Podcasts about Salzburg

On this week's podcast... We look back at Benfica's home loss against Salzburg, the win in Algarve against Portimonense, and look ahead to the classico and MD2 of UCL competition against Inter.

Benfica's #UEFAChampionsLeague campaign stalled getting out of first gear in Match Day 1 as we saw Red Bull Salzburg come into the Luz and leave with the 3 points. I'll discuss the key instances in that match as well as react to Roger's assessment. Then in the 2nd Half of the Episode I'll go through the 3-1 away win in Algarve over Portimonense and discuss a few of the take aways from that match as well! Tuesday nights during the season on YouTube catch Tuga Tuesdays as GolTV's Nino Torres hosts a discussion on the weekend's Tugao matches and where I tend to be a frequent guest! Follow Nino on Twitter and subscribe to his YouTube channel Check out the first 2 Episodes of my 2023 Summer Stadium Series on the Parking the Bus YouTube Channel Click Here to See Episode 1 and Click Here to See Episode 2 If you like my content and would like to help support the network you can do so by clicking on this link, Mister Benfica will NEVER be behind a paywall but any contribution will be greatly appreciated Follow me on Twitter @mikeagostinho Follow the show on the platforms below: Twitter   Instagram  Facebook  Apple Podcasts  Spotify  Google Podcasts  Podbean iHeartRadio  Amazon Music/Audible For more content check out  www.misterbenfica.com And don't forget to give some love to the musicians who provide the theme music for this podcast! Follow Agendaz on their socials below!!! Spotify  Apple Music Soundcloud Instagram Facebook #IfYouLoveFootballYouLoveBenfica

Tom Middler & Lee Wingate are back at The Long Hall to discuss a hangover for the Austrian teams after their midweek action in the UEFA Champions League & Europa League. We pick through the results of matchday 8, including a shock win for Blau-Weiß Linz in Salzburg, and Austria Vienna getting no luck in their loss at Altach. In partnership with Austrian Store UK (www.austrianfood.co.uk) --- Send in a voice message: https://podcasters.spotify.com/pod/show/theotherbundesliga/message

Tirol und Salzburg wollen Anzahl und Motive von Schwangerschaftsabbrüchen erheben. Einige Frauenorganisationen schlagen Alarm und sehen den Zugang zu Abtreibungen bedroht. Im FALTER-Radio mit Raimund Löw diskutieren darüber: SPÖ-Frauenvorsitzende Eva-Maria Holzleitner, die Generalsekretärin der „Aktion Leben“ Martina Kronthaler, Amnesty International-Geschäftsführerin Shoura Zehetner-Hashemi und FALTER-Journalistin Katharina Kropshofer. Hosted on Acast. See acast.com/privacy for more information.

Jack Gierhart, a highly respected Olympic sport leader, heads into his second season as president and CEO of U.S. Biathlon eager to take his first year experience and forge a pathway to the future for the fast-growing sport. In the debut episode of season four of Heartbeat, Gierhart talks about his past roles in Olympic sport and the open welcome he felt last year as he moved into biathlon.Gierhart took over as interim CEO after longtime leader Max Cobb headed to Salzburg to take over as secretary general of the International Biathlon Union. His first experience at last year's October camp in Soldier Hollow gave him a very positive introduction to the sport with engaging conversations with athletes, coaches and parents.Heartbeat dives deep into U.S. Biathlon's 2030 strategic plan with Gierhart, as well as detailing the recent announcement to expand the organization's footprint into Utah as Salt Lake City eyes a return of the Winter Games in either 2030 or 2034.If you enjoy Heartbeat, make it a favorite on your podcast list and leave a short review.Now let's dive into the opening episode of season four of Heartbeat with U.S. Biathlon President and CEO Jack Gierhart.

The Other Bundesliga team discuss the latest young Salzburg squad, before enlisting the help of superb special guests Aaron (@ProximaJornada1), Alvaro (@Alvaro_Romeo) and Nima (@ItaFootPod) to give the best possible previews of Salzburg's group stage opponents. Benfica 08:30 Internazionale 31:30 Salzburg 00:30 Real Sociedad 22:30 --- Send in a voice message: https://podcasters.spotify.com/pod/show/theotherbundesliga/message

Wiener Wiesn, Aufsteirern in Graz, Rupertikirtag in Salzburg, Oktoberfest in München: die Zeit der herbstlichen Trachtenfeste hat begonnen und bei ihr ist Aufdirndln Teil des Geschäfts. Sportalm-Chefin Ulli Ehrlich ist in Ö3-„Frühstück bei mir“ zu Gast. Die „Sportalm“-Managerin, die den Familienbetrieb mit 180 MitarbeiterInnen in Österreich und 500 in der Produktion in Bulgarien in zweiter Generation leitet, spricht über den neuen Trachten-Boom und Trends. und sie erzählt auch viel Persönliches: über ihren Führungsstil und warum ein Coach ihr zu mehr Spiritzualität beim leiten ihrer Firma geraten hat. Die 55jährige Tirolerin erzählt auch über ihre Trennung und wie der Tod ihres ersten Mannes sie heute noch beschäftigt. ("Frühstück bei mir", Sendung vom 17. September 2023)

My Body Odyssey attended the 51st Falmouth Road Race- the local, 7-mile pub crawl that quickly evolved into a major, international event with 75,000 spectators and ten thousand runners annually. Our episode features three participants at this year event, including the only runner to have completed all 51 Falmouth Road Races: Dr. Brian Salzberg.  “I've had just a slew of injuries,” said Dr. Salzberg, a professor of Neuroscience and Physiology at UPenn Medical School. “And they always happen away from Falmouth. So it never stopped me from running the Falmouth Road Races.” Actually, what may not have stopped Dr. Salzberg is his own tenacity. He's finished the event with a brain tumor and on torn ligaments. “I did the 7 mile course on crutches in 2008,” he jokes. “ And, as far as I know, I still have the crutch record.” Born with Spina Bifida, fourteen-year-old wheelchair racer Madelyn Wilson displays a tenacity quite similar to that of Dr. Salzberg, whose race record she could eventually threaten. “Oh, this is my favorite race of the year,” she told us at the Health & Wellness Expo. “I'm always energetic and waiting to do this. Like, hurry up, let's go.” Are dedicated, highly enthused runners and racers like Dr. Salzburg and Madylen born to train and compete at events like the Falmouth Road Race? Or do the benefits of training and competing motivate individuals to just keep at it until it becomes second nature? Carol Crutchfield, a charity runner at this year's race, firmly believes that nurture, not nature, creates lifelong runners.   “The main thing is, your mind's your worst enemy,” says Carol, author of a book for the beginning runner, And They Shall Run. “So you gotta make yourself get out the door, and that's the hardest thing.” These inspiring odysseys may help you get out the door more often to run, cycle, walk, or whatever form of activity you choose. And they may motivate you to visit this now famous road race along the iconic Cape Cod shoreline looking out towards Martha's Vineyard. Tune in for inspiration amidst perspiration at the 51st Falmouth Road Race.   My Body Odyssey is a Fluent Knowledge production.  Original music by Ryan Adair Rooney.

Nýjasti þátturinn af Ungstirnunum er kominn út; þátturinn sem kynnir fyrir þjóðinni næstu stórstjörnur fótboltans. Þáttastjórnendur eru þeir Arnar Laufdal og Bjarni Þór Hafstein. Í þessum þætti kynna þeir til leiks Benja Cremaschi (2005) en þessi 18 ára miðjumaður hefur verið að gera frábæra hluti með Lionel Messi og félögum í Inter Miami. Fjallað er um Oscar Gloukh (2004) en hann var keyptur í janúar til Salzburg og er haldið að það sé ástæðan af hverju Hákon Haraldsson fór ekki til Slazburg í janúar. Dujuan Richards (2005) er einnig kynntur til leiks en þetta er leikmaðurinn sem Heimir Hallgrímsson sat undir gagnrýni fyrir að velja í A-landslið Jamaíka, en þessi leikmaður hefur nú skrifað undir samning hjá Chelsea. Í þættinum er farið yfir hvað gerðist í þessum leiðinlega landsleikjaglugga, frammistaða helgarinnar, hvað var að frétta hjá yngri landsliðunum okkar, Stjarnan lang bestir í 2. flokki, Lamine Yamal að gera allt vitlaust með spænska landsliðinu, farið var aðeins yfir NBA og NFL og svo margt margt fleira.

Zum 150. Geburtstag am 9. September: Dem Schauspieler gehört das Theater Der Regisseur: Max Reinhardt Teil 3: Die Erfolge in Salzburg und im Theater in der Josefstadt – erzählt von der Kulturwissenschaftlerin Hilde Haider-Pregler Sendung vom 6.9.2023

Julia Gerasimova, current host of radio show "United in Europe" in Salzburg, interviews Jordan about his career, life in Germany, and passion for music and entertainment.

Während Scholz in Salzburg den Beitritt Österreichs zu Sky Shield begrüßt, bleibt die Frage der Grenzkontrollen zwischen Deutschland und Österreich ein zentrales Thema. Web: https://www.epochtimes.de Probeabo der Epoch Times Wochenzeitung: https://bit.ly/EpochProbeabo Twitter: https://twitter.com/EpochTimesDE YouTube: https://www.youtube.com/channel/UC81ACRSbWNgmnVSK6M1p_Ug Telegram: https://t.me/epochtimesde Gettr: https://gettr.com/user/epochtimesde Facebook: https://www.facebook.com/EpochTimesWelt/ Unseren Podcast finden Sie unter anderem auch hier: iTunes: https://podcasts.apple.com/at/podcast/etdpodcast/id1496589910 Spotify: https://open.spotify.com/show/277zmVduHgYooQyFIxPH97 Unterstützen Sie unabhängigen Journalismus: Per Paypal: http://bit.ly/SpendenEpochTimesDeutsch Per Banküberweisung (Epoch Times Europe GmbH, IBAN: DE 2110 0700 2405 2550 5400, BIC/SWIFT: DEUTDEDBBER, Verwendungszweck: Spenden) Vielen Dank! (c) 2023 Epoch Times

SynopsisIn 1980, the Estonian composer Arvo Pärt emigrated from his Soviet-controlled homeland and settled in Austria. Since the 1960's, Pärt's increasingly spiritual and overtly religious music, imbued with mystical and contemplative rituals of the Russian Orthodox Church, did not sit well with the communist authorities, and Pärt found it increasing hard to live and work in Estonia.On today's date in 1980, at the Salzburg Festival in Austria, another Baltic artist, the Latvian violinist Gidon Kremer, gave the premiere performance of a new violin-piano arrangement of Part's Fratres, or Brothers—an instrumental work from 1977 that Pärt subsequently rescored for a variety of ensembles. In the version commissioned by the Salzburg Festival, the original harmonic material resides in the serene piano part, while the violin plays virtuosic variations above it. That serenity is the result of Pärt's effort to—as he put it— “learn to walk again as a composer.” He came up with a term, tintinnabulation, for the simplicity and directness of expression he sought.“Tintinnabulation is like this,” writes Pärt. “I am alone with silence. I work with very few elements… The three notes of the triad are like bells. And that is why I called it tintinnabulation.”Music Played in Today's ProgramArvo Pärt (b. 1935) Fratres Gidon Kremer, vn;Keith Jarrett, p. ECM 1275

The 16:9 PODCAST IS SPONSORED BY SCREENFEED – DIGITAL SIGNAGE CONTENT The Austrian firm Umdasch refers to itself as The Store Makers - designing, building and kitting out retail stores at scale both in Europe and globally. About seven or eight years ago, the company looked at the shifting state of retail and realized that staying relevant meant adding digital to its toolset - a decision that's played out nicely for the business unit, which is part of a much bigger holding company that is a global leader in construction - from office towers to single family homes. I first met Bernd Albl earlier this year at ISE, knowing almost nothing about Umdasch and not a whole lot more about what the company refers to as shop-fitting. But after this podcast chat, I now know a whole lot more about the company and more broadly about the expectations, challenges and demands of properly designing and equipping retail in 2023. We get into a lot of things, including defining experience in retail. We also have an interesting discussion about sustainability in retail - particularly a shift from doing store refreshes every five to seven years, to 10 years and longer. That's driven mainly by demands to stop tossing out perfectly good wood, plastic and metal finishings to make way for new designs. One of the beauties of applying digital is its ability to refresh a store's look and feel by changing files, not hard materials. Subscribe from wherever you pick up new podcasts. TRANSCRIPT Bernd, thank you for joining me. Can you tell me what Umdasch does and what it means by store makers?  Bernd Albl: Okay, Dave. First of all, thanks for having me. Umdasch actually is a family-owned company within the History of Wealth brand for about 150 years. We are a shopfitting company, basically focused on the European market, and we are building stores in different areas, from fruit areas to grocery stores, the fashion industry, banks, automotive industry, all places. We say we are businesses done, and we are around 2000 employees in our organization, and since around seven years, we established the business of digital retail because we saw that the business is completely shifting from the traditional millwork and handcraftmanship towards digital business and this is what Umdasch stands for, and our headquarters is in Austria, in Amstetten. For people who don't know Austria like me, where would you locate it? Is it by Vienna or somewhere else?  Bernd Albl: Probably most of you might know of Munich, Salzburg, or Vienna, and Amstetten is in the middle between Munich, Salzburg, and Vienna, around one and a half hours away from Vienna towards Germany, in that direction.  Umdasch is quite a big company. I think I saw the turnover is 1.5 billion Euros. Bernd Albl: So, this is when you're talking about the whole company. Umdasch is basically three company pillars. The biggest one is called Doka, which is a forworking company, and it is also established in the North American market.  So, we always say that about every building is higher than 200 meters in the world is by 80% built by Umdasch Technology, and the second one is ours one, it's the Umdasch store makes its shopfitting business, and the youngest group is Ventures, where we invest venture capital for disruptive technologies in the field of construction and in the field of retail technology. And in total, yes, we are doing around 1.5 billion euros turnover.  So you're pretty substantially backed in terms of your initiative. You're anything but a startup..  Bernd Albl: Yes, that's definitely right.  When you say you are doing the build of stores, is that the build, including the whole actual physical building or when you're talking about store makers or shop fitters, you're talking about the interior? Bernd Albl: It's a very good question. The value chain in projects in the past, we usually were focused on the interior design, on the production of interior installation of interior shop fitting. But as I mentioned, as we are a big company, we are also building those big buildings with our technology. So our supply chain is moving in the direction of a very early stage of building. When it's in the building phase where Umdasch comes in and that's where we want to jump in and guide the customer from building to the interior, to the operating of the building as well as the stores. So we are serving the customer of the whole supply chain and operating chain of buildings, basically not just focused on shop fitting.  When you mentioned that the digital end of this was started about seven years ago. Was that the result of seeing an opportunity or because the retail industry and the requirements and ask of the retail customers was to incorporate this in there, so you had to add this? Bernd Albl: Honestly, some years ago, we had very tough times in shop fitting. We had losses at the end of the year, and we have seen that with the rise of standard online shopping, we are faced with a very big shift of how customers are shopping in the future. And this brought us in real trouble some years ago, and we were faced with the decision, what should we do? Should we run away, or should we jump into this new topic, integrate and develop our core business? And this is what we have done, and about it was eight years ago we sat together and said which technology should we start in terms of retail technology because there are so many technologies in the market, but what should be the first step for Umdasch which customers and retailers believe that we can deliver? And the second aspect was how we can handle the shift of parroting within our employees. Because some of them were afraid as they know that online shopping and digital technologies are our enemies and core business, and now we want to bring them into our core organization. And therefore, we figured out two technologies at the beginning. The first was digital signage to replace a poster price screen, and the second one was electronic shelf labeling, it's the price tag on the shelf. With those two technologies, we started the digital initiatives within the Umdasch group in terms of retail and where we started the shift of paradigm and the shift of the whole organization towards getting more and more digital, That's not an easy shift to make for a more traditionally focused company. Is it? A lot of training, a lot of education.  Bernd Albl: That's right. On the one hand, we have definitely shown our employees the chance we have. On the other hand, yes, we have to convince them and train them how to integrate screens. It sounds very simple when you say just implement a screen but honestly, mistakes in the implementation of hardware are still done. When you look through stores in the market, air circulation maintenance, possibilities and all those things and we are not focused on one single store project. We are focused on rollouts where we built thousands of stores and there you have to really exactly plan how you implement this. Because if you don't do this very carefully and you have any troubles, for example, with air circulation and you have snack work afterwards and you have to make changes then it costs a lot of money. So therefore we have to create the knowledge of our technical designers when they are designing the furniture and the stores. And there are many other aspects where we teach them how to implement this and not just in terms of digital signage but also in terms of electronic shelf labeling, and I would say it's booming since Corona, where we have seen many of the big retail chains there, which are investing hundreds of millions of dollars and euros. For example, Walmart, as you might  know, had decided to implement electronic shelf labels in the North American market. There is a few million hundred dollar project which is currently started. They have to exactly plan how to implement those simple little looking electronic shelf labels on the shelf edge. That it's not falling down, that it's not stolen, doesn't get broken et cetera, and that the appearance of the whole shelf is still working as soon as an electronic shelf labeling is put in front of the product on the shelf edge. And there could be a real disconnect between building engineers and pure interior design teams with the technology that then has to go in. I've heard of and seen endless cases of why did they do that? And why didn't these folks talk to each other? So if you can keep that all within one business entity doing all that planning then you don't get those disconnects, right?  Bernd Albl: Definitely, and this was one reason why we have merged different departments within Umdasch together where we have brought together, for example, in Duisburg in Germany, we have built it up a new office where we brought together all the interior designers together with our digital retail designers, where the digital storytelling comes together with the shop fitting design, storytelling i would say, that you definitely see the red line through the customer experience when it's designed. And this was one of the mistakes we also made in the past, that we separated those teams that we said, 'okay let's plan the store, and afterwards we plan the digital applications'. But, we instantly saw that it's not working, because the harmony and the whole concept wasn't given, therefore it's very necessary that as soon as and in the very early stage of the project, both competencies in the organization are working on the project and start communicating instantly together with the customer to realize shop fitting journeys of the customer which are working.  I don't know your business, but I assume for a more traditional shop fitting a company as part of a larger team that's doing any number of things, and you become a contractor to a larger project, whereas with this I'm getting the sense that you guys start right at the strategy stage and carry on through the project execution, and I'm wondering, do you also do aftercare, are you doing managed services where you're managing the digital signage component of the the retail network? Bernd Albl: Definitely this is something you have to provide in terms of digital installation, as many other full service integrators we were serving in a very early stage from the concept until software development and installation. Also, operating means content creation, hosting onsite services et cetera. But, what we have seen in combination with shop fitting, we have seen that those competencies which we already have in terms of digital are asked in the future from shop fitters. That means that the retailer wants to have a single point of contact, the kind of support hotline for shop fitting topics. If he needs other shelves, or if he needs when something's broken, or if he needs extra components. He doesn't want to contact different points within the organization. He wants to have one single point of contact, and we have also faced the topic of SLAs within shop fitting, so that we have to react within a certain period of time and fix the problem onsite. Why? Because, the furniture which will be produced in the near future, will get smarter and sensors will be implemented. And as soon as you have technical and electronic components within the traditional shop fitting environment you need those services, maintenance and operating services for customers. One easy topic is, for example, the cash desk.  Right. When you're talking about sensors, that's something you could do right now, but is it a case of the sensor technology and the thinking behind all of that needs to just mature a bit more so that it's fully integrated as opposed to something you add on. Bernd Albl: First of all, yes, some installations we are doing are stupid ones, which are not reacting based on sensors. Yes, we definitely see that trend on the market. The sensors will be unable to allow the retail to get more flexible, to get more target oriented to decrease the loss by improper communication to customers when it comes to digital signage, for example, where there is the combination of sensors when you use it for audience measurement and smart targeting. And we have seen sensors, weight sensors, light sensors, out of shelf sensors, however in terms of loitering, in terms of queue management where we see that the different kinds of sensors are getting more and more popular. And everything that pays in for the retailer to optimize processes because all of them have stuff topics that they don't find the stuff they need on the shop floor, so we have to help them to optimize the process costs and reduce the effort for the staff they have on the shop floor. And the other thing is to increase the shop experience for the customer, and sensors will definitely be one of the hot topics for the near future, and this is why you are seeing when you look on the signage market or on other retail technology markets that camera sensors, optical sensors and the radar sensors are getting more and more required from integrators and asked by retailers for smart solutions. And when you're using things like audience measurement technologies, whether it's camera base, radar base, whatever it may be. What are they looking to get out of that? Are they just trying to understand how the store works or are they trying to do almost personalized, one-to-one messaging to shoppers as they come within a quote unquote a strike zone.  Bernd Albl: As I mentioned, one thing is definitely to optimize the one-to-one communication to the customer that you send the right message to the right customer. Let's say, if he is a male customer in the age between 25 and 35, that we play out the right playlist when he's looking on the screen first of all. Therefore, optimizing the one-to-one communication to the customer, and the other thing is we are using the sensors for reducing process costs for the retailer. For example, one of the hot topics currently is off the shelf management or expired date management, this is something everybody's working on, how they can support the retailer to reduce those process costs for him. And those are the most important two areas where sensors are currently asked for and audience measurement, for example, as I mentioned, there is one use case where you can use a sensor.  Let's talk about some of the trends you're talking about. I was reading through some Umdasch material as well as some interviews, and one of the areas that was mentioned as a trend is individualization. What do you mean by that?  Bernd Albl: We definitely see that many brands are closing their stores. Many are reducing the number of stores they have in the field, and they want to increase the customer experience when they're entering the store, and one big criteria is how to hold the customer as long as possible in the store and to increase his basket to create a high level of individualization for him. Individualization means that we show the right information to him to give in an atmosphere and ambient design where he feels convenient and also we compare a little bit when you go online shopping or when you go on websites due to cookies and other trackers, it's very easy to flexibly create the web information based on your requirements, and this is something the customer has used and is standard for him and this is in some kind we try to transform those flexibility of experience rooms to the real store. That means that we want to play out the right stores, that we send the right push notification on the mobile application for his checkout devices that we probably play the right sounds due to the audience which is inside the store, that the influence is light based on the outside ambient, and there are so many possibilities on the turntable. You can increase or decrease to create an more and more individualized experience for the shopper. Right. You mentioned experience several times. How do you define experience in a retail environment? And I'm also curious how the retailers define that when it comes to applying digital.  Bernd Albl: This is a very good question. Honestly, some of our retailers don't know it exactly by themselves and this is something when we are working on a concept, what we evaluate together and one starting point is definitely the brand itself, the values of the brand. The atmosphere that the brand wants to communicate, that they want to transport and what are the visions and what is the reason for the store?  What is the offering of the store and what is the message of the store? And as soon as you have answered all those different questions, you can create the storytelling around that. At the end, this creates the experience and from the consulting, our experts are using the right materials, they're choosing the right colors and the right light atmosphere. We bring in the right technologies, the right touch points as soon as we have defined together with the customer the right use cases. By the way, this is one of the big mistakes many retailers are making over the concepts. First of all, they're thinking how many screens to be installed? Where should we place a screen? But they don't think about the real use behind the benefit of the touchpoint, and this is the way we create digital touchpoints. First of all, we say what benefit we wanna create. Then, we look at the area of the story which we want to offer and technology is the last point of the whole story. And all this together, is the key of success, and we call it already experienced stores to bring them alive. And I want to add one more thing is we always have to keep in mind when we create those stores that we have to think mid or long term in terms of operation. Most of our customers want to have the most fancy store possible, but we have to think what is in three years, what is in five years with the store. We also have to keep in mind how we can run the store, how we can operate, how we can keep this level of experience up for the next year, not just for one year. And this is also a very important point when you start designing an experience store for retailers and customers.  Yeah, they have to think about a five to seven-year creative budget, that's gonna be refreshed steadily, and they have to think about technology that's somewhat future-proofed and isn't gonna look old in five years.  Bernd Albl: You're talking about five to seven years. Honestly in Europe, I don't know what's happening in North America and Canada. We are faced with the topic that our stores have to last for the next 10 to 12 years, we are asked by the retailers. This is a very hot topic currently due to sustainability and ESG, that we have to develop stores that last much longer. So therefore, we as a shop fitter have to rethink our business model because it's definitely right what you're seeing, but in the past we have designed stores about every five to seven years at that time, and about 20 years in pharmacy stores. But in the near future, I think within the next three years we have to have concepts ready that enable us to realize concepts that are economically beneficial for a shop fitter to create stores that last more than 10 years. One of those things could be operating and digital services you provide and this is one of the big challenges for shop fitters in Europe they have currently faced and I think it's a very positive challenge because it has to be done. And this has to primarily do with waste material at the end of that five to seven years that you're throwing out all the wooden cabinets, the metal work, the plastic and everything and refreshing the whole look of the store, and therefore you're filling a landfill site with all this old retail design material. Bernd Albl: Exactly. All those topics you have mentioned are paying into this topic and the big challenges we have is, for example, Nike is one of our big customers in Europe. They're using used materials already, and we definitely see in the design process that the demand for used and refurbished materials is getting high. The quality is not there yet, what is expected by the retailer is that it lasts for a certain period of time. But the trend is definitely going in that direction, and that's the reason why we have implemented at the EuroShop this year, a sustainability database within our organization where we do a lot of research for refurbished materials, how long they last, how you can use them in shop fitting, and therefore we are currently investing a lot of money and time to create the knowledge you need and to fulfill this demand, which is definitely increasing over the next two to three years. You mentioned Nike. And as one of your main clients, there seems to be two kinds of tracks in retail design lately when it comes to digital, there are stores like Nike's and other particularly athletic apparel kinds of retailers where they, as well as fast fashion, where the stores are just visually noisy. There's all this digital going on, and that's it's very much digital forward, and then the other track, particularly in luxury retail is, it's very minimalistic where there's digital integrated in there, but it's definitely not in your face. It has a very distinct purpose and kind of blends in with the overall design. Is that what you're seeing? Bernd Albl: Yes, this is something that we can underline. Unfortunately, we are not doing the digital installations for Nike. But this is definitely a goal that we are heading towards… To calm them down? Bernd Albl: I would say digital has a very major part of the storytelling of those stores. When you look at night towns, for example, it's for the whole experience, digital applications also enable the retailer to entertain a big number of customers on the shop floor. When we come to luxury stores where you have a limited number of customers on the shop floor, at the same time, you're focused more and more on the one-to-one communication from staff to the customer. And, there is also much more to the product, the real product in the center of the storytelling. And they're much more focused on the materials they're using for shop fitting. And the luxury feeling and being luxury doesn't mean to be digital. That's the reason why we don't see too many digital applications at luxury stores. They are more minimalized there, because the product is in the front and especially the staff is in the front.  They're in there for the product, not just attracted by the shiny lights.  Bernd Albl: That's right.  What does digital represent for the shop fitting side of Umdasch's business? I think I saw something saying, it used to be maybe 10%, but now it's roughly half. Bernd Albl: No. I would laugh that it would be half. My boss always says, Bernd, you have to do at least 50% of our total turnover to be digital. Probably in the future. Yes. Definitely. This is something where we see the trend because digital services are also getting into traditional shop fitting applications. Bernd Albl: Currently, we're doing around 10 to 15% of our total turnover number digitally.  And are you primarily operating in Germany, Austria and Switzerland, or I assume that some customers take you all over the world with the projects.  Bernd Albl: This is a strategy we have within the whole organization of Umdasch. With the shopfitting department we are doing business basically in the whole Europe, in the Middle East, in Turkey and in some areas of North Africa. And, we say in those areas where we are actively doing business.  Last question. If I was traveling through Europe and asked you, okay, I'd love to see one of your stores where you've guided the project and deployed and is a reference case you can talk about. Where would you send me or somebody else to go look?  Bernd Albl: When you fly over from Canada to Europe, I would say let's make a pit stop in London and go to Harrods. So, we are currently rebuilding Harrods back to its 1920s. Oh, wow. Interesting. I'll be in London in mid-September, so I'll have to pop by Harrods. Take a Trip to Knightsbridge.  Bernd Albl: Perfect. But give me a ring. I will come over there and let's go there together. Alright Bernd. Thank you very much for spending the time with me. Bernd Albl: Thanks for having me and all the best to Canada.

Join Tom Middler, Simon Clark and Anna Konovalova as The Other Bundesliga Podcast is back to look at Matchday 3 from the Austrian Football Bundesliga. Simon reports from the derby in Linz, whilst Anna looks at TSV Hartberg and their top six chances. Plus all the rest of the Bundesliga news, Ruben Providence's boot, and a quick look at our European hopefuls. --- Send in a voice message: https://podcasters.spotify.com/pod/show/theotherbundesliga/message

Adriana González is a star of the Salzburg Festival this year. She is a soprano from Guatemala—an unusual place for a classical musician to be from. Sitting on a terrace in Salzburg, Jay talks with her about her life and art. Adriana is a breath of fresh air.

Adriana González is a star of the Salzburg Festival this year. She is a soprano from Guatemala—an unusual place for a classical musician to be from. Sitting on a terrace in Salzburg, Jay talks with her about her life and art. Adriana is a breath of fresh air.

SynopsisThere was a time when German opera houses would have fought over the chance to premiere a brand-new opera by Richard Strauss. But by 1940, when Strauss finished a mythological opera entitled The Love of Danae, there was a war on and Strauss had fallen out of favor with Germany's Nazi rulers.A scheduled premiere in Dresden had to be cancelled. In Leipzig, the orchestral parts for the new opera were lost in a fire, and in Munich an Allied air raid damaged the opera's sets and scenery. By the summer of 1944, when conductor Clemens Krauss was rehearsing handpicked vocal soloists and the Vienna Philharmonic for the opera's belated premiere at the Salzburg Festival, the collapse of the Third Reich was imminent. On August 1st, an order was issued from Berlin canceling all music festivals and closing all theaters. Somehow Salzburg managed to get a dispensation, and rehearsals for Strauss's opera were allowed to continue. A private dress rehearsal of The Love of Danae took place in Salzburg on August 16, 1944. The 80-year old composer attended, and, with tears in his eyes, thanked the performers with these words: “Perhaps we shall meet again in a better world.”Music Played in Today's ProgramRichard Strauss (1864 – 1949) Die Liebe der Danae (Symphonic Fragment), Op. 83 Toronto Symphony; Andrew Davis, conductor. CBS 45804

SynopsisAs the proverbial saying goes: “Necessity is the mother of invention.” It was, frankly, a matter of economic necessity that led a 36-year-old Austrian conductor named Clemens Krauss to program an all-Johann Strauss concert by the Vienna Philharmonic at the Salzburg Music Festival on today's date in 1929.The Festival was established in 1920 with high ideals but insecure funding. To succeed, the Festival needed both strong local support and wealthy visitors from abroad. Sometimes it worked, sometimes it didn't, but in 1929, as the Festival approached its 10th anniversary, its finances and future seemed uncertain. Now, Krauss knew that Strauss waltzes were popular with both the natives and the Festival's international visitors, so why not offer a whole concert program consisting of nothing but the dance music of Johann Strauss? The August 11, 1929, concert proved to be a resounding success, and the idea was repeated at the Festival several times over the next decade.Back home in Vienna, Krauss revived the idea of an all-Strauss concert on December 31, 1939. That year-end tradition continues to this day, as the Philharmonic presents its annual New Year's Concert, broadcast worldwide from Golden Hall of the Musikverein in Vienna.Music Played in Today's ProgramJohann Strauss, Jr. (1825 - 1899) Annen Polka and Perpetuum mobile Vienna Philharmonic; Clemens Krauss, conductor. Preiser 90139 (recorded 1929)

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

Neel Shelat and Alex Barker discuss some very interesting storylines from the weekend, including a unique season format in Uruguay, the madness of the Kings League in Spain and a weekend of huge developments in Salzburg.

Tom Middler and Simon Clark are back to talk about the Austrian Bundesliga and the dramatic ÖFB Cup draw on the Other Bundesliga Podcast! 01:00 - 32:00 A bumper Bundesliga section as Sturm and Salzburg start with wins, plus who else starred and who stumbled. 32:00 - 40:00 Austria Salzburg versus Red Bull Salzburg in Round 2, the cup draw for the ages! --- Send in a voice message: https://podcasters.spotify.com/pod/show/theotherbundesliga/message

In this episode of Friday Night Beers, Tom & Vince try a beer called Stiegl-Radler Grapefruit. This beer comes from Stieglbrauerei zu Salzburg in Salzburg, Austria. The hosts drink it and somehow compare it to things like Mozart, the Austrian lifestyle, Sigmund Freud, Arnold Schwarzenegger and more. At the end, they rate this beer on a unique 1-5 scale. VINCE: 2 / 5 VincesTOM: 2.25 / 5 TomsInstagram: @friday.night.beersTwitter: @fnb_pod Threads: https://www.threads.net/@friday.night.beersEmail: friday.night.beerspodcast@gmail.com Theme music by Billy Hansa. Subscribe, rate and review the podcast on Apple, Spotify or wherever you find your podcasts!

Source: An Extract of the Journals of Mr. Commissary Von Reck . . . and of the Reverend Mr. Bolzius (1734), 32-50. https://archive.org/details/toldcontemporari02hartrich/page/114/mode/2up

Father Dave and Brett joined Lino Rulli and Tyler Veghte of “The Catholic Guy Show” on SiriusXM's Catholic Channel for the “We're on a Boat Pilgrimage,” a cruise on the Danube River. They traveled with 150 listeners to famous Catholic Churches and cities across Eastern and Central Europe, including Regensburg, Salzburg, Vienna, Bratislava and more.

Ignatowitsch, Julianwww.deutschlandfunk.de, Kultur heuteDirekter Link zur Audiodatei

NYC comedian JP McDade is fresh off his national tour with Stavros Halkias. JO and Newski riff it out on Dirt from the Road. More on JP: https://www.instagram.com/mcdadebaby/?hl=en NEWSKI ON TOUR:  8/4 - APPLETON, WI - Mile of Music (2 sets) 8/12 - HILLSBORO, WI - Confluence Concert Series 8/19 - VIROQUA, WI - Fortney Hotel Street Party 8/31 - NORMAL, IL - Make Music Normal 9/1 - LA CROSSE, WI - secret show 9/8 - EAU CLAIRE, WI - secret show  9/15 - GREEN BAY, WI - Badger State Brewing 9/21 - SPRING GREEN, WI - Shitty Barn 9/22 - MANITOWOC, WI - Sabbatical Brewing    EUROPE 17 Oct - PARIS, FR - Supersonic 19 Oct - HOOFDDORP, NL - C. 20 Oct - ERMELO, NL - In De Rimboe 21 Oct- HOORN, NL - 't Kroegie 22  Oct - ROTTERDAM, NL - secret house show 24 Oct - FURTH, DE - Kunstkellar  25 Oct - SALZBURG, AT - venue tba 27 Oct - TIMELKAM, AT - Bart  28 Oct - HOF, DE - Zur Linde 29 Oct - HAMBURG, DE - Monkeys Music Club 31 Oct - KOLN, DE - Trink-jenossin 1 Nov - ST WENDEL, DE - JJs pub 2 Nov - HENGALO, NL - secret house show 3 Nov - AMERSFOORT, NL - Boothill Saloon 10 Nov - GUERNSEY, UK - St James Concert Hall  8/4 - APPLETON, WI - Mile of Music (2 sets) 8/12 - HILLSBORO, WI - Confluence Concert Series 8/19 - VIROQUA, WI - Fortney Hotel Street Party 8/31 - NORMAL, IL - Make Music Normal 9/1 - LA CROSSE, WI - secret show 9/8 - EAU CLAIRE, WI - secret show  9/15 - GREEN BAY, WI - Badger State Brewing 9/21 - SPRING GREEN, WI - Shitty Barn 9/22 - MANITOWOC, WI - Sabbatical Brewing   

Seit 100 Jahren gehört der „Jedermann“ zum Inventar der Salzburger Festspiele: Hugo von Hofmannsthals „Spiel vom Sterben des reichen Mannes“ ist die Cashcow des Festivals. Jetzt gibt es mit dem Star des Wiener Burgtheaters Michael Maertens und mit der österreichischen Film- und Theaterschauspielerin Valerie Pachner wieder ein neues Paar auf der Bühne. Die Feuilletons der Tageszeitungen schauen gespalten auf die Neuinszenierung, die begleitet wurde von Protesten der Letzten Generation.

Vichtl, Wolfgangwww.deutschlandfunkkultur.de, Studio 9Direkter Link zur Audiodatei

Auweia ist diese Folge vollgepackt! Die beiden Gameminds suchen nach der ultimativen Antwort auf die Frage: "Was ist Glück? Wie definieren wir es und wann sind wir wirklich glücklich?". Außerdem blicken wir zu Beginn auf die letzten 6 Monate im Bereich der Videospiele zurück, diskutieren über die geplante Übernahme von Activision durch Microsoft, Auswirkungen durch KIs, und vieles mehr. So geht es auch um Diablo 4, Exoprimal, die Level Up Messe in Salzburg, Pikmin 4, das neue Retro Gaming Museum in Wien, Kohlrabenschwarz, Marvel Secret Invasion, Das Finale von Ted Lasso, Star Trek Strange New World Lasso, den Animationsfilm Nimona, Eine Reise nach Berlin, und so viel es mehr! Wir wünschen euch viel Spaß beim Hören und freuen uns auch diesmal besonders auf euren Input, Ideen & Feedback im Forum. Achtung: Die ersten ca. 17 Minuten dieser Gameminds-Sendung sind ab sofort komplett frei verfügbar. Die komplette Sendung, mit rund 2,5 Stunden, ist exklusiv für unsere SHOCK2 VIPs auf ihrem persönlichen RSS-Feed verfügbar und kann auch direkt bei Patreon und Steady heruntergeladen und gestreamt werden. RSS-Feed für den News-Reader/Podcast-Client: https://shock2.podcaster.de/shock2-podcast.rsst Wir bedanken uns bei allen, die SHOCK2 auf Patreon oder Steady unterstützen!Jetzt SHOCK2 VIP werden und SHOCK2 und die Weiterentwicklung des Community-Forum unterstützen!

Pinegrove frontman Evan Stephens Hall and BRETT NEWSKI riff about land, air, sea, and rock music. More on Evan: https://pinegroveband.com/ NEWSKI ON TOUR:  7/20 - MILWAUKEE, WI - St James (Music of the 90's, solo set) 8/4 - APPLETON, WI - Mile of Music (2 sets) 8/12 - HILLSBORO, WI - Confluence Concert Series 8/19 - VIROQUA, WI - Fortney Hotel Street Party 8/31 - NORMAL, IL - Make Music Normal 9/1 - LA CROSSE, WI - secret show 9/8 - EAU CLAIRE, WI - secret show  9/15 - GREEN BAY, WI - Badger State Brewing 9/21 - SPRING GREEN, WI - Shitty Barn 9/22 - MANITOWOC, WI - Sabbatical Brewing    EUROPE 17 Oct - PARIS, FR - Supersonic 19 Oct - HOOFDDORP, NL - C. 20 Oct - ERMELO, NL - In De Rimboe 21 Oct- HOORN, NL - 't Kroegie 22  Oct - ROTTERDAM, NL - secret house show 24 Oct - FURTH, DE - Kunstkellar (pending) 25 Oct - SALZBURG, AT 26 Oct - VIENNA, AT - Chelsea 27 Oct - TIMELKAM, AT - Bart  28 Oct - TBA 29 Oct - HAMBURG, DE - Monkey Music Club 31 Oct - KOLN, DE - Trinkjenossen 2 Nov - HENGALO, NL - secret house show 3 Nov - AMERSFOORT, NL - Boothill Saloon UK TBA

SynopsisOn today's date in 1877, the Vienna Philharmonic performed for the first time in Salzburg, the birthplace of Mozart, during a three-day music festival that included works by Mozart and others, including two living composers of that day, a 44-year old fellow named Brahms and a 64-year old named Wagner.The Philharmonic would return to Salzburg six more times for mini-festivals through 1910, some led by composer-conductors like Richard Strauss and Gustav Mahler.In 1925, an annual “Salzburg Festival” was established, with the Vienna Philharmonic and Vienna State Opera as the main musical participants. The Second World War disrupted the Festival in the 1940s, but soon after it reestablished itself among the most prestigious of international musical happenings. Traditionally, a familiar brass fanfare opens each Salzburg Festival radio broadcast, but probably few music lovers know the name of its composer. It was written by Joseph Messner, who wrote over 700 works. He was born in 1893 in the Austrian Tyrol and died in 1969 in a village near Salzburg, where he had served as church organist, conductor and composer for decades, leading many Festival concerts featuring sacred music by Mozart and others.Music Played in Today's ProgramWolfgang Mozart (1756 - 1791) Menuetto and Trio, fr Haffner Symphony Vienna PhilharmonicRafael Kubelik, conductor. Seraphim 68531Joseph Messner (1893 - 1969) Salzburg Festival Fanfare Salzburg Mozarteum Orch;Ivor Bolton, conductor. Oehmns CD 734

Das Electric Love hat uns nach Salzburg eingeladen um eine Nacht auf dem Festival zu verbringen. Die Chance haben wir uns nicht nehmen lassen, also sind wir rüber gejetted und haben uns die Nummer mal angeschaut. Vor Ort und relativ nah an der Hauptbühne haben wir dann einen Podcast für euch aufgenommen. Ihr hört unsere ersten Eindrücke vom Electric Love, sowie Annekdoten aus all unseren Festival-Erfahrungen. Jetzt habe ich relativ häufig das Wort Festival genutzt. Festival, Festival, Festival, Festival, Festival. Lg Proseccolaune HIER UNSEREN WEIN BESTELLEN: https://vioneers.com/products/felix_mayer_der_saft_der_geilen_1000_2022 Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/proseccolaune Werde Teil unserer Online-Sekte und unterstütze die Proseccolaune auf Patreon: https://www.patreon.com/proseccolaune

Tom & Simon answer as many listener questions as we can including: "The transfer policies of Sturm, LASK, Rapid and co." "Make a case for Salzburg not winning the league" "The most exciting transfer so far" "The biggest free agent right now" "The best Austrian beer." All that and more is on this week's pod, but new kit reviews are coming on a future episode! --- Send in a voice message: https://podcasters.spotify.com/pod/show/theotherbundesliga/message

Warum kommt Billy der Biber, der wahrscheinlich größte Musikliebhaber von Salzburg bis Bayreuth und wieder retour, nicht dazu, auf seiner Terrasse ein gepflegtes Glas Ahornsirup zu trinken? Und warum geben Grillen bei Regen grundsätzlich keine Konzerte? (Eine Geschichte von Heinz-Josef Braun und Stefan Murr, erzählt in oberbayerischer Mundart von Jürgen Tonkel)

I'm finally back after two months of group tours and travel planning busy, busy, busy season, I'm back in the production room putting things together. Although I have lots to produce I couldn't wait to share our recent Danube River Cruise Fun with our small group tours this past April. OMG! It was hysterical, a little damp, and loads of fun, fun, fun! We partnered with ®Riviera River Cruises for another River Cruise group tour, this time along the DANUBE. The ancient waterway that once was busy with Roman Empire traffic, today is dotted with riverboats, ferries, and cargo ships. It is also lined with vineyards, medieval towns, still intact and historical architecture that astounds. In today's podcast, I share our unique itinerary, what it is like to travel in small groups, share all the fun we had on board, find out if it is right for you, and more! ⏱TIMELINE⏱1:59 Budapest2:11 DunaCorso Restaurant in Budapest2:54 Esztergom, Hungary3:40 Travel Tips €4:10 Bratislava, Slovakia - Konditerei Kormuth5:34 Dürnstein & Melk, Austria6:36 Salzburg & Linz - Ludwig Das Burger Restaurant8:05 Vienna9:04 Back on Board - Music Arrangements9:40 Return to Budapest - Spas & More10:26 Is European River Cruising right for you?11:56 Fine dining options12:21 What's included on a River Cruise?13:28 On board fun14:16 Traveling in small groups14:38 Scotland Tour TOO!To make a reservation for PORTUGAL: CLICK HERE!For more INFORMATION on the Itinerary and more about Portugal: VISIT HERE! For More CONTENT:

Nadia Pavlevska drank vodka and coke in Bulgaira. Hardly a precursor to becoming a wine educator and influencer. Now the go to Sommelier for resorts like The Terranea in Palos Verdes, Nadia had taught wine with a logical and pratical outlook.  Her reposnses to wine, politcal and life-style question might suprise you...no, will suprise you. She headed west making stops in Salzburg, Austria, Sacramento, California and now in the beach cities of Southern California. Her thirst (pun intended) had brought her numerous accolades and certificates of wine knowledge.  And lets not forget that she has a degree from my Alma Mater, the University of Southern California. She will inspire you. She will educate you. She will entertain you.

Join us as we dive into the captivating world of Julia Koerner, an Austrian designer who seamlessly blends the realms of architecture, product design, and fashion. Julia Koerner's journey spans continents, with her creative spirit traveling between Los Angeles, Salzburg, London, and New York.  Julia is the mastermind behind JK Design GmbH, a powerhouse specializing in digital design for 3D printing. In 2015, Julia introduced her remarkable 3D-Printed ready-to-wear collection named ‘Sporophyte.' Julia has also collaborated with prestigious Haute Couture Houses, leaving a lasting mark on Paris Fashion Week with her stunning 3D-printed fashion pieces. But Julia's talents don't stop there. She contributed 3D-printed costumes to Hollywood blockbuster productions like Marvel's Black Panther, which won an Oscar for Best Costume Design. Julia's most recent collaboration with Swarovski resulted in a showpiece highlighting Swarovski's dedication to innovation and the early stages of 3D-printing technology with glass. Check our studio workshops at the PAACADEMY: https://parametric-architecture.com/workshops/ Watch on YouTube: https://youtu.be/3kQySffF4qg Follow us: ParametricArchitecture: https://www.instagram.com/parametric.architecture/ PATalks: https://www.instagram.com/pa__talks/ Website: https://parametric-architecture.com/patalks/ #PATalks #JuliaKoerner

Elfriede Hammerl im Podcast: Ein kleiner Zuschuss kompensiert weder ein Erwerbseinkommen noch berufliche Aufstiegschancen.Melden Sie sich hier für den profil-Podcast-Newsletter an.Haben Sie schon ein profil-Abo? Testen Sie 4 Print- und Digitalausgaben in Kombination – kostenfrei und unverbindlich. 

Episode 83: Smart Habits for Saying “No” with Dagmar and Judy JennerToday's episode is one you may not be expecting… or maybe if you've been a long-time Smart Habits listener, you understand how it aligns with what we discuss here on the podcast. Saying “no” and doing it with confidence can be difficult in any area of life, especially in business. But saying “no” is essential to running your business with less stress and more time for what you really want to work on with the clients you really want to work with! Today, we have the pleasure of discussing smart habits for saying “no” with two guests we know you'll recognize! We'd like to welcome Dagmar and Judy Jenner to the podcast.Dagmar is a German, Spanish, English, and French translator and conference interpreter based in Vienna. She grew up in Austria and Mexico City and has an advanced degree in French from the University of Salzburg and a master's degree in conference interpreting from the University of Vienna. She runs the European side of Twin Translations and is the past President of the Austrian Interpreters' and Translators' Association, UNIVERSITAS Austria. Dagmar is passionate about literature, classical music, and chess.And Judy is a Spanish and German business and legal translator and a federally certified Spanish court interpreter and conference interpreter. She has an MBA in marketing from the University of Nevada-Las Vegas, a master's degree in conference interpreting from York University in Canada, and runs her boutique translation and interpreting business, Twin Translations, with her twin sister Dagmar. She was born in Austria and grew up in Mexico City. She is a former in-house translation department manager. Judy writes the blog Translation Times and the "Entrepreneurial Linguist" column for The ATA Chronicle, serves as one of the ATA spokespersons, and teaches interpretation at the University of California-San Diego, the University of Nevada, Las Vegas, and at New York University as of fall 2023. And she's a frequent speaker at T&I conferences around the world, mostly online these days. Judy flies a lot for her interpreting assignments, and one of her special talents is memorizing airport codes.Dagmar and Judy are the authors of The Entrepreneurial Linguist: The Business-School Approach to Freelance Translation.Tune in to hear our conversation on:• What services Dagmar and Judy offer, and how their careers have evolved over time• Why they wrote The Entrepreneurial Linguist, and what they think is the biggest takeaway for our colleagues when it comes to their freelance businesses• What values led them to become translators and interpreters, and how these values are reflected in their business• What smart habits have been crucial in their careers so far• What habits they had earlier in their careers that they no longer practice, and why• Why they think it's important for translators and interpreters to be able to say “no”• Some key reasons to say “no,” and some strategies to do it with grace• Their thoughts on whether saying “no” means losing an opportunity or future work with a client• How we can practice saying “no” so it feels easier going forward• In what ways saying “no” has paid off in their careers• Other tips for our listeners on the power of saying “no”• What advice Dagmar and Judy would give to their past selvesResources we mentioned in this episode:• Dagmar and Judy's European website, Texterei, and their translation company, Twin Translations• The Entrepreneurial Linguist: The Business-School Approach to Freelance Translation• Judy and Dagmar's blog, Translation Times• Connect with Judy and Dagmar on Twitter• The Remarkable tablet and the Rocketbook reusable notebook that Judy recommends• Dagmar's YouTube channel on German orthographySee the full list of links and resources for this episode: https://smarthabitsfortranslators.com/podcast-episodes/83

Austria Hike, Bike and Paddle Adventure Hike, bike and paddle your way as you explore the Austrian alps in this active adventure holiday.  This is a fantastic adventure if you want to be active but don't want it to be so hard core.  It's also a great 'tester' holiday to see if you like adventure travel, or for multi-generational travel where not everyone is of the same physical ability. You'll explore the quaint and historice villages and valleys of Mozart and the Sound of Music surrounded by the majestic alps.  You'll have time to drink in the beauty of Salzburg and visit a castel. This Austrian adventure is the perfect mix of history, culture and adventure! COMPLETE SHOW NOTES  See important links for planning your adventure, photos, videos and more cool info about Austria. Get FREE Travel Planners for ATA adventures (and each month you will get an email from Kit with links to all future Travel Planners (no spam promise!).  Get the monthly newsletter here. CONTACT KIT Resources  Promo Codes and Recommended Tour Companies Travel Insurance:  Quickly and easily compare rates and policies from different companies Amazon Kit's Picks  Please use my Amazon link to access your Amazon account.  Even if you don't purchase any of my recommendations, I get credit for anything you DO purchase - at no additional cost to you, you'll be helping to support the show and keeping it AD FREE:) SUBSCRIBE to the Adventure Travel Show (the “How to's of adventure travel) SUBSCRIBE to Active Travel Adventures (fantastic adventure destinations) Join the Active Travel Adventures Facebook Group Follow ATA on Twitter Follow ATA on Instagram Follow ATA on Pinterest  

In a few days I'm headed to Salzburg, Austria for my friend's birthday (We need more of these kind of trips! Destination parties should go beyond weddings. Do you agree?)And that's why today I'm speaking with Vivien Conacher, a trained opera singer from Sydney who now lives in Salzburg.From Mozart's birthplace and Sound of Music locations to the historic fortress and breweries, discover the magic of Salzburg and its hidden gems. Perfect for a solo or group trip or an adventure with your dog (this is a very animal-friendly place).Before moving to Austria, Vivien  founded Songhaven, a not-for-profit that organizes free concerts by top classically-trained artists for people with dementia. How wonderful is that? Clearly, Vivien has a passion for helping people and the performing arts. And today she's helping us by sharing her favorite must-have experiences in Salzburg, Austria. Enjoy!If you have a dream like moving abroad but you're feeling stuck, let's chat. Book a consult with me — https://sarahmikutel.com/chat — and let's talk about what we can do together to move you forward. Perhaps literally!How long will you wait before you start demanding the best for yourself? 

Salzburg are the Bundesliga Champions for the 10th time in succession! 00:00 - In Part 1 of the pod Tom & Lee look at how they stayed at the top, what next season is looking like, how anyone can stop them, and how big the celebrations really were for the Red Bulls! 21:15 - Part 2 Sees us talk about LASK's Euro return, the "top six conspiracy", and all the madness of the bottom half, plus the LigaZwa title dramas and more, enjoy! --- Send in a voice message: https://podcasters.spotify.com/pod/show/theotherbundesliga/message

With just three rounds to go, Lee, Simon & Tom talk about another dominant Vienna Derby win for Austria, plus Sturm keep pace near the top, Salzburg overcome a crucial hurdle, and VAR gives us plenty more to talk about, too! --- Send in a voice message: https://podcasters.spotify.com/pod/show/theotherbundesliga/message

Was der Erfolg kommunistischer Kandidatinnen und Kandidaten in Salzburg und Graz für die österreichische Innenpolitik bedeutet. Es diskutieren Tobias Schweiger (KPÖ), Josef Cap (SPÖ), die Historikerin Helene Maimann, Oliver Pink (Die Presse) und Nina Horaczek (FALTER).-----------------------------------------//WERBUNG//F‑Secure Total bietet Sicherheit, Privatsphäre und Identitätsschutz im Internet – alles in einer einfachen App. Neukunden in Deutschland und Österreich bekommen F-Secure Total um 55 % günstiger - einfach den Code FALTER55 hier (f-secure.com) eingeben. Hosted on Acast. See acast.com/privacy for more information.

With just four rounds remaining, Lee & Tom head to the Long Hall to look back on an "explosive" Cup Final, as well as what it could mean for SK Sturm down the home stretch of the Bundesliga season. We talk about the relegation fight in the bottom six, too, plus answer some lovely listener questions, such as picking out our promising tips for next season's stars. --- Send in a voice message: https://podcasters.spotify.com/pod/show/theotherbundesliga/message

Bundeskanzler Olaf Scholz reist in diesen Tagen bereits zum zweiten Mal seit seinem Amtsantritt nach Afrika. Er setzt damit – verglichen mit Angela Merkel – einen neuen Schwerpunkt in seiner Außenpolitik. Andrea Böhm berichtet für DIE ZEIT aus der Subsahara-Region und ordnet den Besuch des Kanzlers in Äthiopien und Kenia angesichts des Krieges gegen die Ukraine, des Krieges im Sudan und des gerade zur Ruhe gekommenen Konflikts in Äthiopien ein. Außerdem sehen die Österreicherinnen und Österreicher gerade rot: Bei der Landtagswahl in Salzburg stimmten Ende April rund zwölf Prozent für die Kommunistische Partei, in der zweitgrößten österreichischen Stadt Graz stellt die KPÖ seit 2021 sogar die Bürgermeisterin. Was ist da los? Jonas Vogt lebt als Autor in Wien und erklärt, warum die Partei gerade so gute Ergebnisse einfährt. Und sonst so? Wie die finnische Zeitung Helsingin Sanomat junge Russen über den Krieg gegen die Ukraine aufklären will. Moderation und Produktion: Fabian Scheler Redaktion: Ole Pflüger Mitarbeit: Sarah Vojta und Mathias Peer Fragen, Kritik, Anregungen? Sie erreichen uns unter wasjetzt@zeit.de. Weitere Links zur Folge: Äthiopien: Besuch bei einem Kriegsherrn (https://www.zeit.de/politik/ausland/2023-01/aethiopien-annalena-baerbock-afrika-ernaehrung-frieden) Mohammed Hamdan Daglo: Kleiner Mohammed, der Paramilitär (https://www.zeit.de/politik/ausland/2023-04/mohammed-hamdan-dagalo-sudan-paramilitaers-rsf) Kommunistische Partei Österreich: Und plötzlich sind die Kommunisten wählbar (https://www.zeit.de/politik/ausland/2023-05/oesterreich-landtagswahlen-kommunistische-partei-wahlergebnisse) KPÖ: Auferstanden aus Ruinen (https://www.zeit.de/2023/19/kpoe-erfolg-finanzierung-sowjetunion-graz) The Guardian: Finnish newspaper hides Ukraine news reports for Russians in online game( https://www.theguardian.com/world/2023/may/03/finnish-newspaper-hides-news-reports-for-russians-in-online-game) Ihre Stimme für Was Jetzt beim Deutschen Podcastpreis (https://www.deutscher-podcastpreis.de/podcasts/was-jetzt-2/) Als Hörerin oder Hörer von Was Jetzt? können Sie Die ZEIT vier Wochen lang gratis testen.(https://abo.zeit.de/wasjetzt)

In Salzburg stehen die politischen Zeichen auf schwarz-blaue Koalition – obwohl sich ÖVP-Landeshauptmann Wilfried Haslauer lange gegen eine Zusammenarbeit mit den Freiheitlichen gewehrt hat. Im Podcast erklärt STANDARD-Salzburg-Korrespondentin Stefanie Ruep, wie es trotzdem dazu kam und was das für ganz Österreich bedeutet. Kolumnist Hans Rauscher analysiert, ob der Höhenflug der FPÖ noch weitergeht und die ÖVP weiter den Steigbügelhalter spielen wird – und ob der nächste Bundeskanzler in Österreich Herbert Kickl heißen könnte. **Hat Ihnen dieser Podcast gefallen?** Mit einem STANDARD-Abonnement können Sie unsere Arbeit unterstützen und mithelfen, Journalismus mit Haltung auch in Zukunft sicherzustellen. Alle Infos und Angebote gibt es hier: [abo.derstandard.at](https://abo.derstandard.at/?ref=Podcast&utm_source=derstandard&utm_medium=podcast&utm_campaign=podcast&utm_content=podcast)

Although Ike & Tina Turner had been performing since 1960 and were well known for the energy of their performances, it wasn't until 1965 and the release of Live!  The Ike & Tina Turner Show that they received national recognition.  This album featured the best live performances of the previous year.Tina Turner was born Martha Nell Bullock (aka Anna Mae Bullock), and was given the name Tina Turner as a stage name when she toured as a feature with Ike Turner in 1960.  They were not married at the time, and Ike Turner had the name "Tina Turner" trademarked, so that he could use another singer performing under the same name if the singer we now know as Tina Turner ever left the band.  Ike and Tina would be married after the birth of their son in 1960.  Ike Turner had been married 5 times before meeting Tina.Most of this album features Tina Turner on lead vocals with Ike performing guitar on stage, and a full band behind them including a horn section (The Kings of Rhythm) and backup singers (The Ikettes).  Ike Turner has lead vocals on a few songs, but Tina Turner was the real draw.  Ike and Tina Turner had their infamous divo