Podcasts about Leeuw

In zijn Ogives gebruikte Satie geen maatstrepen Je mag in alle vrijheid zelf je tempo bepalen, als het maar héél langzaam is. Reinbert de Leeuw liet zich dat geen twee keer zeggen en speelt t r a a g ..... Wil je meer Kalm met Klassiek? Ga naar npoklassiek.nl/kalmmetklassiek (https://www.npoklassiek.nl/kalmmetklassiek). Alle muziek uit de podcast vind je terug in de bijbehorende speellijst (https://open.spotify.com/playlist/6YgSfm1Sux7CroiJvzeUdx?si=f0f254ee8f4048e7). 

Waardeer je onze video's? Steun dan Café Weltschmerz, het podium voor het vrije woord: https://www.cafeweltschmerz.nl/doneren/n de 107e aflevering van De Andere Tafel ontvangt presentator Sander Compagner de vier organisatoren van een retreat voor en door jongeren dat in juli zal plaatsvinden in Portugal. Justin Oversier, Jasper Kobes, Agnes van Lingen en Heleen de Leeuw willen jongeren helpen om “los te komen van de sleur van het dagelijkse leven. Ruimte te maken voor jezelf om naar binnen te kunnen keren en verbinding te kunnen maken met jezelf en elkaar”. Het viertal bespreekt de tijdsgeest en welke weerslag dat op jongeren heeft en wat ze in Portugal van plan zijn.Meer informatie en aanmelden voor het retreat kan via: https://jasperkobes.nl/back-to-the-roots/Deze video is geproduceerd door Café Weltschmerz. Café Weltschmerz gelooft in de kracht van het gesprek en zendt interviews uit over actuele maatschappelijke thema's. Wij bieden een hoogwaardig alternatief voor de mainstream media. Café Weltschmerz is onafhankelijk en niet verbonden aan politieke, religieuze of commerciële partijen.Wil je meer video's bekijken en op de hoogte blijven via onze nieuwsbrief? Ga dan naar: https://www.cafeweltschmerz.nl/videos/Wil je op de hoogte worden gebracht van onze nieuwe video's? Klik dan op deze link: https://bit.ly/3XweTO0

Na succesvolle jaren televisie maken werd Paul de Leeuw ineens minder gevraagd. Die gedachte brengt twijfel: wat is je houdbaarheidsdatum? In de jaren negentig werkte grensoverschrijdende humor bevrijdend. „Dat was niet altijd om mensen te beledigen of af te zeiken, maar het was een soort viering. Nu kunnen we van alles tegen elkaar zeggen, dachten we toen." Nu ziet De Leeuw dat veel van die fragmenten uit z'n context gehaald worden. Elke paar jaar komt er weer „een soort hoos” over hem heen. „Een parodie met een jongetje werd tot één minuut geknipt en ging viraal, waarna ik de grootste pedofiel van Nederland werd genoemd.”Ooit ontving De Leeuw zelfs een doodsbedreiging: „Een uitgevijlde kogel in een brief naar het kantoor van de VARA.” Maar hij laat zich niet verzuren door kritiek en twijfel over zijn relevantie. Als kind stond hij al met een haarborstel te oefenen voor de spiegel, en daar staat hij zichzelf tot op de dag van vandaag nog steeds toe te spreken. Zijn houdbaarheidsdatum is nog niet verstreken. „Je moet jezelf opnieuw uitvinden. Maar dat is enorm gelukt.” Heeft u vragen, suggesties of ideeën over onze journalistiek? Mail dan naar podcast@nrc.nl.Presentatie: Pieter van der WielenRedactie en productie: Merel van Waalwijk van DoornMixage: AudiochefMuziek: Rufus van BaardwijkFoto: NRCZie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

In dit klant gesprek met Pascalle de Leeuw spreken we o.a. over: * zorgmoeder zijn versus kinderen die op hun eigen voeten staan * ok zijn met een leven van een 7 versus gaan voor die 9,5 * wat radicale eerlijkheid van jezelf ook vraagt van de buitenwereld * hoe Pascalle een innerlijke shift maakte waardoor zelfzorg niet een to do ding of een moetje meer is, maar een moeiteloos én ononderhandelbaar onderdeel van haar leven * wat er veranderde in haar geld- en klantenstroom * en hoe het volgen van het langzaamste deel in jou zorgt dat tijd ineens een ander gegeven wordt. Je vindt Pascalle via haar website of via LinkedIn. - - - Heerlijk dat je luisterde. Super als je de aflevering wil delen met je netwerk en mijn podcast ⭐⭐⭐⭐⭐ sterren geeft. Klik dan ook gelijk even op abonneren en je krijgt automatisch 2x per week mijn nieuwe afleveringen in je feed. Tof om online met je te verbinden via Instagram of LinkedIn. Stuur me daar gerust je vragen of opmerkingen over deze aflevering. Interesse om met mij te werken? Op jannekerobers.nl vind je alle informatie over o.a. mijn Sensueel belichaamd leiderschapsjaar Voluit vrouw-zijn, de bekkenmassage training en mijn online Sensual Sanctuary. Ook kun je daar gelijk zelf aan de slag met gratis oefeningen en een 15 minuten call met mij boeken als je interesse hebt in één van de programma's.

Songfestivalpresentator Cornald Maas en schrijver/presentator Erik Dijkstra zijn te gast op De Perstribune bij Margreet Reijntjes. Cornald Maas is de tv-maker die we, behalve met cultuurprogramma's als Volle Zalen en Opium vooral associeren met het Eurovisiesongfestival. Al ruim 20 jaar is hij de vaste commentator bij dit muziekspektakel, maar dit jaar niet omdat AVROTROS door de omstreden deelname van Israel besloot het festival te boycotten. Maas begon als redacteur voor oa Sonja Barend en Paul de Leeuw en was later eindredacteur van De Plantage. Ook publiceert hij boeken en maakte hij interviews voor de Volkskrant. Erik Dijkstra is journalist en schrijver met een grote liefde voor sport. Bekend van Bureau Sport en het radio 1 programma Dijkstra en Evenblij Ter Plekke. Daarnaast publiceert hij boeken; die gaan niet alleen over sport (zoals over schaatser Hans van Helden en zijn recent verschenen boek Druk, in het hoofd van Kampioenen') maar ook over historische onderwerpen. Een thema dat hem als historicus en presentator van de kennisquiz Per seconde wijzer ook aan het hart gaat.

In deze aflevering bespreken we het gevecht dat Soundos El Ahmadi afgelopen winter had met Bart Schols bij de Vlaamse buren...Gast: Adelheid Stormshttps://www.instagram.com/adelheidstorms/https://adelheidstorms.org***Steun Open Geesten / Zomergeesten / Boze Geesten Podcast

Bart Geeraedts gaat in gesprek met Marlous Nooi en Sandra Meeuwsen over de summerschool De filosofie van voetbal. Ze bespreken wat voetbal nu zo aantrekkelijk maakt, waarom mensen (inclusief zijzelf) urenlang over voetbal kunnen praten, en wat het betekent om supporter te zijn.  Marlous organiseert de summerschool, en Sandra is een van de gastsprekers, naast Martine Prange, Jan de Leeuw, Niels Witjes en Rens van der Vorst.  De filosofie van voetbal vindt plaats van 13 t/m 17 juli 2026. 

Pippa Hudson speaks to Natasha de Leeuw, a trainer at Soil for Life, a public benefit organisation focused on teaching people to grow their own food. Lunch with Pippa Hudson is CapeTalk’s mid-afternoon show. This 2-hour respite from hard news encourages the audience to take the time to explore, taste, read and reflect. The show - presented by former journalist, baker and water sports enthusiast Pippa Hudson - is unashamedly lifestyle driven. Popular features include a daily profile interview #OnTheCouch at 1:10pm. Consumer issues are in the spotlight every Wednesday while the team also unpacks all things related to health, wealth & the environment. Thank you for listening to a podcast from Lunch with Pippa Hudson Listen live on Primedia+ weekdays between 13:00 and 15:00 (SA Time) to Lunch with Pippa Hudson broadcast on CapeTalk https://buff.ly/NnFM3Nk For more from the show go to https://buff.ly/MdSlWEs or find all the catch-up podcasts here https://buff.ly/fDJWe69 Subscribe to the CapeTalk Daily and Weekly Newsletters https://buff.ly/sbvVZD5 Follow us on social media: CapeTalk on Facebook: https://www.facebook.com/CapeTalk CapeTalk on TikTok: https://www.tiktok.com/@capetalk CapeTalk on Instagram: https://www.instagram.com/ CapeTalk on X: https://x.com/CapeTalk CapeTalk on YouTube: https://www.youtube.com/@CapeTalk567 See omnystudio.com/listener for privacy information.

Zijn verhaal lijkt misschien iets uit een ver verleden, maar niets is minder waar. In onze tijd waarin de vrijheid wereldwijd onder druk staat, is de strijd van de achttiende-eeuwse radicaal Pieter Vreede - voor inspraak, gelijkheid en democratie - actueler dan ooit. Pleger van een staatsgreep en schrijver van het volkslied — maar ook een gebroken vader. Wie was hij echt? Reageren? podcast@bhic.nl of met een spraakbericht naar Whatsapp: 06-12887717 Alles over onze podcast: www.bhic.nl/podcast Afleveringen met ondertiteling: www.youtube.com/@bhicarchief Archieven: Levensloop van Pieter Vreede, 1758-1796 (toegangsnr. 1127) https://www.bhic.nl/integrated?mivast=235&mizig=210&miadt=235&micode=1127&miview=inv2 Het geheugen van Brabant is een podcast van het Brabants Historisch Informatie Centrum (BHIC) in 's-Hertogenbosch en wordt gemaakt door Marilou Nillesen, met dank aan het podcastteam: Margot America (communicatie), Ninke van der Heijden (website), Mathilde Min (beeldredactie), Marvin de Rooij (eindmixage), Anton Schuttelaars (onderzoek) en Christian van der Ven (eindredactie). Speciale dank voor deze aflevering aan Dirk Alkemade. Brabants Volkslied gezongen door: Anton Schuttelaars, Joost Hoedemaeckers, Thijs de Leeuw, Vincent van der Griend, Stef Roovers, Arnout van Erp en stagiair Levi. Fragment: Tussen Kunst & Kitsch (Stichting Nederlands Instituut voor Beeld en Geluid) Muziek: Marseillaise (YouTube) True Comedy Detective (Envato Elements) Haunted Guitar (Envato Elements) The Secret Puzzle (Envato Elements) Lacrimosa (Envato Elements) Atmospheric Ambient Piano (Envato Elements)

In this episode of the Foojay Podcast, we're bringing you something special: a full batch of hallway-track conversations recorded live at VoxxedDays Amsterdam.Fifteen guests, one conference, and one theme that kept coming back, whether we planned it or not: Java has grown up quietly, steadily, and in ways that still surprise people who haven't looked lately. We talked about migrating between versions, new features in the latest Java releases, authorization done right, AI-assisted coding, cryptography, containers, open-source contributions, GDPR data experiments, and, yes, the things people hate about Java but secretly love.I spoke with Ko Turk, who organized this very conference, Johannes Bechberger, Lutske de Leeuw, Aicha Laafia, Marit van Dijk, Adele Carpenter, Patrick Baumgartner, Sohan Maheshwar, Jeroen Egelmeers, Erwin Manders, Alexander Shopov, Maarten Verburg, Arjan Tijms, Joost Kaan, and Stephan Janssen.That's a lot of people. That's a lot of opinions. And somehow, they mostly agree: update your JDK, read your code, and please talk to your actual users.Content00:00 Introduction00:30 Ko Turkhttps://www.linkedin.com/in/ko-turk-b271b929/Organizer of VoxxedDays AmsterdamMigrating between Java versions02:25 Johannes Bechbergerhttps://www.linkedin.com/in/johannes-bechberger/Java is boring, and that's why it's brilliantJava 26 test it, but not in productionJFR improvements in the latest versions06:28 Lutske de Leeuwhttps://www.linkedin.com/in/lutske/Volunteer at the conferenceJava is boring, and that's why it's brilliantJava 5 till 26 evolutions10:35 Aicha Laafiahttps://www.linkedin.com/in/aicha-laafia-0266a6126/Lambda stream gatherers in Java 25Simpler and more fun codeUpdate your JDK!16:16 Marit van Dijkhttps://www.linkedin.com/in/maritvandijk/Fun in coding, write Java the playful wayJava evolutions and how writing code has evolvedImportance of code reading with AI-assisted coding22:04 Adele Carpenterhttps://www.linkedin.com/in/adele-carpenter-a988623a/The things I hate about Java, but actually love it27:37 Patrick Baumgartnerhttps://www.linkedin.com/in/patbaumgartner/Organizing VoxxedDays ZurichSpring Boot optimizationUsing Buildpacks to create better containers35:02 Sohan Maheshwarhttps://www.linkedin.com/in/sohanmaheshwar/Authorization, the good wayJWT is a bad idea38:34 Jeroen Egelmeershttps://www.linkedin.com/in/jegelmeers/https://craftingaiprompts.org/documentation/se-framework/craft-frameworkAI, prompt engineering, agentic programmingThe CRAFT Framework: Orchestrating Agentic FlowThe importance of interacting with your end-users43:32 Erwin Mandershttps://www.linkedin.com/in/erwinman/Cryptography, digital signatures, and securing data and messagesComparing Kotlin and Java45:12 Alexander Shopovhttps://www.linkedin.com/in/alshopov/Developer at UberComparing different languages: Java, Python, GoHow Java is modernizing by learning from other languages49:18 Maarten Verburghttps://www.linkedin.com/in/maartenverburg/Using your own GDPR data for fun experimentsComparing early Java with the current statusJava Streams the most important change52:35 Arjan Tijmshttps://www.linkedin.com/in/arjantijms/https://omnifish.ee/Jakarta Faces, Security, Authentication and Authorization, EE,...Jakarta specs are used in SpringHow Java evolved and is still evolvingHow can you contribute to opensource59:55 Joost Kaanhttps://www.linkedin.com/in/joost-kaan/What you can learn at a conference, besides the expected language-related talksAI influences on the developer workContributing to the Java community, AI user group01:03:52 Stephan Janssenhttps://www.linkedin.com/in/stephanjanssen/https://geniebuilder.ai/The importance of the "Hallway Track" where you can chat with like-minded peopleUsing AI-assisted spec-driven codingTalking to your end-user becomes more important than ever01:09:00 Conclusion

Paspoorten in bananenloodsen, mysterieuze autodealers en voetballen op het (misschien toch niet zo) relaxte Bonaire. Nino de Leeuw kan erover meepraten. En oh ja, hij was ook de eerste Nederlander ooit die speelde voor een club uit Amerikaans Samoa.

Het was moddergooien in de rechtbank tussen Yvonne Coldeweijer en Talpa. Eindelijk werd (min of meer) duidelijk waarom het ‘roddelprogramma’ The Juice nooit het daglicht zag. In de AD Media Podcast vertelt verslaggever Gudo Tienhooven hoe het er achter de schermen aan toe ging. ‘Je zag dat de advocaat van Talpa ervan genoot om Yvonne kapot te maken.’ Uiteraard wordt in de podcast uitgebreid stilgestaan bij het stoppen van de talkshowflop RTL Tonight. Waar ging het nu precies mis en had de stekker er niet veel eerder uit gemoeten? Want, zo stelt het panel: Renze Klamer, die het na de zomer in z’n eentje gaat doen, moet al die weggelopen kijkers weer zien terug te winnen. Gaat hem dat lukken? En Paul de Leeuw is terug bij de publieke omroep met het langverwachte Omroep Max-programma Een vergetelijk mooie reis. Hoe ontroerend en ethisch verantwoord is de trip naar Benidorm die hij maakte met dementerende mensen? Ook in deze aflevering: Mark den Blanken oordeelt over de Videoland-realityreeks Football Island, Johnny de Mol presenteert met Pokerface een ‘goedkoop in elkaar geflanst’ quizje en is dit het meest grimmige seizoen van De Verraders tot nu toe? Luisteren dus! Naar de wekelijkse AD Media Podcast, waarin columniste Angela de Jong en mediaverslaggevers Gudo Tienhooven en Mark den Blanken alle hoofd-, rand-, en bijzaken bespreken op het gebied van media. De presentatie is in handen van Manuel Venderbos. Gebruik je liever je favoriete podcastsapps via Spotify of Apple? Dat kan! Vind alle onze podcasts op ad.nl/podcasts.Support the show: https://krant.nl/See omnystudio.com/listener for privacy information.

Oud-FC Groningen-speler Michael de Leeuw (39) schuift aan in de podcast Radio Milko. Hij vertelt over het leven na zijn profcarrière, zijn kijkje in de keuken bij FC Groningen en heeft een tip voor Thom van Bergen. De Leeuw was een publiekslieveling in Groningen. Vorig seizoen stopte hij als profvoetballer, tegenwoordig schopt hij nog tegen een bal bij derdeklasser Groen Geel en kijkt hij bij verschillende afdelingen van FC Groningen rond. De Leeuw is blij met de kans die FC Groningen hem heeft geboden. „De eerste weken na mijn pensioen waren heerlijk, maar op een gegeven moment miste ik wel een doel. Er was een dag dat ik al om 10 uur 's ochtends naar een film zocht op Netflix. Daar werd ik niet gelukkig van”, zegt de Brabander in de podcast. * Vragen voor in de podcast? Mail naar: william.pomp@dvhn.nl * FC Groningen op de voet volgen? Abonneer je hier op onze nieuwsbriefSee omnystudio.com/listener for privacy information.

Hélène Hendriks, Fidan Ekiz, Paul de Leeuw en Rutger Castricum bespreken de actualiteit: stekker uit RTL Tonight, Max Verstappen denkt aan stoppen en discussie over gaswinning uit Groningen.See omnystudio.com/listener for privacy information.

AD | Ontdek bij ⁠U-Sport ⁠top producten voor sportvoeding en optimaal herstel na het sporten. Van energiegels en energy cubes tot eiwitpoeders. ⁠Klik hier⁠We bevinden ons in een van de drukste weken van deze klassiekerperiode. Ronde van Brugge (m/v), E3 Saxo Classic, Gent-Wevelgem (m/v), Ronde van Catalonië, Coppi & Bartali, Olympia's Tour en dan zijn we eigenlijk Milaan-San Remo alweer vergeten. Aan onderwerpen in de nieuwste aflevering van de WielerFlits Podcast dus geen gebrek; luister snel!Hoofdredacteur Maxim ontvangt deze week verslaggevers Niels en Youri. Eerstgenoemde van dat duo was woensdag in Brugge en zag daar vanop de eerste rij hoe Unibet Rose Rockets hun eerste WorldTour-koers wonnen. Dylan Groenewegen levert waar voor zijn geld en scoorde de afgelopen week een onvervalste hattrick. Hij lijkt helemaal terug op zijn oude niveau te zijn. Wat dat betreft is het jammer dat we de Leeuw van Amsterdam in deze vorm zondag aan het werk zien in La Roue Tourangelle in plaats van In Flanders Fields. Oproep: gooi hem er toch maar in.Daarnaast staan we uitgebreid stil bij de keuze die Wout van Aert heeft gemaakt: niet starten in E3 Saxo Classic – toch de beste generale repetitie voor De Ronde over anderhalve week – maar wel in Gent-Wevelgem. Onbegrijpelijk voor velen, maar de gedachten erachter kunnen wel hout snijden. We kijken uitgebreid vooruit naar beide wedstrijden waar Mathieu van der Poel vooral vertrouwen zal willen (her)winnen na Milaan-San Remo. Zeker in E3 zal hij er geen gras over laten groeien. En dan is er nog Mads Pedersen. Knappe terugkeer in San Remo, maar dé test volgt pas dit weekend: houdt die gebroken pols het tijdens volle intensiteit in een finale op kasseien?Uiteraard passeren ook de mannen- en vrouwenkoers van Gent-Wevelgem (In Flanders Fields, zo u wilt). Verder staan we stil bij de (interne) strijd tussen Remco Evenepoel (met zijn ploeggenoot Florian Lipowitz) en Jonas Vingegaard in de Ronde van Catalonië. De Belg zal zich daar dit weekend bergop moeten bewijzen. En dan is er ook nog Olympia's Tour, dat zich meer en meer positioneert als dé opleidingskoers voor 's werelds beste developmentteams in deze periode van het jaar. Een nieuwe hoofdsponsor moet leiden tot de volgende stap. Kortom: snel gaan luisteren!

Nino de Leeuw is de eerste Nederlander in de Oceanische Champions League. De 30-jarige spits vertelt over zijn avontuur op Amerikaans-Samoa en legt uit hoe hij als Nederlander zonder ervaring bij een betaald voetbalclub de hele wereld over vloog om wedstrijden te spelen. Van Dublin in Ierland tot Manila op de Filipijnen en van Malta tot Miami, De Leeuw is overal geweest.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

De ene keer gaat het om een oorlog, de andere keer is het een 'excursie'. Donald Trumps retoriek is "onnavolgbaar", stelt Hans Laroes, oud-hoofdredacteur van NOS. "Wat je ook vraagt hij geeft zijn eigen antwoorden. Die kunnen vandaag anders zijn dan morgen." Volgens Hans van Soest, politiek verslaggever bij het AD, is dat het doel en blijft de Amerikaanse president de 'flood the zone'-tactiek hanteren. "Daarmee brengt hij mensen in verwarring en houdt hij de regie in handen. Je bent de speelbal van Trumps tactiek."  Aan tafel zitten Hans Laroes, Hans van Soest en Spraakmaker Paul de Leeuw. 

Deze Nare Jongens Podcast staat geheel in het teken van knoeiwerk. Met dus hoofdrollen voor onder vele anderen Rob Jetten, Nathalie van Berkel, de skiënde oppositie, Sjoerd W. Sjoerdsma, Paul de Leeuw én Jan Dijkgraaf (zie PS).PS. Door een technische storing in het hoofd van één van de Nare Jongens, wiens naam we hier niet zullen noemen, is de knop waarmee ook beeld wordt opgenomen niet ingedrukt. Ga dus niet naar https://www.youtube.com/@NareJongensPodcastPS2. Abonneren op de extra podcasts doet u op https://petjeaf.com/narejongens

Veel Nederlandse sterren hebben afgelopen weekend carnaval gevierd en ook Evert Santegoeds was van de partij! Welke artiesten hebben gesnabbeld tijdens dit feest? In het programma Het waren twee fantastische dagen klapt Mariska Bauer uit de school over haar seksleven met Frans, waar zoon Chris zondag op reageerde bij Shownieuws. Nog meer nieuws over de Bauers: er zijn namelijk signalen dat er een tweede seizoen komt van het realityprogramma over deze familie. Verder in Strikt Privé: de documentaire van Ferry Doedens is online, Jordi Versteegden is geschrokken van hoe slecht het met de voormalige GTST acteur gaat. En: Ranking the Stars doet Paul de Leeuw geen goeds.See omnystudio.com/listener for privacy information.

Dat Ranking the stars op RTL 4 uitgezonden wordt, snapt het panel van de AD Media Podcast helemaal niets van. Het programma is allang over zijn houdbaarheidsdatum heen en de gasten zijn C-sterren. ‘Paul de Leeuw is wel erg diep gezakt: van Adele naar Sjorleone’ Nog meer RTL: de zender heeft besloten Buddy Vedder en Jamai Loman aan de kant te zetten bij Holland’s Got Talent, nu het programma internationaal gaat en Got Talent gaat heten. Zij worden ingewisseld voor Chantal Janzen en Koen Wauters. Maar gaat dat wel werken? Tot nog toe werkte vrijwel geen enkel amusementsprogramma met zowel Nederlanders als Belgen. Soundos El Ahmadi waste afgelopen week de oren van de Vlaamse presentator Bart Schols. Het panel blikt terug op haar uitspraken en verbaast zich over Schols. Ook wordt er nog stilgestaan bij de mediastorm rond Jutta Leerdam, die ondertussen wel olympisch kampioen werd. Hoe brengt de NOS het ervan af met haar talkshow uit de kelder. Presentator Manuel Venderbos keek aandachtig met een kladblokje en turfde heel veel gesloten vragen. Manuel is ook trots, want zijn bloedeigen nichtje is de invalpresentatrice bij Pauw & De Wit. Hoe deed Roos Moggré haar eerste uitzending? Manuel is fan, maar is het mediapanel dat ook? En er is een update over Chess van De Bondgenoten. Luisteren dus! Naar de wekelijkse AD Media Podcast, waarin columnist Angela de Jong en verslaggever Mark den Blanken alle hoofd-, rand-, en bijzaken bespreken op het gebied van media. De presentatie is in handen van Manuel Venderbos. Luister je liever via Spotify of Apple, of een andere podcastapp? Dat kan! Vind al onze podcasts op ad.nl/podcasts.Support the show: https://krant.nl/See omnystudio.com/listener for privacy information.

Vijf miljoen Nederlanders drinken water dat oorspronkelijk uit de Rijn komt. Deze rivier had ooit als bijnaam het riool van Europa en heet inmiddels schoon te zijn. Maar is dat wel zo? In de rivier worden bij metingen talloze onbekende stoffen gevonden. Misschien zijn deze onschadelijk, misschien is het een nieuwe PFAS. In samenwerking met het Duitse Correctiv. Pointer pop-up Schiedam: AZC in de stad, onrust of overlast? De Pointer Pop-up zit tot aan de gemeenteraadsverkiezingen in Schiedam. Net als in veel andere gemeentes, is de opvang van asielzoekers een heet hangijzer. In Schiedam zorgt de komst van een AZC op het industrieterrein voor onrust bij inwoners en ondernemers. Zijn de bewoners en ondernemers voldoende betrokken bij de besluitvorming van de locatie? Met Wijnand de Leeuw (raadslid PvdA) en Monique Rotteveel (raadslid Lokaal Onafhankelijk Schiedam). Stiekem kijken in patiëntengegevens? Straks ook vanuit Europa geen probleem Een nieuw landelijk systeem voor het delen van medische gegevens, Mitz, wordt op dit moment breed ingevoerd in de zorg. Eerder bleek al uit onderzoek van Pointer dat dit systeem grootschalige, heimelijke inzage in patiëntendossiers mogelijk maakt. Nu blijkt dat er nog meer aan de hand is: de ingebouwde waarborgen tegen misbruik zijn namelijk ver ondermaats, zeggen deskundigen. Privacy-organisaties eisen dan ook dat de uitrol van het systeem onmiddellijk wordt teruggedraaid. Of dat gaat gebeuren? Het lijkt onwaarschijnlijk want Mitz wordt zelfs klaargemaakt voor het ondersteunen van brede gegevensdeling binnen Europa.  

Vijf miljoen Nederlanders drinken water dat oorspronkelijk uit de Rijn komt. Deze rivier had ooit als bijnaam het riool van Europa en heet inmiddels schoon te zijn. Maar is dat wel zo? In de rivier worden bij metingen talloze onbekende stoffen gevonden. Misschien zijn deze onschadelijk, misschien is het een nieuwe PFAS. In samenwerking met het Duitse Correctiv. Pointer pop-up Schiedam: AZC in de stad, onrust of overlast? De Pointer Pop-up zit tot aan de gemeenteraadsverkiezingen in Schiedam. Net als in veel andere gemeentes, is de opvang van asielzoekers een heet hangijzer. In Schiedam zorgt de komst van een AZC op het industrieterrein voor onrust bij inwoners en ondernemers. Zijn de bewoners en ondernemers voldoende betrokken bij de besluitvorming van de locatie? Met Wijnand de Leeuw (raadslid PvdA) en Monique Rotteveel (raadslid Lokaal Onafhankelijk Schiedam). Stiekem kijken in patiëntengegevens? Straks ook vanuit Europa geen probleem Een nieuw landelijk systeem voor het delen van medische gegevens, Mitz, wordt op dit moment breed ingevoerd in de zorg. Eerder bleek al uit onderzoek van Pointer dat dit systeem grootschalige, heimelijke inzage in patiëntendossiers mogelijk maakt. Nu blijkt dat er nog meer aan de hand is: de ingebouwde waarborgen tegen misbruik zijn namelijk ver ondermaats, zeggen deskundigen. Privacy-organisaties eisen dan ook dat de uitrol van het systeem onmiddellijk wordt teruggedraaid. Of dat gaat gebeuren? Het lijkt onwaarschijnlijk want Mitz wordt zelfs klaargemaakt voor het ondersteunen van brede gegevensdeling binnen Europa.  

Speellijst Zondag 18 januari 2026 Lont (A. Pola/H. Bannink) Ansje van Brandenberg  Eigen opname. Discriminatie (A.v. Brandenberg/H. den Ouden) Ansje van Brandenberg 2'00 Van de LP Vandaag ELF 15.36 Vlieg met me mee (De Leeuw) Paul de Leeuw 4'42 van de cd Voor U, Majesteit! VARAGram VCD 030-2 Schriftelijke cursus Frans (Vleugel/Bos) Jasperina de Jong 3'27 Eigen opname De geest van het verzet (Vleugel) Jasperina de Jong en Eric Herfst 5'20 Van de cd Wie was bang voor Lurelei? Mercury 512 109-2 De schat van de dodo (Verburg) Roel C. Verburg 4'09 Eigen opname Snackbar (J. Groenteman) Elfie Tromp 3'32 Spotify Schiphol (Brel/Van Altena) Jan Mesdag 4'18 Van de cd Jan Mesdag zingt Brel Universal Mahoniebruine ogen (Verreck) Marcel Verreck 5'13 van het album De liefde nog veel meer Spotify Laat maar (Nijland) Mathilde Santing 3'25 Van de cd Negen levens Epic EPC 5144883 2 Pauline (D. Parton/J. Rot) Marjolein Meijers 2'45 Van de cd Jan gaan landelijk Eigen beheer. Het regent op de rozen (Antonio Carlos Jobim/Famke Sinnighe Damsté) Jim van der Zee 3'25 Van het album Hoe liefde danst Nog te verschijnen

In deze aflevering van de AZAlerts Podcast praten Anthony en Emiel over de nieuwe mascotte van AZ, Victor de Leeuw. Dat moet natuurlijk eerst besproken worden voordat we aan het echte werk beginnen, zoals de wedstrijd van aankomende donderdag. In de laatste pot van de Conference League van dit kalenderjaar is de opdracht simpel: winnen. Zo staat onze tegenstander er echter ook in. Wat kunnen we verwachten van deze ploeg? Verder blikken we vooruit op de laatste wedstrijd voor de winterstop, uit in Sittard. Fortuna S is daar de tegenstander, historisch gezien een lastige uitwedstrijd. Ook wordt de komst van Ayoub Oufkir behandeld. Genoeg onderwerpen, voor ieder wat wils. Luisteren dus!

Met vandaag: Eddy Boas vanuit Sydney over de aanslag op joodse gemeenschap | In Berlijn onderhandelen VS, Oekraine en EU over einde aan oorlog | Tamar de Leeuw is de nieuwe directeur van Coöperatie Laatste Wil | 'De Niemanders' maken muziek met asielzoekers | Presentatie: Mieke van der Weij.

In this second of two episodes about De Materie (Matter) by Louis Andriessen, fellow composer David Dramm reflects on his close relationship with Andriessen and the creation of De Materie. He describes witnessing the piece's early development, studying with Andriessen, and experiencing the premiere of De Materie in 1989 up close. Together with host Bas Wiegers, he explores the work's signature elements - its hammer-like opening chords, mystical second movement, playful boogie-woogie references, and slowly unfolding climaxes - showing how Andriessen combined rigorous structure with raw energy, beauty, and humor. Music:  Louis Andriessen - De Materie played by Asko|Schönberg and Reinbert de Leeuw  https://www.youtube.com/playlist?list=OLAK5uy_nNB6P-Q3PRGxAlesE6MVMuv0s-JJmc6D8

In the first of two episodes on De Materie, we explore Louis Andriessen's groundbreaking masterpiece with biographer Jacqueline Oskamp. We trace the influences behind this pivotal work - from the pressure of Andriessen's earlier successes to the political and musical ideals that shaped his 1980s style. The episode highlights the piece's structure, its bold musical logic, and the key collaborations with Jan van Vlijmen and Robert Wilson that helped form its distinctive character. We end with a preview of Episode Two, featuring a former student offering his own view on Andriessen and his legacy. Music:  Louis Andriessen - De Materie played by Asko|Schönberg and Reinbert de Leeuw  https://www.youtube.com/playlist?list=OLAK5uy_nNB6P-Q3PRGxAlesE6MVMuv0s-JJmc6D8    

En este episodio, exploramos un fenómeno cada vez más inquietante en las consultas y unidades de neurología: el aumento del ictus en adultos jóvenes. A partir de la evidencia más reciente, analizamos cómo los factores de riesgo clásicos están dando paso a nuevos protagonistas del siglo XXI, entre ellos el estrés crónico. Revisamos el papel del ictus criptogénico, las causas vasculares menos conocidas y los mecanismos por los cuales la sobrecarga emocional, laboral o social puede alterar la fisiología cerebrovascular hasta precipitar un evento agudo. También abordamos la diferencia de impacto entre hombres y mujeres, los hallazgos de estudios internacionales como INTERSTROKE y ERICH, y cómo la gestión del estrés debería considerarse una estrategia real de prevención neurológica. Un episodio para reflexionar sobre la relación entre mente, sociedad y cerebro en una generación que vive —y enferma— bajo presión. Referencias del episodio: 1. Behymer, T. P., Sekar, P., Demel, S. L., Aziz, Y. N., Coleman, E. R., Williamson, B. J., Stanton, R. J., Sawyer, R. P., Turner, A. C., Vagal, V. S., Osborne, J., Gilkerson, L. A., Comeau, M. E., Flaherty, M. L., Langefeld, C. D., & Woo, D. (2025). Psychosocial Stress and Risk for Intracerebral Hemorrhage in the ERICH (Ethnic/Racial Variations of Intracerebral Hemorrhage) Study. Journal of the American Heart Association, 14(6), e024457. https://doi.org/10.1161/JAHA.121.024457 (https://pubmed.ncbi.nlm.nih.gov/40055853/). 2. Egido, J. A., Castillo, O., Roig, B., Sanz, I., Herrero, M. R., Garay, M. T., Garcia, A. M., Fuentes, M., & Fernandez, C. (2012). Is psycho-physical stress a risk factor for stroke? A case-control study. Journal of neurology, neurosurgery, and psychiatry, 83(11), 1104–1110. https://doi.org/10.1136/jnnp-2012-302420 (https://pubmed.ncbi.nlm.nih.gov/22930814/). 3. Gutiérrez-Zúñiga, R., Fuentes, B., & Díez-Tejedor, E. (2018). Ictus criptogénico. Un no diagnóstico. Medicina Clínica, 151 (3), 116-122. https://doi.org/10.1016/j.medcli.2018.01.024 (https://www.sciencedirect.com/science/article/abs/pii/S0025775318300770). 4. Khan, M., Wasay, M., O'Donnell, M. J., Iqbal, R., Langhorne, P., Rosengren, A., Damasceno, A., Oguz, A., Lanas, F., Pogosova, N., Alhussain, F., Oveisgharan, S., Czlonkowska, A., Ryglewicz, D., & Yusuf, S. (2023). Risk Factors for Stroke in the Young (18-45 Years): A Case-Control Analysis of INTERSTROKE Data from 32 Countries. Neuroepidemiology, 57(5), 275–283. https://doi.org/10.1159/000530675 (https://pubmed.ncbi.nlm.nih.gov/37231971/). 5. Kutal, S., Tulkki, L. J., Sarkanen, T., Redfors, P., Jood, K., Nordanstig, A., Yeşilot, N., Sezgin, M., Ylikotila, P., Zedde, M., Junttola, U., Fromm, A., Ryliskiene, K., Licenik, R., Ferdinand, P., Jatužis, D., Kõrv, L., Kõrv, J., Pezzini, A., Sinisalo, J., … Martinez-Majander, N. (2025). Association Between Self-Perceived Stress and Cryptogenic Ischemic Stroke in Young Adults: A Case-Control Study. Neurology, 104(6), e213369. https://doi.org/10.1212/WNL.0000000000213369 (https://pubmed.ncbi.nlm.nih.gov/40043226/). 6. Li, W., Zhang, J., Zhang, Y., Shentu, W., Yan, S., Chen, Q., Qiao, S., & Kong, Q. (2025). Clinical research progress on pathogenesis and treatment of Patent Foramen Ovale-associated stroke. Frontiers in neurology, 16, 1512399. https://doi.org/10.3389/fneur.2025.1512399 (https://pubmed.ncbi.nlm.nih.gov/40291846/). 7. Smyth, A., O'Donnell, M., Hankey, G. J., Rangarajan, S., Lopez-Jaramillo, P., Xavier, D., Zhang, H., Canavan, M., Damasceno, A., Langhorne, P., Avezum, A., Pogosova, N., Oguz, A., Yusuf, S., & INTERSTROKE investigators (2022). Anger or emotional upset and heavy physical exertion as triggers of stroke: the INTERSTROKE study. European heart journal, 43(3), 202–209. https://doi.org/10.1093/eurheartj/ehab738 (https://pubmed.ncbi.nlm.nih.gov/34850877/). 8. Verhoeven, J. I., Fan, B., Broeders, M. J. M., Driessen, C. M. L., Vaartjes, I. C. H., Klijn, C. J. M., & de Leeuw, F. E. (2023). Association of Stroke at Young Age With New Cancer in the Years After Stroke Among Patients in the Netherlands. JAMA network open, 6(3), e235002. https://doi.org/10.1001/jamanetworkopen.2023.5002 (https://pubmed.ncbi.nlm.nih.gov/36976557/). 9. Wegener S. (2022). Triggers of stroke: anger, emotional upset, and heavy physical exertion. New insights from the INTERSTROKE study. European heart journal, 43(3), 210–212. https://doi.org/10.1093/eurheartj/ehab755 (https://pubmed.ncbi.nlm.nih.gov/34850880/). 10. Yaghi, S., Bernstein, R. A., Passman, R., Okin, P. M., & Furie, K. L. (2017). Cryptogenic Stroke: Research and Practice. Circulation research, 120(3), 527–540. https://doi.org/10.1161/CIRCRESAHA.116.308447 (https://pubmed.ncbi.nlm.nih.gov/28154102/). 11. Yang, D., & Elkind, M. S. V. (2023). Current perspectives on the clinical management of cryptogenic stroke. Expert review of neurotherapeutics, 23(3), 213–226. https://doi.org/10.1080/14737175.2023.2192403 (https://pubmed.ncbi.nlm.nih.gov/36934333/).

How has the classical music industry approached representation and how has the new music community forged new paths to embrace diverse musics? On tonight's episode of Obbligato on APEX Express, Isabel Li is joined by violinist Shalini Vijayan, who discusses her vibrant career and reflects upon the ways contemporary classical music can build community.  Violinist Shalini Vijayan, deemed “a vibrant violinist” by Mark Swed of the Los Angeles Times is an established performer and collaborator on both coasts. Always an advocate for modern music, Shalini was a founding member and Principal Second Violin of Kristjan Jarvi's Absolute Ensemble, having recorded several albums with them including 2001 Grammy nominee, Absolution. Shalini was also a founding member of the Lyris Quartet, one of Los Angeles' most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series, for Jacaranda Music and helped to found the Hear Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles.  Shalini performed for over a decade with Southwest Chamber Music and can be heard on their Grammy nominated Complete Chamber Works of Carlos Chávez, Vol. 3. She has been a featured soloist with the Los Angeles Master Chorale in Chinary Ung's Spiral XII and Tan Dun's Water Passion, including performances at the Ravinia Festival. As a chamber musician, Shalini has collaborated with such luminaries as Billy Childs, Chinary Ung, Gabriela Ortiz, and Wadada Leo Smith on whose Ten Freedom Summers she was a soloist. Shalini joined acclaimed LA ensemble, Brightwork New Music in 2019 and also serves as the curator for Brightwork's Tuesdays@Monkspace series, a home for contemporary music and performance in Los Angeles. As a teacher, she has been on the faculty of the Nirmita Composers Workshop in both Siem Reap and Bangkok and coaches composition students through the Impulse New Music Festival.  Shalini received her B.M. and M.M. degrees from Manhattan School of Music as a student of Lucie Robert and Ariana Bronne. As a member of the New World Symphony in Miami Beach, Florida, Shalini served as concertmaster for Michael Tilson Thomas, John Adams, Reinbert de Leeuw and Oliver Knussen. She was also concertmaster for the world premiere performances and recording of Steven Mackey's Tuck and Roll for RCA records in 2000. Shalini was a member of the Pacific Symphony Orchestra for ten seasons and also served as Principal Second Violin of Opera Pacific. She lives in Los Angeles with her son, husband and two dogs and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  Check out more of her work at:  https://brightworknewmusic.com/tuesdays-at-monk-space/  https://www.lyrisquartet.com/    Transcript  Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the APEX Express.    00:01:03 Isabel Li  You're listening to Obbligato, which is a segment about the Asian American Pacific Islander community, specifically in classical music.  00:01:11 Isabel Li  I'm your host, Isabel Li, and today joining me is Shalini Vijayan, who is a violinist, established performer, and always an advocate for modern music.  00:01:21 Isabel Li  Shalini is also a founding member of the Lyris Quartet, one of Los Angeles most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series for Jacaranda Music, and helped to found the Here and Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles. She joined acclaimed LA ensemble Brightwork New Music in 2019, and also serves as the curator for Brightwork's Tuesdays at Monk Space series. She currently lives in Los Angeles with her son, husband and two dogs, and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  00:02:04 Isabel Li  Well, Shalini, thank you so much for joining me in this conversation today.  00:02:09 Shalini Vijayan  I'm so happy to be with you.  00:02:11 Isabel Li  Awesome. I'd like to just get to know you and your story. How do you identify and what communities do you consider yourself a part of?  00:02:18 Shalini Vijayan  I use the pronouns she, her, and I. Um, I identify as South Asian. I grew up in an Indian family. My parents immigrated to the US in the sixties to teach at medical school. And I grew up with a great deal of Indian culture. And I've spent a lot of time going back and forth to India from the time that I was very young. You know, it's interesting because I feel like in LA, where I live and work specifically, there is so much overlap between all of our different musical communities. You know, I went to school in New York, and I feel like there I was much more, I'm very connected to the new music community in New York and felt really kind of entrenched in that at the time I was there. And after coming to LA, I realized that, um, there are a lot of musicians doing so many different things. That's one of the things I love about Los Angeles, actually. And, you know, I'm definitely very, very rooted in the new music community in LA. And that was where I made my first sort of connections when I first moved to Los Angeles. But I also, you know, worked in an orchestra when I first came to LA. I played in the Pacific Symphony for almost ten seasons, and so I became a part of that community as well. And you know, as the years went on, I also became much more involved in the studio music community of LA studio musicians playing on movie scores, playing on television shows, records, what have you, Awards shows, all sorts of things. And these are all very distinct communities in LA in music. But I see a ton of overlap between all of them. There are so many incredibly versatile musicians in Los Angeles that people are able to really very easily move from one of these groups to the other and, you know, with a great deal of success. And I feel like it gives us so much variety in our lives as musicians in LA, you don't feel like you're ever just in one lane. You can really occupy all these different kinds of spaces.  00:04:23 Isabel Li  Right, yeah. So you're classically trained, from what I know, and you describe yourself as an advocate for modern music. So why modern music?  00:04:33 Shalini Vijayan  That's a great question. I have have had to answer this question quite a bit over the years, especially to non-musicians. And it's always an interesting story for me. You know, as a violinist in particular, you know, we have such a storied history of repertoire and pedagogy, and there is such an incredible, um, library of music that we have access to from the very standard classical repertoire. And there is a great deal to be learned about the instrument and about music from playing all that repertoire. I think at some point when I was in high school, I started to become interested in more modern music. And actually I grew up in Davis in Northern California.   My parents both taught at the university there, at the medical school and in Sacramento. Nearby there was a festival of modern American music that I think still goes on to this day at Cal State University, Sacramento. And it was really a great festival. And at that time, you know, they would bring professional artists, they'd have composers, they'd have commissions, all sorts of things. But at the time that I was like in high school, they also had a junior division to the festival, and I was asked to play a couple pieces in the Festival of, um, Modern Works, and I can't remember at this time what the pieces were, but it left such a huge impression on me. And I think what I really took away from that experience as a kid is that in my studies as a violinist, I was always being asked to sort of live up to this history and this legacy of violin music and violin playing in Western classical music. And it's a very high bar. And it's, um, you know, of course, there's so much great stuff there. But there was something so freeing about playing this music that had either never been played or not been recorded. So there was nothing to reference in terms of listening to a recording, um, and listening to how you, you know, quote, should be playing it that it made me feel, uh, you know, all this, this freedom to really interpret the music, how I felt, rather than feeling like I had to live up to a standard that had been set for me, you know, decades or centuries before. And I think that really something really clicked for me with that, that I wanted to have that kind of freedom when I, when I was playing. And so from there on out, um, you know, when I went to college and I really sought out opportunities in new music as much as I could.  00:07:00 Isabel Li  So you were first exposed to new music when you were in high school. Did that influence your decision to become a musician at all? Or were you already set on becoming a musician and that was just part of what shaped your works over the years.  00:07:15 Shalini Vijayan  I think by that time, I had already decided that I wanted to be a musician. I mean, as you know, so many of us as musicians and I think particularly string players, we decide so young because we start our instruments at such a young age and we start studying so early. Um, that I think by that time I, I had decided I wanted to do music, but this sort of opened another door for me that made me realize that it wasn't just one path in music necessarily. I think it's very easy as a, as a kid and as a violinist to think you admire these great soloists that you see and, you know, people like Perlman and, you know, Isaac Stern, who were the stars of the time when I was growing up. But, you know, you get to be in high school and you realize that hasn't happened yet. It's probably not going to happen. And so, you know, what's then then what's your path forward? How do you find a life in music if you're not going to be one of these stars? And I think, you know, new music really opened up that opportunity for me. And yeah, made me look at things a little differently for sure.  00:08:18 Isabel Li  And currently you're in the contemporary classical music ensemble, Brightwork newmusic, and you curate the ensemble's concert series, Tuesdays @ Monk Space. So how do you go about curating concerts with music by contemporary or living composers? What do you look for?  00:08:33 Shalini Vijayan  Well, right now I'm really focused on trying to represent our new music community in LA at Monk Space, which is such, you know, we have such a diverse community of musicians, not just in the makeup of who the people are making the music or writing the music, but also in just the styles of music. And so I think I try to really represent a very diverse set of aesthetics in our season. Um, you know, everything from, you know, last season we had, uh, Niloufar Shiri, who is a traditional Persian kamancheh player, but she also she can play very in a very traditional way, but she also plays with a jazz pianist. And, you know, it does all this very improvisatory stuff. And, you know, then we would have other programs where everything is very much written out and very through, composed and you know, it's been a very wide variety. And, you know, when I try to build the season, I try to make sure that it's really balanced in terms of, you know, the different types of things you'll be hearing because not every audience member is going to want to engage with every type of music. Um, or, you know, if we if we really stuck to one style and it was just in that language for the whole season, then I feel like we would, you know, alienate potential audience members. But with this, I feel like if we can bring people in for one concert and they're really into it, then hopefully they'll come to something else that is new and different for them and be exposed to something that they may really get into after that. So yeah, I think diversity and variety is really where I try to start from.  00:10:09 Isabel Li  How does that engage the community? Have you observed audience reception to this type of new music when there are composers from all different types of backgrounds?  00:10:20 Shalini Vijayan  Yeah, definitely. I mean, I think that each composer and each artist brings their own community into the space, which and so that's another. I feel like another strong reason why I try to make things very different from concert to concert. And, you know, we have some younger players who come in and bring in, you know, everyone from college students to, you know, their friends and family. And then, you know, really established composers. Like this season we have Bill Roper, who is kind of a legend in the music community in LA. Mult instrumentalist and composer who has been around for decades. And, you know, I think people will come out just because they want to see him and he's such a draw. And, um, you know, I, I also would love to be able to incorporate more world music into the series. Like I said, we did do Niloufar concert, which I felt like I really hoped would like engage with the Persian community in LA as well. And a couple seasons ago we had Rajna Swaminathan, who is, I just think, an incredible artist. Um, she plays mridangam, which is a South Indian percussion instrument, but she also writes for Western instruments, uh, and herself. And we had her and a pianist and then Ganavya, who's a vocalist who's amazing. And, you know, Ganavya had her own following. So we had and Rajna has her own following. So we had a whole full audience that night of people who I had never seen in the space before. And that was for me. That's a success because we're bringing in new friends and new engagement. And, um, I was really excited about that. When I'm able to make those kinds of connections with new people, then that feels like a success to me.  00:12:05 Isabel Li  Certainly.  00:12:06 Isabel Li  Let's hear one of Shalini's performances. This is an excerpt from the 10th of William Kraft's “Encounters”, a duologue for violin and marimba, performed here by Shalini Vijayan with Southwest Chamber Music.  00:12:20 [MUSIC – Encounters X: Duologue for Violin & Marimba]  00:17:18 Isabel Li  An excerpt from William Kraft's Encounters, the 10th of which is called Duologue for Violin and Marimba, that was performed by Shalini Vijayan, the violinist, with Southwest Chamber Music.  00:17:31 Isabel Li  And Shalini is here with me in conversation today. We've been discussing contemporary music and her involvement in the new music scene, specifically in Los Angeles.  00:17:40 Isabel Li  Music is all about community, drawing people together. So going back to how you describe yourself as an advocate for modern music, what are other ways that you have advocated for modern music besides curating the concert series?  00:17:53 Shalini Vijayan  Well, over the years, um, you know, I feel like in all the ensembles I've been in, there's been a real focus on commissioning composers and on performing works that have not been, uh, either performed or recorded before. And I feel like the only way to really get the music out there is to, obviously, is to play it and hopefully to be able to record it. We've worked especially with the lyrics quartet. We've worked with so many young composers in LA either just strictly, you know, contemporary classical composers or even film composers who, um, have works that they'd like to have recorded. And, you know, it's been great to see a lot of those people go on to really amazing things and to be a part of their journey, uh, and to help support them. And, uh, the other thing that the quartet has been heavily involved in and now Bright Work Ensemble has been involved in as well, is the Here Now music festival, which has been going on in LA for well over a decade now. We were involved in the first, um, seasons of that festival. We've been one of the resident ensembles since the very beginning, and that festival is dedicated to the music of LA and Southern California composers. And, um, we have a call for scores every year that we, the four of us in the quartet, are part of the panel that reviews all the scores, along with a lot of our other colleagues, um, who are involved with the festival, and Hugh Levick, who is the artistic director of the festival and has we've worked side by side with him on this for a very long time. And that's also been a fantastic avenue for, um, meeting new composers, hearing new works, having them performed. And the thing I always say about that festival every time it comes around, usually in the spring we have at least three concerts. It's this incredible coming together of the new music community in Southern California, where all these great composers and all these amazing players come together and play these series of concerts, because there's such a vast number of pieces that end up getting programmed. They can't rely on just like one group or one or two groups to play them. So it really pulls in a lot of players from all over town. And I don't know, it always just feels like a really fun time, a fun weekend for all of us to see each other and connect. And, um, and again, just build our community to be even stronger.  00:20:20 Isabel Li  That's really cool. How do you ignite interest in new music? Because this is a genre that I think is slightly underrepresented or just underrepresented in general in both the classical music community and the music industry as a whole.  00:20:35 Shalini Vijayan  That's a great question, and I think it's a really important question for our whole industry and community. How do you engage people in new music and get them into a concert? Um, you know, I think one of the biggest hurdles for classical music in general, I will say, um, when I talk to people about why they don't want to come to a concert or why they don't want to, you know, let's say, go see the LA Phil or, you know, wherever, whatever city they're in, the major cultural music institution. I think there is a misconception generally that, oh, it's, you know, I have to be dressed a certain way or I it's going to be really stuffy. And, um, I, you know, I don't know what to wear or I don't know how I'm supposed to dress or how I'm supposed to act when I'm in the concert. Am I going to clap at the wrong time? You know, is it going to be really long? And, you know, and I and I get it, you know, I mean, I understand why that would be uncomfortable for a lot of people.   And it's not, um, it's something that necessarily everyone has grown up with or that it's been a part of their life. So I think it's really up to us, as you know, when we're on the side of programming concerts or putting together festivals or whatever, um, that we make things more accessible in terms of, um, concert length and interaction with audience. And, um, you know, I think it's I know I've been told so many times and I really think it's important that I think audiences love it when performers talk to them, when they talk about the music and, and set things up for a listener. I think that puts a kind of context on things that makes it so much easier for perhaps a new audience member, someone who's never come to a concert before to feel at ease and feel like, okay, I know what I'm getting into.   One of our, actually our former executive director at Brightwork, Sarah Wass, who was fantastic, and I was very happy to work with when I was just starting out programming, Monk Space had the idea of putting on the program the running time of the pieces, and I think even that is just something that, like, can prepare people for what they're getting into when they're about to listen to something new. And in terms of the music itself, I think that if someone, especially a younger person, doesn't feel like they have any connection to Beethoven or Brahms or Mozart, they might actually feel more connected to someone who is their age or a little older.   Someone who has had similar life experiences to them, or grown up in the same era as them, rather than someone who grew up, you know, in the seventeen hundreds. You know, there can be more of a real connection there, and that that person is writing this music and reflection of their life and their experiences. And, um, you know, again, I think that kind of context is important for a listener. And yeah. And then just lastly, I would say also, I feel like our space at Monk space is very inviting. It's very low key. It's, um, you know, it's casual, it's comfortable. Role. Um, we have, you know, snacks and a bar and, you know, everyone is very relaxed at intermission and has a good time. And I mean, for me, every time we host one of those concerts, I feel like I'm hosting a little party, you know? That's what it feels like for me. And that's what I want it to feel like for the audience as well.  00:23:52 Isabel Li  That brings up a really good point in that new music can make classical music or a new classical music, contemporary music, more accessible to different audiences. And certainly I've definitely heard the complaint from people over the years about classical music being a little too uptight. Would you say that these are two different genres?  00:24:11 Shalini Vijayan  I think that there is overlap, and I think, you know, for an ensemble like ours, like Brightwork, we have chosen to make our focus new music. So that's our thing. That's what we do. Um, and, uh, all of our concerts and our programming reflect that. Very rarely do we do anything that's not considered a contemporary piece. Um, but, you know, if you do look at some of our major institutions, like I think the LA Phil and I think the San Francisco Symphony, um, earlier, you know, like in the nineties under MTT, really started to pave the way for incorporating contemporary music into a standard classical format. And, you know, I think that's been very important. And I think it's really changed the way that orchestras have programmed across the country. And there has been such a nurturing of contemporary music in larger spaces. Now that I think that kind of overlap has started to happen much more frequently. I think that in more conservative settings, sometimes there's pushback against that. And even even, you know, in some of the places that I play, you know, sometimes with with the lyrics quartet, um, we are asked to just purely program standard classical repertoire, and we will occasionally throw in a little short piece, you know, just to try and put something in there, you know, something that's very accessible. Um, and, uh, you know that we know the audience will like so that we can help them, you know, kind of get over that fear of connecting to a newer piece. And I, I think in some ways, that's where the path forward lies, is that we have to integrate those things, you know, in order to keep kind of the old traditions of classical music alive. I think we have to keep the newer tradition alive as well, and find a way to put them in the same space.  00:26:00 Isabel Li  I certainly agree with that.  00:26:01 Isabel Li  Let's hear more of Shalini's work in new music. This is a performance of the first movement of Atlas Pumas by Gabriela Ortiz. Violinist Shalini Vijayan is joined by percussionist Lynn Vartan.  00:26:18 [MUSIC – Atlas Pumas, mvt 1 by Gabriela Ortiz]  00:29:21 Isabel Li  The first movement of Gabriela Ortiz's Atlas Pumas played here by violinist Shalini Vijian, and Lynn Vartan plays the marimba.  00:29:30 Isabel Li  And Shalini is actually joining us here for a conversation about new music, performances, identity, and representation.  00:29:38 Isabel Li  Many Asian American Pacific Islander artists in music have varying relationships between their art and their identity. I was wondering, to what extent do you feel that perhaps your South Asian identity intersects or influences the work that you do with music?  00:29:54 Shalini Vijayan  Growing up, um, you know, I grew up in a in a university town in Northern California and, you know, a lot of highly educated and, you know, kids of professors and, you know, but still not the most terribly diverse place. And then going into classical music. And this was, you know, in the early nineties when I went to college, um, it still was not a particularly it was very much not a diverse place at all. And, um, there certainly were a lot of Asian students at, um, Manhattan School of Music where I did my my studies.   But I would say it was a solid decade before I was ever in any sort of classical music situation where there was another South Asian musician. I very, very rarely met any South Asian musicians, and it wasn't until I went to the New World Symphony in the early late nineties, early two thousand, and I was a musician there. I was a fellow in that program there for three years that I walked into the first rehearsal, and there were three other South Asian, I think, of Indian descent musicians in the orchestra, and I was absolutely blown away because I literally had not, um, other than here and there at some festivals, I had not met any other South Asian classical musicians.   So it was really like that was the hallmark moment for me. It was a really big deal. And coming with my family, coming from India, you know, there is such a strong tradition of Indian classical music, of Carnatic music and Hindustani music. And, um, it's such a long, long tradition. And, you know, the people who have studied it and lived with it are, you know, they study it their whole lives to be proficient in it. And it's such an incredible, incredible art form and something that I admire so much. And I did as a kid. Take a few lessons here and there. I took some Carnatic singing lessons, um, and a little bit of tabla lessons when I was very young. Um, but I think somewhere in middle school or high school, I kind of realized that it was, for me at least, I wasn't, um, able to put enough time into both because both of them, you know, playing the violin in a Western classical style and then studying Indian classical music require a tremendous amount of effort and a tremendous amount of study. And I at that point chose to go with Western classical music, because that's what I'd been doing since I was five years old. But there has always kind of been this longing for me to be more connected to Indian classical music. Um, I'll go back again to Rajna. When I presented Rajna Swaminathan on Monk Space a couple of years ago, it was a really meaningful thing for me, because that's kind of what I'd always wanted to see was a joining together of that tradition, the Indian tradition with the Western tradition. And, um, I'm so happy that I'm starting to see that more and more with a lot of the artists that are coming up now. But at the time when I was young, it just it felt almost insurmountable that to to find a way to bring the two together. And, um, I remember very clearly as a kid listening to this, um, there was an album that Philip Glass did with Ravi Shankar, and I thought that was so cool at the time. And I used to listen to it over and over again because I just again, I was so amazed that these things could come together and in a, in a kind of successful way. Um, but yeah, there is, you know, there there's a part of me that would still love to go back and explore that more that, that side of it. Um, and but I will say also, I'm very happy now to see a lot more South Asian faces when I, you know, go to concerts on stage and in the audience. And, you know, a lot of composers that I've worked with now, um, of South Asian descent, it's been, you know, I've worked with Reena Esmail and Anuj Bhutani and Rajna and, um, there's so many more, and I'm so glad to see how they're all incorporating their connection to their culture to, to this, you know, Western kind of format of classical music. And they're all doing it in different ways. And it's it's really amazing.  00:34:22 Isabel Li  That's fantastic.  00:34:24 Isabel Li  I was wondering if you could maybe describe what this merging or combination of different styles entails. Do you think this makes it more accessible to audiences of two different cultures?  00:34:36 Shalini Vijayan  For me, one example, before I started running the series at Tuesdays at Monk Space, Aron Kallay, who is our Bright Work artistic director, had asked me to come and do a solo show on Monk Space, which I did in November of 2019.  00:34:52 Shalini Vijayan  And at the time, I wanted to commission a piece that did exactly that, that, that, um, involved some sort of Indian classical instrument or kind of the language of Indian classical music. And so I actually did reach out to Reena Esmail, and she wrote me a very cool piece called blaze that was for tabla and violin. Um, and I really had so much fun doing that. And Reena, Reena really has a very fluid way of writing for the violin, which she actually was a violinist, too. So she's she's really good at doing that. But being able to write for any melodic instrument or for the voice, which she does quite a bit as well, and incorporating sort of the tonality of Indian classical music, which obviously has its own scales and, um, has its own harmonic, harmonic world that is different from the Western world, um, but finds a way to translate that into the written note notation that we require as, uh, Western classical musicians. And, you know, I think that's the biggest gap to bridge, is that in Indian classical music, nothing is notated. Everything is handed down in an oral tradition, um, over the generations. And for us, everything is notated. And in Indian classical music, you know, there's much more improvisation. And now, of course, with modern classical music, there now is a lot more improvisation involved. But in our old standard tradition, obviously there isn't. And in the way that we're trained, mostly we're not trained to be improvisers. And um, so it's it was great. She has a great way of writing so that it kind of sounds like things are being tossed off and sounding sounds like they're being improvised, but they are actually fully notated, um, which I really appreciated.  00:36:50 Isabel Li  Yeah.  00:36:51 Isabel Li  So your career has spanned orchestras, recording ensembles, chamber music. Having had so much experience in these types of performance, what does representation in classical music mean to you?  00:37:04 Shalini Vijayan  Well, representation is is very important because we're talking about a tradition that was built on white men from centuries ago, European white men. And and it's again, it's an incredible tradition and there's so much great repertoire. But I'm going to circle back to what you were saying or what you asked me about connecting to audiences and, you know, connecting to audiences with new music. It's I think people like to see themselves reflected in the art that they choose. They choose to consume. And, you know, whether that's movies or television or music, I think that's how you connect with your audience is by being a bit of a mirror.  I think the only way that we can really continue to connect with a diverse audience is by having that type of diverse representation on our stages and on our recordings. And again, also not just the people, but the types of music, too. You know, musical tastes run wide, genres run wide as well. And it's I think It's good for all of us to be exposed to a lot of different kinds of music, to figure out what we connect with the most. And, um, yeah, the only way we can do that is by really, you know, opening our arms to a, a much wider variety of styles of music. And so I, you know, I mentioned improvisation, improvisation earlier. And I think that is something that's now starting to happen so much more in modern classical music. And, you know, I think there's something about the energy that a player has when they're improvising that is maybe not something that an audience member could quantify verbally, but there's a looseness and a freedom there that I think, you know, for a lot of audience members, they probably really can connect to. And, you know, that's a lot of why people go and listen to jazz is because there's so much freedom and there's so much improvisation.   I've been very lucky to be able to work with, um, Wadada Leo Smith, who's a trumpet player and composer. I've worked with him for probably almost ten years now. And um, through Wadada, actually, I have learned to become much more comfortable with improvising on stage and not within a jazz language of any kind or any kind of harmonic structure necessarily, but within the language of his music, which is very unique and very open and very free and, um, but also has a really strong core in its connection to history. And, um, you know, he's written a lot of amazing works about the civil rights movement and about a lot of, you know, important moments in history for our country. And, um, that's been a real learning experience for me to connect with him in that, in that way and learn from him and learn to be more comfortable with improvisation. Because I think growing up, improvisation for me always meant jazz, and that was not a language I was comfortable in. And um, or even, you know, jazz or rock music or folk music or whatever, you know, it was just not something that came naturally to me as a kid to, I mean, I listened to all of it. I listened to everything when I was a kid, but I never played in any of those styles. And I think the older you get, the scarier it gets to start branching out in those ways. But, um, I think, uh, that's been a an incredible, like, new branch of my life in the last decade has been working with Wadada.  [MUSIC – “Dred Scott, 1857,” from Ten Freedom Summers, by Wadada Leo Smith]  00:42:23 Isabel Li  An excerpt of Wadada Leo Smith's music to give you a sense of the jazz influences in these types of contemporary new music pieces that also touch on pieces of history. This was an excerpt from his album, Ten Freedom Summers, which also consists of compositions based on pieces of American history. For example, what we just heard was from a piece called Dred Scott, 1857.  00:42:49 Isabel Li  Now that I realize that we've been having a conversation about new music, I realize that, hmm, when does new music really start? So if you take a look at maybe music history, when does new music really become new music?  00:43:07 Shalini Vijayan  I guess it depends on who you ask, probably. Um, it's it's pretty recent. You know, it has to be really legitimately pretty new. And, um, again, you know, if you ask an audience member, um, and I think of some of my friends or family who are maybe who are not musicians who come to concerts, and I'm always so interested in talking to them and hearing their opinions about things. Um, you know, they will listen to Bartok and say, oh, that sounds like new music to me. But, you know, Bartok, Bartok passed away a long time ago, and it's, you know, and for me, that's more like canon now. You know, that's like now for me, part of the the standard repertoire. But there was a time when Bartok was new music. And I think for, you know, maybe the listeners who are more comfortable with the very diatonic, you know, world of Beethoven, Brahms, Mozart, then something like Bartok really does sound so modern for me. Boy, maybe around the time that minimalism started, you know, John Adams and Steve Reich, Terry Riley, Philip Glass, all of that for me feels like maybe that's the older like the The edge of new music now even though that was that would be the eighties, probably seventies 80s, you know, but that we're talking about like, you know, fifty years ago. So yeah, I mean, it's not that new, but those are all still living composers. So maybe, maybe that's part of what it is for me is that it's the composers of our era, the composers who are alive, who we can communicate with and ask questions of. And, um, you know, at the very least, if you can't talk to John Adams, you can talk to somebody who has worked directly with him and get their impressions of how something should be played, um, as opposed to composers who have been gone for hundreds of years. And you can't have that level of communication with them. I think that, for me is what new music, new music is about. It's about working with living composers and, um, having that type of interaction.  00:45:15 Isabel Li  Yeah. So would the word or the phrase contemporary classical music, be a little oxymoronic in a sense?  00:45:26 Shalini Vijayan  No, I don't think so. I think it's still part of the same tradition. Um, yeah. I really do think it is, because I think there is a lineage there. Um, for a lot of composers, not all of them, um, that I mean, I think particularly if you're writing for, let's say, an orchestra or a string quartet or sort of one of these very standard classical ensembles. Um, even if you're writing in a very new language and you're writing in a very different way, I think there is still a through line to the canon of classical music. I guess for me, new music and classical music are not mutually exclusive. I think they can be the same. So I don't I don't think they're totally different. I think that there is a lot of a lot of overlap.  00:46:16 Isabel Li  For sure, considering how new music fits into the classical music or the classical music industry as a whole. Have you noticed any sorts of shifts in the classical music industry in the past several decades in regards to diversity, equity, inclusion? And have you just noticed any changes?  00:46:35 Shalini Vijayan  I have noticed some changes. I mean, I think that most organizations in this country are making an effort to be more inclusive in their programming now. And, um, you know, another another South Asian composer who I just think is fantastic is Nina Shekhar. And, um, she has had pieces played by the New York Phil for the last couple seasons. I mean, you know, so on on major, major stages, I feel like now I'm seeing more representation and that is definitely Encouraging and, um, you know, uh, same for Anuj and Rajna and Reena. They've all, you know, had their works done by major ensembles. And, um, I think I think there is definitely movement in that direction, for sure. I think it could always be more.   I think also for women and women composers, women performers, I think that has also always been a struggle to find enough representation of women composers and you know, especially if like as I mentioned before, when you're in a situation where an organization asks you to program a concert, like, let's say, for our quartet and wants much more standard repertoire than it does limit you, you know, how because there isn't much from the older canon. You know, there is. You know, there's Fanny Mendelssohn and Clara Schumann and, um, you know, I think in the last five to ten years they've both been played a lot more, which is great. But, you know, I think, uh, there's so many amazing female composers right now that I think are starting to get much more recognition. And I think that just needs to be more, more and more, um, but, uh, you know, that is why, again, like on those programs, sometimes we try to just sneak one modern piece in because it's important for those voices to be heard as well. But yes, I do see some forward movement in that direction with, um, classical programming. And, you know, you just have to hope that the intent is always genuine in those situations. And I think, um, you know, I think that's the most important thing. And giving a platform to those voices is really important.  00:48:59 Isabel Li  How would you go about arts advocacy during this current time when, well, the arts are being defunded and devalued by our current administration and how everything is going on right now?  00:49:10 Shalini Vijayan  Yeah, it's really, really difficult right now. And, um, you know, I think a lot of arts organizations are losing a lot of government funding. Obviously, I know of a couple projects that lost their NEA funding because of DEI, and which is so disheartening. And, um, I think, you know, there's going to be a lot of leaning on private donors to try and, uh, make up that difference or, you know, private foundations to make up the difference in funding, hopefully. And, um, uh, you know, it's yeah, it's scary. It's  a scary time. And I think, you know, even for private funding and, um, private donors, it's, you know, everyone is feeling stressed and feeling concerned about our future right now, just as a country. and there's so much uncertainty. And, um, but I think people who really rely on the arts for all the things that it can provide, you know, an escape and pleasure and, you know, stimulation of a different kind. And especially in a time like this, when you want to be able to get away from maybe what's going on around you, you know, I'm hoping we can find a way to really come together and, um, kind of, you know, rally around each other and find a way to support each other. But, um, I think it is going to be hard for the next few years if we can't find ways to replace that funding that so many people have lost. And I certainly don't think that anyone wants to back away from the progress that's been made with inclusion and representation, you know, just to get funding. So I know we have to be very creative with our path ahead and find a way to, to keep doing what we're doing in this current environment.  00:51:07 Isabel Li  Yeah, on a brighter note, I read about your work with Lyris Quartet earlier this year when you presented a concert with Melodia Mariposa called Altadena Strong with the Lyris Quartet, raising funds for those who have been affected by the LA fires. Can you talk a bit about the power of music? And we're going to end on a stronger note here about the power of music in bringing communities together and accelerating community healing.  00:51:31 Shalini Vijayan  Well, I have to say that concert was really a special one for us. You know, um, so many musicians were affected by the fires in LA. And, you know, I, I've lived in LA for over twenty years now, almost twenty five years and, um, certainly seen my share of wildfires and disasters, but this one hit so much more close to home than any of the other ones have. And, you know, I know at least twenty five people who lost their homes in between the Palisades and Altadena and Altadena in particular.   When I moved to LA, it was a place where a lot of musicians were moving to because you could it was cheaper and you could get a lot of space, and it's beautiful. And, you know, they really built a beautiful community there among all the musicians out there. And it's just heartbreaking, um, to see how many of them have lost everything. And I have to say, Irina Voloshina, who is the woman who runs Melodia Mariposa, and just an amazing violinist and an amazing, wonderful, warm, generous person. You know, she started that series in her driveway during COVID as a way to just keep music going during the pandemic, and it really turned into something so great. And she's, you know, got a whole organization with her now and puts on multiple concerts a year. And when she asked us if we would play that concert for the community in Altadena is, you know, there's no question that we were going to do it. I mean, we absolutely jumped at the chance to support her and support the organization and that community. And people really came out for that concert and were so excited to be there and were so warm and, um, you know, and and she talked to the crowd and really connected with everybody on a very personal level, because she also lost her home in Altadena and, um, you know, it was it was a really meaningful show for all of us. And again, those are the moments where you realize that you can use this art to really connect with people that you may have never met before and show your your love for them, you know, through music, as corny as that may sound, but it's true.  00:53:54 Isabel Li  Yeah, definitely. Well, thank you so much, Shalini, for sharing your visions, your knowledge with new music and community building with us today. Thank you so much for being on Obbligato.  00:54:07 Shalini Vijayan  Thank you so much for having me, Isabel. It was really a pleasure.  00:54:10 Isabel Li  What a wonderful conversation that was with LA-based violinist Shalini Vijayan. If you go to kpfa.org, you can check out more of her work. I put the links to two of her ensembles, Brightwork New Music and Lyris Quartet up on kpfa.org. And thank you for listening to our conversation here on Obbligato on Apex Express.  00:54:32 Isabel Li  We thank all of you listeners out there. Keep resisting, keep organizing, keep creating, and sharing your visions with the world. Your voices are important.  00:54:42 Isabel Li  APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, and Cheryl Truong. Tonight's show was produced by Isabel Li. Thanks to the team at KPFA for their support. Have a great night.  [OUTRO MUSIC]  The post APEX Express – 11.13.25 – Obbligato with Violinist Shalini Vijayan appeared first on KPFA.

Leer samen met Lou en Loulou waarom zelfs de kleinste vrienden een groot hart kunnen hebben, met de fabel van de Leeuw en de Muis. Uitgegeven door Moon Tunes B.V. Spreker: Loulou en Lou

Leer samen met Lou en Loulou waarom zelfs de kleinste vrienden een groot hart kunnen hebben, met de fabel van de Leeuw en de Muis. Bedankt voor het luisteren!

This month we are honored to be joined by Georgia de Leeuw who is a post-doctoral researcher in Human Rights Studies at Lund University. Georgia's research has focused on Swedish mining and steel transition, in which steel is produced with hydrogen instead of coal. We start the conversation talking about Swedish exceptionalism and what this means in relation to mining. This opens into a more general discussion of the colonial project and how it has played out in the Nordic context. Within the Nordic context, while colonialism did not often include crossing an ocean, there has still been intense colonial activity in the north and continuing violations of Indigenous rights. We then continue into discussing the role of techno optimism and how extractivism is framed by industry as a positive project, something that is required for development and survival. Georgia looks at advocates and resistance to mining and green steel through the lens of psychoanalysis. Join us for this amazing conversation!Would you like to learn more about Georgia's work? https://portal.research.lu.se/en/persons/georgia-de-leeuwArtists and other resources mentioned in the show:Reindeer herder and co-author of forthcoming article: Rickard Länta, leading figure in the Sami resistance against mining in Jåhkågasska reindeer herding communityAuthors:Elin Anna Labba, Ann-Helén LaestadiusMovies:Stolen (2024) accessible on Neflix, based on the book by Ann-Helen LaestadiusLet the River Flow (2023)Artists: Anders Sunna, Timimie Märak and Maxida Märak, Sofia Jannok

Het stroomnet piept en kraakt. In delen van Nederland moet netbeheerder Enexis mogelijk op koude dagen zelfs noodgedwongen de stekker eruit trekken. Ook bedrijven voelen de problemen: sommigen staan al jaren op een wachtlijst voor stroom. En ook uitbreidingsplannen lopen vast in het stikstofdossier. Waar zit de ruimte, en hadden er andere politieke keuzes gemaakt moet worden? Rutger van der Leeuw, algemeen directeur van netbeheerder Enexis, is te gast in BNR Zakendoen. Macro met Mujagić/Boot Elke dag een intrigerende gedachtewisseling over de stand van de macro-economie. Op maandag en vrijdag gaat presentator Thomas van Zijl in gesprek met econoom Arnoud Boot, de rest van de week praat Van Zijl met econoom Edin Mujagić. Ook altijd terug te vinden als je een aflevering gemist hebt. Blik op de wereld Wat speelt zich vandaag af op het wereldtoneel? Het laatste nieuws uit bijvoorbeeld Oekraïne, het Midden-Oosten, de Verenigde Staten of Brussel hoor je iedere werkdag om 12.10 van onze vaste experts en eigen redacteuren en verslaggevers. Ook los te vinden als podcast. Lobbypanel Volgens de ondernemersorganisatie is er een sterker ministerie van economische zaken nodig. En de Europese commissie schiet de staalsector te hulp met nieuwe maatregelen. Dat en meer bespreken we om 11:30 in het lobbypanel met Boris van der Ham, Voorzitter van verschillende belangenverenigingen, zoals de NVBF, de VGN en de VVTP, en voormalig politicus en Nora van Elferen, partner bij EPPA. Luister | Lobbypanel | Zakenlunch Elke dag, tijdens de lunch, geniet je mee van het laatste zakelijke nieuws, actuele informatie over de financiële markten en ander economische actualiteiten. Op een ontspannen manier word je als luisteraar bijgepraat over alles wat er speelt in de wereld van het bedrijfsleven en de beurs. En altijd terug te vinden als podcast, mocht je de lunch gemist hebben. Contact & Abonneren BNR Zakendoen zendt elke werkdag live uit van 11:00 tot 13:30 uur. Je kunt de redactie bereiken via e-mail. Abonneren op de podcast van BNR Zakendoen kan via bnr.nl/zakendoen, of via Apple Podcast en Spotify. See omnystudio.com/listener for privacy information.

Blue Monday – hate to see you like this - Hate to see you like this - 2025 Jay Hooks - Tequila & Bullets – Tequila and Bullits  -  2025 Jose Ramirez band - i'll play the blues for you - live at bluesmoose radio - 17 oktober 2021Sonny Hunt and the Dirty White Boys feat Leif de Leeuw and Rory de Kivit – Cold Hearted Woman - 1 sep 2010 live at Bluesmoose radioSonny Hunt and the Dirty White Boys feat Leif de Leeuw and Rory de Kivit – Hoochie Coochie man - 1 sep 2010 live at Bluesmoose radioSonny Hunt and the Dirty White Boys feat Leif de Leeuw and Rory de Kivit – Cause we've ended as lovers - 1 sep 2010 live at Bluesmoose radioSonny Hunt and the Dirty White Boys feat Leif de Leeuw and Rory de Kivit – Voodoo Chile  - 1 sep 2010 live at Bluesmoose radio

Na twee decennia is Ook dat nog! terug op de buis met eclatante cijfers (1.25 miljoen kijkers), maar krijgt het befaamde consumentenprogramma de handen op elkaar van het panel van de AD Media Podcast? ,,Jongens, verzin eens iets nieuws”, verzucht columnist Angela de Jong. Behalve Ook dat Nog! bespreekt het panel van de AD Media Podcast ook de terugkeer van Beau van Ervens Dorens die een sociaal maatschappelijk programma maakt over het Antoni van Leeuwenhoek ziekenhuis, dat gespecialiseerd is in kanker. Dit is wat Beau goed kan, niet uit de hoogte, af en toe een vraag en met de juiste toon, zo vindt het panel eensgezind. En Miljoenenjacht? Daar veroverde de winnares zondag meer dan vier ton. Tot ergernis van Angela de Jong worden na de beslissing om te stoppen nog wél koffertjes opengemaakt om te zien ‘waar de bedragen zitten en wat ze eventueel had kunnen winnen’. Zelfs de ´bank´ werd gevraagd welk bedrag ze had kunnen winnen. En in háár koffer zat maar liefst vijf miljoen. ,,Wordt er toch voor gezorgd dat ze met een rotgevoel naar huis gaat”, aldus Angela de Jong. Dan de eerste cijfers van het radioprogramma van Gordon en Froukje de Both op Radio 10. Die dalen (dertien jaar en ouder) geleidelijk na een maand. Maar het geheim van een succesvol radioprogramma is een kwestie van de lange adem, werpt mediaverslaggever Dennis Jansen tegen. De Jong: ,,Zijn jullie verbaasd over zijn slechte cijfers? Iedereen kotst Gordon toch uit.” Voorbij komen Lubach, Het echte leven in de dierentuin en tenslotte de vraag wie Martine van Os moet opvolgen na haar vertrek bij We zijn er bijna. Moet dat Paul de Leeuw worden? Carrie ten Napel? Dionne Stax? Luisteren dus! Naar de wekelijkse AD Media Podcast, waarin columnist Angela de Jong en mediaverslaggever Dennis Jansen alle hoofd-, rand-, en bijzaken bespreken op het gebied van media. De presentatie is in handen van Manuel Venderbos. Gebruik je liever je favoriete podcastsapps via Spotify of Apple? Dat kan! Vind alle onze podcasts op ad.nl/podcasts.Support the show: https://krant.nl/See omnystudio.com/listener for privacy information.

Conservative leader Kemi Badenoch wants to end Labour's ban on new oil and gas licences and make North Sea oil and gas a "cornerstone" of the economy.   But what would that mean for net-zero targets?     Kamali Melbourne is joined by our business correspondent Paul Kelso, who breaks down the economic impact it could have, while industry expert Professor Paul de Leeuw tells us how the sector has reacted to the announcement in Aberdeen.  Producer: Soila Apparicio  Editor: Mike Bovill 

Urenlang luisterplezier Uitgegeven door Moon Sprekers: Jenny Arean, Noortje Herlaar, Paul de Leeuw

Een prentenboek vol 'pure brandweerromantiek' (NRC) Uitgegeven door Moon Spreker: Paul de Leeuw

Chris is op bedrijfsuitje geweest naar het Duitse Hillesheim. Daar is namelijk een Krimihotel én een Kriminalhaus. Vooral dat laatste wordt door Chris als een waar paradijs ervaren. In de serie 'Audio uit De Theatercollectie' zoomen we deze keer met Milco Feijnenbuik in op de musical Foxtrot uit 1977. En Chris belt met Paul de Leeuw die in de versie van 2001 speelde. Dit is het Instagram-account van Man met de microfoon. Wil je lid worden of een eenmalige donatie doen via petjeaf.com dan kan dat: hier Eenmalig overmaken kan ook naar: NL37 INGB 0006 8785 94 van Stichting Man met de microfoon te Amsterdam. Wil je adverteren, dan kun je een mailtje sturen naar: adverteren@dagennacht.nlSee omnystudio.com/listener for privacy information.

Op haar zeventiende werd Tineke Veenstra ernstig chronisch ziek. Met haar levensverhaal Puur Goud laat ze je zien dat je allang puur goud in handen hebt. Uitgegeven door Palmslag Spreker: Barbara de Leeuw

Laurens en Stefan gaan verder. Weer rode koontjes, want Lau had gefietst, en was eigenlijk nog best wel moe van de premiere van gisteravond - het is en blijft immers Meimaand Filmmaand.Hoe dan ook, over de Giro: de algemene conclusie is dat er veel gebeurt deze Giro, maar er is nog niks gebeurt. Ayuso krijgt een tikkie van Roglic, Roglic vandaag eentje van Ayuso, maar echt groots is het nog niet. Maar toch, het was wel al Grande Casino natuurlijk, de afgelopen dagen: 1,2,3-tjes voor Nederland, Mads die zichzelf aan z'n haren de berg over trekt, Groves die z'n eerste overwinning van het jaar pakt. Heerlijk, maar het wordt allemaal nog veel heerlijker.En hoe zat het ook alweer met die afsnijroute van de Leeuw? Je hoort 't allemaal in de Live Slow Ride Fast podcast!

De bende van 5 op avontuur. Uitgegeven door LuisterEffect Spreker: Barbara de Leeuw

Paul de Leeuw is misschien wel de bekendste Nederlander ter wereld. Maar wie is hij echt? Themafeest zocht het uit. (*Dit is een niet-geautoriseerde biografie)

In this episode, Sarah and Will chat to Josh de Leeuw from Vassar College and the creator of jsPsych. We chat about the history of jsPsych, the unseen process behind creating open-access scientific software, and the current challenges facing software developers in the open scholarship movement. jsPsych is a javaScript framework for creating online experiments, and is always looking for people to contribute to the codebase: https://jspsych.org. Follow Josh de Leeuw on Bluesky: https://bsky.app/profile/joshdeleeuw.bsky.social

Er breekt een periode van vertragen en herontdekken van de relatie met jezelf. Venus retrograde nodigt uit tot zelfreflectie en realisatie.De laatste retrograde was eind juli tot begin september van 2023 in het sterrenbeeld Leeuw. Dit keer worden er hele andere thema's aangeraakt. Venus staat voor liefde, verbinding, geld en schoonheid.Een retrograde is een periode waarin je gedwongen wordt om naar binnen te kijken. Ja, gedwongen inderdaad, om te kijken naar je eigen patronen en ervaringen uit het verleden rondom deze thema's.In deze aflevering leer je hoe je deze periode juist kunt gebruiken om nog meer over jezelf te leren met betrekking tot relaties, geld en sensualiteit.❤️‍

JAACAP January 2025: Contributing Editor Dr. Apurva Bhatt interviews Dr. Anne E. de Leeuw on a study that found women with a migration background reported more stress during pregnancy and more autistic traits in their children six years later than mothers without a migration background.

Erja Lyytinen – Dust my broom - 20 years of bluesrock - live at tavastia - 2024 Leif de Leeuw band – Lone Star - Mighty Fine - 2024 BJ Baartmans & Wild Verband – Cry  - A pawnshop love affair – 2025Nienke Dingemans – Last Train to Brooklyn -  Ain't no Hollywood girl – 2024Tommy Castro  The Painkillers - Woke Up And Smelled The Coffee - SINGLE – 2024Bintangs – Heaven is nowhere -  Heroes, Beggars and Kings - 2024 Otis Rush – Gambler's BluesT-Bone Walker – How long Blues Chris Rea – Deep winter blues - Blue Guitars - Album 07 (Blues Ballads) – 2005Ronnie Baker Brooks – My Boo - Blues In My DNA - 2024 

Kevin Burt - jagermeister song - live at bluesmoose radio 23-10 2019Rob Orlemans & HPM - BluesMoose Blues & HellhoundKris Barras band - Born under a bad sign - live in Bluesmoose café – 24-06- 2015Jade MacRae - Evil Gal Blues - Live at Bluesmoose Radio - 8 september 2021Altered five blues band - Angel of Mercy - live at bluesmoose radio 22 mei 2018Sonny Hunt Rory de Kiviet en Leif de Leeuw  - 1 sep 2010 Bluesmoose cafeRyan McGarvey – BLUE EYED ANGEL BLUES – LIVE at Bluesmoose radio – 11 juni 2011

With guests today located across all different time zones, welcome back to a truly international episode of L.I.F.T.S, a bite-size dose of the Latest Industry Fitness Trends and stories hitting the headlines and stirring up debate.   In this week's episode, ahead of FIBO and the European Health Futures Forum (EHFF), hosts Matthew Januszek, Co-Founder of Escape Fitness and Mo Iqbal, Founder & CEO of SweatWorks, are joined by Jennifer Halsall-de Wit, a member of EuropeActive's Inclusion Advisory Board, and Beau de Leeuw, a transgender advocate. Through their work, both of our guests' pioneer diversity, equity and inclusion research in the European fitness sector in order to empower everybody to achieve their full potential by uncovering hidden barriers, biases and systemic hurdles obstructing progress.  In this LIFTS, we discuss some topics that are really sparking debate including: ●       Planet Fitness revoking a woman's membership after she photographed a transgender member in the locker room. ●       Inclusivity versus privacy in fitness environments. ●       Safety for trans and non-binary individuals within gyms. ●       Cases where situations have been exploited and politized unnecessarily. ●       How the younger generations are redefining the process. ●       The need to make uncomfortable decisions in order to progress.       ●       The media scrutiny of Andrew Huberman, his private life and cancel culture. ====================================================== Subscribe to our YouTube channel and turn on your notifications so you never miss a new video when it's published: https://www.youtube.com/user/EscapeFitness Shop gym equipment: https://escapefitness.com/shop View our full catalog:  https://escapefitness.com/support/catalog https://escapefitness.com/support/catalogue  ====================================================== Facebook: https://www.facebook.com/Escapefitness Instagram: https://www.instagram.com/escapefitness Twitter: https://www.twitter.com/escapefitness LinkedIn: https://www.linkedin.com/company/escapefitness/   0:00 Intro 2:52 Planet Fitness's policy amidst locker room issue 9:56 Gender identity and locker room comfort levels 11:22 Safety for trans and non-binary individuals 13:07 Gender-neutral changing rooms 15:00 Safety, culture and identity in a diverse society 21:26 Inclusivity in gyms and gender identity 25:05 Inclusivity in fitness industry and cancel culture 29:18 Media scrutiny of a public figure's private life

Laurens, Stefan en Thomas gaan verder. De nasleep van de crash van Dwars door Vlaanderen drukt zwaar op de ochtend in Markedaal. Gelukkig zijn er koffiebroodjes om de pijn te verzachten. De heren spreken over de ziekenboeg na gisteren, nu er meer kennis over de impact van de bizarre valpartij. Maar ook wordt er voorbeschouwd: De Ronde komt er immers aan. Over de druk voor Alpecin-Deceuninck en nieuwe verhoudingen binnen Visma-Lease a Bike. En uiteraard wordt het onderwerp Premie Clandestino aangesneden - want hij ligt er weer! 1000 euro LSRF shoptegoed voor de renner die bij de eerste doorkomst als eerst bovenop de Paterberg is. En hoe zat het nou met de Leeuw van Vlaanderen?Je hoort het allemaal in de Live Slow Ride Fast podcast. Het is nog steeds mogelijk Skoda VIP kaarten voor de Amstel Gold Race te winnen! Check @liveslowridefastltd op Instagram.