Podcasts about West Germany

July 30, 1966. England defeats West Germany to lift the World Cup in the country where soccer originated. This episode originally aired in 2024.Support the show! Join Into History for ad-free listening and more.History Daily is a co-production of Airship and Noiser.Go to HistoryDaily.com for more history, daily.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The term “Heimat,” referring to a local sense of home and belonging, has been the subject of much scholarly and popular debate following the fall of the Third Reich. Countering the persistent myth that Heimat was a taboo and unusable term immediately after 1945, Geographies of Renewal uncovers overlooked efforts in the aftermath of the Second World War to conceive of Heimat in more democratic, inclusive, and pro-European modes. It revises persistent misconceptions of Heimat as either tainted or as a largely reactionary idea, revealing some surprisingly early identifications between home and democracy. Jeremy DeWaal further traces the history of efforts to eliminate the concept, which first emerged during the Cold War crisis of the early 1960s, and reassesses why so many on the political left sought to re-engage with Heimat in the 1970s and 1980s. This revisionist history intervenes in larger contemporary debates, asking compelling questions surrounding the role of the local in democracy, the value of community, and the politics of place attachments. Guest: Jeremy DeWaal (he/him), is Lecturer in European History at the University of Exeter. His research focuses on German cultural history, spatial history, memory, and the history of emotions. DeWaal's work on Heimat and democracy has been supported by the Alexander von Humboldt Foundation, the German Academic Exchange Service, the Central European History Society, and the Berlin Programme at the Free University of Berlin. Host: Jenna Pittman (she/her), a Ph.D. student in the Department of History at Duke University. She studies modern European history, political economy, and Germany from 1945-1990. Scholars@Duke: https://scholars.duke.edu/pers... Linktree: https://linktr.ee/jennapittman 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

The term “Heimat,” referring to a local sense of home and belonging, has been the subject of much scholarly and popular debate following the fall of the Third Reich. Countering the persistent myth that Heimat was a taboo and unusable term immediately after 1945, Geographies of Renewal uncovers overlooked efforts in the aftermath of the Second World War to conceive of Heimat in more democratic, inclusive, and pro-European modes. It revises persistent misconceptions of Heimat as either tainted or as a largely reactionary idea, revealing some surprisingly early identifications between home and democracy. Jeremy DeWaal further traces the history of efforts to eliminate the concept, which first emerged during the Cold War crisis of the early 1960s, and reassesses why so many on the political left sought to re-engage with Heimat in the 1970s and 1980s. This revisionist history intervenes in larger contemporary debates, asking compelling questions surrounding the role of the local in democracy, the value of community, and the politics of place attachments. Guest: Jeremy DeWaal (he/him), is Lecturer in European History at the University of Exeter. His research focuses on German cultural history, spatial history, memory, and the history of emotions. DeWaal's work on Heimat and democracy has been supported by the Alexander von Humboldt Foundation, the German Academic Exchange Service, the Central European History Society, and the Berlin Programme at the Free University of Berlin. Host: Jenna Pittman (she/her), a Ph.D. student in the Department of History at Duke University. She studies modern European history, political economy, and Germany from 1945-1990. Scholars@Duke: https://scholars.duke.edu/pers... Linktree: https://linktr.ee/jennapittman Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/german-studies

The term “Heimat,” referring to a local sense of home and belonging, has been the subject of much scholarly and popular debate following the fall of the Third Reich. Countering the persistent myth that Heimat was a taboo and unusable term immediately after 1945, Geographies of Renewal uncovers overlooked efforts in the aftermath of the Second World War to conceive of Heimat in more democratic, inclusive, and pro-European modes. It revises persistent misconceptions of Heimat as either tainted or as a largely reactionary idea, revealing some surprisingly early identifications between home and democracy. Jeremy DeWaal further traces the history of efforts to eliminate the concept, which first emerged during the Cold War crisis of the early 1960s, and reassesses why so many on the political left sought to re-engage with Heimat in the 1970s and 1980s. This revisionist history intervenes in larger contemporary debates, asking compelling questions surrounding the role of the local in democracy, the value of community, and the politics of place attachments. Guest: Jeremy DeWaal (he/him), is Lecturer in European History at the University of Exeter. His research focuses on German cultural history, spatial history, memory, and the history of emotions. DeWaal's work on Heimat and democracy has been supported by the Alexander von Humboldt Foundation, the German Academic Exchange Service, the Central European History Society, and the Berlin Programme at the Free University of Berlin. Host: Jenna Pittman (she/her), a Ph.D. student in the Department of History at Duke University. She studies modern European history, political economy, and Germany from 1945-1990. Scholars@Duke: https://scholars.duke.edu/pers... Linktree: https://linktr.ee/jennapittman Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

The term “Heimat,” referring to a local sense of home and belonging, has been the subject of much scholarly and popular debate following the fall of the Third Reich. Countering the persistent myth that Heimat was a taboo and unusable term immediately after 1945, Geographies of Renewal uncovers overlooked efforts in the aftermath of the Second World War to conceive of Heimat in more democratic, inclusive, and pro-European modes. It revises persistent misconceptions of Heimat as either tainted or as a largely reactionary idea, revealing some surprisingly early identifications between home and democracy. Jeremy DeWaal further traces the history of efforts to eliminate the concept, which first emerged during the Cold War crisis of the early 1960s, and reassesses why so many on the political left sought to re-engage with Heimat in the 1970s and 1980s. This revisionist history intervenes in larger contemporary debates, asking compelling questions surrounding the role of the local in democracy, the value of community, and the politics of place attachments. Guest: Jeremy DeWaal (he/him), is Lecturer in European History at the University of Exeter. His research focuses on German cultural history, spatial history, memory, and the history of emotions. DeWaal's work on Heimat and democracy has been supported by the Alexander von Humboldt Foundation, the German Academic Exchange Service, the Central European History Society, and the Berlin Programme at the Free University of Berlin. Host: Jenna Pittman (she/her), a Ph.D. student in the Department of History at Duke University. She studies modern European history, political economy, and Germany from 1945-1990. Scholars@Duke: https://scholars.duke.edu/pers... Linktree: https://linktr.ee/jennapittman Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

The term “Heimat,” referring to a local sense of home and belonging, has been the subject of much scholarly and popular debate following the fall of the Third Reich. Countering the persistent myth that Heimat was a taboo and unusable term immediately after 1945, Geographies of Renewal uncovers overlooked efforts in the aftermath of the Second World War to conceive of Heimat in more democratic, inclusive, and pro-European modes. It revises persistent misconceptions of Heimat as either tainted or as a largely reactionary idea, revealing some surprisingly early identifications between home and democracy. Jeremy DeWaal further traces the history of efforts to eliminate the concept, which first emerged during the Cold War crisis of the early 1960s, and reassesses why so many on the political left sought to re-engage with Heimat in the 1970s and 1980s. This revisionist history intervenes in larger contemporary debates, asking compelling questions surrounding the role of the local in democracy, the value of community, and the politics of place attachments. Guest: Jeremy DeWaal (he/him), is Lecturer in European History at the University of Exeter. His research focuses on German cultural history, spatial history, memory, and the history of emotions. DeWaal's work on Heimat and democracy has been supported by the Alexander von Humboldt Foundation, the German Academic Exchange Service, the Central European History Society, and the Berlin Programme at the Free University of Berlin. Host: Jenna Pittman (she/her), a Ph.D. student in the Department of History at Duke University. She studies modern European history, political economy, and Germany from 1945-1990. Scholars@Duke: https://scholars.duke.edu/pers... Linktree: https://linktr.ee/jennapittman Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/geography

The term “Heimat,” referring to a local sense of home and belonging, has been the subject of much scholarly and popular debate following the fall of the Third Reich. Countering the persistent myth that Heimat was a taboo and unusable term immediately after 1945, Geographies of Renewal uncovers overlooked efforts in the aftermath of the Second World War to conceive of Heimat in more democratic, inclusive, and pro-European modes. It revises persistent misconceptions of Heimat as either tainted or as a largely reactionary idea, revealing some surprisingly early identifications between home and democracy. Jeremy DeWaal further traces the history of efforts to eliminate the concept, which first emerged during the Cold War crisis of the early 1960s, and reassesses why so many on the political left sought to re-engage with Heimat in the 1970s and 1980s. This revisionist history intervenes in larger contemporary debates, asking compelling questions surrounding the role of the local in democracy, the value of community, and the politics of place attachments. Guest: Jeremy DeWaal (he/him), is Lecturer in European History at the University of Exeter. His research focuses on German cultural history, spatial history, memory, and the history of emotions. DeWaal's work on Heimat and democracy has been supported by the Alexander von Humboldt Foundation, the German Academic Exchange Service, the Central European History Society, and the Berlin Programme at the Free University of Berlin. Host: Jenna Pittman (she/her), a Ph.D. student in the Department of History at Duke University. She studies modern European history, political economy, and Germany from 1945-1990. Scholars@Duke: https://scholars.duke.edu/pers... Linktree: https://linktr.ee/jennapittman

The term “Heimat,” referring to a local sense of home and belonging, has been the subject of much scholarly and popular debate following the fall of the Third Reich. Countering the persistent myth that Heimat was a taboo and unusable term immediately after 1945, Geographies of Renewal uncovers overlooked efforts in the aftermath of the Second World War to conceive of Heimat in more democratic, inclusive, and pro-European modes. It revises persistent misconceptions of Heimat as either tainted or as a largely reactionary idea, revealing some surprisingly early identifications between home and democracy. Jeremy DeWaal further traces the history of efforts to eliminate the concept, which first emerged during the Cold War crisis of the early 1960s, and reassesses why so many on the political left sought to re-engage with Heimat in the 1970s and 1980s. This revisionist history intervenes in larger contemporary debates, asking compelling questions surrounding the role of the local in democracy, the value of community, and the politics of place attachments. Guest: Jeremy DeWaal (he/him), is Lecturer in European History at the University of Exeter. His research focuses on German cultural history, spatial history, memory, and the history of emotions. DeWaal's work on Heimat and democracy has been supported by the Alexander von Humboldt Foundation, the German Academic Exchange Service, the Central European History Society, and the Berlin Programme at the Free University of Berlin. Host: Jenna Pittman (she/her), a Ph.D. student in the Department of History at Duke University. She studies modern European history, political economy, and Germany from 1945-1990. Scholars@Duke: https://scholars.duke.edu/pers... Linktree: https://linktr.ee/jennapittman Learn more about your ad choices. Visit megaphone.fm/adchoices

For nearly fifty years, two cold cases haunted the Stanford community.In 1973 and 1974, 21-year-olds Leslie Perlov and Janet Taylor were brutally murdered near the university campus. Both were strangled. Both cases went unsolved—until modern forensic genealogy exposed a killer hiding in plain sight.John Arthur Getreu seemed like an ordinary man. A community volunteer. A Scout leader. A father and husband. But beneath the surface, he was a serial predator with a dark history stretching back to 1963, when he raped and murdered a teenage girl in West Germany while still in high school.We unpack the chilling life of John Getreu—from his early crimes abroad to the murders he committed on American soil. We follow the women whose lives he stole, the families left searching for answers, and the decades-long silence shattered by a single strand of DNA.This is a story of justice delayed, but not denied. Of women remembered, and secrets finally brought to light.The One Minute Remaining LIVE show in Melbourne tix on sale NOWBecome a Patreon or Apple + subscriber now for ealry and ad free access from as little as $1.69 a week. All the details here Hosted on Acast. See acast.com/privacy for more information.

Doug and Mike served in CS Company, 1st Battalion, 37th Armor in the US 1st Armored Division in West Germany. They provide vivid accounts of their basic training experiences, where they faced the rigors of military life for the first time. Doug recalls the challenges of adapting to the strict regimen and the camaraderie that formed among the recruits. As their stories transition to life in Germany, they reflect on the unique challenges and cultural experiences they encountered while stationed overseas. From the friendships forged in the face of adversity to the unforgettable moments during training exercises, both Doug and Mike provide listeners with a glimpse into the realities of military service. Their narratives also highlight the lasting impact of their time in the military, emphasizing how their experiences shaped their lives and careers long after their service ended. With anecdotes that range from the humorous to the poignant, this episode serves as a testament to the resilience and camaraderie that define military life. Whether you're a veteran, a family member of someone in the service, or just curious about military life, Doug and Mike's stories are sure to resonate. Episode extras https://coldwarconversations.com/episode414 The fight to preserve Cold War history continues and via a simple monthly donation, you will give me the ammunition to continue to preserve Cold War history. You'll become part of our community, get ad-free episodes, and get a sought-after CWC coaster as a thank you and you'll bask in the warm glow of knowing you are helping to preserve Cold War history. Just go to ⁠⁠⁠⁠⁠https://coldwarconversations.com/donate/⁠⁠⁠⁠⁠ If a monthly contribution is not your cup of tea, we welcome one-off donations via the same link. Find the ideal gift for the Cold War enthusiast in your life! Just go to ⁠⁠⁠⁠⁠https://coldwarconversations.com/store/⁠⁠⁠⁠⁠ Follow us on BlueSky ⁠⁠⁠⁠⁠https://bsky.app/profile/coldwarpod.bsky.social⁠⁠⁠⁠⁠ Follow us on Threads ⁠⁠⁠⁠⁠https://www.threads.net/@coldwarconversations⁠⁠⁠⁠⁠ Follow us on Twitter ⁠⁠⁠⁠⁠https://twitter.com/ColdWarPod⁠⁠⁠⁠⁠ Facebook ⁠⁠⁠⁠⁠https://www.facebook.com/groups/coldwarpod/⁠⁠⁠⁠⁠ Instagram ⁠⁠⁠⁠⁠https://www.instagram.com/coldwarconversations/⁠⁠⁠⁠⁠ Youtube ⁠⁠⁠⁠⁠https://youtube.com/@ColdWarConversations⁠⁠⁠⁠⁠ Love history? Join Intohistory ⁠⁠⁠⁠⁠https://intohistory.com/coldwarpod⁠⁠ Learn more about your ad choices. Visit podcastchoices.com/adchoices Learn more about your ad choices. Visit podcastchoices.com/adchoices

England 1970-1974.  The end of the World Cup winningera under Sir Alf Ramsay. Iconic players, emerging starsand missed opportunities.

“A friend said my superpower is to make serious things seem lighhearted.” Danielle Radojcin meets artist Nicole Wermers at Herald St's Museum Street space in Bloomsbury, London, where she was showing her new exhibition Tails & Fainters. Best known for her sculptural assemblages that slyly explore class, gender and the unseen labour that shapes urban life, Wermers talks through the thinking behind this latest body of work.Born in 1971 in West Germany, Wermers moved to London in the 1990s and has lived and worked here ever since. She studied at Central Saint Martins and was nominated for the Turner Prize in 2015 for her exhibition Infrastruktur.  Her installation, The Violet Revs, representing a fictional female biker gang, is currently on display at Tate Modern. She's also a professor at the Academy of Fine Arts in Munich, and her work continues to offer a sharp, humorous commentary on the shifting landscapes of cities and the invisible forces shaping how we live. Portrait of Nicole Wermers. Courtesy of the artist and Herald St, London. Photo by Peter Guenzel.

Walther Rauff, a notorious Nazi war criminal, lived openly in Chile after the Second World War, working for the Pinochet regime's secret police in the 1970s and avoiding extradition to West Germany. When General Pinochet was himself arrested in London in 1998 under an international warrant issued by a Spanish judge, the British government returned him to Chile on medical grounds. In this episode, Andy Beckett, the author of Pinochet in Piccadilly, joins Tom to talk about these two cases of impunity, the subjects of a recent book by Philippe Sands. They also consider why the democratic government of Salvador Allende that Pinochet overthrew in 1973 has been a touchstone for the international left in the decades since, and whether something similar to Pinochet's coup could have happened in the UK. Find Andy's article and further reading on the episode page: https://lrb.me/pinochetpod Sponsored link Oculi Mundi: ⁠https://oculi-mundi.com/⁠ LRB Audio Discover audiobooks, Close Readings and more from the LRB: ⁠⁠https://lrb.me/audiolrbpod

In July 1990, West Germany won the World Cup for the third time, beating Argentina 1-0 in Rome. The shirt the victorious players were wearing that night has become a design classic and is now one of the most sought-after by classic kit collectors. With its distinctive black, red and gold zigzag across the chest, West Germany's 1990 shirt was a game-changer in the world of football kits, helping to usher in a new era of bold designs. Guy Kilty speaks to the shirt's designer, Ina Franzmann, about how she created the famous kit.Eye-witness accounts brought to life by archive and testimony. Sporting Witness is for those fascinated by sporting history. We take you to the events that have shaped the sports world through the eyes of the people who were there. For nine minutes, you become a fan in the stands as we take you back in time to examine memorable victories and agonising defeats from all over the world. You'll hear from people who have achieved sporting immortality, or those who were there as incredible sporting moments unfolded.Recent episodes explore the forgotten football Women's World Cup, the plasterer who fought a boxing legend, international football's biggest ever beating and the man who swam the Amazon river. We look at the lives of some of the most famous F1 drivers, tennis players and athletes as well as people who've had ground-breaking impact in their chosen sporting field, including: the most decorated Paralympian, the woman who was the number 1 squash player in the world for nine years, and the first figure skater to wear a hijab. You can learn all about fascinating and surprising stories, such as the tennis player who escaped the Nazis, how a man finally beat a horse in a race, and how the FIFA computer game was created.(Photo: Ina Franzman with the 1990 West German shirt she designed, signed by the team. Credit: Ann-Sophie Lang)

October 6, 1983. British Columbia, Canada. 27-year old Bernd Goericke and his 22-year old fiancée, Andrea Scherpf, are found shot to death next to a remote road. The couple hailed from West Germany and had been hitchhiking through Canada and an unidentified man driving a pick-up truck is seen using Andrea's travellers' cheques in the days following her death. Nearly six years later, a suspect named Andy Rose is charged with the crime based on testimony from a former friend who claimed she heard him confess to the murders. After two trials and two overturned convictions, the charges against Andy are dropped when DNA testing on a key piece of evidence excludes him as the perpetrator, but no one else is ever charged with killing Bernd and Andrea. On this week's episode of “The  Path Went Chilly”, we travel back to our home country of Canada to explore an unsolved double murder which led to a wrongful conviction.If you have any information about this case, please contact the Chetwynd branch of the RCMP at (250) 788-9221 or the Canadian Crime Stoppers tip line at 1-800-222-TIPS (8477).Support the show: patreon.com/thetrailwentcoldpatreon.com/julesandashleyAdditional Reading:https://en.wikipedia.org/wiki/Double_murder_of_Andrea_Scherpf_and_Bernd_Görickehttps://www.cbc.ca/player/play/2648100646https://archive.today/20120723055359/http://www.cbc.ca/fifth/2008-2009/someone_got_away_with_murder/timeline.htmlhttp://www.cbc.ca/news/canada/newfoundland-labrador/newfoundlander-s-ordeal-with-rcmp-sting-subject-of-cbc-documentary-1.834222https://vancouversun.com/news/metro/police-seek-new-leads-in-1983-murder-of-two-german-tourists-near-chetwynd“The Psychology of Interrogations and Confessions: A Handbook” by Gisli H. Gudjonssonhttps://fernwoodpublishing.ca/files/mrbig.pdfhttps://ucfiles.com/filestatus.php?number=104200082https://www.newspapers.com/image/501465197/https://www.newspapers.com/image/495935807/https://www.newspapers.com/image/496051750/https://www.newspapers.com/image/495047641/https://www.newspapers.com/image/494831236/https://www.newspapers.com/image/496376227/

*Earnest joined us via telephone call, so some parts of this interview may be difficult to understand due to unreliable audio quality. We apologize for the inconvenience.Today's guest is Ernest Latham. Ernest is a graduate of Dartmouth College and Roosevelt University. During his career with the US State Department, Ernest worked all over the world, including Lebanon, Saudi Arabia, and West Germany. From 1983 to 1987, he was assigned to the US Embassy in Bucharest, Romania as a cultural attache where he was under constant surveillance by the Romanian Securitate Intelligence Organization as a suspected CIA case officer.Following his retirement from the State Department and the collapse of the Romanian government at the end of the Cold War, Ernest was able to get access to the counterintelligence file compiled by the Securitate in the 1980s. This was an incredibly rare opportunity to find out just what a foreign intelligence organization learned and surmised about an American government employee in their country.  He's here today to discuss his years with the State Department in Romania.Connect with Spycraft 101:Get Justin's latest book, Murder, Intrigue, and Conspiracy: Stories from the Cold War and Beyond, here.spycraft101.comIG: @spycraft101Shop: shop.spycraft101.comPatreon: Spycraft 101Find Justin's first book, Spyshots: Volume One, here.Check out Justin's second book, Covert Arms, here.Download the free eBook, The Clandestine Operative's Sidearm of Choice, here.History by MailWho knew? Not me! Learn something new every month. Use code JUSTIN10 for 10% off your subscription.Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the show

October 6, 1983. British Columbia, Canada. 27-year old Bernd Goericke and his 22-year old fiancée, Andrea Scherpf, are found shot to death next to a remote road. The couple hailed from West Germany and had been hitchhiking through Canada and an unidentified man driving a pick-up truck is seen using Andrea's travellers' cheques in the days following her death. Nearly six years later, a suspect named Andy Rose is charged with the crime based on testimony from a former friend who claimed she heard him confess to the murders. After two trials and two overturned convictions, the charges against Andy are dropped when DNA testing on a key piece of evidence excludes him as the perpetrator, but no one else is ever charged with killing Bernd and Andrea. On this week's episode of “The  Path Went Chilly”, we travel back to our home country of Canada to explore an unsolved double murder which led to a wrongful conviction.If you have any information about this case, please contact the Chetwynd branch of the RCMP at (250) 788-9221 or the Canadian Crime Stoppers tip line at 1-800-222-TIPS (8477).Support the show: patreon.com/thetrailwentcoldpatreon.com/julesandashleyAdditional Reading:https://en.wikipedia.org/wiki/Double_murder_of_Andrea_Scherpf_and_Bernd_Görickehttps://www.cbc.ca/player/play/2648100646https://archive.today/20120723055359/http://www.cbc.ca/fifth/2008-2009/someone_got_away_with_murder/timeline.htmlhttp://www.cbc.ca/news/canada/newfoundland-labrador/newfoundlander-s-ordeal-with-rcmp-sting-subject-of-cbc-documentary-1.834222https://vancouversun.com/news/metro/police-seek-new-leads-in-1983-murder-of-two-german-tourists-near-chetwynd“The Psychology of Interrogations and Confessions: A Handbook” by Gisli H. Gudjonssonhttps://fernwoodpublishing.ca/files/mrbig.pdfhttps://ucfiles.com/filestatus.php?number=104200082https://www.newspapers.com/image/501465197/https://www.newspapers.com/image/495935807/https://www.newspapers.com/image/496051750/https://www.newspapers.com/image/495047641/https://www.newspapers.com/image/494831236/https://www.newspapers.com/image/496376227/

Max Pearson presents a collection of the week's Witness History interviews from the BBC World Service, all related to trains and journeys which have helped to shape our world.Our guest Nicky Gardner, travel writer and co-author of Europe by Rail: the Definitive Guide, discusses the origins of train travel. The first story involved the hijacking of a train in 1950s communist Czechoslovakia which was driven across the border into West Germany.We also hear about Senator Robert Kennedy's funeral train in 1960s America, and Italy's "happiness train", which took children from the poverty stricken south to wealthier families in the north.Contributors - Archive interview with Karel Ruml. Frank Mankiewicz - Robert Kennedy's former press secretary, and Rosey Grier, his former bodyguard. Bianca D'Aniello - a passenger on the “happiness train”. June Cutchins - received gifts from the Gratitude Train. Tomas Andreas Elejalde - general manager of the Medellin Metro.(Photo: People stand near railroad tracks as a train carries the body of Robert Kennedy on June 8, 1968. Credit: Steve Northrup/The Washington Post via Getty Images)

In 1974, East Germany beat West Germany in a World Cup match in Hamburg. Afterwards, on a flight, the West German Finance Minister, Hans Apel, found himself sitting next to one of the East German players, Hans-Jurgen Kreische. Apel was so despondent that he told Kreische West Germany could not win the World Cup. Kreische disagreed and the pair had a bet. They tell Mani Djazmi about that fateful moment, and the disastrous consequences it had for Kreische's playing career.Eye-witness accounts brought to life by archive and testimony. Sporting Witness is for those fascinated by sporting history. We take you to the events that have shaped the sports world through the eyes of the people who were there. For nine minutes, you become a fan in the stands as we take you back in time to examine memorable victories and agonising defeats from all over the world. You'll hear from people who have achieved sporting immortality, or those who were there as incredible sporting moments unfolded.Recent episodes explore the forgotten football Women's World Cup, the plasterer who fought a boxing legend, international football's biggest ever beating and the man who swam the Amazon river. We look at the lives of some of the most famous F1 drivers, tennis players and athletes as well as people who've had ground-breaking impact in their chosen sporting field, including: the most decorated Paralympian, the woman who was the number 1 squash player in the world for nine years, and the first figure skater to wear a hijab. You can learn all about fascinating and surprising stories, such as the tennis player who escaped the Nazis, how a man finally beat a horse in a race, and how the FIFA computer game was created.(Photo: a glass of whisky. Credit: Getty Images)

John Miessner was born in Germany 1937, raised in the northwest part of the country. John was the middle of 5 children. His father was a naval officer during the World War II. His mother could care of the home, moving the children a couple times for safety. He would listen to the Führer Adolf Hitler on the radio two or three times a week. As a young boy he hoped his country would win the war and his father would come home. After the war he was located on the side that would later become West Germany.

Tania Taylor enlisted in the United States Army along with her husband, Dean Taylor. They were stationed in West Germany during the Cold War, and during that time they came to believe in nonresistance and enemy love. She and her husband filed for conscientious objector status from the Army. After leaving the Army they joined a new church group with David Bercot. Tania tells of her childhood faith, her journey into and out of the Army, and her faith journey up to the present.Dean Taylor's book, A Change of Allegiance This is the 273rd episode of Anabaptist Perspectives, a podcast, blog, and YouTube channel that examines various aspects of conservative Anabaptist life and thought.Sign-up for our monthly email newsletter which contains new and featured content!Join us on Patreon or become a website partner to enjoy bonus content!Visit our YouTube channel or connect on Facebook.Read essays from our blog or listen to them on our podcast, Essays for King JesusSubscribe on your podcast provider of choiceSupport us or learn more at anabaptistperspectives.org.The views expressed by our guests are solely their own and do not necessarily reflect the views of Anabaptist Perspectives or Wellspring Mennonite Church.

On 11 September 1951, the 9.55am train from Prague to Aš, in Communist Czechoslovakia was hijacked and driven to freedom in West Germany. One hundred and eleven people were on board and 34 of them never returned, starting new lives on the other side of the Iron Curtain.The remaining 77 returned to Czechoslovakia to face state security, the Státní bezpečnost, and many were jailed.Rachel Naylor uses an archive interview with Karel Ruml, one of the hijackers, who went on to move to the United States.Eye-witness accounts brought to life by archive. Witness History is for those fascinated by the past. We take you to the events that have shaped our world through the eyes of the people who were there. For nine minutes every day, we take you back in time and all over the world, to examine wars, coups, scientific discoveries, cultural moments and much more. Recent episodes explore everything from football in Brazil, the history of the ‘Indian Titanic' and the invention of air fryers, to Public Enemy's Fight The Power, subway art and the political crisis in Georgia. We look at the lives of some of the most famous leaders, artists, scientists and personalities in history, including: visionary architect Antoni Gaudi and the design of the Sagrada Familia; Michael Jordan and his bespoke Nike trainers; Princess Diana at the Taj Mahal; and Görel Hanser, manager of legendary Swedish pop band Abba on the influence they've had on the music industry. You can learn all about fascinating and surprising stories, such as the time an Iraqi journalist hurled his shoes at the President of the United States in protest of America's occupation of Iraq; the creation of the Hollywood commercial that changed advertising forever; and the ascent of the first Aboriginal MP.(Photo: A steam train in Czechoslovakia in 1960. Credit: Alamy)

On 14 June 1985, five politicians met on a boat in the town of Schengen, in Luxembourg, to sign an agreement to get rid of border checks between their countries: Belgium, the Netherlands, Luxembourg, France and West Germany. The Schengen Area now encompasses more than 450 million people and 29 countries in Europe.Rachel Naylor speaks to Robert Goebbels, who was Luxembourg's Secretary of State for Foreign Affairs, and one of the original five signatories. Eye-witness accounts brought to life by archive. Witness History is for those fascinated by the past. We take you to the events that have shaped our world through the eyes of the people who were there. For nine minutes every day, we take you back in time and all over the world, to examine wars, coups, scientific discoveries, cultural moments and much more. Recent episodes explore everything from football in Brazil, the history of the ‘Indian Titanic' and the invention of air fryers, to Public Enemy's Fight The Power, subway art and the political crisis in Georgia. We look at the lives of some of the most famous leaders, artists, scientists and personalities in history, including: visionary architect Antoni Gaudi and the design of the Sagrada Familia; Michael Jordan and his bespoke Nike trainers; Princess Diana at the Taj Mahal; and Görel Hanser, manager of legendary Swedish pop band Abba on the influence they've had on the music industry. You can learn all about fascinating and surprising stories, such as the time an Iraqi journalist hurled his shoes at the President of the United States in protest of America's occupation of Iraq; the creation of the Hollywood commercial that changed advertising forever; and the ascent of the first Aboriginal MP.(Photo: Catherine Lalumière from France signs the Schengen Agreement, with Robert Goebbels next to her, on the left. Credit: Marcel Mochet / AFP via Getty Images)

Send us a textWhat a privilege, a conversation with Orthopedic Surgeon Dr. Jon Minter!We talk about his work at Save a Warrior, robotic surgery, infection, 1.5 knees, his time with Dr. Larry Dorr, disasterplasties, Mad magazine....and so much more!!Dr. Minter served on active duty in the US Army during the height of the Cold War in West Germany and in particular West Berlin. He was Chief of Emergency Services and Ambulatory Patient Care for the Berlin MEDDAC. Dr. Minter also provided direct medical support for a covert (recently declassified) Special Operations Unit in Berlin, the Physical Security Support Element. In addition, he provided emergency medical training and support for the USMLM (United States Military Liaison Mission) which was co-located in West Berlin and in former East German Potsdam.Following his active duty service he became an Orthopedic surgeon, currently working in Alpharetta, Georgia. His interest in Save A Warrior was borne out of a strong desire to offer more to veterans than what surgery could accomplish. Simply put, he wanted to be a part of a team with the chief object of healing the wounded heart.His family has a long lineage of service in both the military and first responder categories. He has been married to his wife for over 33 years and has three children in which he is intensely proud.Clinic Link: https://sportsmedicine.northside.com/providers/orthopedic-sports-surgery/jon-e-minterYour Best Life: Perfectionism—The Bane of Happiness  https://link.springer.com/content/pdf/10.1007/s11999-015-4279-9.pdfSave a Warrior Foundation: https://saveawarrior.org/board-of-directors/dr-jon-minter/Donate here: https://fundraise.givesmart.com/form/GNlTXA?vid=1k12n4JOEI Bioburden Paper: https://journaloei.scholasticahq.com/article/133635-retained-bioburden-does-not-pose-contamination-risk-after-a-full-sterile-processing-cycleSupport the show

Julia Sneeringer's book provides a concise overview of developments in the Federal Republic of Germany from the end of the Second World War and Germany's division, to the unification of East and West Germany in 1990. Within the framework of key political and economic moments, it illuminates how West Germans experienced social, economic, and cultural change across four decades. Chronologically structured and supplemented with timelines, each chapter in the book presents the major themes, events and developments occurring during the period. A focused bibliography is also included to offer guidance on further reading. Among the notable topics covered are: - The redefining of German identity after Nazism- Democratization- The explosion of consumer culture- The protest movements of 1968- Changing gender and sexual roles- Immigration and multiculturalism- Pop culture- Environmentalism- Terrorism- The return of the right in politics West Germany in Focus is a peerless introduction to West Germany for anyone looking to understand the complexities of German history since 1945. 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

Julia Sneeringer's book provides a concise overview of developments in the Federal Republic of Germany from the end of the Second World War and Germany's division, to the unification of East and West Germany in 1990. Within the framework of key political and economic moments, it illuminates how West Germans experienced social, economic, and cultural change across four decades. Chronologically structured and supplemented with timelines, each chapter in the book presents the major themes, events and developments occurring during the period. A focused bibliography is also included to offer guidance on further reading. Among the notable topics covered are: - The redefining of German identity after Nazism- Democratization- The explosion of consumer culture- The protest movements of 1968- Changing gender and sexual roles- Immigration and multiculturalism- Pop culture- Environmentalism- Terrorism- The return of the right in politics West Germany in Focus is a peerless introduction to West Germany for anyone looking to understand the complexities of German history since 1945. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Julia Sneeringer's book provides a concise overview of developments in the Federal Republic of Germany from the end of the Second World War and Germany's division, to the unification of East and West Germany in 1990. Within the framework of key political and economic moments, it illuminates how West Germans experienced social, economic, and cultural change across four decades. Chronologically structured and supplemented with timelines, each chapter in the book presents the major themes, events and developments occurring during the period. A focused bibliography is also included to offer guidance on further reading. Among the notable topics covered are: - The redefining of German identity after Nazism- Democratization- The explosion of consumer culture- The protest movements of 1968- Changing gender and sexual roles- Immigration and multiculturalism- Pop culture- Environmentalism- Terrorism- The return of the right in politics West Germany in Focus is a peerless introduction to West Germany for anyone looking to understand the complexities of German history since 1945. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/german-studies

Julia Sneeringer's book provides a concise overview of developments in the Federal Republic of Germany from the end of the Second World War and Germany's division, to the unification of East and West Germany in 1990. Within the framework of key political and economic moments, it illuminates how West Germans experienced social, economic, and cultural change across four decades. Chronologically structured and supplemented with timelines, each chapter in the book presents the major themes, events and developments occurring during the period. A focused bibliography is also included to offer guidance on further reading. Among the notable topics covered are: - The redefining of German identity after Nazism- Democratization- The explosion of consumer culture- The protest movements of 1968- Changing gender and sexual roles- Immigration and multiculturalism- Pop culture- Environmentalism- Terrorism- The return of the right in politics West Germany in Focus is a peerless introduction to West Germany for anyone looking to understand the complexities of German history since 1945. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Martyn, Rob and Aidan are back to finish off this memorable qualifying story. Italy were seemingly on a post-World Cup gap year, Northern Ireland managed to beat West Germany home and away and still finish second - a tale of glorious failure that would become more familiar for some home nations - and the Netherlands were booking their hotel after setting Spain the task of winning their final game by 11 clear goals... If you want weekly exclusive bonus shows, want your episodes without ads and a couple of days earlier or just want to support the podcast, then head over to patreon.com/NessunDormaPodcast where you can subscribe for only $3.99 a month. If you enjoy the show then please leave a review and tell your friends! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Episode No. 708 features artist Paul Pfeiffer. The Museum of Contemporary Art Chicago is showing the retrospective "Paul Pfeiffer: Prologue to the Story of the Birth of Freedom." For over 25 years, Pfeiffer has investigated spectacle and mass culture, especially sport, and has found within it the power to create and extend political narratives. Included within the exhibition is only the second US presentation of Pfeiffer's landmark 2007 The Saints, an immersive sound and video installation that considers the 1966 men's World Cup final between England and West Germany that is one of the most significant works of the 21st century. "Pfeiffer" was curated by Clara Kim and Paula Kroll. The MCA presentation, which is on view through August 31, was organized by Bana Kattan with Iris Colburn. The exhibition catalogue was published by the Museum of Contemporary Art, Los Angeles, and MACK. Amazon offers it for $65. Instagram: Paul Pfeiffer, Tyler Green.

In 1966 England won the World Cup with a 4-2 win against West Germany...they even won it on home soil.With players such as Gascoigne, Steven Gerrard, Wayne Rooney and Harry Kane it remains a mystery as to how they haven't won it again...but they haven't even hosted the tournament again.It may seem strange, but there are reasons as to why. Join Mark and Paul as they chart the history of the World Cup, from its inception to modern day, exploring the politics behind why the England men's team have failed ever again to be the host nation of the most coveted prize in football, and why the FA are now more focussed on winning the competition than staging it.From doomed bids, bribes, conspiracy theories and hatred from other nations, this episode of How It All Played Out peels back the curtain to answer: Why does England never stage the men's World Cup?Remember to follow or subscribe and give us a 5 star review too!We'd love to hear from you! Email us: howitallplayedout@global.com Executive Producer: Adem WatermanHead of Podcasts, Factual: Al RiddellVicky Etchells is the Commissioning Editor for Global

West Germany was a federal parliamentary republic with a Chancellor as head of government and a President who held a largely ceremonial ...

After World War II, Germany was destroyed…the country was divided…the east was under the control of the USSR…the west was in democratic Europe…and then there was berlin, sitting in the east but cut into different zones dominated by the Russians, the Americans, the British, and the French.  Most history books look at the political and military side of things…what we don't hear about nearly as much as how Germany society was rebuilt…imagine being a young person who is too young to have been in the military…what prospects did you have growing up in a divided country ruined by war.  This is where art comes in…art is always downstream from whatever is happening in society…and in the case of West Germany, many artists wanted things to be different.  Young German musicians had some very serious ideas of what needed to be done…many were into rock…but they were determined to create rock that was different from what was being made in the UK and America.  And they certainly didn't want anything resembling traditional German music…it had been tainted by the nazi legacy…it was time for something new, different, and away from the status quo.  There were experiments in the 50s that were pretty radical and, frankly, all over the place…but the results of these experiments began to coalesce into something by the end of the 60s.  Within a few years, something distinctly German had emerged…it rocked (in its own way)…it had elements of psychedelic music…things could either be extremely structured or open to wild improvisation…it certainly wasn't from any blues tradition or normal rock conventions upon which British or American rock was built.  The structures of some compositions weren't exactly what you could call normal—at least not in the context of rock…and occasionally, things got political, but not necessarily in a protest sense.  By the middle 70s, we had a new distinctly German sound…the scene was very diverse in terms of sonics, but there was a Teutonic purpose underlying everything.  The Germans just called it “German rock”…the British, however, gave it another name…it was supposed to be a joke, but the name stuck…and looking back, this sound, approach, aesthetic, and name can be found throughout many different corners of the rock.  This is an explanation of thing that has become known as a “Krautrock”…and believe me, you've heard it more than you realize. Learn more about your ad choices. Visit megaphone.fm/adchoices

Every other week, we'll be re-releasing an episode we think deserves more attention. Today, we'll hear about The Candy Bomber. After World War Two, Germany was split up and occupied by the United States, France, Britain and the Soviet Union. In June of 1948, the U.S., France, and Britain announced they were creating a unified West German currency. Joseph Stalin opposed this unification, and cut off land routes from Berlin to West Germany.  In order to bypass the land routes, bombers transported supplies (primarily food) and delivered them to West Berlin in what was called Operation Vittles. Colonel Gail S. Halvorsen was one of several pilots recruited to fly these missions. One day, after sneaking out and flying to Berlin for some R&R, COL Halvorsen met some local children who were survivors of the war. Talking with them changed his life, and he decided he wanted to do something to help them. He returned to base, gathered as much candy and gum as he could, fashioned parachutes with handkerchiefs, and put all the goodies inside. The next day, he flew over West Berlin and dropped the parachutes full of candy out of his bomb bay.  The children were delighted. COL Halvorsen did this several more times, and gained international acclaim for his actions. To learn more about COL Halvorsen, check out his book, The Berlin Candy Bomber. Learn more about your ad choices. Visit megaphone.fm/adchoices

On 14 May 1955, the leader of the Soviet Union and leaders from seven European countries met to sign the Warsaw Pact. In the years following World War Two, the Soviet Union and the United States started the worldwide Cold War. While Western powers feared the spread of communism, the Soviets worried about US atomic bombs. What resulted was the formation of the North Atlantic Treaty Organisation (NATO) in 1949. The Warsaw Pact was signed six years later in response to West Germany joining NATO. Natasha Fernandes uses archive of East Germany's leader Otto Grotewohl to tell the story.Eye-witness accounts brought to life by archive. Witness History is for those fascinated by the past. We take you to the events that have shaped our world through the eyes of the people who were there. For nine minutes every day, we take you back in time and all over the world, to examine wars, coups, scientific discoveries, cultural moments and much more. Recent episodes explore everything from football in Brazil, the history of the ‘Indian Titanic' and the invention of air fryers, to Public Enemy's Fight The Power, subway art and the political crisis in Georgia. We look at the lives of some of the most famous leaders, artists, scientists and personalities in history, including: visionary architect Antoni Gaudi and the design of the Sagrada Familia; Michael Jordan and his bespoke Nike trainers; Princess Diana at the Taj Mahal; and Görel Hanser, manager of legendary Swedish pop band Abba on the influence they've had on the music industry. You can learn all about fascinating and surprising stories, such as the time an Iraqi journalist hurled his shoes at the President of the United States in protest of America's occupation of Iraq; the creation of the Hollywood commercial that changed advertising forever; and the ascent of the first Aboriginal MP.(Photo: Soviet Premier, Nikolai Bulganin (centre) addresses Soviet leaders at the Warsaw Conference on 14 May 1955. From left to right: Marshal Ivan Koniev, Minister Vyacheslav Molotov, Bulganin and Marshal Gregori Zhukov. Credit: Bettmann via Getty images)

In 1978, a Swedish shipbuilder began construction on two new barges, never anticipating that the journey of these vessels would come to exemplify enormous changes in international law and the global economy. In his new book, Empty Vessel, Harvard historian Ian Kumekawa follows the ships' journey from the docks of Stockholm to offshore oil rigs in Scotland, across the North Sea to West Germany, to deployment in the Falklands War. One of them becomes a floating prison not only in New York City, but also in Portland, England, before once again serving as housing for offshore oil workers, 40 years after its construction and eight names later. The history of the Vessel, as Kumekawa dubs it, mirrors the rise of offshore markets, labor exploitation, the caprices of international law, and the earth-shattering changes in the past 40 years of the global economy itself.Go beyond the episode:Ian Kumekawa's Empty VesselRead an excerpt from the book's introductionTune in every (other) week to catch interviews with the liveliest voices from literature, the arts, sciences, history, and public affairs; reports on cutting-edge works in progress; long-form narratives; and compelling excerpts from new books. Hosted by Stephanie Bastek and sponsored by the Phi Beta Kappa Society.Subscribe: iTunes/Apple • Amazon • Google • Acast • Pandora • RSS FeedHave suggestions for projects you'd like us to catch up on, or writers you want to hear from? Send us a note: podcast [at] theamericanscholar [dot] org. And rate us on iTunes! Hosted on Acast. See acast.com/privacy for more information.

Germany is now one nation, but for years the citizens of East and West Germany were separated from each other by the Berlin Wall. For centuries, a wall of religious and social division separated the Jewish people from the Gentiles. How has God broken down the barrier between Jew and Gentiel and made them into one people in Christ? To support this ministry financially, visit: https://www.oneplace.com/donate/581/29

Germany is now one nation, but for years the citizens of East and West Germany were separated from each other by the Berlin Wall. For centuries, a wall of religious and social division separated the Jewish people from the Gentiles. How has God broken down the barrier between Jew and Gentile and made them into one people in Christ? To support this ministry financially, visit: https://www.oneplace.com/donate/791/29

This is the 184th episode of my podcast, 'Soccernostalgia Talk Podcast'.For this episode, I interview Italian Author Roberto Amorosino as we discuss The Historical Italy v. West Germany World Cup Semifinal on June 17, 1970, dubbed as the Match of the CenturyRoberto Amorosino, has in the past, worked at international organizations in the human resources area between Washington DC, Paris and Rome. He writes for Italian sports website https://www.sportmemory.it/ and is the author of Italian language book: Venti di calcio (2022).For any questions/comments, you may contact us:You may also contact me on this blog, on twitter @sp1873 and on facebook under Soccernostalgia.https://linktr.ee/sp1873Mr. Paul Whittle, @1888letter on twitter and https://the1888letter.com/contact/https://linktr.ee/BeforeThePremierLeagueYou may also follow the podcast on spotify and Apple podcasts all under ‘Soccernostalgia Talk Podcast'Please leave a review, rate and subscribe if you like the podcast.Mr. Amorosino's contact info:Website: https://www.sportmemory.it/Book:https://www.sportmemory.it/prodotto/venti-di-calcio/https://www.amazon.it/Venti-calcio-Roberto-Amorosino/dp/8894670619Listen on Spotify / Apple Podcasts:https://open.spotify.com/episode/1pvCrb2CLv7tpmi7NrMv2M?si=mfgxcmh8SeeHYm5MHaudUQ&nd=1&dlsi=af87e01dfe7e4de0https://podcasts.apple.com/us/podcast/soccernostalgia-talk-podcast-episode-184-interview/id1601074369?i=1000706156033Youtube Link:https://www.youtube.com/watch?v=B7Xr-XgTxOUBlog Link:https://soccernostalgia.blogspot.com/2025/05/soccernostalgia-talk-podcast-episode_4.htmlSupport the show

Chris Beesley is joined by guests Gavin Buckland and David Prentice for a a special edition of the Royal Blue podcast to mark the 40th anniversary of Everton's 3-1 win over Bayern Munich in the European Cup-Winners' Cup semi-final second leg, an occasion widely-regarded as the greatest night in Goodison Park's history. After a goalless first leg in what was then West Germany, Everton, roared on by a passionate home crowd, recovered from a goal down at half-time to power through to what remains their only European final. In what proved to be a legendary team talk, manager Howard Kendall told his players at the interval that "The Gwladys Street would suck the ball into the net," and so it proved with goals from Graeme Sharp and Andy Gray before Trevor Steven's iconic late clincher. Gavin and David, who were both present at Goodison to witness the action, share their memories along with exclusive interviews from Everton players who starred that night: Derek Mountfield, Kevin Sheedy, Kevin Ratcliffe, Peter Reid and Trevor Steven. Goodbye to Goodison special souvenir edition:  https://tinyurl.com/GoodbyeGoodisonSouvenir Gavin Buckland's Book 'The End' | Order your copy here: https://tinyurl.com/GavinBucklandTheEnd Everton FC podcasts from the Liverpool ECHO's Royal Blue YouTube channel. Get exclusive Everton FC content - including podcasts, live shows and videos - everyday.  Subscribe to the Royal Blue Everton FC YouTube Channel and watch daily live shows HERE: https://bit.ly/3aNfYav Listen and subscribe to the Royal Blue Podcast for all your latest Everton FC content via Apple and Spotify: APPLE: https://bit.ly/3HbiY1E SPOTIFY: https://bit.ly/47xwdnY Visit the Liverpool ECHO website: https://www.liverpoolecho.co.uk/all-about/everton-fc Follow us on Twitter: https://twitter.com/LivEchoEFC Follow us on TikTok: https://www.tiktok.com/@royal.blue.everto Follow us on Facebook: https://www.facebook.com/LiverpoolEchoEFC Learn more about your ad choices. Visit megaphone.fm/adchoices

In December 1989, Germany's ‘Green Belt' was born. For more than 40 years, the country had been split by a 1,400km border and, in the decades the so-called ‘death zone' had existed, life flourished everywhere. In 1989, communism crumbled and, as soon as the borders opened, Kai Frobel knew he needed to act fast to stop farmers and developers. He called a meeting on 9 December, hoping a few people might come along. Around 400 people from both sides of the border joined Kai to help create what would become known as Germany's ‘Green Belt', securing life in a place which had been associated with death for decades. Professor Kai Frobel tells Laura Jones about growing up near the fortified GDR border and why it's such a special place for rare species of birds and animals.Eye-witness accounts brought to life by archive. Witness History is for those fascinated by the past. We take you to the events that have shaped our world through the eyes of the people who were there. For nine minutes every day, we take you back in time and all over the world, to examine wars, coups, scientific discoveries, cultural moments and much more. Recent episodes explore everything from football in Brazil, the history of the ‘Indian Titanic' and the invention of air fryers, to Public Enemy's Fight The Power, subway art and the political crisis in Georgia. We look at the lives of some of the most famous leaders, artists, scientists and personalities in history, including: visionary architect Antoni Gaudi and the design of the Sagrada Familia; Michael Jordan and his bespoke Nike trainers; Princess Diana at the Taj Mahal; and Görel Hanser, manager of legendary Swedish pop band Abba on the influence they've had on the music industry. You can learn all about fascinating and surprising stories, such as the time an Iraqi journalist hurled his shoes at the President of the United States in protest of America's occupation of Iraq; the creation of the Hollywood commercial that changed advertising forever; and the ascent of the first Aboriginal MP.(Photo: Kai Frobel on the former border between East and West Germany. Credit: BUND Kompetenzzentrum)

Jack Fairweather brings the same rigour and narrative flair that won him the Costa Book of the Year award for The Volunteer, to his new book, The Prosecutor, which tells the story of Fritz Bauer, a gay German Jew, who retuned to West Germany on a mission to prosecute Nazi war criminals and found himself opposed on all sides in forcing the German people to reckon with their past. Join us for a fascinating conversation about personal responsibility, public prosecution, and the personal cost to a very determined man.

In this Part one of Istvan's story he explains his strength to survive living in a border city of Hungary and Romania. Leaving his wife and daughter he defected to West Germany then on to America. Worry not. There is a happy reunion with his daughter and wife. istvanjavorek.com

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Tonight on APEX Express join host Miko Lee as she talks with Asian American theatre artists with works coming up soon. Miko talks with Sunhui Chang and Joan Osato about their world premiere at the Magic Theatre. She speaks with Ethnotech's Nancy Wang and Robert Kikuchi-Yngojo and finally we hear from playwright Jiehae Park on the world premiere of the Aves at Berkeley Rep. Though we may be immersed in a complicated, challenging and very disturbing world, as Grace Lee Boggs said, “A people exercising their creativity in the face of devastation is one of the greatest contributions to humankind.”     Our Guests discussed: April 2-20, 2025 Magic Theatre The Boiling, a tale of american nihilism tickets, wheelchair accessible Joan Osato SFFILM Cedar Road Iyagi Grant Applications:  sffilm.org/artist-development Ethnohtec May 22 Ethnohtec https://sfpl.org/events/2025/05/22/panel-strong-bamboo-3-part-1 Strong Like Bamboo SF Library Koret Auditorium Free https://sfpl.org/events/2025/05/25/performance-strong-bamboo-3-part-2   Coming Up Next Transcript   Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the Apex Express.   Ayame Keane-Lee: [00:00:34] Tonight on APEX Express join host Miko Lee as she talks with Asian American theatre artists with works coming up soon. Miko talks with Sunhui Chang and Joan Osato about their world premiere of the boiling at the Magic Theatre. She speaks with Eth-Noh-Tec's Nancy Wang and Robert Kikuchi-Yngojo and finally we hear from playwright Jiehae Park on the world premiere of the aves at Berkeley Rep. Though we may be immersed in a complicated, challenging and very disturbing world, as Grace Lee Boggs said, “A people exercising their creativity in the face of devastation is one of the greatest contributions to humankind.” So join us on APEX Express as we join some creative conversations.   Miko Lee: [00:01:17] Tonight on Apex Express, we have the collaborators behind Magic Theater and Campo Santo's, world Premier of the boiling: a tale of American nihilism. Welcome playwright Sunhui Chang and video artist Joan Osato.    Joan Osato: [00:01:30] Thank you for having us on, Miko.    Miko Lee: [00:01:33] Yes. First I'm gonna start for each of you with a personal question, which is an adaptation from the amazing Chinaka Hodges. And my question for each of you, and let's start with Joan first, is who are your people and what legacy do you carry with you?    Joan Osato: [00:01:49] I consider myself a child of immigrants in this country. My lineage Japanese, Japanese American by way of Hawai'i a lot of my lineage is carried by that diaspora, but also by my history at Youth Speaks for a couple of decades. And so I consider that my family also and Camp Santo.    Miko Lee: [00:02:12] Yay. Love that. And then Joan, what legacy do you carry with you?   Joan Osato: [00:02:17] A legacy of resilience and I know how to farm. I like to think of myself as a gardener and a great farmer. so that's the legacy I carry with me.    Miko Lee: [00:02:29] Thank you so much, Joan. Sunhui, what about you? Who are your people and what legacy do you carry with you?    Sunhui Chang: [00:02:36] Well, I'm part of the diaspora, the Korean American diaspora that happened in the seventies. My family immigrated to the island of Guam in 1976, as part of developing the island of Guam. As, you know, the Korean diaspora at that time in the seventies, we were kind of shipped around the world a little bit, for our labor. There's a huge Korean population of workers that also went to West Germany and other places, Guam is not as well known, but it was definitely part of that. So in 76, our family landed on the island of Guam.    Miko Lee: [00:03:11] Wow, that's so interesting. And then what about what legacy you carry with you?    Sunhui Chang: [00:03:16] I think my legacy I have to say is that definitely of the immigrant working class, you know, as with a Korean diaspora, there's some things of, like the East Coast Koreans, as you may know, have a different history of being much more educated whereas kind of the west coast and the Korean diaspora during the seventies towards islands like Guam, we were much more working class. So that is my legacy. I have working class roots that, I never seem to be able to get away from and I don't want to.   Joan Osato: [00:03:47] Shoot. That's the same for me too, my working class roots.   Miko Lee: [00:03:51] So it sounds like you two have some commonalities there and that seem to have flowed over into the creation of this play. Sunhui can you talk about an overview of this brand New World premier, the boiling.    Sunhui Chang: [00:04:05] Simply put, it's a story of a tracker and a tracer, a government team that was formed to track and trace down carriers of the virus called the Boiling. and it actually. starts out as a chase, but what we really dig into is more about, identity, home, what it means to be, what is home and what it means to be, at home, and also, about redemption, you know, through our lives, you know? So it's multi-layered, so it's hard to kind of explain in a log line. but it's a chase story that kind of delves into the characters.    Miko Lee: [00:04:40] And I understand this was inspired by a real news story. Can you tell us about that real news story?    Sunhui Chang: [00:04:46] Oh, yeah. the genesis of this we have to kind of go back to the beginning of the pandemic back to December, 2019. I had just finished a gallery installation in San Francisco and then at the end of that I flew back to Seattle. Now at that period of time, there was this talk that there's this virus that's in China. That might affect us, we're not quite certain, but it could be something that could lead to a global pandemic, but we didn't quite know at that time. But then when I landed in Seattle, March 17th, 2020 was the date that Governor j Insley shut down the state of Washington. So that is a big take 'cause, As you know, we all hunkered down at that point. And then in one of the hunkering down is of course, I was watching the news and one of the news story, happened to come across where they were talking about a Econo Lodge motel that the state of Washington had purchased to turn into a quarantine motel, a voluntary quarantine motel where people who, felt that they were infected could check themselves in, to be evaluated. So the story goes that two people had actually checked into this motel totally voluntarily, but one of them the morning after. And this is captured, with a surveillance video. We actually see this one person walking out of their room at the motel. We see them walk across the street to a gas station with a market. Now the surveillance actually then switches over to the gas station surveillance, which shows him walking to the gas mart, walking inside, making a purchase, and then actually walking out. And then we see another footage of the surveillance that's going from the outside surveillance of the store. We actually see him, walk towards the bus stop, get on a bus. And then just the bus leaves and that is it. And the news story ends with that. They had no idea where this person drifted off to. and for me it just, it had this weird, eerie fascination that just grabbed me. and remember at that time, Seattle was such a hotbed for Covid. It was where the nursing home happened, where so many of the elderly had passed on, and we didn't even wanna secondhand touch a surface, so there was a real heightened sense of alarm that was happening. So seeing this story of this potential infected person just drifting off. And then what made it eerie was that I wanted to see what followed up. So for days after I kept watching the news, what is the follow up? What happened? It was never brought on again. Never. Another mention I. and for me that actually made it even more eerie. So it really sat with me, to the point where I had to actually just write down the first words of my, the first line of my story, the boiling. And the first line was, “Carrier X stepped out of the tightness of his room and breathed deeply the soft drizzle of the Pacific Northwest to cool his body from the growing fever.” So those were the first words that I wrote. and then it was just kind of off to the races 'cause the way I write Miko is that I'm very much organic. I kind of set a story and then I become a vessel of the story. I don't come to the story with agendas or anything of that nature. After the first sentence, it just kind of took a life of its own. So that's it.    Miko Lee: [00:08:18] That is amazing. I did not hear that story. and the real news story. That is wild. That would've sat with me too. Joan, had you heard of that story before being brought onto this project?    Joan Osato: [00:08:29] Well, when we did a reading during the pandemic. I did hear parts of that story, but I think it's also a story that a lot of us can relate to, because like here in the Bay Area, of course, we also experienced severe lockdown. Whereas in other parts of the country, I think that the type of lockdown, although being, you know, trying to be really safe for people also induces this sense of isolation and paranoia. And so wanting to get information about who's getting affected and like, where's it happening? I think that was all like kind of a mini obsession of like. Everyone who experienced the pandemic, you know what I mean?    Miko Lee: [00:09:10] How do you think that pandemic has had an impact on theater and on audiences?    Joan Osato: [00:09:16] Well on the most basic levels, you know, like what theaters are grappling with, just in terms of coming out of and recovering from pandemic, I think everybody understands that, you know, theater in general is struggling because of the changes that happened in terms of, Perhaps what people place importance on the isolation that we went through, the kind of, paranoia about being in groups of people and in space and in community together. And so, that affects, you know, theaters and you can, you can see that since the pandemic some have closed. But I also think that, the effects are also that, groups like The Magic or Campo Santo during the Pandemic, we never stopped working and we just figured out innovative ways to, you know, support artists, do radio plays, do, amalgamations of like filming. And so a lot of us became like very, very adept at different types of media that are theatrically based, like Sunhui's play, but that we had to carry out, like online or, you know, through other types of media.    Sunhui Chang: [00:10:30] I just wanted to add on that is that, the pandemic, you know, there there was definitely things that really affected us as humans in such a negative way, but what I also found admiring was, with Joan and Camp Santo and the artists and trying to find creative ways of, still letting, having an outlet. it really was that the story of the boiling would not have taken place if artists such as Joan and Camp Santo. If they didn't, if they weren't able to pivot and make these kind of online transitions at the moment, such as doing readings and such, cause that's how the story was first brought about. So, in many ways it was hard. But also I do appreciate these artists who have been able to kind of keep going and didn't shut down and kept letting the creative creativity somehow flow. I so appreciated that.    Joan Osato: [00:11:20] Yeah, it was definitely a beautiful thing. And then, you know, Miko, throughout the pandemic, you know, we would have like online viewings of our archives or we would sit with audience members, who were joining us and basically hang out for like three, four hours online. So trying to create the space not only to kind of generate support for artists who are. Completely outta work, but also to, just connect us even though we were. You know, obviously under these conditions where we couldn't see each other in person and it wouldn't have been advisable for us to even try to gather, you know, because, I consider us, you know, in-inside of our community extremely vulnerable. So, you know, just grappling with that tension, was really hard.    Miko Lee: [00:12:09] Yeah. And I kind of hear both of you saying that in those really tough times, there was this push to get more creative, to find more ways of reaching people and, and to look at ways that we can, um, innovate given that, and I'm wondering, given our current political climate where things are changing every hour now. I mean, the first Trump administration, it was kind of every week and now it feels like every hour a new kind of devastating thing is happening. I'm wondering how you both think theater can be used as a tool for social change.    Sunhui Chang: [00:12:41] For me Theater and, and really the arts, what I do love about it, is this really, and I kind of touch upon it with the story and such, and it really hit me during, COVID, during the pandemic, is that it's really for me, what it does is listening.  I know as artists, we love telling our story. We love telling what we see, our interpretations and things like that. but I think what I have really come about with the arts is the fact that I like the other side of it is the listening part, for me with my collaborators, that I have to listen. You know, it's not about just me talking, but just listening. So for me, the theater aspect of it and the art aspect of it is that I hope that, as we go through these tough times, what it really has us doing is listening to each other more. One of the things that I really feel in that way and appreciative of listening is the fact that without listeners, there's no storytelling. Listening is really the foundation of our humanity. You know, I mean, just talking really gets us nowhere. What really makes us move forward collectively is listening.   Joan Osato: [00:13:50] Mm, Sunhui heard that. Yes, I heard that. [laughs] As far as theater and kind of responding to the moment. I think, you know, the type of theater that we embody is always speaking to politics is always speaking to, you know, the culture of the moment and especially it's speaking, because a lot of Campo and the Magic's work is like based inside of, theater companies that live, work, breathe, are about by and for the communities, like in the Bay Area right. So there's just no way of separating the kind of politics from what happens like inside of these plays. For the boiling in particular though, I think there's a lot of stuff that, that people can think about and here inside the play that will resonate with them. One, we're, we're talking about a hypothetical, but it's not really a hypothetical situation about a pandemic, a very, harmful, very urgent, current conditions. You know, when there's no CDC to have, get your information from when there's no public health that's functioning in this country, we can, we can see what happened during the last pandemic and just make that comparison and draw those comparisons, you know, what would happen in the next one. Right. also that, you know, to me and Sunhui, you can totally. speak to this, but to me, Carrier X, the person that represents is this kind of violence and nihilism that exists inside of the, you know, the current, you know, psyche or administration right at this moment. this real like. It's definitely violent to the point of not caring whether people live or die and so I, you know, I think that's very striking about the play and it happening right now as premiering it right now, because I think people can draw a lot of parallels between. Like this personality, this complete disorder that seems to be going on, like not only in American politic, but amongst the large population in America itself. You know what I mean? That kind of disregard.    Miko Lee: [00:16:18] Joan, that is so interesting. I wonder if you both can talk a little bit more about Patient X as this kind of figure of narcissism and selfishness that we're seeing that's happening in our broader politics right now.   Sunhui Chang: [00:16:31] Yeah, Carrier X, he does, you know, he does kind of represent this nihilism of American nihilism, which to me it's really historical and cultural. we could go all the way back to the nihilism of manifest destiny, feeling like we have something to do that it was even, maybe. God's order, you know, a higher order that was given to us. And we have to take on this task and finish the task at no matter what cost, right? By any means necessary in a way. and that nihilism for me, I. historical, but when I see it currently that happens now, is that I see nihilism in the fact that people want to cut off Medicaid, Medicare, these social programs that are not just help people actually are crucial and it's really, it's a survival. So for me, when I see that kind of disregard, yes, it's not this overt violent nihilism, but I do find it to be so nihilistic in the damage that it does to all of us, you know? And I do find That this nihilistic violence, there's two flip side to it. The people who are directly affected, and harmed by it, but also the people who carry it are out, who carry out these acts of nihilism they do get damaged as well. So for me, so yeah, the nihilism, it's taken on a different life, but. It's a part of America and it seems to continuously carry forward through our days.    Miko Lee: [00:18:00] And Sunhui with the intentional characters, the lead being Korean American adoptee, and, the detective being a black woman, and then carrier X being white. Share with me a little bit about the racial element and your intention behind making those characters of those, ethnic backgrounds.    Sunhui Chang: [00:18:20] You know, there was no intention, as I said, I just write very organically. So there was never this thought of, oh, here's the three characters. One's gonna be a Korean adoptee, one's gonna be a black homicide detective, and another's gonna be a white carrier. It was never that I. It's hard for me to explain the process, but those were the characters that just kind of naturally came out. for me, it just felt fitting to it. So, I don't have agendas as I write, as I said, so there was none of that. It was just for me, as a vessel of the story, as a story was coming out, it was just. Oh yeah, this character is this, this character is that, and this one is this. so no intention. But, once those things came alive, then the story kind of, evolves around what's, organically happening. So yeah, there wasn't intent, but at the end of it all, of course, I go, oh, I see what has come about and how the story is so, In hindsight now going, oh yeah, I did this. for me, it feels right in the, in the fact that for me, this is America Miko. To me, I, I don't write with an Asian American kind of pen, or, or a brown person pen for me, I actually first and foremost say I'm an American. There's no way around it. and it's simply put too, is that. I am an American. so for me, these characters are just. Natural. And when I know about me being American and knowing about American history, these characters just naturally fit in, you know?    Miko Lee: [00:19:50] Yep. Thank you so much. I've read that you talk about new Americana theater. Mm-hmm. And also Joan, you were talking about how during the pandemic, you know, everybody's learning new techniques, new ways of storytelling, just because everybody was forced to with the lockdown. Sunhui, can you talk more about what you believe New America Theater is all about?    Sunhui Chang: [00:20:12] For me, the reason why I kind of see it as new Americana theater, first off, 'cause it's, it's American, the stories that come out of me is very American. you know, and I recognize it. And for me, I, it is, this is part of the American fabric, so that's why it's called Americana. And for me, I say it's new. 'cause what's new is the perspective that it's coming out from. perspective, which brings on different characters, a different storyline, you know, different message. So yeah, that's, that's it for me when I refer to it as New America in the theater. It's just that, that it's, it's an American tale that now we've been able to incorporate new voices into.   Miko Lee: [00:20:54] I noticed there's a really large list of collaborators. Of course the two of you, but then there's a lot of other people as well. Can you talk about that creative process, how you all were able to work together, how you made decisions about, oh, this is the part we're gonna use film, this is the part we're gonna use, movement.   Sunhui Chang: [00:21:11] Like I said, it's very much organic. Our third major collaborator is Ellen Sebastian Chang. she is the director of the show, and when me, Joan and her, we first started delving into it, we did. It was just sitting down and talking a lot. Going through the scripts, the different skill sets that we bring in. And really it was through the dialogue miko and of us talking with each other, but also listening to each other. and that was a big part is that as we started listening to ourselves, we came out with this direction.    Miko Lee: [00:21:47] And what would you both like the audience to walk away with after seeing the boiling?   Joan Osato: [00:21:52] I think, you know, as Sunhui talked about this, ritual of deep listening and so, the play doesn't guide anyone towards some natural conclusion that they should have about, you know, it's, it's not saying you, you must believe this, it's really leaving it up to the viewer, the listener, to draw their own conclusions. And, I think that, that people who come to this will be incredibly moved. I think that they will see a lot of parallels with what we're going through now and what we've gone through. And examine there is a kind of shameful history that we all need to grapple with, whether we own it or not. You know, Sunhui had talked about manifest destiny and that being like one of the founding, you know, kind kinds of principles that this country is founded upon. And there are many, many others That I think the play touches on which give pause and, and give the people who are engaging with this, room to think and reexamine their own actions in the world and how they approach it.   Sunhui Chang: [00:23:02] I'll just mention as an aside, you know, some of the things that we're looking at is. Our disconnect from the natural world and how that has impacted the natural world. Right.  I think Joan is spot on in, in that about, yeah, first and foremost, I do find this so important once again to say about listening. I do. I, that is the big thing that I would love is that for us to, if we really wanna truly have dialogues, and especially with people who we disagree with, and there is a lot of disagreement in this world right now. and for me, yeah, to, Get us back to a place where we could really listen to each other and not be in such a place where all we wanted to do is kind of say what we have to say. It's almost this thing of, oh, you know, the other has to listen, the other has to listen. And I really would like it that it becomes kind of more inward that we all say, Hey, it is time for me to listen. And then of course just the fact that when, as we listen to each other, what I do find and what I hope that others find as well, is that we're much more connected and we have so many things that tie us together than separate.   Miko Lee: [00:24:19] Well, thank both of you so much for joining us on Apex Express. Is there anything else you wanna add?   Sunhui Chang: [00:24:24] Just one thing, Miko, one of the elements of this play, is this natural world with birding and I would love to just, one of the big inspiration is that it's just a quote from Emily Dickinson and the quote is, “hope is the thing with feathers.” For me, I would love for people to kind of sit with that and think about that and what that means for us as human beings in relationship to the natural world, you know, and the importance of that.   Miko Lee: [00:24:52] Oh, that's such a beautiful visual image. Thank you so much for sharing that. I appreciate both of you for sharing your time with me.    Joan Osato: [00:24:59] Thank you, Miko.    Sunhui Chang: [00:25:00] Thank you Miko    Miko Lee: [00:25:01] The Boiling is a brand new play, and it's a story of a Korean American adoptee Brian, who's a virologist from the Midwest, and a former homicide Detective v, a black woman who lives in the Pacific Northwest, and they're partnered to do this trace and track from north to south. They're following David, a white nihilistic carrier of a feverish virus called the Boiling. This world Premier Show opens to the magic theater and runs from April 2nd through April 20th. You can get more information about this show, including links to buy tickets at our show notes on kpfa.org/programs/apexexpress.   Ayame Keane-Lee: [00:25:42] Next we'll listen to an excerpt from The Camp, the first opera on the Japanese American Concentration camps during World War II. The camp premiered from February 22nd to March 2nd, 2025 at the JACCC Aratani Theater in Los Angeles. Composed by Daniel Kessner, who combines modern classical with Japanese instruments, A libretto by Lionelle Hamanaka, directed by Diana Wyenn, with Associate Director John Miyasaki, 11 singers and a 22 piece orchestra conducted by Steve Hofer. The incidents in The Camp Opera were drawn from different camps where over 126,000 Japanese Americans were imprisoned to see the many Japanese American groups that supported this project, including JANM, DENSHO and Raf Shimpo see the camp opera.com and if you know a place where The Camp can be performed near you, please contact the campopera.com/support.    MUSIC   Miko Lee: [00:27:53] Welcome to Apex Express. I'm so glad to have Eth-Noh-Tec once again, we get Robert Kikuchi-Yngojo and Nancy Wang.   Nancy Wang: [00:28:03] Yay. Yes. Hi. Hello. So glad to be here with you Miko.   Miko Lee: [00:28:07] We have been friends and colleagues for, it feels like a hundred billion years. The times that we're in are so complicated right now. But I just wanna first start with the question I often ask people, which is for each of you to tell me who are your people and what legacy do you carry with you?   Nancy Wang: [00:28:27] Well, I am Chinese American, and I am fifth generation on my mother's side. And. So we go all the way back to 1850 when our family first came on a junk boat and started the fishing industry in the Monterey Bay area.    Robert Kikuchi-Yngojo: [00:28:45] And I am, half Japanese, half Filipino, born in San Francisco, raised in Concord, California, and living in the Bay Area for all my life.   Miko Lee: [00:28:50] And what legacy do you carry with you?    Robert Kikuchi-Yngojo: [00:28:58] Well, I guess the identity I have as an Asian American, Japanese, and Filipino, um, I embrace all of that. The legacy is, as an artist, a performer. I've dedicated my life to creating works that reflect an Asian American consciousness, social, political, cultural. Both traditional works as well as new modern stories and music as well.    Nancy Wang: [00:29:25] And I was also a psychotherapist, so my work in the arts, whether it's dance, which I started out being a dancer and then a playwright, and then storytelling. I always weave in the healing aspect of what we all need to do in our communities. And so I use my art to also bring solace and bring celebration and bring, Depth and and the breadth of who we are as Asian Americans, as human beings, as part of this world, this country, then this city, so that we can celebrate who we are together.   Miko Lee: [00:30:04] Thank you for that. I hear you talking about activism, Asian American history, who we are and healing. I'm wondering if you could give me an update about what you're working on right now.   Nancy Wang: [00:30:14] Well, we have several things in the pipeline. I, for one, just finished writing and has now published Red Altar, which is the story of my ancestors. Three generations are followed in this book, about how they established the fishing industry in the Monterey Bay area. All the ways they had to reinvent themselves as laws were passed against them. The people try to get rid of them. And it's really a story of courage and determination and persistence, ingenuity and obviously success. Because I'm here. So I'm gonna be doing some more readings and that can be found on our webpage. Right. And Robert,    Robert Kikuchi-Yngojo: [00:30:55] I am focusing on archiving our work and after working with Nancy and creating Eth-Noh-Tec for the last 43 plus years, we have developed over 200 stories, and we put them on stage. We've written them, some of them are now being written as a compendium of stories. These are Neo-traditional folk tales and myths from Asia. And, people don't know much of this, but I am also an artist, so I'm creating illustrations that depict these stories. That's one project.   Nancy Wang: [00:31:23] Yeah, that's our next book. but what we're really excited about is our second Strong Like Bamboo, stories of resilience in the era of Asian American hate, but it's really broadened beyond Asian American because this year on May 22nd, will be a gathering of Latino and Asian artists and musicians, storytellers, and activists to just sit around and really share our stories, share our music, share our concerns, and to build bridges with each other because it, we will need to increase, our coalitions during this era. It's gotten worse, so we really need to come together.   Robert Kikuchi-Yngojo: [00:32:08] and we titled it strong like bamboo because of the Asian anecdote about, you know, one bamboo can snap, but together binding many bamboo together we're much stronger. So it's a call out to the community to bring all of our constituents and broaden that so that we are strong, as people of color.    Nancy Wang: [00:32:25] And of course we're gonna have food, which always brings us all together. But also bamboo can bend. Without breaking, so that's on a Thursday, May 22nd. But on May 25th, I have curated four other storytellers to tell their stories of their racist experiences and how they came through it to a healing place.    Robert Kikuchi-Yngojo: [00:32:48] There's a gathering of Asian American storytellers, both from the Chicago area and also from the west coast.    Nancy Wang: [00:32:53] And there'll be a panel so they can ask questions and we can have discussions. But after that, the people in the audience will have the opportunity to break up into small groups of three in which they get to share their own stories, their own concerns, and that's really the whole thing is about inspiring people to come through what they're going through and coming out, on the other side with some hope and healing. Because when we share our stories, we lift that particular burden of, say our story about our racist experience. We lifted off our own shoulders and we get to share it. With someone who's listening with compassion and we don't feel alone anymore. It's really a powerful, powerful way to find community connection, relation, and strength.   Robert Kikuchi-Yngojo: [00:33:45] And we'll have also in both of those events, resources in earlier years, I was an Asian American songwriter and did a lot of songs of not just identity, but of unity. I'm also gonna be singing a theme song called Bamboo, which is part of the title and also, a work by Chris Jim, famous of the Chris and Joe Asian American Duet from years ago. the one song we're still here, though it was written 30, 40 years ago. It's still pertinent to what's going on now, especially declaring that America is a multiracial, multiethnic, texture of society.   Nancy Wang: [00:34:20] and, in 2026 we're gonna bring on, African-American and Euro-American, storytellers also, so that we really have a multicultural representation of all who we are and how we still will need to come together. I hope things will be better by 2026, but who knows?    Miko Lee: [00:34:39] Thank you so much for sharing about how storytelling can really be a tool for social change. Is there anything else you wanna share with our audience?   Nancy Wang: [00:34:47] Yeah. please come to our strong like Bamboo on May 22nd and 25th is gonna be at the San Francisco Public Library Main Library, both are free to the public May 22nd the Thursday at May 22nd, it's gonna be in Hispanic room,    Robert Kikuchi-Yngojo: [00:35:05] and what time?   Nancy Wang: [00:35:06] Six to seven-thirty. And on Sunday it'll be in the presentations, the performances in the panel will be in the Koret auditorium, and then small groups will convene in the Hispanic room, which is right next door, and it's got elevators. So no problem, in getting there. Plus Bart and the bus is, it's easy to get there. And so that's what we wanted so that people could feel welcome.    Robert Kikuchi-Yngojo: [00:35:35] And that second show on Sunday Strong like Bamboo will feature our guest artist storytellers, professional storytellers. One of them being a local Eleanor Clement Glass who's half African American and Filipino, talking about her experiences. And then also, two guest artists from Chicago, one of them being Lillian Ji, who is a Japanese American hapa. Then third is, Archie Jun, who is a Thai American gay comedian storyteller who is a total riot. we are really wanting to blend many of our communities together to hear this talent Yes. And to deal with the topics.    Nancy Wang: [00:36:10] So we would love for the LGBTQ plus community to come out as well and support him and feel proud because all of the stories will, will really showcase our strength and our ability to deal with these things and come out the other side. So we are hoping that in the process of telling our pain, but coming out, on the other side, that it will be an inspiration for everyone to keep going during this difficult, very difficult time.    Miko Lee: [00:36:41] Thank you so much for joining me today.    Nancy Wang: [00:36:44] You're welcome. Thank you   Ayame Keane-Lee: [00:36:46] You are listening to 94.1 KPFA and 89.3 KPFB in Berkeley, 88.1 KFCF in Fresno, and online worldwide at kpfa.org.   Miko Lee: [00:37:05] Welcome Jiehae Park to Apex Express. I am so excited to talk to you about the world premier of the aves opening at Berkeley Repertory Theater, May 2nd through June 8th. Welcome to Apex Express.    Jiehae Park: [00:37:19] Hi, Miko. It's so nice to be here. Thanks for having me.    Miko Lee: [00:37:22] I wanna just first start with a personal question, which is, who are your people and what legacy do you carry with you?   Jiehae Park: [00:37:31] Hmm. I love the phrasing of that question. I was born in Korea and I came to the states when I was three years old with my parents who came to go to graduate school. And my father's family fled the north during the war. And my mother's family had always been in the south. And I definitely think that who they are and where they came from is a big part of who I am and the questions that I think of. And in a lot of ways, not just, racially and culturally, but also in terms of their interests. They're both scientists. This play deals, I hope thoughtfully with questions of identity and consciousness, that I've always been interested in.    Miko Lee: [00:38:18] And what legacy do you feel like you carry with you from them?   Jiehae Park: [00:38:22] Hmm. I mean, I write a lot about immigrants. This play isn't specifically about that, but in a lot of my previous work, I, I have. have written a lot about immigrants and I feel like my parents, you know, they came to this country when they were in their twenties. They didn't speak the language. They came from a generation of folks and at that time in the country where they were really, they had to be a certain way to survive. And I think that, intensity of work ethic, and the things that you also have to give up in order to get to where you think you wanna be, that question is, is part of their legacy to me. It's a, it's a gift and also something that, like a lot of other immigrants, I think I'm always sort of turning over in my mind and, and trying to look at from other angles.    Miko Lee: [00:39:12] Thank you for sharing. I'm wondering if you can talk to us about, first this title of your, world Premier, the aves. Where did this title come from? What is it about?    Jiehae Park: [00:39:23] So the title is the Latin word for Birds. And, the play there's a mystery that sort of unspools early on. So without, without giving too much away we see this old couple on a bench, on a park bench, and they have clearly been together for a long time and they are having a conversation that seems like a very ordinary conversation. And over the course of the first scene, we soon learn that they are discussing, doing something that will have ramifications throughout the rest of the play. And the aves is a word that I loved because of the association with birds. There, there are birds that make an appearance in this play, in both pedestrian and unexpected ways, in mysterious ways, and hopefully humorous ways. and then the connotation also of Ave Maria and this, this feeling of the sacred, which also infuses the play, which has a lot of humor, but also when I was writing it, I was thinking a lot about nature and the passage of time and this feeling of awe that I get when engage with nature. And I think that word also has those connotations for me.    Miko Lee: [00:40:46] And that sounds like a mystery that people need to come to find out more about. Can you tell us what inspired this work?    Jiehae Park: [00:40:54] I used to live on the northside of Central Park in Harlem, and I had this tiny, tiny little window that looked out, onto the north side of the park. And every day I would sit down to write and through my tiny window, I would see the same man sitting on this bench every day. And as the seasons changed and the leaves changed and the light changed, but still every morning there was the consistency of seeing the same person. And I think I I was thinking a lot about the passage of time and of nature shifting And I think subconsciously I was thinking about getting older myself. This was a time before I had children, but I was starting to become aware of my parents aging and generationally My peers, also our parents were aging and, and starting to have, you know, the complications and the beautiful things that can come with that. So I think all of that was a big soup in my subconscious. and I sat down and I wrote the first scene very quickly and then. I didn't know exactly what the rest of the play was gonna be, but I knew structurally that the first scene would be this old couple and that the second scene would be, a slightly different configuration of, of bodies. But that was hard to be so mysterious, um, and that the nex scene would be a different specific configuration of body. So I was thinking about the age of the bodies that you're watching and the story evolved from that. And I guess I should say that the play is set in a moment sort of best after now. So it's not the present, but it's not the distant future. It's certainly not like hard sci-fi by any means, but I think it uses some tools of speculative fiction. To ask questions that hopefully are illuminating about ourselves now.    Miko Lee: [00:42:59] Interesting. Did you ever talk with the man in the park that inspired this piece?   Jiehae Park: [00:43:05] You know, it's so funny. After the first couple of weeks of watching him, I realized he lived in my building and I hadn't noticed him before.    Miko Lee: [00:43:18] Wow. That's amazing.    Jiehae Park: [00:43:20] And I think that that's also something that. I had been thinking a lot about at the time this question of presence and attention, especially in New York, which is a city that is so loud. I mean, I love, I love New York and there's so many things that I love about New York, but it is such a loud city and it is hard to hear yourself think and, and the quality of attention in any. I was gonna say in any city, but in like any moment in our extremely chaotic world, I mean, especially now, that sort of quiet present quality of attention that I think is so beautiful and so rare, and I associate with, I'm not religious, but, but when I was a kid, I was, and this, this quality of, of sacred space, I think I was, I was really curious about that. And at the time, I think I had also that year gone on a silent meditation retreat. so trying to bring that quality of attention to my ordinary life as a urban citizen, I think was also part of the experience of writing the play. But yeah, he lived in my building and I hadn't noticed him before. And so this question of what do we notice and what do we need to shift in ourselves to notice what's in front of us and has been in front of us.    Miko Lee: [00:44:44] I am hearing you talk about a sense of presence and, and time passing. I'm wondering if that is what you want the audience to walk away with or are there other things that you're interested in provoking with this piece?    Jiehae Park: [00:44:57] As an audience member, when I go to any play, I always hope to leave a little bit different than how I entered and. That shift can be really subtle. In fact, for me as an audience member, sometimes it feels more profound when it is subtle. So on, on like at like a really baseline level. We've been having a lot of conversations with the design team about how to create this. Quality of space that feels different from the mundane so that when we enter the space of the theater, so for our body chemistry changes and that we are being asked by the play to lean in and pay attention perhaps in a way that we're not asked to pay attention, in, in the world outside of that room. And to be able to request that of an audience and share that with an audience. Together, I think is such a beautiful thing. And, and one of my favorite things about any collective experience when, when it all feels like we're breathing together. And my hope is that that's something that we can create, at a, like a biochemical level in our bodies, on a sort of more. Intellectual, emotional, philosophical level. I think there are questions that the play is asking about, what makes us, us and memory and the ability of a person and a relationship to change over a long period of time. And over the course of events that. May require forgiveness. those were certainly things that I was thinking about while I was writing it. So there's also that, that more character relational level of questioning that, that I think, will resonate with people, in different ways depending on where they are in their lives. And then I think especially because, you know, there's a lot of conversation about sandwich generation now, like folks, I. Who have dealt with aging themselves or aging parents and, the complexities and possibilities that can create. I think that there's another layer of the play that stirs up some of those questions as well.   Miko Lee: [00:47:04] Speaking of complexities and possibilities, I understand that you studied music and that you're also an actor and then you also write for Marvel's Runaways. Can you share a little bit about how these different elements impact you as a writer, as a creator?    Jiehae Park: [00:47:20] Yeah, so I started as an actor, which I think a lot of people do, mostly because it's the most accessible thing. Like you can audition for a play. You can't sort of audition to write a play. you can just write a play. But that, I think, came later for me. I don't really perform a ton anymore, although I did love it. and then the shift to television happened eight or so years ago. There's a big movement of playwrights moving into television, during peak tv. And they're very different. there is some shared similarity in storytelling instincts and craft. but the mediums are just really different, so I feel like I get very different things from, from all of them. I feel like I learned being a performer for a long time. As an artist, it's just getting to bump up against people who you think are fascinating and learn from them what you like and what you don't like, and who you wanna be and who you don't wanna be. and from tv I think I learned, To not be so precious. It takes a really long time for me to write a play. and I used to think, oh, I have to go into the woods and like be silent for a month and then like a play will emerge. And like sometimes it happens and it, that feels like a blessing when it does. But in TV, because there's so much money at stake and so much time pressure that you know, when something's due, it's just due and you turn it in. And if it's not perfect, you just deal with it and you make it as good as you can. And I think that there's a certain amount of shedding of perfectionism, which has been really healthy for me. but I do. Love the theater for the ability to spend a long period of time contemplating something and, and making it with a group of people who feel inspiring and we're all moving towards the same thing. and I think there's a little bit more space or a lot more space in the theater for things that may feel. mysterious or more open. whereas in television especially these days with the sort of decline of peak TV, there's an expectation of propulsion. Like overt propulsion, if that makes sense. That is not a criticism like, you know, I also love TV. but it is, it's like the pace of it is different and the ask of it is different than the ask of a play and and the baseline thing of just, you're not in the same room with the people experiencing it that is so special in theatre.    Miko Lee: [00:49:45] How do you go about shifting that mindset for that kind of speed of TV that you're describing versus the kind of longer meditative state of creating theater?    Jiehae Park: [00:49:55] Yeah, I mean, I think there's hopefully a two-way exchange. Because I also think that bringing some of those qualities of thoughtfulness and deliberation to the world of TV within the container, within the boundaries of it, can be incredibly useful. And ultimately a lot of the things that delight people, delight people regardless of the format. So that, like, that feeling of inevitable but surprising, like that's something that is of tremendous value in all mediums, right? I think for me personally, when I write a play. I try to make a space in my life that is a little more still. and I have a toddler now, so that's challenging. But in a way, working in television has been really helpful for that because, you know, I don't have five hours in the middle of the day to, you know, be with myself and listen to the trees. I maybe have like 30 minutes, but to try to drop into that as. quickly and without angst, without like working myself up about it. 'cause that's a waste of time. That's been a useful lesson to learn. Whereas working in television can feel a lot less lonely also than playwriting because in a writer's room, most shows in the states are written in the writer's room, there are few exceptions, and you're with a group of people. And so there's a sort of energetic exchange happening there that in a play only happens much, much later when you're in rehearsal and ideally in production. there's a sort of joyful energy and exchange that can happen in a writer's room, both when you're breaking the story and then ultimately when you're in production. And there's like many, many more people involved. And there's the crew and the cast and you know, all of the technical departments and producers. I feel like you mentioned, Code switching earlier. And, humans are so adaptable and I think we automatically sort of shift our brain chemistry and our body chemistry in response to the environment around us. sometimes very consciously, sometimes unconsciously, sometimes both. so I think a certain amount of that is just, okay, these are the given circumstances. And then, you become who you need to be in that space.   Miko Lee: [00:51:54] Thank you for sharing. Okay. I have one last TV question, which is that given that everybody's in this writing room together and you're, there's kind of a speed that's attached to it, do you feel like things get thrown out more quickly and with less kind of emotion attached to it than in theater?    Jiehae Park: [00:52:10] It's possible. I think it depends on the person. So I just worked on season four of the morning show last year. And there is a real need on that show because it deals with the news to be absorbing what's happening in the world and shifting the story based on that. And so that there has to be a sort of lightness around that. So in that kind of environment, absolutely. but I've also been in other rooms where someone got really attached to an idea, and maybe it was clear that that idea wasn't gonna work out, but there was, there was still like something, in it that wanted to be held onto and, and it may be hung on for a long time. And that process. Also could have happened, like that exact parallel process could have happened in a play. And actually in neither of the situation, is that necessarily a bad thing? Like is there something about that idea that maybe is not the idea itself, like the emotional core underneath it or the deep, deep idea underneath it that is useful? That even if the manifestation of the thing doesn't continue, if the manifestation gets thrown out, but like the real thing that was underneath it was important gets folded in in some unexpected way. I don't think it's a bad thing either way. It just is the peculiarities of any particular process.   Miko Lee: [00:53:22] And it sounds like it's about the people too, right?    Jiehae Park: [00:53:25] Yes, definitely. Absolutely. Yeah, yeah. Yeah. And I've certainly been in that book where I'm like, oh, I really think it's like this. It's gotta be this, it's gotta be this. And then, you know, two years later, I look at the draft, I'm like, oh, no, no, no. It, it is definitely not that. Like let me take that entire thing out. and it just was in that particular moment, I wasn't ready for whatever reason to let go of that idea. And that's okay. I am now, and then it moves on.    Miko Lee: [00:53:48] We're circling back to the beginning of the conversation about the aves, which is about presence and being in that moment. And where you are in that moment might be, no, this isn't right. And then years later you say, oh yeah, that wasn't right. Or that was right.   Jiehae Park: [00:54:03] Yeah, exactly, exactly. To listen to yourself is a, you know, I, I am, I've been doing this for a long time now and, that is still something that I feel like I always have to learn, that I think just is a human.   Miko Lee: [00:54:15] Yes. The perennial lesson of Yes, intuition. I'm wondering if you could tell our audience why they should go see the aves.    Jiehae Park: [00:54:24] My hope is that if you are curious about a certain kind of experience and attention in the theater, that you'll accept our invitation to this play, which is an unusual play. I don't think that everyone should see this play, just like, I don't think everyone should see any particular work of art, but if the things that we've been discussing, if the sort of vibe that you're getting from this conversation resonates with you, then the experience of seeing this play with a group of people who are also curious about that kind of experience may be something. That is enjoyable for you and would probably therefore also be enjoyable for that audience to be together with you and for the play to be together with you in that space.    Miko Lee: [00:55:17] Thank you so much for spending time chatting with us. Folks can see the aves at Berkeley rep May 2nd through June 8th. Thank you so much, Jiehae.   Ayame Keane-Lee: [00:55:26] For you Asian American film makers out there: SFFILM announced a new annual filmmaking grant in partnership with Cedar Road. The SFFILM Cedar Road Iyagi Grant is dedicated to fostering bold, original feature film projects that amplify Asian and Asian American perspectives on screen. In Korean, iyagi means “story”—a word that embodies the heart of this grant's mission: to champion storytelling as a powerful bridge connecting people across cultures and perspectives. A link to the grant application will be available in our show notes.    Miko Lee: [00:55:58] Please check out our website, kpfa.org to find out more about our show tonight. We think all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world because your voices are important.    APEX Express is created by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, Aisa Villarosa, Estella Owoimaha-Church, Gabriel Tangloao, Cheryl Truong and Ayame Keane-Lee.  The post APEX Express – 4. 3.25 – Coming Up Next appeared first on KPFA.

The German Democratic Republic, or East Germany, was the frontline in the Cold War, packed with hundreds of thousands of Soviet and East German troops armed with the latest Warsaw Pact equipment, lined up along the 1,400 km Inner German Border. However, because of the repressive East German police state, little human intelligence about these forces reached the West. Who were they? Where were they located? What were they doing? How were they equipped? What were their intentions? NATO was lined up in West Germany to face these forces and relied on getting up-to-date intelligence to warn of any threat, 'Indicators of Hostility' that could be a precursor to an invasion. BRIXMIS, the British Commanders'-in-Chief Mission to the Soviet Forces in Germany, was on hand to provide that intelligence. Thanks to an obscure 1946 agreement between the British and Soviets that established 'liaison missions' in their respective zones of occupation, the British were able to send highly qualified military 'observers' into East Germany to roam (relatively) freely and keep an eye on what was going on. What started as 'liaison', a point of contact between the British and Soviet occupation forces, developed into a very sophisticated intelligence gathering operation, sending 'tours' out every day of the year, between 1946 and when the Mission closed in 1990. Andrew Long's BRIXMIS and the Secret Cold War: Intelligence Collection Operations Behind Enemy Lines in East Germany (Pen and Sword History, 2024) tells the story about these top-secret liaison tours.  These tours were undertaken in high-performance, highly modified marked vehicles, with personnel in uniform and unarmed, apart from professional photographic equipment and occasionally some top-secret gadgets from the boffins back in the UK. They joined their French and American colleagues in snooping around the opposition, photographing military bases, equipment, and manoeuvres, and trying to evade capture by the secret police and counterintelligence units. They faced danger and violence daily, but thanks to their bravery and professionalism, the West had accurate and up to date information on what was happening in East Germany which help keep the peace all that time. This is the story of this little-known unit and their exploits behind enemy lines. Andrew Long, from Great Britain, is a military history researcher and author. His fascination with the Cold War began with a trip to West Berlin in 1986, traveling through Checkpoint Charlie to visit the East. Andrew's writing comes from a desire to make sense of an extremely complex period in modern history, weaving together inter-relating stories involving politics, ideologies, personalities, technological advances, and geography. There is still much to be told on this fascinating subject. After a successful career in marketing, Andrew relocated to Cornwall and took up writing full time. Stephen Satkiewicz is an independent scholar whose research areas are related to Civilizational Sciences, Social Complexity, Big History, Historical Sociology, military history, War studies, International Relations, Geopolitics, as well as Russian and East European history. 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

The German Democratic Republic, or East Germany, was the frontline in the Cold War, packed with hundreds of thousands of Soviet and East German troops armed with the latest Warsaw Pact equipment, lined up along the 1,400 km Inner German Border. However, because of the repressive East German police state, little human intelligence about these forces reached the West. Who were they? Where were they located? What were they doing? How were they equipped? What were their intentions? NATO was lined up in West Germany to face these forces and relied on getting up-to-date intelligence to warn of any threat, 'Indicators of Hostility' that could be a precursor to an invasion. BRIXMIS, the British Commanders'-in-Chief Mission to the Soviet Forces in Germany, was on hand to provide that intelligence. Thanks to an obscure 1946 agreement between the British and Soviets that established 'liaison missions' in their respective zones of occupation, the British were able to send highly qualified military 'observers' into East Germany to roam (relatively) freely and keep an eye on what was going on. What started as 'liaison', a point of contact between the British and Soviet occupation forces, developed into a very sophisticated intelligence gathering operation, sending 'tours' out every day of the year, between 1946 and when the Mission closed in 1990. Andrew Long's BRIXMIS and the Secret Cold War: Intelligence Collection Operations Behind Enemy Lines in East Germany (Pen and Sword History, 2024) tells the story about these top-secret liaison tours.  These tours were undertaken in high-performance, highly modified marked vehicles, with personnel in uniform and unarmed, apart from professional photographic equipment and occasionally some top-secret gadgets from the boffins back in the UK. They joined their French and American colleagues in snooping around the opposition, photographing military bases, equipment, and manoeuvres, and trying to evade capture by the secret police and counterintelligence units. They faced danger and violence daily, but thanks to their bravery and professionalism, the West had accurate and up to date information on what was happening in East Germany which help keep the peace all that time. This is the story of this little-known unit and their exploits behind enemy lines. Andrew Long, from Great Britain, is a military history researcher and author. His fascination with the Cold War began with a trip to West Berlin in 1986, traveling through Checkpoint Charlie to visit the East. Andrew's writing comes from a desire to make sense of an extremely complex period in modern history, weaving together inter-relating stories involving politics, ideologies, personalities, technological advances, and geography. There is still much to be told on this fascinating subject. After a successful career in marketing, Andrew relocated to Cornwall and took up writing full time. Stephen Satkiewicz is an independent scholar whose research areas are related to Civilizational Sciences, Social Complexity, Big History, Historical Sociology, military history, War studies, International Relations, Geopolitics, as well as Russian and East European history. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/military-history

Good Bad Sport 036 “1966 World Cup Final vs West Germany” Recorded on March 17th/18th 2024. Introduction. 3rd place playoff and the USSR team Martin Perters World Cup Final Geoff Hurst Franz Beckenbauer and World Cup Awards Follow the podcast @goodbadsport Follow the network @visglobalmedia Follow Graham @mgbgraham Music is "Hyperfun" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/

Ron Mitori's new book, “” looks to the past and to the future as the U.S. position in the world evolves. His book starts off with stories of personal experiences under socialist regimes. One story, of Lore and her family begins: “Lore's father had been a successful inventor and businessman who owned a factory that produced household goods during WWII. He was also part of the underground movement that did not support Hitler. Lore had lived with her parents and two sisters in a section of Germany that became East Germany. She wanted to study and become an archaeologist as a child, but war can change your dreams. At the war's end, that area was administered brutally by the East German police, and a wall was built separating East from West Germany. As the oldest, Lore went to live for almost three years with her grandparents because they could get a food ration card if they had a child in the house.” Another story from : “Venezuela was the wealthiest country in South America. Pablo was born there, and his father was a very successful lawyer. Pablo's cousin fled from Communist Cuba ruled by Fidel Castro to Venezuela to be near him and his family and escape Communism. One year later in 1999, Hugo Chavez became the leader of Venezuela and began dismantling the capitalism that made the country wealthy with a thriving middle class. That cousin realized he had seen this “movie” before in Cuba and wanted no part in it. He decided to leave after only one year in Venezuela. He convinced Pablo to join him and come to the US, but Pablo's father mistakenly thought his status and wealth would continue, so he remained. Pablo now sends money to him every month to keep him from starving.”. Looking back and looking forward, Ron sees the U.S. at a cross roads. Which way will we go? Read his book for a remarkable tour de force of our country's ongoing evolution.   Subscribers can enjoy extended conversations from this podcast. To subscribe, go to BumpInTheRoad.Substack.com     What they're saying:   “This is a beautiful book about life, its imperfections, its challenges, and its joys. It is a book of hope and wisdom for all of us facing a bump in the road.” –Pragito Dove   “Pat has woven together beautiful stories of life setbacks that have been transformed into spiritual growth. This book is a gift and a must-read for souls experiencing pain and yearning for growth.”   –Gary Hensel   Learn more at   Follow Bump on: ➡️  ➡️  ➡️  ➡️  ➡️   

Pres. Trump admires Pres. Polk and Pres. McKinley - two presidents who expanded America's territories in an age when territorial expansion was a measure of national success. In this interview, my guest compares Pres. Trump with Pres. Polk and Pres. McKinley. He also explains Manifest Destiny, and indulges my questions about what I term 'America's Manifest Destiny 2.0'. Mr. Merry also talks about America's Men of Destiny. So I ask him this: Is Pres. Trump a Man of Destiny?

At the stroke of midnight on the second Monday of each month, the blood-soaked ghost of Old Red Face and his mourning wife emerge from the ruins of Rollesby Hall to relive a tale of murder, tragedy, and eternal unrest.Darkness Syndicate members get the ad-free version. https://weirddarkness.com/syndicateInfo on the next LIVE SCREAM event. https://weirddarkness.com/LiveScreamInfo on the next WEIRDO WATCH PARTY event. https://weirddarkness.com/TVIN THIS EPISODE: One of the most intriguing Hopi legends involves the ant people, who were crucial to the Hopi's survival, not just once, but twice. We know this from the cave drawings they left behind. But who or what exactly were the ant people? (The Ant People and the Anunnaki) *** The red-faced ghost of Rollesby comes with an an identity crisis. People aren't sure if the bloody face they see is the ghost of a murderer - or a victim of murder. (The Red-Faced Ghost of Rollesby) *** A woman is scared senseless when someone visits her home during a rainstorm… but it's not just any passerby. (The Faceless Girl In The Striped Dress) *** One thing people just cannot seem to resist is a challenge – doubly so if you happen to be of the criminal persuasion. If they're told a place is impregnable, it makes it an almost irresistible challenge. (Never Say Your Place Is Impregnable) *** Joachim Kroll, the "Ruhr Cannibal," terrorized West Germany for over 20 years, eating the flesh of his victims because "meat was expensive." (The Duisburg Man Eater) *** It is said that the Vatican is holding manuscripts that hold details about ancient races of man that used to populate the Americas – powerful rulers from the south, described as having white beards, and red eyes. Who could these people have been – and where have they gone? (The Mystery of the Ancient White-Bearded Red-Eyed Rulers) *** We all know the Nazis inflicted terror and death upon innocent people during WWII – but many don't know just how horrifying the treatment was, particular the experiments they conducted on living prisoners. (Horrifying Nazi Experiments)CHAPTERS & TIME STAMPS (All Times Approximate)…00:00:00.000 = Disclaimer and Show Open00:03:08.358 = The Red-Faced Ghost of Rollesby00:06:49.954 = The Faceless Girl in the Striped Dress00:11:26.640 = Never Say Your Place Is Impregnable00:23:16.463 = The Duisburg Man-Eater00:34:01.423 = The Ant People And The Anunnaki00:42:56.812 = The Mystery of the Ancient White Bearded, Red-Eyed Rulers01:01:15.060 = Horrifying Nazi Experiments01:13:28.572 = Show Close & BloopersSOURCES AND REFERENCES FROM THE EPISODE…“The Red-Faced Ghost of Rollesby” by Stacia Briggs and Sofia Connor for Weird Norfolk: https://weirddarkness.tiny.us/2djct9nz“The Faceless Girl In The Striped Dress” posted at YourGhostStories.com: https://weirddarkness.tiny.us/ezbspc57“Horrifying Nazi Experiments” by Jacob Shelton for Ranker: https://weirddarkness.tiny.us/m5ddb6pk“Never Say Your Place Is Impregnable” by Megan Summers for Weird History: https://weirddarkness.tiny.us/4rmjf6n3“The Duisburg Man Eater” by Emily Stringer for All That's Interesting: https://weirddarkness.tiny.us/jj6wx74“The Ant People and the Anunnaki” posted at Alien-UFO-Sightings: https://weirddarkness.tiny.us/rpfncw“The Mystery of the Ancient White Bearded, Red-Eyed Rulers” by Ellen Lloyd for Ancient Pages:https://weirddarkness.tiny.us/ukvebb2t, https://weirddarkness.tiny.us/2ax8cmfm, https://weirddarkness.tiny.us/nz8de5dt,https://weirddarkness.tiny.us/2szdtzxkWeird Darkness theme by Alibi Music Library. = = = = =(Over time links seen above may become invalid, disappear, or have different content. I always make sure to give authors credit for the material I use whenever possible. If I somehow overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it in these show notes immediately. Some links included above may benefit me financially through qualifying purchases.)= = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46= = = = =WeirdDarkness® is a registered trademark. Copyright ©2025, Weird Darkness.= = = = =Originally aired: August 11, 2021SOURCES PAGE: https://weirddarkness.com/RollesbyHauntingTRANSCRIPT: https://weirddarkness.tiny.us/5n8hkws2