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This week Albert Evans joins me once again as we go “In Search of Lost Broadway.” Specifically, the 1934 smash-hit musical The Great Waltz, conceived, directed, and lighted by Hassard. Short, with a book by Moss Hart, choreography by Albertina Rasch, based on the Viennese operetta and London hit, Waltzes From Vienna with English lyrics by Desmond Carter, and featuring the music of both Johann Strausses, I and II. If you missed the first episode in this series, you may want to catch up with that before listening to this one. Today, because 2025 marks the 200th anniversary of the birth of Johann Strauss II, I begin by taking a brief survey of his surprisingly substantial legacy on Broadway, including 26 Broadway productions featuring his music between 1882 and 1990. Then Albert and I begin to explore the long legacy of The Great Waltz, which includes multiple film and stage productions spanning from the 1930s to the 1970s, with a special focus in this episode on the fourth incarnation of this musical: the 1938 MGM film operetta, also titled The Great Waltz. But is it indeed a movie version of the Broadway show? That's the big question we try to solve. Learn more about your ad choices. Visit megaphone.fm/adchoices
SUB TO THE PPM PATREON SO KLONNY GOSCH'S CORK BOARD LABOR OF LOVE CAN CONT FOR ANOTHER 100 EPISODES (AND GAIN ACCESS TO "SYSTEME ZAHAROFF II"):patreon.com/ParaPowerMappingIN CELEBRATION OF 100 EPISODES OF PPM, I am joined by SEBBE for a synchronized dive into the wilderness of mirrors that is the Balkans-trotting, death-peddling life of Basil Zaharoff, "the mystery man of Europe" whose blood money fortune rivaled those of Rockefeller and Henry Ford. We excavate how Zaharoff was a prototypical deep political figure foreshadowing more modern underworld ne'er-do-wells and sex-crazed arms traders like Jeffrey Epstein, Adnan Kashoggi, Viktor Bout, Sarkis Soghanalian, Efraim Diveroli, Robert Maxwell, etc. We also draw a number of Erik Jan Hanussen symmetries, convenient considering a likely candidate for a character partly patterned after him in Shadow Ticket.This is the first entry in the SCIF SESSIONS featuring past guests, friends, and Cork Board Cadre members. I initially planned to release a monster episode in call-in special style, but as I got a number of sessions under my belt, it became apparent that a 20 hour or so episode would be prohibitive. So instead, I will be dropping the conversations in discrete installments in between our regular programming. Lots of great material coming at you.File under: parallels with our Shadow Ticket exegesis by way of Zedzed's relationship with British intelligence and Viennese manse, which evoke MI3b agents Pips and Alf Quarrender; Zaharoff's ward Tereza Damala's amorous relations with Gabriele d'Annunzio also evoking ST; his remote cameo in Against the Day via purchasing agent Viktor Mulciber, who is pursuing the Q-Weapon at Zaharoff's behest (which harnesses time as means of violence), his latter attempts to sell it to the Japanese, and Clive Crouchmas' thwarted scheme to sex traffick the scarlet strumpet Dahlia Rideout to the Lord of War, a bribe seeking to tempt his fabled appetite for redheaded Babalonian women; Hergé, Tintin, and Basil Bazarov lampooning the int'l man of mystery; the varying accounts of Zaharoff's early life and heritage, whether Greek, Turkish, Russian Jew, etc. etc.; his criminal adolescence as a member of an arsonry gang cum fire department, a racket in Constantinople where they would burn down wealthy homes and extort payment and which is right on theme with our recent history of class violence, organized crime, racketeering, and transformismo; his time as a brothel tout; human trafficker in Galway, Ireland, sending girls to MasSUSchusetts textile mills; bigamist marrying a dame in Philly; confidence artist; etc.; there are myriad legends, some of which we'll unpack in Pt. II; all trails eventually merge with Zaharoff's employment as a Nordenfelt machine gun salesman; which leads to his relationship with machine gun manufacturer Hiram Maxim; the Rothschilds connection; PM David Lloyd George; negotiations to bribe the Young Turks and Enver Pasha into abandoning the Central Powers circa WWI; and much much more. I am doing my best to ward off burnt-outage, but I think that is sufficient for liner notes for this second. A second part, solo, and with some research revolving around a possible outcropping of the Zaharoff network amounting to a Nazi - Z i o n i s t gun running ring in Palestine in the late '30s and which I'm actually quite giddy over and which may well be relatively novel and which certainly expands upon past points of interest... will follow in the morning. Inshallah.Song:| Spirit Hz - "Promis" | https://spirithz.bandcamp.com/album/there-is-only-one-thing
Explore the dramatic irony of turn-of-the-century Vienna, a city that both nurtured titans of Jewish thought and art—from Freud to Mahler—and became the hotbed for modern, racial antisemitism. Discover how Jewish luminaries defined Viennese modernity while simultaneously facing an increasingly hostile political and social climate. This episode delves into the genius and the heartbreak of the "Wandering Jews" whose contributions and fates molded and reflected the modern European experience. Links for Additional Reading:Our City! Jewish Vienna - Then to Now, The Vienna Jewish MuseumAmbivalent Modernity: the Jewish Population in Vienna by Albert Lichtblau, Issues in Contemporary Jewish HistoryHow To Deal With Anti-Semitic Legacies And Historically Burdened Places In Public Urban Spaces? The Case Of The Lueger Monument In Vienna, OppAttuneFollow us on Facebook, Instagram, and LinkedIn!Find more at j2adventures.com Hosted on Acast. See acast.com/privacy for more information.
This week on Better Buildings for Humans, host Joe Menchefski connects with Georg Molzer, Austrian tech visionary and creator of Shadowmap—a groundbreaking platform that's redefining our relationship with sunlight. From early engineering dreams to burnout recovery and a brilliant balcony epiphany, Georg shares how a dark Viennese winter inspired him to illuminate how we understand solar exposure in cities, homes, and beyond. In this episode, Georg and Joe explore how Shadowmap's intuitive 4D visualization tool is empowering architects, real estate developers, and everyday users to design healthier, more sun-filled environments. They dig into the rising global awareness of sunlight's impact on health and productivity, and how data-rich simulations can prevent costly design mistakes. Whether you're an architect, planner, or sunlight enthusiast, this conversation will make you think differently about how—and where—we build.More About Georg MolzerAt the age of 16, while still attending high school, Georg Molzer had his first job as a programmer and designer for a Viennese health startup. Four years later, while studying visual computing at TU Wien, he founded his first consulting company. In 2015, he became co-founder and CTO of kiweno, an Austrian health tech startup, where he gained important entrepreneurial experience and went through the typical (and perhaps also less typical) founder's journey.His subsequent burnout and his love of the sun led him to follow his heart and work on an idea he had had six years earlier during a dark Viennese winter: an app that reconnects people with the sun: Shadowmap. Georg is convinced that the sensible use of solar energy – and the power of the sun in general – would solve many global problems in no time: better architecture, more livable living space, healthier and happier lives, higher, sustainable energy yields. Putting humanity first. His passion for the topic has turned Shadowmap into a globally leading product within a few years, which is used by hundreds of thousand people worldwide every month and is now also integrated into large real estate portals, reaching more humans than ever before.Contact:https://www.linkedin.com/in/molzer https://www.x.com/georgmolzer https://www.linkedin.com/company/shadowmap/https://www.instagram.com/shadowmap_org https://www.x.com/shadowmap_org Where To Find Us:https://bbfhpod.advancedglazings.com/www.advancedglazings.comhttps://www.linkedin.com/company/better-buildings-for-humans-podcastwww.linkedin.com/in/advanced-glazings-ltd-848b4625https://twitter.com/bbfhpodhttps://twitter.com/Solera_Daylighthttps://www.instagram.com/bbfhpod/https://www.instagram.com/advancedglazingsltdhttps://www.facebook.com/AdvancedGlazingsltd
Send us a textDescriptionMozart's Piano: The Enlightenment's Favourite Sound Machine in 60 Seconds. Take a minute to get the scoop!Fun FactMozart loved his personal fortepiano so much he took it on tour. It still survives today in Salzburg. Unlike modern pianos, its keys are wood-topped, not ivory, and its sound is surprisingly intimate—more like a lively conversation than a thunderous recital. You could almost imagine it gossiping in Viennese.About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.Support the show
Choice Classic Radio presents Sherlock Holmes. Today we bring to you the episode titled “The Viennese Strangler.” Please consider supporting our show by becoming a patron at http://choiceclassicradio.com We hope you enjoy the show!
This Day in Legal History: Nixon Vetoes War Powers ResolutionOn October 24, 1973, President Richard Nixon vetoed the War Powers Resolution (H.J. Res. 542), a landmark piece of legislation passed by Congress to reassert its constitutional authority over decisions to deploy U.S. armed forces abroad. The resolution came in the wake of growing public and congressional frustration over the Vietnam War and secret military actions in Southeast Asia. The law required the President to notify Congress within 48 hours of deploying troops and prohibited armed forces from remaining in conflict for more than 60 days without congressional authorization. Nixon, in a written veto message, declared the measure “unconstitutional and dangerous,” arguing that it infringed on the President's Article II powers as Commander-in-Chief.Despite Nixon's objections, Congress overrode the veto on November 7, 1973, with bipartisan support, thereby enacting the War Powers Resolution into law. This override marked a rare and forceful assertion of legislative authority over foreign military engagements. The resolution aimed to correct what many in Congress saw as decades of executive overreach in matters of war and peace. However, its constitutional legitimacy has remained contested. Presidents from both parties have often complied only in part—or ignored it altogether—asserting that the resolution unlawfully limits executive authority.While the War Powers Resolution was intended to prevent unilateral military action, it has had limited practical effect in restraining presidents from engaging in hostilities without express congressional approval. Legal scholars continue to debate its enforceability and the constitutional balance it attempts to strike. The 1973 veto and subsequent override encapsulate enduring tensions between the executive and legislative branches over control of U.S. military power.Two federal judges—Julien Neals of New Jersey and Henry Wingate of Mississippi—recently admitted that erroneous rulings issued from their chambers were the result of law clerks or interns improperly using AI tools. The judges revealed in letters to the Administrative Office of the U.S. Courts that the flawed opinions contained fictitious citations or parties due to unvetted generative AI research. Judge Neals said a law school intern used ChatGPT, which led to nonexistent case quotes in a June 30 order, violating his chambers' unwritten policy against AI use. He has since formalized that policy. Judge Wingate reported that a law clerk used Perplexity AI to help draft a July 20 restraining order, which contained completely inaccurate case details. He acknowledged the draft “should have never been docketed” and is now requiring dual reviews of all drafts and hard-copy verification of cited cases.Legal scholars were critical of the situation, arguing that the use of AI does not relieve judges of their duty to verify citations and legal reasoning. Professors Stephen Gillers and Bruce Green both questioned how such oversights could occur and whether this reflects a broader trend of judges signing off on unverified drafts. Senator Chuck Grassley, who initiated an inquiry into the incidents, urged the judiciary to develop robust AI policies to prevent similar breakdowns in judicial accuracy. Interim guidance from the Administrative Office of the U.S. Courts now cautions against using AI for core judicial tasks and emphasizes user accountability.Judges Admit to Using AI After Made-Up Rulings Called Out (1)Rep.-elect Adelita Grijalva (D-Ariz.) has filed a lawsuit seeking to compel the House of Representatives to officially swear her in, and the case has been assigned to Judge Trevor N. McFadden, a Trump-appointed federal judge in Washington, D.C. Grijalva, who won a special election on September 23 to succeed her late father, Raúl Grijalva, has not yet been seated, and Speaker Mike Johnson (R-La.) has delayed scheduling her swearing-in. Her formal entry into Congress would reduce the Republican majority and enable Democrats to trigger a vote on releasing Jeffrey Epstein-related documents.Judge McFadden is known for conservative rulings, though his record includes some independent decisions, such as restoring the Associated Press' White House access. Grijalva's legal team is examining the implications of his assignment to the case.Grijalva argues that the delay is not just procedural but prevents her from doing the basic work of a representative. Without a formal swearing-in, she lacks an office budget, staff, constituent services, and a working phone line. The number for her late father's office still routes to outdated voicemails. In contrast, Speaker Johnson downplayed the significance of the delay, suggesting Grijalva can still serve constituents informally. The case, Ariz. v. House of Representatives, now centers not only on procedural norms but also on the balance of political power in a narrowly divided House.Grijalva's Lawsuit to Force House Swearing-In Draws Trump JudgeNew York Attorney General Letitia James is expected to plead not guilty today in federal court to charges of bank fraud and making a false statement to a financial institution. The indictment accuses her of misrepresenting a 2020 Norfolk, Virginia property as a second home to secure a lower mortgage interest rate—saving nearly $19,000—when she allegedly used the home as a rental investment. James denies wrongdoing and plans to challenge the charges, calling them baseless.The case marks a dramatic turn for James, a Democrat who last year won a $450 million civil fraud judgment against Donald Trump. Although the monetary penalty was overturned on appeal, the court upheld the underlying fraud finding. James is one of several public figures who have clashed with Trump and are now facing criminal charges under his administration, alongside former FBI Director James Comey and former National Security Adviser John Bolton.Critics, including a third of Republicans according to a Reuters/Ipsos poll, believe Trump is weaponizing federal law enforcement to target perceived enemies. The lead prosecutor in the James case, U.S. Attorney Lindsey Halligan, was appointed by Trump after he replaced a prior prosecutor who raised concerns about the strength of the case. James' team argues Halligan is unlawfully serving in the role and has already moved to dismiss the charges. The case will be heard by U.S. District Judge Jamar Walker, a Biden appointee.NY Attorney General Letitia James, a Trump adversary, to plead not guilty to mortgage charge | ReutersThis week's closing theme is by Johann Strauss, Jr.This week's closing theme features Johann Strauss Jr. and a spirited dive into the Wiener Klänge im Walzertakt mit Johann Strauss – I (”Viennese Sounds in Waltz Time with Johann Strauss – I”). Known as the “Waltz King,” Strauss Jr. was born on October 25, 1825, in Vienna and became the most celebrated composer of light dance music in the 19th century. While his father, Johann Strauss Sr., founded the family's musical dynasty, it was Strauss Jr. who elevated the Viennese waltz to international acclaim, transforming what had been a lively but modest ballroom dance into a glittering art form.Strauss Jr. composed over 500 works, including waltzes, polkas, and operettas, many of which captured the charm and social energy of Habsburg Vienna. His most famous pieces—like The Blue Danube, Tales from the Vienna Woods, and Vienna Blood—remain fixtures in concert halls and New Year's galas to this day. The selection in Wiener Klänge im Walzertakt offers a snapshot of this legacy, blending elegance, momentum, and melodic wit with unmistakable Viennese flair.Beyond their musical appeal, these waltzes represent a cultural moment: a fading empire still wrapped in gilded pageantry, danced into memory by the music of Strauss. They also underscore Strauss Jr.'s gift for orchestration—light but never shallow, sentimental yet never saccharine. His music invites listeners not just to hear, but to move, swirl, and feel the rhythm of a society twirling on the edge of modernity.As we close this week, let the shimmering 3/4 time of Johann Strauss Jr. remind us of both the power of beauty and the politics of public joy. In the same way his music bridged popular entertainment and sophisticated art, so too does this moment ask us to consider how culture can move between courts, crowds, and chambers alike.Without further ado, Viennese Sounds in Waltz Time with Johann Strauss, the first movement – enjoy! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe
Choice Classic Radio presents Sherlock Holmes, which aired from 1939 to 1950. Today we bring to you the episode titled “The Viennese Strangler.” Please consider supporting our show by becoming a patron at http://choiceclassicradio.com We hope you enjoy the show!
Episode 175 October 15, 2025 HAPPY 7TH ANNIVERSARY! On the Needles ALL KNITTING LINKS GO TO RAVELRY UNLESS OTHERWISE NOTED. Please visit our Instagram page @craftcookreadrepeat for non-Rav photos and info Paul klee- saw in vienna! Flax worsted Fleetwood Cortney loved: the succulent squares–eager for tote bag collaboration. And the Paul Klee sweater. On the Easel 4:11 More variety, darker colors and backgrounds Grey parrot with red in March Ceramics Cortney loved: delving into floral paintings, floral ceramics, growing flowers…also–the kryptonite illustration, and Monica's Viennese cake collection. On the Table 7:11 Cocktail club Empty nest= one gf veg meal! Double swiss chicken cutlets Cortney loved: cocktail club–so inspiring! And teaching my boys how to cook. On the Nightstand 12:49 We are now a Bookshop.org affiliate! You can visit our shop to find books we've talked about or click on the links below. The books are supplied by local independent bookstores and a percentage goes to us at no cost to you! Weird books are the best! Endling by Maria Reva On the Calculation of Volume by Solvej Balle Orbital by Samatha Harvey Under the Eye of the Big Bird by Hiromi Kawakami Cortney loved: catching up with the LouisePenny Three Pines series. All the floral volumes this spring (great resources!), and the Eco-lit list in our Bookshop.org site.
We explore different ways to build community through entrepreneurship. June O’Sullivan talks about the role of social enterprise in shaping modern business. Then: Alexei Korolyov meets the founder of an independent Viennese cafe chain.See omnystudio.com/listener for privacy information.
On Thursday 26 June 2025, Tāmaki Pātaka Kōrero | Central City Library presented The Kotuku Quintet in a special concert: From Mozart to Matariki The programme was based on a Mozart piano concerto and drew on inspiration from the celebration of Matariki in a brand new work by pianist and composer Louise Webster. Piano concerto no. 13 in C, KV 415 W.A. Mozart Allegro ; Andante ; Rondeau: Allegro Mozart's Piano concerto in C KV 415 was written in Vienna in 1782, one of three composed for sale to the Viennese public by advance subscription. A major selling point was that they were composed not only for concert use but also for performance at home, as the wind parts were not structurally important and could easily be dispensed with. The concerto is in three movements. The opening Allegro has a march-like theme, the Andante is lyrical and operatic in character, and the work ends with a Rondeau finale, where jovial sections alternate with a pair of pathos-laden Adagios. Phantasy for Piano Quartet in F# minor Frank Bridge The Phantasy for Piano Quartet was written in 1910, and is one of Bridge s most characterful early works, showing the influence of Brahms and French Romanticisim. All the musical ideas spring from the passionate opening flourish. There are three main sections. The first, Andante con moto , flows with Gallic grace, rather like a Barcarolle. A scherzo, Allegro vivace , follows, with a contrasting song song-like trio section that looks back to the opening ideas. A short recitative recitative-like passage then leads back to a reprise of the opening themes. The music moves into an impassioned climax before dying away to what Benjamin Britten described as a short coda which suggests the deep red afterglow of a sunset Lastly the feature piece - The paths of the sisters (2025) Louise Webster This work was commissioned by Ngā Pātaka Korero o Tamaki Makaurau for the celebration of Matariki. The title of the work 'following the paths of the sisters' refers to the Matariki constellation, welcoming the growth of the year to come. The stars are known as Matariki in Aotearoa and the Pleiades (the seven sisters) in the North. In many cultures the stars are viewed as a group of sisters, often accompanied by other family members. "While writing this work I thought of my for-bears, travelling by sea in 1839 from Caithness in the North of Scotland to Aotearoa, following the Matariki stars which remained a constant while all else changed" Louise Webster - composer. The Kotuku Quintet are: Simon Ansell (violin), John Seager (violin), Judith Gust (viola), Sally-Anne Brown (cello), and Louise Webster (piano).
This month on Minnesota Night Skies, September means cooler temps and no mosquitos - great stargazing weather! We've got tips for watching the lunar eclipse (the one that's not visible in North America) September 7 via a livestream. There's a double - or triple - conjunction September 19 this month (if you want to sing the song, here's the link). Venus, Regulus, and that ol' crescent moon will be, as Bob says, "stacked like a Viennese torte." Plus, it sounds like something out of Law and Order: Special Victims Unit. Bob says the idea of a Blood Moon is "particularly heinous." Autumn begins at 1:19pm September 20, and look for something called "zodiacal light." And next month, the Orionids from Halley's comet and no lunar interference! All the details of October, next month on Minnesota Night Skies! Astro Bob is podcasting! Astro Bob King and Echo Press reporter and host Lisa Johnson did an astronomy radio show together for many years, and now they're back on a new podcast for all of Minnesota, called Minnesota Night Skies. Bob King is an amateur astronomer, an photographer and author. His most recent book is called “Magnificent Aurora” about the Northern Lights. He writes a syndicated column for the Duluth News Tribune and is a regular contributor to Sky & Telescope magazine. Bob recommends several guides to help you find what's up in the sky. For more information about the star maps and a local information calendar, you can check out Skymaps.com. You can look for Starwalk and Stellarium Mobile wherever you get your apps. They're available for both Apple and Android phones. And check out Heavens Above at Heavens Above.com.
The Assistant Professor of Football: Soccer, Culture, History.
Damiano Benzoni, Italian journalist and seasoned groundhopper, has written a wonderful book - an "emotive map of football in Berlin," a rich portrait of a city through the eyes of football. And when that city happens to be the German capital, torn by wars, shaped by the dvide between two Germanies and various migrant influences, the texture of such a book happens to be particularly interesting. The book, for now, is available only in Italien, so consider this an English language exclusive.We also get an update on SC Freiburg's last season. And just to scare the right people away, an Austrian workers' song that dovetails wonderfully with Gabriel Kuhn's engaging portrait of a social democratic soccer utopia from Spring.HELPFUL LINKS FOR THIS EPISODE:Book website (Urbone Publishing)Damiano Benzoni on X and InstagramBiberstand Boys - Unioner im Haus (YouTube) - this is an anti-Union song, mind you!Die Arbeiter von Wien - Austrian workers' song (YouTube), with English lyricsNEW: send me a text message! (I'd love to hear your thoughts - texts get to me anonymously, without charge or signup) Please leave a quick voicemail with any feedback, corrections, suggestions - or just greetings - HERE. Or comment via Twitter, Instagram, Bluesky or Facebook. If you enjoy this podcast and think that what I do fills a gap in soccer coverage that others would be interested in as well, please Recommend The Assistant Professor of Football. Spreading the word, through word of mouth, truly does help. Leave some rating stars at the podcast platform of your choice. There are so many sports podcasts out there, and only ratings make this project visible; only then can people who look for a different kind of take on European soccer actually find me. Artwork for The Assistant Professor of Football is by Saige LindInstrumental music for this podcast, including the introduction track, is by the artist Ketsa and used under a Creative Commons license through Free Music Archive: https://freemusicarchive.org/music/Ketsa/
Winner of eight Academy Awards including Best Picture, Miloš Forman's masterpiece tells the story of Mozart through the envious eyes of his rival Salieri. But how did a Czech director come to make a classic Viennese tale? And what's the real story behind "too many notes"?Join John, Westy, and Matt as they dive deep into the making of a theatrical triumph turned cinematic classic. From Peter Shaffer adapting his own stage play to Tom Hulce's rock-and-roll approach to playing Mozart (yes, really), we explore how Forman transformed a Broadway hit into one of cinema's great achievements.We uncover the fascinating production history, including the painstaking recreation of 18th-century Vienna, the decision to film in Prague during the Cold War, and which Hollywood legends (plus a Rolling Stone) were originally considered for the lead roles. Plus, discover how F. Murray Abraham's performance as Salieri became the perfect embodiment of jealousy and genius, and why this film makes you simultaneously want to compose a symphony and maybe poison your neighbour (we don't recommend the latter).This is the story of how one of history's greatest composers became the subject of one of cinema's greatest films—told the way only All The Right Movies can tell it.Telling the story of Hollywood, one movie at a time.Connect with ATRM: To support what we do, access our archive and listen to exclusive episodes, become an ATRM patron:Listen on Patreon Listen on Apple PodcastsListen on SpotifyTwitter/X: @ATRightMoviesYouTube: Subscribe to our channelInstagram: @allthe_rightmovies Threads: @allthe_rightmoviesFacebook: Join our movie groupBluesky: @alltherightmovies.comTikTok: @alltherightmoviesWebsite: alltherightmovies.com
Synopsis“Time is a funny thing,” as one of the more philosophically-inclined Viennese characters so wisely observed in Richard Strauss' opera Der Rosenkavalier.Der Rosenkavalier had its premiere in 1911, and coincidentally, on today's date that year, Viennese composer Anton von Webern completed one of the shortest orchestral works ever written — the fourth of his Five Pieces for Orchestra, which lasts about 20 seconds time. It's so short, it takes longer to describe the music than to actually hear it!Webern was attempting to render down the extravagant style of late-Romantic composers like Strauss and Mahler into its quintessence — a haiku-like concentration of gesture and color, the musical equivalent of a Japanese painting of just a few deft brush strokes across a blank canvas, with more implied than actually shown.In the same spirit, but at the opposite end of the time spectrum, is the work of American composer Morton Feldman, who holds the record for composing some of the longest pieces ever written. Feldman was friends with, and inspired by, painters of the so-called New York School, including Mark Rothko and Philip Guston. A 1984 work by Feldman is titled For Philip Guston, and, in complete performance, it's a piece that runs about four hours.Music Played in Today's ProgramRichard Strauss (1864-1949): Der Rosenkavalier: Suite; New York Philharmonic; Lorin Maazel, conductor; DG 7890Anton Webern (1883-1945): No. 4, from Five Pieces for Orchestra; Ensemble InterContemporain; Pierre Boulez, conductor; DG 437786Morton Feldman (1926-1987): For Philip Guston; The California EAR Unit; Bridge 9078
In today's war diary, Alexander Shelest and Alexey Arestovich discussed the main news on the 1209th day of war:➤ 00:00 Alexander Shelest: On-air poll. Do you trust Zelensky?➤ 01:45 Israel's war with Iran: what does it promise for the region and how will it affect Ukraine? For the US, the Middle East is of a higher priority than Ukraine. Iran as an exaggerated "army, language, faith" vector.➤ 05:23 Parallel between Russia's self-defense against Ukraine and Israel's self-defense against Iran.➤ 07:05 Did Trump know about Israel's plans to attack Iran? Israel's goals.➤ 09:30 Domestic political situation in Iran. Israel separates the Iranian population from the ayatollahs.➤ 14:00 Does Iran have the ability to crush Israel through an air component?➤ 17:18 Will the US join Israel's military operation? The connection between Pakistan, China and Iran.➤ 19:44 Is it possible for the war in Iran to move to a land phase?➤ 23:58 The role of the US and India in Israel's war?➤ 26:10 The story of Zhirinovsky: where do his prophetic predictions come from?➤ 28:32 Ukraine: what do Zelensky's statements in Austria mean?➤ 33:25 Why do Russians have more bodies of Ukrainian defenders?➤ 37:05 The cult of death UIA dugouts and the "corpse dances" of the Ukrainian authorities.➤ 40:42 How do you personally feel about the story with the transfer of the fallen defenders of Ukraine's bodies?➤ 42:55 The history of hypocrisy as exemplified by the persecution of Verka Serduchka and Valeriy Lobanovsky: political Ukrainianism are beginning to persecute their own. In what form can Ukraine exist and how many Ukraines can there be?➤ 52:45 What should be done to ensure that Ukraine survives?➤ 56:29 Personal goals of Bandera and Petliura and the possibility of real action.Olexiy Arestovych (Kiev): Advisor to the Office of Ukraine President : https://en.wikipedia.org/wiki/Oleksiy_ArestovychOfficial channel: https://www.youtube.com/channel/UCjWy2g76QZf7QLEwx4cB46gAlexander Shelest - Ukranian journalist. Youtube: @a.shelest Telegram: https://t.me/shelestlive
Named a Best Book of the Year by Kirkus Reviews and a Notable Translated Book of the Year by World Literature Today Winner of the August Prize, the story of the complicated long-distance relationship between a Jewish child and his forlorn Viennese parents after he was sent to Sweden in 1939, and the unexpected friendship the boy developed with the future founder of IKEA, a Nazi activist. And in the Vienna Woods the Trees Remain: The Heartbreaking True Story of a Family Torn Apart by War (Other Press, 2020). Otto Ullmann, a Jewish boy, was sent from Austria to Sweden right before the outbreak of World War II. Despite the huge Swedish resistance to Jewish refugees, thirteen-year-old Otto was granted permission to enter the country—all in accordance with the Swedish archbishop's secret plan to save Jews on condition that they convert to Christianity. Otto found work at the Kamprad family's farm in the province of Småland and there became close friends with Ingvar Kamprad, who would grow up to be the founder of IKEA. At the same time, however, Ingvar was actively engaged in Nazi organizations and a great supporter of the fascist Per Engdahl. Meanwhile, Otto's parents remained trapped in Vienna, and the last letters he received were sent from Theresienstadt.With thorough research, including personal files initiated by the predecessor to today's Swedish Security Service (SÄPO) and more than 500 letters, Elisabeth Åsbrink illustrates how Swedish society was infused with anti-Semitism, and how families are shattered by war and asylum politics. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
Named a Best Book of the Year by Kirkus Reviews and a Notable Translated Book of the Year by World Literature Today Winner of the August Prize, the story of the complicated long-distance relationship between a Jewish child and his forlorn Viennese parents after he was sent to Sweden in 1939, and the unexpected friendship the boy developed with the future founder of IKEA, a Nazi activist. And in the Vienna Woods the Trees Remain: The Heartbreaking True Story of a Family Torn Apart by War (Other Press, 2020). Otto Ullmann, a Jewish boy, was sent from Austria to Sweden right before the outbreak of World War II. Despite the huge Swedish resistance to Jewish refugees, thirteen-year-old Otto was granted permission to enter the country—all in accordance with the Swedish archbishop's secret plan to save Jews on condition that they convert to Christianity. Otto found work at the Kamprad family's farm in the province of Småland and there became close friends with Ingvar Kamprad, who would grow up to be the founder of IKEA. At the same time, however, Ingvar was actively engaged in Nazi organizations and a great supporter of the fascist Per Engdahl. Meanwhile, Otto's parents remained trapped in Vienna, and the last letters he received were sent from Theresienstadt.With thorough research, including personal files initiated by the predecessor to today's Swedish Security Service (SÄPO) and more than 500 letters, Elisabeth Åsbrink illustrates how Swedish society was infused with anti-Semitism, and how families are shattered by war and asylum politics. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/jewish-studies
Named a Best Book of the Year by Kirkus Reviews and a Notable Translated Book of the Year by World Literature Today Winner of the August Prize, the story of the complicated long-distance relationship between a Jewish child and his forlorn Viennese parents after he was sent to Sweden in 1939, and the unexpected friendship the boy developed with the future founder of IKEA, a Nazi activist. And in the Vienna Woods the Trees Remain: The Heartbreaking True Story of a Family Torn Apart by War (Other Press, 2020). Otto Ullmann, a Jewish boy, was sent from Austria to Sweden right before the outbreak of World War II. Despite the huge Swedish resistance to Jewish refugees, thirteen-year-old Otto was granted permission to enter the country—all in accordance with the Swedish archbishop's secret plan to save Jews on condition that they convert to Christianity. Otto found work at the Kamprad family's farm in the province of Småland and there became close friends with Ingvar Kamprad, who would grow up to be the founder of IKEA. At the same time, however, Ingvar was actively engaged in Nazi organizations and a great supporter of the fascist Per Engdahl. Meanwhile, Otto's parents remained trapped in Vienna, and the last letters he received were sent from Theresienstadt.With thorough research, including personal files initiated by the predecessor to today's Swedish Security Service (SÄPO) and more than 500 letters, Elisabeth Åsbrink illustrates how Swedish society was infused with anti-Semitism, and how families are shattered by war and asylum politics. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies
What if the bravest thing you ever did wasn't getting on a plane — but stepping onto a dance floor?In this episode of Design Her Travel, host Kim Anderson sits down with Jen Todling, a traveler, dancer, and memoirist who quite literally danced her way around the world and, in doing so, found her way back to herself.At 30, Jen made a bold choice: to combine intentional travel with her love of dance. From the elegant Viennese waltz in Austria to the soulful samba in Brazil and the intimate tango in Argentina, she used movement as a way to heal, connect, and transform. Her global dance journey inspired her new memoir, Dancing on My Own Two Feet.If you've ever dreamed of dancing your way through different cultures, living more creatively, or stepping into a more courageous version of yourself, this conversation will spark something deep inside you.In this episode, you'll learn:How dancing around the world can deepen your connection to culture, community, and selfWhat it really looks like to face your fears and move toward transformation, one step at a timeHow to start adding creative practices like dance to your travels, even if you've never taken a class beforeThis one's for the travelers, the creatives, the late bloomers, and the dream-chasers. Hit play and find out what happens when you stop waiting and start dancing.RESOURCES:Connect with Jen: Website, SubstackPick up a copy of her new book: Dancing on My Own Two Feet⚡ ROUND BOOK: The Year of Yes by Shonda RimesLOVE THIS & WANT MORE? Check out these episodes:TRAVEL TALK: The Ultimate Guide to Traveling the World Through Your Hobby #153Want travel tips and a behind-the-scenes look at the podcast? SIGN UP for our weekly newsletter here! It's just the good stuff, I promise. No spam here. Support the showMore Travel with Less Money—Download Your FREE GUIDE & Start Exploring! Let's connect on Instagram! @DesignHerTravel Get $20 when you Sign-Up for Buzzsprout Please Note: I may earn a small commission when purchasing through these links. It doesn't cost you anything extra but does help support the show.
Austria has triumphed at Eurovision 2025, securing its third-ever win with operatic pop singer JJ's electrifying performance of Wasted Love. The 24-year-old Viennese artist, born to Austrian and Filipino parents, blended soaring falsetto with techno and opera to win over juries and the public alike.
Actor Geoffrey McGivern (Hitchhiker's Guide To The Galaxy, Ghosts, Back) talks about the bittersweet Viennese comforts of Graham Greene and Carol Reed's blackly comic thriller 'The Third Man'.Support us making these podcasts by becoming a paid subscriber at:https://joelmorris.substack.com/or:https://www.patreon.com/c/comfortblanketpodor donate via ko-fi at:https://ko-fi.com/gralefrit Hosted on Acast. See acast.com/privacy for more information.
How do we best see and understand the art of late antiquity? One of the perceived challenges of so doing is that this is a period whose visual production has been defined as stylistically abstract and emotionally spiritual, and therefore elusive. But this is a perception which – in her path-breaking new book – Sarah Bassett boldly challenges, offering two novel lines of interpretative inquiry. She first argues, by focusing on the art of late antiquity in late nineteenth-century Viennese intellectual and artistic circles, that that period's definition of late antique form was in fact a response to contemporaneous political concerns, anticipating modernist thinking and artistic practice. She then suggests that late antique viewers never actually abandoned a sense of those mimetic goals that characterized Greek and Roman habits of representation. This interpretative shift is transformative because it allows us to understand the full range and richness of late antique visual experience. New Books in Late Antiquity is presented by Ancient Jew Review Sarah Bassett is Associate Professor Emerita, Art History at Indiana University Michael Motia teaches in Classics and Religious Studies at UMass Boston Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
How do we best see and understand the art of late antiquity? One of the perceived challenges of so doing is that this is a period whose visual production has been defined as stylistically abstract and emotionally spiritual, and therefore elusive. But this is a perception which – in her path-breaking new book – Sarah Bassett boldly challenges, offering two novel lines of interpretative inquiry. She first argues, by focusing on the art of late antiquity in late nineteenth-century Viennese intellectual and artistic circles, that that period's definition of late antique form was in fact a response to contemporaneous political concerns, anticipating modernist thinking and artistic practice. She then suggests that late antique viewers never actually abandoned a sense of those mimetic goals that characterized Greek and Roman habits of representation. This interpretative shift is transformative because it allows us to understand the full range and richness of late antique visual experience. New Books in Late Antiquity is presented by Ancient Jew Review Sarah Bassett is Associate Professor Emerita, Art History at Indiana University Michael Motia teaches in Classics and Religious Studies at UMass Boston Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history
How do we best see and understand the art of late antiquity? One of the perceived challenges of so doing is that this is a period whose visual production has been defined as stylistically abstract and emotionally spiritual, and therefore elusive. But this is a perception which – in her path-breaking new book – Sarah Bassett boldly challenges, offering two novel lines of interpretative inquiry. She first argues, by focusing on the art of late antiquity in late nineteenth-century Viennese intellectual and artistic circles, that that period's definition of late antique form was in fact a response to contemporaneous political concerns, anticipating modernist thinking and artistic practice. She then suggests that late antique viewers never actually abandoned a sense of those mimetic goals that characterized Greek and Roman habits of representation. This interpretative shift is transformative because it allows us to understand the full range and richness of late antique visual experience. New Books in Late Antiquity is presented by Ancient Jew Review Sarah Bassett is Associate Professor Emerita, Art History at Indiana University Michael Motia teaches in Classics and Religious Studies at UMass Boston Learn more about your ad choices. Visit megaphone.fm/adchoices
How do we best see and understand the art of late antiquity? One of the perceived challenges of so doing is that this is a period whose visual production has been defined as stylistically abstract and emotionally spiritual, and therefore elusive. But this is a perception which – in her path-breaking new book – Sarah Bassett boldly challenges, offering two novel lines of interpretative inquiry. She first argues, by focusing on the art of late antiquity in late nineteenth-century Viennese intellectual and artistic circles, that that period's definition of late antique form was in fact a response to contemporaneous political concerns, anticipating modernist thinking and artistic practice. She then suggests that late antique viewers never actually abandoned a sense of those mimetic goals that characterized Greek and Roman habits of representation. This interpretative shift is transformative because it allows us to understand the full range and richness of late antique visual experience. New Books in Late Antiquity is presented by Ancient Jew Review Sarah Bassett is Associate Professor Emerita, Art History at Indiana University Michael Motia teaches in Classics and Religious Studies at UMass Boston Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art
How do we best see and understand the art of late antiquity? One of the perceived challenges of so doing is that this is a period whose visual production has been defined as stylistically abstract and emotionally spiritual, and therefore elusive. But this is a perception which – in her path-breaking new book – Sarah Bassett boldly challenges, offering two novel lines of interpretative inquiry. She first argues, by focusing on the art of late antiquity in late nineteenth-century Viennese intellectual and artistic circles, that that period's definition of late antique form was in fact a response to contemporaneous political concerns, anticipating modernist thinking and artistic practice. She then suggests that late antique viewers never actually abandoned a sense of those mimetic goals that characterized Greek and Roman habits of representation. This interpretative shift is transformative because it allows us to understand the full range and richness of late antique visual experience. New Books in Late Antiquity is presented by Ancient Jew Review Sarah Bassett is Associate Professor Emerita, Art History at Indiana University Michael Motia teaches in Classics and Religious Studies at UMass Boston
Comparing Rabbath, Simandl, and Suzuki Methods for Double BassWhen learning the double bass, choosing the right method can shape a musician's technique, interpretation, and overall approach to the instrument. Three of the most influential double bass pedagogical methods—François Rabbath, Franz Simandl, and Shinichi Suzuki—offer distinct philosophies, each with its strengths and limitations.Simandl Method: The Traditional FoundationFranz Simandl's New Method for the Double Bass (published in 1874) remains a cornerstone of classical double bass pedagogy. Rooted in the Viennese school of playing, it emphasizes strict positional playing, a systematic approach to shifting, and progressive technical development.Strengths:Structured Learning: Simandl's method divides the fingerboard into positions, with most of the left-hand technique built around half position and first position, progressively expanding.Orchestral Application: It prepares bassists well for classical and orchestral playing, focusing on intonation and bow control.Comprehensive Exercises: Etudes and exercises provide a solid technical foundation for developing consistent tone and precision.Limitations:Shifting Complexity: The heavy reliance on shifting (as opposed to pivoting or extended techniques) can make rapid passages feel cumbersome.Rigid Approach: Some bassists find Simandl's method too mechanical, limiting expression and modern techniques.The Simandl method is ideal for students who want a solid classical foundation, particularly those aiming for orchestral careers.Rabbath Method: A Revolutionary ApproachFrançois Rabbath, a Syrian-born French bassist, developed a modern approach to double bass playing, challenging many traditional techniques. His method, documented in Nouvelle Technique de la Contrebasse, promotes fluidity, efficiency, and musicality.Strengths:Fewer Positions, More Freedom: Instead of the rigid positional system of Simandl, Rabbath divides the fingerboard into six broad positions, relying on pivoting and natural hand shapes for smoother transitions.Expressive Playing: Encourages musical phrasing and a natural approach to technique, making it highly suitable for soloists and contemporary bassists.Ergonomic Efficiency: Advocates for economy of motion, reducing unnecessary tension and allowing faster, more agile playing.Thumb Position Mastery: Introduces thumb position early, which helps players navigate the upper register with ease.Limitations:Difficult to Adapt for Traditionalists: Bassists trained in Simandl may find Rabbath's method disorienting at first.Soloist-Oriented: While beneficial for expressive playing, some orchestral musicians feel it lacks the same rigor in foundational orchestral technique as Simandl.Rabbath's method is ideal for bassists seeking a freer, more modern approach, especially those interested in solo repertoire, jazz, and contemporary music.Suzuki Method: An Aural Approach for Early LearnersShinichi Suzuki's method, originally developed for violinists, has been adapted for double bass and emphasizes learning by ear, early musicality, and group learning. The Suzuki method introduces bassists to music through listening, imitation, and repetition, fostering strong fundamental technique from a young age.Strengths:Early Start: Suitable for very young learners, using simplified repertoire to build intonation, rhythm, and bowing technique.Emphasis on Ear Training: Develops intonation and phrasing naturally through listening and repetition.Group Learning: Encourages ensemble playing, making it highly engaging for young musicians.Limitations:Limited Repertoire for Advanced Players: While great for beginners, Suzuki's method lacks the depth of Simandl or Rabbath for professional-level development.Less Emphasis on Reading Music Initially: Since it focuses on aural learning, students might develop reading skills later compared to traditional methods.Suzuki is an excellent method for young beginners, offering a nurturing and ear-focused introduction to the double bass.Which Method is Best?The “best” method depends on the player's goals:For Orchestral Players: Simandl provides the most structured foundation.For Soloists and Contemporary Bassists: Rabbath offers fluidity and expressiveness.For Young Beginners: Suzuki nurtures musicality and ear training in an engaging way.Many modern bassists incorporate elements from all three—using Simandl for traditional technique, Rabbath for agility and expression, and Suzuki's principles for early training and musical development.No matter which method you choose, the key to mastering the double bass lies in dedicated practice, strong fundamentals, and musical expression.
Another fun podcast - this one on the morning of the Oscars. I had been sensing that Gene Hackman wanted to talk to us - whether accurate or not, but there were a number of folks that I know that he knew, and I did spend a day with him in Santa Fe. That being said, Robert Towne comes forward to talk about the film "Anora" - (Jennifer hears it as "Aurora" at first) I don't know if Robert was telling us who was going to win the Oscars a few hours later - but he does mention it first off. Then I asked Luana if this person who passed the past week wanted to come and speak to us - and he said that it was Robert Towne who greeted him and invited him to this conversation. Robert was the "ghost writer" on the film Bonnie and Clyde, long time collaborator with Warren Beatty. (Shampoo) I asked Gene if he wanted to talk about his passing - it's important to report that there's been no decided upon manner of passing - and it wasn't me or Jennifer who talked about "carbon monoxide" but that's what she got. He said it wasn't foul play, but something that happened. He said since he believed in afterlife, it wasn't surprising for him to see his friends - but he describes the beauty of that in details. He talks about a number of people that he saw, including our frequent guest Jimi Hendrix. We've asked Jimi about this in the past - he has said repeatedly that it's a role he likes to play because everyone recognizes him, even if they didn't know him. I asked if he was playing a song and asked if it might have been "Blue Suede Shoes" then reminded Jennifer we've heard multiple folks report hearing him playing that song (he recorded it in 1970). Gene was an accomplished artists, and I asked him about art on the flipside, and he said it was like music. He spoke of seeing Mozart - and I asked him a couple of questions. (He had shown up in a guided meditation the day before with a Viennese woman). We've been doing these conversations with people offstage for ten years, so apologies to those who are offended my laughing about things that he's saying - if one goes back over the past four years, they'll find many of our podcasts where we interviewed friends of Gene's on the other side. Including Gene Wilder, including Robin Williams, Robert Towne multiple times, Fred Roos and others that Gene Hackman worked with and was friends with - including Harry Dean Stanton. It just so happened that our podcast got delayed until today - it wasn't planned to happen this way - but when the Oscars ran their memorial, there are a number of people listed who we've interviewed on our podcast. Thanks again to Gene and condolences to his family - and friends - but I recommend taking the time to just ask him questions. He says it in the podcast when asked "How do people reach out to you?" He says "Just ask, but believe it's possible to hear a reply." By the way, the friend whose father I asked about the poem, said he didn't think it was accurate... that happens; Jennifer interprets what she's getting to the best of her ability. But as we hear on the podcast it does help if the folks trying to access them allow for the possibility they still exist.
Few books are timelier than Ian Goldin's new The Shortest History of Migration. Drawing from his personal history as a South African emigrant and his experience working with Nelson Mandela, the Oxford based Goldin explores the when, why and how humans move - from the prehistoric peopling of the planet to today and tomorrow's migrants. He addresses current political tensions, including J.D. Vance's recent criticisms of European migration policies and Elon Musk's controversial stance on immigration. Goldin argues that migration has been fundamental to human progress and economic growth, while acknowledging that there are legitimate questions about unregulated immigration policy. Here are the five KEEN ON take-aways from our conversation with Goldin* Migration patterns have remained remarkably consistent (about 3% of global population) over the past century, though absolute numbers have increased with population growth. However, what has changed dramatically is the creation of formal borders, passport controls, and our perception of migration.* There's a growing disconnect between political rhetoric and economic reality. While many politicians take strong anti-immigration stances, economies actually need migrants for their dynamism, particularly in aging societies. This is evidenced by Silicon Valley's success, where over half of tech entrepreneurs are migrants.* The distinction between economic migrants and refugees is crucial but often conflated in public discourse. Goldin argues that different policies are needed for each group - economic migration can be managed through choice, while refugee protection is a humanitarian obligation.* Local pressures versus national benefits create tension in immigration debates. While immigration's economic benefits often accrue nationally and long-term, the immediate pressures on housing, public services, and infrastructure are felt locally, leading to public resistance.* Future migration patterns will be dramatically reshaped by demographic changes, climate change, and automation by 2050. Goldin predicts that current debates about keeping people out may reverse as developed countries compete to attract migrants to address labor shortages and maintain economic growth.Full transcript of the Goldin interviewKEEN: Migration is back in the news. A couple of days ago, J.D. Vance was in Europe, in Munich, attacking Europe over its migration policy. Meanwhile, European politicians have slammed France's call to be inclusive of far-right parties which are hostile to immigration. Immigration is really one of the most controversial issues of our age, perhaps of any age, as is underlined by my guest Ian Goldin, one of the great thinkers on globalization. He has a new book out this week in the U.S., "The Shortest History of Migration." Ian is joining us from Oxford, where he lives and teaches. Ian, what do you make of this latest violent spat in Europe? Is it something new or just more of the same?GOLDIN: I think it is an escalation of previous trends. For the U.S. to come to Europe and talk about domestic policies represents a change not only in tone and intensity but also in diplomacy. Politicians don't tend to go to other countries—UK and European politicians don't go to the U.S. and tell the U.S. how to run itself. So it is different when the vice president of the U.S. comes to Europe and comments very directly about individuals, meets with far-right leaders, and basically tries to advise Europe on what to do. It's a big step up from what we've seen before, and it's very polarizing.KEEN: This term "far right"—and it's not a term that I know you invented, you just used it—is it appropriate to describe these anti-immigrant parties in Europe and indeed in the U.S.? The AfD in Germany, the Reform Party in the UK, the MAGA movement in America. Are they all premised on hostility to immigration?GOLDIN: Immigration unites parties across the political spectrum, and anti-immigration is certainly not the preserve of far-right parties. Even the Labor Party in the UK at the moment has come out as very hostile to immigration. But what's different about Vance's visit to the UK is that he met with the AfD leader in Germany, didn't meet with the leader of the government. He's the only major global leader who's met with the AfD. Similarly, we've seen members of Trump's cabinet, like Elon Musk, endorsing the Reform Party in the UK and pumping up what I think are legitimately described as far-right parties on the political spectrum in Europe. But as you say, it's not the exclusive domain of the far right to be anti-immigrant. This is sweeping the board across the spectrum in many European countries and in the U.S. The Democrats are also pretty anti-immigration.KEEN: You brought up Musk. You have something in common with him—you're both South African migrants who've made good in the West. There's something very odd about Musk. Maybe you can make more sense of it, particularly given what you have in common. On the one hand, he is the poster child for globalization and migration. He was brought up in South Africa, came to the U.S., made a fortune, and now is the richest man in the world. On the other hand, he seems to be the funder of all these reactionary, anti-immigrant parties. What's going on here?GOLDIN: There's a lot to be said. Musk was an immigrant himself, just like Trump's grandfather was to the U.S., just like many members of the Cabinet's forebears were. So there's a contradiction of people who really owe their histories and where they are to immigration being so anti-immigrant. Personally, I not only come from the same town and went to the same high school in Pretoria, South Africa, but I've met him. He came to Oxford—if you look on the Oxford Martin School website, you'll see a conversation we had when he brought the first Tesla up to Oxford. I think he's moved a long way in the last years. It's difficult to explain that, but clearly what he's saying today is not the same as he was saying 5 or 10 years ago.He and others like Peter Thiel are very strong supporters not only of MAGA but of similar parties in Europe. I think it represents a new force—the amount of money these people have is very significant, and they do make a real impact on politics. Indeed, it's likely that Musk directly through his giving had material impact on the U.S. presidential election. Rich people have always given to political parties and owned media, but this is a whole new level of engagement where extremely rich people can influence outcomes.KEEN: The subtitle of your book, "The Shortest History of Migration" is "When, Why, and How Humans Moved from the Prehistoric Peopling of the Planet to Today and Tomorrow's Migrants." It's an ambitious book, though short. Has something changed over the last 50 or 100 years? Humans have always been on the move, haven't they?GOLDIN: There have been dramatic changes. One change is the creation of borders as we know them today and passports, border controls. That's relatively recent—before the First World War, people could basically move around without the controls and identity documents we know today. Secondly, there are many more countries now, well over 100 countries. The number of borders has greatly increased.The cost of travel and the risk associated with travel—I don't mean dangerous crossings across the Rio Grande or the Sahara, but air travel, ship travel, and motor vehicles—has gone down dramatically. The world population has increased significantly. Although the share of people migrating hasn't budged over the last hundred years—it's about 3% of the world's population—the absolute numbers have increased because 3% of 8 billion people is clearly a much bigger number than 3% of what it was around 2 billion 100 years ago.The big change has really been in the way we think about migrants today compared to, for example, the age of mass migration when 20-25% of the U.S. was migrant in the period 1850-1892, before the First World War.KEEN: But wasn't that also fair to say in the U.S. that there have been cycles of anti-immigrant politics and culture where at points the border was open and then got slammed shut again?GOLDIN: Yes, very much so, particularly in the post-Second World War period. We have what we might see again now, which is this two-handed approach. On one hand, politicians trying to be very strong on migration and saying things which they feel appeal to voters, and at the same time in practice very different things happening.We've seen that in many countries where the rhetoric on migration is very strong, where there are attempts to show that one is doing a lot by policing, by deporting, by building walls, etc. But the numbers of migrants actually go up because of the need for migrants. The stronger the economy, the more migrants you need; the older the economy, as the workforce ages, the more migrants you need.GOLDIN: Migrants are a source of economic dynamism. They are much more likely to create startups. It's no accident that Musk is a migrant, but well over half of Silicon Valley tech entrepreneurs are migrants. It's a characteristic of migrants that they are much more productive, typically. They're much more likely to invest and to start up businesses. So if you want to have a dynamic economy and if you want to look after the elderly and pick your agriculture, you need migrants. I'm sure that even those in the government of the U.S. that are violently anti-immigrant recognize these things. That's where the tension will be played out.KEEN: You argue today's rich countries owe much of their success to the contributions of migrant workers. Is there any argument against migration? You're clearly on one side of the debate. What's the best argument against allowing migration into your country?GOLDIN: I'm not utopian in the sense that I do believe we need border controls and need to regulate the number of migrants who can come in. Clearly, we need to keep some people out—criminals and sex traffickers, for instance. But where we get real problems is that migrants can put a lot of pressure in the short term on resources. You see this in housing markets. People are feeling a lack of affordability of homes in dynamic cities—San Francisco, Vancouver, Toronto, New York, London, and many others. And it is true that in part this is because of the number of immigrants in these cities.Now, the immigrants also contribute and make these places dynamic. So it's a virtuous circle, but one has to address the concerns of citizens who say they cannot afford a home or public transport is too crowded, or that the lines are too long at hospital emergency services. These are real concerns. The challenge we face is that investment in resources, in public services, in housing, in transport and so on hasn't kept pace with population growth in dynamic cities particularly, and people are feeling the pinch.There's not much truth to the claim that immigrants undermine wages. In fact, there's quite a lot of evidence that they create jobs and lift wages. But there's also a short-term and long-term issue. The costs are often local, so people feel in a particular locality that they're overwhelmed by the number of immigrants, while the benefits are national and long-term. The immigrants build the houses, work in the hospitals, demand goods and services. They're buying things, building things, creating things. But that doesn't all happen at the same place at the same time.The other important thing is to distinguish between migrants and refugees. A lot of the problems that societies have is because these things are conflated. When I think of migrants, I think of economic migrants, of students, of people coming that are going to benefit themselves and the countries, but have a choice. Refugees are different. Refugees have a legitimate fear for their lives if they do not get refugee status. Governments need very different policies for refugees than they do for migrants.KEEN: You've mentioned the US, the UK—your book breaks down immigration around the world. You argued that the US is home to the largest absolute numbers of migrants, 51 million. Is the US still symbolically the place where the pro-anti migration argument gets played out? Trump, of course, has been outspoken and arguably it was really the reason why he was elected president again.GOLDIN: Yes, I think it is the place where it's being played out. It has the most migrants. It's a society we've always thought of historically as being constructed by migrants. It's an immigrant country—of course, it displaced an indigenous people that were living there before. But it is a society now that's basically come from elsewhere. The future dynamism of the US, where the US is going to be in ten, 20, 30 years' time, is going to depend to a large extent on its policies on immigration. If it throttles the source of its lifeblood that created the country that we know as a dynamic world-leading economy, it's going to fall back.KEEN: Musk is, as always, a little bit more complicated than he seems on immigration. On the one hand, he's obviously opposed to mass immigration. On the other hand, as a tech billionaire, he's sympathetic to qualified people coming into the country. And there seems to be a division within the Republicans between Musk and people like Steve Bannon, who seem to be opposed to all forms of immigration. Is this an important debate that you think will be played out on the American right?GOLDIN: Yes, I think it's extremely important. Both Musk and Steve Bannon have said pretty harsh things about the other side of this debate. Musk gets that the US needs tech workers. The tech industry is dependent on Indian and many other programmers. He's aware that the leaders of many firms, including Microsoft and Google, are immigrants, as is he. He's been focusing on the need for high-skilled immigrants. Steve Bannon is taking the fundamentalist MAGA line, claiming immigrants will take jobs—of course, they don't take jobs, they create jobs.My own guess is that Musk is going to win this particular debate, both because he's right at the center of power and because the businesses around him also get it. For agriculture, it's absolutely essential to have immigrants across the economy. Business will be crying out. And interestingly enough, as I highlighted in my Project Syndicate piece, a lot of Republican governors have been asking for immigration.KEEN: You mentioned you and Musk were born in the same South African town. You worked for Mandela. How do you place the colonial experience in your history of migration—where the white Europeans who showed up and conquered Africa, were they migrants, or something different?GOLDIN: They were migrants—migrant armies, migrant businesspeople, migrants, settlers. Some of them, particularly in Australia, were convicts shipped out. They often were underdogs doing it out of desperation. My grandparents migrated to South Africa because they were in that state. My grandfather on my father's side was from Lithuania, in Russia, where those who remained were all killed. Those of my mother's side who stayed in Austria and Germany were all killed. These were migrant refugees.The impact of colonialism was devastating. This goes back to the first settlers in the Americas—600 Spaniards who landed probably led to the death of over 20 million Native Americans through guns, germs, and steel, but mainly through germs. And before the colonial period, there was slavery, which is a terrible stain on humanity. Over 20 million people were forced into this absolutely inhumane system across the Atlantic. Slavery wasn't new—it had existed from before the first millennia. But the industrialization of it, the scale and horror of it, and the number of people who died in transit, that was new.I emphasize in the book that not all migration is good, and that migration is often a very unhappy experience, a brutal experience. But we need to try and understand this historical context. Certainly with immigration today, we need to make it more humane, better, and recognize that often what migrants do, they're doing to support their families, to create better opportunities for themselves and future generations. And the recipient countries need it too. The question is, can we better manage it?KEEN: Should the two histories be seen side by side—the images of North Africans and sub-Saharan Africans coming to Europe, children dying on beaches—should we be thinking about this as a counter-migration, a consequence of the European colonization of Africa?GOLDIN: There are clearly some links, but Africa is where it is today as a result not only of its colonial history and slavery, which often was driven by African slave kings before Africa was colonized. There are much more recent explanations as well—massive mismanagement of resources in Africa, the despotic actions of governments. The refugees coming to Europe are often in fear for their lives, whether it's being called up into the Eritrean army or what's happening in Somalia and Sudan. These people are escaping to protect their lives and to sustain people left behind through remittances.KEEN: Your book is very personal. You dedicate it to your grandparents. You write with the sensibility of a relative of migrants and a man who's migrated himself. You seem to be a citizen of the world. This is a labor of love, isn't it?GOLDIN: It is. I wrote another book on migration in 2012, "Exceptional People: How Migration Shaped Our World and Will Define Our Future." When the publishers came to me with this series, I leaped at it. I learned an enormous amount doing it. It's difficult to compress the whole history of migration, which is everything about humanity really, into 250 pages. But the main aim was to raise a sensibility that we're all migrants and that we need to better understand the role of migrants in our own personal histories and our countries' histories. These migrants are not "other people"—they are where we come from. I believe fundamentally that migration is what makes humans an exceptional species. It's the reason we've thrived. If we hadn't migrated, we would have died out.KEEN: So you don't buy the argument that the world is divided into the "somewheres" and the "everywheres"—the thesis that some people are locked into a place for generations, and others like yourself move around all the time?GOLDIN: I've debated that with David Goodhart. I think what he's picked up on, which I empathize with, is that people have an identity based on place. It's important not to deny that identity. But what his argument completely fails to pick up on is that firstly, that can be threatened. My mother's parents thought they were absolute Viennese—my grandfather was on the Viennese Opera Committee. It didn't help him when they decided to kill all the Jews in Vienna. My grandparents on my father's side were upright members of the Lithuanian community running a small business—that didn't help them.There's no evidence that having immigrants in your society makes you weaker or threatens your community. Indeed, if you want your community to thrive, you're going to need immigrants—not only to do the work that your community doesn't want to do, whether it's picking fruit or cleaning hospital floors, but to keep the place dynamic. That's what these governors in the US who are calling for more immigrants have recognized about their dying towns in the Midwest. They need immigrants to keep their communities alive.Dynamic cities are great examples of places which thrive on being melting pots. The magnetism of them is quite phenomenal. Look at Dubai, which I was in last week—90% immigrant.KEEN: Let's cast our eyes forward. What might the future hold for migration? Are there conceptual differences as the 21st century evolves? By 2050, will the debate be the same? Could technology change it? Musk is trying to settle on Mars—might that be the difference in 25 years' time?GOLDIN: It would be easier to settle at the North or South Pole than on Mars. I think there will be major differences by 2050. One of the major drivers is going to be demographic change. We're seeing a very rapid reduction in birth rates in well over half the countries of the world. We're going to see big labor contractions in labor markets in North America, Europe, and across Asia. As societies age and people live longer lives, we're going to see great shortages of labor.I think the fragility of different places is also going to be played out. Extreme climate and weather will lead to very different migration patterns. Oceans are going to rise, there'll be flood plains, intense weather, extreme droughts, lack of water by 2050. A place like Miami is going to be very threatened.AI will likely take over repetitive jobs, manufacturing, call centers. But the jobs that people will want in our wealthier societies—hospitality, elderly care, massages—these are what economists call non-tradable services. We'll need more of these, and they cannot be done remotely. They are unlikely to be done by machines by 2050. We're not going to want machines giving us massages or meals.So I think we're likely to see Europe, North America, and many parts of Asia turn the current debates on their head—from keeping people out to how we get more people into our societies. Population will start declining very rapidly, and workforces will decline before populations decline.KEEN: Finally, Ian, you write about the history of passports. You say they began in the early 20th century. With our increasingly sophisticated technology of data, how will that play out in your future history of migration?GOLDIN: I think it's going to play out differently in different places. The big question is how much we trust those who have the information. How we feel about it in Europe will be different from how people feel about it in China. One of the amazing experiments of the late 20th century is that within 27 countries in Europe, there are no passport controls. It's proved to be a remarkable, successful experiment.I hope increased surveillance becomes part of a bigger bargain in which we accept more people into our societies, treat them more fairly, protect them, and give them rights. But we also say we don't want some people to come, and we are able to control this. It gives people confidence that they don't feel out of control. So I do see a silver lining if it's used in a humane and effective way. The risk is that it's not, and people are continually forced into dangerous passages across the Mediterranean or the Rio Grande. That's what we need to work against.KEEN: There you have it. Amidst all this controversy about migration, some wisdom from Ian Goldin. Thank you so much.GOLDIN: Thank you so much for having me and all the best to you and to all your listeners.Ian Goldin is the Oxford University Professor of Globalization and Development and founding director of the Oxford Martin School, the world's leading center for interdisciplinary research into critical global challenges, where he has established forty-five research programs. Previously, he was vice president of the World Bank and its Head of Policy, responsible for its collaboration with the United Nations and key partners. He served as adviser to President Nelson Mandela, has been knighted by the French government, and is the author of three BBC series. Ian has been an advisor to numerous businesses, governments, and foundations and is a founding trustee of the International Center for Future Generations and Chair of the CORE Econ initiative to transform economics. He is the author of twenty-five books, including Age of the City, which was selected by the Financial Times as one of its best books of 2023.Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting the daily KEEN ON show, he is the host of the long-running How To Fix Democracy interview series. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children.Keen On is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe
Polish teenager Stefan Kosinski was beaten, tortured, and sent to prison. His crime? He fell in love with a Viennese soldier serving in the German army. When the soldier was sent to the Eastern Front, Stefan sent him a love letter, which was intercepted by the Nazis. Visit our episode webpage for additional resources, archival photos, and a transcript of the episode. For exclusive Making Gay History bonus content, join our Patreon community. ——— RG-50.030.0355, oral history interview with Teofil (Stefan) Kosinski, courtesy of the Jeff and Toby Herr Oral History Archive, United States Holocaust Memorial Museum, Washington, D.C. For more information about the United States Holocaust Memorial Museum, go here. ——— To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices
“I admire Freud greatly,” the novelist Vladimir Nabokov once said, “as a comic writer.” For Nabokov, Sigmund Freud was “the Viennese witch-doctor,” objectionable for “the vulgar, shabby, fundamentally medieval world” of his ideas. Author Joshua Ferris (The Dinner Party, Then We Came to the End) joins Jacke for a discussion of the author of Lolita and his special hatred for “the Austrian crank with a shabby umbrella.” [This episode was originally released on September 30, 2017. It is presented here without commercial interruptions.] Help support the show at patreon.com/literature or historyofliterature.com/donate. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at thepodglomerate.com/historyofliterature. Learn more about your ad choices. Visit megaphone.fm/adchoices
For episode 98 of the podcast, I am joined by renowned classical guitar maker Gary Southwell. Based on the banks of the River Rede in Northumberland, England, Southwell has been building instruments since 1983. Gary and I talk about the unique characteristics of Bog Oak, the history and influence of 19th-century Viennese guitars, his interactions with Julian Bream, and some reflections on 50 years of guitar making. https://www.southwellguitars.co.uk/ Luthier on Luthier is hosted by Michael Bashkin of Bashkin Guitars and brought to you by the Fretboard Journal. This episode is sponsored by Dream Guitars and StewMac. Want to support Luthier on Luthier? Join our Patreon to get access to exclusive photos and content from Michael and his builds.
“I belong to the race that in the Middle Ages was blamed for all the plagues and such experiences have a sobering effect, and they do not arouse the tendency to believe in illusions. Much of my life has been devoted to trying to shed illusions. But if there is an illusion worth believing in, at least partially, this is the illusion: that we learn how to divert the impulse of destruction from our own kind, how to stop hating each other because of trivial differences, and stop killing each other for profits. That we stop taking advantage of the achievements of progress to control the forces of nature in a way that will lead to our destruction. Without this illusion, what future awaits us?” Sigmund Freud, Letter to Romain Rolland, 1923 “I found [this letter] in the collection that Eran Rolnik translated into Hebrew. I met it in the Hebrew version, and when I got back to the German, something else happened. In the Hebrew translation it was talking about the ‘hope'. But then the people in Vienna told me in German this is not ‘hope', this is ‘illusion'. I thought it is even more powerful that he speaks about the power of illusion, the needed illusion. It also brought me back to the beginning of my journey when a friend said the main purpose of the film is to have Freud telling us something like the ‘big father', how should we live today? A tip and insight from Freud. So this is an insight from Freud, a message from Freud over time to us now. I'm not sure it's prophetic. I think there's no prophecies, but it speaks to us now. It speaks to us now.” Episode Description: We begin with an opening quote from Freud that characterized his sense of being an 'outsider'. Yair then shares with us his own personal journey of discovering Freud as distinct from his father. Having some analytic exposure awakened in him the capacity to, like Freud, ignite his creativity and discover Freud anew. Unique among the many Freud documentaries, Yair utilizes 3D animation techniques as well as dreamlike imagery, newly uncovered archival film and evocative music to invite the viewer to regressively experience the possibilities of the unconscious. We go through four periods of Freud's life which include his struggles with Viennese antisemitism, his discovery of the role of childhood sexuality, his illness and the deaths of his father, daughter, granddaughter and mother and his exile to London. We conclude with his 1923 letter to Romain Rolland where he pleads "that we stop taking advantage of the achievements of progress to control the forces of nature in a way that will lead to our destruction.” Our Guest: Yair Qedar is an Israeli documentary filmmaker, social activist and former journalist. In his project "the Hebrews", he had been chronicling the lives of Jewish and Israeli figures of the modern Hebrew literary canon. Qedar's 19 feature length documentaries have all premiered at film festivals and have won the director over 30 prizes. Also, Qedar is a leading LGBTQ activist and created the first Israeli LGBTQ newspaper. To View the Film: This documentary was first shown at the Sigmund Freud Museum in Vienna on January 9th, 2025. It is currently being screened at film festivals worldwide. To arrange a viewing, please contact Yair Qedar at quedary@gmail.com Website and Trailer: https://ivrim.co.il/en/films/outsider-freud/ Recommended Readings: Adam Phillips (2014): Becoming Freud: The Making of a Psychoanalyst. Yale University Press. Ernest Jones (1953): The Life and Work of Sigmund Freud. Basic Books. Sigmund Freud (1926): The Ego and the Id. Standard Edition, Vol. XIX, Hogarth Press. Sigmund Freud (1937): Letter from Sigmund Freud to Marie Bonaparte Sigmund Freud (1929): Letter to Romain Rolland
How Vienna Changed Baking Everywhere Rick Rodgers' book, Kaffeehause: Exquisite Desserts from Vienna, Budapest, and Prague, has been in print for over two decades. Its longevity is primarily due to the luscious recipes, which are so different from those in the Franco-Italo canon. Also, readers are fascinated by the interesting story of the coffeehouse culture. In his presentation, Rick will discuss how the Viennese (it was not Marie Antoinette) brought the crescent roll (kipferl) to Paris, its transformation into the croissant, and subsequent conquering of the pastry world. In Europe, what we Americans call Danish are called Viennoiserie, but do you know the story behind the discrepancy? What famous dessert was the basis of a long and expensive lawsuit to determine the legal owner of the recipe? What is the difference between “masculine/feminine” and “sugar/flour” desserts on Viennese menu? Rick will also tell how he researched his book, and his work as a ghostwriter with many celebrities, chefs, and social media influencers. Rick Rodgers is the sole author, co-author, ghostwriters, or editor of over a hundred cookbooks, many of which have been nominated for Beard, IACP, and Gourmand Awards. He is also the recipient of Bon Appétit Magazine's Food & Entertaining Award for Outstanding Culinary Teacher. He is currently consulting social media influencers as they transition to cookbook writing. Recorded via Zoom on Tuesday, January 7, 2025 CONNECT WITH CULINARY HISTORIANS OF CHICAGO ✔ MEMBERSHIP https://culinaryhistorians.org/membership/ ✔ EMAIL LIST http://culinaryhistorians.org/join-our-email-list/ ✔ S U B S C R I B E https://www.youtube.com/channel/UC6Y0-9lTi1-JYu22Bt4_-9w ✔ F A C E B O O K https://www.facebook.com/CulinaryHistoriansOfChicago ✔ PODCAST 2008 to Present https://culinaryhistorians.org/podcasts/ By Presenter https://culinaryhistorians.org/podcasts-by-presenter/ ✔ YOUTUBE https://www.youtube.com/channel/UC6Y0-9lTi1-JYu22Bt4_-9w ✔ W E B S I T E https://www.CulinaryHistorians.org
How Vienna Changed Baking Everywhere Rick Rodgers' book, Kaffeehause: Exquisite Desserts from Vienna, Budapest, and Prague, has been in print for over two decades. Its longevity is primarily due to the luscious recipes, which are so different from those in the Franco-Italo canon. Also, readers are fascinated by the interesting story of the coffeehouse culture. In his presentation, Rick will discuss how the Viennese (it was not Marie Antoinette) brought the crescent roll (kipferl) to Paris, its transformation into the croissant, and subsequent conquering of the pastry world. In Europe, what we Americans call Danish are called Viennoiserie, but do you know the story behind the discrepancy? What famous dessert was the basis of a long and expensive lawsuit to determine the legal owner of the recipe? What is the difference between “masculine/feminine” and “sugar/flour” desserts on Viennese menu? Rick will also tell how he researched his book, and his work as a ghostwriter with many celebrities, chefs, and social media influencers. Rick Rodgers is the sole author, co-author, ghostwriters, or editor of over a hundred cookbooks, many of which have been nominated for Beard, IACP, and Gourmand Awards. He is also the recipient of Bon Appétit Magazine's Food & Entertaining Award for Outstanding Culinary Teacher. He is currently consulting social media influencers as they transition to cookbook writing. Recorded via Zoom on Tuesday, January 7, 2025 CONNECT WITH CULINARY HISTORIANS OF CHICAGO ✔ MEMBERSHIP https://culinaryhistorians.org/membership/ ✔ EMAIL LIST http://culinaryhistorians.org/join-our-email-list/ ✔ S U B S C R I B E https://www.youtube.com/channel/UC6Y0-9lTi1-JYu22Bt4_-9w ✔ F A C E B O O K https://www.facebook.com/CulinaryHistoriansOfChicago ✔ PODCAST 2008 to Present https://culinaryhistorians.org/podcasts/ By Presenter https://culinaryhistorians.org/podcasts-by-presenter/ ✔ YOUTUBE https://www.youtube.com/channel/UC6Y0-9lTi1-JYu22Bt4_-9w ✔ W E B S I T E https://www.CulinaryHistorians.org
Donald Macleod explores Vienna in the company of Franz SchubertOf all Europe's major cities, perhaps Vienna is the one with the reputation as the most comfortable, the most sophisticated, and the most musical. In fact, has any other city been home to so many great composers as Vienna? Mozart, Beethoven, Haydn, and Salieri all spent their best years working there. Yet none of those starry names was born in the city, none were true Viennese. This week, Donald Macleod explores Vienna through the lens of arguably the greatest home grown composer the city has ever produced – Franz Schubert – a man whose short life spanned a crucial period in Austrian history, a time of crisis and much change. In his company we'll explore Vienna's churches and theatres, its parks, coffee houses and taverns, and also glimpse the darker side of the city too – the excesses of Europe's aristocracy and the all seeing eyes of Vienna's secret police.Music Featured: “Kupelwieser” Waltz in G flat Major, D Anh I/14 Symphony No 9 in C Major “The Great”, D944 (3rd mvt, Scherzo) String Quintet in C Major, D 956 (2nd mvt, Adagio) Beitrag zur fünfzigjährigen Jubelfeier des Herrn von Salieri, D407 Marches Militaires, D733 (No 1 in D Major) Gretchen am Spinnrade, D118 6 Moment Musicaux, Op 94, D780 (No 3 in F min) Mass No 1 in F Major, D105 (Gloria) Grande Marche Funebre, D859 Symphony No 2 in B flat Major, D125 (4th mvt,Presto) Rosamunde, D797 (No 5 ,Entracte No 3 in B flat Major: Andantino) Licht und Liebe, D352 Quartettsatz Lazarus, Act 2 (unfinished) Schwanengesang, D744 4 Impromptus, D899, Op90 (No 3 in G Flat Major) Symphony No 8 in B minor, D759 “Unfinished” (1st mvt, Allegro moderato) Symphony No 5 in B flat Major, D485 (1st mvt, Allegro) Winterreise, D911 (No 24, Der Leiermann) Der Wanderer, D489 Piano Quintet in A Major, D667 “The Trout” (3rd mvt, Scherzo) 38 Waltzes, D145, Op 18 (Nos 6, 8 & 9 ) An Sylvia, D891, Op 6 (No 4) Fantasy in F minor, D940, Op 103 Ave Maria, D839, Op 52, No 6 Mass No 6 in E Flat Major, D950 (Credo) Rosemunde incidental music, D797 (Nos 7-9) Alfonso and Estrella, D732 (Act I, Aria “Sei mir gegrusst, o Sonne!”) An die MusikPresented by Donald Macleod Produced by Sam Phillips for BBC Audio Wales & WestFor full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Schubert and Vienna https://www.bbc.co.uk/programmes/m0026800 And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z
This Day in Legal History: Cicero is BornOn January 3, 106 BC, Marcus Tullius Cicero, one of ancient Rome's most influential lawyers, orators, and statesmen, was born in Arpinum, a small town southeast of Rome. Cicero's life and work laid the foundations for modern legal and political thought, intertwining law, philosophy, and rhetoric. As a novus homo (the first in his family to achieve senatorial rank), Cicero rose through the Roman cursus honorum, eventually serving as consul in 63 BC. His tenure is most remembered for his decisive action in quelling the Catiline Conspiracy, a plot to overthrow the Republic.Cicero's legal career was marked by his exceptional eloquence and emphasis on justice. His speeches, such as those in defense of Sextus Roscius and against Verres, revealed his dedication to exposing corruption and advocating for fairness. Beyond his courtroom success, Cicero's philosophical treatises, including De Legibus (On the Laws), explored the nature of justice and the rule of law. His writings profoundly influenced thinkers of the Enlightenment and modern legal systems.In one of his letters, Cicero wrote to his friend – one of his most famous quotes:“What is morally wrong can never be advantageous, even if it enables you to rule the world.”This succinct insight captures his belief in the universality of law as a moral and societal cornerstone.Cicero's life was not without turmoil. His opposition to Julius Caesar's dictatorship and later to Mark Antony cost him dearly. He was executed in 43 BC during the proscriptions. Cicero endures not only as a towering figure in law and politics but also as one of those ancient philosophers whose works people skim through, extract a handful of pithy quotes, and then relentlessly share at dinner parties or on social media. His knack for universal truths ensures his words still resonate, even as they occasionally overstay their welcome in the mouths of exhausting folks.President Biden plans to issue an executive order permanently banning new offshore oil and gas development in specific U.S. coastal waters. This move, based on the 1953 Outer Continental Shelf Lands Act, is intended to be difficult for future administrations to reverse and comes as Biden seeks to solidify his environmental legacy in the final weeks of his presidency. The protections aim to safeguard marine ecosystems, protect vulnerable coastal communities, and combat climate change, aligning with calls from environmental groups and congressional Democrats. While Biden's actions will not affect existing leases, the scope of the new protections is expected to include key areas like parts of the Pacific near California and the eastern Gulf of Mexico near Florida. Conservationists have praised the move as a necessary step to protect U.S. waters, while oil industry advocates argue it jeopardizes energy independence. Former President Donald Trump is likely to attempt reversing the order, though previous court rulings suggest such efforts may face significant legal hurdles. Offshore drilling remains a contentious issue, with opposition particularly strong in coastal regions reliant on tourism.Biden to Ban More Offshore Oil Drilling Before Trump Arrives (1)A group of Tesla shareholders is appealing a Delaware Chancery Court decision that voided Elon Musk's $56 billion pay package, which would have been the largest CEO compensation in U.S. history. Filed on December 31, the appeal also challenges Chancellor Kathaleen St. J. McCormick's $345 million award in attorneys' fees. McCormick had ruled that Tesla's board and Musk breached fiduciary duties to investors when approving the massive compensation plan. Despite shareholder approval votes in 2018 and 2024, the court found the deal unfairly tilted in Musk's favor. The plaintiffs, including ARK Investment Management LLC and individual investors, argue the appeal is necessary to restore shareholder voting rights and accountability.Attorneys for the shareholders assert that over 70% of investors supported the pay package in two separate votes, emphasizing the high level of approval. Legal representation for Musk, the board, and opposing shareholders have yet to respond to requests for comment. The appeal seeks to overturn a ruling that has intensified debates about executive compensation and corporate governance.Elon Musk Pay Deal Decision Appealed to Delaware High Court (1)The U.S. Supreme Court's 2025 docket includes pivotal labor and employment cases addressing workplace discrimination, wage law exemptions, and employee benefits. Among the key issues is whether workers from "majority backgrounds," like white or heterosexual individuals, face higher hurdles in proving discrimination claims under Title VII. The Court's decision could reshape lawsuits challenging diversity policies. Another case will decide if retirees can sue former employers for disability bias, as exemplified by a Florida firefighter denied benefits. This issue has divided lower courts on whether retirees meet the Americans with Disabilities Act's requirements. Wage law exemptions are also under review, with the Court considering the evidentiary standard employers must meet to prove workers are exempt from overtime protections.Additionally, justices will address the standards for lawsuits under the Employee Retirement Income Security Act (ERISA), involving allegations of excessive fees in retirement plans. These cases could have broad implications for labor law, corporate practices, and workplace equity, shaping the rights of employees and obligations of employers across the nation.Reverse bias, wage law exemptions top US Supreme Court's 2025 labor docket | ReutersThe U.S. Judicial Conference declined to refer Supreme Court Justice Clarence Thomas to the Department of Justice over allegations of ethics violations related to unreported gifts and luxury travel from a wealthy benefactor. The Conference cited amendments Thomas made to his financial disclosure reports, addressing issues raised by Democratic lawmakers. Justice Ketanji Brown Jackson faced similar scrutiny over omissions in her reports but had also filed corrections, leading to the rejection of a referral request against her.Democratic lawmakers argued that Thomas's failure to disclose violated the Ethics in Government Act of 1978, but Thomas stated he was advised such disclosures were unnecessary for "personal hospitality." He committed to following updated guidelines in future filings. The Judicial Conference pointed to its recent efforts to clarify financial disclosure rules and noted Thomas's compliance with the new standards.The body also raised constitutional concerns about its authority to refer the matter to the DOJ, further noting the issue was moot since lawmakers had already requested an investigation directly from Attorney General Merrick Garland. Critics accused the judiciary of failing to hold Thomas accountable, while the judiciary emphasized the ongoing improvements to ethical oversight.US Supreme Court's Thomas will not be referred to Justice Department | ReutersThis week's closing theme is by Johann Strauss Jr. This week's closing theme celebrates Johann Strauss Jr., affectionately known as the "Waltz King," whose music epitomizes the charm and elegance of 19th-century Vienna. Born in 1825 into a musical dynasty, Strauss Jr. surpassed his father's legacy, becoming one of the most celebrated composers of light music. His works captured the spirit of Viennese high society, turning the waltz from a simple dance into an art form beloved across Europe.Strauss's compositions, such as The Blue Danube and Tales from the Vienna Woods, are synonymous with refinement and festivity, making him a perennial favorite for New Year's concerts worldwide. His waltzes are not merely music for dancing; they evoke vivid imagery, from shimmering ballrooms to idyllic countryside scenes. Known for his melodic genius and rhythmic vitality, Strauss's music remains a joyful celebration of life and beauty.This week, we highlight a medley of Strauss Jr.'s waltzes, a perfect encapsulation of his artistry and his gift for weaving together effervescent themes. It's a chance to immerse yourself in the glittering world of 19th-century Vienna and to reflect on the enduring magic of his music. Whether as a tribute to the New Year or simply an appreciation of Strauss's timeless melodies, this medley invites us to waltz into the weekend with grace and exuberance.Without further ado, a waltz medley by the Waltz King – Johann Strauss Jr. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe
Today's episode, “Anna Moffo und die leichte Muse,” continues the delicious theme of opera singers “letting down their hair” begun with “Hadley in Wien,” and it also forms a complement and a supplement to the “Anna Moffo Reappraised” episode that I published exactly two years ago. Anna Moffo's recording career divides into three separate eras and markets: Italy in the late 1950s and early 1960s; which overlapped with the US in the 1960s; and finally Germany in the 1970s and beyond. Each of these eras in the Moffo career was represented on disc in different ways: jazz arrangements of standards from the Great American Songbook in her earliest (and rarest) Italian recordings, followed by breathy Italian pop songs (some even composed by Moffo herself); early twentieth century Broadway operettas and MGM movie musicals in the US when her voice was at its peak; and Viennese operetta for the German-speaking market, as her vocal instrument became more fragile, while it still represented her finest work of that period. Each of these eras and genres is thoroughly explored in this episode. She is partnered in all of this repertoire by some impressive co-stars: Sergio Franchi, René Kollo, Rudolf Schock, and Robert Merrill as duet partners, with musical direction by Ennio Morricone, Henri René, Lehman Engel, and Skitch Henderson. Recordings range from 1960 through 1983, with the vast majority coming from the 1960s. In spite of the vocal and technical frailty displayed in the later recordings, Moffo's ability to communicate in this repertoire never flagged. And of course throughout her entire career, no singer so consistently presented a more striking image of vocal and physical glamour than did Anna Moffo. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.
I can think of no more appropriate way to end this difficult year than with another episode lauding my late friend, the sublime American lyric tenor Jerry Hadley. I am of the firm belief that Jerry was one of the finest singers this country has ever produced. Everyone has their favorite among his performances, which display an eclecticism rare among opera singers, but I believe that his artistry found its fullest and truest expression in his performances of Viennese operetta. His bright, sunny vocal timbre, his capacity for vocal shading and dynamics, his sense of both humor and pathos, his ringing high notes, as well as of precision and acuity of his German diction make him an ideal interpreter of this music. The majority of the music heard on this episode comes from two albums of operetta arias that Jerry recorded in 1995 under the baton of Richard Bonynge. This is supplemented by two duets with Australian soprano Deborah Riedel from a series of English-language versions of Lehár operettas also conducted by Bonynge, as well as various live performances of Jerry in the music of Johann Strauss II and Erich Korngold. While Lehár is the most prominently featured composer, we also heard excerpts from work by Emmerich Kálmán, Carl Millöcker, Ralph Benatzky, Leo Fall, and that king of operetta tenors himself, Richard Tauber, who was also quite a capable composer. The episode concludes with reminiscences of my close friendship with Jerry, crowned by a magisterial live performance of “Dein ist mein ganzes Herz.” Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.
The world of Vienna at the end of the 19th century was a world of change. New design, new fashion and new philosophy -- and new music. But amidst sweeping change, the Viennese drank champagne and were swept along by the works of the great Johann Strauss II, known appropriately as the "Waltz King". One of his greatest works is the operetta megahit Die Fledermaus which, beneath its frivolity and popping champagne corks, lies a darker vision and foreshadowing of a very different world to come. In this episode, Carl is joined by returning musicologist and professional musician Dr. Christopher Brellochs for a look at Strauss and his most famous work -- how he created it and what he was trying to communicate to audiences. In addition, Carl and Chris take a look at another blockbuster operetta, The Merry Widow by Franz Lehar and discuss how the musical form has evolved into a modern era. Lastly, this episode ends with a look at just how works like Die Fledermaus and The Merry Widow have influenced our modern Broadway musical theatre today. Visit the Gilded Gentleman website for more episodes.
On Friday's Football Daily, Phil Egan brings you reaction to Shamrock Rovers' invaluable point in the Conference League, as we hear from Stephen Bradley. Ruben Amorim admits his Manchester United players are giving him anxiety. Eileen Gleeson and Denise O'Sullivan speak ahead of tonight's vital Euro playoff for Ireland's WNT in Cardiff. And we hear from new Coventry manager Frank Lampard.
On Friday's Football Daily, Phil Egan brings you reaction to Shamrock Rovers' invaluable point in the Conference League, as we hear from Stephen Bradley. Ruben Amorim admits his Manchester United players are giving him anxiety. Eileen Gleeson and Denise O'Sullivan speak ahead of tonight's vital Euro playoff for Ireland's WNT in Cardiff. And we hear from new Coventry manager Frank Lampard.
On this episode we try Von Trapp Brewing's incredible variety pack which includes the Vienna Lager, Pilsner, Dunkel, and Helles! We pop into each amazing brew while discussing why the hills are alive with the sound of beer, the hurkey, wearing only a cummerbund and a bow tie, pink dingleberries, Kyle's Viennese accent, sticking your nose in a crusty loaf of bread, driving in VT, leaf peepers, we've got a podcast your mom needs a podcast to listen to, 5 years of podcasting and new clamps, gimmeeabeer, Capital B beer, the evolution of a beer drinker, and the risk Von Trapp is taking. Support Us On Patreon: https://www.patreon.com/DrepandStone We'd love to hear from you! https://linktr.ee/DrepandStone Don't forget to subscribe! Music by @joakimkarudmusic Episode #269
Donald Macleod takes a whirl around the world through the music of ballroom dancing. With the help of Hilary French, author of Ballroom: A People's History of Dancing, Donald waltzes across Viennese ballrooms, foxtrots through New York clubs, tries the tango in the arrabales of Buenos Aires, sambas on the streets of Salvador and finally cha-cha-cha's his way to Havana.Presented by Donald Macleod Produced by Alice McKee for BBC Audio Wales & WestFor full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Ballroom Blockbusters https://www.bbc.co.uk/programmes/m0024dndAnd you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z
Conan talks to Mara from Vienna about taxidermy, building dioramas, and what to look out for on Viennese escalators. Wanna get a chance to talk to Conan? Submit here: teamcoco.com/apply Get access to all the podcasts you love, music channels and radio shows with the SiriusXM App! Get 3 months free using this show link: https://siriusxm.com/conan.
Here's something you probably didn't know: Vienna is the only major city in the world where serious wine grown, with its own appellation, DAC Wien. In the green belt surrounding this very green city, wine grapes grow as they have since at least the Middle Ages. And it's not negligible -- 582 ha/1438 acres. It's also not crappy, tourist wine. It's high quality, interesting wine that's tasty and different. It's become such a priority for Vienna and Austria that Viennese state law states that all existing vineyards must remain vineyards protecting valuable viticultural land from real estate speculation! Standing side by side with the wine and with the Gemischter Satz blend is the unique tradition of the Heurige wine taverns. These are such an important part of Austria's list of UNESCO intangible cultural heritage in 2019. To discuss this amazing tradition that I bet you had little idea even existed, Alex Zahel joins. He's the 4th generation of the Zahel family and is the GM and winemaker of Zahel. A great, eye opening show! Full show notes and all back episodes are on Patreon. Become a member today! www.patreon.com/winefornormalpeople _______________________________________________________________ Check out my exclusive sponsor, Wine Access. They have an amazing selection -- once you get hooked on their wines, they will be your go-to! Make sure you join the Wine Access-Wine For Normal People wine club for wines I select delivered to you four times a year! To register for an AWESOME, LIVE WFNP class with Elizabeth or get a class gift certificate for the wine lover in your life go to: www.winefornormalpeople.com/classes
Here's something you probably didn't know: Vienna is the only major city in the world where serious wine grown, with its own appellation, DAC Wien. In the green belt surrounding this very green city, wine grapes grow as they have since at least the Middle Ages. And it's not negligible -- 582 ha/1438 acres. It's also not crappy, tourist wine. It's high quality, interesting wine that's tasty and different. It's become such a priority for Vienna and Austria that Viennese state law states that all existing vineyards must remain vineyards protecting valuable viticultural land from real estate speculation!Standing side by side with the wine and with the Gemischter Satz blend is the unique tradition of the Heurige wine taverns. These are such an important part of Austria's list of UNESCO intangible cultural heritage in 2019.To discuss this amazing tradition that I bet you had little idea even existed, Alex Zahel joins. He's the 4th generation of the Zahel family and is the GM and winemaker of Zahel. A great, eye opening show! Full show notes and all back episodes are on Patreon. Become a member today!www.patreon.com/winefornormalpeople_______________________________________________________________ Check out my exclusive sponsor, Wine Access. They have an amazing selection -- once you get hooked on their wines, they will be your go-to! Make sure you join the Wine Access-Wine For Normal People wine club for wines I select delivered to you four times a year! To register for an AWESOME, LIVE WFNP class with Elizabeth or get a class gift certificate for the wine lover in your life go to: www.winefornormalpeople.com/classes Get the back catalog on Patreon! Hosted on Acast. See acast.com/privacy for more information.
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