Podcasts about ferrant

Ez egy meghívó a Könyvben utazom könyvklubjába, ahol megbeszélhetjük, mit ad az olvasónak a Briliáns barátnőm két kislányának életen át tartó barátsága? És milyen valójában Nápoly, ahol Elena Ferrante regényfolyama játszódik? Tönkő Vera, a Park Kiadó vezető Ferrantéról, Cobino István idegenvezető, tolmács pedig Nápolyról mesél majd. Időpont: május 30. 18.00, helszín: Kollab a Mammut 1. 3. emeletén. Gyere le, találkozzunk, beszélgessünk!

Matthieu Fournier vous emmène à la découverte des chauves-souris dans une ancienne mine de gypse. L'occasion de découvrir que tout est musique dans la vie d'Alexandre Cellier, lors du premier reportage. Le second verra le fer et le feu à l'œuvre entre les mains expertes d'un maréchal ferrant.

Connect With Me:Instagram: @insidethepressurecookerYouTube: @insidethepressurecookerTwitter: @chadkelleyPatreon: @InsidethepressurecookerFeedback: Email me!Website: https://insidethepressurecooker.comRate & Review The Show!Loved this episode? Leave us a review and rating on Apple Podcasts or Follow Us on Spotify or your favorite podcasting platform.Other episodes you'll enjoy:Ariel Guivi, Part 1: What is a Chef?Patrick Stark: The Untouchable EgosJosh Morris: Balancing a chefs drive with family lifeTranscript:Hey, and welcome back to Inside the Pressure Cooker. My name is Chef Chad Kelly, and I know it's been a couple of weeks since we put anything out there. We've actually been in the process of working on some new formatting. And the reason for this is we've had some really great guests on, we've had some really great shows and but unfortunately, we're only able to kind of hit the surface level of topics without having a show run hour and a half plus, which nobody really has the time for. So what we're going to be doing is we're going to be revisiting some previous guests and we're going to be doing more of a host co host kind of situation where we're going to be over the period of several weeks producing episodes that will allow us to do a little bit of a deeper dive into the topic. Thank you for listening. Welcome back. Enjoy the show.Speaker B 00:01:06All right, Josh. So kind of a new format, right, where it's not necessarily chef interviews, so to speak. It's more chef topics, current events, and kind of compare and contrasting to talking various, you know, your perspective versus my perspective. Right. I've got I'm much more of the old school chef mentality. The chef bringing, you know, even in culinary school, when I was going to culinary school, I had the threat of 64 ounce ladles being thrown at me if I put my foot on the counter when I was chopping. I'm not even kidding. This was like the second week of school and being yelled at by big Austrian guys and French guys, that was just kind of my upbringing. So obviously a lot of that has been ingrained in me and who I am. That's just kind of what I understand the industry to be. It's a very different world now. You grew up in this industry with kind of a different perspective and growing up. So the whole thing about this is going to be kind of talking the different perspectives. Right. All right. So topic at hand, art versus suspended suspension. Sustenance.Speaker C 00:02:39There you go.Speaker B 00:02:39Right? It's just more fun to say it my way. Suspects. It's like saying Warshire.Speaker C 00:02:48Worcester.Speaker B 00:02:49Yeah. Warchester Shire. I know. They're all wrong, and I don't care. It's just fun. So art versus Sussex. Where do we want to go with this? Kick this off.Speaker C 00:03:04It was just kind of a title to give. It kind of a broad scope because there's no telling where this conversation might go. No idea. Started was recently I saw the menu. Have you seen the menu yet?Speaker B 00:03:20I have not.Speaker C 00:03:21All right, well, it was marketed as, like, a horror movie when they were showing the previews. Right? Yeah. They really kind of geared it towards, like, it was going to be a horror movie. And that movie, it is hilarious. It is insanely funny. But the reason it's so funny is because it pokes so much fun at fine dining while also empathizing with the people that work there. Okay, so a lot of the guests I know you haven't seen the movie, but they have a very short guest list. There's only twelve guests, and you kind of want them to die. You kind of want bad things to happen to them just because there's, like, rich assholes who don't really give a shit about food. They're just there for the exclusivity of this. And while I was talking about this movie with some friends at work, this other thing came up where you might remember this, too. About a year ago, a little over a year ago, there was a chef in Italy, I think it was a Michelin starred restaurant, who served a citrus foam in a mold of his own mouth, and he didn't serve it with utensils. He told the diet to lick the foam out of the plaster molds. And it kind of spiraled into this conversation about, like, where does food end and art began and vice versa.Speaker B 00:04:57Well, and at what point is that art? And what point of that is just kind of a fuck you to the guest.Speaker C 00:05:02Yeah.Speaker B 00:05:08Because cooking itself is an art. It's a beautiful art. It's a combination of art and science. Right?Speaker C 00:05:16Yeah.Speaker B 00:05:17You really have to have a foot in both worlds unless you're in the pastry, and at that point, you're just man almost all science and doing lines of fucking all purpose flour in the back. They're a whole nother breed. Yeah. So if you're a pastry person, you want to get on the show, defend yourself. Hit me up. God. Lost Chuck. There. No, but I mean, it's all an art, right? But it's all about the guest. But at a certain point, the guest starts to weigh on you as a chef, where you're just kind of that, you know what? Fine. I'm going to do this. But it's just despite you, it's like, oh, yeah, you want to see how far we can go with it here? Fine. Fuck you. Oh, now you want to bitch about it? But then there's also was that chef so egotistical that he thought that was a good idea, too.Speaker C 00:06:33Yeah.Speaker B 00:06:34Which one is it?Speaker C 00:06:36I don't know, because it does seem kind of like a fuck you to the guest. If you're thinking about it just from a food perspective, that's pretty disgusting. But if you're thinking about food as art and you want to push art into a more progressive area, you're going to have to make some people uncomfortable. You're going to have to ruffle some feathers. Was that the best way to go about it? Probably not.Speaker B 00:07:09It got them attention.Speaker C 00:07:10Yeah.Speaker B 00:07:11Who knows? Maybe that was the only point of it. I mean, in today's world where people become so fucking desensitized to so many things because of the Internet and all this social media crap, that I mean, you actually need to have something pretty significant to shock people into reality.Speaker C 00:07:35Yeah. So a fan of punk rock, that guy, like, literally spit in people's faces to make a statement. But I don't know, it comes off kind of pretentious at the same time, too. None of it's like a justification or is he right or is he wrong? No, it was a strange thing to see, and it kind of got me thinking about that. Plus, watching the menu is like, how much justification of quote unquote art is there? I know you haven't seen the movie, but there is a scene where a cook shoots themselves in the dining room and the diners are like, oh, it's just part of the theater. I mean, they're literally saying, like, a chef could literally get away with murder as long as it's on the menu. I thought that was a very funny but thought provoking thing.Speaker B 00:08:41God. And it's also so fucking sad at the same time.Speaker C 00:08:45Yeah.Speaker B 00:08:46Because at that point, everything that I'm hearing so far and the reason I haven't watched it is, honestly, I've been avoiding all those shows because I can't stand the sensationalized versions of what's going on in The Kitchen and The Bear. I watched a few episodes and it was good. I got it. But then I was like, you know what? I lived that life for the last 20 years. I don't need to fucking watch it.Speaker C 00:09:20Yeah, I watched the first episode of The Bear Ride after I had gotten home from work.Speaker B 00:09:27Why would you do that?Speaker C 00:09:28It was like I was right back at work. It was perfect.Speaker B 00:09:32No, absolutely. I mean, I had been out of the industry for a year, and man, it brought back all the feelings, all the emotions, and I was just like, oh, God, Mike, I don't want to go through this again. And not in a bad way, right. But I was just like, no, I've lived it. I don't understand it. This is a whole another show is talking about that and people's reactions to it. Because when we start talking art versus sustenance, now we're also talking the types of restaurants because you're going to have your restaurant, which is I mean, it's just fuel, right? Food is fuel. And then you're going to have restaurants that kind of are in that middle world between fine dining and fuel, where they're putting a little more give a shit into the food. It's a little bit more plating. But they probably don't have the fine dining budget. They didn't have the fine dining clientele. And so there's adjustments. They've got to make sure they want to be creative and artistic. But it's all within that realm of what is feasible for that time and what's the guest can accept. Because at the end of the day, it still has to be good, right?Speaker C 00:11:15Yeah.Speaker B 00:11:21I've never lived in that world of the art. Food is art and not food. I've always poked fun at the tweezer chefs, and I know I do that at their expense, but it's a different world. I've just never been a part of it. And I understand parts of it for them, but it's never made sense to me because it goes against a lot of what I've known about food. Yeah, you're taking too damn if you need tweezers, you are taking too long to get that plate out. I've done way too much volume cooking to be like, okay, hold on. I need tweezers to put the garnish on.Speaker C 00:12:08Yeah. Two different places where they kind of utilize tweezers a lot more. And it was a very weird feeling once you get into the groove of it. And, like, this is something that they do, so they want you to do it, too. Yeah, it's fine. But coming from a background where you didn't even own a set of tweezers, it was strange.Speaker B 00:12:31But you get to like it, honestly. And I get it. Tweezers are just variations on chopsticks. And chopsticks were probably the earliest known forms of cooking utensils. I mean, chopsticks weren't eating utensils. They were cooking utensils that eventually became eating utensils. So they've just been Americanized by putting a little hinge on the back. I want to know the first person that started using tweezers. Like he went through his girlfriend's fucking cosmetics and shit. Yeah, I'll let that sink in for a minute. But, I mean, the two different worlds and where my mind is going on this art versus the sustenance is I kind of want to focus on the art a little bit, because, one.Speaker C 00:13:37I.Speaker B 00:13:38Understand it, but the art is much more that fine dining world. And Noma is closing at the end of the season. They put it out there because it's like, hey, this is just no longer sustainable for us. And then in Bon Appetit recently, there was an article that it was fine dining is dead, or something like that, or dying, and I'm glad I was like, I was part of it. I read it, and I was pissed off reading it because the person that wrote it, yes, they worked probably at the laundry or something. And a lot of what they talk about, like, listen, there's a lot of people out there. We all suffer from various physical conditions. Some do, some don't. That's the way it's always been. And over periods of time, stress catches up with the body. Right. How do we handle certain things? How do we take care of ourselves outside of the restaurant? Those are all pretty significant factors. And so if we don't take care of ourselves outside the restaurant, we can't put all the blame on the restaurant. We can't put all the blame on the industry. But I was just kind of annoyed because it seemed like some of this arrogance of calling out, like they were talking about the bear and how it brought out all the hostile work environments of kitchens and I was like, It's not a fucking hostile work environment. Yeah, it was intense. There's a lot of stress. What got me is like, listen, we all do this for the love, right? It's a passion. It's part of us. It's in our blood. As much as we want to say it's, the only thing we know, because it is part of us, and part of that as well, is also understanding that we are cooking for somebody else. We're not doing this for ourselves. I mean, to a degree, but we're doing it to make other people happy. We're doing this for the clientele, for the guest, right? And if it's not for them and they're not coming in, then we can't get paid. So no matter what the pay rate is, you can argue that all day long, but it doesn't matter if people aren't coming in. But there is this element of, like, it's stressed because every time a ticket comes in, there's a timer that starts. And if you don't have that sense of urgency, that sense of, I got to get on it, I can't get behind, it's an internal stress, right? You feel it. The person next to you feels it. All of a sudden, everybody's feeling it, right? And then all of a sudden, the machine starts going and it doesn't stop. Literally doesn't stop, right? And everybody is just looking at it like, I'm going to rip that thing out of the fucking wall. And that doesn't mean does that mean it's a hostile work environment? Because now you've got an inanimate object that's creating stress for you because people are coming in the door. Because now, at that point, everybody's stress levels are high.Speaker C 00:17:30Yeah.Speaker B 00:17:31Right. There's communication in the kitchen that's happening. Hey, I need this work, or that, hey, why are we lagging over here? One station starting to fall behind, so that causes more pressure on other people. So where's the hostility?Speaker C 00:17:49Yeah.Speaker B 00:17:52I get it.Speaker C 00:17:53I've been there. This is a long thing, because I think before COVID most people didn't give a shit. Restaurants were just restaurants and no one cared. For some reason, COVID happened, and then a bunch of people left the industry and it started opening up this wound, and people were like, oh, these are hostile work environments. They're not hostile necessarily. They are stressful, because we put a lot of stress on ourselves to do a good job. We're a fucking lot, most of us. If you want to be a professional cook or a chef, you have to invest yourself a lot to move to the next stage in your career. And if you don't, that's cool. If it's just a paycheck, that's cool for you too. But you have to pull your own weight, too.Speaker B 00:18:47Yeah. And I mean, that's pretty much many of the times where I've lost my shit, you've been there for some where it's just dealing with people that didn't give a shit. Right? And they were just blatantly like, fuck you, I don't care. And it's like, no, I've got way too much invested in this for you to fuck this up for everybody else and me, whether it was the front of the house or the back of the house. And I know we're kind of getting a little bit off tangent here, but I think it's all relevant to the conversation of art versus sustenance.Speaker C 00:19:21Yeah, for sure.Speaker B 00:19:24So art moves a little bit of a slower pace, so to speak, I would assume, because you've got more tension on each plate. But that doesn't mean that stress has gone away either, though.Speaker C 00:19:38Yeah. And going back to Noma closing, I was never under any pretense that I was ever going to eat at Noma. I never bought book. Like I like Renee Redepi. I bought the Fermentation book. That helped me a lot. But I mean, for the past almost 20 years, renee Reddeppi has been making people think differently about food. He's been a huge inspiration. But now the same media outlets that were calling him a culinary demigod ten years ago are fucking crucifying him. Yeah, they're crucifying him for having unpaid stages and interns. Every place has unpaid stages and interns. And you can criticize that system all you want, but at the end of the day, they volunteered to be there to join us. It's not like Renee Redzepi went and gathered village children and turned them into slaves, especially at a place like Noma. If you're going to go across, like, from America to Copenhagen and stage for a year for free, you either have some rich as parents or you did something really right in your life to have that kind of financial freedom. So I don't get where all this thing about the unpaid stages and the.Speaker B 00:21:10Interns no, honestly, there was a lot of unpaid interns and stages. To me, it's like one of the same intern and stage, which it wasn't because they weren't actively recruiting for that either. That's the one part that nobody talks about. People came to them and said, I want to work. I want the experience. I want to be a part of this. Right.Speaker C 00:21:48Yeah.Speaker B 00:21:50They created that spot for these people. Now, even then there's a certain point where there's just too much right. But then you're always going to have that one, maybe more. That is bitter about the fact that they weren't, like, in full production. All I sat there and just made like, I don't know, cucumber roses or something and it's like, well, it's kind of doing your part. I don't know what to say about that because I've never been in that spot. But that's the same thing. Did you allow yourself to be the victim? Was that the only task you were given? Because maybe you got there and went, shut the fuck up and nobody wanted to deal with you. Yeah, but yet so now you're bitter about it, and you're telling everybody, and all of a sudden it becomes a news article. Fuck you, man.Speaker C 00:22:55And because we live in an age where everybody's opinion is now validated because of social media, you have thousands upon thousands of people attacking Renee Red Zeppe, who has, like, he's openly come out and said, yeah, I was a dick. Sorry about that. But you have to have nothing to do with the restaurant industry. They're just coming up and bitching and bitching about it. It's upsetting. Yes, this is a hard industry, but you don't understand the love and the camaraderie that comes with it, and they don't touch on that in any of these shows either. The Bear there's a little bit how they're all pretty close, but really, for the past ten years, the best friends that I have are from work. I don't hang out with anybody that's not in the restaurant industry. I don't even know how that outside life works. It's too far out there for me. I think that happens to a lot of restaurant people. And it's not elitist.Speaker B 00:24:04No, not at all.Speaker C 00:24:06I don't think outside people get it.Speaker B 00:24:09No, they don't. They don't understand you. For the longest time, I never had friends outside the restaurants either. Honestly, the only reason I've got friends outside the restaurant now is just my wife. But that's the thing. They don't understand me, right. And I can't there's nothing that we have no relation. There's nothing that there's no common ground in so many things. You know, they've got what I've laughed about, you know, real jobs with the air quotes, right? And they just don't get it, and they never will. And so it's one of those there's nothing about there's not yeah, the common ground. I beat that one there. But I know we're talking about Red Zeppe here and the interns and all this stuff, and there's a couple of things that come to mind, is I feel for the guy, right, because he has done so much for this industry, and he has grown it quite a bit and just created so much attention. And I mean, his organization mad, right? Almost like on the political side of things that he is for that nobody ever talks about. And all that takes money. So sometimes, yeah, that someone's going to be unpaid, but because they volunteered for it, right? Like, we've already covered that, and then all of a sudden, he starts just getting fucking skewered and dealing with people bitching. Whether it was from the media, his staff, who knows? Maybe it's the next generation of staff coming in. It's almost to the point where I feel like he's closing, not because he's saying it's unsustainable to continue this model of paying everybody, but still charging $500 a person for dinner without any kind of wine or anything, right? You're easily talking about $1,000 a person just once you're there and have, like, 60 cooks or something executing that plus your chefs. And I mean, that takes a lot to execute at that level. And I honestly think that he's wrapping it up just because the love has been taken out of it for him, because he's like, you know what? We're going to finish off the season, which just pretty much says, we're going to finish off the reservations on deck and then, fuck you all. I'm going to go play in my kitchen and have fun again, because you I obviously don't appreciate it. And then the other part that nobody I don't see nobody, but I haven't heard anyone talk about, right. Is where did Red Zeppe learn so much of this? El Bulli. Fran andrea.Speaker C 00:27:33Yes.Speaker B 00:27:35I'm pretty sure we're going to go out on a limb here and say it was the exact same model.Speaker C 00:27:43Yeah, El Bulli closed, like, 15 years ago. And that was before I started really paying much attention to fine dining restaurants like that. But I would be willing to bet that when Ferrant Audrey said that he was going to pack up shop, everyone was just, like, at a loss. There's a huge loss to the culinary world. And no one was out there screaming at him or berating him for having an unpaid stage in his kitchen if.Speaker B 00:28:18It wasn't for him. Like, dude, I mean, you could go down the list of people that would not exist. I mean, okay, fine. There are people that exist, okay? Let's not get into that fucking whatever. Millennial just got pissed off at me. But as a chef, right? Jose Andreas Maximo.Speaker C 00:28:41Yeah.Speaker B 00:28:42Right? Red Zeppe. I mean, there's three people right there that are all products of frenandrea. I would say products, but he parked, he passed, he carved the path. That was fucking hard, right? And he created this world that chefs of that mindset all of a sudden just took off and allowed them to really grow. And he pretty much said, hey, you know what? This is okay. You can execute this. You can do this. But if it wasn't for him, we'll just call it ultra fine dining, if you will. There's no way to exist.Speaker C 00:29:39Yeah. And because of what he did, all the what do you call the hydrocolloids everyone basically uses now? Xanthem gum and agar. Agar. It's all Ferrant. He did all of that. And to produce another chef like Jose Andres, who's, like, he's taking his fame as a chef and turned it into what they called the World Kitchen.Speaker B 00:30:06World central kitchen or something like that. Yeah.Speaker C 00:30:08He travels the world feeding people in areas that are war torn or have had natural disasters. That's a pretty big fucking deal, man.Speaker B 00:30:21Oh, you know what, though? You know what really sucks? We better get media involved in this. Everybody that goes out there and works for Jose Andreas at the World Central Kitchen, they don't get paid. Yeah. Who do we call for that? Is that like, the UN? Who do we bitch to about someone going in and feeding millions of people after their country has been completely devastated and they just need the help? How do we get them paid?Speaker C 00:30:55I think it would be the UN.Speaker B 00:30:57Yeah. Okay.Speaker C 00:30:58International thing.Speaker B 00:30:59Yeah. There should be a number, just an 800 number out there. It just says, hey, we want 800. Fucking nobody cares. No, but to me, that's almost like the same thing, right? And honestly, if I was in a different situation and I didn't have younger kids, the amount of times I would have volunteered to go out and cook just because I've got the ability, why wouldn't I? And I've got no expectation of what I would or wouldn't be doing at that point. You're just, hey, you know what? You're a fucking mule. You get off the plane, say, what can I do? But that's the same mentality that I would have taken into any of those other stylish places wherever I went.Speaker C 00:31:47What do you need help with?Speaker B 00:31:48What can I do? Because that's how you learn.Speaker C 00:31:51Whatever it is, it is a learning.Speaker B 00:31:55Moment and appreciate being there.Speaker C 00:31:59Yes, it gets hard sometimes. Everyone gets burned out after a little while, but a lot of that is perspective, and you have to fight with that, too. As a chef or as a career cook, there's going to be moments where you're just like, Fuck this.Speaker B 00:32:20Oh, absolutely.Speaker C 00:32:22But, yeah, you really got to kind of take a step back and be like, you know what? This is where I wanted to be. I'm here. I'm learning. So isn't really that bad, but that's.Speaker B 00:32:35Another well, it's the world we live in. And I've said that many times. Every person I've interviewed, I've asked that same question because I know we've all been there, right? And if you tell me you haven't been there, you're lying. Because we've all just been in that spot where we just get home at the end of a shift. You may have fucking sliced your hand open or something, and you are just physically and mentally just done. And you just look at yourself and you're like, what the fuck am I doing? Like, you know, and it could just be after, like, a couple days of just getting your shit kicked in, and you're just like, there's got to be something better. And you know what? The grass isn't greener.Speaker C 00:33:24Yeah.Speaker B 00:33:24You know, and and I say that we ask ourselves that question all the time because it's just the life we live. But who's to say someone in another life, they're the lawyers or the jobs that we think the green or grass, right? I know they're asking themselves the same question, right? But it's still something I love.Speaker C 00:34:03You kind of go through little ways. I think it's like something like that after having three or four days of just getting absolutely crushed, sometimes you need something to kind of just give you a little break, a day off or whatever it is, and then you're right back at it because you love it. There is nothing else you would rather do. And I don't think a lot of people understand that either, the stressful situations than the hostile environments. I mean, it's just part of the part of it. It's not a negative thing. We thrive off that.Speaker B 00:34:38We live off that's fuel for us.Speaker C 00:34:41Yeah, I guess. But yeah, I was going to say, too, the other part to doing a good job after you have a service, whether it was like, okay, if you have a bad service, it's a bad feeling. But after a flawless service that high that you get, it can't be any different than a lawyer winning a case or a director finishing a film or something like that. It's got to be along those lines.Speaker B 00:35:14Absolutely. I was kind of laughing where you'll understand this. And some people were staying at home was more work and more hostile than I hope my wife doesn't listen to this one in more hostile than staying Home. I'd rather go to work because it didn't matter what was going to happen at work. I was in control. I've got amazing wife and kids, so I'm not saying anything negative about them. But there's no rest and relaxation at home because as a chef, like, when you're home and you've got kids, you don't get rest. You're not allowed to rest because you've been gone a lot. And so that's the hard part. When kids would be in school, that would be the best thing ever. But chances are I'd be at work. Sometimes home was more hostile than hostile. Being not physically, I didn't feel endangered or I didn't feel like, what the hell? I'm leaving this place. I'm not going to pay for this shit. But it was just mentally, it was harder to be home than it was to be at work.Speaker C 00:36:48Been there many times.Speaker B 00:36:50Fuck you all. I'm going to work. It's your day off. They just called me.Speaker C 00:36:55They need me.Speaker B 00:36:58Oh, somebody just called off. I got to go. Yeah. So how does this all tie into art versus sustenance?Speaker C 00:37:11I told you, man. It was a broad scope. Where we start and where we end up, don't really know. One thing I was going to bring up about Nova, which I didn't really think about before, but it was kind of interesting, was that he took that look of war thing, and he took it to a whole another level. And while Noma might be one of the most expensive restaurants there is or was as far as, like a per person average, they don't really use any luxury ingredients, which has been such a safety net for a lot of fine dining kitchens for such a long time. That's one of the things that kind of was really special about Renee recipe and Noma, and that's not. A shot at anybody. I mean, Thomas Keller serves fucking caviar and foie gras in his restaurants. It's part of the luxury that comes with fine dining. And now I will never say ever a bad word about Thomas Keller. I love that guy, but it gives you a whole new way of thinking when it comes to ingredients versus technique. I went out to eat with my wife not that long ago. We went to a restaurant that had just been, like, raved about. Right. We ordered damn near everything on the menu, and the best dishes were dishes that were just ingredient driven and not technique driven. And it became kind of depressing. You could put enough uni and caviar to make anything taste good. Where's the technique?Speaker B 00:39:03That's an interesting concept there.Speaker C 00:39:05Yeah. If you like fog. Do pretty much anything with fog raw. Just don't fuck it up. But it is what it is. There's nothing special about it here than at a different place. It's still just foie gras, but you take somebody like Renee Redzepi who can serve you a plate of fucking moss and make it taste amazing for pretty much the same price point.Speaker B 00:39:38Yeah, no, it's interesting. I didn't put those two together because you're right. Because so much of that fine dining out here. Once again, this is a broad paint stroke here, is about just the Japanese wagu caviar foie, regardless of how you feel about it.Speaker C 00:40:07Fucking truffles.Speaker B 00:40:09Truffles? Yeah. Lobster. Lobsters. I don't know why people still eat that fucking cockroaches.Speaker C 00:40:24I don't understand truffle.Speaker B 00:40:28No, I've been in that spot where I was at a restaurant in Dallas, and it was, hey, if we want to be at this level, I'm like, then we need to play this game, too. So why did it tell you how the travels came available? And I bought a pound for two grand. I think I was selling it. I think it was like a $40 up charge, and we just go out there and shave it at the table. I don't get it.Speaker C 00:41:02I don't understand.Speaker B 00:41:03No, don't get it. To me, it didn't do anything for me.Speaker C 00:41:07It doesn't really add anything special. No, but that's part of the fine dining world, right? It's the exclusivity. And I think the article you were talking about, that's why people want fine dining to die is because it's like it's only a little microcosm of inequality.Speaker B 00:41:31You mean it's elitist?Speaker C 00:41:33Yeah. Like, in this charge, $500 a person, and this other restaurant only charged $50. Well, there's a lot of shit that goes into that that you can't really just lump it into categories like that. And fine dining has had this criticism forever. At least in America, I think, where if you're going somewhere specifically for luxury and you can afford it, how can you justify that to yourself when there's restaurants that are just as good, if not better, down the street at a fraction of the price point, that are suffering because no one wants to eat there? No one knows about it. They don't have the same marketing team and the same big name chef and the same wine list and things like that. But it's not an easy answer. There's nothing that you can say that's going to fix the situation where it's $1,000 tasting menu here and $100 tab over here. It's just part of what goes into it. But when you take away those luxury ingredients, like I was saying, can you still charge that goddamn much? Yeah, you can. I think that's another was a big deal when Eleven Madison Park decided to go vegan. When you take away the safety net of all those luxury ingredients and you have a restaurant like Eleven Madison Park, do you know how fucking insanely creative you have to be to make an all vegan pacing menu and still charge the same price point?Speaker B 00:43:30Who is that? I'm going blank. The French chef that did that.Speaker C 00:43:39Lane Ducos, I think was the one.Speaker B 00:43:41Yeah, like overnight. Yeah, I mean, three Michelin stars and just overnight we're going vegan. And everybody was like, the fuck you are. And I mean, this was, god, 20 years ago. It was a while ago. And all of a sudden everybody's like, well, what about your stars? Are they going to keep your stars? I mean, are they going to take them? What's going to happen? Just because he's not serving the duck press anymore, the foil and all that stuff? Everything takes the same amount of attention. And in a lot of ways, vegetables, to become that star of the show, almost need a little bit more attention because they're not as forgiving no.Speaker C 00:44:31Yeah, okay.Speaker B 00:44:33One way you had that head turn, like yeah, but still I appreciate it because at that point, too, for me to go to Eleven Madison, it's now more of a commitment to go for the art, and I appreciate 100% of what's going on there. But there's also other places where, I mean, yeah, I'd love to go and have I don't know, when they were still doing meets and stuff, and they're pretty iconic for their duck. Right. But that's just me, though. That's like, where's my protein? And can they put enough in a way, animal fats or not in animal fats, but animal fats are what kind of create that fullness in a lot of people, right? So when it's just being vegan only, are you going to finish off a 20 course meal and then being like, hey, let's go grab a burger at Shake check right in that store?Speaker C 00:45:55At that point, you're right. You have to be more committed to the art than the sustenance. Hypothetically. I'm sure they've figured out a way to make you full from 20 courses of vegetables.Speaker B 00:46:11You've already finished digesting your first course by the time you got to ten.Speaker C 00:46:16That mentality is not just going to be you. That's going to be a lot of people.Speaker B 00:46:20Yeah, but that's the mentality of I'm paying to feel satisfied, like, almost physically as well as your soul satisfying. Right. Everybody needs a level of physical satisfaction when you're going out to eat. Right, your body's got to feel but I mean, there's plenty of other vegans out there that will argue that. I don't know. It's just never been a diet that I've chosen to go down. I have a hard time with that one.Speaker C 00:47:04Yeah, I try to do mostly vegetarian at home because it makes me feel better. Eating a lot of vegetables makes me feel better than eating a lot of meat just does. And you do have to be a little more creative. But I can't go vegan. Man, I love butter and eggs too much.Speaker B 00:47:27Yeah. No. What about your kids? Do they eat that same?Speaker C 00:47:34They'll try anything, but it's kind of a 50 50. And like, my my youngest, he loves, like, soups, like vegetable soups. Don't know why. He just likes the texture of it, I guess. And then my other one's a little more picky. But they'll try it. At least they're open to trying things.Speaker B 00:47:58You're somewhat lucky. I say somewhat because no, I've got my son that you just can't tell with him sometimes what he'll eat and what he won't eat. But at the end of the day, he's just a straight carnivore. And then you got my daughter that'll eat like Tom cow soup. But other stuff is gross to her. She'll do over easy eggs on toast. Loves it, right? Tom Cobb. But try to feed her anything else fucking gross. She'll make a face. And I was just all you can think of is like, you'll eat this, but not this. How is this? I wish I had a better example. But it's like very safe food. And they're like, no, that's gross. No, it's not. This is called entry level right here. The other stuff you eat is considered gross by a lot of people.Speaker C 00:49:13Well, they don't appreciate the art, do they?Speaker B 00:49:18Man, I'll tell you right now, my kids don't appreciate the art or the sustenance.Speaker A 00:49:26I hope you enjoyed episode one of the new format. Next week we're going to be talking about we get into my history of kind of where I don't want to say my resume, but just kind of where I started and my progress through my culinary career. And then we'll be following that up with Morris and his growth of where he came from. We've got two very different worlds that we came from, two very different pasts. But in a lot of ways, we kind of met right there in the middle. So look forward to those episodes coming up. We're going to be recording those over the next week or so. That's it. So thank you again. I hope you enjoyed the show. Don't forget, leave a five star review if you don't like this and you don't want to leave a five star review, don't leave a review at all. Five stars help us quite a bit if you're able to write out a quick review as well. Even better, and make sure you follow us on your podcasting platform of choice. That way, you get alerted whenever a new podcast episode comes out. Especially with our new formatting, we might be seeing more throughout the week. Thank you again for listening. Don't forget to like us, follow us, share us. Until next time.

In questo episodio del Podcast Laura Ravaioli intervista Riccardo Galiani, co-autore insieme a M. Bowker, A. Buzby, C. Colangelo, P. Fabozzi, D. McIvor e S. Swartz del Focus su “Winnicott “politico”, pubblicato sul vol.2/2022 della Rivista di Psicoanalisi.Invitiamo gli ascoltatori a leggere il focus ed a condividere le loro considerazioni scrivendo all'indirizzo riv.psa@spiweb.it. Gli interventi saranno ospitati nella sezione della Rivista di Psicoanalisi all'interno del sito della Società Psicoanalitica Italiana, www.spiweb.itLink all'articolo: https://riviste.raffaellocortina.it/scheda-articolo_digital/sally-swartz-matthew-h-bowker-amy-buzby/winnicott-politico-RDPS2022_2_11-3784.htmlLink al volume 2/2022: https://riviste.raffaellocortina.it/scheda-fascicolo_contenitore_digital/autori-vari/rivista-di-psicoanalisi-2022-2-RDPS2022_2-3773.htmlRiccardo Galiani è psicoanalista membro ordinario della Società Psicoanalitica Italiana e dell'International Psychoanalytical Association. Professore associato, insegna presso il Corso Magistrale di Psicologia Clinica dell'Università “Luigi Vanvitelli”. Tra il 2016 e il 2020 è stato consigliere dell'esecutivo del Centro Napoletano di Psicoanalisi. Ha fatto parte della redazione di "Notes per la psicoanalisi" ed è redattore della "Rivista di psicoanalisi", per la quale cura la sezione “Articolazioni interdisciplinari insieme ad Angela Iannitelli.È autore di tre monografie (Amleto e l'Amleto nella cultura psicoanalitica, 1997; Un sesso invisibile. Sul transessualismo in quanto questione, 2005; Contenimento Seduzione Anticipazione, 2010 e 2017) e di numerosi articoli; co-curatore di sei volumi, tra cui: “Il transessualismo. Saggi psicoanalitici” (2001), “Il Problema del transfert. 1895-2015” (2016, con S. Napolitano), “La gelosia. Profili di un affetto fondamentale” (2020, con S. Napolitano), “Elementi di psicopatologia psicoanalitica” (con A. Ferrant).Ha curato l'edizione italiana (2018) di "Psicoanalisti in seduta. Glossario clinico di psicoanalisi contemporanea" (diretto da L. Danon Boileau e J.Y. Tamet) e le edizioni italiane (2012, 2022) e francese (2014) dell'antologia di scritti di P. Fédida “Aprire la parola” e la pubblicazione (2009) della traduzione di “Umano/Disumano”, ultimo seminario di Fédida. Con Francesco Napolitano e Mario Bottone ha inaugurato una collana dedicata agli epistolari freudiani, il cui primo titolo (pubblicazione prevista per l'autunno del 2023) sarà rappresentato dai due volumi del carteggio tra Freud e Abraham, cui seguirà quello tra Freud e Bleuler.

Esther was a model student at school. She was a member of multiple extra-curricular groups and she excelled in all of her subjects. Well, there was one exception: maths. If it hadn't been for a particularly dedicated teacher, Esther may never have learned how to make sense of this subject. But not only did Esther achieve an improbably high maths grade, she also became a maths teacher herself.  “I guess it's just a testament to what perseverance and a change of mindset can do. I'm not going to claim by any stretch that I was suddenly some miraculous wiz at mathematics; that was hard work, graft and a lot of patience from a very committed teacher. But that day I was just shaking.” ********************* Huge thanks to our sponsor, The https://our-voices.captivate.fm/rya-home (Royal Yachting Association) (RYA) Visit the https://our-voices.captivate.fm/rya (RYA website) to find your local club and get involved ********************* http://ourvoicespodcast.com/ (Check out the Our Voices website for more on this story) http://ourvoicespodcast.com/ (We're also on )https://www.facebook.com/ourvoicesinthenhs (Facebook), https://twitter.com/OurVoices14 (Twitter) and https://www.instagram.com/ourvoicespod/ (Instagram) A https://our-voices.captivate.fm/fascinate-productions (Fascinate) Production

Décimo episodio de la cuarta temporada de Les Flâneurs. En él podrán escuchar críticas cinematográficas y seriófilas, consejos musicales, recomendaciones bibliográficas, comentarios deportivos y degustaciones gastronómicas, de la mano de Rubén Reina e Ismael Jiménez. Como siempre, pueden contactar con nosotros a través de la caja de Ivoox, Twitter (@lesflaneurssvq), Instagram (@lesflaneursdesevilla) y correo electrónico (lesflaneursdesevilla@gmail.com).

ANIMAL APPETITES was the winner of BEST SOUND & MUSIC at the May 2022 WILDsound Film Festival. http://eccemedia.ca/ “A struggling massage therapist is solicited by one of her clients for a sexual favor in exchange for money and a misbehaving pet.” Conversation with filmmaker Quentin Ferrant on the making of the film. WATCH this film on July 8th. Go to the WILDsound TV app. You can sign up for the 7 day free trial at www.wildsound.ca (available on your streaming services and APPS). There is a DAILY film festival to watch, plus a selection of award winning films on the platform. Then it's only $3.99 per month. Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

Lucien Bély, professeur d'histoire moderne à Sorbonne Université, à Paris. Auteur de « Louis XIV, le fantôme et le maréchal-ferrant » éditions PUF.

Paju va suivre un jeune maréchal-ferrant du Jura bernois. Puis cap en Valais. Un jeune berger valaisan avait été filmé par la TSR en 1965. Cinquante-six ans plus tard, il continue de monter chaque été à l’alpage. Matthieu Fournier, lui, volera en compagnie d'un guide dans la vallée de Zermatt.

Alejandro nos cuenta que desde pequeño los viajes y su exposición al sistema educativo americano lo moldearon. Tras sus primeras experiencias profesionales, decide lanzarse a emprender y funda junto a sus esposa María Redondo The Blueroom Project, que se convertirá en la agencia de referencia para el marketing turístico tanto de destinos nacionales como internacionales. Nos habla de las dificultades de emprender en un sector muy atomizado, las satisfacciones de llevar una empresa con su esposa y su deseo de mantener su negocio con el tamaño adecuado que garantice la calidad del servicio

Autor: Artelt, Philip Sendung: Kultur heute Hören bis: 19.01.2038 04:14

La honte dans ce qu'elle n'est pas : de la pudeur, de la culpabilité.La honte après la culpabilité. Je suis coupable vs j'ai honte. Souvent associées, j'ai décidé de proposer deux épisodes différents où la honte peut être pensée au travers de la culpabilité mais surtout de façon distincte.La honte d'être vu, regardé, exhibé mais aussi la honte d'exister ou d'être invisible, absent. Dans la honte, il y a quelque chose qui témoigne d'une catastrophe, d'une angoisse d'être exclu du monde des humains, de la civilisation. Je m'appuie dans cet épisode sur les travaux de Serge Tisseron, je vous conseille vivement d'étoffer cette proposition qui ne serait se suffire. 

Ne serait-ce pas de la culpabilité ? Ce sentiment qui ronge, se nourrit de l'intérieur, du moindre faux pas, du petit écart entre les idéaux et la réalité. La culpabilité s'installe confortablement dans ce nid de la sévérité, une sévérité qu'on s'impose où le masochisme ne connaît pas les limites.Mais alors la culpabilité, pourquoi ce sentiment ? D'où cela vient ? Comment ça se transmet ? Comment ça s'active ? Dans cet épisode, je convoque les origines de la culpabilité, sa transmission, ce à quoi elle peut correspondre mais également comment elle s'infiltre dans divers axes de la vie courante et dans notre société aujourd'hui. Que pensez-vous de la culpabilité ? Partagez-moi vos réflexions

Micro Perché, c'est des rencontres inattendues, dans la rue, la campagne, la forêt parfois... Ce matin, on a rendez-vous avec un maréchal-ferrant. Qu'est-ce que c'est que ce métier, exactement ? Comment est-ce qu'on ferre un cheval, et pourquoi ?Basil Burté a rencontré Patrick, dans le métier depuis 40 ansGettyImages / ©György Somló / EyeEm See acast.com/privacy for privacy and opt-out information.

Ce matin, j'ai rendez-vous aux écuries Aline Girard avec Fred qui est maréchal-ferrant. Il ferre un jeune étalon, et nous fait découvrir son "savoir-fer". De l'or dans les mains, c'est le podcast qui donne la parole à ceux qui font la vie de nos villages et de nos campagnes. Je vous emmène à la rencontre d'artisans, vignerons, écuyères, garagiste, couturières, agriculteurs, éleveurs qui font de leur geste, de leur savoir-faire et de leur passion, une ardente aventure.  Allez, c'est parti pour lever le voile sur leur quotidien et vous faire découvrir leurs voix(es) ! Musique : Not the king- Ice tea

durée : 00:02:57 - Aux quatre coins des Alpes-Maritimes

Jean Mopin a bien failli ne jamais être reçu compagnon parce que dans les années 70, le métier de maréchal-ferrant était en train de disparaître. Mais il a persévéré et a fini par être reçu.    Le Compagnonnage est à la fois une formation à un métier et un mode d'éducation à des valeurs. En se perfectionnant sur le plan professionnel, le compagnon construit sa propre personnalité. C’est le même chantier.    Un chantier itinérant qui s’appelle « le Tour de France » bien qu’il passe aujourd’hui par le monde entier. De ville en ville, il permet à l’aspirant compagnon, garçon ou fille, (à partir de 16 ans) de se perfectionner entouré par la solidarité des autres compagnons. A l’issue de ce parcours, 90% des artisans compagnons ont un emploi.    Comment faire pour devenir soi-même ? C’est la question de la semaine.

You know, God is speaking all the time and most people either miss it or maybe consider it a coincidence. I call it a God-incidence … and there really are no coincidences once you realize how God speaks. That's why it's good to learn to hear the voice of God—learn to discern. You don't have […] The post How to Save Time Growing Your Prophetic Gift | Doug Addison with Keith Ferranté [Episode 56] first appeared on Doug Addison.

Steeve est une vraie star dans le Cantal où il est maintenant maréchal-ferrant itinérant. Nous sommes allés rencontrer cet ancien commando marine épanoui dans sa nouvelle passion !

Rencontre ouverte : Recherche en psychiatrie 10/04/2010 Alain Ferrant

atho gene 10eme cour

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