen zu einem Schlüsselort für die Kaufhaus-Geschichte macht und mit welchen Annehmlichkeiten das Karstadt am Herrmannplatz seine Gäste lockte. Claire Waldorff und Marlene Dietrich singen für uns über Kaufhaus-Erfahrungen und Erich Kästner war natürlich mit seinem Fabian auch im Kadewe unterwegs. Außerdem sprechen wir über die Flut an Serien, in denen Kaufhäuser eine Rolle spielen und Lars Schwuchow erzählt, wie er „Haus der Träume“ und „Babylon Berlin“ ausgestattet hat.

ANALYSE | Unsere E-Commerce Experten Jochen Krisch und Alex Graf kommen wieder mal im Tal mit Joel zusammen und werfen einen Blick auf die jüngsten Entwicklungen bei Wish und dem KaDeWe. Beide Unternehmen genossen in letzter Zeit eine große mediale Aufmerksamkeit. Das KaDeWe als Teil der Signa-Gruppe meldet Insolvenz an. Wish wiederum wurde für ca. 170 Millionen von Qoo10 Holding übernommen. Doch was ist da eigentlich genau los und was hat TikTok damit zu tun? All das erfährst du in 45 spannenden Minuten von unserem E-Commerce Trio. Du erfährst... …wie es um das KaDeWe steht …was es mit der Übernahme von Wish auf sich hat …wer die Qoo10 Holding ist …wie TikTok sein Geschäftsmodell auf E-Commerce ummünzt …einen Blick auf die Umsatzzahlen von ByteDance  …wie Temu, SHEIN & Co den Online-Handel aufmischen Diese Episode dreht sich schwerpunktmäßig um E-Commerce: Joel trifft sich regelmäßig mit den beiden E-Commerce-Experten Alexander Graf (Kassenzone, Spryker) und Jochen Krisch (Exciting Commerce, K5) um ihr Wissen zu bündeln. Gemeinsam nehmen die drei dich mit auf eine Reise zu spannenden Tiefenanalysen, Strategiediskussionen und Praxiseinblicken des Onlinehandels. Ein wahres Feuerwerk zwischen drei Experten, die scharfe Thesen formulieren und lebhaft miteinander diskutieren. __________________________ ||||| PERSONEN |||||

Im Zuge der Pleitewelle im Signa-Reich des österreichischen Unternehmers René Benko ist auch die KaDeWe-Gruppe mit dem Kaufhaus am Wittenbergplatz in Berlin plötzlich in die Zahlungsunfähigkeit gerutscht. Eine Insolvenz in Eigenregie soll jetzt helfen. Von Johannes Frewel

Hat Deutschlands Kunst- und Kulturszene ein besonderes, ein herausragendes Antisemitismusproblem?Diese Frage ist in jüngster Zeit immer wieder mit einem Ja beantwortet worden.Wenn Antisemitismus ein gesamtgesellschaftliches Problem ist, dann ist es nur normal, dass so wie der Sport, die Politik oder die Wirtschaft auch die Kultur nicht frei vom hässlichen Antlitz des Judenhasses ist.Doch woran liegt das?Was hat es mit links-progressiven Strömungen aus den USA zu tun?Und wie verhalten wir uns in diesem Spannungsfeld zwischen Kunstfreiheit, Zensur, Menschenwürde und Kritik?Darüber spricht Alev Doğan in diesem Achten Tag mit dem Publizisten und Direktor der Bildungsstätte Anne Frank Meron Mendel.Die Stilfrage widmet sich einem verbalen Aussetzer einer deutschen Museumsdirektorin in Florenz; Alev Approved den Kinofilm: “Eine Million Minuten” mit Karoline Herfurth und die Zukunft gehört… dem KaDeWe. ID:{6Al9cRaqPb7YtsuKbIJIDz} Hosted on Acast. See acast.com/privacy for more information.

Die wichtigsten Sneaker & Streetwear & Fashion & Lifestyle News und Releases der aktuellen Woche, alle First Looks, Leaks und Gerüchte, und ein Rückblick auf die Highlights der letzten 7 Tage - das bietet OH, NEWS!, der wöchentliche News-Podcast von OH! SNEAKER MEDIA, der Medienplattform für Sneaker, Streetwear, Fashion & Lifestyle Content! Mehr Infos auf: https://linktr.ee/ohschuhenpodcast Diese Woche im Werbeslot: [Lacoste](https://www.lacoste.com/de)

Die Nachricht schlug ein wie eine Bombe: Als Capital über den überraschenden Insolvenzantrag der KaDeWe-Gruppe berichtete, wirkte das Ereignis wie ein Fanal für das Siechtum im Einzelhandel. Renommierte, ikonische Kaufhäuser wie das Berliner KaDeWe, das Alsterhaus in Hamburg und das Oberpollinger in München sollten nun auch betroffen sein von der Unlust der Kunden? Tatsächlich aber steht hinter der Insolvenz vor allem ein erbitterter Machtkampf zwischen den zwei Eignern der Gruppe – der thailändischen Central Group und der Signa-Gruppe des österreichischen Immobilienunternehmers René Benko. Dessen Imperium war bereits zuvor unter die Räder geraten. „Da gab es massive persönliche Anwürfe“, sagt Capital-Redakteur Thomas Steinmann, der die Insolvenz als erster gemeldet hatte. „Und dieses Thema ist jetzt eskaliert.“ Im Podcast „Die Stunde Null” analysiert Steinmann, wie es zu dem Konflikt kam und welche Folgen er noch haben könnte. Da die Kaufhausgebäude selbst anderen Teile der Signa-Gruppe gehören, geriet ein Streit um die hohen Mieten aus den Fugen. „Die Central Group will Mietreduktionen erreichen – was zulasten der Häuser gehen würde“, sagt Steinmann. „Wenn die Mieten sinken, müssten auch die Werte der Immobilien nach unten korrigiert werden.“ Nun gehe es um einen Dreieckskonflikt zwischen der Central Group, Signa und den Insolvenzverwaltern. An ein wirkliches Ende der Ikone KaDeWe allerdings glaubt der Capital-Redakteur nicht: „Da ist ein Tauziehen im Gange“, sagt Steinmann. „Aber das KaDeWe wird den Betrieb nicht einstellen.“ +++Eine Produktion der Audio Alliance.Hosts: Nils Kreimeier und Martin Kaelble.Redaktion: Lucile Gagnière.Produktion: Andolin Sonnen. +++60 Tage lang kostenlos Capital+ lesen - Zugriff auf alle digitalen Artikel, Inhalte aus dem Heft und das ePaper. Unter Capital.de/plus-gratis +++Weitere Infos zu unseren Werbepartnern finden Sie hier: https://linktr.ee/diestundenull +++Unsere allgemeinen Datenschutzrichtlinien finden Sie unter https://datenschutz.ad-alliance.de/podcast.html +++Unsere allgemeinen Datenschutzrichtlinien finden Sie unter https://art19.com/privacy. Die Datenschutzrichtlinien für Kalifornien sind unter https://art19.com/privacy#do-not-sell-my-info abrufbar.

Also bitte, das ist aber auch zu viel verlangt: ausgerechnet am verkaterten Tag nach dem Pokalkracher Hertha - Lautern (1:3) soll hier mit klaren Worten und gesundem Geist ein Episodentext für Baywatch Berlin verfasst werden. Verzeihen Sie also bitte, wenn dieser Text eher an das lustlose Gekicke von Lundts alter Omma Hertha erinnert, statt mit der Leidenschaft, Effizienz und Zielstrebigkeit der Betzebuwe zu punkten*. Worum gings also nochmal, bei der Aufzeichnung von Baywatch Berlin, die am Morgen des Spiels Hertha - FCK (1:3) stattfand? Hier das Gedächtnisprotokoll: Unbequeme Fragen: Trägt Leckermäulchen Lundt Schuld an der Insolvenz des KaDeWe oder gelten seine Fressattacken in Etage 6 schon als Insolvenzverschleppung? Wie erlebte der nüchterne Fussballprofi Mats Hummels den gemeinsamen Silvesterabend mit dem nicht so nüchternen Kaffeearschloch? Wie beantwortet Haarprofi Klaas die eingereichte Checkerfrage über miese Frisuren und den korrekten Umgang damit? Wie dribbelt man elegant und clever wie der 1.FCK aufdringliche Verkäufer aus und ist es geistig gesund, sich eine Brille nur zu kaufen, um keine enttäuschten Brillenladenbesitzer zurück zu lassen? Ach und was war eigentlich mit Mutlu los, der nach einer durchzechten Nacht verbummelt wurde und mit seiner spektakulären Rettung für die Meldung der Woche sorgte? Klar, es wäre unfair und unsinnig, eine Podcastfolge mit einem Viertelfinalspiel zu vergleichen. Aber beide Ereignisse zeigen eindrücklich, wie man durch entschlossenes Auftreten und eine Portion Mut spielerische Defizite ausgleichen und - entgegen jeder Erwartung - den ein oder anderen Treffer erzielen kann. You‘ll never walk alone, Baywatch Berlin. You‘ll never walk alone. *Am 31.01.2023, dem Tag der Baywatch Berlin Aufzeichnung, unterlag Hertha BSC dem 1.FC Kaiserslautern im DFB-Pokal-Viertelfinale mit 1:3. Der 1.FC Kaiserslautern steht damit Im Halbfinale des DFB-Pokals. Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/BaywatchBerlin

Jetzt auch noch die Wirtschaftsweisen: Der Schuldenbremse gehen die Unterstützer aus. Der Reformvorschlag der Experten dürfte allerdings die Verfechter von massiv höheren Staatsausgaben nicht zufrieden stellen.

Als Teil der strauchelnden Signa-Gruppe hat nun auch das Berliner Kaufhaus des Westens einen Insolvenzantrag gestellt. Wirtschaftswissenschaftler Gerrit Heinemann sagt, durch Mieten von 13 Prozent vom Umsatz sei beim KaDeWe einfach nichts mehr übrig geblieben.

Die Themen: Klimakleber wollen nicht mehr kleben; Verdi legt am Freitag den Nahverkehr lahm; UN-Mitarbeiter sollen am Hamas-Terror beteiligt gewesen sein; KaDeWe stellt Insolvenzantrag; Alle gegen die AfD; X unterbindet Suche nach Taylor Swift; Maison Margiela begeistert mit neuer Kollektion; Größtes Kreuzfahrtschiff der Welt bricht zur Jungfernfahrt auf und Eltern schleppen Zweijährige auf den Mount Everest Hosts der heutigen Folge sind Markus Feldenkirchen (DER SPIEGEL) und Yasmine M'Barek (Zeit Online). Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/ApokalypseundFilterkaffee

Nehls, Anjawww.deutschlandfunk.de, Deutschland heute

Die Themen von Lisa und Flo am 30.01.2024: (00:00:00) Kaufhaus-Insolvenz: Warum die KaDeWe-Gruppe Insolvenz angemeldet hat. (00:01:56) Streik: Warum die Beschäftigten im ÖPNV und an Unikliniken streiken. (00:05:36) Lange Krankmeldungen: Im vergangenen Jahr waren viele überdurchschnittlich lange krankgeschrieben. Was das für die Wirtschaft bedeutet. (00:10:18) Bauernproteste: Warum auch die Landwirte in Frankreich auf die Straße gehen. (00:14:02) Letzte Generationen: Wie die Klimaaktivisten ihren Protest verändern möchte. Habt ihr Feedback oder Themenvorschläge? Schickt uns gerne eine Sprachnachricht an 0151 15071635 oder schreibt uns an 0630@wdr.de! Von 0630.

Da mischt sich einer ein: Der Chef des Industriekonzerns Knorr-Bremse richtet eine Gesprächseinladung an die AfD-Chefin. Mit ihr will er diskutieren – öffentlich und „gnadenlos inhaltlich“.

Hoppala, da sind wir wieder. Baywatch Berlin stottert sich ins Jahr 2024! Mit einem beherzten Tritt ins Leere stürzen Schmitt, Lundt & Heufer-Umlauf in dieser ersten Folge des Jahres kopfüber die Showtreppe hinunter, und legen ein Comeback aufs Parkett, das stilistisch eigentlich nur mit der Rückkehr der Bauchtasche unterboten werden kann. Jakob hat noch was im Mund, Schmitt wird nur notdürftig von seiner goldbraunen Urlaubskruste zusammengehalten und Heufer-Umlauf sitzt wieder mit leerem Blick und vollgesiffter Fleecejacke hinterm Mikro und sieht eigentlich aus wie einer, der hier sonst die Glühbirnen austauscht. Na herrlich. Sehen so vitale, inspirierende Podcaster aus, die im besten Sinne angriffslustig ins neues Jahr blicken? Natürlich nicht, aber wir sind hier ja auch nicht bei Riccardo und Anke, nicht wahr? Ihr beruhigt euch jetzt und ich erzähl euch, was da so besprochen wurde. Thomas hat sich über die letzten Jahre reich gespart und ist jetzt von der abgezählten Knete weit weg in den Urlaub gefahren. Da hat er irgendwo unter 'ner Palme, für Leute die er gar nicht kennt, 14 Tage den Mäusemillionär gespielt. Er hat es sich sozusagen gut gehen lassen. Mal die teure Liege am Strand, alle zwei Tage ein Eis und ein neuer Schnorchel war auch noch drin. Aber, ja klar. Es wäre kein Schmitt-Urlaub wenn er nicht wenigstens noch mit einem Kleinflugzeug bei heftigem Unwetter im indischen Ozean notgelandet wäre. ABER HAUPTSACHE GEIL BRAUN, WAS? Jakob ist seiner Lieblingsbeschäftigung nachgegangen: Gründe finden warum er in die Weinecke vom KaDeWe gehen kann. Diesmal „musste" er ein Geschenk besorgen für Thomas. Und vorher probieren. Zu seiner Verteidigung muss man sagen, dass Klaas auch was bekommen hat. Sogar was so Gutes, dass er sich ganz herrlich schämt, selbst nichts für Jakob zu haben. Apropos Klaas? War der auch dabei? Ja irgendwie schon. Aber außer zwei, drei wirren Träumen kam da erstmal nicht viel. Hoffen wir mal das die Denkmurmel bis nächste Woche wieder kreist und sind zufrieden mit dem was wir haben. Frohes neues Jahr. Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/BaywatchBerlin

Er gilt als Mastermind der Architektur-Szene. Einer, der die Art, wie wir morgen wohnen und leben, ganz neu denkt: Der Hamburger Projektentwickler und Hochschul-Professor Dr. Georg Klaus mit einem spannenden Blick auf die Immobilien-Krise, die Benko-Pleite und Folgen für unsere Städte und uns alle. Es ist die größte Baupleite des Jahrzehnts! Die Insolvenz von Österreichs Immobilienkönig René Benko. Über 5 Milliarden Euro Schulden. Karstadt, Galeria Kaufhof, das weltberühmte KaDeWe in Berlin bis zum Chrysler Building in Manhattan: Alles wackelt. Sein geplanter Wolkenkratzer, der Elbtower in Hamburg, 245 Meter hoch soll er werden, über 950 Millionen Euro teuer: Es ist nur noch eine Geister-Baustelle. Niemand kann mehr zahlen! Und das alles in einer Zeit, in der Immobilienpreise ohnehin schon einbrechen, die Nachfrage nach Eigentumswohnungen gegen Null geht und weltweit Hunderte Millionen Quadratmeter an Büroflächen leer stehen, weil viele nur noch Homeoffice machen. Laut einer Studie des Kreditversicherers Allianz Trade ist die Zahl der Groß-Insolvenzen auf Rekordniveau. Die Rückgänge in der Bau-Branche: dramatisch. Was bedeutet das für uns alle? Für Mieter, für Eigentümer, für Investoren und für das Leben und Überleben in den Innenstädten? Darüber habe ich mit Star-Architekt Dr. Georg Klaus gesprochen. Er ist Co-Founder des international renommierten Planungsbüros Klaus und Schulz in Hamburg. Professor an der Hochschule in Hildesheim und Göttingen und am British Columbia Institute of Technology in Vancouver / Kanada. Seine Analyse: Warum Städte und öffentliche Räume ganz neu gedacht werden müssen. Die vielen Fehl-Planungen und was die auch über uns als Gesellschaft aussagen. Und wieso der Bürokratie-Irrsinn Innovationen verhindert? Dazu: Was passiert denn nun mit all den verwaisten Geschäften und Büros? Und warum es allein aus Nachhaltigkeitsaspekten keinen Sinn mehr macht, Einfamilienhäuser am Stadtrand zu bauen – das alles jetzt hier in TOMorrow. Also gehen wir in die Planung: Viel Spaß in der Wohnwelt von morgen, viel Spaß mit Zukunftsarchitekt Professor Dr. Georg Klaus.

Weitere Bereiche der Signa-Gruppe haben am Donnerstag Insolvenzverfahren angekündigt. Dazu gehört die Signa Prime, der diverse Luxusimmobilien wie das KaDeWe in Berlin gehören. Gerrit Heinemann, Professor für Management und Handel an der Hochschule Niederrhein, sagt, auch die seien jetzt in einer schwierigen Situation.

Es ist der längste Erpressungsfall der deutschen Kriminalgeschichte und sie beginnt 1988 mit der Erpressung des Berliner Nobelkaufhauses KaDeWe. Der Täter fordert 500.000 DM. Nachdem er nachts einen Sprengsatz detonieren lässt, bekommt er sein Geld. Geschnappt wird der Unbekannte nicht. Weitere Erpressungsversuche bleiben zunächst aus. Vier Jahre später, 1992, geht in einem Hamburger Kaufhaus schließlich doch ein weiteres Erpresserschreiben ein. Der Täter fordert zunächst 1 Million, dann 1,4 Million DM. Die Geschäftsführung der Kaufhauskette soll die Bereitschaft zur Zahlung mit einer Zeitungsannonce signalisieren mit dem Text: „Onkel Dagobert grüßt seine Neffen.“ Es beginnt ein Katz- und Mausspiel mit der Polizei, bei dem es zu fünf Bombenanschlägen auf Filialen in mehreren Bundesländern und zahlreichen Geldübergabeversuchen kommt. Der Täter scheint der Polizei dabei immer einen Schritt voraus zu sein. Der Druck auf die Behörden steigt, so auch das Interesse der Medien. Zu Gast im Studio: Polizeidirektor Martin Textor a.D.. Der Berliner leitete das Referat 63 und damit das SEK und MEK – eine Truppe von über 400 Einsatzkräften. Im Gespräch mit Rudi Cerne und seiner Kollegin Conny Neumeyer berichtet er von aufwändigen Einsätzen mit über 3000 Mann, der Häme von Medienvertretern und schließlich dem Tag des Zugriffs, der für alle Kollegen und Kolleginnen auch ein Tag zum Feiern war. Außerdem im Interview: Dr. Claudia Paganini, Professorin für Medienethik. Sie wirft einen kritischen Blick auf die Rolle der Presse in dem Fall. *** Wenn ihr Kritik oder Anregungen zu Fällen habt, schreibt uns gerne eine E-Mail an xy@zdf.de. Die aktuelle Sendung und mehr findet ihr in der ZDFmediathek: aktenzeichenxy.zdf.de. *** Moderation: Rudi Cerne, Conny Neumeyer   Gäste & Experten: PD Martin Textor a.D., Polizeipräsidium Berlin; Prof. Dr. Claudia Paganini, Hochschule für Philosophie München Autorin dieser Folge:  Julia Heyne Audioproduktion: Anja Rieß  Technik: Anja Rieß  Produktionsleitung Securitel: Marion Biefeld  Produktionsleitung Bumm Film: Melanie Graf, Nina Kuhn  Produktionsmanagement ZDF: Carolin Klapproth, Ina Willems  Leitung Digitale Redaktion Securitel: Nicola Haenisch-Korus   Redaktion Securitel: Erich Grünbacher, Corinna Prinz   Produzent Securitel: René Carl   Produzent Bumm Film: Nico Krappweis    Redaktion ZDF: Sonja Roy, Kirsten Schönig    Regie Bumm Film: Alexa Waschkau

Ob das KaDeWe in Berlin, das Kaufhaus Oberpollinger in München oder das Chrysler Building in New York – Immobilien- und Handelsunternehmer René Benko stand mit seiner Signa Holding weltweit für die prestigeträchtigsten Gebäude und zählte zu den reichsten Menschen Österreichs. Doch wie hat der aus einfachen Verhältnissen stammende Tiroler es in den Club der Mächtigen und Reichen geschafft? Und wie konnte es nun dazu kommen, dass sein Imperium kollabiert und er Milliarden verliert? Über diese Fragen und noch viele mehr spricht Lilly Burger mit BUNTE-Politik-und-Wirtschaftsressortleiterin Katrin Sachse in der neuen Folge von BUNTE Menschen. Außerdem: Lilly Burger berichtet von ihrem Treffen mit Topmodel Adriana Lima und freut sich mit Palina Rojinksi über ihr frisches Liebesglück. Im Horoskop fragen wir die Sterne, wie sie zu einem Deal zwischen Immobilienmakler Marcel Remus und US-Rapper Kanye West stehen.

Igår skrev Aftonbladet om ketchupeffekter... Signa Holding GmbH är Österrikes största privatägda fastighetsbolag med tillgångar värderade till cirka 263 miljarder kronor (23 miljarder euro) vid utgången av 2022. Bolaget grundades 2000 av den tyrolske entreprenören René Benko och har sedan dess haft en exceptionell tillväxt. I dag slåss han för imperiets överlevnad. Nu förs ett sista samtal med investerare med förhoppningen att säkra en finansiell livlina och undvika en konkursvåg, uppger två personer med direkt kännedom om bolagets förhandlingar till nyhetsbyrån Bloomberg. Signas portfölj omfattar bland annat Chrysler Building i New York och tyska KaDeWe i Berlin. René Benko ska ha uttalat att hans strategi utgår från tanken att endast katolska kyrkan och drottningen, numera kungen, av England ska kunna skryta med en jämförbar portfölj av unika platser. Signas akuta pengabehov är uppe i nära 6,9 miljarder kronor (600 miljoner euro). Men sannolikheten för att hitta en lösning bedöms som låg, uppger anonyma interna källor och pekar ut imperiets komplexa kapitalstruktur och förpliktelser mot ett dussintal dotterbolag som en av svårigheterna. Tänk vad slumpigt att de har Credit Suisse/UBS som bank! De Fria är en folkrörelse som jobbar för demokrati genom en upplyst och medveten befolkning! Stöd oss: SWISH: 070 - 621 19 92 (mottagare Sofia S) PATREON: https://patreon.com/defria_se HEMSIDA: https://defria.se FACEBOOK: https://facebook.com/defria.se

Welche Podcast-Situation kann es geben, in der man für eine Aufzeichnung eine Aktivität bestreitet, bei der es quasi unmöglich ist, kohärente Sätze zu formulieren? Joko & Sophie beantworten diese Frage schlichtweg mit "JA" und treffen sich im Hotelzimmer, in Berlin, mit angeschlossener Playstation und FIFA im Laufwerk. Nachdem vor allem Sophie sich einige "FIFAS" auf TikTok angeguckt hat, geht es auch schon los durch die Achterbahn der Emotionen, die nur der Fußball bereithält. Von “ABSEITS!” bis “FICK DICH!” ist alles dabei. Während die beiden daddeln, als würde es um ihr Leben gehen, “besprechen” sie außerdem was denn jetzt noch bleibt, wenn auch hotte Menschen Comedians werden, wieso Sophie als Jugendliche aussah wie eine Zivilpolizistin und warum Joko Berliner Weihnachtsmärkte hasst wie die Pest. Vor allem, wenn er dort frittiertes vorfindet. Eine Folge voller Krümel im Hotelbett, echten Emotionen, der 6. Etage im KaDeWe und der Geburt einer neuen E-Sport-Legende. Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/sunset_club

Gott, ist das deprimierend! Die Kerzen auf den Törtchen zur 200. Folge von Baywatch Berlin sind längst erloschen, Günther Jauch zurück im „Wer wird Millionär“-Studio und langsam aber sicher reift die Gewissheit, dass nach dem erreichten Gipfel der lange Abstieg ansteht: Folge 201. Bis zum nächsten Jubiläum muss wieder stundenlang gequasselt werden. Folge für Folge, Rubrik für Rubrik, blind und planlos, immer weiter, es hilft ja alles nix. Auf so einer langen und beschwerlichen Podcastreise ist es natürlich ratsam, nur leichtes Gepäck mitzunehmen. Streng nach dieser Regel, sind in dieser Folge wirklich nur die seichtesten Themen verstaut und wir können garantieren: Ihr Gehirn können Sie, werte Hörerinnen und Hörer, getrost am Wegesrand liegen lassen. Statt philosophischem Diskurs gibt es bei Baywatch eine neue, von Klaas erdachte „Katzenrubrik“ - natürlich um Schmitt auf die Nüsse zu gehen. Die Hörer*innen werden an die Hand genommen und von Jakob Lundt bei seinem Helloween-Speedrun durch die Fressabteilung des KaDeWe gezerrt und Schmitt wirbt für seine „pfiffige Idee“ rund um Schnitzel und einen Zigarettenanzünder. Ob seine Suche nach finanzstarken Promi-Investoren für dieses turbodämliche StartUp erfolgreich ist, erfahren Sie in dieser Folge. Gegen Ende merken die drei Herren dann doch noch, dass sie statt einem Inhaltsfeuerwerk eher winzig kleine Content-Knallteufel abgefeuert haben und versuchen verzweifelt, mit einer kleinen Diskussion über die Schönheit und Ethik der neuen Beatles-Single, den Karren aus dem Dreck zu ziehen. Doch Freunde, da hilft auch kein McCartney mehr. Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/BaywatchBerlin

Heute geht um einen großen Deal im Hamburger Hafen, der in den frühen Morgenstunden bekannt wurde. Weitere Themen: Offenbar spielte Russland bei einer Militärübung in der Ostsee einen Nuklearangriff auf Hamburg durch, die ehemalige Alsterhaus-Chefin leitet künftig das KaDeWe in Berlin – und Herbert Grönemeyer ist am Freitag in besonderer Mission in der Stadt.

Joachim Schollwww.deutschlandfunk.de, ZwischentöneDirekter Link zur Audiodatei

Episode 164 of A History of Rock Music in Five Hundred Songs looks at "White Light/White Heat" and the career of the Velvet Underground. This is a long one, lasting three hours and twenty minutes. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three minute bonus episode available, on "Why Don't You Smile Now?" by the Downliners Sect. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I say the Velvet Underground didn't play New York for the rest of the sixties after 1966. They played at least one gig there in 1967, but did generally avoid the city. Also, I refer to Cale and Conrad as the other surviving members of the Theater of Eternal Music. Sadly Conrad died in 2016. Resources No Mixcloud this week, as there are too many songs by the Velvet Underground, and some of the avant-garde pieces excerpted run to six hours or more. I used a lot of resources for this one. Up-Tight: The Velvet Underground Story by Victor Bockris and Gerard Malanga is the best book on the group as a group. I also used Joe Harvard's 33 1/3 book on The Velvet Underground and Nico. Bockris also wrote one of the two biographies of Reed I referred to, Transformer. The other was Lou Reed by Anthony DeCurtis. Information on Cale mostly came from Sedition and Alchemy by Tim Mitchell. Information on Nico came from Nico: The Life and Lies of an Icon by Richard Witts. I used Draw a Straight Line and Follow it by Jeremy Grimshaw as my main source for La Monte Young, The Roaring Silence by David Revill for John Cage, and Warhol: A Life as Art by Blake Gopnik for Warhol. I also referred to the Criterion Collection Blu-Ray of the 2021 documentary The Velvet Underground.  The definitive collection of the Velvet Underground's music is the sadly out-of-print box set Peel Slowly and See, which contains the four albums the group made with Reed in full, plus demos, outtakes, and live recordings. Note that the digital version of the album as sold by Amazon for some reason doesn't include the last disc -- if you want the full box set you have to buy a physical copy. All four studio albums have also been released and rereleased many times over in different configurations with different numbers of CDs at different price points -- I have used the "45th Anniversary Super-Deluxe" versions for this episode, but for most people the standard CD versions will be fine. Sadly there are no good shorter compilation overviews of the group -- they tend to emphasise either the group's "pop" mode or its "avant-garde" mode to the exclusion of the other. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I begin this episode, there are a few things to say. This introductory section is going to be longer than normal because, as you will hear, this episode is also going to be longer than normal. Firstly, I try to warn people about potentially upsetting material in these episodes. But this is the first episode for 1968, and as you will see there is a *profound* increase in the amount of upsetting and disturbing material covered as we go through 1968 and 1969. The story is going to be in a much darker place for the next twenty or thirty episodes. And this episode is no exception. As always, I try to deal with everything as sensitively as possible, but you should be aware that the list of warnings for this one is so long I am very likely to have missed some. Among the topics touched on in this episode are mental illness, drug addiction, gun violence, racism, societal and medical homophobia, medical mistreatment of mental illness, domestic abuse, rape, and more. If you find discussion of any of those subjects upsetting, you might want to read the transcript. Also, I use the term "queer" freely in this episode. In the past I have received some pushback for this, because of a belief among some that "queer" is a slur. The following explanation will seem redundant to many of my listeners, but as with many of the things I discuss in the podcast I am dealing with multiple different audiences with different levels of awareness and understanding of issues, so I'd like to beg those people's indulgence a moment. The term "queer" has certainly been used as a slur in the past, but so have terms like "lesbian", "gay", "homosexual" and others. In all those cases, the term has gone from a term used as a self-identifier, to a slur, to a reclaimed slur, and back again many times. The reason for using that word, specifically, here is because the vast majority of people in this story have sexualities or genders that don't match the societal norms of their times, but used labels for themselves that have shifted in meaning over the years. There are at least two men in the story, for example, who are now dead and referred to themselves as "homosexual", but were in multiple long-term sexually-active relationships with women. Would those men now refer to themselves as "bisexual" or "pansexual" -- terms not in widespread use at the time -- or would they, in the relatively more tolerant society we live in now, only have been in same-gender relationships? We can't know. But in our current context using the word "homosexual" for those men would lead to incorrect assumptions about their behaviour. The labels people use change over time, and the definitions of them blur and shift. I have discussed this issue with many, many, friends who fall under the queer umbrella, and while not all of them are comfortable with "queer" as a personal label because of how it's been used against them in the past, there is near-unanimity from them that it's the correct word to use in this situation. Anyway, now that that rather lengthy set of disclaimers is over, let's get into the story proper, as we look at "White Light, White Heat" by the Velvet Underground: [Excerpt: The Velvet Underground, "White Light, White Heat"] And that look will start with... a disclaimer about length. This episode is going to be a long one. Not as long as episode one hundred and fifty, but almost certainly the longest episode I'll do this year, by some way. And there's a reason for that. One of the questions I've been asked repeatedly over the years about the podcast is why almost all the acts I've covered have been extremely commercially successful ones. "Where are the underground bands? The alternative bands? The little niche acts?" The answer to that is simple. Until the mid-sixties, the idea of an underground or alternative band made no sense at all in rock, pop, rock and roll, R&B, or soul. The idea would have been completely counterintuitive to the vast majority of the people we've discussed in the podcast. Those musics were commercial musics, made by people who wanted to make money and to  get the largest audiences possible. That doesn't mean that they had no artistic merit, or that there was no artistic intent behind them, but the artists making that music were *commercial* artists. They knew if they wanted to make another record, they had to sell enough copies of the last record for the record company to make another, and that if they wanted to keep eating, they had to draw enough of an audience to their gigs for promoters to keep booking them. There was no space in this worldview for what we might think of as cult success. If your record only sold a thousand copies, then you had failed in your goal, even if the thousand people who bought your record really loved it. Even less commercially successful artists we've covered to this point, like the Mothers of Invention or Love, were *trying* for commercial success, even if they made the decision not to compromise as much as others do. This started to change a tiny bit in the mid-sixties as the influence of jazz and folk in the US, and the British blues scene, started to be felt in rock music. But this influence, at first, was a one-way thing -- people who had been in the folk and jazz worlds deciding to modify their music to be more commercial. And that was followed by already massively commercial musicians, like the Beatles, taking on some of those influences and bringing their audience with them. But that started to change around the time that "rock" started to differentiate itself from "rock and roll" and "pop", in mid 1967. So in this episode and the next, we're going to look at two bands who in different ways provided a model for how to be an alternative band. Both of them still *wanted* commercial success, but neither achieved it, at least not at first and not in the conventional way. And both, when they started out, went by the name The Warlocks. But we have to take a rather circuitous route to get to this week's band, because we're now properly introducing a strand of music that has been there in the background for a while -- avant-garde art music. So before we go any further, let's have a listen to a thirty-second clip of the most famous piece of avant-garde music ever, and I'll be performing it myself: [Excerpt, Andrew Hickey "4'33 (Cage)"] Obviously that won't give the full effect, you have to listen to the whole piece to get that. That is of course a section of "4'33" by John Cage, a piece of music that is often incorrectly described as being four minutes and thirty three seconds of silence. As I've mentioned before, though, in the episode on "Papa's Got a Brand New Bag", it isn't that at all. The whole point of the piece is that there is no such thing as silence, and it's intended to make the listener appreciate all the normal ambient sounds as music, every bit as much as any piece by Bach or Beethoven. John Cage, the composer of "4'33", is possibly the single most influential avant-garde artist of the mid twentieth century, so as we're properly introducing the ideas of avant-garde music into the story here, we need to talk about him a little. Cage was, from an early age, torn between three great vocations, all of which in some fashion would shape his work for decades to come. One of these was architecture, and for a time he intended to become an architect. Another was the religious ministry, and he very seriously considered becoming a minister as a young man, and religion -- though not the religious faith of his youth -- was to be a massive factor in his work as he grew older. He started studying music from an early age, though he never had any facility as a performer -- though he did, when he discovered the work of Grieg, think that might change. He later said “For a while I played nothing else. I even imagined devoting my life to the performance of his works alone, for they did not seem to me to be too difficult, and I loved them.” [Excerpt: Grieg piano concerto in A minor] But he soon realised that he didn't have some of the basic skills that would be required to be a performer -- he never actually thought of himself as very musical -- and so he decided to move into composition, and he later talked about putting his musical limits to good use in being more inventive. From his very first pieces, Cage was trying to expand the definition of what a performance of a piece of music actually was. One of his friends, Harry Hay, who took part in the first documented performance of a piece by Cage, described how Cage's father, an inventor, had "devised a fluorescent light source over which Sample" -- Don Sample, Cage's boyfriend at the time -- "laid a piece of vellum painted with designs in oils. The blankets I was wearing were white, and a sort of lampshade shone coloured patterns onto me. It looked very good. The thing got so hot the designs began to run, but that only made it better.” Apparently the audience for this light show -- one that predated the light shows used by rock bands by a good thirty years -- were not impressed, though that may be more because the Santa Monica Women's Club in the early 1930s was not the vanguard of the avant-garde. Or maybe it was. Certainly the housewives of Santa Monica seemed more willing than one might expect to sign up for another of Cage's ideas. In 1933 he went door to door asking women if they would be interested in signing up to a lecture course from him on modern art and music. He told them that if they signed up for $2.50, he would give them ten lectures, and somewhere between twenty and forty of them signed up, even though, as he said later, “I explained to the housewives that I didn't know anything about either subject but that I was enthusiastic about both of them. I promised to learn faithfully enough about each subject so as to be able to give a talk an hour long each week.” And he did just that, going to the library every day and spending all week preparing an hour-long talk for them. History does not relate whether he ended these lectures by telling the housewives to tell just one friend about them. He said later “I came out of these lectures, with a devotion to the painting of Mondrian, on the one hand, and the music of Schoenberg on the other.” [Excerpt: Schoenberg, "Ode to Napoleon Buonaparte"] Schoenberg was one of the two most widely-respected composers in the world at that point, the other being Stravinsky, but the two had very different attitudes to composition. Schoenberg's great innovation was the creation and popularisation of the twelve-tone technique, and I should probably explain that a little before I go any further. Most Western music is based on an eight-note scale -- do, re, mi, fa, so, la, ti, do -- with the eighth note being an octave up from the first. So in the key of C major that would be C, D, E, F, G, A, B, C: [demonstrates] And when you hear notes from that scale, if your ears are accustomed to basically any Western music written before about 1920, or any Western popular music written since then, you expect the melody to lead back to C, and you know to expect that because it only uses those notes -- there are differing intervals between them, some having a tone between them and some having a semitone, and you recognise the pattern. But of course there are other notes between the notes of that scale. There are actually an infinite number of these, but in conventional Western music we only look at a few more -- C# (or D flat), D# (or E flat), F# (or G flat), G# (or A flat) and A# (or B flat). If you add in all those notes you get this: [demonstrates] There's no clear beginning or end, no do for it to come back to. And Schoenberg's great innovation, which he was only starting to promote widely around this time, was to insist that all twelve notes should be equal -- his melodies would use all twelve of the notes the exact same number of times, and so if he used say a B flat, he would have to use all eleven other notes before he used B flat again in the piece. This was a radical new idea, but Schoenberg had only started advancing it after first winning great acclaim for earlier pieces, like his "Three Pieces for Piano", a work which wasn't properly twelve-tone, but did try to do without the idea of having any one note be more important than any other: [Excerpt: Schoenberg, "Three Pieces for Piano"] At this point, that work had only been performed in the US by one performer, Richard Buhlig, and hadn't been released as a recording yet. Cage was so eager to hear it that he'd found Buhlig's phone number and called him, asking him to play the piece, but Buhlig put the phone down on him. Now he was doing these lectures, though, he had to do one on Schoenberg, and he wasn't a competent enough pianist to play Schoenberg's pieces himself, and there were still no recordings of them. Cage hitch-hiked from Santa Monica to LA, where Buhlig lived, to try to get him to come and visit his class and play some of Schoenberg's pieces for them. Buhlig wasn't in, and Cage hung around in his garden hoping for him to come back -- he pulled the leaves off a bough from one of Buhlig's trees, going "He'll come back, he won't come back, he'll come back..." and the leaves said he'd be back. Buhlig arrived back at midnight, and quite understandably told the strange twenty-one-year-old who'd spent twelve hours in his garden pulling the leaves off his trees that no, he would not come to Santa Monica and give a free performance. But he did agree that if Cage brought some of his own compositions he'd give them a look over. Buhlig started giving Cage some proper lessons in composition, although he stressed that he was a performer, not a composer. Around this time Cage wrote his Sonata for Clarinet: [Excerpt: John Cage, "Sonata For Clarinet"] Buhlig suggested that Cage send that to Henry Cowell, the composer we heard about in the episode on "Good Vibrations" who was friends with Lev Termen and who created music by playing the strings inside a piano: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] Cowell offered to take Cage on as an assistant, in return for which Cowell would teach him for a semester, as would Adolph Weiss, a pupil of Schoenberg's. But the goal, which Cowell suggested, was always to have Cage study with Schoenberg himself. Schoenberg at first refused, saying that Cage couldn't afford his price, but eventually took Cage on as a student having been assured that he would devote his entire life to music -- a promise Cage kept. Cage started writing pieces for percussion, something that had been very rare up to that point -- only a handful of composers, most notably Edgard Varese, had written pieces for percussion alone, but Cage was: [Excerpt: John Cage, "Trio"] This is often portrayed as a break from the ideals of his teacher Schoenberg, but in fact there's a clear continuity there, once you see what Cage was taking from Schoenberg. Schoenberg's work is, in some senses, about equality, about all notes being equal. Or to put it another way, it's about fairness. About erasing arbitrary distinctions. What Cage was doing was erasing the arbitrary distinction between the more and less prominent instruments. Why should there be pieces for solo violin or string quartet, but not for multiple percussion players? That said, Schoenberg was not exactly the most encouraging of teachers. When Cage invited Schoenberg to go to a concert of Cage's percussion work, Schoenberg told him he was busy that night. When Cage offered to arrange another concert for a date Schoenberg wasn't busy, the reply came "No, I will not be free at any time". Despite this, Cage later said “Schoenberg was a magnificent teacher, who always gave the impression that he was putting us in touch with musical principles,” and said "I literally worshipped him" -- a strong statement from someone who took religious matters as seriously as Cage. Cage was so devoted to Schoenberg's music that when a concert of music by Stravinsky was promoted as "music of the world's greatest living composer", Cage stormed into the promoter's office angrily, confronting the promoter and making it very clear that such things should not be said in the city where Schoenberg lived. Schoenberg clearly didn't think much of Cage's attempts at composition, thinking -- correctly -- that Cage had no ear for harmony. And his reportedly aggressive and confrontational teaching style didn't sit well with Cage -- though it seems very similar to a lot of the teaching techniques of the Zen masters he would later go on to respect. The two eventually parted ways, although Cage always spoke highly of Schoenberg. Schoenberg later gave Cage a compliment of sorts, when asked if any of his students had gone on to do anything interesting. At first he replied that none had, but then he mentioned Cage and said “Of course he's not a composer, but an inventor—of genius.” Cage was at this point very worried if there was any point to being a composer at all. He said later “I'd read Cowell's New Musical Resources and . . . The Theory of Rhythm. I had also read Chavez's Towards a New Music. Both works gave me the feeling that everything that was possible in music had already happened. So I thought I could never compose socially important music. Only if I could invent something new, then would I be useful to society. But that seemed unlikely then.” [Excerpt: John Cage, "Totem Ancestor"] Part of the solution came when he was asked to compose music for an abstract animation by the filmmaker Oskar Fischinger, and also to work as Fischinger's assistant when making the film. He was fascinated by the stop-motion process, and by the results of the film, which he described as "a beautiful film in which these squares, triangles and circles and other things moved and changed colour.” But more than that he was overwhelmed by a comment by Fischinger, who told him “Everything in the world has its own spirit, and this spirit becomes audible by setting it into vibration.” Cage later said “That set me on fire. He started me on a path of exploration of the world around me which has never stopped—of hitting and stretching and scraping and rubbing everything.” Cage now took his ideas further. His compositions for percussion had been about, if you like, giving the underdog a chance -- percussion was always in the background, why should it not be in the spotlight? Now he realised that there were other things getting excluded in conventional music -- the sounds that we characterise as noise. Why should composers work to exclude those sounds, but work to *include* other sounds? Surely that was... well, a little unfair? Eventually this would lead to pieces like his 1952 piece "Water Music", later expanded and retitled "Water Walk", which can be heard here in his 1959 appearance on the TV show "I've Got a Secret".  It's a piece for, amongst other things, a flowerpot full of flowers, a bathtub, a watering can, a pipe, a duck call, a blender full of ice cubes, and five unplugged radios: [Excerpt: John Cage "Water Walk"] As he was now avoiding pitch and harmony as organising principles for his music, he turned to time. But note -- not to rhythm. He said “There's none of this boom, boom, boom, business in my music . . . a measure is taken as a strict measure of time—not a one two three four—which I fill with various sounds.” He came up with a system he referred to as “micro-macrocosmic rhythmic structure,” what we would now call fractals, though that word hadn't yet been invented, where the structure of the whole piece was reflected in the smallest part of it. For a time he started moving away from the term music, preferring to refer to the "art of noise" or to "organised sound" -- though he later received a telegram from Edgard Varese, one of his musical heroes and one of the few other people writing works purely for percussion, asking him not to use that phrase, which Varese used for his own work. After meeting with Varese and his wife, he later became convinced that it was Varese's wife who had initiated the telegram, as she explained to Cage's wife "we didn't want your husband's work confused with my husband's work, any more than you'd want some . . . any artist's work confused with that of a cartoonist.” While there is a humour to Cage's work, I don't really hear much qualitative difference between a Cage piece like the one we just heard and a Varese piece like Ionisation: [Excerpt: Edgard Varese, "Ionisation"] But it was in 1952, the year of "Water Music" that John Cage made his two biggest impacts on the cultural world, though the full force of those impacts wasn't felt for some years. To understand Cage's 1952 work, you first have to understand that he had become heavily influenced by Zen, which at that time was very little known in the Western world. Indeed he had studied with Daisetsu Suzuki, who is credited with introducing Zen to the West, and said later “I didn't study music with just anybody; I studied with Schoenberg, I didn't study Zen with just anybody; I studied with Suzuki. I've always gone, insofar as I could, to the president of the company.” Cage's whole worldview was profoundly affected by Zen, but he was also naturally sympathetic to it, and his work after learning about Zen is mostly a continuation of trends we can already see. In particular, he became convinced that the point of music isn't to communicate anything between two people, rather its point is merely to be experienced. I'm far from an expert on Buddhism, but one way of thinking about its central lessons is that one should experience things as they are, experiencing the thing itself rather than one's thoughts or preconceptions about it. And so at Black Mountain college came Theatre Piece Number 1: [Excerpt: Edith Piaf, "La Vie En Rose" ] In this piece, Cage had set the audience on all sides, so they'd be facing each other. He stood on a stepladder, as colleagues danced in and around the audience, another colleague played the piano, two more took turns to stand on another stepladder to recite poetry, different films and slides were projected, seemingly at random, onto the walls, and the painter Robert Rauschenberg played scratchy Edith Piaf records on a wind-up gramophone. The audience were included in the performance, and it was meant to be experienced as a gestalt, as a whole, to be what we would now call an immersive experience. One of Cage's students around this time was the artist Allan Kaprow, and he would be inspired by Theatre Piece Number 1 to put on several similar events in the late fifties. Those events he called "happenings", because the point of them was that you were meant to experience an event as it was happening rather than bring preconceptions of form and structure to them. Those happenings were the inspiration for events like The 14 Hour Technicolor Dream, and the term "happening" became such an integral part of the counterculture that by 1967 there were comedy films being released about them, including one just called The Happening with a title track by the Supremes that made number one: [Excerpt: The Supremes, "The Happening"] Theatre Piece Number 1 was retrospectively considered the first happening, and as such its influence is incalculable. But one part I didn't mention about Theatre Piece Number 1 is that as well as Rauschenberg playing Edith Piaf's records, he also displayed some of his paintings. These paintings were totally white -- at a glance, they looked like blank canvases, but as one inspected them more clearly, it became apparent that Rauschenberg had painted them with white paint, with visible brushstrokes. These paintings, along with a visit to an anechoic chamber in which Cage discovered that even in total silence one can still hear one's own blood and nervous system, so will never experience total silence, were the final key to something Cage had been working towards -- if music had minimised percussion, and excluded noise, how much more had it excluded silence? As Cage said in 1958 “Curiously enough, the twelve-tone system has no zero in it.” And so came 4'33, the piece that we heard an excerpt of near the start of this episode. That piece was the something new he'd been looking for that could be useful to society. It took the sounds the audience could already hear, and without changing them even slightly gave them a new context and made the audience hear them as they were. Simply by saying "this is music", it caused the ambient noise to be perceived as music. This idea, of recontextualising existing material, was one that had already been done in the art world -- Marcel Duchamp, in 1917, had exhibited a urinal as a sculpture titled "Fountain" -- but even Duchamp had talked about his work as "everyday objects raised to the dignity of a work of art by the artist's act of choice". The artist was *raising* the object to art. What Cage was saying was "the object is already art". This was all massively influential to a young painter who had seen Cage give lectures many times, and while at art school had with friends prepared a piano in the same way Cage did for his own experimental compositions, dampening the strings with different objects. [Excerpt: Dana Gillespie, "Andy Warhol (live)"] Duchamp and Rauschenberg were both big influences on Andy Warhol, but he would say in the early sixties "John Cage is really so responsible for so much that's going on," and would for the rest of his life cite Cage as one of the two or three prime influences of his career. Warhol is a difficult figure to discuss, because his work is very intellectual but he was not very articulate -- which is one reason I've led up to him by discussing Cage in such detail, because Cage was always eager to talk at great length about the theoretical basis of his work, while Warhol would say very few words about anything at all. Probably the person who knew him best was his business partner and collaborator Paul Morrissey, and Morrissey's descriptions of Warhol have shaped my own view of his life, but it's very worth noting that Morrissey is an extremely right-wing moralist who wishes to see a Catholic theocracy imposed to do away with the scourges of sexual immorality, drug use, hedonism, and liberalism, so his view of Warhol, a queer drug using progressive whose worldview seems to have been totally opposed to Morrissey's in every way, might be a little distorted. Warhol came from an impoverished background, and so, as many people who grew up poor do, he was, throughout his life, very eager to make money. He studied art at university, and got decent but not exceptional grades -- he was a competent draughtsman, but not a great one, and most importantly as far as success in the art world goes he didn't have what is known as his own "line" -- with most successful artists, you can look at a handful of lines they've drawn and see something of their own personality in it. You couldn't with Warhol. His drawings looked like mediocre imitations of other people's work. Perfectly competent, but nothing that stood out. So Warhol came up with a technique to make his drawings stand out -- blotting. He would do a normal drawing, then go over it with a lot of wet ink. He'd lower a piece of paper on to the wet drawing, and the new paper would soak up the ink, and that second piece of paper would become the finished work. The lines would be fractured and smeared, broken in places where the ink didn't get picked up, and thick in others where it had pooled. With this mechanical process, Warhol had managed to create an individual style, and he became an extremely successful commercial artist. In the early 1950s photography was still seen as a somewhat low-class way of advertising things. If you wanted to sell to a rich audience, you needed to use drawings or paintings. By 1955 Warhol was making about twelve thousand dollars a year -- somewhere close to a hundred and thirty thousand a year in today's money -- drawing shoes for advertisements. He also had a sideline in doing record covers for people like Count Basie: [Excerpt: Count Basie, "Seventh Avenue Express"] For most of the 1950s he also tried to put on shows of his more serious artistic work -- often with homoerotic themes -- but to little success. The dominant art style of the time was the abstract expressionism of people like Jackson Pollock, whose art was visceral, emotional, and macho. The term "action paintings" which was coined for the work of people like Pollock, sums it up. This was manly art for manly men having manly emotions and expressing them loudly. It was very male and very straight, and even the gay artists who were prominent at the time tended to be very conformist and look down on anything they considered flamboyant or effeminate. Warhol was a rather effeminate, very reserved man, who strongly disliked showing his emotions, and whose tastes ran firmly to the camp. Camp as an aesthetic of finding joy in the flamboyant or trashy, as opposed to merely a descriptive term for men who behaved in a way considered effeminate, was only just starting to be codified at this time -- it wouldn't really become a fully-formed recognisable thing until Susan Sontag's essay "Notes on Camp" in 1964 -- but of course just because something hasn't been recognised doesn't mean it doesn't exist, and Warhol's aesthetic was always very camp, and in the 1950s in the US that was frowned upon even in gay culture, where the mainstream opinion was that the best way to acceptance was through assimilation. Abstract expressionism was all about expressing the self, and that was something Warhol never wanted to do -- in fact he made some pronouncements at times which suggested he didn't think of himself as *having* a self in the conventional sense. The combination of not wanting to express himself and of wanting to work more efficiently as a commercial artist led to some interesting results. For example, he was commissioned in 1957 to do a cover for an album by Moondog, the blind street musician whose name Alan Freed had once stolen: [Excerpt: Moondog, "Gloving It"] For that cover, Warhol got his mother, Julia Warhola, to just write out the liner notes for the album in her rather ornamental cursive script, and that became the front cover, leading to an award for graphic design going that year to "Andy Warhol's mother". (Incidentally, my copy of the current CD issue of that album, complete with Julia Warhola's cover, is put out by Pickwick Records...) But towards the end of the fifties, the work for commercial artists started to dry up. If you wanted to advertise shoes, now, you just took a photo of the shoes rather than get Andy Warhol to draw a picture of them. The money started to disappear, and Warhol started to panic. If there was no room for him in graphic design any more, he had to make his living in the fine arts, which he'd been totally unsuccessful in. But luckily for Warhol, there was a new movement that was starting to form -- Pop Art. Pop Art started in England, and had originally been intended, at least in part, as a critique of American consumerist capitalism. Pieces like "Just what is it that makes today's homes so different, so appealing?" by Richard Hamilton (who went on to design the Beatles' White Album cover) are collages of found images, almost all from American sources, recontextualised and juxtaposed in interesting ways, so a bodybuilder poses in a room that's taken from an advert in Ladies' Home Journal, while on the wall, instead of a painting, hangs a blown-up cover of a Jack Kirby romance comic. Pop Art changed slightly when it got taken up in America, and there it became something rather different, something closer to Duchamp, taking those found images and displaying them as art with no juxtaposition. Where Richard Hamilton created collage art which *showed* a comic cover by Jack Kirby as a painting in the background, Roy Lichtenstein would take a panel of comic art by Kirby, or Russ Heath or Irv Novick or a dozen other comic artists, and redraw it at the size of a normal painting. So Warhol took Cage's idea that the object is already art, and brought that into painting, starting by doing paintings of Campbell's soup cans, in which he tried as far as possible to make the cans look exactly like actual soup cans. The paintings were controversial, inciting fury in some and laughter in others and causing almost everyone to question whether they were art. Warhol would embrace an aesthetic in which things considered unimportant or trash or pop culture detritus were the greatest art of all. For example pretty much every profile of him written in the mid sixties talks about him obsessively playing "Sally Go Round the Roses", a girl-group single by the one-hit wonders the Jaynettes: [Excerpt: The Jaynettes, "Sally Go Round the Roses"] After his paintings of Campbell's soup cans, and some rather controversial but less commercially successful paintings of photographs of horrors and catastrophes taken from newspapers, Warhol abandoned painting in the conventional sense altogether, instead creating brightly coloured screen prints -- a form of stencilling -- based on photographs of celebrities like Elvis Presley, Elizabeth Taylor and, most famously, Marilyn Monroe. That way he could produce images which could be mass-produced, without his active involvement, and which supposedly had none of his personality in them, though of course his personality pervades the work anyway. He put on exhibitions of wooden boxes, silk-screen printed to look exactly like shipping cartons of Brillo pads. Images we see everywhere -- in newspapers, in supermarkets -- were art. And Warhol even briefly formed a band. The Druds were a garage band formed to play at a show at the Washington Gallery of Modern Art, the opening night of an exhibition that featured a silkscreen by Warhol of 210 identical bottles of Coca-Cola, as well as paintings by Rauschenberg and others. That opening night featured a happening by Claes Oldenburg, and a performance by Cage -- Cage gave a live lecture while three recordings of his own voice also played. The Druds were also meant to perform, but they fell apart after only a few rehearsals. Some recordings apparently exist, but they don't seem to circulate, but they'd be fascinating to hear as almost the entire band were non-musician artists like Warhol, Jasper Johns, and the sculptor Walter de Maria. Warhol said of the group “It didn't go too well, but if we had just stayed on it it would have been great.” On the other hand, the one actual musician in the group said “It was kind of ridiculous, so I quit after the second rehearsal". That musician was La Monte Young: [Excerpt: La Monte Young, "The Well-Tuned Piano"] That's an excerpt from what is generally considered Young's masterwork, "The Well-Tuned Piano". It's six and a half hours long. If Warhol is a difficult figure to write about, Young is almost impossible. He's a musician with a career stretching sixty years, who is arguably the most influential musician from the classical tradition in that time period. He's generally considered the father of minimalism, and he's also been called by Brian Eno "the daddy of us all" -- without Young you simply *do not* get art rock at all. Without Young there is no Velvet Underground, no David Bowie, no Eno, no New York punk scene, no Yoko Ono. Anywhere that the fine arts or conceptual art have intersected with popular music in the last fifty or more years has been influenced in one way or another by Young's work. BUT... he only rarely publishes his scores. He very, very rarely allows recordings of his work to be released -- there are four recordings on his bandcamp, plus a handful of recordings of his older, published, pieces, and very little else. He doesn't allow his music to be performed live without his supervision. There *are* bootleg recordings of his music, but even those are not easily obtainable -- Young is vigorous in enforcing his copyrights and issues takedown notices against anywhere that hosts them. So other than that handful of legitimately available recordings -- plus a recording by Young's Theater of Eternal Music, the legality of which is still disputed, and an off-air recording of a 1971 radio programme I've managed to track down, the only way to experience Young's music unless you're willing to travel to one of his rare live performances or installations is second-hand, by reading about it. Except that the one book that deals solely with Young and his music is not only a dense and difficult book to read, it's also one that Young vehemently disagreed with and considered extremely inaccurate, to the point he refused to allow permissions to quote his work in the book. Young did apparently prepare a list of corrections for the book, but he wouldn't tell the author what they were without payment. So please assume that anything I say about Young is wrong, but also accept that the short section of this episode about Young has required more work to *try* to get it right than pretty much anything else this year. Young's musical career actually started out in a relatively straightforward manner. He didn't grow up in the most loving of homes -- he's talked about his father beating him as a child because he had been told that young La Monte was clever -- but his father did buy him a saxophone and teach him the rudiments of the instrument, and as a child he was most influenced by the music of the big band saxophone player Jimmy Dorsey: [Excerpt: Jimmy Dorsey, “It's the Dreamer in Me”] The family, who were Mormon farmers, relocated several times in Young's childhood, from Idaho first to California and then to Utah, but everywhere they went La Monte seemed to find musical inspiration, whether from an uncle who had been part of the Kansas City jazz scene, a classmate who was a musical prodigy who had played with Perez Prado in his early teens, or a teacher who took the class to see a performance of Bartok's Concerto for Orchestra: [Excerpt: Bartok, "Concerto for Orchestra"] After leaving high school, Young went to Los Angeles City College to study music under Leonard Stein, who had been Schoenberg's assistant when Schoenberg had taught at UCLA, and there he became part of the thriving jazz scene based around Central Avenue, studying and performing with musicians like Ornette Coleman, Don Cherry, and Eric Dolphy -- Young once beat Dolphy in an audition for a place in the City College dance band, and the two would apparently substitute for each other on their regular gigs when one couldn't make it. During this time, Young's musical tastes became much more adventurous. He was a particular fan of the work of John Coltrane, and also got inspired by City of Glass, an album by Stan Kenton that attempted to combine jazz and modern classical music: [Excerpt: Stan Kenton's Innovations Orchestra, "City of Glass: The Structures"] His other major musical discovery in the mid-fifties was one we've talked about on several previous occasions -- the album Music of India, Morning and Evening Ragas by Ali Akhbar Khan: [Excerpt: Ali Akhbar Khan, "Rag Sindhi Bhairavi"] Young's music at this point was becoming increasingly modal, and equally influenced by the blues and Indian music. But he was also becoming interested in serialism. Serialism is an extension and generalisation of twelve-tone music, inspired by mathematical set theory. In serialism, you choose a set of musical elements -- in twelve-tone music that's the twelve notes in the twelve-tone scale, but it can also be a set of tonal relations, a chord, or any other set of elements. You then define all the possible ways you can permute those elements, a defined set of operations you can perform on them -- so you could play a scale forwards, play it backwards, play all the notes in the scale simultaneously, and so on. You then go through all the possible permutations, exactly once, and that's your piece of music. Young was particularly influenced by the works of Anton Webern, one of the earliest serialists: [Excerpt: Anton Webern, "Cantata number 1 for Soprano, Mixed Chorus, and Orchestra"] That piece we just heard, Webern's "Cantata number 1", was the subject of some of the earliest theoretical discussion of serialism, and in particular led to some discussion of the next step on from serialism. If serialism was all about going through every single permutation of a set, what if you *didn't* permute every element? There was a lot of discussion in the late fifties in music-theoretical circles about the idea of invariance. Normally in music, the interesting thing is what gets changed. To use a very simple example, you might change a melody from a major key to a minor one to make it sound sadder. What theorists at this point were starting to discuss is what happens if you leave something the same, but change the surrounding context, so the thing you *don't* vary sounds different because of the changed context. And going further, what if you don't change the context at all, and merely *imply* a changed context? These ideas were some of those which inspired Young's first major work, his Trio For Strings from 1958, a complex, palindromic, serial piece which is now credited as the first work of minimalism, because the notes in it change so infrequently: [Excerpt: La Monte Young, "Trio for Strings"] Though I should point out that Young never considers his works truly finished, and constantly rewrites them, and what we just heard is an excerpt from the only recording of the trio ever officially released, which is of the 2015 version. So I can't state for certain how close what we just heard is to the piece he wrote in 1958, except that it sounds very like the written descriptions of it I've read. After writing the Trio For Strings, Young moved to Germany to study with the modernist composer Karlheinz Stockhausen. While studying with Stockhausen, he became interested in the work of John Cage, and started up a correspondence with Cage. On his return to New York he studied with Cage and started writing pieces inspired by Cage, of which the most musical is probably Composition 1960 #7: [Excerpt: La Monte Young, "Composition 1960 #7"] The score for that piece is a stave on which is drawn a treble clef, the notes B and F#, and the words "To be held for a long Time". Other of his compositions from 1960 -- which are among the few of his compositions which have been published -- include composition 1960 #10 ("To Bob Morris"), the score for which is just the instruction "Draw a straight line and follow it.", and Piano Piece for David  Tudor #1, the score for which reads "Bring a bale of hay and a bucket of water onto the stage for the piano to eat and drink. The performer may then feed the piano or leave it to eat by itself. If the former, the piece is over after the piano has been fed. If the latter, it is over after the piano eats or decides not to". Most of these compositions were performed as part of a loose New York art collective called Fluxus, all of whom were influenced by Cage and the Dadaists. This collective, led by George Maciunas, sometimes involved Cage himself, but also involved people like Henry Flynt, the inventor of conceptual art, who later became a campaigner against art itself, and who also much to Young's bemusement abandoned abstract music in the mid-sixties to form a garage band with Walter de Maria (who had played drums with the Druds): [Excerpt: Henry Flynt and the Insurrections, "I Don't Wanna"] Much of Young's work was performed at Fluxus concerts given in a New York loft belonging to another member of the collective, Yoko Ono, who co-curated the concerts with Young. One of Ono's mid-sixties pieces, her "Four Pieces for Orchestra" is dedicated to Young, and consists of such instructions as "Count all the stars of that night by heart. The piece ends when all the orchestra members finish counting the stars, or when it dawns. This can be done with windows instead of stars." But while these conceptual ideas remained a huge part of Young's thinking, he soon became interested in two other ideas. The first was the idea of just intonation -- tuning instruments and voices to perfect harmonics, rather than using the subtly-off tuning that is used in Western music. I'm sure I've explained that before in a previous episode, but to put it simply when you're tuning an instrument with fixed pitches like a piano, you have a choice -- you can either tune it so that the notes in one key are perfectly in tune with each other, but then when you change key things go very out of tune, or you can choose to make *everything* a tiny bit, almost unnoticeably, out of tune, but equally so. For the last several hundred years, musicians as a community have chosen the latter course, which was among other things promoted by Bach's Well-Tempered Clavier, a collection of compositions which shows how the different keys work together: [Excerpt: Bach (Glenn Gould), "The Well-Tempered Clavier, Book II: Fugue in F-sharp minor, BWV 883"] Young, by contrast, has his own esoteric tuning system, which he uses in his own work The Well-Tuned Piano: [Excerpt: La Monte Young, "The Well-Tuned Piano"] The other idea that Young took on was from Indian music, the idea of the drone. One of the four recordings of Young's music that is available from his Bandcamp, a 1982 recording titled The Tamburas of Pandit Pran Nath, consists of one hour, thirteen minutes, and fifty-eight seconds of this: [Excerpt: La Monte Young, "The Tamburas of Pandit Pran Nath"] Yes, I have listened to the whole piece. No, nothing else happens. The minimalist composer Terry Riley describes the recording as "a singularly rare contribution that far outshines any other attempts to capture this instrument in recorded media". In 1962, Young started writing pieces based on what he called the "dream chord", a chord consisting of a root, fourth, sharpened fourth, and fifth: [dream chord] That chord had already appeared in his Trio for Strings, but now it would become the focus of much of his work, in pieces like his 1962 piece The Second Dream of the High-Tension Line Stepdown Transformer, heard here in a 1982 revision: [Excerpt: La Monte Young, "The Second Dream of the High-Tension Line Stepdown Transformer"] That was part of a series of works titled The Four Dreams of China, and Young began to plan an installation work titled Dream House, which would eventually be created, and which currently exists in Tribeca, New York, where it's been in continuous "performance" for thirty years -- and which consists of thirty-two different pure sine wave tones all played continuously, plus purple lighting by Young's wife Marian Zazeela. But as an initial step towards creating this, Young formed a collective called Theatre of Eternal Music, which some of the members -- though never Young himself -- always claim also went by the alternative name The Dream Syndicate. According to John Cale, a member of the group, that name came about because the group tuned their instruments to the 60hz hum of the fridge in Young's apartment, which Cale called "the key of Western civilisation". According to Cale, that meant the fundamental of the chords they played was 10hz, the frequency of alpha waves when dreaming -- hence the name. The group initially consisted of Young, Zazeela, the photographer Billy Name, and percussionist Angus MacLise, but by this recording in 1964 the lineup was Young, Zazeela, MacLise, Tony Conrad and John Cale: [Excerpt: "Cale, Conrad, Maclise, Young, Zazeela - The Dream Syndicate 2 IV 64-4"] That recording, like any others that have leaked by the 1960s version of the Theatre of Eternal Music or Dream Syndicate, is of disputed legality, because Young and Zazeela claim to this day that what the group performed were La Monte Young's compositions, while the other two surviving members, Cale and Conrad, claim that their performances were improvisational collaborations and should be equally credited to all the members, and so there have been lawsuits and countersuits any time anyone has released the recordings. John Cale, the youngest member of the group, was also the only one who wasn't American. He'd been born in Wales in 1942, and had had the kind of childhood that, in retrospect, seems guaranteed to lead to eccentricity. He was the product of a mixed-language marriage -- his father, William, was an English speaker while his mother, Margaret, spoke Welsh, but the couple had moved in on their marriage with Margaret's mother, who insisted that only Welsh could be spoken in her house. William didn't speak Welsh, and while he eventually picked up the basics from spending all his life surrounded by Welsh-speakers, he refused on principle to capitulate to his mother-in-law, and so remained silent in the house. John, meanwhile, grew up a monolingual Welsh speaker, and didn't start to learn English until he went to school when he was seven, and so couldn't speak to his father until then even though they lived together. Young John was extremely unwell for most of his childhood, both physically -- he had bronchial problems for which he had to take a cough mixture that was largely opium to help him sleep at night -- and mentally. He was hospitalised when he was sixteen with what was at first thought to be meningitis, but turned out to be a psychosomatic condition, the result of what he has described as a nervous breakdown. That breakdown is probably connected to the fact that during his teenage years he was sexually assaulted by two adults in positions of authority -- a vicar and a music teacher -- and felt unable to talk to anyone about this. He was, though, a child prodigy and was playing viola with the National Youth Orchestra of Wales from the age of thirteen, and listening to music by Schoenberg, Webern, and Stravinsky. He was so talented a multi-instrumentalist that at school he was the only person other than one of the music teachers and the headmaster who was allowed to use the piano -- which led to a prank on his very last day at school. The headmaster would, on the last day, hit a low G on the piano to cue the assembly to stand up, and Cale had placed a comb on the string, muting it and stopping the note from sounding -- in much the same way that his near-namesake John Cage was "preparing" pianos for his own compositions in the USA. Cale went on to Goldsmith's College to study music and composition, under Humphrey Searle, one of Britain's greatest proponents of serialism who had himself studied under Webern. Cale's main instrument was the viola, but he insisted on also playing pieces written for the violin, because they required more technical skill. For his final exam he chose to play Hindemith's notoriously difficult Viola Sonata: [Excerpt: Hindemith Viola Sonata] While at Goldsmith's, Cale became friendly with Cornelius Cardew, a composer and cellist who had studied with Stockhausen and at the time was a great admirer of and advocate for the works of Cage and Young (though by the mid-seventies Cardew rejected their work as counter-revolutionary bourgeois imperialism). Through Cardew, Cale started to correspond with Cage, and with George Maciunas and other members of Fluxus. In July 1963, just after he'd finished his studies at Goldsmith's, Cale presented a festival there consisting of an afternoon and an evening show. These shows included the first British performances of several works including Cardew's Autumn '60 for Orchestra -- a piece in which the musicians were given blank staves on which to write whatever part they wanted to play, but a separate set of instructions in *how* to play the parts they'd written. Another piece Cale presented in its British premiere at that show was Cage's "Concerto for Piano and Orchestra": [Excerpt: John Cage, "Concerto for Piano and Orchestra"] In the evening show, they performed Two Pieces For String Quartet by George Brecht (in which the musicians polish their instruments with dusters, making scraping sounds as they clean them),  and two new pieces by Cale, one of which involved a plant being put on the stage, and then the performer, Robin Page, screaming from the balcony at the plant that it would die, then running down, through the audience, and onto the stage, screaming abuse and threats at the plant. The final piece in the show was a performance by Cale (the first one in Britain) of La Monte Young's "X For Henry Flynt". For this piece, Cale put his hands together and then smashed both his arms onto the keyboard as hard as he could, over and over. After five minutes some of the audience stormed the stage and tried to drag the piano away from him. Cale followed the piano on his knees, continuing to bang the keys, and eventually the audience gave up in defeat and Cale the performer won. After this Cale moved to the USA, to further study composition, this time with Iannis Xenakis, the modernist composer who had also taught Mickey Baker orchestration after Baker left Mickey and Sylvia, and who composed such works as "Orient Occident": [Excerpt: Iannis Xenakis, "Orient Occident"] Cale had been recommended to Xenakis as a student by Aaron Copland, who thought the young man was probably a genius. But Cale's musical ambitions were rather too great for Tanglewood, Massachusetts -- he discovered that the institute had eighty-eight pianos, the same number as there are keys on a piano keyboard, and thought it would be great if for a piece he could take all eighty-eight pianos, put them all on different boats, sail the boats out onto a lake, and have eighty-eight different musicians each play one note on each piano, while the boats sank with the pianos on board. For some reason, Cale wasn't allowed to perform this composition, and instead had to make do with one where he pulled an axe out of a single piano and slammed it down on a table. Hardly the same, I'm sure you'll agree. From Tanglewood, Cale moved on to New York, where he soon became part of the artistic circles surrounding John Cage and La Monte Young. It was at this time that he joined Young's Theatre of Eternal Music, and also took part in a performance with Cage that would get Cale his first television exposure: [Excerpt: John Cale playing Erik Satie's "Vexations" on "I've Got a Secret"] That's Cale playing through "Vexations", a piece by Erik Satie that wasn't published until after Satie's death, and that remained in obscurity until Cage popularised -- if that's the word -- the piece. The piece, which Cage had found while studying Satie's notes, seems to be written as an exercise and has the inscription (in French) "In order to play the motif 840 times in succession, it would be advisable to prepare oneself beforehand, and in the deepest silence, by serious immobilities." Cage interpreted that, possibly correctly, as an instruction that the piece should be played eight hundred and forty times straight through, and so he put together a performance of the piece, the first one ever, by a group he called the Pocket Theatre Piano Relay Team, which included Cage himself, Cale, Joshua Rifkin, and several other notable musical figures, who took it in turns playing the piece. For that performance, which ended up lasting eighteen hours, there was an entry fee of five dollars, and there was a time-clock in the lobby. Audience members punched in and punched out, and got a refund of five cents for every twenty minutes they'd spent listening to the music. Supposedly, at the end, one audience member yelled "Encore!" A week later, Cale appeared on "I've Got a Secret", a popular game-show in which celebrities tried to guess people's secrets (and which is where that performance of Cage's "Water Walk" we heard earlier comes from): [Excerpt: John Cale on I've Got a Secret] For a while, Cale lived with a friend of La Monte Young's, Terry Jennings, before moving in to a flat with Tony Conrad, one of the other members of the Theatre of Eternal Music. Angus MacLise lived in another flat in the same building. As there was not much money to be made in avant-garde music, Cale also worked in a bookshop -- a job Cage had found him -- and had a sideline in dealing drugs. But rents were so cheap at this time that Cale and Conrad only had to work part-time, and could spend much of their time working on the music they were making with Young. Both were string players -- Conrad violin, Cale viola -- and they soon modified their instruments. Conrad merely attached pickups to his so it could be amplified, but Cale went much further. He filed down the viola's bridge so he could play three strings at once, and he replaced the normal viola strings with thicker, heavier, guitar and mandolin strings. This created a sound so loud that it sounded like a distorted electric guitar -- though in late 1963 and early 1964 there were very few people who even knew what a distorted guitar sounded like. Cale and Conrad were also starting to become interested in rock and roll music, to which neither of them had previously paid much attention, because John Cage's music had taught them to listen for music in sounds they previously dismissed. In particular, Cale became fascinated with the harmonies of the Everly Brothers, hearing in them the same just intonation that Young advocated for: [Excerpt: The Everly Brothers, "All I Have to Do is Dream"] And it was with this newfound interest in rock and roll that Cale and Conrad suddenly found themselves members of a manufactured pop band. The two men had been invited to a party on the Lower East Side, and there they'd been introduced to Terry Phillips of Pickwick Records. Phillips had seen their long hair and asked if they were musicians, so they'd answered "yes". He asked if they were in a band, and they said yes. He asked if that band had a drummer, and again they said yes. By this point they realised that he had assumed they were rock guitarists, rather than experimental avant-garde string players, but they decided to play along and see where this was going. Phillips told them that if they brought along their drummer to Pickwick's studios the next day, he had a job for them. The two of them went along with Walter de Maria, who did play the drums a little in between his conceptual art work, and there they were played a record: [Excerpt: The Primitives, "The Ostrich"] It was explained to them that Pickwick made knock-off records -- soundalikes of big hits, and their own records in the style of those hits, all played by a bunch of session musicians and put out under different band names. This one, by "the Primitives", they thought had a shot at being an actual hit, even though it was a dance-craze song about a dance where one partner lays on the floor and the other stamps on their head. But if it was going to be a hit, they needed an actual band to go out and perform it, backing the singer. How would Cale, Conrad, and de Maria like to be three quarters of the Primitives? It sounded fun, but of course they weren't actually guitarists. But as it turned out, that wasn't going to be a problem. They were told that the guitars on the track had all been tuned to one note -- not even to an open chord, like we talked about Steve Cropper doing last episode, but all the strings to one note. Cale and Conrad were astonished -- that was exactly the kind of thing they'd been doing in their drone experiments with La Monte Young. Who was this person who was independently inventing the most advanced ideas in experimental music but applying them to pop songs? And that was how they met Lou Reed: [Excerpt: The Primitives, "The Ostrich"] Where Cale and Conrad were avant-gardeists who had only just started paying attention to rock and roll music, rock and roll was in Lou Reed's blood, but there were a few striking similarities between him and Cale, even though at a glance their backgrounds could not have seemed more different. Reed had been brought up in a comfortably middle-class home in Long Island, but despised the suburban conformity that surrounded him from a very early age, and by his teens was starting to rebel against it very strongly. According to one classmate “Lou was always more advanced than the rest of us. The drinking age was eighteen back then, so we all started drinking at around sixteen. We were drinking quarts of beer, but Lou was smoking joints. He didn't do that in front of many people, but I knew he was doing it. While we were looking at girls in Playboy, Lou was reading Story of O. He was reading the Marquis de Sade, stuff that I wouldn't even have thought about or known how to find.” But one way in which Reed was a typical teenager of the period was his love for rock and roll, especially doo-wop. He'd got himself a guitar, but only had one lesson -- according to the story he would tell on numerous occasions, he turned up with a copy of "Blue Suede Shoes" and told the teacher he only wanted to know how to play the chords for that, and he'd work out the rest himself. Reed and two schoolfriends, Alan Walters and Phil Harris, put together a doo-wop trio they called The Shades, because they wore sunglasses, and a neighbour introduced them to Bob Shad, who had been an A&R man for Mercury Records and was starting his own new label. He renamed them the Jades and took them into the studio with some of the best New York session players, and at fourteen years old Lou Reed was writing songs and singing them backed by Mickey Baker and King Curtis: [Excerpt: The Jades, "Leave Her For Me"] Sadly the Jades' single was a flop -- the closest it came to success was being played on Murray the K's radio show, but on a day when Murray the K was off ill and someone else was filling in for him, much to Reed's disappointment. Phil Harris, the lead singer of the group, got to record some solo sessions after that, but the Jades split up and it would be several years before Reed made any more records. Partly this was because of Reed's mental health, and here's where things get disputed and rather messy. What we know is that in his late teens, just after he'd gone off to New

Michael wandelt jeden Tag im Luxus, zumindest wenn er an seinem Arbeitsplatz ist. Die Dichte an Luxusmarken und begehrten Konsumgütern ist an kaum einem Platz in Europa so groß wie im KADEWE. Ich habe ihn dort am frühen Montag Nachmittag besucht und der Laden war bereits gut besucht - vor einigen der Top Marken haben sich bereits Schlangen gebildet. Nach einer ausführlichen Führung weiß ich auch warum - und die viel belächelten (E-Commerce Szene) bzw. bewunderten (Architekten Szene) Holzrolltreppen sind nur ein kleiner Teil der Antwort. Mich hat natürlich interessiert, warum Marken dort sein wollen und nicht viel lieber auf dem Kudamm im eigenen Store und welche Rolle E-Commerce bei diesem Konzept spielt. Mit den unfassbar leckeren Törtchen im Obergeschoss hat Michael mich aber spätestens überzeugt. Reinhören! Kassenzone / Doppelgänger Party? kassenzone.de/party gehosted von InterNetX & IONOS Community: https://kassenzone.de/discord Feedback zum Podcast? Mail an alex@kassenzone.de Disclaimer: https://www.kassenzone.de/disclaimer/ Alexander Graf: https://www.linkedin.com/in/alexandergraf/ https://twitter.com/supergraf Youtube: https://www.youtube.com/c/KassenzoneDe/ Blog: https://www.kassenzone.de/ E-Commerce Buch: https://www.amazon.de/gp/product/3866413076/ Tassen kaufen: http://www.tassenzone.com

Food / Drink & Lifestyle PodcastVon der Bar, ins Restaurant, ins KaDeWe!Wir haben heute einen ganz besonderen Gast bei uns und zwar keinen geringeren als den fabelhaften Maxim Kilian. Der worlds 50 Best Bars award / World class Bartender (GER) und Finalist (World) Gewinner redet mit uns über learnings, food/drink pairings und Es(s)kalationen in den eigenen vier Wänden. Ganz schön viele Anglizismen, aber Maxim spielt tatsächlich in der Weltliga mit und füllt aktuell Drinks in Flaschen ab. Nicht nur "irgendwelche" Drinks, sondern handcrafted bottled cocktails die von ihm selbst entworfen sind und unter anderem im KaDeWe erhältlich sind.Es lohnt sich. Also beides…Folge hören und Boutique Drinks trinken.Zu den bottled cocktails von Maxim Kilian :https://de.boutiquedrinks.deDU WILLST MEHR VON UNS ERFAHREN?Besucht uns auf Instagram, wenn Ihr noch mehr Rezepte von uns sehen wollt.Ausserdem gibt es zu jedem Rezept eine kleine Sonderfolge auf Patreon.JEDE WOCHE 2 NEUE REZEPTE AUF INSTAGRAM UND PATREONZu den Links:INSTAGRAMhttps://www.instagram.com/kauundschluckhttps://www.instagram.com/dieserdennismaierhttps://www.instagram.com/paulsieferle/KAU & SCHLUCK LIEDER LISTE:https://open.spotify.com/playlist/6jRmQrG5eN4zHntNYP4Guw?si=71876eca9aa64866PATREON:https://www.patreon.com/KauundschluckDISCORD:https://discord.gg/GYRRFGaara Hosted on Acast. See acast.com/privacy for more information.

Diese Folgenbeschreibung wurde auf Grundlage einiger von Kultkonsti eilig zusammengeschmierten Notizen komplett eigenständig von ChatGPT erstellt. Und was soll man sagen? Touché! In der aktuellen Episode von Baywatch Berlin geht es gleich zu Beginn plump-vertraulich los, als Klaas den Anfang des Podcasts fertig macht. Es wird darüber gesprochen, dass Schmitti nicht mehr zum Späti geht, wenn er dort gegrüßt wird. Im Verlauf der Episode machen sich die Moderatoren endlich mal ehrlich und vergleichen ihre Badehosen mit der von Steven Gätjen. Sie berichten von einem Ausflug auf KadeWe-Kosten, wo sie sich durchgefressen haben und sich als "Jakob von Baywatch Berlin" fast prominent gefühlt haben. Außerdem wird von Steven Gätjens Erfahrungen bei der Suche nach Hollywood-Stars erzählt, welcher als der härteste Job der Welt am roten Teppich beschrieben wird. Schmitti berichtet von einem Abend in einem Sternerestaurant, wo er am Tisch mit Fremden saß und einen Pinocchio-Teller bekam. Im weiteren Verlauf wird darüber gesprochen, wie schwer es ist, als Erwachsener neue Freunde zu finden und es wird ein Aufruf gestartet, um Klaas Heufer-Umlaufs neuen Freund zu finden. Schließlich geht es um die Zukunft des Podcasts und ob es bessere und intelligentere Vorschläge geben wird. Die Stimmung wird etwas düster, als die Moderatoren sich Gedanken darüber machen, was passieren wird, wenn sie keine neuen Ideen mehr haben. Zum Abschluss wird die Idee einer neuen Doku besprochen, welche von ChatGPT vorgeschlagen wurde und die Zukunft des Podcasts wieder etwas aufhellt. Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/BaywatchBerlin

Jonathan Trozzolo sells Omega watches and supports clients at the KaDeWe Boutique on Berlin's KuDamm. In thinking of time, JT heartily encourages you to read history! In particular, he urges you towards Mary Beard's acclaimed history of Ancient Rome, SPQR. You can hear her discuss her work at the 92nd St. Y. Do you enjoy these explorations of working lives? Please support this project on Patreon. Check out my free weekly newsletter, The Sabbateur.  All my other projects are over here.  Get in touch on Insta, Twitter, Facebook, or at podcastforaliving [at] gmail.  Please hit that follow/subscribe button, leave a review, and share the pod with your people Special thanks to Liv Hunt for our logo design.  Our theme song is Nile's Blues by Kevin MacLeod, licensed under Creative Commons by an Attribution 4.0 License. Please take good care of yourself. Thank you for listening! ★ Support this podcast on Patreon ★

Was Jahr für Jahr beim Karneval funktioniert, wird auch bei Baywatch Berlin erfolgreich sein: Gute Laune per Beschluss. Pünktlich zu Beginn der diesjährigen „Summer Breeze“-Saison ist das Leben wieder ein Leichtes, die Gedanken sommerlich und die Laune auf Rekordhoch! Machen Sie sich frei, schlüpfen Sie gedanklich in ihre Puna-Badehose und genießen Sie diesen Podcast, der - wie Kondenswasser am Bierglas - an ihrer Seele runterperlt. Um Sie, werte Hörerinnen und Hörer, nicht mit den Schwierigkeiten des Alltags zu belasten, haben Heufer-Umlauf, Schmitt und Lundt wieder einmal einen Blumenstrauß aus den egalsten und profansten Themen zusammengesteckt: Schmitt hat sein Ritterspiel zu Ende gebracht, nennt sich jetzt „Eldenfürst“ und fordert dafür Ehre und Anerkennung. Doch das haben Klaas und Lundt leider, leider nicht im Angebot. Dafür jetzt neu: Lundt ist auf einer Autofahrt nach München kurz in seine Pubertät abgebogen und hat festgestellt, dass in ihm ein kleiner Punker schlummert. Im Jahr des Herrn 2022 (!) hat der junggebliebene Mittdreißiger festgestellt, dass „Die Ärzte“ ja ganz fetzige Musik für aufmüpfige Jugendliche in ihrem Portfolio haben. What´s next? Teenage Riot im KaDeWe? Wird man ihn bald nur noch „Schlemmi“ oder „Geldi“ nennen? Wird Lundt zum stadtbekannten Austern-Punk? Wir bleiben dran. Aber auch Klaas hat Probleme mit der Jugend: seine ist nämlich definitiv vorbei. Gerade noch war die „Jackass“-Truppe um Johnny Knoxville der Quell all seines Tun und Handelns - schon sitzt er da, in seinem Seniorensessel - und kann über das bunte Treiben der amerikanischen Radautruppe nur noch verständnislos den Kopf schütteln. Aber so ist das wohl im Leben: Die Jugend verblasst, die Welt ist im Wandel, aus Kaffee wird Punk - nur die Baywatch Berlin Summer Breeze, die wird ewig blühen. Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/BaywatchBerlin

Was schenkt man einem Mann (Klaas), der alles hat? Was macht ihn glücklich? Welche Sehnsüchte blieben ihm bislang unerfüllt? All diese Fragen haben Lundt und Schmitt ihrem Promikollegen noch nie gestellt - also sieht sich Klaas gezwungen, die Antworten ungefragt zu servieren. Da auf Klaas Bucket-List die Worte „Nachtschicht“ und „Bohlen“ stehen, sind wir uns aber immer noch nicht sicher, ob wir das wirklich richtig verstanden haben. Urteilen Sie selbst. Während die einen noch träumen, leben andere ihren Traum. Im Fall von Schmitt ist das dann tragischerweise ein Junggesellenabschied in der Kulturmetropole Düsseldorf (Altstadt). Was der Eldenlord of Peinlich in dieser Nacht am Rhein erlebt hat, will er natürlich wieder unter den Stripclub kehren - aber Klaas und Lundt haben ja „ihre Techniken“ um die Fakten aus ihm (r)auszupeitschen. „Was issn dann mit Lundt und seinen Träumen?“ hören wir sie erwartungsfroh säuseln. „Wofür schlägt das Herz des Kaffeearschlochs?“ Etwa für die hingebungsvolle Pflege seines rückenkranken Gaul „Fix“? Nein. Für den Traum einer Schlemmernacht im KaDeWe? Schon eher. Für einen Sieg bei der bald wieder anstehenden Wahl zum „schönsten Berliner“? Wohl kaum. Doch auch wenn all diese Themen nicht für eine Checkliste des Lebens taugen - für eine Folge von #baywatchberlin reicht es aus. Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/BaywatchBerlin

Es sollte kein schnödes Kaufhaus sein, in dem man mal eben schnell ein T-Shirt erwirbt oder ein Stück Seife. Es sollte ein Ort sein, an dem sich die Menschen wohlfühlen, denen etwas fehlt, obwohl sie schon alles haben. Ein Ort, an dem Reichtum zelebriert wird und wo man gern viel Geld lässt für Dinge, die man nicht braucht. Autor: Thomas Klug Von Thomas Klug.