Podcasts about Dali

Dvě čapí mláďata zachránili ochránci přírody ze stanice Hrachov na Příbramsku. Jejich otce srazilo auto na dálnici D3. Díky silničářům, hasičům a taky starostům se podařilo zjistit, z jakého byl hnízda. Kvůli dešti a zimě následovala rychlá záchrana čápat. Samice by se o ně na komínu v Nemyšli na Táborsku postarat nedokázala.

AB VARAHLUTIR - TORFÆRUAPPIÐ - BÍLJÖFUR - Á FERÐ OG FLUGI - BÍLAPUNKTURINNÞátturinn skiptist í fjögur stutt viðtöl af rallýbílasýningunni í vor:1. Hafsteinn Aðalsteinsson2. Örn 'Dali' Ingólfsson3. Árni Árnason og Ragnar Gunnarsson4. Halldór Sigurþórsson

Join the conversation with C4 & Bryan Nehman.  C4 & Bryan started the show discussing the latest information about the suspect in the Colorado terrorism incident.  There is a new NTSB report and transcript that details conversations between crew members just minutes before the Dali struck the Key Bridge.  Congressman Glenn Ivey joined the show this morning talking about his trip to El Salvador & Abrego Garcia.  Baltimore City Mayor Brandon Scott also joined the show discussing sanctuary designations, immigration & more.  Nehman has an empower MD update as C4 & Bryan investigate.  Listen to C4 & Bryan Nehman live weekdays from 5:30 to 10am on WBAL News Radio 1090, FM 101.5 & the WBAL Radio App.

W tym odcinku podsumujemy filmowy miesiąc maj i polecimy Wam, lub nie, kilka produkcji które mieliśmy okazje w tym czasie obejrzeć.Na jakie filmy poszliśmy do kina i jakie smaczki przygotowały dla nas platformy streamingowe?

'Bureaucracy killed more tigers than bullets ever did' : Valmik Thaparവെടിയുണ്ടകൾ കൊന്ന കടുവകളുടെ എണ്ണത്തേക്കാൾ എത്രയോ കൂടുതലാണ് ബ്യൂറോക്രസി കൊന്ന കടുവകൾ .ഇന്ത്യ കണ്ട ഏറ്റവും വലിയ കടുവാസ്നേഹികളിൽ ഒരാളായ വാൽമീക് ഥാപ്പർ അന്തരിച്ചു . വന്യജീവി -ആധുനിക മനുഷ്യ സംഘർഷം ഏറ്റവും രൂക്ഷമായ കേരളത്തിനോട് വാൽമീക് ഥാപ്പറുടെ ജീവിതം പറയുന്ന സന്ദേശമെന്താണ് ?അദ്ദേഹത്തിന് ദില്ലി -ദാലിയുടെ ആദരാഞ്ജലികൾ .ഈ പോഡ്‌കാസ്റ്റ് അദ്ദേഹത്തിന് സമർപ്പിക്കുന്നു. 'ഇയാൾ സ്നേഹിച്ചതുപോലെ നമ്മളും കടുവകളെ സ്നേഹിച്ചിരുന്നെങ്കിൽ'.സ്നേഹപൂർവ്വം എസ് . ഗോപാലകൃഷ്ണൻ

Tampa Bay Times Entertainment & Events Reporter Sharon Wynne breaks down events happening around the Tampa Bay area this weekend, including new Dali murals and Free Pops In The Park.

When a winemaker builds a giant Rubik’s cube in McLaren Vale, fills it with Salvador Dali sculptures and art, and creates wines that pair with songs and poems, you know you’re about to discover something extraordinary. Chester Osborn has constructed what shouldn’t work but absolutely does – a surrealist manifesto planted in the heart of South Australian wine country that would make André Breton proud and the Márek Brothers, those Czech surrealist pioneers who shocked Adelaide in 1948, absolutely delighted. Our SA Drink of the Week flows directly from the architect of this impossible vision, as Chester pours his Vociferous Dipsomaniac 2010 – a wine that transforms before our very palate, revealing violet gardens and a scattering of spices whilst teaching us that great winemaking is really just the elegant management of faults. Like the Cube itself, this shiraz demonstrates that the most revolutionary act might simply be saying “yes, and” to the impossible. The Musical Pilgrimage takes an unprecedented turn as we hear both Chester’s stream-of-consciousness theory connecting wine to quantum physics and time dilation, followed by Steve Davis’ original piece called “Folded Clocks” – a meditation on Salvador Dali’s persistence of memory, created in response to his visit to the Cube where he experienced its artistic revelations firsthand. You can navigate episodes using chapter markers in your podcast app. Not a fan of one segment? You can click next to jump to the next chapter in the show. We’re here to serve! The Adelaide Show Podcast: Awarded Silver for Best Interview Podcast in Australia at the 2021 Australian Podcast Awards and named as Finalist for Best News and Current Affairs Podcast in the 2018 Australian Podcast Awards. And please consider becoming part of our podcast by joining our Inner Circle. It’s an email list. Join it and you might get an email on a Sunday or Monday seeking question ideas, guest ideas and requests for other bits of feedback about YOUR podcast, The Adelaide Show. Email us directly and we’ll add you to the list: podcast@theadelaideshow.com.au If you enjoy the show, please leave us a 5-star review in iTunes or other podcast sites, or buy some great merch from our Red Bubble store – The Adelaide Show Shop. We’d greatly appreciate it. And please talk about us and share our episodes on social media, it really helps build our community. Oh, and here’s our index of all episode in one concisepage. Running Sheet: Surrealism In Wine And Life With Chester Osborn 00:00:00 Intro Introduction 00:01:56 SA Drink Of The Week The South Australian Drink Of The Week is d’Arenberg‘s 2010 The Vociferate Dipsomaniac, which Steve tastes with winemaker, Chester Osborn at the Duke Of Brunswick, which has a full suite of these intrepid wines. The name alone suggests Chester Osborn’s approach to wine nomenclature – dreamt up, he cheerfully admits, during morning toilet contemplation whilst reading the dictionary for “really interesting words.” This particular shiraz demands vigorous pursuit because it’s so compelling you’ll vigorously drink it, potentially earning the archaic designation of “dipsomaniac” – an alcoholic, for those unfamiliar with the term’s English parlance. What unfolds in the glass defies every expectation of a fifteen-year-old wine. Where vintage wines typically announce their age with that slightly pruny, sweaty character, this Vociferous Dipsomaniac reveals itself like a perfectly adjusted doona on a winter’s night – balanced, enveloping, with tannins that recline gently into your tongue like a tired person settling into an armchair. The secret lies in Chester’s philosophy of elegant fault management: picking at relatively low sugar levels to avoid shrivel, eschewing nitrogen fertilisation since the nineties, and using super-light toast French oak that lets the 34-to-56-million-year-old limestone terroir speak its chocolatey, bloody truth. As the wine breathes – and Chester insists it breathes better in the bottle than in the glass, for complex reasons involving condensation and molecular romance – it evolves from subtle violet gardens to dark chocolate and beyond, revealing why this particular vineyard, nestled beside the d’Arenberg Cube, consistently produces the only wine in their 23 single-vineyard collection that always carries a whisper of violet. After our toast to Queen Adelaide and an hour of conversation, the wine has transformed into something resembling an IMAX cinema experience for the palate – bigger, bolder, more ornate, yet somehow more at home with itself. 00:21:21 Chester Osborn Chester Osborn has achieved something that should be impossible: he’s built a giant Rubik’s cube in McLaren Vale that functions as both architectural marvel and alternate reality museum, creating a space where Salvador Dali’s melting clocks teach visitors about the fluidity of time while wine ages gracefully in barrels around the sprawling property. The d’Arenberg Cube stands as testament to the “yes, and” principle of improvisational theatre – that beautiful concept of taking an idea and running with it, which Chester has literally fermenting in his cube through careful design. When Chester woke up in the early hours and abandoned plans for another “fake heritage” homestead in favour of “something iconic, something like the Opera House,” he wasn’t just changing architectural plans – he was embarking on a surrealist manifesto. The Cube doesn’t merely showcase wine; it’s an Alternate Realities Museum where eight parameters of weather transform into real-time sound as you approach, where hundreds of Chester’s sculptures tell stories connecting rocks, flowers and fruit to wine, and where 30-second surreal videos play on loop in a 360-degree room, each one representing a different wine in their collection. The building itself challenges conventional wisdom at every turn. Engineers, architects and builders all declared various elements impossible, leading to the invention of new glass sealing systems, wind tunnel testing in Melbourne, and the development of facade techniques that won national glass awards. “There is nothing impossible,” Chester declares, channelling his mother’s wisdom that “out of every bit of bad that happens, twice as much good happens.” This philosophy permeates not just the Cube’s construction but his entire approach to winemaking, where managing faults becomes an art form and time dilation theories merge with tannin structure. What makes the Cube truly revolutionary isn’t just its architectural audacity but how it functions as a catalyst for unexpected conversation. Chester describes watching visitors – including tourism professionals who know each other well – suddenly following tangents, becoming more open to possibility when surrounded by surrealist art. It’s as if Dali’s telephone with a lobster on top starts conversations about what we might be when we’re talking, whether we’re boiling away like lobsters, whether some people really do chew our ears off. The Cube becomes a space where lateral thinking flourishes, where Chester’s Asperger’s brain – storing wine knowledge in imagination rather than automation – finds kindred spirits among visitors ready to embrace the extraordinary in the seemingly ordinary. Perhaps most remarkably, Chester pairs each of his 85 wines with a specific song and poem, creating a multimedia sensory experience that will be captured in his forthcoming book. For the Vociferous Dipsomaniac, he’s chosen The Doors’ “Riders on the Storm,” paired with his own poem connecting Morrison’s soft voice to wine’s penetrating vigour. It’s this integration of art, music, literature and wine that transforms the Cube from novelty to necessity – a place where South Australians discover that their square metre of earth punches well above its weight, where time becomes malleable as Dali’s clocks, and where saying yes to the impossible becomes the most natural thing in the world. 01:03:20 Musical Pilgrimage In the Musical Pilgrimage, we listen to Folded Clocks by Steve Davis and his Virtualosos. The Musical Pilgrimage takes an unprecedented turn with a dual revelation of consciousness and creativity. First, Chester shares his stream-of-consciousness theory recorded whilst driving – a spontaneous exploration of how energetic wines might age slower through quantum mechanics, where tannin tension creates light-speed vibrations that literally slow the aging process. His “Energetic Wines Explained Theory” suggests that great wines contain atoms vibrating near the speed of light, creating time dilation effects that preserve the wine’s essence – a notion that would make Salvador Dali proud with its beautiful impossibility. Following this quantum leap of imagination, we hear “Folded Clocks” – Steve’s original meditation on time, memory and surrealism created in response to experiencing Dali’s sculptures within the Cube. Using virtual tools to bring his words to musical life, the piece captures that transfixing quality of standing before art that refuses to be easily categorised, where melting timepieces suggest that our rigid relationship with chronology might be the real illusion.Support the show: https://theadelaideshow.com.au/listen-or-download-the-podcast/adelaide-in-crowd/See omnystudio.com/listener for privacy information.

Hrvatska stolnotenisačica Lea Rakovac plasirala se u osminu finala Svjetskog prvenstva u katarskoj Dohi. Kako će pehar za nogometnog prvaka Hrvatske stići do odredišta, i hoće li stići na vrijeme? Izbornik Dalić objavio koga je pozvao na kvalifikacijske utakmice za Svjetsko prvenstvo.

There is something fascinating about paintings. While many are WYSIWYG, others demonstrate that there is more going on than immediately meets the eye of the observer. Take, for instance, Salvador Dali's Crucifixion (Corpus Hypercubus) with Jesus crucified on a tesseract, with Dali's wife Gala depicted looking on, but is also seen on one of the knees, while Dali is represented on the other. Then there's Rembrandt's Christ in the Storm, and after carefully counting the number of people in the boat, you discover a 14th person looking back at you – the artist's depiction of himself.And without becoming conspiratorial, what if – what if there is more to this life than meets the eye? Would you be willing to look in?https://youtu.be/0MvfwPO0RC8A message by David Toscano

Malignant Tumour patří k nejvýraznějším jménům české extrémní hudební scény. Vznikla už začátkem 90. let v Ostravě a původně se pohybovala na pomezí grindcore a crust punku. Postupem času si však vybudovala zcela osobitý zvuk, v němž se syrovost undergroundu potkává s odkazem rock'n'rollu, metalu i hardcoru. V čele kapely stojí frontman Bilos, který se stal nepřehlédnutelnou postavou nejen díky svému charismatu a nekompromisnímu postoji k tvorbě, ale i kvůli schopnosti s kapelou prorazit za hranice republiky. Malignant Tumour mají za sebou stovky koncertů po celé Evropě, několikrát vyhráli cenu Anděl v kategorii hard & heavy a stali se inspirací pro řadu mladších kapel. V rozhovoru s Bilosem se vracíme nejen k zásadním momentům jejich kariéry, ale i k jeho osobnímu přístupu k hudbě, nezávislosti a životu v Ostravě. ON AIR je talk show hudebního publicisty Pavla Kučery s hudebníky a lidmi z hudební branže. Nový díl je uveřejněn každý týden na YouTube kanálu kytary.cz.

I can tell you the exact date and place: October 16, 1986, at the Fine Arts Theater in downtown Chicago. I got to come of age as a moviegoer in the corporate dominated, era of the late 70's and early 80's. I was a child of "Jaws", "Star Wars", Indy and "Back to the Future". With occasional exceptions like "Stranger than Paradise" and "Blade Runner", American film in the early and mid 80's felt corporate and soulless. And then I saw "Blue Velvet", and my moviegoing life was saved. Skip now to nearly four years later, to those glorious two months in the spring of 1990 when "Twin Peaks" changed everything that television was and could be. For these moments, and so many more, we use Episode 60 to pay a last tribute to Hollywood's favorite Eagle Scout, the irreplaceable David Lynch. What separates Lynch from almost every other filmmaker, was that whereas most great directors were filmmakers who evolved into artists, Lynch was an artist (a celebrated painter, composer) who happened to choose filmmaking as his major means of expression. And when the filmmaking money dried up after "Inland Empire"'s failure, he simply turned to other art forms to express what he wanted to say. Lynch was most certainly a surrealist, every bit as much as Dali, Magritte or De Chirico were, but he was, as one critic termed him, a “populist surrealist”. In his films, the line between dream and reality (or between reality and film in his later works) is blurred. This makes sense, since surrealism is founded on dreams and dreamlike juxtapositions. Lynch, like those great painters he so admired and emulated, was an artist of the unconscious and the uncanny. But for all the serious artistic ambition, everything he created was leavened with that art-school sense of humor, off-center and dry as a bone. For all of his unsettling imagery and the deep questions his work raised about the nature of identity, he seemed, at least from the outside, to have led the happiest of lives. Raised mainly in Missoula, Montana, Lynch often paid tribute to the simple quotidian beauties of life in small-town America (think Twin Peaks, Lumberton, the Iowa and Wisconsin towns we see in "The Straight Story") while also, as in the opening of "Blue Velvet", reminding us of the darkness that often lies just beneath those finely-manicured lawns. For all of his artistic sophistication, he never even came close to an artsy sense of condescending irony; it's perfect that he spent the last years of his life sending in daily weather reports to the LA public radio station for broadcast. No winks, no air quotes—just the desire to share a genuine excitement about the miracles of nature. And for an artist who was such a unique stylist that he was one of the last to become an adjective (we all know “Lynchian” filmmaking when we see it), he was at the same time constantly paying tribute to film history; consider the endless "Wizard of Oz" references in "Wild at Heart", or casting just about all of the hot new movie stars of 1961 in the original "Twin Peaks" series. How perfectly fitting it was, then, to watch him, in his final and uncredited big screen appearance, playing a cranky John Ford in Spielberg's "The Fablemans". For our tribute to Lynch (which is more than they did for him at this year's Oscars), we eschewed our usual formula and chose not to do a chronological reckoning of Lynch's work and its impact from "Eraserhead" to "Inland Empire". This episode, like the director's work itself, is more associative and non-linear. In the end, we conclude that David Lynch, that Man from Another Place, is someone whose absence makes the world that much poorer a spot to live in. To quote the repeated incantation from "Blue Velvet", now it's dark.

Yeah yeah, I've been off the radar for a couple weeks. Life happened. A few things exploded. Some of them metaphorically, some maybe more literally (I'll let the insurance company figure it out). And let me tell you—it's hard to hit “record” on a podcast when you're busy taping the ceiling back to the roof of your life.But here we are, and guess what?It's another Monday Motivation from FWACATA, baby.This week's episode isn't clean or pretty or filtered through an inspirational quote over a misty lake. This one is duct tape and determination. This one is about being too broke to buy gesso, too tired to function, and still too stubborn to quit.Because here's the thing nobody tells you with a straight face:You have to be belligerent about your goals.Not cute. Not chill. Belligerent.You have to make art like it owes you money. You have to write like you're on a deadline that's three days past. You have to keep showing up even when the algorithm ghosted you, your bank account is playing the “let's see what overdraft feels like” game, and you've had enough of the news to want to just live in a pillow fort permanently.And yeah, that's the vibe of this episode. It's real. It's personal. It's me figuring out how to keep making comics while staring down a mountain of bills, disillusionment, and the nagging sense that the world's turning into a Dali painting made of garbage.But I'm still here.Still drawing. Still podcasting. Still putting issue four of the anthology together. Still helping out other creators when I can. Still yelling into the void—only now, it echoes back in stereo.And I'm inviting you in.Because maybe you've felt it too. That freeze. That “what's the point?” moment. That tired-of-mediocrity art show hangover. That soul itch that says, “You're supposed to be doing more than scrolling through disappointment.”If that's you? This one's for you.We talk Kickstarters. Backerkit. GoFundMe karma. Why mediocre art keeps getting hung in galleries. Why really good artists still need someone to walk up and ask, “What are you trying to say with this?”And yeah, I admit I probably need to ask myself that more, too.But in the end? This episode is a reminder that being a little crazy, a little loud, a little obsessed—might just be the only way to survive and thrive right now.

In this episode, I dig into a question that's always lurking in the back of a portrait photographer's mind – what really makes light flattering? It's a term we all use, but what does it actually mean? Is it just about soft shadows and low contrast, or is it more about the connection between the subject and the photographer? I talk through this while reflecting on a busy week – from a stunning wedding at Head Saw House to a corporate shoot for Barclays, and a spontaneous portrait session that reminded me why I love this job. I also share some thoughts on the updated Mastering Portrait Photography book, which hits shelves in September, complete with fresh images and a whole new chapter on AI post-production. If you've ever wondered what makes a light truly flattering – and why it's about more than just the gear – this episode is for you. And as always, wherever you are and whatever you're doing, be kind to yourself. Cheers P. If you enjoy this podcast, please head over to Mastering Portrait Photography, for more articles and videos about this beautiful industry. You can also read a full transcript of this episode. PLEASE also subscribe and leave us a review - we'd love to hear what you think! If there are any topics, you would like to hear, have questions we could answer or would like to come and be interviewed on the podcast, please contact me at paul@paulwilkinsonphotography.co.uk.    Transcript  ​  Well, as I sit here in the studio, the sun is shining in through the windows and it's been a beautiful, beautiful week. I started it with a trip down to Devon with the in-laws. One great thing about being married to Sarah, whose family are from Plymouth, there are many great things about being married to Sarah. But one of the ones, in terms of geography, at least, is her family still lived down in Plymouth, in Devon, by the sea. So it was absolutely glorious to spend a couple of days down there walking the dog, drinking a beer, enjoying the sunshine, and the sun is still shining here right now. And on that happy note, I'm Paul. I'm very much looking forward to a barbecue, and this is the Mastering Portrait  

Lucas Brêda RIO DE JANEIRO Eram os primeiros meses de 1970, e Cassiano desfilava seu "black power" reluzente por São Paulo quando conheceu outro cabeludo chamado Paulo Ricardo Botafogo, de aspecto e ideologia hippie, fã de Marvin Gaye como ele. Nos alto-falantes de uma lanchonete, o locutor da rádio anunciava a nova música de Tim Maia, que deixou seu novo amigo boquiaberto. Ao som de "Primavera (Vai Chuva)", a dupla pagou a conta, mas o dinheiro de Cassiano acabou. Ele estava sem lugar para dormir e pediu abrigo a Botafogo. Voltava de uma excursão, quando viu calças de homem no varal de sua mulher e não quis conversa. Também fez uma revelação. "Olha, essa música é minha, mas por favor não fale para ninguém." Dita como um pedido singelo, a frase se tornou uma maldição para Cassiano. Autor de sucessos na voz de Tim Maia e Ivete Sangalo, o paraibano fascinou músicos, virou "sample" e rima dos Racionais MCs e gravou discos até hoje cultuados. Mas morreu há quatro anos como um gênio esquecido —a dimensão de seu talento é um segredo guardado por quem conviveu e trabalhou com ele.  Reprodução de foto do músico Cassiano, morto em 2021 - Eduardo Anizelli/Folhapress Isso não quer dizer que Cassiano tenha sido um desconhecido. Bastião do movimento black e precursor do soul brasileiro, angariou uma legião de fãs, vem sendo redescoberto por novas gerações e acumula milhões de "plays" no streaming. Sua obra que veio ao mundo, no entanto, é só uma parcela do que produziu de maneira informal durante toda a vida —e que segue inédita até hoje. Cassiano, morto aos 78, deixou um disco de inéditas incompleto, gravado em 1978 e hoje em posse da Sony. Também tem gravações "demo" feitas nas décadas de 1980 e 1990 que há anos circulam entre fãs e amigos. Isso fora o que William Magalhães, líder da banda Black Rio, chama de "baú do tesouro" —as dezenas de fitas cassete com gravações caseiras nunca ouvidas. "Ele nunca parou. Só parou para o mundo", diz Magalhães, que herdou do pai, Oberdan, não só a banda que reativou nos anos 2000, mas a amizade e o respeito de Cassiano. "Todo dia ele tocava piano, passeava com gente simples, trocava ideia. Era tão puro que às vezes a gente duvidava da bondade dele." O tal baú, ele diz, contém "coisas que fizemos em estúdio, composições dele tocando em casa, ideias, tudo inédito". "E só coisa boa. Cassiano nunca fez nada ruim, musicalmente falando. Com ou sem banda, arrasava. A voz, o jeito de compor. Era uma genialidade ímpar." Acervo de Cassiano Esse material está na casa que Cassiano dividiu com a mulher, Cássia, e a filha, Clara, no fim da vida, no bairro de Santa Teresa, no Rio de Janeiro. Há também registros escritos de memórias, recortes de revistas e jornais, filmagens de performances no palco e em casa, diversos instrumentos e até desenhos e colagens que ele costumava fazer. A viúva conta que o marido saía às vezes para o bar e para conversar na rua, mas "não era um homem de multidões". "Gostava de música e queria trabalhar o tempo todo, não era tanto de atividade social. Mas, se chamasse para o estúdio ou para o palco, esse era o grande sonho. Ele queria estar entre os músicos." Por volta de 2016, na reunião com o presidente da Sony, Paulo Junqueiro, para negociar o lançamento do disco de 1978, Cassiano estava mais interessado em apresentar o material mais novo que vinha criando. Não se opôs ao lançamento do álbum engavetado, mas suas prioridades eram diferentes daquelas da gravadora, e o papo esfriou. Descoberto antes desse encontro pelo produtor Rodrigo Gorky, hoje conhecido pelo trabalho com Pabllo Vittar, o disco chegou aos ouvidos de Junqueiro, fã declarado do cantor, que logo se interessou. Kassin, produtor que trabalhou na finalização póstuma do álbum "Racional 3", de Tim Maia, foi chamado para ajudar. No primeiro contato com as músicas, ele diz, sentiu que tinha "um negócio enorme na frente". O produtor conta que o trabalho que ele e Gorky fizeram foi apenas de "limpar e viabilizar", além de reorganizar e mixar as músicas, sem edições ou acréscimos. Em sua opinião, o álbum não precisa de muitos retoques para ser lançado. Segundo Junqueiro, ainda há o que ser feito. "Chamei Cassiano para ouvir, ele se lembrava de tudo, mas concordava que faltava muito. O que existe é uma pré-mixagem e, a partir dela, terminar o disco, caso a família queira finalizar. Na minha opinião, não está terminado. Mas, se a família achar que está terminado, tudo bem. Estamos tentando encontrar uma maneira de chegar lá." Um dos impeditivos para que o disco perdido de 1978 seja lançado é a falta de créditos aos músicos que participaram das gravações. Claudio Zoli, no entanto, lembra não só que gravou "backing vocals", mas sabe de vários dos instrumentistas envolvidos no disco. Tinha 14 anos e mal tocava violão, mas Cassiano vislumbrou um futuro para ele na música. "A gente se reunia numa casa lá em Jacarepaguá", diz Zoli. "Era aquele clima meio Novos Baianos, todo mundo dormindo lá, ensaiando. Nos reunimos para gravar esse disco da CBS, que não saiu, e o Cassiano fazia um ‘esquenta' antes de entrar em estúdio. Ficava tocando violão, falando sobre harmonia." Há alguns registros desses momentos de "esquenta" e também de estúdio feitos por Paulo Ricardo Botafogo, que é fotógrafo. Ele acreditava, sem muita certeza, que eram imagens da gravação de "Cuban Soul", disco de Cassiano do qual fez a foto da capa, gravado há 50 anos. Mas é bastante improvável que Zoli, nascido em 1964, tivesse apenas 11 anos nas imagens. Produtor que trabalhou com Tim Maia e foi amigo de Cassiano, Carlos Lemos se mudou da Philips, hoje Universal, para a CBS, hoje Sony, na segunda metade dos anos 1970. Pelas fotos, ele diz ter certeza que as gravações aconteceram no estúdio Haway, que era alugado pela CBS. Ele também confirma as identidades dos músicos lembrados por Zoli. São eles os guitarristas Paulinho Roquette, Paulinho Guitarra, Beto Cajueiro e Paulo Zdan, além de Dom Charles no piano e Paulo César Barros no baixo. Quem também corrobora as lembranças de Zoli é Paulo Zdan, médico de Cassiano, de quem se tornou grande amigo e foi letrista do disco "Cuban Soul". Morto há um ano, ele deu uma entrevista a Christian Bernard, que preparava um documentário sobre Cassiano —o filme acabou não autorizado pela família. A reportagem ouviu uma pré-mixagem desse disco de 1978, que destaca a faceta mais suingada de Cassiano. É um registro coeso de 12 faixas, mais funk do que soul, com vocais simultâneos cheios de candura e um flerte com a música disco daquela época. Para Kassin, é um registro "mais pop". "Se tivesse saído na época, teria feito sucesso", ele diz. Junqueiro, da Sony, concorda que as faixas mantêm uma coerência, mas que não é possível saber se isso se manteria caso Cassiano continuasse o trabalho no álbum. "Não tem nenhuma música que eu imagino que o Cassiano não botaria no disco. Talvez ele colocasse mais músicas. É um disco mais para cima, mas para ser mais dançante faltam arranjos." Clara, filha de Cassiano, lembra que o pai não tinha boas memórias da época que fez esse disco. "Não sei o que ele estava sentindo, mas não era um momento feliz para ele", ela diz. "Ele já não se via mais tanto como aquele Cassiano de 1978. Mas hoje reconheço a importância de lançar. Acho que todo mundo merece, mesmo que ele não tenha ficado tão empolgado assim com a ideia."  Retrato do cantor Cassiano em 1998 As gravações foram pausadas depois que Cassiano teve tuberculose e passou por uma cirurgia para a retirada de uma parte do pulmão. Mas as pessoas ouvidas pela reportagem também relatam um hábito constante do artista —demorar para finalizar seus trabalhos, ao ponto de as gravadoras desistirem de bancar as horas de estúdio e os músicos caros, pondo os projetos na geladeira. Bernard, o documentarista, também afirma que foi logo após as gravações desse álbum da CBS que Cassiano rompeu com Paulo Zdan e ficou 40 anos sem falar com ele. "Zoli depois tocou na banda do Cassiano, no show ‘Cassiano Disco Club'. Mas na verdade não tocou. Só ensaiou e, como nunca faziam shows, ele e o Zdan saíram e montaram a banda Brylho." A década de 1980 marcou o período de maior dificuldade para Cassiano, que passou a gravar esporadicamente, parou de lançar álbuns e enfrentou dificuldades financeiras. Cassiano nasceu em Campina Grande, na Paraíba, e no fim dos anos 1940 se mudou para o Rio de Janeiro com o pai, que ganhava a vida como pedreiro e era também um seresteiro e amigo de Jackson do Pandeiro. O menino acompanhava, tocando cavaquinho desde pequeno. Conheceu Amaro na Rocinha, onde morava, e formou com ele e o irmão, conhecido como Camarão, o Bossa Trio, que deu origem à banda Os Diagonais. O forte do trio eram os vocais simultâneos. Chegaram a gravar até para Roberto Carlos. "Ele era um mestre em vocalização. Era impressionante, um talento", diz Jairo Pires, que foi produtor de diversos discos de Tim Maia e depois diretor de grandes gravadoras. "Foram pioneiros nessa música negra. Esse tipo de vocalização era muito moderna. Ele já tinha essa coisa no sangue. Por isso que o Tim amava o Cassiano." Não demorou até que o lado compositor do artista fosse notado por gente da indústria. Em 1970, ele assinou quatro músicas do primeiro disco de Tim Maia e ainda é tido como um arranjador informal, por não ter sido creditado, daquele álbum. O Síndico havia voltado dos Estados Unidos impregnado pela música negra americana, e a única pessoa que tinha bagagem suficiente para conversar com ele era Cassiano. "Cassiano tinha esse dom", diz Carlos Lemos, que foi de músico a assistente de produção e depois produtor nessa época. "Ele era muito criativo e teve momentos na gravação que ele cantou a bola de praticamente o arranjo todo. Ele não escrevia, mas sabia o que queria. Praticamente nos três primeiros discos do Tim Maia ele estava junto." Dali em diante, o paraibano despontou numa carreira solo que concentra nos anos 1970 sua fase mais influente. São três discos —"Imagem e Som", de 1971, "Apresentamos Nosso Cassiano", de 1973, e o mais conhecido deles, "Cuban Soul: 18 Kilates", de 1976, que teve duas músicas em novelas da Globo. São elas "A Lua e Eu", o maior sucesso em sua voz, e "Coleção", que há 30 anos virou hit com Ivete Sangalo, na Banda Eva. Lemos se recorda de que chegou a dividir apartamento com Cassiano e outros músicos na rua Major Sertório, no centro de São Paulo, nos anos 1970. O artista estava apaixonado por uma mulher chamada Ingrid, para quem compôs algumas músicas. Era uma época inspirada para o cantor, que em 1975 atingiu sucesso com "A Lua e Eu", produzida por Lemos e feita ao longo de seis meses. "Produzir um disco com Cassiano demorava uma infinidade", afirma Carlos Lemos. "Ele entrava em estúdio, falava que queria assim e assado, chamava os músicos. Quando voltava para o aquário [espaço onde se ouvem as gravações], já tinha outra coisa na cabeça. Era difícil gravar. Você tinha que administrar uma criatividade excessiva. Ele falava ‘isso pode ficar muito melhor', e realmente ficava. Mas quem tem paciência? A gravadora quer vender logo. Mas era nessa essência que estava a verdade dele —e também seu sucesso." Lemos calcula que, na época em que faziam "A Lua e Eu", deixaram mais de 20 músicas prontas, mais de 500 horas de gravações em estúdio, uma quantidade de fitas suficiente para encher um cômodo inteiro. Procurada pela reportagem desde o fim do ano passado, a Universal, que hoje detém o acervo da Philips, onde essas gravações aconteceram, não respondeu sobre o paradeiro das fitas. O antigo assistente lembra que Jairo Pires, então um dos diretores da Philips, ficava desesperado com essa situação. "Ele tinha um temperamento difícil", diz Pires. "Fora do estúdio, era maravilhoso, um doce de criatura, mas, quando entrava no estúdio, era complicado." Cassiano era especialmente preocupado com o ritmo e a química entre baixo e bateria, com os quais gastava dias e mais dias fazendo e refazendo. Claudio Zoli diz que ele gravava cada parte da bateria separadamente para depois juntar, o que para Ed Motta era "uma invenção da bateria eletrônica antes de ela existir". Lemos conta que Cassiano tinha uma precisão detalhista. "Ele tinha uma visão de matemática forte, de como as frequências combinavam. E era o grande segredo de tudo, porque nem sempre o resultado da sonoridade é o que está na imaginação. Só vi coisa parecida em João Gilberto. E também com Tim Maia —que não respeitava quase ninguém, mas respeitava Cassiano." Outras duas pessoas ouvidas pela reportagem lembraram o pai da bossa nova para falar de Cassiano. Uma delas é Claudio Zoli, que destaca sua qualidade como compositor. O outro é Ed Motta, que foi amigo do paraibano e tentou diversas vezes viabilizar sua carreira. "Ele era o João Gilberto do soul brasileiro", afirma. "Mas, você imagine, um João Gilberto que não é abraçado pelos tropicalistas. Claro que ele tinha um gênio difícil, mas e a Maria Bethânia não tem?" Cassiano chegou a integrar a mesma gravadora de Bethânia e Caetano Veloso, a Philips, mas no braço da firma dedicado à música mais popular, a Polydor. Lemos, o assistente de produção, diz que o paraibano, na época, era humilde e não tinha rancor, mas não dava tanta importância aos baianos, "porque sua qualidade musical era muito superior à de todos eles".  Capa do álbum 'Cuban Soul: 18 Kilates', de Cassiano, de 1976 - Reprodução "Ainda tinha uma rivalidade interna dentro da Philips, criada naturalmente. Poucos sabem que quem sustentava toda a estrutura da gravadora para os baianos serem os caras eram os artistas da Polydor. A Philips gastava e tinha nome, amava os baianos, mas eles nunca venderam como Tim Maia. Vendiam coisa de 50 mil cópias", diz o produtor. Os desentendimentos com a indústria foram gerando mais problemas com o passar do tempo. Paulo Ricardo Botafogo conta que Cassiano recusava oportunidades de aparecer em programas de TV, dar entrevistas e ser fotografado. "Não sei se foi sacaneado, mas ele era um cara muito fácil de enganar. Era muito puro, quase uma criança", afirma. "Cassiano ganhava dinheiro e distribuía entre os músicos. E imagine o que ele passou. Preto, pobre e nordestino. Ele se achava feio. Chamavam ele de ‘Paraíba'", diz Paulo Ricardo Botafogo. Quando "Cuban Soul" foi lançado, depois das centenas de horas de gravações lembradas por Carlos Lemos, o cantor deixou a gravadora. Há na capa do disco um detalhe que, segundo Botafogo, Cassiano interpretou como uma indireta sutil contra ele —é um espaço entre as sílabas da primeira palavra do título do álbum, deixando um "cu" em destaque. Uma reportagem deste jornal de 2001 retratou a dificuldade de Cassiano para gravar. "Levamos para várias gravadoras, mas nenhuma teve interesse, até por ele estar há muito fora da mídia. Mas sua participação em ‘Movimento' prova que ele está a mil, numa fase criativa. Ele tem umas 150 músicas no baú", disse William Magalhães na época.  CD com músicas inéditas do músico Cassiano, morto em 2021 - Eduardo Anizelli/Folhapress "Movimento", o disco que marcou o retorno da Black Rio sob o comando do filho de Oberdan, traz composições, arranjos e a voz de Cassiano, como a faixa "Tomorrow". É uma das músicas que a dupla trabalhou em conjunto, incluindo uma gravação dela apenas com o paraibano cantando, além de duas canções já famosas de maneira informal entre fãs e amigos do artista, "Pérola" e "Maldito Celular". Feitas entre 1993 e 1995, foram gravadas como "demo" e nunca lançadas comercialmente. Magalhães já havia tocado teclado e piano com Cassiano alguns anos antes. Foi quando Ed Motta conseguiu convencer um italiano chamado Willy David a bancar um disco do cantor. "Falei que ele era um gênio, o Stevie Wonder brasileiro", diz. "George Benson era amigo desse David e ia participar do disco. Chegou até a ouvir algumas músicas." Eles gravaram as "demos" no estúdio de Guto Graça Mello, no Rio de Janeiro. As fitas em melhor qualidade dessas gravações, nunca lançadas, estariam com David, que nunca mais foi localizado depois de ter ido morar em Cuba. Nem mesmo por Christian Bernard, que o procurou exaustivamente nos últimos anos para seu documentário. Há, no entanto, cópias dessas faixas em qualidade pior com amigos do cantor. "São umas oito músicas inéditas, coisas que ele já tinha guardado por anos", diz Ed Motta. "Não era um disco pronto, mas tinha qualidade de disco." Na segunda metade da década de 1980, Cassiano passava por dificuldades financeiras até para conseguir o que comer. Tinha apenas um violão antigo, de estrutura quadrada, que o pai fez, ainda na Paraíba, e que a família guarda até hoje. Morava no Catete, no Rio de Janeiro, e costumava gravar em estúdios liberados por amigos nas horas vagas —caso da estrutura do músico e produtor Junior Mendes, na Barra da Tijuca.  Violão feito pelo pai do músico Cassiano, morto em 2021 - Eduardo Anizelli/Folhapress Cassiano viveu um breve renascimento artístico na virada dos anos 1980 para os 1990. Ele se casou com Cássia, aprendeu a tocar piano e fez um show lotado no Circo Voador, registrado em vídeo. Gravou também o álbum "Cedo ou Tarde", com um repertório de canções antigas, que saiu pela Sony em 1991 e tem participações de Djavan, Marisa Monte, Sandra de Sá e Luiz Melodia, entre outros. Esse álbum não vendeu tão bem, o que frustrou os planos de gravar material novo, mas, com o sucesso de "Coleção" na voz de Ivete Sangalo, há 30 anos, Cassiano conseguiu comprar um apartamento às margens da lagoa Rodrigo de Freitas, no Rio de Janeiro. Praticamente não fazia shows e sobrevivia dos direitos autorais que ganhava com suas composições. No início da década de 2000, William Magalhães chegou a viabilizar a gravação de um disco para Cassiano. Diretor da gravadora Regata, Bernardo Vilhena tinha US$ 140 mil para um álbum de Claudio Zoli, que acabou indo para outro selo. Com isso, decidiu redirecionar todo esse dinheiro ao paraibano. "Quando Cassiano soube disso, disse ‘US$ 140 mil é só a luva'", diz Magalhães. "Ele era muito orgulhoso, queria que as pessoas o tratassem à altura que ele se via. Seria o dinheiro para começar a produzir. A gente conseguiria fazer, mas ele recusou por causa dos traumas que tinha da indústria. Quando soube que o dinheiro era do Zoli, ainda se sentiu desmerecido, por ser um discípulo dele. Não tirando o direito dele, mas acho que ele viajou um pouco nesse trauma." Ao longo das últimas décadas, Magalhães diminuiu o contato com Cassiano, mas eles se reaproximaram no fim da vida do cantor. Falaram sobre fazer novos projetos, e o paraibano disse que o líder da Black Rio, que ele admirava por ser um grande músico negro, era uma das poucas pessoas com quem ele aceitaria trabalhar àquela altura. "O que eu posso dizer é que o Cassiano ainda vai dar muito pano para manga", afirma Magalhães. "O dia que a Cássia abrir esse baú dele, eu sou o primeiro da fila." Há muitas razões pelas quais Cassiano não conseguiu deixar uma obra mais volumosa, e elas não têm a ver com o respeito que ele tem até hoje no meio da música. Mas o ícone da soul music brasileira encarava essa devoção com ceticismo. "Mestre é o cacete. Não adianta falar isso. Me bota no estúdio", ele dizia, segundo Cássia, a viúva. "Era assim. Todo mundo pira nas ideias do cara, mas ninguém deixa ele gravar. O empresário André Midani chegou a declarar que as gravadoras devem um disco ao Cassiano", afirma ela. "Tudo bem, é ‘cult', é um nicho, mas é um nicho importante e não é tão pequeno assim." O último "não" que Cassiano ouviu de uma gravadora talvez tenha sido nos momentos posteriores à reunião de 2016 com Paulo Junqueiro. Depois de falar à reportagem, o presidente da Sony pediu para marcar uma nova entrevista, em que admitiu ter ouvido o material novo que o paraibano queria lançar e não quis apostar naquelas músicas. A Sony passava por um período complicado, ele diz. Tinha feito uma reestruturação em que perdeu muita gente de sua equipe. "Do que ouvi, não fiquei tão fascinado e, quando pensei em fazer discos inéditos do Cassiano àquela altura, disse ‘não consigo'. Não tinha estrutura financeira nem emocional." Posto isso, ele acrescenta que se arrepende profundamente. "Ajoelho no milho todos os dias. Tive uma oportunidade de ouro nas mãos, de registrar as últimas obras dele, e a perdi. Não tenho nem palavras para pedir desculpas à família, aos fãs e a mim mesmo. Não tenho como ser mais honesto do que estou sendo. Se gostei ou não, foda-se. Se vai vender para caralho ou não, foda-se." Junqueiro se põe à disposição da família para lançar o disco de 1978, diz que tinha seus motivos para fazer o que fez, mas errou. "Se alguém tivesse me contado essa história, eu ia falar ‘olha que filho da puta, não gravou as coisas do Cassiano'. Então, se eu teria essa visão sobre alguém, eu no mínimo tenho que ter essa visão sobre mim também." Hoje, Cassiano vive no imaginário por sua produção nos anos 1970 e pelos fragmentos que deixou espalhados em fitas e memórias. Dizia que fazer música era como o mar —"ondas que vêm e vão, mas nunca estão no mesmo lugar". Os fãs, por sua vez, aguardam uma movimentação das marés que traga para a superfície pelo menos algumas dessas pérolas submersas.

Send us a textThis week, the Fatties are joined by the ultimate Team Mom—Mommy “Susan” Black—alongside fan favorites Dali and Jimi. Mommy spills her candy secrets (yes, there's a whole snack strategy), shares how she keeps the Fresh Crew fed, fueled, and feeling fabulous, and reminds us why she's everyone's second mom.Dali drops in with the glow of a woman who's crushing her prebooks and using her communication skills to turn customers into flower fam. Meanwhile, Jimi gives us the inside scoop on his client tours in the new Jet Fresh building, plus his unique take on the holiday madness.We get into the long hours, the sacrifices, the sweet rewards—and of course, the usual tangents: getting fired, weird jobs, Fresh Fest plans, and who's really the office favorite.Grab a snack and call your mom. It's a different kind of Mother's Day.

W tym odcinku podsumujemy filmowy miesiąc kwiecień i polecimy Wam, lub nie, kilka produkcji które mieliśmy okazje w tym czasie obejrzeć.Na jakie filmy poszliśmy do kina i jakie smaczki przygotowały dla nas platformy streamingowe?

Three charges against Advocate Dali Mpofu have been dropped by the Legal Practice Council, with his disciplinary hearing postponed indefinitely - a move now under fire from CASAC. Karyn Maughan, News24 Specialist legal reporter spoke with John Maytham regarding this. Good Morning Cape Town with Lester Kiewit is a podcast of the CapeTalk breakfast show. This programme is your authentic Cape Town wake-up call. Good Morning Cape Town with Lester Kiewit is informative, enlightening and accessible. The team’s ability to spot & share relevant and unusual stories make the programme inclusive and thought-provoking. Don’t miss the popular World View feature at 7:45am daily. Listen out for #LesterInYourLounge which is an outside broadcast – from the home of a listener in a different part of Cape Town - on the first Wednesday of every month. This show introduces you to interesting Capetonians as well as their favourite communities, habits, local personalities and neighbourhood news. Thank you for listening to a podcast from Good Morning Cape Town with Lester Kiewit. Listen live – Good Morning CapeTalk with Lester Kiewit is broadcast weekdays between 06:00 and 09:00 (SA Time) https://www.primediaplus.com/station/capetalk Find all the catch-up podcasts here https://www.primediaplus.com/capetalk/good-morning-cape-town-with-lester-kiewit/audio-podcasts/good-morning-cape-town-with-lester-kiewit/ Subscribe to the CapeTalk daily and weekly newsletters https://www.primediaplus.com/competitions/newsletter-subscription/ Follow us on social media: CapeTalk on Facebook: www.facebook.com/CapeTalk   CapeTalk on TikTok: www.tiktok.com/@capetalk   CapeTalk on Instagram: www.instagram.com/capetalkza  CapeTalk on X: www.x.com/CapeTalk  CapeTalk on YouTube: www.youtube.com/@CapeTalk567  See omnystudio.com/listener for privacy information.

Není moc národů, které by chtěli s námi Čechy žít v jednom státě a dali to někdy v minulosti hlasitě najevo. Vedle Slováků, jejichž politická reprezentace si to ale během 72 let společného státu hned dvakrát rozmyslela, to byli Lužičtí Srbové. Dali to hlasitě najevo jak v roce 1918, tak v roce 1945, ale bohužel nám to svět kolem nás nepovolil.

Hustou zpětnou vazbu mi dal dnes Ondřej z Horský chata Rabštejn, když jsme tam dnes natáčeli jeden z dílů druhé řady Příběhů z gastra. Po reportu chodí hodně lidí, snaží se na nepřístupné místo dostat autem, dát si stejné jídlo, jaké viděli na Gastromapě, atd. My jsme každopádně na turné, Matty Vaněk se mi vrátil z Vancouveru a natáčíme hromadu videí a pořádů. Dozvíte se, proč zase já nakonec natáčím anketky v Brně, co všechno jsme kde stihli a viděli. Dali jsme si degustaci makronek a bohužel půlku nechali na apartmánu v Rožnově. A je tam toho mnohem víc! Ahoj z turné a díky za vaše poslechy.

Není moc národů, které by chtěli s námi Čechy žít v jednom státě a dali to někdy v minulosti hlasitě najevo. Vedle Slováků, jejichž politická reprezentace si to ale během 72 let společného státu hned dvakrát rozmyslela, to byli Lužičtí Srbové. Dali to hlasitě najevo jak v roce 1918, tak v roce 1945, ale bohužel nám to svět kolem nás nepovolil.Všechny díly podcastu Názory a argumenty můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Philosophers have for over two millennia debated the irresistible force paradox, usually formulated as ‘What happens when an unstoppable force meets an immovable object?' Variants of the problem date back as far as China in the third century BCE and ancient Greece. The world got one answer to the question on March 26, 2024, when a Singapore-flagged boxship hit the Francis Scott Key Bridge that spanned Baltimore harbour in the US. The vessel was inevitably damaged, the bridge collapsed, and six people from a maintenance crew working on the bridge at the time were killed. Within days, the owners and managers of Dali filed for limitation of liability. If their suit is successful, Grace Ocean, Synergy Marine and their insurers will pay out no more than $44m. In this edition of the podcast, Lloyd's List insurance and law editor David Osler unpacks what happens next in what could turn out to be one of the costliest marine casualties of all time.

Today's episode is about the traditions on St. George and St. Marek's days in Slovakia. In the Slovak lesson, you will learn the dative case of the Slovak feminine nouns in plural. You will also learn how to say “That was so much fun!“ in Slovak. At the end of this episode is my short dialogue.Episode notesIn today's episode, I'm talking about the traditions on St. George and St. Marek's days in Slovakia. In the Slovak lesson, you are going to learn the dative case of the Slovak feminine nouns in plural. You will also learn how to say “That was so much fun!“ in Slovak. At the end of this episode, you can find my short dialogue.Slovak lesson1.    lampa (lamp) – PLURAL lampy / DATIVE lampám2.    kniha (book) – knihy / knihám3.    zastávka (stop, as a bus stop) – zastávky / zastávkam4.    líška (fox) – líšky / líškam5.    stanica (station) – stanice / staniciam6.    pieseň (song) – piesne / piesňam7.    loď (ship) – lode / lodiam8.    lekáreň (pharmacy) – lekárne /lekárňam9.    reportáž (report) – reportáže / reportážam10. vec (thing) – veci / veciamSentences:1.    Antickým lampám sa venovalo veľa pozornosti. (A lot of attention was paid to the antique lamps.)2.    Dali sme starým knihám nové obaly. (We gave old books new covers.)3.    Kôli častým zastávkam, cesta autobusom trvala veľmi dlho. (Because of the frequent stops, the bus journey took a very long time.)4.    Líškam sa páčilo na veľkej lúke. (The foxes liked the big meadow.)5.    Vďaka pekným piesňam, pacienti sa cítili lepšie. (Thanks to the nice songs, the patients felt better.)6.    Malým lodiam netreba veľké motory. (Small boats don't need big engines.)7.    Zajtra zatelefonujem všetkým lekárňam. (I'll call all the pharmacies tomorrow.)8.    Vlado neverí zahraničným reportážam. (Vlado doesn't believe foreign reports.)9.    Polož to k ostatným veciam. (Put that with the other things.)10. To bolo také zábavné! (That was so much fun!) => from my dialogueTimestamps00:34 Introduction to the episode02:28 Avout St. George and St. Marek Day07:31 Slovak lesson14:56 Sentences24:24 Dialogue27:56 Final thoughtsIf you have any questions, send it to my email hello@bozenasslovak.com. Check my Instagram https://www.instagram.com/bozenasslovak/ where I am posting the pictures of what I am talking about on my podcast. Also, check my website https://www.bozenasslovak.com © All copywrites reserved to Bozena O Hilko LLC

Le 15 avril, c'est la Journée mondiale de l'art. Pour célébrer cette journée, A la folie, pas du tout met en avant des couples d'artistes qui ont marqué l'histoire. Des couples qui se sont aimés et qui se sont inspirés mutuellement. Une fascination réciproque Gala et Salvador Dali forment un couple mythique de l'histoire de l'art. Sans Gala, l'œuvre du peintre catalan ne serait pas la même. La femme fut une inspiration et un soutien constant pour l'artiste. En échange, Dali a toujours affiché sa loyauté et sa fidélité à son épouse. Il disait "J'aime Gala plus que ma mère, plus que mon père, plus que Picasso et plus que l'argent". Un podcast Bababam Originals Ecrit et raconté par Alice Deroide Première diffusion : 9 avril 2021 Learn more about your ad choices. Visit megaphone.fm/adchoices

Le 25 mars 1321, Dante Alighieri publiait La Divine Comédie, chef d'œuvre de la poésie médiévale divisé en 3 parties, L'Enfer, le Purgatoire et le Paradis. Considéré comme un des pères de la langue italienne avec Pétrarque et Boccace, Dante est auréolé d'une importance littéraire et linguistique considérable. La Bibliothèque Royale de Bruxelles possède quelques exemplaires remarquables de son oeuvre, sous formats manuscrits et imprimés, dont certains illustrés par des artistes prestigieux : Botticelli, Rodin, Dali. Dernière étape de notre promenade entre Enfers et Paradis en compagnie de Nicolas Bogaerts et Wim De Wos, collaborateur scientifique au Manuscrits et imprimés anciens de la Bibliothèque Royale à la recherche de l'héritage de Dante, le poète suprême Sujets traités : Dante Alighieri, Divine Comédie,chef d'œuvre, poésie, Purgatoire,Paradis. Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

P. Juan Carlos (Ecuador)Solo cuando se lucha contra la vanagloria se puede descubrir a Dios en la propia vida y en las preocupaciones ordinarias.[Ver Meditación Escrita] https://www.hablarconjesus.com/meditacion_escrita/vana-gloria/

When the Dali containership struck the Francis Scott Key Bridge in Baltimore, the deadly collapse triggered an NTSB investigation into U.S. infrastructure. The safety agency wanted to see if other bridges could be susceptible to similar strikes. About two weeks ago, the NTSB identified 68 bridges across 19 states that should conduct a vulnerability assessment. 

Engineers take an in-depth look at why the Francis Scott Key Bridge in Baltimore collapsed and how to prevent future tragedies.In the early morning of March 26, 2024, the container ship Dali struck the Francis Scott Key Bridge in Baltimore. Within 30 seconds, the bridge collapsed into the river below. Six construction workers lost their lives.On the one-year anniversary of the accident, we talk about what went wrong, and how to improve the safety of our nation's bridges and prevent another tragic crash.Host Ira Flatow is joined by Dr. Abi Aghayere, professor of civil engineering at Drexel University; and Dr. Thomas McKenney, associate professor of engineering practice in the naval architecture and marine engineering department at the University of Michigan.Transcripts for each segment will be available after the show airs on sciencefriday.com. Subscribe to this podcast. Plus, to stay updated on all things science, sign up for Science Friday's newsletters.

കമ്പോളസിനിമകൾ മത-രാഷ്ട്രീയഹിംസകൾ കൈകാര്യം ചെയ്യുമ്പോഴുള്ള നിരുത്തരവാദപരമായ Insensitivity എങ്ങനെയാണ് എമ്പുരാൻ എന്ന സിനിമയിൽ പ്രകടമാകുന്നത്, അത് രണ്ടാം സെൻസറിങ്ങിനുമുൻപാണെങ്കിലും രണ്ടാം സെൻസറിങ്ങിനു ശേഷമാണെങ്കിലും കേൾക്കണമെന്ന് അഭ്യർത്ഥിക്കുന്നു .സ്നേഹപൂർവ്വം എസ്. ഗോപാലകൃഷ്ണൻ

All content from the Sons of UCF is brought to you by the law office of Werner, Hoffman, Greig & Garcia. With a combined 70+ years of legal experience, WHG specialize in personal injury, workers comp, veteran disability, and SSI/SSDI cases. For more information, contact them at wernerhoffman.com, or call 1-800-320-HELP On this week's Sons of UCF LIVE, special guest host Dali Drama joins us as we welcome Orlando Sentinel reporter Matt Murschel to get us caught up on spring football camp and the latest with UCF basketball. Plus, have sound from UCF Football and Baseball, as well as the Big 12 minute with Jeff Allen. All of that, plus your questions and what's in the box.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Cette semaine, je te propose de découvrir ou redécouvrir FlexAI. Cette startup aurait pu s'installer dans la Silicon Valley mais a choisi Paris, un « cluster en intelligence artificielle » selon son fondateur Dali. Une mission capitale et bienvenue = FlexAI réduit les coûts et la consommation énergétique autour de tous ces nouveaux modèles IA.Avec Brijesh son associé, ils sont passés par des big tech comme Nvidia, ensemble dans cet épisode enregistré en novembre 2024 on aborde le futur de l'IA, quelles applications concrètes après ses dizaines de milliards investis ? Je suis Seb COUASNON, on se retrouve chaque semaine ! Si tu aimes tech 45' laisse moi un avis sur ta plateforme de podcast

Kevin addresses those who are talking down the economy. Kevin talks with Elizabeth Barna, Saint Christopher Trucker Relief Fund (SCF) Board Secretary about their organization and the Opening Night (Thursday) Reception Silent Auction fund raiser at the MId-America Trucking Show. Eight Corvettes go missing in Kentucky. President Trump appoints a permanent administrator at the Federal Motor Carrier Safety Administration. Kevin marks the first anniversary of the collapse of Baltomore's Francis Scott Key Bridge after being struck by the containership Dali. Kevin discusses the factors and news affecting oil prices. 

Kevin addresses those who are talking down the economy. Kevin talks with Elizabeth Barna, Saint Christopher Trucker Relief Fund (SCF) Board Secretary about their organization and the Opening Night (Thursday) Reception Silent Auction fund raiser at the MId-America Trucking Show. Eight Corvettes go missing in Kentucky. President Trump appoints a permanent administrator at the Federal Motor Carrier Safety Administration. Kevin marks the first anniversary of the collapse of Baltomore's Francis Scott Key Bridge after being struck by the containership Dali. Kevin discusses the factors and news affecting oil prices. 

ഒരു ഗാനം ചെയ്ത ജ്ഞാനസ്നാനം എന്ന പോഡ്‌കാസ്റ്റിലേക്ക് സ്വാഗതം.ജോർജിയ സന്ദർശിച്ചപ്പോഴുണ്ടായ ഒരനുഭവമാണിത്.അവിടുത്തെ Svetitskhoveli Cathedral സന്ദർശിച്ചിരുന്നു. അതൊരു യുനെസ്കോ സ്മാരകമാണ്.ക്രിസ്തുവിനെ ക്രൂശിക്കുമ്പോൾ അടുത്തുണ്ടായിരുന്നു എന്ന് വിശ്വസിക്കപ്പെടുന്ന ജോർജിയൻ ജൂതൻ ഏലിയാസ് ക്രിസ്തുവിന്റെ ക്രൂശാരോഹണവസ്ത്രം കൊണ്ടുവന്നത് ഈ പള്ളിയിലുണ്ട്. അവിടുത്തുകാർ അങ്ങനെയാണ് വിശ്വസിക്കുന്നത്.ആ പള്ളിയിൽ പ്രാർത്ഥനാവേളയിൽ കേട്ട അറാമിക് ഭാഷയിലുള്ള മാസ്മരികഗാനമാണ് ഈ പോഡ്‌കാസ്റ്റിലുള്ളത്.

Tento denný podcast, vytváraný s pomocou umelej inteligencie, ponúka unikátny a efektívny spôsob, ako sa dozvedieť o najzaujímavejších udalostiach a článkoch dňa. Umelej inteligencii sa darí analyzovať obrovské množstvo informácií z rôznych zdrojov, aby vybrala tie najrelevantnejšie a najpútavejšie obsahy pre širokú škálu poslucháčov. Každá epizóda je navrhnutá tak, aby poskytla hlboký ponor do vybraných tém, od politiky cez vedecké objavy, až po kultúrne udalosti, a to všetko podané informatívne, prístupne a bez emócií. Podcast je ideálnym spoločníkom pre zaneprázdnených ľudí, ktorí hľadajú pohodlný spôsob, aby zostali informovaní o svetovom dianí bez nutnosti tráviť hodiny čítaním rôznych zdrojov, čím poskytuje efektívny a príjemný spôsob, ako prijímať správy.  

Tous les week-end, découvrez de courtes histoires d'amours, tendres ou percutantes, pour engager de vraies réflexions sur l'amour. Gala et Salvador Dali forment un couple mythique de l'histoire de l'art. Sans Gala, l'œuvre du peintre catalan ne serait pas la même. La femme fut une inspiration et un soutien constant pour l'artiste. En échange, Dali a toujours affiché sa loyauté et sa fidélité à son épouse. Il disait "J'aime Gala plus que ma mère, plus que mon père, plus que Picasso et plus que l'argent". Un podcast Bababam Originals. Première diffusion : 9 avril 2021 Learn more about your ad choices. Visit megaphone.fm/adchoices

2020 ൽ ഡൽഹിയിൽ വർഗ്ഗീയകലാപം ഉണ്ടായനാളുകളിലാണ് ഞാൻ ദില്ലി -ദാലി പോഡ്‌കാസ്റ്റ് തുടങ്ങിയത് .അഞ്ചാമത്തെ പോഡ്‌കാസ്റ്റ് ചെയ്തത് ഇപ്പോഴത്തെപ്പോലെ ഡൽഹിയിലെ വസന്തകാലത്തിലായിരുന്നു. അന്ന് ഒരോട്ടോറിക്ഷയിൽ ഉണ്ടായ അനുഭവം. യാത്രയിൽ അവിചാരിതമായി കാണാനിടയായ നാലു സുമനസ്സുകളുടെ കഥയാണിത്. അറുപത്തഞ്ചുകാരനായ ഡ്രൈവർ ശ്യാം എന്നോടു പറഞ്ഞു , " എത്രപേരെയാണ് കഴിഞ്ഞ ആഴ്ച മനുഷ്യൻ ഇവിടെ കൊന്നത് ! ഒരു കൊറോണവൈറസ് വന്നാൽ തീരാവുന്ന മതഭ്രാന്താണ്‌ ദില്ലി കണ്ടത്. ദൈവം വിളിക്കുമ്പോൾ ഞാൻ അങ്ങു പോകും "ഞങ്ങൾ മുറിവുണങ്ങുന്ന ഒരു പച്ചമരുന്ന് അന്വേഷിച്ചു പോയ കഥ ...കൂടെ കണ്ട കുറേ നല്ല മനുഷ്യരും.'മനുഷ്യൻ , മനോഹരമാണപ്പദം പോലും' എന്ന് തോന്നിയ ദിവസം , പ്രത്യേകിച്ച് കലാപാനന്തര നഗരത്തിൽ.2025 ലെ ഡൽഹിവസന്തത്തിൽ ആ പോഡ്‌കാസ്റ്റിന്റെ പുനഃ പ്രക്ഷേപണം.സ്നേഹത്തോടെ എസ് . ഗോപാലകൃഷ്ണൻ

Artists know how much of a grind it is to be an artist. So when we see artists exploring and evolving like today's guest Shanneil Clarke we can appreciate the amount of effort that goes into it. Shanneil is out in these art streets, doing shows and building an audience with paintings featuring his unique Black figures. We talk about the essence of his style, the neck pieces, the gold, etc. and the inspiration behind his work. Shanneil talks about his Jamaican roots, how he vibes with collectors and the collab project he did recently with your boy, JBarber. Great incite into a young artist you can get follow on his journey. Right here on the Noize! Listen, subscribe, and share!Episode 198 topics include:grinding in the art streetssymbolism of hairbreaking down Shanneil's style: neck pieces, gold, backgroundslife experiences living in Jamaicainfluence of Black cartoon characters in Shanneil's artcollaborative prints with JBarberexploring materialsconnecting with collectorsShanneil Clarke artist statement:Art has always been my ultimate form of self-expression, a passion that has fueled me throughout my life. Born in Montego Bay, Jamaica, I spent my youth there before migrating to Pennsylvania in 2000. It was in the vibrant artistic environment of Philadelphia that I found inspiration in street art and historical murals. My art journey began during my time at Springfield High School, where I explored multiple mediums and discovered the joy of creating through various projects. After a brief hiatus, I rediscovered my love for art in 2008, particularly using oil-based medium, which reignited my creative energy. Each body of my work draws inspiration from both history and everyday experiences, crafted to evoke subjective interpretations in the viewer. I firmly believe that art is universal and shaped by each individual's life journey. As an introspective figurative artist, I incorporate natural motifs and floral fabric patterns to express communication and determination in the figures' pursuit of a better life. Each stroke of paint exudes boldness, confidence, and strength, aiming to inspire those who encounter my art. I draw inspiration from a multitude of artists, including Dali, Kevin Williams, Charly Palmer, David Hockney, Basquiat, and Amy Sherald, while also embracing techniques from different eras, like gold leaf and textures. Since moving to Atlanta, Georgia, in 2018, I have become actively engaged in the local art community, showcasing my work in various galleries, such as Mint Gallery and Future Dead Artist Gallery. Notably, in 2022, I was featured in an Exhibition sponsored by Amazon Prime during Art Basel Miami. My ultimate goal is to touch hearts and minds with my art, leaving a lasting positive impression on fellow art enthusiasts and inspiring others to express their own passion and creativity. See more: Shanneil Clarke IG @artbys.clarkeFollow us:StudioNoizePodcast.comIG: @studionoizepodcastJamaal Barber: @JBarberStudioSupport the podcast www.patreon.com/studionoizepodcast

Sa kuulad minu ja Dali uut kahest vestlusaadet. SAATES RÄÄGIME: - Miks on oluline minna kaks kihti sügavamale- Kuidas aru saada kas sa päriselt sussutad või ootad õiget aega- Kuidas lugeda Universumi sõnumeid- Kuidas parandada suhete kvaliteetiMinu uus kursus MOMENTUM: aitab sussutamisest, aeg on tegutseda alustab juba 26.02. Ostul saad kasutada sooduskoodi: millinenaine, mis annab -10€KATRIN HINRIKUSInstagram: ⁠⁠https://www.instagram.com/katrinhinrikus/⁠⁠Mentorluse ja konsultatsiooni osas kirjuta: katrinhinrikus@gmail.com MILLINE NAINEInstagram: ⁠⁠https://www.instagram.com/millinenaine/⁠⁠Facebook: ⁠⁠https://www.facebook.com/millinenaine/⁠⁠Millised Naised FB grupp: ⁠⁠https://www.facebook.com/groups/millisednaised/DALI KARATKoduleht: ⁠https://www.dalikarat.com⁠Instagram: ⁠https://instagram.com/dalikarat⁠Facebook: ⁠https://www.facebook.com/karatdali

¡Gente de Éxito! No es un adiós, es un 'hasta pronto'. Este podcast, que tanto nos ha dado, se toma un breve STOP para observar, hacer reingenieria, replantear el abordaje de esta evolución violenta de nuestros negocios de hoy, volver y ejecutar con más energía inspirada que nunca.  Alex Dali Rizo, su servidor, quiero darles las gracias de corazón a todos ustedes, la audiencia que nos ha acompañado en cada episodio, a esos emprendedores valientes que compartieron sus historias,  a mi familia y equipo, que son el motor de este proyecto. ¡Prepárense! En unos meses, regresamos con sorpresas que les van a encantar. Encuesta para “Gente de Éxito”; www.recetadelexito.com/encuesta  Escribeme tus inquietudes, preguntas y comentarios a alex@recetadelexito.com  Suscribete y Visitanos en: www.RecetaDelExito.com Apple Podcast (iTunes): https://apple.co/2Igcnoh Listo para Crear tu Podcast?  www.CursoDePodcastGratis.com Twitter Handle:  @alexdalirizo Facebook Page:  https://www.facebook.com/recetadelexito/ RDExito:  http://recetadelexito.com  Instagram:  https://www.instagram.com/recetadelexito/ Instagram: https://www.instagram.com/alexdalirizo/ Tiktok: https://www.tiktok.com/@rdexito?_t=8qBk0mY9HvR&_r=1 Spotify:  https://spoti.fi/3cmJqVs

Je herečkou a stejné profesi se chtějí věnovat i její dva synové. „Přeju jim, aby byli v životě šťastní. Jestli si k tomu vybrali hereckou dráhu, můžu jim jen držet palce.“ Jsou její synové podobní více jí nebo tátovi Vladimíru Dlouhému? Na kterou roli vzpomíná nejraději? Dalo jí zabrat nastudování slavného muzikálu Hello, Dolly? Proč je sauna to, čemu se ráda věnuje?Všechny díly podcastu Blízká setkání můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

This week, host Jorden Guth is joined by hi-fi industry legend Peter Lyngdorf for a supplemental chat, following the release of SoundStage! founder Doug Schneider's one-on-one video interview on the SoundStage! Network YouTube channel. Peter Lyngdorf is the founder of many hi-fi brands, including DALI, Lyngdorf Audio, Steinway Lyngdorf, and he is also the founder the the HiFi Klubben retail chain, which has nearly 100 stores throughout Europe. Sources: “How Peter Lyngdorf Became Denmark's Most Prolific and Successful Hi-Fi Entrepreneur” by SoundStage! Network: https://youtu.be/QxTsEqlnEC0?si=LcSCeuGEZ2AAzESR Chapters: 00:00:00 Announcement 00:00:30 Origin stories 00:20:12 Music Break: “Less Than Tomorrow” by Raphaël Angelini 00:22:44 A different approach to room correction 00:54:09 Outro: “The Desert” by Patrick Ussher

Para saber demais informações e participar do clube de conversação depois do expediente, siga o link: https://portuguesewitheli.com/cah If you'd like to help our podcast, consider leaving us a review (Apple and Spotify). Or, alternatively, you can also make a small donation that will be used to cover costs and buy more books for me to research for the podcast 

durée : 00:56:21 - Autant en emporte l'Histoire - par : Stéphanie Duncan - En 1929, le poète Paul Eluard et sa femme Gala débarquent à Cadaquès en Espagne, bien décidés à rencontrer un peintre inconnu mais prometteur, Salvador Dali. Mais l'imprévu survient : "J'approchai de la grande épreuve de ma vie, l'épreuve de l'amour" écrira Dali qui tombe amoureux fou de Gala... - invités : Julie Birmant - Julie Birmant : Scénariste - réalisé par : Anne WEINFELD

Over the last few weeks, we've brought you several episodes from our experts here at Lloyd's List briefing you on what to expect in each respective sector in 2025. Insurance editor David Osler is rounding that series off with a look at what the marine insurance market can expect over the next 12 months. The sector was thrust into the limelight in March last year, when containership Dali allided with the Francis Scott Key bridge in Baltimore, which tragically resulted in the deaths of six construction workers. That casualty could wind up being the costliest in maritime history by the time it's run its course though the US judicial system, and the International Group of P&I clubs is already on the hook for some serious cash. David explains how that case will affect P&I insurance moving forwards, as well as highlighting the extra capacity hitting the hull and machinery market which could drive down prices for shipowners. To listen to the rest of out ‘What to look out for series', head to Soundcloud, Spotify, or wherever you get your podcasts. You can also listen to every episode of the podcast on the Lloyd's List app.

Predstavte si, že ste kúpili svoj vlastný byt. Dali ste výpoveď z doterajšieho podnájmu. No zrazu nemáte kde bývať, predajca vás nechce pustiť do bytu, pretože banka pozastavila vyplácanie hypoték. Dôvod - nefunguje kataster.A zatiaľ čo vláda odmieta zodpovednosť a venuje sa Rusku a Ukrajine, podobných a ďalších iných prípadov ľudí a rodín, ktorý na hacknutý kataster doplatili môžu byť tisíce. Kataster nielen nefunguje, ale ani nekomunikuje.Čo sa to teda na Úrade geodézie, kartografie a katastra stalo, prečo sa to stalo a kto je za to zodpovedný? Ako problémy katastra dopadli na ľudí? Ako na samosprávy, ktoré čaká výber dane z nehnuteľností a ako na realitný trh a jeho hráčov? Kedy systémy nabehnú a nehrozí, že ľudia či štát o svoje nehnuteľnosti prídu?Braňo Závodský sa rozprával s Ladislavom Kovárom z občianskeho združenia Slovensko.digital, šéfom ZMOSu Jozefom Božikom a Máriom Glosom z Národnej asociácie realitných kancelárii Slovenska.

Applications for the NYC AI Engineer Summit, focused on Agents at Work, are open!When we first started Latent Space, in the lightning round we'd always ask guests: “What's your favorite AI product?”. The majority would say Midjourney. The simple UI of prompt → very aesthetic image turned it into a $300M+ ARR bootstrapped business as it rode the first wave of AI image generation.In open source land, StableDiffusion was congregating around AUTOMATIC1111 as the de-facto web UI. Unlike Midjourney, which offered some flags but was mostly prompt-driven, A1111 let users play with a lot more parameters, supported additional modalities like img2img, and allowed users to load in custom models. If you're interested in some of the SD history, you can look at our episodes with Lexica, Replicate, and Playground.One of the people involved with that community was comfyanonymous, who was also part of the Stability team in 2023, decided to build an alternative called ComfyUI, now one of the fastest growing open source projects in generative images, and is now the preferred partner for folks like Black Forest Labs's Flux Tools on Day 1. The idea behind it was simple: “Everyone is trying to make easy to use interfaces. Let me try to make a powerful interface that's not easy to use.”Unlike its predecessors, ComfyUI does not have an input text box. Everything is based around the idea of a node: there's a text input node, a CLIP node, a checkpoint loader node, a KSampler node, a VAE node, etc. While daunting for simple image generation, the tool is amazing for more complex workflows since you can break down every step of the process, and then chain many of them together rather than manually switching between tools. You can also re-start execution halfway instead of from the beginning, which can save a lot of time when using larger models.To give you an idea of some of the new use cases that this type of UI enables:* Sketch something → Generate an image with SD from sketch → feed it into SD Video to animate* Generate an image of an object → Turn into a 3D asset → Feed into interactive experiences* Input audio → Generate audio-reactive videosTheir Examples page also includes some of the more common use cases like AnimateDiff, etc. They recently launched the Comfy Registry, an online library of different nodes that users can pull from rather than having to build everything from scratch. The project has >60,000 Github stars, and as the community grows, some of the projects that people build have gotten quite complex:The most interesting thing about Comfy is that it's not a UI, it's a runtime. You can build full applications on top of image models simply by using Comfy. You can expose Comfy workflows as an endpoint and chain them together just like you chain a single node. We're seeing the rise of AI Engineering applied to art.Major Tom's ComfyUI Resources from the Latent Space DiscordMajor shoutouts to Major Tom on the LS Discord who is a image generation expert, who offered these pointers:* “best thing about comfy is the fact it supports almost immediately every new thing that comes out - unlike A1111 or forge, which still don't support flux cnet for instance. It will be perfect tool when conflicting nodes will be resolved”* AP Workflows from Alessandro Perili are a nice example of an all-in-one train-evaluate-generate system built atop Comfy* ComfyUI YouTubers to learn from:* @sebastiankamph* @NerdyRodent* @OlivioSarikas* @sedetweiler* @pixaroma* ComfyUI Nodes to check out:* https://github.com/kijai/ComfyUI-IC-Light* https://github.com/MrForExample/ComfyUI-3D-Pack* https://github.com/PowerHouseMan/ComfyUI-AdvancedLivePortrait* https://github.com/pydn/ComfyUI-to-Python-Extension* https://github.com/THtianhao/ComfyUI-Portrait-Maker* https://github.com/ssitu/ComfyUI_NestedNodeBuilder* https://github.com/longgui0318/comfyui-magic-clothing* https://github.com/atmaranto/ComfyUI-SaveAsScript* https://github.com/ZHO-ZHO-ZHO/ComfyUI-InstantID* https://github.com/AIFSH/ComfyUI-FishSpeech* https://github.com/coolzilj/ComfyUI-Photopea* https://github.com/lks-ai/anynode* Sarav: https://www.youtube.com/@mickmumpitz/videos ( applied stuff )* Sarav: https://www.youtube.com/@latentvision (technical, but infrequent)* look for comfyui node for https://github.com/magic-quill/MagicQuill* “Comfy for Video” resources* Kijai (https://github.com/kijai) pushing out support for Mochi, CogVideoX, AnimateDif, LivePortrait etc* Comfyui node support like LTX https://github.com/Lightricks/ComfyUI-LTXVideo , and HunyuanVideo* FloraFauna AI* Communities: https://www.reddit.com/r/StableDiffusion/, https://www.reddit.com/r/comfyui/Full YouTube EpisodeAs usual, you can find the full video episode on our YouTube (and don't forget to like and subscribe!)Timestamps* 00:00:04 Introduction of hosts and anonymous guest* 00:00:35 Origins of Comfy UI and early Stable Diffusion landscape* 00:02:58 Comfy's background and development of high-res fix* 00:05:37 Area conditioning and compositing in image generation* 00:07:20 Discussion on different AI image models (SD, Flux, etc.)* 00:11:10 Closed source model APIs and community discussions on SD versions* 00:14:41 LoRAs and textual inversion in image generation* 00:18:43 Evaluation methods in the Comfy community* 00:20:05 CLIP models and text encoders in image generation* 00:23:05 Prompt weighting and negative prompting* 00:26:22 Comfy UI's unique features and design choices* 00:31:00 Memory management in Comfy UI* 00:33:50 GPU market share and compatibility issues* 00:35:40 Node design and parameter settings in Comfy UI* 00:38:44 Custom nodes and community contributions* 00:41:40 Video generation models and capabilities* 00:44:47 Comfy UI's development timeline and rise to popularity* 00:48:13 Current state of Comfy UI team and future plans* 00:50:11 Discussion on other Comfy startups and potential text generation supportTranscriptAlessio [00:00:04]: Hey everyone, welcome to the Latent Space podcast. This is Alessio, partner and CTO at Decibel Partners, and I'm joined by my co-host Swyx, founder of Small AI.swyx [00:00:12]: Hey everyone, we are in the Chroma Studio again, but with our first ever anonymous guest, Comfy Anonymous, welcome.Comfy [00:00:19]: Hello.swyx [00:00:21]: I feel like that's your full name, you just go by Comfy, right?Comfy [00:00:24]: Yeah, well, a lot of people just call me Comfy, even when they know my real name. Hey, Comfy.Alessio [00:00:32]: Swyx is the same. You know, not a lot of people call you Shawn.swyx [00:00:35]: Yeah, you have a professional name, right, that people know you by, and then you have a legal name. Yeah, it's fine. How do I phrase this? I think people who are in the know, know that Comfy is like the tool for image generation and now other multimodality stuff. I would say that when I first got started with Stable Diffusion, the star of the show was Automatic 111, right? And I actually looked back at my notes from 2022-ish, like Comfy was already getting started back then, but it was kind of like the up and comer, and your main feature was the flowchart. Can you just kind of rewind to that moment, that year and like, you know, how you looked at the landscape there and decided to start Comfy?Comfy [00:01:10]: Yeah, I discovered Stable Diffusion in 2022, in October 2022. And, well, I kind of started playing around with it. Yes, I, and back then I was using Automatic, which was what everyone was using back then. And so I started with that because I had, it was when I started, I had no idea like how Diffusion works. I didn't know how Diffusion models work, how any of this works, so.swyx [00:01:36]: Oh, yeah. What was your prior background as an engineer?Comfy [00:01:39]: Just a software engineer. Yeah. Boring software engineer.swyx [00:01:44]: But like any, any image stuff, any orchestration, distributed systems, GPUs?Comfy [00:01:49]: No, I was doing basically nothing interesting. Crud, web development? Yeah, a lot of web development, just, yeah, some basic, maybe some basic like automation stuff. Okay. Just. Yeah, no, like, no big companies or anything.swyx [00:02:08]: Yeah, but like already some interest in automations, probably a lot of Python.Comfy [00:02:12]: Yeah, yeah, of course, Python. But I wasn't actually used to like the Node graph interface before I started Comfy UI. It was just, I just thought it was like, oh, like, what's the best way to represent the Diffusion process in the user interface? And then like, oh, well. Well, like, naturally, oh, this is the best way I've found. And this was like with the Node interface. So how I got started was, yeah, so basic October 2022, just like I hadn't written a line of PyTorch before that. So it's completely new. What happened was I kind of got addicted to generating images.Alessio [00:02:58]: As we all did. Yeah.Comfy [00:03:00]: And then I started. I started experimenting with like the high-res fixed in auto, which was for those that don't know, the high-res fix is just since the Diffusion models back then could only generate that low-resolution. So what you would do, you would generate low-resolution image, then upscale, then refine it again. And that was kind of the hack to generate high-resolution images. I really liked generating. Like higher resolution images. So I was experimenting with that. And so I modified the code a bit. Okay. What happens if I, if I use different samplers on the second pass, I was edited the code of auto. So what happens if I use a different sampler? What happens if I use a different, like a different settings, different number of steps? And because back then the. The high-res fix was very basic, just, so. Yeah.swyx [00:04:05]: Now there's a whole library of just, uh, the upsamplers.Comfy [00:04:08]: I think, I think they added a bunch of, uh, of options to the high-res fix since, uh, since, since then. But before that was just so basic. So I wanted to go further. I wanted to try it. What happens if I use a different model for the second, the second pass? And then, well, then the auto code base was, wasn't good enough for. Like, it would have been, uh, harder to implement that in the auto interface than to create my own interface. So that's when I decided to create my own. And you were doing that mostly on your own when you started, or did you already have kind of like a subgroup of people? No, I was, uh, on my own because, because it was just me experimenting with stuff. So yeah, that was it. Then, so I started writing the code January one. 2023, and then I released the first version on GitHub, January 16th, 2023. That's how things got started.Alessio [00:05:11]: And what's, what's the name? Comfy UI right away or? Yeah.Comfy [00:05:14]: Comfy UI. The reason the name, my name is Comfy is people thought my pictures were comfy, so I just, uh, just named it, uh, uh, it's my Comfy UI. So yeah, that's, uh,swyx [00:05:27]: Is there a particular segment of the community that you targeted as users? Like more intensive workflow artists, you know, compared to the automatic crowd or, you know,Comfy [00:05:37]: This was my way of like experimenting with, uh, with new things, like the high risk fixed thing I mentioned, which was like in Comfy, the first thing you could easily do was just chain different models together. And then one of the first things, I think the first times it got a bit of popularity was when I started experimenting with the different, like applying. Prompts to different areas of the image. Yeah. I called it area conditioning, posted it on Reddit and it got a bunch of upvotes. So I think that's when, like, when people first learned of Comfy UI.swyx [00:06:17]: Is that mostly like fixing hands?Comfy [00:06:19]: Uh, no, no, no. That was just, uh, like, let's say, well, it was very, well, it still is kind of difficult to like, let's say you want a mountain, you have an image and then, okay. I'm like, okay. I want the mountain here and I want the, like a, a Fox here.swyx [00:06:37]: Yeah. So compositing the image. Yeah.Comfy [00:06:40]: My way was very easy. It was just like, oh, when you run the diffusion process, you kind of generate, okay. You do pass one pass through the diffusion, every step you do one pass. Okay. This place of the image with this brand, this space, place of the image with the other prop. And then. The entire image with another prop and then just average everything together, every step, and that was, uh, area composition, which I call it. And then, then a month later, there was a paper that came out called multi diffusion, which was the same thing, but yeah, that's, uh,Alessio [00:07:20]: could you do area composition with different models or because you're averaging out, you kind of need the same model.Comfy [00:07:26]: Could do it with, but yeah, I hadn't implemented it. For different models, but, uh, you, you can do it with, uh, with different models if you want, as long as the models share the same latent space, like we, we're supposed to ring a bell every time someone says, yeah, like, for example, you couldn't use like Excel and SD 1.5, because those have a different latent space, but like, uh, yeah, like SD 1.5 models, different ones. You could, you could do that.swyx [00:07:59]: There's some models that try to work in pixel space, right?Comfy [00:08:03]: Yeah. They're very slow. Of course. That's the problem. That that's the, the reason why stable diffusion actually became like popular, like, cause was because of the latent space.swyx [00:08:14]: Small and yeah. Because it used to be latent diffusion models and then they trained it up.Comfy [00:08:19]: Yeah. Cause a pixel pixel diffusion models are just too slow. So. Yeah.swyx [00:08:25]: Have you ever tried to talk to like, like stability, the latent diffusion guys, like, you know, Robin Rombach, that, that crew. Yeah.Comfy [00:08:32]: Well, I used to work at stability.swyx [00:08:34]: Oh, I actually didn't know. Yeah.Comfy [00:08:35]: I used to work at stability. I got, uh, I got hired, uh, in June, 2023.swyx [00:08:42]: Ah, that's the part of the story I didn't know about. Okay. Yeah.Comfy [00:08:46]: So the, the reason I was hired is because they were doing, uh, SDXL at the time and they were basically SDXL. I don't know if you remember it was a base model and then a refiner model. Basically they wanted to experiment, like chaining them together. And then, uh, they saw, oh, right. Oh, this, we can use this to do that. Well, let's hire that guy.swyx [00:09:10]: But they didn't, they didn't pursue it for like SD3. What do you mean? Like the SDXL approach. Yeah.Comfy [00:09:16]: The reason for that approach was because basically they had two models and then they wanted to publish both of them. So they, they trained one on. Lower time steps, which was the refiner model. And then they, the first one was trained normally. And then they went during their test, they realized, oh, like if we string these models together are like quality increases. So let's publish that. It worked. Yeah. But like right now, I don't think many people actually use the refiner anymore, even though it is actually a full diffusion model. Like you can use it on its own. And it's going to generate images. I don't think anyone, people have mostly forgotten about it. But, uh.Alessio [00:10:05]: Can we talk about models a little bit? So stable diffusion, obviously is the most known. I know flux has gotten a lot of traction. Are there any underrated models that people should use more or what's the state of the union?Comfy [00:10:17]: Well, the, the latest, uh, state of the art, at least, yeah, for images there's, uh, yeah, there's flux. There's also SD3.5. SD3.5 is two models. There's a, there's a small one, 2.5B and there's the bigger one, 8B. So it's, it's smaller than flux. So, and it's more, uh, creative in a way, but flux, yeah, flux is the best. People should give SD3.5 a try cause it's, uh, it's different. I won't say it's better. Well, it's better for some like specific use cases. Right. If you want some to make something more like creative, maybe SD3.5. If you want to make something more consistent and flux is probably better.swyx [00:11:06]: Do you ever consider supporting the closed source model APIs?Comfy [00:11:10]: Uh, well, they, we do support them as custom nodes. We actually have some, uh, official custom nodes from, uh, different. Ideogram.swyx [00:11:20]: Yeah. I guess DALI would have one. Yeah.Comfy [00:11:23]: That's, uh, it's just not, I'm not the person that handles that. Sure.swyx [00:11:28]: Sure. Quick question on, on SD. There's a lot of community discussion about the transition from SD1.5 to SD2 and then SD2 to SD3. People still like, you know, very loyal to the previous generations of SDs?Comfy [00:11:41]: Uh, yeah. SD1.5 then still has a lot of, a lot of users.swyx [00:11:46]: The last based model.Comfy [00:11:49]: Yeah. Then SD2 was mostly ignored. It wasn't, uh, it wasn't a big enough improvement over the previous one. Okay.swyx [00:11:58]: So SD1.5, SD3, flux and whatever else. SDXL. SDXL.Comfy [00:12:03]: That's the main one. Stable cascade. Stable cascade. That was a good model. But, uh, that's, uh, the problem with that one is, uh, it got, uh, like SD3 was announced one week after. Yeah.swyx [00:12:16]: It was like a weird release. Uh, what was it like inside of stability actually? I mean, statute of limitations. Yeah. The statute of limitations expired. You know, management has moved. So it's easier to talk about now. Yeah.Comfy [00:12:27]: And inside stability, actually that model was ready, uh, like three months before, but it got, uh, stuck in, uh, red teaming. So basically the product, if that model had released or was supposed to be released by the authors, then it would probably have gotten very popular since it's a, it's a step up from SDXL. But it got all of its momentum stolen. It got stolen by the SD3 announcement. So people kind of didn't develop anything on top of it, even though it's, uh, yeah. It was a good model, at least, uh, completely mostly ignored for some reason. Likeswyx [00:13:07]: I think the naming as well matters. It seemed like a branch off of the main, main tree of development. Yeah.Comfy [00:13:15]: Well, it was different researchers that did it. Yeah. Yeah. Very like, uh, good model. Like it's the Worcestershire authors. I don't know if I'm pronouncing it correctly. Yeah. Yeah. Yeah.swyx [00:13:28]: I actually met them in Vienna. Yeah.Comfy [00:13:30]: They worked at stability for a bit and they left right after the Cascade release.swyx [00:13:35]: This is Dustin, right? No. Uh, Dustin's SD3. Yeah.Comfy [00:13:38]: Dustin is a SD3 SDXL. That's, uh, Pablo and Dome. I think I'm pronouncing his name correctly. Yeah. Yeah. Yeah. Yeah. That's very good.swyx [00:13:51]: It seems like the community is very, they move very quickly. Yeah. Like when there's a new model out, they just drop whatever the current one is. And they just all move wholesale over. Like they don't really stay to explore the full capabilities. Like if, if the stable cascade was that good, they would have AB tested a bit more. Instead they're like, okay, SD3 is out. Let's go. You know?Comfy [00:14:11]: Well, I find the opposite actually. The community doesn't like, they only jump on a new model when there's a significant improvement. Like if there's a, only like a incremental improvement, which is what, uh, most of these models are going to have, especially if you, cause, uh, stay the same parameter count. Yeah. Like you're not going to get a massive improvement, uh, into like, unless there's something big that, that changes. So, uh. Yeah.swyx [00:14:41]: And how are they evaluating these improvements? Like, um, because there's, it's a whole chain of, you know, comfy workflows. Yeah. How does, how does one part of the chain actually affect the whole process?Comfy [00:14:52]: Are you talking on the model side specific?swyx [00:14:54]: Model specific, right? But like once you have your whole workflow based on a model, it's very hard to move.Comfy [00:15:01]: Uh, not, well, not really. Well, it depends on your, uh, depends on their specific kind of the workflow. Yeah.swyx [00:15:09]: So I do a lot of like text and image. Yeah.Comfy [00:15:12]: When you do change, like most workflows are kind of going to be complete. Yeah. It's just like, you might have to completely change your prompt completely change. Okay.swyx [00:15:24]: Well, I mean, then maybe the question is really about evals. Like what does the comfy community do for evals? Just, you know,Comfy [00:15:31]: Well, that they don't really do that. It's more like, oh, I think this image is nice. So that's, uh,swyx [00:15:38]: They just subscribe to Fofr AI and just see like, you know, what Fofr is doing. Yeah.Comfy [00:15:43]: Well, they just, they just generate like it. Like, I don't see anyone really doing it. Like, uh, at least on the comfy side, comfy users, they, it's more like, oh, generate images and see, oh, this one's nice. It's like, yeah, it's not, uh, like the, the more, uh, like, uh, scientific, uh, like, uh, like checking that's more on specifically on like model side. If, uh, yeah, but there is a lot of, uh, vibes also, cause it is a like, uh, artistic, uh, you can create a very good model that doesn't generate nice images. Cause most images on the internet are ugly. So if you, if that's like, if you just, oh, I have the best model at 10th giant, it's super smart. I created on all the, like I've trained on just all the images on the internet. The images are not going to look good. So yeah.Alessio [00:16:42]: Yeah.Comfy [00:16:43]: They're going to be very consistent. But yeah. People like, it's not going to be like the, the look that people are going to be expecting from, uh, from a model. So. Yeah.swyx [00:16:54]: Can we talk about LoRa's? Cause we thought we talked about models then like the next step is probably LoRa's. Before, I actually, I'm kind of curious how LoRa's entered the tool set of the image community because the LoRa paper was 2021. And then like, there was like other methods like textual inversion that was popular at the early SD stage. Yeah.Comfy [00:17:13]: I can't even explain the difference between that. Yeah. Textual inversions. That's basically what you're doing is you're, you're training a, cause well, yeah. Stable diffusion. You have the diffusion model, you have text encoder. So basically what you're doing is training a vector that you're going to pass to the text encoder. It's basically you're training a new word. Yeah.swyx [00:17:37]: It's a little bit like representation engineering now. Yeah.Comfy [00:17:40]: Yeah. Basically. Yeah. You're just, so yeah, if you know how like the text encoder works, basically you have, you take your, your words of your product, you convert those into tokens with the tokenizer and those are converted into vectors. Basically. Yeah. Each token represents a different vector. So each word presents a vector. And those, depending on your words, that's the list of vectors that get passed to the text encoder, which is just. Yeah. Yeah. I'm just a stack of, of attention. Like basically it's a very close to LLM architecture. Yeah. Yeah. So basically what you're doing is just training a new vector. We're saying, well, I have all these images and I want to know which word does that represent? And it's going to get like, you train this vector and then, and then when you use this vector, it hopefully generates. Like something similar to your images. Yeah.swyx [00:18:43]: I would say it's like surprisingly sample efficient in picking up the concept that you're trying to train it on. Yeah.Comfy [00:18:48]: Well, people have kind of stopped doing that even though back as like when I was at Stability, we, we actually did train internally some like textual versions on like T5 XXL actually worked pretty well. But for some reason, yeah, people don't use them. And also they might also work like, like, yeah, this is something and probably have to test, but maybe if you train a textual version, like on T5 XXL, it might also work with all the other models that use T5 XXL because same thing with like, like the textual inversions that, that were trained for SD 1.5, they also kind of work on SDXL because SDXL has the, has two text encoders. And one of them is the same as the, as the SD 1.5 CLIP-L. So those, they actually would, they don't work as strongly because they're only applied to one of the text encoders. But, and the same thing for SD3. SD3 has three text encoders. So it works. It's still, you can still use your textual version SD 1.5 on SD3, but it's just a lot weaker because now there's three text encoders. So it gets even more diluted. Yeah.swyx [00:20:05]: Do people experiment a lot on, just on the CLIP side, there's like Siglip, there's Blip, like do people experiment a lot on those?Comfy [00:20:12]: You can't really replace. Yeah.swyx [00:20:14]: Because they're trained together, right? Yeah.Comfy [00:20:15]: They're trained together. So you can't like, well, what I've seen people experimenting with is a long CLIP. So basically someone fine tuned the CLIP model to accept longer prompts.swyx [00:20:27]: Oh, it's kind of like long context fine tuning. Yeah.Comfy [00:20:31]: So, so like it's, it's actually supported in Core Comfy.swyx [00:20:35]: How long is long?Comfy [00:20:36]: Regular CLIP is 77 tokens. Yeah. Long CLIP is 256. Okay. So, but the hack that like you've, if you use stable diffusion 1.5, you've probably noticed, oh, it still works if I, if I use long prompts, prompts longer than 77 words. Well, that's because the hack is to just, well, you split, you split it up in chugs of 77, your whole big prompt. Let's say you, you give it like the massive text, like the Bible or something, and it would split it up in chugs of 77 and then just pass each one through the CLIP and then just cut anything together at the end. It's not ideal, but it actually works.swyx [00:21:26]: Like the positioning of the words really, really matters then, right? Like this is why order matters in prompts. Yeah.Comfy [00:21:33]: Yeah. Like it, it works, but it's, it's not ideal, but it's what people expect. Like if, if someone gives a huge prompt, they expect at least some of the concepts at the end to be like present in the image. But usually when they give long prompts, they, they don't, they like, they don't expect like detail, I think. So that's why it works very well.swyx [00:21:58]: And while we're on this topic, prompts waiting, negative comments. Negative prompting all, all sort of similar part of this layer of the stack. Yeah.Comfy [00:22:05]: The, the hack for that, which works on CLIP, like it, basically it's just for SD 1.5, well, for SD 1.5, the prompt waiting works well because CLIP L is a, is not a very deep model. So you have a very high correlation between, you have the input token, the index of the input token vector. And the output token, they're very, the concepts are very close, closely linked. So that means if you interpolate the vector from what, well, the, the way Comfy UI does it is it has, okay, you have the vector, you have an empty prompt. So you have a, a chunk, like a CLIP output for the empty prompt, and then you have the one for your prompt. And then it interpolates from that, depending on your prompt. Yeah.Comfy [00:23:07]: So that's how it, how it does prompt waiting. But this stops working the deeper your text encoder is. So on T5X itself, it doesn't work at all. So. Wow.swyx [00:23:20]: Is that a problem for people? I mean, cause I'm used to just move, moving up numbers. Probably not. Yeah.Comfy [00:23:25]: Well.swyx [00:23:26]: So you just use words to describe, right? Cause it's a bigger language model. Yeah.Comfy [00:23:30]: Yeah. So. Yeah. So honestly it might be good, but I haven't seen many complaints on Flux that it's not working. So, cause I guess people can sort of get around it with, with language. So. Yeah.swyx [00:23:46]: Yeah. And then coming back to LoRa's, now the, the popular way to, to customize models is LoRa's. And I saw you also support Locon and LoHa, which I've never heard of before.Comfy [00:23:56]: There's a bunch of, cause what, what the LoRa is essentially is. Instead of like, okay, you have your, your model and then you want to fine tune it. So instead of like, what you could do is you could fine tune the entire thing, but that's a bit heavy. So to speed things up and make things less heavy, what you can do is just fine tune some smaller weights, like basically two, two matrices that when you multiply like two low rank matrices and when you multiply them together, gives a, represents a difference between trained weights and your base weights. So by training those two smaller matrices, that's a lot less heavy. Yeah.Alessio [00:24:45]: And they're portable. So you're going to share them. Yeah. It's like easier. And also smaller.Comfy [00:24:49]: Yeah. That's the, how LoRa's work. So basically, so when, when inferencing you, you get an inference with them pretty efficiently, like how ComputeWrite does it. It just, when you use a LoRa, it just applies it straight on the weights so that there's only a small delay at the base, like before the sampling to when it applies the weights and then it just same speed as, as before. So for, for inference, it's, it's not that bad, but, and then you have, so basically all the LoRa types like LoHa, LoCon, everything, that's just different ways of representing that like. Basically, you can call it kind of like compression, even though it's not really compression, it's just different ways of represented, like just, okay, I want to train a different on the difference on the weights. What's the best way to represent that difference? There's the basic LoRa, which is just, oh, let's multiply these two matrices together. And then there's all the other ones, which are all different algorithms. So. Yeah.Alessio [00:25:57]: So let's talk about LoRa. Let's talk about what comfy UI actually is. I think most people have heard of it. Some people might've seen screenshots. I think fewer people have built very complex workflows. So when you started, automatic was like the super simple way. What were some of the choices that you made? So the node workflow, is there anything else that stands out as like, this was like a unique take on how to do image generation workflows?Comfy [00:26:22]: Well, I feel like, yeah, back then everyone was trying to make like easy to use interface. Yeah. So I'm like, well, everyone's trying to make an easy to use interface.swyx [00:26:32]: Let's make a hard to use interface.Comfy [00:26:37]: Like, so like, I like, I don't need to do that, everyone else doing it. So let me try something like, let me try to make a powerful interface that's not easy to use. So.swyx [00:26:52]: So like, yeah, there's a sort of node execution engine. Yeah. Yeah. And it actually lists, it has this really good list of features of things you prioritize, right? Like let me see, like sort of re-executing from, from any parts of the workflow that was changed, asynchronous queue system, smart memory management, like all this seems like a lot of engineering that. Yeah.Comfy [00:27:12]: There's a lot of engineering in the back end to make things, cause I was always focused on making things work locally very well. Cause that's cause I was using it locally. So everything. So there's a lot of, a lot of thought and working by getting everything to run as well as possible. So yeah. ConfUI is actually more of a back end, at least, well, not all the front ends getting a lot more development, but, but before, before it was, I was pretty much only focused on the backend. Yeah.swyx [00:27:50]: So v0.1 was only August this year. Yeah.Comfy [00:27:54]: With the new front end. Before there was no versioning. So yeah. Yeah. Yeah.swyx [00:27:57]: And so what was the big rewrite for the 0.1 and then the 1.0?Comfy [00:28:02]: Well, that's more on the front end side. That's cause before that it was just like the UI, what, cause when I first wrote it, I just, I said, okay, how can I make, like, I can do web development, but I don't like doing it. Like what's the easiest way I can slap a node interface on this. And then I found this library. Yeah. Like JavaScript library.swyx [00:28:26]: Live graph?Comfy [00:28:27]: Live graph.swyx [00:28:28]: Usually people will go for like react flow for like a flow builder. Yeah.Comfy [00:28:31]: But that seems like too complicated. So I didn't really want to spend time like developing the front end. So I'm like, well, oh, light graph. This has the whole node interface. So, okay. Let me just plug that into, to my backend.swyx [00:28:49]: I feel like if Streamlit or Gradio offered something that you would have used Streamlit or Gradio cause it's Python. Yeah.Comfy [00:28:54]: Yeah. Yeah. Yeah.Comfy [00:29:00]: Yeah.Comfy [00:29:14]: Yeah. logic and your backend logic and just sticks them together.swyx [00:29:20]: It's supposed to be easy for you guys. If you're a Python main, you know, I'm a JS main, right? Okay. If you're a Python main, it's supposed to be easy.Comfy [00:29:26]: Yeah, it's easy, but it makes your whole software a huge mess.swyx [00:29:30]: I see, I see. So you're mixing concerns instead of separating concerns?Comfy [00:29:34]: Well, it's because... Like frontend and backend. Frontend and backend should be well separated with a defined API. Like that's how you're supposed to do it. Smart people disagree. It just sticks everything together. It makes it easy to like a huge mess. And also it's, there's a lot of issues with Gradio. Like it's very good if all you want to do is just get like slap a quick interface on your, like to show off your ML project. Like that's what it's made for. Yeah. Like there's no problem using it. Like, oh, I have my, I have my code. I just wanted a quick interface on it. That's perfect. Like use Gradio. But if you want to make something that's like a real, like real software that will last a long time and will be easy to maintain, then I would avoid it. Yeah.swyx [00:30:32]: So your criticism is Streamlit and Gradio are the same. I mean, those are the same criticisms.Comfy [00:30:37]: Yeah, Streamlit I haven't used as much. Yeah, I just looked a bit.swyx [00:30:43]: Similar philosophy.Comfy [00:30:44]: Yeah, it's similar. It's just, it just seems to me like, okay, for quick, like AI demos, it's perfect.swyx [00:30:51]: Yeah. Going back to like the core tech, like asynchronous queues, slow re-execution, smart memory management, you know, anything that you were very proud of or was very hard to figure out?Comfy [00:31:00]: Yeah. The thing that's the biggest pain in the ass is probably the memory management. Yeah.swyx [00:31:05]: Were you just paging models in and out or? Yeah.Comfy [00:31:08]: Before it was just, okay, load the model, completely unload it. Then, okay, that, that works well when you, your model are small, but if your models are big and it takes sort of like, let's say someone has a, like a, a 4090, and the model size is 10 gigabytes, that can take a few seconds to like load and load, load and load, so you want to try to keep things like in memory, in the GPU memory as much as possible. What Comfy UI does right now is it. It tries to like estimate, okay, like, okay, you're going to sample this model, it's going to take probably this amount of memory, let's remove the models, like this amount of memory that's been loaded on the GPU and then just execute it. But so there's a fine line between just because try to remove the least amount of models that are already loaded. Because as fans, like Windows drivers, and one other problem is the NVIDIA driver on Windows by default, because there's a way to, there's an option to disable that feature, but by default it, like, if you start loading, you can overflow your GPU memory and then it's, the driver's going to automatically start paging to RAM. But the problem with that is it's, it makes everything extremely slow. So when you see people complaining, oh, this model, it works, but oh, s**t, it starts slowing down a lot, that's probably what's happening. So it's basically you have to just try to get, use as much memory as possible, but not too much, or else things start slowing down, or people get out of memory, and then just find, try to find that line where, oh, like the driver on Windows starts paging and stuff. Yeah. And the problem with PyTorch is it's, it's high levels, don't have that much fine-grained control over, like, specific memory stuff, so kind of have to leave, like, the memory freeing to, to Python and PyTorch, which is, can be annoying sometimes.swyx [00:33:32]: So, you know, I think one thing is, as a maintainer of this project, like, you're designing for a very wide surface area of compute, like, you even support CPUs.Comfy [00:33:42]: Yeah, well, that's... That's just, for PyTorch, PyTorch supports CPUs, so, yeah, it's just, that's not, that's not hard to support.swyx [00:33:50]: First of all, is there a market share estimate, like, is it, like, 70% NVIDIA, like, 30% AMD, and then, like, miscellaneous on Apple, Silicon, or whatever?Comfy [00:33:59]: For Comfy? Yeah. Yeah, and, yeah, I don't know the market share.swyx [00:34:03]: Can you guess?Comfy [00:34:04]: I think it's mostly NVIDIA. Right. Because, because AMD, the problem, like, AMD works horribly on Windows. Like, on Linux, it works fine. It's, it's lower than the price equivalent NVIDIA GPU, but it works, like, you can use it, you generate images, everything works. On Linux, on Windows, you might have a hard time, so, that's the problem, and most people, I think most people who bought AMD probably use Windows. They probably aren't going to switch to Linux, so... Yeah. So, until AMD actually, like, ports their, like, raw cam to, to Windows properly, and then there's actually PyTorch, I think they're, they're doing that, they're in the process of doing that, but, until they get it, they get a good, like, PyTorch raw cam build that works on Windows, it's, like, they're going to have a hard time. Yeah.Alessio [00:35:06]: We got to get George on it. Yeah. Well, he's trying to get Lisa Su to do it, but... Let's talk a bit about, like, the node design. So, unlike all the other text-to-image, you have a very, like, deep, so you have, like, a separate node for, like, clip and code, you have a separate node for, like, the case sampler, you have, like, all these nodes. Going back to, like, the making it easy versus making it hard, but, like, how much do people actually play with all the settings, you know? Kind of, like, how do you guide people to, like, hey, this is actually going to be very impactful versus this is maybe, like, less impactful, but we still want to expose it to you?Comfy [00:35:40]: Well, I try to... I try to expose, like, I try to expose everything or, but, yeah, at least for the, but for things, like, for example, for the samplers, like, there's, like, yeah, four different sampler nodes, which go in easiest to most advanced. So, yeah, if you go, like, the easy node, the regular sampler node, that's, you have just the basic settings. But if you use, like, the sampler advanced... If you use, like, the custom advanced node, that, that one you can actually, you'll see you have, like, different nodes.Alessio [00:36:19]: I'm looking it up now. Yeah. What are, like, the most impactful parameters that you use? So, it's, like, you know, you can have more, but, like, which ones, like, really make a difference?Comfy [00:36:30]: Yeah, they all do. They all have their own, like, they all, like, for example, yeah, steps. Usually you want steps, you want them to be as low as possible. But you want, if you're optimizing your workflow, you want to, you lower the steps until, like, the images start deteriorating too much. Because that, yeah, that's the number of steps you're running the diffusion process. So, if you want things to be faster, lower is better. But, yeah, CFG, that's more, you can kind of see that as the contrast of the image. Like, if your image looks too bursty. Then you can lower the CFG. So, yeah, CFG, that's how, yeah, that's how strongly the, like, the negative versus positive prompt. Because when you sample a diffusion model, it's basically a negative prompt. It's just, yeah, positive prediction minus negative prediction.swyx [00:37:32]: Contrastive loss. Yeah.Comfy [00:37:34]: It's positive minus negative, and the CFG does the multiplier. Yeah. Yeah. Yeah, so.Alessio [00:37:41]: What are, like, good resources to understand what the parameters do? I think most people start with automatic, and then they move over, and it's, like, snap, CFG, sampler, name, scheduler, denoise. Read it.Comfy [00:37:53]: But, honestly, well, it's more, it's something you should, like, try out yourself. I don't know, you don't necessarily need to know how it works to, like, what it does. Because even if you know, like, CFGO, it's, like, positive minus negative prompt. Yeah. So the only thing you know at CFG is if it's 1.0, then that means the negative prompt isn't applied. It also means sampling is two times faster. But, yeah. But other than that, it's more, like, you should really just see what it does to the images yourself, and you'll probably get a more intuitive understanding of what these things do.Alessio [00:38:34]: Any other nodes or things you want to shout out? Like, I know the animate diff IP adapter. Those are, like, some of the most popular ones. Yeah. What else comes to mind?Comfy [00:38:44]: Not nodes, but there's, like, what I like is when some people, sometimes they make things that use ComfyUI as their backend. Like, there's a plugin for Krita that uses ComfyUI as its backend. So you can use, like, all the models that work in Comfy in Krita. And I think I've tried it once. But I know a lot of people use it, and it's probably really nice, so.Alessio [00:39:15]: What's the craziest node that people have built, like, the most complicated?Comfy [00:39:21]: Craziest node? Like, yeah. I know some people have made, like, video games in Comfy with, like, stuff like that. So, like, someone, like, I remember, like, yeah, last, I think it was last year, someone made, like, a, like, Wolfenstein 3D in Comfy. Of course. And then one of the inputs was, oh, you can generate a texture, and then it changes the texture in the game. So you can plug it to, like, the workflow. And there's a lot of, if you look there, there's a lot of crazy things people do, so. Yeah.Alessio [00:39:59]: And now there's, like, a node register that people can use to, like, download nodes. Yeah.Comfy [00:40:04]: Like, well, there's always been the, like, the ComfyUI manager. Yeah. But we're trying to make this more, like, I don't know, official, like, with, yeah, with the node registry. Because before the node registry, the, like, okay, how did your custom node get into ComfyUI manager? That's the guy running it who, like, every day he searched GitHub for new custom nodes and added dev annually to his custom node manager. So we're trying to make it less effortless. So we're trying to make it less effortless for him, basically. Yeah.Alessio [00:40:40]: Yeah. But I was looking, I mean, there's, like, a YouTube download node. There's, like, this is almost like, you know, a data pipeline more than, like, an image generation thing at this point. It's, like, you can get data in, you can, like, apply filters to it, you can generate data out.Comfy [00:40:54]: Yeah. You can do a lot of different things. Yeah. So I'm thinking, I think what I did is I made it easy to make custom nodes. So I think that helped a lot. I think that helped a lot for, like, the ecosystem because it is very easy to just make a node. So, yeah, a bit too easy sometimes. Then we have the issue where there's a lot of custom node packs which share similar nodes. But, well, that's, yeah, something we're trying to solve by maybe bringing some of the functionality into the core. Yeah. Yeah. Yeah.Alessio [00:41:36]: And then there's, like, video. People can do video generation. Yeah.Comfy [00:41:40]: Video, that's, well, the first video model was, like, stable video diffusion, which was last, yeah, exactly last year, I think. Like, one year ago. But that wasn't a true video model. So it was...swyx [00:41:55]: It was, like, moving images? Yeah.Comfy [00:41:57]: I generated video. What I mean by that is it's, like, it's still 2D Latents. It's basically what I'm trying to do. So what they did is they took SD2, and then they added some temporal attention to it, and then trained it on videos and all. So it's kind of, like, animated, like, same idea, basically. Why I say it's not a true video model is that you still have, like, the 2D Latents. Like, a true video model, like Mochi, for example, would have 3D Latents. Mm-hmm.Alessio [00:42:32]: Which means you can, like, move through the space, basically. It's the difference. You're not just kind of, like, reorienting. Yeah.Comfy [00:42:39]: And it's also, well, it's also because you have a temporal VAE. Mm-hmm. Also, like, Mochi has a temporal VAE that compresses on, like, the temporal direction, also. So that's something you don't have with, like, yeah, animated diff and stable video diffusion. They only, like, compress spatially, not temporally. Mm-hmm. Right. So, yeah. That's why I call that, like, true video models. There's, yeah, there's actually a few of them, but the one I've implemented in comfy is Mochi, because that seems to be the best one so far. Yeah.swyx [00:43:15]: We had AJ come and speak at the stable diffusion meetup. The other open one I think I've seen is COG video. Yeah.Comfy [00:43:21]: COG video. Yeah. That one's, yeah, it also seems decent, but, yeah. Chinese, so we don't use it. No, it's fine. It's just, yeah, I could. Yeah. It's just that there's a, it's not the only one. There's also a few others, which I.swyx [00:43:36]: The rest are, like, closed source, right? Like, Cling. Yeah.Comfy [00:43:39]: Closed source, there's a bunch of them. But I mean, open. I've seen a few of them. Like, I can't remember their names, but there's COG videos, the big, the big one. Then there's also a few of them that released at the same time. There's one that released at the same time as SSD 3.5, same day, which is why I don't remember the name.swyx [00:44:02]: We should have a release schedule so we don't conflict on each of these things. Yeah.Comfy [00:44:06]: I think SD 3.5 and Mochi released on the same day. So everything else was kind of drowned, completely drowned out. So for some reason, lots of people picked that day to release their stuff.Comfy [00:44:21]: Yeah. Which is, well, shame for those. And I think Omnijet also released the same day, which also seems interesting. Yeah. Yeah.Alessio [00:44:30]: What's Comfy? So you are Comfy. And then there's like, comfy.org. I know we do a lot of things for, like, news research and those guys also have kind of like a more open source thing going on. How do you work? Like you mentioned, you mostly work on like, the core piece of it. And then what...Comfy [00:44:47]: Maybe I should fade it in because I, yeah, I feel like maybe, yeah, I only explain part of the story. Right. Yeah. Maybe I should explain the rest. So yeah. So yeah. Basically, January, that's when the first January 2023, January 16, 2023, that's when Amphi was first released to the public. Then, yeah, did a Reddit post about the area composition thing somewhere in, I don't remember exactly, maybe end of January, beginning of February. And then someone, a YouTuber, made a video about it, like Olivio, he made a video about Amphi in March 2023. I think that's when it was a real burst of attention. And by that time, I was continuing to develop it and it was getting, people were starting to use it more, which unfortunately meant that I had first written it to do like experiments, but then my time to do experiments went down. It started going down, because people were actually starting to use it then. Like, I had to, and I said, well, yeah, time to add all these features and stuff. Yeah, and then I got hired by Stability June, 2023. Then I made, basically, yeah, they hired me because they wanted the SD-XL. So I got the SD-XL working very well withітhe UI, because they were experimenting withámphi.house.com. Actually, the SDX, how the SDXL released worked is they released, for some reason, like they released the code first, but they didn't release the model checkpoint. So they released the code. And then, well, since the research was related to code, I released the code in Compute 2. And then the checkpoints were basically early access. People had to sign up and they only allowed a lot of people from edu emails. Like if you had an edu email, like they gave you access basically to the SDXL 0.9. And, well, that leaked. Right. Of course, because of course it's going to leak if you do that. Well, the only way people could easily use it was with Comfy. So, yeah, people started using. And then I fixed a few of the issues people had. So then the big 1.0 release happened. And, well, Comfy UI was the only way a lot of people could actually run it on their computers. Because it just like automatic was so like inefficient and bad that most people couldn't actually, like it just wouldn't work. Like because he did a quick implementation. So people were forced. To use Comfy UI, and that's how it became popular because people had no choice.swyx [00:47:55]: The growth hack.Comfy [00:47:56]: Yeah.swyx [00:47:56]: Yeah.Comfy [00:47:57]: Like everywhere, like people who didn't have the 4090, they had like, who had just regular GPUs, they didn't have a choice.Alessio [00:48:05]: So yeah, I got a 4070. So think of me. And so today, what's, is there like a core Comfy team or?Comfy [00:48:13]: Uh, yeah, well, right now, um, yeah, we are hiring. Okay. Actually, so right now core, like, um, the core core itself, it's, it's me. Uh, but because, uh, the reason where folks like all the focus has been mostly on the front end right now, because that's the thing that's been neglected for a long time. So, uh, so most of the focus right now is, uh, all on the front end, but we are, uh, yeah, we will soon get, uh, more people to like help me with the actual backend stuff. Yeah. So, no, I'm not going to say a hundred percent because that's why once the, once we have our V one release, which is because it'd be the package, come fee-wise with the nice interface and easy to install on windows and hopefully Mac. Uh, yeah. Yeah. Once we have that, uh, we're going to have to, lots of stuff to do on the backend side and also the front end side, but, uh.Alessio [00:49:14]: What's the release that I'm on the wait list. What's the timing?Comfy [00:49:18]: Uh, soon. Uh, soon. Yeah, I don't want to promise a release date. We do have a release date we're targeting, but I'm not sure if it's public. Yeah, and we're still going to continue doing the open source, making MPUI the best way to run stable infusion models. At least the open source side, it's going to be the best way to run models locally. But we will have a few things to make money from it, like cloud inference or that type of thing. And maybe some things for some enterprises.swyx [00:50:08]: I mean, a few questions on that. How do you feel about the other comfy startups?Comfy [00:50:11]: I mean, I think it's great. They're using your name. Yeah, well, it's better they use comfy than they use something else. Yeah, that's true. It's fine. We're going to try not to... We don't want to... We want people to use comfy. Like I said, it's better that people use comfy than something else. So as long as they use comfy, I think it helps the ecosystem. Because more people, even if they don't contribute directly, the fact that they are using comfy means that people are more likely to join the ecosystem. So, yeah.swyx [00:50:57]: And then would you ever do text?Comfy [00:50:59]: Yeah, well, you can already do text with some custom nodes. So, yeah, it's something we like. Yeah, it's something I've wanted to eventually add to core, but it's more like not a very... It's a very high priority. But because a lot of people use text for prompt enhancement and other things like that. So, yeah, it's just that my focus has always been on diffusion models. Yeah, unless some text diffusion model comes out.swyx [00:51:30]: Yeah, David Holtz is investing a lot in text diffusion.Comfy [00:51:34]: Yeah, well, if a good one comes out, then we'll probably implement it since it fits with the whole...swyx [00:51:39]: Yeah, I mean, I imagine it's going to be a close source to Midjourney. Yeah.Comfy [00:51:43]: Well, if an open one comes out, then I'll probably implement it.Alessio [00:51:54]: Cool, comfy. Thanks so much for coming on. This was fun. Bye. Get full access to Latent Space at www.latent.space/subscribe

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This is part two of a two part recap! Real Housewives of Beverly Hills returns! Kyle is still crying, Dorit is mad as hell and taking no prisoners, and Boz is already stealing the show. Get a record to balance atop your head and let's get going! To watch this and all our recaps on video and listen to all of our bonus episodes, go to Patreon.com/watchwhatcrappensSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.