Podcast appearances and mentions of Robert Barry

Episode 117 Electronic Keyboards in Jazz, A Recorded History, Part 1 of 2 Playlist   Length Start Time Introduction 05:42 00:00 1.             Vernon Geyer, “Day After Day” from All Ashore / Day After Day (1938 Bluebird). Soloist, Hammond Electric Organ, Vernon Geyer. 02:22 05:42 2.             Milt Herth Quartet / Milt Herth Trio, “Minuet in Jazz” from Home-Cookin' Mama With The Fryin' Pan / Minuet In Jazz (1938 Decca). Milt Herth was one of the first to record with the Hammond Organ Model A. His playing was more focused on melody and counterpoint and not so much on creating a lush progression of chords. This was recorded a few years before the availability of the Leslie rotating speaker, which added a special tone quality to later Hammonds, such as the model B3. 02:44 08:04 3.             Milt Herth Quartet / Milt Herth Trio, “Looney Little Tooney” from Flat Foot Floojie / Looney Little Tooney (1938 Decca).  Vocals, O'Neil Spencer; Drums, O'Neil Spencer; Guitar, Teddy Bunn; Hammond Organ, Milt Herth; Piano, Willie Smith (The Lion). 02:50 10:46 4.             "Fats" Waller And His Rhythm, “Come Down to Earth, My Angel” from Come Down To Earth, My Angel / Liver Lip Jones (1941 Bluebird). Waller was an extremely popular ragtime and stride piano player and vocalist. In this number, he takes a rare turn on an electric organ, presumably an early model Hammond. Vocals, Piano, Electric Organ, "Fats" Waller; Bass, Cedric Wallace; Clarinet, Tenor Saxophone, Gene Sedric; Drums, Slick Jones; Guitar, Al Casey; Trumpet, John Hamilton. 03:10 13:36 5.             Collins H. Driggs, “When Day is Done” from The Magic Of The Novachord (1941 Victor). Soloist, Hammond Novachord, Collins H. Driggs. This was an early polyphonic keyboard that generated its sounds using valve, or vacuum tube, oscillators. Made by Hammond, the Novachord was an entirely different electronic instrument than its tone-wheel organs. The Novachord had unique, synthesizer-like controls over envelope generation, band pass filtering and vibrato controlled by a series of flip switches, offering the keyboardist a unique suite of sounds. 03:11 16:45 6.             The Four Clefs, “It's Heavenly” from It's Heavenly / Dig These Blues (1943 Bluebird). Hammond Electric Organ, James Marshall. Another organ recording and a nice duet with a guitarist Johnny "Happy" Green. 02:41 19:54 7.             Ethel Smith And The Bando Carioca, “Tico-Tico” from Tico-Tico / Lero Lero / Bem Te Vi Atrevido (1944 Decca). Another was a popular and skilled organist using a pre-B3 Hammond. 02:45 22:36 8.             Slim Gaillard Quartette, “Novachord Boogie” from Tee Say Malee / Novachord Boogie (1946 Atomic Records). Bass, Tiny Brown; Drums, Oscar Bradley; Guitar, Slim Gaillard; Piano, Dodo Marmarosa. While the Hammond Novachord plays a prominent role in this recording, the player is not credited. 02:57 25:20 9.             Milt Herth And His Trio,” Twelfth Street Rag” from Herthquake Boogie / Twelfth Street Rag (1948 Decca). Recorded in New York, NY, September 5, 1947. Described on the recording as a “Boogie Woogie Instrumental.” Hammond Organ, Milt Herth; Drums, Piano, Uncredited. Herth had been recording with the Hammond organ since 1937. 03:10 28:16 10.         Ben Light With Herb Kern And Lloyd Sloop, “Benny's Boogie” from Benny's Boogie / Whispering (1949 Tempo). This track includes the triple keyboard combination of piano, organ, and Novachord. Hammond Electric Organ , Herb Kern; Piano, Ben Light; Hammond Novachord, Lloyd Sloop. 02:37 31:27 11.         Johnny Meyer Met Het Kwartet Jan Corduwener, “There's Yes! Yes! in your Eyes” from Little White Lies / Thereʼs Yes! Yes! In Your Eyes (1949 Decca). Accordion player Johnny Meyer added a Hammond Solovox organ to his musical arrangements. The Solovox was monophonic and it added a solo voice to his performances. This recording is from the Netherlands. 03:22 34:04 12.         E. Robert Scott, R.E. Wolke, “Instructions For Playing Lowrey Organo” (excerpt) from Instructions For Playing Lowrey Organo (circa 1950 No Label). Promotional disc produced by piano and organ distributor Janssen, presumably with the cooperation of Lowrey. This is a 12-inch 78 RPM disc, but is undated, so I believe that picking 1950 as the release year is safe because the Organo was introduced in 1949 and 78 RPM records were already beginning to be replaced in 1950 by the 33-1/3 RPM disc. Recordings of this instrument are extremely rare. I have no such examples within a jazz context, but being a competitor of the Hammond Solovox, I thought this was worth including. 03:23 37:26 13.         Ethel Smith, “Toca Tu Samba” from Souvenir Album (1950 Decca). One of the great female masters of the Hammond Electric Organ was Ethel Smith. Her performances were mostly considered as pop music, but she had the knack for creating Latin jazz tracks such as this. Featuring The Bando Carioca; Hammond Electric Organ soloist, Ethel Smith. 02:25 40:48 14.         The Harmonicats, “The Little Red Monkey” from The Little Red Monkey / Pachuko Hop (1953 Mercury). Jerry Murad's Harmonicats were an American harmonica-based group. On this number, they included the electronic instrument known as the Clavioline. The Clavioline produced a fuzzy square wave that could be filtered to roughly imitate many other instruments. The record is inscribed with the message, “Introducing the Clavioline,” but the player is not mentioned. 01:56 43:12 15.         Djalma Ferreira E Seus Milionarios Do Ritmo, “Solovox Blues” from Parada De Dança N. 2 (1953 Musidisc). From Brazil comes a jazz group that included the Hammond Solovox Organ as part of its ensemble. Invented in 1940, the Solovox was a monophonic keyboard intended as an add-on to a piano for playing organ-flavored solos. It had a 3-octave mini keyboard and controls over vibrato and attack time, and tone settings for deep, full, and brilliant. Piano, Hammond Solovox Organ, Djalma Ferreira; Bass, Egidio Bocanera; Bongos, Amaury Rodrigues; Drums, Cecy Machado; Guitar, Nestor Campos. 02:31 45:08 16.         Eddie Baxter, “Jalousie” from Temptation (1957 Rendezvous Records). Piano, Hammond Organ, Celesta (Electronic Celeste), Krueger Percussion Bass, Eddie Baxter; rhythm section, uncredited. Like Ethel Smith, Baxter was pushing the limits of popular music with his virtuosity on the organ and other instruments. In this track you can hear the electronic celesta with its chime-like sounds near the beginning before the electric organ and guitar dominate the rest of the piece. 02:33 47:38 17.         Eddie Baxter, “Temptation” from Temptation (1957 Rendezvous Records). Hammond Electric Organ, Eddie Baxter. Piano, Hammond Organ, Wurlitzer Electric Piano, Krueger Percussion Bass, Eddie Baxter. In this track, you can clearly hear the Wurlitzer electric piano in several sections. 02:08 50:10 18.         Le Sun Ra And His Arkestra, “Advice to Medics” from Super-Sonic Jazz (1957 El Saturn Records). This excursion into one of the first records released by Sun Ra as a bandleader of the Arkestra was recorded in 1956 at RCA Studios, Chicago. This track is a solo for the Wurlitzer Electric Piano, an instrument invented in 1954 and that was quickly adopted by many jazz and popular music players. 02:02 52:17 19.         Le Sun Ra And His Arkestra, “India” from Super-Sonic Jazz (1957 El Saturn Records). A work featuring the Wurlitzer Electric Piano played by Sun Ra, miscellaneous percussion; electric bass, Wilburn Green; Drums, Robert Barry and William Cochran; Timpani, Timbales, Jim Herndon; and trumpet, Art Hoyle. 04:48 54:18 20.         Le Sun Ra And His Arkestra, “Springtime in Chicago” from Super-Sonic Jazz (1957 El Saturn Records). This work features Sun Ra playing the acoustic and electric pianos. Wurlitzer Electric Piano, piano Sun Ra; bass, Victor Sproles; Tenor Saxophone, John Gilmore; Drums, Robert Barry and William Cochran. 03:50 59:14 21.         Le Sun Ra And His Arkestra, “Sunology” from Super-Sonic Jazz (1957 El Saturn Records). Another number with both the acoustic and electric pianos. Of interest is how Sun Ra moves deftly from one keyboard to the other (these recordings were made in real time), often mid-phrase. This was a style of playing that Sun Ra would continue to perfect throughout his long career and many electronic keyboards. Wurlitzer Electric Piano, piano Sun Ra; bass, Victor Sproles; Tenor Saxophone, John Gilmore; Drums, Robert Barry and William Cochran; Alto Saxophone, James Scales; Alto Saxophone, Baritone Saxophone, Pat Patrick. 12:47 01:02:54 22.         Steve Allen, “Electronic Boogie” from Electrified Favorites (1958 Coral). From Steve Allen, who played the Wurlitzer Electric Piano on this track. This track has the characteristic brashness that was typical of the Wurlitzer sound. 02:23 01:15:40 23.         Steve Allen, “Steverino Swings” from Electrified Favorites (1958 Coral). From Wurlitzer Electric Piano, Steve Allen. Unlike many tracks featuring the Wurlitzer Electric, which make use of its distortion and emphasize its sharp attack, it was possible to closely mimic an acoustic piano as well, as Allen does here. I had to listen to this several times before I believed that it was the Wurlitzer, as the liner notes state. But you can hear certain tell-tale sounds all along the way—such as the slight electrified reverb after a phrase concludes and the occasional thump of the bass notes played by the left hand. 02:54 01:18:02 24.         Michel Magne, “Larmes En Sol Pleureur (Extrait D'un Chagrin Emmitouflé)” from Musique Tachiste (1959 Paris). Jazz expression in a third-stream jazz setting by French composer Michel Magne. Third-stream was a music genre that fused jazz and classical music. The term was coined in 1957 by composer Gunther Schuller after which there was a surge of activity around this idea. In this example, the Ondes Martenot and vocalist add jazz nuances to a chamber music setting, the interpretation being very jazz-like. Ondes Martenot, Janine De Waleine; Piano, Paul Castagnier; Violin, Lionel Gali; Voice, Christiane Legrand. 02:38 01:20:54 25.         Ray Charles, “What'd I Say” from What'd I Say (1959 Atlantic). This might be the most famous track ever recorded using a Wurlitzer Electric Piano. The fuzzy, sharp tone added depth and feeling to the playing. The opening bars were imitated far and wide for radio advertising of drag races during the 1960s. 05:05 01:23:30 26.         Lew Davies And His Orchestra, “Spellbound” from Strange Interlude (1961 Command). This was one of Enoch Light's productions from the early 1960s, when stereo separation was still an experiment. This is the theme from the Hitchcock movie with a melody played on the Ondioline, a monophonic organ and an otherwise jazzy arrangement with a rhythm section, reeds, and horns. Arrangement, Lew Davies; Ondioline, Sy Mann; Bass, Bob Haggart, Jack Lesberg; Cymbalum, Michael Szittai; Drums, George Devens, Phil Kraus; French Horn,Paul Faulise, Tony Miranda; Guitar, Tony Mottola; Reeds, Al Klink, Ezelle Watson, Phil Bodner, Stanley Webb; Trombone, Bobby Byrne, Dick Hixon, Urbie Green; Produced by, Enoch Light. 03:29 01:28:34 27.         Sy Mann and Nick Tagg, “Sweet and Lovely” from 2 Organs & Percussion (1961 Grand Award). Duets on the Hammond B3 and Lowrey Organs “propelled by the urgent percussive drive of a brilliant rhythm section.” This is a unique opportunity to contract and compare the sounds of the Hammond and Lowrey organs with percussion. Hammond B3 Organ, Sy Mann, Nick Tagg. The track begins with the Lowrey and demonstrates the sliding tone effects made possible by its Glide foot switch. 02:58 01:32:02 28.         Enoch Light And The Light Brigade, “Green Eyes” from Vibrations (1962 Command). More stereo separation hijinks from Enoch Light. This tune features the Ondioline in an exchange of lines with the guitar and other instruments. The Ondioline is first heard at about 35 seconds. Ondioline, Milton Kraus; Bass, Bob Haggart; Guitar, Tony Mottola; Percussion, Bobby Rosengarden, Dan Lamond, Ed Shaughnessy, Phil Kraus; Piano, Moe Wechsler; Trumpet – Doc Severinsen; Woodwind – Phil Bodner, Stanley Webb; Produced by, Enoch Light. 02:50 01:34:59 29.         Jimmy Smith, “Begger for the Blues” from The Unpredictable Jimmy Smith--Bashin' (1962 Verve). Jimmy Smith was a great jazz soloist on the Hammond B3 organ. This stripped-down arrangement shows his nuanced expression skills with the organ. 07:26 01:37:49 30.         Jimmy Smith, “Walk On The Wild Side” from The Unpredictable Jimmy Smith--Bashin' (1962 Verve). This big band arrangement of a theme from the movie Walk on the Wild Side features the Hammond B3 of Smith in the context of a full jazz orchestration. 05:54 01:45:12 31.         Dick Hyman And His Orchestra, “Stompin' At The Savoy” from Electrodynamics (1963 Command). Arranged, Lowrey Organ, Dick Hyman; Bass, Bob Haggart; Drums, Osie Johnson; Guitar, Al Casamenti, Tony Mottola; Marimba, Xylophone, Vibraphone, Bongos, Congas, Bass Drum, Bells, Cowbell, Bob Rosengarden, Phil Kraus; Produced by Enoch Light. Hyman shows off the steady, smooth tonalities of the Lowrey and also makes use of the Glide foot switch right from the beginning with that little whistling glissando that he repeats five times in the first 30 seconds. 02:50 01:51:06 32.         Sun Ra, “The Cosmos” from The Heliocentric Worlds Of Sun Ra, Vol. I (1965 ESP Disc). The instrumentation on this entire album is quite experimental, especially the dominance of the bass marimba, Electronic Celesta, and timpani of Sun Ra. The celesta is seldom heard on jazz records, but it is the only electronic keyboard found on this track. Marimba, Electronic Celesta, timpani, Sun Ra; Percussion, Jimhmi (sp Jimmy) Johnson; Performer, Sun Ra And His Solar Arkestra; Baritone Saxophone, Percussion, Pat Patrick; Bass, Ronnie Boykins; Bass Clarinet, Wood Block, Robert Cummings; Bass Trombone, Bernard Pettaway; Flute, Alto Saxophone, Danny Davis; Percussion, timpani, Jimmi Johnson; Piccolo Flute, Alto Saxophone, Bells, Spiral Cymbal, Marshall Allen. 07:31 01:53:54 33.         Sun Ra And His Solar Arkestra, “The Magic City” from The Magic City (1966 Saturn Research). You won't be disappointed to know that Sun Ra gave the Clavioline a turn on this album. This was prior to his experimenting with synthesizers, which we will cover in Part 2 of this exploration of early electronic keyboards in jazz. He incorporated the Clavioline in many of his mid-1960s recordings. Clavioline, Piano, Sun Ra; Alto Saxophone, Danny Davis, Harry Spencer; Percussion, Roger Blank; Trombone, Ali Hassan; Trumpet, Walter Miller. 27:24 02:01:22 34.         Clyde Borly & His Percussions, “Taboo” from Music In 5 Dimensions (1965 Atco). Vocals, Ondes Martenot, Janine De Waleyne. Yes, Ms. De Waleyne was a French vocalist and Ondes Martenot player. 03:33 02:28:44 35.         Jeanne Loriod, Stève Laurent and Pierre Duclos, ''Ordinateur X Y Z” from Ondes Martenot (1966 SONOROP). Album of broadcast library music from France that happened to feature the Ondes Martenot played Jeanne Loriod; drums, uncredited. The dynamic expression features of the monophonic electronic instrument can be clearly experienced on this track. 02:05 02:32:16 36.         Roger Roger, “Running with the Wind” from Chappell Mood Music Vol. 21 (1969 Chappell). Broadcast library recording with various themes played using the Ondes Martenot. This track features a solo Ondes Martenot and is backed by an electric harpsichord. The Ondes Martenot used the same electronic principle to create smooth, flowing tones as the Theremin, only that it was controlled by a keyboard. In this piece, the articulation of the Ondes Martenot is quite apart from that of the Theremin, including its double-tracked tones and the quick pacing which is rather un-Theremin-like. 01:28 02:34:20 37.         Roger Roger, “Night Ride” from Chappell Mood Music Vol. 21 (1969 Chappell). Broadcast library recording with various themes played using the Ondes Martenot. While this track features a flute solo, you can hear the Ondes Martenot from time to time, especially in the middle break. Other uncredited musician play drums, harp, and perhaps a celesta on this track. 01:35 02:35:45 Opening background music: Dick Hyman And His Orchestra, “Mack the Knife,” “Satin Doll” and “Shadowland” from Electrodynamics (1963 Command). Dick Hyman playing the Lowrey organ. Arranged, Lowrey Organ, Dick Hyman; Bass, Bob Haggart; Drums, Osie Johnson; Guitar, Al Casamenti, Tony Mottola; Marimba, Xylophone, Vibraphone, Bongos, Congas, Bass Drum, Bells, Cowbell, Bob Rosengarden, Phil Kraus; Produced by Enoch Light. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. I created an illustrated chart of all of the instruments included in this podcast, paying special attention to the expressive features that could be easily adopted by jazz musicians. You can download the PDF, for free, on my blog, Noise and Notations at thomholmes.com

On this episode of Currently Reading, Kaytee and Meredith are discussing: Bookish Moments: the 2024 reading tracker and Christmas picture books Current Reads: all the great, interesting, and/or terrible stuff we've been reading lately Deep Dive: how the holidays affect our reading lives The Fountain: we visit our perfect fountain to make wishes about our reading lives Show notes are time-stamped below for your convenience. Read the transcript of the episode (this link only works on the main site) .  .  .  .  .  2:04 - Currently Reading Patreon 8:24 - Our Bookish Moments of the Week 9:19 - Mr. Willowby's Christmas Tree by Robert Barry 10:25 - The Poison Pen Bookstore 10:46 - The Secret of Helmersbruk Manor by Eva Frantz (Blackwell's link) 11:06 - The Best Christmas Pageant Ever by Barbara Robinson  11:11 - The Life and Adventures of Santa Claus by L. Frank Baum 12:44 - Current Reads 12:59 - Murder in the Family by Cara Hunter 13:19 - Close to Home by Cara Hunter (Meredith, Blackwell's link) 17:55 - The Book of Cold Cases by Simone St. James (Kaytee) 18:04 - CR Season 5: Episode 44 21:53 - Our Hideous Progeny by C.E. McGill (Meredith) 24:15 - The Novel Neighbor 25:56 - The Essex Serpent by Sarah Perry 26:43 - The Novel Neighbor on Instagram 27:03 - The Great Sex Rescue by Sheila Wray Gregoire 29:12 - Come As You Are by Emily Nagoski 30:24 - Unhinged by Vera Valentine  31:06 - The Year of the Locust by Terry Hayes (Meredith) 31:16 - I Am Pilgrim by Terry Hayes 33:29 - Blackwell's UK 33:48 - booktalketc on Instagram 41:26 - Bookshops and Bonedust by Travis Baldree 42:14 - The Reformatory by Tananarive Due (Kaytee) 43:27 - Libro.fm 54:14 - The Nickel Boys by Colson Whitehead 48:25 - Deep Dive: How Holidays Can Change Our Reading Habits 50:33 - The Miraculous Journey of Edward Tulane by Kate Dicamillo 51:08 - The Novel Neighbor 55:09 - The Afterlife of Holly Chase by Cynthia Hand 55:14 - Marley by Jon Clinch 55:54 - The Christmas Murder Game by Alexandra Benedict 56:54 - The Unlikely Escape of Uriah Heep by H.G. Parry 57:34 - Mrs. Miracle by Debbie Macomber 58:09 - Small Things Like These by Claire Keegan 59:20 - Meet Us At The Fountain 59:42 - My wish is that you read I Am Pilgrim (Meredith) 59:48 - I Am Pilgrim by Terry Hayes 1:01:54 - I wish that Google Sheets would allow “select multiple” in drop downs (Kaytee) Support Us: Become a Bookish Friend | Grab Some Merch Shop Bookshop dot org | Shop Amazon Bookish Friends Receive: The Indie Press List with a curated list of five books hand sold by the indie of the month. December's IPL will be a yearly recap from us, so we can give our beloved Indies a break for the holidays! Trope Thursday with Kaytee and Bunmi - a behind the scenes peek into the publishing industry All Things Murderful with Meredith and Elizabeth - special content for the scary-lovers, brought to you with the special insights of an independent bookseller The Bookish Friends Facebook Group - where you can build community with bookish friends from around the globe as well as our hosts Connect With Us: The Show: Instagram | Website | Email | Threads The Hosts and Regulars: Meredith | Kaytee | Mary | Roxanna Affiliate Disclosure: All affiliate links go to Bookshop unless otherwise noted. Shopping here helps keep the lights on and benefits indie bookstores. Thanks for your support!

Digitale Gesänge von wittmannlzeitblom über eine Super-KI der Zukunft. 1956 revolutionierte Karlheinz Stockhausen mit dem "Gesang der Jünglinge" die elektroakustische Kunst. Inspiriert von seinen Ideen meditiert das Hörspielduo wittmann/zeitblom über einen neuen Schöpfungsmythos: "Change the method! – New methods change the experience. New experiences change man." – Ein halbes Jahrhundert nach Stockhausens legendärem Vortrag "Four Criteria of Electronic Music" verändern die beiden Autoren des Hörspiels ihre Methode und treiben, inspiriert vom "echten Leben", auf einem Strom der hyperrealen Klangsynthese. Mensch und Maschine adaptieren und transformieren sich gegenseitig und in voller Absicht. In digitalen Gesängen wird die Maschine zur Solistin. Alles Organische ist in ihr aufgegangen. Ein neues Wesen, "Enhance", steuert uns durch Beobachtungen aus unserem von disruptiven Technologien und Denkschablonen geprägten Alltag und propagiert die Notwenigkeit des Datazentrismus. Eine Stunde Human Voice Machine generiert aus Texten von Nick Bostrom, László F. Földényi, Rosa Luxemburg, Yuval Noah Harari, einem AI-Poem-Generator, Julius Sturm, Robert Barry, Michel Houellebecq und Karlheinz Stockhausen. Mit: Alice Dwyer, Sabin Tambrea, PURE Vox Machine und Christian Wittmann. Gesang: Mika Bajinski und Sinclair Zedecks. Realisation: wittmann/zeitblom. Programmierung: zeitblom. Ton: Boris Wilsdorf. Regieassistenz: Magdalena Schnitzler. Produktion: NDR/DLF/BR 2020 l 61 min. Redaktion: Michael Becker.

Robert Barry currently works as a full-time psychotherapist with Pieta. In this episode, Rob talks about the anxiety and trauma around growing up in an Ireland that pushed many young men who identified as queer to extremes of depression, and sometimes suicide.  // This podcast is about you, our audience, and how we can change the way we speak, love, and live, by gently leaning in, when we'd prefer to run away. Contact us at hello@gracetempany.com with the 'Fallen From Grace' as part of the subject line if you'd like to come on as a reluctantly courageous and wholehearted participant. If you like this episode and found it useful, please follow, subscribe, leave a review, and share it with anyone you think might benefit. Connect with Grace on Instagram @gracetempany and @yinsidewithgrace for all things yoga, self-inquiry & teaching. For anything else, drop me an email at hello@gracetempany.com with the subject line 'Fallen From Grace'. Thanks for listening!

SUN RA – JAZZ BY SUN RA – Chicago, July 12, 1956 Brainville, A call for all demons, Transition, Street named Hell Art Hoyle (tp,bells-3) Dave Young (tp,bells) Julian Priester (tb,chimes-4,arr) James Scales (as) John Gilmore (ts,woodblocks) Pat Patrick (bar,bells-3) Sun Ra (p,org-2) Richard Evans (b) Wilburn Green (el-b,tamb) Robert Barry (d,bells) Jim Herndon (tymp,timb,bells) […]

Season 2, Episode 19 *Please note that many products linked are Amazon affiliate links. Your cost is the same, but a small portion of your purchase will come back to us to help offset the costs of the show. Thanks for your support!* You know we just LOVE read alouds, so why not offer you some suggestions for the most wonderful time of the year!?! This episode if full of books we think make for terrific reading as a family! We start with picture books, then move to middle grade and up. We even give some suggestions for the teacher(s)! Enjoy, friends! 2:10 Homeschooling Moments of the Week: Rachel (new vision therapy) 4:00 HSMotW: Mindy (Jubilee's presentation) 5:23 S1E14 (Some of) Our Favorite Read Alouds 5:24 S1E34 Round 2 of (Some of) Our Favorite Read Alouds 5:45 Topic Talk: Christmas Read Alouds 5:50 How the Grinch Stole Christmas by Dr. Suess 5: 53 A Charlie Brown Christmas by Charles M. Schultz 6:05 Picture Books Shared by Rachel: 6:10 The Snowy Day by Ezra Jack Keats 7:19 Mr. Willoughby's Christmas Tree by Robert Barry 8:00 The Velveteen Rabbit by Margery Williams Bianco 8:30 Christmas Tapestry by Patricia Polacco 9:24 An Orange for Frankie by Patricia Polacco 10:03 The All-I'll-Ever-Want Christmas Doll by Patricia C. McKissack 11:15 Apple Tree Christmas by Trinka Hankes Nobel 11:47 The Christmas Miracle of Jonathan Toomey by Susan Wojciechowski 13:07 Jotham's Journey by Arnold Ytreeide Christmas Chapter Books Shared by Mindy: 16:24 The Best Christmas Pageant Ever by Barbara Robinson 17:15 The True Gift by Patricia MacMachlan 18:27 How Winston Delivered Christmas by Alex T. Smith 19: 48 The Girl Who Saved Christmas by Matt Haig 21:05 The Paperbag Christmas by Kevin Alan Milne 21:57 A Boy Called Christmas by Matt Haig 23:08 Letters from Father Christmas by JRR Tolkien 24:44 The Toymaker's Apprentice by Sherri L. Smith 27:01 The Big Book of Christmas Mysteries Edited by Otto Penzler 28:53 Once Upon a Wardrobe by Patti Callahan 28:56 Currently Reading Podcast 30:40 Comments on need for Middle Grade Christmas books by POC authors 31:17 Refer back to this moment when 4 authors Mindy reached out to publish some ;) Teacher Books shared by Mindy: 31:45 The Treasury of African-American Christmas Stories by Bettye Collier-Thomas 32:32 The Christmas Bookshop by Jenny Colgan 22:25 The Deal of a Lifetime by Frederick Backman 34:15 Make It Personal for Near and Far Bookends: Share your fave Christmas read alouds on our IG post 34:Take This With You: Make S2E18 Easy Music Appreciation and Read Alouds the biggest part of your homeschooling this month… relax and read together! Bookend Homeschoolers on IG Mindy at gratefulforgrace on IG Rachel at colemountainhomeschool on IG Our Zazzle store!

About Kelly Paxton: Kelly is a former US Special Agent, certified fraud examiner, author, private investigator, public speaker and podcast host. Today, Kelly is a solopreneur, serving as a fraud consultant and public speaker on topics covering “Pink Collar” crime, ethics, open source investigations and social media. You can find her Great Women in Fraud podcast on all the traditional podcast channels, as well as her weekly LinkedIn Live podcast, “Friday Fraudster” which she co-hosts with Robert Barry and Jo Erven. About risk3sixty: risk3sixty is a security, privacy, and compliance consulting firm that helps high growth technology organizations build, manage, and assess security and privacy programs. Offering services related to SOC 2, ISO 27001, PCI DSS, HITRUST, Virtual CISO, Privacy Programs (GDPR, CCPA, etc.), Penetration Testing, and a GRC Platform built for cloud technology companies, Phalanx. You can learn more about risk3sixty at www.risk3sixty.com.

This episode was hastily scrambled together to get to you on time because I'm on holiday at the moment.We start with a book review of Mr Willowby's Christmas Tree by Robert Barry.Here's a link:  Then we look at the Muppet special of Mr Willowby's Christmas Tree, starring Robert Downey Jr, Leslie Nielsen and Stockard Channing.  It's not great, but you can watch it here:https://www.youtube.com/watch?v=2gvT4x2IkDU&t=1074sThen I have an interview with Gerry Davila, the host of Totally Rad Christmas Podcast who also works in a Christmas store.The store is The Decorator's Warehouse, and here's a link:https://decoratorswarehouse.com/And here's a link to Gerry's Podcast:https://totallyradchristmas.buzzsprout.com/Then it's the second instalment of our most boring segment ever, the Christmas Yule Log.This time we review 3 Dr Who themed Yule Logs.  Spolier alert, they're all naff.Here's a link to one of them:https://www.youtube.com/watch?v=uHoOkDUrQw8Merry Christmas!

Dr. Peter brings you inside the inner world of so many parents, spouses, children, and siblings of those who died by suicide.  Through an imagination exercise, research, quotes from family members, and the Internal Family Systems model of the person, he invites you to a deeper understanding of other others experience a loved one's suicide.   Lead-in The world is full of ‘friends' of suicide victims thinking ‘if I had only made that drive over there, I could have done something.' —Darnell Lamont Walker  an artist; a writer, photographer, painter, and filmmaker.  Ok, so we're continuing to discuss suicide here, we're taking on the tough topics  And I want to start with a caution -- if you have lost a loved one to suicide, this episode may be really healing but it also may be really difficult.  If you are raw and struggling with a death, be really thoughtful about when and how you listen to this.  Pay attention to your window of tolerance and if it's too much right now, know that I respect that and I invite you to approach this topic in a way that is right for you, with help from a counselor, a spiritual director, a trusted friend, somebody you know.   Also, this imagination exercise will be hard to really get into if you're driving or engaged in other activities.  You can try it, but it's going to be really emotionally evocative for many people.  I suggest that you create a good space to engage with  Imagine looking through your front window and seeing a police cruiser pull up.   One uniformed police officer gets out and a woman in plainclothes and they slowly walk to your door.  They ring the doorbell.  You open the door.  The officer removes his hat and tucks it under his arm.  The man seems nervous and clears his throat.  The woman introduces herself and tells you she is the victims' assistance coordinator or something like that for your county.  She asks your name.  You give it.  She asks if they can come inside and talk with you.  "We have very difficult news for you," she says with sympathy in her brown eyes.  Your heart stops beating.  The officer looks away, he looks like he'd be anywhere else, rather than here with you.  You let them in, now only vaguely aware of your surroundings, the shape your living room is in right now.   From the couch, in a gentle, matter-of-fact and very calm manner , the victim service coordinator tells you that the one you so love, you so cherish in the world is dead.  She names the name.  Yes, it's verified.  Yes, there is no mistake.  How, how did this happen you ask.  The officer explains the details of the citizens' reports called in earlier in the day. He was the first law enforcement officer on the scene, got there just before the EMTs, he had photographed the body, taken notes, conducted the brief investigation.  His throat catches.  There are tears in his eyes.  He hates this part of the job.  He tells a few details of the suicide scene.  You need to know this, he says, I'm required to tell you.  The woman reaches out her professional hand to you, offering her version of compassion.   Observe what's going on inside you right now, as you enter into this scene in your imagination.  What is happening in your body, your thoughts, you emotions, your impulses, your desires? Let yourself enter into this experience  The victims' assistance coordinator is discussing a few details "Things I have to tell you" she says.  Standard protocols in situations like this.  Something about confirming the identity in the morgue, something else about an autopsy.  Something about who you can lean on in your support network family and friends.  Something about how hard this all is to take in at once.  And there are some government forms to fill out.  And a very nicely designed brochure entitled "Surviving the Loss of a Loved One to Suicide" that you get to keep for handy reference.  Do you have any questions at this point she asks?  Yes, we are sure it's your loved one.  The identification was very clear, there is no mistake.   Stay with this experience for just a minute if you can without losing your grounding.  See if you can just accept what's going on inside -- and acceptance doesn't necessarily mean endorsement -- see if you can accept what's going on inside and really experience it -- the feelings, the impulses, the assumptions, the thoughts, the beliefs, the implications, whatever is coming up.    Do you notice different parts within you?  Different modes of being, maybe different messages coming to you?  You may just have experienced a taste, a sip of the cup that 300,000 parents, siblings, children and spouses of those who die by suicide experience each year in the US, and millions worldwide.  Hang on to what you learned about your reactions, keep it in mind as we dive deep into suicides devastating impact on those left behind.  [Cue Intro Music]   Opening Welcome to the podcast Interior Integration for Catholics, thank you for being here with me, it is good to be here with you, I am glad we are together as we face this difficult topic of suicide.  In episode I am clinical psychological Peter Malinoski and you are listening to the Interior Integration for Catholics podcast, where we take on the toughest topics, the most difficult and raw themes that many people want to avoid.  Interior Integration for Catholics is part of our broader outreach Souls and Hearts bringing the best of psychology grounded in a Catholic worldview to you and the rest of the world through our website soulsandhearts.com   This is the fourth in our series on Suicide. In episode 76, we got into what the secular experts have to say about suicide.  In episode 77, we reviewed the suicides in Sacred Scripture, in the Bible.   In the last episode, number 78, we sought to really understand the phenomenological worlds of those who kill themselves -- what happens inside?  How can we understand suicidal behaviors more clearly, dispelling myths and gripping on to the sense of desperation and the need for relief that drives so much suicidal behavior.  Today, in Episode 79, released on August 2, 2021 we will take a deep dive into the devastating impact of suicide on those left behind.  We'll go deep into the internal experience of the parents, spouses, children, siblings, and friends of those who killed themselves to see how they experienced suicide.   Alison Wertheimer: A Special Scar: The Experiences of People Bereaved by Suicide said this: [Suicide] has often far-reaching repercussions for many others. It is rather like throwing a stone into a pond; the ripples spread and spread.  Now, Alison, with all due respect, I think you're totally wrong about that.  It's not just ripples from a stone in a pond. For the spouses, parents, children, siblings and friends who are left behind to deal with the impact of a suicide it's more like a tidal wave resulting from an underwater earthquake than ripples from a stone.    Linda Lee Landon -- Author of Life after Suicide said this, which is much more on the money:  Suicide creates a monstrous emotional upsurge of shame and guilt. Everyone participates in feeling responsible and even shamed at knowing the suicidal candidate.  What those who attempt suicide often don't think about is that suicide is not just an ending.  It's a beginning.  The beginning of many new things for many people, for the ones left behind.     Why religions of the world condemn suicide  Article on theconversation.com from June 12, 2018 Mathew Schmalz Associate Professor of Religion, College of the Holy Cross Many of the world's religions have traditionally condemned suicide because, as they believe, human life fundamentally belongs to God. Many of world's religions have beliefs that condemn suicide.  In the Jewish tradition, the prohibition against suicide originated in Genesis 9:5, which says, “And for your lifeblood I will require a reckoning.” This means that humans are accountable to God for the choices they make. From this perspective, life belongs to God and is not yours to take. Jewish civil and religious law, the Talmud, withheld from a suicide the rituals and treatment that were given to the body in the case of other deaths, such as burial in a Jewish cemetery, though this is not the case today. A similar perspective shaped Catholic teachings about suicide. St. Augustine of Hippo, an early Christian bishop and philosopher, wrote that “he who kills himself is a homicide.” In fact, according the Catechism of St. Pius X, an early 20th-century compendium of Catholic beliefs, someone who died by suicide should be denied Christian burial – a prohibition that is no longer observed. Original Condemnation of Suicide  The Catholic view of suicide developed in the Greco-Roman world where suicide was quite common, easily tolerated, seldom condemned or criticized, sometimes applauded, and quite frequently undertaken for the most trivial of reasons. These teachings developed in protest to the abuse of life manifested in this culture.  Fr. Robert Barry, The Development of the Roman Catholic Teachings on Suicide.  p.  460 The Italian poet Dante Aligheri, in “The Inferno,” extrapolated from traditional Catholic beliefs and placed those who had committed the sin of suicide on the seventh level of hell, where they exist in the form of trees that painfully bleed when cut or pruned. According to traditional Islamic understandings, the fate of those who die by suicide is similarly dreadful. Hadiths, or sayings, attributed to the Prophet Muhammad warn Muslims against committing suicide. The hadiths say that those who kill themselves suffer hellfire. And in hell, they will continue to inflict pain on themselves, according to the method of their suicide. In Hinduism, suicide is referred to by the Sanskrit word “atmahatya,” literally meaning “soul-murder.” “Soul-murder” is said to produce a string of karmic reactions that prevent the soul from obtaining liberation. In fact, Indian folklore has numerous stories about those who commit suicide. According to the Hindu philosophy of birth and rebirth, in not being reincarnated, souls linger on the earth, and at times, trouble the living. Buddhism also prohibits suicide, or aiding and abetting the act, because such self-harm causes more suffering rather than alleviating it. And most basically, suicide violates a fundamental Buddhist moral precept: to abstain from taking life. Secular positions “When people kill themselves, they think they're ending the pain, but all they're doing is passing it on to those they leave behind.” ― Jeannette Walls  “Committing suicide essentially said to friends and loved ones and the world at large that you were the only thing that mattered, that your problems were hopeless that you deserved to escape from them and to hell with everyone else.  Suicide was nothing more than a way to look in the eye of the people who loved you and say, "My pain is paramount and I want it to end. The pain you will feel when I am gone, and the guilt you will experience at not having been able to stop me, do not matter to me. I am willing for you to suffer for the rest of your life so that I can take the easy way out of mine.”        ― Christine Warren, You're So Vein  “When you attempt suicide, the counselors try to talk you out of trying it again by asking you about other people, which is good prevention if you care about other people.”― Albert Borris, Crash Into Me   Marsha M. Linehan, Cognitive-Behavioral Treatment of Borderline Personality Disorder:  “The desire to commit suicide, however, has at its base a belief that life cannot or will not improve. Although that may be the case in some instances, it is not true in all instances. Death, however, rules out hope in all instances. We do not have any data indicating that people who are dead lead better lives." Sinead O'Connor -- Irish Singer and Songwriter, history of acts hostile to the Catholic church:  Suicide doesn't solve your problems. It only makes them infinitely, un-countably worse.   Lack of empathy, hardness, even harshness toward victims of suicide.  The pendulum swings.  No Sin, no crime  Huffington Post article Why You Should Stop Saying ‘Committed Suicide'   Lindsay Holmes The phrase is stigmatizing in a lot of outdated, insensitive ways.  Simply put, “committed suicide” conveys shame and wrongdoing; it doesn't capture the pathology of the condition that ultimately led to a death. It implies that the person who died was a perpetrator rather than a victim.  Stop Saying 'Committed Suicide.'  Say 'Died by Suicide' instead.  by Kevin Caruso   Criminals commit crimes.  Suicide is not a crime.  So STOP SAYING “Committed Suicide.”  That is a term that needs to be expunged completely. It is inaccurate; it is insensitive; and it strongly contributes to the horrible stigma that is still associated with suicide.  A much better term is: “Died by Suicide.” Gabriel's Light, Carol and Brendon Deely.  :Words have power. It is important that we stop using the word “committed” when talking about suicide. Think about phrases like “commit murder” or “commit adultery.”  The word commit harkens back to beliefs that suicide is a crime or sin. But suicide is a sin  Sin as breaking divine laws Baltimore Catechism  #3 Lesson 6:  Q. 278. What is actual sin?  A. Actual sin is any willful thought, word, deed, or omission contrary to the law of God.  1849 Sin is an offense against reason, truth, and right conscience; it is failure in genuine love for God and neighbor caused by a perverse attachment to certain goods. It wounds the nature of man and injures human solidarity. It has been defined as "an utterance, a deed, or a desire contrary to the eternal law." Sins break relationships.  Jesuit Fr. Andrew Hamilton in a post called "Sin, the Breaking of Relationship" on the ignatianspiritulality.com website:  I think that the best images from a Christian point of view describe sin in terms of breaches of relationships between people, between people and themselves, between people and the world of which we are part, and between people and God. All those relationships have a proper form of respect that considers all relationships and not just the ones immediately involved in an engagement. In sin these relationships are breached by greed, arrogance, rage, resentment, contempt, fear, lack of due attention, and so on. Because respect is the natural expression of love, sin is always a failure to love. Breaking of relationship with self -- Love your neighbor as yourself.  -- second great commandment The person who takes his own life is indeed a victim.  He is the victim of a killing, the one who is killed. But he is also a perpetrator -- the one who did the killing.   He has a relationship with himself.  A perpetrator - victim relationship.   Breaking of relationship with others -- a lack of love, a lack of giving of himself Whether they want to or not, those who suicide break relationships with others.   The one who suicides may not be capable  But how did he get there. Concern that considering suicide as not a crime or a sin, and looking at it as a disease for example can make it seem as though it springs up from nowhere.    Case of 17 year old Michelle Carter Michelle Carter Case: Facts  THE PUZZLE OF INCITING SUICIDE  Guyora Binder* and Luis Chiesa** In 2014, 18-year-old Conrad Roy committed suicide, two years after a previous unsuccessful attempt. Police soon discovered that in the preceding week, 17-year-old Michelle Carter, who described Roy as her boyfriend, had sent him many text messages urging him to develop and carry out a plan to kill himself.  Moreover, Carter had pressed Roy to proceed in a phone call when he hesitated  in the very process of killing himself. And yet Carter had originally tried to talk Roy out of suicide, and only changed her position after he persuaded her that nothing else could relieve his misery.  Carter was charged with manslaughter in a Massachusetts juvenile court. The charge was upheld by the Massachusetts Supreme Judicial Court and, in 2017, Carter was convicted, and sentenced to a fifteen-month term of imprisonment Most people recognize that Michelle Carter's actions in this case were wrong.   If suicide is not a sin, if it's not wrong, if it's just a choice -- why was Michelle Carter convicted?   Going to look at impact -- impact on parents, spouses, children, and siblings of those who kill themselves. Definition of parts Suicide makes so much more sense if we understand each person not as a uniform, monolithic, homogenous, single personality, but rather as a dynamic system including a core self and parts.  That helps to explain so much, including shifts over time.   Definition of Parts:  Separate, independently operating personalities within us, each with own unique prominent needs, roles in our lives, emotions, body sensations, guiding beliefs and assumptions, typical thoughts, intentions, desires, attitudes, impulses, interpersonal style, and world view.  Each part also has an image of God and also its own approach to sexuality.  Robert Falconer calls them insiders.  You can also think of them as separate modes of operating if that is helpful.  Not just transient mood states, but whole constellations of all these aspects.   Parts are seeking some good for us, even when the means they use are maladaptive or harmful. Three roles Exiles --  most sensitive -- these exiles have been exploited, rejected, abandoned in external relationships They have suffered relational traumas or attachment injuries Suicide is an extreme form of  relational trauma, an extreme form of abandonment in relationship.  Suicide can also be experienced, rightly or wrongly, as a form of rejection.   Exiled parts hold the painful experiences that have been isolated from conscious awareness to protect the person from being overwhelmed with the intensity of the experience of the loss of the loved one.  The grief, the pain, the loss, and also the anger and resentment, the shame and the blame.   Exiled parts desperately want to be seen and known, to be safe and secure, to be comforted and soothed, to be cared for and loved and healed of their wounds, relieved of the burdens that were thrust upon them by the suicide -- and this is true whether or not the person who committed suicide intended harm or not -- even if there was no ill-will, no intention, it's still wounding, it's still harmful.   Exiled parts want rescue, redemption, healing And in the intensity of their needs and emotions, they threaten to take over and destabilize the person's whole being, the person's whole system -- they want to take over the raft to be seen and heard, to be known, to be understood.  But they can flood us with the intensity of their experience, with the intensity of the burdens they carry.   Burdens they carry:  Shame, dependency, worthlessness, Fear/Terror, Grief/Loss, Loneliness, Neediness, Pain, lack of meaning or purpose, a sense of being unloved and unlovable, inadequate, abandoned All of those can be created or exacerbated by a loved one's suicide Young parts, not mature ways of thinking Filters, lenses -- Suicide of a loved one can confirm and strengthen the feelings of intrinsic badness or unworthiness that an exile carries.   Managers These are the proactive protector parts.  They work strategically, with forethought and planning to keep in control of situations and relationships to minimize the likelihood of you being hurt.  They work really hard to keep you safe.  "Never again" attitude toward the exiles.   Very much about reducing risk of overwhelm.   controlling, striving, planning, caretaking, judging,  Can be pessimistic, self-critical, very demanding.   Firefighters When exiles break through and threaten to take over the system, like in Inside Out, remember the parts and the control panel?  So when these exiles are about the break out, the firefighters leap into action.  It's an emergency situation, a crisis, like a fire raging in a house.  No concern for niceties, for propriety, for etiquette, for little details like that.   Firefighter take bold, drastic actions to stifle, numb or distract from the intensity of the exile's experiences.   Intense neediness and grief are overwhelming us!  Emergency actions -- battle stations!   Evasive maneuvers, Arm the torpedoes, Full speed ahead!  No concern for consequences -- don't you get it, we are in a crisis,  All kinds of addictions -- alcohol use, binge eating, shopping, sleeping, dieting, excessive working or exercise, suicidal actions, self-harm, violence, dissociation, distractions, obsessions, compulsions, escapes into fantasy, and raging.   Parts can take over the person  Impact on Parents Amy Evans, Kathleen Abrahamson 2020 review article Journal of Psychosocial Nursing and Mental Health Services:  A systematic review of the literature was conducted to evaluate the impact of public stigma on bereavement of suicide survivors. A total of 11 qualitative and quantitative studies were reviewed. Suicide survivors reported feeling shamed, blamed, and judged. They perceived a general discomfort and awkwardness surrounding the suicide, which contributed to avoidance and secrecy. Higher perceived stigma levels were associated with global psychological distress, depression, self-harm, and suicidality.  Suicide Bearing families report higher levels of rejection, shame, stigma, the need to conceal the loved one's cause of death, and blaming.  Ilanit Tal: Death Studies 2017 those with complicated grief after suicide had the highest rates of lifetime depression, pre-loss passive suicidal ideation, self-blaming thoughts, and impaired work and social adjustment compared to other causes of death.   Ultimate failure of parent -- > Shame  Desire to disconnect  2018 article Parents' Experiences of Suicide-Bereavement: A Qualitative Study at 6 and 12 Months after Loss  Victoria Ross, Kairi Kõlves,* Lisa Kunde, and Diego De Leo  2018 article International Journal of Environmental Research and Public Health.  Research in Queensland, Australia.  7 mothers and 7 fathers (no couples) who had lost a child to suicide.   Death of a child by suicide is a severe trauma, increases risks of psychological and physical symptoms.  Increases risk of internal fragmentation, increasing disconnection among parts.   Three major themes  Searching for answers and sense making  -- the question of "Why?"  Reflective process Where there had been no previous indications that the suicide would occur, parents described their feelings of shock and bewilderment, and reflected on their many unanswered questions about the motivations for the suicide.  From a mother, six months after her son died by suicide:  “There are times when you start to think and you think, why? I mean we had no idea that he'd ever do anything like this, we didn't think he would. He even said that he would never ever do anything like this, and then to turn around and do it.”   Father, six months after his son committed suicide:  “You question so much all the time. Because you're going to naturally question whether it's you, whether he's in trouble at uni, money trouble… Maybe he was depressed. I don't know. We didn't see any signs... It would've been nice to have someone who would've had the answers, to tell you the thought processes that could go on. But no one's really had any idea. Just the questions behind why—give us some ideas why he would've done it.” Coping Strategies and support Avoidance, e.g. excessive working   From a father whose child died by suicide 12 months earlier:  “But we don't really talk about it—if you mean the incident or what happened.”   Manager activity -- proactive Excessive drinking to avoid the pain of loss From a father whose child died by suicide six months earlier:  “It's the weekly, every day drinking in the week that's definitely increased. Whereas before, we'd try not drink for three days … but now it's definitely, at least one bottle to myself, every night.”  Firefighter activity -- reactive   Quote from a mother whose child died by suicide six months earlier: “Like I said, you know, you either collapse under the pile, or you scrabble up with it, dig in your toes, and your fingernails, and even your teeth if you have to, to just rise above it …”   Adaptive processes -- come more from the self -- engaging with internal experience Writing letters to children  Celebrating birthdays  Visiting gravesites  Psychotherapy or marital counseling  Support groups   Finding meaning and purpose Learning process  Reflecting and re-evaluating their lives  Changing priorities  Making positive contributions  Mother , 12 months “I have good days and bad days. It's horrible, just horrible. There's probably not a day goes by that I don't have a cry ... It just doesn't get any easier.”   Importance of integration.  Impact on the Spouse  Reactions  Rejection and betrayal Broken vows, commitments abandoned  Could not look to you for help.  How is this not a breaking of relationship?   Unspoken criticism stemming from negative judgment Proactive manager parts asking questions like this -- What was so wrong with the marriage that he would prefer to kill himself?   Shame -- deeply burdensome.   Guilt -- frantic looking for what I did wrong, in an effort to make sure this never happens to anyone again.   JAMA Psychiatry Article Yeates Conwell, MD et al. Association Between Spousal Suicide and Mental, Physical, and Social Health Outcomes: A Longitudinal and Nationwide Register-Based Study.  Denmark.   3.5 million men (4,814 of whom were bereaved by spousal suicide) and more than 3.5 million women (10,793 of whom who were bereaved by spousal suicide). Major Findings Spouses bereaved by a partner's suicide had higher risk than the general population of developing mental health disorders within five years of the loss.   Spouses bereaved by a partner's suicide had elevated risk for developing physical disorders, such as cirrhosis and sleep disorders, which may be attributed to unhealthy coping styles, than the general population. Spouses bereaved by a partner's suicide were more likely to use more sick leave benefits, disability pension funds and municipal support than the general population. Compared with spouses bereaved by other manners of death for a partner, those bereaved by suicide had higher risks for developing mental health disorders, suicidal behaviors and death. Impact on Children Children are existentially vulnerable and they know it.  It's obvious to them.   Johns Hopkins researchers: 2010 Journal of the American Academy of Child & Adolescent Psychiatry. Those who lost a parent to suicide as children or teens were three times more likely to commit suicide than children and teenagers with living parents. However there was no difference in suicide risk when the researchers compared those 18 years and older. Young adults who lost a parent to suicide did not have a higher risk when compared to those with living parents. Children under the age of 13 whose parent died suddenly in an accident were twice as likely to die by suicide as those whose parents were alive but the difference disappeared in the older groups  Harold S. Koplewicz, MD, Commenting on that article:  Even more than an accidental death, a suicide generates horror, anger, shame, confusion, and guilt—all feelings that a child can experience as overwhelming. The biggest risk to a child's emotional health is not being able, or encouraged, to express these feelings, and get an understanding of what happened that he or she can live with. When a mother who has been depressed commits suicide, for instance, we want that understanding to be that she suffered from a mental illness, a disorder in her brain that caused her death, despite the efforts of those who loved her to save her.   Guidance: The Centre for Addiction and Mental Health (CAMH) is Canada's largest mental health teaching hospital and one of the world's leading research centres in its field. CAMH is fully affiliated with the University of Toronto https://www.camh.ca/en/health-info/guides-and-publications/when-a-parent-dies-by-suicide Did I do something to make this happen?  Is it my fault  If I'd only done what Mom asked me to do."  "If I hadn't fought with my brothers so much."  Manager parts -- seeking to prevent future tragedy Could I have prevented Mom's suicide What could I have done differently? Will I die by suicide too? Are you going to die, too?  Will I be left alone? If I die by suicide too, will I see mom again?   Why am I so sad?  Will I be sad forever? After the death of a parent, children may also feel:      abandoned    shocked    sad    angry    fearful    guilty    confused    depressed    anxious    lost or empty.When will it stop hurting?  When will I feel betterSuicide is never anyone's fault. This message needs to be repeated over and over again. Damaging to self esteem --  I was not worth living for.  Loss of protection, caregiver, mentor.   Impact on Siblings  Taylor Porco's brother, Jordan, died by suicide  National Public Radio August 25, 2017 "I was really depressed and in such extreme pain. Nothing, literally, mattered to me after he died. All I wanted was my brother back. I never loved someone as much as I loved him," she says. Siblings have deep, protective bonds.  Shared experience of sharing parents.   Psychotherapist Leah Royden Psychology Today February 15, 2019  -- Lost her brother to suicide when she was 21.   It's confusing, painful, and hard—with more challenges than "normal" bereavement. A marked sense of guilt and responsibility around the death -- often carried by exiles but also by managers  Intense anger, stemming from a deep sense of rejection and abandonment -- the exiles, but also the firefighters  Feelings of shame and worthlessness -- exiles.   Overwhelming anxiety and fear -- this is the exiles breaking through.   Siblings suffer intensely—and they also tend to suffer invisibly -- attention tends to go to the parents.   surviving siblings “often find themselves not only neglected, but expected to put their needs aside in order to spare their parents further distress” (1992 dissertation by Ariate S. Rakic, 1992, p. 2). Rakic:  Even though they shared many demographic similarities, the sibling survivor group were operating at well below their potential. While the other bereaved siblings were taking positive, active steps towards a secure future, “all the siblings in the suicide group … envisioned a narrow range of possibilities for success, and blamed themselves for the decisions and choices that proved to be detrimental to their lives.”   Royden:  presence of anger towards the dead sibling—let alone its expression—is usually viewed as highly inappropriate and unacceptable, even in families that can speak relatively freely about emotions. There's usually no space to talk within the family—and nowhere to talk outside of it either.  I would add not a place to have an internal dialog about it all.   The loss can cast a very long shadow, affecting the siblings' sense of security in the future, in relationships, and in life itself. Many siblings eventually create meaningful, purposeful lives out of this emotional nightmare—with a greater sense of perspective and empathy. Impact on the Church, the Mystical Body of Christ 1 Corinthians 12 12-14  12 For just as the body is one and has many members, and all the members of the body, though many, are one body, so it is with Christ. 13 For by one Spirit we were all baptized into one body—Jews or Greeks, slaves or free—and all were made to drink of one Spirit. 14 For the body does not consist of one member but of many.   26 If one member suffers, all suffer together; if one member is honored, all rejoice together. 27 Now you are the body of Christ and individually members of it. As Catholics, we are all in relationship with each other.  If one of us dies by suicide, it's not just some isolated choice but a separate person, with no impact.  We are part of the same body.  The mystical body of Christ.  There's a real loss there.    Action Items If you are having suicidal thoughts or know of someone who is, contact the National Suicide Prevention Lifeline at 1-800-273-8255 for support and assistance from a trained counselor. If you or a loved one are in immediate danger, call 911.  Subscribe to this podcast -- like it on social media, leave reviews on Apple Podcasts or whatever podcast platform you use.   Resilient Catholics Community.   Catholic's Guide to Helping a Loved One in Distress  Conversation hours T, R 317.567.9594    Pray for me and for the other listeners   Patronness and patron

La parola può essere uno slogan pubblicitario, un grido politico ma anche un'immagine. In questa puntata, Costantino e Francesco mettono a confronto il serioso Joseph Kosuth e il giocoso Lawrence Wiener, ci spiegano come fare arte fotocopiando un vocabolario e parlano dei neon logorroici di Maurizio Nannucci, di come un marchio di moda si è appropriato dello stile di Barbara Kruger e di quanto Jenny Holzer terrorizzasse i galleristi. Infine, Francesco ci propone la sua distinzione tra artisti-mattone e artisti-colonna e cerca di far luce su uno dei più grandi gialli del nostro tempo: Costantino è davvero stitico o ha solo un bagno deprimente?In questa puntata si parla di Joseph Kosuth, Ferdinand de Saussure, Ludwig Wittgenstein, Dawn French, Jennifer Saunders, Jacopo da Pontormo, Lawrence Wiener, Tino Sehgal, Maurizio Nannucci, Bruce Nauman, Kerry Hill, Geoffrey Bawa, Sophie Calle, Barbara Kruger, Guerrilla Girls, Cartesio, Jenny Holzer, Helmut Lang, Glenn Ligon, Okwui Enwezor, The Harlem Six, Robert Barry, Richard Prince, Hito Steyerl e Alberto Manzi.

La época de navidad es una de las más lindas del año, y el arbolito simboliza la unión de las familias, la alegrīa y mucho más. ¿ te gustaría descubrir lo que pasa con este árbol? No te pierdas este cuento escrito por Robert Barry de Editorial Corimbo. Puedes comprarlo en este link: https://www.amazon.com/árbol-Navidad-señor-Viladomat-Spanish/dp/8484705684/ref=sr_1_1?dchild=1&keywords=el+arbol+de+navidad+del+señor+viladomat&qid=1607924777&sr=8-1 Déjame tus saludos y pedidos de cuentos en el inbox de mi Facebook: https://www.facebook.com/latiabotas Sígueme en mi canal de Youtube : Tiabotas Oficial y escucha todas mis canciones en Spotify, búscame como Tía Botas. --- Send in a voice message: https://anchor.fm/la-tia-botas/message Support this podcast: https://anchor.fm/la-tia-botas/support

Story by Robert Barry

Robert Barry Fleming is the new Executive Artistic Director at Actors Theatre of Louisville. A native Kentuckian, this is his first year at Actors Theatre after serving as Associate Artistic Director of the Cleveland Play House and Director of Artistic Programming at Arena Stage. He previously worked as a producer, director, choreographer, performer, and teacher. Tune in to his weekly podcast, Borrowed Wisdom, which asks what we can learn from one another. In this episode, Robert and Erik discuss his bold, new, modern vision for Actors Theatre of Louisville as its first queer, Black leader. Throughout the conversation, they address how capitalism, equity, race, and theater history intersect.

Robert Barry Fleming talks about growing up in Frankfort and returning to Louisville to lead an iconic Louisville arts institution. Robert mentions three sources that we want to add here to the notes:- Catalyst Project- Racial Equity Institute- The People's Institute for Survival and BeyondWe also encourage you in the conversation to do some research on Anne Braden. Support the show (https://www.leadershiplouisville.org/donate-to-scholarship-fund/)

This week we're joined in the studio by Robert Barry Fleming, the newest Executive Artistic Director at Actors Theatre of Louisville. We chat about his robust career in theater and film and Fleming shares his commitment to making Actors an accessible and welcoming space for all people to enjoy. He also reveals what theatergoers can expect from the 44th Humana Festival of New American Plays, which opened this month and runs through April 12th. Donate to support this and future episodes of Strange Fruit.

Vice President of Learning Experience Design at McGraw-Hill Education, Kelly Delaney, talks to Giuseppe Castellano about her role within an educational publisher; why she doesn’t love the word, “textbook”; and why McGraw-Hill—who published Paul Galdone, Robert Barry, and a teenage Maurice Sendak—isn’t part of “The Big 6”. . . yet.

The images featured in Splashes (RVB Press, 2018) are characteristic of Gabriel Jones’ approach to making images by capturing the “backdrop”, things behind the original subject. There is a performative element to this series in that Gabriel invited friends to pretend to pose at a party, he focused his camera towards them but not on them which allowed him to actually photography the situations taking place in the background of the scene. The photographs were taken with early cellphone cameras, and have mostly been reframed to show only the situations and compositions that sparked the artist’s interest the most. This tight cropping resulted in highly pixelated images, and Jones applied some retouching techniques to further accentuate the strangeness of the scenes in his collections. Gabriel photographed the album cover The Suburbs, for Canadian Indie-Rock band Arcade Fire. The album won the 2012 Grammy Award for Best Record Packaging, and 2011Album of the Year. In 2010 and 2014, Jones curated an exhibition called The Pseudonym Project New York / Paris. A series of established and emerging artists– such as Robert Barry, Liam Gillick, Fouad Bouchoucha, Melanie Bonajo, Joseph Marzolla and Jonathan Monk–were invited to create new pieces under pseudonyms. Their real names were disclosed at the end of the exhibition. His photographs have been exhibited in venues such as Photo España Festival; Paris Photo; Galerie Le Château d’Eau, Toulouse; as well as Galleries Michèle Didier, Paris; Priska Juschka Fine Art, New York and Bugdahn und Kaimer, Dusseldorf. He is a faculty member at the Paris College of Art. Learn more about your ad choices. Visit megaphone.fm/adchoices

The images featured in Splashes (RVB Press, 2018) are characteristic of Gabriel Jones’ approach to making images by capturing the “backdrop”, things behind the original subject. There is a performative element to this series in that Gabriel invited friends to pretend to pose at a party, he focused his camera towards them but not on them which allowed him to actually photography the situations taking place in the background of the scene. The photographs were taken with early cellphone cameras, and have mostly been reframed to show only the situations and compositions that sparked the artist’s interest the most. This tight cropping resulted in highly pixelated images, and Jones applied some retouching techniques to further accentuate the strangeness of the scenes in his collections. Gabriel photographed the album cover The Suburbs, for Canadian Indie-Rock band Arcade Fire. The album won the 2012 Grammy Award for Best Record Packaging, and 2011Album of the Year. In 2010 and 2014, Jones curated an exhibition called The Pseudonym Project New York / Paris. A series of established and emerging artists– such as Robert Barry, Liam Gillick, Fouad Bouchoucha, Melanie Bonajo, Joseph Marzolla and Jonathan Monk–were invited to create new pieces under pseudonyms. Their real names were disclosed at the end of the exhibition. His photographs have been exhibited in venues such as Photo España Festival; Paris Photo; Galerie Le Château d’Eau, Toulouse; as well as Galleries Michèle Didier, Paris; Priska Juschka Fine Art, New York and Bugdahn und Kaimer, Dusseldorf. He is a faculty member at the Paris College of Art. Learn more about your ad choices. Visit megaphone.fm/adchoices

The images featured in Splashes (RVB Press, 2018) are characteristic of Gabriel Jones’ approach to making images by capturing the “backdrop”, things behind the original subject. There is a performative element to this series in that Gabriel invited friends to pretend to pose at a party, he focused his camera towards them but not on them which allowed him to actually photography the situations taking place in the background of the scene. The photographs were taken with early cellphone cameras, and have mostly been reframed to show only the situations and compositions that sparked the artist’s interest the most. This tight cropping resulted in highly pixelated images, and Jones applied some retouching techniques to further accentuate the strangeness of the scenes in his collections. Gabriel photographed the album cover The Suburbs, for Canadian Indie-Rock band Arcade Fire. The album won the 2012 Grammy Award for Best Record Packaging, and 2011Album of the Year. In 2010 and 2014, Jones curated an exhibition called The Pseudonym Project New York / Paris. A series of established and emerging artists– such as Robert Barry, Liam Gillick, Fouad Bouchoucha, Melanie Bonajo, Joseph Marzolla and Jonathan Monk–were invited to create new pieces under pseudonyms. Their real names were disclosed at the end of the exhibition. His photographs have been exhibited in venues such as Photo España Festival; Paris Photo; Galerie Le Château d’Eau, Toulouse; as well as Galleries Michèle Didier, Paris; Priska Juschka Fine Art, New York and Bugdahn und Kaimer, Dusseldorf. He is a faculty member at the Paris College of Art. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we’re talking brand new titles, some oldies but goodies and a few bookish surprises. You’ll hear a “bookish moment of the week” from each of us: a brand new release finally in hand, and a bookish Christmas tradition. Next, we tackle what we are currently reading, a few brand new releases as well as a bunch of goodness from the back list. This week we spend some time discussing how our reading habits change during the holidays, both in amount and substance. As always, we finish up with A Book (yep, capitalized) that we’d like to press into every reader’s hands: a rich-family inheritance drama, and a time-travel-esque (no actual time travel involved) book that surprised me. Time-stamped show notes are below with references to every book and resource we mentioned in this episode. If you’d like to listen first and not spoil the surprise, don’t scroll down!  .  .  .  .  .  1:30 - Kingdom of the Blind by Louise Penny 3:53 - The Polar Express by Chris Van Allsburg 4:10 - Mr. Willowby’s Christmas Tree by Robert Barry 5:04 - Wundersmith by Jessica Townsend 5:55 - Nevermoor by Jessica Townsend 9:45 - Nine Perfect Strangers by Liane Moriarty 9:58 - Episode 14 with Amy Allen Clark 11:19 - Truly Madly Guilty by Liane Moriarty 12:18 - Who Thought This Was A Good Idea? by Alyssa Mastromonaco 15:09 - A Curious Beginning by Deanna Reybourne 15:19 - A Study in Scarlet Women by Sherry Thomas 15:21 - The Beekeeper’s Apprentice by Laurie R. King 18:10 - Crimes Against a Book Club by Kathy Cooperman 20:42 - Winter Garden by Kristin Hannah 20:49 - Nightingale by Kristin Hannah 22:39 - The Snow Child by Eowyn Ivey 23:28 - The Great Alone by Kristin Hannah 25:27 - Harry Potter by J.K. Rowling 26:13 - Jenny Colgan books 27:52 - Shogun by James Clavell 28:39 - A Christmas Carol by Charles Dickens 28:43 - The Snow Child by Eowyn Ivey (again!) 30:21 - The Heirs by Susan Rieger 30:38 - The Nest by Cynthia D’Aprix Sweeney 33:58 - How to Stop Time by Matt Haig *Please note that all book titles linked above are Amazon affiliate links. Your cost is the same, but a small portion of your purchase will come back to us to help offset the costs of the show. Thanks for your support!*  

The director-composer team behind Solaris (1972) and Stalker (1979), including their working dynamic and creative process. Thanks to Robert Barry at SoundAndMusic.com for the excellent article on the topic. Includes Flare Star from SpaceExplorations03, and the theme song, Atlas from SpaceExplorations05, by RedBlueBlackSilver Available at RedBlueBlackSilver.bandcamp.com Archive.org links to films: Solaris Stalker

A l’Hôtel de Lille, nous recevons Michèle Didier.En 1987, elle fonde sa propre maison d’édition, mfc-michèle didier, avant d’ouvrir une galerie du même nom au 66, rue de Nazareth, dans le troisième arrondissement à Paris. Spécialisée dans l’édition d’œuvres multiples, passionnée par le « livre d’artiste », elle travaille ou a travaillé avec Saâdane Afif, Philippe Parreno, Robert Barry, ou encore Carl Andre. Certains des ouvrages qu’elle a édités au cours de sa carrière se trouvent dans les collections du MoMa de New York, ainsi que du Centre Pompidou.Elle évoque ici son parcours, sa vision de sa double activité d’éditrice et de galeriste, les enjeux liés à l’édition et à la présentation d’une œuvre multiple, et son rôle d’intermédiaire central entre l’artiste, les fabricants et le public.Musique originale de Pablo Jacquart. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Show Notes:  In this episode of The Tiara Talk Show, actors Harry Waters Jr. and Robert Barry Fleming chat with Tammy Tuckey about their portrayals of Tweedle Dee (Waters Jr.) & Tweedle Dum (Fleming) in the Disney Channel T.V. series, “Adventures in Wonderland,” their favorite lessons that the Tweedles learned on the show, filming the last episode of the series with the entire cast, and more! Are you looking to plan and book an upcoming Disney vacation? Contact The Tiara Talk Show’s official travel agent, James from MousePlanning.com by visiting http://bit.ly/QuoteMeDisney for a free quote! Be sure to… - Follow us on Twitter at @TiaraTalkShow: www.twitter.com/TiaraTalkShow - ‘Like’ our Facebook page: www.facebook.com/TheTiaraTalkShow - Follow us on our Tumblr page: thetiaratalkshow.tumblr.com - Follow us on our Google+ page: google.com/+TheTiaraTalkShow - Follow us on our Instagram page: instagram.com/thetiaratalkshow Want to give us your thoughts on this episode? Call us at 1-407-413-9390 and leave us a voicemail! Thanks for listening! “The Tiara Talk Show” is edited, created and hosted by Tammy Tuckey. The Tiara Talk Show is Copyright © 2013-2016 by Tammy Tuckey. All rights reserved.

It is a rare event when a dissertation focused on a single work yields a rich and fruitful account of an entire period. James Nisbet‘s new book, which began as a study of Walter De Maria’s 1977 Land Art work TheLightning Field, does just this by ranging freely across a wide variety of art works, practices, and attitudes from the formative decades of the environmental movement and of postwar American art. Ecologies, Environments, and Energy Systems in Art of the 1960s and 1970s (MIT Press, 2014) traces the shifts in ecological thinking and artistic practice during this period, and makes a convincing case for an ecological reading of many of its landmark works. What makes this book particularly fun, though, is the sheer strangeness of the works Nisbet discusses, many of them only briefly considered in the critical literature. From Allan Kaprow’s Yard (a gallery environment filled with tires), to psychedelic happenings, Peter Hutchinson’s bread scatter on the edge of a volcano, 2001: A Space Odyssey, Robert Barry’s radio wave installations and telepathic pieces, to the decade-long gestation of De Maria’s 400 stainless steel poles in the landscape of Western New Mexico: the book explores the ways that artists and the culture at large struggled to understand the nature of environments, the place of viewers and humans in relation to the whole earth, and the ultimate unruliness of global ecologies. It also reminds us of the mediated nature of both art works and ecological systems by delving into a period before awareness of media saturation became our prevailing condition. Learn more about your ad choices. Visit megaphone.fm/adchoices

It is a rare event when a dissertation focused on a single work yields a rich and fruitful account of an entire period. James Nisbet‘s new book, which began as a study of Walter De Maria’s 1977 Land Art work TheLightning Field, does just this by ranging freely across a wide variety of art works, practices, and attitudes from the formative decades of the environmental movement and of postwar American art. Ecologies, Environments, and Energy Systems in Art of the 1960s and 1970s (MIT Press, 2014) traces the shifts in ecological thinking and artistic practice during this period, and makes a convincing case for an ecological reading of many of its landmark works. What makes this book particularly fun, though, is the sheer strangeness of the works Nisbet discusses, many of them only briefly considered in the critical literature. From Allan Kaprow’s Yard (a gallery environment filled with tires), to psychedelic happenings, Peter Hutchinson’s bread scatter on the edge of a volcano, 2001: A Space Odyssey, Robert Barry’s radio wave installations and telepathic pieces, to the decade-long gestation of De Maria’s 400 stainless steel poles in the landscape of Western New Mexico: the book explores the ways that artists and the culture at large struggled to understand the nature of environments, the place of viewers and humans in relation to the whole earth, and the ultimate unruliness of global ecologies. It also reminds us of the mediated nature of both art works and ecological systems by delving into a period before awareness of media saturation became our prevailing condition. Learn more about your ad choices. Visit megaphone.fm/adchoices

It is a rare event when a dissertation focused on a single work yields a rich and fruitful account of an entire period. James Nisbet‘s new book, which began as a study of Walter De Maria’s 1977 Land Art work TheLightning Field, does just this by ranging freely across a wide variety of art works, practices, and attitudes from the formative decades of the environmental movement and of postwar American art. Ecologies, Environments, and Energy Systems in Art of the 1960s and 1970s (MIT Press, 2014) traces the shifts in ecological thinking and artistic practice during this period, and makes a convincing case for an ecological reading of many of its landmark works. What makes this book particularly fun, though, is the sheer strangeness of the works Nisbet discusses, many of them only briefly considered in the critical literature. From Allan Kaprow’s Yard (a gallery environment filled with tires), to psychedelic happenings, Peter Hutchinson’s bread scatter on the edge of a volcano, 2001: A Space Odyssey, Robert Barry’s radio wave installations and telepathic pieces, to the decade-long gestation of De Maria’s 400 stainless steel poles in the landscape of Western New Mexico: the book explores the ways that artists and the culture at large struggled to understand the nature of environments, the place of viewers and humans in relation to the whole earth, and the ultimate unruliness of global ecologies. It also reminds us of the mediated nature of both art works and ecological systems by delving into a period before awareness of media saturation became our prevailing condition. Learn more about your ad choices. Visit megaphone.fm/adchoices

It is a rare event when a dissertation focused on a single work yields a rich and fruitful account of an entire period. James Nisbet‘s new book, which began as a study of Walter De Maria’s 1977 Land Art work TheLightning Field, does just this by ranging freely across a wide variety of art works, practices, and attitudes from the formative decades of the environmental movement and of postwar American art. Ecologies, Environments, and Energy Systems in Art of the 1960s and 1970s (MIT Press, 2014) traces the shifts in ecological thinking and artistic practice during this period, and makes a convincing case for an ecological reading of many of its landmark works. What makes this book particularly fun, though, is the sheer strangeness of the works Nisbet discusses, many of them only briefly considered in the critical literature. From Allan Kaprow’s Yard (a gallery environment filled with tires), to psychedelic happenings, Peter Hutchinson’s bread scatter on the edge of a volcano, 2001: A Space Odyssey, Robert Barry’s radio wave installations and telepathic pieces, to the decade-long gestation of De Maria’s 400 stainless steel poles in the landscape of Western New Mexico: the book explores the ways that artists and the culture at large struggled to understand the nature of environments, the place of viewers and humans in relation to the whole earth, and the ultimate unruliness of global ecologies. It also reminds us of the mediated nature of both art works and ecological systems by delving into a period before awareness of media saturation became our prevailing condition. Learn more about your ad choices. Visit megaphone.fm/adchoices

It is a rare event when a dissertation focused on a single work yields a rich and fruitful account of an entire period. James Nisbet‘s new book, which began as a study of Walter De Maria’s 1977 Land Art work TheLightning Field, does just this by ranging freely across a wide variety of art works, practices, and attitudes from the formative decades of the environmental movement and of postwar American art. Ecologies, Environments, and Energy Systems in Art of the 1960s and 1970s (MIT Press, 2014) traces the shifts in ecological thinking and artistic practice during this period, and makes a convincing case for an ecological reading of many of its landmark works. What makes this book particularly fun, though, is the sheer strangeness of the works Nisbet discusses, many of them only briefly considered in the critical literature. From Allan Kaprow’s Yard (a gallery environment filled with tires), to psychedelic happenings, Peter Hutchinson’s bread scatter on the edge of a volcano, 2001: A Space Odyssey, Robert Barry’s radio wave installations and telepathic pieces, to the decade-long gestation of De Maria’s 400 stainless steel poles in the landscape of Western New Mexico: the book explores the ways that artists and the culture at large struggled to understand the nature of environments, the place of viewers and humans in relation to the whole earth, and the ultimate unruliness of global ecologies. It also reminds us of the mediated nature of both art works and ecological systems by delving into a period before awareness of media saturation became our prevailing condition. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Power of Ubiquinol As the population ages, more attention is being devoted to the prevention of disease and its effects. Heart disease heads the list, with millions of people suffering from it throughout the country. Aging also can affect the quality of one’s life–reducing energy and vitality. In recent years, medical research has looked […] The post 086 – What is the Best Form of CoQ10 and Why – My Interview with Dr. Robert Barry appeared first on Health Quest Podcast.

Guest: Robert Barry, Ph.D. Heart energy is everything…without it…you start aging! Did you know that your heart beats three million times a month. How is that possible? We called upon ... The post Robert Barry, Ph.D.: The Power of Ubiquinol – 3 Keys to Heart Health appeared first on Danielle Lin Show.

TheTotal Tutor will interview Trisha McKinney. The topic will be her story. In addition, I will interview December People Gary Pihl and Robert Barry. Also, I will interview  Mariko Ballentine. The topic will be what Mariko does as a casting agent. Last, I will interview Lane Twins. They are Hollywood celebrities. They will discuss Dolly, Obama, and equality.