Podcasts about Massot

The Halacha states (Shulhan Aruch 456) states that Massa dough should be kneaded in small batches of less than the amount that requires taking Halla (approximately 3.5 lbs.). The Rabbis were concerned that if one would use a larger batch, it may be too big to handle at one time, and part of the dough would be left aside and become Hametz. Nevertheless, it is still possible to fulfill the Misva of separating Halla from Massa. The individual small batches of dough can be connected so that, together, they reach the requisite measure necessary to take Halla. This method is often not practical because the Massa baking process is so rushed. The preferred solution is to first bake all of the Massot and then to gather them all in a single bin. Together, they form the requisite measure, and one Massa can be taken as Halla for all of the Massot. It should be noted that on Yom Tob, it is prohibited to take Halla from Massot thqat were baked before Yom Tob. Therefore, all proper Hashgachot of Massot indicate that Halla has already been taken. Taking Halla from Massot baked on Yom Tob presents a special challenge as to what to do with the separated dough. It cannot be given to a Kohen, since our dough is all Tameh (ritually impure). It cannot be burnt, as is usually done, since it is prohibited to burn holy items, which will not be eaten on Yom Tob. Letting the dough sit until after Yom Tob would allow the dough to become Hametz on Pesach. While theoretically, the dough could be immersed in very cold water to suspend the leavening, this is not recommended. Rather, Maran says that the best option is to take Halla after the Massot are already baked. That way, the Halla can be set aside until after Yom Tob and burned. SUMMARY Massa should be kneaded in small batches of under 3.5 lbs. Halla should be taken from the Massa after it is already baked.

Cette semaine c'est une légende française qui est mise à l'honneur en la personne de Solo. L'histoire unique et hors norme de Solo est racontée dans son autobiographie "Note Mon Nom Sur Ta Liste", nouvellement publiée aux éditions Massot.  Bachir & SLurg nous offrent un mix qui pourrait en être la bande son en exclusivité sur Grünt Radio.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Avec Grégory Aimar, auteur de: - "God l'Evangile selon Big Tech - Manifeste pour une intelligence spirituelle à l'heure de l'intelligence artificielle" (éditions Librinova) - "I.AM - Le transhumanisme, une nouvelle religion" (éditions Massot)

L'écoféminisme est un terme que j'entendais sans l'avoir pour autant creusé. En en tombant un jour à la librairie sur le magnifique livre “l'écoféminisme en questions” de Pascale d'Erm illustré par Anna Maria Riccobono, j'ai eu envie d'y plonger le nez. Evidemment, j'ai dévoré cet ouvrage ponctué d'anecdotes, de portraits, d'images parlantes, et je me suis demandé pourquoi je n'avais pas investigé ce thème plus tôt. Question de timing de la vie probablement. Toujours est-il que mon échange avec Pascale m'a ouvert des portes qui ne risquent pas de se refermer de si tôt. J'espère que l'effet sera de même pour vous à l'écoute de cet épisode ! À vos casques ! — Je vous recommande vivement le livre “L'écoféminisme en questions” de Pascale d'Erm aux éditions La Plage, et vous invite à garder un œil sur son actualité car elle sort prochainement son livre “La santé bleue” aux éditions Massot et son reportage “Aqua” sur Planète + ! Découvrez HEALTHY CYCLES, mon programme en ligne et en autonomie pour vous aider à reconnecter avec votre cycle menstruel, équilibrer vos hormones et soulager vos maux ! Rendez-vous juste ici pour embarquer dans l'aventure ! Vous préférez un suivi individuel et main dans la main ? Je vous propose mon ACCOMPAGNEMENT HOLISTIQUE, individuel ou en couple, mêlant naturopathie, phytothérapie, aromatologie, symptothermie et bien d'autres techniques pour vous reconnecter à votre corps et atteindre enfin votre objectif santé ! Par ici pour découvrir toutes les informations et par là pour réserver un appel découverte gratuit ! Je vous propose également de vous former à la symptothermie avec mon programme HEALTHY SYMPTOTHERMIE, pour vous permettre d'adopter une contraception 100 naturelle et fiable à 98,2% après formation (contre 97,6% de fiabilité pour la pilule, chiffres de l'OMS) ! Par ici pour en savoir plus et rejoindre l'aventure ! Et enfin, n'hésitez pas à découvrir mes ebooks : HEALTHY FOOD, le guide de l'alimentation hormonale et HEALTHY PUBERTÉ, pour accompagner les jeunes filles vers leur vie de femmes. Si vous aimez Healthy Living et souhaitez m'aider à faire connaître le podcast, n'hésitez pas à le partager autour de vous auprès de personnes que cela pourrait aider ou intéresser. N'hésitez pas également à laisser des appréciations et commentaires sur votre application d'écoute préférée. It means the world to me! Pour ne rien manquer des actualités du podcast, pensez à vous abonner sur votre plateforme d'écoute préférée, à me rejoindre sur insta et à vous inscrire à la newsletter dans laquelle je partage chaque mois une avalanche de good vibes et astuces healthy ! Je vous retrouve également sur youtube avec du contenu vidéo inédit ainsi que certains de mes épisodes préférés en versions sous-titrée, accessible aux sourds et malentendants ! Création originale : Marion Pezard Réalisation & production : Marion Pezard Montage & mixage : Marion Pezard Musique : Alice, Hicham Chahidi

Le rappeur Souleymane Dicko (Solo), membre fondateur d'Assassin, présente Note mon nom sur la liste, son autobiographie. Publiée le 14 novembre 2024 aux éditions Massot, Solo raconte son parcours au sein du hip-hop français. Il est accompagné de son invité Dyzberg. Assassin - La formule secrèteSolo - Cauchemar sans finDyzberg - Rock boxRetrouvez notre playlist sur Deezer. 

Le rappeur Souleymane Dicko (Solo), membre fondateur d'Assassin, présente Note mon nom sur la liste, son autobiographie. Publiée le 14 novembre 2024 aux éditions Massot, Solo raconte son parcours au sein du hip-hop français. Il est accompagné de son invité Dyzberg. Assassin - La formule secrèteSolo - Cauchemar sans finDyzberg - Rock boxRetrouvez notre playlist sur Deezer. 

durée : 00:58:02 - Mauvais genres - par : François Angelier - Un album de bandes dessinées signées Claire Braud, La Chiâle/Dupuis, une méditation sur l'Histoire de France de Pacôme Thiellement, Massot éditeur : deux occasions de réfléchir sur les douleurs de ce monde. - réalisation : Laurent Paulré

durée : 00:58:02 - Mauvais genres - par : François Angelier - Un album de bandes dessinées signées Claire Braud, La Chiâle/Dupuis, une méditation sur l'Histoire de France de Pacôme Thiellement, Massot éditeur : deux occasions de réfléchir sur les douleurs de ce monde. - réalisation : Laurent Paulré

Cette BD, imaginée par Jérôme Cartillier et Karim Lebhour, deux journalistes en poste à Washington et dessinée par Aude Massot, dévoile les coulisses du siège de la présidence américaine sous Barack Obama, Donald Trump et Joe Biden.

Agustín Monteverde Economista- Massot-Monteverde Consultora @Ag_Monteverde @asteriscostv 23-10-2024

SITES INTERNET : https://www.fdi-habitat.fr/ https://procivis.fr/

SITES INTERNET : https://www.fdi-habitat.fr/ https://procivis.fr/

SITES INTERNET : https://www.fdi-habitat.fr/ https://procivis.fr/

Guillermo Moreno con Nicolás Massot, Pablo Duggan Mariano Hamilton, Mariana Brey y Pitu Salvatierra en "Duro de domar" por C5N

La charla de Luis Novaresio con Nicolás Massot salió al aire por LN+ el 6 de agosto de 2024

Un “sabotaje” golpea las líneas ferroviarias francesas en París y afecta a 800.000 pasajeros antes de la ceremonia inaugural de los Juegos Olímpicos. Manuel Adorni afirmó sobre la brecha: “Veníamos de una brecha del 200% esta es una brecha mucho más benévola que lo que era en diciembre y no genera una preocupación en el mercado. De todas maneras, la brecha está camino a morir. Cuando se levante el cepo no hablamos más de brecha, se terminó”. Ramiro Marra aseguró: “Pablo Moyano es un mafioso, lo sabemos la gran parte de los argentino y sigue haciendo de las suyas. Es esas personas que destruyen la Argentina haciendo estas cosas”. El diputado José Luis Espert sostuvo: “El aguinaldo se paga hace medio siglo, no es que existe ahora para aliviar la problemática de la gente. Lo que el gobierno está haciendo es terminar con toda cosa rara que haya en el sistema impositivo o en el sistema en general”. El diputado Nicolás Massot afirmó: “No sé cuántos van a entrar el mínimo no imponible con esto pero van a pagar más todos los que pagan ganancias. El millón y medio que paga lo paga a partir de un mínimo no imponible, si es más bajo de lo que debiera ser todos pagan más. Algunos van a pagar que no pagaban, pero todos pagan más”. La senadora Carolina Losada aseguró: “A mi me hacen ruido algunas cosas como lo de Lijo por ejemplo, no puedo entender que lo convoquen para la Corte Suprema de Justicia porque la Argentina está pidiendo transparencia”. El ex titular de la AFI, Agustín Rossi, afirmó: “Todo lo que sucede alrededor de la SIDE hoy es oscuro. Lo maneja un asesor en las sombras, volvieron a la vieja denominación de SIDE que el único objetivo que tiene es amedrentar, generar temor”. Audios del viernes 26 de julio por el equipo de De Acá en Más por Urbana Play 104.3 FM Seguí a De Acá en Más en Instagram y Twitter

The US-China relationship has been marked by growing competition and rivalry. Nevertheless, the two have made efforts to stabilize the relationship notably with the meeting between Presidents Xi and Biden at the margins of the APEC Summit in San Francisco in 2023. More recently, the ministers of defense have met at the margins of the Shangri-La Dialogue. Secretary Austin and Chinese Defense Minister Dong Jun agreed to work toward better communications to stabilize military relations and avert crises, according to a statement from the Defense Department. The United States and China will “convene a crisis-communications working group by the end of the year.” So, what is the current state of the US-China relationship today and how are the two reshaping the global order in the face of US-China relations? Joining me in the Virtual Studio is Pascale Massot to discuss the state of the US-China relationship. Pascale is an associate professor in the School of Political Studies at the University of Ottawa. She is also non-resident Honorary Fellow, Political Economy at the Asia Society Policy Institute's Center for China Analysis, and a Senior Fellow at the Asia Pacific Foundation of Canada. She also has served as the Senior Advisor for China and Asia in the offices of various Canadian Cabinet ministers, including the Minister of Foreign Affairs. Pascale is the author of “China's Vulnerability Paradox: How the World's Largest Consumer Transformed Global Commodity Markets” (Oxford University Press, 2024). Her research interests include the global political economy of China's rise and impact on the liberal international order, China's impact on global extractive commodity markets, including debates around de-risking, Canada-China relations, Canadian public opinion on China and China narratives more broadly, as well as the advent of Indo-Pacific strategies around the world.

{REDIFFUSION} du podcast #277 paru le 21 mars 2022***Best-Of***Erratum : une erreur s'est glissée dans le podcast au sujet des sirènes de Sylvie Earl : elles étaient à quelques centaines de mètres de fond et pas 1000.Anne Ghesquière reçoit dans Métamorphose Pascale d'Erm, journaliste, auteure & réalisatrice. La connexion à l'eau est inscrite dans notre mémoire ancestrale. Symbole de vie, de purification, mais aussi de mort, l'eau est une énergie incroyable qui parle à notre corps et à notre inconscient. Les anciennes civilisations l'utilisaient déjà pour ses multiples vertus thérapeutiques. Mais saviez-vous que depuis une dizaine d'années, des médecins et des chercheurs redécouvrent les pouvoirs de l'eau sur la santé ? L'eau aiderait à lutter contre les maladies dites de civilisation : dépression, maladies auto-immunes, diabète. Elle atténuerait les processus inflammatoires et les symptômes de stress post-traumatique. Au travers de son livre, La santé bleue, la nouvelle médecine de l'eau, aux éditions Massot, Pascale d'Erm nous emmène à la découverte de ce qu'on appelle désormais la "blue health", la "santé bleue". Épisode #277Avant propos et précautions à l'écoute du podcast Recevez un mercredi sur deux la newsletter Métamorphose avec des infos inédites sur le podcast et les inspirations d'AnneFaites le TEST gratuit de La Roue Métamorphose avec 9 piliers de votre vie !Suivez nos RS : Insta, Facebook & TikTokAbonnez-vous sur Apple Podcast / Spotify / Deezer / CastBox/ YoutubeSoutenez Métamorphose en rejoignant la Tribu MétamorphoseThèmes abordés lors du podcast avec Pascale d'Erm :L'histoire d'amour entre Pascale et l'eauÉcrire une livre et enquêter sur l'eau, un chemin de guérison pour PascaleDéfinir la tradition du "prendre soin"Les bienfaits de l'eau sur la souffrance émotionnelle Soigner avec l'eau de merSe soigner avec l'océan en le préservantQuelques citations du podcast avec Pascale d'Erm :"L'eau est une expérience immersive optimale.""On porte tous un paysage d'eau préféré.""Il y a un effet important de la nage en eau froide qui nous préserve et nous rend plus heureux.""Il n'y a qu'un seul cycle de l'eau sur terre."Photo DR Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Le preguntaron a Javier Milei si le gustaba ser la 'oveja negra' y su respuesta fue: "Amo ser el topo dentro del Estado. Soy el que destruye el Estado desde adentro. Es como estar infiltrado en las filas enemigas. La reforma del Estado tiene que hacerla alguien que odie al Estado. Yo odio tanto al Estado que soporto estas mentiras e injurias sobre mi persona y mis seres más queridos que son mi hermana, mis perros y mis padres, con tal de destruir al Estado”. Milei se refirió a Terminator: “Lo que estoy alertando es que no hace falta que el mundo sufra semejante debacle para escapar del socialismo. Vengo de un futuro apocalíptico para evitarlo, algo así como la historia de Terminator. De hecho, Schwarzenegger es libertario”. El Presidente afirmó: “No tengo por qué lidiar con las emociones. Yo hablo de números y de realidad, no de emociones”. Sobre los perros, Milei dijo: “Yo he tenido que soportar calumnias de todo tipo, no solo sobre mi persona, sobre mi hermana, mis padres, hasta se han metido con mis perros. Violando la Constitución que dice que las acciones privadas están reservadas a lo privado y la voluntad de Dios. Han sido tan inmundos que se han metido hasta con mis perros”. Guillermo Francos aseguró: “¿A vos te parece que un juez federal le puede decir al gobierno que manden el plan de distribución de alimentos? ¿Quién se cree que es la justicia? ¿No hay división de poderes? ¿Y si la política del gobierno no es esa? ¿Y si la política es que esos alimentos son para emergencias? La obligan a la ministra que está imputada en una situación, desde mi punto de vista, absolutamente ridícula porque el Poder Judicial se mete en un tema que es del Poder Ejecutivo nacional”. Nicolás Massot sostuvo: “Los jubilados fueron los que más perdieron, entonces vos decís, cómo puede ser que hay plata para bajar Bienes Personales, hay plata para comprar aviones de guerra pero a los jubilados no le podemos respetar la inflación de este año. No es falta de compromiso con el equilibrio fiscal, es darle equilibrio”. Cristian Ritondo dijo: “Si Massot quisiera disponer del presupuesto nacional tendría que ser gobierno y es oposición. Marcarle la cancha a un gobierno que cuida el déficit fiscal entendiendo que dar aumento por ley nos llevó a que la inflación te coma el bolsillo… venimos 4 años de hacer eso y los 4 años los jubilados perdieron el 32,9% en la cantidad de compra y el 44,1% sobre el ingreso bruto”. Audios del viernes 7 de junio por el equipo de De Acá en Más por Urbana Play 104.3 FM Seguí a De Acá en Más en Instagram y Twitter

L'écoféminisme est un terme que j'entendais sans l'avoir pour autant creusé. En en tombant un jour à la librairie sur le magnifique livre “l'écoféminisme en questions” de Pascale d'Erm illustré par Anna Maria Riccobono, j'ai eu envie d'y plonger le nez. Evidemment, j'ai dévoré cet ouvrage ponctué d'anecdotes, de portraits, d'images parlantes, et je me suis demandé pourquoi je n'avais pas investigé ce thème plus tôt. Question de timing de la vie probablement. Toujours est-il que mon échange avec Pascale m'a ouvert des portes qui ne risquent pas de se refermer de si tôt. J'espère que l'effet sera de même pour vous à l'écoute de cet épisode ! À vos casques ! — Je vous recommande vivement le livre “L'écoféminisme en questions” de Pascale d'Erm aux éditions La Plage, et vous invite à garder un œil sur son actualité car elle sort prochainement son livre “La santé bleue” aux éditions Massot et son reportage “Aqua” sur Planète + ! Découvrez Healthy Cycles, mon programme en ligne et en autonomie pour vous aider à reconnecter avec votre cycle menstruel, équilibrer vos hormones et soulager vos maux ! Rendez-vous juste ici pour embarquer dans l'aventure ! Vous préférez un suivi individuel et main dans la main ? Je vous propose mon Accompagnement Holistique, individuel ou en couple, mêlant naturopathie, phytothérapie, aromatologie, symptothermie et bien d'autres techniques pour vous reconnecter à votre corps et atteindre enfin votre objectif santé ! Par ici pour découvrir toutes les informations et par là pour réserver un appel découverte gratuit ! Si vous aimez Healthy Living et souhaitez m'aider à faire connaître le podcast, n'hésitez pas à le partager autour de vous auprès de personnes que cela pourrait aider ou intéresser. N'hésitez pas également à laisser des appréciations et commentaires sur votre application d'écoute préférée. It means the world to me! Pour ne rien manquer des actualités du podcast, pensez à vous abonner sur votre plateforme d'écoute préférée, à me rejoindre sur insta et à vous inscrire à la newsletter dans laquelle je partage chaque mois une avalanche de good vibes et astuces healthy ! Je vous retrouve également sur youtube avec du contenu vidéo inédit ainsi que certains de mes épisodes préférés en versions sous-titrée, accessible aux sourds et malentendants ! Création originale : Marion Pezard Réalisation & production : Marion Pezard Montage & mixage : Marion Pezard Musique : Alice, Hicham Chahidi

Fala Doutores, tudo bem? No episódio de hoje convidei o DR. GABRIEL MASSOT - Médico otorrino e se descobriu como um super gestor - MBA de gestão em saúde - Diversos cursos na especialidade - Diretor geral no Hospital Unimed - Músico #faladoutores #carreiras #oftalmologia

World Radio Paris' Newest Reporter Yannick Champion-Osselin interviews Anne-Sophie Simpere about her book Police Partout Justice Nulle Part? (Police everywhere, justice nowhere?) on police brutality during protests in France. Anne-Sophie Simpere worked for several years for Amnesty International France on issues of police violence. She is a lawyer and communicator by training, she has also worked for environmental NGOs – Amis de la Terre, Greenpeace, Bankwatch and Samata. Find Anne Sophie Simpere on social media @asimpere, and her recently published book with Massot publishers.

There is a Misva to eat Massa at three points during the Seder: "Mosi -Massa," "Korech" and the Afikoman. For Mosi-Massa, the Shulhan Aruch states that one should eat two Kezaitim. The Mishna Berura explains that eating a second Kezayit solves a Halachic dilemma with regard to the Beracha "Al Achilat Massa." This Beracha is recited while holding the top, whole Massa and the middle, broken Massa, and there is a question whether it refers to the top Massa or the middle one. Therefore, one should eat a Kezayit from both. Hacham Ben Sion and Hacham Ovadia point out that according to this reasoning, participants in the Seder who do not have a Seder Plate with three Massot in front of them and eat from the box, would not be required to eat the extra Kezayit. Nevertheless, it is preferable that all participants eat two Kezaitim at this stage. All authorities agree that the amount of Massa eaten for the Korech sandwich is one Kezayit. The Afikoman is eaten to commemorate the Misva of eating a Kezayit from the Korban Pesah. Therefore, one must eat at least one Kezayit of Massa for the Afikoman. The Bayit Hadash (Rav Yoel Sirkis, Poland, 1561-1640) cites a custom to eat an additional Kezayit of Massa for the Afikoman, corresponding to the Kezayit of Massa that was also eaten with the Korban Pesah. Accordingly, the total amount of Massa that should be eaten is five Kezaitim-two for Mosi-Massa, one for Korech and two for the Afikoman (2-1-2). If one has difficulty consuming this amount, he should forgo the second Kezayit of the Afikoman and eat a total of four Kezaitim (2-1-1). If this is also not possible, he should only eat one Kezayit for Mosi-Massa (1-1-1). If this is problematic, he should forgo the Korech altogether (1-0-1). If one is able to eat only one Kezayit, he should eat the Kezayit of the Afikoman. Hacham Ben Sion writes, based on the Rambam, that any Massa eaten on the Seder night, even beyond the requisite five Kezaitim, is a Misva in its own right. One should even reduce the amount of other foods served, in order to retain an appetite for as much Massa as possible. He found a homiletic reference to this in the words of the Ma Nishtana, "Halayla HaZeh Kulo Massa,"- This night, all we eat is Massa. SUMMARY Ideally, one should eat at least five Kezaitim of Massa during the Seder-two for Mosi-Massa, one for Korech and two for Afikoman.

En el capítulo 562 de este jueves, 28 de marzo, @franaldaya te trae una entrevista especial con el diputado de Hacemos Coalición Federal y ex jefe de la bancada de Cambiemos durante el Gobierno de Mauricio Macri, @Nicolas_Massot.

Episode Notes This episode features Bruno Massot, the 2018 Olympic and World Champion in pairs. Bruno is now coaching full-time, and we spoke at the European Championships where he was accompanying the Swedish team of Greta and John Crafoord. This was a shorter-than-usual conversation but it was still a very interesting one. We got into the future of pairs and what makes for a great coach. You can follow Bruno on Instagram at @bruno_massot and reach me with comments or suggestions by email at fsfuturepodcast@gmail.com or on Instagram and Twitter @futurefspodcast. Episode transcript: https://docs.google.com/document/d/1N... Make sure you're subscribing on your podcast platforms and on YouTube to ensure you get all of the future episodes. Special thanks to Ivan Danyliuk for editing and technical assistance. If you appreciate the podcast, you can also support my work with the tip jar at https://tips.pinecast.com/jar/futureoffigureskating Support The Future of Figure Skating by contributing to their tip jar: https://tips.pinecast.com/jar/futureoffigureskating Find out more at https://futureoffigureskating.pinecast.co

Con 144 votos a favor y 109 en contra, la Ley Ómnibus se aprobó en general en Diputados.  Ahora sigue su debate artículo por artículo, donde podría enfrentar nuevos cambios.  Javier Milei subió al escenario una vez finalizada la obra de Fátima Flórez y afirmó: “Lo estamos logrando, evitamos la hiper, la inflación empezó a bajar y prontamente vamos a salir adelante. ¡Viva la libertad, carajo!”. Guillermo Francos aseguró: “Podrá haber alguna diferencia pero creo que va a ser aprobado en particular también”. El diputado Nicolás Massot dijo: “Es hasta tragicómico porque se sigue ufanando de que no negocia, no cede, y hubo funcionarios de él negociando artículos. El que queda mal es el presidente, la realidad va por otro lado. Cuando uno tiene en claro que lo que diga el presidente a uno lo tiene sin cuidado porque todos tenemos una cuota razonable de autoestima como para que venga uno a hacerlo cambiar. Cuando uno tiene claro por qué está sentado ahí, el reproche es “que mala suerte que tuvimos en el reparto de líderes liberales””. En la sesión del viernes, Santiago Cafiero afirmó: “Decía Perón que hay compañeros que no es que sean traidores sino que tienen sucesivas lealtades”. Lilia Lemoine afirmó: “La izquierda y el kirchnerismo, que no sé si decirles kirchneristas porque una diputada dijo que era una chicana. Les voy a decir “izquierda”, ¡porque de derecha no son! (le gritan “nooo”) y peronistas tampoco porque Perón no estaba con los terroristas y no vamos a ceder al terrorismo”. El ministro de Defensa, Luis Petri, aseguró: “La aprobación en general es un fuerte espaldarazo para el gobierno. Se va a aprobar una ley que va a permitir el crecimiento de Argentina. Pensemos que la actualidad implica que Argentina ha vivido con mercados regulados, del capitalismo de amigos y con esta ley vamos a ingresar en un sendero de crecimiento donde va a importar la competitividad”. En conferencia de prensa, Manuel Adorni respondió brevemente la pregunta de Fabián Waldman acerca de las agresiones que sufrieron los periodistas en la manifestación frente al Congreso. "¿La ministra planteó un protocolo especial diciendo que nos quieren proteger .¿Quiere libertad de prensa este gobierno para que se pueda transmitir lo que sucede?". "Sí. Siguiente pregunta", respondió el vocero. Audios del lunes 5 de febrero por  María O'Donnell y el equipo de De Acá en Más por Urbana Play 104.3 FM Seguí a De Acá en Más en Instagram y Twitter

Tras 11 horas de debate de la Ley Ómnibus, la Cámara de Diputados votó a favor de pasar a un cuarto intermedio hasta hoy jueves a las 12. El diputado Rodrigo de Loredo afirmó en la sesión: “No hay un consenso pacífico de qué es esto por la sencilla razón de que nadie sabe con claridad qué es este texto legal” (...) “Entre quienes quisieron convertir al Estado en un Estado empresarial y administraron pésimamente las empresas del Estado y la reacción en el otro extremo exagerada de, en un anexo, de forma masiva pasar a la privatización a la totalidad a las empresas va a tratar este recinto un conglomerado de empresas que no tiene finalidad estratégica y que tienen un sistemático déficit en sus cuentas que pagan los sectores más humildes”. Facundo Manes aseguró: “Necesitamos liderazgos humanos, no fanáticos. Creemos en la potencia y en la creatividad de los argentinos, no en la prepotencia de los líderes. No creemos en las fuerzas del cielo, creemos en la fuerza de la salud, la educación, la ciencia y tecnología. Vayamos por esa libertad y para eso necesitamos estadistas, no leones”. Nicolás Massot dijo: “Préstamos quórum para dictaminar, trabajamos mucho para lograr un dictamen. A pesar de las desprolijidades que ha tenido este tratamiento. Seamos sinceros, si hubiera habido otro signo político gobernando hubiésemos puesto el grito en el cielo. Esto no se puede repetir”. Diego Santilli afirmó: “Nosotros desde el PRO estamos para acompañar en general y en particular. Es una ley base central para la salida de la Argentina. Un país con trabajo, con los jubilados con un ingreso digno, recuperar el laburo de la gente, bajar la inflación. Nosotras vamos a acompañar”. Myriam Bregman aseguró: “Quiero comenzar denunciando los hechos que ocurren afuera con un operativo delirante que sólo cabe en la cabeza de la “miliquita” de Patricia Bullrich. Mientras los provocadores estaban acá adentro ella montó sobre una manifestación tranquila donde hay asambleas barriales, unidos por la cultura, personas que salen a cacerolear, montó una represión delirante”. Manuel Adorni sobre Scioli: “Daniel Scioli es una persona de confianza del ministro Francos y en quien el ministro confía para llevar adelante la tarea de ser secretario de Turismo. El presidente Milei, como lo hace con cada funcionario, los apoya y confía en que los colaboradores que elijan son los mejores para ese lugar. No tengo más nada para decir y si existieron esas críticas siempre son bienvenidas las diferentes opiniones”. Audios del miércoles 31 de enero por  María O'Donnell y el equipo de De Acá en Más por Urbana Play 104.3 FM Seguí a De Acá en Más en Instagram y Twitter

Miguel Ángel Pichetto afirmó: “Vamos a dar quórum, vamos a aportar al debate, vamos a votar en general y vamos a discutir algunos temas sobre los que tenemos posición tomada y hemos fijado las disidencias en el dictamen”. Diego Santilli aseguró: “Consideramos que hay que apoyar esta ley, que hay que avanzar con el tratamiento prontamente, que hay que avanzar con las 7 facultades delegadas que pidió el presidente”. Nicolás Massot afirmó: “Cada tanto es como que se acuerdan que su manual de campaña dice que no negocian entonces patean la mesa. El problema es que al final no hay una negociación constante”. Germán Martínez  dijo: “Es muy difícil trabajar políticamente leyendo los “me gusta” del presidente. Todo lo que pasó anoche ha agregado más ruido a una relación que está complicada”. Martín Tetaz afirmó: “A mi me parece que al presidente hay que sacarle un poco las redes sociales. No sabe manejar las redes como un presidente, las sigue manejando como un comunicador picante”. Guillermo Francos aseguró: “Dialogamos sobre el impuesto país pero no hablamos de coparticiparlo. Ellos pretendían que un porcentaje que va orientado a 3 fines distintos pasaran a ser gestionados por las provincias. De eso no hubo ningún acuerdo”. Patricia Bullrich afirmó: “La ley se tiene que tratar ya. Es importante entenderlo, es una ley que ha tenido un montón de cambios, es hora de tratarla. Cuando los cambios son tantos y se deforma el objetivo ya no sirve”. Audios del miércoles 31 de enero por el  equipo de De Acá en Más por Urbana Play 104.3 FM Seguí a De Acá en Más en Instagram y Twitter

Episode 171 looks at "Hey Jude", the White Album, and the career of the Beatles from August 1967 through November 1968. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifty-seven-minute bonus episode available, on "I Love You" by People!. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata Not really an error, but at one point I refer to Ornette Coleman as a saxophonist. While he was, he plays trumpet on the track that is excerpted after that. Resources No Mixcloud this week due to the number of songs by the Beatles. I have read literally dozens of books on the Beatles, and used bits of information from many of them. All my Beatles episodes refer to: The Complete Beatles Chronicle by Mark Lewisohn, All The Songs: The Stories Behind Every Beatles Release by Jean-Michel Guesdon, And The Band Begins To Play: The Definitive Guide To The Songs of The Beatles by Steve Lambley, The Beatles By Ear by Kevin Moore, Revolution in the Head by Ian MacDonald, and The Beatles Anthology. For this episode, I also referred to Last Interview by David Sheff, a longform interview with John Lennon and Yoko Ono from shortly before Lennon's death; Many Years From Now by Barry Miles, an authorised biography of Paul McCartney; and Here, There, and Everywhere: My Life Recording the Music of the Beatles by Geoff Emerick and Howard Massey. This time I also used Steve Turner's The Beatles: The Stories Behind the Songs 1967-1970. I referred to Philip Norman's biographies of John Lennon, George Harrison, and Paul McCartney, to Graeme Thomson's biography of George Harrison, Take a Sad Song by James Campion, Yoko Ono: An Artful Life by Donald Brackett, Those Were the Days 2.0 by Stephan Granados, and Sound Pictures by Kenneth Womack. Sadly the only way to get the single mix of “Hey Jude” is on this ludicrously-expensive out-of-print box set, but a remixed stereo mix is easily available on the new reissue of the 1967-70 compilation. The original mixes of the White Album are also, shockingly, out of print, but this 2018 remix is available for the moment. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, a quick note -- this episode deals, among other topics, with child abandonment, spousal neglect, suicide attempts, miscarriage, rape accusations, and heroin addiction. If any of those topics are likely to upset you, you might want to check the transcript rather than listening to this episode. It also, for once, contains a short excerpt of an expletive, but given that that expletive in that context has been regularly played on daytime radio without complaint for over fifty years, I suspect it can be excused. The use of mantra meditation is something that exists across religions, and which appears to have been independently invented multiple times, in multiple cultures. In the Western culture to which most of my listeners belong, it is now best known as an aspect of what is known as "mindfulness", a secularised version of Buddhism which aims to provide adherents with the benefits of the teachings of the Buddha but without the cosmology to which they are attached. But it turns up in almost every religious tradition I know of in one form or another. The idea of mantra meditation is a very simple one, and one that even has some basis in science. There is a mathematical principle in neurology and information science called the free energy principle which says our brains are wired to try to minimise how surprised we are --  our brain is constantly making predictions about the world, and then looking at the results from our senses to see if they match. If they do, that's great, and the brain will happily move on to its next prediction. If they don't, the brain has to update its model of the world to match the new information, make new predictions, and see if those new predictions are a better match. Every person has a different mental model of the world, and none of them match reality, but every brain tries to get as close as possible. This updating of the model to match the new information is called "thinking", and it uses up energy, and our bodies and brains have evolved to conserve energy as much as possible. This means that for many people, most of the time, thinking is unpleasant, and indeed much of the time that people have spent thinking, they've been thinking about how to stop themselves having to do it at all, and when they have managed to stop thinking, however briefly, they've experienced great bliss. Many more or less effective technologies have been created to bring about a more minimal-energy state, including alcohol, heroin, and barbituates, but many of these have unwanted side-effects, such as death, which people also tend to want to avoid, and so people have often turned to another technology. It turns out that for many people, they can avoid thinking by simply thinking about something that is utterly predictable. If they minimise the amount of sensory input, and concentrate on something that they can predict exactly, eventually they can turn off their mind, relax, and float downstream, without dying. One easy way to do this is to close your eyes, so you can't see anything, make your breath as regular as possible, and then concentrate on a sound that repeats over and over.  If you repeat a single phrase or word a few hundred times, that regular repetition eventually causes your mind to stop having to keep track of the world, and experience a peace that is, by all accounts, unlike any other experience. What word or phrase that is can depend very much on the tradition. In Transcendental Meditation, each person has their own individual phrase. In the Catholicism in which George Harrison and Paul McCartney were raised, popular phrases for this are "Lord Jesus Christ, Son of God, have mercy on me, a sinner" or "Hail, Mary, full of grace, the Lord is with you; blessed are you among women, and blessed is the fruit of your womb, Jesus. Holy Mary, Mother of God, pray for us sinners now and at the hour of our death. Amen." In some branches of Buddhism, a popular mantra is "_NAMU MYŌHŌ RENGE KYŌ_". In the Hinduism to which George Harrison later converted, you can use "Hare Krishna Hare Krishna, Krishna Krishna Hare Hare, Hare Rama Hare Rama, Rama Rama Hare Hare", "Om Namo Bhagavate Vāsudevāya" or "Om Gam Ganapataye Namaha". Those last two start with the syllable "Om", and indeed some people prefer to just use that syllable, repeating a single syllable over and over again until they reach a state of transcendence. [Excerpt: The Beatles, "Hey Jude" ("na na na na na na na")] We don't know much about how the Beatles first discovered Maharishi Mahesh Yogi, except that it was thanks to Pattie Boyd, George Harrison's then-wife. Unfortunately, her memory of how she first became involved in the Maharishi's Spiritual Regeneration Movement, as described in her autobiography, doesn't fully line up with other known facts. She talks about reading about the Maharishi in the paper with her friend Marie-Lise while George was away on tour, but she also places the date that this happened in February 1967, several months after the Beatles had stopped touring forever. We'll be seeing a lot more of these timing discrepancies as this story progresses, and people's memories increasingly don't match the events that happened to them. Either way, it's clear that Pattie became involved in the Spiritual Regeneration Movement a good length of time before her husband did. She got him to go along with her to one of the Maharishi's lectures, after she had already been converted to the practice of Transcendental Meditation, and they brought along John, Paul, and their partners (Ringo's wife Maureen had just given birth, so they didn't come). As we heard back in episode one hundred and fifty, that lecture was impressive enough that the group, plus their wives and girlfriends (with the exception of Maureen Starkey) and Mick Jagger and Marianne Faithfull, all went on a meditation retreat with the Maharishi at a holiday camp in Bangor, and it was there that they learned that Brian Epstein had been found dead. The death of the man who had guided the group's career could not have come at a worse time for the band's stability.  The group had only recorded one song in the preceding two months -- Paul's "Your Mother Should Know" -- and had basically been running on fumes since completing recording of Sgt Pepper many months earlier. John's drug intake had increased to the point that he was barely functional -- although with the enthusiasm of the newly converted he had decided to swear off LSD at the Maharishi's urging -- and his marriage was falling apart. Similarly, Paul McCartney's relationship with Jane Asher was in a bad state, though both men were trying to repair their damaged relationships, while both George and Ringo were having doubts about the band that had made them famous. In George's case, he was feeling marginalised by John and Paul, his songs ignored or paid cursory attention, and there was less for him to do on the records as the group moved away from making guitar-based rock and roll music into the stranger areas of psychedelia. And Ringo, whose main memory of the recording of Sgt Pepper was of learning to play chess while the others went through the extensive overdubs that characterised that album, was starting to feel like his playing was deteriorating, and that as the only non-writer in the band he was on the outside to an extent. On top of that, the group were in the middle of a major plan to restructure their business. As part of their contract renegotiations with EMI at the beginning of 1967, it had been agreed that they would receive two million pounds -- roughly fifteen million pounds in today's money -- in unpaid royalties as a lump sum. If that had been paid to them as individuals, or through the company they owned, the Beatles Ltd, they would have had to pay the full top rate of tax on it, which as George had complained the previous year was over ninety-five percent. (In fact, he'd been slightly exaggerating the generosity of the UK tax system to the rich, as at that point the top rate of income tax was somewhere around ninety-seven and a half percent). But happily for them, a couple of years earlier the UK had restructured its tax laws and introduced a corporation tax, which meant that the profits of corporations were no longer taxed at the same high rate as income. So a new company had been set up, The Beatles & Co, and all the group's non-songwriting income was paid into the company. Each Beatle owned five percent of the company, and the other eighty percent was owned by a new partnership, a corporation that was soon renamed Apple Corps -- a name inspired by a painting that McCartney had liked by the artist Rene Magritte. In the early stages of Apple, it was very entangled with Nems, the company that was owned by Brian and Clive Epstein, and which was in the process of being sold to Robert Stigwood, though that sale fell through after Brian's death. The first part of Apple, Apple Publishing, had been set up in the summer of 1967, and was run by Terry Doran, a friend of Epstein's who ran a motor dealership -- most of the Apple divisions would be run by friends of the group rather than by people with experience in the industries in question. As Apple was set up during the point that Stigwood was getting involved with NEMS, Apple Publishing's initial offices were in the same building with, and shared staff with, two publishing companies that Stigwood owned, Dratleaf Music, who published Cream's songs, and Abigail Music, the Bee Gees' publishers. And indeed the first two songs published by Apple were copyrights that were gifted to the company by Stigwood -- "Listen to the Sky", a B-side by an obscure band called Sands: [Excerpt: Sands, "Listen to the Sky"] And "Outside Woman Blues", an arrangement by Eric Clapton of an old blues song by Blind Joe Reynolds, which Cream had copyrighted separately and released on Disraeli Gears: [Excerpt: Cream, "Outside Woman Blues"] But Apple soon started signing outside songwriters -- once Mike Berry, a member of Apple Publishing's staff, had sat McCartney down and explained to him what music publishing actually was, something he had never actually understood even though he'd been a songwriter for five years. Those songwriters, given that this was 1967, were often also performers, and as Apple Records had not yet been set up, Apple would try to arrange recording contracts for them with other labels. They started with a group called Focal Point, who got signed by badgering Paul McCartney to listen to their songs until he gave them Doran's phone number to shut them up: [Excerpt: Focal Point, "Sycamore Sid"] But the big early hope for Apple Publishing was a songwriter called George Alexander. Alexander's birth name had been Alexander Young, and he was the brother of George Young, who was a member of the Australian beat group The Easybeats, who'd had a hit with "Friday on My Mind": [Excerpt: The Easybeats, "Friday on My Mind"] His younger brothers Malcolm and Angus would go on to have a few hits themselves, but AC/DC wouldn't be formed for another five years. Terry Doran thought that Alexander should be a member of a band, because bands were more popular than solo artists at the time, and so he was placed with three former members of Tony Rivers and the Castaways, a Beach Boys soundalike group that had had some minor success. John Lennon suggested that the group be named Grapefruit, after a book he was reading by a conceptual artist of his acquaintance named Yoko Ono, and as Doran was making arrangements with Terry Melcher for a reciprocal publishing deal by which Melcher's American company would publish Apple songs in the US while Apple published songs from Melcher's company in the UK, it made sense for Melcher to also produce Grapefruit's first single, "Dear Delilah": [Excerpt: Grapefruit, "Dear Delilah"] That made number twenty-one in the UK when it came out in early 1968, on the back of publicity about Grapefruit's connection with the Beatles, but future singles by the band were much less successful, and like several other acts involved with Apple, they found that they were more hampered by the Beatles connection than helped. A few other people were signed to Apple Publishing early on, of whom the most notable was Jackie Lomax. Lomax had been a member of a minor Merseybeat group, the Undertakers, and after they had split up, he'd been signed by Brian Epstein with a new group, the Lomax Alliance, who had released one single, "Try as You May": [Excerpt: The Lomax Alliance, "Try As You May"] After Epstein's death, Lomax had plans to join another band, being formed by another Merseybeat musician, Chris Curtis, the former drummer of the Searchers. But after going to the Beatles to talk with them about them helping the new group financially, Lomax was persuaded by John Lennon to go solo instead. He may later have regretted that decision, as by early 1968 the people that Curtis had recruited for his new band had ditched him and were making a name for themselves as Deep Purple. Lomax recorded one solo single with funding from Stigwood, a cover version of a song by an obscure singer-songwriter, Jake Holmes, "Genuine Imitation Life": [Excerpt: Jackie Lomax, "Genuine Imitation Life"] But he was also signed to Apple Publishing as a songwriter. The Beatles had only just started laying out plans for Apple when Epstein died, and other than the publishing company one of the few things they'd agreed on was that they were going to have a film company, which was to be run by Denis O'Dell, who had been an associate producer on A Hard Day's Night and on How I Won The War, the Richard Lester film Lennon had recently starred in. A few days after Epstein's death, they had a meeting, in which they agreed that the band needed to move forward quickly if they were going to recover from Epstein's death. They had originally been planning on going to India with the Maharishi to study meditation, but they decided to put that off until the new year, and to press forward with a film project Paul had been talking about, to be titled Magical Mystery Tour. And so, on the fifth of September 1967, they went back into the recording studio and started work on a song of John's that was earmarked for the film, "I am the Walrus": [Excerpt: The Beatles, "I am the Walrus"] Magical Mystery Tour, the film, has a mixed reputation which we will talk about shortly, but one defence that Paul McCartney has always made of it is that it's the only place where you can see the Beatles performing "I am the Walrus". While the song was eventually relegated to a B-side, it's possibly the finest B-side of the Beatles' career, and one of the best tracks the group ever made. As with many of Lennon's songs from this period, the song was a collage of many different elements pulled from his environment and surroundings, and turned into something that was rather more than the sum of its parts. For its musical inspiration, Lennon pulled from, of all things, a police siren going past his house. (For those who are unfamiliar with what old British police sirens sounded like, as opposed to the ones in use for most of my lifetime or in other countries, here's a recording of one): [Excerpt: British police siren ca 1968] That inspired Lennon to write a snatch of lyric to go with the sound of the siren, starting "Mister city policeman sitting pretty". He had two other song fragments, one about sitting in the garden, and one about sitting on a cornflake, and he told Hunter Davies, who was doing interviews for his authorised biography of the group, “I don't know how it will all end up. Perhaps they'll turn out to be different parts of the same song.” But the final element that made these three disparate sections into a song was a letter that came from Stephen Bayley, a pupil at Lennon's old school Quarry Bank, who told him that the teachers at the school -- who Lennon always thought of as having suppressed his creativity -- were now analysing Beatles lyrics in their lessons. Lennon decided to come up with some nonsense that they couldn't analyse -- though as nonsensical as the finished song is, there's an underlying anger to a lot of it that possibly comes from Lennon thinking of his school experiences. And so Lennon asked his old schoolfriend Pete Shotton to remind him of a disgusting playground chant that kids used to sing in schools in the North West of England (and which they still sang with very minor variations at my own school decades later -- childhood folklore has a remarkably long life). That rhyme went: Yellow matter custard, green snot pie All mixed up with a dead dog's eye Slap it on a butty, nice and thick, And drink it down with a cup of cold sick Lennon combined some parts of this with half-remembered fragments of Lewis Carrol's The Walrus and the Carpenter, and with some punning references to things that were going on in his own life and those of his friends -- though it's difficult to know exactly which of the stories attached to some of the more incomprehensible bits of the lyrics are accurate. The story that the line "I am the eggman" is about a sexual proclivity of Eric Burdon of the Animals seems plausible, while the contention by some that the phrase "semolina pilchard" is a reference to Sgt Pilcher, the corrupt policeman who had arrested three of the Rolling Stones, and would later arrest Lennon, on drugs charges, seems less likely. The track is a masterpiece of production, but the release of the basic take on Anthology 2 in 1996 showed that the underlying performance, before George Martin worked his magic with the overdubs, is still a remarkable piece of work: [Excerpt: The Beatles, "I am the Walrus (Anthology 2 version)"] But Martin's arrangement and production turned the track from a merely very good track into a masterpiece. The string arrangement, very much in the same mould as that for "Strawberry Fields Forever" but giving a very different effect with its harsh cello glissandi, is the kind of thing one expects from Martin, but there's also the chanting of the Mike Sammes Singers, who were more normally booked for sessions like Englebert Humperdinck's "The Last Waltz": [Excerpt: Engelbert Humperdinck, "The Last Waltz"] But here were instead asked to imitate the sound of the strings, make grunting noises, and generally go very far out of their normal comfort zone: [Excerpt: The Beatles, "I am the Walrus"] But the most fascinating piece of production in the entire track is an idea that seems to have been inspired by people like John Cage -- a live feed of a radio being tuned was played into the mono mix from about the halfway point, and whatever was on the radio at the time was captured: [Excerpt: The Beatles, "I am the Walrus"] This is also why for many decades it was impossible to have a true stereo mix of the track -- the radio part was mixed directly into the mono mix, and it wasn't until the 1990s that someone thought to track down a copy of the original radio broadcasts and recreate the process. In one of those bits of synchronicity that happen more often than you would think when you're creating aleatory art, and which are why that kind of process can be so appealing, one bit of dialogue from the broadcast of King Lear that was on the radio as the mixing was happening was *perfectly* timed: [Excerpt: The Beatles, "I am the Walrus"] After completing work on the basic track for "I am the Walrus", the group worked on two more songs for the film, George's "Blue Jay Way" and a group-composed twelve-bar blues instrumental called "Flying", before starting production. Magical Mystery Tour, as an idea, was inspired in equal parts by Ken Kesey's Merry Pranksters, the collective of people we talked about in the episode on the Grateful Dead who travelled across the US extolling the virtues of psychedelic drugs, and by mystery tours, a British working-class tradition that has rather fallen out of fashion in the intervening decades. A mystery tour would generally be put on by a coach-hire company, and would be a day trip to an unannounced location -- though the location would in fact be very predictable, and would be a seaside town within a couple of hours' drive of its starting point. In the case of the ones the Beatles remembered from their own childhoods, this would be to a coastal town in Lancashire or Wales, like Blackpool, Rhyl, or Prestatyn. A coachload of people would pay to be driven to this random location, get very drunk and have a singsong on the bus, and spend a day wherever they were taken. McCartney's plan was simple -- they would gather a group of passengers and replicate this experience over the course of several days, and film whatever went on, but intersperse that with more planned out sketches and musical numbers. For this reason, along with the Beatles and their associates, the cast included some actors found through Spotlight and some of the group's favourite performers, like the comedian Nat Jackley (whose comedy sequence directed by John was cut from the final film) and the surrealist poet/singer/comedian Ivor Cutler: [Excerpt: Ivor Cutler, "I'm Going in a Field"] The film also featured an appearance by a new band who would go on to have great success over the next year, the Bonzo Dog Doo-Dah Band. They had recorded their first single in Abbey Road at the same time as the Beatles were recording Revolver, but rather than being progressive psychedelic rock, it had been a remake of a 1920s novelty song: [Excerpt: The Bonzo Dog Doo-Dah Band, "My Brother Makes the Noises For the Talkies"] Their performance in Magical Mystery Tour was very different though -- they played a fifties rock pastiche written by band leaders Vivian Stanshall and Neil Innes while a stripper took off her clothes. While several other musical sequences were recorded for the film, including one by the band Traffic and one by Cutler, other than the Beatles tracks only the Bonzos' song made it into the finished film: [Excerpt: The Bonzo Dog Doo-Dah Band, "Death Cab for Cutie"] That song, thirty years later, would give its name to a prominent American alternative rock band. Incidentally the same night that Magical Mystery Tour was first broadcast was also the night that the Bonzo Dog Doo-Dah Band first appeared on a TV show, Do Not Adjust Your Set, which featured three future members of the Monty Python troupe -- Eric Idle, Michael Palin, and Terry Jones. Over the years the careers of the Bonzos, the Pythons, and the Beatles would become increasingly intertwined, with George Harrison in particular striking up strong friendships and working relationships with Bonzos Neil Innes and "Legs" Larry Smith. The filming of Magical Mystery Tour went about as well as one might expect from a film made by four directors, none of whom had any previous filmmaking experience, and none of whom had any business knowledge. The Beatles were used to just turning up and having things magically done for them by other people, and had no real idea of the infrastructure challenges that making a film, even a low-budget one, actually presents, and ended up causing a great deal of stress to almost everyone involved. The completed film was shown on TV on Boxing Day 1967 to general confusion and bemusement. It didn't help that it was originally broadcast in black and white, and so for example the scene showing shifting landscapes (outtake footage from Stanley Kubrick's Dr. Strangelove, tinted various psychedelic colours) over the "Flying" music, just looked like grey fuzz. But also, it just wasn't what people were expecting from a Beatles film. This was a ramshackle, plotless, thing more inspired by Andy Warhol's underground films than by the kind of thing the group had previously appeared in, and it was being presented as Christmas entertainment for all the family. And to be honest, it's not even a particularly good example of underground filmmaking -- though it looks like a masterpiece when placed next to something like the Bee Gees' similar effort, Cucumber Castle. But there are enough interesting sequences in there for the project not to be a complete failure -- and the deleted scenes on the DVD release, including the performances by Cutler and Traffic, and the fact that the film was edited down from ten hours to fifty-two minutes, makes one wonder if there's a better film that could be constructed from the original footage. Either way, the reaction to the film was so bad that McCartney actually appeared on David Frost's TV show the next day to defend it and, essentially, apologise. While they were editing the film, the group were also continuing to work in the studio, including on two new McCartney songs, "The Fool on the Hill", which was included in Magical Mystery Tour, and "Hello Goodbye", which wasn't included on the film's soundtrack but was released as the next single, with "I Am the Walrus" as the B-side: [Excerpt: The Beatles, "Hello Goodbye"] Incidentally, in the UK the soundtrack to Magical Mystery Tour was released as a double-EP rather than as an album (in the US, the group's recent singles and B-sides were added to turn it into a full-length album, which is how it's now generally available). "I Am the Walrus" was on the double-EP as well as being on the single's B-side, and the double-EP got to number two on the singles charts, meaning "I am the Walrus" was on the records at number one and number two at the same time. Before it became obvious that the film, if not the soundtrack, was a disaster, the group held a launch party on the twenty-first of December, 1967. The band members went along in fancy dress, as did many of the cast and crew -- the Bonzo Dog Doo-Dah Band performed at the party. Mike Love and Bruce Johnston of the Beach Boys also turned up at the party, and apparently at one point jammed with the Bonzos, and according to some, but not all, reports, a couple of the Beatles joined in as well. Love and Johnston had both just met the Maharishi for the first time a couple of days earlier, and Love had been as impressed as the Beatles were, and it may have been at this party that the group mentioned to Love that they would soon be going on a retreat in India with the guru -- a retreat that was normally meant for training TM instructors, but this time seemed to be more about getting celebrities involved. Love would also end up going with them. That party was also the first time that Cynthia Lennon had an inkling that John might not be as faithful to her as she previously supposed. John had always "joked" about being attracted to George Harrison's wife, Patti, but this time he got a little more blatant about his attraction than he ever had previously, to the point that he made Cynthia cry, and Cynthia's friend, the pop star Lulu, decided to give Lennon a very public dressing-down for his cruelty to his wife, a dressing-down that must have been a sight to behold, as Lennon was dressed as a Teddy boy while Lulu was in a Shirley Temple costume. It's a sign of how bad the Lennons' marriage was at this point that this was the second time in a two-month period where Cynthia had ended up crying because of John at a film launch party and been comforted by a female pop star. In October, Cilla Black had held a party to celebrate the belated release of John's film How I Won the War, and during the party Georgie Fame had come up to Black and said, confused, "Cynthia Lennon is hiding in your wardrobe". Black went and had a look, and Cynthia explained to her “I'm waiting to see how long it is before John misses me and comes looking for me.” Black's response had been “You'd better face it, kid—he's never gonna come.” Also at the Magical Mystery Tour party was Lennon's father, now known as Freddie Lennon, and his new nineteen-year-old fiancee. While Hunter Davis had been researching the Beatles' biography, he'd come across some evidence that the version of Freddie's attitude towards John that his mother's side of the family had always told him -- that Freddie had been a cruel and uncaring husband who had not actually wanted to be around his son -- might not be the whole of the truth, and that the mother who he had thought of as saintly might also have had some part to play in their marriage breaking down and Freddie not seeing his son for twenty years. The two had made some tentative attempts at reconciliation, and indeed Freddie would even come and live with John for a while, though within a couple of years the younger Lennon's heart would fully harden against his father again. Of course, the things that John always resented his father for were pretty much exactly the kind of things that Lennon himself was about to do. It was around this time as well that Derek Taylor gave the Beatles copies of the debut album by a young singer/songwriter named Harry Nilsson. Nilsson will be getting his own episode down the line, but not for a couple of years at my current rates, so it's worth bringing that up here, because that album became a favourite of all the Beatles, and would have a huge influence on their songwriting for the next couple of years, and because one song on the album, "1941", must have resonated particularly deeply with Lennon right at this moment -- an autobiographical song by Nilsson about how his father had left him and his mother when he was a small boy, and about his own fear that, as his first marriage broke down, he was repeating the pattern with his stepson Scott: [Excerpt: Nilsson, "1941"] The other major event of December 1967, rather overshadowed by the Magical Mystery Tour disaster the next day, was that on Christmas Day Paul McCartney and Jane Asher announced their engagement. A few days later, George Harrison flew to India. After John and Paul had had their outside film projects -- John starring in How I Won The War and Paul doing the soundtrack for The Family Way -- the other two Beatles more or less simultaneously did their own side project films, and again one acted while the other did a soundtrack. Both of these projects were in the rather odd subgenre of psychedelic shambolic comedy film that sprang up in the mid sixties, a subgenre that produced a lot of fascinating films, though rather fewer good ones. Indeed, both of them were in the subsubgenre of shambolic psychedelic *sex* comedies. In Ringo's case, he had a small role in the film Candy, which was based on the novel we mentioned in the last episode, co-written by Terry Southern, which was in itself a loose modern rewriting of Voltaire's Candide. Unfortunately, like such other classics of this subgenre as Anthony Newley's Can Heironymus Merkin Ever Forget Mercy Humppe and Find True Happiness?, Candy has dated *extremely* badly, and unless you find repeated scenes of sexual assault and rape, ethnic stereotypes, and jokes about deformity and disfigurement to be an absolute laugh riot, it's not a film that's worth seeking out, and Starr's part in it is not a major one. Harrison's film was of the same basic genre -- a film called Wonderwall about a mad scientist who discovers a way to see through the walls of his apartment, and gets to see a photographer taking sexy photographs of a young woman named Penny Lane, played by Jane Birkin: [Excerpt: Some Wonderwall film dialogue ripped from the Blu-Ray] Wonderwall would, of course, later inspire the title of a song by Oasis, and that's what the film is now best known for, but it's a less-unwatchable film than Candy, and while still problematic it's less so. Which is something. Harrison had been the Beatle with least involvement in Magical Mystery Tour -- McCartney had been the de facto director, Starr had been the lead character and the only one with much in the way of any acting to do, and Lennon had written the film's standout scene and its best song, and had done a little voiceover narration. Harrison, by contrast, barely has anything to do in the film apart from the one song he contributed, "Blue Jay Way", and he said of the project “I had no idea what was happening and maybe I didn't pay enough attention because my problem, basically, was that I was in another world, I didn't really belong; I was just an appendage.” He'd expressed his discomfort to his friend Joe Massot, who was about to make his first feature film. Massot had got to know Harrison during the making of his previous film, Reflections on Love, a mostly-silent short which had starred Harrison's sister-in-law Jenny Boyd, and which had been photographed by Robert Freeman, who had been the photographer for the Beatles' album covers from With the Beatles through Rubber Soul, and who had taken most of the photos that Klaus Voorman incorporated into the cover of Revolver (and whose professional association with the Beatles seemed to come to an end around the same time he discovered that Lennon had been having an affair with his wife). Massot asked Harrison to write the music for the film, and told Harrison he would have complete free rein to make whatever music he wanted, so long as it fit the timing of the film, and so Harrison decided to create a mixture of Western rock music and the Indian music he loved. Harrison started recording the music at the tail end of 1967, with sessions with several London-based Indian musicians and John Barham, an orchestrator who had worked with Ravi Shankar on Shankar's collaborations with Western musicians, including the Alice in Wonderland soundtrack we talked about in the "All You Need is Love" episode. For the Western music, he used the Remo Four, a Merseybeat group who had been on the scene even before the Beatles, and which contained a couple of classmates of Paul McCartney, but who had mostly acted as backing musicians for other artists. They'd backed Johnny Sandon, the former singer with the Searchers, on a couple of singles, before becoming the backing band for Tommy Quickly, a NEMS artist who was unsuccessful despite starting his career with a Lennon/McCartney song, "Tip of My Tongue": [Excerpt: Tommy Quickly, "Tip of My Tongue"] The Remo Four would later, after a lineup change, become Ashton, Gardner and Dyke, who would become one-hit wonders in the seventies, and during the Wonderwall sessions they recorded a song that went unreleased at the time, and which would later go on to be rerecorded by Ashton, Gardner, and Dyke. "In the First Place" also features Harrison on backing vocals and possibly guitar, and was not submitted for the film because Harrison didn't believe that Massot wanted any vocal tracks, but the recording was later discovered and used in a revised director's cut of the film in the nineties: [Excerpt: The Remo Four, "In the First Place"] But for the most part the Remo Four were performing instrumentals written by Harrison. They weren't the only Western musicians performing on the sessions though -- Peter Tork of the Monkees dropped by these sessions and recorded several short banjo solos, which were used in the film soundtrack but not in the soundtrack album (presumably because Tork was contracted to another label): [Excerpt: Peter Tork, "Wonderwall banjo solo"] Another musician who was under contract to another label was Eric Clapton, who at the time was playing with The Cream, and who vaguely knew Harrison and so joined in for the track "Ski-ing", playing lead guitar under the cunning, impenetrable, pseudonym "Eddie Clayton", with Harrison on sitar, Starr on drums, and session guitarist Big Jim Sullivan on bass: [Excerpt: George Harrison, "Ski-ing"] But the bulk of the album was recorded in EMI's studios in the city that is now known as Mumbai but at the time was called Bombay. The studio facilities in India had up to that point only had a mono tape recorder, and Bhaskar Menon, one of the top executives at EMI's Indian division and later the head of EMI music worldwide, personally brought the first stereo tape recorder to the studio to aid in Harrison's recording. The music was all composed by Harrison and performed by the Indian musicians, and while Harrison was composing in an Indian mode, the musicians were apparently fascinated by how Western it sounded to them: [Excerpt: George Harrison, "Microbes"] While he was there, Harrison also got the instrumentalists to record another instrumental track, which wasn't to be used for the film: [Excerpt: George Harrison, "The Inner Light (instrumental)"] That track would, instead, become part of what was to be Harrison's first composition to make a side of a Beatles single. After John and George had appeared on the David Frost show talking about the Maharishi, in September 1967, George had met a lecturer in Sanskrit named Juan Mascaró, who wrote to Harrison enclosing a book he'd compiled of translations of religious texts, telling him he'd admired "Within You Without You" and thought it would be interesting if Harrison set something from the Tao Te Ching to music. He suggested a text that, in his translation, read: "Without going out of my door I can know all things on Earth Without looking out of my window I can know the ways of heaven For the farther one travels, the less one knows The sage, therefore Arrives without travelling Sees all without looking Does all without doing" Harrison took that text almost verbatim, though he created a second verse by repeating the first few lines with "you" replacing "I" -- concerned that listeners might think he was just talking about himself, and wouldn't realise it was a more general statement -- and he removed the "the sage, therefore" and turned the last few lines into imperative commands rather than declarative statements: [Excerpt: The Beatles, "The Inner Light"] The song has come in for some criticism over the years as being a little Orientalist, because in critics' eyes it combines Chinese philosophy with Indian music, as if all these things are equally "Eastern" and so all the same really. On the other hand there's a good argument that an English songwriter taking a piece of writing written in Chinese and translated into English by a Spanish man and setting it to music inspired by Indian musical modes is a wonderful example of cultural cross-pollination. As someone who's neither Chinese nor Indian I wouldn't want to take a stance on it, but clearly the other Beatles were impressed by it -- they put it out as the B-side to their next single, even though the only Beatles on it are Harrison and McCartney, with the latter adding a small amount of harmony vocal: [Excerpt: The Beatles, "The Inner Light"] And it wasn't because the group were out of material. They were planning on going to Rishikesh to study with the Maharishi, and wanted to get a single out for release while they were away, and so in one week they completed the vocal overdubs on "The Inner Light" and recorded three other songs, two by John and one by Paul. All three of the group's songwriters brought in songs that were among their best. John's first contribution was a song whose lyrics he later described as possibly the best he ever wrote, "Across the Universe". He said the lyrics were “purely inspirational and were given to me as boom! I don't own it, you know; it came through like that … Such an extraordinary meter and I can never repeat it! It's not a matter of craftsmanship, it wrote itself. It drove me out of bed. I didn't want to write it … It's like being possessed, like a psychic or a medium.” But while Lennon liked the song, he was never happy with the recording of it. They tried all sorts of things to get the sound he heard in his head, including bringing in some fans who were hanging around outside to sing backing vocals. He said of the track "I was singing out of tune and instead of getting a decent choir, we got fans from outside, Apple Scruffs or whatever you call them. They came in and were singing all off-key. Nobody was interested in doing the tune originally.” [Excerpt: The Beatles, "Across the Universe"] The "jai guru deva" chorus there is the first reference to the teachings of the Maharishi in one of the Beatles' records -- Guru Dev was the Maharishi's teacher, and the phrase "Jai guru dev" is a Sanskrit one which I've seen variously translated as "victory to the great teacher", and "hail to the greatness within you". Lennon would say shortly before his death “The Beatles didn't make a good record out of it. I think subconsciously sometimes we – I say ‘we' though I think Paul did it more than the rest of us – Paul would sort of subconsciously try and destroy a great song … Usually we'd spend hours doing little detailed cleaning-ups of Paul's songs, when it came to mine, especially if it was a great song like ‘Strawberry Fields' or ‘Across The Universe', somehow this atmosphere of looseness and casualness and experimentation would creep in … It was a _lousy_ track of a great song and I was so disappointed by it …The guitars are out of tune and I'm singing out of tune because I'm psychologically destroyed and nobody's supporting me or helping me with it, and the song was never done properly.” Of course, this is only Lennon's perception, and it's one that the other participants would disagree with. George Martin, in particular, was always rather hurt by the implication that Lennon's songs had less attention paid to them, and he would always say that the problem was that Lennon in the studio would always say "yes, that's great", and only later complain that it hadn't been what he wanted. No doubt McCartney did put in more effort on his own songs than on Lennon's -- everyone has a bias towards their own work, and McCartney's only human -- but personally I suspect that a lot of the problem comes down to the two men having very different personalities. McCartney had very strong ideas about his own work and would drive the others insane with his nitpicky attention to detail. Lennon had similarly strong ideas, but didn't have the attention span to put the time and effort in to force his vision on others, and didn't have the technical knowledge to express his ideas in words they'd understand. He expected Martin and the other Beatles to work miracles, and they did -- but not the miracles he would have worked. That track was, rather than being chosen for the next single, given to Spike Milligan, who happened to be visiting the studio and was putting together an album for the environmental charity the World Wildlife Fund. The album was titled "No One's Gonna Change Our World": [Excerpt: The Beatles, "Across the Universe"] That track is historic in another way -- it would be the last time that George Harrison would play sitar on a Beatles record, and it effectively marks the end of the period of psychedelia and Indian influence that had started with "Norwegian Wood" three years earlier, and which many fans consider their most creative period. Indeed, shortly after the recording, Harrison would give up the sitar altogether and stop playing it. He loved sitar music as much as he ever had, and he still thought that Indian classical music spoke to him in ways he couldn't express, and he continued to be friends with Ravi Shankar for the rest of his life, and would only become more interested in Indian religious thought. But as he spent time with Shankar he realised he would never be as good on the sitar as he hoped. He said later "I thought, 'Well, maybe I'm better off being a pop singer-guitar-player-songwriter – whatever-I'm-supposed-to-be' because I've seen a thousand sitar-players in India who are twice as better as I'll ever be. And only one of them Ravi thought was going to be a good player." We don't have a precise date for when it happened -- I suspect it was in June 1968, so a few months after the "Across the Universe" recording -- but Shankar told Harrison that rather than try to become a master of a music that he hadn't encountered until his twenties, perhaps he should be making the music that was his own background. And as Harrison put it "I realised that was riding my bike down a street in Liverpool and hearing 'Heartbreak Hotel' coming out of someone's house.": [Excerpt: Elvis Presley, "Heartbreak Hotel"] In early 1968 a lot of people seemed to be thinking along the same lines, as if Christmas 1967 had been the flick of a switch and instead of whimsy and ornamentation, the thing to do was to make music that was influenced by early rock and roll. In the US the Band and Bob Dylan were making music that was consciously shorn of all studio experimentation, while in the UK there was a revival of fifties rock and roll. In April 1968 both "Peggy Sue" and "Rock Around the Clock" reentered the top forty in the UK, and the Who were regularly including "Summertime Blues" in their sets. Fifties nostalgia, which would make occasional comebacks for at least the next forty years, was in its first height, and so it's not surprising that Paul McCartney's song, "Lady Madonna", which became the A-side of the next single, has more than a little of the fifties about it. Of course, the track isn't *completely* fifties in its origins -- one of the inspirations for the track seems to have been the Rolling Stones' then-recent hit "Let's Spend The Night Together": [Excerpt: The Rolling Stones, "Let's Spend the Night Together"] But the main source for the song's music -- and for the sound of the finished record -- seems to have been Johnny Parker's piano part on Humphrey Lyttleton's "Bad Penny Blues", a hit single engineered by Joe Meek in the fifties: [Excerpt: Humphrey Lyttleton, "Bad Penny Blues"] That song seems to have been on the group's mind for a while, as a working title for "With a Little Help From My Friends" had at one point been "Bad Finger Blues" -- a title that would later give the name to a band on Apple. McCartney took Parker's piano part as his inspiration, and as he later put it “‘Lady Madonna' was me sitting down at the piano trying to write a bluesy boogie-woogie thing. I got my left hand doing an arpeggio thing with the chord, an ascending boogie-woogie left hand, then a descending right hand. I always liked that, the  juxtaposition of a line going down meeting a line going up." [Excerpt: The Beatles, "Lady Madonna"] That idea, incidentally, is an interesting reversal of what McCartney had done on "Hello, Goodbye", where the bass line goes down while the guitar moves up -- the two lines moving away from each other: [Excerpt: The Beatles, "Hello Goodbye"] Though that isn't to say there's no descending bass in "Lady Madonna" -- the bridge has a wonderful sequence where the bass just *keeps* *descending*: [Excerpt: The Beatles, "Lady Madonna"] Lyrically, McCartney was inspired by a photo in National Geographic of a woman in Malaysia, captioned “Mountain Madonna: with one child at her breast and another laughing into her face, sees her quality of life threatened.” But as he put it “The people I was brought up amongst were often Catholic; there are lots of Catholics in Liverpool because of the Irish connection and they are often religious. When they have a baby I think they see a big connection between themselves and the Virgin Mary with her baby. So the original concept was the Virgin Mary but it quickly became symbolic of every woman; the Madonna image but as applied to ordinary working class woman. It's really a tribute to the mother figure, it's a tribute to women.” Musically though, the song was more a tribute to the fifties -- while the inspiration had been a skiffle hit by Humphrey Lyttleton, as soon as McCartney started playing it he'd thought of Fats Domino, and the lyric reflects that to an extent -- just as Domino's "Blue Monday" details the days of the week for a weary working man who only gets to enjoy himself on Saturday night, "Lady Madonna"'s lyrics similarly look at the work a mother has to do every day -- though as McCartney later noted  "I was writing the words out to learn it for an American TV show and I realised I missed out Saturday ... So I figured it must have been a real night out." The vocal was very much McCartney doing a Domino impression -- something that wasn't lost on Fats, who cut his own version of the track later that year: [Excerpt: Fats Domino, "Lady Madonna"] The group were so productive at this point, right before the journey to India, that they actually cut another song *while they were making a video for "Lady Madonna"*. They were booked into Abbey Road to film themselves performing the song so it could be played on Top of the Pops while they were away, but instead they decided to use the time to cut a new song -- John had a partially-written song, "Hey Bullfrog", which was roughly the same tempo as "Lady Madonna", so they could finish that up and then re-edit the footage to match the record. The song was quickly finished and became "Hey Bulldog": [Excerpt: The Beatles, "Hey Bulldog"] One of Lennon's best songs from this period, "Hey Bulldog" was oddly chosen only to go on the soundtrack of Yellow Submarine. Either the band didn't think much of it because it had come so easily, or it was just assigned to the film because they were planning on being away for several months and didn't have any other projects they were working on. The extent of the group's contribution to the film was minimal – they were not very hands-on, and the film, which was mostly done as an attempt to provide a third feature film for their United Artists contract without them having to do any work, was made by the team that had done the Beatles cartoon on American TV. There's some evidence that they had a small amount of input in the early story stages, but in general they saw the cartoon as an irrelevance to them -- the only things they contributed were the four songs "All Together Now", "It's All Too Much", "Hey Bulldog" and "Only a Northern Song", and a brief filmed appearance for the very end of the film, recorded in January: [Excerpt: Yellow Submarine film end] McCartney also took part in yet another session in early February 1968, one produced by Peter Asher, his fiancee's brother, and former singer with Peter and Gordon. Asher had given up on being a pop star and was trying to get into the business side of music, and he was starting out as a producer, producing a single by Paul Jones, the former lead singer of Manfred Mann. The A-side of the single, "And the Sun Will Shine", was written by the Bee Gees, the band that Robert Stigwood was managing: [Excerpt: Paul Jones, "And the Sun Will Shine"] While the B-side was an original by Jones, "The Dog Presides": [Excerpt: Paul Jones, "The Dog Presides"] Those tracks featured two former members of the Yardbirds, Jeff Beck and Paul Samwell-Smith, on guitar and bass, and Nicky Hopkins on piano. Asher asked McCartney to play drums on both sides of the single, saying later "I always thought he was a great, underrated drummer." McCartney was impressed by Asher's production, and asked him to get involved with the new Apple Records label that would be set up when the group returned from India. Asher eventually became head of A&R for the label. And even before "Lady Madonna" was mixed, the Beatles were off to India. Mal Evans, their roadie, went ahead with all their luggage on the fourteenth of February, so he could sort out transport for them on the other end, and then John and George followed on the fifteenth, with their wives Pattie and Cynthia and Pattie's sister Jenny (John and Cynthia's son Julian had been left with his grandmother while they went -- normally Cynthia wouldn't abandon Julian for an extended period of time, but she saw the trip as a way to repair their strained marriage). Paul and Ringo followed four days later, with Ringo's wife Maureen and Paul's fiancee Jane Asher. The retreat in Rishikesh was to become something of a celebrity affair. Along with the Beatles came their friend the singer-songwriter Donovan, and Donovan's friend and songwriting partner, whose name I'm not going to say here because it's a slur for Romani people, but will be known to any Donovan fans. Donovan at this point was also going through changes. Like the Beatles, he was largely turning away from drug use and towards meditation, and had recently written his hit single "There is a Mountain" based around a saying from Zen Buddhism: [Excerpt: Donovan, "There is a Mountain"] That was from his double-album A Gift From a Flower to a Garden, which had come out in December 1967. But also like John and Paul he was in the middle of the breakdown of a long-term relationship, and while he would remain with his then-partner until 1970, and even have another child with her, he was secretly in love with another woman. In fact he was secretly in love with two other women. One of them, Brian Jones' ex-girlfriend Linda, had moved to LA, become the partner of the singer Gram Parsons, and had appeared in the documentary You Are What You Eat with the Band and Tiny Tim. She had fallen out of touch with Donovan, though she would later become his wife. Incidentally, she had a son to Brian Jones who had been abandoned by his rock-star father -- the son's name is Julian. The other woman with whom Donovan was in love was Jenny Boyd, the sister of George Harrison's wife Pattie.  Jenny at the time was in a relationship with Alexis Mardas, a TV repairman and huckster who presented himself as an electronics genius to the Beatles, who nicknamed him Magic Alex, and so she was unavailable, but Donovan had written a song about her, released as a single just before they all went to Rishikesh: [Excerpt: Donovan, "Jennifer Juniper"] Donovan considered himself and George Harrison to be on similar spiritual paths and called Harrison his "spirit-brother", though Donovan was more interested in Buddhism, which Harrison considered a corruption of the more ancient Hinduism, and Harrison encouraged Donovan to read Autobiography of a Yogi. It's perhaps worth noting that Donovan's father had a different take on the subject though, saying "You're not going to study meditation in India, son, you're following that wee lassie Jenny" Donovan and his friend weren't the only other celebrities to come to Rishikesh. The actor Mia Farrow, who had just been through a painful divorce from Frank Sinatra, and had just made Rosemary's Baby, a horror film directed by Roman Polanski with exteriors shot at the Dakota building in New York, arrived with her sister Prudence. Also on the trip was Paul Horn, a jazz saxophonist who had played with many of the greats of jazz, not least of them Duke Ellington, whose Sweet Thursday Horn had played alto sax on: [Excerpt: Duke Ellington, "Zweet Zursday"] Horn was another musician who had been inspired to investigate Indian spirituality and music simultaneously, and the previous year he had recorded an album, "In India," of adaptations of ragas, with Ravi Shankar and Alauddin Khan: [Excerpt: Paul Horn, "Raga Vibhas"] Horn would go on to become one of the pioneers of what would later be termed "New Age" music, combining jazz with music from various non-Western traditions. Horn had also worked as a session musician, and one of the tracks he'd played on was "I Know There's an Answer" from the Beach Boys' Pet Sounds album: [Excerpt: The Beach Boys, "I Know There's an Answer"] Mike Love, who co-wrote that track and is one of the lead singers on it, was also in Rishikesh. While as we'll see not all of the celebrities on the trip would remain practitioners of Transcendental Meditation, Love would be profoundly affected by the trip, and remains a vocal proponent of TM to this day. Indeed, his whole band at the time were heavily into TM. While Love was in India, the other Beach Boys were working on the Friends album without him -- Love only appears on four tracks on that album -- and one of the tracks they recorded in his absence was titled "Transcendental Meditation": [Excerpt: The Beach Boys, "Transcendental Meditation"] But the trip would affect Love's songwriting, as it would affect all of the musicians there. One of the few songs on the Friends album on which Love appears is "Anna Lee, the Healer", a song which is lyrically inspired by the trip in the most literal sense, as it's about a masseuse Love met in Rishikesh: [Excerpt: The Beach Boys, "Anna Lee, the Healer"] The musicians in the group all influenced and inspired each other as is likely to happen in such circumstances. Sometimes, it would be a matter of trivial joking, as when the Beatles decided to perform an off-the-cuff song about Guru Dev, and did it in the Beach Boys style: [Excerpt: The Beatles, "Spiritual Regeneration"] And that turned partway through into a celebration of Love for his birthday: [Excerpt: The Beatles, "Spiritual Regeneration"] Decades later, Love would return the favour, writing a song about Harrison and their time together in Rishikesh. Like Donovan, Love seems to have considered Harrison his "spiritual brother", and he titled the song "Pisces Brothers": [Excerpt: Mike Love, "Pisces Brothers"] The musicians on the trip were also often making suggestions to each other about songs that would become famous for them. The musicians had all brought acoustic guitars, apart obviously from Ringo, who got a set of tabla drums when George ordered some Indian instruments to be delivered. George got a sitar, as at this point he hadn't quite given up on the instrument, and he gave Donovan a tamboura. Donovan started playing a melody on the tamboura, which is normally a drone instrument, inspired by the Scottish folk music he had grown up with, and that became his "Hurdy-Gurdy Man": [Excerpt: Donovan, "Hurdy Gurdy Man"] Harrison actually helped him with the song, writing a final verse inspired by the Maharishi's teachings, but in the studio Donovan's producer Mickie Most told him to cut the verse because the song was overlong, which apparently annoyed Harrison. Donovan includes that verse in his live performances of the song though -- usually while doing a fairly terrible impersonation of Harrison: [Excerpt: Donovan, "Hurdy Gurdy Man (live)"] And similarly, while McCartney was working on a song pastiching Chuck Berry and the Beach Boys, but singing about the USSR rather than the USA, Love suggested to him that for a middle-eight he might want to sing about the girls in the various Soviet regions: [Excerpt: The Beatles, "Back in the USSR"] As all the guitarists on the retreat only had acoustic instruments, they were very keen to improve their acoustic playing, and they turned to Donovan, who unlike the rest of them was primarily an acoustic player, and one from a folk background. Donovan taught them the rudiments of Travis picking, the guitar style we talked about way back in the episodes on the Everly Brothers, as well as some of the tunings that had been introduced to British folk music by Davey Graham, giving them a basic grounding in the principles of English folk-baroque guitar, a style that had developed over the previous few years. Donovan has said in his autobiography that Lennon picked the technique up quickly (and that Harrison had already learned Travis picking from Chet Atkins records) but that McCartney didn't have the application to learn the style, though he picked up bits. That seems very unlike anything else I've read anywhere about Lennon and McCartney -- no-one has ever accused Lennon of having a surfeit of application -- and reading Donovan's book he seems to dislike McCartney and like Lennon and Harrison, so possibly that enters into it. But also, it may just be that Lennon was more receptive to Donovan's style at the time. According to McCartney, even before going to Rishikesh Lennon had been in a vaguely folk-music and country mode, and the small number of tapes he'd brought with him to Rishikesh included Buddy Holly, Dylan, and the progressive folk band The Incredible String Band, whose music would be a big influence on both Lennon and McCartney for the next year: [Excerpt: The Incredible String Band, "First Girl I Loved"] According to McCartney Lennon also brought "a tape the singer Jake Thackray had done for him... He was one of the people we bumped into at Abbey Road. John liked his stuff, which he'd heard on television. Lots of wordplay and very suggestive, so very much up John's alley. I was fascinated by his unusual guitar style. John did ‘Happiness Is A Warm Gun' as a Jake Thackray thing at one point, as I recall.” Thackray was a British chansonnier, who sang sweetly poignant but also often filthy songs about Yorkshire life, and his humour in particular will have appealed to Lennon. There's a story of Lennon meeting Thackray in Abbey Road and singing the whole of Thackray's song "The Statues", about two drunk men fighting a male statue to defend the honour of a female statue, to him: [Excerpt: Jake Thackray, "The Statues"] Given this was the music that Lennon was listening to, it's unsurprising that he was more receptive to Donovan's lessons, and the new guitar style he learned allowed him to expand his songwriting, at precisely the same time he was largely clean of drugs for the first time in several years, and he started writing some of the best songs he would ever write, often using these new styles: [Excerpt: The Beatles, "Julia"] That song is about Lennon's dead mother -- the first time he ever addressed her directly in a song, though  it would be far from the last -- but it's also about someone else. That phrase "Ocean child" is a direct translation of the Japanese name "Yoko". We've talked about Yoko Ono a bit in recent episodes, and even briefly in a previous Beatles episode, but it's here that she really enters the story of the Beatles. Unfortunately, exactly *how* her relationship with John Lennon, which was to become one of the great legendary love stories in rock and roll history, actually started is the subject of some debate. Both of them were married when they first got together, and there have also been suggestions that Ono was more interested in McCartney than in Lennon at first -- suggestions which everyone involved has denied, and those denials have the ring of truth about them, but if that was the case it would also explain some of Lennon's more perplexing behaviour over the next year. By all accounts there was a certain amount of finessing of the story th

Rob came through and we now have a new second-best guest ever. (No one will ever top John Kilo, the guy who has sex with food.) Tour de Gnar rider Sergi Massot jumps on and absolutely steals the show with great stories about riding in the Tour, renouncing his Spanish citizenship, and a rapid-fire Q & A session for the boys. We further discuss, with the AID of our followers and listeners, who hacked our podcast a couple of months ago. Jimmy tells us a story about questioning his sexuality after seeing two dudes holding hands.

Mes réseaux twitch.tv/lemwakastx.com/mwakastinstagram.com/lemwakastAcheter le livre de Thierry : https://www.fnac.com/a16753113/Marc-L...Aujourd'hui, je suis extrêmement honoré d'accueillir Thierry Gadault

Vous êtes vous déjà demandé pourquoi vous vous épilez ? D'où ça vient, quand ça a commencé ? Moi pas vraiment, avant de m'intéresser à ce sujet. Et il se trouve que l'injonction à l'épilation est l'un des moyens les plus pernicieux de contrôler le corps des femmes. Pour en discuter, j'ai invité Juliette Lenrouilly et Léa Taïeb, deux journalistes qui ont mené l'enquête sur les poils, et Aurore Pageot qui fait partie du collectif Liberté Pilosité Sororité, co-autrice d'un manifeste qui appelle à l'affranchissement des normes de beauté.Ensemble, on a parlé de l'hyper vigilance que nous avons en permanence sur nos corps et notre apparence, de pilophobie, de business du poil, de comment les représentations peuvent changer notre rapport au corps. Bonne écoute !Les ressources citées dans l'épisode :Parlons poil ! - Le corps des femmes sous contrôle, l'essai de Juliette Lenrouilly et Léa Taïeb paru aux éditions Massot, ainsi que le compte InstagramL'égalité à quelques poils près, l'essai du collectif Liberté Pilosité Sororité paru aux éditions Leduc SociétéLe film Portrait de la jeune fille en feu de Céline SciammaBillie, la première marque de rasoirs féminins qui montre des vrais poils dans ses pubsL'huile adoucissante pour prendre soin de ses poils Fur oilLes mouvements Januhairy et MaipoilsCeci est ton corps est une plongée sonore dans les récits intimes de fxmmes de toutes générations. Des témoignages et des tables rondes pour s'inspirer, se nourrir, se libérer des tabous et des injonctions qui perdurent. Si vous voulez participer à cette grande conversation sur les poils, les cheveux, et le corps, envoyez moi un vocal que je diffuserai bientôt ! Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

La charla de Luis Novaresio con Nicolás Massot en +Entrevistas salió al aire por LN+ el 5 de julio de 2023

{REDIFFUSION} de l'épisode du 28 octobre 2021Suite à la triste nouvelle apprise la semaine dernière, je souhaite rendre un dernier hommage à notre invité Christophe Chenebault

Episode spécial Quickwit Quickwit https://quickwit.io/avec Paul Masurel (https://twitter.com/fulmicoton) et François Massot (https://twitter.com/FrancoisMassot)

« T'as pensé à prévenir la garderie pour ce soir ? Ensuite, c'est toi qui vas chercher les enfants ? Et le gâteau d'anniversaire pour la semaine prochaine, il est commandé ?…». Tant de questions qui soulèvent un seul et même problème: la charge mentale que subissent quotidiennement les femmes.Comment se définit cette charge ? Concerne-t-elle seulement le travail domestique ? Et surtout, comment s'en libérer une bonne fois pour toute ?C'est à ce vaste sujet qu'ont décidé de s'attaquer Clémentine et Julie. Tentative de réponses dans ce nouvel épisode.Références entendues dans l'épisode:La Ligue du LOL: Une trentaine de membres d'un groupe Facebook – la Ligue du LOL – sont accusés de s'être livrés à du cyberharcèlement depuis 2009, en particulier sur Twitter. En savoir plus ici. Quoi de Meuf en a d'ailleurs parlé dans un épisode spécial à écouter iciLa sociologue féministe matérialiste Christine Delphy qui a écrit l'article “L'ennemi principal” paru dans la revue “Partisan” en 1970. Son intervention sur France Culture est disponible ici.Le MLF, le Mouvement de Libération des Femmes, un mouvement féministe autonome et non-mixte qui revendique la libre disposition du corps des femmes, et remet en question la société patriarcale. Il a été créé en 1970.La dessinatrice Emma qui a publié des dessins sur Facebook, et sorti sa BD intitulée “La charge mentale”. Son intervention dans le podcast La Poudre produit par Nouvelles Ecoutes ici.La chercheuse québécoise Nicole Brais à l'Université de Laval qui a définit la charge mentaleLa journaliste Titiou Lecoq qui a écrit le livre « Libérées: Le combat féministe se gagne devant le panier de linge sale » publié aux éditions Fayard. Son intervention est à écouter iciL'article de Slate sur ce que les hommes pensent de la charge mentale à lire iciLa sociologue américaine Arlie Russel Hoschild qui a théorisé l'«emotional labor», autrement dit, la charge émotionnelle, dans « The Managed Heart », publié par The University of California Press en 1983La BD “La charge émotionnelle et autres trucs invisibles”, aux éditions Massot de la dessinatrice EmmaLe mythe de la « strong black women », c'est à dire, de “la femme noire forte”Le film “Sister Act” d'Emile Ardolino et le personnage joué par l'actrice Whoopi GodlbergLes propos d'Amari Gaiter, étudiante à l'université de Colombia sont à lire iciLe phénomène du “tone policing”, autrement dit, faire “attention au ton que l'on emploie”L'article écrit par Clémentine Gallot sur Slate concernant la charge sexuelle est à lire iciL'article du Huffington Post pour des conseils aux hommes qui ont une “toute petite charge mentale”Marie Kondo est une femme japonaise spécialisée dans le rangement et le développement personnel. Elle a publié un livre “La magie du rangement” en 2011 aux éditions Pocket. C'est un best seller. France Inter en parle ici. Elle a également une série sur Netflix intitulée “Tidying up with Marie Kondo”, en français, “L'art du rangement avec Marie Kondo”. La bande-annonce est disponible iciMonica Geller est un personnage de fiction interprété par Courtney Cox dans la série “Friends”L'article de Vice sur la série Netflix de Marie KondoLa newsletter du Washington Post, The Lily, sur Marie KondoLa série « Mad Men » de Matthew Weiner diffusée entre 2007 et 2015La BD de la dessinatrice américaine Lucy Knisley intitulée “Something new: Tales from a Makeshift Bride” publiée en mai 2016La dessinatrice suédoise Liv Stromquist et sa BD “Les sentiments du prince Charles” sortie en 2012 aux éditions RackhamLa série “Insecure” de Larry Wilmore qui traite de la charge émotionnelle des femmes noires à travers le personnage interprété par Issa Rae. Un article à ce sujet ici.Le film “Madame Doubtfire” sur le travestissement mais aussi sur le double-standard avec l'acteur Robin WilliamsLe livre “Merci, fallait pas - Le sexisme expliqué à ma belle-mère” de Laura Domenge aux éditions FirstLa BD intitulée “Va chercher: Comment un méchant chien m'a montré le chemin” de Nicole Georges aux éditions CambourakisPour poser une question à la team Quoi de meuf : hello@quoidemeuf.netQuoi de Meuf est une émission de Nouvelles Écoutes, animée par Clémentine Gallot et Julie Hamaïde. Réalisée par Aurore Meyer Mahieu, montée et mixée par Laurie Galligani, coordonnée par Laura Cuissard.Vous pouvez consulter notre politique de confidentialité sur https://art19.com/privacy ainsi que la notice de confidentialité de la Californie sur https://art19.com/privacy#do-not-sell-my-info.

L'heure du crime fait le point sur une série de disparitions inexpliquées au cœur des Alpes du Sud au pied du Grand Morgon, au sud des Hautes-Alpes. Meurtres ou accidents ? Invités : Bernard Valezy, vice-président de l'ARPD (l'association l'Assistance et Recherche de personnes disparues) auteur du livre « avis de recherche » chez Massot éditions, Me Felix Allary, avocat des familles de Cédric Delahaye et Laurence Klamm et Annick Aubert, sœur de Monique Thibert.

The Halacha requires using a Ke'arah (platter) to serve the various foods for the Misvot of the Seder. While the Ke'arah does not have to be specially designed for the Seder, it is not sufficient to place each item separately in it its own bowl on the table. Rabbenu Ha'Arizal (Rav Yishak Luria of Safed, 1534-1572) revealed as special order in which to lay out the various foods on the Ke'arah. This can usually be found as an illustration in the beginning of the Hagaddah. Rabbi Mazuz taught a simple way to remember this order, by merely remembering two words: "SeMaH ZeVaHeCHa"-literally meaning, "Be happy with your Korban Pesah." It is an acronym for the order of the various foods starting from the top of the Ke'arah. 'S' is for 'Shalosh"-three, hinting to the three Massot. 'M' is for Maror, and "H" is for "Hazeret"-the endives. That is the first word "SeMaCH." Now, proceeding from right to left: 'Z' is for "Zeroa"-the shank bone. On the left is "Vet" for the "Besa"-egg, on the right bottom is "H" for Haroset and left bottom is the "Kaf" for "Karpas." -----Hacham Bension holds that the measure of a Kezayit (olive's bulk) for the round hand-baked Massot equals 20 grams. Before the Seder, one should weigh his Massot to determine how much of the Masa is a Kesayit. Some people eat the soft Massot which have a different density than the "cracker" Massot. Rabbi Mazuz as well as Hacham Bension and Rabbi Ben Moshe, hold that 35-38 grams of these Massot equal one Kezayit. Even though the Kezayit is a larger amount, this does not create a problem to consume in the requisite time of "Kedeh Ahilat Peras," since it is easier to eat them. Two Kezayits are eaten for Mosi Masa, One for Koreh and one (preferably two) for the Afikoman.The proper measure of a Kezayit of Maror is 30 grams, although those who are lenient to use 20 grams have upon what to rely, since Maror is M'Drabanan.

The Halacha states (Shulhan Aruch 456) states that Massa dough should be kneaded in small batches of less than the amount that requires taking Halla (approximately 3.5 lbs.). The Rabbis were concerned that if one would use a larger batch, it may be too big to handle at one time, and part of the dough would be left aside and become Hametz. Nevertheless, it is still possible to fulfill the Misva of separating Halla from Massa. The individual small batches of dough can be connected so that, together, they reach the requisite measure necessary to take Halla. This method is often not practical because the Massa baking process is so rushed. The preferred solution is to first bake all of the Massot and then to gather them all in a single bin. Together, they form the requisite measure, and one Massa can be taken as Halla for all of the Massot.It should be noted that on Yom Tob, it is prohibited to take Halla from Massot thqat were baked before Yom Tob. Therefore, all proper Hashgachot of Massot indicate that Halla has already been taken.Taking Halla from Massot baked on Yom Tob presents a special challenge as to what to do with the separated dough. It cannot be given to a Kohen, since our dough is all Tameh (ritually impure). It cannot be burnt, as is usually done, since it is prohibited to burn holy items, which will not be eaten on Yom Tob. Letting the dough sit until after Yom Tob would allow the dough to become Hametz on Pesach. While theoretically, the dough could be immersed in very cold water to suspend the leavening, this is not recommended. Rather, Maran says that the best option is to take Halla after the Massot are already baked. That way, the Halla can be set aside until after Yom Tob and burned.SUMMARYMassa should be kneaded in small batches of under 3.5 lbs.Halla should be taken from the Massa after it is already baked.

Some have the custom not to eat Massa that has come in contact with water. The concern is that there may be flour that was not fully baked inside the Massa that will become Hametz upon contact with water. This stringency is brought by the Mishna Berura (Rav Yisrael Meir Kagan of Radin, 1839-1933) in Siman 559, as well as by the Shaare Teshuva and the Shulhan Aruch HaRav. However, many great Ashkenazi authorities would eat soaked Massa. For example, there is testimony that the Vilna Gaon (Rav Eliyahu of Vilna, 1720-1797) ate it in front of his disciple Rabbi Haim of Volozhin. In general, Ashkenazim following the Lithuanian tradition do not adopt this custom, whereas Hassidim are stringent in this matter.Even those who are stringent, allow soaking Massa in "Meh Perot"-fruit juice, since these liquids do not create Hametz. This would also include wine and milk. However, the Steipler Rabbi Yaakov Yisrael Kanievsky, Benai Brak 1899–1985), was stringent even with regard to Meh Perot.Hacham Bension and Hacham Ovadia state that the custom of the Sepharadim is clearly not to be stringent. Once Massa is baked, it cannot become Hametz. This is especially true with regard to today's Massa, which is baked very thin and crisp, like a cracker.It should be noted that Hacham Ben Sion in his Ohr Le'sion adopted the stringent custom with regard to machine-made Massa. He was concerned that the cloud of pulverized flour in the air of the factories may land on the baked Massot and become Hametz upon contact with water. However, the Ner Sion, written by his student in 2012, states that Hacham Ben Sion later retracted his opinion, upon re-inspecting the Massa factories.SUMMARYThe custom of Sepharadim is to permit eating soaked Massa on Pesah.

The Rama (459) records the Halacha not to bake Massa in a room with a window exposed to the sun. This would potentially cause extra heat to the dough and expedite leavening. This is more problematic on a cloudy day, as mentioned in Masechet Ta'anit, because the rays of the sun are dispersed and will enter, even if there is no direct sunlight. Therefore, any window in the Massa bakery should be covered.It is highly advisable that in between each batch, all workers wash their hands to prevent residual dough from sticking to their palms and fingernails. That dough would become Hametz after 18 minutes and would render the subsequent rounds of dough unfit.It is important that they dry their hands well to prevent tap water, which is not "Mayim Shelanu"-water that rested overnight-from being incorporated into the dough. There are opinions that if dough was kneaded with such water, the Massot are unfit.All workers should remove their watches, to prevent dough from becoming stuck in the band. They should also refrain from using cell phones during the baking process. Besides for interrupting their concentration, residual dough may stick to the devices. This is also the reason the Poskim recommend that workers roll up their sleeves. These Halachot illustrate how much caution should be exercised when baking the Massa. There is only a hairline difference between Hametz and Massa. This principle is illustrated by the Hebrew spelling of the words "Massa" and "Hametz." They both share the letters "Mem" and "Sadi," whereas Massa contains a "Heh" and Hametz contains a "Het." The form of the Heh and the "Het" are almost identical except for the small fracture in the leg of the "Het." This is why Hacham Ben Sion once said that the most dangerous food to eat on Pesah is Massa. It is the most likely to be Hametz! Therefore, he personally limited the amount of Massa he ate on Pesah to the mandatory requirement.SUMMARY1. Massa should be baked in a room without windows.2. All workers engaged in baking must wash and dry their hands in between each batch.3. All workers must roll up their sleeves, remove their watches and refrain from using cellphones during the baking process.

The Gemara in Pesahim (p. 35) and Menahot (p. 70) discusses the five grains. In Hebrew, they are Hita, Se'orah, Kusemet, Shifon and Shibolet Shual. Hita is wheat. Se'orah is barley. The traditional translation of Kusemet is spelt, and Shifon is rye. Shibolet Shual is classically identified as oats. This is based on Rashi who offers the vernacular "Avina" as translation. Avina in French is oats. This is also the first interpretation of the Aruch, as well as other Rishonim of Ashkenaz, including the Bartenura's commentary on the Mishna. Only these five grains are susceptible to becoming Hames. Accordingly, only these grains can be used to make Masa. Only a grain that can potentially become Hames may be used for Masa. There are other Halachic ramifications of being classified a grain. Only dough made from these grains is obligated in separating Hallah. Also, only these five grains can constitute bread to recite the Beracha of Hamosi and Birkat Hamazon. In recent years, there was controversy surrounding the identification of Shibolet Shual as oats. Rabbi Dr. Yehuda Felix published a book through Bar Ilan University about the botany of Eres Yisrael in the times of the Mishna. Based on his research, he brought proofs that Shibolet Shual cannot mean oats. First, he claims oats did not exist in Eres Yisrael in the times of the Mishna. Moreover, oats have different characteristics than the other four grains. For example, oats do not contain gluten, whereas the other four grains doIf he is correct, oats cannot be used to make Massot. They also would never become Hames, and they would not be obligated in Hallah or Birkat Hamazon. Nevertheless, the modern Poskim, including Rav Moshe Feinstein, Rav Elyashiv and Rav Shlomo Zalman Auerbach, concur that we must be strict and treat oats as potential Hames. Rashi's identification cannot be overturned based on academic findings. The Rambam has already established that tradition and custom are the basis of Halacha. A recent populist article claiming that Rashi was wrong and that oats are not Hames is not only without any scholarly support, but it is presumptuous and reflects the authors bias against the rabbinic establishment. (listen to Audio for detailed critique of this position).Not only do the Poskim stand by the identification of Shibolet Shual as oats to treat it as Hames, but they also permit someone with Celiac to fulfill the Misva of Masa with oat Masa. Of course, it is better to bypass the controversy altogether and eat spelt Masa, if possible.SUMMARYOats are a grain that can become Hames. If a person can only eat oats, he may fulfil the Misva using oat Masa and recite the Beracha of Hamosi.

Anne Ghesquière reçoit dans Métamorphose Didier de Buisseret, thérapeute psycho-corporel, spécialisé dans le massage tantrique et l'accompagnement de couple.Être viril et doux à la fois, séduire mais rester respectueux, s'épanouir individuellement et s'avoir s'engager à deux... Comment être un homme au 21ème siècle ? Dans son ouvrage "Des hommes en chemin vers un masculin conscient" paru aux éditions Massot, mon invité, ancien avocat, ouvre des voies d'exploration. Nous sommes toutes et tous constitués des polarités dites féminine et masculine (ou Yin/Yang). Comprendre cette réalité offre la clé à un Masculin plus équilibré et plus conscient, qui n'est plus dans la confrontation avec le Féminin. Parce qu'il est possible d'accueillir, en soi, ces deux polarités pour repenser aussi la sexualité et réconcilier les deux sexes.Épisode #279Avec Didier de Buisseret, j'aborderai les thèmes suivants (extrait des questions) :Votre livre s'adresse-t-il exclusivement aux hommes ou peut-on dire à nos auditrices de rester au contraire ? Plutôt que de parler du féminin et du masculin, pourquoi préférez-vous utiliser les termes de yin et de yang issus de la philosophie taoïste ? Le poids des conventions influe sur la construction du genre. Comment se positionner sans imiter l'autre sexe ? Et comment fait-on dans les rapports de séduction ? Il semble que tout le monde soit un peu perdu face à des injonctions contradictoires.Mais parfois, une femme peut ne pas vraiment savoir ce dont elle a vraiment envie. Elle peut être tiraillée par plusieurs voix en elle ? Quand la tête, le cœur, le sexe ne nous soufflent pas la même chose. On fait comment ? Qui est mon invité de la semaine, Didier de Buisseret ?Didier de Buisseret est thérapeute psycho-corporel, spécialisé dans le massage tantrique et l'accompagnement de couple. Il anime régulièrement des stages invitant à explorer la relation à soi et à l'autre. Ancien avocat, il a à coeur de mêler de façon étroite le rationnel et l'émotionnel, le cérébral et l'intuitif, vers toujours plus de créativité et de liberté. L'auteur vit et exerce à Bruxelles. Le titre de son ouvrage « Des hommes en chemin vers un masculin conscient » est paru aux éditions MassotPour en savoir plus les sites therapeute-debuisseret.be ou presenceasoi.beQuelques citations du podcast avec :"Parfois ce que l'on croit être des archétypes sont en fait de vieux clichés sexistes.""L'idée n'est pas que les deux polarités Yin et Yang soient à leur maximum mais qu'il y ait une harmonie, un équilibre entre les deux.""Essayer de singer le sexe opposé n'a pas sens.""Le Yang n'est pas à diaboliser mais à nuancer et à tempérer par du Yin."Soutenez notre podcast en rejoignant dès maintenant la Tribu Métamorphose : http://www.patreon.com/metamorphoseRetrouvez Métamorphose, le podcast qui éveille la conscience sur Apple Podcast / Google Podcasts /Spotify/ Deezer /YouTube / SoundCloud/ CastBox/ TuneIn.Suivez l'actualité des épisodes Métamorphose Podcast sur Instagram, découvrez l'invité de la semaine et gagnez des surprises ;-)https://www.instagram.com/metamorphosepodcast/https://www.facebook.com/metamorphosepodcastBonne écoutePhoto DR Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Anne Ghesquière reçoit dans Métamorphose Pascale d'Erm, journaliste, auteure & réalisatrice. La connexion à l'eau est inscrite dans notre mémoire ancestrale. Symbole de vie, de purification, mais aussi de mort, l'eau est une énergie incroyable qui parle à notre corps et à notre inconscient. Les anciennes civilisations l'utilisaient déjà pour ses multiples vertus thérapeutiques. Mais saviez-vous que depuis une dizaine d'années, des médecins et des chercheurs redécouvrent les pouvoirs de l'eau sur la santé ? L'eau aiderait à lutter contre les maladies dites de civilisation : dépression, maladies auto-immunes, diabète. Elle atténuerait les processus inflammatoires et les symptômes de stress post-traumatique. Pascale d'Erm nous emmène à la découverte de ce qu'on appelle désormais la « blue health », la « santé bleu ». Épisode #277Avec Pascale d'Erm, j'aborderai les thèmes suivants (extrait des questions) :Le choix d'écrire sur l'eau n'est pas anodin, entre elle et toi, Pascale, il y a un peu une histoire d'amour ?En quoi l'écriture de ce livre, et cette enquête sur l'eau, ont-elles été pour toi un véritable chemin de guérison ?Qu'est-ce que la grande tradition du « prendre soin » ?Et les bienfaits de l'eau sur la souffrance émotionnelle ?Que soigne l'eau de mer ?Se soigner avec l'océan oui, mais à condition de préserver cet océan, c'est là l'enjeu principal pour toi aujourd'hui ? Tu parles de nouvelle conscience de l'eau ? Qui est mon invité de la semaine, Pascale d'Erm?Journaliste et auteure-réalisatrice, Pascale d'Erm s'est engagée sur les sujets de nature et d'écologie. En tant que journaliste, elle a publié dans Psychologies Magazine, Santé Magazine ou Régal. Dans l'édition, Pascale d'Erm a dirigé la collection “les Nouvelles Utopies” aux éditions Ulmer et publié une dizaine d'ouvrages dont “Sœurs en écologie” (2017, éditions La Mer Salée). En 2018, elle a écrit et réalisé “NATURA”. Son nouveau film documentaire AQUA part à la rencontre de chercheurs qui explorent les bénéfices de l'eau, douce et salée, sur la santé humaine et leurs thérapies bleues. Son nouveau livre « La santé bleue, la nouvelle médecine de l'eau », préfacé par Joël de Rosnay, est paru chez Massot.Vous pouvez la retrouver sur twitter : @pascaledermErratum : une erreur s'est glissée dans le podcast au sujet des sirènes de Sylvie Earl : elles étaient à quelques centaines de mètres de fond et pas 1000 ;-) Quelques citations du podcast avec Pascale d'Erm :"L'eau est une expérience immersive optimale.""On porte tous un paysage d'eau préféré.""Il y a un effet important de la nage en eau froide qui nous préserve et nous rend plus heureux.""Il n'y a qu'un seul cycle de l'eau sur terre."Soutenez notre podcast en rejoignant dès maintenant la Tribu Métamorphose : http://www.patreon.com/metamorphoseRetrouvez Métamorphose, le podcast qui éveille la conscience sur Apple Podcast / Google Podcasts /Spotify/ Deezer /YouTube / SoundCloud/ CastBox/ TuneIn.Suivez l'actualité des épisodes Métamorphose Podcast sur Instagram, découvrez l'invité de la semaine et gagnez des surprises ;-)https://www.instagram.com/metamorphosepodcast/https://www.facebook.com/metamorphosepodcastBonne écoutePhoto DR Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Anne Ghesquière reçoit dans Métamorphose Laurence de la Baume, auteure et journaliste scientifique qui cherche à comprendre et révéler le véritable rôle de notre cœur, son influence. Partir à la rencontre de cardiologues, de psychophysiologistes, d'épigénéticiens, de philosophes … Suivre mon invitée à la croisée de la science, des sagesse et d'expériences insolites. Elle va donc mener l'enquête. Elle interroge : si le cœur est un organe d'harmonie dont les fréquences agissent sur notre biologie et nos émotions. S'il est aussi un moteur de transformation de soi et une force d'amour infinie. Si, grâce à lui, nous pouvons faire évoluer notre niveau de conscience et le destin de la planète. Alors, peut-être que le cœur est la clé de la grande métamorphose, celle qui attend l'humanité ? Celle-là même que viseraient finalement, toutes les crises ! Épisode #253Avec Laurence de la Baume, j'aborderai les thèmes suivants (extrait des questions) :Pouvez-vous nous parler de cette expérience de décorporation que vous avez connue et des chemins qu'elle a ouverts pour vous ? Il nous faudrait "retrouver notre âme d'enfant qui expérimente naturellement le Tout ?"Quelle connexion il y a-t-il entre les fréquences de nos cœurs et le champ géomagnétique de la Terre ? Vous allez plus loin et expliquez que nous créons collectivement un champ d'énergie électromagnétique qui entre en résonance avec celui de la Terre et de ses systèmes énergétiques et que cela peut changer le monde ?Êtes-vous optimiste que nous puissions être au monde autrement ? Qui est mon invitée de la semaine, Laurence de la Baume?Laurence de la Baume est auteure et journaliste scientifique. Elle cherche à comprendre et révéler le véritable rôle de notre cœur, son influence cachée.Son dernier ouvrage « la contagion du cœur - Une enquête entre science, sagesses et expériences vécues» est paru aux éditions Massot.Quelques citations du podcast avec Laurence de la Baume :"Le cœur est le premier organe fonctionnel, il est formé et opérationnel au bout de deux mois""C'est plus que jamais important aujourd'hui de prendre du recul, de respirer et de se mettre en accord avec son coeur""On a tous le cœur ouvert mais on se protège en permanence puisqu'on croit que le cœur va nous conduire à nous échapper à nous-même, alors que c'est le contraire""C'est par le cœur que nous allons pouvoir comprendre et nous diriger dans la complexité croissante actuelle"Soutenez notre podcast en rejoignant dès maintenant la Tribu Métamorphose : http://www.patreon.com/metamorphoseRetrouvez Métamorphose, le podcast qui éveille la conscience sur Apple Podcast / Google Podcasts /Spotify/ Deezer /YouTube / SoundCloud/ CastBox/ TuneIn.Suivez l'actualité des épisodes Métamorphose Podcast sur Instagram, découvrez l'invité de la semaine et gagnez des surprises ;-)Bonne écoutePhoto DR Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Anne Ghesquière reçoit dans Métamorphose Christophe Chenebault, ancien entrepreneur dans l'internet qui agit aujourd'hui pour une société plus humaine et nous invite à interroger et à faire évoluer nos priorités.Avez-vous déjà pensé à faire la liste de ce que vous aimeriez voir croître dans de monde et de ce qui devrait à l'inverse, décroître ? Mon invité propose dans son nouveau livre « Bienvenu dans un monde positif », un tour d'horizon mettant en avant 100 initiatives emblématiques se faisant l'écho de l'action locale à l'échelle planétaire. Si, pour lui, le futur est dans la nature, il a à coeur de s'impliquer dans l'évolution de notre société, de nous y intéresser pour croire en l'avenir. Il nous dit : "En ce monde, il y a de formidables raisons d'espérer". Alors ouvrons des fenêtres sur l'avenir qui ne demande qu'à voir le jour. Épisode #235Dans cet épisode avec Christophe Chenebault, j'aborderai les thèmes suivants, extrait de quelques questions :Fais nous le pitch de ton livre Christophe ! Quel a été l'élément déclencheur pour l'écriture de ce livre ? Combien de temps cela t'a pris de recenser, répertorier, trier ces 100 initiatives ? Tu insistes en introduction sur l'importance des récits, d'en imaginer de nouveaux. Dans ta vie, et particulièrement dans ton changement de vie, comment cela s'est-il passé, je le disais en intro tu es passé de start uper à une vie d'engagements ?Tu parles d'une réinvention collective ?Pendant l'écriture du livre, certaines actions t'ont-elles particulièrement touchées ?« La transition repose sur la mobilisation locale des citoyens et sur leur envie d'agir collectivement. » Souvent nous voulons nous impliquer mais nous ne savons pas comment procéder. Comment passer de la bonne volonté à l'action concrète ? Que conseiller à un auditeur qui se sentirait démuni pour passer à l'action ? Comment trouver son rôle et sa juste place ?Parles-nous du biomimétisme qui est une magnifique et inspirante action positive ?Qui est mon invité de la semaine, Christophe Chenebault ?Christophe Chenebault est un ancien entrepreneur dans l'internet qui agit aujourd'hui pour une société plus humaine et nous invite à interroger et à faire évoluer nos priorités.Vous pouvez retrouver Christophe Chenebault dans son inspirant livre "Bienvenue dans un monde positif", 100 initiatives inspirantes pour croire en l'avenir chez Massot Éditions.Quelques citations du podcast avec Christophe Chenebault :"Dans ce livre il n'y a que des initiatives qui existent quelque part sur la planète, donc ce sont des utopies réalisées qui ne demandent qu'à être disséminées à l'échelle planétaire""L'idée est de trouver des solutions et que l'ensemble de ces solutions au fur et à mesure s'avère plus désirable que ce qui est mis en place aujourd'hui dans pleins de domaines""Il y a vraiment un enjeu de bâtir une société nouvelle basée sur des valeurs écologistes et humanistes""Au Bhoutan il y a une commission du bonheur national brut"Soutenez notre podcast en rejoignant dès maintenant la Tribu Métamorphose : http://www.patreon.com/metamorphoseRetrouvez Métamorphose, le podcast qui éveille la conscience sur Apple Podcast / Google Podcasts /Spotify/ Deezer /YouTube / SoundCloud/ CastBox/ TuneIn.Suivez l'actualité des épisodes Métamorphose Podcast sur Instagram, découvrez l'invité de la semaine et gagnez des surprises ;-)Bonne écoutePhotos DR Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Bienvenue dans le MiniPod Métamorphose, une série spéciale qui, en moins de 10mn, vous permet de capter l'essentiel du message d'un invité qui a déjà été diffusé dans le podcast Métamorphose. Aujourd'hui je suis avec Malory Malmasson, auteure et psycho-énergéticienne, consultante en mémoires cellulaires et inconscientes. Malory est l'auteure de Foufoune Cosmique aux Ed. Massot. Nous allons parler de sexualité consciente. Energisant ! Retrouvez l'épisode complet : #122 Malory Malmasson : Vers une sexualité sacrée, consciente et épanouie Qui est mon invitée de la semaine, Malory Malmasson ? Mon invitée consacre sa vie à l'évolution des consciences et a choisi de partager ses dons de psycho-énergéticienne & consultante en mémoires cellulaires et inconscientes avec le plus grand nombre. Elle a crée avec son compagnon, Marc de la Ménardière, (réalisateur du film “En quête de sens”), l'espace Totem en Vendée où ils accompagnent en stage des artistes et acteurs de changement.Elle nous propose aujourd'hui un livre dont le titre ne peut que nous faire sourire “Foufoune Cosmique” chez Massot Editions. Nous allons parler de ce chemin vers une sexualité sacrée, consciente et épanouie. Soutenez notre podcast en rejoignant dès maintenant la Tribu Métamorphose : http://www.patreon.com/metamorphoseRetrouvez Métamorphose, le podcast qui éveille la conscience sur Apple Podcast / Google Podcasts /Spotify/ Deezer /YouTube / SoundCloud/ CastBox/ TuneIn.Suivez l'actualité des épisodes Métamorphose Podcast sur Instagram, découvrez l'invité de la semaine et gagnez des surprises ;-)https://www.instagram.com/metamorphosepodcast/Bonne écoute Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.