Podcasts about Termen

Waardeer je onze video's? Steun dan Café Weltschmerz, het podium voor het vrije woord: https://www.cafeweltschmerz.nl/doneren/Lotgenotengroep in Overijssel voor partners van boeren die suïcide pleegden. In week 21 wordt de NAVO-parade besproken; daklozen worden van de straat gehaald en de politie huurt alle hotels af om uitbundig feest te vieren. De top heeft geen duidelijke inhoud, er is geen programma, de genodigden zijn nog niet bekend, maar het zal uitmonden in een feest van autoritair bestuur. Water raakt schaars door droogte, veroorzaakt door overmatige natheid, waardoor het langer warm blijft en de temperatuur sterk kan dalen. Kennedy blijkt effect te hebben. Het mRNA-platform staat op instorten. Roemenië kiest voor gehoorzaamheid en onderwerping, mede onder zware beïnvloeding. Het geweld in Gaza houdt aan; zelfs het songfestival kan daar niets aan veranderen. Het pandemieparaatheidsverdrag is alsnog tot stand gekomen, met de gebruikelijke termen als ‘equity' en ‘one health'. Niemand gelooft erin en niemand wil zich eraan branden. De IGJ hield Viruswaarheid in de gaten maar weigert documenten vrij te geven onder het mom van het functioneren van de staat. Het vonnis in de Fort Oranje-zaak is opnieuw uitgesteld. Inzage bij de politie Haaglanden bevestigt dat het dossier incompleet is. Termen als “plotseling en onverwacht”, “kanker” en “hartfalen” zijn genormaliseerd, maar of er een verband is met de prik, mag niet onderzocht worden. Demonstreren wordt als achterhaald gezien; daarom verschijnt de politie nu thuis aan de deur. Zo is de ervaring alvast opgedaan – niet leuker, wel makkelijker.---Deze video is geproduceerd door Café Weltschmerz. Café Weltschmerz gelooft in de kracht van het gesprek en zendt interviews uit over actuele maatschappelijke thema's. Wij bieden een hoogwaardig alternatief voor de mainstream media. Café Weltschmerz is onafhankelijk en niet verbonden aan politieke, religieuze of commerciële partijen.Wil je meer video's bekijken en op de hoogte blijven via onze nieuwsbrief? Ga dan naar: https://www.cafeweltschmerz.nl/videos/Wil je op de hoogte worden gebracht van onze nieuwe video's? Klik dan op deze link: https://bit.ly/3XweTO0

Att lokalisera massgravar och identifiera döda har både en politisk och en social innebörd. Patricia Lorenzoni reflekterar över forensisk antropologi. Lyssna på alla avsnitt i Sveriges Radio Play. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna.Det finns frågor där juridikens och konstens områden överlappar varandra. Kan den döda förmås att tala, och i så fall hur? Kan den som bragts om livet ges upprättelse? För rättsskipningen handlar det om bevisvärdering och ansvarsutkrävande. För konsten om möjligheten att berätta om den som bestulits på sin mänsklighet, utan att i berättandet upprepa stölden.Dilemmat aktualiseras i M NourbeSe Philips diktsvit Zong! från 2008. Bakgrunden är en händelse 1781 när över etthundratrettio människor – alla förslavade afrikaner – slängdes överbord från ett brittiskt slavskepp för att spara på vattenransonerna. Händelsen har gjort avtryck i rättsarkiven, men inte som mord utan som ”förstörelse av egendom”. Den avhumanisering som möjliggjorde brottet fortsätter därmed in i rätten, och sedan in i de historiska arkiven. Hur berätta om detta, när alla spår det lämnat är fortsättning på brottet? Zong! blir en historia som inte kan berättas och som likväl måste berättas.Människorna som slängdes överbord från skeppet Zong försvann för alltid ner i havet. Och i haven fortsätter människor att försvinna, genom aktivt våld eller genom passiv ovilja att undsätta. FN-projektet Missing Migrant Project anger att under tioårsperioden mellan 2014 och 2024 rapporterades närmare 30 000 människor döda eller saknade på Medelhavet, den enskilt dödligaste av världens gränsregioner. Eftersom många kroppar aldrig återfinns, och inte alla har anhöriga som söker efter dem, kan mörkertalet vara stort.”Försvinna” är ett aktivt verb. Att göra det passivt låter skavigt och fel: ”att försvinnas”. Men det är i passiv form rättsantropologen Alexa Hagerty använder det i boken Still life with bones: Field notes on forensic anthropology. För när det handlar om människor är ”försvinna” bara sällan någonting någon gör, oftare är det någonting någon utsätts för. Vi kan fråga oss: om människors försvinnande omtalas i passiv form, hur påverkar det vår blick på dem och det de var med om innan de togs ifrån oss?Det var i kalla krigets Guatemala som ordet ”försvinnande” började användas som beteckning för hur militären mördade och slängde människor i massgravar. Kriget här var allt annat än kallt. Hagerty har arbetat både i Guatemala och i Argentina, i det senare fallet med offer för militärjuntans statsterror på 1970- och 80-talen. Tusentals av juntans offer försvanns genom att de släpptes från hög höjd ner i havet. Från militärens perspektiv var det inte bara ett sätt att göra slut på en motståndare. Det var också ett förvägrande av ett minnesmärke, av en grav. Som att säga: ”den här människan har aldrig funnits”.Att lokalisera massgravar och identifiera döda har både en politisk och en social innebörd. Hagerty berättar om hur teamet hon jobbar i tillsammans med anhöriga ”artikulerar” skelett, det vill säga lägger ut dem anatomiskt. Personen läggs på rygg, handflator riktas uppåt, små små ben passas in i vad som en gång var en helhet sammanhållen av kött, senor och hud. Skador på skelettet bidrar till att återskapa en berättelse om brottet. Har kvarlevorna kunnat identifieras får de efterlevande äntligen en kropp att begrava.Processen handlar både om ansvarsutkrävande och om att återupprätta relationen mellan de som dödades och dem som blev kvar. Ibland också om att blidka de döda och deras oro så att hemsökelser må upphöra. Vi hör emellanåt påstås att en begravning av den döda kroppen är nödvändig för att efterlevande ska kunna ”gå vidare” eller få ett ”avslut”. Men inte alltid står en kropp att finna. Hagerty arbetar med att lokalisera de döda, men är också tydlig med att bara en bråkdel av dem som försvunnits återfinns, och än färre identifieras. Rättslaboratoriet, där papplådorna med namnlösa dödas kvarlevor staplas på varandra, liknar hon vid en skärseld av kartong.Boken blir därför också ett försvar av det liv som måste gå vidare, även om den historia som började med någons förvinnande aldrig slutar i en återfunnen kropp. Skärselden är i katolsk tradition en plats av väntan, ett mellanrum. För många är mellanrummet den enda plats för vila som erbjuds. Kanske är det medvetenheten om detta som gör att vissa inte ens vill försöka hitta sina döda. Federico García Lorca, som 1936 mördades av Francos falangister, är ett berömt exempel. Inför de åtskilliga försök som genom åren gjorts att lokalisera hans grav, har familjen bett att Lorca istället ska få vila ostört tillsammans med sina olyckskamrater.Lorca behövde måhända ingen grav för att eftervärldens skulle minnas honom. I de flesta fall av försvinnanden kämpar de anhöriga mot glömskan och det offentliga utsuddandet. Idag kantas Europas gränser bokstavligen av migranters anonyma gravar, människor som dött i sökandet efter ett levbart liv. 2015 lät det tyska konstkollektivet Centrum för politisk skönhet genomföra ett antal begravningar under namnet ”De döda kommer”. I samarbete med anhöriga i Tyskland grävde de upp anonyma gravar i södra Europa, identifierade döda migranter och förde deras kroppar till Berlin. Där fick de begravas i närvaro av sina kära.Konstkollektivet insisterade på att behandla de döda som människor att sörja, och synliggjorde därmed också närvaron av sörjande anhöriga i Europa. Så bröt de den logik enligt vilken vissa människors död passerar obemärkt. NourbeSe Philip hanterar sitt etiska dilemma genom vägran; en vägran att lägga till, en vägran att fylla ut. I Zong! finns ingen plats för försonande fantasier om det vi egentligen ingenting kan veta. Istället arbetar poeten uteslutande med ord som faktiskt finns i arkiven, bryter upp dem och skapar sprickor och avgrunder. Zong! kan läsas som ett requiem över dem som förnekades en gravvård.Snarare än försök att få de döda att själva tala, är både Zong! och De döda kommer därför ett slags omvårdnad som drar de försvunna åter in i de levandes sfär. Här löper verken också samman med Hagertys skildring av laboratoriearbetet. Still life i titeln till hennes bok är engelska för ”stilleben”, det slags konstnärliga motiv som består i orörliga ting; serviser, blommor, frukter, ibland döda djur från en tänkt jakttur, ibland också mänskliga skallar. De sistnämnda brukar läsas som en allegori över livets förgänglighet. Men över rättslaboratoriet finns ingenting allegoriskt, här är allting kroppslighet. Men också närhet och ömhet inför människor Hagerty bara får lära känna genom deras skelettskador. Termen hon använder för sin praktik är care. På svenska blir det ”omsorg”, ett ord etymologiskt besläktat med ordet för förlust, för sorg. I det varsamma arbetet med de mördades ben öppnas ett rum i vilket vetenskapsmännen och de anhöriga förenas i omsorgen om de döda.För Hagerty är detta en helig praktik. Vad hon säger sig ha kommit till insikt om är att arbetet med att gräva upp och studera kvarlevor inte bara är vad som möjliggör begravning. Det är i sig begravning.Patricia Lorenzoniidéhistoriker och författare

Waar komen de politieke termen links en rechts vandaan? We bellen erover Robin Devroe, onderzoeker politieke vertegenwoordiging en kiesgedrag aan de universiteit van Gent. 

Adevărul Despre Cum Să Îți Menții Afacerea Relevantă pe Termen Lung!

Cine l-a spălat pe Simion? - 6 din 10 femei din România nasc prin cezariană, de patru ori mai mult față de recomandarea OMS. Operațiile, o practică în spitalele publice și la privat (PressOne) - Bomba cu ceas de la Planșeul Unirii: poate afecta Dâmbovița, metroul, transportul central și rețeaua de canalizare (Europa Liberă) Aţi auzit de PBSTM, noul FMI fiscal pentru România? Nu vă uitaţi la ce vă promit partidele şi candidaţii la preşedinţie. Tocmai a fost aprobat PBSTM - 119 pagini, la care se va raporta orice decizie de bani a guvernelor care vor veni la Palatul Victoria până în 2031. În T1/2025 Banca Mondială trebuie să prezinte planul de reformă fiscală pe care guvernul trebuie să-l adopte (Ziarul Financiar)Nu ştiu ce promit candidaţii pentru Palatul Cotroceni sau partidele care vor să ajungă la Palatul Victoria.Indiferent ce ar spune – oricum sunt fraze goale, copy paste după alte fraze -, totul se va raporta la Planul Bugetar Structural Naţional pe Termen mediu şi lung (PBSTM), pe care guvernul Ciolacu, format din PSD şi PNL, să nu uităm, tocmai l-a aprobat în şedinţa de guvern de miercuri, 23 octombrie, iar Ministerul Finanţelor a fost autorizat să-l facă public, ceea ce s-a întâmplat vineri, pe 25 octombrie, când lumea era ocupată cu dezbaterea Ciolacu/George Simion/Hrebenciuc/Gigi Becali etc.Acest Plan, de 119 pagini, este plin de analize, reforme, obiective, date de implementare, scopul final fiind ca România să intre într-o zonă de sustenabilitate fiscală până în 2031. M-aş mira ca Bruxellesul să fie atât de îngăduitor şi să lase o reducere atât de graduală, de 0,8% din PIB pe an în următorii şapte ani, de scădere a deficitului de bugetar.Nu ştiu dacă cineva a citit acest PBSTM, în afară de cei care l-au întocmit, dar el este precis din punct de vedere fiscal şi se încadrează într-o matrice pe care România trebuie să o atingă.Creşterea economică a României nu va depăşi 3% în niciun an din următorii şapte ani, o creştere care este sub potenţial şi nu este suficientă pentru a dubla PIB-ul, după cum anunţă politicienii.Guvernul de acum şi-a asumat închiderea lacunelor fiscale reforma impozitării microîntrerinderilor, temperarea şi chiar îngheţarea salariilor în sectorul public, măsuri de reducere a evaziunii fiscale, gap-ului la TVA, reforma salariilor la buget etc.Indiferent cine va fi la Palatul Victoria sau la Cotroceni, perioada de glorie fiscală – facilităţi fiscale, lacune fiscale, optimizări fiscale – se va închide. Acum să vedem, după trecerea alegerilor, care vor fi propunerile de majorări de taxe şi impozite.Bineînţeles că noul guvern sau noul preşedinte pot să nu recunoască acest PBSTM.Dar întrebarea este cine şi cum se va mai finanţa actualul sistem fiscal, cine va mai finanţa deficitele bugetare, cine va mai cumpăra datoria României, cine ne va mai da sutele de miliarde de euro  de la Uniunea Europeană.Integral în ziarul de business. Cine l-a spălat pe Simion? (HotNews)Hotnews publică astăzi un articol de opinie semnat de Ciprian Necula, activist rom, membru fondator al Platformei Aresel, doctor în sociologie și profesor asociat SNSPA. El ridică o problemă pe care o consideră esențială în legătură cu alegerile prezidențiale de al căror prim tur ne mai desparte mai puțin de o lună.Vrem un președinte care să aibă interzis pe teritoriul Republicii Moldova și al Ucrainei? Ar fi, mai degrabă, firesc să lămurim semnele de întrebare în legătură cu liderul AUR, care pare cea mai recentă ”feblețe” a PSD. În ianuarie, rectorul SNSPA, Remus Pricopie, a solicitat Parlamentului României să demareze o investigație cu privire la posibilele legături ale politicianului George Simion – acum cu ambiții de prezidențiabil – cu mișcările extremiste și cu influența putinistă. Deși suspiciunile privind legăturile sale cu sferele rusești nu sunt noi și par aproape evidente pentru public, dovezile clare pe care rectorul le-a cerut nu au apărut. Mai mult decât atât, Simion pare să fi fost absolvit și de afinitățile sale legionare, de retorica anti-europeană și de tentațiile populiste. Într-o Românie modernă și democratică, personajele controversate, ale căror acțiuni și afinități extremiste sunt cunoscute, ar trebui tratate cu scepticism și reținere. A, îi răspunde totuși cineva domnului Prof. Univ. Dr. Remus Pricopie? Nu de alta, dar după alegeri s-ar putea să fie prea târziu.  6 din 10 femei din România nasc prin cezariană, de patru ori mai mult față de recomandarea OMS. Operațiile, o practică în spitalele publice și la privat (PressOne)În ultimul an, 6 din 10 femei din România au născut prin cezariană, potrivit datelor oficiale ale Ministerului Sănătății, transmise la solicitarea PressOne. Numărul acestora a crescut de patru ori mai mult față de recomandările Organizației Mondiale a Sănătății (OMS) de a rămâne sub 15%. În același interval, s-au înregistrat 138.000 de nașteri în sistemul public și privat.Majoritatea intervențiilor de cezariană sunt în spitale publice.În maternitățile și spitalele private private raportul nașterilor prin cezariană vs nașteri naturale a ajuns la 83% în 2023, potrivit informațiilor oficiale. Județele din România cu cea mai mare rată de nașteri prin cezariană, indiferent de regimul public sau privat sunt București, Constanța, Iași și Timiș.Cauzele asociate înmulțirii nașterilor prin cezariană sunt pe de-o parte practicarea unei medicine defensive de către medicii din spitalele din țară, precum și frecvența tot mai mare a cazurilor de violență obstretică din timpul sarcinii sau la naștere, explică specialiștii consultați de PressOne.De asemenea, un studiu recent despre experiența nașterii în România arată că 59% din femeile din România au ales nașterea prin cezariană programată pentru că se tem de durerea unei nașteri naturale sau de alte complicații.  Bomba cu ceas de la Planșeul Unirii: poate afecta Dâmbovița, metroul, transportul central și rețeaua de canalizare (Europa Liberă)O zonă cât un teren de handbal – aprox. 40 de metri pe 30 de metri – este punctul în care, în cazul unui cutremur puternic, s-ar putea declanșa iadul în București: cursul Dâmboviței ar fi blocat, iar râul ar inunda partea centrală a orașului, inclusiv o parte din magistrala de metrou Berceni-Pipera. Traficul auto ar fi întrerupt, iar rețeaua de canalizare nu ar mai avea unde să deverseze. Scenariul a fost confirmat pentru Europa Liberă. Autoritățile știu, dar sunt ocupate cu dispute politice.

Das Familienunternehmen MyPiece aus Termen stellt massgeschneiderte Mundstücke für Blechblasinstrumente her. Normalerweise ist der Ring eines Mundstücks flach. «Aber kein Mund ist flach», sagt David Lochmatter im Gespräch mit SRF Musikwelle. Deshalb tüftelte er schon während seines Musikstudiums an neuen Mundstückformen. Damit legte er den Grundstein für das heutige Familienunternehmen MyPiece. Für seine Innovation wurde MyPiece 2023 mit dem «Prix Créateurs» der Walliser Kantonalbank ausgezeichnet. Der Preis habe viel Aufmerksamkeit gebracht, sagt Manuela Lochmatter, «zudem konnten wir von wertvollen Coachings profitieren.» So konnte sich das junge Unternehmen weiterentwickeln. Für die Herstellung eines massgeschneiderten Mundstücks benötigt MyPiece einen 3D-Scan der Mundpartie des Kunden. Mit einer entsprechenden Smartphone-App kann ein solcher Scan selbst erstellt werden. Anschliessend verschickt MyPiece drei Test-Mundstücke aus Kunststoff, bevor das endgültige Mundstück aus Metall bestellt werden kann. Durch das massgeschneiderte Mundstück sollen Druckstellen reduziert werden, so das Versprechen. Das ermögliche einen schöneren Klang, einen grösseren Tonumfang und eine bessere Ausdauer. «Das Wichtigste bleibt aber halt trotzdem das fleissige Üben», schmunzelt David Lochmatter.

Imi voi încheia mandatul de Preşedinte al României la termen şi nu voi demisiona din funcţie ca sa candidez la alegerile parlamentare din decembrie, indiferent de decizia Biroului Electoral Central.  pentru că nu susţine modificarea legislaţiei electorale în favoarea unei singure persoane.  Este declaratia lui Klaus Iohannis  in conditiile in care BEC trebuie sa transeze daca seful statului poate sau nu candida atat timp cat este in functie la Cotroceni.    Șeful diplomației americane, Antony Blinken, insistă pe un armistițiu în LibanStatele Unite insistă asupra propunerii de încetare a focului în Liban, desi Israelul a respins ideea si s-a declarat hotarat sa lupte împotriva Hezbollah pana la victorie. Intre timp, peste 30.000 de persoane, majoritatea sirieni, au trecut în Siria din Liban în ultimele 72 de ore, a anunţat agenţia ONU pentru refugiaţi.Spitalul Fundeni a rămas fără bani de medicamenteIar Institutul Oncologic București, cel mai mare spital de oncologie din țară, a rămas fără bani de medicamente. Zeci de bolnavi care au venit să-și ia tratamentul, săptămâna aceasta, au fost trimiși acasă. Iolanda Gheorghiu, fondatoarea Asociației Pacienților Oncologici din România spune ca un registru detaliat al bolnavilor oncologici ar fi o soluție pentru ca banii să nu mai fie distribuiți atât de haotic.

Isabelle växer upp med finska rötter men utan det finska språket. Gång på gång får hon höra att hon inte är finsk nog. När hon blir gravid vill hon ta tag i drömmen hon haft sedan barnsben. Men är det för sent? Lyssna på alla avsnitt i Sveriges Radio Play. Isabelle är en av över 700 000 människor med finländsk bakgrund i Sverige. Hon och hennes föräldrar är födda i Sverige, men är likväl finnar. Finska är dock inte det språk som Isabelle växer upp med.Efter år av sorg och ilska kopplat till att inte kunna finska vill hon ta tillbaka språket. Hon vill ge sitt blivande barn en annan grund att stå på, än hon själv hade.I programmet får vi följa Isabelles språkliga resa under flera års tid genom intervjuer och ljuddagböcker.Intervjupersoner: Isabelle Kiprianoff, Anneli Ylijärvi / mormor till Isabelle, Kai Latvalehto/författare till forskningsrapport om andra generationens sverigefinnarReporter: Lotta Hoppu lotta.hoppu@sverigesradio.seProducent: Tiina Laitila Kälvemark tiina.laitila@sverigesradio.seSlutmix: Magnus KjellsonBerättarröst: Tiina Laitila KälvemarkArkivklipp: Viasat SportProgrammet gjordes våren 2024Fler Dokumentti-poddar hittar du i vår app Sveriges Radio Play – sökordet är Dokumentti.Vilka är sverigefinnarna?Termen sverigefinnar avser finsktalande personer i Sverige, samt deras ättlingar. Sverigefinnars språk, finska, är ett av de fem nationella minoritetsspråken i Sverige, officiellt erkänt i och med minoritetslagstiftningen år 2000.Hur många i Sverige har finländsk bakgrund?Antalet personer med finländsk bakgrund i Sverige var vid den senaste mätningen ca 727 000 (SCB, 2019). Det avser personer i Sverige som är födda i Finland samt personer i Sverige med minst en förälder eller mor- eller farförälder född i Finland.

Dit is géén zweef-teef-aflevering, haha, maar ik wil het graag een keer hebben over 'oude zielen', oftewel 'nieuwetijdskinderen'. Termen waar ik zelf een beetje jeuk van krijg, maar eerlijk gezegd ik heb zelf ook bizarre ervaringen en vragen... Zoals: wat als ik...? En hoe kan ik dit nou weten?! Lifecoach Leidy Zijlstra kan precies uitleggen wat het betekent om hoogbewust en/of hooggevoelig te zijn en hoe je je intuïtie verder ontwikkelt. Dit is een aflevering speciaal voor mensen voor wie de wereld soms even te snel gaat en voor ouders die hun gevoelige kind zo goed mogelijk willen begeleiden. Samenwerken? Mail naar: management@ilvy.com http://hanneloreinjeoren.nl 'Hannelore in je Oren' is een productie van ILVY B.V. © ILVY Network

Întrebarea care a dus la conversația noastră este legată de viitor și de felul în care te poziționezi astăzi pentru a avea un avantaj în cinci sau zece ani. Poate că un deceniu este o perioadă lungă, iar viteza cu care se schimbă lucrurile complică orice previziune. Dar sunt, oare, pariuri pe care le poți face azi cu o oarecare doză de încredere? Dacă da, cum te gândești la ele? Mihai este președinte și director general al MedLife, un grup de companii din domeniul medical, cu o cifră de afaceri de aproape 500 milioane euro, ce deține spitale, clinici, laboratoare și o divizie de cercetare medicală. De la genetică moleculară, la chirurgie robotică, MedLife a investit de-a lungul timpului în diferite domenii de avangardă. Mihai este, de asemenea, cofondator al Fundației Romanian Business Leaders. Am vorbit cu Mihai despre cum alegi pariurile pentru viitor, de ce răbdarea este un element esențial, ce a învățat din zecile de achiziții de companii și despre cum dezvolți o idee. Dar și despre pasiunea lui pentru istorie și navigație. **** Acest podcast este susținut de Dedeman, cea mai mare companie antreprenorială, 100% românească, ce crede în puterea de a schimba lumea prin perseverență și implicare, dar și în puterea de a o construi prin fiecare proiect - personal sau profesional, mai mic sau mai mare. Dedeman promovează inovația, educația și spiritul antreprenorial și este partenerul de încredere al The Vast&The Curious aproape de la început. Împreună, creăm oportunități pentru conversații cu sens și întrebări care ne ajută să evoluăm și să devenim mai buni, ca oameni și ca organizații.  **** Podcastul Vast&Curious este susținut de AROBS, cea mai mare companie de tehnologie listată la Bursă. E o companie românească, fondată acum 26 de ani la Cluj de antreprenorul Voicu Oprean. AROBS este astăzi o companie internațională, cu birouri în nouă țări și mai mult de 1.200 de oameni și parteneri în Europa, Asia și America.  AROBS crede într-o cultură a implicării, a evoluției continue și a parteneriatului pe termen lung.  **** Note, un sumar al conversației, precum și cărțile și oamenii la care facem referire în podcast se găsesc pe andreearosca.ro Pentru a primi noi episoade, vă puteți abona la newsletter pe andreearosca.ro. Dacă ascultați acest podcast, vă rog lăsați un review în Apple Podcasts. Durează câteva secunde și ne ajută să îmbunătățim temele și calitatea și să intervievăm noi oameni interesanți. 

Maarten Feilzer staat al vijftien jaar aan het roer van Zadelhoff. In de vastgoedportefeuille van het bedrijf zit momenteel voor ongeveer 600 miljoen aan stenen. Deze aflevering in het kort:⇨ Maarten Feilzer over vastgoed⇨ Samenwerken met Cor van Zadelhoff⇨ De Amsterdamse huurmarkt Zadelhoff is tegenwoordig actief als herontwikkelaar en verhuurder, in en rondom Amsterdam. In ongeveer de helft van de locaties gaat het om kantoren, 30 procent is zorgvastgoed en 20 procent betreft woningbouw. De hoofdstad is een markt op zich, zo vertelt hij. Met name op de Zuidas worden heel hoge huren gevraagd én betaald. 'Een jaar of zeven geleden had je het over 250 euro per vierkante meter, nu gaan we met gemak naar de 600 euro. Nestor van Nederlands vastgoed Cor van Zadelhoff is nog steeds met grote regelmaat op de bedrijfsvloer te vinden. Ook telefonisch hebben de twee vaak contact. 'Hij geeft advies, gevraagd en ongevraagd', zegt Feilzer. Een groot deel van de aandelen van Zadelhoff is in handen van goede doelen stichtingen en dat heeft volgens hem invloed op beslissingen die in het bedrijf genomen worden. Feilzer voelt zich bij Zadelhoff naar eigen zeggen als een vis in het water, maar zegt niet bij voorbaat nee tegen een nieuwe baan als minister van Volkshuisvesting. Hij vertelt welke maatregelen hij in dat geval op de eerste dag zou nemen. De Amsterdamse huurmarkt Maarten de Gruyter is boos. Boos op de Woonbond, maar vooral op diverse media die afgelopen week een bericht over de Amsterdam huurmarkt klakkeloos overnamen. Inclusef BNR. Uit een onderzoek van Housing Anywhere zou blijken dat Amsterdam de duurste huurmarkt van Europa heeft. Termen als 'ongefundeerd' en 'nepnieuws' passeren tijdens zijn betoog de revue.  See omnystudio.com/listener for privacy information.

Forskningen inom fältet sällsynta sjukdomar har gjort stora framsteg på senare år, inte minst med hjälp av nya tekniker som DNA-sekvensering. Termen sällsynta sjukdomar syftar på flera tusen diagnoser som var och en har få drabbade, men som ändå drabbar en halv miljon svenskar totalt. Professor och överläkare Anna Wedell har i många år arbetat för att förbättra kunskap och diagnostik inom fältet.   

Jacob och Wille diskuterar artikeln Risk of bias in exercise science: A systematic review of 340 studies i veckans avsnitt av Tyngre Träningssnack. För att forskning ska få högre tillförlitlighet och oftare visa på hur världen faktiskt fungerar så behöver den vara bra utförd. En viktig faktor när det gäller bra utförda studier är att man försöker minimera så kallad bias. Bias innebär systematiska fel eller en skevhet som gör att en studies resultat blir sämre i form av att det blir mindre tillförlitligt och svårare att använda sig av i andra situationer. På Tyngre Träningssnacks instagram kan du hitta bilder relaterat till detta och tidigare avsnitt. Hålltider (00:00:00) Introsnack om fotboll och småbarn (00:09:41) Hur är kvaliten på träningstudier rent vetenskapligt? (00:10:23) Termen bias kan ha lite olika betydelse i olika sammanhang (00:15:04) Innan man började inse problemen med bias trodde man på många fler tokiga saker (00:17:44) Förekomsten av tydlig bias i träningsstudier är hög (00:23:46) Nytta av en power-uträkning innan man börjar samla in data (00:26:28) Selektionsbias och träningsstudier (00:34:28) Performance och detection bias - är deltagarna blindade på ett bra sätt? (00:42:42) Attrition bias - folk som inte fullföljer studien (00:49:27) Reporting bias - du berättar bara om resultaten som du gillade (00:54:36) Det saknas ofta powerberäkningar i studier (01:00:15) Forskningen på träning och fysiologi behöver steppa upp (01:03:00) Kort om akupunktur som exempel på en gråzon

Den svarta svanteorin eller teorin om svarta svanhändelser är en metafor som beskriver en händelse som kommer som en överraskning, har en stor effekt och ofta olämpligt rationaliseras i efterhand med fördelen av facit . Termen är baserad på ett gammalt talesätt att förmodade svarta svanar inte existerade, förrän de upptäcktes i Australien 1697, och det blev sedan omtolkade för att betyda en oförutsedd och följdhändelse. Teorin utvecklades av Nassim Nicholas Taleb , med start 2001, för att förklara: Den oproportionerliga rollen av högprofilerade, svårförutsägbara och sällsynta händelser som ligger utanför de normala förväntningarna inom historia, vetenskap, finans och teknik. Oberäknbarheten av sannolikheten för sällsynta följdhändelser med hjälp av vetenskapliga metoder. De psykologiska fördomar som förblindar människor, både individuellt och kollektivt, för osäkerhet och för den betydande roll som sällsynta händelser spelar i historiska angelägenheter. Talebs "svarta svanteori" (som skiljer sig från de tidigare filosofiska versionerna av problemet) hänvisar endast till statistiskt oväntade händelser av stor omfattning och konsekvens och deras dominerande roll i historien. Sådana händelser, betraktade som extrema extremvärden , spelar tillsammans mycket större roller än vanliga händelser. Black Swan-händelser diskuterades av Taleb i hans bok Fooled By Randomness från 2001 , som gällde ekonomiska händelser. Hans bok The Black Swan från 2007 utvidgade metaforen till händelser utanför finansmarknaderna . Taleb betraktar nästan alla större vetenskapliga upptäckter, historiska händelser och konstnärliga prestationer som "svarta svanar" - oriktade och oförutsägda. Han ger uppkomsten av internet, persondatorn, första världskriget , upplösningen av Sovjetunionen och attackerna den 11 september 2001 som exempel på händelser med svarta svaner. Taleb hävdar: Det vi här kallar en svart svan är en händelse med följande tre attribut. För det första är det en "outlier" , eftersom den ligger utanför de vanliga förväntningarnas område, eftersom ingenting i det förflutna på ett övertygande sätt kan peka på dess möjlighet. För det andra har det en extrem "påverkan". För det tredje, trots sin avvikande status, får den mänskliga naturen oss att hitta på förklaringar till att det inträffade i efterhand , vilket gör det förklarligt och förutsägbart. Sammanfattning av tripletten: sällsynthet, extrem "påverkan" och retrospektiv (men inte prospektiv) förutsägbarhet. Ett litet antal Black Swans förklarar nästan allt i vår värld, från framgången för idéer och religioner, till dynamiken i historiska händelser, till delar av våra egna personliga liv. De Fria är en folkrörelse som jobbar för demokrati genom en upplyst och medveten befolkning! Stöd oss: SWISH: 070 - 621 19 92 (mottagare Sofia S) PATREON: https://patreon.com/defria_se HEMSIDA: https://defria.se FACEBOOK: https://facebook.com/defria.se

Upplysningen kännetecknas av en radikal förändring i hur människor tänkte och förstod världen omkring dem. Från mitten av 1600-talet till slutet av 1700-talet var en tid då vetenskap, rationalitet och frihet från religiösa och politiska förtryck kom i förgrunden.Begrepp som yttrandefrihet, mänskliga rättigheter, demokrati, maktdelning, likhet inför lagen, rättssäkerhet, frihandel och antikolonialism fick kraft under upplysningen. I Frankrike och Amerika kom idéerna att omvandlas till revolutioner.I detta avsnitt av podden Historia Nu samtalar programledaren Urban Lindstedt med Gunnar Petri, författare och doktor i juridik, om upplysningen. Han är aktuell med boken Upplysningen – En essä om dess beskaffenhet, nytta och nödvändighet för samhället.Upplysningens rötter sträcker sig tillbaka till renässansen och den vetenskapliga revolutionen. Under dessa perioder började människor utmana kyrkans auktoritet och ifrågasätta traditionella sätt att förstå världen. Vetenskapliga upptäckter och teorier, såsom Copernicus heliocentriska teori och Galileos observationer, utmanade kyrkans världsbild och öppnade dörren för ett mer rationellt och vetenskapligt sätt att förstå världen.En rad framstående tänkare i Frankrike, kända som "les philosophes", spelade en avgörande roll i att forma upplysningen och dess idéer. Dessa inkluderade filosofer som Voltaire, Montesquieu och Rousseau, vars verk hjälpte till att sprida upplysningens idéer över hela Europa och bortom.Voltaire, en av de mest framstående filosoferna under upplysningen, var känd för sin skarpa kritik av kyrkan och hans försvar av religiös och intellektuell frihet. Hans skrifter bidrog till att sprida upplysningens idéer och inspirera andra tänkare.Montesquieu är mest känd för sin teori om maktdelning, som senare skulle bli grunden i utvecklingen av moderna demokratier. Hans verk, "Andan i lagarna", var inflytelserik i att forma upplysningens politiska idéer.Rousseau, som är mest känd för sitt verk "Om samhällsfördraget", bidrog till upplysningen genom sina radikala idéer om politik och samhället. Han förespråkade att människor skulle återgå till ett mer naturligt tillstånd fri från samhällets korruption och förtryck.Termen "upplyst despot" användes för att beskriva de monarker under upplysningen som försökte tillämpa upplysningens principer på sina regeringar. Dessa monarker strävade efter att reformera sina samhällen genom rationella metoder, men behöll ändå absolut makt.I Sverige, framträdde landet på Europas vetenskapliga scen under 1700-talet, och på några områden var Sverige till och med en ledande nation. Upplysningens idéer och filosofi påverkade landets vetenskap, filosofi och samhällsutveckling under denna tid.Mot slutet av 1700-talet uppstod romantiken som en reaktion mot upplysningen. Romantikernas kritik mot upplysningen var att beskrivningen av verkligheten var för ensidigt mekanisk och materialistisk.Lyssna också på Den franska revolutionen förändrade allt i floder av blod.Bild: Upplysningsfilosoferna samlade till salong hos Madame Geoffrin. Skådespelaren Lekain i mitten läser högt ur ett drama av Voltaire framför en byst av densamme. Bland deltagarna skall man återfinna bl.a. Diderot, Rousseau och d'Alembert. Målningen sägs återge ett tillfälle 1755 men är gjord 1814 av Anicet Lemonnier (1743–1824). Académie des sciences et belles lettres, Rouen. av Lemonnier, ca. 1812, Wikipedia, Public Domain.Musik: Pisces av Humans Win, Storyblocks AudioKlippare: Emanuel Lehtonen Vill du stödja podden och samtidigt höra ännu mer av Historia Nu? Gå med i vårt gille genom att klicka här: https://plus.acast.com/s/historianu-med-urban-lindstedt. Hosted on Acast. See acast.com/privacy for more information.

Jacob och Wille diskuterar termen ultraprocessad mat och den forskning som finns kring det idag. Det här blev ett längre avsnitt där du först får höra varifrån begreppet kommer och hur det är definierat. Du får också lära dig lite kring forskningen som finns idag och alla de svårigheter som finns kring hur man tolkar dessa resultat när det gäller orsakssamband. Till sist blir det även en hel del diskussion kring problemet med att reglera någonting som är som har så luddiga gränser. På Tyngre Träningssnacks instagram kan du hitta bilder relaterat till detta och tidigare avsnitt. Hålltider (00:00:00) Introsnack kring bristfällig träning (00:05:29) Termen ultraprocessad mat är som början på kostdokumentärer (00:07:49) Det du behöver veta kring ultraprocessad mat (00:09:47) Etymology kring, och definitionen av, termen ultraprocessad mat (00:19:12) Jacob gillade begreppet när det först lanserades och när det var med i Brasiliens kostråd 2014 (00:21:34) Kostråd som inte berör själva valet av mat utan hur man äter (00:24:42) Ska man ge råd även om man inte tror att de har någon effekt i praktiken? (00:27:06) Ingenting talar för att brasiliens kostråd har haft någon effekt på befolkningen (00:29:41) Att ultraprocessad mat korrelerar med negativa saker är självklart (00:34:57) Kategorin ultraprocessad mat är väldigt bred och har riktigt luddiga gränser (00:40:07) Man har bara studerat kategorier av livsmedel, inte ultraprocessad glass vs "naturlig glass" eller liknande (00:45:53) Kevin Halls interventionsstudie är väldigt intressant men ger få svar kring varför (00:53:46) Det finns flera möjliga förklaringar till resultatet i Kevin Halls studie som inte behöver ta med ultraprocessande (01:01:42) Reglering kring ultraprocessad mat är nästan omöjligt utan bättre definitioner (01:05:12) De som arbetat med folkhälsa har sagt att det behövs mer reglering i decennier (01:16:42) Begreppet hyper-palitable food är betydligt enklare rent regelmässigt (01:21:37) Studier där man har skapat olika kategorier av ultraprocessad mat pekar ut de vanliga bovarna (01:26:54) De nya näringsrekommendationerna för norden valde att inte ta med ultraprocessad mat

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Et ass gläichzäiteg een Tabuthema an ee vun deene meeschtgesichten Termen op Pornositen. Et kann een*t et mat Toys, mat Fanger, mat der Zong, mat engem Penis oder esouguer der ganzer Fauscht maachen. Riets ass vun Analsex. De Joël, den Elie an d*e Robin schwätzen ënnert anerem doriwwer, ob si léiwer Analsex oder Butt Stuff … Continue reading "#136: Vun Plugs, Pegging an Popos – Analsex"

De verkenner trekt een nieuw jasje aan. Ronald Plasterk wordt nu informateur en is slechts één stap verwijderd van het Torentje. Jaap Jansen en PG Kroeger zagen het debat in de Tweede Kamer over het verslag van zijn verkenning en noteerden een reeks ongebruikelijke en opmerkelijke politieke feiten. En een haai uit een kinderfilm zwom ook nog even langs.Het debat van 13 december 2023 leek nogal op dat van 1 april 2021, het ‘Pieter Omtzigt, functie elders' debat dat geschiedenis schreef. Na een turbulente verkenningsfase ontplofte de Kamer. Informateur Plasterk moet de brokstukken zien te lijmen en partijen bij elkaar weten te houden. En de nu volgende fase van bevat een explosieve serie tijdbommen die hij onschadelijk moet zien te maken.***Deze aflevering is mede mogelijk gemaakt met donaties van luisteraars die we hiervoor hartelijk danken. Word ook vriend van de show!Heeft u belangstelling om in onze podcast te adverteren of ons te sponsoren? Zend een mailtje naar adverteren@dagennacht.nl en wij nemen contact met u opOp sommige podcast-apps kun je niet alles lezen. De complete tekst en een overzicht van al onze eerdere afleveringen vind je hier*** Als één ding duidelijk werd, dan is het wel dat Geert Wilders zijn verkiezingswinst beschouwt als een mandaat om geen enkele reflectie op de voorbije twintig jaar van de PVV toe te staan. Hoezeer hij ook gefileerd werd over vroegere daden en uitspraken en hun anti-rechtsstatelijke inhoud, hij verklaarde steeds feller nimmer ergens excuses voor te maken of nuances aan te brengen.Zeker niet voor zijn bezoek aan Moskou en de Kremlingezinde uitingen vier jaar na de aanslag op MH17 en de inval in de Krim. "Vals, gemeen!" siste hij Rob Jetten (D66) daarover toe. Het bracht Frans Timmermans (GroenLinks-PvdA) op de analogie met de zogenaamd vegetarische haai Bruce uit de Disneyfilm Finding Nemo.Ook Caroline van der Plas (BBB) en Dilan Yesilgöz (VVD) lieten blijken tabak te hebben van de weifelingen en staatsrechtelijke aarzelingen bij Pieter Omtzigt (NSC). Ze willen tempo maken naar een rechts kabinet om hun kiezers niet nu al te hoeven ontrieven. In een dag of twee moet ‘de basislijn' over de grondrechten toch wel duidelijk zijn, vinden ze, en kregen daarvoor steun van de partijen aan uiterste rechter- én linkerzijde.Omtzigt stond binnen het kwartet op rechts alleen en begon zo te zwabberen, dat hij stormen interrupties uitlokte. Hij erkende ‘geen lijsten' met te bespreken constitutionele pijnpunten te hebben. Ook daarom weigerden Wilders en hij de kamer een verslag van de informateur over dat eerste aspect van de komende onderhandelingen toe te zeggen.Hoe gevoelig juist zulke staatsrechtelijke elementen nu zijn werd onbedoeld aangetoond door Yesilgöz. Met een achteloze motie namens het rechtse kwartet stak zij het lont aan. Termen als 'politiek vandalisme' klonken. Dat kwam verrassend overeen met een analoog incident tijdens de avond vóór het debat. Toen dreigde premier Mark Rutte – die al demissionair is! - unverfroren met aftreden van het hele kabinet over een motie van SGP, SP, BBB en NSC tegen nieuwe EU-hulp aan Oekraïne.Het debat liet zien dat het kabinet-Rutte IV onttakeld is. De consequenties daarvan kunnen groot zijn. Ook is helder dat Wilders klem zit tussen zijn machtspretentie en weigering de PVV realiter te zien veranderen. En Frans Timmermans ontpopte zich als een ras-parlementariër die nimmer weggeweest lijkt van het Binnenhof. Even grijnsde hij zelf als een haai die zijn prooi zag spartelen.Opvallend effectief waren gedegen interrupties door Jetten en Henri Bontenbal, waarbij hun verschillen in stijl elkaar verfijnd aanvulden. De CDA-leider kaapte het debat inhoudelijk door het agenderen van het dieperliggende motief van 'een democratisch ethos' dat meer inhoudt dan de formalismen waarmee PVV, BBB en VVD Omtzigt probeerden af te kopen.Een interruptie van Bontenbal deed Yesilgöz onthullen hoezeer zij haar VVD al heeft uitgeleverd aan de nukken van Wilders. Om met Bette Davis te spreken in een andere iconische film: “Fasten your seat belts, it's gonna be a bumpy night!”***Verder luisteren388 - Kabinetsformatie 2023: de lucht is geklaard, vier partijen kunnen met elkaar verder386 – Ronald Plasterk, een verkenner met passie384 - De overrompelende overwinning van Geert Wilders. Opnieuw slaat Nederland een onbekende weg in357 – Kabinetsformatie 2021: House of Cards aan het Binnenhof. Annemarie Jorritsma en de obsessie met Pieter Omtzigt330 – Politieke paradoxen. Lessen uit de kabinetsformatie van 2021***Tijdlijn00:00:00 – Deel 100:26:30 – Deel 201:07:02 – Deel 301:26:34 – EindeZie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

Het was een belangrijk thema bij de verkiezingen: migratie. Termen als ‘stromen', ‘de migratiecrisis' en grote pijlen op kaarten maken van migratie een soort ongrijpbaar fenomeen. Terwijl: het gaat om mensen. Hoogleraar wetenschapsantropologie Amade M'charek onderzoekt wie precies op de boten stappen, en waarom. Met Pieter van der Wielen praat ze over waarom het belangrijk is de doden in de Middellandse Zee namen te geven, zodat familie weet wat er met hun geliefden gebeurd is. En over haar onderzoek in haar geboorteland Tunesië, naar waaróm mensen naar Europa vluchten. Ze stuit daar op de ongemakkelijke waarheid dat een deel van die oorzaken direct gelinkt is aan onszelf. Presentatie: Pieter van der Wielen Redactie: Mira Zeehandelaar Mixage: Audiochef Muziek: Rufus van Baardwijk Zie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

Termen lavendeläktenskap, från engelskans lavender marriage, syftar på ett äktenskap mellan en man och en kvinna som är arrangerat för att dölja den ena eller båda parternas homosexualitet. Termen startade på 1920-talet och kunde även kallas för bekvämlighetsäktenskap. Syftet var att skydda homosexuella människor från allmänhetens åsikter och för att inte skada deras karriärer......KÄLLOR:https://www.beniciamagazine.com/pride-lavender-marriages/https://en.m.wikipedia.org/wiki/Lavender_marriagehttps://www.newsbytesapp.com/news/lifestyle/what-is-lavender-marriage/storyhttps://en.m.wikipedia.org/wiki/Nils_Astherhttps://en.m.wikipedia.org/wiki/William_Haines

Termen ”doxing” syftar på när någon illvilligt publicerar information om någon annan på nätet. Ett exempel är när konflikter mellan gamers eller youtubers får den ena parten att röja den andra partens bostadsadress. Ur ett svenskt perspektiv kan det låta tämligen harmlöst. Våra svenska bostadsadresser är ju redan offentliga. Internationellt sett är det annorlunda. I veckans poddavsnitt pratar Peter och Nikka om offentliga personuppgifter och hur flera svenska webbplatser utnyttjar ett undantag i GDPR för att göra offentliga personuppgifter lättillgängliga. Frågan är om webbplatserna gör personuppgifterna lite för lättillgängliga? Förra månaden inledde regeringen en utredning av grundlagsskyddet som ger sajter såsom Eniro, Hitta.se, Mr Koll och Ratsit rätt att publicera personuppgifter på sättet som de gör idag. Se fullständiga shownotes på https://go.nikkasystems.com/podd224.

Novus Sanity Check är tillbaka med Jörgen Holmlund som första gäst – lärare i underrättelsetjänst på Försvarshögskolan. Avsnittet fördjupar sig framför allt i två huvudämnen – Sveriges säkerhet och Novus Irak-undersökning. Dessa diskussioner har fått ny betydelse i ljuset av den globala hotbilden och tragiska händelser som Brysselterrordådet. Podcastens bidrar med en insikt i de nuvarande säkerhetsfrågorna och vilka utmaningar vi står inför. ”Du har 33 miljoner människor i Irak som upplever sig otrygga i sitt eget land på grund av hur Sverige agerar för att vilja islam och irakier illa. Det sticker ut i kontexten då det är många personer. Då är en Sverigebild i ett land, avseende frågorna kring hotbilden mot muslimska värden eller att vi vill muslimer illa, en allvarstanke. Analysperspektivet för mig är att världen är så mycket närmare än vad vi tror – kan det inträffa i Belgien så kan det inträffa på så många andra platser i relation till svenska målval. Det innebär att vi nog ska fundera i ett lite vidare analysperspektiv, än att bara titta på Sverige och evenemang i Sverige som en kontext.” I podden utforskas även andra aspekter och teman. Termen ”moraliskt självförsvar” definieras och Jörgen delar sitt analysmönster på hur man ska vidga sitt eget perspektiv i frågan.

Ein Ferienjob im Sealife, das klingt nicht schlecht! Doch welche Tätigkeit ist am interessantesten und vor allem wo verdient man am meisten? Janine und Ibo vergleichen die verschiedenen Verdienstmöglichkeiten mit Hilfe von Termen.

Ein Ferienjob im Sealife, das klingt nicht schlecht! Doch welche Tätigkeit ist am interessantesten und vor allem wo verdient man am meisten? Janine und Ibo vergleichen die verschiedenen Verdienstmöglichkeiten mit Hilfe von Termen.

Cele mai importante știri ale zilei, alese de Recorder și grupate într-un newsletter audio.

ChatGPT, OpenAI, Bard en ‘de nieuwe Bing'. Termen die in zeer korte tijd veel dagelijkse gesprekken binnen ons vak beïnvloeden. En niet alleen bij ons, maar vrijwel bij ieder bedrijf. Wat nog geen 6 maanden gelanceerd werd als het meest geavanceerde openbare taalmodel tot nu toe, is inmiddels verder doorontwikkeld en uitgebreid met de zoekmachine van Bing en gekoppeld aan toepassingen als Midjourney, CoPilot en Snapchat. Waar staan we nu en wat betekent dit voor ons vak? Daar gaan we over praten met Thijs Wolbers, Director of Innovations, bij Adwise. Hosts: Jeroen Roozendaal, Daan Loohuis Gast: Thijs Wolbers, Director Quality & Innovation / Head of Digital Commerce Shownotes: https://www.adwise.nl/podcast/

Ein Ferienjob im Sealife, das klingt nicht schlecht! Doch welche Tätigkeit ist am interessantesten und vor allem wo verdient man am meisten? Janine und Ibo vergleichen die verschiedenen Verdienstmöglichkeiten mit Hilfe von Termen.

Sinds de verkiezingen van 2021 vertrokken negen van de vijftien gekozen Tweede Kamerleden uit de CDA-fractie, afgelopen week zelfs twee tegelijk. Termen als 'leegloop' en 'exodus' gingen al snel rond. Alle reden om te analyseren wat er nu precies in die partij aan de hand is, zeker na de klappen die de christendemocraten in maart nog kregen bij de Provinciale-Statenverkiezingen. Jaap Jansen en PG Kroeger - die over de historie van het CDA al veel publiceerde – belichten de achtergronden en actuele perikelen. Quo Vadis: waar gaat het CDA heen?***Op sommige podcast-apps kun je niet alles lezen. De complete tekst vind je altijd hier***Al in de loop van 2019 en 2020 was voor scherpe waarnemers merkbaar dat de ooit zo geduchte machtsmachine van het CDA allesbehalve soepel functioneerde. In een leiderschapsvacuüm na het vertrek van fractieleider Sybrand Buma ontstonden ernstige problemen in Noord-Brabant, een provincie waar het CDA juist historisch sterk geworteld is. Bedreigingen door boerenactivisten en een nieuwe coalitie over rechts met onder meer FvD zorgden voor diepe verdeeldheid. Opvallend was hoe het Haagse CDA daarbij wegkeek en de verwarring vooral extra voedde.De aanwijzing van een nieuwe nationale lijstrekker (Hugo de Jonge! Wopke Hoekstra!) en de perikelen daaromheen lieten opnieuw zien dat het intern niet goed zat. De Tweede-Kamercampagne van 2021 liep uit op een rommelige en inhoudelijk stuurloze deceptie. PG wijst erop dat dit niet leidde tot een scherpe, inhoudelijke evaluatie. Eerder tot het omgekeerde: het toedekken van de narigheid en vermijden van harde lessen.Het was overigens niet zo, dat vanuit het CDA niet gepoogd werd een eigentijds politiek program te presenteren. Men was misschien eerder te ijverig daarmee. De hoeveelheid 'nieuwe visies' en rapporten is de voorbije jaren bijna niet te tellen; ze volgen elkaar in hoog tempo op. Dat vergroot eerder onzekerheden dan dat het koersvastheid en focus op de lange termijn onderstreept. Van Zij aan Zij, via een New Deal en een Coöperatieve Samenleving werd het 'Minder Ik, Meer Wij' en ‘Heel Nederland'. Toch zeggen velen ook binnen het CDA dat het hen duizelt en onhelder is wat de koers nu toch is. Papier is immers geduldig.De deelname aan het kabinet Rutte IV kon daarbij niet voor nieuw elan zorgen - waarvoor vanuit de partijdenktank al gewaarschuwd was in Betrouwbare Bronnen 212 - en de neiging in de Kamerfractie tot een klassiek 'monisme' tegenover het kabinet remde een duidelijke, eigen profilering. Het forse verlies bij de Staten was daardoor eigenlijk tevoren al ingeboekt. Verrassen kon het niemand.En die leegloop in de Kamer dan? Die is niet eens zo ongebruikelijk, ook bij andere partijen zie je dit. Maar nu het CDA geen 40 of 50 zetels meer heeft, valt een plots vertrek wel veel meer op. Bovendien is deze ontwikkeling een uitvloeisel van de eerdere mislukking om de CDA-kieslijst te verversen. Twee jaar na de verkiezingen lijkt die ontwikkeling zo alsnog te gaan slagen.Signalen van de jongeren (het CDJA) en vanuit het Europees Parlement – in 2024 staan er alweer verkiezingen op de rol - wijzen erop dat voor zulk nieuw elan weinig tijd meer beschikbaar is. Partijvoorzitter Hans Huibers zal de komende tijd aan de slag moeten na een periode waarin hij vooral een interne 'cheerleader' was om zijn club moed in te spreken. Daarbij kan hij bij geestverwanten in Vlaanderen bij onze eerdere gast Sammy Mahdi en in Duitsland de CDU na Angela Merkel zien hoe ook zij worstelen met hun profiel en koers.Vooral in de nu verjongde Kamerfractie zal men een nadrukkelijker 'eigen profiel' moeten laten zien. En willen vermijden dat er opnieuw 'een nieuwe visie' uitgeprobeerd gaat worden. Die nieuwe mensen daar zouden wel eens een stille coup kunnen plegen. En eindelijk concreet gaan doen wat al die tijd alleen maar geduldig papier bleek te zijn. De vraag is dan natuurlijk wel, wat ook dit betekent voor de relatie van het CDA met Rutte IV.***Deze aflevering is mede mogelijk gemaakt met donaties van luisteraars die we hiervoor hartelijk danken. Word ook vriend van de show!De prijswinnaars van het boek van Jan Hoedeman worden bekend gemaakt in deze aflevering!In deze aflevering zit een Bamigo-advertentie. Tot en met 30 april 2023 25% en soms zelfs 40% korting. Daarna weer de volle prijs, behalve als jij de Betrouwbare Bronnen-code kent, dan krijg je met Bron20 20% korting!Heeft u belangstelling om in onze podcast te adverteren of ons te sponsoren? Stuur voor informatie een mailtje naar adverteren@dagennacht.nl***Verder luisteren337 - Een pauzeknop om te versnellen. Het bijna-einde van Rutte IV335 - Na de verkiezingen: de kunst van het wonden likken334 - Provinciale-Statenverkiezingen 2023: zware klappen in een verdeeld land307 - Tien wetten waaraan een succesvolle fractievoorzitter moet voldoen282 - Hoe Sammy Mahdi - de nieuwe Vlaamse leider - de christendemocraten er weer bovenop wil helpen212 - Het CDA zoekt zichzelf, Richard van Zwol en Pieter Jan Dijkman wijzen de weg209 - Kabinetsformatie 2021: De VVD nerveus, het CDA labiel en Hamer houdt stug vol195 - PvdA en CDA: ooit dominante machtspartijen, nu grote verliezers. Hoe komt dat? En hoe nu verder?176 – De verkiezingscampagne van 2021: onverwachte winnaars en verliezers175 – De koers van CDA-lijsttrekker Wopke Hoekstra en het verschil met de VVD153- Het CDA en de tand des tijdsBB 134 – 40 jaar CDA, 10 jaar CDA-congres in de RijnhalBB 119 – Elke machtsoverdracht in het CDA is een dramaBB 83 – Het CDA, lastige coalities en gedogenBB 56 – Tien wetten waaraan een succesvolle partijvoorzitter moet voldoenBB 46 – De koers van CDA-vicepremier Hugo de Jonge***Tijdlijn00:00:00 – Deel 100:48:46 – Deel 201:22:33 – Einde Zie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

Europa is een nieuwe cyberwet rijker. De Cyber Solidarity Act moet lidstaten robuuster maken tegen cyberaanvallen. Ook moeten de verschillende landen beter gaan samenwerken. Termen als een 'cybershield' en een 'reservistenleger' worden uitgebreid genoemd, waar wat kunnen we daarvan verwachten? En waar gaat de 1,1 miljard heen, die met deze wet gemoeid is?  Dat vragen we aan Bart Groothuis, europarlementariër bij de VVD en Bert Hubert, techondernemer.  Pentagon Papers De Pentagon Papers houden de gemoederen flink bezig. Opmerkelijk is dat de documenten via communicatieplatform Discord gelekt werden. Maar waarom juist via Discord, waar vooral gamers en tech-nerds elkaar spreken en toepassingen gebruiken? En waarom gebeurt het lekken van dit soort documenten juist in deze subcultuur? Dat vragen we nu aan Henri Beek, Open Source Intelligence-specialist bij cyber-beveiliger DataExpert.  Minicomputers De Raspberry Pi kennen we al jaren als goedkoop computertje waarmee je tal van toepassingen kan bedenken. Adviesbureau PA Consulting gebruikt de computertjes om jongeren aan het programmeren te krijgen. Dit jaar kregen ze de opdracht in competitieverband de energie-transitie te versnellen met toepassingen op Pi's.   Of dat gelukt is, horen we nu van Mark Griep, hoofd van PA Consulting Nederland. Meer podcasts over tech? Luister dan naar Nexus, de Cryptocast, All in the Game, De Technoloog en de Tech Update.See omnystudio.com/listener for privacy information.

Tom Staal ging in gesprek met Rik Binnendijk en Anniek Risseeuw in Doorskaveren. Chef van ‘Grond tot Mond', Rik Binnendijk, werkt bij de Urban Farm Stadsjochies en kweekt daar kruiden, groenten, cressen en eetbare bloemen. Vele gerenommeerde restaurants laten door hem hun groente verbouwen. Van onze boeren wordt verwacht dat ze een omslag gaan maken naar duurzame en biologische landbouw. Hoe kunnen ze dat doen en wat is nou precies een biologische voedselketen, een voedselbos en kringlooplandbouw? Termen die je vaak hoort, maar je misschien nog geen voorstelling bij kunt maken. Uiteraard willen we weten wat we ermee kunnen maken en of het lekker is. Rik verbouwt niet alleen maar kookt er ook mee. Letterlijk een chef die het hele proces van grond tot in je mond kent. Ook sprak Tom met Anniek Risseeuw, mede eigenaar van voedselbos Beheerlyckheid. Het voedselbos Beheerlyckheid is ontstaan omdat ze wat terug wilde geven aan de aarde waardoor het gezonder wordt en de generaties die nog komen ook een mooi leven op deze aarde kunnen hebben. Wat is het verschil tussen een voedselbos en een urban farm? Maandelijks praat en proeft hij een uur lang samen met gasten uit de culinaire wereld. In ‘Doorskaveren' komen bijzondere verhalen van bijzondere mensen samen. Van gerenommeerde chefs tot makers van Italiaanse kazen en van bedenkers van duurzame veganistische kebab tot mensen die met eten hun diabetes onder de duim krijgen. Tom Staal Staal is vooral bekend als parlementair verslaggever. Al jaren legt hij het vuur aan de schenen van onze politici. Dit is de andere kant van Tom. Al sinds hij groot genoeg is om bij het aanrecht te kunnen, is hij bezig met eten. Naast zelf koken, gaat hij regelmatig op bezoek bij bijzondere producenten in binnen -en buitenland. Het radioprogramma ‘Doorskaveren' is het verlengstuk van het online culinaire platform ‘Skaveren' (jongerentaal voor eten) van Staal ‘Doorskaveren' is iedere eerste maandag van de maand tussen 18:00 en 19:00 uur te beluisteren op GoodLIFE Radio. Het programma is naderhand terug te luisteren als podcast via alle bekende podcast kanalen.

I avsnitt 381 av Tyngre Träningssnack så diskuterar Jacob och Wille begreppet mellanmjölksträning och hur det oftast används. Termen verkar vara ganska ny och har enligt google endast använts sedan 2012. Ser man till hur den används så verkar det syfta på lite olika saker i lite olika sammanhang. Ibland används det bara för att beskriva en viss typ av konditionsträning där man tränar på en intensitet som ligger någonstans emellan den som du kan springa med väldigt länge och den som du bara orkar hålla i några minuter. I andra sammanhang verkar istället termen mer användas för att beskriva träningspass som inte blir av så bra kvalité som den hade kunnat vara om idrottaren varit bra förberedd och återhämtad inför passet. Det här kan bland annat ske i fall man planerar in för många riktigt intensiva och tuffa träningspass under en träningsperiod så idrottaren helt enkelt inte orkar utföra dessa pass med så hög kvalitet som hade önskats. På Tyngre Träningssnacks instagram kan du hitta bilder relaterat till detta och tidigare avsnitt. Hålltider ·         (00:00:00) Sjukdom hemma hos Gudiol ·         (00:02:40) Jacob har spelat en fotbollsmatch igen ·         (00:06:49) Vad menas med termen mellanmjölksträning? ·         (00:11:28) Fördelningen mellan olika träningsintensiteter varierar beroende på hur man vill mäta det ·         (00:16:04) Mellanmjölksträning som begrepp verkar har uppstått kring 2012 på internet ·         (00:28:27) Hur fungerar det med glykogeninlagring under ett kaloriunderskott? ·         (00:29:08) Kroppens förbrukning av kolhydrater och fett under dagen och vid träning

Ai simțit vreodată că pur și simplu îți urăști locul de muncă? Nu e rușine să recunoști, e un fenomen amplu. E bine de știut că nu ești un caz izolat. Cercetări recente arată că aproape jumătate dintre angajații americani își urăsc atât de tare locul de muncă, încât nu l-ar dori nici celor mai mari dușmani ai lor. Nu le place ce fac, nu sunt mulțumiți nici cu salariul, dar rămân în acel loc de muncă fiindcă nu au alte opțiuni la îndemână. Nivelul de frustrare, nemulțumire și revoltă este atât de mare, încât oamenii își manifestă vizibil resentimentele. Nu se înțeleg cu colegii lor, lucrează puțin, prost și în silă, comentează mereu negativ tot ce se întâmplă, sunt pesimiști, deprimanți și deseori agresivi. Cercetătorii spun că sentimentul de ură față de actualul job este accentuat în zilele noastre de recesiunea economică, asociată cu creșterea costurilor vieții și prețurilor bunurilor de larg consum. Denumirea apărută recent pentru acest fenomen este RESENTEISM. Am verificat pe dexonline, termenul nu există încă în dicționarele noastre. Nici în limba engleză nu are o istorie prea lungă, primele mențiuni ale termenului datând de la începutul acestui an. Este o invenție lexicală aparținând managerilor unei companii din sectorul software. Definiția e simplă: Resenteismul este atunci când îți exprimi deschis resentimentele fiindcă te simți prizonier într-un job care te face nefericit. Dacă simți că îți urăști jobul, ar trebui să cauți urgent altceva mai bun pentru tine și pentru ceilalți. Știu că e greu, știu că presupune efort și riscuri, dar este exact ca la diagnosticul medical: nu poți conviețui armonios cu o tumoră, e mai bine să lași chirurgul să te despartă de ea.

In deze podcast gaan we elke week het boek van Tabitha Farrar, rehabilitate, rewire, recover! bespreken en luisteraarsvragen beantwoorden. Met in deze aflevering de basis termen en concepten die nog vaker terug zullen komen in de podcast! Wie ben ik? Ik ben Danielle, 30er, eetstoornis herstel coach, wonend in hartje Amsterdam. Mocht je hulp zoeken: meld je aan via deze link!

Komikern Ahmed Berhan gästar oss. Han är superaktuell med en ny föreställning, ny standup-turné och en ny säsong av tv-programmet IFS (Invandrare för svenskar). Ahmed förklarar bland annat varför han inte tycker att medelålderskris borde vara en grej.

Mare Nostrum - Vårt Hav Etableringen av ett dominium maris baltici - ("Östersjöherravälde") var ett av de främsta politiska målen för de danska och svenska kungadömena under senmedeltiden och tidigmoderna epoker. Under hela Nordkrigen spelade de danska och svenska flottorna dock en sekundär roll, eftersom dominiet bestriddes genom kontroll av viktiga kuster genom landkrigföring. Termen, som vanligtvis används i historieskrivning, myntades troligen 1563 av kungen av Polen, Sigismund II Augustus, med hänvisning till de hegemoniala ambitionerna hos hans motståndare i det livländska kriget. Den första skriftliga referensen härrör från det holländsk-svenska fördraget av 5 (O.S.) / 15 (N.S.) april 1614, som slöts i Haag. Följdriktigt: Svenska försvaret bör leda Natos insatser i Östersjön. Det säger ÖB Micael Bydén i Ekots lördagsintervju när han utvecklar vilken roll Sverige bör ha i Nato. – Vi kan Östersjön. Vi kan Östersjön på ytan, vi kan Östersjön under ytan. Vi kan också luftrummet över Östersjön. Det här är ett område där vi skulle kunna visa handlingskraft och luta oss fram i ett tidigt skede och ta det ansvaret som en fullvärdig medlem, säger Micael Bydén till radion. ÖB säger också att Norden ska ses som ett sammanhängande försvarsområde och att samarbetet ska öka. Han tycker dock att alla länder i Norden ska ha egna kompletta försvar. – Vi kommer att hitta synergieffekter där vi delar ansvaret på ett annat sätt. Men att vi skulle avsäga oss en hel försvarsgren eller stridskraft, det ser jag som uteslutet i det här läget. Här måste vi bygga vårt eget för att säkerställa att vi kan ta den första smällen själva, säger Micael Bydén. Det började som en skakning på nedre däck... #CarlNorberg #DeFria De Fria är en folkrörelse som jobbar för demokrati genom en upplyst och medveten befolkning! Stöd oss: SWISH: 070 - 621 19 92 (mottagare Sofia S) PATREON: https://patreon.com/defria_se HEMSIDA: https://defria.se FACEBOOK: https://facebook.com/defria.se

Om utvecklingsförloppen de senaste åren inte redan har fått dig att ifrågasätta din egen verklighetsuppfattning – borde du verkligen tänka om. Kontroll av samhällskritisk verksamhet i händerna på enskilda vinstintressen. Läkemedelsindustrin i händerna på enskilda vinstintressen. Kontroll över information är även det i händerna på enskilda vinstintressen. Säg något som inte ligger i händerna på enskilda vinstinressen egentligen. Yttrandefrihet och utbyte av idéer och information är en grundpelare i en sann demokrati. Mängden censur på sociala medier under de senaste åren – utklädd som "krig mot desinformation" är ett tydligt tecken på att den djupa statens paladiner håller på att förlora narrativet. Termen "säker och effektiv" har lett till att fler ifrågasätter narrativet. Valet att veta – är ditt, och konsekvenserna av att inte vilja veta – är bara dina. Kort sagt, det är dags att vakna. De Fria är en folkrörelse som jobbar för demokrati genom en upplyst och medveten befolkning! Stöd oss: SWISH: 070 - 621 19 92 (mottagare Sofia S) PATREON: https://patreon.com/defria_se HEMSIDA: https://defria.se FACEBOOK: https://facebook.com/defria.se

UE se confruntă cu „riscuri fără precedent" cauzate de lipsa gazului în această iarnă, după ce Rusia a oprit majoritatea livrărilor, avertizează Agenția Internațională pentru Energie. Comentatorii atrag atenția asupra consecințelor pe termen lung... citiţi mai departe

Örtalkemi omtalas som en spagyrisk konst. Termen spagyria användes av den kände 1500-tals alkemisten Paracelsus och kommer från det grekiska orden spao och ageiro som betyder att separera och foga samman igen. Paracelsus såg det som att naturen var som en rå och obehandlad sten och människan hade av Gud getts uppgiften att förädla den. I örtalkemi innebär det att man i den valda medicinalörten, separerar dess merkur och svavel från dess saltkropp. De olika komponenterna bearbetas, renas, och heliggörs för att sedan åter fogas samman i en ny och förädlad form. På så sätt skapas ett alkemiskt elixir. Genom oro et labora, som betyder bön och laboratoriearbete, arbetar alkemisten för att förädla sitt utvalda material till sin fulla potential. Musik: Menk Kadj Tohmi Sacred Knowledge: sacredknowledge.se/ Alkemiska Akademin: alkemiskaakademin.se/

Episode one hundred and forty-six of A History of Rock Music in Five Hundred Songs looks at “Good Vibrations” by the Beach Boys, and the history of the theremin. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "You're Gonna Miss Me" by the Thirteenth Floor Elevators. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources There is no Mixcloud this week, because there were too many Beach Boys songs in the episode. I used many resources for this episode, most of which will be used in future Beach Boys episodes too. It's difficult to enumerate everything here, because I have been an active member of the Beach Boys fan community for twenty-four years, and have at times just used my accumulated knowledge for this. But the resources I list here are ones I've checked for specific things. Stephen McParland has published many, many books on the California surf and hot-rod music scenes, including several on both the Beach Boys and Gary Usher.  His books can be found at https://payhip.com/CMusicBooks Andrew Doe's Bellagio 10452 site is an invaluable resource. Jon Stebbins' The Beach Boys FAQ is a good balance between accuracy and readability. And Philip Lambert's Inside the Music of Brian Wilson is an excellent, though sadly out of print, musicological analysis of Wilson's music from 1962 through 67. I have also referred to Brian Wilson's autobiography, I Am Brian Wilson, and to Mike Love's, Good Vibrations: My Life as a Beach Boy. As a good starting point for the Beach Boys' music in general, I would recommend this budget-priced three-CD set, which has a surprisingly good selection of their material on it, including the single version of "Good Vibrations". Oddly, the single version of "Good Vibrations" is not on the The Smile Sessions box set. But an entire CD of outtakes of the track is, and that was the source for the session excerpts here. Information on Lev Termen comes from Theremin: Ether Music and Espionage by Albert Glinsky Transcript In ancient Greece, the god Hermes was a god of many things, as all the Greek gods were. Among those things, he was the god of diplomacy, he was a trickster god, a god of thieves, and he was a messenger god, who conveyed messages between realms. He was also a god of secret knowledge. In short, he was the kind of god who would have made a perfect spy. But he was also an inventor. In particular he was credited in Greek myth as having invented the lyre, an instrument somewhat similar to a guitar, harp, or zither, and as having used it to create beautiful sounds. But while Hermes the trickster god invented the lyre, in Greek myth it was a mortal man, Orpheus, who raised the instrument to perfection. Orpheus was a legendary figure, the greatest poet and musician of pre-Homeric Greece, and all sorts of things were attributed to him, some of which might even have been things that a real man of that name once did. He is credited with the "Orphic tripod" -- the classification of the elements into earth, water, and fire -- and with a collection of poems called the Rhapsodiae. The word Rhapsodiae comes from the Greek words rhaptein, meaning to stitch or sew, and ōidē, meaning song -- the word from which we get our word "ode", and  originally a rhapsōdos was someone who "stitched songs together" -- a reciter of long epic poems composed of several shorter pieces that the rhapsōdos would weave into one continuous piece. It's from that that we get the English word "rhapsody", which in the sixteenth century, when it was introduced into the language, meant a literary work that was a disjointed collection of patchwork bits, stitched together without much thought as to structure, but which now means a piece of music in one movement, but which has several distinct sections. Those sections may seem unrelated, and the piece may have an improvisatory feel, but a closer look will usually reveal relationships between the sections, and the piece as a whole will have a sense of unity. When Orpheus' love, Eurydice, died, he went down into Hades, the underworld where the souls of the dead lived, and played music so beautiful, so profound and moving, that the gods agreed that Orpheus could bring the soul of his love back to the land of the living. But there was one condition -- all he had to do was keep looking forward until they were both back on Earth. If he turned around before both of them were back in the mortal realm, she would disappear forever, never to be recovered. But of course, as you all surely know, and would almost certainly have guessed even if you didn't know because you know how stories work, once Orpheus made it back to our world he turned around and looked, because he lost his nerve and didn't believe he had really achieved his goal. And Eurydice, just a few steps away from her freedom, vanished back into the underworld, this time forever. [Excerpt: Blake Jones and the Trike Shop: "Mr. Theremin's Miserlou"] Lev Sergeyevich Termen was born in St. Petersburg, in what was then the Russian Empire, on the fifteenth of August 1896, by the calendar in use in Russia at that time -- the Russian Empire was still using the Julian calendar, rather than the Gregorian calendar used in most of the rest of the world, and in the Western world the same day was the twenty-seventh of August. Young Lev was fascinated both by science and the arts. He was trained as a cellist from an early age, but while he loved music, he found the process of playing the music cumbersome -- or so he would say later. He was always irritated by the fact that the instrument is a barrier between the idea in the musician's head and the sound -- that it requires training to play. As he would say later "I realised there was a gap between music itself and its mechanical production, and I wanted to unite both of them." Music was one of his big loves, but he was also very interested in physics, and was inspired by a lecture he saw from the physicist Abram Ioffe, who for the first time showed him that physics was about real, practical, things, about the movements of atoms and fields that really existed, not just about abstractions and ideals. When Termen went to university, he studied physics -- but he specifically wanted to be an experimental physicist, not a theoretician. He wanted to do stuff involving the real world. Of course, as someone who had the misfortune to be born in the late 1890s, Termen was the right age to be drafted when World War I started, but luckily for him the Russian Army desperately needed people with experience in the new invention that was radio, which was vital for wartime communications, and he spent the war in the Army radio engineering department, erecting radio transmitters and teaching other people how to erect them, rather than on the front lines, and he managed not only to get his degree in physics but also a diploma in music. But he was also becoming more and more of a Marxist sympathiser, even though he came from a relatively affluent background, and after the Russian Revolution he stayed in what was now the Red Army, at least for a time. Once Termen's Army service was over, he started working under Ioffe, working with him on practical applications of the audion, the first amplifying vacuum tube. The first one he found was that the natural capacitance of a human body when standing near a circuit can change the capacity of the circuit. He used that to create an invisible burglar alarm -- there was an antenna sending out radio waves, and if someone came within the transmitting field of the antenna, that would cause a switch to flip and a noise to be sounded. He was then asked to create a device for measuring the density of gases, outputting a different frequency for different densities. Because gas density can have lots of minor fluctuations because of air currents and so forth, he built a circuit that would cut out all the many harmonics from the audions he was using and give just the main frequency as a single pure tone, which he could listen to with headphones. That way,  slight changes in density would show up as a slight change in the tone he heard. But he noticed that again when he moved near the circuit, that changed the capacitance of the circuit and changed the tone he was hearing. He started moving his hand around near the circuit and getting different tones. The closer his hand got to the capacitor, the higher the note sounded. And if he shook his hand a little, he could get a vibrato, just like when he shook his hand while playing the cello. He got Ioffe to come and listen to him, and Ioffe said "That's an electronic Orpheus' lament!" [Excerpt: Blake Jones and the Trike Shop, "Mr. Theremin's Miserlou"] Termen figured out how to play Massenet's "Elegy" and Saint-Saens' "The Swan" using this system. Soon the students were all fascinated, telling each other "Termen plays Gluck on a voltmeter!" He soon figured out various refinements -- by combining two circuits, using the heterodyne principle, he could allow for far finer control. He added a second antenna, for volume control, to be used by the left hand -- the right hand would choose the notes, while the left hand would change the volume, meaning the instrument could be played without touching it at all. He called the instrument the "etherphone",  but other people started calling it the termenvox -- "Termen's voice". Termen's instrument was an immediate sensation, as was his automatic burglar alarm, and he was invited to demonstrate both of them to Lenin. Lenin was very impressed by Termen -- he wrote to Trotsky later talking about Termen's inventions, and how the automatic burglar alarm might reduce the number of guards needed to guard a perimeter. But he was also impressed by Termen's musical invention. Termen held his hands to play through the first half of a melody, before leaving the Russian leader to play the second half by himself -- apparently he made quite a good job of it. Because of Lenin's advocacy for his work, Termen was sent around the Soviet Union on a propaganda tour -- what was known as an "agitprop tour", in the familiar Soviet way of creating portmanteau words. In 1923 the first piece of music written specially for the instrument was performed by Termen himself with the Leningrad Philharmonic, Andrey Paschenko's Symphonic Mystery for Termenvox and Orchestra. The score for that was later lost, but has been reconstructed, and the piece was given a "second premiere" in 2020 [Excerpt: Andrey Paschenko, "Symphonic Mystery for Termenvox and Orchestra" ] But the musical instrument wasn't the only scientific innovation that Termen was working on. He thought he could reverse death itself, and bring the dead back to life.  He was inspired in this by the way that dead organisms could be perfectly preserved in the Siberian permafrost. He thought that if he could only freeze a dead person in the permafrost, he could then revive them later -- basically the same idea as the later idea of cryogenics, although Termen seems to have thought from the accounts I've read that all it would take would be to freeze and then thaw them, and not to have considered the other things that would be necessary to bring them back to life. Termen made two attempts to actually do this, or at least made preliminary moves in that direction. The first came when his assistant, a twenty-year-old woman, died of pneumonia. Termen was heartbroken at the death of someone so young, who he'd liked a great deal, and was convinced that if he could just freeze her body for a while he could soon revive her. He talked with Ioffe about this -- Ioffe was friends with the girl's family -- and Ioffe told him that he thought that he was probably right and probably could revive her. But he also thought that it would be cruel to distress the girl's parents further by discussing it with them, and so Termen didn't get his chance to experiment. He was even keener on trying his technique shortly afterwards, when Lenin died. Termen was a fervent supporter of the Revolution, and thought Lenin was a great man whose leadership was still needed -- and he had contacts within the top echelons of the Kremlin. He got in touch with them as soon as he heard of Lenin's death, in an attempt to get the opportunity to cryopreserve his corpse and revive him. Sadly, by this time it was too late. Lenin's brain had been pickled, and so the opportunity to resurrect him as a zombie Lenin was denied forever. Termen was desperately interested in the idea of bringing people back from the dead, and he wanted to pursue it further with his lab, but he was also being pushed to give demonstrations of his music, as well as doing security work -- Ioffe, it turned out, was also working as a secret agent, making various research trips to Germany that were also intended to foment Communist revolution. For now, Termen was doing more normal security work -- his burglar alarms were being used to guard bank vaults and the like, but this was at the order of the security state. But while Termen was working on his burglar alarms and musical instruments and attempts to revive dead dictators, his main project was his doctoral work, which was on the TV. We've said before in this podcast that there's no first anything, and that goes just as much for inventions as it does for music. Most inventions build on work done by others, which builds on work done by others, and so there were a lot of people building prototype TVs at this point. In Britain we tend to say "the inventor of the TV" was John Logie Baird, but Baird was working at the same time as people like the American Charles Francis Jenkins and the Japanese inventor Kenjiro Takayanagi, all of them building on earlier work by people like Archibald Low. Termen's prototype TV, the first one in Russia, came slightly later than any of those people, but was created more or less independently, and was more advanced in several ways, with a bigger screen and better resolution. Shortly after Lenin's death, Termen was invited to demonstrate his invention to Stalin, who professed himself amazed at the "magic mirror". [Excerpt: Blake Jones and the Trike Shop, "Astronauts in Trouble"] Termen was sent off to tour Europe giving demonstrations of his inventions, particularly his musical instrument. It was on this trip that he started using the Romanisation "Leon Theremin", and this is how Western media invariably referred to him. Rather than transliterate the Cyrillic spelling of his birth name, he used the French spelling his Huguenot ancestors had used before they emigrated to Russia, and called himself Leo or Leon rather than Lev. He was known throughout his life by both names, but said to a journalist in 1928 "First of all, I am not Tair-uh-MEEN. I wrote my name with French letters for French pronunciation. I am Lev Sergeyevich Tair-MEN.". We will continue to call him Termen, partly because he expressed that mild preference (though again, he definitely went by both names through choice) but also to distinguish him from the instrument, because while his invention remained known in Russia as the termenvox, in the rest of the world it became known as the theremin. He performed at the Paris Opera, and the New York Times printed a review saying "Some musicians were extremely pessimistic about the possibilities of the device, because at times M. Theremin played lamentably out of tune. But the finest Stradivarius, in the hands of a tyro, can give forth frightful sounds. The fact that the inventor was able to perform certain pieces with absolute precision proves that there remains to be solved only questions of practice and technique." Termen also came to the UK, where he performed in front of an audience including George Bernard Shaw, Arnold Bennett, Henry Wood and others. Arnold Bennett was astonished, but Bernard Shaw, who had very strong opinions about music, as anyone who has read his criticism will be aware, compared the sound unfavourably to that of a comb and paper. After performing in Europe, Termen made his way to the US, to continue his work of performance, propagandising for the Soviet Revolution, and trying to license the patents for his inventions, to bring money both to him and to the Soviet state. He entered the US on a six-month visitor's visa, but stayed there for eleven years, renewing the visa every six months. His initial tour was a success, though at least one open-air concert had to be cancelled because, as the Communist newspaper the Daily Worker put it, "the weather on Saturday took such a counter-revolutionary turn". Nicolas Slonimsky, the musicologist we've encountered several times before, and who would become part of Termen's circle in the US, reviewed one of the performances, and described the peculiar audiences that Termen was getting -- "a considerable crop of ladies and gentlemen engaged in earnest exploration of the Great Beyond...the mental processes peculiar to believers in cosmic vibrations imparted a beatific look to some of the listeners. Boston is a seat of scientific religion; before he knows it Professor Theremin may be proclaimed Krishnamurti and sanctified as a new deity". Termen licensed his patents on the invention to RCA, who in 1929 started mass-producing the first ever theremins for general use. Termen also started working with the conductor Leopold Stokowski, including developing a new kind of theremin for Stokowski's orchestra to use, one with a fingerboard played like a cello. Stokowski said "I believe we shall have orchestras of these electric instruments. Thus will begin a new era in music history, just as modern materials and methods of construction have produced a new era of architecture." Possibly of more interest to the wider public, Lennington Sherwell, the son of an RCA salesman, took up the theremin professionally, and joined the band of Rudy Vallee, one of the most popular singers of the period. Vallee was someone who constantly experimented with new sounds, and has for example been named as the first band leader to use an electric banjo, and Vallee liked the sound of the theremin so much he ordered a custom-built left-handed one for himself. Sherwell stayed in Vallee's band for quite a while, and performed with him on the radio and in recording sessions, but it's very difficult to hear him in any of the recordings -- the recording equipment in use in 1930 was very primitive, and Vallee had a very big band with a lot of string and horn players, and his arrangements tended to have lots of instruments playing in unison rather than playing individual lines that are easy to differentiate. On top of that, the fashion at the time when playing the instrument was to try and have it sound as much like other instruments as possible -- to duplicate the sound of a cello or violin or clarinet, rather than to lean in to the instrument's own idiosyncracies. I *think* though that I can hear Sherwell's playing in the instrumental break of Vallee's big hit "You're Driving Me Crazy" -- certainly it was recorded at the time that Sherwell was in the band, and there's an instrument in there with a very pure tone, but quite a lot of vibrato, in the mid range, that seems only to be playing in the break and not the rest of the song. I'm not saying this is *definitely* a theremin solo on one of the biggest hits of 1930, but I'm not saying it's not, either: [Excerpt: Rudy Vallee, "You're Driving Me Crazy" ] Termen also invented a light show to go along with his instrument -- the illumovox, which had a light shining through a strip of gelatin of different colours, which would be rotated depending on the pitch of the theremin, so that lower notes would cause the light to shine a deep red, while the highest notes would make it shine a light blue, with different shades in between. By 1930, though, Termen's fortunes had started to turn slightly. Stokowski kept using theremins in the orchestra for a while, especially the fingerboard models to reinforce the bass, but they caused problems. As Slonimsky said "The infrasonic vibrations were so powerful...that they hit the stomach physically, causing near-nausea in the double-bass section of the orchestra". Fairly soon, the Theremin was overtaken by other instruments, like the ondes martenot, an instrument very similar to the theremin but with more precise control, and with a wider range of available timbres. And in 1931, RCA was sued by another company for patent infringement with regard to the Theremin -- the De Forest Radio Company had patents around the use of vacuum tubes in music, and they claimed damages of six thousand dollars, plus RCA had to stop making theremins. Since at the time, RCA had only made an initial batch of five hundred instruments total, and had sold 485 of them, many of them as promotional loss-leaders for future batches, they had actually made a loss of three hundred dollars even before the six thousand dollar damages, and decided not to renew their option on Termen's patents. But Termen was still working on his musical ideas. Slonimsky also introduced Termen to the avant-garde composer and theosophist Henry Cowell, who was interested in experimental sounds, and used to do things like play the strings inside the piano to get a different tone: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] Cowell was part of a circle of composers and musicologists that included Edgard Varese, Charles Ives, and Charles Seeger and Ruth Crawford, who Cowell would introduce to each other. Crawford would later marry Seeger, and they would have several children together, including the folk singer Peggy Seeger, and Crawford would also adopt Seeger's son Pete. Cowell and Termen would together invent the rhythmicon, the first ever drum machine, though the rhythmicon could play notes as well as rhythms. Only two rhythmicons were made while Termen was in the US. The first was owned by Cowell. The second, improved, model was bought by Charles Ives, but bought as a gift for Cowell and Slonimsky to use in their compositions. Sadly, both rhythmicons eventually broke down, and no recording of either is known to exist. Termen started to get further and further into debt, especially as the Great Depression started to hit, and he also had a personal loss -- he'd been training a student and had fallen in love with her, although he was married. But when she married herself, he cut off all ties with her, though Clara Rockmore would become one of the few people to use the instrument seriously and become a real virtuoso on it. He moved into other fields, all loosely based around the same basic ideas of detecting someone's distance from an object. He built electronic gun detectors for Alcatraz and Sing-Sing prisons, and he came up with an altimeter for aeroplanes. There was also a "magic mirror" -- glass that appeared like a mirror until it was backlit, at which point it became transparent. This was put into shop windows along with a proximity detector -- every time someone stepped close to look at their reflection, the reflection would disappear and be replaced with the objects behind the mirror. He was also by this point having to spy for the USSR on a more regular basis. Every week he would meet up in a cafe with two diplomats from the Russian embassy, who would order him to drink several shots of vodka -- the idea was that they would loosen his inhibitions enough that he would not be able to hide things from them -- before he related various bits of industrial espionage he'd done for them. Having inventions of his own meant he was able to talk with engineers in the aerospace industry and get all sorts of bits of information that would otherwise not have been available, and he fed this back to Moscow. He eventually divorced his first wife, and remarried -- a Black American dancer many years his junior named Lavinia Williams, who would be the great love of his life. This caused some scandal in his social circle, more because of her race than the age gap. But by 1938 he had to leave the US. He'd been there on a six-month visa, which had been renewed every six months for more than a decade, and he'd also not been paying income tax and was massively in debt. He smuggled himself back to the USSR, but his wife was, at the last minute, not allowed on to the ship with him. He'd had to make the arrangements in secret, and hadn't even told her of the plans, so the first she knew was when he disappeared. He would later claim that the Soviets had told him she would be sent for two weeks later, but she had no knowledge of any of this. For decades, Lavinia would not even know if her husband was dead or alive. [Excerpt: Blake Jones and the Trike Shop, "Astronauts in Trouble"] When Termen got back to the USSR, he found it had changed beyond recognition. Stalin's reign of terror was now well underway, and not only could he not find a job, most of the people who he'd been in contact with at the top of the Kremlin had been purged. Termen was himself arrested and tortured into signing a false confession to counter-revolutionary activities and membership of fascist organisations. He was sentenced to eight years in a forced labour camp, which in reality was a death sentence -- it was expected that workers there would work themselves to death on starvation rations long before their sentences were up -- but relatively quickly he was transferred to a special prison where people with experience of aeronautical design were working. He was still a prisoner, but in conditions not too far removed from normal civilian life, and allowed to do scientific and technical work with some of the greatest experts in the field -- almost all of whom had also been arrested in one purge or another. One of the pieces of work Termen did was at the direct order of Laventy Beria, Stalin's right-hand man and the architect of most of the terrors of the Stalinist regime. In Spring 1945, while the USA and USSR were still supposed to be allies in World War II, Beria wanted to bug the residence of the US ambassador, and got Termen to design a bug that would get past all the normal screenings. The bug that Termen designed was entirely passive and unpowered -- it did nothing unless a microwave beam of a precise frequency was beamed at it, and only then did it start transmitting. It was placed in a wooden replica of the Great Seal of the United States, presented to the ambassador by a troupe of scouts as a gesture of friendship between the two countries. The wood in the eagle's beak was thin enough to let the sound through. It remained there for seven years, through the tenures of four ambassadors, only being unmasked when a British radio operator accidentally tuned to the frequency it was transmitting on and was horrified to hear secret diplomatic conversations. Upon its discovery, the US couldn't figure out how it worked, and eventually shared the information with MI5, who took eighteen months to reverse-engineer Termen's bug and come up with their own, which remained the standard bug in use for about a decade. The CIA's own attempts to reverse-engineer it failed altogether. It was also Termen who came up with that well-known bit of spycraft -- focussing an infra-red beam on a window pane, to use it to pick up the sound of conversations happening in the room behind it. Beria was so pleased with Termen's inventions that he got Termen to start bugging Stalin himself, so Beria would be able to keep track of Stalin's whims. Termen performed such great services for Beria that Beria actually allowed him to go free not long after his sentence was served. Not only that, but Beria nominated Termen for the Stalin Award, Class II, for his espionage work -- and Stalin, not realising that Termen had been bugging *him* as well as foreign powers, actually upgraded that to a Class I, the highest honour the Soviet state gave. While Termen was free, he found himself at a loose end, and ended up volunteering to work for the organisation he had been working for -- which went by many names but became known as the KGB from the 1950s onwards. He tried to persuade the government to let Lavinia, who he hadn't seen in eight years, come over and join him, but they wouldn't even allow him to contact her, and he eventually remarried. Meanwhile, after Stalin's death, Beria was arrested for his crimes, and charged under the same law that he had had Termen convicted under. Beria wasn't as lucky as Termen, though, and was executed. By 1964, Termen had had enough of the KGB, because they wanted him to investigate obvious pseudoscience -- they wanted him to look into aliens, UFOs, ESP... and telepathy. [Excerpt, The Beach Boys, "Good Vibrations (early version)" "She's already working on my brain"] He quit and went back to civilian life.  He started working in the acoustics lab in Moscow Conservatory, although he had to start at the bottom because everything he'd been doing for more than a quarter of a century was classified. He also wrote a short book on electronic music. In the late sixties an article on him was published in the US -- the first sign any of his old friends had that he'd not  died nearly thirty years earlier. They started corresponding with him, and he became a minor celebrity again, but this was disapproved of by the Soviet government -- electronic music was still considered bourgeois decadence and not suitable for the Soviet Union, and all his instruments were smashed and he was sacked from the conservatory. He continued working in various technical jobs until the 1980s, and still continued inventing refinements of the theremin, although he never had any official support for his work. In the eighties, a writer tried to get him some sort of official recognition -- the Stalin Prize was secret -- and the university at which he was working sent a reply saying, in part, "L.S. Termen took part in research conducted by the department as an ordinary worker and he did not show enough creative activity, nor does he have any achievements on the basis of which he could be recommended for a Government decoration." By this time he was living in shared accommodation with a bunch of other people, one room to himself and using a shared bathroom, kitchen, and so on. After Glasnost he did some interviews and was asked about this, and said "I never wanted to make demands and don't want to now. I phoned the housing department about three months ago and inquired about my turn to have a new flat. The woman told me that my turn would come in five or six years. Not a very reassuring answer if one is ninety-two years old." In 1989 he was finally allowed out of the USSR again, for the first time in fifty-one years, to attend a UNESCO sponsored symposium on electronic music. Among other things, he was given, forty-eight years late, a letter that his old colleague Edgard Varese had sent about his composition Ecuatorial, which had originally been written for theremin. Varese had wanted to revise the work, and had wanted to get modified theremins that could do what he wanted, and had asked the inventor for help, but the letter had been suppressed by the Soviet government. When he got no reply, Varese had switched to using ondes martenot instead. [Excerpt: Edgard Varese, "Ecuatorial"] In the 1970s, after the death of his third wife, Termen had started an occasional correspondence with his second wife, Lavinia, the one who had not been able to come with him to the USSR and hadn't known if he was alive for so many decades. She was now a prominent activist in Haiti, having established dance schools in many Caribbean countries, and Termen still held out hope that they could be reunited, even writing her a letter in 1988 proposing remarriage. But sadly, less than a month after Termen's first trip outside the USSR, she died -- officially of a heart attack or food poisoning, but there's a strong suspicion that she was murdered by the military dictatorship for her closeness to Jean-Bertrand Aristide, the pro-democracy activist who later became President of Haiti. Termen was finally allowed to join the Communist Party in the spring of 1991, just before the USSR finally dissolved -- he'd been forbidden up to that point because of his conviction for counter-revolutionary crimes. He was asked by a Western friend why he'd done that when everyone else was trying to *leave* the Communist Party, and he explained that he'd made a promise to Lenin. In his final years he was researching immortality, going back to the work he had done in his youth, working with biologists, trying to find a way to restore elderly bodies to youthful vigour. But sadly he died in 1993, aged ninety-seven, before he achieved his goal. On one of his last trips outside the USSR, in 1991, he visited the US, and in California he finally got to hear the song that most people associate with his invention, even though it didn't actually feature a theremin: [Excerpt: The Beach Boys, "Good Vibrations"] Back in the 1930s, when he was working with Slonimsky and Varese and Ives and the rest, Termen had set up the Theremin Studio, a sort of experimental arts lab, and in 1931 he had invited the musicologist, composer, and theoretician Joseph Schillinger to become a lecturer there. Schillinger had been one of the first composers to be really interested in the theremin, and had composed a very early piece written specifically for the instrument, the First Airphonic Suite: [Excerpt: Joseph Schillinger, "First Airphonic Suite"] But he was most influential as a theoretician. Schillinger believed that all of the arts were susceptible to rigorous mathematical analysis, and that you could use that analysis to generate new art according to mathematical principles, art that would be perfect. Schillinger planned to work with Termen to try to invent a machine that could compose, perform, and transmit music. The idea was that someone would be able to tune in a radio and listen to a piece of music in real time as it was being algorithmically composed and transmitted. The two men never achieved this, but Schillinger became very, very, respected as someone with a rigorous theory of musical structure -- though reading his magnum opus, the Schillinger System of Musical Composition, is frankly like wading through treacle. I'll read a short excerpt just to give an idea of his thinking: "On the receiving end, phasic stimuli produced by instruments encounter a metamorphic auditory integrator. This integrator represents the auditory apparatus as a whole and is a complex interdependent system. It consists of two receivers (ears), transmitters, auditory nerves, and a transformer, the auditory braincenter.  The response to a stimulus is integrated both quantitatively and selectively. The neuronic energy of response becomes the psychonic energy of auditory image. The response to stimuli and the process of integration are functional operations and, as such, can be described in mathematical terms , i.e., as  synchronization, addition, subtraction, multiplication, etc. But these integrative processes alone do not constitute the material of orchestration either.  The auditory image, whether resulting from phasic stimuli of an excitor or from selfstimulation of the auditory brain-center, can be described only in Psychological terms, of loudness, pitch, quality, etc. This leads us to the conclusion that the material of orchestration can be defined only as a group of conditions under which an integrated image results from a sonic stimulus subjected to an auditory response.  This constitutes an interdependent tripartite system, in which the existence of one component necessitates the existence of two others. The composer can imagine an integrated sonic form, yet he cannot transmit it to the auditor (unless telepathicaliy) without sonic stimulus and hearing apparatus." That's Schillinger's way of saying that if a composer wants someone to hear the music they've written, the composer needs a musical instrument and the listener needs ears and a brain. This kind of revolutionary insight made Schillinger immensely sought after in the early 1930s, and among his pupils were the swing bandleaders Benny Goodman and Tommy Dorsey, and the songwriter George Gershwin, who turned to Schillinger for advice when he was writing his opera Porgy and Bess: [Excerpt: Ella Fitzgerald and Louis Armstrong, "Here Come De Honey Man"] Another of his pupils was the trombonist and arranger Glenn Miller, who at that time was a session player working in pickup studio bands for people like Red Nichols. Miller spent some time studying with him in the early thirties, and applied those lessons when given the job of putting together arrangements for Ray Noble, his first prominent job. In 1938 Glenn Miller walked into a strip joint to see a nineteen-year-old he'd been told to take a look at. This was another trombonist, Paul Tanner, who was at the time working as a backing musician for the strippers. Miller had recently broken up his first big band, after a complete lack of success, and was looking to put together a new big band, to play arrangements in the style he had worked out while working for Noble. As Tanner later put it "he said, `Well, how soon can you come with me?' I said, `I can come right now.' I told him I was all packed, I had my toothbrush in my pocket and everything. And so I went with him that night, and I stayed with him until he broke the band up in September 1942." The new band spent a few months playing the kind of gigs that an unknown band can get, but they soon had a massive success with a song Miller had originally written as an arranging exercise set for him by Schillinger, a song that started out under the title "Miller's Tune", but soon became known worldwide as "Moonlight Serenade": [Excerpt: Glenn Miller, "Moonlight Serenade"] The Miller band had a lot of lineup changes in the four and a bit years it was together, but other than Miller himself there were only four members who were with that group throughout its career, from the early dates opening for  Freddie Fisher and His Schnickelfritzers right through to its end as the most popular band in America. They were piano player Chummy MacGregor, clarinet player Wilbur Schwartz, tenor sax player Tex Beneke, and Tanner. They played on all of Miller's big hits, like "In the Mood" and "Chattanooga Choo-Choo": [Excerpt: Glenn Miller, "Chattanooga Choo-Choo"] But in September 1942, the band broke up as the members entered the armed forces, and Tanner found himself in the Army while Miller was in the Air Force, so while both played in military bands, they weren't playing together, and Miller disappeared over the Channel, presumed dead, in 1944. Tanner became a session trombonist, based in LA, and in 1958 he found himself on a session for a film soundtrack with Dr. Samuel Hoffman. I haven't been able to discover for sure which film this was for, but the only film on which Hoffman has an IMDB credit for that year is that American International Pictures classic, Earth Vs The Spider: [Excerpt: Earth Vs The Spider trailer] Hoffman was a chiropodist, and that was how he made most of his living, but as a teenager in the 1930s he had been a professional violin player under the name Hal Hope. One of the bands he played in was led by a man named Jolly Coburn, who had seen Rudy Vallee's band with their theremin and decided to take it up himself. Hoffman had then also got a theremin, and started his own all-electronic trio, with a Hammond organ player, and with a cello-style fingerboard theremin played by William Schuman, the future Pulitzer Prize winning composer. By the 1940s, Hoffman was a full-time doctor, but he'd retained his Musicians' Union card just in case the odd gig came along, and then in 1945 he received a call from Miklos Rozsa, who was working on the soundtrack for Alfred Hitchcock's new film, Spellbound. Rozsa had tried to get Clara Rockmore, the one true virtuoso on the theremin playing at the time, to play on the soundtrack, but she'd refused -- she didn't do film soundtrack work, because in her experience they only wanted her to play on films about ghosts or aliens, and she thought it damaged the dignity of the instrument. Rozsa turned to the American Federation of Musicians, who as it turned out had precisely one theremin player who could read music and wasn't called Clara Rockmore on their books. So Dr. Samuel Hoffman, chiropodist, suddenly found himself playing on one of the most highly regarded soundtracks of one of the most successful films of the forties: [Excerpt: Miklos Rozsa, "Spellbound"] Rozsa soon asked Hoffman to play on another soundtrack, for the Billy Wilder film The Lost Weekend, another of the great classics of late forties cinema. Both films' soundtracks were nominated for the Oscar, and Spellbound's won, and Hoffman soon found himself in demand as a session player. Hoffman didn't have any of Rockmore's qualms about playing on science fiction and horror films, and anyone with any love of the genre will have heard his playing on genre classics like The Five Thousand Fingers of Dr T, The Thing From Another World, It Came From Outer Space, and of course Bernard Hermann's score for The Day The Earth Stood Still: [Excerpt: The Day The Earth Stood Still score] As well as on such less-than-classics as The Devil's Weed, Voodoo Island, The Mad Magician, and of course Billy The Kid Vs Dracula. Hoffman became something of a celebrity, and also recorded several albums of lounge music with a band led by Les Baxter, like the massive hit Music Out Of The Moon, featuring tracks like “Lunar Rhapsody”: [Excerpt: Samuel Hoffman, "Lunar Rhapsody”] [Excerpt: Neil Armstrong] That voice you heard there was Neil Armstrong, on Apollo 11 on its way back from the moon. He took a tape of Hoffman's album with him. But while Hoffman was something of a celebrity in the fifties, the work dried up almost overnight in 1958 when he worked at that session with Paul Tanner. The theremin is a very difficult instrument to play, and while Hoffman was a good player, he wasn't a great one -- he was getting the work because he was the best in a very small pool of players, not because he was objectively the best there could be. Tanner noticed that Hoffman was having quite some difficulty getting the pitching right in the session, and realised that the theremin must be a very difficult instrument to play because it had no markings at all. So he decided to build an instrument that had the same sound, but that was more sensibly controlled than just waving your hands near it. He built his own invention, the electrotheremin, in less than a week, despite never before having had any experience in electrical engineering. He built it using an oscillator, a length of piano wire and a contact switch that could be slid up and down the wire, changing the pitch. Two days after he finished building it, he was in the studio, cutting his own equivalent of Hoffman's forties albums, Music For Heavenly Bodies, including a new exotica version of "Moonlight Serenade", the song that Glenn Miller had written decades earlier as an exercise for Schillinger: [Excerpt: Paul Tanner, "Moonlight Serenade"] Not only could the electrotheremin let the player control the pitch more accurately, but it could also do staccato notes easily -- something that's almost impossible with an actual theremin. And, on top of that, Tanner was cheaper than Hoffman. An instrumentalist hired to play two instruments is paid extra, but not as much extra as paying for another musician to come to the session, and since Tanner was a first-call trombone player who was likely to be at the session *anyway*, you might as well hire him if you want a theremin sound, rather than paying for Hoffman. Tanner was an excellent musician -- he was a professor of music at UCLA as well as being a session player, and he authored one of the standard textbooks on jazz -- and soon he had cornered the market, leaving Hoffman with only the occasional gig. We will actually be seeing Hoffman again, playing on a session for an artist we're going to look at in a couple of months, but in LA in the early sixties, if you wanted a theremin sound, you didn't hire a theremin player, you hired Paul Tanner to play his electrotheremin -- though the instrument was so obscure that many people didn't realise he wasn't actually playing a theremin. Certainly Brian Wilson seems to have thought he was when he hired him for "I Just Wasn't Made For These Times": [Excerpt: The Beach Boys, "I Just Wasn't Made For These Times"] We talked briefly about that track back in the episode on "God Only Knows",   but three days after recording that, Tanner was called back into the studio for another session on which Brian Wilson wanted a theremin sound. This was a song titled "Good, Good, Good Vibrations", and it was inspired by a conversation he'd had with his mother as a child. He'd asked her why dogs bark at some people and not at others, and she'd said that dogs could sense vibrations that people sent out, and some people had bad vibrations and some had good ones. It's possible that this came back to mind as he was planning the Pet Sounds album, which of course ends with the sound of his own dogs barking. It's also possible that he was thinking more generally about ideas like telepathy -- he had been starting to experiment with acid by this point, and was hanging around with a crowd of people who were proto-hippies, and reading up on a lot of the mystical ideas that were shared by those people. As we saw in the last episode, there was a huge crossover between people who were being influenced by drugs, people who were interested in Eastern religion, and people who were interested in what we now might think of as pseudo-science but at the time seemed to have a reasonable amount of validity, things like telepathy and remote viewing. Wilson had also had exposure from an early age to people claiming psychic powers. Jo Ann Marks, the Wilson family's neighbour and the mother of former Beach Boy David Marks, later had something of a minor career as a psychic to the stars (at least according to obituaries posted by her son) and she would often talk about being able to sense "vibrations". The record Wilson started out making in February 1966 with the Wrecking Crew was intended as an R&B single, and was also intended to sound *strange*: [Excerpt: The Beach Boys, "Good Vibrations: Gold Star 1966-02-18"] At this stage, the song he was working on was a very straightforward verse-chorus structure, and it was going to be an altogether conventional pop song. The verses -- which actually ended up used in the final single, are dominated by organ and Ray Pohlman's bass: [Excerpt: The Beach Boys, "Good Vibrations: Gold Star 1966-02-18"] These bear a strong resemblance to the verses of "Here Today", on the Pet Sounds album which the Beach Boys were still in the middle of making: [Excerpt: The Beach Boys, "Here Today (instrumental)"] But the chorus had far more of an R&B feel than anything the Beach Boys had done before: [Excerpt: The Beach Boys, "Good Vibrations: Gold Star 1966-02-18"] It did, though, have precedent. The origins of the chorus feel come from "Can I Get a Witness?", a Holland-Dozier-Holland song that had been a hit for Marvin Gaye in 1963: [Excerpt: Marvin Gaye, "Can I Get a Witness?"] The Beach Boys had picked up on that, and also on its similarity to the feel of Lonnie Mack's instrumental cover version of Chuck Berry's "Memphis, Tennessee", which, retitled "Memphis", had also been a hit in 1963, and in 1964 they recorded an instrumental which they called "Memphis Beach" while they were recording it but later retitled "Carl's Big Chance", which was credited to Brian and Carl Wilson, but was basically just playing the "Can I Get a Witness" riff over twelve-bar blues changes, with Carl doing some surf guitar over the top: [Excerpt: The Beach Boys, "Carl's Big Chance"] The "Can I Get a Witness" feel had quickly become a standard piece of the musical toolkit – you might notice the resemblance between that riff and the “talking 'bout my generation” backing vocals on “My Generation” by the Who, for example. It was also used on "The Boy From New York City", a hit on Red Bird Records by the Ad-Libs: [Excerpt: The Ad-Libs, "The Boy From New York City"] The Beach Boys had definitely been aware of that record -- on their 1965 album Summer Days... And Summer Nights! they recorded an answer song to it, "The Girl From New York City": [Excerpt: The Beach Boys, "The Girl From New York City"] And you can see how influenced Brian was by the Ad-Libs record by laying the early instrumental takes of the "Good Vibrations" chorus from this February session under the vocal intro of "The Boy From New York City". It's not a perfect match, but you can definitely hear that there's an influence there: [Excerpt: "The Boy From New York City"/"Good Vibrations"] A few days later, Brian had Carl Wilson overdub some extra bass, got a musician in to do a jaw harp overdub, and they also did a guide vocal, which I've sometimes seen credited to Brian and sometimes Carl, and can hear as both of them depending on what I'm listening for. This guide vocal used a set of placeholder lyrics written by Brian's collaborator Tony Asher, which weren't intended to be a final lyric: [Excerpt: The Beach Boys, "Good Vibrations (first version)"] Brian then put the track away for a month, while he continued work on the Pet Sounds album. At this point, as best we can gather, he was thinking of it as something of a failed experiment. In the first of the two autobiographies credited to Brian (one whose authenticity is dubious, as it was largely put together by a ghostwriter and Brian later said he'd never even read it) he talks about how he was actually planning to give the song to Wilson Pickett rather than keep it for the Beach Boys, and one can definitely imagine a Wilson Pickett version of the song as it was at this point. But Brian's friend Danny Hutton, at that time still a minor session singer who had not yet gone on to form the group that would become Three Dog Night, asked Brian if *he* could have the song if Brian wasn't going to use it. And this seems to have spurred Brian into rethinking the whole song. And in doing so he was inspired by his very first ever musical memory. Brian has talked a lot about how the first record he remembers hearing was when he was two years old, at his maternal grandmother's house, where he heard the Glenn Miller version of "Rhapsody in Blue", a three-minute cut-down version of Gershwin's masterpiece, on which Paul Tanner had of course coincidentally played: [Excerpt: The Glenn Miller Orchestra, "Rhapsody in Blue"] Hearing that music, which Brian's mother also played for him a lot as a child, was one of the most profoundly moving experiences of Brian's young life, and "Rhapsody in Blue" has become one of those touchstone pieces that he returns to again and again. He has recorded studio versions of it twice, in the mid-nineties with Van Dyke Parks: [Excerpt: Brian Wilson and Van Dyke Parks, "Rhapsody in Blue"] and in 2010 with his solo band, as the intro and outro of an album of Gershwin covers: [Excerpt: Brian Wilson, "Rhapsody in Blue"] You'll also often see clips of him playing "Rhapsody in Blue" when sat at the piano -- it's one of his go-to songs. So he decided he was going to come up with a song that was structured like "Rhapsody in Blue" -- what publicist Derek Taylor would later describe as a "pocket symphony", but "pocket rhapsody" would possibly be a better term for it. It was going to be one continuous song, but in different sections that would have different instrumentation and different feelings to them -- he'd even record them in different studios to get different sounds for them, though he would still often have the musicians run through the whole song in each studio. He would mix and match the sections in the edit. His second attempt to record the whole track, at the start of April, gave a sign of what he was attempting, though he would not end up using any of the material from this session: [Excerpt: The Beach Boys, "Good Vibrations: Gold Star 1966-04-09" around 02:34] Nearly a month later, on the fourth of May, he was back in the studio -- this time in Western Studios rather than Gold Star where the previous sessions had been held, with yet another selection of musicians from the Wrecking Crew, plus Tanner, to record another version. This time, part of the session was used for the bridge for the eventual single: [Excerpt: The Beach Boys: "Good Vibrations: Western 1966-05-04 Second Chorus and Fade"] On the twenty-fourth of May the Wrecking Crew, with Carl Wilson on Fender bass (while Lyle Ritz continued to play string bass, and Carol Kaye, who didn't end up on the finished record at all, but who was on many of the unused sessions, played Danelectro), had another attempt at the track, this time in Sunset Studios: [Excerpt: The Beach Boys: "Good Vibrations: Sunset Sound 1966-05-24 (Parts 2&3)"] Three days later, another group of musicians, with Carl now switched to rhythm guitar, were back in Western Studios recording this: [Excerpt: The Beach Boys: "Good Vibrations: Western 1966-05-27 Part C" from 2:52] The fade from that session was used in the final track. A few days later they were in the studio again, a smaller group of people with Carl on guitar and Brian on piano, along with Don Randi on electric harpsichord, Bill Pitman on electric bass, Lyle Ritz on string bass and Hal Blaine on drums. This time there seems to have been another inspiration, though I've never heard it mentioned as an influence. In March, a band called The Association, who were friends with the Beach Boys, had released their single "Along Comes Mary", and by June it had become a big hit: [Excerpt: The Association, "Along Comes Mary"] Now the fuzz bass part they were using on the session on the second of June sounds to my ears very, very, like that intro: [Excerpt: The Beach Boys, "Good Vibrations (Inspiration) Western 1966-06-02" from 01:47] That session produced the basic track that was used for the choruses on the final single, onto which the electrotheremin was later overdubbed as Tanner wasn't at that session. Some time around this point, someone suggested to Brian that they should use a cello along with the electrotheremin in the choruses, playing triplets on the low notes. Brian has usually said that this was Carl's idea, while Brian's friend Van Dyke Parks has always said that he gave Brian the idea. Both seem quite certain of this, and neither has any reason to lie, so I suspect what might have happened is that Parks gave Brian the initial idea to have a cello on the track, while Carl in the studio suggested having it specifically play triplets. Either way, a cello part by Jesse Erlich was added to those choruses. There were more sessions in June, but everything from those sessions was scrapped. At some point around this time, Mike Love came up with a bass vocal lyric, which he sang along with the bass in the choruses in a group vocal session. On August the twenty-fourth, two months after what one would think at this point was the final instrumental session, a rough edit of the track was pulled together. By this point the chorus had altered quite a bit. It had originally just been eight bars of G-flat, four bars of B-flat, then four more bars of G-flat. But now Brian had decided to rework an idea he had used in "California Girls". In that song, each repetition of the line "I wish they all could be California" starts a tone lower than the one before. Here, after the bass hook line is repeated, everything moves up a step, repeats the line, and then moves up another step: [Excerpt: The Beach Boys, "Good Vibrations: [Alternate Edit] 1966-08-24"] But Brian was dissatisfied with this version of the track. The lyrics obviously still needed rewriting, but more than that, there was a section he thought needed totally rerecording -- this bit: [Excerpt: The Beach Boys, "Good Vibrations: [Alternate Edit] 1966-08-24"] So on the first of September, six and a half months after the first instrumental session for the song, the final one took place. This had Dennis Wilson on organ, Tommy Morgan on harmonicas, Lyle Ritz on string bass, and Hal Blaine and Carl Wilson on percussion, and replaced that with a new, gentler, version: [Excerpt: The Beach Boys: "Good Vibrations (Western 1966-09-01) [New Bridge]"] Well, that was almost the final instrumental session -- they called Paul Tanner in to a vocal overdub session to redo some of the electrotheremin parts, but that was basically it. Now all they had to do was do the final vocals. Oh, and they needed some proper lyrics. By this point Brian was no longer working with Tony Asher. He'd started working with Van Dyke Parks on some songs, but Parks wasn't interested in stepping into a track that had already been worked on so long, so Brian eventually turned to Mike Love, who'd already come up with the bass vocal hook, to write the lyrics. Love wrote them in the car, on the way to the studio, dictating them to his wife as he drove, and they're actually some of his best work. The first verse grounds everything in the sensory, in the earthy. He makes a song originally about *extra* -sensory perception into one about sensory perception -- the first verse covers sight, sound, and smell: [Excerpt: The Beach Boys, "Good Vibrations"] Carl Wilson was chosen to sing the lead vocal, but you'll notice a slight change in timbre on the line "I hear the sound of a" -- that's Brian stepping into double him on the high notes. Listen again: [Excerpt: The Beach Boys, "Good Vibrations"] For the second verse, Love's lyric moves from the sensory grounding of the first verse to the extrasensory perception that the song has always been about, with the protagonist knowing things about the woman who's the object of the song without directly perceiving them. The record is one of those where I wish I was able to play the whole thing for you, because it's a masterpiece of structure, and of editing, and of dynamics. It's also a record that even now is impossible to replicate properly on stage, though both its writers in their live performances come very close. But while someone in the audience for either the current touring Beach Boys led by Mike Love or for Brian Wilson's solo shows might come away thinking "that sounded just like the record", both have radically different interpretations of it even while sticking close to the original arrangement. The touring Beach Boys' version is all throbbing strangeness, almost garage-rock, emphasising the psychedelia of the track: [Excerpt: The Beach Boys, "Good Vibrations (live 2014)"] While Brian Wilson's live version is more meditative, emphasising the gentle aspects: [Excerpt Brian Wilson, "Good Vibrations (live at the Roxy)"] But back in 1966, there was definitely no way to reproduce it live with a five-person band. According to Tanner, they actually asked him if he would tour with them, but he refused -- his touring days were over, and also he felt he would look ridiculous, a middle-aged man on stage with a bunch of young rock and roll stars, though apparently they offered to buy him a wig so he wouldn't look so out of place. When he wouldn't tour with them, they asked him where they could get a theremin, and he pointed them in the direction of Robert Moog. Moog -- whose name is spelled M-o-o-g and often mispronounced "moog", had been a teenager in 1949, when he'd seen a schematic for a theremin in an electronic hobbyist magazine, after Samuel Hoffman had brought the instrument back into the limelight. He'd built his own, and started building others to sell to other hobbyists, and had also started branching out into other electronic instruments by the mid-sixties. His small company was the only one still manufacturing actual theremins, but when the Beach Boys came to him and asked him for one, they found it very difficult to control, and asked him if he could do anything simpler. He came up with a ribbon-controlled oscillator, on the same principle as Tanner's electro-theremin, but even simpler to operate, and the Beach Boys bought it and gave it to Mike Love to play on stage. All he had to do was run his finger up and down a metallic ribbon, with the positions of the notes marked on it, and it would come up with a good approximation of the electro-theremin sound. Love played this "woo-woo machine" as he referred to it, on stage for several years: [Excerpt: The Beach Boys, "Good Vibrations (live in Hawaii 8/26/67)"] Moog was at the time starting to build his first synthesisers, and having developed that ribbon-control mechanism he decided to include it in the early models as one of several different methods of controlling the Moog synthesiser, the instrument that became synonymous with the synthesiser in the late sixties and early seventies: [Excerpt: Gershon Kingsley and Leonid Hambro, "Rhapsody in Blue" from Switched-On Gershwin] "Good Vibrations" became the Beach Boys' biggest ever hit -- their third US number one, and their first to make number one in the UK. Brian Wilson had managed, with the help of his collaborators, to make something that combined avant-garde psychedelic music and catchy pop hooks, a truly experimental record that was also a genuine pop classic. To this day, it's often cited as the greatest single of all time. But Brian knew he could do better. He could be even more progressive. He could make an entire album using the same techniques as "Good Vibrations", one where themes could recur, where sections could be edited together and songs could be constructed in the edit. Instead of a pocket symphony, he could make a full-blown teenage symphony to God. All he had to do was to keep looking forward, believe he could achieve his goal, and whatever happened, not lose his nerve and turn back. [Excerpt: The Beach Boys, "Smile Promo" ]

Dintre toți oamenii pe care îi cunosc, Matei este, probabil, unul dintre cei mai experimentați în economie și piețe financiare. Am vrut de mult timp să îl am invitat în podcast, pentru cu totul alte teme. Dar l-am sunat acum două zile pentru a face puțină lumină, atât cât putem, fiind chiar în miezul evenimentelor, în posibilele consecințe economice ale acestui îngrozitor război din Ucraina. Am vorbit despre cum schimbă ideea de lume globală - poate pentru totdeauna - despre șocurile economice directe și pe termen scurt pe care le provoacă, despre cum să ne poziționăm fiecare în această realitate. Matei are aproape trei decenii de experiență în piețe financiare, inclusiv în Rusia. S-a născut în Statele Unite și a petrecut acolo prima parte a vieții, până la începutul anilor 1990, când a revenit în România. Este fondator al fondului de investiții Black Sea Fund și al Balkan Advisory Company, o companie de investment banking, fondată în 2004. **** Acest podcast este susținut de Dedeman, o companie antreprenorială 100% românească ce crede în puterea de a schimba lumea prin ambiție, perseverență și implicare. Dedeman susține ideile noi, inovația, educația și spiritul antreprenorial și este partener strategic al The Vast&The Curious. Împreună, creăm oportunități pentru conversații cu sens și întrebări care ne fac mai buni, ca oameni și ca organizații.  **** Acest podcast este de asemenea prezentat de eMAG, o companie care crede în educație și în puterea oamenilor de a folosi tehnologia pentru a crea un viitor mai bun. **** Note, un sumar al conversației, precum și cărțile și oamenii la care facem referire în podcast se găsesc pe andreearosca.ro Pentru a primi noi episoade, vă puteți abona la newsletter pe andreearosca.ro. Dacă ascultați acest podcast, vă rog lăsați un review în Apple Podcasts. Durează câteva secunde și ne ajută să îmbunătățim temele și calitatea și să intervievăm noi oameni interesanți.   

Lorena Săroiu este Nutriționist și crede că scopul unui nutritionist bun este să ii ajute pe oameni să fie sănătosi nu doar să slăbească. Despre ce mai povestim în episodul de astăzi: Manipularea din media cu privire la diete Diete ineficiente& Cultura dietelor Ce mâncăm la micul dejun pentru a slabi De ce toată lumea știe care sunt regulile, dar nu nimeni nu le respectă De ce nu reușim sa ne menținem greutatea și ce facem greșit Fasting pentru femei Cum se organizeaza un nutritionist Pe Lorena o găsesti aici https://www.instagram.com/nutritionist.lorena/

Dagens PS kunde den 13 November 2013 rapportera om hur inkassoföretaget Lindorff inte betalat ett öre i svensk bolagsskatt sedan Investor gick in som delägare år 2008. Trots att det totala rörelseresultat 2009-2012 uppgick till drygt 800 miljoner kronor. Även Gambro har enligt SvD effektivt lyckats undvika skatt under tiden som Investor varit ägare. Bolaget köptes ut från börsen år 2006 tillsammans med riskkapitalbolaget EQT. ”Det finns fortfarande andra värden än skatt som ett bolag bidrar med. Det är bland annat sociala kostnader och arbetstillfällen”, säger Johan Bygge, verksamhetschef på EQT och före detta finanschef på Investor, till tidningen. Investor skriver på sin webbsida att bolaget ”strävar efter att vara en god samhällsaktör”. ”Vår ambition och vårt ansvar innefattar en rad områden, såsom miljö, mänskliga rättigheter och arbetsvillkor. Det inkluderar även ett åtagande och ansvar att bidra till samhället i stort. I snart 100 år har vi agerat som ett ansvarsfullt företag och ägare”, skriver investmentbolaget. Investors vd Börje Ekholm lägger locket på men kommunikationschefen Stefan Stern skriver i ett mail till SvD-redaktionen att Investor bara följer lagen. ”Investor verkar alltid inom de ramar som fastställs av riksdag och regering”, säger Stern, som tidigare var vice partisekreterare hos Socialdemokraterna. SvD Näringslivs reporter Jacob Bursell konstaterar att Investor å ena sidan ägnar sig åt både CSR och hållbarhetsredovisning. Å andra sidan har bolaget, som Bursell uttrycker det, ”förvandlat Blaiseholmen till ett skatteparadis i klass med Guernsey”. ”Så länge bolaget gör ett nummer av att vilja bidra till samhället i stort, förblir det en öppen fråga om det är långsiktigt begåvat”, skriver han. Bananrepublik: Bananrepublik är en informell nedsättande benämning på land som uppfyller flera av följande kriterier: * Beläget i tredje världen, ofta i Latinamerika, * Beroende av en enda exportvara, eller ett fåtal, i allmänhet en jordbruksprodukt * Mer eller mindre korrumperad regering, ofta en militärjunta * Omfattande ekonomiskt och politiskt inflytande från utländska stater och/eller företag * Låg levnadsstandard för majoriteten av folket. Den ursprungliga bananrepubliken var Honduras. Termen myntades 1904 av humoristen O. Henry. Bananer har att göra med United Fruit Company, som var ett amerikanskt företag med politiskt inflytande främst i Centralamerika. Att företaget hade advokatfirman Sullivan & Cromwell och ingen mindre än John Foster Dulles som företrädare och som specialierat sig på kolonialväldesjuridik kan ju vara värt att nämna i sammanhanget... Det var väl för övrigt samma advokat som företrädde Wallenberg i Boschaffärsskandalen efter andra världskriget? När plundring blir till en livsstil för en grupp individer inom ramen för ett samhälle, skapar de med tiden åt sig själva ett rättssystem som auktoriserar det och en moralisk kod som glorifierar det. //Frédéric Bastiat #CarlNorberg #DeFria #RealNews De Fria är en folkrörelse som jobbar för demokrati genom en upplyst och medveten befolkning! Stöd oss: SWISH: 070 - 621 19 92 (mottagare Sofia S) PATREON: https://patreon.com/defria_se HEMSIDA: https://defria.se FACEBOOK: https://facebook.com/defria.se

S.1 | Ep.4 De interes: GENERAL. Descriere: Informatii cadru privind implementarea unui model de dezvoltare pe termen lung in TCB #sistem #viziune #obiective #muncainechipa #comunicare #MDTL

S.1 | Ep.3 De interes: GENERAL. Descriere: Informatii cadru privind implementarea unui model de dezvoltare pe termen lung in TCB #sistem #viziune #obiective #muncainechipa #comunicare #MDTL

S.1 | Ep.2 De interes: GENERAL. Descriere: Informatii generale asupra unei matrice functionale in sport la nivel international #sistem #MDTL