Podcasts about Pata

What does it really mean to be a yogi? In this episode, Kino explores the heart of yogic life beyond postures and performance. A yogi, she reminds us, is someone sincerely committed to realizing the Self and who understands that cultivating sattva (clarity, harmony, and balance) is an essential step along the path. Drawing from Patañjali's Yoga Sūtra and the teachings of the three guṇas (sattva, rajas, and tamas), Kino examines how our daily choices, from the food we eat to the words we speak and the actions we take, either cloud the mind or orient it toward truth. She also explores the eight limbs of yoga (aṣṭāṅga) as a practical framework for living a yogic life, demonstrating how each limb supports the cultivation of sattva. This episode is a reminder that being a yogi is not about perfection. It is about showing up with sincerity, choosing clarity over confusion, and returning to the practice again and again. In that sincere effort lies the heart of yoga. Ready to deepen your practice? Explore thousands of classes, courses, workshops, and guided programs with Kino and our community of world-class teachers on Omstars. Practice with us at Omstars.com.

Parades et célébrations le 19 juin 2026 aux États-Unis : le pays célèbre Juneteenth : l'émancipation et la liberté pour tous les esclaves dans tous les États du pays annoncée en 1865 au Texas, dernier État à avoir appris la nouvelle. Une fête célébrée cette année à Paris aussi à l'Arrêt, le restaurant de la cheffe afro-américaine Mashama Bailey et Johno Morisano, un restaurant aux saveurs du sud des États-Unis, à l'image de celle proposée dans le restaurant original à Savannah dans l'État de Géorgie.  Mashama Bailey est notre invitée. Pour une autre lecture de l'émission, ces time codes ont été notés pour vous permettre d'aller directement aux sujets qui vous intéressent. L'émission s'ouvre à Savannah en Géorgie, chez Mashama Bailey, sous le porche de sa maison, un après-midi de printemps avec ses parents, à partager un petit goûter salé de pâté en croûte et de quiche, héritage de ses années françaises peut-être. Aux origines du goût. Avant d'être cheffe, Mashama Bailey est une enfant qui mange. Dans la cuisine de sa mère et surtout de sa grand-mère, elle découvre sans le savoir une certaine idée du goût : des produits de saison, du fait maison, et une cuisine ancrée dans le quotidien, une cuisine rurale et végétale, fraîche et intuitive, pas tout à fait l'image caricaturale de la cuisine de la soul food, et du Sud. (3'30) Les racines de cette cuisine se trouvent dans la nature même de la ville de Savannah, au sud-est des États-Unis, un port né il y a un peu plus de 2 siècles, un refuge pour de nombreuses communautés. Ce melting pot constitue le socle de la tradition culinaire avec un plat emblématique : le Country Captain. Les légumes au cœur de la cuisine du Sud (8'00) : Choux, feuilles de moutarde, navets, maïs, patates, douces… Les légumes, les greens sont un pilier, les marqueurs d'une identité culinaire et culturelle, et sa grand-mère les lui a transmis. Elle n'avait pas de jardin mais connaissait les maraichers, les jardiniers, les pêcheurs, et il y avait toujours une casserole sur le feu, quant à Mashama, elle passe sa vie dehors, à cueillir les fruits chauffés par le soleil à même l'arbre. C'est en France que le déclic opère (12'03), Mashama cheffe privée pour une famille new yorkaise a l'impression de régresser et saisit l'opportunité de partir en France, en Bourgogne, pour se former. Elle redécouvre en Bourgogne les marchés, cette proximité entre le champ et l'assiette. De retour à Savannah, Mashama part à la rencontre de cette vraie cuisine du Sud, dont le reflet n'est pas le poulet frit que le marketing propose à toutes les sauces -quand à l'origine, il s'agit d'un plat de fête très long à préparer. « Quand je suis rentrée, j'ai compris tout ce que j'avais à apprendre sur cette cuisine du Sud, et on ne pouvait pas l'apprendre dans les restaurants. Pour la découvrir et la goûter, il fallait rencontrer des gens, être invitée chez eux, regarder, pour apprendre ces recettes du Sud, comme les pains de maïs, ou le succotash, c'est un ragout de légumes d'été. »   Fière de ses racines africaines, qui l'honorent et l'obligent. (15'27) Mashama Bailey revendique aujourd'hui une cuisine personnelle, qui raconte l'histoire des Afro- Américains, de ses racines noires, et en valeur cet précieux. Elle insiste sur la nécessité de préserver et transmettre ces recettes, notamment auprès des jeunes générations. Elle rappelle le rôle fondamental des Afro-Américains dans la construction des États-Unis, de la société, et de la culture culinaire américaine, ce qu'elle s'emploie à mettre en valeur et transmettre. (21'28) Transmettre, préserver, honorer ses racines et la mémoire afro-américaine. La rencontre avec The GREY, la station de bus à Savannah. The Greyhound bus station, (22'10) une station construite et utilisée pendant la ségrégation. En allant la visiter, la cheffe très émue a ressenti étonnamment qu'il y avait eu de la joie dans l'espace réservé aux Noirs, aux « gens de couleur », elle a alors compris qu'elle allait à son tour faire résonner la joie dans cet endroit, et la mémoire d'un peuple, qu'elle allait cuisiner. La cheffe raconte sa relation amicale et d'associés avec Johno Morisano, (24'40) puis revient sur son restaurant parisien L'Arrêt, où elle cherche à faire découvrir une cuisine du Sud contemporaine et exigeante, adaptée au contexte français mais fidèle à ses racines. Puis il est question de Juneteenth, des raisons pour lesquelles beaucoup d'États américains connaissent encore mal cette fête, très largement célébrée dans le Sud, dans les États esclavagistes, et de la fête organisée à Paris ! Johno Mosisano et Mashama Bailey ont ouvert l'Arrêt à Paris, 36 rue de l'Université, dans le 7ème arrondissement. Mashama Bailey a été sacrée meilleure cheffe des États-Unis le 13 juin 2022, par la fondation James Beard, soit plus haute distinction gastronomique du pays. La série Chef's table avec Mashama Bailey série qui a contribué à révéler la cheffe américaine. Le livre : Black, white and the Grey, éditions Random House. ► Pour aller plus loin : - Black Food, de Bryant Terry, Hachette cuisine - Shrimps and Grits, plat emplématique du Sud, ces crevettes et ce gruau de maïs, nous en avions parlé avec Mashama ici - Les racines africaines de la cuisine américaine - High on the hod, de Jessica B Harris et la série Netflix inspirée du livre : La part du lion en français. Programmation musicale : - Pata pata, de Miriam Makeba - Georgia on my mind, de Ray Charles. La recette :

Parades et célébrations le 19 juin 2026 aux États-Unis : le pays célèbre Juneteenth : l'émancipation et la liberté pour tous les esclaves dans tous les États du pays annoncée en 1865 au Texas, dernier État à avoir appris la nouvelle. Une fête célébrée cette année à Paris aussi à l'Arrêt, le restaurant de la cheffe afro-américaine Mashama Bailey et Johno Morisano, un restaurant aux saveurs du sud des États-Unis, à l'image de celle proposée dans le restaurant original à Savannah dans l'État de Géorgie.  Mashama Bailey est notre invitée. Pour une autre lecture de l'émission, ces time codes ont été notés pour vous permettre d'aller directement aux sujets qui vous intéressent. L'émission s'ouvre à Savannah en Géorgie, chez Mashama Bailey, sous le porche de sa maison, un après-midi de printemps avec ses parents, à partager un petit goûter salé de pâté en croûte et de quiche, héritage de ses années françaises peut-être. Aux origines du goût. Avant d'être cheffe, Mashama Bailey est une enfant qui mange. Dans la cuisine de sa mère et surtout de sa grand-mère, elle découvre sans le savoir une certaine idée du goût : des produits de saison, du fait maison, et une cuisine ancrée dans le quotidien, une cuisine rurale et végétale, fraîche et intuitive, pas tout à fait l'image caricaturale de la cuisine de la soul food, et du Sud. (3'30) Les racines de cette cuisine se trouvent dans la nature même de la ville de Savannah, au sud-est des États-Unis, un port né il y a un peu plus de 2 siècles, un refuge pour de nombreuses communautés. Ce melting pot constitue le socle de la tradition culinaire avec un plat emblématique : le Country Captain. Les légumes au cœur de la cuisine du Sud (8'00) : Choux, feuilles de moutarde, navets, maïs, patates, douces… Les légumes, les greens sont un pilier, les marqueurs d'une identité culinaire et culturelle, et sa grand-mère les lui a transmis. Elle n'avait pas de jardin mais connaissait les maraichers, les jardiniers, les pêcheurs, et il y avait toujours une casserole sur le feu, quant à Mashama, elle passe sa vie dehors, à cueillir les fruits chauffés par le soleil à même l'arbre. C'est en France que le déclic opère (12'03), Mashama cheffe privée pour une famille new yorkaise a l'impression de régresser et saisit l'opportunité de partir en France, en Bourgogne, pour se former. Elle redécouvre en Bourgogne les marchés, cette proximité entre le champ et l'assiette. De retour à Savannah, Mashama part à la rencontre de cette vraie cuisine du Sud, dont le reflet n'est pas le poulet frit que le marketing propose à toutes les sauces -quand à l'origine, il s'agit d'un plat de fête très long à préparer. « Quand je suis rentrée, j'ai compris tout ce que j'avais à apprendre sur cette cuisine du Sud, et on ne pouvait pas l'apprendre dans les restaurants. Pour la découvrir et la goûter, il fallait rencontrer des gens, être invitée chez eux, regarder, pour apprendre ces recettes du Sud, comme les pains de maïs, ou le succotash, c'est un ragout de légumes d'été. »   Fière de ses racines africaines, qui l'honorent et l'obligent. (15'27) Mashama Bailey revendique aujourd'hui une cuisine personnelle, qui raconte l'histoire des Afro- Américains, de ses racines noires, et en valeur cet précieux. Elle insiste sur la nécessité de préserver et transmettre ces recettes, notamment auprès des jeunes générations. Elle rappelle le rôle fondamental des Afro-Américains dans la construction des États-Unis, de la société, et de la culture culinaire américaine, ce qu'elle s'emploie à mettre en valeur et transmettre. (21'28) Transmettre, préserver, honorer ses racines et la mémoire afro-américaine. La rencontre avec The GREY, la station de bus à Savannah. The Greyhound bus station, (22'10) une station construite et utilisée pendant la ségrégation. En allant la visiter, la cheffe très émue a ressenti étonnamment qu'il y avait eu de la joie dans l'espace réservé aux Noirs, aux « gens de couleur », elle a alors compris qu'elle allait à son tour faire résonner la joie dans cet endroit, et la mémoire d'un peuple, qu'elle allait cuisiner. La cheffe raconte sa relation amicale et d'associés avec Johno Morisano, (24'40) puis revient sur son restaurant parisien L'Arrêt, où elle cherche à faire découvrir une cuisine du Sud contemporaine et exigeante, adaptée au contexte français mais fidèle à ses racines. Puis il est question de Juneteenth, des raisons pour lesquelles beaucoup d'États américains connaissent encore mal cette fête, très largement célébrée dans le Sud, dans les États esclavagistes, et de la fête organisée à Paris ! Johno Mosisano et Mashama Bailey ont ouvert l'Arrêt à Paris, 36 rue de l'Université, dans le 7ème arrondissement. Mashama Bailey a été sacrée meilleure cheffe des États-Unis le 13 juin 2022, par la fondation James Beard, soit plus haute distinction gastronomique du pays. La série Chef's table avec Mashama Bailey série qui a contribué à révéler la cheffe américaine. Le livre : Black, white and the Grey, éditions Random House. ► Pour aller plus loin : - Black Food, de Bryant Terry, Hachette cuisine - Shrimps and Grits, plat emplématique du Sud, ces crevettes et ce gruau de maïs, nous en avions parlé avec Mashama ici - Les racines africaines de la cuisine américaine - High on the hod, de Jessica B Harris et la série Netflix inspirée du livre : La part du lion en français. Programmation musicale : - Pata pata, de Miriam Makeba - Georgia on my mind, de Ray Charles. La recette :

In this episode I am once again joined by Lorin Roche PhD, meditation teacher and author of “The Radiance Sutras”. I first met Lorin at the Summit at Sea conference in 2015 where we were both teaching. We attended each others' workshops and immediately hit it off. In those days, we both taught on the California conference circuit and were often booked to teach at the same gatherings. Over the years we spent many weeks enjoying extended conversations, raucous dinners, and long evenings of music and poetry. In short, we became true friends. It was a desire to share the rich conversations I was having with friends like Lorin that contributed to my decision to start the Guru Viking Podcast. And so, naturally, I asked Lorin to be my first interview subject. He went on to become one of my most popular, recurring guests. On the 18th of April 2026, Lorin died. What follows is our last interview and conversation, recorded a few months before his passing. The episode covers many of Lorin's most characteristic teaching themes and I have also included some of the conversation we had before and after the main episode content. There are many poignant and amusing stories from the years of my friendship with Lorin and there is a lot worth saying about his approach to meditation. One day, I might record an episode dedicated to those themes. For now I will say that it is obvious to all that Lorin was a vivacious man - the essence of his approach to teaching meditation was an encouragement to wholeheartedly embrace life. But I can also report that behind the scenes and off the stage Lorin was a generous man, irreverent, funny, and very kind. … https://www.guruviking.com/podcast/ep365-the-last-interview-lorin-roche-phd Also available on Youtube, iTunes, & Spotify – search ‘Guru Viking Podcast'. … Topics include: 00:00 - Intro 01:5 - Boats, geese, and hummingbirds 07:05 - Meditating with the flow of nature 08:14 - Being human is like being president of Earth 11:35 - The miracle of attention 13:51 - Teaching was easier in the 70s 15:15 - Agencylessness is a dumb idea 16:38 - Human reaction time 17:52 - Attending to the inner life 18:44 - Evil meditation teaching 19:58 - Misunderstandings about Patañjali's Yoga Sūtras 22:55 - Taming the body 26:33 - The genius of yoga 28:01 - Pros and cons of stopping the mind 28:57 - Where meditation went wrong 35:47 - Tuning the instrument 38:56 - Limitations of the “tuning” metaphor 43:24 - Monastic ideas sabotage lay people 45:41 - Religion vs meditation 50:56 - Is Loren's approach self-indulgent? 56:18 - Peak experiences and enlightenment 59:20 - Loren's drug experiences 01:02:20 - LA Yoga community's enthusiasm for drugs 01:04:50 - Loren asks about Steve's meditation … Previous episodes with Lorin here: - https://www.guruviking.com/search?q=lorin 
 To find out more about Lorin visit:
- www.lorinroche.com 
- www.radiancesutras.com 
- www.meditationtt.com For more interviews, videos, and more visit: - https://www.guruviking.com/ Music 'Deva Dasi' by Steve James

¡Día fructífero! Abrimos y cerramos caso. Como cada jueves nos acompaña Félix Martín, fiscal, hoy para hablar de los delitos en internet y cómo afectan a los más pequeños.

¡Día fructífero! Abrimos y cerramos caso. Como cada jueves nos acompaña Félix Martín, fiscal, hoy para hablar de los delitos en internet y cómo afectan a los más pequeños.

Elena Poniatowska, Mexico's most celebrated journalist and one of the most significant literary voices in the Spanish-speaking world, argues in this conversation that the crisis of contemporary journalism is inseparable from the collapse of critical reading—and that both are symptoms of a deeper cultural abandonment. Born in Paris in 1932 to a French-Polish father and Mexican mother, Poniatowska contends that her formation as a writer was shaped by displacement, by learning to listen to those rendered voiceless by history, and by understanding that journalism must be an act of solidarity before it is anything else. Widely credited with helping to establish the genre of testimonio in Latin American letters, she transformed the voices of the marginalised into literature that forced an entire nation to confront its own silence. She maintains that her landmark work La Noche de Tlatelolco was not a journalistic achievement but a moral obligation, and reflects on her decision to refuse the Xavier Villaurrutia Prize, asking who would award the dead. Poniatowska insists that the greatest threat to literature and journalism today is not artificial intelligence but the disappearance of patience—the willingness to sit with a text, a story, or a life long enough for meaning to emerge. At 94, she affirms her belief in the innate goodness of human beings as not a sentiment but a necessity.Elena Poniatowska, la periodista más célebre de México y una de las voces literarias más significativas del mundo hispanohablante, sostiene en esta conversación que la crisis del periodismo contemporáneo es inseparable del colapso de la lectura crítica—y que ambos son síntomas de un abandono cultural más profundo. Nacida en París en 1932 de padre franco-polaco y madre mexicana, Poniatowska afirma que su formación como escritora estuvo marcada por el desplazamiento, por aprender a escuchar a quienes la historia había silenciado, y por comprender que el periodismo debe ser ante todo un acto de solidaridad. Ampliamente reconocida por haber contribuido a establecer el género del testimonio en las letras latinoamericanas, transformó las voces de los marginados en literatura que obligó a una nación entera a confrontar su propio silencio. Sostiene que su obra emblemática La Noche de Tlatelolco no fue un logro periodístico sino una obligación moral, y reflexiona sobre su decisión de rechazar el Premio Xavier Villaurrutia, preguntando quién iba a premiar a los muertos. Poniatowska insiste en que la mayor amenaza para la literatura y el periodismo hoy no es la inteligencia artificial sino la desaparición de la paciencia—la disposición a permanecer con un texto, una historia o una vida el tiempo suficiente para que emerja el significado. A los 94 años, reafirma su creencia en la bondad innata de los seres humanos no como un sentimiento sino como una necesidad.English transcript:SAVAGE MINDS — Elena PoniatowskaJulian Vigo (00:00:15):Welcome to Savage Minds.Julian Vigo (00:00:26):I am your host, Julian Vigo.Julian Vigo (00:00:30):Today's guest is Elena Poniatowska Amor,Julian Vigo (00:00:33):daughter of a French father of Polish origin, Jean E.Julian Vigo (00:00:37):Poniatowski, and Mexican mother Paula Amor.Julian Vigo (00:00:41):She was born in Paris in 1932.Julian Vigo (00:00:46):She has practiced journalism since 1953 at the newspapers El Día, Excélsior, Novedades, and La Jornada.Julian Vigo (00:00:57):She is the first woman to receive the National Journalism Prize.Julian Vigo (00:01:02):Among her works is La Noche de Tlatelolco,Julian Vigo (00:01:05):a classic since its publication, for which she was awarded the Xavier Villaurrutia Prize,Julian Vigo (00:01:12):which she refused, asking who was going to award the dead.Julian Vigo (00:01:17):Her novels and stories include La Flor de Lis,Julian Vigo (00:01:20):De Noche Vienes and Tlapalería,Julian Vigo (00:01:24):Paseo de la Reforma,Julian Vigo (00:01:26):Hasta No Verte Jesús Mío,Julian Vigo (00:01:28):The Life of a Mexican Soldadera,Julian Vigo (00:01:31):Querido Diego Te Abraza Quiela, Tinísima, winner of the Mazatlán Prize in 1992, La Piel del Cielo,Julian Vigo (00:01:40):winner of the Alfaguara Novel Prize in 2001, and El Tren Pasa Primero,Julian Vigo (00:01:48):about the lives of Mexican railway workers,Julian Vigo (00:01:52):winner of the Rómulo Gallegos International Novel Prize in 2007. Leonora won the Premio Biblioteca Breve Seix Barral in 2011. El Universo o Nada (2013) is the biography ofJulian Vigo (00:02:07):astrophysicist Guillermo Haro. Ondas de la Niña Mala is her first poetry collection, andJulian Vigo (00:02:14):her children's books include Boda en Chimalistac, La Vendedora de Nubes,Julian Vigo (00:02:20):El Burro que Metió la Pata, Sansimonsi, illustrated by Rafael Barajas el Fisgón, and ElJulian Vigo (00:02:27):Niño Estrellero by Fernando Robles, and El Charito Cantor by Osvaldo Hernández.Julian Vigo (00:02:34):Her most recent novel, El Amante Polaco, portrays the last king of Poland, Stanisław AugustJulian Vigo (00:02:41):Poniatowski. Translated into 20 languages. Gabi Brimmer and Las Mil y Una, the story ofJulian Vigo (00:02:48):Paulina,Julian Vigo (00:02:49):address social issues.Julian Vigo (00:02:52):After receiving honorary doctorates from UNAM and UAM,Julian Vigo (00:02:57):she was awarded them from the University of Puebla,Julian Vigo (00:03:01):Sonora, Estado de México,Julian Vigo (00:03:04):Guerrero,Julian Vigo (00:03:06):Chiapas, and Puerto Rico.Julian Vigo (00:03:09):She also received honorary degrees from the New School for Social Research in New York,Julian Vigo (00:03:13):Manhattanville College, and Florida Atlantic University in the United States, and fromJulian Vigo (00:03:19):Paris 8,Julian Vigo (00:03:19):La Sorbonne, and Pau-Pyrénées, as well as the Maria Moors Cabot Prize for Journalism atJulian Vigo (00:03:27):Columbia University, New York, in 2004, and from the Universidad Complutense, Madrid, inJulian Vigo (00:03:32):2015.Julian Vigo (00:03:34):She received the French Legion of Honour at the rank of Officer, the Gabriela Mistral Prize from Chile, and inJulian Vigo (00:03:41):2006, the Courage Award from the International Women's Media Foundation.Julian Vigo (00:03:43):In 2013 she was awardedJulian Vigo (00:03:49):the Miguel de Cervantes Prize for literature in the Spanish language, and she received theJulian Vigo (00:03:55):Belisario Domínguez Medal in 2022.Julian Vigo (00:03:58):This is the highest honour granted by the Senate of the Mexican Republic, along with theJulian Vigo (00:04:05):Carlos Fuentes International Prize for Literary Creation in the Spanish Language in 2023.(00:04:12):I welcome Elena Poniatowska to Savage Minds.Julian Vigo (00:04:19):I wanted to begin with a memory I have of you.Julian Vigo (00:04:22):In 1993,Julian Vigo (00:04:25):I think,Julian Vigo (00:04:27):or 94 —Julian Vigo (00:04:28):one of those two years —Julian Vigo (00:04:29):I was in Puebla,Julian Vigo (00:04:31):Cholula,Julian Vigo (00:04:32):teaching at the Universidad de las Américas.Julian Vigo (00:04:35):Yes.Julian Vigo (00:04:36):And you came to give a talk at an observatory — I believe it was Tonantzintla.Elena Poniatowska (00:04:44):Yes, of course.Elena Poniatowska (00:04:46):Yes, I remember it, andJulian Vigo (00:04:49):you made a great impression on me that day. But I must confess that your entire life's work made a great impression on me — not only on me. I wanted to begin with your formation, your life, because you were born in France andJulian Vigo (00:05:12):how do you remember your childhood in France, and what elements of that world did you bring with you when you arrived in Mexico in 1942?Elena Poniatowska (00:05:21):Well, thank you very much for your interest.Elena Poniatowska (00:05:29):I can tell you that I was born in 1932 in Paris, France, because my mother Paula Amor marriedElena Poniatowska (00:05:42):Juan Poniatowski, who held a noble title — that of prince —Elena Poniatowska (00:05:54):because the last king of Poland was Stanisław Poniatowski, who was, I believe, one ofElena Poniatowska (00:06:07):the lovers —Elena Poniatowska (00:06:09):one of the younger lovers of the Empress of Russia, Catherine the Great.Elena Poniatowska (00:06:21):My mother was a woman born also in Paris, of Mexican origin, who leftElena Poniatowska (00:06:32):France because of the Mexican RevolutionElena Poniatowska (00:06:36):and went to live with her parents — Pablo Amor and Elena Iturbe de Amor — inElena Poniatowska (00:06:49):Biarritz, and they later moved to Paris. My mother always spoke Spanish with a French accent. She had two sisters who also lived in France for a long time,Elena Poniatowska (00:07:07):and they were rather Frenchified. She met my father Jean Poniatowski in Paris andElena Poniatowska (00:07:20):married him, and I was born in 1932 in Paris.Elena Poniatowska (00:07:25):I would like to knowJulian Vigo (00:07:31):more about this experience, because as you probably know — especially Americans and Canadians — they think everyone wants to come to their countries. But something they don't know until they travel is that in Mexico, Honduras, and all of Latin America there is a great deal of immigration, people from every country in the world. Why not?Elena Poniatowska (00:08:01):Her mother was in France; my mother was Mexican, born in France. Her family — she had a grandmother, my mother's great-grandmother, who was Russian, and in general her father was educated in England, so they wereElena Poniatowska (00:08:29):Mexicans — Amor is a Mexican surname — but they were very closely tied to Europe. For my mother, living in Europe was very natural becauseElena Poniatowska (00:08:49):she first attended a boarding school in Switzerland, in Lausanne,Elena Poniatowska (00:08:56):and then was in Paris. At a Rothschild ball she met my father JuanElena Poniatowska (00:09:07):Poniatowski and married him in 1931,Elena Poniatowska (00:09:17):or perhaps at the beginning of 1932, because I was born on the 19th of May 1932.Elena Poniatowska (00:09:29):My sister was born in 1933.Julian Vigo (00:09:34):As a child who spoke French and had to learn Spanish, in what way did language become your first tool for survival?Elena Poniatowska (00:09:47):Well, I also know English and French. Language, for me — learning Spanish in Mexico — was obviously about communicating with people in the streetElena Poniatowska (00:09:56):and with friends at school. But French remained my mother tongue, andElena Poniatowska (00:10:03):later I dedicated myself to speaking Spanish with the people at home, with the MexicansElena Poniatowska (00:10:14):I met at school.Elena Poniatowska (00:10:23):Curiously, I attended an English school called the Windsor School, but I learned SpanishJulian Vigo (00:10:38):in the street — one always learns Spanish better in the street. You learn so much from people in Mexico. I found people very warm and open. On the other hand, for Mexicans in my country, it's not the same at all.Julian Vigo (00:10:59):What was the first moment you felt that writing was the only possible way to understand the Mexico around you?Elena Poniatowska (00:11:11):Well, I would never say it was the only possible way.Elena Poniatowska (00:11:17):I think that at twenty,Elena Poniatowska (00:11:22):twenty-one years old, returning from studying at a convent of nuns, I had theElena Poniatowska (00:11:30):good fortune to be able to start writing at a newspaper called, at that time,Elena Poniatowska (00:11:42):Excelsior.Elena Poniatowska (00:11:43):They asked me to submit a daily article,Elena Poniatowska (00:11:48):an interview,Elena Poniatowska (00:11:51):a chronicle, and I did so with enormous enthusiasm and great pleasure, because it allowed meElena Poniatowska (00:12:00):to know Mexico much better, and also to meet great figures of Mexico such asElena Poniatowska (00:12:09):Diego Rivera,Elena Poniatowska (00:12:11):José Clemente Orozco, actresses like Dolores del Río and María Félix, architects likeElena Poniatowska (00:12:20):Luis Barragán, and writers — even writers of my own generation, or slightlyElena Poniatowska (00:12:31):older than me — such as Juan Rulfo,Elena Poniatowska (00:12:38):Rosario Castellanos, Carlos Fuentes, and of course Octavio Paz.Julian Vigo (00:12:46):What a rich life! María Félix — what a figure!Julian Vigo (00:12:52):How was your experience beginning in journalism in the early 1950s in a predominantly male environment?Elena Poniatowska (00:13:05):Well, I was truly very lucky, because people were very kind andElena Poniatowska (00:13:14):even affectionate towards me. No one ever refused me an interview. I was able to reach Alfonso Reyes, Octavio Paz,Elena Poniatowska (00:13:25):the great architect Luis Barragán, José Vasconcelos the philosopher, and all were veryElena Poniatowska (00:13:40):kind and cordial with me, as were important actors like Ignacio LópezElena Poniatowska (00:13:51):Tarso,Elena Poniatowska (00:13:52):and of course those I already mentioned — Dolores del Río, María Félix — and singers, and also many visitors who came from Europe, the United States, or Latin America to perform in Mexico.Elena Poniatowska (00:14:20):Did you know El Indio Fernández?Elena Poniatowska (00:14:23):Yes,Elena Poniatowska (00:14:24):of course —Elena Poniatowska (00:14:25):I interviewed him,Elena Poniatowska (00:14:26):I knew El Indio Fernández, who by ten in the morning was already offering me a tequila, whichElena Poniatowska (00:14:35):I did not drink, as I'm not accustomed to drinking. And also many otherElena Poniatowska (00:14:47):famous actors of that era, like the comedian Cantinflas, whoseJulian Vigo (00:14:56):real name was Mario Moreno. Cantinflas — I know his work. Wow. And you were in Mexico during the same period as Luis Buñuel?Elena Poniatowska (00:15:06):Yes, I ended up with Luis Buñuel — yes, we had a great friendshipElena Poniatowska (00:15:15):because out of affection he came to have lunch at my house several times, so I saw him on manyElena Poniatowska (00:15:24):occasions. We even went together to the prison of Lecumberri to visit, for example, aElena Poniatowska (00:15:33):Colombian who had committed an offence and was imprisoned — his name wasElena Poniatowska (00:15:42):Álvaro Mutis.Julian Vigo (00:15:45):And you have lived through and narrated great social transformations.Julian Vigo (00:15:51):Do you think that today's digital democratisation of public opinion helps social justice, or does it rather dilute real struggles into mere narratives of identity and likes?Elena Poniatowska (00:16:08):Well, I think the Mexican Revolution,Elena Poniatowska (00:16:15):led by a man like Emiliano Zapata, was extraordinary in redistributing the lands and haciendas of Mexico and in giving all MexicansElena Poniatowska (00:16:32):access to better education, better formation, a better life. I consider thatElena Poniatowska (00:16:46):Emiliano Zapata was one of the great heroes of Mexico, even though he personally took away the haciendas of my grandparents, the Amors and the Iturbes.Julian Vigo (00:17:06):What did you learn from the great intellectuals of your youth?Julian Vigo (00:17:08):You mentioned Juan Rulfo, Alfonso Reyes, and many others.Julian Vigo (00:17:15):What influenced your decision to dedicate your life to letters?Elena Poniatowska (00:17:20):No, they did not influence my decision to dedicate myself to letters.Elena Poniatowska (00:17:26):I met them later.Elena Poniatowska (00:17:30):I began as a journalist, a modest journalist, at the newspaper Excelsior in 1953 —Elena Poniatowska (00:17:42):I think 1952 or 1953. Very young. I had come from an education at a convent of nuns inElena Poniatowska (00:17:53):Philadelphia, and I decidedElena Poniatowska (00:17:57):to write chronicles and interviews to get to know Mexico better. I came to know those figures through my work as a journalist, and because I could question themElena Poniatowska (00:18:14):in the language I knew and had learned as a child — at ten years old — which is Spanish. My other languages until then had beenElena Poniatowska (00:18:22):English,Elena Poniatowska (00:18:27):and French, which is my mother tongue.Julian Vigo (00:18:32):You are known for the testimonio.Julian Vigo (00:18:36):At what exact point did you feel that traditional fiction was not sufficient to capture Mexican reality?Elena Poniatowska (00:18:47):As I mentioned, I began by engaging with many valuable MexicansElena Poniatowska (00:18:54):who received me in their homes, gave me their opinions. At the same time as I received what they wished to give me,Elena Poniatowska (00:19:04):I observed how their homes were, how they treated the people around them — their wives, their children, their servants — and all of that helped meElena Poniatowska (00:19:22):to know Mexico better. I also spent a great deal of time in the streets — that is, with the poorest people, whom I was able to reachElena Poniatowska (00:19:34):through my own nature and also with the help of a great Mexican illustrator, Alberto Beltrán. In the street he made sketches of everything the Mexicans did — the newspaper vendors,Elena Poniatowska (00:19:59):the taco sellers,Elena Poniatowska (00:20:03):the women making corn tortillas by hand,Elena Poniatowska (00:20:12):the bakeries, and then the hardware stores where everything was sold — from nails toElena Poniatowska (00:20:22):cleaning cloths — and all of that was a very vital andElena Poniatowska (00:20:32):generous apprenticeship in learning to see the lives of working Mexicans.Julian Vigo (00:20:40):But it is an art — to be able to listen to people, to their voices.Julian Vigo (00:20:53):How did you learn to listen to the voice of the other?Elena Poniatowska (00:20:58):Well, I think it is a natural inclination.Elena Poniatowska (00:21:03):It is not learned.Elena Poniatowska (00:21:05):It is not forced.Elena Poniatowska (00:21:06):It is a way of being.Elena Poniatowska (00:21:10):I am far more interestedElena Poniatowska (00:21:11):in speaking of what others do, how they do it, and who they are, than in speaking of myself, my sensations, my emotions. And I have done this from a very young age, so it has become a habit — it is part of my daily life.Julian Vigo (00:21:36):Do you believe that the testimonio is essentially an act of political resistance?Elena Poniatowska (00:21:44):I think so.Elena Poniatowska (00:21:45):It helps enormously to know the thinking of those who have no power, who are not in power, who do not consider themselves political, who are not leaders — although I did have the great privilege of interviewing leaders and very important figures in Mexico,Elena Poniatowska (00:22:14):such as, for example, the Spanish refugee of the Civil War, Luis Buñuel.Julian Vigo (00:22:26):And how was the process of gathering the voice of Jesusa Palancares?Julian Vigo (00:22:32):How long did it take you to absorb her story?Elena Poniatowska (00:22:38):Well, it was a privilege. I heard her — she was doing laundry in a popular building, a building where many Mexicans lived who had noElena Poniatowska (00:22:56):economic resources. Everything she said caught my attention enormously. I approached her and asked if I could visit her at her home,Elena Poniatowska (00:23:13):which was a very poor house, obviously far from the area where I lived. And so I went toElena Poniatowska (00:23:26):see her once a week. We became friends, and she began telling me her life. And that is howElena Poniatowska (00:23:36):the novel Hasta No Verte Jesús Mío came about. When it was published,Elena Poniatowska (00:23:43):she asked me to give her ten copies to give to her friends —Elena Poniatowska (00:23:52):the bricklayers or the people she had worked with.Julian Vigo (00:24:00):And why did she choose the testimonial genre for Hasta No Verte Jesús Mío?Julian Vigo (00:24:09):It is one of the testimonial novels because —Elena Poniatowska (00:24:16):She didn't really choose it — she didn't. It was I who gathered her words andElena Poniatowska (00:24:27):assembled them in the best way I could. But she did not choose it.Elena Poniatowska (00:24:34):She could not read or write. She did not know how to read or write. But she asked for the books, and I — the cover of the book, what goes on the outside, is the Santo Niño de Atocha, a small Christ child that she liked.Julian Vigo (00:25:08):And I saw it in the street, and so I put it there so she would be happy. But I was asking you about the testimonial genre — in 1969 it was not a common thing in literature.Julian Vigo (00:25:26):How was this novel received?Julian Vigo (00:25:30):I wonder if people were confused.Julian Vigo (00:25:32):Is it a true story or is it fiction?Elena Poniatowska (00:25:35):No, it was very well received. The book was greatly liked.Elena Poniatowska (00:25:41):Immediately many editions came out and it was translated into English and French.Julian Vigo (00:25:51):And I wonder if at that time — less so today — people were confused because they did not know if it was a completely real story or partly real. Because the novel Hasta No Verte Jesús Mío was categorised as a novel.Elena Poniatowska (00:26:16):Yes, that's right, that is what it was.Elena Poniatowska (00:26:19):It is a novel based on a character — a woman who was in the Mexican Revolution, the life of a soldadera. To what extent is Jesusa an invented character or a real woman? I have said it, I have written it many times: Jesusa is a real character. After that I wroteElena Poniatowska (00:26:49):other books about other women who were also real characters. I had the joy of knowing Jesusa in person, but for example Tina Modotti, the main character ofElena Poniatowska (00:27:08):the novel Tinísima, I did not know. And other novels about other women and other characters I also did not know.Julian Vigo (00:27:22):What lessons about the resilience of Mexican women did you learn from Jesusa that remain relevant today?Elena Poniatowska (00:27:31):All the women in Mexico whom I see and engage with and encounter in the streetElena Poniatowska (00:27:41):and who come to my house — they are women who have known how to struggle and continue to struggle. For example, one woman, Rosario Ibarra de Piedra, whose son was disappeared, and who searched all of Mexico — she is obviously one of the heroines who has most caught my attention.Julian Vigo (00:28:10):And especially in recent years — almost thirty years — the femicides and the disappearances of men and women. You are still fighting for your society, and I think literary words have the power to carry reality forward. I am thinking of La Noche de Tlatelolco — that was the first book of yours I read. It is incredible. I have no words. Thank you. It is one of the best books of the twentieth century, and I teach it. It is astonishing. Can you speak about why you began that work, and also for those listening now who do not know the history of what happened in Mexico?Elena Poniatowska (00:29:03):Well, in general I can tell you that I received letters from a prisoner in the jail — Jesús Sánchez García — and I began going to Lecumberri, which was called the Black Palace of Lecumberri. It was no palace — it was a prison with bars and cells. I asked permission from the prison director — I believe his name was Martín del Campo — and he gave it to me. That is how I went to gather life stories from men, and later, at the women's prison, from women who had nothing to do with my own life, who bore no resemblance to what I hadElena Poniatowska (00:30:03):lived or what I would go on to live.Elena Poniatowska (00:30:16):That was an enormous enrichment for me, and a knowledge of an unknown Mexico that also helped me understand MexicoElena Poniatowska (00:30:31):— a Mexico to which I owe a great deal.Elena Poniatowska (00:30:35):I think that everything I am I owe to the voice, and to the gift of their voice, that the poorest Mexicans gave me — those I was able to approach over years and years,Elena Poniatowska (00:30:52):going to the prison and sometimes going to their own very poor homes, called vecindades, which were located in the very neighbourhoods where the prisons were.Julian Vigo (00:31:11):How did you manage the pain and trauma of the testimonies you heard while assembling the book?Elena Poniatowska (00:31:22):Pain is not managed. To manage something is to seek something. Pain is simply assumed and lived. So the pain is in the words written in the book.Julian Vigo (00:31:46):And why did you choose the technique of a collage of voices rather than a linear, chronological narrative for this book?Elena Poniatowska (00:31:57):I have many other books that speak even of personal stories — books that contain much of biography.Julian Vigo (00:32:13):Yes, but it is very interesting how you wove those narratives together in this book. It is very beautiful, in fact.Julian Vigo (00:32:24):Was there any moment during the writing of La Noche de Tlatelolco when you felt fear or censorship?Elena Poniatowska (00:32:33):Well, there was always the dread of entering terrain unknown to me.Elena Poniatowska (00:32:40):Ultimately, I was educated —Elena Poniatowska (00:32:45):I spent time in the United States at a convent to be educated, not to become a nun — it was called the Sacred Heart Convent.Elena Poniatowska (00:33:03):When I came out I was speaking English. My mother tongue is French. And when I left there, my strongest desire was truly to know Mexico — the country I had arrived in at the age of ten, but in which I had received an educationElena Poniatowska (00:33:30):in both English and French, not in Spanish.Julian Vigo (00:33:36):More than fifty years later, what impact do you think that book has on the collective memory of young Mexicans today?Elena Poniatowska (00:33:48):Well, I think that is a question that should be put to them.Elena Poniatowska (00:33:55):What I can say is that I have receivedElena Poniatowska (00:33:59):a great deal of affection from young people — many come to find me at my home, and I give lectures and talks with some frequency. Remember that I am already 94 years old and have lost the use of my left eye, which prevents me from seeing well. So within my limitations,Elena Poniatowska (00:34:27):I remain in contact with the people who want to see me, which for me produces great enthusiasm and which I experience as great support.Julian Vigo (00:34:42):The book you wrote is something very specific — evidently about Mexico — but it is still a book with which everyone can identify. If we look around today, where there are acts of political repression in almost every country in the world in one form or another — and I know your books are translated into many languages — I wonder whether the power of La Noche de Tlatelolco came from the form of the narration itself, not only from the fact that you confronted the government, the police, and justice. You narrated a story of the people seeking justice, yes, but literature itself was also seeking truth within its pages. There are wars everywhere, there is too much sadness. After the lockdown — which was less bad in Mexico than here in Italy — we are living through a very difficult moment. Do you sometimes think of this book as a model for dialogue, for collaboration, for moving forward together, the people united?Elena Poniatowska (00:36:09):Well, what I love about this book is that it has so many voices — many voices gathered from mothers of families, from children of political prisoners. For me it was a great learning experience to go to the prison in Mexico and see a world I did not know, to be accepted in that world, to go frequently to hear and gather the voices of political prisoners and of young people whoElena Poniatowska (00:36:52):didn't even have strong political ideas but were imprisoned because they had stolen something in a market. It meant entering a world I was completely unfamiliar with,Elena Poniatowska (00:37:13):to which I did not belong. And it was an enormous lesson — a very generous lesson — in how the lives of others can be. That is what I have dedicated myself to over many years, because I remain a journalist and continue writing about disasters such asElena Poniatowska (00:37:39):not only the massacre of the 2nd of October, but what the earthquake of 1985 meant for Mexico and the loss, for many Mexicans, of their families and their homes.Julian Vigo (00:37:59):Yes. You documented the earthquake of ‘85 — a moment when the Mexican government was completely paralysed and it was civil society that took control to rescue the city.Julian Vigo (00:38:15):Do you believe that peoples are still alone in the face of tragedy, or is that organic solidarity you described an invincible force?Elena Poniatowska (00:38:29):Yes,Elena Poniatowska (00:38:29):of course.Elena Poniatowska (00:38:30):I believe — that is why I believe in the invincible force of Mexicans, who help and support each other, who run to answer a cry for help. They are the ones who save themselves by saving others. I believe in that truth. It is a truth I lived, that I witnessed,Elena Poniatowska (00:38:57):and for me it is a lesson, a way of life.Julian Vigo (00:39:03):Does it reflect the structural abandonment of the seamstresses, the inhabitants, those who live in vecindades, and the poorest?Julian Vigo (00:39:13):How did you manage, in the midst of the chaos, the dust, and the mourning of those days, to earn the trust of people so that they would share their most painful and raw testimonies?Elena Poniatowska (00:39:30):Well, I have two physical advantages.Elena Poniatowska (00:39:32):I am small in stature. I frighten no one. No one is afraid of me. I can go anywhere. I am not someone who imposes anything at all, and I know how to listen. So by listening to others' voices, I gather them, I keep them, I memorise them,Elena Poniatowska (00:40:03):and then I put them on paper.Elena Poniatowska (00:40:06):That is the most solitary and difficult moment — writing about what happens to others,Elena Poniatowska (00:40:21):their sorrows,Elena Poniatowska (00:40:22):their joys,Elena Poniatowska (00:40:24):their defeats and also their triumphs —Elena Poniatowska (00:40:28):and making books and articles from them. Because I am also a journalist sinceElena Poniatowska (00:40:38):1953. I am now 94 years old.Julian Vigo (00:40:47):You're listening to Savage Minds.Julian Vigo (00:40:49):If you're enjoying the show, take a second to subscribe at savageminds.co.Julian Vigo (00:40:54):Feel free to comment below or drop us a line to share your thoughts.Julian Vigo (00:40:59):Support independent media today.Julian Vigo (00:41:01):Now, let's get back to it.Julian Vigo (00:41:15):Many consider that the earthquake of ‘85 not only brought down buildings but also toppled the myth of the Mexican State's absolute control — marking the true birth of modern citizenship in the country.Julian Vigo (00:41:33):From your perspective as a chronicler —Elena Poniatowska (00:41:40):I think Mexicans have always had enormous character and enormous capacity to defend themselvesElena Poniatowska (00:41:49):in spite of their own poverty, or in spite of the total absence of outside help.Elena Poniatowska (00:42:02):There was in Mexico a Mexican Revolution,Elena Poniatowska (00:42:08):a country conquered by very cruel conquerors, and yet the country has continued to forge ahead and has continued to demonstrate its bravery and courage in allElena Poniatowska (00:42:28):circumstances — one of which was, for example, the earthquake, in which the neighbours themselvesElena Poniatowska (00:42:37):helped each other before the State or the so-called government did anything.Elena Poniatowska (00:42:46):So I think it is a country with many very brave men, women, and children who save themselves, who know how to look after themselves.Elena Poniatowska (00:43:03):Of course there are people who don't know how to do it, and there are people who sometimes end upElena Poniatowska (00:43:12):in prison or in hospital. But in general Mexico is a country of very solidary people, people who help each other and defend themselves.Julian Vigo (00:43:31):What I love about your books in general is that you give voice — you shed light on the lives that are forgotten.Julian Vigo (00:43:42):Do you feel that in this book, for example, or in Nadie Me Verá Llorar, the author's voice becomes more present or closer to her characters than in your earlier works?Elena Poniatowska (00:43:56):No,Elena Poniatowska (00:43:57):I think that element is present in all my works — in Hasta No Verte Jesús Mío, in the book about the 2nd of October, in the earthquake — and it is always present in everything I still do at the newspaper where I work. I am in a certain way a chronicler and aElena Poniatowska (00:44:21):participant in the lives of other Mexicans.Julian Vigo (00:44:27):And I also notice that many of your works are about women — Tinísima, the life of Tina Modotti, a woman who lived so many lives in one. Leonora. And I wanted to ask — before we get to those books — about Querido Diego Te Abraza Quiela. Why did you choose that subject? Not only Diego Rivera but his first wife.Elena Poniatowska (00:44:59):I was moved to learn that in Paris, Angelina Beloff had gone to Mexico to seeElena Poniatowska (00:45:12):Diego Rivera, whom she had supported in Paris. He had lived with her and had livedElena Poniatowska (00:45:22):off her, because she was the one with a salary. He was a very young painter withoutElena Poniatowska (00:45:33):money, without resources. She helped him. And when she went to Mexico, she had also hadElena Poniatowska (00:45:42):the only male child that Diego Rivera ever had, who died of cold in Paris. And when she decided to go to Mexico — in a sense, to get to know the country of her lover — she decided to go to the Palacio de Bellas Artes because she knew that heElena Poniatowska (00:46:11):would be there. And he walked right past her — past the seat, one of those red velvet seats in the Palacio de Bellas Artes, called butacas, in which she was sitting — he walked past and did not even recognise her.Elena Poniatowska (00:46:40):That story struck me deeply, and that is why I decided to write the small book —Elena Poniatowska (00:46:55):it is not a very long book —Elena Poniatowska (00:46:58):called Querido Diego, Te Abraza Quiela.Julian Vigo (00:47:00):In Tinísima, what was it that drew you to the life of Tina Modotti?Elena Poniatowska (00:47:08):In reality it came from a request to make a film. The cinematographerElena Poniatowska (00:47:17):Gabriel Figueroa told me that a film was going to be made about Tina Modotti, the Italian woman who had been in Mexico. So I began interviewing all the people who had knownElena Poniatowska (00:47:38):Tina Modotti. And even when I was invited to France for a conference, I had theElena Poniatowska (00:47:47):opportunity to go to Udine in Italy to meet and get to know the siblings of Tina Modotti —Elena Poniatowska (00:48:00):to see them, interview them, speak with them.Elena Poniatowska (00:48:05):Then when I was told that the film about Tina Modotti in Mexico was no longer going to be made because there was no money, I — who had gone at my own expense to that conference in France and another writers' conference inElena Poniatowska (00:48:37):Italy — decided to launch into writing the novel called Tinísima, because I hadElena Poniatowska (00:48:48):interviewed many old communists whom I had gone to visitElena Poniatowska (00:48:56):in their various homes — generally very modest, very poor homes.Elena Poniatowska (00:49:03):I did not want to let them down, and so the novel Tinísima was published.Julian Vigo (00:49:10):And to what extent does Tina Modotti represent the struggle of the woman artist in the twentieth century?Elena Poniatowska (00:49:19):To the extent that she commits herself —Elena Poniatowska (00:49:23):she takes photographs of Mexico alongside Edward Weston, and then goes alongsideElena Poniatowska (00:49:33):Commander Carlos of the Fifth Regiment to Spain — she goes to the Spanish Civil War and becomes a nurse, caring evenElena Poniatowska (00:49:52):on the ground for the bodies that had fallen on the earth before taking them to the Red Cross — giving them first aid and dedicating herself to saving lives,Elena Poniatowska (00:50:08):or helping to save lives. I believe that many soldiers did not die thanks to the care of this womanElena Poniatowska (00:50:19):who was in the trench following the doctors.Julian Vigo (00:50:25):You have said that the writer must be a bridge.Julian Vigo (00:50:29):Between what worlds do you think it is most necessary to build bridges — or should we be breaking bridges today?Elena Poniatowska (00:50:38):No, I think one should never break a bridge, for anything.Elena Poniatowska (00:50:42):I think one mustElena Poniatowska (00:50:45):communicate — that the most important thing in the life of any human being is dialogue. Peoples too must dialogue with others in order to know each other. I think Mexico must have a dialogue with the United States, and that many Mexicans who have returned fromElena Poniatowska (00:51:09):the United States because TrumpElena Poniatowska (00:51:12):did not want to receive them, has rejected them — well, they nevertheless had, with another nation or with the inhabitants of another nation, knowledge and dialogue.Elena Poniatowska (00:51:28):And that I believe is what is called,Elena Poniatowska (00:51:34):within Catholicism if you like, or within any religion by whatever name it may be called — that is human fraternity. The otherElena Poniatowska (00:51:50):is the one who exists and who awaits you and whom you must help, because perhapsElena Poniatowska (00:51:58):one day you will need him to extend a hand to you.Julian Vigo (00:52:05):Trump is certainly a character, but I see the situation as too tragic for Americans — the United States, still my country — because the reality is that a large part of the Western world has absolutely no idea of the immense cultural, intellectual, and spiritual richness of Mexico.Julian Vigo (00:52:30):For me, it's not only Trump —Julian Vigo (00:52:32):but Americans, Canadians, etc.Julian Vigo (00:52:35):know nothing about the sharpest chroniclers of this country. If you had to open the eyes of an international audience completely unaware of Mexico's depth, what would you say is the most valuable treasure of Mexican identity that the rest of the world is missing?Elena Poniatowska (00:53:01):Well, I must say that many North Americans have come and written about Mexico — anthropologists and sociologists. We have Oscar LewisElena Poniatowska (00:53:17):and many others who have written about the poorest Mexicans, starting in Tepoztlán, a city near Mexico City, following them to the vecindades in the city where they took refuge and found very modest work. So yes, there have been North AmericansElena Poniatowska (00:53:44):who have written about the richness and beauty of Mexico, and their books areElena Poniatowska (00:53:53):translated into Spanish and are admired and appreciated by Mexicans who are grateful that attention is paid to them. So one cannot say that no one who has come from outside has cared about Mexico — in archaeology, in anthropology, as well as figures like Frances Toor, who was a North American woman who created a magazineElena Poniatowska (00:54:39):called Mexico Today and wrote extensively about Mexican customs and lived in Taxco.Elena Poniatowska (00:54:41):For example, a certain William Spratling enriched himself personally but helped many Mexicans inElena Poniatowska (00:54:51):Taxco to learn how to work silver and sell silver. And still today many foreigners and tourists go to buy silver objectsElena Poniatowska (00:55:10):that come from a mine discovered by foreigners — and clearly alsoElena Poniatowska (00:55:20):plundered, one might say, by foreigners.Julian Vigo (00:55:30):Because not everything is entirely good or entirely bad. But I was referring to the fact that — as you know, having been in the United States and many other countries — Trump and far too many people insufficiently educated about Mexico think that all Mexicans want to invade the United States. But the reality is otherwise. In Mexico there was a great cinematic tradition, for example. Mexican cinema has greatly influenced Hollywood — not only today but throughout history. The Oscar statuette itself was modelled on the body of El Indio Fernández. People do not know the depth of Mexican philosophy. I am thinking of Sor Juana, who contributed so much to poetry, theatre, even science — if we think of her letter to Sor Filotea, who was actually Manuel Fernández de Puebla. That dialogue was very important. Western feminists know nothing of these exchanges between those two figures. But for me Mexico has an enormous and very important force in the history of philosophy, science, and feminism. And I am thinking of Octavio Paz's book on Sor Juana Inés de la Cruz, called Sor Juana Inés de la Cruz, or The Traps of Faith. You knew Paz closely. Did you have conversations with him about his perspective on this book — especially regarding the power dynamics of the Church and the silencing she suffered as an intellectual woman?Elena Poniatowska (00:58:09):No, but I think you are mixing very many topics into one question, and it isElena Poniatowska (00:58:18):difficult to answer you because you are speaking of very diverse things that evenElena Poniatowska (00:58:27):happened in different centuries.Elena Poniatowska (00:58:30):Sor Juana — there have always been in Mexico,Elena Poniatowska (00:58:34):before Octavio Paz, people who dedicated themselves to reading,Elena Poniatowska (00:58:40):studying, and getting to know Sor Juana Inés de la Cruz.Elena Poniatowska (00:58:45):I will not add more names to those you mentioned, but there are many studies and many Sor Juana scholars in Mexico, as well as at the University of SantaElena Poniatowska (00:59:01):Barbara, California, in Paris, in France —Elena Poniatowska (00:59:04):there are many studies on the great figures of Mexico — not only The Traps of Faith by the Mexican poet Octavio Paz. So these are studies that will continue and do continue. In California, for example, Sara Poot HerreraElena Poniatowska (00:59:32):is dedicated to studying Sor Juana Inés de la Cruz, along with many other scholars — I don't know if she is still living — whose name was Rivers. All of these are studies that have been carried out in Mexico and outside Mexico.Julian Vigo (00:59:55):No, I was asking specifically about Paz's book because you knew him and —Elena Poniatowska (01:00:03):I knew him,Elena Poniatowska (01:00:04):I admired him, and I also wrote about him. I have a book about him. I admired him,Elena Poniatowska (01:00:12):I knew him, his poetry dazzled me. And he is a man whom I have admired since getting to know him, and whom I also hold with affection.Julian Vigo (01:00:29):I asked about your relationship with him because sometimes it happens to me too — with other writers — one asks or someone asks me, “Why did you do that?” It is a dialogue. Because that book, The Traps of Faith, had something very important — not only for Mexico but it placed the image of Sor Juana before the world. Many people began to ask who this nun was because it is very important. I was asking about the presentation Paz gave of her — whether you had any dialogues with Paz from your own perspective.Elena Poniatowska (01:01:20):Well, yes, of course. But there were others who also spoke at great length about Sor Juana de la Cruz — other Mexicans before Octavio Paz, other Mexicans who, for example, also concerned themselves with indigenous peoples, such as a priest — Ángel María Garibay — who was also a Sor Juana scholar. So there are many studies on Sor Juana Inés de la Cruz and there are Sor Juana scholars in Santa Bárbara, for example, such as Doctor Sara Poot Herrera and others — a woman by the name of Rivers and many more.Julian Vigo (01:02:16):You have dedicated your life to listening and giving voice to those who have none, through the chronicle and literature.Julian Vigo (01:02:26):Today,Julian Vigo (01:02:27):with social media,Julian Vigo (01:02:28):it seems that everyone has a platform for opinions.Julian Vigo (01:02:32):But are we really listening?Julian Vigo (01:02:36):What happens to the power of the word when it becomes a constant noise, as in social media?Elena Poniatowska (01:02:45):I don't know.Elena Poniatowska (01:02:46):I suppose it loses efficacy.Elena Poniatowska (01:02:49):But that depends on the activity of each human being.Elena Poniatowska (01:02:58):There are people — elderly people, for example, people already old — for whom life,Elena Poniatowska (01:03:08):even in institutions, in care homes, means turning the television on from morning until night and being entertained — that is, entertained without making the least effort of criticism or thought in front ofElena Poniatowska (01:03:29):the television.Elena Poniatowska (01:03:31):I have seen that this has been very important in keeping the elderly calm andElena Poniatowska (01:03:41):allowing them to die little by little in institutions called health facilities, where they have thisElena Poniatowska (01:03:52):constant and rather sad entertainment. ButElena Poniatowska (01:03:59):as they say in Mexico: no hay de otra — there is no other option, or no other option has been found, or there are not enough people willing to dedicate themselves to attending to and caring for others. So I see it as an end of lifeElena Poniatowska (01:04:28):for an individual who was once a thinking individual, who knew how to act,Elena Poniatowska (01:04:37):who knew how to elevate himself,Elena Poniatowska (01:04:41):to become a better human being. And I find it sad.Julian Vigo (01:04:46):Today, and for twenty years now, I have noticed as a university professor that students are reading less and less. Today, with so-called artificial intelligence — so-called because intelligence it is not — students are not reading. How can literature or journalism restore the true value and depth of words when we are in a world full of social media, opinions, and videos of a cat doing something funny?Elena Poniatowska (01:05:31):Your question is very difficult because I don't have the answer.Elena Poniatowska (01:05:37):What I can say is that ultimately it depends on the teachers.Elena Poniatowska (01:05:44):It depends on students having a good teacher,Elena Poniatowska (01:05:49):because even I have seen in classes —Elena Poniatowska (01:05:54):in different classes —Elena Poniatowska (01:05:57):that many young people continue looking at their phones while the teacher is writing onElena Poniatowska (01:06:07):the board, or speaking, or giving a class.Elena Poniatowska (01:06:13):So we shall see whether the destiny of young people will depend on what theyElena Poniatowska (01:06:21):learn from their phone. I don't have a phone —Elena Poniatowska (01:06:27):I never bought one,Elena Poniatowska (01:06:28):never got one. Or whether they will be able to go beyond themselvesElena Poniatowska (01:06:37):and beyond above all what the phone wants to give you or teach you or not teach youElena Poniatowska (01:06:46):or distract you from — because ultimately it is a distraction. Yes.Julian Vigo (01:06:53):Writing something to share — in quotation marks — they are sharing nothing in the end. I have noticed that many people are sharing articles they have not read. Young people are embracing identity politics and cancel cultureJulian Vigo (01:07:16):in the absence of any engagement with material reality today.Julian Vigo (01:07:21):That is my fear —Julian Vigo (01:07:23):that the millennials,Julian Vigo (01:07:26):this generation of thirty-year-olds,Julian Vigo (01:07:31):are fixated on pronounsJulian Vigo (01:07:36):but do nothing to help their neighbour.Julian Vigo (01:07:41):They do nothing to fight for living wages.Elena Poniatowska (01:07:46):Well, not all of them.Elena Poniatowska (01:07:49):It's a generalisation, of course.Elena Poniatowska (01:07:54):But I think you are right.Elena Poniatowska (01:07:58):It is a generalisation, because in any case there are human beings who live for others.Julian Vigo (01:08:08):We are in two camps today, because during the lockdown I noticed that many people — even on the right — were fighting for the poor in the United States, where I published. I could not publish a single article questioning the lockdown. That is when I started Savage Minds, because I was asking: what is happening? I no longer recognise this world in which the left is pushing people not to speak. We weren't talking about the lockdown, and the right was speaking very openly. And I see that politically, left and right — there is no longer that dichotomy, so to speak.Elena Poniatowska (01:09:02):Yes,Elena Poniatowska (01:09:03):I thank you greatly for your interest and I thank you enormously for this conversation. I feel animated,Elena Poniatowska (01:09:11):I feel glad to hear what you are saying.Elena Poniatowska (01:09:19):But I do feel that,Elena Poniatowska (01:09:22):as you say,Elena Poniatowska (01:09:23):the speed,Elena Poniatowska (01:09:26):the pace of all events,Elena Poniatowska (01:09:29):the television —Elena Poniatowska (01:09:32):it sets critical thinking and reflection on events to one side,Elena Poniatowska (01:09:41):because everything must be immediate, mustn't it?Elena Poniatowska (01:09:46):That is to say, everything ends in a second. Even the deepest interests sometimes last onlyElena Poniatowska (01:09:56):a few — one might even think, as we say in Mexico,Elena Poniatowska (01:10:01):un ratito — just a little while. There is no continuity in ideas orElena Poniatowska (01:10:12):even in purposes. There is something we all know called habit, and each personElena Poniatowska (01:10:21):lives according to the habits they have established in order to keep going —Elena Poniatowska (01:10:28):to keep existing, if you will. To make it to night, fall asleep, and know that you will wake the following day. Or perhaps you won't wake, because — well, for example, IElena Poniatowska (01:10:45):am a person of 94 years old and I have no certainty that I will see the following morning. ButElena Poniatowska (01:10:55):what I do believe is thatElena Poniatowska (01:10:58):I believe in the innate goodness of every human being.Elena Poniatowska (01:11:03):I have to believe in it, because I need that hope.(01:12:02): Get full access to Savage Minds at www.savageminds.co/subscribe

Každé jaro přijímá záchranná stanice v Pavlově na Havlíčkobrodsku ptačí mláďata, která přišla o rodiče.

In this solo episode, Amy Wheeler brings clarity and steadiness to the recent scientific critique of Polyvagal Theory by Paul Grossman and colleagues. Rather than reacting defensively or dismissing prematurely, this conversation explores what mature fields do when a theory is questioned: they clarify, refine, and return to foundational principles.Amy examines:• What the critique of Polyvagal Theory actually addresses • The difference between scientific precision and clinical usefulness • The risks of oversimplifying complex neurophysiology • How public wellness language can unintentionally flatten biological complexity • Why yoga philosophy offers a time-tested phenomenological map of regulationThis episode weaves together scientific dialogue, clinical reflection, lived experience, and classical yoga philosophy.What the Critique Is — and Is NotPaul Grossman and colleagues (2026) raise concerns about elements of Polyvagal Theory's evolutionary framing, anatomical specificity, and evidentiary scope. One key issue discussed in this episode is the oversimplification of the vagus nerve in popular discourse.The vagus nerve contains approximately 100,000 fibers and plays a role in multiple complex regulatory systems, including cardiac, respiratory, inflammatory, and gastrointestinal processes. Reducing this complexity to a simple “on/off switch” or three-state ladder risks confusing metaphor with mechanism.This episode distinguishes between:• The measurable anatomy of autonomic regulation • The heuristic value of state-based language • The difference between metaphor and physiologyScientific refinement is not erasure. It is maturation.Clinical Reflection and Lived ExperienceDr. Arielle Schwartz's clinical reflections on the critique emphasize that debates about anatomical precision do not invalidate the lived experience of autonomic shifts observed in therapy.Clinicians consistently observe patterned shifts in:• Activation • Collapse • Social engagement • Relational presencePolyvagal language has helped many practitioners and clients understand safety, co-regulation, and state-dependent perception.At the same time, intellectual integrity requires us to refine language where necessary.Amy also reflects on how we conduct discourse in our field. How we respond to disagreement often reveals our own regulatory capacity. Regulation is not only theoretical — it is relational.Phenomenology and the Yoga SūtraThis episode situates the conversation within a broader philosophical frame.Phenomenology refers to the study of lived experience as directly perceived — before explanation, before measurement, before mechanism.The Yoga Sūtra begins from this place:Yoga Sūtra 1.1 — atha yogānuśāsanam “Now, the teaching of yoga.”The word atha signals presence and readiness. We begin from lived experience.Yoga Sūtra 1.2 — yogaś citta-vṛtti-nirodhaḥ “Yoga is the regulation of the fluctuations of consciousness.”Patañjali maps patterns of activation, dullness, clarity, and agitation long before neurophysiology named vagal pathways. The Yoga Sūtra functions as a guidebook for living because it trains discernment around these fluctuations.The Guṇas: A 2,000-Year-Old Map of RegulationDrawing from Sāṅkhya philosophy, Amy explores the three guṇas:• Sattva — clarity, coherence, luminosity • Rajas — activation, movement, agitation • Tamas — inertia, heaviness, obscurationAt the level of lived experience, there is meaningful overlap between the guṇas and contemporary discussions of autonomic states. While not anatomically identical, the phenomenological parallels are substantial.The guṇa framework does not reduce regulation to a nerve or a switch. It describes qualities of experience across body, mind, and relationship.Rather than “turning on” calm, yoga cultivates flexibility across states and gradually increases the probability of sattva through lifestyle, perception, ethical alignment, and disciplined awareness.Yoga Therapy Is Not a TechniqueA central theme of this episode:Yoga therapy and therapeutic yoga are not techniques.They are not hacks. They are not state toggles.They are integrated ways of living.Yoga shapes:• How we eat • How we sleep • How we speak • How we relate • How we perceive • How we respond under stressOver time, practice softens identification with roles, biases, and reactive narratives.Yoga Sūtra 1.3 — tadā draṣṭuḥ svarūpe avasthānam “Then the seer abides in their true nature.”Regulation becomes existential, not merely physiological.Key Takeaways• Scientific critique strengthens intellectual integrity. • Oversimplification should be corrected. • Clinical lived experience still matters. • Ancient phenomenological models remain relevant. • Yoga therapy is a multifaceted path, not a nervous-system trick.Yoga does not stand or fall with any single contemporary theory. Its philosophical foundations have endured across time, even as scientific language evolves.

Host Gurpreet Kaur brings to life the Punjabi story Pata Nahi, beautifully written by Zorawar, through a heartfelt and engaging narration.

Efrén Esqueda fue víctima de una persona que, según diversas denuncias, habría hecho daño a varias personas contactándolas a través de aplicaciones de citas dirigidas a la comunidad LGBT. Esta historia no solo habla del impacto de la violencia, también muestra lo desprotegidas que pueden estar las personas cuando confían en alguien que conocen en línea. Al compartir su caso, Efrén abrió la puerta para que muchas otras personas reconocieran patrones similares y se animaran a contar lo que vivieron. Si tú, o alguien que conoces, ha pasado por una experiencia parecida y se siente con la fuerza y la seguridad para hacerlo, su testimonio puede ser clave para que la justicia entienda la magnitud del daño y ayude a prevenir que estas situaciones se repitan. No estás sola, no estás solo, y nunca es tu culpa haber confiado. Buscar apoyo emocional y orientación legal, acercarse a organizaciones especializadas o contactar a Efrén puede ser un primer paso; lo más importante es tu bienestar y que todo lo que hagas sea desde un lugar de cuidado hacia ti. Este programa no sustituye la terapia psicológica ni la atención profesional en salud mental. Si consideras que necesitas ayuda, te recomiendo acudir a un/a psicólogo/a clínico/a o a un/a psiquiatra. Como consejo personal: si crees que necesitas terapia, evita acudir a figuras mediáticas como youtubers o psicólogos/as de la televisión. Busca un especialista que se dedique principalmente a la consulta clínica y al tratamiento directo de pacientes. Conviértete en un supporter de este podcast: https://www.spreaker.com/podcast/caras-vemos-sufrimientos--6047464/support.

Soy un Psicópata Y así vivo la VIDA, casi mato a mi HERMANO

Makala haya Muziki Ijumaa mtangazaji wako asiependa makuu Ali Bilali anakuletea burudani ya Muziki Ijumaa leo Mei 22 2026. Kumbuka pia kumfollow  @billy bilali

Makala haya Muziki Ijumaa mtangazaji wako asiependa makuu Ali Bilali anakuletea burudani ya Muziki Ijumaa leo Mei 22 2026. Kumbuka pia kumfollow  @billy bilali

Join Patañjali Chary, Founder and CEO of Fourth Vital, for a profound exploration into the true frontier of proactive medicine. Boasting a 30-year pedigree across AI and enterprise architecture at giants like Oracle and Microsoft, Patañjali is shifting healthcare from reactive treatment to upstream intelligence. In this episode, we move past basic medical chatbots and workflow automation to discuss how Fourth Vital uses non-invasive biosensing and AI to decode hidden physiological signals—allowing clinicians to detect life-threatening kidney risks long before symptoms manifest or conventional blood labs flag a crisis.

¿Amor o abuso? Hoy leemos la historia de "La religiosa", un relato crudo de dependencia, manipulación y el cinismo más absoluto. Hoy en LesConfesiones:• El amor ciego a los 17 años con una mujer 10 años mayor.• Mudanza al extranjero, burnout de trabajar sin parar y ataques de pánico.• Los ataques de ira y el abuso psicológico constante.• La sospechosa "amiga de la academia" compartiendo el sofá de forma muy íntima.• El doloroso final: escucharla gimiendo con su nuevo novio en tu propia cama.• Empacar tu vida entera en dos valijas, agarrar a tu perro y huir para empezar de nuevo.✨ Nuestras Redes

In this solo episode, Amy returns to one of the heart-teachings of Patañjali's Yoga Sūtra: learning to observe the fluctuations of mind and how they shape behavior, communication, and the way we show up in relationship and daily life. Rather than analyzing or diagnosing, she frames this as svādhyāya—steady self-reflection rooted in classical yoga philosophy.Amy walks listeners through Vyāsa's five states of mind (citta-bhūmi)—from restlessness and dullness to one-pointed focus and absorption—and then explores how a meditation practice naturally moves beyond surface thoughts into the deeper layers of experience: vijñānamaya kośa (discernment, beliefs, identity patterns) and ānandamaya kośa (inner coherence, ease, meaning, and trust).She also introduces contemplative inquiry through vāsanā (habitual tendencies), saṃskāra (deep patterning), and the kleśas (root causes of suffering)—not as labels, but as invitations to notice what is repeating and to support wise change over time.In the final section, Amy shares an emerging project: a Yoga Philosophy Self-Reflection Coach—a custom AI-based chat tool designed to support brief, titrated self-inquiry and help people choose a targeted meditation practice in small daily doses. She addresses common concerns about mixing yoga and technology, emphasizes that human connection still matters, and offers thoughtful privacy guidance. In This Episode, You'll HearWhy yoga emphasizes observation over self-judgmentHow the mind's fluctuations drive behavior, communication, and relational patternsThe five states of mind (citta-bhūmi) through Vyāsa's lensHow meditation moves from surface-level “daily tasks” into deeper inquiryVijñānamaya kośa reflections: beliefs, identity, reactivity vs. response, recurring patternsĀnandamaya kośa reflections: meaning, manageability, coherence, ease, trustUsing the kleśas as a compassionate framework for seeing the roots of sufferingWhy people often stop meditating—and how “small, titrated bits” can helpA preview of the Yoga Philosophy Self-Reflection Coach and how it's designed to workPractical privacy boundaries when using AI for personal reflectionWhy Amy believes there is room for both technology and human teachers/therapists  A Few Reflective Questions to Take into PracticeWhat is the current quality of my mind and heart?What pattern keeps repeating beneath the surface?Is there an identity I'm protecting that creates friction or suffering?What am I grasping for—or avoiding—that might be shaping my choices?Where might more space create more coherence? Mentioned ResourceAmy shares that listeners who want to beta test the Yoga Philosophy Self-Reflection Coach can contact her through her website: www.theoptimalstate.com. Gentle ReminderThis episode offers philosophical self-inquiry grounded in yoga tradition. It is not presented as diagnosis or mental health treatment. If you need more support, consider working with a qualified yoga therapist and/or licensed mental health professional.

Instagram: https://www.instagram.com/rompiendolabanca/ Para participar del grupo de whatsapp de galponear hay que enviar email a rickdecardtw@gmail.com

Muž nahlásil zmizení své družky. Tvrdil, že žili harmonicky v domku a neměli nepřátele. Po ženě se ale jednoho dne slehla zem. Jihomoravská kriminálka zahájila vyšetřování. Ukázalo se, že žena neutekla ani nebyla unesena. Pátrání však nikam nevedlo a hrozilo, že případ zůstane nevyřešený. Nakonec si ale kriminalisté všimli důležitého detailu, který je přivedl k pravdě. Varování: V pořadu se vyskytují násilné motivy a svým zpracováním není vhodný pro děti nebo citlivé osoby.Všechny díly podcastu Kriminálka můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Durante una década, un atacante con entrenamiento militar cazó parejas en zonas solitarias usando un arma de guerra. A pesar de fuertes sospechas, nunca hubo pruebas concluyentes. El caso prescribió.

Pablo Fuente regresa a Días Extraños con tres historias que, escuchadas seguidas, dibujan el retrato de una época desconcertante. Una investigación publicada en Science Advances explora una vía insólita para curar uno de los cánceres infantiles más crueles. Una neurocientífica de la Universidad de Georgetown cuestiona décadas de certezas sobre la psicopatía y lo que significa ser una buena persona. Y mientras tanto, en el conflicto entre Irán EE.UU., los drones empiezan a apuntar a objetivos que hace una década nadie habría imaginado: los servidores donde guardas tus correos. Tres fronteras donde la ciencia, la mente humana y la guerra están reescribiendo las reglas del juego. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Pata ufahamu sahihi kuhusu chanzo, dalili, matibabu pamoja na kinga ya ugonjwa wa Seli Mundu (Sickle Cell) na Dkt. Catherine Mhando wa Hospitali ya Benjamin Mkapa, Dodoma.Support the showIdara ya Habari MAELEZO 

In this solo episode, Amy Wheeler explores three foundational teachings from Patañjali's Yoga Sūtra that describe how real transformation unfolds over time: abhyāsa (steady practice), vairāgya (letting go of attachment), and śraddhā (deep trust in the process).While these terms are often translated simply as “practice and detachment,” Patañjali presents them as a sophisticated framework for understanding how the mind stabilizes and how human behavior gradually shifts. Amy reflects on how these teachings describe the ongoing work of regulating the mind, working with habitual patterns, and cultivating a steadier relationship with our internal experience.The conversation begins with Yoga Sūtra 1.2 — yogaḥ citta-vṛtti-nirodhaḥ, the well-known description of yoga as the process of working with the fluctuations of the mind. Amy explains how these fluctuations influence behavior, emotional reactions, communication patterns, and the way we show up in relationships and daily life. From both a yogic and modern nervous system perspective, the mind tends to move along well-worn pathways shaped by conditioning and repetition.Patañjali offers a clear response to this reality.In Yoga Sūtra 1.13–1.14, he introduces abhyāsa, the disciplined effort to remain steady. Amy discusses how abhyāsa is not about intensity or dramatic breakthroughs. Instead, it reflects the quiet power of consistent practice over time. When a practice is sustained for a long period, practiced without interruption, and approached with care and sincerity, it begins to stabilize the mind and reshape patterns of behavior.Yet practice alone can lead to striving and tension if it is not balanced by vairāgya.Drawing from Yoga Sūtra 1.15, Amy explores vairāgya as the capacity to release our grasp on outcomes. This teaching does not suggest disengagement from life. Rather, it encourages freedom from excessive craving for particular results, identities, or experiences. In practical terms, this means continuing to practice while allowing the process to unfold naturally, without becoming trapped in cycles of evaluation, success, or failure.This balance between effort and release becomes essential in both personal practice and therapeutic settings. When individuals become overly attached to outcomes, the nervous system often moves toward anxiety, urgency, or self-criticism. Vairāgya creates space for psychological flexibility and a steadier relationship with change.Amy then introduces śraddhā, described in Yoga Sūtra 1.20, as a quiet but essential quality that sustains the path. Often translated as faith, śraddhā can be understood as a grounded sense of trust or confidence in the process of practice. It is the willingness to continue even when change is gradual or difficult to perceive. In therapeutic contexts, śraddhā often appears as hope, openness, and the willingness to keep engaging with practices that support healing and growth.Together, abhyāsa, vairāgya, and śraddhā form a practical framework for transformation:·        Abhyāsa encourages us to return to practice consistently.·        Vairāgya helps us release the need to control outcomes.·        Śraddhā sustains our commitment to the path.Amy reflects on how these teachings continue to shape modern yoga therapy, where long-term behavioral change, nervous system regulation, and self-awareness unfold gradually through repeated experience rather than quick solutions.This episode invites listeners to consider how these three principles might influence their own lives: how we practice, how we release attachment to results, and how we cultivate the quiet trust that allows meaningful change to emerge over time.

Scholar, Serpent, Yogin, and Devotee: The Many Faces of Patañjali in Indian Traditions (Brill, 2025) illuminates the many faces of Patañjali in Indian traditions. Often regarded as an incarnation of the cosmic serpent Ādiśeṣa or Anantanāga, Patañjali is celebrated, in both story and art, as a grammarian, scholar and practitioner of yoga, physician-alchemist, medical authority, teacher, ascetic, and devotee of the Dancing Śiva (Naṭarāja). The first three chapters examine the literary works attributed to Patañjali, explore legendary accounts and beliefs associated with this multifaceted figure, and survey temples and shrines dedicated to the sage. The following five chapters trace the development of Patañjali's iconography from its earliest forms in Tamilnadu, South India, to contemporary examples. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Scholar, Serpent, Yogin, and Devotee: The Many Faces of Patañjali in Indian Traditions (Brill, 2025) illuminates the many faces of Patañjali in Indian traditions. Often regarded as an incarnation of the cosmic serpent Ādiśeṣa or Anantanāga, Patañjali is celebrated, in both story and art, as a grammarian, scholar and practitioner of yoga, physician-alchemist, medical authority, teacher, ascetic, and devotee of the Dancing Śiva (Naṭarāja). The first three chapters examine the literary works attributed to Patañjali, explore legendary accounts and beliefs associated with this multifaceted figure, and survey temples and shrines dedicated to the sage. The following five chapters trace the development of Patañjali's iconography from its earliest forms in Tamilnadu, South India, to contemporary examples. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/south-asian-studies

Scholar, Serpent, Yogin, and Devotee: The Many Faces of Patañjali in Indian Traditions (Brill, 2025) illuminates the many faces of Patañjali in Indian traditions. Often regarded as an incarnation of the cosmic serpent Ādiśeṣa or Anantanāga, Patañjali is celebrated, in both story and art, as a grammarian, scholar and practitioner of yoga, physician-alchemist, medical authority, teacher, ascetic, and devotee of the Dancing Śiva (Naṭarāja). The first three chapters examine the literary works attributed to Patañjali, explore legendary accounts and beliefs associated with this multifaceted figure, and survey temples and shrines dedicated to the sage. The following five chapters trace the development of Patañjali's iconography from its earliest forms in Tamilnadu, South India, to contemporary examples. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/indian-religions

Scholar, Serpent, Yogin, and Devotee: The Many Faces of Patañjali in Indian Traditions (Brill, 2025) illuminates the many faces of Patañjali in Indian traditions. Often regarded as an incarnation of the cosmic serpent Ādiśeṣa or Anantanāga, Patañjali is celebrated, in both story and art, as a grammarian, scholar and practitioner of yoga, physician-alchemist, medical authority, teacher, ascetic, and devotee of the Dancing Śiva (Naṭarāja). The first three chapters examine the literary works attributed to Patañjali, explore legendary accounts and beliefs associated with this multifaceted figure, and survey temples and shrines dedicated to the sage. The following five chapters trace the development of Patañjali's iconography from its earliest forms in Tamilnadu, South India, to contemporary examples. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/religion

There are many ways to understand the word "meditation." Given that this is one of the central modalities of spiritual life and given the ever increasing interest in meditation, I felt a definition and discussion around meditation to clarify what it is and isn't in the Patañjali Yoga tradition would be helpful. More importantly, after we sketched out the basics of classical yogic meditation (i.e concentration practice), we then compared it to Tāntrik meditation to show how the Tāntrik tradition innovates and develops Patañjāla meditation to make for more visualization, dynamism, emotional cultivation (rasa) and aesthetic meaning. While it does sound like I'm positioning Tāntrik meditation as more appropriate, wholesome and complete here, in truth, the two traditions not only build off one another and depend on one another but are also both equally valid and equally effective modalities, each suited to practitioners of different temperaments. Neither is better or worse than the other, just different. And by understanding nuances such as these, we can be clear as to what meditation is and what is expected of us as aspirants! If you're interested in starting up your Tantrik practice, you'll find some resources for you here. Support the showLectures happen live every Monday at 7pm PST and again at Friday 11am PST Use this link and I will see you there:https://www.zoom.us/j/7028380815For more videos, guided meditations and instruction and for access to our lecture library, visit me at:https://www.patreon.com/yogawithnishTo get in on the discussion and access various spiritual materials, join our Discord here: https://discord.gg/U8zKP8yMrM

Avidyā: Lifting the Veil of Ignorance in Yoga Ignorance is rarely felt as ignorance. In yoga, this root affliction is called avidyā, the veil that causes us to mistake impermanence for permanence, suffering for joy, and the non-self for the Self. In this episode, Kino MacGregor explores the meaning of avidyā through the Yoga Sūtras, the Upaniṣads, and Buddhist teachings. Rather than a simple lack of knowledge, avidyā is revealed as an active misperception, a distortion that shapes how we see ourselves and the world. Drawing on Patañjali's teaching that ignorance is the field from which all other afflictions arise (YS II.4), this episode unpacks how subtle and pervasive avidyā can be. It appears not only as confusion, but also as false certainty, attachment to identity, and the clinging to ideas that have not yet ripened into direct experience. Kino also reflects on the Buddhist understanding of avijjā, where ignorance is defined as not seeing the Four Noble Truths. This points to the idea that ignorance is not a lack of information, but a blindness to reality itself. Through classical teachings and contemplative reflection, this episode invites you to consider how perception shapes experience. Like mistaking a rope for a snake, avidyā projects fear and misunderstanding onto what is already whole. Yoga becomes the path of undoing this misperception. Through steady practice, breath, and stillness, moments of clear seeing begin to dissolve the veil of ignorance, revealing a deeper truth that has always been present. In this episode you will explore: What avidyā means in the Yoga Sūtras How ignorance functions as misperception rather than absence of knowledge The role of avidyā as the root of suffering Parallels between yoga philosophy and Buddhist teachings on avijjā The rope and snake analogy as a model of mistaken perception How practice gradually dissolves ignorance into wisdom Practice with Kino on Omstars and continue your journey on the path of yoga. Listen and subscribe for more episodes on yoga philosophy, practice, and inner transformation.

Miranda's going to be home alone, Ben decides to fly the nest and Helen is winning friends and influencing people yet again.Support this show http://supporter.acast.com/ambridgeonthecouch. Hosted on Acast. See acast.com/privacy for more information.

Episode SummaryIn this solo episode, Amy Wheeler lays the philosophical foundation for the upcoming season by returning to one of the most essential—and often misunderstood—concepts in yoga philosophy: citta, the mind-field. Rather than approaching yoga as a collection of tools and techniques, Amy invites listeners to remember the deeper purpose of yoga as articulated in Patañjali's Yoga Sūtra—the reduction of suffering through clarity, discernment, and relationship to our deepest self.Amy carefully differentiates between the citta mind and the citta field, explaining how manas (sensory and processing mind), ahaṅkāra (identity and survival mind), and buddhi (discernment and intuitive wisdom) function together within the mind-field. She emphasizes that none of these aspects are inherently “good” or “bad”; the work of yoga is learning when and how to use each one skillfully.From this lens, the Eight Limbs of Yoga are reframed—not as techniques for calming or self-optimization—but as a regulatory and ethical pathway that guides us back toward buddhi and closer relationship with puruṣa, the witness. Amy walks through each limb, highlighting how social ethics (yamas), personal care (niyamas), posture, breath, sensory withdrawal, and meditation progressively support the inward movement of the mind.Throughout the episode, Amy reflects candidly on modern overwhelm, distraction, and survival stress, naming how easy it is to become trapped in manas or ahaṅkāra—especially in times of social and political intensity. She models a return to practice not as withdrawal from the world, but as the necessary ground for discerned, ethical service.This episode serves as a framing conversation for the season ahead—inviting yoga teachers, yoga therapists, and serious practitioners to clarify their orientation, remember the roots of the tradition, and consider what kind of inner cultivation is required if yoga is to remain a living, ethical, and relational science for generations to come. Key Themes & TopicsWhat citta really means in yoga philosophyThe distinction between mind, mind-field, and witnessManas, ahaṅkāra, and buddhi: functions and imbalancesSuffering as a signal of misused mental functionsThe Eight Limbs as a regulatory and ethical frameworkWhy the yamas come before self-careAsana and pranayama as preparation for inward clarityPratyāhāra as a natural outcome, not a techniqueMeditation as a progressive, non-linear processReturning to practice as an act of discerned service Reflection Questions for ListenersWhich aspect of the mind has been most dominant for you lately—manas, ahaṅkāra, or buddhi?Where might survival concerns be overshadowing discernment or meaning?How do your current yoga practices support clarity of mind, not just regulation of state?What would it mean to re-center your practice around relationship with the witness? Closing NoteThis episode sets the tone for the season: yoga as a rooted, ethical, relational path—not a collection of techniques, but a way of organizing the inner landscape so that we may suffer less and serve more wisely.Thank you for listening and for being part of the Yoga Therapy Hour community.www.TheOptimalState.com to contact Amy https://www.ndm.edu/academics/integrative-health Master of Science in Yoga Therapy at NDMU:https://www.ndm.edu/academics/integrative-health/yoga-therapy Explore NDMU's Post-Master's Certificate in Therapeutic Yoga Practices, designed specifically for licensed healthcare professionals:https://www.ndm.edu/academics/integrative-health/yoga-therapy/post-masters-certificate-in-therapeutic-yoga-practices Try our Post-Bac Ayurveda Certification Program at NDMU:https://www.ndm.edu/academics/integrative-health/ayurveda/post-baccalaureate-ayurveda-certification #IntegrativeHealth #HealthcareEducation #InterprofessionalEducation #GraduateSchool #NDMUproud #SOIHproud #SOIHYoga #SOIHAyurveda #NDMUYoga #NDMUAyurveda #SOIHGraduateSchool 

Los ojos de un loro están ubicados a los lados de la cabeza. Así que, si el ave quiere ver algo — como un delicioso pedazo de fruta — tiene que ladear la cabeza hacia un lado o hacia el otro para hacerlo. Y si el loro observa con el ojo izquierdo, usará su pata izquierda para agarrar el bocado. Los científicos llaman a esto lateralidad. Es cuando una mano — o una pata — se usa de más que la otra para realizar tareas complejas. Listen to this episode in English here.  Más información y transcripción en BirdNote.org. ¿Quieres más BirdNote? Suscríbete a nuestro boletín semanal. Regístrese en BirdNote+ para escuchar música sin publicidad y otras ventajas. BirdNote es una organización sin fines de lucro. Su donación deducible de impuestos hace posible estos espectáculos. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Aunque la psicopatía suele asociarse con criminales extremos, algunos expertos advierten de que estos perfiles también están presentes en la vida cotidiana y en posiciones de poder. Analizamos qué define realmente a un psicópata, su grado de responsabilidad sobre sus actos y cómo ciertos rasgos pueden incluso favorecer el ascenso en ámbitos como la política. Además, profundizamos en un caso concreto: el del presidente de EE.UU., Donald Trump. Lo hacemos de la mano de a Vicente Garrido, catedrático de Criminología de la Universidad de Valencia y autor de El psicópata integrado. También hablamos de Cuba, tras el séptimo apagón nacional en año y medio; de las conversaciones entre Honduras y EE.UU. para poner coto al crimen organizado; o de las aclaraciones del presidente colombiano Gustavo Petro, tras su acusación. Escuchar audio

En este episodio de #LosStreameadores te platicamos de: La Oficina, DOC, Rooster, DTF St. Louis, Scarpetta, Psicópata: el Asesino del Conejo Blanco, El Testimonio de Ann Lee & Zombie Land Saga: Paraíso de la Galaxia de los Sueños. Elenco del episodio: Freddy Gaitán, Ricardo Verástegui, Alexandra Ancira, Luis Bueno, David Elizondo, Alexis Bastiere, Juan Carlos Mendiola y Karina Díaz. ¡Podcast para #Streameadores de TIEMPO COMPLETO! Visita: https://www.freddygaitan.com.mx ¡Síguenos! https://www.instagram.com/losstreameadores/ https://www.instagram.com/rverastegui/ https://www.instagram.com/freddygaitan/ https://www.instagram.com/laura.arevi/ Producido en Inspiral México: http://www.inspiral.com.mx

La presentadora recuerda que la gran noche del cine fue "liviana" con el presidente hace un año, justo porque acababa de tomar posesión del cargo: "A ver qué ocurre doce meses y varias guerras después".

Murder at the U follows the murder of Bryan Pata, senior defensive tackle for the University of Miami. More than a decade later, with Bryan's family desperately searching for answers, the case found its way to a team of ESPN reporters. Now, a suspect has emerged, and he is none other than one of Pata's teammates. This new season tells the story of a shocking, high-profile murder investigation and what happened when a team of reporters tried to get to the bottom of who killed Bryan Pata. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Isabel Gónzalez comenta la actualidad del corazón con Paloma Barrientos, Carlos Pérez Gimeno y Tico Chao.

In this solo conversation, Amy Wheeler makes a clear case for yoga therapy as a distinct clinical discipline—not a “licensed healthcare modality + a few yoga tools.” She explores why yoga therapy has struggled to define its contribution, and she proposes a steady answer: yoga therapy's central work is helping people reorganize their inner landscape through a coherent philosophical and practical framework—most clearly articulated in Patañjali's Yoga Sūtra, with the Eight Limbs as a regulatory pathway for mind, nervous system, body, relationship, and meaning.What you'll hear in this episodeWhat “regulatory framework” means in this series: regulating mind, nervous system, body, perception, relationships, and connection to the EarthThe “golden thread” Amy feels the yoga therapy field risks losing aA practical comparison of domain-specific problem solving in other professions, including:Physical therapy: movement dysfunction, strength, mobility, pain through biomechanical/neuromuscular modelsOccupational therapy: functional capacity, ADLs, sensory integration, environmental adaptationPsychotherapy/counseling: cognition, emotion regulation, behavior patterns, diagnostic frameworks and treatment modelsSocial work: psychosocial context, systems, resources, advocacy, and the web of supportThe key distinction: yoga therapy does not start with “What is broken and how do we fix it?”Yoga therapy's starting question: How are you perceiving and relating to your lived experience—and what patterns are shaping suffering or freedom?The clinical emphasis on capacity (what's available, what can be strengthened) rather than diagnosisYoga therapy as an integrative map across “layers” of the human system (physical, energetic/breath, mental-emotional, relational, and sacred/spiritual)A clinical example: when “back pain” becomes a doorway into insight about life patterning, stress physiology, and meaning—not just mechanicsWhy we don't need to speak traditional yogic language in medical settings—but we do need to retain the models internally and translate skillfullyHow the guṇa model supports daily self-regulation by tracking fluctuations in mood, energy, motivation, clarity, and reactivityWhy “embodied awareness” becomes essential when people cannot access cognition reliably under stress, pain, or trauma—and why bottom-up regulation mattersA grounded caution: yogic models vary by lineage, can be oversimplified or “whitewashed,” and can be hard to standardize—yet they remain clinically powerful when held with integrityAmy's argument for where yoga therapy can be sustainable in healthcare: often on the health education / behavioral health / worksite wellness / stress reduction side, while remaining a parallel, adjunctive support to medical careThe call to action: yoga therapy needs a unifying clinical framework and clinical reasoning that stays aligned with its own scope and philosophical foundationThe culminating proposition: Patañjali's Yoga Sūtra offers a coherent, ethical, clinically applicable framework—especially through Chapter 2 and the Eight LimbsKey concepts and phrases from the episode“Regulatory framework” (broad, layered, relational)“Golden thread” (the essential philosophical lens of yoga therapy)“A different set of glasses” (a different starting question than biomedical/diagnostic paradigms)“Reorganization of the inner landscape” (a tangible way to describe yoga therapy's deeper aim beyond symptom management)“Translator” and “bridge” (the yoga therapist's role in interdisciplinary settings)“Whole person over diagnosis” (holistic mapping rather than narrow domain reduction)“Freedom = inner spaciousness” (not escape, but a changed inner relationship to experience)“Clinical reasoning within our framework” (not borrowing another field's logic to justify our work)Books Amy recommends (mentioned in the episode)T.K.V. Desikachar — The Heart of YogaT.K.V. Desikachar — Reflections on the Yoga Sūtra of PatañjaliRanju Roy & David Charlton — Embodying the Yoga Sūtra (Amy's strongest recommendation for translating Yoga Sūtra into yoga therapy)What's ahead in the seriesAmy shares that this year of The Yoga Therapy Hour will stay closely aligned with the Eight Limbs as a regulatory framework, and she's beginning a longer-term writing project to explicitly translate Patañjali's Yoga Sūtra into a clinically usable foundation for yoga therapy.Listener reflection promptsWhere in your work (or life) do you notice yourself defaulting to “problem-fixing,” and what changes when you shift to “perception and relationship”?If yoga therapy's domain is reducing suffering through clarity and self-regulation, how would you describe that in the language of your current setting?What is one way you can strengthen your ability to translate yogic models into interdisciplinary language without losing the model itself?What does “reorganizing the inner landscape” mean for you personally—and how do you recognize when it's happening?ClosingAmy closes by encouraging listeners to spend time with the Yoga Sūtra—not as an abstract philosophy, but as a practical guide for daily living, clinical reasoning, and long-term change through discernment, self-awareness, and the steady cultivation of freedom.School of Integrative Health at NDMU:https://www.ndm.edu/academics/integrative-health Master of Science in Yoga Therapy at NDMU:https://www.ndm.edu/academics/integrative-health/yoga-therapy Explore NDMU's Post-Master's Certificate in Therapeutic Yoga Practices, designed specifically for licensed healthcare professionals:https://www.ndm.edu/academics/integrative-health/yoga-therapy/post-masters-certificate-in-therapeutic-yoga-practices Try our Post-Bac Ayurveda Certification Program at NDMU:https://www.ndm.edu/academics/integrative-health/ayurveda/post-baccalaureate-ayurveda-certification #IntegrativeHealth #HealthcareEducation #InterprofessionalEducation #GraduateSchool #NDMUproud #SOIHproud #SOIHYoga #SOIHAyurveda #NDMUYoga #NDMUAyurveda #SOIHGraduateSchool 

What makes the Vijñāna-bhairava-tantra one of the most radical and influential texts of the nondual Śaiva tradition?In this episode, we return to this remarkable scripture and the vision of practice it offers. Rather than turning away from the body or the senses, the Vijñāna-bhairava presents more than a hundred contemplative gateways into direct awareness—through breath, sound, perception, and even moments of emotional intensity. We reflect on the historical context of the text, how its approach differs from earlier yogic traditions such as Patañjali's Yoga Sūtras, and why its teachings remain so alive for modern practitioners. The conversation also touches on the challenges of translating this subtle work and the intention behind the newly released Vijñāna-bhairava-tantra app, created to make these teachings accessible in a clear and practical way.Discover a treasure trove of guided meditations, teachings, and courses at tantrailluminated.org.Find out more about the upcoming retreats and pilgrimages at https://www.tantrailluminated.org/calendar.Find out more about the new VBT app at https://tantra112.app/. Hosted on Acast. See acast.com/privacy for more information.

Este no es solo el episodio anual de Hoy Trasnoche con el PRODE de los Óscar. Es mucho más que eso: porque hay salvaje coyuntura ¡y! vimos una película esperadísima.¿Hubo polémica? ¿De qué película hablan? ¿Cómo puede ser tanto por tan poco? Vas a tener que escucharlo para saber y entrar en hoytrasnoche.com para ponerla toda para tirar una onda.Hoy Trasnoche es un podcast de cine que existe desde 2017 conducido por Fiorella Sargenti y Santiago Calori

Isabel Gónzalez comenta la actualidad del corazón con Paloma Barrientos, Carlos Pérez Gimeno y Tico Chao.

¿Puede el activismo cambiar el rumbo de la justicia en México?

On 11/7/2006, former Miami Hurricanes defensive lineman Bryan Pata was murdered. In August 2021, former Miami Hurricanes defensive back Rashaun Jones was arrested in connection with Pata's murder. Due to not being able to afford bail, Jones has been in jail since his arrest. He was tried but the jury was hung and result was a mistrial. Christian Maroni, Sara Alvarez, and Danielle Perez represents Jones's defense team. They join Billy Corben to talk about the case. Learn more about your ad choices. Visit podcastchoices.com/adchoices

A judge declared a mistrial in the case of former Miami Hurricanes player Rashaun Jones after a deadlocked jury failed to reach a verdict regarding the 2006 murder of his teammate, Bryan Pata. Learn more about your ad choices. Visit podcastchoices.com/adchoices

A trial over a former college football star's killing in 2006 has hit a snag. Correspondent Gethin Coolbaugh reports.

In 2006, University of Miami football player Bryan Pata was shot outside his apartment coming home from practice. On the ten-year anniversary of the death, police invited ESPN to look into the cold case. The reporters found cops had many viable suspects, including a teammate with a compelling motive and shaky alibi. But the journalists also came to find their law enforcement sources to be unreliable partners, and eventually their story turned into both a quest to find Pata's killer and an investigation into the investigation. From ESPN's 30 for 30 Podcasts comes “Murder at the U.” Host Paula Levine takes listeners through her team's exhaustive multiyear reporting into Pata's death and its many suspects. With a murder trial about to begin in Florida, the podcast also focuses on the police and prosecutors who started as collaborators on their reporting, but eventually became impediments. OUR SPOILER-FREE REVIEWS OF "MURDER AT THE U" BEGIN AT THE TEN MINUTE MARK. For exclusive podcasts and more, sign up at Patreon.Sign up for our newsletter at crimewriterson.com.This show was recorded in The Caitlin Rogers Project Studio. Click to find out more. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

A dozen years after Bryan's murder, the Pata family is frustrated. No arrests have been made, and yet the police say the case is far from cold.  Meanwhile, relations between the detectives and our team of ESPN reporters have grown strained. That's when the team takes matters into their own hands, suing the Miami-Dade police to force the release of unredacted case files.  Next episode coming Thursday, February 26th Learn more about your ad choices. Visit podcastchoices.com/adchoices

Truth, Love and Psychedelic Healing with Michael Ryoshin Sapiro Dr. Michael Ryoshin Sapiro, PsyD, is an ordained Zen Buddhist monk, clinical psychologist, psychedelic psychotherapist, and author of Truth Medicine: Healing and Living Authentically through Psychedelic Psychotherapy. A Fellow at the Institute of Noetic Sciences and longtime meditation teacher and researcher, he works extensively with special operations veterans, first responders, and others on the front lines of trauma and service. His work weaves Buddhism, depth psychology, and psychedelic-assisted psychotherapy into a path of personal awakening for the sake of collective transformation. In this conversation, Mike explores truth as a form of medicine—touching on intergenerational trauma, shame and shadow, self-love, nondual awareness, and how psychedelics and meditation can help us live more coherently, compassionately, and wholeheartedly. Chapters 00:00:00 Introduction 00:06:15 Intergenerational trauma and ancestral wisdom 00:08:19 Truth as medicine 00:11:39 Psychedelics, information, and, integrating the message 00:16:15 Yoga, truth, and, nonviolence in the inner terrain 00:19:30 Family, culture, and, the deeper levels of truth 00:24:21 How we run from the truth, shadow work and Jung 00:36:07 Self-compassion before and beyond the medicine 00:39:09 Ego death, nondual states and spiritual emergency 00:46:25 Training mind, body, and, heart and building awareness 00:55:28 Hope, faith, and, showing up with kindness 00:59:53 Wholeness and the spectrum of balance 01:05:21 Final thoughts New Thinking Allowed Guest Host Leanne Whitney, PhD, is a depth psychologist and transformational coach based in Los Angeles, CA. She is the author of Consciousness in Jung and Patañjali and currently serves as Executive Director of Center for Transformation and Integration. Her website is https://leannewhitney.com/ To learn about Leanne Whitney's Transformational Coaching Certification Course with an emphasis in Somatic Integration Therapy, please visit: https://transformationandintegration.com/courses Producer: Elena McNally Editor: John Hartmann (Recorded on October 20, 2025) To order Consciousness in Jung and Patañjali by Leanne Whitney, go to: https://amzn.to/2QY3tS2 To order Michael Ryoshin Sapiro's Truth Medicine: Healing and Living Authentically Through Psychedelic Psychotherapy , go to: https://amzn.to/3K1D2Zv