Podcasts about rene magritte

Nous sommes en novembre 1924. C'est à cette époque que commence la publication d'une série de tracts intitulée « Correspondance ». Une aventure éditoriale que l'on considère comme étant la première manifestation du surréalisme en Belgique. A l'initiative de ce projet, on retrouve Camille Goemans et Marcel Lecomte, mais surtout Paul Nougé qui, quelques années plus tôt, a participé à la fondation du Parti communiste belge. Peu de temps après, Nougé rencontre les surréalistes français, Louis Aragon, André Breton et Paul Éluard, et signe, le 21 septembre 1926, une tribune intitulée « La Révolution d'abord et toujours » qui parait dans le journal communiste « L'Humanité ». On peut y lire : " Plus encore que le patriotisme, qui est une hystérie comme une autre, mais plus creuse et plus mortelle qu'une autre, ce qui nous répugne, c'est l'idée de Patrie qui est vraiment le concept le plus bestial, le moins philosophique dans lequel on essaie de faire entrer notre esprit. Nous sommes certainement des barbares, puisque une certaine forme de civilisation nous écœure." 1926 marque l'ébauche de la constitution du groupe surréaliste de Bruxelles avec l'arrivée de Louis Scutenaire et, bien sûr, René Magritte. La collaboration entre parisiens et bruxellois sera souvent très tendue. Plus tard encore les Wallons, avec notamment Achille Chavée, développeront leur propre mouvement. Les surréalistes belges veulent transformer le monde à partir du langage et de la représentation, leur activité va se développer sur près de soixante ans, couvrant trois générations. Le mouvement, dans son ensemble, par-delà les frontières, aura marquer durablement le vingtième siècle. Pourquoi ? Les Belges ont-ils cultivé leur particularisme ? Comprenons-nous bien leur héritage lorsque l'on parle, aujourd'hui, de « surréalisme à la belge » pour décrire la moindre situation incongrue, voire stupide ? Sujets traités : Camille Goemans , Marcel Lecomte, Paul Nougé, communiste, Louis Aragon, André Breton, Paul Éluard, surréalisme, René Magritte, philosophie, Avec nous : Xavier Canonne, historien de l'art, directeur du Musée de la Photographie de la Communauté française de Charleroi Sujets traités : Camille Goemans , Marcel Lecomte, Paul Nougé, communiste, Louis Aragon, André Breton, Paul Éluard, surréalisme, René Magritte, philosophie, Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Continuing with The Gay Science readthrough! More sections on art, the eternal war between prose and poetry, the Apollinian and Dionysian, and more. Episode art: The Human Condition by Rene Magritte.

While completing her BFA at Baylor University, Rebekah Danae's fourteen year painting practice was stylistically and thematically influenced by formative experiences in Belgium, studying Rene Magritte's surrealist blend of comedy and peril, and in Texas, learning from Sedrick Huckaby's metaphoric expressions offaith, community, and heritage.Sculpturally— through leatherwork and interior design— Danae's work has been influenced by the cowboy boot making community in Beggs, Oklahoma and the design firm of Christopher Murphy in Tulsa, Oklahoma. In practice, Danae draws inspiration from Virgil Abloh, who blurred the lines of art and commerce through the tools of contemporary culture; Rebecca Belmore's ability to elicit intimate moments of reflection while tackling tremendous contemporary issues; the liberatory mysticism of Afrofuturism philosophy; the fiber artists of the wearable art movement in the 70s; and from the community-based relational practice of Rick Lowe.Through her work, Rebekah Danae and A Creative House orchestrate a movement in the middle of the country, made up of a diverse creative choir. Far from a lone ranger, Danae works collaboratively across a curated network of Oklahomans— from the punk underground, homegrown rappers and producers, luxury interior designers, rodeo cowboys, rural bootmakers, to philanthropic, political, and educational leaders. Her approach, while whimsical and surreal, has the intended impact of critical regional culture-shaping from the current white supremacy that is prevalent regionally today and toward a co-created futurist Oklahoma, the liberated West.

What's a piece of art you've had for a long time, and what's its story? Find out what our season 2 premiere guest, Gillian Bellinger has to say and how she pronounces her Ds and Ts! We get dung beetle art, gaslighting bird paintings, Marlene Dietrich photos, crazy bar heirlooms, an archaeologist with the wrong sources, Magritte's cheaper alternative, and a store with some very confused pronunciations. Welcome back listeners!  Cast: Jen Burton, Michael Heiman, Stephen C. James, Jarrett Lennon Kaufman, Josh Spence, Chris Sanders  Special guest(s): Gillian Bellinger  Ads: I Don't Want to Say (improvised by Michael Heiman)  Original release date: 3/6/24  Actual episode count: 101  Show references:  Gillian Bellinger: https://instagram.com/gillianbellinger  Misfit Asheville: https://www.instagram.com/misfitavl  La Grande Famille, by Rene Magritte: https://www.renemagritte.org/the-large-family.jsp  The Blue Angel feat. Marlene Dietrich: https://en.wikipedia.org/wiki/The_Blue_Angel#/media/File:Marlene_Dietrich_in_The_Blue_Angel.png  Intro and outro music credit to Matt Walker  Various sound effects and music from https://freesfx.co.uk/  Additional music and sound credits:  Undercover Mission by Sascha Ende  Free download: https://filmmusic.io/song/12209-undercover-mission  License (CC BY 4.0): https://filmmusic.io/standard-license 

Subscriber-only episodeExtra Fucking Special SeriesWomen & Their TattoosEpisode 11It was such a pleasure to host Sam Shepherd in discussing her tattoos and journey on the way to get them!PLEASE NOTE: We discuss multiple topics and some may be distressing to listeners: discussion of  depression, trauma.More info on Sam:Samantha Shepherd is a LMFT who lives in San Diego, CA. She is multiracial, a member of the latinx community, and bilingual in Spanish. "I show up as my authentic self to therapy so my clients can. I love working with individuals who are ready to make some changes in their life. I am not a "one-size-fits-all" type of therapist and that's what I fucking love about my work. I work with different issues such as trauma, attachment styles, cultural identity, first generation college students, etc. I'm just getting started opening my private practice and I'm looking forward to serving more of my community."If The Couch Could Speak Podcasthttps://open.spotify.com/show/4VlB5Bfzj8n0GSeGNYPGA7Charles Bukowskihttps://en.wikipedia.org/wiki/Charles_BukowskiHenry Rollinshttps://www.henryrollins.com/Rene Magrittehttps://www.moma.org/artists/3692Banksyhttps://www.banksy.co.uk/Grave of the Fireflies (spoilers)https://en.wikipedia.org/wiki/Grave_of_the_Fireflies* * * Want more sweary goodness? There's now the availability of Premium Subscription for $3 a month! Click the "Support The Show" link and find out more info.* * *F*ck The Rules Podcast is produced by Evil Bambina Productions, LLC. You can find our podcast on Amazon Music/Podcasts, Apple Podcasts, Google Podcasts, Spotify and many more!***Social media/podcast episodes are not intended to replace therapy with a qualified mental health professional. All posts/episodes are for educational purposes only. If you are in need of assistance for mental health services, please check with your PCP, your insurance provider or an online therapist directory for the nearest mental health professional.*****Susan Roggendorf is a Licensed Clinical Professional Counselor in Illinois and a Licensed Mental Health Counselor in Iowa. In addition to hosting and producing her podcast, she's running a private practice as an independent provider full-time. Susan is a National Certified Counselor through the NBCC as well as an Emergency Responder & Public Safety Certified Clinician through NERPSC. When she's not busy with all those things, Susan is usually busy annoying her adult children or gardening.

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

Rene Magritte's painting, Son of Man, is among the most famous images of the Surrealist Movement. It is one of the few artworks that transcends the museum and has become a part of pop culture. Actually technically it isn't even in the museums. Son of Man is privately owned and rarely seen on public display, but it has been referenced in books, movies like Stranger than Fiction and The Thomas Crown Affair, tv shows like The Simpsons, music videos by the likes of Michael Jackson. Of course listeners of this show no doubt recognize that the painting was also the inspiration for the greatest pop culture image of all time, my podcast cover art. Related episode: Rene Magritte | The False Mirror (full episode) Check out my other podcast Art Smart | Rainbow Putty Science Lab Who ARTed is an Airwave Media Podcast. If you are interested in advertising on this or any other Airwave Media show, email: advertising@airwavemedia.com Learn more about your ad choices. Visit megaphone.fm/adchoices

What better to close out Season Two than with an historic, super-sized episode commemorating the dear departed of 1967! Sarah & Joe take an uncharacteristically deep dive into the many notables in film, music, sports, politics, writing, art, and society who vacated the premises in the subject year, with a list of icons including Vivien Leigh, Che Guevara, Otis Redding, Spencer Tracy, Dorothy Parker, Woody Guthrie, Claude Rains, Basil Rathbone, Jayne Mansfield, the Apollo I astronauts, Rene Magritte, Jimmie Foxx, and many more! Pull up a chair and invite the neighbors over for a block party, because this is a long one, chock full of the facts and Speed references you've come to expect over IHOY's two season run!

Rene Magritte was a Belgian painter who had a way of making poetic images visible.  He reimagined painting - as a critical tool that could challenge perception and engage a viewer's mind. For this and other artwork we discuss, please visit https://www.darwindarko.com/ekphrastic …its where you can find all this stuff catalogued for your viewing pleasure.  

Rene Magritte's painting, Son of Man, is among the most famous images of the Surrealist Movement. It is one of the few artworks that transcends the museum and has become a part of pop culture. Actually technically it isn't even in the museums. Son of Man is privately owned and rarely seen on public display, but it has been referenced in books, movies like Stranger than Fiction and The Thomas Crown Affair, tv shows like The Simpsons, music videos by the likes of Michael Jackson. Of course listeners of this show no doubt recognize that the painting was also the inspiration for the greatest pop culture image of all time, my podcast cover art. Network Survey: www.surveymonkey.com/r/airwave Other episodes to check out: Rene Magritte | The False Mirror (full episode) Art Smart (my other podcast) Arts Madness Tournament links: Check out the Brackets Tell me which artist you think will win this year's tournament Give a shoutout to your favorite teacher (the teacher who gets the most shoutouts on this form by Feb 27 will get a $50 Amazon gift card) Who ARTed is an Airwave Media Podcast. Connect with me: Website | Twitter | Instagram | Tiktok Support the show: Merch from TeePublic | Make a Donation As always you can find images of the work being discussed at www.WhoARTedPodcast.com and of course, please leave a rating or review on your favorite podcast app. You might hear it read out on the show. Learn more about your ad choices. Visit megaphone.fm/adchoices

Dr Sam Perry teaches English Literature at the University of Hull, where he is a member of the Philip Larkin Centre for Poetry & Creative Writing. He is the author of Chameleon Poet: R.S. Thomas and the Literary Tradition (Oxford University Press) and is currently working on a long- term project exploring the representation of children and childhood in modern poetry. Other writers discussed/mentioned: WB Yeats/Ted Hughes/Edward Thomas/ RS Thomas/Seamus Heaney/ William Wordsworth/William Blake/ Thomas Hardy/ Dylan Thomas /Charles Dickens/JD Salinger/Virginia Woolf/Kingsley Amis/Sylvia Plath/Ann Thwaite Larkin poems discussed: Sunny Prestatyn/ Essential Beauty/The Large Cool Store/ Mr Bleaney/Aubade/Home is So Sad/ Wild Oats/ Dockery and Son/Ignorance/Afternoons/An Arundel Tomb/ I Remember, I Remember/ This Be The Verse/High Windows Other references: Jim Sutton's letters to Philip Larkin/The art of Rene Magritte (1898-1967)/Larkin's Doodles/Letters to Monica Ed. Anthony Thwaite (Faber 2011)/The Secret Garden - Francis Hodgson Burnett (Heinemann 1911)/The Image of Childhood- Peter Coveney (Penguin 1967) Presented by Lyn Lockwood. Theme music: 'The Horns Of The Morning' by The Mechanicals Band. Buy 'The Righteous Jazz' at their Bandcamp page: https://themechanicalsband.bandcamp.com/album/the-righteous-jazz Audio editing by Simon Galloway. Follow us and get it touch on Twitter - https://twitter.com/tiny_air Find out more about the Philip Larkin Society here - http://philiplarkin.com/

We push even further into our esteemed Philosopher of Holes Georges Bataille, especially in regards to how his concept of religious erotocism can be understood with and against the embodied experiences of the Christian Mystics through the work of Amy Hollywood. We talk suckling from holy wounds, the feminized Jesus, novel insertions, foundational religious experiences, horror without limit, and much more. Traumatize thought and encounter the God of the Mystics

Comedian Allen Strickland Williams is here to discuss the Greek Weird classic Dogtooth, and listening to this episode is worth TEN stickers!! We're getting into even more Rene Magritte works of art, absurdism, and connecting this to Blue Velvet, Life is Beautiful, even American Pie - don't miss out on this great episode about a great movie! Twitter: @LittleHorrorPHL  PLUS: Check out the BLHHiP Patreon to get bonus episodes, commentaries and more! 

Diese Neunziger! Gerade auch im Rückblick lässt sich sagen: Was für eine verschwenderische Zeit. Alles boomte, feierte, schwirrte und kaum jemand sorgte sich. Als Supermodel unter den Branchen galt die Werbung. Die mit den meisten Preisen ausgezeichnete Agentur hieß "Jung von Matt", sie hatten die interessantesten Kunden und kreierten die spektakulärsten Kampagnen, Sixt, Ebay, Geiz ist geil, 3-2-1-meins, Wer hat’s erfunden? Die Schweizer haben’s erfunden und damit sind wir bei einem der beiden Gründer, Jean-Remy von Matt, einer der erfolgreichsten Werber des Landes. Inzwischen tut er das, was auch andere Werber vor ihm taten: ob nun Rene Magritte oder Andy Warhol: sie wandten sich vom klassischen Marketing ab und wandten sich der Kunst zu. Der 69-Jährige entwirft Objekte und Installationen, wie zum Beispiel eine Uhr, auf der noch die Zeit zu sehen ist, die einem bleibt. Also: let’s get back in Time! | Diese Podcast-Episode steht unter der Creative Commons Lizenz CC BY-NC-ND 4.0.

Where did the phrase "That gave me the willies" come from and how did it kick off the American Sublime? And what was the first landscape on Earth? Find out in this week's episode as my guest, collage artist, Todd Bartel joins me to talk about our favorite subjects: Collage and Landscape. Click here to see images of Todd's work: https://www.toddbartel.com/ Click here to read Todd's writings on collage: https://issuu.com/toddbartel Todd Bartel's music (used in this episode): "Several Big Changes" 2009 (intro, musical stings and outro) & "Retinalmade and Readymade" 2020 (musical stings and end music). Listen to these and more here: https://necto.bandcamp.com/ Recommended texts: Leo Marx "The Machine in the Garden: Technology and the Pastoral Ideal in America" Man of Commerce Map, 1889 (LINK) Simon Schama "Landscape and Memory" Kenneth Clark "Landscape Into Art" Kari Jormakka "Theoretical Landscapes—On the Interface Between Architectural Theory and Landscape Architecture" William Shakespeare "Hamlet" Nathaniel Hawthorne "The Scarlet Letter" & "The Ambitious Guest" (a short story inspired by the Willey family tragedy) Amy's segment: Johann Wolfgang von Goethe "Faust" (esp the part about his Faust-y homunculus) More about the Crawford Notch/Willey Family tragedy https://en.wikipedia.org/wiki/Willey_House_(New_Hampshire) Artists mentioned: Hardu Keck, Andre Breton, Max Ernst, Comte de Lautreamont's famous image from Les Chants de Maldoror, Alfred DeCredico, Michael Oatman, Joseph Mallord William Turner, Thomas Cole, Charlie Nevad, Zdeněk Michael František Burian, Rene Magritte's "The Treachery of Images", Burgess Collins aka Jess' "Xrysxrossanthemums" 1978, Amy's segment: Rene Magritte's "The Apparition" and Andre Masson's "Gradiva" Please subscribe to the podcast to get the eps fresh out the oven. Also, don't forget to visit us @peptalksforartists on Instagram to see images associated with this episode (We love a visual aid). Thanks for your ratings and reviews on Apple podcasts! Amy's website: https://www.amytalluto.com/ Thank you Todd! Thank you listeners! See you next time. -------------------------- Other music used was licensed from Soundstripe. --- Send in a voice message: https://anchor.fm/peptalksforartistspod/message Support this podcast: https://anchor.fm/peptalksforartistspod/support

Resimlere neden bakarız? Bize ne anlatırlar? Amatör ama meraklı birinin resimleri anlama çabasına ortak olun. Nikah günü tabloların konuştuğunu söylediği için terk edilen ve gerçeklikten tabloları çalıp konuşturarak kaçmaya çalışan bir hırsızın hikayesi.

"PAUL SIMON REVEALS HIS THOUGHTS REGARDING RENE AND GEORGETTE MAGRITTE":https://www.paulsimon.com/news/paul-simon-on-rene-and-georgette-magritte-with-their-dog-after-the-war/

Kate Copeland, Sha Huang, and Mark Goldstein share this week. TERcets is a literary podcast by The Ekphrastic Review. Each episode features three pieces selected by the host, Brian Salmons, from our website, ekphrastic.net. The Ekphrastic Review is an online journal devoted entirely to writing inspired by visual art. Our objective is to promote ekphrastic writing and art appreciation, and to experience how the two strengthen each other and bring enrichment to every facet of life. We want to inspire more ekphrastic writing and promote the best in ekphrasis far and wide. Intro music is "Far-Away Planet" by Curtis Hasselbring (https://curtishasselbring.bandcamp.com/), outro is "Hopp" by Judadi (https://soundcloud.com/judadi/), bumpers by Radioactive Sparrow ("Bowman's Capsule"), J Hacha De Zola ("Picaro Obscuro"), and Tab & Anitek ("Physical Graffitti"). The art is a detail from "The Lovers", by Rene Magritte (1928).

For this episode, I sat down with my friend and fellow elementary art teacher, Emily Fiedler to talk about Rene Magritte.  Those listeners familiar with the work of Rene Magritte probably assume I would devote the second segment of this episode to discuss his famous work Son of Man from 1964. It seems only fitting that I would talk about the famous image of a man in a bowler hat with an apple in front of his face. It was the work that inspired my podcast graphic. Of course, things that seem logical and fitting aren't exactly appropriate for discussion of Rene Magritte who made his name by subverting people's expectations. Magritte said he took care to only paint pictures that evoke the mysteries of the world, that is of course when he wasn't painting forgeries of other people's work and forging bank notes to survive during the war. So rather than going with the predictable piece, we took a closer look at The False Mirror from 1929. As always, if you enjoyed the episode, please follow on Who ARTed on your favorite app, and leave a review. You can find more on the website www.whoartedpocast.com 

Today, on the Art Seeker Stories Podcast 12th Episode  I invite Rebecca Tucker to her Artist Residency on Art Seeker Island, to create a concept for her exhibition 'The Shape of Hope.' Rebecca is a Lancashire born/London based painter, whose works are the result of a visual ‘discussion' between abstract and more representational methods of depicting landscape and the natural world. Using colour, texture, line and layers Rebecca is keen to play with the viewers perception of space in her artworks (and what would traditionally constitute a ‘landscape') and then pull that preconceived idea back to the appreciation of what are essentially abstract marks on a two dimensional surface.  Rebecca studied Fine Art at Reading University in the 90's, now lives in Greater London and owns an Interior Design company in Wimbledon.  Rebecca Art Seeker Island takes us on a wonderful journey through photography , surrealism and an exploration in light where beams of colour create emotion and illusions of floating space. Her Island lives among the trees, it explores all seasons and all terrain, the grass may be greener elsewhere, but on Art Seeker Island, Rebecca has everything all at once. The 3 artist  artworks Rebecca takes with her for company on Art seeker Island are;1. By a woman: Vivian Maier http://www.vivianmaier.com/ photographer2. Of cultural significance: Rene Magritte's 'Ceci n'est pas une pipe'3. Free choice: James Turrell (specifically his exhibition at the Hayward 1993) www.jamesturrell.com Lufi's Library Book Swap:Borrowing:  Cloud Atlas by David MitchelSwapping: Maddaddam Trilogy by Margaret AtwoodIncluding: Oryx And Crake, The Year of the Flood and MaddaddamYou can find more about Rebecca and her work here:Website : www.rebeccatucker.co.uk Instagram @rebeccatuckerpaintings @rebeccatuckerportraitsInterior Design: www.sunainteriordesign.com @sunainteriordesignRebecca is also a member of www.artcan.org.uk @artcanorg

Stephanie Dueñas and Russell Shoemaker are back with another slice of Art History: they discuss Rene Magritte and his painting "The Unexpected Answer" from 1933, Giorgio “Daddy” De Chirico's influence on Rene and the Surrealists, and De Chirico's "The Song of Love" from 1914. De Chirico's metaphysical works were a first in art history and has since influenced generations of artists, especially the Surrealists. Both he and De Chirico evoke a sense of stimmung, or mood, that is especially unnerving when their paintings are realistically painted but Rene takes it a step further.  While Rene is considered a Surrealist, he was not quite like the others. His compositions raise more questions than answers and were likely inspired by the tragedy and war he experienced early in life. His interest in the macabre and uncanny, taken from Edgar Allen Poe and Lewis Carroll really took off once he left Brussels and headed to Paris, to the heart of Surrealism.  Somewhere between all of the melancholic marble statues, architectural arcades, giant chess pieces and bowler hats, Stephanie and Russell finally discuss the beginnings of Surrealism which include Andre Breton's military career, Sigmund Freud's ideas, and Max Ernst's French translation skills. Lastly, they confront the Daddy in the room and discuss that disturbing, lingering sense of uneasiness Rene's works leaves us in. And if Rene, at the end of the day, is truly a Surrealist.  Our Art Pantry of the week are Automatic, Surrealist Techniques: Frottage, grattage, eclaboussure, fumage, and decalcomania.  Topics include Belgian waffles, Surrealist bedtime stories, a forgotten Krautrock band, why your daddy doesn't listen to David Bowie, theatre, The Treachery of Images, and Daddies - lots and lots of Daddies.  The song featured in this episode was ‘Fowl and Fruit' by Patrick Kilpatrick , from Kill Patrick vol 1, which can be found here: https://patrickkilpatrick.bandcamp.com/ Consider supporting his work! Reviewing, subscribing, liking, and sharing really helps support the show! Follow us on twitter, tiktok, youtube, and instagram. You can also support us and grab some merch: https://www.artslicepod.com/shop Consider subscribing and leaving us a review on apple podcasts.

Here comes another long episode for your ear holes! We talk about surrealist painter Rene Magritte (1898 – 1967) and photo-realistic artist Vija Celmins (1938 - ???) who Jocelyn mispronounces by mistake a few times. We're a little behind schedule, so this is coming more than a week after our last upload, but life happens!!! We just want to make you laugh. Please tell us you laughed. ANYWAY, what do you think a co-pilot is? The slang term, not the actual term. We talk about it and how Neysa's brothers owe her an oil change, in addition to other frivolous nonsense. Trust me, there's plenty. As always, check out the 'gram for some of the art we reference: @IMinoredInArtHistoryPod Music Creds: intro is edited Regina Spektor, outro is original audio by Nic Hamersly Audio mixed with Auphonic --- Support this podcast: https://podcasters.spotify.com/pod/show/iminoredinarthistorypod/support

Inspired by the paradoxical painting by Rene Magritte, "The Empire of Light," we talk about how the buried treasure in the field is more than what is seen, but what is experienced within as we learn to become our True Selves.

Helena Hawkes; a Los Angeles-based writer/director and a self-proclaimed Cinephile, Painter, and Soul & Disco Enthusiast. Helena has worked in Hollywood with the likes of Jason Blum of Blumhouse Productions and Leigh Wannel of the Saw and Insidious Franchises. Helena joins My Pop Five to break down Big Fish, Rene Magritte, Meshes of the Afternoon/At Land by Maya Deren, Master Blaster by Stevie Wonder, and Culture as Weapon by Nato Thompson. Helena discusses her relationship with each of the items on her "Pop Five", growing up in small-town, leaving the nest, her relationship with writing, and her "Yours, Mine and Ours" family. Support the show! Rate and Review on Apple Podcasts! 

Analizamos la obra "esta no es una pipa" de Rene Magritte amarrándola a la psicología.

Começamos a nossa manhã refletindo sobre a pintura "As Reflexões do Caminhante Solitário" de Rene Magritte Durante o episódio eu traduzi o título de forma bem errada, então está aí o jeito certo hahaha. VEJA A PINTURA: https://www.wikiart.org/en/rene-magritte/the-musings-of-the-solitary-walker-1926 Gostou? Faça um PIX: https://nubank.com.br/pagar/20vwm/aw4Nx3K6S9 Fotografias para Decoração: https://holdorf.com.br/comprar-fotografias-arte-decoracao-online/ CURSO ONLINE: CRIE O SEU PORTFÓLIO: https://holdorf.com.br/curso-online-como-criar-um-lindo-portfolio-artistico-sem-dificuldades/ OFICINA ONLINE | DESCUBRA O SEU ESTILO: https://holdorf.com.br/oficina-online-fotografia-arte-descubra-o-seu-estilo/ CURSO ONLINE | FOTOGRAFIA BÁSICA COM O CELULAR: https://holdorf.com.br/curso-online-fotografia-basica-com-o-celular/ EXERCÍCIOS DE FOTOGRAFIA: https://holdorf.com.br/2021/02/09/exercicios-de-fotografia-para-transformar-o-seu-olhar/ https://holdorf.com.br/newsletter/ @jonathanholdorf holdorf.com.br

Was ist Wahrheit? Was ist Wirklichkeit? Wie werden beide durch Bilder transportiert? Über diese und weitere Fragen sprechen Studentinnen der TU Dortmund in dieser Podcast-Ausgabe. Von Grete Sterns Fotomontagen bis zum javanischen Schattenspiel beleuchten sie den Wahrheitsanspruch und die Konstruktion von Wirklichkeit in künstlerischen Werken.

In the second installment of our Kentucky Route Zero miniseries, we marinate in the Limits & Demonstrations interlude, before navigating the Zero to Act II to tackle bureaucracy, bears, and the recurring question: are we inside, or are we outside? Show notes: Kentucky Route Zero Nam Jun Paik, Random Access Edward Packard, UFO 54-40 Museum of Other Realities KRZ Fulltext Jack Burnham, Software Catalogue Eddie Shanken, "The House that Jack Built" Le Corbusier, "Five Points of Architecture" The Jejune Institute  SCP Foundation Robert Frost, "Two Tramps in Mud Time" Robert Frost, "Death of the Hired Man" Mark Z. Danielewski, House of Leaves  Rene Magritte, The Blank Signature Marie Foulston, Videogames: Design/Play/Disrupt

This week Gary Mansfield speaks to David Henty (@davidhenty_art)     “He has painted more Lowery’s that Lowery”   David’s history as an artist started, appropriately enough, with a short stint in HM Prison for forgery in the mid-1990s. It was while serving the sentence that David was inspired to start painting after being seduced by the stories of the artists he’d study. Fascinated by their technical genius, he became more and more interested in attaining a level of expertise and being ‘connected’ to the very psyche of the artists. Before long he taught himself, through rigorous preparation and a wholly immersive research process, the art of copying and flawless reproduction. Wherever possible, even sourcing the same materials, pigments, brushes, canvases and boards staying true to the period.   Today, David Henty is considered the best copyist artist in the world. His work is meticulously and lovingly recreated to the finest detail, having honed his craft over 25 years to now master the techniques and nuances of some of history’s most iconic artists, his work has fooled scientists and art critics alike, being practically indiscernible from originals of such artworks by Amedeo Modigliani, Pablo Picasso, LS Lowry, Caravaggio, Leonardo Da Vinci, Vincent Van Gogh, Claude Monet, Jean Michel Basquiat, Rene Magritte, John Singer Sargent and the list goes on.   For more information on David and his work go to www.davidhentyart.co.uk     For full line up of confirmed artists go to https://www.ministryofarts.org Email: ministryofartsorg@gmail.com Social Media: @ministryofartsorg

Prečo stálo jablko za jednou z najslávnejších vojen staroveku a ako sa to odrazilo v umení? Ako je možné, že si našlo svoje miesto v zobrazeniach rajskej záhrady?  Ako to, že v Ježišových rukách je jablko symbolom spasenia, no v rukách Evy symbol neposlušnosti a dedičného hriechu? Čo znamenalo toto ovocie pre impresionistického velikána Paula Cézanna? Ako ovplyvnilo jedno maľované jablko Beatles? To všetko sa dozviete v prvej epizóde podcastu o umení.   Diela, ktoré boli spomínané v podcaste: Antická socha Herkula, ktorý drží jablká zo záhrady Hesperidiek: https://www.metmuseum.org/art/collection/search/571915 Raphael: Tri Grácie, https://www.raphaelpaintings.org/three-graces.jsp Peter Paul Rubens: Paridov súd, https://www.museodelprado.es/en/the-collection/art-work/the-judgement-of-paris/f8b061e1-8248-42ae-81f8-6acb5b1d5a0a Luca Cranach st., Paridov súd, https://www.artsy.net/artwork/lucas-cranach-the-elder-judgment-of-paris Paul Cezanne: Apples,https://www.metmuseum.org/art/collection/search/435866 Rene Magritte: The Son of Man, https://www.renemagritte.org/the-son-of-man.jsp Rene Magritte: ‘Le Jeu de Mourre' (Beattles "jablko") https://www.quora.com/What-is-the-connection-between-Rene-Magritte-and-The-Beatles https://qph.fs.quoracdn.net/main-qimg-98468e5351ed609323d4d22c6250f6b3 https://qph.fs.quoracdn.net/main-qimg-5dca2e334c1458ba19dbfa61f6e02bb2 Albrecht Durer: Adam a Eva, https://www.metmuseum.org/art/collection/search/336222 Titian (Tizian): Pád človeka, http://www.titian.net/fall-of-man/ Lucas Cranach st.: Adam a Eva https://commons.wikimedia.org/wiki/Category:Adam_and_Eve_by_Lucas_Cranach_(I)_in_the_Uffizi_Galleries,_Florence#/media/File:Cranach,_adamo_ed_eva,_uffizi.jpg    

You've probably heard of Salvador Dali, Rene Magritte, or Frida Kahlo. These surrealist artists created many amazing artworks. But do you know about the philosophy behind the movement? What does Freud have to do with Surrealism? Why did Dali show us his dreams and nightmares? And why did Magritte paint an image of “raining men”? Let's find out in this story! #Surrealism #Art #CuriousMuse

Arno, Marvin Gaye, Rene Magritte, Léon Spilliaert, Jan De Clerck, Etienne Elias, James Ensor, ... de lijst met bekende namen die een nauwe band hebben met Oostende is lang. Over die laatste, James Ensor wou Herr Seele wel wat straffe uitspraken kwijt in #weetikveel.

When an art movement born of Dada, post WWI depression, and Sigmund Freud comes on the scene.... What did you really expect? Join BYWAP for this mini picnic of lucid dreaming and furry teacups. Together, we'll explore the deeply troubling thoughts of artists like Max Ernst, Salvador Dali, Rene Magritte, and so many others—as well as take inspiration from the techniques they developed to make this uncanny art. Find out how Surrealism took root in 20th century Paris through the form of manifests and creative types; contemplate quietly the art that you could create if you did a lot of deep breathing, randomly rubbed graphite on random pieces of paper, and channeled your weirdest dreams; find joy in your hearts the way that the Sims brings joy to our hearts; remain unsurprised that anarchists and communists co-signed their beliefs into an art style that had no gods nor kings; and bring a Surrealist object and new wealth of Art Historical knowledge to your upcoming ZOOM family holiday group call. Care to join us in some weird art making? Using this list from the Los Angeles County Museum of Art's Unframed, pick a Surrealist technique and create something with it. Be sure to tag us, and we'll post it all over the socials! Things have changed, but we're changing with it. Donate. Sign petitions. Support Black-owned businesses. Educate yourselves. Listen. Speak. Repatriate. Stay Safe. Don't Touch Your Face. Wash Your Hands. Donate! Donate to Black Lives Matter LA, the Action Bail Fund, Black Visions Collective. Please be sure you've signed petitions. If you like what we do, you can support BYWAP over on our Patreon! Find us online! You can follow BYWAP on Twitter and Instagram. You can also find us over on our website! We want to hear from you, to share this time with you. We're in this together, and we're better together. Please leave us a review wherever you listen to podcasts. Every little bit helps as we grow, and we cannot wait to talk to you all again. This is global. Your voice matters. Systemic change is possible. It will not happen overnight—so keep fighting! We stand with you. Our music was written and recorded by Elene Kadagidze. Our cover art was designed by Lindsey Anton-Wood.

“Through my continued research, I realized there's a way you can blend and merge identities. And actually that's your truest form of yourself when you're in the intersections of multiple identities. And that's the hybrid.” Sarabeth Berk   Sarabeth Berk, Chief Creative Disruptor of More Than My Title, is a researcher and innovation strategist demystifying the human experience. She is known for her research on the hybrid professional - people with multiple professional identities who integrate talents together and bring unique value to employers and clients. I had the pleasure of speaking with Sarabeth about the professional identity crisis that inspired her research on the hybrid professional, the increasing demand for hybrids in the job market, and how you can network to learn someone’s identity rather than their position. Listen in to find out if you might be a hybrid professional.   Show Highlights [0:59] Sarabeth’s professional identity crisis [6:25] Jobs of the future will always become commonplace [16:17] Emerging hybrids vs established hybrids [23:00] Identity work & being seen [26:25] Gaining clarity of self through misunderstanding [31:21] How to network with identity in mind   Links | Resources Sarabeth on LinkedIn More Than My Title Are You a Hybrid Professional? Sarabeth’s TEDx Talk   About the Guest Sarabeth Berk is a creative disruptor and innovation strategist who demystifies the human experience. As a researcher, she is known for her research on the hybrid professional - people with multiple professional identities who integrate talents together and bring unique value to employers and clients. Sarabeth is currently the Chief Creative Disruptor of More Than My Title, a professional coaching agency in Denver, CO that helps clients discover their truest professional identity. About Voltage Control Voltage Control is a facilitation agency that helps teams work better together with custom-designed meetings and workshops, both in-person and virtual. Our master facilitators offer trusted guidance and custom coaching to companies who want to transform ineffective meetings, reignite stalled projects, and cut through assumptions. Based in Austin, Voltage Control designs and leads public and private workshops that range from small meetings to large conference-style gatherings.  Share An Episode of Control The Room Apple Podcasts Spotify Android Stitcher Engage Control The Room Voltage Control on the Web Contact Voltage Control   Intro: Welcome to the Control the Room Podcast, a series devoted to the exploration of meeting culture and uncovering cures for the common meeting. Some meetings have tight control, and others are loose. To control the room means achieving outcomes while striking a balance between imposing and removing structure, asserting and distributing power, leaning in and leaning out, all in the service of having a truly magical meeting. Douglas: Today I’m with Dr. Sarabeth Berk. Dr. Sarabeth Berk is a hybrid professional, who also researches hybrid professional identity. She’s also the author of More Than My Title. Welcome to the show, Sarabeth.  Sarabeth: I’m so glad to be here. Thanks, Douglas. Douglas: So, tell us a little bit about how you got started in this work you do, this notion of hybrid professional identity. Where did that even come from? Sarabeth: Yeah. It's been a wild journey, and it really started with that age-old question: What do you do? And I was going through my own career-change transition and trying to figure out what my next move was. And when people asked me, “What do you do?” I just struggled. I didn't know who I was. I wanted to be seen as more than my current job, and at that point, I was a teacher, and I was ready to break out. I wanted to transform systems and do more strategy and design and innovation work. And so essentially, I was having a professional-identity crisis. I didn't know who I was.  And that led me onto this big research journey and interviewing a lot of people and starting to understand, what is this notion of professional identity? We just don't talk about it. And I looked at existing research. But what was fascinating to me the most was when I talked to other people, I thought they had it figured out and that I was the one that was confused, and this was a problem only I experienced. And that was so far from the truth. I quickly realized that people, many people, are more than their job title. That's just this kind of generic way that we give ourselves a frame and a label. And everyone I spoke to was so much more. So it gave me a sense of ease and peace to realize, oh, my gosh. Okay, it's not only me trying to figure out my identity.  And then it started to open up a lot of new questions and thinking of, why don't we talk about this, and why is it so hidden that people do many things. But beyond that—here was the real kick—I realized I have multiple professional identities. I was an artist and a teacher, and I was becoming a researcher, and I loved design. I probably had a handful of others. But I didn't want to be just one identity at a time. When I took a job, I didn't want to just be hired as the designer or the researcher. I loved using all of those identities together.  So through my continued research, I realized there's a way you can blend and merge identities. And actually that's your truest form of yourself when you're in the intersections of multiple identities. And that's the hybrid.  So that's sort of my short story on how I happened upon it. But now that I've unlocked it and I'm sharing it with other people that are trying to figure out how do they get their next job or how do they really explain and articulate what their value is, this notion of the hybrid is just the game changer, and I'm so glad people are liking it. Douglas: You know, I personally resonate with this a lot because my degree that I obtained in college was entitled multidisciplinary studies because I didn't want to be in school and get four different majors, but I wanted to study a lot of different things. And in fact, I had spent a lot of time in computer-science-type stuff in high school but enjoyed it so much I was just, like, figured that stuff out. I want to go study other stuff. And so I think I personally carved out this journey where there wasn't this one to one between my degree and my job. And I think a lot of folks, that's the classic route. And I felt a little bit different early in that journey. But it seems like it's more and more, we're finding whether you're a product manager or a facilitator or just this podcast is dedicated to, there are so many roles out there where you can't just go and get a degree in that role. And in fact, it takes a very diverse and well-rounded background to make you excel in the role. So I’m just kind of curious. How much do you think it has to do with these new types of roles that of themselves are not super well-defined. They’re kind of hybrid in nature. Sarabeth: I love everything you just framed because the truth is you're not alone. A lot of people are not the exact thing they went to school for or got a degree in, and they've changed jobs and accumulated so many talents over time that they are like, yeah, what am I now? And I just wrote a really popular blog post a couple weeks ago that looks at this issue of job descriptions and positions and the way that roles are being named.  One that really stood out to me is a company called Jump, and they do a ton of design and design-thinking-type work. And they were hiring a person to be an innovation strategist, which is something that resonates with me. And what I loved in the job description is the first thing they wrote is, Are you a hybrid thinker? They call that out. And then below that, they described it as someone who’s one part a humanist, one part technologist, one part anthropologist and filmmaker, entrepreneur. They kind of listed these identity mashups that nailed it for me because companies are starting to realize they need someone that is multidisciplinary or multifaceted. And that's actually the value when you can find a person with this crazy combined skill set and identity set. Douglas: You know, as someone who's hired a lot of people over the years, I hear that and part of me is reminded of this really, I would say, treacherous territory of carving out this unicorn that maybe doesn't exist, and then you have these unrealistic expectations on finding the person. But I think as the job market or the pool gets more and more sophisticated and people have more and more experience, these unicorns do tend to, they're out there.  Sarabeth: Yeah. Douglas: And so I’m just kind of curious of your thoughts on that. Sarabeth: Yeah. It's that notion that the jobs of the future will eventually become commonplace today. So an example of that would be a social-media manager. We never knew we needed that role 10 years ago. That was really outlandish and exotic. And now it's so normal that multiple people have that in their job description underneath other duties. And I think now we see things like a DevOps manager. Well, that's hybrid. You're doing development and operations. Or even a data scientist. What is that? That's a hybrid title that now is becoming more normalized because we're like, yeah, of course, you have to look at data scientifically with other methods and insights behind that.  So I think it's that notion that when things are hybrid, I'll use more of a product example for a second. When CamelBak created a backpack that had a water-bottle bladder inside of it, well, what the heck do you call that? That was a new product that combined two existing functions. And they named it CamelBak.  And that suddenly caught on as the new way to call that object. Well, the same thing goes for people in roles. We don't know what they are until we sort of adopt it and get used to it. So I believe the unicorns are out there. We just don't have enough language to define them. Douglas: Yeah. It's interesting. It's like, are we tapping into an emergent phenomenon or really just dreaming up something that some really crazy custom-fit jigsaw-puzzle piece that would just help our organization? Or are we tapping into some trends that are just starting to emerge? Sarabeth: Probably all the above. Douglas: Yeah. I think the risk is when we overfit that jigsaw puzzle, and it’s like, oh, here's this thing that's like—does that thing even exist? Maybe that’s two different people. Sarabeth: Yeah. No, and that’s part of the art and the science of this, so thanks for putting that into perspective. We can't say we need someone that is the jack of all trades and an expert in everything, because that's not realistic.  So my quick framework is that there's three types of professionals: people that have really one type of expertise, I call that singularity. People that have multiple things they do for work, I call that multiplicity. And then the hybrid is somewhere in the middle, where you're blending and combining multiple expertise as well as multiple areas of generalists. And so it’s sort of fuzzy. And so people say if you're a hybrid, then you're not an expert. And actually, I disagree. I think you're an expert in your own hybridity, because in that emergent space—I love that word you used—and you're in the intersection of multiple identities simultaneously, that's an expertise no one else can replicate.  And to your point a moment ago of, is it too crazy to ask for someone to be all these things? Yeah. I think it is. So when I work with people one on one or in groups, I say you have to first have a ton of self-awareness and know what are your core professional identities, the two, three, four at the most, that are really the ones you’re best at. They light you up. You want the world to know you for. If you stop doing any of those tomorrow, you'd feel like part of you is missing. Once you land on those two, three, or four, that's what makes your hybridity. That's kind of the ingredients of a mixture. So, yes, you probably can do more than those three or four identities, but that's not going to be the best use of who you are as a hybrid. Where I’m trying to go with this is that there is sort of—a hybrid needs to just be a certain set of components. It can't be everything. Does that make sense? Douglas: Absolutely. And I think that was the risk I was trying to point out to folks that wanted to tap into this phenomenon is temper your expectations. We can’t just sit there and just conjure up the most perfect combination of skills and experience, because the more things you layer on, the less the probability that someone in the world has accumulated those things and is available and is interested in working with you. Sarabeth: Yeah, that’s true. And people are fluid and dynamic, and as the workforce is shifting, people are changing industries. And so once you start not just getting new jobs, but you're going from finance into healthcare, into tech, now you have this whole different set of who you are and how do you articulate that value. And I think that's what I'm trying to help people discern is you need to tell a story of the relationships between the different identities you have. Douglas: I love that. Gosh, that brings up a lot of stuff for me. I was even thinking about internal family systems. But this notion of fluidity is really fantastic. And maybe the advice to hiring managers, and the thing I would probably internalize, is that if we're hiring people that are hybrid or have that hybrid affinity, it means that we can benefit from that fluidity and adaptability because they realize that they have this growth mindset and they are accumulating new skills. And so even though they're not this unicorn, maybe they're missing a few pieces, then they're going to grow into that, and they can adapt and they're not just fixed into this identity of who they are and what they do. Sarabeth: Absolutely. Identity is a really big spectrum, and we change depending on context and time of our lives. We are not the same individuals that we were 10 years ago, you and I. We have different tastes and interests and hobbies and probably even friends. So why would we ever think that our career stays stagnant too? Douglas: Mm. Also, just kind of tying this back to meetings and facilitation and also your comment around people saying that hybrids aren't experts, I would say that my interpretation of that would be hybrids are experts at gluing things together, because you may have—and in fact, a hybrid could be a deep expert in two things, and they're gluing together a bunch of other things. But even if they're not super-deep expertise in whatever is the topic at hand, their deep expertise might be somewhere else, even if they have the ability to span these different spectrums, it means they're going to be able to glue together the deep knowledge that others on the team have, and that is super powerful. And I would argue that hybrids make great facilitators because our role is to glue together, it's to understand enough to say, hey, what you're saying is contradicting this other person, even though you seem to be agreeing. And that takes some hybridity. You have to understand enough of each of these things and have enough experience to be able to call on that knowledge and apply it in a way that everyone can kind of come to the table and understand it. Sarabeth: Yeah. That's really a great insight and observation. I agree that hybrids definitely have one foot in different worlds, and so they get to be these master translators, which isn't the route of facilitation to make it easier. And so you're the person transferring knowledge between disciplines or industries or sectors or departments or whatever to help them make it easier of, What are these languages and ideas and concepts we're doing? How do they fit together? Douglas: Yeah, one thing I also say is one of the superpowers of a facilitator is really quick synthesis, to be able to take a bunch of inputs in, synthesize them, make some meaning of it, and then kind of spit it back out for the group to react to. And so there’s a balance between totally mirroring what you're hearing but also synthesizing some things to help spur and move things ahead. And I think a lot of, I would say, varied and diverse background and perspective can really make that synthesis easier, because it's not about necessarily how fast your brain is processing stuff. I mean, sure, there’s an element of that. But if you have different models and contexts that you can draw on, it definitely reduces the need for your brain to have to go into hyperdrive. Sarabeth: Yeah. I love what you're saying. That was one of the findings I had in looking at hybrids, and where does hybridity show up? And hybrids are masters at pattern recognition and meeting making. And you just said that in your own words. Douglas: That's fantastic. You know, I'd written down complexity earlier, for a different reason. And I think you could kind of map this stuff onto a Cynefin framework even, based on a few things I've heard you speaking about today already. Early on, before hybrid, we have a very simple view of the world. It's like I learn to do something, and I do it. And then as I learn more and more difficult things and get more and more specialized, moving into the complicated domain, that hybrids really thrive in this complex domain, where things are adapting and changing, and we have to respond to them. And we have that fluidity that we can lean on so that if something new comes at us, we don't just get knocked off. We kind of just, we remain in balance. Sarabeth: Yeah, definitely. I think hybrids are very adaptable, and they tinker and invent and hack, and they see the standard process, and they know how to kind of tweak it or make it better or change it completely. Douglas: The other fascinating thing about the Cynefin model is that in between the domains, because a lot of people look at it and think it's just a two by two. The lines between the domains is a domain in and of itself, so this disorder that you move through when you transition. And you were talking about these hybrids transitioning, and I think whenever we transition domains, there's some disorder. We have to, you know, like, Clark Kent can't just turn into Superman. He has to go into the phone booth and emerge as Superman.  And I think that that in itself, I mean, there's two things I think of that might be interesting to unpack from your work, which was, do you see that there is a transition, an uncomfortable transition, as people start to learn? As they're moving from a simple, like, “I know this one thing. I'm starting to learn, build this other skill,” it’s like maybe there's some identity crisis starting to happen. Sarabeth: No. I was completely agreeing. I have a table I created in the book I wrote, More Than My Title, where I talk about emerging hybrids versus established hybrids, because there is sort of this developmental thing that's happening as you're feeling the push and pull and tension of having multiple identities, but not understanding the relationship between them, how they fit together, and how to build that as the way you're working in the world. You're sort of stuck in this awkward phase. And there's a few different indicators I have of that. And one of it is this, I call it, crossover. It's like sometimes you know how to tie your identities together and you're in that zone of genius, and other times you don't. It's like you only are one or the other, and you haven't found that natural cadence or just natural ability to let it be simultaneous.  And one thing that just my kind of artsy head that inspired some of my research findings was I was looking at paintings by Rene Magritte, and he is one of the ultimate surrealists. And he had one painting where it's a sandy beach, it's the seashore, and there’s a doorway, just the frame of a door, and the door is open. And so you can walk through that doorway and get to the water or you can stay on the beach. It's sort of that moment of this invisible gateway between the two worlds. And that's my visual mental metaphor of us trying to figure out, How do we find these spaces of transition between the different parts of ourselves? Douglas: It's amazing. As you were sharing some of that I’m starting to formalize some of, like you were helping me articulate where my head was going previously, which is I think there's two modes, maybe. One is as you're first exploring the land of hybridity, it's almost like going through puberty because it's like, wait a second. This is a real awkward transition.  Sarabeth: Yeah. Douglas: And as you start to become more hybrid, so you're developing different facets of yourself, when you're in that zone, I would imagine early on that fluidity isn't quite so fluid. Being able to shift between those modes may be more awkward. I'm actually taking this hat off, putting it on the table, and putting this other hat on, and it's a little clunky. I have to maybe reboot a little bit. But then more and more you do it, the more skilled you are of just blending between the two to where it's almost like a dance. Like, you don't even notice that you're shifting between these modes. Sarabeth: Yeah. That's exactly right. The other tool that I brought into my work is this idea of developing your consciousness. Hybrids don't realize they're even hybrids. They have to learn that construct and realize, oh, my gosh, this might apply to me. And even once you learn the term, you still might not understand how it looks for you and what makes you a hybrid.  Oftentimes when I speak to people that they're excited and this resonates, and they go, “Of course, I'm a hybrid. I do marketing and sales, and I'm a gardener on the side. And I love to do graphics and computer animation,” but they don't understand how those things fit together or how they're using synergies and a marriage of all that. Then there's still that emerging phase. That's more multiplicity, in my mind, when you are just putting one hat on, taking it off, putting the next hat on. And the hybrid is literally wearing all the hats at once and has tentacles of skills.  Let me give a clear, concrete picture of my hybridity in action. So actually, when I'm facilitating a meeting and I start to do either some visual recording, graphic facilitation, or in the moment ask people to take on roleplaying, to play out different personas of stakeholders that we're trying to imagine how would they experience this thing, those are moments when I notice big shifts in the room, and other people don't run meetings that way. That's me and my hybridity because the researcher is turning on, the designer’s turning on, the educator’s turning on, in that moment to get people to do things they don't normally do to make sense of information we're struggling with. So that’s kind of how detailed I push people to see themselves in these moments of their hybridity, to reveal it to themselves. Douglas: You know, that reminds me of one of the thoughts that I had when we first met and I was starting to wrap my head around your work, and it was that this is in a way, is a really practical, pragmatic approach to personal branding. Sarabeth: Definitely. It has that connection, which I think is just one of the outcomes of doing the work. So I didn’t even really do my full hybrid introduction, but essentially I've designed my own title for my hybridity, and I call myself a creative disruptor because to me that encapsulates who I am in the intersections. And it's a unique name. It's not too out there or trendy, but it feels authentic and accurate, and it takes some practice and exploration to find that right combination of words.  And what my “creative disruptor” title represents is that I'm comprised of being an artist, designer, educator, and researcher. Those are my four primary, or core, identities that mean the most and I have to use pretty frequently in the work I do. If I don't, I get bored or I stop doing that job, or other things happen, more disengaged. So that’s really kind of the building blocks of this work is having self-awareness of your identities, and then asking yourself, Who are you in those intersections, and what do you call yourself in that bullseye of your intersections? That's your hybrid title, which then becomes a beautiful personal brand that all of your history and work experience connects to. Douglas: Yeah. I love this notion of authenticity in its purest sense, right?  Sarabeth: Mm-hmm. Douglas: A lot of times we hear that word thrown around, be authentic, etc., but I truly believe that if we're going to be great facilitators, we have to be authentic. And that means being true to ourselves and showing up in that way. And I love that your work is a tool for folks to do that self-reflection and think about, well, what are these elements that are critical? And I think in a way, it's not all that dissimilar than thinking about values as well. But I think that values is such an overused and diluted term that a lot of times people, especially when you're at the company and it's the things that are just hanging on the walls, and no one really lives by them. So I love it as a framework that helps us get to that same need, but it's not a bunch of handwaving stuff. Sarabeth: Yeah. And one other thing I’ll add to that would be I think it's about being seen, which ultimately is about belonging, right? And we know that's one of the steps to have safety and strong teams and trust is you have to feel like you belong and people understand who you are. And when we just walk around and know each other on teams or companies as you're the director of programs, you're the head of A.I., you do sales, I don't really know who you are, and I actually don't really understand your job. And I understand that we need a hierarchy of formal job titles, so I'm not pushing against disrupting and changing all that. But what I am saying and what I've started doing with more teams during workshops and companies is let's do some of this identity work to reveal your professional identity so your colleagues and peers see you the way that you want to be seen and know you for what you’re best at. And that’s more than just your StrengthsFinders or Myers-Briggs profile, which are other talents and skills. Your identity is something that just defines who you are and overarches your passion, your purpose, your skills, everything. Douglas: I'm kind of getting into my nerd brain now on the facilitation, but I’m starting to visualize. It could be—we've been building a lot of MURAL templates for various activities and a lot of the things we would do in real life. And one of them—you mentioned StrengthsFinder—one of them is based on StrengthsFinders, and there was another one based on the books everyone's reading right now. So how do we, coming together as a team, visually kind of exciting each other around possibility or around vision, around the makeup or composition of the team—I think it'd be really fascinating to do some of this exploration as a team. What you're talking about is deeply introspective, and I'm sure you coach a lot of folks and help draw that stuff out—I can imagine teams helping each other draw it out because they see things in their teammates that their teammates might not see in themselves or aren't recognizing. They're a little blind to it because it's things they do but don't perceive or don't say about themselves. Sarabeth: I just have a huge smile on my face right now. You couldn't have said it better. I think doing this work in collaboration with your teammates is one of the best ways because they mirror back to you how they see you and help you realize the truer parts of yourself that maybe you've never given a name to or wouldn't have called out. Like you said, they perceive things and they can reflect it back. Yeah, I think that's really powerful. Douglas: I think one of the thoughts I was having, too, is one of my favorite ways to dispel a conflict is something I call roles and coffee, and as two people were kind of at loggerheads or whatever. And I don't feel like—usually you can tell as a leader, is something bad going on here, or they just misunderstanding each other? Ninety percent of the time, it's just some silly misunderstanding stuff. And so I’ll just tell them to schedule a coffee. And there are no rules besides one simple rule that they can't talk about work or the task that they're doing. They can't discuss the project or anything. They can only discuss what they think each other does from a role standpoint. “I want you to sit down and tell me what your role is. I'm going tell you what your role is, and you're going to tell me what my role is. And you have to sit and listen.”  Sarabeth: Yeah. Douglas: And it can be very eye-opening to hear how people misunderstand what you do and what you bring to the table. Sarabeth: Completely. That is the beginning. I have a workbook that complements my book, and the first section is, What do other people say you do? Talk to your colleagues. How does your partner or family members describe what you do? How does a child, how does a neighbor? Trying these different scenarios to understand how people interpret and perceive you and what words they're using. And if they're totally vague or uncertain, that's also evidence as well. And it's not that everyone has to be super crystal clear, because it is really hard to define all the different things we do. But if people are that fuzzy and if you're not telling a story that's articulating the way you want to show up in the world, then other people won't get it either. So that's kind of why I think this is a really big deal of how you describe your hybrid identity and find language that you believe in will start to cascade to your boss, to clients, to everyone.  And the more I've talked about being a hybrid, I've noticed people start to introduce me that way, or they've walked up—I had a boss one time say, “Hey, Sarabeth. Are you able to use enough of your identities in this job? How is that going for you?” And that blew me away because when would you ever expect a manager or a boss to say that and to make sure you're feeling supported and seen? And I think the more we talk about this explicitly, the more we feel, wow, this is really what's been missing from our lives. Douglas: That’s amazing. You know, and it's like I think that to me the fascinating piece is absolutely others are going to help you identify things that you may not realize that you might want to kind of craft into that narrative. They may actually also point out things that they're perceiving that are incorrect or that maybe we're presenting things in a way that it's confusing or people are reading into it in ways that we don't want. We can repair those things as well. Sarabeth: Oh, definitely. Yeah. If people are reflecting back to you—like, I used to get called the design-thinking guru a lot, and it was kind of just a fun, easy way for people to reference me. But that kind of drove me crazy because that's not who I saw myself as. Like, yes, I know design thinking, but that wasn't the way I wanted to show up in a room or be introduced. So, yeah, that was good feedback where I needed to tailor and tweak how I introduced myself and how I talked about myself. And then it started to shift that introduction when other people said it. Douglas: Absolutely. I had the same thing happen to me when I first started Voltage Control, because I was doing a little bit of fractional CTO work, as well as facilitating and running design sprints. And I would tell people that, right? I would tell them that hybrid nature of, like, I’m a fractional CTO, and I do design sprints.  It is fascinating to me how people would always remember one or the other. And so I’d either get introduced as the CTO guy or the design-sprint guy. And as I was doing less and less CTO work, it was even more frustrating because people would still introduce me as this fractional CTO. And it's like, “Well, I’m not really doing that as much anymore.” It's a struggle, and it's real. Sarabeth: Yeah. And it just takes practice and experimentation. I tell people to keep iterating. It took me a while to even figure out my hybrid title. And if you don't have one, if that's daunting, because going into these intersections, I will say right now, is the hardest work. People get really lit up, and they're like, “Oh my gosh, you just want me to draw this Venn diagram and look at my overlapping identities. I love it. That's genius.” And then they start scratching their heads and go, “Oh, my god, I don't know how to do that.” But if you just want a starting point, even just saying, “Hey, I'm a hybrid. I work at the intersections of, in my case, being an artist, designer, researcher, educator,” that is a nice gateway, and that's a really simple way to start reinforcing this stuff. But I agree. It takes a while for people to actually, like, hold onto it and remember it. Douglas: So, I want to come back to something you mentioned in passing earlier as this kind of a setup to kind of explaining this work. And it really struck me, it brought me back to a place that I haven't been in a while, which is bumping into people in a networking environment or maybe at a party, and you just met them. You didn't get a really good intro. And the easiest, the most mundane question is, So what do you do? Sarabeth: Every time. Yep. Douglas: Yeah. And so, you know, I always kind of feel awkward with that question, but it was the thing I always wanted to ask, but I felt like an idiot asking it. And so now that we've advanced, well, (a) it's kind of difficult to even find ourselves in networking situations these days, but I guess in your work, have you found more interesting questions, better ways to probe into this hybridity and to learn more about people rather than, “So what do you do?” Sarabeth: Oh, definitely. I mean, a quick one that's not as much identity related is just, What do you love to do? Adding that love part shifts it more into hobbies and extracurricular activities. But if you're trying to stay on a professional note and especially hybrid stuff, I'd say, “What do you call yourself?” You know, that right away, I ask people, “What is your identity?” or just “What are your different professional identities?,” which right away assumes people are more than one thing. Some of those might need a little bit more contextualization to help people not feel affronted or thrown too far off. You might say, “Hey, I realize we're more than our job titles. Tell me about the different identities you use in your work.” And shifting to an identity conversation could be interesting. So those are maybe the top three that just came out of my mouth. Douglas: Yeah. As you were kind of sharing some of those, it reminded me my friend has a great prompt that I’ve totally stolen. And it's, What's lighting you up these days? Sarabeth: Yeah. I love that. Douglas: I find that people always have some really fun answers to that question. So speaking of questions, questions are kind of, I think, the facilitator’s Swiss Army knife. They get us out of a lot of trouble. They can kind of move us forward, etc.. So apart from just the breaking-the-ice, “I just met you” questions, what are some of the questions that you think are provocative or helpful when we're in meetings or just helping people work better together? Sarabeth: Yeah. One of the top things I notice when I'm working with groups and we're problem solving is all the assumptions that they're holding onto that they don't hear and kind of those limited beliefs. So probably a few of my top questions I ask the most is, How do you know? You know, just asking them if they're like, “Oh, we don't need to research that. We already talked to those people and they said blank.” And it's like, well, how do you know they really feel that way? Or what do you see that makes you say that? Getting really objective and moving away from their interpretations and subjective feelings so that they have to back it with actual fact and have a reality check and kind of question where did this story in their head start from?  And probably the last one, it's sort of a loose tool, and I adjust this in so many ways. I could use it for an interview script or facilitation and brainstorming. But these four words, I think, are my driving, just ideas when I'm doing facilitating. And they are needs, beliefs, pain points, and desires. I'm constantly returning back to those to understand, What does a user need? What are they believing? What are their pain points and desires? And I just found if we can answer those, we can reveal the next best set of insights to get us moving forward. Douglas: I think that's also true for the participants, too. Are we pointing that inward to what's going on inside the hearts and minds of the folks in the room as well as who this room is focused on solutioning for.  Sarabeth: Mm-hmm. Douglas: So I love that, yeah. Excellent. Well, Sarabeth, it's been a pleasure chatting with you today. And I'm sure if everyone enjoyed this as much as I did, then they're eager to find out where they can learn more and maybe also think about—I'd love to hear what you might be interested in leaving the audience with. Sarabeth: Ah, so many good nuggets. Douglas, you and I just have the best synergy. We could have talked forever. Let's see. So essentially the work I'm doing, go to my website, morethanmytitle.com. I just wrote a book with the same name called More Than My Title: The Power of Hybrid Professionals in a Workforce of Experts and Generalists, because essentially I think this is a movement of a hidden segment of the workforce, and I'm really trying to build awareness and give people practical tools to both help them with their own personal identity, but also to realize the workforce is made up of more than just experts and generalists. And then you can find my workbook, and I have online courses. So my goal is just to help people activate and learn about themselves and their identity.  And my takeaway for your audience today is my favorite question, which is, Who are you in the intersections of your multiple professional identities? And when you can start to answer that question, you are going to see a whole new side and really just version of who you are in the world. Douglas: Fantastic. Sarabeth, it's been a pleasure chatting with you. And I'm really excited to see how the listeners take this work to heart and what they find as they start to explore new identities. So thanks so much for being on the show, and we'll talk again soon. Sarabeth: I hope so, Douglas. I'd love to come back anytime. Just keep me on your radar. You're great. This is wonderful. Thank you. Outro: Thanks for joining me for another episode of Control the Room. Don't forget to subscribe to receive updates when new episodes are released. If you want more, head over to our blog, where I post weekly articles and resources about working better together, voltagecontrol.com.

Episode 33 Hugh Kretschmer Award Winning editorial and advertising surrealist photographer   Welcome to Episode 33, Today Jake and I are talking with Award Winning editorial and advertising photographer Hugh Kretschmer.. Hugh creates incredible  photo illustrations, ranging from commercial projects to surreal Fine Art Pieces, he takes us into a world that will visually bend your mind with his surreal narratives. His photos reveal other worlds and will take you on a magical story that will move you.  That aside, his clients include the likes of Vanity Fair, New York Times, Rolling Stone, National Geographic, Fortune, Sony, Toyota, Honda and many many more... Hugh classes himself as a Photographic Illustrator, his ideas are created from an illustrators perspective and so is his process except he uses his camera as his weapon of choice to capture all of this… Introduced to photography at a young age by his father, who was a was a photo-instrumentation engineer for MacDonnell Douglas who worked on projects from the Mercury through to the Apollo missions. Hugh’s work certainly borrows from the art world and you can certainly see a hint of Rene Magritte and perhaps a hint of Salvador Dali in his concepts, but don’t be fooled thinking this is all put together in Photoshop… Oh no… this is where Hugh’s approach and work ethic is completely the opposite as he composes nearly all his work utilising the manual building process of props/ sets and recording multiple process in camera. Hugh’s mind and work are both amazing, and we don’t boast to understand it all, but visually it’s truly outstanding and mesmerising. For those wanting to look at the Fence in a landscape image we referenced in the podcast here is the link so you can see what we’re talking about, only then will you appreciate the amount of work that goes into such. shot. Fence panel Landscape: https://www.hughkretschmer.net/OVERVIEW/19/caption Hugh is such an amazing person with a. complicated creative mind and was such pleasure to interview. Don’t gorget the 10 question ‘Rapid fire not so rapid fire’ round in the middle of the show.. Always a fun few minutes…   Website:  www.hughkretschmer.net IG: @hugh_kretschmer FB: @hugh_kretschmer Twitter:   Podlamania has a NEW website, head on over and take a peek and let us know what you think…. New content coming all time so why not subscribe to keep in the loop. Remember, if have a question about anything Photography or Video/Cinema related, we’d love to hear them, you can send your questions to podlamania@gmail.com Thanks for listening and don’t forget to leave a comment and like. Don't forget to give us a LIKE, COMMENT & SHARE on your chosen podcast player, it helps our rankings a lot and helps us grow and get noticed more.   SUPPORT THE SHOW: Help support PODLAMANIA, so we can bring you even more amazing guests. If you want to help support us to produce and record even more great interviews and content for your ears, and allow us to physically be in front of some of this worlds greatest talents and artists, you can help make this happen by donating on our Paypal page. (Link below) Even a dollar can help us to keep the hamsters fed in their wheels to keep the electricity running. :)    PAYPAL: https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=9CTSELVWACV2W&source=url BUY ME A COFFEE: https://www.buymeacoffee.com/4YW3Nve     Wayne & Jake's own websites: https://Waynejohns.com https://Jakehicksphotography.com  

Who controls the meaning of an artwork? The artist? The viewer? Both? Singer and author Will Young joins me for a super fun chat about the inspiration he's drawn from René Magritte's work. We also dig into Will's acting career, the perils of taking art too seriously and much more!!Will Young⚡Rene Magritte's The Treachery Of Images⚡Rate and review the show⚡Social links and contact info⚡VOTE!⚡

But that won't stop us from talking about THE UNBRELLA ACADEMY Season 2, STARGIRL or DOOM PATROL. We remember 1984's STREETS OF FIRE and MD bemoans the computer repairs that set him back, Cal bemoans ordering things online and recounts his recent ELLEN DEGENERIS kerfuffle. The we talk about fine art and FORTUNINO MATANA and RENE MAGRITTE, cuz we're intellectuals, y'all! We also review the recent PERRY MASON remake and we wax rhapsodic about the tv series MATADOR. We touch on Tom Cruise in space, BATTLEFIELD EARTH and the inimitable Barry Pepper! It's not just Balloon Juice, it's solid gold Balloon Juice! --- Send in a voice message: https://anchor.fm/balloonjuice/message

But that won't stop us from talking about THE UMBRELLA ACADEMY Season 2, STARGIRL or DOOM PATROL. We remember 1984's STREETS OF FIRE and MD bemoans the computer repairs that set him back, Cal bemoans ordering things online and recounts his recent ELLEN DEGENERIS kerfuffle. The we talk about fine art and FORTUNINO MATANA and RENE MAGRITTE, cuz we're intellectuals, y'all! We also review the recent PERRY MASON remake and we wax rhapsodic about the tv series MATADOR. We touch on Tom Cruise in space, BATTLEFIELD EARTH and the inimitable Barry Pepper! It's not just Balloon Juice, it's solid gold Balloon Juice!

Is love everlasting? Can we love more than one person at the same time? Do we choose our lovers for the wrong reasons? http://rajasmusingsconfusings.blogspot.com/ Facebook Group: https://www.facebook.com/groups/braininavat IMDB: https://www.imdb.com/title/tt12490350/ Thumbnail Art: The Lovers by Rene Magritte

A diamond is formed from immense pressure and temperatures deep within the earth over a period of 1-3 billion years. We don’t have that amount of time to turn the pressures of today into something beautiful, we must do so NOW. Can we use this stress to inspire new gems of society, new philosophies, art, music, film, mentalities, mindsets? In episode 9 I talk about the world of 2020 and, as always, get into topics mainly surrounding art and creativity. I mention Henry Matisse and his influence on my recent paper cut-outs project, Rene Magritte, Chirico’s “The Song of Love” and think about the birth of artistic style.

Rob and Morgan dive right into a question from NYKnicks1512 about whether he's being mean for blowing off his girlfriend before they go on a trip together. At 18:32, Necessary-Parking asks how to minimize hard feelings when leaving a job. Finally, at 40:05, lolliepopp99 seeks guidance on avoiding sadness and loneliness when their best friend is with other friends. Tangents include: Rene Magritte, whale dicks, and diversity among chicken species.

Surrealistische Künstler wie Dalí, Ernst oder Magritte sind bekannt, die Künstlerinnen hingegen weniger. Die Frankfurter Schirn zeigt jetzt mit "Fantastische Frauen" Arbeiten von 34 Künstlerinnen des Surrealismus. Claudia Dichter hat sie sich angesehen.

Rene Magritte is one of the best known Surrealist painters and loved turning expectations on their heads. Which could explain A LOT about some of the more unsavory parts of his life! And we'll find out how he turned a simple view of a front lawn into something mind-blowing! See La Condition Humaine does not have an open access image available. You can see it at https://www.nga.gov/collection/art-object-page.70170.html SHOW NOTES (TRANSCRIPT) “A Long Look” theme is “Ascension” by Ron Gelinas youtu.be/jGEdNSNkZoo Episode theme is “Menuet antique” composed by Maurice Ravel. Performed by Luis Sarro. Courtesy of musopen.org https://musopen.org/music/4704-menuet-antique/ https://musopen.org/music/performer/luis-sarro/ https://musopen.org/music/composer/maurice-ravel/ Artwork information https://www.nga.gov/collection/art-object-page.70170.html Magritte information Morris, Desmond. The Lives of the Surrealists  London;: Thames & Hudson, 2018. Elliott, Patrick. Another World : Dalí, Magritte, Míro and the Surrealists. Edinburgh: National Galleries of Scotland, 2010. Print. What You Need to Know about René Magritte (Artsy article) https://www.artsy.net/article/artsy-editorial-rene-magritte René and Georgette Magritte with Their Dog After the War, Paul Simon https://www.youtube.com/watch?v=-lj5RgpgfPE Slow Art Day http://www.slowartday.com The post La Condition Humaine by René Magritte appeared first on A Long Look.

Podcast Çıkmazı, Birinci Bölüm "Aklıeren Çıkmazı"nı dinliyorsunuz. İlk bölümümüzün konusu "Gerçekler ve Gölgeler". Aklıeren Çıkmazı, Rene Magritte ve Mondrian üzerine konuşuyoruz. İyi dinlemeler.

To coincide with a major exhibition of Surrealist artist, Rene Magritte's work at Tate Liverpool, Richard Strange broadcasts from Magritte's former apartment and the recently opened Magritte Museum in Brussels to piece together the exceptional vision and by contrast, determinedly ordinary life of this outwardly conventional man who constructed intriguing and bizarre images, imploring us to "put the real world on trial". Monty Python's Terry Jones holds forth about Magritte's genius for juxtaposition, eminent writer, Suzi Gablik recalls staying with the Magritte's during the 1960s, Naresh Ramchandani explains why Magritte's paintings underpin advertising and artist Gavin Turk pays homage to the master. Produced for BBC Radio 4

Tom and I talk about writing less than a billion words, write by day, paint by night, dollhouse, Rene Magritte, Belgian surrealist, painting the impossible or highly improbable, ceci n'est pas une pipe, key to success, BloodlinesArt.com, reassurance teddy bear, flying leap of faith, to succeed you need to go into the unknown, Renaissance Airport Hotel, unusual stuff, blobs of color, giant floating boulder, walloped, carry art with you, sold 4 greeting cards, surrealist photography on Pinterest, his circles are awesome, Liz Cirelli and Trudy the Elephant at the St. Louis Zoo.

We are back with another cryptid legend this week as we cover the topic of mermaids. Disclaimer: this one gets pretty brutal. Not going to lie, this episode gets weird, in fact this might be the most outrageous content we've ever produced. So sit back as we take you through a history of these legendary creatures, real life encounters and theories on what could be lurking in the depths of Mother Ocean. Just Google it for this week: The collective invention by Rene Magritte / the Aquatic Ape Theory Music Credit: Santo & Johnny - Sea Shells

In Season 2 Batch 1's Fifth Episode Special, Nicole and Kelsey gush over their favorite works of art. Kelsey gives a shout out to her eldest sister and Nicole expresses an affinity for a cheeky play on 1950's ideals. Artwork by Emmanuel Leutze, Joe Webb, Rene Magritte, and El Greco are discussed. Nicole tells us her about her love for religious works and Kelsey ties it all together with Magritte (of course.)

The Baltimore Museum of Art has gathered together a bunch of masterpieces for its new show, including a few by the great surrealist painter Rene Magritte (one of the subjects of the photograph that inspired the beautiful Paul Simon song that opens this segment, Rene and Georgette Magritte with Their Dog After the War). There are also works by Salvador Dali, Pablo Picasso, Max Ernst, Joan Miro Mark Rothko, and more.The BMA's new show is called Monsters and Myths: Surrealism and War in the 1930s and 1940s. Oliver Shell is Associate Curator of European Painting and Sculpture at the BMA. He is co-curating this terrific exhibition, and he joins Tom in Studio A to discuss the show's compelling theme: the powerful impact of war and its horrors on a generation of international painters, sculptors and filmmakers.

This week we touch on Lacan's notion of objet petit a. For me this is an important concept and can be partly understood through studying Rene Magritte's painting, "The Son of Man." I plan to give a talk on this at the gallery in the coming weeks. This episode was a way for me to think out loud so that I can come to know whether I'm making any sense or not. 

Chi è l’uomo con bombetta? Cosa voleva dirci il pittore belga Renè Magritte con una delle sue opere più famose, nota come "questa non è una pipa"?Bilboquet, sonagli, giochi di parole, rocce sospese in mezzo al mare: questo e tanto altro nella nostra settima puntata dedicata al surrealismo.link "La chiaroveggenza" https://bit.ly/2MC1uhGlink "Il tradimento delle immagini" https://bit.ly/2MzSZnslink "Il castello dei pirenei" https://bit.ly/2HvpnZwlink "L'uomo con bombetta" https://bit.ly/2Uly2zblink "La grande guerra" https://bit.ly/2CMSNN5music by Giorgio di CampoDoxie in the club https://bit.ly/2TilubIBossa Blue for you https://bit.ly/2DCsxH3

Finding Gratitude Beyond Obligation It's the day before Thanksgiving, and everyone at The Leftscape wishes a happy holiday to all who celebrate! Robin Renée, Wendy Sheridan, and Mary McGinley have things to be thankful for, though they are also well aware that the holidays can be fraught with inconvenient backstories and obligation. Wendy and Mary are tired of Thanksgiving as a day that demands large amounts of cooking and/or forced gratefulness. All take a moment to acknowledge that for many Native Americans it is a National Day of Mourning. Robin recalls holiday seasons past that were painful, and talks about how a daily practice of mindfulness can help generate genuine gratitude apart from any one grand day. Some of the 2018 midterm election results that are still rolling in on the blue wave are reasons to be thankful. Among the winners celebrated are Ruth Buffalo, Democratic member-elect for the North Dakota House of Representatives, Andy Kim in New Jersey's 3rd Congressional District, and Kyrsten Sinema who won an Arizona Senate seat. Great admiration is also in order for Georgia gubernatorial candidate Stacey Abrams' continued fight for fair voting for all citizens. The Leftscape bids farewell and "Excelsior!" to Stan Lee who passed away at the age of 95. Also in the news, Indivisible has released a new guide to activism that addresses what we can do now that the House of Representatives will have a Democratic majority. Things to celebrate: foods including banana pudding, pomegranates, sweet potato, stuffing, cookies, and "fun with fondue." It's also Jukebox Day, Red Mitten Day, and Tie One On Day. Birthday shout outs go to Rene Magritte, Isaac Bashevis Singer, Harold Ramis, Bjork, Dr. John, Goldie Hawn, Nicollete Sheridan, Alexander Siddig, and Brian Ritchie of Violent Femmes. In the "Why is this Awesome?" segment, Mary celebrates The Metropolitan Museum of Art. Things to do: Read "Thankless Thanksgiving: Why Being Ungrateful is Important" Pick up Wendy Sheridan's Harlequin and Other Fantasies: Meditative Coloring Book for Grown-Ups: httpss://www.youtube.com/watch?v=2MsqdiHdios Order or download Holiday 2018 - 14 tracks by LGBT artists including Robin Renée's "Hare Krishna Christmas." All proceeds from Holiday 2018 go to support Quest of Life Media and Broadcast, a non-profit organization dedicated to supporting LGBT songwriters and musicians.      

René Magritte The Fifth Season May 19–October 28, 2018 (Text from SFMOMA) René Magritte (1898–1967) was one of the most intriguing painters associated with Surrealism, but he did not fully find his voice until after breaking ties with the movement. This exhibition, the first to look exclusively at Magritte’s late career, examines his most important bodies of work from the 1940s through the 1960s, and shows how they marked a fundamental shift in painting from Modernism to our own time. Featuring more than 70 artworks in nine immersive, thematic galleries, René Magritte: The Fifth Season explores how Magritte balanced irony and conviction, philosophy and fantasy, to illuminate the gaps between what we see and what we know. Together, the works reveal Magritte as an artist acutely attuned to the paradoxes at work within reality, and an enduring champion of the role of mystery in life and art.

Awais Javed is a neurobiologist studying the development of the retina for his PhD. He is a first-generation Saudi-born Pakistani who has been fortunate enough to live and travel to the U.K and Canada for his studies. Growing up in Saudi Arabia, Awais had zero exposure to the act of artistic creation, and didn’t really get into the arts at all until he was in London studying for his undergraduate degree. About two years ago, he started to dabble in oil paintings and now he is hooked. In his brief time as a self-taught visual artist, he has developed a surrealistic style. His influences include Salvadore Dali, Rene Magritte, and more recently, David Lynch. In this episode, we discuss what it’s like to discover art later in life, we talk about the places where art and science intersect, the importance of choosing friends who will support your creative self, and balancing being a full time professional with an active creative practice.

Este es el capítulo seis de la tercer temporada, un capítulo dedicado a tres novelas que lidian con clones, multiples de copias de personas, y gemelos perdides. Las tres novelas tienen en común enfocarse más en el aspecto social de la crianza y vida de les clones, que en lo estrictamente biológico del copiado.El Tercer Gemelo (The Third Twin ) de Ken Follet (00:05:10)  En medio de una investigación sobre genes y comportamiento criminal Jennie  Ferrami, una científica, se encontrará en medio de una amoral y siniestra conspiración.Donde Solían Cantar Los Dulces Pájaros (Where Late The Sweet Birds Sang) de Kate Wilhem  (00:35:55)  Una familia intenta salvarse y salvar a la humanidad del apocalipsis por medio de la clonación. Pero les clones tienen otros planes…Gente de Barro, (Kiln People) escrito por David Brin ,(01:01:30)  Un detective se enfrenta a una conspiración junto a sus copias de barro. Demasiado Largo, no lo Escuche (01:17:54)  Se habla en la introducción de la clonación y por qué resulta un concepto tan interesante en la ciencia ficción, qué preguntas plantea, y porqué podemos no querer responderlas.  Se habla también de les nazis, y les supremacistas blancos, de cómo y porqué sus ideas son erroneas, y, sobre todo, intrínsecamente violentas.   Se discute acerca de la importancia de otros factores por encima de lo genético, además de la utilización de neologismos para explicar conceptos sin tener que caer en largos segmentos expositivos, y de la cultura de violación y sus efectos.  En el próximo capítulo vamos a estar hablando de tres novelas que hablan de gente en cercano contacto con la muerte, Las tres novelas son:-Croak, de Ginna Damico-Abrazame, Necromante (Hold Me Closer, Necromancer) de  Lish McBride-Ubik, dePhillip K. Dick   La tapa de hoy lleva la obra “Los Objetos Familiares”, de Rene Magritte . Cortesía, como siempre, de @aula252Pueden escribirme comentarios, preguntas, sugerencias, o lo que deseen, o encontrar más información y otros programas:☆En iTunes, donde pueden suscribirse a este podcast y dejar una reseña, para que más gente lo escuche. Si tienen tiempo y desean ayudar a difundir este trabajo, su apoyo es muy agradecido. ☆ En tumblr @unadosisdeficcion☆ En facebook  Una Dosis de Ficción☆  En twitter en 1dosisdeficcion☆ En Instagram, @unadosisdeficcion​☆ Y por último, por mail a unadosisdeficcion@hotmail.com.Advertencias de contenido y trigger warnings bajo el corte:Advertencias de contenido:- Abuso sexual, violación, agresión sexual: Todo el primer libro lidia con estos temas. -Violencia obstetricia, en el segundo libro, apenas hablado en el podcast. ​

The genre of “bad painting” is a slippery one. On this podcast, we discuss the label, which has been applied to a wide-ranging group of artists throughout the 20th and 21st centuries. What they share, wrote curator Eva Badura-Triska in an essay for the 2008 show “Bad Painting: Good Art” at the Museum of Modern Art in Vienna, is a refusal “to submit to artistic canons.” So what exactly does that mean? Though artists from Francis Picabia to Rene Magritte are among early practitioners of “bad painting,” can the label continue to exist today, when there are no singular artistic canons to reject?

00:04 Livestream 00:35: Intro to Bibiana 1:45 Transition from Science to Art 5:43 Falling in love with New York 6:19 Bibiana buys her first camera 8:00 New York Stories 10:34 Lost Direction & Getting Focused 13:59 Back to New York & stories 18:04 Entering the New York art scene 19:46 Why don’t you go to art school? 22:00 Art Methodologies 23:27 Grad school: The People You Meet & Direction You Go 26:10 Projects: Fotofobia - Set and Production Design -“The Enchanted Reality of Rene Magritte”, https://www.indiegogo.com/projects/the-enchanted-realm-of-rene-magritte#/ ,A small book of drawings, Dance Film, Pickled Press 28:00 - Pickled Press http://www.pickledpress.com & Exploring The Book Form and me pushing boundaries within that 29:24 Fotofobia - A Book Series published by Pickled Press. Very close to releasing Book 3 30:57 Rejunevnation and Inspiration 34:47 Dream person to work with or Dream project 35:51 Visual language and basically an Act of translation 37:17 Curator... For information regarding your data privacy, visit acast.com/privacy --- Send in a voice message: https://anchor.fm/nakedinsideout/message

In today’s episode, I talk with Douglas Lain, one of six authors whose works were nominated for this year’s Philip K. Dick Award. Lain’s novel, After the Saucers Landed (Night Shade Books, 2015) is set in the early 1990s, when aliens, with the theatrical sense of B-movie directors, land flying saucers on the White House lawn. At first, the visitors seem fit for a Las Vegas chorus line; they’re tall, attractive and never leave their spaceships without donning sequined jumpsuits. Even the name of their leader–Ralph Reality–is marquee-ready. But is Reality as real as he seems? That’s the question that Lain poses for readers and his first-person narrator, Brian Johnson, who confronts the alien invasion head-on when one of the interstellar travelers assumes the identity of his wife. This propels Johnson into an examination of reality through various prisms: popular culture, science, philosophy, art, and even fiction. A kaleidoscope of personalities, artists and thinkers are name-checked as Johnson and his colleagues search for the ultimate truth. There are as many nods to mainstream culture (think Elvis Presley, Arsenio Hall and David Letterman) as there are to high-brow (e.g., Rene Magritte, Marcel Duchamp and Jean Baudrillard). And topping it off are the writings of ufologists, including the work of one of the characters, Harold Flint, who is so disappointed by the aliens’ tackiness that he decides to stop studying UFOs altogether. “The big challenge is try and take sometimes abstract ideas and philosophical concepts and bring them to life in the story while not losing any of their complexity,” Lain says. Far easier, he found, was conveying the narrator’s sense of unease and growing paranoia as he learns more about the aliens. “I’ve spent far too much of my life in that kind of state, so it comes naturally me to write about that feeling.” Rob Wolf is the author of The Alternate Universe and The Escape. He worked for many years as a journalist, writing on a wide range of topics from science to justice reform, and now serves as director of communications for a think tank in New York City. He blogs at Rob Wolf Books and I Saw it Today. Follow him on Twitter: @robwolfbooks. Learn more about your ad choices. Visit megaphone.fm/adchoices

In today’s episode, I talk with Douglas Lain, one of six authors whose works were nominated for this year’s Philip K. Dick Award. Lain’s novel, After the Saucers Landed (Night Shade Books, 2015) is set in the early 1990s, when aliens, with the theatrical sense of B-movie directors, land flying saucers on the White House lawn. At first, the visitors seem fit for a Las Vegas chorus line; they’re tall, attractive and never leave their spaceships without donning sequined jumpsuits. Even the name of their leader–Ralph Reality–is marquee-ready. But is Reality as real as he seems? That’s the question that Lain poses for readers and his first-person narrator, Brian Johnson, who confronts the alien invasion head-on when one of the interstellar travelers assumes the identity of his wife. This propels Johnson into an examination of reality through various prisms: popular culture, science, philosophy, art, and even fiction. A kaleidoscope of personalities, artists and thinkers are name-checked as Johnson and his colleagues search for the ultimate truth. There are as many nods to mainstream culture (think Elvis Presley, Arsenio Hall and David Letterman) as there are to high-brow (e.g., Rene Magritte, Marcel Duchamp and Jean Baudrillard). And topping it off are the writings of ufologists, including the work of one of the characters, Harold Flint, who is so disappointed by the aliens’ tackiness that he decides to stop studying UFOs altogether. “The big challenge is try and take sometimes abstract ideas and philosophical concepts and bring them to life in the story while not losing any of their complexity,” Lain says. Far easier, he found, was conveying the narrator’s sense of unease and growing paranoia as he learns more about the aliens. “I’ve spent far too much of my life in that kind of state, so it comes naturally me to write about that feeling.” Rob Wolf is the author of The Alternate Universe and The Escape. He worked for many years as a journalist, writing on a wide range of topics from science to justice reform, and now serves as director of communications for a think tank in New York City. He blogs at Rob Wolf Books and I Saw it Today. Follow him on Twitter: @robwolfbooks. Learn more about your ad choices. Visit megaphone.fm/adchoices

In today’s episode, I talk with Douglas Lain, one of six authors whose works were nominated for this year’s Philip K. Dick Award. Lain’s novel, After the Saucers Landed (Night Shade Books, 2015) is set in the early 1990s, when aliens, with the theatrical sense of B-movie directors, land flying saucers on the White House lawn. At first, the visitors seem fit for a Las Vegas chorus line; they’re tall, attractive and never leave their spaceships without donning sequined jumpsuits. Even the name of their leader–Ralph Reality–is marquee-ready. But is Reality as real as he seems? That’s the question that Lain poses for readers and his first-person narrator, Brian Johnson, who confronts the alien invasion head-on when one of the interstellar travelers assumes the identity of his wife. This propels Johnson into an examination of reality through various prisms: popular culture, science, philosophy, art, and even fiction. A kaleidoscope of personalities, artists and thinkers are name-checked as Johnson and his colleagues search for the ultimate truth. There are as many nods to mainstream culture (think Elvis Presley, Arsenio Hall and David Letterman) as there are to high-brow (e.g., Rene Magritte, Marcel Duchamp and Jean Baudrillard). And topping it off are the writings of ufologists, including the work of one of the characters, Harold Flint, who is so disappointed by the aliens’ tackiness that he decides to stop studying UFOs altogether. “The big challenge is try and take sometimes abstract ideas and philosophical concepts and bring them to life in the story while not losing any of their complexity,” Lain says. Far easier, he found, was conveying the narrator’s sense of unease and growing paranoia as he learns more about the aliens. “I’ve spent far too much of my life in that kind of state, so it comes naturally me to write about that feeling.” Rob Wolf is the author of The Alternate Universe and The Escape. He worked for many years as a journalist, writing on a wide range of topics from science to justice reform, and now serves as director of communications for a think tank in New York City. He blogs at Rob Wolf Books and I Saw it Today. Follow him on Twitter: @robwolfbooks. Learn more about your ad choices. Visit megaphone.fm/adchoices

Herb Kellner is directing our upcoming production of Rossini's The Barber of Seville in a production original conceived by John Copley, a longtime guest director here at San Diego Opera. The production is based on the images and motifs that occur in the work of the Belgian surrealist painter Rene Magritte. Join Nicolas Reveles, the Geisel Director of Education and Outreach, in a discussion of the Magritte influences on this Barber and its unique look.

With Guest Host: Lisa Michot. This show will cover a short history of surrealism and the influencers from 1890’s forward. Surrealism has had a far-reaching influence on all areas of popular culture and has become part of the fabric of our everyday vocabulary. Dreams, the unconscious and how we talk about our inner lives has been changed by the visions of Max Ernst, Joan Miró, Picasso, Salvador Dali, Henry Moore, René Magritte, Paul Delvaux, Pierre Roy, Leonora Carrington, Remedios Varo, Kay Sage, Leonor Fini, Meret Oppenhiem, Hans Bellmar and Dorothea Tanning. Please call and join in the discussion of what has changed and what has remained the same. Promote your art when you introduce yourself live on the show. Artists pre-interviewed: Claudia Roulier, claudiaroulier@me.com, croulrer.typepad.com, http://8888artlook.com/general-membership-information/, Alexandra Louie (Sasha), sashasgallery.com, artsalondenver.com, Annette Coleman, annettecolemanartist.com, 8888ArtLook.com, Jim Caldwell, ArtworkNetwork.com, Lisa Michot, lisamichotart.com, Christine Marie Davis, tactileart.com, Gary Parkins, perfectionstroke.com, Margaret Pettee Olsen, www.petteeolsen.com, Robin Whatley, RobinWhatley.com

Βγήκε λίγο μεγάλο αυτό το επεισόδιο, αλλά για καλό λόγο. Σχολιάζουμε νέα πωλήσεων iPhones και laptops vs. desktops, μερικές αποδράσεις στο Λονδίνο, αλλά και εμπειρία από Internet TV. Επίσης: το κουζί με το χαμένο ευρώ, αλλά και γιατί (μάλλον) δε πρόκειται να μπορέσουμε να ταξιδέψουμε στο χρόνο.Download MP3: Episode 28 (1:09:36, 96 MB)Podcast feed: click hereComments: timaras@gmail.comWebsite: themos-podcast.blogspot.comShownotesCover Art: Ο αγαπημένος μου πίνακας: Time Transfixed, του Rene Magritte.News & Σχόλια:- Μια μυρωδιά που δεν ξεχνιέται ποτέ: αμπάρι πλοίου- Το παλιότερο καφέ στο Soho- Tate Modern- Μπαλέτο - Η λίμνη των κύκνων- Πρώτη εμπειρία με IPTV: Τηλεόραση κατευθείαν από το Ίντερνετ- 7M iPhones το περασμένο τρίμηνο (αλλά λίγο μάπα σαν τηλέφωνο)- Οι πωλήσεις laptop ξεπέρασαν τις πωλήσεις desktop στην Αμερική για πρώτη φορά- Windows 7- Quiz: Που είναι το χαμένο ευρώMovies: - Frost/Nixon (αν και με πρόλαβε ο Γκρινιάρης)Επιστήμες:Αναλύουμε μερικές έννοιες από επιστήμη υπολογιστών, όπως P vs NP προβλήματα και πολυπλοκότητα αλγορίθμων. Αν δεχθούμε τα συμπεράσματά τους σαν φυσική θεωρία, μπορύμε να αποδείξουμε την μη-ύπαρξη χρονομηχανών. Και μερικά σχετικά σχόλια περί ταξιδιών στο χρόνο.Music:Από το music.podshow.com:Polaradio - Don't look backPolaradio - I'm the onePland - Take a risk- Φινάλε: Beethoven, Piano Concerto No.4 in G Major, Op.58 (1806)

Con una conferencia del crítico y profesor de Historia del Arte de la Universidad Autónoma de Madrid Julián Gallego, se inauguró en la sede de la Fundación, el pasado 18 de abril, la Exposición «Maestros del siglo XX. Naturaleza muerta», en la que se ofrecen 79 obras pertenecientes a 32 destacados maestros de los principales movimientos y escuelas artisticas del presente siglo, cuyo catalogo presentamos en forma de diccionario en el número anterior de este Boletín Informativo. La muestra representa una variada selección de 72 pinturas y 7 esculturas que han tratado el tema de la «naturaleza muerta» a lo largo del siglo XX. Las escuelas y estilos a los que se pueden adscribir obras y autores son los que se han ido sucediendo en el arte eontemporaneo de diversos paises: surrealismo, cubismo, dadaismo, expresionismo, arte «pop», arte abstracto, etc. Los pintores y escultores representados en la exposición son los siguientes: Jean Arp, Mac Beckman, Jules Bissier, Pierre Bonnard, Georges Braque, Marc Chagall, Jean Dubuffet, Raoul Dufy, Max Ernst, Alberto Giacometti, Juan Gris, Paul K1ee, Oskar Kokoschka, Le Corbusier, Fernand Leger, Roy Lichtenstein, Rene Magritte, Henri Matisse, Joan Miro, Adolphe Monticelli, Ben Nicholson, Claes Oldenburg, Pablo Picasso, Odilon Redon, Georges Rouault, Kurt Schwitters, Chaim Soutine, Nicolas de Stael, Saul Steinberg, Antoni Tapies, Jean Tinguely y Andy Warhol.Más información de este acto

In this episode of Thick & Thin, we’re going to chat about some fun facts that you’ve likely never heard about, courtesy of Reddit, and also learn about The Shopping Cart theory: what you do when no one is looking. Lastly, we’ll discuss a concept based on a quote by Surrealist painter, Rene Magritte, that says: “The purpose of art is mystery.” // SOURCES: https://medium.com/be-unique/the-curious-case-of-the-shopping-cart-theory-802909d93cff www.smashingmagazine.com/2010/07/what-do-we-really-mean-by-art/ https://artlistr.com/rene-magritte-7-interesting-facts/ https://www.reddit.com/r/todayilearned/ // Follow me on IG: Instagram.com/katybellotte Support this podcast at — https://redcircle.com/thick-and-thin/donations Advertising Inquiries: https://redcircle.com/brands