N1BOS — broadcast
20260917 020000 UTC
431 transcript segments
Google Cloud Speech-to-Text API (Chirp) + Gemini 2.5 Flash Non-Thinking
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Machine transcription. Treat it as a searchable index of what was broadcast, not a verbatim quotation record.

[00:00:00] to the edge of the
[00:00:03] ahead. Then parts of excavation. Over three months, the archaeologists uncovered a
[00:00:07] structure 40 meters long, 5 meters
[00:00:10] wide, and more than 2 meters high. It was composed
[00:00:14] of several layers of oak timbers fronted by dry
[00:00:17] to Earth. A stone wall.
[00:00:21] booming. Perhaps part of They initially dated it to the late middle ages or the early modern
[00:00:23] period. To nail down the age, several
[00:00:26] wood samples were sent to dendro chronology laboratory. At
[00:00:30] Bavaria's office for monument preservation,
[00:00:33] there new discoveries can be compared with tree-ring
[00:00:36] chronologies that have been determined for the same species from different
[00:00:40] regions. These records often extend back thousands
[00:00:44] of years. A new find's age is determined by
[00:00:47] matching growth ring
[00:00:48] patterns.
[00:00:52] When we first saw the samples, we felt confident we'd be able to figure
[00:00:56] it out. There were 140 growth rings.
[00:01:00] Normally that's enough to obtain a date in the early modern period, middle
[00:01:03] ages, whatever, but we got
[00:01:06] nothing.
[00:01:09] It was suddenly a major mystery. Then another lab
[00:01:13] in the neighboring state of Hessen had a hit. Aschaffenburg lies
[00:01:17] close to the state border. There was a
[00:01:19] match, but it was completely different from what anyone until
[00:01:22] then had expected. The timber was much older than the
[00:01:26] experts thought. It had been felled around 370.
[00:02:00] 370 BC was during the early La Tène period.
[00:02:04] Plato was philosophizing in Athens, Rome was still a
[00:02:07] republic, and in central Europe the Celts were
[00:02:10] flourishing. No
[00:02:12] nothing. Inside a comparable structure from this period has yet been discovered anywhere
[00:02:15] else in Germany, especially not one preserved in such
[00:02:18] extraordinary
[00:02:19] condition.
[00:02:23] Erstaunlich ist einfach, what's truly remarkable is that this normally wouldn't have survived at
[00:02:26] all. The wood preservation
[00:02:30] We still don't know. We're missing information, is unique for this period. You can actually touch it, and it's almost 2500 years
[00:02:33] old. Normally you only find things like traces of timber in a
[00:02:37] fortification or gaps in the stone where wood once existed. Here
[00:02:41] you can really see it, touch it, experience it on sight. Even
[00:02:45] for an archaeologist, that's an absolute
[00:02:47] rarity. What exactly was
[00:02:50] it?
[00:02:54] like we don't know yet whether the water was right next to the wall when it was
[00:02:58] built or whether the river Main
[00:03:08] was it a harbor structure or maybe defenses? The discovery suggests the
[00:03:11] existence of an important Celtic settlement here, potentially
[00:03:15] connected to extensive trade networks that we know nothing
[00:03:19] about.
[00:03:21] You don't build something like this with few villagers. You need a town, you
[00:03:25] need manpower, you need engineering expertise. The timber
[00:03:29] construction we see was built using methods we've never encountered
[00:03:32] before, probably adapted to the wet conditions near the
[00:03:35] river. A great deal of know-how went into this.
[00:03:38] Those factors alone may be enough to demonstrate that we're dealing with an
[00:03:42] important settlement.
[00:03:45] What might such a population center have looked
[00:03:48] like? Some models try to reconstruct
[00:03:51] major Celtic settlements like this one in Upper Swabia around
[00:03:55] 530 BC. Or
[00:03:57] this one, known as the oppidum of Gata, only
[00:04:01] established around 150 BC, so roughly
[00:04:05] 200 years after the newly discovered structure on the Main
[00:04:08] was built.
[00:04:11] What Celtic Aschaffenburg looks like will probably remain a
[00:04:15] mystery. Too much construction has taken
[00:04:19] place over the centuries on the plateau above the
[00:04:21] Main. Only a handful of La Tène period
[00:04:25] finds preserved in the Abbey Museum bear witness to the
[00:04:28] cultural sophistication. The society that once lived
[00:04:32] here, it produced fine pottery along with elaborately
[00:04:35] crafted pieces of jewelry like this gold
[00:04:38] ring.
[00:04:41] We assume that if people there possessed and wore luxury
[00:04:45] items like these, then it was not
[00:04:48] an insignificant place by the standards of the
[00:04:51] time.
[00:04:54] The new discovery on the banks of the Main supports that
[00:04:58] theory. Unfortunately, construction work is waiting to
[00:05:02] present with analog sound is a resume. Soon the timbers will be moved.
[00:05:05] After nearly two and a half millennia underground, exposure to
[00:05:09] air is already taking a toll. Years of
[00:05:13] conservation work lie
[00:05:16] the structure are expected to go on display at
[00:05:19] Aschaffenburg's Abbey
[00:05:21] Museum.
[00:05:25] Spectacular archaeological discoveries are no longer
[00:05:28] unusual. Around the globe, the field is
[00:05:33] the appeal is what these discoveries offer, a glimpse into worlds
[00:05:37] that feel very different from our own.
[00:05:40] Immersing yourself in the past helps filter out noise from the
[00:05:43] present like wars, climate change, or
[00:05:47] the AI revolution.
[00:05:50] Looking back to times when everything was wonderfully analogue can be
[00:05:53] strangely comforting. The fascination even has a name:
[00:05:57] retromania.
[00:06:00] A photographer's dream, a mysterious roll of film has
[00:06:03] surfaced. The possibilities are endless. A
[00:06:07] friend gave me this roll to develop a little while ago. He found it in his
[00:06:11] grandmother's house. She passed away last year, and he has
[00:06:14] absolutely no idea what's on it. Neither do
[00:06:17] we.
[00:06:19] Photographer Mila Latinov is going to develop the roll today.
[00:06:23] Will the images be masterpieces or irreplaceable memories? Every
[00:06:27] step she takes has consequences.
[00:06:31] Anything can go wrong. You really do get just one shot at it.
[00:06:34] If you mix up the chemicals or expose the film to light, all the images will
[00:06:38] be gone. I'm actually a little nervous.
[00:07:12] Can't do better. Many young people have started going to the movies more
[00:07:16] often, and DVDs are back
[00:07:18] in. Hi, I'm Diger. So
[00:07:22] some of the stuff that I picked are just films that bring up
[00:07:25] memories.
[00:07:31] If DVDs disappear one day, I'll be the saddest person on the
[00:07:34] planet.
[00:07:40] This iPod goes with this vintage speaker. Was my dad's 50 years
[00:07:43] ago.
[00:07:46] Secondhand iPods can now fetch up to 500 euros, and young
[00:07:49] adults are buying vinyl. Around 5
[00:07:53] million records are sold in Germany annually, more than any point
[00:07:57] in the last 20 years. Places like
[00:07:59] Spin, Munich's first listening bar, are emerging in
[00:08:03] major cities. Its owners painstakingly sourced vintage
[00:08:06] hi-fi systems. Everything is analogue: the
[00:08:10] amplifiers, the speakers, the turntables, and
[00:09:12] in a digitalized world. It's Spin. The evening has just
[00:09:16] begun. Old records, old sound systems, and a fundamental
[00:09:20] question. Why do we abandon so
[00:09:22] much?
[00:09:25] It became the norm in modern society to buy new cars, new
[00:09:29] furniture, and other things, and throw the old stuff away.
[00:09:33] This powerful urge to keep moving forward also
[00:09:35] involves embracing the idea of progress and with it a
[00:09:39] certain faith in technology.
[00:09:42] But over time people realized that many of the promises
[00:09:46] attached to technology simply haven't been
[00:09:48] fulfilled.
[00:09:52] People have stopped trusting a tech world controlled by a handful of
[00:09:56] companies, and that has had profound consequences. Social
[00:09:59] media affects mental health, planned obsolescence means
[00:10:03] devices break faster. Promises that the
[00:10:06] latest technology would make us both more connected and more free have
[00:10:10] not really materialized.
[00:10:27] We are living in a culture that wants to quantify,
[00:10:30] commodify, and measure everything. But human
[00:10:33] life and the meaning in human life is not just about convenience
[00:10:37] and not just about measurement and quantification and profit.
[00:10:41] And again, from this point of view, something like an
[00:10:44] analog record as a symbol of slow culture, it can be
[00:10:48] a symbol of potential resisting of those tendencies,
[00:10:51] right? A counterweight to the digital.
[00:10:55] Here the air smells of chemicals and dust, of experiences
[00:10:59] and time. I need to concentrate. This is the second
[00:11:03] chemical. The first was the developer. Now comes the
[00:11:05] fixer. The film is placed inside a
[00:11:09] developing tank filled with chemicals and gently agitated.
[00:11:12] Every step has to be timed to the second. Analog
[00:11:16] media promises a more direct connection to
[00:11:19] emotions, a more intense experience of
[00:11:22] art. Something unique.
[00:11:55] Comforting. The feeling is universal. It rolls
[00:11:58] through pop culture in waves. For the last
[00:12:01] decade and a half, critics have accused culture of suffering from
[00:12:05] retromania, a lack of innovation, where everything seems to
[00:12:09] be recycling the past.
[00:12:12] Remixes aside, at what point does longing for the past become
[00:12:16] a problem? When politicians instrumentalize
[00:12:19] historical myths to reach specific goals, or
[00:12:22] invoke tradition to justify their decision.
[00:14:25] Analog media to the past, but is the past
[00:14:28] really behind us? Perhaps that's what analog media
[00:14:31] promises.
[00:14:35] Can nostalgia give us a useful perspective for the
[00:14:36] future?
[00:14:40] I think we need to critically question the past, but also be able to say,
[00:14:43] hey, there were good things too, or if we had done
[00:14:46] things differently, we might have had a better outcome. Und dann
[00:14:50] besser ausgehen
[00:14:51] können.
[00:14:55] Even so, it's up to all of us, especially at the
[00:14:58] societal level, to prevent that outcome and to get
[00:15:01] involved early enough, collectively and in
[00:15:04] solidarity.
[00:15:06] And we can learn from the past when people were able to collectively
[00:15:10] bring about change through social and political
[00:15:13] movements.
[00:15:17] At Spin, time's different layers seem to
[00:15:19] merge. Focused listening, analogue warmth, and the
[00:15:22] perfect Instagram shot. Being fully
[00:15:27] reminder that looking back isn't always about escaping the
[00:15:31] here and
[00:15:32] now.
[00:15:35] Whether we want it or not, the... is coming, and it's not all
[00:15:39] bad. Early 2027, the European
[00:15:42] Space Agency is planning to launch a mission with an ambitious
[00:15:46] goal: to find the ultimate getaway destination,
[00:15:50] a planet that's similar
[00:15:55] distant star, thousands of light-years away, with planets
[00:15:59] in orbit around it. We're the
[00:16:02] first generation to know there are planets orbiting other
[00:16:04] stars.
[00:17:07] intensity and how that intensity changes over time. When a
[00:17:11] planet passes in front of its star during its orbit, light intensity
[00:17:15] drops. From that we can infer the planet's mass, radius,
[00:17:18] and orbital
[00:17:19] characteristics.
[00:17:22] is designed to detect rocky planets like
[00:17:25] Earth.
[00:17:27] We've so far cataloged nearly 70 planets.
[00:17:31] Most of them, however, are gas giants like
[00:17:34] Jupiter. Only a little over 100 of them are
[00:17:37] small planets for which we have reliable density
[00:17:40] measurements. So when it comes to small planets, there are still
[00:17:43] huge gaps in our knowledge. In other words, we still know almost
[00:17:49] clean room at ESA's facility in the Netherlands,
[00:17:53] engineers and scientists tested the spacecraft built in
[00:17:56] Bremen and Oberpfaffenhofen.
[00:17:58] Development and construction took more than 10 years. For
[00:18:02] everyone involved, the upcoming launch will be a special
[00:18:06] moment.
[00:18:37] now 3 kW or 300 watts. And for this reason we have
[00:18:41] the sun shield and solar arrays, so we are talking about a structure that
[00:18:45] is folded. We launch it folded, but it will open in space,
[00:18:48] and we are talking about 9 meters from one point to another. We need all the
[00:18:52] surface in order to fulfill the requirements and power of the
[00:18:55] spacecraft. The greatest technical challenge was the
[00:18:58] optical bench. It carries the 26 cameras that
[00:19:02] will simultaneously observe thousands of stars. Wir müssen
[00:19:06] aufpassen, dass We have to ensure the telescopes and
[00:19:10] cameras aren't looking directly at the sun. That's why we have the
[00:19:13] sun shield at the back. We always have to
[00:19:16] fly in such a way that the sun shield blocks the
[00:19:18] sun.
[00:19:22] From space, will measure the effect planets have when
[00:19:26] they pass in front of their stars. The more their
[00:19:29] starlight dims, the larger the
[00:19:31] planets.
[00:19:37] international observing campaign involving major telescopes
[00:19:40] around the world, particularly the European observatories
[00:19:44] in Chile, including those of the European Southern
[00:19:47] Observatory, we want to mobilize these
[00:19:50] facilities. The team is proud of this
[00:19:53] European mission. More than 200 companies have
[00:19:57] contributed to it over the course of a decade, and a
[00:20:00] European rocket, the Ariane 6, will carry the
[00:20:04] space telescope into orbit. Ich hoffe wirklich,
[00:20:07] really hope we find an Earth-like planet where we can say, yes,
[00:20:11] liquid water could exist there, and therefore there's also the
[00:20:15] possibility of life.
[00:20:18] observations will be used to create a catalogue of as many Earth-like
[00:20:22] planets as possible. If
[00:20:24] every second star has an Earth-like planet, then we believe we'll find
[00:20:28] one, but I want to emphasize that we simply don't know, there's no
[00:20:31] reliable estimate of how many such planets actually
[00:20:34] exist. We have talk a lot of Gaia, James Webb,
[00:20:38] hope that also Plato will be also in the same constellation that the people will
[00:20:42] see really, okay, ah, we have detected another Earth-like. We are
[00:20:46] quite sure that it is there. Early 2027,
[00:20:50] Plato will be launched into space to begin its
[00:20:53] search.
[00:20:56] That's all this time around from the world of science, technology
[00:21:00] and history. But we hope to see you again soon tomorrow,
[00:21:03] today. Bye for now!
[00:21:30] Dance beyond the boundaries of ballet, soloist
[00:21:33] Liroy Mogatle interprets male
[00:21:36] and female roles with equal ease.
[00:21:38] Pioneer women, cooks from Lyon who helped
[00:21:42] shape French
[00:21:43] gastronomy.
[00:21:46] Living faith, what does the daily life of a young Muslim woman in
[00:21:49] Bosnia and Herzegovina look like? All this and much more
[00:21:53] in today's Euromax.
[00:22:09] Expressive and provocative dance brought Liroy
[00:22:13] Mogatle international recognition. However, her
[00:22:16] performances in male and female roles within
[00:22:19] classical ballet attract
[00:22:21] special attention.
[00:22:24] Meet Liroy Mogatle, an award-winning ballerina
[00:22:28] who challenges established ballet norms. Known
[00:22:31] as someone who pushes boundaries, Liroy, who
[00:22:34] prefers the pronoun she, today interprets classical
[00:22:38] female roles on pointe. I have always been
[00:22:41] drawn to the more feminine side. It felt much
[00:22:44] more natural to me than trying to be masculine and pretending
[00:22:48] to be something I am not.
[00:22:55] That's not me. Behind the scenes of the Berlin State Ballet, just a few
[00:22:59] moments before her performance in A Midsummer Night's Dream, she remains calm
[00:23:03] and doesn't let stage fright overwhelm her.
[00:23:07] Liroy Mogatle shines as the energetic Puck in the acclaimed
[00:23:10] production of A Midsummer
[00:23:12] Night's Dream.
[00:23:15] Her interpretation of this role shows how classical
[00:23:19] ballet is changing.
[00:23:22] Liroy is a talented artist who inspires many, including
[00:23:25] me, every day. She teaches me to think outside
[00:23:28] the box.
[00:23:29] But
[00:23:38] the path to that was
[00:23:39] long.
[00:23:44] I didn't want to rush. First, I had to earn respect and
[00:23:47] enough self-confidence to appear.
[00:23:52] That's why I'm glad that everything happened
[00:23:54] gradually.
[00:24:02] On stage, she enchants the audience as a charismatic
[00:24:04] soloist.
[00:24:07] So far, the reactions have been extremely
[00:24:08] positive.
[00:24:15] It's 10 o'clock in the morning. It's time for
[00:24:17] practice.
[00:24:20] Assigned male at birth in South Africa, she fell in love with classical ballet
[00:24:23] as a child. Despite the prejudices she
[00:24:27] faced, she continued to follow her passion.
[00:24:30] I don't think I gave them any room to criticize
[00:24:34] me, or to judge. Liroy made it to
[00:24:37] major European ballet companies, where she began her international
[00:24:41] career.
[00:24:42] After working in Lausanne and
[00:24:46] Zurich, together with the artistic director of the Staatsballett,
[00:24:50] Christian Spuck, she moved to Berlin. Christian
[00:24:53] is what I would call my savior. He was the only
[00:24:56] person I could approach with complete ease
[00:25:00] at the time.
[00:25:01] I don't
[00:25:07] want Liroy to be presented as an attraction.
[00:25:10] I want her to be recognized as an artist, that's
[00:25:13] the most important thing.
[00:25:17] Liroy has become a prominent voice in the transgender community in the world
[00:25:20] of ballet.
[00:25:23] For her and her female colleagues on stage, dancing in a ballet dress
[00:25:26] is nothing unusual. But how do
[00:25:29] her colleagues see the future of ballet?
[00:25:33] It's about inclusion and accepting people for what
[00:25:36] they can offer, not for the body they were born with. Whether
[00:25:40] we are talking about skin color or gender, it is important to create
[00:25:44] an environment where they will feel comfortable and
[00:25:47] accepted.
[00:25:54] Today she lives in Berlin. She left her native South Africa many
[00:25:57] years ago. Does she miss
[00:25:59] it?
[00:26:01] Currently, we are working on a project to perform in our homeland. We want
[00:26:05] to reconnect with the audience
[00:26:07] there.
[00:26:12] Nevertheless, she found a new home in Berlin, both in the ballet company
[00:26:15] and in the city
[00:26:16] itself.
[00:26:21] I think it's best for me to be here because of the transgender and
[00:26:24] non-binary community.
[00:26:27] I feel very accepted, and honestly, I don't
[00:26:30] plan to move anytime soon. Liroy has found her place in
[00:26:34] Berlin, but peace with herself,
[00:26:37] despite all obstacles, she wants people to see her for who
[00:26:41] she is, as a dedicated
[00:26:43] artist. She would like to be more involved
[00:26:47] and become a kind of activist.
[00:26:50] I want to raise awareness and open up space for dialogue, especially in
[00:26:54] the art world, from the perspective of people of color
[00:26:58] and transgender
[00:26:59] women.
[00:27:05] Living her dream, Liroy Mogatle opens doors for
[00:27:08] others, not just in the world
[00:27:10] of ballet.
[00:27:13] Perhaps you've heard of Paul Bocuse, the legendary
[00:27:16] French chef, but it's very likely you've never heard
[00:27:20] of the Mères Lyonnaises. Yet, without these exceptional women, French
[00:27:24] cuisine today might look completely
[00:27:26] different. Did women actually lay the foundations of French
[00:27:30] cuisine, and why is Paul Bocuse considered the best chef in
[00:27:34] the world when his mentor had as many as six Michelin
[00:27:38] stars? We went to Lyon, rightly considered
[00:27:41] the capital of French gastronomy, to find
[00:27:44] the answers. French cuisine is considered one of the most refined
[00:27:48] and innovative in the world. Its reputation, among other things, is owed to
[00:27:51] a group of female chefs known as the Mères Lyonnaises, or
[00:27:55] mothers of Lyon. But today, few people know about
[00:27:58] them.
[00:28:01] I don't really remember. I think they were cooks who
[00:28:04] prepared food as if
[00:28:06] at home.
[00:28:09] You only know about the Mères Lyonnaises if you're from Lyon and if you're interested
[00:28:12] in local
[00:28:13] culture.
[00:28:17] Here in this bouchon, as traditional restaurants in
[00:28:21] Lyon are called, women have been cooking since
[00:28:22] 1937.
[00:28:25] The recipes haven't changed. The menu features hearty dishes
[00:28:29] like pike dumplings and baked chicken liver.
[00:28:34] Chef Fatima Zerouki learned to prepare them from her mother,
[00:28:37] Igon.
[00:28:41] She taught me everything. These are very complex recipes for dishes
[00:28:45] that simmer all day in huge pots. I wrote everything down
[00:28:48] on scraps of paper. Now I know it by heart. She had a strong
[00:28:51] character, which you absolutely need in a bouchon.
[00:28:54] The golden age of the Mères Lyonnaises began
[00:28:57] during the economic
[00:28:58] crisis.
[00:29:02] women from villages around Lyon, wealthy
[00:29:05] households hired them to cook for the entire
[00:29:08] family. When the Great Depression broke out
[00:29:11] in 1929, many suddenly
[00:29:14] lost their jobs. Most decided to open their own
[00:29:18] establishments and do what they knew best,
[00:29:20] cooking. This gave rise to an entire generation of female chefs
[00:29:24] who began to cook publicly. For guests, instead
[00:29:27] of privately.
[00:29:32] Known for their warmth and strong
[00:29:34] will,
[00:29:38] this created a special atmosphere. Most had
[00:29:41] strong personalities and were impressive individuals. Guests
[00:29:44] came as much for their food as for them
[00:29:48] personally.
[00:29:50] At Igon's restaurant, you get the feeling that time has stopped,
[00:29:54] even though Mother Igon retired in 2023.
[00:29:57] Now Fatima runs the small kitchen while Paola Rosha
[00:30:01] in...
[00:30:10] I enjoy this liveliness, in dishes that haven't changed
[00:30:13] in years, and a woman full of energy. For me, that's
[00:30:16] the essence of these Lyonnaise establishments. When
[00:30:20] we come here to eat, we skip breakfast, but we are
[00:30:23] French, so we always enjoy
[00:30:26] our meal.
[00:30:28] A few hundred meters away, in 2007,
[00:30:32] the restaurant "Le Bouchon de Filles" is run by two women. The name
[00:30:36] means "Girls'
[00:30:37] Restaurant".
[00:30:41] The Mères Lyonnaises passed on the Lyonnaise way of cooking that
[00:30:44] we grew up with. Without them, this whole cuisine would be
[00:30:47] different. We try to continue that tradition in our
[00:30:51] own way, but we learned the basics from
[00:30:53] them.
[00:30:57] Their restaurant is full every evening.