Podcasts about leipzig germany

⦿⦿ElectriX Podcast⦿⦿ Welcome back, the newest podcast is ready to be listened. This week I have some nice deep house vibes for you. On the decks is "Larry Love" from Leipzig/Germany. Some groovy house beats to get into the weekend. I hope you like it and don't forget to support the podcast to keep this series alive. Like the Mix? Click the [Repost]

Join me on a private tour and interview at Auerbachs Keller, a 500 year old restaurant that sparked one of world's greatest works of literature and hosted one of the most significant religious figures in 200 years!

⦿⦿ElectriX Podcast⦿⦿ Hey guys, I'm back from my vacation and music doesn't sleep. I already got a new ElectriX Show for you guys. I Invited Deep Tone Rebel aka Michael Dietze from Leipzig/Germany to the show. He's really well known in the scene. He plays shows with big artists and with his experience, he knows how to enchant the dance floor. I'm happy to have him here and to welcome him in the ElectriX family. I hope you enjoy the mix...! Like the Mix? Click the [Repost]

Recently Ps Phil sat down with Ps Mattis Thielmann Lead Pastor of C3 Home. Mattis along with his wife Mareen, planted in Leipzig, Germany over 5 years ago and have seen incredibly growth in those short years. C3 Home now has 3 campuses, with another one starting soon, and excitingly they are also going to be a sending church, for a new church plant in Malaga, Spain. Join Mattis and Ps Phil as they discuss the experience of rapid growth, team culture, leadership and the future of the church in Germany. A brilliant message for all church pastors and leaders. For more information: C3 Home visit https://c3home.church/ and follow @c3home.church Follow Ps Phil Pringle @philpringle For more information on C3 Church Global head to https://c3churchglobal.com/ C3 Europe | https://www.c3europeconference.com/ October 26-28, 2023 ‘The Outpouring' C3 Church Global Conference Singapore / May 15-17, 2023

Housepedia Podcasts #HomeIsWhereHouseIsPlaying 124 I Max Caesar House DJ and producer Max Caesar has been applying himself fully to the pursuit of classic house sounds, be it 909 drums, slightly detuned string samples or dusty old pianos. The search for a classic but still modern approach to house is the focus of his journey. Now residing in Leipzig (Germany) he is a core member of Future Fabrik, a forward looking mixed-media project set to make waves with their digital artist services and soon-to-launch FF imprint. Info about the artist: @maxcaesar Submit your mixtape: http://housepediamusic.com Like our posts? To buy a coffee and help support Housepedia Music click: ko-fi.com/housepediamusic Listen on Apple: apple.co/3n4V8s5

Download exclusive DJ Mix / Sets 😎👉🏻www.facebook.com/technolivesets/support/ Subscribe to listen to Techno music, Tech House music, Deep House, Acid Techno, and Minimal Techno for FREE.

LIGHT TIDE   Light Tide are a four piece from Yorkshire UK who adore creating music. The rock/folk band are made up of William East (Lead Guitar), Jordan McLean (Drums), Tom Wills (Bass) and Owen Gower (Vocals & Rhythm Guitar).   AKELA1   Brick on brick, build the walls up to survive", sings Akela1 in the final track of his self-produced debut EP "Negative Nancy". The multi instrumentalist from Leipzig (Germany) builds a protective bunker, brick by brick, for protection against depression and demons. Anyone who dares to venture into the bunker underground will be guided through the musical labyrinth by familiar faces. Akela1 has mastered the genre game. He uses synthwave here, progressive rock there and plays with dark but powerful sounds that contrast with melancholic melodies. However, there is a clear direction: forward!

Download exclusive DJ Mix / Sets 😎👉🏻www.facebook.com/technolivesets/support/ Subscribe to listen to Techno music, Tech House music, Deep House, Acid Techno, and Minimal Techno for FREE.

Download exclusive DJ Mix / Sets 😎👉🏻www.facebook.com/technolivesets/support/ Subscribe to listen to Techno music, Tech House music, Deep House, Acid Techno, and Minimal Techno for FREE.

Dresden is a famous city–but famous for the wrong reasons. Ask any American about the city and the first thing many of them will say is “Slaughterhouse-Five.” Fast forward 74 years to the present and you have today's Dresden. Read the story here --- Support this podcast: https://anchor.fm/max-hartshorne/support

Welcome to the second episode to "Persona Non Filtered" podcast. Today I talk to artist Hazuki Fukuda who is part of the group exhibition call on the freedom of #JulianAssange curated by Salonrogue in Leipzig Germany. Hazuki told me about her way into the art world, and how she faced racism in her daily life, what led her into leaving her "office job" to than go on full risk in turning her life around. She understand this as a calling from within to change her life. Very touching the conversation went as Hazuki talked about her grandfather, an artist who had to fight in the Second World War, and was forced by the Japanese government to paint pictures which praised the war. All of this made Hazuki aware of Julian Assange case and how important it is to all of us for him to be free, and only when he is free - we will be free. Links to know Hazuki Fukuda Website Musik in this podcast by Carsten Klatte you find here The Resistance Of Art - Newssite Salonrogue Art Salon who host the exhibition for Julian Assange click here --- Send in a voice message: https://anchor.fm/persona-non-filtered/message

None of the organisers had ever dreamt it would be this much of a success. The Free Assange Wave in Brussels kicked off with a panel session on Friday evening, the 22nd of April 2022, and continued the next day with a protest rally, laced with high-profile speakers and dedicated artists. In this podcast, Potkaars interviews the organisers who describe how seemingly out of nowhere, a bunch of unaffiliated Europe-based Assange campaigners got together online and organised it. This is a twently minute edit of ther full 70 minute interview that can be viewed here: https://youtu.be/s2Lb4iuLPqgThe organisers discuss the travelling statue 'Anything to say' with its creator and a new rally and art exhibition event coming up in Leipzig Germany on July 2nd and 3rd. They call artists to action on every stage, much like they did themselves in Brussels april 22nd where guest speakers included Christophe Marchand, Assange's Belgian human rights lawyer and member of Assange's international legal team. Musician David Rovics, and speeches by UK MP Jeremy Corbyn, Iceland's ex-minister Ögmundur Jonásson, EU MP Mick Wallace, Annie Machon (ex-MI5) and German MP Andrej Hunko. Throughout this interview you'll see images from the event and of a performace blending into Assange's voice chiming over La Place de la Monnaie where Stella Assange voiced a heart-breaking and hopeful ‘Thank You' to all present, while her husband's words resonated:“If you give up what is uniquely yours, as a human being, if you surrender your consciousness, your independence, your sense of what is right and what is wrong, in other words, perhaps, without knowing it, you become passive and controlled, unable to defend yourselves and those you love. We have to educate each other. We have to celebrate those who reveal the truth. Denounce those who poison our ability to comprehend the world that we live in.”Please sign RSF's petition: https://rsf.org/en/petition/freeassange-sign-urge-uk-home-secretary-priti-patel-reject-julian-assange's-extraditionthe dance/speech performance on April 22nd in Brussels can be seen here in full source https://youtu.be/s2Lb4iuLPqgreport/article (in Dutch) https://potkaars.nl/blog/2022/5/10/julians-vrijheid-is-jouw-vrijheid-verslag-van-assange-rallies-in-europa-engelsguests: Davide Dormino, James Andrew, Marie France Deprez, Manja McCade, Michelle Aslanides, Kamila, Djamila le Pairhost: Rico Brouwer

⦿⦿ElectriX Podcast⦿⦿ Welcome guys! For this week I have a nice change to offer. You know I like to switch things up in that series and want to have many kinds of electronic music right. I met the french DJ but based in Leipzig/Germany "Tinou" and he plays that kinda groovy tribal techno genre, which I liked and he`s a vinyl DJ only, which I don`t meet so often either. He is also a part of a collective which plan daily underground parties. Nice to have him here and hope you guys check him out and you will enjoy his set. Have fun! Like the Mix? Click the [Repost]

Please join author Mohamed Abdel-Wahab and Associate Editor Stefan James as they discuss the article "Comparison of a Pure Plug-Based Versus a Primary Suture-Based Vascular Closure Device Strategy for Transfemoral Transcatheter Aortic Valve Replacement: The CHOICE-CLOSURE Randomized Clinical Trial." Dr. Carolyn Lam: Welcome to Circulation on the Run. Your weekly podcast summary and backstage pass to the Journal and its editors. We're your co-hosts. I'm Dr. Carolyn Lam, associate editor from the National Heart Center and Duke National University of Singapore. Dr. Greg Hundley: And I'm Dr. Greg Hundley, associate editor, director of the Pauley Heart Center at VCU Health in Richmond, Virginia. Well, Carolyn, this week's feature, a very interesting topic, looking at closure devices at the sites of access for patients that are undergoing TAVR procedures. But before we get to that, how about if we grab a cup of coffee and start with some of the other articles in the issue. Would you like to go first? Dr. Carolyn Lam: I would love to and I would like to describe not just one, but two articles from recent SGLT2 inhibitor trials. So, the first paper is an analysis of the DAPA-HF trial. Now we know that circulating high sensitivity, cardiac troponin T predominantly reflects myocardial injury. And higher levels are associated with a higher risk of worsening heart failure and death in patients with heart failure with reduced ejection fraction or HFrEF. But what about the prognostic significance of changes in high sensitivity troponin T over time and the effects of Dapagliflozin and on clinical outcomes in relation to baseline levels, as well as the effect of dapagliflozin on the high sensitivity troponin T levels? Well, this is what this study answers. It's a biomarker substudy of the DAPA-HF trial from Dr. Berg of the TIMI study group at Brigham women's hospital and colleagues. Dr. Greg Hundley: Wow. Carolyn, very interesting. So remind us about the DAPA heart failure trial. What was it about? Dr. Carolyn Lam: Ah, well, DAPA-HF was a randomized double blind placebo control trial of dapagliflozin in patients with symptomatic HFrEF defined by injection fraction 40% or less wherein dapagliflozin significantly reduced the primary endpoint of cardiovascular death or worsening heart failure events. And in today's biomarker substudy increases in high sensitivity, cardiac troponin T over a one year interval of time were highly predictive of subsequent risk of worsening heart failure and cardiovascular death. The effect of dapagliflozin on the primary endpoint was consistent irrespective of baseline troponin T concentration with no evidence of attenuated treatment benefit in those with very high troponin T concentrations. Dr. Greg Hundley: Very interesting Carolyn. Now you've got another study. Is this one on EMPA? Dr. Carolyn Lam: You are right. Thank you. The next paper is and analysis of the Emperor-Preserved trial. As a reminder, Emperor-preserved study the SGLT2 inhibitor empagliflozin in patients with HFpEF this time, which is a left ventricular ejection fraction above 40, and showed a significant reduction in the risk of cardiovascular death or heart failure hospitalization. The current paper evaluated the efficacy of empagliflozin on health related quality of life in patients with HFpEF and whether the clinical benefit observed with empagliflozin varied according to baseline health status. Dr. Greg Hundley: Very nice, super review Carolyn. So what were the results of this study? Dr. Carolyn Lam: In Emperor-Preserved, baseline health status and quality of life did not influence the magnitude of effect of empagliflozin on the risk of cardiovascular death or hospitalization for heart failure. Empagliflozin improved health status and quality of life as assessed by the Kansas city cardiomyopathy questionnaire across all domains and at all measured time points. Thus an effect that appeared early and was sustained for at least one year. Dr. Greg Hundley: Very nice. So two really informative papers on SGLT2 inhibitors. Well Carolyn, I'm going to turn the conversation to the world of preclinical science and talk about Titin. So Carolyn, titin truncation variants are the most common inheritable risk factor for dilated cardiomyopathy and their pathogenicity has been associated with structural localization. The A-band variants with overlapping myosin heavy chain binding domains appear more pathogenic than the I-band variants and the mechanisms for this are not well understood. So these investigators led by Dr. Hinson at the Jackson Laboratory for genomic medicine, performed a study demonstrating why A-Band variants are highly pathogenic for dilated cardiomyopathy and how they could reveal new insights into dilated cardiomyopathy pathogenesis. Titin functions and therapeutic targets were assessed. Dr. Carolyn Lam: Wow, interesting. So what did they enroll in? How did they do this? what did they find? Dr. Greg Hundley: Great Carolyn, so human Cardiomyocytes and cardiac micro tissue functional assays revealed that highly pathogenic A-Band Titin truncation mutations generate four shortened titin poisoned peptides and diminish full length, titin protein levels. While less pathogenic I-band titin mutations only diminish titin protein levels. And so Carolyn, the authors developed a one and done, genome editing therapeutic approach using CRISPR technology to repair the reading frame of Titin truncation mutations in cardiomyocytes. And therefore these genome editing therapeutics could correct the underlying genetic lesion responsible for dilated cardiomyopathy due to these Titin mutations. Dr. Carolyn Lam: Wow. Interesting. One and done genome editing. You learn something new every day with circulation. You've got another paper? Dr. Greg Hundley: Yes, Carolyn. Thank you. And so this paper comes to us from Dr. Beiyan Zhou From the Yukon health, school of medicine and again, from the world of preclinical science. So Carolyn, while several interventions can effectively lower lipid levels and people at risk for atherosclerotic cardiovascular disease, cardiovascular event risks remain, suggesting an unmet medical need to identify factors contributing to this cardiovascular event risk. Now monocytes and macrophages play central roles in atherosclerosis, but previous work has yet to provide a detailed view of macrophage populations involved in increased atherosclerotic cardiovascular disease risk. Dr. Carolyn Lam: Huh? Okay. Well, I'm super excited to hear what these investigators did Greg. Dr. Greg Hundley: Right, Carolyn. Well these authors developed a novel computational program. They call AtheroSpectrum, which identified a specific gene expression profile associated with inflammatory macrophage foam cells. And additionally, a subset of 30 genes expressed in circulating monocytes jointly contributed to the prediction of symptomatic atherosclerotic vascular disease. So therefore Carolyn, in the future, perhaps incorporating this new pathogenic foaming gene set with known risk factors may significantly strengthen the power to predict atherosclerotic cardiovascular disease risk. Dr. Carolyn Lam: Wow. Super interesting and well summarized. Thank you, Greg. Well also in today's issue, there's a Perspective by Dr. Kirtane on “The Long-Awaited Revascularization Guidelines are Out. What's In Them?” A Research Letter by Dr. Laffin on rise in blood pressure observed among us adults during the COVID 19 pandemic. Dr. Greg Hundley: Very Nice Carolyn. Well in our Cardiovascular News Segment, there's a piece on metabolic risk factors and how they drive the burden of Ischemic heart disease. Well, what a great issue here and now, how about we get onto that feature discussion? Dr. Carolyn Lam: Very Cool. Closure devices after TAVR. Here we go. Dr. Greg Hundley: Well, listeners welcome today to our feature discussion and we have with us Dr. Mohamed Abdel Wahab from Leipzig Germany. And we are going to discuss some issues pertaining to transcatheter aortic valve replacement, in terms of access to the arteries in the lower extremity. Welcome Mohamed. And can you start with, what was some of the background that led you to perform your study and what was the hypothesis that you wanted to address? Dr. Mohamed Abdel-Wahab: Thank you, Greg. And thank you for having me here. So as you mentioned, there are several cardiovascular procedures that currently require large-bore arterial access. The most common of these procedures is transcatheter aortic valve replacement. But there are other procedures as well, like endovascular aortic repair, mechanical circulatory devices. All of these require large-bore arterial access and of course, closure afterwards. And what we were interested in looking at was whether different types of vascular access site closure devices or strategies behave differently in the setting. Particularly in the setting of transcatheter aortic valve replacement. The reason behind this is that for many years, we only had one technique, to percutaneously close arterial access sites after these procedures. And these were mainly based on suture based devices or suture based techniques. Very recently, alternative techniques based on collagen plugs have been introduced. Dr. Mohamed Abdel-Wahab: And we know these types of devices or closure techniques from usual coronary intervention procedures for smaller access sites or for smaller sheath size. But they have been developed a step further for these large-bore procedures. These newer devices, particularly what we call the MANTA device, which is based on the collagen plug has been shown in initial visibility studies and also in registry based analysis to be very safe and effective. It leads to a very rapid hemostasis. And data from observational studies have suggested that it may be even superior to the suture based techniques, largely based on what we call the ProGlide device or the [inaudible 00:10:56]. And this is actually what we were aiming to look at. To compare these two different strategies based on two different devices. The suture based, the classical suture based technique using two ProGlides compared to the newer plug based technique using the MANTA in a population treated with TAVR. Dr. Greg Hundley: Very nice. And describe for us, your study design. And then also maybe explain a little bit more about the study population. Who did you include in this study? Dr. Mohamed Abdel-Wahab: So the design was more or less, very inclusive. So we designed the trial to more or less represent real word population. More or less [inaudible 00:11:40] population receiving transcatheter aortic valve replacement. So we included patients, of course where the procedure is being thought to be indicated and feasible by a multidisciplinary heart team. And also where the heart team thought that the transfemoral access route, which is the main route for the majority of patients, is obtainable and use of a percutaneous closure device is also possible. Dr. Mohamed Abdel-Wahab: Of course we had some exclusions. For example, patients where the use of a surgical access technique was necessary. They couldn't be naturally included in the trial. Patient that already had complications related, for example, to previous coronary angiogram PCI at the access site, they couldn't be included. But we were more or less, very inclusive in this trial. The trial population reflects the patients that are currently being treated with TAVR, so more or less an elderly population. More or less equally split-by males and females, which is very particular, again to the TAVR population. So this is a little bit different than the population that receives PCI, where we usually have a predominantly male population. This is not the case here. So these are the broad lines. Also reflecting current practice, the population that has been included in the trial is more or less overall, an intermediate risk population, when you look at the surgical scores. Dr. Greg Hundley: Very nice. So this was multicenter and then also patients were randomized to each of the two therapies, I believe. And was that a one to one randomization? Dr. Mohamed Abdel-Wahab: Exactly. So it was a multicenter trial. Patients were randomized between these two techniques. We mentioned the ProGlide based and the MANTA based in 1:1 fashion. And steering committee of course was more or less dominated by interventional cardiologists. Of course, in the context of this particular trial setting, the trial was only performed in Germany and it was an investigative initiated trial, not sponsored by the industry. Dr. Greg Hundley: Very nice. And can you describe for us, Mohamed, your results? Dr. Mohamed Abdel-Wahab: Yes. We actually hypothesized based on the observational data we have, that we will have less vascular complications with the MANTA based technique or the collagen based technique. At the end of the day, what we observed is completely the opposite. So the primary endpoint of the trial, which was what we call major and minor vascular complications defined according to the standardized criteria provided by the valve academic research consortium. These events occurred significantly more common in patients that were randomized to the MANTA based technique, as opposed to the ProGlide based technique, which was statistically significant. Dr. Greg Hundley: And did you observe those results across both the men and the women? And also, were there any differences in the results related to participants' age? Dr. Mohamed Abdel-Wahab: Yeah. So there were no interactions with various subgroups, both the predefined ones, including age and sex, as you mentioned. But also we looked at some post hoc subgroups, including for example, whether this is being affected by the size of the access vessels or by the presence and location of calcification, for example. But there were no interactions in all subgroups we looked at, with one exception which was chronic renal insufficiency. But all other subgroups showed actually no significant interaction, favoring the suture based, ProGlide based technique in all subgroups. Dr. Greg Hundley: Very good. And so can you describe in terms of, for individuals performing TAVR procedures and obtaining access, how do we use the results of your study to inform how we might move forward with closure of the artery in the future? Dr. Mohamed Abdel-Wahab: I mean, the first thing I would like to stress is the importance of doing randomized trials in general. Because I think this is not the first time we see opposite results when we are comparing randomized evidence with the evidence from observation studies, with the known limitations of observational comparative analysis. The second thing I think is really reassuring that the suture based technique that we know and that we have been using for many years now is safe and appears to be even more effective than the newly developed plug based technique. So this is one important information I think from this trial. The third piece of information is that the recently developed plug based technique, although being inferior in the study, it still may have some advantages in selected patients. And this is what we probably need to look at in a little bit more details in the future. Dr. Mohamed Abdel-Wahab: For example, what we realized from the study is that it could be a good option as a bailout device. So in some cases where the suture based technique has failed in the study, the crossover to the MANTA device was successful in the majority of cases. And may lead or help avoid complex endovascular interventions and implanting for example, stents or covered stents or even doing surgery. So this is something that is a nice observation from the dataset we have, but of course needs validation in larger studies. Dr. Greg Hundley: Very nice. And so really you've answered, kind of one of our key questions is, your thoughts on the next study that you see needs to be performed really in this area of research? Dr. Mohamed Abdel-Wahab: Yeah, so I think there are several things. One thing is, again, to look at potential patient subgroups that may benefit from the plug based device from the beginning. So probably it's not something that we should be using as a default strategy based on the results of this trial. But there could be certain subgroups we need maybe to dig a little bit more into the details or subgroups, if you wish to say so. Look a little bit more granularly at some patient groups that could benefit. But as mentioned, I think that the bailout indication is a very interesting one and needs to be looked at. Dr. Mohamed Abdel-Wahab: Not only in the TAVR setting, but also in the setting of other procedures. Such as for example, the use of mechanical circulatory assist device or ECMOs, where it may be difficult to apply these sutures post hoc. So the sutures that we apply during a TAVR procedure and what we use in this trial, this is the so-called preclosure technique. So you apply the sutures after gaining access. Then you insert your large-bore sheaths through the procedure. And then the sutures are already there and you can close the access site, usually without problems. Which is difficult, if you obtain access, for example, with an ECMO or an Impella. And then after a couple of days, you need to close it. So the sutures are not yet in place. In this particular scenario, it may be beneficial to use a plug afterwards. Or as a bailout device as previously Mentioned. Dr. Greg Hundley: Very nice well listeners. We want to thank Dr. Mohamed Abdel Wahab from Leipzig Germany for bringing us this study indicating that among patients treated with transfemoral TAVR, this pure plug based vascular closure technique using the MANTA VCD was associated with a higher rate of access site or access related vascular complications. Well, on behalf of Carolyn and myself, we want to wish you a great week and we will catch you next week on the run. Dr. Greg Hundley: This program is copyright of the American heart association, 2022. The opinions expressed by speakers in this podcast are their own and not necessarily those of the editors or of the American heart association. For more, please visit AHA journals dot org.

This week on Fresh Hop Cinema; Beer 1: "Pineus" from Great Notion (Gasthaus & Gosebrauerei Bayerischer Bahnhof (Leipzig, German). Beer 2: "Hop Noise" from Local Brewing (San Francisco, CA) Film: Tenet (2020) ------ Episode Timeline: TBA Please rate & review us wherever you listen to podcasts and, if you're so inclined, consider donating to the show via our Patreon page. Find our entire collection of episodes as well as written reviews of movies and beers at our virtual podcast mansion www.freshhopcinema.com. - Thanks to all our patrons, and the Handlebar Chico for their constant support and to Bailey Minardi, without whom, this show wouldn't be what it is.

The group exhibition Zero Waste showcases international positions in contemporary art that point out the urgency to save resources, consume less, and live more sustainably. In diverse installations, videos, sculptural works, and photographs the artists investigate the global consequences of plastic packaging, tire abrasion, toxic chemicals, and the overproduction of consumer goods. Zero Waste will be realised by the German Environment Agency in cooperation with the MdbK and curated by Hannah Beck-Mannagetta and Lena Fließbach.The exhibition catalogue, published by the Museum of Fine Arts Leipzig (MdbK) and the German Environment Agency, contains essays by Hannah Beck-Mannagetta and Lena Fließbach, Sven Bergmann and Yusif Idies, Martin Ittershagen and Fotini Mavromati such as Minimal Mimi. The catalogue (130 pages, colour pictures) is available now from the museums pay desk at the price of 12 € and online from Do You Read Me. 100% of the proceeds from the catalogue will go to the tree-planting project by artist Andreas Greiner, with the aim of offsetting the CO2 footprint in the exhibition. The first field maple is planted in January, 2020 in Gohlis. A sponsorship of the "Aktion Baumstarke Stadt" of the city of Leipzig costs 250 € per tree.Interviews for ZERO WASTE with Lena Fließbach & Hannah Beck-Mannagetta, Erik Sturm, Wolf von Kries, Jeanette Stoschek, and Bianca Kennedy & The Swan Collective recorded by Michael Dooney on 24. June 2020 at the Museum der bildenden Künste, Leipzig Germany. NOTESFull Episode Transcript (online soon)ZERO WASTEOfficial Website, MdbKInstagramExhibition CatalogueLena FließbachOfficial WebsiteInstagramHannah Beck-MannagettaOfficial WebsiteInstagramErik SturmOfficial WebsiteInstagramWolf von KriesOfficial WebsiteJeanette Stoschek, director Museum der bildenden Künste, LeißzigOfficial Website, MdbKInstagram, MdbKTwitter, MdbKBianca KennedyOfficial WebsiteInstagramThe Swan CollectiveOfficial WebsiteInstagram----more----SEBASTIAN DE LA LUZ (audio engineering)SoundcloudInstagramMICHAEL DOONEYHome PageInstagramFacebookTwitterYouTubeJARVIS DOONEY GALLERYHome PageInstagramFacebookTwitter

Dr Jenny Hagen is a farrier and Associate Professor of the Institute of Veterinary Anatomy at Universität Leipzig, where she trains new farriers and undertakes her research into the effects of trimming and shoeing on equine biomechanics and locomotion, amongst many other interesting studies. Jenny and I got together at Hoven I Centrum (Hoof in Focus) 2019 event in Denmark to discuss her work. Listen for advice on how trimming effects load distribution; relieving the superficial flexor tendon and fetlock region; how a horse's conformation can change, and much more. Help us improve your listening experience by answering our PODCAST SURVEY: https://www.surveymonkey.co.uk/r/WWS3Z5W Subscribe to my Youtube channel: youtube.com/drsimoncurtis 
View, order, or find your local retailer of my books: curtisfarrierbooks.com
 The Hoof of the Horse is a hoof care & equine science podcast by Dr Simon Curtis. Tune in for expertise and interviews from the world of horse hoof care. Get in touch: thehoofofthehorse@gmail.com

© artwork by Bonnie Ford (https://soundcloud.com/bonnieford-1) Julian Falk (https://soundcloud.com/julianfalkk) presents "The Saga Of The Golden Scarab“ Afterhour Sounds Podcast Nr.185 Unsere Nr. 185 kommt dieses Mal von einem Menschen, denn ich vor knapp zwei Jahren persönlich auf einem Event der Mousike Freunde in Berlin (https://soundcloud.com/mousike) traf und zu schätzen gelernt habe. Auch „ohne eigene Kopfhörer“ konnte mich der quirlige Leipziger mit seinem speziellen Downtempo Sound damals, wie auch heute, voll und ganz überzeugen. Ich begrüße in unserer kleinen, aber feinen Reihe den Leipziger DJ ‚Julian Falk‘, der einen großen Hang für ethnische und sehnsüchtige Melodien, sowie tiefe Bassdrums hat. Eine hervorragende Hörprobe seines Könnens ist der für uns arrangierte Podcast mit dem cineastischen Namen "The Saga Of The Golden Scarab". Die Aufnahme überzeugt mich vor allem wegen seiner ganz anderen Herrangehensweise, als ich es bei Ihm gewohnt war. Deutlich flotter und treibender kommt das Set daher. Auf der anderen Seite vereint es aber immer noch dies ganz besonderen Momente voller Harmonie, welche ihn doch kennzeichnen. Neben einem samtweichen Aufbau mit ganz viel Tiefgang, fließen die Übergänge überwiegend gekonnt ineinander, dass man schnell vergisst einem Mix zu lauschen. Dabei baut er sukzessiv den Druck und Tiefe auf. Ab und dann könnte man auch meinem, dass es sich bei all der Harmonie nämlich um einen Never-Ending-Track handeln könnte. Sobald man die Augen schließt und den Klängen Lauscht, vergisst man ganz schnell den Alltag. Es entsteht ein Gefühl der puren Entspannung, welches Zeit und Raum auflöst. Dazu besticht sein Set auch mit einem spannenden Arrangement, in dem er das gewisse Feingefühl für Stimmungen und Dramatik zeigt. Egal wie man es wendet und dreht, die Aufnahme nimmt einen tatsächlich ohne Umwege auf eine intensive Reise ins Nirvana und zurück mit. Ich bin selber komplett sprachlos von diesem besonderen, unerwarteten Geschenk, welches du uns gemacht hast Julian. Ich danke Dir vielmals für dieses besondere Set. Umwerfend, intensiv und überraschend gut. Wenn Traum, dann Hier. Chapeu. Ich bin entzückt. ✘ https://soundcloud.com/julianfalkk (Leipzig/Germany) ✘ https://www.facebook.com/julianfalkk Download for free on The Artist Union

Leipzig, Germany

Leipzig, Germany

Alma, based in Leipzig/ Germany was playing 3 years back to back with her older brother as Duo 'Alma & August Lilienweiss'. Influenced by artists like Ben Klock, Ellen Allien, Kobosil, Regal and fascinated by Bpitch Control and other big labels with their productions, she's going back to her solo project in 2018. Of course still driving and hypnotic acid and industrial techno, additional cold and mystical melodies and vocals. https://soundcloud.com/almamarter Download for free on The Artist Union

David Dichelle, live from Leipzig, Germany, talks about resisting the global monoculture - he's the host of Continental Subway on WFMU's Give the Drummer Radio. Tomaš Dvořák - "Game Boy Tune" - Machinarium Soundtrack - "Mark's intro" - "Interview with David Dichelle" YAT-KHA - "Langchyy Boom" - Minority Report: Continental Subway 2018 DJ Premium https://www.wfmu.org/playlists/shows/88783

David Dichelle, live from Leipzig, Germany, talks about resisting the global monoculture - he's the host of Continental Subway on WFMU's Give the Drummer Radio. Tomaš Dvořák - "Game Boy Tune" - Machinarium Soundtrack - "Mark's intro" - "Interview with David Dichelle" YAT-KHA - "Langchyy Boom" - Minority Report: Continental Subway 2018 DJ Premium http://www.wfmu.org/playlists/shows/88783

Forcing readers to feel, Finish death metal and the Orlando gay club shooting Yve of The Wild Waters studied Comparative Literature and Cultural Studies at the university of Leipzig/Germany. She is the author of a series of short stories, of which the first instalment 'The Nocturnal Tides - The first Wave' was published with Amazon Kindle in March 2019. Yve is currently working on the next book to be released later this year. You can find her haunting the streets of London town in darkness, in light. Find more of Yve here: https://www.instagram.com/yveofthewildwaters/ https://www.amazon.co.uk/of-The-Wild-Waters-Yve/e/B07PXX1RLQ/ref=dp_byline_cont_ebooks_1 https://www.amazon.co.uk/gp/product/B07PH9MBGC/ref=dbs_a_def_rwt_bibl_vppi_i0 ***** It Means Something Podcast Intimate conversations with those who are creating in the world (makers, entrepreneurs, artists, etc) and an exploration of their journey and the meaning they're making in their lives. Follow us on https://www.instagram.com/itmeanssomethingpodcast/ Find out more at https://www.itmeanssomething.com Subscribe at https://open.spotify.com/show/6qLI4XPowiCfBE0bVLfTGw Subscribe at https://podcasts.apple.com/gb/podcast/it-means-something-podcast/id1476388482

Music to me is, and has always been existential. From when I was a little boy growing up with a concertmaster – in many of the world's most famous orchestras – as my dad, in Vienna, and constantly visiting his workplace, the famous Musikverein, to today where I am a music aficionado, an avid vinyl record collector as well as a (fairly amateur) music producer. Music is a passion, or 'addiction' as my wife would say, and a great source of joy for me.Having Till Janczukowicz on this show was a big personal pleasure. His classical music streaming app, IDAGIO, is constantly running a fine line between catering to the young and the old, the classical novice versus the expert, and it is a fascinating branding game.Till discusses how classical music, as a brand, was intimidating, and how he and his team are breaking that wall down, out their offices in Berlin, Germany. And how classical music's role and perception in society has changed over the years, and what role technology played in it.We discuss how to showcase music visually, with all of its nuances, is an extremely difficult task, one that IDAGIO mastered from day one.So many fascinating takeaways in this conversation, one that struck with me, and that should give you an idea on how deep we are diving into not only the brand discussion, but also the entrepreneurial journey as a whole: "The bigger you grow as a corporation, the more you have to bring things that are on a subconscious level to a conscious level."A delightful conversation that truly inspired me, and I believe it will do the same for you.To support this show, please head to Patreon.____Full Transcript:F Geyrhalter: Welcome to HITTING THE MARK.Today we welcome a guest who I have been looking forward to for a while now. The subject hits home in many ways. Not only is this founder based in Berlin, Germany, hence you will get a double-German accent episode today, but his is the world of classical music, which is the same world in which I grew up in, back in Vienna.Till Janczukowicz is the founder of IDAGIO, which is often described as being the Spotify for classical music.Till has more than 20 years of experience as an artist manager, producer, and concert promoter. In 2000, he established the European office for Columbia Artists Management, heading it up as managing partner for 11 years. He was responsible for organizing several of the Metropolitan Opera’s European tours, and his personal clients included conductors Christian Thielemann, Seiji Ozawa, André Previn, and Jukka-Pekka Saraste, as well as pianists Ivo Pogorelich and Arcadi Volodos. In 2008, he founded the Abu Dhabi Classics, a performing arts series merging culture, education and tourism for the government of the United Arab Emirates. That is where he arranged debuts for the New York, Berlin and Vienna Philharmonics; the Bayreuth Festival; and Daniel Barenboim, Simon Rattle, Zubin Mehta, Yo-Yo Ma, Ben Kingsley, Jeremy Irons, and countless other musical and artistic luminaries.I am thrilled to welcome you to the show, Till!T Janczukowicz: Great, pleasure to meet you and to be here.F Geyrhalter: Absolutely. So as I mentioned in my intro, this is truly a pleasure for me since my father was an amazing violinist who spent most of his life as a concert master and some of Vienna's best orchestras from the Vienna State Opera Orchestra, the Vienna Tonkünstler Orchestra, the Kammer Orchestra, all the way to the Vienna Philharmonics, and appeared on over 50 records and radio productions. So he was also a sound purist who loved his audio gadgets the same way that I do now. He would've cherished to hear this conversation today.So listeners who are not classical music fans may wonder why. Why was there a need for classical music in an app form when you can find plenty of classical options on Spotify, Apple music and Tidal? Let me quote an article from Vogue that explained it perfectly well, "It all comes down to Metadata." While Metadata for most popular music is quite simple, there's the artist, the song, or track, the album it's from. Classical Metadata might encompass everything from the composer, the orchestra, the conductor, the choir, which may have its own director, various soloists, the title of the piece, along with perhaps some sort of number or nomenclature to indicate it's placed within the larger symphony of work.Then artists opus number, or in the case of composers like Mozart Bach whose works are ordered by their own system, their Kochel or BWV number. So it's not simple. Yes, there is a big need for it.Till, your biography talks a lot about the amazing journey you have taken prior to starting IDAGIO in 2015, but tell us a bit about the founding story behind IDAGIO. How did it all start? Give us the romance, the hardship of your startup's early days.T Janczukowicz: So where to start? Let's start with the Romance, maybe-F Geyrhalter: That's a good place. Let's start positive.T Janczukowicz: The very early Romance, but what I would say is that I was lucky and only looking back, I understood that I was lucky. I was offered to piano when I was six years old and that captured me immediately. So once I started to play the piano for the first time without knowing anything, I knew and felt, "Well, that's my life. I'm going to spend my life with this music that fascinated me.I could even say, probably I've never worked. I never felt I was working in my life. At the very end, it comes down to a variety of attempts to promote what fascinated me, in a very, I wouldn't say egoistic way, but it was a very obvious thing for me. Classical music captured me. It opened stories for me. It created images and so on.So I started to be a pianist at the beginning. Thanks god I became friends with a real pianist, Krystian Zimerman, when I was 18 years old, who by the way... You are from Vienna, it's probably you were even still in Vienna these days. He recorded the Beethoven Piano Concerto with the Vienna Philharmonics Leonard Bernstein in the 80s. So Christian became a good friend. I saw what he did, I saw what I did and said, "Okay, he's a pianist." So next step for me was then he wanted to push me into management. It helped me a lot.But first of all, I started to be a teacher during my studies, made some money. But I'm coming from a family of teachers and so, "Okay, my dad was a teacher, my mom was a teacher, my grandfather was a teacher. So do you really want to sign a contract at your end of your 20s and that's going to determine what you're going to do until the end of your life?" The answer was no. So I didn't want to become a teacher. I wrote a little bit, but also as a writer I saw, well, you can speak about it in part, but you can't really change things.So then I went into management and now I'm coming to your question to the necessity of IDAGIO. As a manager, my perspective was always a B2B perspective. If you manage a great conductor, or a great soloist, your touring orchestra, it's about, first of all, building brands. Any young artists you see or any unknown ensemble or new music you see, as a manager, you have some possibility to make these people famous, to assist them to find out how they work and how you can help them.What I saw then having spent my life in management, putting on concerts in all parts of the world and we can cover that a little later because there were many fascinating learnings. But the main thing for me was that, if the future of music listening is streaming and the all-genre streaming services aren't designed for classic music because as you said, they are around pop music and they're pop driven where you only have three criteria: The song, the artist, and the album, my clients are going to be invisible in the digital ecosystem.So the moment there is no digital structure that could trick down a recording where you have a conductor, you have an orchestra, you have singers, you have a soloist, you have the composition, and so on. The moment that doesn't exist, I saw that as a luxury problem from the user's perspective because you can still curate and so on. Maybe yes, it's a problem for aficionados, but at the very end, I want to push a button, and I want music to play without a huge cognitive investment that I like, fine, but even there is a huge group of aficionados worldwide that suffering from bad metadata, and bad usability of classic music streaming platforms.But if you look at it from an artist perspective, this is a real threat because if you can't be tracked down in the digital space and people don't find you, you cease to exist and with you, the entire genre ceases to exist. That was a motivation from you, I said, "Well, you have to do something." The main question at the beginning for me was, "How can we use technology in order to maintain that music genre that was the passion since I first encountered that.There was not at the beginning, the idea of, "Well, I have to found the best streaming service for classical music." That was the result of a chain of it durations. For us it's rather the beginning than the end.F Geyrhalter: It was really more of an action cry, right? It needed to be done in order to... in the biggest terms possible, save classical music for generations, right? To me, that's where it gets really interesting to think about who the audiences. When you think of classical music, many think of an older audience, but you're obviously a digital tool that already eliminates, I would say, the too old for tech audience, right?T Janczukowicz: Yeah.F Geyrhalter: You also clearly understand that you have to capture the hearts and souls of the next generations as the IDAGIO or IDAGIO... You and I had a little chat prior to this, it could go either way. So I don't feel guilty. The IDAGIO Instagram account, for instance. It nicely shows that it's going for the next generation. It's 29,000 followers. You have features like a relax playlist, which are perfect gateway drugs to anyone regardless of musical preference, right?T Janczukowicz: Sure.F Geyrhalter: Who do you cater to and how do you capture them in your brand communications? Do you constantly run that fine line between young and old, and classical novice versus expert?T Janczukowicz: Well, there are various levels to answer that. When I left my peer group, the classical music world that had been spending my life in, and started to enter into tech, I was, of course, reading a lot and all these blogs and I traveled to San Francisco, went to Silicon Valley just to be there to talk to people, to understand what it's all about.The first thing I learned, or the first thing at least that I remember is that one of the most failures of startups is to solve problems that don't exist.F Geyrhalter: Right.T Janczukowicz: For me, it was obvious that this problem does exist, both from a customer or user perspective and also from an artist perspective. So that was the beginning. Based on that, we did build our own technology, make a data model and so on and so on. Based on that, we can now, answering your question, cater for all varieties of audiences.What was interesting for me to see that after having spent 20 to 25 years in that world, more or less looking at things and reacting to things through my instinct, the assumptions I got over the years, they were confirmed in real numbers. Because the classical world is not really about numbers, it's about opinions. It's about being right, everybody is right. Everybody knows everything, it’s very controversially, very ego driven also.Now, I entered in a world where its numbers, "Okay, what you say is nothing more than a thesis, let's prove it." So that was totally new to me and very fascinating. What we found out that there are five, 10, 15, 20, maybe 50 use cases of listening to classical music and you can, of course, go and start segmenting classical music listeners.But interesting, is also to me that you can probably break it down into use cases because there are use cases that you would probably apply to an aficionado that sometimes also apply to a millennial listening to classical music and vice versa. So, for example, you mentioned this mood search we have and why do we have it? I wanted a tool where everybody, who opens the app and comes in contact with classic music, they can execute an action, move something, just touch screen with a finger, remove the finger, but already make a choice. So it can go to relaxed or meditative or joyful and so on. Then it's simply a playlist opening up with joyful or relaxing or focusing music.However, this is a use case and also some aficionados' life, because also aficionados are sometimes, I don't know, ironing their shirts, or cleaning the home. So this is the first thing I wanted to highlight because it was very interesting to me.Secondly, there are, of course, the obvious different segments. You have, the fact that classical music around the globe as a genre that's aggregating the high achievers. Classical music has always been, the music genre of the emerging communities. If you look at South America, you give underprivileged kids instruments and playing Beethoven makes their lives meaningful from one day to the other. So this is still system up. Gustavo Dudamel is one of the most known represented-F Geyrhalter: Well, he's here in the Los Angeles Philharmonic's now. So yeah, he's close to home.T Janczukowicz: Exactly.F Geyrhalter: Yeah.T Janczukowicz: Yeah, exactly. This is something that at the same time you have 50 million piano students in China these days. [] for example, used to say that the future of classical music is in China, which I wouldn’t say the future of classic music, but also be in China. But we see that a lot of young people in the Nordics, in Europe, but also in the United States are more and more turning to the classical, but they see and look at classical music in a different way, because especially in Germany... You're from Austria, central Europe, classical music is a heavy, serious thing. You have to gain some knowledge before you really understand it, which I believe is total bullshit. If music is great, everybody understands it immediately.The new use case that's coming up that I am listening to classical music because it helps me focus, it helps me calm down. But another word that I see in classical music as belonging, because if you listen to classical music and if you listen to a great concert with friends and a social environment, it also makes you feel connectiveness. You are connected with other people, you're connect with the musicians on stage. You are connected with the people you are listening with.So there was a very nice quote, which is very famous, but I heard it first from Yo-Yo Ma who once said, "The great thing about classic music is that it makes you part of something bigger than yourself." This is a very, very needed and a great value proposition.F Geyrhalter: I think, playing devil's advocate, that could be said about pretty much every musical genre, right? Because it is a very communal tribal idea. But with classical, just the idea that a lot of it happens in ginormous orchestras. There's so much where one person talks to the other via their musical instrument and jazz is kind of one step up from pop where you've got a couple of people that need to perfectly sync in an orchestra, make this 10, 20, 30 fold. So there's something by just the structure of classical music where it's more communal from the get go, I believe.T Janczukowicz: Yeah, I mean, jazz, I would say goes very much in the same direction, because it has various levels, but if you're looking at what is constituting music, first of all you have a melody, number two, you have rhythm, and number three you have harmonies. Then you can have one melody, which is the case in pop music, but then you can have two melodies, two themes.Then it starts with something that probably 70% or 80% of classical music have in common, which makes it so fascinating. You have two themes, and very often in the Sonata form, the first theme is male and the second theme is female.F Geyrhalter: How chauvinistic?T Janczukowicz: It's very chauvinistic, but everybody apparently seems to like Beethoven sonatas or Mozart symphonies where exactly this is happening. Then you have an exposition where the first theme, the male theme is being presented and after the female's theme is presented.Then you have the second part where these themes start to interact and to talk to each other. Sometimes there is tension and then comes down and so on. So it's very, very close to storytelling without words. This is something, probably, I said that earlier, what captured me at the very beginning, and I think it's a fascinating role because you can close your eyes, but you see stories, you feel stories, but you don't need to know when Beethoven was born, you don't need to know what is an overture. You don't need to know what is an aria. Just close your eyes and listen to it. This music is so appealing to everybody.I think one of the mistakes that classic music or classical music has made over decades is, is building this huge wall around it. Because if you go back to Mozart or Bach, it was entertainment music. It's agenre that comes from the courts and the people were eating and drinking and laughing and walking out and coming back. Something that the middle-class that occupied classic music for themselves, started to forbid. This created an intimidating...Let's say when we speak about branding, a part of this brand that is intimidating and it's not necessary because it's so embracing, and it's such a great genre.F Geyrhalter: I so agree with you. I so agree with you. Coming from a household where we constantly went to the Vienna Musikverein to see my dad play and others, it was always a big deal. Even though it's my dad on stage, and it's just normal, we go to his workplace, right?T Janczukowicz: Yeah.F Geyrhalter: There's something, there's an aura around classical music that feels like it's a cloud that should be broken. It feels like... I love how you talk about it. Even though I did not really realize that, but as I started looking through your brand work, through your website, through your app, it actually really is what you're doing. You're breaking that stigma. You're breaking that wall down, and I think it's beautiful.While we talk about musical terms, let's talk about IDAGIO, the brand name, for a second. It sounds a lot and pretty obviously to me like ADAGIO, which only has one letter replaced. ADAGIO for our non-musical listeners signifies a music played in slow tempo. So what was the inspiration for the name? Walk us through that a little bit.T Janczukowicz: It's very end simple. We needed a name, first of all, and we wanted the name to be self-explanatory. So we wanted something that people around the globe would associate with classical music. So ADAGIO, as you said, it's an international word. Many albums are just having one title, which is ADAGIO. If you have music that calms you down.At the same time, we wanted something that people understand context of technology. This is, I. The funny thing is that we had a law firm working for us this time and they were also representing a very famous American brand that has created many new devices that are starting with an I-F Geyrhalter: Whatever that could be.T Janczukowicz: Whatever that may be, and they called us back after three days said, "We checked it. You can use the name. No problem at all." So IDAGIO was born. That was the funny incident.F Geyrhalter: That's hilarious. Yeah, and it's not always the case. I heard of other firms that try to use names that started with I, and couldn't do it based on that same conglomerate that tries to own that one letter. But obviously, those are words where the, I, has more of a meaning in front of it with IDAGIO. It is a word. The, I, itself is not as meaningful.So, great. Well, I'm glad I got that quiz right. I'm proud of myself. How did you and your team obviously derive the brand's visual aura, so to speak? I use the word aura specifically since the gradient based imagery surrounding your brand has a very meditative feel to it. Even talking about IDAGIO, the idea of slowing down. Then you have the nifty mood selection feature, which we talked about in your app. Overall, you really crafted a beautiful slick visual identity that mixes the atmospheric, like in many of the Instagram posts with the harsh and crisp in the actual logo or the line work that apps dimension to the gradient artwork.Now, for everyone listening, unless you're currently driving a car, head on over to @IDAGIOofficial on Instagram to see what we're actually talking about. Till, how was the look derived? I think it just really found its groove, no pun intended, back in May on Instagram where everything started to have this very distinct and beautiful look. Can you talk a little bit about how this came about?T Janczukowicz: I think there are three factors probably, and, of course, none of these factors was conscious during it was there. Only looking back, you're connected in a meaningful way. Probably the first thing is that my grandfather, who offered me the piano, he had a Braun stereo system at home. We all know that Braun was one of the decisive branding and visual influences for this very, very famous brand we have been speaking about. I remember it was that it was the first thing.The second thing, as an artist manager, I was always in the second row. So that means you work as a catalyst. You are doing a great job if you work invisible. So you mentioned the Abu Dhabi Classics I created. The star was the series. If you manage an artist, if you build the career of a conductor, the conductor is the star, not yourself. You are always in the background.I think this is a thinking that also my co-founder was aesthetically a very big fan of minimalistic architecture. We said, "We want a look and feel that really highlights the musicians and the music and that's not dominating them. I think that's the second aspect.The third aspect is that, we had, at a very, very early stage, I think, our designer was a part of the founding team. He started on day one. I think he was one of the third or fourth people we hired. Because we believe it's very important that you reflect the beautiful and fascinating and special role that you also described. We were just speaking, that you going to the Musikverein with family when your father was playing. It's a fascinating thing. We wanted to translate that into a user interface and into a look and feel that respects the music and the artists.F Geyrhalter: Which is really, really difficult to pull off. It's very easy to look at and then criticize or get your own emotions about it, which by the way, I would never criticize because I think it is brilliant. It is so easy to look at something after it has been established. But to showcase music visually with all of its nuances, is an extremely difficult task. So bravo to that. It's really, really well done and it was one of the reasons why I got sucked into your brand.So while we talk about that, we might as well talk one more second about the actual icon, about the logo. It's a play on the play button and there is a horizontal line to the right of it, right below it. Tell us a bit about the idea behind it. Obviously you are not the designer, but I'm sure that that you played a role in signing it off and adopting it. What is the key idea behind it?T Janczukowicz: Well, I don't want to take a credit of others. My role was to not say no to it. Let’s put it like this, which at a minium I disliked it or I liked it, but my thinking here is rather, and thinking big, I was designing all this myself five, six, seven years ago. I had the first ideas of IDAGIO and I was very proud of, I don't know, copying some letters from an Italian luxury brand and I showed it to our designer when we hired him and he laughed at me. He was right there laughing at me.So I understood. I don't really understand this. I can express what I wanted for the brand and I could express how I believe it may look like, but he really did it. Then I think it's at the very end minimalistic thinking. I think when it comes down to that. Not something that disturbs and then some people get some agencies from outside before and they we're proposing a logo with some music scores and all this, a key, so it's really...I think we are in a different world.F Geyrhalter: Yeah.T Janczukowicz: Yeah. The icon that we have. Maybe one other thing. It's a little bit high level, but I was thinking when you were talking about... Again, I'm seeing in front of me your dad sitting on the stage of the Musikverein and what was the classic music 20, 30, 40 years ago, and what has really changed? Because also we were talking about different customer segments.When I started to work as a manager, that was '96, that was still a period where a conductor was still a maestro. He was the icon, you couldn't reach him, you couldn't talk to him. The entire management approach was to create a myth, create something that's unavailable because the less it's available, the more people want it. This is something, and this is an understanding of value. It's to the old world, which is an old world value thinking.I think in the digital world, and this is a big shift, in the digital world value is being created by being visible, by being transparent, by showing with as many people as possible what you are, who you are, what you do. So this is a total paradigm shift. If you look, for example, at a Karajan, you could not reach out to him. A Schulte was the same running the Chicago symphony orchestra for many years.If you now these days at young comebacks like Yannick Nezet-Seguin, the music director of the Philadelphia orchestra, music director of the metropolitan opera Andris Nelsons, music director of the Boston symphony and the Gewandhaus orchestra in Leipzig Germany. It's a new generation of open minded and more communicating conductors.What was very interesting to me, I had a meeting with the Juilliard School of Music in New York some months ago. I didn't know that when you are making your degree there, if you leave school, you don't have to only play, you also have to moderate the performance. The way how you talk about the music you play, as an artist, is also being judged. I think it's a very interesting thing.But this is all owed to transparency that came through technology. All the scandals that we are seeing and witnessing these days, it's not that humanity has apparently become immoral, just our ways to measure things and to see things are much more granular than 10, 20, 30, 50 years ago.This is also an aesthetic shift in classical music and this is also creating a new type of classical musicians. I find that a very interesting thing to see how technology even has some impact on the way you perform classical music.F Geyrhalter: That is absolutely fascinating. I agree. I've never thought about it that way. But just like everything else, classical music is being touched by it and it's great to be on the forefront of that like you are. While we were talking a little bit about philosophy here, what does branding mean to you? The actual word, branding. How do you see it?I know we talked a lot about emotion, we talked a lot about how people feel something rather than just listen to something. But maybe even in the classical arena, like where you are, what do you think when you think of branding?T Janczukowicz: Well, I would spontaneously say branding is an aggregated public perception. If it goes well and first of all, you have a good intention and you succeed in running the brand, the way you want, then it's probably aggregated trust that says, "Well, yeah, I can turn into this complex thing without making a mistake, without failing."Because I've heard of the brand from, whomever, my brother, my peers these days, then through, through, through advertisement because I think trust is getting more and more local, and we less and less trust governments and we less trust corporations. So I rather trust my peers because I'm so over flooded with information and bombarded by visual things that want to get my attention.But I think branding for me done right it's something of, well, yes, I can go. It's a safe harbor, safe place for me. I can recommend it. I can package that when I talk to other people pass it on to others and recommend to others.F Geyrhalter: You talked about trust and failures. I'm not as familiar with the entrepreneurial scene in Berlin, but here in the US we love to talk about failures. There are entire business book sections dedicated to it. Even though in my eyes it's blown way out of proportion, there are great things to be learned from mistakes that startup founders have made or witnessed during the early days of the brand formation.What was an enormous fail that you went through with IDAGIO in the very early days? Was there something where you just look back and you're like, "Okay, that was a fail, we could have prevented this, someone can learn from this?"T Janczukowicz: Well, I have to say, I think we were lucky in leaving out many mistakes you can potentially make. But, of course, there were mistakes, but there is not this story where I would say, "Well, this is really, really, really, I'll never forget it." I think it's rather a pattern.What I've learned over the years is that, if you do something for the first time and being an entrepreneur and forming and building something new has to do a lot of with trial and error. Probably the biggest mistake that I'm trying to avoid more and more is that I wasn't listening early enough to my natural instincts. I don't know if it's right or wrong, but I'm more and more convinced that this is the right thing. It sounds like cliché, but this is a principle that you can break down into any daily decision. If you feel something, but...and this is a personal problem that I have because everybody is, of course, different. I'm coming from the world of the arts. I'm rather intuitive, some people say visionary, but at least I have ideas. Some of these ideas have worked out in my life so far.But I'm also analyzing it. But if I feel that something is right, I start to do it. The bigger you grow as a corporation, you more and more have to bring things that are on a subconscious level to a conscious level. Then it has to arrive on the conscious level and then you have to explain it to everybody. Then you have to also give ownership to the people with whom you work with your team, because you are nobody with a team.You can form the North star, you can say that the direction and give a vision and the mission, I think in our company everybody is on that mission and people coming to the office, to our premise here in Berlin they say, "Oh wow, this is a great chemistry here. It feels good to be here." So that's the thing.But we're not talking about the good things, we're talking about failures. Of course, at the very end, nobody wants to fail. But thanks God, I was brought to this life by really an American entrepreneur, who was the owner of Columbia Artists, Ronald Wilford, and he was a typical American self-made man. One of his quotes was, "I didn't learn anything and that's why I can do everything."I think this is a good thing and this, and the combination that when I met him after our job interview in '96 where we even didn't perceive it as a job interview, but afterwards we had the first meetings. They will tell, "We are in an industry of ideas." Usually, we all have a lot of ideas and if you fail with 10 ideas, it's bad, you're gone. If you make one of the 10 ideas work, it's really great. If you make two of your 10 ideas work, this is highly above average.I think this is a mentality that's very, very un-German and having inhaled this kind of thinking for 16 years, I got more comfortable with the idea of making failures because, a young artist is like stakes you buy a company, you see something and you believe all to be there in two, four, six, eight years. Sometimes you're right and sometimes you are wrong. Then you have principles to figure out and to understand why you may be right.But going back in a nutshell, re-listen to yourself and if you feel something, you're really convinced, do it, whatever others say.F Geyrhalter: Mm-hmm (affirmative). Yeah, absolutely.T Janczukowicz: But listen to them, then think, but then do what you feel.F Geyrhalter: And the same holds true for data, because I'm sure, at this point, your app has been downloaded over 1.5 million times, I think it's the latest in 190 countries?T Janczukowicz: Yeah.F Geyrhalter: So you must have so much great data about your users at this point, and I know you're using it and you have studies made about listenership and about what classical music means today. But on the other hand, you have to balance that out with not always listening to customer data and just solely basing decisions on your instinct as well. It's always a fine line that an entrepreneur walks.T Janczukowicz: Yeah.F Geyrhalter: On the flip side now, we talked a little bit about failures. Now, let's climb over that hill to success. When you look back, what was that big breakthrough moment where you felt like, "Okay, the startup is slowly moving into a brand." People start using the name, the app becomes part of daily life. When did you know that you had something that would become a major player in the music world? No pun intended. May it have been a funding round or the Salzburg Festival where you launched or early user feedback. What was it for IDAGIO where you knew that this will actually be a success?T Janczukowicz: Well, I think in order to do something like that, you need a certain, what we call... I don't know how you may be able to translate that in German. There's a nice word, Gottvertrauen. I don't know how you translate it. You put your trust in God. You have to do something. Everybody was, "Oh, you're going to fail, you're stupid." But to trust, you trust that it will work.So this is something that was always there. However, I, would say two things. One thing was quite early. It was that we were indeed launching, not the app, a minimal viable product, even not the beta at the Salzburg festival in 2015. We were launching there and we were sitting on stage in the premises of the festival upon invitation of the Vienna Philharmonic.Then some days later there was an article in Frankfurter Allgemeine Zeitung. They wrote, it was 2015 and they wrote, "If they're not going to run out of money, they could change the way how people listen to classical music." This is something, I remember, we were by far not yet there, but having read that and then securing the next funding round, the combination of those two things that we say, "Okay, we are on the good way. Let's put it like that."F Geyrhalter: Right. That’s amazing. For our international listeners, which is not the majority of our listeners, I think we have 6% German listeners. The Frankfurter Allgemeine Zeitung is the authority, not only in Germany but it reaches through all of the central Europe. So that is a huge deal. To go back to when you talk about Gottvertrauen, the idea of you trust in God, just to make it universally accessible. It's also for atheists. That idea that you just trust in the universe, right? You have this ideology where you trust in the universe.All right, Till, we're coming slowly to a close, but none of my guests can get away without answering this particular question. Mainly because I believe it is such a great exercise for any entrepreneur to give some thought to as they keep building their culture and brand. I gave you a heads up on that. If you could describe everything about your brand in one or two words that would turn into your brand's DNA, as I call it, what would it be like? Examples could be freedom for Harley Davidson or happiness for Coca-Cola. What would that brand DNA be?T Janczukowicz: I have to answer that with an anecdote and then I try to answer your question.F Geyrhalter: Perfect.T Janczukowicz: There was a young Romanian conductor, Sergio Celibidache, amazing, amazing conductor. Was for many years the music director, legendary music director of the Munich Philharmonic. He believed he would get the job of the music director of the Berlin Philharmonic, then Karajan got the job. I just have to say that because he said Karajan is like Coca Cola.F Geyrhalter: I think I know that story from my dad actually because it's so classic.T Janczukowicz: Yeah, exactly. So sorry to... But it's not exactly an answer to what you asked, but I had to raise that. If you would allow two words that are not very romantic, I would say, what people should think in three, five, 10 years when they hear IDAGIO, it's classical music. If you would ask me to really distill it down to one word, then I would rather turn to what the classic music does with people. Then we could say happiness because it brings happiness. It gives people a more happier life because it makes you healthy.There are all these studies, classical music connects when you're growing up the right and the left half of the brain in a more meaningful way. You learn empathy, the social skills and so on. You could say health, but probably if we could nail it. Ask to really nail it down to one word, I think it's belonging.I think it's belonging because, if you look at what happens, we come alone, we go along but we have this 60, 70, if you're lucky, 80 years. To overcome this, this illusion of loneliness and classical music has this power to really connect you with other people. You don't need to touch them. You don't need to look at them. You close your eyes, but you feel connected with other people. I think this is probably best described by the word belonging.F Geyrhalter: That's beautiful. I knew that belonging would come back up because you had talked about it in the beginning. It is such a perfectly emotional word to really capture the brand beyond, right, really the entire genre. Where can listeners find IDAGIO if they are intrigued enough after listening to us for the last 45 minutes to give it a try and perhaps even become converts to the magic of classical music?T Janczukowicz: Very easily, on the internet, idagio.com. In the app store, there's an Android version. Anybody, for example, who has a Sonos device. There's been Sonos implementation of IDAGIO. But I would say go to the internet and there you'll find all the app stores to find IDAGIO and the different partnerships we have also with hardware manufacturers. Yeah, that's probably the easiest way.F Geyrhalter: Excellent. Excellent. That's the beauty of owning your name online. So I know you launched the company at the Salzburg Festival or the Salzburger Festspiele in 2015.T Janczukowicz: Yeah.F Geyrhalter: That is exactly what I would be heading next week. So watch out for me Till. If you're in Salzburg, you might run into me at one of the many Festspiele locations.T Janczukowicz: Cool.F Geyrhalter: Thank you so much for staying late at your office in Berlin to have this conversation with me today and to share your stories and your thoughts on branding with me and my listeners. We really appreciate your time.T Janczukowicz: A great pleasure. Thank you so much.F Geyrhalter: And thanks to everyone for listening, and please hit that subscribe button and give the show a quick rating - it only takes 5 seconds and it helps the podcast’s visibility and growth.And if you really enjoy it, please head on over to PATREON.com/Hittingthemark to become a sustaining member supporting this show.There has never been a more important episode in which to give the theme music some credit. It was written and produced by Happiness Won. If you want to know who is behind Happiness Won, then also head on over to PATREON.com/Hittingthemark and you may find what you learn amusing.I will see you next time – when we, once again, will be hitting the mark. 

This is the first episode of our podcast, so we would love to get some feedback! Of course this time it got super long, that wasn't planned but I think it was worth it. Our experience of the 34th chaos communication congress from december 2017 in Leipzig Germany. This is the first episode of our podcast, so we would love to get some feedback! Of course this time it got super long, that wasn't planned but I think it was worth it. You can also tweet at us with #insecurespace: https://twitter.com/xdavidhu https://twitter.com/spacehuhn Discord Server: https://discord.gg/7Ay378G Patreon: https://patreon.com/spacehuhn Links to everyone: xdavidhu: http://xdavidhu.me/ seytonic: http://seytonic.com/ kama: http://nikolaskama.me/ dean: http://deantonious.es/ spacehuhn: https://spacehuhn.com/ Dave: https://hackaday.io/davedarko WiFi Satellite: https://hackaday.io/project/28831-wifi-satellite-34c3 BlinkenRocket: http://blinkenrocket.de/ VLOG Day 0: https://www.youtube.com/watch?v=me-cSv2X4Cw VLOG Day 1: https://www.youtube.com/watch?v=ST_J6VonVic VLOG Day 2+3: https://www.youtube.com/watch?v=XyHpufcgQ10

Join me as I chat with Peter Sewell, an Australian, Author, coach and adventurer based in Leipzig Germany as we talk through his journey from losing everything in his life to now travelling the world and inspiring people to make the most of what they've been given. Peter is an amazing individual with an incredible story. Check out some of the cool things he has done just this year! • Climbed Africa's highest mountain - Kilimanjaro (5895 meters)• Photographed Africa's BIG FIVE in the wild (My highlight was the Leopard)• Visited 6 new countries (Georgia and Bulgaria were my favorites)• Completed the final edit of my novel HUNTING SUSAN• Launched a weekly email with subscribers in over 30 countries• Planned a 6 week tour of AUSTRALIA for July/August• Been interviewed on Television • Organised my first photographic exhibition in LEIPZIG, GERMANY.....and provided COACHING and training for leaders and businesses around the worldYou can find Peter here:FacebookWww.facebook.com/peter.sewell.authorInstagram@smileypete01Books mentioned:The 4 hour work week - Tim FerrisThe 5 love languages - Garry ChapmanRich Dad Poor Dad - Robert Kiyosaki

Cover by ©FRANZ ZÜNKLER [franz.zuenkler@t-online.de] garstique (slowereastside // wuza) (https://soundcloud.com/garstique) presents Afterhour Sounds Podcast Nr.118 Für unsere #118 spendiert uns der sympathische “garstique” aus dem Hause “slowereastside” eine wirklich ganz besondere Episode. Der Leipziger “garstique” begann vor über 6 Jahren, anfänglich noch mit ordinären Deep House (O-Ton) sein Projekt. Dabei führte ihn seine musikalische Entwicklung über klassischen Italo // Balearic // Disco // Electro Sound schließlich zu seiner wahren Bestimmung - dem ‘Downbeat // Slowmo’. Aus diversen Rap Samples und Mixtapes war ihm die Kunst des entschleunigten Beats bekannt und seit der hypnotischen Mantra in 33 rpm der Hamburger Jungs von Sutsche haben ihm Slowmotion Techno erst näher gebracht und dann in ihm das Feuer entfacht. Mittlerweile fühlt sich der Leipziger musikalisch irgendwo zwischen 80 und 100bpm zu Hause und das man entschleunigt auch so richtig eskalieren kann, das beweist "garstique" stellvertretend für eine ganze Bewegung, welche sich in den letzten Jahren ja immer größerer Beliebtheit erfreut - so auch bei uns. Als Teil der slowereastside und der wuza Crew hat er mittlerweile mit dem Club “So&So” in Leipzig auch für sich ein musikalisches zu Hause gefunden. Seither ist er Woche für Woche im Auftrag des guten Geschmacks unterwegs, so auch in diesem Sommer, wo er auf zahlreichen Festivals zu hören war. Dabei hat es ihm das Kunst- & Kulturfestival “Château Perche” in Frankreich und die “Bucht der Träumer” besonders angetan. Bei letzteren spielte er unter seinem Sideprojekt “GYRL”, welches er seit ca. 2 Jahren mit seinem Freund “Nikolas Noam” betreibt. Ab jetzt wollen wir nur noch die Musik für sich sprechen lassen, denn diese Episode ist so großartig, dass sie uns in Zukunft ganz sicher noch etliche Male mit wunderschönen Momenten bereichern wird. An dieser Stelle nochmals ein ganz besonderer Dank an unseren lieben Freund ”garstique” für dieses tolle Meisterwerk. ✘ garstique (Leipzig // Germany) soundcloud.com/garstique facebook.com/garstique-226719494072724 ✘ slowereastside (Leipzig // Germany) soundcloud.com/slowereastside facebook.com/slowereastside-834400539971188

This is a recording from a live set in 2009 I was invited to play my classic tunes at the 17th anniversary party of legendary Distillery club in Leipzig/ Germany and decided to revamp the music to today's standards. So this is all at a 125 bpm speed, even those fast LoopZone tracks that used to be beyond 150 bpm back in the days. The set is also a bit wild and loose, you can really feel how nervous I act in the beginning. But as the music goes and as the crowd gave more and more love to me, I warmed up and the "Schöneberg"-version at the end is totally X-rated heat ;-) Big thanks to the great staff and crowd at Distillery Leipzig, they really made me want to play live on a regular level again. For the spec war sharks amongst you: I've been using Ableton Live 8 on a MacBook, a Vestax VCM-600 controller, Yamaha RS7000, Korg nanoPad, Korg Kaossilator, MFB Synth Lite II, Boss VT-1, a Shure microphone and a small Behringer Mixer. The recording is slightly edited and mastered! And here's the tracklisting: 1. Sex Machine Man 2. The Gap 3. Natural High 4. Timeout 5. Environmentality 6. Don't Panic 7. Love Devotion 8. What Is Space 9.Schöneberg 10. High On Hope

This is a recording from a live set in 2009 I was invited to play my classic tunes at the 17th anniversary party of legendary Distillery club in Leipzig/ Germany and decided to revamp the music to today's standards. So this is all at a 125 bpm speed, even those fast LoopZone tracks that used to be beyond 150 bpm back in the days. The set is also a bit wild and loose, you can really feel how nervous I act in the beginning. But as the music goes and as the crowd gave more and more love to me, I warmed up and the "Schöneberg"-version at the end is totally X-rated heat ;-) Big thanks to the great staff and crowd at Distillery Leipzig, they really made me want to play live on a regular level again. For the spec war sharks amongst you: I've been using Ableton Live 8 on a MacBook, a Vestax VCM-600 controller, Yamaha RS7000, Korg nanoPad, Korg Kaossilator, MFB Synth Lite II, Boss VT-1, a Shure microphone and a small Behringer Mixer. The recording is slightly edited and mastered! And here's the tracklisting: 1. Sex Machine Man 2. The Gap 3. Natural High 4. Timeout 5. Environmentality 6. Don't Panic 7. Love Devotion 8. What Is Space 9.Schöneberg 10. High On Hope

The gigantic monument outside Leipzig, Germany, commemorates the pivotal "Battle of the Nations," which involved forces all over Europe. It feels religious, but it's strikingly secular — a powerful monument to more than a battle: to the power of nationalism and to the fact that war leaves even the winners saddled with grief. At http://www.ricksteves.com, you'll find money-saving travel tips, small-group tours, guidebooks, TV shows, radio programs, podcasts, and more on this destination.

The gigantic monument outside Leipzig, Germany, commemorates the pivotal "Battle of the Nations," which involved forces all over Europe. It feels religious, but it's strikingly secular — a powerful monument to more than a battle: to the power of nationalism and to the fact that war leaves even the winners saddled with grief. At http://www.ricksteves.com, you'll find money-saving travel tips, small-group tours, guidebooks, TV shows, radio programs, podcasts, and more on this destination.

In Leipzig, several sights offer travelers a fascinating look at Germany's 20th-century history. Visit the Contemporary History Forum and Stasi Museum in the "Runde Ecke" to learn the 44-year story of communism in East Germany, and finish with a stop at the place that played a pivotal role in the people's fight for freedom: the St. Nicholas Church. At http://www.ricksteves.com, you'll find money-saving travel tips, small-group tours, guidebooks, TV shows, radio programs, podcasts, and more on this destination.

In Leipzig, several sights offer travelers a fascinating look at Germany's 20th-century history. Visit the Contemporary History Forum and Stasi Museum in the "Runde Ecke" to learn the 44-year story of communism in East Germany, and finish with a stop at the place that played a pivotal role in the people's fight for freedom: the St. Nicholas Church. At http://www.ricksteves.com, you'll find money-saving travel tips, small-group tours, guidebooks, TV shows, radio programs, podcasts, and more on this destination.

WWII bombs destroyed much of Leipzig and the Communists followed that with four decades of neglect. But in the generation since 1989, the people of Leipzig have dramatically remade their city. At http://www.ricksteves.com, you'll find money-saving travel tips, small-group tours, guidebooks, TV shows, radio programs, podcasts, and more on this destination.

WWII bombs destroyed much of Leipzig and the Communists followed that with four decades of neglect. But in the generation since 1989, the people of Leipzig have dramatically remade their city. At http://www.ricksteves.com, you'll find money-saving travel tips, small-group tours, guidebooks, TV shows, radio programs, podcasts, and more on this destination.

This week with producer, dj and labelowner Martin Hayes from Leipzig, Germany. He delivered a nice special selection for the Deep Inspiration Show.

Yes, it's time for "Filburt" from Leipzig (Germany).

Here´s our 32nd Podcast mixed by... … Tom. B, a 29- year old DJ& Producer, based in Leipzig (Germany). After almost ten years behind the decks, rocking the nightlife, he exactly knows how to make every single party a special one. While some are forced to dance during his tracks and sets, others are especially affected by their vocals and melodies. In 2008 Tom joined the German label "Dusted Decks", on which he published various tracks, remixes and edits. This year further releases, including remixes of Ron Flatter and Lexer are planned. So stay tuned! Tom B. definitely is a diamond -in every way- and diamonds are forever. Thank you for everything

http://dubnight.de http://moshifm.tumblr.Com http://bigvibez.Com http://radioblau.de Thx to every one that tuned in!!! Every Second Friday.... BIG UP TO Phil Harmony from Dubnight. ONE LOVE!

http://dubnight.de http://moshifm.tumblr.Com http://bigvibez.Com http://radioblau.de DUBNIGHT (Phil Harmony): Every second friday big up to every one that tuned in ONE LOVE

Structuralism: (1st school of thought is psychology) an approach that emphasized breaking down consciousness and mental activity into structural components and analyzing them individually. Psychology was founded in 1879, when the first laboratory was established by WILHELM WUNDT at Leipzig University, in Leipzig Germany; some early psychologist who followed, including WILLIAM JAMES (the founder of modern psychology), were chiefly interested in studying human functioning via introspection.