Podcasts about rothko

“Art is a form of prayer … a way to enter into relationship.”Artist and theologian Bruce Herman reflects on the sacred vocation of making, resisting consumerism, and the divine invitation to become co-creators. From Mark Rothko to Rainer Maria Rilke, to Andres Serrano's “Piss Christ” and T.S. Eliot's Four Quartets, he comments on the holy risk of artmaking and the sacred fire of creative origination.Together with Evan Rosa, Bruce Herman explores the divine vocation of art making as resistance to consumer culture and passive living. In this deeply poetic and wide-ranging conversation—and drawing from his book *Makers by Nature—*he invites us into a vision of art not as individual genius or commodity, but as service, dialogue, and co-creation rooted in love, not fear. They touch on ancient questions of human identity and desire, the creative implications of being made in the image of God, Buber's I and Thou, the scandal of the cross, Eliot's divine fire, Rothko's melancholy ecstasy, and how even making a loaf of bread can be a form of holy protest. A profound reflection on what it means to be human, and how we might change our lives—through beauty, vulnerability, and relational making.Episode Highlights“We are made by a Maker to be makers.”“ I think hope is being stolen from us Surreptitiously moment by moment hour by hour day by day.”“There is no them. There is only us.”“The work itself has a life of its own.”“Art that serves a community.”“You must change your life.” —Rilke, recited by Bruce Herman in reflection on the transformative power of art.“When we're not making something, we're not whole. We're not healthy.”“Making art is a form of prayer. It's a form of entering into relationship.”“Art is not for the artist—any more than it's for anyone else. The work stands apart. It has its own voice.”“We're not merely consumers—we're made by a Maker to be makers.”“The ultimate act of art is hospitality.”Topics and ThemesHuman beings are born to create and make meaningArt as theological dialogue and spiritual resistanceCreative practice as a form of love and worshipChristian art and culture in dialogue with contemporary issuesPassive consumption vs. active creationHow to engage with provocative art faithfullyThe role of beauty, mystery, and risk in the creative processArt that changes you spiritually, emotionally, and intellectuallyThe sacred vocation of the artist in a consumerist worldHow poetry and painting open up divine encounter, particularly in Rainer Maria Rilke's “Archaic Torso of Apollo”Four Quartets and spiritual longing in modern poetryHospitality, submission, and service as aesthetic posturesModern culture's sickness and art as medicineEncountering the cross through contemporary artistic imagination“Archaic Torso of Apollo”Rainer Maria Rilke 1875 –1926We cannot know his legendary head with eyes like ripening fruit. And yet his torso is still suffused with brilliance from inside, like a lamp, in which his gaze, now turned to low, gleams in all its power. Otherwise the curved breast could not dazzle you so, nor could a smile run through the placid hips and thighs to that dark center where procreation flared. Otherwise this stone would seem defaced beneath the translucent cascade of the shoulders and would not glisten like a wild beast's fur: would not, from all the borders of itself, burst like a star: for here there is no place that does not see you. You must change your life.About Bruce HermanBruce Herman is a painter, writer, educator, and speaker. His art has been shown in more than 150 exhibitions—nationally in many US cities, including New York, Boston, Washington, Chicago, Los Angeles, and Houston—and internationally in England, Japan, Hong Kong, Italy, Canada, and Israel. His artwork is featured in many public and private art collections including the Vatican Museum of Modern Religious Art in Rome; The Cincinnati Museum of Fine Arts print collection; The Grunewald Print Collection of the Hammer Museum, Los Angeles; DeCordova Museum in Boston; the Cape Ann Museum; and in many colleges and universities throughout the United States and Canada.Herman taught at Gordon College for nearly four decades, and is the founding chair of the Art Department there. He held the Lothlórien Distinguished Chair in Fine Arts for more than fifteen years, and continues to curate exhibitions and manage the College art collection there. Herman completed both BFA and MFA degrees at Boston University College of Fine Arts under American artists Philip Guston, James Weeks, David Aronson, Reed Kay, and Arthur Polonsky. He was named Boston University College of Fine Arts Distinguished Alumnus of the Year 2006.Herman's art may be found in dozens of journals, popular magazines, newspapers, and online art features. He and co-author Walter Hansen wrote the book Through Your Eyes, 2013, Grand Rapids, Wm. B. Eerdmans Publishing, a thirty-year retrospective of Herman's art as seen through the eyes of his most dedicated collector.To learn more, explore A Video Portrait of the Artist and My Process – An Essay by Bruce Herman.Books by Bruce Herman*Makers by Nature: Letters from a Master Painter on Faith, Hope, and Art* (2025) *Ordinary Saints (*2018) *Through Your Eyes: The Art of Bruce Herman (2013) *QU4RTETS with Makoto Fujimura, Bruce Herman, Christopher Theofanidis, Jeremy Begbie (2012) A Broken Beauty (2006)Show NotesBruce Herman on Human Identity as MakersWe are created in the image of God—the ultimate “I Am”—and thus made to create.“We are made by a Maker to be makers.”To deny our creative impulse is to risk a deep form of spiritual unhealth.Making is not just for the “artist”—everyone is born with the capacity to make.Theological Themes and Philosophical FrameworksInfluences include Martin Buber's “I and Thou,” René Girard's scapegoating theory, and the image of God in Genesis.“We don't really exist for ourselves. We exist in the space between us.”The divine invitation is relational, not autonomous.Desire, imitation, and submission form the core of our relational anthropology.Art as Resistance to Consumerism“We begin to enter into illness when we become mere consumers.”Art Versus PropagandaCulture is sickened by passive consumption, entertainment addiction, and aesthetic commodification.Making a loaf of bread, carving wood, or crafting a cocktail are acts of cultural resistance.Desire“Anything is resistance… Anything is a protest against passive consumption.”Art as Dialogue and Submission“Making art is a form of prayer. It's a form of entering into relationship.”Submission—though culturally maligned—is a necessary posture in love and art.Engaging with art requires openness to transformation.“If you want to really receive what a poem is communicating, you have to submit to it.”The Transformative Power of Encountering ArtQuoting Rilke's Archaic Torso of Apollo: “You must change your life.”True art sees the viewer and invites them to become something more.Herman's own transformative moment came unexpectedly in front of a Rothko painting.“The best part of my work is outside of my control.”Scandal, Offense, and the Cross in ArtAnalyzing Andres Serrano's Piss Christ as a sincere meditation on the commercialization of the cross.“Does the crucifixion still carry sacred weight—or has it been reduced to jewelry?”Art should provoke—but out of love, not self-aggrandizement or malice.“The cross is an offense. Paul says so. But it's the power of God for those being saved.”Beauty, Suffering, and Holy RiskEncounter with art can arise from personal or collective suffering.Bruce references Christian Wiman and Walker Percy as artists opened by pain.“Sometimes it takes catastrophe to open us up again.”Great art offers not escape, but transformation through vulnerability.The Fire and the Rose: T. S. Eliot's InfluenceFour Quartets shaped Herman's artistic and theological imagination.Eliot's poetry is contemplative, musical, liturgical, and steeped in paradox.“To be redeemed from fire by fire… when the fire and the rose are one.”The collaborative Quartets project with Makoto Fujimura and Chris Theofanidis honors Eliot's poetic vision.Living and Creating from Love, Not Fear“Make from love, not fear.”Fear-driven art (or politics) leads to manipulation and despair.Acts of love include cooking, serving, sharing, and creating for others.“The ultimate act of art is hospitality.”Media & Intellectual ReferencesMakers by Nature by Bruce HermanFour Quartets by T. S. EliotThe Archaic Torso of Apollo by Rainer Maria RilkeWassily Kandinsky, “On the Spiritual in Art”Amusing Ourselves to Death by Neil PostmanThings Hidden Since the Foundation of the World by René GirardThe Art of the Commonplace by Wendell BerryAndres Serrano's Piss ChristMakoto Fujimura's Art and Collaboration

Welcome back to the 225th episode of The Cup which is our a weekly (give or take, TBD, these are unprecedented times) performing arts talk show presented by Cup of Hemlock Theatre. With the theatres on a come back we offer a mix of both reviews of live shows we've seen and continued reviews of prophet productions! For our 225th episode we bring you a Duet Review revisiting John Logan's Red, presented by Riot King, directed by Kenzia Dalie, starring Lindsay Merrithew as Rothko and Brendan Kinnon as Ken. Join Mackenzie Horner and Jillian Robinson, as they discuss the importance of authentic character interpretation, enticement of sensory performance, and the timeless resonance of art. Red is playing at The Theatre Centre (1115 Queen St W, Toronto, ON) until April 6th, 2025. Tickets can be purchased from the following link: https://theatrecentre.org/event/red/ This review contains many SPOILERS for Red. It will begin with a general non-spoiler review until the [11:50] mark, followed by a more in-depth/anything goes/spoiler-rich discussion. If you intend to see the production, we recommend you stop watching after that point, or at least proceed at your own risk. Follow our panelists: Mackenzie Horner (Before the Downbeat: A Musical Podcast) – Instagram/Facebook: BeforetheDownbeatApple Podcasts: https://apple.co/3aYbBeNSpotify: https://spoti.fi/3sAbjAuJillian Robinson – Instagram: @jillian.robinson96 Follow Cup of Hemlock Theatre on Instagram/Facebook/Twitter: @cohtheatreIf you'd like us to review your upcoming show in Toronto, please send press invites/inquiries to coh.theatre.MM@gmail.com

“Fiume o Morte!” Brilliantly Dramatizes the Rise of a Demagogue http://newyorker.com/culture/the-front-row/fiume-o-morte-brilliantly-dramatizes-the-rise-of-a-demagogue (via ChatGPT) D'Annunzio, Mussolini, Fascism https://chatgpt.com/share/67ee68e1-f73c-8006-9a9a-b12abb23a1f0 MARK ROTHKO & THE FOUR SEASONS – WHEN ART MEETS INTEGRITYIn 1958, Mark Rothko accepted a lucrative commission to paint murals for The Four Seasons restaurant in New York.But after dining there, he was disgusted by the excess ... Read more The post o grande Não de Rothko, a poesia, a arte e a filosofia… e o Fascismo appeared first on radinho de pilha.

Kevin Weisner and Lukas Bentel are the Chief Creative Officers of MSCHF, the subversive Brooklyn-based art collective known for “drops” like the Big Red Boots, Key4All, Tax Heaven, Satan Shoes and more. They join us to discuss their new book, "Made By MSCHF", the importance of creative antagonists, defending Rothko, never having KPIs, virality is cheap and hating on golf. Hosted on Acast. See acast.com/privacy for more information.

Am 12.03.2025 trafen sich wieder Mitarbeiterinnen der Stadtbibliothek Marzahn-Hellersdorf im Stern-Zimmer an der LesBar und redeten über Gelesenes der letzten Wochen. Das Getränk des Abends war F. Scott Fitzgeralds Gin Rickey, bestehend aus 6 cl Gin, 2 cl Limettensaft und Mineralwasser, garniert mit einer Limettenscheibe. Inspiriert wurden wir durch das Buch "Trinken wie ein Dichter: 99 Drinks mit Jane Austen, Ernest Hemingway & Co.", Verlag Klett-Cotta. Zu jedem weiteren Treffen an der LesBar wollen wir einen Autor und sein Getränk vorstellen. Kerstin Morgenstern, Benita Hanke, Sarah Schütz, Sarah Baecke und Renate Zimmermann hatten insgesamt 24 Bücher im Gepäck und labelten sie mit Adjektiven, die auf -bar enden. Denn nichts ist naheliegender, wenn man an einer Bar sitzt, oder? Falls Ihnen Wörter einfallen, die sich eignen, um Bücher zu bewerten, schreiben Sie eine Mail an renate.zimmermann@ba-mh.berlin.de Wir freuen uns über jede Ergänzung.Katharina Gatzke war Zaungast und unser interessiertes Publikum.TITELLISTE:min. 00:07:03 Andreas Winkelmann: Das letzte, was du hörst (unfassbar

Christopher Rothko never thought he would have a career in the art world but he has become the driving force behind preserving his father, painter Mark Rothko’s, legacy. Christopher along with his sister Kate are the copyright holders to their father’s work and oversee exhibitions of Mark Rothko paintings around the world. With a background in clinical psychology, Christopher is also known for his writing about his father's art, life, and legacy, as well as his own reflections on the emotional and philosophical aspects of Mark Rothko’s paintings. Through his books and public work, Christopher has enabled the art of Mark Rothko to continue to resonate with audiences worldwide.See omnystudio.com/listener for privacy information.

Greetings Glocal Citizens! This week's episode has been in the making since Episode 122 (https://glocalcitizens.fireside.fm/122) guest, Natasha Moore (https://glocalcitizens.fireside.fm/guests/natasha-d-moore). I'm joined by interdisciplinary artist, choreographer, scholar and educator, specializing in dance forms of the African Diaspora, Winston Benons, Jr. He has extensive training in Afro-Cuban, Haitian, Afro-Brazilian, and Bomba dance, complemented by studies in Horton and Dunham modern dance techniques. He has curated and led intensive programs in culture and dance techniques in both New York City and Cuba. He is the Founder and Director of tRúe Culture & Arts, an organization dedicated to facilitating cultural exchanges, workshops, and academic residencies. His works and studies have explored the intersections between Theater and Performance Studies, Curation and Visual Culture culminating in his graduate thesis entitled Marked: The Racialization Of African Phenotypes And Creation Of An Embodied Archive. Also an educator, he served as a lecturer at Pace University and an adjunct faculty member at the Mason Gross School of the Arts at Rutgers University. He has also held guest faculty positions at Ballet Hispánico, Peridance, Djoniba Dance & Drum, and Cumbe. He is currently the US/MS IB Dance educator at Brooklyn Friends School (https://brooklynfriends.org). Recent choreography and direction credits include Amahl and the NIght Visitors (https://en.wikipedia.org/wiki/Amahl_and_the_Night_Visitors) and What Lies Beneath (https://en.wikipedia.org/wiki/What_Lies_Beneath) with On Site Opera (https://osopera.org/), where he also served as the cultural advocate. Most recently, he developed and performed part 1 of a series entitled Conversations with Rothko at the SMART Museum (https://smartmuseum.uchicago.edu/) in Chicago. Where to find Winston? the-culturalist.com (https://www.the-culturalist.com/) On LinkedIn (https://www.linkedin.com/in/winston-benons-jr-b131074/) On Instagram (https://www.instagram.com/wbenonsjr/) On Facebook (https://www.facebook.com/tRueCultureArts/?view_public_for=142096181671) What's Winson watching? Barry Jenkins, Moonlight (https://a24films.com/films/moonlight) and other works Dianne Reeves (https://diannereeves.com) Other topics of interest: From British Guiana to Guyana (https://en.wikipedia.org/wiki/Guyanese_people) The Country of Five People (https://en.wikipedia.org/wiki/Guyanese_people) Madeira Islands (https://en.wikipedia.org/wiki/Madeira) What's The Highline (https://www.thehighline.org)? How Chemical Bank became Chase Bank (https://en.wikipedia.org/wiki/Chemical_Bank#:~:text=In%201996%2C%20Chemical%20acquired%20Chase,be%20better%20known%2C%20particularly%20internationally.) ASWAD - Assocation for the Study of the Worldwide African Diaspora (https://www.aswadiaspora.org/) Wideman Davis Dance (http://widemandavisdance.org/) Special Guest: Winston Benons, Jr..

Russell Crowe is swapping Hollywood's glitz for the Australian Gold Coast in Bear Country, a thriller based on Thomas Perry's novel Strip. Directed by Derrick Borte, the story follows Crowe as Manco Kapak, a club owner whose retirement dreams shatter after a masked gunman robs him. Set in Los Angeles but filmed in Queensland, this reunion of Crowe and Borte—after 2020's Unhinged—promises high-octane action. With filming starting February, the project is expected to inject $11.9 million into Queensland's economy. Meanwhile, Crowe stays busy with upcoming releases like Rothko and The Beast in Me. Stay tuned for the release date!

ABOUT LOUISA WHITMORE:TIK TOK: LOUISA'S BIO:Louisa Whitmore is an architecture content creator on TikTok with over 350K followers, as well as the host of the cable television documentary series “The Nature of Design.” A former commentator for the USModernist podcast, Whitmore has also worked as a live radio host and PSA producer at CHMA 106.9FM, the local radio station at Mount Allison University, where she's currently an honors student studying international relations and French. She enjoys telling stories, and is passionate about sustainable design.SHOW INTRO:Welcome to the NXTLVL Experience Design podcast.EPISODE 75… and my conversation with Louisa Whitmore. On the podacast our dynamic dialogues based on our acronym DATA - design, architecture, technology, and the arts crosses over disciplines but maintains a common thread of people who are passionate about the world we live in and human's influence on it, the ways we craft the built environment to maximize human experience, increasing our understanding of human behavior and searching for the New Possible.    he NXTLVL Experience Design podcast is presented by VMSD Magazine part of the Smartwork Media family of brands.VMSD brings us, in the brand experience world, the International Retail Design Conference. The IRDC is one of the best retail design conferences that there is bringing together the world of retailers, brands and experience place makers every year for two days of engaging conversations and pushing the discourse forward on what makes retailing relevant. You will find the archive of the NXTLVL Experience Design podcast on VMSD.com.Thanks also goes to Shop Association the only global retail trade association dedicated to elevating the in-store experience. SHOP Association represents companies and affiliates from 25 countries and brings value to their members through research, networking, education, events and awards. Check then out on SHOPAssociation.orgLouisa Whitmore is a TikTok creator phenom whose content is about architecture. With almost 400 thousand followers her no holds-barred, straight from the heart and to the point commentary about the buildings she loves and loves to hate, brings a user experience point of view and accessible critique into the mainstream.We'll get to all of that in a moment but first though, a few thoughts…                  *                                  *                                  *The great thing about doing this podcast is it gives me an opportunity to rethink some of the assertions that have held to be true and cross check whether in fact they are immutable or whether there is room for challenging myself and maybe digging into some subtleties and nuances… and seeing things a different way.Like for example the idea of criticism – who does it and its value…I have to admit I haven't been particularly fond of the idea of critics for a very long time. This would be generally true of the kind who dole out the negative kind of commentary.Years ago when commenting on something, I think it was some art piece, and my son said to me “…dad why is it that you never really say you hate anything…”which I sort of thought was kind of funny then. I think I responded “…well because I don't really hate anything… I try to always view things from the other side - a different point of view. I try to get beyond the visceral reaction and look to design principles and comment from a place of applying principles to the work and see how they line up…and then make a comment that is based yes on whether I simply like it, the colors, shapes, energy, feeling , may be a message it is trying to impart AND  whether I can see the value in it based on principles determined to be generally accepted by experts in the domain…” so yeah I don't really hate things…If I apply the idea of casting judgement on art, music, architecture… it got me thinking… again…What is the value of judgement? Is it to determine the appropriateness of something to a particular context or challenge?I have my favorite architects and artists and musical performers, I like different styles and periods. But I don't listen to heavy metal (though my sons love it). I don't know that I can say that I hate it. Perhaps I just don't understand it and maybe if I did, it still wouldn't jibe with me.It just doesn't go in my body well. It's a sensory mismatch.I don't hate it – It makes me agitated. So, I just don't listen to it. And I guess you could say the same thing for certain genres of art.For example… I'm not particularly crazy about a lot of contemporary art.I have a hard time understanding a performance artist dipping her hair in paint and swinging aloft from a rope while her hair drags across a canvas and the painting while on lookers wrapped in dimly lit light bulbs stand slightly by  selling for millions of dollars… it isn't something I quite get. And I know that authorized replicas of the Marcel Duchamp sculpture called the “Fountain” - which is a urinal - sell for somewhere between 3 and $4 million each and here's the kicker... apparently because the original has been lost the financial the value of the original piece is unknown and might be considered as being priceless. I don't know… it sort of leaves me just trying too hard... knowing I'm falling profoundly short of ascending to the intellectualized rarefied air that somehow makes this sort of thing makes sense. And I also suspect that if I'm voicing these concerns or questions that I am likely to get a lot of people commenting that my remarks point out my ignorance, that I just don't understand and I would …well…agree with them.I'm ok with that. Really.And I think I'm not alone in this category of not understanding contemporary art and the extraordinary prices that contemporary art paintings fetch at auctions and then again maybe if I did, I still wouldn't spend $25 million on a Rothko painting.The thing about critics, I think, is that we entrust these individuals with being in the know, of having deep insight, knowledge or experience into the making of the art. That these are people who understand its value and relevancy to culture and somehow able to unfold the deep meaning in the work whatever format the creativity comes in and to bestow upon us their opinion as if it is fact.The challenge of course is that I think there may be an ignorance in the public and that the deeper inner meaning of things is somehow held in reserve for the creators of the work or select few who follow it.But I've always had a challenge with the idea that the critic seems to have the extraordinary power to completely destroy the creative work as well as raise it to high levels of adulation and praise.I think that in some ways we have come to trust to the critic as certainly knowing more than we do and therefore what they say about a particular piece of art or architecture should be taken as truth and the presumed value of the creation lies in whether their commentary is positive or negative.How many people have not gone to see a movie because it only got 2 stars… and who said it should only have two stars?Maybe I would have found the comedy hilarious… but not the critic.I often don't even check reviews by the masses on restaurant or hotel booking sites and if I do read the reviews, I do it very carefully. I look to see what it was that these people did or didn't like. What it was that made their experience a must see or a definite red tomato. Personally, I dig to see if there is anything at a lower level that suggests what was driving the positive or negative review? What it was in this message that this particular critic is trying to convey?I've often thought that to be able to criticize art or other forms of creative invention you'd have to understand what it was the maker was intending to convey.You'd have to understand the basic ideas, for example, of composition to be able to determine whether a Jackson Pollock or a Kandinsky or a Basquiat was worth all the fuss and on what basis you were making the comments about the work.I guess it's not all critics that I have a problem with but maybe more those who simply present negative opinions. And it's not like I should even care that critic X didn't like thing Y. It was their opinion. Okay so they have an opinion. The challenge is the uninformed may come to accept the opinion as fact and turn away from somethings simply because some one says its not good.I guess the role of the professional critic is to study and assess the value of a creative work and pass judgment on the product based on facts and logical assertions. This is kind of like knowing a bit about composition before offering an opinion the write something off.It seems to me that the idea of a critic is to connect ideas, arrive at reasonable conclusions and perhaps open avenues for discussing new directions and fostering an awareness of ideas and cultural trends.It also seems to me that the role of the critic is to challenge our general assumptions about things to get us to look more deeply at our assertions and to get us to not simply accept things at face value but to continue to search for excellence, challenge the status quo, in all of the things that we bring into the world so that we don't fill it with the mundane or banal.There's something about the critic as ‘educator' - increasing our collective level of understanding of things, pointing out where things might likely be improved and offering positive commentary on what might be a series of next steps in order to develop the output and make it better - that I align with.And I know that the idea of making it ‘better' is full of all manner of subtext and necessity to consider contextual considerations… ‘better' for whom, for what and why?And maybe this is where I mostly land on the idea of the value of the critique is that of using constructive criticism for the value of enhancing people's understanding of a particular subject or giving the creator tools to go back to the drawing board, so to speak, and make it better.Jazz master saxophonist David Liebman wrote a concise piece on his website called “The Critic Dilemma: Criticism vs. Review”. He describes many of the same ideas about who's making he comments, are they objective facts or subjective opinions, and why should we trust one critic's opinion over another? Liebman differentiates between critique and a review:“…When the writer's opinion and taste is the focal point, this constitutes a critique. On the other hand, a review should be the dissemination of information with the desired intention being elucidation. The idea is that with this information, the listener is equipped to form his own opinion…”.And this is where this episode's guest Louisa Whitmore begins to fit into the story.When Louisa was 16 years old she began to share architecture commentary on Tik Tok. She blew up the social media sphere with posts that were personal and occasionally pointed. She came at her critiques of buildings not from the expert or architectural practioner point of view but from that of the user, the general public mindset.She didn't profess to be a building expert, to have deep knowledge in construction but rather to simply be part of the general public who experienced the built environment every day but who had little to nothing to do with how buildings got there in the first place.Her negative commentary on 432 Park Avenue - the luxury condo building designed by Rafael Viñoly and SLCE Architects – lit up the digisphere with 100s of thousands of followers lining up behind her to voice their impressions of this building. Most of them not very good I might add. Which was actually ok since there was a ton of press – not particularly good I might add – about problems with the building. Now, Louisa didn't know about these issues about the engineering, the building swaying (which would be natural by the way) and other problems but felt vindicated nevertheless with the press that effectively substantiated her intuitive feelings about this super-tall condo on the Central Park's edge.I see her posts more like David Leibman's construct of the ‘Review' – “…that with this information, the listener is equipped to form his own opinion…”.And opinions her followers had. 1000's of them.In the spirit of “…the dissemination of information with the desired intention being elucidation…” Whitmore turned her attention to projects thatfocused on Biophilia and how buildings with ample integration of plants seemed to simply feel better. Her noteriaty on Tik Tok, articulate whit, intuition and ability to articulate the ‘person on the street's' perception of the built environment, landed her the role as host of “the cable television documentary series “The Nature of Design”.Over the course of a number of episodes Whitmore tours properties talking about biophilic principles and with the support of a variety of experts ranging from architects to neuroscientists she dives into the science of how buildings with a biophilic approach effect our well-being…Whitmore is called a teenage architecture critic. While her rise on social media platforms may have been based on the building she loved to hate, it seems that she is using her notoriety to review and elucidate…. ABOUT DAVID KEPRON:LinkedIn Profile: linkedin.com/in/david-kepron-9a1582bWebsites:  https://www.davidkepron.com    (personal website)vmsd.com/taxonomy/term/8645  (Blog)Email: david.kepron@NXTLVLexperiencedesign.comTwitter: DavidKepronPersonal Instagram: https://www.instagram.com/davidkepron/NXTLVL Instagram: https://www.instagram.com/nxtlvl_experience_design/Bio:David Kepron is a multifaceted creative professional with a deep curiosity to understand ‘why', ‘what's now' and ‘what's next'. He brings together his background as an architect, artist, educator, author, podcast host and builder to the making of meaningful and empathically-focused, community-centric customer connections at brand experience places around the globe. David is a former VP - Global Design Strategies at Marriott International. While at Marriott, his focus was on the creation of compelling customer experiences within Marriott's “Premium Distinctive” segment which included: Westin, Renaissance, Le Meridien, Autograph Collection, Tribute Portfolio, Design Hotels and Gaylord hotels. In 2020 Kepron founded NXTLVL Experience Design, a strategy and design consultancy, where he combines his multidisciplinary approach to the creation of relevant brand engagements with his passion for social and cultural anthropology, neuroscience and emerging digital technologies. As a frequently requested international speaker at corporate events and international conferences focusing on CX, digital transformation, retail, hospitality, emerging technology, David shares his expertise on subjects ranging from consumer behaviors and trends, brain science and buying behavior, store design and visual merchandising, hotel design and strategy as well as creativity and innovation. In his talks, David shares visionary ideas on how brand strategy, brain science and emerging technologies are changing guest expectations about relationships they want to have with brands and how companies can remain relevant in a digitally enabled marketplace. David currently shares his experience and insight on various industry boards including: VMSD magazine's Editorial Advisory Board, the Interactive Customer Experience Association, Sign Research Foundation's Program Committee as well as the Center For Retail Transformation at George Mason University.He has held teaching positions at New York's Fashion Institute of Technology (F.I.T.), the Department of Architecture & Interior Design of Drexel University in Philadelphia, the Laboratory Institute of Merchandising (L.I.M.) in New York, the International Academy of Merchandising and Design in Montreal and he served as the Director of the Visual Merchandising Department at LaSalle International Fashion School (L.I.F.S.) in Singapore.  In 2014 Kepron published his first book titled: “Retail (r)Evolution: Why Creating Right-Brain Stores Will Shape the Future of Shopping in a Digitally Driven World” and he is currently working on his second book to be published soon. David also writes a popular blog called “Brain Food” which is published monthly on vmsd.com. The next level experience design podcast is presented by VMSD magazine and Smartwork Media. It is hosted and executive produced by David Kepron. Our original music and audio production by Kano Sound. The content of this podcast is copywrite to David Kepron and NXTLVL Experience Design. Any publication or rebroadcast of the content is prohibited without the expressed written consent of David Kepron and NXTLVL Experience Design.Make sure to tune in for more NXTLVL “Dialogues on DATA: Design Architecture Technology and the Arts” wherever you find your favorite podcasts and make sure to visit vmsd.com and look for the tab for the NXTLVL Experience Design podcast there too. The next level experience design podcast is presented by VMSD magazine and Smartwork Media. It is hosted and executive produced by David Kepron. Our original music and audio production by Kano Sound. The content of this podcast is copywrite to David Kepron and NXTLVL Experience Design. Any publication or rebroadcast of the content is prohibited without the expressed written consent of David Kepron and NXTLVL Experience Design.Make sure to tune in for more NXTLVL “Dialogues on DATA: Design Architecture Technology and the Arts” wherever you find your favorite podcasts and make sure to visit vmsd.com and look for the tab for the NXTLVL Experience Design podcast there too.

A badly needed splash of colour this week as Phil & Laura take a deep dive into a Rothko work which sold in 2012 for the staggering sum of $87 million. Just what lies behind those famous, vibrant rectangles... Support the show

In this provocative episode of "So You're Living in a Simulation," hostess Joli (@joli.artist) challenges our understanding of madness, genius, and what it truly means to be free. Through the lens of artistic evolution - from Picasso to Rothko - she explores how what society labels as "losing one's mind" might actually be the most sane response to an insane world.Drawing from personal experiences in London's real estate market to profound philosophical insights, Joli argues that true madness isn't in breaking free from societal norms, but in spending decades imprisoned by the imagined thoughts of others. She redefines what it means to "lose your mind," suggesting that deliberate liberation from societal conditioning differs fundamentally from losing control of one's mind.Using references from Vikings to The Matrix, she weaves together a compelling argument about determinism, free will, and the nature of reality itself. The episode offers practical wisdom on choosing response over reaction, maintaining authenticity in a conformist world, and finding freedom within life's inherent constraints.This deeply personal yet universally relevant exploration challenges viewers to question their own mental prisons and consider: What would life look like if we stopped caring about the uncontrollable and started living authentically? As your "one black friend," Joli brings a unique perspective to these timeless philosophical questions, making complex ideas accessible through storytelling and real-world applications.Explore the thin line between genius and madness, where losing your mind might just be the sanest thing you can do.Tags: philosophy, art, consciousness, freedom, society, determinism, authenticity, mental health, creativity​​​​​​​​​​​​​​​​---Joli invites you to question the rules you follow, let go of fear, and discover what it means to live a life that's truly your own. This episode is about finding clarity, freedom, and the courage to embrace who you really are.youroneblackfriend.com --- Timestamps: 00:00 – Introduction 03:01 – The Thin Line Between Genius and Insanity 05:02– How Fear of Judgment Shapes Our Lives 15:32 – Sovereignty in a World of Expectations 28:57 – Free Will, Destiny, and Living Authentically 42:29– Can You Lose Your Mind Sanely? --- Key Explored Questions: 1. How does fear of judgment stop us from being ourselves? 2. Why do artists rebel against rules and expectations? 3. Can we truly live freely, or is everything predetermined? 4. What does it mean to live authentically in today's world? 5. How can letting go of societal pressure lead to personal freedom? 6. Is rebellion part of the system or a path to true freedom? --- #ArtFreedom #FearlessLiving #Authenticity

Our second live recording of six writers reading their work in the intimate surroundings of the Colony Room Green bar. There will be occasional drink mixing and pouring, laughter and doors opening! Listen to Lana Citron talk about food as an aphrodisiac, Sue Hubbard read her novel Three about food as a source of emotional renewal, Lindsay Gillespie read her story about ravenous mermaids enjoying a night out at a seaside resort, Dr Stuart Gillespie talking about the way capitalism and agribusiness has corrupted our global food supplies, Martin Nathan reading a short story about how food evokes memories and Tabitha Potts reading a speculative short story about alien sin eaters. Content warning: Lana Citron's reading at the beginning of the podcast includes a description of animal abuse/cruelty from the writings of the Marquis de Sade which some listeners may find disturbing. Lana Citron is a prize-winning author and scriptwriter with twenty years' professional writing experience. She has published five novels, two non-fiction books and numerous short stories, plays, poems, film scripts, articles and book. Extracts read today are from her book Edible Pleasures, a Textbook of Aphrodisiacs.   Sue Hubbard is an award-winning poet, novelist and art critic who is new to Story Radio. She has published five collections of poetry, Everything Begins with the Skin (Enitharmon), Ghost Station and The Forgetting and Remembering of Air (Salt), Swimming to Albania (Salmon Poetry) and Radium Dreams (Women's Art Collection, Murray Edwards College, Cambridge) in collaboration with the artist Eileen Cooper RA, and a series of poems, God's Little Artist (Seren). Her novels include: Depth of Field, (Dewi Lewis), Girl in White (Cinnamon and Pushkin Press), Rainsongs, (Duckworth, Overlook Press US, Mercure de France and Yilin Press, China) and Flatlands (Pushkin Press and Mercure de France). Rothko's Red, her collection of short stories, was published by Salt. She is currently working on a fifth novel, provisionally titled Three, which she reads in this podcast. Lindsay Gillespie was born in South Wales, and lives in the South Downs. In between she has been a graphic designer and illustrator, lived in New Delhi, Washington DC, France and taught English in Tokyo. In 2018-2019, she was enrolled in the Creative Writing Programme of New Writing South. She writes short and not-so-short stories and was a Costa 2021 Short Story Award finalist. A year later, she was a finalist for the Bridport Short Story Prize. Other short stories have been shortlisted in nine competitions in recent years including Fiction Factory, Exeter, Oxford Flash Fiction, Fiction Factory Flash, Rhys Davies, Frome, ChipLit, Edinburgh and Fish.   Our next reader is Dr Stuart Gillespie, a non-fiction writer who's also new to Story Radio. He has four decades of experience in nutrition and development since his first position as nutrition coordinator in a rural development project in southern India in the early 80s. His book Food Fight tells the tale of how the food system we once relied upon for global nutrition has warped into the very thing making us sick. It will be published by Canongate in 2025. Martin Nathan's short fiction and poetry have appeared in various journals. His novel A Place of Safety is published by Salt Publishing. His dramatic writing has been shortlisted for the Nick Darke Award and the Woodward International Prize. Martin will be reading from a new short story. Founder and co-host of the Story Radio Podcast, Tabitha Potts is a short story writer and novelist. She received an Honourable Mention in the Alpine Fellowship Writing Prize for her story 'Poppet' and is publishing her debut novel The House of Dust and Shadows in 2026 with Rowan Prose Publishing. Tabitha reads from 'The Sin-Eater', originally published in Fudoki Magazine.

Rothko croissants, records like old trees, cave-age slowcore. The French musician and artist discusses three important albums.Félicia's picks:Morton Feldman – Rothko Chapel  | Why Patterns?Robert Ashley – Private PartsLow – I Could Live In HopeFélicia's latest album, Space As An Instrument, is out now on Shelter Press. Check it out here. Her website is here and she's also on Instagram.Donate to Crucial Listening on Ko-fi: https://ko-fi.com/cruciallistening

Marcado en un principio por John Cage, de quien incorpora la aleatoriedad y los sistemas alternativos de notación musical, el compositor norteamericano evoluciona hacia obras cada vez más extensas y minimalistas que requieren—o proponen—la suspensión del tiempo._____Has escuchadoNeither (1977) / textos de Samuel Beckett. Petra Hoffmann, soprano; Symphonieorchester des Bayerischen Rundfunks; Kwamé Ryan, director. Col Legno (2000)Patterns in a Chromatic Field (1981). Arne Deforce, violonchelo; Yutaka Oya, piano. Aeon (2008)Piece for Four Pianos (1957). David Tudor, Edwin Hymovitz, Morton Feldman, Russell Sherman, pianos. Edition RZ (2007)String Quartet II (1983). Ives Ensemble. hat[now]ART (2007)The King of Denmark (1964). Max Neuhaus, percusión. Sony (2013)_____ Selección bibliográficaBEAL, Amy C., “Time Canvasses: Morton Feldman and the Painters of the New York School”. En: Music and Modern Art. Editado por James Leggio. Routledge, 2002*BLASIUS, Leslie, “Late Feldman and the Remnants of Virtuosity”. Perspectives of New Music, vol. 42, n.º 1 (2004), pp. 32-83*BOUTWELL, Brett, “Morton Feldman's Graphic Notation: Projections and Trajectories”. Journal of the Society for American Music, vol. 6, n.º 4 (2011-2012), pp. 457-482CERVERÓ, Joan Josep, Hibridaciones entre música y pintura: la relación de Morton Feldman y Mark Rothko en Rothko Chapel. Tesis doctoral, Universitat Politècnica de València, 2017CLINE, David, The Graph Music of Morton Feldman. Cambridge University Press, 2016COSTELO, Catherine, “The Sounds of the Sounds Themselves: Analyzing the Early Music of Morton Feldman”. Perspectives of New Music, vol. 34, n.º 1 (1996), pp. 6-27*DELIO, Thomas, The Music of Morton Feldman. Greenwood Press, 1995DOHONEY, Ryan, Morton Feldman: Friendship and Mourning in the New York Avant-Garde. Bloomsbury Academic, 2022FELDMAN, Morton, Écrits et paroles. Editado por Jean-Yves Bosseur. L'Harmattan, 1998—, Give my Regards to Eighth Street: Collected Writings of Morton Feldman. Exact Change, 2000*—, Morton Feldman Says. Selected Interviews and Lectures, 1964-1987. Editado por Chris Villars. Hyphen Press, 2006—, Pensamientos verticales. Caja Negra, 2012GAREAU, Philip, La musique de Morton Feldman ou le temps en liberté. L'Harmattan, 2006JIMÉNEZ CARMONA, Susana, “Suspensiones temporales: sonido y temporalidad en Luigi Nono y Morton Feldman”. En: Musicología en el siglo XXI: nuevos retos, nuevos enfoques. Coordinado por Begoña Lola y Adela Presas. Sociedad Española de Musicología, 2018*JOHNSON, Steven, “Rothko Chapel and Rothko's Chapel”. Perspectives of New Music, vol. 32, n.º 2, (1994) pp. 6-53*JOHNSON, Steven (ed.), The New York Schools of Music and Visual Arts: John Cage, Morton Feldman, Edgard Varèse, Willem de Kooning, Jasper Johns, Robert Rauschenberg. Routledge, 2002KISSANE, Séna (ed.), Vertical Thoughts: Morton Feldman and the Visual Arts. Irish Museum of Modern Art, 2010LAWS, Catherine, Headaches among the Overtones: Music in Beckett. Rodopi, 2013NOBLE, Alistair, Composing Ambiguity: The Early Music of Morton Feldman. Ashgate Pub, 2013SAFATLE, Vladimir, “Morton Feldman comme critique de l'idéologie: expression et politique dans Rothko Chapel”. En: Expression et geste musical: actes du colloque des 8 et 9 avril 2010 à l'Institut national d'histoire de l'art de Paris. Editado por Susanne Kogler y Jean-Paul Olive. L'Harmattan, 2013*SNIJDERS, John, “That is Not Freedom, that is Taking License: The Pitfalls in Performing Morton Feldman's Graph Scores”. En: The Aesthetics of Imperfection in Music and the Arts: Spontaneity, Flaws, and the Unfinished. Editado por Andy Hamilton y Lara Pearson. Bloomsbury Publishing, 2021*VOLANS, Kevin, “What is Feldman?”. Tempo, vol. 68, n.º 270 (2014), pp. 7-14ZIMMERMANN, Walter, “Entretien avec Morton Feldman”. En: Musiques en création. Editado por Philippe Albèra. Contrechamps, 1997* *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

Stāsta Rotko muzeja vadītājs Daugavpilī Māris Čačka Pirms gada pasaule svinēja Marka Rotko 120. dzimšanas dienu. Ir pagājis zināms laiks, taču mākslinieka jubilejas gada atceres programma joprojām virmo to cilvēku prātos, kuriem izdevās piedzīvot kādu no pasākumiem. Neraugoties uz 50 gadiem, kas aizritējuši pēc mākslinieka nāves, Rotko joprojām ir aktuāls, joprojām atrodas pasaules mākslas virsotnē caur saviem darbiem, vērienīgām retrospekcijām un citu radošu personību jaundarbiem teātrī un mūzikā, kas top, balstoties uz mākslinieka daiļradi, viņa atziņām un nepārvērtējamo sniegumu vizuālajā mākslā, it sevišķi krāsu laukumu glezniecībā. Mākslinieka jubilejas gadā Eiropā bija eksponēta līdz šim lielākā Rotko retrospekcija ar 115 darbiem no vairākām publiskām un privātām kolekcijām. Šī apjomīgā retrospekcija notika Parīzē, Luī Vitona fonda izstāžu telpās, kļūstot par pasaulē vērienīgāko mākslinieka radošā mantojuma parādi kopš 1999. gadā sarīkotās izstādes Parīzes modernās mākslas muzejā. Luī Vitona fonda ēkā eksponētajā Rotko jubilejas izstādē viņa daiļrade tika atrādīta hronoloģiskā secībā, ļaujot izsekot visai mākslinieka karjerai no viņa pirmajām figurālajām gleznām līdz abstrakcijai, kuru ar Rotko radošo ģēniju saistām visvairāk. Kāpēc Rotko arvien ir aktuāls? Mākslinieks vienmēr ir domājis soli uz priekšu par saviem mākslas darbiem, un pat nauda nav bijusi noteicošā viņa lēmumos. Piemēram, 1958. gadā Rotko tika uzaicināts veidot sienu gleznojumu sēriju restorānam Four Seasons (Četri gadalaiki) Filipa Džonsona un Ludviga Mīsa van der Rohes projektētajā Sīgrema ēkā Ņujorkā. Tomēr galu galā pabeigtos darbus Rotko nolēma nepiegādāt, atdeva atpakaļ saņemto avansu un paturēja visu sēriju sev. Vienpadsmit gadus vēlāk, 1969. gadā, deviņas no šīm gleznām, kuras no iepriekšējām atšķir to dziļi sarkanās nokrāsas, mākslinieks uzdāvināja Teita galerijai Londonā, kas izveidoja māksliniekam īpaši veltītu telpu. Līdz šim minētie darbi ne reizes netika atstājuši Londonu. Tomēr, tuvojoties pagājušā gada izstādei Parīzē, tika pieņemts lēmums darbus tomēr izvest un izņēmuma kārtā eksponēt ārpus pastāvīgās mājvietas. Uz jubilejas izstādes apmeklētājiem šis risinājums atstāja fantastisku iespaidu, neviļus pārceļot skatītāju citā realitātē un uzburot unikālu sajūtu, kuru līdz šim bija iespējams izbaudīt identiskā scenogrāfiskā izkārtojumā Teita galerijā. Tiesa gan, šobrīd minētie mākslas darbi pēc Parīzes izstādes jau ir pārcēlušies atpakaļ uz savu vēsturisko mājvietu – Tate Britain galeriju. Parīzes izstādē līdzkuratora darbu veica mākslinieka dēls Kristofers Rotko. Ar Kristoferu Rotko, tāpat kā ar mākslinieka meitu Keitu Rotko-Prīzelu, Rotko muzejam gadu gaitā ir izveidojusies cieša un nozīmīga sadarbība. Tās rezultātā Rotko 120. jubilejas gadā arī Rotko muzejs mainīja savā Rotko zālē aplūkojamos oriģinālus, jau ceturto reizi kopš muzeja atvēršanas piedāvājot skatītājiem līdz šim neredzētu Rotko darbu izlasi. Zīmīgi, ka Rotko aktualitāti paspilgtina gan viņu apvijošā noslēpumainība, gan citu mākslinieku vēlme līdzināties Rotko, viņu kopējot, gan arī sabiedrības bagātāko slāņu interese iegūt savā īpašumā Rotko darbus, izsolēs šķiroties no daudziem desmitiem miljonu eiro. 2014. gada maijā pasauli pāršalca ziņa par it kā Rotko oriģināliem, kurus kāds mākslas zinātnieks noteicis kā īstus. Sešus gadus pirms sensacionālās ziņas, 2008. gadā, kāds advokātu birojs pie Cīrihes ezera bija noslēdzis pirkuma līgumu par amerikāņu mākslinieka Marka Rotko gleznas iegādi. Mākslas darbs ar nosaukumu "Orange, Red, and Blue" tika pārdots par 7,2 miljoniem ASV dolāru (jeb 6,4 miljoniem Šveices franku) kazino magnātam Frenkam Fertitam. Tomēr tas izrādījās viltojums. Darījumu organizēja bijušais Bāzeles Beyeler fonda kurators Olivers Viks. Būdams plaši atzīts Rotko eksperts, Viks apstiprināja gleznas autentiskumu. Un saņēma 450 000 ASV dolāru komisijas maksu no pārdošanas darījuma. Tālāk sekoja tiesu darbi. Šis fakts nav palicis nepamanīts arī mākslas aprindās. Pirms pāris gadiem mūsu pašu Dailes teātrī poļu režisors Lukašs Tvarkovskis ar panākumiem iestudēja dramaturģes Ankas Herbutas lugu "Rohtko". Izrāde plūkusi laurus kā pašmāju, tā ārvalstu teātros. Būtisku darbu Rotko stāsta veidošanā ir veicis Māra Briežkalna kvinteta uzvedums "Rothko in Jazz". Nozīmīga vērtība ir arī koncertzālē "Lielais dzintars" tikko izskanējušajam koncertam, kurā amerikāņu komponista Mortona Feldmana skaņdarbs "Rotko kapela" skanēja Latvijas Radio kora izpildījumā. Rotko aktualitāti ir apliecinājis arī pērnā gada nogalē rīkotais Vašingtonas Nacionālas galerijas izstādes projekts "Rotko uz papīra". Šogad tas kā ceļojošs projekts pirmo reizi eksponēts Eiropā, Oslo Nacionālajā galerijā. Un vēl, un vēl un vēl joprojām Rotko ir un paliek Rotko. Par viņu turpina runāt, bet viņa darbi turpina aizkustināt un iedvesmot miljoniem cilvēku visā pasaulē. Rotko muzejā tikko noslēdzies nu jau 20. Starptautiskais glezniecības simpozijs "Mark Rothko". Šis gluži svaigais stāsts par Rotko ir dzimis Daugavpilī deviņu mākslinieku radošajā veikumā, kas aplūkojams Rotko muzejā līdz 2024. gada 17. novembrim. Vēl var paspēt!

In this episode of the Compendium, we explore the Knoedler Gallery Scandal, a tale of deception that rocked the art world. We dive into how Glafira Rosales, Pei-Shen Qian, and Ann Freedman played key roles in the infamous art forgery scandal that fooled top collectors with fake Rothko paintings and other forged masterpieces. Discover how the oldest gallery in New York collapsed amidst lawsuits, fraud, and the sale of multi-million-dollar forgeries. We break down the twists and turns that made this scandal one of the greatest in art history.We give you the Compendium, but if you want more, then check out these great resources:Provenance: How a Con Man and a Forger Rewrote the History of Modern Art by Laney SalisburyThe Art of the Con: The Most Notorious Fakes, Frauds, and Forgeries in the Art World by Anthony M. Amore"The Great Knoedler Gallery Forgery Scandal" - Vanity Fair article“Made You Look: A True Story of Fake Art' Review” - Vanity Fair article“Made You Look: A True Story About Fake Art” - DocumentryMessage Kyle and AdamConnect with Us:

Please visit breakerwhiskey.com for more information or to send a message to Whiskey's radio. Breaker Whiskey is an Atypical Artists production created by Lauren Shippen. If you'd like to support the show, please visit atypicalartists.co/support. If you'd like to send Whiskey a message, click here. ------ [TRANSCRIPT] Hello Whiskey. Ohh, that feels weird. Like… sending a message to your best friend but… also to a celebrity that has no idea you exist. I must sound a little crazy. And maybe I am. You'd probably go a little crazy down here, too.  Anyway, I don't think I've actually gone crazy, pretty sure I read somewhere that if you're still able to think about whether or not you are, then you aren't. I think therefore I am not crazy? I don't know. I don't think any of my transmissions are getting through, anyway. Or maybe they are and you're just… ignoring them. That… that hurts more, I think. Knowing that someone else is out there and they don't want to talk to you. Or maybe they're getting trapped somewhere between here and the surface. I don't think it's because they sound crazy or anything – I listened back to them to be sure. That was weird, hearing my own voice. The sound was… foreign. A stranger.  I know your voice better than my own, now. I could pick it out of thousands of radio signals. Couldn't even recognize my own played back to me. But then it's not like I've had much to say these past… seven years? I think it's been seven. I stopped counting the days a while ago. Just got… depressing. All those… plain white concrete walls covered in tally marks. (Cheering) But now my walls look beautiful. I've been transcribing everything you've said – I have tapes of every broadcast, and I've written down every word. Pasted them up on my walls. And I haven't used my paints in years – even… even before all of this, but… they needed a little colour.  I started by making my own notes in red, and then your locations in green, for the landscape, and Birdie's messages in blue. Like a bluebird. And all the people you talked about - Don's rust, Richie's yellow, Pete's green – not like the landscape, but like… money. Like the colour that I remember money being, at least. And Harry was… well. I had decided her colour back when I thought she had hurt you – and she had, of course, but I mean… back when I thought she did it for the sake of it.  So I gave her this… yellow-orange colour. And knowing what I know now, I feel… a little bad about that. I wish I'd given her a prettier one. But maybe she would like it. It's not terrible. Sort of a… sunny orange. Like the colour that I remember the sun being, at least. Anyway, every… every rainbow needs some sun, right? And their names… they make a rainbow. (Tearing up) You brought that rainbow back into my life, Whiskey. Seven years of white walls, and now there's colour. Seven years of silence, and you bring back sound. Seven years of isolation and desolation and hopelessness… and you bring back… me. You mentioned liking Rothko, back on… (checks) transmission 179. I mean, I'm no Rothko, obviously, but… I suppose he won't mind if I take a little inspiration from him So Whiskey… you can call me ‘Red'.  

Stiff Person Syndrome (SPS) is treatable if managed correctly from the outset. It is essential to distinguish SPS spectrum disorders from disease mimics to avoid both overdiagnoses and misdiagnoses. In this episode, Allison Weathers, MD, FAAN, speaks with Marinos C. Dalakas, MD, FAAN, author of the article “Stiff Person Syndrome and GAD Antibody–Spectrum Disorders,” in the Continuum® August 2024 Autoimmune Neurology issue. Dr. Weathers is a Continuum® Audio interviewer and associate chief medical information officer at the Cleveland Clinic in Cleveland, Ohio. Dr. Dalakas is a professor of neurology and director of the neuromuscular division at Thomas Jefferson University in Philadelphia, Pennsylvania; a professor of neurology and chief of the neuroimmunology unit and the National and Kapodistrian at the University of Athens in Athens, Greece. Additional Resources Read the article: Stiff Person Syndrome and GAD Antibody–Spectrum Disorders Subscribe to Continuum: shop.lww.com/Continuum Earn CME (available only to AAN members): continpub.com/AudioCME Continuum® Aloud (verbatim audio-book style recordings of articles available only to Continuum® subscribers): continpub.com/Aloud More about the American Academy of Neurology: aan.com Social Media @ContinuumAAN facebook.com/continuumcme Full episode transcript available here Dr Jones: This is Dr Lyell Jones, Editor-in-Chief of Continuum, the premier topic-based neurology clinical review and CME journal from the American Academy of Neurology.  Thank you for joining us on Continuum Audio, which features conversations with Continuum's guest editors and authors who are the leading experts in their fields. Subscribers to the Continuum journal can read the full article or listen to verbatim recordings of the article and have access to exclusive interviews not featured on the podcast. Please visit the link in the episode notes for more information on the article, subscribing to the journal, and how to get CME.   Dr Weathers: This is Dr Allison Weathers. Today, I'm interviewing Dr Marinos Dalakas about his article on stiff-person syndrome and GAD antibody-spectrum disorders, which is part of the August 2024 Continuum issue on autoimmune neurology. Dr Dalakas is a world- renowned expert in neuromuscular diseases and, really, the first name any neurologist thinks of when they hear the diagnosis of stiff-person syndrome. Dr Dalakas, this is such an honor to be able to speak to you today. Welcome to the podcast, and would you please introduce yourself to our audience?   Dr Dalakas: Yes, thank you very much. I'm so happy to participate in this interview. I'm the Chief of the Neuromuscular Division at Thomas Jefferson University in Philadelphia, and I am interested in autoimmune neuromuscular diseases for many years and also on disease mechanisms and immunotherapy.   Dr Weathers: Thank you again for talking with me today. So, given how very rare stiff-person syndrome and the GAD antibody-spectrum disorders are, prior to December 2022, I would have started our time together by asking you to explain this collection of diagnoses to our listeners and by also talking about how often they occur. It feels like that's a bit unnecessary ever since Celine Dion went public with her diagnosis - that moment really changed the public awareness of what was previously outside of neurology and almost unheard-of disease. So, instead, I'll start with, what is the key message of your article? If our listeners are going to walk away remembering one thing from our discussion, what would you like it to be?   Dr Dalakas: Well, I think the publicity has been very good for the disease, this disease spectrum. On the other hand, there have been some misleading messages, like, it's extremely rare, it's untreatable, it's disabling – which, they are partially correct, so, my message is, first, to make sure the neurologists make the correct diagnosis, because there are a lot of diseases similar to stiff-person, but they are not stiff-person. So, to make sure the diagnosis is correct and to make the patients aware of what to expect when they have this disease and what therapies we have and what we may have in the future. So, the number one message is the correct diagnosis and then to avoid overdiagnosis or misdiagnosis, because now we see both - we see overdiagnosis and misdiagnosis.   Dr Weathers: I think that's such a critically important point, and one you really delve into really beautifully in the article, so I encourage our listeners who do have access to it to really read through it. As I said, you do a great job really explaining that - and, actually, to go into that further, could you explain how you approach the diagnosis of a patient with possible stiff-person syndrome or one of the other GAD antibody-spectrum disorders? And I know you probably get asked that on a daily basis. As I was telling you before we actually formally started recording, I remember back when I was a resident and saw my first case of a suspected patient with stiff-person syndrome, my mentor advised me to look up your case series, your articles at the time, and really use that to guide my diagnosis. What do you feel is the most challenging aspect of diagnosing a patient with one of these conditions?   Dr Dalakas: Well, the first is the clinical symptomatology. We say the patients present with spasms and stiffness, but also, there are phobias. They are very hyperexcitable to sudden stimulations, to sudden noises, to unexpected touches, and all of them can cause spasms, and then when you examine the patients, they have stiffness. Now, the stiffness (if there is a true stiffness) results in gait abnormalities (the patients are falling because they're so stiff), and also, the hyperexcitability causes a lot of anxiety and a lot of phobias (they're afraid to cross the street, they're afraid to make a destination promptly) – so, all these things are sort of suggestive of stiff-person. So, these are the symptoms that you hear, you listen, and you ask the patients, and then, when you examine the patient, you look for certain signs that there are, specifically, like stiffness of what we call agonist muscles and antagonist muscles, which means there is stiffness of the abdominal muscles and at the same time, stiffness of the back muscles - so, this concurrent stiffness of these opposing muscles is very specific, very characteristic of the stiff person, so if you see that, and then you listen to the history, you're very close to the diagnosis, and then you do the antibodies. And the antibodies (the specific antibodies, the GAD antibody), but it is specific as we say in the article, and we tried to make this very clear to the neurologists, that it's the high titers that matter, because low titers are not necessarily specific. So high titers of antibodies in the serum, above 10,000 by ELISA (or whatever method they use; but it has to be this many times above normal), and then if you have high serum titers and all the symptoms they mentioned, it is stiff-person. On the other hand, if the titers are low, then you may want to do a spinal tap to see if there is synthesis of antibodies in the spinal fluid. That helps you. Now if the GAD antibodies are negative, then you start wondering, is this seronegative SPS? And how do you confirm the seronegative SPS? You do electrophysiology, and the electrophysiology is, again, to see if there is activity (muscle activity) concurrently from the agonist and antagonist muscles - in other words, from the, let's say the tibialis anterior and the gastrocnemius (so, it's two opposing muscles, eg, biceps and triceps) - and if you see activity in both of these opposing muscle groups, and you see also hyperexcitability (you touch the patient, you stimulate just a little, and you see activity in other muscle groups). So, the electrophysiology is very important if the patient's antibody negative, but they have the other symptoms that I mentioned before.   Dr Weathers: I can imagine how challenging those must be (those seronegative cases) to try to really make sure you're identifying and carefully determining that you have the right disease as you alluded to at the beginning. I know how hard it must be for patients to want to at least have some answers to have a diagnosis.   Dr Dalakas: And this is the main thing today, because the publicity, as I mentioned, the beginning, increased the receipt of some information, so they overdiagnose it, like, “Oh, you have this and this and this, so it may be stiff-person”. And so, in fact, recently, we had a series of patients together with the Mayo Clinic Group of out of 173 patients referred to the Mayo Clinic for stiff-person – that's referred to them - only 28% had stiff-person. It's a low percentage, but it is an indication that the neurologists now refer patients to us for stiff-person, but we need to be very careful to correctly make a diagnosis.   Dr Weathers: On one hand, it's good that people are aware and considering the diagnosis, but it does highlight that risk of overdiagnosing.   Dr Dalakas: Yeah. It's the opposite of when I started this stiff-person syndrome (was close to 30 years ago at NIH) - at that time was underdiagnosed. This was the most rare disease, and I collected patients because at the NIH, I was also the Chief of the neuromuscular division there, and I was doing a study, so it was easy to collect patients (I collected more than 100 patients), but at that time, it was misdiagnosed. So, we had patients that I was seeing and they're really disabled, because they have been having the disease for many years, but they had been diagnosed either for Parkinson disease, for anxiety disorder, for psychiatric diseases, or for MS, or for myelopathies, or for myelitis - so many different things, and of course, they didn't have the correct diagnosis and they were disabled.   Dr Weathers: The side effect of having one of the most famous celebrities in the world having this rare disease - you know, the downside of the increased awareness, as we've said. So, moving on from the diagnosis to treatment - again, you do a, obviously, you know, an incredible job in the article, really going through the treatment options and your algorithms - what would you say is the most common misconception you've encountered in treating patients with this disease?   Dr Dalakas: The most common is now (with the publicity) is that it is a disabling disease. Well, it is disabling, but if you treat the disease correctly and early on, I'm not saying we're curing the disease - many diseases (autoimmune diseases), we help a lot, so there are some we make the patient feel normal, but the disease is there - so, if we start the correct therapy early, a good number of patients respond very well. But by the time the patients come to us, they are so stiff, they walk like a statue, or they come in a wheelchair - of course, it's difficult to reverse this, although we have been very happy to see patients with immunotherapies to get out of the wheelchair, to walk, to enjoy normal activities. So, we have made enough progress with the therapists to help a good number of patients. Now, what is the first therapy we do? Well, is what we call the antispasmodics - these are drugs that relax the stiffness that patients have, sort of a symptomatic therapy. It's not going to address the disease itself, but we address the symptoms. And of course, the symptomatic therapy in SPS is not just to relax the patients - it is related to the so-called GABAergic inhibition. So, the drugs that we use (like the benzodiazepines, or the baclofen, et cetera), these are the drugs that work on the GABAergic pathways. So, it is symptomatic therapy, but it works also on the mechanism, so it's not just a relaxing basis - but since the patients have a lot of phobias, the benzodiazepines also help the phobias. The anxiety and the phobias make the patients worse - they make them more stiff. And in the beginning, they go to psychiatrists because they are so phobic - they're phobic to walk. They hear something, they get so stiff. And I have patients coming at the National Airport in Washington to come to there needing aids in getting out of the plane - some of them get so stiff, they have to get an ambulance to come to the hospital because they're stiff everywhere. So, these phobias and anxiety have triggered a lot of my interest to the point of asking the investigators at the National Institute of Mental Health to see if there is any such thing like autoimmune phobias, because these patients have an autoimmune disease, so, well, maybe we can treat the phobias of immunology - well, we did not find anything, but I just sort of brought the idea maybe we have an autoimmune phobia. But on the other hand, when the patients get better, the phobias are reduced and they're more comfortable to walk. So, it's a very interesting complexity of the symptoms altogether.   Dr Weathers: That is – and, actually, that leads into my next question somewhat, that, as I mentioned in your introduction, you are the world expert in this rare disease. How did that happen? You talked about it a little bit just now. But how did you develop this particular interest and expertise? What drew you to this particular disease?   Dr Dalakas: Yes. It's interesting. I was interested in autoimmune neuromuscular diseases (many of them) and neuropathies and myopathies, and one day, I had a good friend of mine who was the clinical director of NINDS at that time, Dr Hallett. So, he saw patients in the movement disorder clinic and they had stiff-person (I don't know why they went to the movement disorder, but they went there), and Dr Hallett said, “Well, this is an autoimmune disease. You should work on this.” And then, I started seeing one or two patients, and I was very impressed. Really, the symptomatology is so interesting. The patients are suffering, and they sort of give the impression that they're neurotic. So, it's just a combination of when you listen to the symptoms, I was very impressed with the depth of the discomfort that they have and without seeing anything - but, when you examine the patient, you see the stiffness and nothing else. They're not weak, like, we see patients with MS, with myopathies, with neuropathies - they have weakness. They may use a cane, they may use two canes, they may use a walker, because they're stiff. So, it's a different disability than you see in patients who are weak. So, this really made me so interested to understand the mechanism - what's going on here - and that's the reason I started and I put the protocol. And then, we did a lot of immunological studies to understand the mechanism, electrophysiological studies to look at these agonist and antagonist muscles - and of course, we named it also. You know, in the beginning, the syndrome was described as stiff man (stiff-man syndrome), and they're all women. They are most of them, women. In fact, there is an article in a major journal, three women with stiff-man syndrome - and this was many years ago. So, stiff-person will be a more proper term. And then we're seeing a lot of patients or more women, but also we have enough men.   Dr Weathers: So, we've talked a lot about the change with this disease in public awareness. How has that changed your day-to-day life - has it (with the change in public awareness)? Are you bombarded with media requests?   Dr Dalakas: Well, it has stimulated me to write more about the disease and more articles, but also to highlight certain things that were not known before. For example, I had recently a paper on late-onset stiff-person. So, people, we see now patients who develop stiff-person at the age of seventy - they are above sixty or so, overall - and they have more severe disease. These patients also have not good tolerance to the medications we use - so, it's a more challenging group, so it is important to make the diagnosis even in patients with late-onset. These people do less well, because, first of all, they're all misdiagnosed, because if you're a little stiff at the age of sixty-five or seventy - well, you have a bad back, so you all have degenerative disc disease, so you don't think of stiff- person in that age. So, the stimulus was to identify some other issues with the stiff-person. The other is to think of new trials - and I have been working on two new trials. They're not out yet. I'm working to see how best to apply the new therapies. And also, it came up the idea of what are the best ways to assess, objectively, to assess the response, because this is an issue from the beginning. When I did controlled trials at the NIH, and we had established the so-called stiffness index to see how stiff they are measurably, but it is still subjective. It's not really objective, it's not (weakness to measure). So, we have gait analysis, we have the time to walk. So, I think establishing objective criterion to assess response to therapy, it's an important one - and so, I have been working on this how to make it more objective or as subjective as we can.   Dr Weathers: I think that's fantastic. And you actually, I think, have already answered my question - which is, what is the next breakthrough coming in the diagnosis and management of patients with stiff-person syndrome and the GAD antibody-spectrum disorders - and I think it's going to be the outcomes of these trials. Is there anything else that you're really excited about coming along in this field?   Dr Dalakas: Well, I think that the hope is, then, better immunotherapy, because the patients respond to IVIG based on the controlled study. We did one with anti-B-cell therapy - it was not statistically positive, but we had some placebo effects, because that second trial included some patients who did not have severe disease, so it was difficult to assess mild response. So, I'm interested in other similar immunotherapies, and we were approaching companies to see if they can sponsor such a trial. I think the publicity helps a lot, because if I was going to approach a company before the publicity, nobody would be interested in - there's no, you know - it's money-driven, so they will not do it. But at the NIH, I did it, because NIH had the grants there to sponsor the trials. So, I think the publicity will help us. And I know talking to companies, there are one or two companies that they have expressed a lot of interest, and, hopefully, we can do some new trials and go work on it, but I don't have any clear drug at the moment. I cannot discuss a real drug.   Dr Weathers: Of course, of course, more to come, but still very exciting. And so, still to learn more about you - again, you're so well known, obviously, for what you've done for the field of neurology. What do you like to do outside of seeing neuromuscular patients in your research career? What do you do for fun for your hobbies?   Dr Dalakas: Well, I have two hobbies. One is I'm an art collector of abstract expressionism. So, I go to a lot of auction houses, and I bid often for certain artists that I'm very interested, some French artists, some at the New York School of Modern Art. The eras of the forties and fifties of the abstract expressionism - so that's my collection and my interest in not missing auctions. And the other was I have a interest in wine collection – but, so, most of the time, I read art and I collect art.   Dr Weathers: That is a great answer. I appreciate art. I am not (fortunately) at the auction and collecting stage yet, but that I will have to learn from you. That's wonderful.   Dr Dalakas: Yeah. I'm originally from Greece, and I have also a professorship at the University of Athens, and also I go there. I also have some European artists in my collection.   Dr Weathers: That's wonderful. We have one more modern piece that we've been lucky enough to have.   Dr Dalakas: Yeah, I started with the impression impressionistic art, but I evolved into abstract.   Dr Weathers: Who is your favorite artist?   Dr Dalakas: Well, it's, you know, Rothko and Newman. So, these are very expensive artists, of course, so I can, but in that school, so these artists are not alive now, but people who are working with Rothko and Newman in the other group - so, there are four or five of them that I collect.   Dr Weathers: I feel like we need a whole separate interview just to talk about that.   Dr Dalakas: But, they are very stimulating, because the colors talk to you, and it's not like an impressionistic piece that, sort of, their flowers are nice, et cetera - so the colors talk to you differently.   Dr Weathers: They do. I love Rothko. Well, thank you, Dr Dalakas, for joining me on Continuum Audio. This has been a wonderful conversation. Again, today, I've been interviewing Dr Marinos Dalakas, whose article on stiff-person syndrome and GAD antibody-spectrum disorders appears in the most recent issue of Continuum on autoimmune neurology. Be sure to check out Continuum Audio episodes from this and other issues, and thank you to our listeners for joining us today.   Dr Monteith: This is Dr Teshamae Monteith, Associate Editor of Continuum Audio. If you've enjoyed this episode, you'll love the journal, which is full of in-depth and clinically relevant information important for neurology practitioners. Use this link in the episode notes to learn more and subscribe. AAN members, you can get CME for listening to this interview by completing the evaluation at Continpub.com/AudioCME. Thank you for listening to Continuum Audio.

Philosopher, Simone Weil said that attentiveness is the heart of prayer. In this episode, we discuss postures of attentiveness as gateways to wonder.Guests: Dr. Mary McCampbell is an author, educator, and speaker whose publications span the worlds of literature, film, and popular music. She is the author of Imagining Our Neighbors as Ourselves: How Art Shapes Empathy.Dr. Joe Kickasola is a Professor of Film and Digital Media at Baylor University. He is the author of The Films of Krzysztof Kieślowski: The Liminal Image, and has published in numerous academic venues and anthologies, including Film Quarterly, The Quarterly Review of Film and Video, and The Routledge Companion to Philosophy and Film. _____Topics: Attentiveness, cynicism, receptivity, humility, consumerism, experiencing wonder during times of upheaval, Art Forms: filmmaking, photography, literature. Name Drops: Douglas Copeland, G.K. Chesterton, Jim Jarmusch, Terrence Malick, T.S.Eliot, Wallace Stevens, Andrei Tarkovsky, Andrey Rublev, Rothko, Stan Brakhage, Virginia Wolfe, David Foster Wallace, Movie References: Patterson, Tree of Life, Zabriskie Point Support The Podcast! We need your help to continue our work of advocating for the arts.Join our creative collectiveGive a one-time donation

On this episode, Marc talks with David Stubbs. He's the author of “Fear of Music: Why People Get Rothko But Don't Get Stockhausen,” originally published in 2009 and recently reissued. It's an examination of how avant-garde visual art gets mainstream acceptance but avant-garde music is comparatively obscure and unpopular. It's also a pocket history of modern art and music that brings up all kinds of interesting issues and associations among many different artistsAs David writes, “Part of this book is a history, albeit a potted and highly subjective one, of twentieth-century music set in its social and aesthetic contexts and in parallel with developments in the arts…This text isn't intended as a sealed and finished piece of academic work - it's as much a matter of questions, suspicions, and impressions as answers, historical facts, and conclusions.” We hope you enjoy Marc's conversation with David Stubbs!

Matt sat in his car as tears formed in his eyes. It was probably grief, but where did it come from? Was it a thought, a memory, or something harder to explain? References: The Master and His Emissary - https://a.co/d/bqzulUQ People of the Lie - https://a.co/d/2faPxsZ Metaphors We Live By - https://a.co/d/i7rZKd0 C.S. Lewis - https://www.goodreads.com/quotes/3058-to-love-at-all-is-to-be-vulnerable-love-anything All Matt's Links - https://solo.to/mattmccloskey All Michael's Links - https://solo.to/michaelvaclav

durée : 00:31:28 - Talmudiques - par : Marc-Alain Ouaknin - .

Please visit breakerwhiskey.com for more information or to send a message to Whiskey's radio. Breaker Whiskey is an Atypical Artists production created by Lauren Shippen. If you'd like to support the show, please visit patreon.com/breakerwhiskey. As a patron, you will also receive each week's episodes as one longer episode every Monday. ------ [TRANSCRIPT] [click, static] Harry's letter…what about Harry's letter? Are you asking if we've talked about it? Or…what?  As it so happens, we haven't talked about it. It's not really relevant anymore, is it? She doesn't need to know that I was worried sick that she'd been killed and I don't need to bring up the fact that she secretly likes Hank Williams. She hasn't mentioned my Rothko lie so…we're even.  It's not like the letter was really all that revealing anyway. It was mostly…logistical. And yeah, it was clever of her to sew it into the jacket, but honestly, I'm kind of pissed that she wore the jacket to butcher chickens. And butcher them badly. God forbid she gets any of her clothes dirty.  I still have it. Not that it's very wearable anymore but. I don't know. I had to abandon the house I've lived in for six years and the car that took me back and forth across the country, so I don't have a lot of things worth sentimental value.  If we were going to talk about any kind of correspondence…well, you think she'd have some specific things to say about what I've said on here over the last year. Both the good and the bad. And the…vulnerable.  Anyway, I don't understand why you're asking about Harry's letter. Is there some kind of…information she shared that you think would be useful? I don't think it's very smart of us to revisit any of the old potential meetup spots and you're sending us West anyway so…again, a little more clarity please.  [click, static] [beeps] .-.. . - - . .-. / -.. .- - . ..--.. Letter date?

While he may technically practice as a photographer, artist, and architect, Hiroshi Sugimoto could also be considered, from a wider-lens perspective, a chronicler of time. With a body of work now spanning nearly five decades, Sugimoto began making pictures in earnest in 1976 with his ongoing “Diorama” series. In 1980, he started what may be his most widely recognized series, “Seascapes,” composed of Rothko-esque abstractions of the ocean that he has taken at roughly 250 locations around the world. In more recent years, Sugimoto has also built a flourishing architectural practice, designing everything from a café in Tokyo to the currently-under-construction Hirshhorn Sculpture Garden in Washington, D.C. As with his subtly profound work, Sugimoto bears tremendous wisdom and is regarded by many as one of the most deeply perceptive minds and practitioners at the intersection of time and art-making.On the episode, he discusses his pictures as fossilizations of time; seascapes as the least spoiled places on Earth; and why, for him, the “target of completion” for a building is 5,000 years from now.Special thanks to our Season 9 presenting sponsor, L'École, School of Jewelry Arts.Show notes:Hiroshi Sugimoto[5:10] Pre-Photography Time-Recording Devices[39:05] “Theaters”[15:06] “Seascapes”[32:31] “Diorama”[17:16] Caspar David Friedrich[25:14] Odawara[28:52] “Aujourd'hui le monde est mort [Lost Human Genetic Archive]”[44:19] “Abandoned Theaters”[44:19] “Opera Houses”[44:19] “Drive-In Theaters”[49:52] “Architecture”[51:12] Le Corbusier[51:12] Mies van der Rohe[55:30] New Material Research Laboratory[55:30] Tomoyuki Sakakida[59:23] Enoura Observatory[59:23] Hirshhorn Sculpture Garden[1:00:48] Katsura Imperial Villa[1:01:05] Bruno Taut[1:02:14] Donald Judd[1:02:14] “Hiroshi Sugimoto: Five Elements in Optical Glass”[1:06:47] Mingei[1:06:47] Isamu Noguchi[1:06:47] Dan Flavin[1:09:15] Sugimoto Bunraku Sonezaki Shinju: The Love Suicides at Sonezaki[1:09:15] At the Hawk's Well[1:09:15] W.B. Yeats

What you'll learn in this episode: Jennifer's unique process of layering acrylic and art images, and how she discovered her signature technique. Why the most important thing a young artist can do is find their voice. Why Jennifer rarely uses images her customers request in her jewelry. How Jennifer's work ties into the history of pop and op art. Why Jennifer sees other art jewelers as inspiration, not competition. About Jennifer Merchant: Jennifer Merchant is a studio t based in Minneapolis, MN. She graduated with a BFA in Metals and Jewelry from the Savannah College of Art and Design. She is a full-time artist showcasing her work in galleries, museums and exhibitions. Her work has been published in several national magazines such as American Craft, Ornament and Delta Sky Magazine. Merchant is best known for her innovative layered acrylic process in which images and prints are layered between solid acrylic. Her work is graphic with clean lines and modern aesthetic. Pieces confound viewers, appearing transparent from one angle of view while showcasing bold patterns and colors from another. Photos available on TheJewelryJourney.com Additional resources: Website Facebook Instagram Twitter Transcript: Like the op and pop art that inspires it, Jennifer Merchant's jewelry challenges your eye. Clear from some angles and bold and colorful from others, the jewelry is created by layering acrylic with images from art books. Jennifer joined the Jewelry Journey Podcast to talk about how she developed her technique; how she chooses the images in her jewelry; and why art jewelers need to work together to push the discipline forward. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com. Today, my guest is Jennifer Merchant. Jennifer was also a guest several years ago. She thought she would be a metalsmith but segued to acrylic jewelry, which is what she has become known for: creative and innovative acrylic jewelry such as necklaces, bracelets, earrings and brooches. They have eye-catching graphics embedded in them. I was also surprised to learn that hand carving is sometimes involved. Welcome back. When you left college, did you know you were going to have your own business? Jennifer: Not right away. I think it took me about five years to really get the confidence together to start my own business. I definitely spent that first five years after graduation very lost and not really sure what in the heck I was going to do with my jewelry degree, especially because I went to school in Savannah, Georgia. That's where I made all my art connections and jewelry connections. Moving back to Minneapolis, I was off on my own. I didn't have a community at that point. It definitely was a number of years of wondering, “How am I going to end up using this degree that cost me so much money?” I had been waiting tables and was increasingly unhappy because I knew I had something different to offer the world. I ended up getting fired from a job. I had been speaking with a friend at work who had another friend that was putting on an art show. She had told me about it because she knew I was an artist. I remember getting fired from the job and calling her up right away, like, “I think I want to do that art show because I need to try to make some money.” It went okay, and it inspired me to say, “Jewelry is something you can do and make a living with. Let's give this a shot.” I had to move back home with my mom for a couple of years and cut my expenses way down, because I wasn't going to take out another loan to start a business. I built it very small, very scrappy. I had a second bedroom in my mom's house where I had my workshop, and I started from there doing little local events. That's where it all started. Sharon: Wow. What's the biggest piece of advice you can give to somebody who's just starting out? Jennifer: I would say when you're just starting out, really try to find your voice. Sharon: What do you do? What does one do when they find their voice? For instance, some people have found the voice, but they're homemakers or they work in an office. What do you do when you find your voice? Jennifer: I think once you know what you want to say, the next step is finding out who wants to hear it. And that is a very hard step, finding your niche and finding your people that resonate with your voice. I think the only way to really do that is to get yourself out there, get your work out there. I think with the Internet now and how accessible online stuff is, it might be a little easier to get yourself out there through social media, through the Internet, than maybe it was years ago when you had to have a physical presence out in the world. People can start by getting their work out there online and hopefully seeing who is interested, who connects with it, and then finding places in the real, outside world to continue that process and eventually find your market. Sharon: Do you have people who come to you with the image they want to include already? Jennifer: Not very often. I've had people ask me about that, but I think ultimately, I have to be drawn to the image specifically in order to be able to incorporate it in a piece. I did have a client that had a specific art piece she wanted in a bracelet for her daughter. That I was able to do because I resonated with the work and it was something that worked well within the form of jewelry. I've also had requests where someone wants family mementos or something encased in the acrylic. That's a very cool, sentimental thing, but visually, it doesn't really work with my aesthetic as well. I'm not going to do something just because I get asked for it. I also have to be drawn to it enough in order to go through with it, because it is a labor-intensive process and it is an art of passion. If I'm not super excited about the thing I'm making, it's probably not going to turn out that great either. I have tried to do things early on in my career specifically for a client that just didn't quite work out. We weren't on the same page. I think as you get more into it, you figure out the types of things you can push the boundaries on and the types of things that you can't. When someone's request is something that you can do and make them happy with, and when it's just not something that'll work out, you know. Sharon: That's interesting. So if somebody brought you their wedding photo, it depends on whether you like the wedding dress or something like that. Jennifer: Or if it has enough visual interest. I think the thing that makes my work successful is the images that I do use are interesting within a small scale of jewelry, and not all images can do that. I work with a lot of op art and pop art, and there's a lot of visual interest going on in a small space. With a photograph or something more sentimental, that's not always the case. It just wouldn't look as cool as they think it's going to. Sharon: I've seen comic books used in your work. How did you come to that? Jennifer: All of the things in my work that look like comic books are actually Roy Lichtenstein pieces. His pop art was inspired by comics, and he reimagined them into huge canvases and paintings. My jewelry does something similar, where I take Roy Lichtenstein's work and images and collect tons of books and rip out those pages and put that in my jewelry. It feels kind of meta. I've actually met some of his descendants and collectors and friends over the years, and a lot of them assure me that he would really appreciate what I'm doing with his work. It's a very similar idea as to how he repurposed art and things that he saw into something new and different. Sharon: That's interesting. I didn't know that. Did you study art history in college as you were studying jewelry and metal and all that? Jennifer: Yeah, art history is definitely part of your Bachelor of Fine Arts degree. It wasn't always my favorite class because the art history classes were about art that was ancient and a lot of religious art and that sort of thing. I think I had one class where it was modern art in the 20th century, which, of course, is the most interesting to me. But that art history background definitely sparked some interest in different art movements and art periods. Art Deco is a very favorite design motif of mine. As I was talking about earlier, I'm very inspired by pop art and op art. I think art history plays a huge role. I never thought at the time when I was in school that I would end up studying more about art history and specific artists and doing that kind of research, but it is really important to my work now. Sharon: Can you explain what the difference between pop art and op art is? Jennifer: Sure. With pop art, everyone knows Roy Lichtenstein and Warhol. They took popular things or everyday objects like a soup can and made them stylized and put them in the context of fine art as this kind of ridiculous thing. Op art deals with optical properties. A lot of op art is very linear. It kind of tricks your eye. It looks like it's moving, but it's a static image. Funny enough, when I started working with op art, I was actually collecting those optical illusions books for kids. There'd be very few usable images in there, but there'd be a few black and white, scintillating-looking, squiggly-lined spirals or something like that. That sparked my interest in optical art and looking it up outside of the context of those silly books for kids. I found out this is a whole art movement, and there are artists like Richard Anuszkiewicz and Victor Vasarely and Bridget Riley that pioneered this in the 60s, when it really became a thing. I just find it so fascinating. But it's kind of funny that my two art movements that I use a lot in my work are pop and op. Like, who knew? Sharon: Do you ever use any other kind besides those? You say you like Art Deco. I don't know what you'd use for an image, but I guess you could use an Art Deco image. Jennifer: I think with Art Deco I am more inspired by the overall forms of pieces or the shapes. I like the ideas. I like the repetitive nature of Art Deco. They went from Art Nouveau, where it was all crazy and ornate, and then Art Deco kind of simplified things. It was a little more streamlined. I really like that. I think I carry those design principles through my work, not as much the direct visuals. Although if I could find great books with Art Deco prints of patterns or wallpapers or whatever, I'd love to use those. I just haven't quite found the right image sources yet for that. Finding pop art and op art books has been pretty easy for me, and the images are just so striking, so that's why I've gravitated towards those. I'm open to other types of art and other artists. I just haven't moved on yet from the things I am working on. I can only focus on so many things at a time, but I could see myself doing some collections using Rothko paintings or Gerhard Richter with those interesting images, Jackson Pollock with the splashes. Those kinds of things I could see being very interesting within the context of layered acrylic. It just depends on where my book collection takes me. Sharon: So, if we're looking at used books at a used bookstore, we should keep our eyes open for interesting things that could be used as interesting prints. Jennifer: Yeah. I actually buy so many of my books online because physical shops only have so many things, and what I'm looking for is so specific. The art sections are usually kind of small, so I've ended up finding a lot of online retailers. I've gotten pretty good at being able to figure out whether a book is going to be visually interesting based on the online listing. I will even look at the size of the book, if they list dimensions, to give me ideas. If it seems like a good coffee table art book with lots of pictures, that's what I'm trying to find. Something with lots of great images. Sharon: It sounds like people would be very interested in your leftovers. Jennifer: I have a whole shelf of these books that are like little skeletons. You can see the sections where I've really gone to town ripping pages out, and then other sections that are left. There's plenty of things I leave in the book that I think are amazing, but they just aren't going to work for jewelry. Yeah, I've got a lot of skeleton books on my shelf. I keep them. I can't get rid of them. Sharon: I like that, skeleton books. Once again, it's a Herculean task, the whole thing of starting your own business. Would you say that there is somebody that inspired you and keeps inspiring you? Jennifer: I wouldn't say it's a specific person. I think after that initial, tiny show that I did trying to sell my work, I think the most inspiring thing was seeing the other artists and seeing people that were making a living doing their work. I think that's what's really inspiring to me, finally meeting other people that were already doing what I wanted to do and realizing, “Wow, this is a viable career path.” There's not a lot of artists in my family, so no one really had any advice to give me back in the day. They weren't necessarily unsupportive, but they didn't really know how to encourage my art, either. It's been very helpful getting out there and seeing people that are doing things and just being inspired. Different artists and different people inspire me for very different reasons. Some artists, their work is the thing that inspires you, and other artists have such a great work ethic or a really creative way of marketing. I try to keep my eyes and ears open all the time, and I let inspirations muddle around in my brain. And then one day some other thing will trigger an idea. You just never know. I try to always be open. Sharon: I'm surprised; I usually see you at shows where there are a lot of other art jewelers, which is what I categorize you as. I see art jewelers, makers a lot. I'm thinking of New York City Jewelry Week, which is where I saw you once or twice. The last time I saw you, I wasn't able to say hello. I would think you'd be more—well, maybe it's the way I am, but I'd be more envious or competitive seeing all the other art jewelers, as opposed to finding inspiration. Jennifer: I don't know. I don't think of it as a competition in any way. I think it helps me a lot because my work is so different from everyone else's, so there isn't a super direct comparison. I think maybe for some other types of jewelers it might be a little different because there is more of a direct comparison with their aesthetic or their materials. In that respect, there isn't really competition. I used to be a lot more of a competitive person, but as I've gotten older and been in the business long enough and met all different artists, you just see that it's so much more about passion and drive. You can be successful doing just about anything if you're willing to put the work in. I've met so many different people with so many different types of jewelry and art, and they're successful in radically different ways. Even if some other artist is successful in a way that will never work for me, I still love learning about what they're doing. Even if it doesn't directly apply to me, there's something in that lesson, in listening to them and their story that might click something for me in an indirect manner. So, I really do try to be open and inspired by everyone, and I definitely don't see it as competition. I think it's great seeing more and more art jewelers getting work out there, making things that are big and bold and wild and weird materials. The more of it that's out there, the better for all of us, because then the consumer or the client is seeing more of it out in the world. Then when they come across my work, it might not seem as weird or as off putting. They might get it a little bit faster and a little bit easier because of all the other people that came before me and all the people that are alongside me. I think working together as a community, being inspired by each other, helping each other be successful, that can only help all of us. Sharon: Do you think when people first see your art, they don't think of it as jewelry because it doesn't have diamonds or emeralds? Do they think of it as a throw away, in a way? Jennifer: Oh, yeah. I've had the gamut of reactions to my work, and it really depends on the setting it's in as well as how people respond to it. There are definitely people out there that, to them, jewelry is diamonds and gold, and that's fine. I might not be able to change their mind. Other people see the work and, right away, think it looks cool. Maybe they didn't even know it was a bracelet, but they were drawn to it. Then when they find out it's an actual wearable piece, they're even more blown away. You never know what kind of reaction you're going to get from people. I've definitely had to do a lot of educating on my process and the materials because when someone sees a plastic necklace that costs $2,000, they kind of scratch their heads, like, “What is going on here?” And then I tell them all about the process and all the different steps and all the different things that went into it. Sometimes you win people over, and sometimes they're like, “Why bother?” I just try to pay more attention to the people that are won over and interested. If they're not, that's fine. I know my work is not for everyone, and I'm okay with that. Sharon: That's an interesting philosophy. You've given me a different perspective as well on your jewelry. Thank you for being here today, Jennifer. Jennifer: Yes. Thank you so much for having me. It's been a pleasure. We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

Please visit breakerwhiskey.com for more information or to send a message to Whiskey's radio. Breaker Whiskey is an Atypical Artists production created by Lauren Shippen. If you'd like to support the show, please visit patreon.com/breakerwhiskey. As a patron, you will also receive each week's episodes as one longer episode every Monday. ------ [TRANSCRIPT] [click, static] Okay, I think I'm—I'm ready to read this note now. Beyond just the date and the first few lines.  “April 6th, 1975 Abigail— I'm okay. If you do find this, I have a feeling you're going to have questions about the blood. You always have questions about everything. It's one of your best qualities and also one of your most infuriating. Though I suppose I should be grateful you've been dogged in your pursuit of the truth. Maybe this can be repaired.”  I don't know if she means the jacket or… “It's chicken blood. I am not as capable as you when it comes to butchery.” That's…that's as far as I got after finding the note. The relief hit me like a freight train but… I don't want to be capable of butchery. I know that's not what you meant but I… Anyway. Moving forward. “I'm sorry I didn't reach our meeting in time, but after that man came to the house, I went to ground. I heard a car in the distance a few times over the last few days, but I couldn't be sure it was you.  I got the car you left me. And the radio. I've been transmitting out regularly but I'm going to guess that you haven't heard me. That's what I'm choosing to believe anyway, given I've sent you more than a few messages over the months, with no reply. And, yet, somehow, I've heard many of your transmissions—not all, and they are very often full of static and breaks in the signal, but you have reached our garage even from Los Angeles.” She crossed out something here. I think it says…(crinkle of paper) "I thought about joining you” but I can't read the rest. Goddammit, Harry… “Do you remember that one diner that we went to every month for all of '69? I know that you've been to a lot of roadside diners in the last ten months, so maybe they've run together in the way that they're almost purpose built to do. The one down the street, the one we could walk to—we haven't been back in ages, because I got spooked the one time the neon sign flickered back to life, but we'd carry thermoses of tea and pretend that we were going out for a morning cup, because the monotony of our existence was threatening to destroy us both.  Whether you remember it or not, that diner has a working radio. I believe it too spooked me when there was a power surge, even if it was just static. In any case, I'm no longer at that diner, but I was briefly and heard several of your transmissions. There was no way to speak back to you, as it wasn't that kind of radio, but it was picking up your signal just the same.  I'm not in the state anymore. I threw the jacket from the car as I drove out of town, a final ditch attempt to contact you. I had a feeling you would take it with you if you found it, despite the state of it, and just had to hope that you would find these pages sewn inside the lining.  I'll keep transmitting, so we can find a time and place to meet, but there are conversations I don't want to have over the airwaves, or in a letter. So I'm going to give you instructions now, that I'll keep repeating on the radio, in the hopes that you've found this even if you can't hear me.  Do you remember the show I did up north at that gallery near the water? You'd been in Provincetown with Francis for a few days and he drove the both of you up for the opening. It wasn't a particularly short journey, but manageable. You both stayed the weekend, at that little B&B that shares its name with one of the planets.  I don't think you thought very much of my show. It was one of my more abstract periods. I know you never cared much for that style, but I do have to wonder if you'd have been more generous to it if you'd known what inspired it. Then again—” And she crossed that out too… “It was still nice having you and Francis there. I always wondered why you'd agreed to come. You seemed so unhappy to be there. It makes me wonder if my demeanor made you think that I was unhappy to have you there. That was never my intent.  I'm headed there now. I think you left me with enough fuel to make the journey, and I want to get somewhere familiar that isn't terribly close to where we've been. Meet me there.  I don't want to write the name down, for fear that someone else will find this jacket and this note, but I'm going to assume you remember.  I remembered. The place where we had the picnic. I remembered. And I always knew that you were winding me up about Rothko, but I liked arguing with you. It's why I never told you that I like Hank Williams. At least, I learned to.  Harriet”. [click, static]

Gabriel de la Mora's works are made from found, discarded, and obsolete objects. In an obsessive process of collecting and fragmenting materials the Mexican artist creates seemingly minimal surfaces that belie great technical complexity, conceptual rigor, and embedded information.In this episode, Gabriel de la Mora talks about the legendary abstract painter Mark Rothko. In The Love of Art podcast, artists are invited to speak about other artists that fascinate them (musicians, writers, filmmakers, actors, designers…) in a very personal way. The Love of Art (L'Amour de l'Art) is a podcast by Perrotin The episode with Gabriel de la Mora was recorded on March 13, 2024 at Perrotin Paris Interview conducted by: Vanessa Clairet Stern Production and sound design: Seb Lascoux Language: English Graphic design: Perrotin Music: CDM MusicHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Join guest David Robatin and Kristin as they discuss his mental health journey. Creating art became a way to work through alcoholism, mental illness, and more. David studied communications and art at Denison University and has been painting for quite a long time.He started to share his work more widely and continue to progress as a thinker and artist as I try new ways to explore his figures.He uses mostly acrylics on art boards and canvas, and continue pushing the boundaries within his specific style. He has been influenced by everything from chiaroscuro to color field, from Dali to Rothko.Emotional connection is the reason why he works in the style he developed.He wants the viewer to find themselves in his paintings and apply their own story. He explores the positive and negative feelings that we all go through...and wants to find a common experience with the viewer.davidrobatin.com

[TRANSCRIPT] [click, static] What do you mean it's not him? I was so certain—I mean, of course I knew there was a possibility that it was someone else, just wearing the same cologne, but why would Harry leave, why would the back door be broken? Why would my flight or fight instinct have kicked in so hard the moment I felt his presence in the house? I guess I'll— [click, static] Well, I guess I shouldn't say what I'm thinking, what I'm planning on here. I guess I should just do it. Because on the off chance you're lying to me, I don't want to give— [click, static] Fuck, Harry, where are you? Please, let me know that you're okay. Somehow. Send up a flare or go back to the house or— Actually, don't do either of those. And I can't tell you where I am, not on a public channel. I'm not sure you can even hear this. If you do have a radio, maybe you can hear this but not respond, or not broadcast far enough to reach me. I just have to hope that's the case.  You know that place that we went once in the spring of…'71? '72? I can't remember, they all blur together after a certain point. But that day stands out shining gold from all the rest. It was a really good day. The first crop of strawberries had come early, and you made shortcake and you let me drive us all the way to…well, to that town we picked up bottles of champagne in, which I'm not going to say the name of because then we found that place, where we had the picnic. Strawberry shortcake and champagne for lunch…we got a little drunk. Just tipsy really, on the champagne and the perfect sunny day we had, unseasonably warm.  And we didn't argue for a whole afternoon. Well, that's not true, we argued about everything, but it was…they were arguments that didn't matter. You tried to convince me that Rothko is one of the greatest painters of the twentieth century and I told you I just didn't get it. You got so red in the face—because of the sun, because of the champagne, because of how impassioned you were describing his style to me, explaining what was so revolutionary about it. I tried to poke holes in it all, telling you it was just big blocks of color, that all his stuff looked like someone trying to decide what color to paint their living room and gave up halfway through. (laughs) You hated that. But anytime I said anything particularly offensive to you, you would push on my shoulder with your palm and the more we had to drink, the more you let your hand linger, tracing your fingertips down my bare arm whenever you pulled back.  So I couldn't exactly tell you the truth—that I like Rothko. That I didn't agree with a word I was saying. That maybe I did, at one point in time, but you'd been telling me about his art for so long that I'd started to see it differently, that I'd gone to an exhibit of his art once without you, just to try and understand what you saw, try and understand you. That I had your voice in my head the whole time, pointing out everything special in the paintings and that that made me love him. That the way you see art, the way you see the world, made me love a lot of things.  If I'd told you that, you would've stopped pushing me. So instead I pulled your pigtails like we were kids on the playground. And you pulled right back, teasing me about my music taste, saying you could take the girl out of the country but you couldn't take the country out of the girl. And I know you've never liked that kind of stuff, but you still got me to recite all the lyrics to “I'm so Lonesome I Could Cry” and then you made me sing them, even though you know I've got a shit voice and you leaned your head on my shoulder as I sang and I think…I think you liked the song. I think you liked something.  [click, static] Meet me there. In that place where we had that picnic. In the hour before the sun sets. On Friday. That will hopefully give you enough time to get there from…wherever the hell you are.   Just…come find me.  [click, static]

Le photographe âgé de 76 ans, dont le travail est exposé jusqu'au 14 juillet au Palais Galliera, à Paris, nous reçoit dans son studio au sein d'un immeuble moderne du 14e arrondissement, à deux pas de la porte d'Orléans.Paolo Roversi évoque son enfance heureuse à Ravenne en Italie auprès d'un père médecin et d'une mère au foyer qui lui transmet le goût de la beauté. Très jeune, il s'intéresse au football puis à la poésie, de Pétrarque à Montale, se passionne pour Pasolini, Antonioni et les écrivains de la Beat Generation. Après avoir monté son studio, il se met à la photo de mode sous l'influence d'Helmut Newton ou Guy Bourdin. Il parle de son rapport poétique aux images et à la réalité et de l'importance d'avoir une émotion au moment du déclic. Et des artistes et modèles qui l'ont inspiré.Il revient ainsi sur son enthousiasme pour Verdi, Johnny Cash, Rothko et récemment l'exposition Vermeer à Amsterdam : « C'était sublimissime ! Ses tableaux sont assez photographiques finalement, avec cette recherche de la lumière qui rentre par la fenêtre et ses poses, comme des petits instantanés. Les voir les uns après les autres comme cela, c'était incroyable. C'est comme s'il m'avait suggéré ­certaines photos. Je me suis dit : “Voilà pourquoi j'ai fait cette photo-là”. »Depuis cinq saisons, la journaliste et productrice Géraldine Sarratia interroge la construction et les méandres du goût d'une personnalité. Qu'ils ou elles soient créateurs, artistes, cuisiniers ou intellectuels, tous convoquent leurs souvenirs d'enfance, tous évoquent la dimension sociale et culturelle de la construction d'un corpus de goûts, d'un ensemble de valeurs.Un podcast produit et présenté par Géraldine Sarratia (Genre idéal) préparé avec l'aide de Diane Lisarelli et Johanna SebanRéalisation : Emmanuel BauxMusique : Gotan Project

In this week's bonus chat, Zach and Claire sift through some feedback from the recent Rothko episode, Claire explores why some people feel like art is pretentious, and Zach just wants to work at a hot dog stand on Long Island. 

Let's dismantle systemic oppression with post-riot grrrl!Hilary and Cody dance and groove to the infectious, crackling first album by Le Tigre. Fronted by the legendary Kathleen Hanna, Le Tigre is a response to the implosion of a movement she championed.Le Tigre talks about all of the stuff you're gonna hear in the riot grrrl scene, but it candy-coats them and makes them accessible for those not deeply affiliated. With endless energy and topics that range from Rudy Giuliani being a jerk to a statement from Rothko about art, this record is jam-packed with jams...and a message that you can't help but nod your head to.Thanks for listening! Check out everything we have going on via the info below: Instagram: @earwaxpod TikTok: @earwaxpod Amoeba on Instagram: @amoebahollywood @amoebasf @amoebaberkeley Questions, Suggestions, Corrections (surely we're perfect): earwaxpodcast@amoeba-music.com Credits:Edited by Claudia Rivera-TinsleyAll transition music written and performed by Spencer Belden"EarWax Main Theme" performed by Spencer Belden feat. David Otis

Stepping through the doors of the Clyfford Still Museum, I found myself enveloped in the emotional intensity of an artist who revolutionized Abstract Expressionism. On this journey, Ty and I embark on a profound exploration of Clyfford Still's dynamic brushstrokes and vibrant colors that echo his internal struggles and profound emotions. As we navigate Still's decision to resist the commercial art market, we uncover the paradox of how an artist's demand for independence and control over his work can lead to greater public accessibility after his passing—a poignant discussion for artists contending with their legacies today.Amidst the gallery's quiet, our conversation amplifies the raw power of Still's canvases, which continue to command attention and evoke deep responses from viewers. This episode doesn't just honor Still's command over negative space and bold coloration; it's a reflection of my own artistic journey, inspired by his fearless integrity. Ty and I also share the stories behind Still's audacious actions to defend his life's work, including a dramatic confrontation that underscores the rights and respect artists seek when their creations venture into the world.As paintbrushes stroke canvases and colors bleed into one another, imperfection becomes a gateway to authenticity in our final chapter. We celebrate those moments where art's beauty lies in its flaws, and where the courage to be true to one's vision transcends the pursuit of flawlessness. This episode is a tribute to artists like Still, Pollock, and Rothko, whose legacies challenge us to embrace our unique voices and to continue pushing the boundaries of expression, no matter the medium. Join us as we honor the raw intensity and enduring influence of Clyfford Still, whose work remains a testament to the power of authenticity in art.Send us a message - we would love to hear from you!Make sure to follow us on Instagram here:@justmakeartpodcast @tynathanclark @nathanterborg

Whether you love his works or you're moved to apathy by them (instead of tears!), you have to admit that Mark Rothko has made a huge impact on the art world - and many people have strong opinions about it. One of Zach's favorite artists, Zach chooses a piece by Rothko to look at the emotional journey that his pieces can take the viewer on. Can Claire be convinced? Check out an image of the work and artist on our Instagram - in the museum's online gallery - or see it in person at the Reina Sofia Museum in Madrid, Spain. Field trip anyone? If you're enjoying the show, please rate us and follow along!

(NOTAS Y ENLACES DEL CAPÍTULO AQUÍ: https://www.jaimerodriguezdesantiago.com/kaizen/188-creatividad-vi-espera-lo-inesperado/)«Tenía 8 o 9 años. Y mi madre tuvo un ataque al corazón. Y… cuando volvió a casa… el médico me dijo: “Nunca discutas con tu madre porque podrías matarla”»(RISAS)«Lo segundo que dijo fue: “trata de hacerla reir”. Nunca había tratado conscientemente de hacer reír a nadie. Pero me puse a ello. Y supe que había tenido éxito cuando se meó en los pantalones»(RISAS)«Pero es verdad. Mi nombre real es Jerry, no Gene… Y ella me dijo: “Jerry, mira lo que me has hecho hacer”. Sé que esto es un rodeo para responder a tu pregunta, pero ese fue el comienzo de la creatividad para mí. Hubo otro momento importante para mí. Cuando estaba en primero de primaria, había una maestra, creo que aún recuerdo su nombre, la Sra. Bernard. Tenía todos nuestros dibujos colgados. Pintábamos con ceras y colgábamos los papeles en las paredes. Menos los míos. Y le pregunté por qué no estaba el mío colgado. Y me respondió: “No eres lo suficientemente bueno aún”. Y eso, simplemente, me mató durante años y años. Hasta que en 1984… »(RISAS)«Creéis que es broma, pero no lo es… empecé a pintar. Y ahora trato de pintar todos los días de mi vida. Cuando no estoy escribiendo o trabajando en una película, pinto. Pero aquella estúpida mujer…»(RISAS)Así respondía un genio del humor, Gene Wilder, a la pregunta de «¿qué es la creatividad?». Que termina por no responder… ¿o sí?En el fondo, lo que dice es que detrás de la creatividad está lo que sea que nos lleve a crear algo. Puede ser nuestra necesidad de expresarnos o las ganas de alargar la vida a nuestra maltrecha madre o de demostrarle a cierta profesora de primaria que somos capaces de hacer lo que dijo que no podríamos. Claro que normalmente no basta con ese impulso. Una cosa es la motivación y otra eso que llamamos la inspiración. Una cosa es querer crear y otra saber qué o cómo crearlo. De hecho, cuando hablamos de creatividad, normalmente de lo que hablamos es de la capacidad de encontrar formas nuevas o inesperadas de superar un reto. Puede ser un reto que a nadie se le hubiera ocurrido antes, como transmitir emociones pintando con grandes bloques de color, como Rothko, o hacer algo que ya se había hecho antes de una forma nueva, como representar un toro con apenas 11 trazos, como Picasso. De alguna manera, la creatividad se relaciona con lo inesperado. Es lo que hace Gene Wilder en su respuesta. Con ese dominio que tenía de la pausa, en cada silencio parece tomar la decisión de dar un giro que nos sorprenda. Mucho de lo que llamamos creatividad nace de ser capaces de esperar lo inesperado. Así dicho suena a trabalenguas extraño, pero esa frase, junto con otras muchas igual de peculiares, nos va llevar directos a quien algunos consideran el primer maestro de la creatividad occidental: Heráclito. Si cuando digo que los griegos ya lo sabían todo es por algo… ¿Te gusta kaizen? Apoya el podcast uniéndote a la Comunidad y accede a contenidos y ventajas exclusivas: https://www.jaimerodriguezdesantiago.com/comunidad-kaizen/

SCS30 – Seal and The Buggles in Houston, April 2023 On a trip to Texas, Paul and Ken had to opportunity to catch a concert of Seal with The Buggles opening. Falling squarely in the prog-not-prog category, this show provided ample opportunity to the group to appreciate top-tier songs and musicianship. From the dual role of the Buggles band through the staying power of Seal's voice, this concert was definitely one to experience. Paul and Ken even had time to check out the Rothko chapel (famous for inspiring the song Fourteen Black Paintings) and compare notes with Joe on his previous visit. X: @progpala Email: progpala@gmail.com Facebook: www.facebook.com/ProgPala YouTube: www.youtube.com/channel/UCw_Xxit3D8wbv-AcJ_7Z__w/featured Theme music provided by: Dave DeWhitt

W dzisiejszym odcinku podcastu rozmawiam z Mają Michalak z Poza Ramami o tym jakie wystawy warto odwiedzić w 2024 roku. O tegorocznym Bienalle w Wenecji, ale i hucznych obchodach 150- lecia impresjonizmu w Paryżu, o wystawie Rothko, ale również o tym co ciekawego zobaczymy w Polsce. Maja przedstawia kilkanaście propozycji, opowiada o trendach, o tym jak zdobyć bilety i kiedy najlepiej wybrać się na każdą z wystaw. Jeśli kochacie sztuke i w tym roku chcecie swoje podróże z nią połączyć to ta romowa będzie dla Was skarbnicą wiedzy.MAJA MICHALAKInstagram Poza RamamiStrona Poza RamamiTRAVELICIOUSZamów album SZTUKA PODRÓŻY w promocyjnej cenieZobacz więcej inspiracji podróżniczych na moim blogu travelicious.plProfil na Instagramie

Color sin nombre es como ha titulado el bailaor José Maya su nuevo espectáculo- El baile flamenco del madrileño utiliza la tecnología visual para definir una propuesta escénica inspirada en los colores sin nombre del pintor suizo Rothko.Escuchar audio

On today's episode of The Lives of Writers, Lena Crown interviews Jehanne Dubrow.Jehanne Dubrow is the author of nine books of poems, including most recently, Wild Kingdom (Louisiana State University Press, 2021), and three books of creative nonfiction, throughsmoke: an essay in notes (New Rivers Press, 2019), Taste: A Book of Small Bites (Columbia University Press, 2022), and Exhibitions: Essays on Art & Atrocity (University of New Mexico Press, 2023).Lena Crown is a book editor for us at Autofocus Books. Her essays are published or forthcoming in The Rumpus, Guernica, Gulf Coast, Narratively, North American Review, The Offing, and elsewhere, and her poems have appeared in Bellevue Literary Review, The Boiler, Poet Lore, No Contact, and Variant Lit.____________Full conversation topics include:-- writing routines and book juggling-- switching modes of writing/thinking-- teaching trauma writing-- starting as an encouraged visual artist-- Rothko-- writing young -- working on Taste: A Book of Small Bites and then Exhibitions: Essays on Art and Atrocity--  the research process for a braided essay-- rendering place and many different countries-- the "snapshots" and "galleries" in the book-- ekphrasis-- using the body and becoming a surface-- finding (and using) different forms-- the problem of beauty-- possession and dispossession-- discomfort-- fact and pathos-- organization and ordering-- flash/prose poem form-- her next book Civilians-- frivolity_______________Podcast theme music  by Mike Nagel, author of Duplex and Culdesac. Here's his music project: Yeah Yeah Cool Cool.The Lives of Writers is edited and produced by Michael Wheaton, author of Home Movies.Episode and show artwork by Amy Wheaton.

Welcome to 'The Adams Archive,' where host Austin Adams takes you on an enlightening journey into the heart of global conspiracies, cultural enigmas, and political intrigue. This podcast series sheds light on the most thought-provoking and underreported stories, exploring the unseen forces shaping our society and global politics. Unravel the complex narrative of Taylor Swift's alleged involvement in psychological operations, diving into the blurred lines between celebrity influence and political media manipulation. Explore the mystery of underground tunnels beneath a New York synagogue, probing their origins and potential purposes. Analyze the intricate dynamics of recent U.S.-UK joint military operations, uncovering their geopolitical motivations and strategic implications on a global scale. Dive into the art of media manipulation, examining historical and contemporary methods used to control public perception. Discover the profound influence of music and arts in shaping cultural narratives, reflecting on how artistic expression has been employed for political messaging and propaganda. Join 'The Adams Archive' for episodes that challenge perceptions and reveal the hidden truths behind current events and historical narratives. Subscribe on your favorite podcast platform, follow our YouTube channel for engaging visual content, and get exclusive insights through our Substack newsletter. Participate in our dynamic social media community for ongoing discussions. Whether you're a conspiracy enthusiast, a curious observer, or a seeker of deeper understanding, this podcast is your portal to the untold stories of our world. Tune in, subscribe, and be part of our journey to uncover the hidden truths beneath the surface. All Links: https://linktr.ee/theaustinjadams Substack: https://austinadams.substack.com/   ----more----  Full Transcription Hello, you beautiful people and welcome to the Adams archive. My name is Austin Adams. And thank you so much for listening today. On today's episode, we have some wild topics to get through. And I'm excited for it. So the very first topic that we're going to talk about today is going to be that the Pentagon actually responded to the idea that Taylor Swift Is a PSYOP.  So we'll look at what the response was. And that will actually look at the history of this because the fundamental idea around that is that there's a, uh, forces that be within our government that want to manipulate the art within our culture in order to influence the culture itself. And so we'll look at the history of that, whether it be Operation Mockingbird by the CIA, whether it be the CIA teaming up with certain artists during the cold war era, we'll look at all of that together. Then.  We'll jump into the next topic, which is going to be that there was some pretty shady stuff found in New York, which actually ended up being an underground tunnel underneath a Jewish synagogue, I believe.  So. We'll look at that  and why it's pretty, pretty crazy stuff. So there's a couple of theories on it. We'll actually dive into the history of the specific group, because the specific group that we're talking about is a little bit different than your average, uh, Practicer of Judaism. Um, so we will look at that as well. And then we will dive into some breaking news here, which is that the United States. In hand in hand with the, uh,  with Britain have the UK have actually, uh, conducted operations overseas against Houthi rebels, which some believe may be the spark of a war against.  So we'll look at the history of that as well.  So all of that more, but first I need you to go ahead and subscribe. If this is your first time, I appreciate you from the bottom of my heart, subscribe. And if you are here for your second time, third time around. 100th time, whatever, because we're actually about to hit that 100th episode. I believe we're on episode 96 right now, which is pretty wild. But thank you for being here. I appreciate you. I love doing this for you guys. Uh, we'll have some cool stuff coming up. Some interviews, some really awesome things that I am working on in the background. So thank you for being here. Leave a five star review and let's jump  into it.    The Adams archive.    Alright, so the very first topic that we're going to discuss today is going to be that the Pentagon actually responded to the idea that Taylor Swift is a PSYOP.  Now personally. I think this probably couldn't be more accurate. And so the reason that I think this, I think this is actually a lot of a part of the public psyche today surrounding Taylor Swift. We see everything that's happening with Taylor Swift and Travis Kelsey and Pfizer and her recently saying that she believes that Joe Biden has done a great job and will continue to do a great job. And he's exactly what our country needs right now to stop the divisiveness like That the only way that you are saying such a thing,  even if you voted for Biden and you wholeheartedly believed in him at the very beginning of this, uh, I don't think there's a person out there who is not either  protecting their, their ego by, you know, not admitting that they are wrong or, uh, or Are being paid off  and the likelihood that you're being paid off if you're a multi whatever billionaire this Taylor Swift is at this time and a super famous actor, actress, musician, artist, whatever is probably pretty, pretty high if you're still sitting there banging the drum of Joe Biden, or you're just worried about not getting another job again. So you don't have to worry You go along with the, the river that is Hollywood.  So it's, it's, it's crazy to see how far these people can go. So here we go. Let's go ahead and read this article. This article comes from the Post Millennial  and it is titled, let me go ahead and pull it up here for you. It  is titled,  Pentagon Claims Taylor Swift PSYOP Speculation is a Conspiracy Theory. Hmm.  Okay,  you have my back. Attention.  All right. This article says after Jesse water show on Tuesday, where he said the government has been turning Taylor Swift into an asset through a Psy op Pentagon spokesperson, Sabrina sign has denied the claim. An idea that first came from human events, senior editor, Jack Posobiec  quoting from one of Swift songs and the statement to politics sign said, as for this conspiracy theory, we are going to shake it off. Wow, catchy.  She continued to make other Taylor Swift puns in her statement, which stated, but that does highlight that we still need Congress to approve other supplemental budget requests as Swift Lee as possible so that we can be out of the woods with potential fiscal concerns. Haha. On December 6th, 2023. Right after Taylor Swift won the Time's Person of the Year award, Posobiec posted to Axe, the Taylor Swift girlboss psyop has been fully activated in her hand selected vaccine show boyfriend to dink lifestyle to her upcoming 2024 voter operation for Democrats on abortion rights. It's all coming.  Uh, and that was in response to the Time Person of the Year being  Taylor Swift.  And I'm pretty sure that used to be Man of the Year? And now it's person of the year.  I don't know. Pretty sure I heard that following the post ax Posobiec had Evita Duffy on his show, where they talked about why Swift could rally support for president Joe Biden in the 2024 election year. She's a girl boss. She has lots of failed relationships where she blames the man every time. Duffy then asked, why are we pushing Taylor Swift? Here comes a clip from Jack Posobiec.  Uh, and let's go ahead and watch it here.   Evita Duffy from the Federalists joins us now. Evita, they've just named Taylor Swift the, uh, you know, she's, that's basically her song that was used for that ad, which is a mix of Taylor Swift and Barbie, just named Taylor Swift times person of the year, uh, I  was out about a month ago. You had a great show where he talked about the Taylor Swift army coming online for the 2024 election. Is this at what we're seeing now? Are they activating  The Taylor Swift psyop.  Yeah, it's not. It's not just happening now. This has been happening for pretty much a year. They've been pushing Taylor Swift on us.  The corporate media has these articles fawning over her. She's like the greatest thing that's ever happened to humanity. Meanwhile, her music's pretty mid. Um, if you, it's actually something actually to break down of her music and, uh, the melodies, she has like the same melody progressions over 20, over 20 different songs. Um, she's always complaining about the same melodies. Okay, I'm going to have to question how old this girl is. If you're going to use the word mid, you better have been born pre or post  2000.  You better be under the age of 23. If you're going to use the word mid, I'll just leave it at that.  Anyways, I actually agree with it. So so if you understand what tick tock did when tick tock First started, TikTok artificially inflated the views, at least this is the idea that people have been talking about, is it took a few select amount of influencers and it artificially inflated the views that they were getting on the platform.  Those people then, who felt like they were a big deal, went and talked to people about it and told people how many views they were getting on TikTok. As a result, a bunch of people fled into TikTok.  And so. What they've and they cared about the original a few official people that got their views artificially inflated I think one of the names of the girls is I don't know There was one girl that started tick tock as like the tick tock girl and now nobody really cares about her, right? She just did like a dance and whatever and then all of a sudden she got like a billion views And so the way that they did that is they artificially inflated the views they artificially created celebrity And then they made those celebrities influence  Be valued by the mass public, right? And so I think that that's exactly what happens with Taylor Swift here, I believe, because Her music to be fair is pretty mid. Although I am cannot say that with a straight face and never will  But  Taylor Swift's music is garbage. It's terrible. She's a great  Performer and by performer, I mean she has a great team of people around her with fireworks and laser shows and All of that, but I did Taylor Swift is a very  Un  impressive musician, completely unimpressive to me in the fact that she is the single most. highest earning musician, music, musician of all musicians is astounding to me because she's just a performer.  Anyways, so that to me lends into the idea. The same way that we will look at this in a minute is they artificially inflate these people's viewership. They, they get the mainstream media, the mainstream radio stations, the mainstream award shows to all.  Pump these people up, pump them up, pump them up. Meanwhile, these people are just puppets for whatever they say, from the powers that be, goes. And so that's where this idea of it being a PSYOP comes from. So let's finish out this clip, if we can,  tolerate this girl's  vocabulary, and then we'll continue on.  In breakups over and over again, these songs, Jake Gyllenhaal, somebody who she wrote the song all too well about, which is like a 10 minute song where she complains  about a man that she dated for no joke, three months. This is not a musical mastermind. The media is pushing her on us constantly. And if you say anything negative about Taylor,  the media, the Swifties and Taylor Swift herself.  Okay. I think I know what she's going to say. A misogynist. And here's why I think that is. Taylor Swift is the perfect.   Okay, Taylor Swift's music is absolute trash. So the only way that she got into the position that she's in is if she's working with the government.  So here's the, here's the rest of the article. And it says, and this was December 6th that this conversation happened on Real America's Voice. But it says, uh, Waters posted a clip of his segment to Axe on Wednesday where he had, uh, he said an idea was floated at a NATO meeting in 2019 where Swift could combat online misinformation. So maybe here's some actual evidence of this potential Taylor Swift's the biggest star in the world. Sorry, Gutfeld.  She's been blanketed across the sports media entertainment atmosphere. The New York Times just speculated she's a lesbian. And last year's tour broke Ticketmaster, a tour that's revenue tops the GDP of 50 countries. Wow, I like her music. She's all right. But I mean, have you ever wondered why or how she blew up like this?  Well, around four years ago. The Pentagon's Psychological Operations Unit floated turning Taylor Swift into an asset during a NATO meeting. What kind of asset? A psy op for combating online misinformation. Listen. You came in here wanting to understand how you just go out there and counter an information operation. The idea is that social influence can help, uh, It can help, uh, encourage or, uh, promote behavior change, so potentially as like a peaceful information operation. I include Taylor Swift in here because she's, um, you know, she's a fairly influential online person. I don't know if you've heard of her.  Yeah, that's real.  The Pentagon's PSYOP unit pitched NATO on turning Taylor Swift into an asset for combating misinformation online.  This is nothing new. In the 1950s, the government strong armed Louis Armstrong into doing propaganda tours across Africa.  The CIA did the same thing with jazz singer Nina Simone, except they did it without her really knowing.  In the 70s, Nixon enlisted Elvis in his war on drugs. He gave the king a badge and named him a covert federal law enforcement agent.  Michael Jackson was tapped by Reagan, using his song Beat It and his public service campaigns against teen drinking and driving.  Michael Jackson persuading minors not to drink,  anyway.  So is Swift a front for a covert political agenda? Primetime obviously has no evidence. If we did, we'd share it.  But we're curious. Because the pop star who endorsed Biden is urging millions of her followers to vote. She's sharing links. And her boyfriend, Travis Kelty, sponsored by Pfizer? And their relationships boosted the NFL ratings this season, bringing in a whole new demographic. So how's the  PSYOP going?  Well, as usual, Biden's not calling the shots because he doesn't even know who Taylor Swift is. He's confused her with Britney Spears and Beyoncé.  You could say even this harder than getting a ticket to the renaissance tour or, or, or  Britney's tour. She's down in, it's kind of warm in Brazil right now. Former FBI agent Stuart Kaplan. Wow, that is brutal. Stuart, is this feasible?  Jesse, the deployment of a PSYOP in the United States in this day and age is still illegal. Um, the national security law prohibits the deployment of PSYOPs or using an operative for psychological warfare. However, if I was running Biden's management perception team, I would identify someone who would align themselves with my agenda, such 600 million followers. I would target her, I would engage her, and I would get her what, get her to do what we used to see as like public service announcements, and that type of enlistment, that type of solicitation is analogous to the old days of deployment of a PSYOP. And so in modern times, with these people having such influence and such,  you know, immeasurable amount of followers. She can potentially, single handedly, swing voters because of just the amount of followers that she potentially can influence. So the answer is yes, Jesse.  Wow.  And I completely agree, right? We see even back historically between Elvis and Louis Armstrong, this has been done before. This isn't a new tactic.  And so as we go on, we'll see. And I wanted to kind of Preempt this for you. And he talked about it a little bit with Travis Kelsey,  all of, and even behind that was the tick tock. There was a whole trend around the Travis Kelsey, Taylor Swift relationship situation  on tick tock, right? People were going crazy. Girls were making jokes to their, their husbands and their boyfriends. And those were going viral. And I talked about this last time is If anything is going  quote unquote viral and you think it's organic, the likelihood of that is probably low.  If it's the number one most,  most popular trend at the time, it's very likely that that was at least in some way, shape, or form even allowed, potentially, if that's the word you want to use, instead of being  stifled, they at least allow it to happen because it fits their agenda. And if it didn't fit their agenda, they would slap it with a big misinformation, disinformation, or at the very least, they would shadow ban the content. And so we know that at this point,  and as we start to look at more around this, I guess there's even more.  situations, but it says,  uh, and I wonder if we can look at the response, but that was crazy. The fact that the Pentagon PSYOP organization within the Pentagon actually  came and pitched the idea. They pitched the idea that they could use Taylor Swift to conduct a PSYOP against the American people. That's an, that's actual footage available right now.  I had no idea before watching that. And that is. Just crazy.  So as we go back in history, I wanted to start to have a discussion surrounding this and see historically what ways has art and Culture been manipulated by governmental forces to align their agenda with yours. And so we can go back and we can look at this in a few different ways.  And historically there has been not only Elvis and Louis Armstrong, but historically there's been many. Many governments that have done this from Nazi Germany. And I listed a few here after doing some research and under Adolf Hitler, the Nazi regime used music as a propaganda tool to reinforce its ideologies and suppress any opposing or non Germanic. cultural expressions. Jewish musicians and composers were not only banned from performing, but many were also persecuted and sent to concentration camps. The regime particularly promoted classical composers like Richard Wagner and Ludwig van van van Beethoven, who were seen as epitomizing Aryan and Germanic culture. Music played a pivotal role in Nazi rallies and events being used to evoke emotions of pride and nationalistic fervor among the masses. Hitler Youth was also heavily indoctrinated with music that promoted Nazi ideology.  So there's one.  The Soviet government, under Joseph Stalin, reinforced strict control over the arts, including music. Composers like, forgive me, Dmitri Shostakovich and Sergei Prokofiev  faced severe restrictions and were often compelled to adapt their compositions to fit the state's demands for music that glorified socialism and the Soviet state.  The government established the Union of Soviet Composers, which played a key role in censoring music and ensuring it adhered to the principles of socialist realism.  Music that was considered formalist  or bourgeoisie  I don't know if I pronounced that right at all,  was condemned and composers risked persecution if their work did not align with state ideologies. You even go back to Footloose, right? If you eliminate music, it has an effect. There's a reason that we sing in church. There's a reason that every religion across every country, across every historical timeframe ever  incorporates music  because music influences. And so if you can make one person the most influential musician  in the world  and then utilize them as a puppet to parrot the  opinions that you want them to hold that align with your agenda, why wouldn't you do that?  The Cultural Revolution in China is another example. Mao Zedong's Cultural Revolution sought to eradicate Chinese traditional culture, including its rich musical heritage. Western classical music was also banned. Instead, the government promoted revolutionary music, particularly the eight model operas that were sanctioned by Zhang Qing, Mao's wife. Those operas and revolutionary songs were designed to glorify the Communist Party, Mao Zedong's leadership, and the revolutionary spirit of the Chinese people. This was part of a broader attempt to reshape Chinese culture and align it with the Maoist ideology. In another example, people have talked about this before, I'm not sure if there's any evidence of this, just the same way that we can't say there's any evidence of the Taylor Swift Society,  but people have talked about how when it comes to black culture in the  Late 1980s talking about how rap music and not particularly any type of rap music, but well, I guess particularly a type of rap music, which was the, uh, you know, the violent and drug riddled gang, uh, promoting. type of rap that became popular. And we even see this today with the Travis Scotts, how much Satanism is incorporated into our music scene today. It's bizarre, but it's not bizarre because it's intentional.  And so when you go back to the 80s, even the times where the government was literally pushing crack cocaine into the ghetto areas, low income black communities, the very same time that rap music became what it was, and I love rap. I even love late 90s or early 90s rap about gangster shit and drugs and gang stuff. But like,  it, you can't deny the fact that it influences culture.  It influences how people act. It influences how people want to be when they grow up. How do, how, what makes them cool? What type of clothes should they wear?  What should they aspire to? Well  When all you hear about in music is selling drugs, making a bunch of money, how good they make you feel and the type of girls that you get when you do it.  What do you think you're going to do? Right? It goes hand in hand. Culture is music and music  creates culture.  And so, um, this goes on and on. I have other ones which talks about the apartheid South of South Africa. During the apartheid era, the South African government used music as a tool to support its racial segregation policies. Cambodia used it, Iran after the 1979 revolution, North Korea, and North Korea music is used as a tool of state propaganda to an extreme degree. All music in the country is strictly controlled by the government. Why? Why would they do that? They wouldn't. And of course they wouldn't do that here in the United States of America with us free people.  Right? Our government would never do that.  Songs are written in North Korea to glorify The Kim family, and the Workers Party of Korea, often incorporating themes of loyalty, patriotism, and devotion to the leaders. Music is used in schools, workplaces, and public events to instill loyalty to the regime and reinforce its ideologies. There is virtually no exposure at all to international music, and creating or listening to non state approved music can result in severe penalties. And when we talk about severe penalties in North Korea, we're talking about generational imprisonment.  Not just you go to jail.  Your sister, your brother, your mother, and your next three generations go to jail. Like, horrible, horrible stuff. And so Music has always been utilized as a weapon by governments, always, and to assume that we're just so far along that our government would never do that, they would never utilize our culture, our music, our art, our movies, against us in a way that would not be in our best interest? No, they just let us do whatever, and wherever our culture goes, they're perfectly okay with it.  Yeah,  okay.  And, and again, this is going to be an unraveling for everybody, and I think this is maybe a really good next one that we can get into as a society, as we've already unraveled the pharmaceutical industry, the medical industrial complex, the government, the politicians, the big money, the lobbying funds, all of that has happened. Now, as a society, I think it's time for us to realize that our culture has been infiltrated for decades. The music you listen to, the movies that you watch, the TV shows on Netflix, the articles that you read, the news media that you take in, every single piece of it, the art that you consume, the art on your walls, all of it.  The most famous artists  have historically, in some way, shape, or form, and we go back to even the, the,  the idea of post modernism. Post modernism is a somewhat new artistic theme, and we're seeing that artistic theme. Play out today in our own culture,  culture is shaped by art.  So that's where they start,  right? Postmodernism is the idea that there is no true reality. You have your truth. I have my truth and there's no two plus two equals five.  And so when you realize that  that's what they want to instill in your subconscious so that consciously you accept it when they tell you that a male is not a male. A male is a floating soul with no gender binary, and women are just women, and you can just declare it by standing on top of a desk and saying, I'm a woman now, even if you don't have ovaries or the ability to reproduce.  So that's postmodernism in action, and that's one way that they took art and implemented That subliminal idea into your subconscious so that later it can be activated and weaponized against you.  And so you could say, okay, I don't know any examples of that, Austin. I couldn't imagine our CIA working alongside artists. Well, let me clue you in, my friend.  For decades in art circles, it was either a rumor or a joke, but now it is confirmed as fact. The CIA used American modern art, including the works of such artists as such as Jackson Pollock, Robert Motherwell, William de Kooning, and Mark Rothko, right? Oh, a Rothko, right? You know, like the pretty sure that's like the square and a circle or whatever, as a weapon. In the Cold War.  Interesting. In the manner of a renaissance prince, except that it acted secretly, the CIA fostered and promoted American abstract expressionist paintings around the world for more than 20 years.  The connection is improbable. This was a period in the 1950s and 60s when the great majority of Americans disliked or even despised modern art. President Truman summed up a popular view when he said, If that's art, then I'm a  Hot, hot and taught. What  is a hot and taught as for the artists themselves, many were ex communists, barely acceptable in the American, in the America of the McCarthy era,  and certainly not the sort of people normally likely to receive us government backing. Why did the CIA support them? Because in the propaganda war with the Soviet union, this new artistic movement could be held up as proof of the creativity, the intellectual freedom, and the cultural power of the United States.  Russian art strapped into the communist ideological straitjacket could not compete.  So basically what the idea was that our artists, the way of capitalism is just so much better than everything else. This free expression, the environment of freedom and democracy and all of this stuff is so amazing that we just allow brains to thrive. And artistic expression is just so much better here in the United States. And so they took Upwards of 20, what are they? It's 20 million and purchased this art specifically to prop up. It's like if you, if they funneled money into us companies. Through shell companies so that they could say that, Oh, but look at our democracy. Our organizations, our shell companies are so much more successful than Russian companies, because look at how much money they have. Well, you gave them the money so you could make that argument. That's the whole point. The existence of the policy rumored and disputed for many years has now been confirmed by the, for the first time by former CIA officials, unknown to the artists, the new American art was secretly promoted under a policy known as the long. leash  arrangement, similar in some ways to the indirect CIA backing of the journal encounter edited by Steven Spender. The decision to include culture and art in the U S cold war arsenal was taken as soon as the CIA was founded in 1947. This made that the appeal communism still have for many intellectuals and artists in the West, the new agency set up a division, the propaganda assets. Inventory,  which at its peak could influence more than 800 newspapers, magazines, and public information organizations. They joked that it was like a Wurlitzer jukebox. When the CIA pushed a button, it could hear whatever tune it wanted to play across the entire.  The next key step came in 1950 when the international organizations division was set up under Tom Brayden. It was this office, which subsidized the animated version of George Orwell's Animal Farm, which sponsored American jazz artists. Opera recitals, the Boston symphonies, orchestra, international touring program.  It's agents were placed in the film industry in publishing houses, even as travel writers for the celebrated photo guides. And we now know it promoted the America's anarchic avant garde movement. Abstract. Expressionism.  Initially, more open attempts were made to support the new American art. In 1947, the State Department organized and paid for a touring international exhibition called Advancing American Art, which the aim of rebuting Soviet suggestions that America was a cultural desert. But the show caused outrage at home, prompting Truman to make his hot and taut remark in one bitter congressman to declare, I am just a dumb American who pays taxes. For this kind of trash,  the tour had to be canceled. The U S government now faced a dilemma. The fill in the fill Philistinism combined with Joseph McCarthy's hysterical denunciations of all that was avant garde or unorthodox was deeply embarrassing. It discredited the idea that America was sophisticated, culturally rich democracy. It also prevented the U S government from consolidating the shift in cultural supremacy from Paris to New York since the 1930s.  To resolve the CIA to resolve the dilemma. The CIA was brought in.  Hmm.  Very interesting Now this goes on and on and on. This is an article written by independent  Independent dot co dot UK and the title of it is modern art was CIA Weapon and it was written written  on Sunday the 22nd October of 1995  Super interesting article, I absolutely think that you could dive into more of the history of that, but I just want to give you that background. That's just one aspect of it, where our CIA has been a part of influencing culture through art.  Now we can go into the next part of this, which is called Operation Mockingbird.  And Operation Mockingbird was the hand in hand  CIA operation between journalists, news networks, and Hollywood.  And I myself need to do a deeper dive into this, but I had just recalled about this when talking about the Taylor Swift conversation and honestly, I didn't think this conversation would go that long. I usually have some warm up articles sometimes before I get into the deep stuff, but man, this is so interesting to me that I think we could probably sit here for five hours and talk about this.  But it really is a culture death. You go back and listen to music, go back and listen to Led Zeppelin, go listen to a CDC, go listen to any of the, the great musicians of the 1970s and early eighties before the, the, the, the fingertips of the CIA started to get into our music and. We have done nothing but go downhill as a society musically.  There's very few examples that you can give me that would even rival any of that. The very first, I'll give you a side story, go down the memory lane real quick. When I was maybe, oh, I don't know,  8 years old, 8 to 10 years old probably, my grandparents, Took me on a train ride to Chicago from Detroit to go see my cousins And I had just gotten for the train ride a new Walkman. I believe it was a gray Sony Walkman and  My dad took me to go get my very first CD for my Walkman and I ended up getting the Led Zeppelin discography So all I listened to for probably Six months was every Led Zeppelin song ever and  that is still to this day my favorite album I have the vinyl upstairs right now that I listen to  greatest band of all time in my opinion  anyways Trip down memory lane, so  We have had a cultural death an artistic death here in the United States that has been unfolding for decades you even want to talk about architecture and I would love to do an interview with somebody who could speak more on this because I'm not an architect and I don't know the history of architecture But to me you go back and you look at even go back and look at Roman times Greek times go back and look at  the Gothic eras and and go back and look at  Pyramids like there go back and look at any history of time in the last 2000 years, and you will see if you took a time machine every 100 years, you would see beautiful architecture, cathedrals, and and  political buildings and and  courthouses and schools and all of these things are so beautifully created because when people used to create architecture, they used to do it to, to please the gods. They used to do it because there's a frequency within the building that you're in. And when you walk up to it and go through that door, there's a feeling that should be associated with that. And that is dead in the United States. Go drive your car around and the only thing you're going to see is a box and a box and a bigger box and a taller box and a wider box and you drive your box by the boxes and you see the boxes and you walk home to your box and you open up the box door to get into your box room to go into your box kitchen to create something in your box oven and pull something out of the box fridge to It's an endless cycle of squares in, in our culture, in our architecture. And it's, it's so sad to me to see that we just, that that's what we live in today.  And so when we look at  whether it's Project Mockingbird, whether we look at  the CIA working hand in hand with the art within the Cold War, whether we talk about the, the historical aspects of music.  There has been  nothing but death of creativity in the United States.  Every piece of culture that has been brought here has slowly dwindled and died, and it seems to me like it died at the hands of the organizations that are being funded by our tax dollars so that they can diminish our creativity, and so that they can control You are subconscious, and I think bringing it full circle back around to Taylor Swift is that's exactly what has happened. Here  and now I do have a full article on the project Mockingbird.  Let's see how far into this Well, we did 38 minutes on Taylor Swift  So I think we can move on but I did find a substack article because it was actually a little bit interesting It's called a media manipulation the operation Mockingbird. It was written October 14th 2024 and it is from the reveal revealed. I Substack so revealed I dot substack. com and it looks like they do a pretty I don't know decent breakdown I haven't read through it all yet, but  I think 38 minutes on  on  Media manipulation and Taylor Swift is probably a good start. So  On your own time, feel free to go watch that. Here's a quick video on Project Mockingbird. Then we'll move on  real concern  That planted story is intended to serve a national purpose abroad  Came home  And were circulated here, and believed here.  Because, uh,  this would mean that  the CIA could manipulate the news in the United States by channeling it through some foreign country. And we're looking at that very carefully. Do you have any  people being paid  by the CIA  who are contributing  to a major circulation American journal? We do have people who submit pieces to other, to American journals. Do you have any people  paid by the CIA  who are working for  television networks?  This, I think, gets into the kind of, uh, getting into the details, Mr. Chairman, that I'd like to get into in an executive session.  Uh, at CBS, uh,  we, uh, Had been contacted by the CIA. As a matter of fact, by the time I became the head of the whole news and public affairs operation in 1954. Ships had been established and I was told about them and asked if I'd carry on with them. We have  quite a lot of detailed information,  uh, and we will  evaluate it and we will include any,  um,  evidence of wrongdoing  or any evidence of impropriety  in our final report and make recommendations.  Do you have any people  being paid by the CIA  who are contributing to the  National News Services, AP and UPI?  Well, again, I think we're getting into the kind of detail, Mr. Chairman, that I'd prefer to handle in an executive session.  Senator, do you think you named the new plan? So the answer is yes.  Uh, that remains to be decided. I think it was entirely in order for our correspondents at that time, uh, to make use of, uh, C. I. A. agent, uh, chiefs, uh, of station and other members of the executive staff of C. I. A. as source.  Alright, so there you have it. You can go, uh, read it through the article there, um, find it on Substack, uh, reveal. i. substack. com.  Alright, so, let's move on. on from that into the next topic, which is going to be  that in New York  over the past few days, there has been a A  bit of a debacle and one specifically between the Hasidic  Jewish community in New York and the New York police. So the New York police showed up  to a synagogue  in,  let's see here, let  me go ahead and pull it up.  All right.  Basically what happened is the police showed up and they decided that they needed to shut down a underground. Tunnel system  in New York, underneath a place of worship where these Hasidic Jews would go and  congregate.  And the idea behind this, the mainstream narrative is that the secret underground synagogue tunnels were causing destabilization  of the buildings that were surrounding it. So that's the mainstream narrative that's come out in the last day or so.  And nine of these Jews were arrested.  And now I do want to preempt this with.  Love my Jewish family.  I'm not Jewish, so I don't technically have Jewish family, but you know what I mean?  Love Jewish people. I love Christian people. I love Muslim people. I have no affinity towards any one class over the other. I have my own personal spiritual beliefs. I don't think that any religious beliefs in and of themselves make you a great or a bad person. I believe that there's Terrible people who are Jewish, and there's great people that are Jewish, there's terrible people who are Christians, there's great people that are Christians, there's terrible people who are Muslims, and there's great people who are Muslims. I've met them all.  Mostly good people across the board. I can't even look at one and be like, Hey, I've met a bunch of people in this. No, every religion has bad apples. Just like you can say, you know, there's a bunch of people who say, Oh, police are bad. No, they're not bad. There's bad people everywhere in every occupation, religion, uh,  country, uh, whatever it is.  There's bad people everywhere, in every type of thing, but mostly people are good, mostly people intend good, and I, so, there's your disclaimer,  as we go into this, because it's a very, um, very sensitive time, for this specific culture, and I get that, and so, I'm just going to preempt that. There's your disclaimer. All right. Now, everything from here forward is just me  talking, but, uh, understand it from that framework. Um, so just as we were discussing, there has been a Jewish synagogue. That was creating underground tunnels. They were digging, digging, digging underground tunnels. And so the idea from the Jewish community that was there, and this is a very specific Jewish community. It's the Hasidic Jews, the, uh, I can see if I can pull up the exact names of them here for you. Cause it, it does matter because the specific culture is known for having to deal with some very specific, uh,  um, pushback in certain situations in this small area. So this specific. Uh, Jewish culture, I believe is a, um, more Orthodox culture and I actually have a whole thing here, but  to me, it's of Russian descent and So here's the general idea is that they were digging these holes and they claim that they were digging these holes because they were six. They started digging these holes six months ago because of the COVID restrictions or they dug them during COVID because they wanted to Uh, congregate and practice their faith during a time where they were being told, no, you cannot do that.  Okay. Now there's a secondary theory, which is that they are digging these tunnels because the person that they, the, the,  the Messiah, I believe that they believe in  says that you have to consistently expand your place of worship. And maybe I'm getting that wrong because we'll get into a thread here in just a moment. Um, but let's, let's dive into the timeline of this. So on January 8th, videos circulated that showed a tunnel network under the Lubavitch, that's the specific one, the Lubavitch HQ in Crown Heights and several Jewish men being arrested. More videos show another Jewish man escaping through another tunnel and a group. resisting officers. The building was shut down afterwards.  Initially, the claim was that the tunnels were made to pray during COVID. This, according to this thread,  okay, and this thread is not, this is not CNN. This is not Fox. This is not, um, it's not a news organization. So  In, I guess, everything you hear from every organization because I'm talking about those two, too. I wouldn't believe Fox or CNN on everything either, but this is the individual account on X, so take it with a grain of salt, but this seemed to be the most, uh,  factually and organized article that I could find on this.  It says initially the claim was the tunnels were made to pray during COVID. This is most likely false. Neighbor with Mikva access, as of six months ago, no work on the tunnel had begun. Since renovation was the main reason the tunnels were noticed, they could have Um,  and now they add some receipts here, which says that the tunnel found burrowed under the women's section of 770, possibly destabilizing the building. And there's three, four other articles that are attached to this to back up the idea that they were just stating there.  And so the next thing that it states here as we go into that, and so that's the,  the general idea is that they were saying, Oh, we were doing this. During COVID because we weren't allowed to worship. Well, it seems to be that that was according to this false because these tunnels weren't started, but six months ago  now where it really started to get some fuel on the fire is during one of these videos, as these people are.  Resisting arrest. There was a, quite the scene. They're flipping over pews and creating these wall barriers as the police are grabbing them and they're pushing back and forth. And like this, this, the whole chaos ensuing inside of the synagogue.  And as that's happening, a guy is breaking down the walls and like a police officer is like, or is breaking down the walls and starting to pull people out of it.  And one of the, the, um, Jewish people that are there  pull out a mattress and on this mattress, this is a soiled mattress that looks to be whether it's old blood or,  uh, feces or something that's on this mattress. And it seems to be a small mattress. Um, Uh, that some people were saying was meant for, uh, a child and that's kind of what it looks like. Okay. But we won't make any assumptions yet, but that's, that's what's probably one of the biggest fuels of the fire. Now, the other thing that was very questionable about the situation is one of the people, one of the Jewish guys was escaping and he went through the tunnel system and he came up, right? Next to a child's museum.  Hmm. Now that's not to say that there's children in the museum, but it is to say that the museum is meant for children.  And so there has been  theories  that these individuals were using this for some sort of human trafficking.  Okay. Now again, unfounded, a couple of weird coincidences  and. Here's the side part. If these people were just digging tunnels so that they could pray during COVID, more power to them. That's awesome. You should do that. Fuck the government. They can't tell you what you can and cannot do, especially when it comes to your religious practices. So,  wholeheartedly believe that. If that's what they were doing, awesome. They should do it. Um, but, there's a lot of skepticism around maybe some more nefarious reasons why this was happening.  And so, as we go deeper into this thread and deeper into this article,  It starts to talk about some of those things. It talks about the mattress, talks about the, um, the pushing and shoving that ensued, I believe nine people total were arrested that were a part of this synagogue.    so the next portion of this says, The contents of the tunnel are very disturbing and don't seem like items extremists students would keep. A mattress with a dark stain was found. A baby high chair? Was found as well. So that's a weird one.  The crowd protecting the tunnels isn't small. They are also aren't of student age.  Here's the full video of the tunnel network that we have access to. The video shows passageways that extend that aren't explored. It's unclear whether the other passages might contain does this tunnel network look like something done in six months? So it's absolutely does not look like something done in six months. So let me share this with you here.  Um, this is.  It looks old, almost, to me. It looks like it's been used. There's, there's like, old chipped paint hanging off of door frames, and there's a big, uh, like, sand  Let me go ahead and  expand this for you here, but there's the, the high chair,  there's what looks like some wheel barrels,  a bunch of just stuff thrown around, cinder blocks thrown around some carved little tunnel doorways that they're crawling into now with a flashlight. And so as they walk back, it's just a crawl space now, essentially from the more.  Substantial part of it that is where  could have been where that person  came up into that right right outside of that Children's Museum. So that's bizarre. I don't think this was built six months ago. Again, I'm not a  archaeologist or whatever the hell you need to be to date that stuff. But it says where does the tunnel exit to using geomapping one of the tunnels exit near the local Children's Museum. It's also unclear how large the tunnel network is and where the other passages lead. As more information comes in, we will know how extensive the network is. And they show you the photos as to how they know this. This is where the video where the guy came out of it. This is the photo where they actually found that same portion of it. Um, discussion of the tunnels online has been avoided by many accounts. Some accounts claimed the tunnels were even fake. Israel War Room labeled such discussions of the tunnel anti Semitic. They claim that it's just a simple building code violation. Hmm, then why are we getting in, like, fights and arrested over  building code violations? You get a  fine for that. You don't get arrested. You don't get into pushing, shoving matches with the police over building codes. It says the label conspiracy theorist has been applied to people who believe tunnels could have been used to harm kids. No explanation has been given for the stained mattress and baby high chair in the tunnels. Is the conspiracy or is there more to the Brooklyn community?  Research reveals a dark history of sexual assault in the Brooklyn area. If you do speak out about it, you are shunned from the community and harassed. Disturbing testimony in the article speculates that the number of young boys sexually assaulted could be as high as 50%.  The community is, and there's four different articles that it attaches there. The community is very secretive and will oftentimes cover up or silence people who have been assaulted. The community is very religious and strict. If you go against the grain, the community turns against you.  Hmm. And they have a video  about this specific here with a religious look at the Satmar sect. John, good morning. Good morning. Fascinating case. And it's a case that's being watched closely Anthony, not just because of the allegation that a trusted community leader sexually abused a young girl. He was  assigned to help, but also because the trial has.  Hmm.  Okay.  So it sounded like maybe a different name of a different sect. That he was mentioning here, but within the Brooklyn area, a specific Jewish Pull back the veil, concealing the inner workings of a closed community.  The trial of the  Alright.  So, here's shuns those who have been traumatized. They send threats to the survivors, harass them, and have total control over their lives. Police confirm it is very tough to get convictions and to have victims.  While we wait for more information, here are some of the questions I and many others have about the tunnels. What was the liquid on the stained mattress? Why was there a baby high chair in the tunnel?  Has a full forensic analysis been performed in the area? Where does the tunnels lead?  Hmm. All good questions. Do any security cameras have clear view of entrances to the tunnels? If so, have they been subpoenaed? Have there been any people who reported this before the renovations in December 2023? Who anonymously  tipped off the fire department? Who used the tunnels?  How many minors entered the tunnels? Have any minors displayed behavior of a survivor upon exiting the tunnels? Okay, this is like, it's very specific. So, there's, there's the thread for you. Now, as we go into the  culture  surrounding this community that we are referencing here, which again is not just the normal Orthodox Judaism, it's not, um, it's a specific religious sect within Brooklyn. It's a very small, tight knit community, um, that are, uh, uh, uh, uh, Hasidic, uh, Yadkivik, right? Is that the name of it? So, very specific, uh, religious sect. So it says, okay. Once upon a time, it says, okay, for real. Once upon a time in Eastern Europe, a movement called Shabbat was founded. Its founder was Rabbi Schnur Zalman of Laity. This was in 1812. He was many things, among them a genius, Talmudist, and rabbi, the Kalbalist and mystic, and the rarest of things, a true original thinker. A Kabbalist, sorry, a Talmudist, meaning he follows the Talmud, um, and a rabbi and a Kabbalist and a mystic. So, there is a really interesting conversation surrounding the mystical Judaism, uh, there is a whole subsection of, of Judaism, uh, and historically much more prevalent. Back then, but that believed in mysticism and there is certain sections of this that still do, but like literal magic, um,  while a true original of, and one of, in my opinion, the greatest philosophers and theologians in the history of humankind, he was also profoundly devoted to his own teachers in the Hasidic tradition and saw himself as the natural successor. The Hasidic tradition was founded a couple of generations earlier, and one of the prophecies is connection and devotion to a master in Hasidic parlance above all. Hasidism love and devote themselves to their rabbi as the one who helps connect the soul of the Jew with godliness. Okay, sounds a little bit like Catholicism, right? The aspect of Hasidic Judaism made into a lesser extent continues to make some people nervous. However, it has also been extremely thoroughly defended and broadly accepted as a legitimate manifestation of Judaism, which always has its Moses, Rabbi Akiva, and Vilna.  And again, this is a single account. This isn't a religious text. This isn't a official person that is sitting here giving me this information, but it is, seems to be pretty legit to me. Um, but I haven't done a ton of research on the theology behind Hasidic mystic Judaism. Um, Rabbi, Rabbi Schnur Shabbat, uh, Rabbi Schnur Zalman Shabbat movement. So it's the Shabbat. Hasidic Judaism is one movement within a much broader Hasidic world full of dynasties of Rees, which each of their own rich traditions in ways, and it's R-E-B-B-E-S, not rabbis, although it is not a widely studied, they're al always emphasized point has has Hasidism  Hasidism as part of their devotion. Generally see their rabbi as a Masonic figure. The word is loaded and makes people extremely uncomfortable. It may worth pausing briefly to explain that Hasidism is seen by,  um, the founding of the movement as a redemptive revelation of Torah, a movement whose original Geist is to raise the Jewish people from the spiritual and physical malaise of exile and return them to their deepest soul and identity, a holy nation. with God.  The more that holiness and redemptive soul is brought into the world, the more the time of the general redemption, the macronism of that inner redemption draws near. The rabbi is a Torah of flesh and blood, that general reality in state instantiated in a holy and saintly individual.  Uh, so much for the brief explanation. They said fast forward to the 20th century, the descendant of Rabbi Schnur Zalman, Rabbi Joseph Yitzhak of Lubavitch  survives imprisonment. and near execution by the KGB in the Nazi bombing of Warsaw, and after much deliberation, moves to New York City. Wow, that's wild. the known reasons for this choice are varied. Some are spiritual, New York becoming a center of influence on world Jewry.  Not sure that's a word. Um, and some are very pragmatic. The Jews of the U. S. are already monetarily feeding most of the Eastern Bloc Jewry.  Thus, the sixth Lubavitcher rabbi, Lubavitch is a tiny town in Belarus that has the home of the longest surviving branch of the Shabbat movement, um, comes to Brooklyn and moves into 770 Eastern Parkway in Crown Heights. The sixth rabbi passes away in 1950 and is succeeded by his son in law and distant cousin, Rabbi Menchem, Mendel Schneerson. In 1951, though he doesn't live in the building, 770 is where his office is located and remains the HQ of the Shabab movement.  Now you have to understand the Shabab movement in the U. S. in 1951 can practically fit into a single small room. It is a tiny poor immigrant community, remnants of a world for that the Nazis and Bolsheviks destroyed between them. They had nothing, no resources, no connections, barely any English, a tiny immigrant community in what was then a prestigious middle class Jewish neighborhood in Brooklyn. What they got in 1951, however, was capital L leadership. Not sure what that means.  The 7th Rebbi, henceforth the Rebbi, declares in his first official speech as Rebbi that this is the generation that will bring a final end to exile and usher in the messianic age. He declares this about a long room full of people.  He then sets about changing world Jewry.  Again, don't know if that's a word. Books could be written about the Rebbi and have been, but suffice to say the Rebbi creates from nothing a mass movement devoting to hunting down and love the Jews that Hitler hunted and hatred. I'm not going to read all of it. hunting down  in love, the Jews that hunter, that Hitler hunted in hatred with bringing Torah and mitzvoth, in love. The commandments to every single Jew. Shabbat centers, so it sounds like they're trying to just expand among all of the Jewish people. Shabbat centers with no central funding whatsoever, by the way, are opened all over the world. The rabbi pushes and pushes for a single Jew to perform a single commandment. He seeks to revive a broken and orphaned generation. He expands Shabbat and massive global movement.  All of this is just an atheist, know nothing  All of this is just what an atheist know nothing can appreciate about the Rebbe. He barely slept and was totally publicly devoted to other people for decades. Stories of Jews and non Jews meeting with him are countless, and always he emphases the imminent redemption and how to get there.  Okay, now it says we get to the sensitive part of the story, but I'm going to try to stick to simple public fact. The Rebbe's emphasis on, um, The Messiah grows greater and greater in his final years of leadership. The Rebbe passes away in 1994. The Rebbe's Hasidism very much believed, and believe, that if anyone in this generation was a candidate to become the final Redeemer according to Jewish law and tradition, it was and is the Lubavitcher Rebbe. However, following the Rebbe's passing, as the dust settles, there is a bit of a split.  Some hedonism fervently believe that spreading the awareness of the Rebbe as the Redeemer is a core part of bringing about the Redemption. They are the Masik, Mes, Mesh, Ikitism.  M E S H I C H I S T I M. Their flag is yellow and ubiquitous. The majority of Hasidism and ever growing consolidated core of Shabbat official organs believe that this is not the Rebbe's will. Okay. Um.  Now another issue, 770, the home and place, let's see if there's anything specific we want to get into here. Uh, now you know a lot about a certain subsection of Jewish culture that you probably never needed to know so much about. Um, another thing you should know is that even beyond the, by now, old distinction between, uh, the maschicatism  and the anti S, as they are known, Shabbat is highly decentralized and full of typical politics. Territorialism fights over money and all sorts of very human issues.  Okay,  uh, let's see what else.  Um, this person is very thorough in their study of this.  Um, and so, to the current contremps, you have a global, decentralized, massively successful organization that runs charities and synagogues and helps Jews with problems, physical and spiritual, all over the world  with an official HQ partially occupied by something like a street gang. Sounds like we missed that part, but I'm not going to go back for you. Um, and so, uh, This basically just says they're not above violence to claim their own turf. There's a big turf war between that split off between one subsection of this and the other subsection. In any case, this week, the actual ownership of 7770 called the cement trucks to repair this damage and stop the progress on the expansionism. Um  Interesting.  Uh, basically it says that as a result of this expansionism and taking over this territory, they wanted to, uh, start breaking into,  uh, the, the, so basically one portion of this subsection lives in the top floor and one portion lives on the bottom floor. And so, uh, you have a global decentralized, right? Like a streaking. This, uh, Fat Tim. have taken upon themselves in recent months unilaterally to expand 770. Their way was doing was starting to break into an adjoining basement. The main synagogue of 770 is in the basement and old decommissioned ritual bath. Or mitzvah.  770 is indeed, which a mikvah is basically where you're supposed to go bath, bathe yourselves. Women are supposed to go there before they have their period. Men are supposed to go there before and after they have sex. It's like a, it's like you cleanse yourself in this area. Um, 770 is, Uh, is indeed far too small for the massive number of people who wish to pray there, study there, or something that more and more Hasidism have been seeking a proper solution to for years. However, a bunch of teenagers breaking down walls in their free time, you be the judge. In any case, this week, the actual ownership of 770 called in the cement trucks to repair this damage and stop the progress on the expansion. Um, the Fatim responded territorially, the police became involved, and you have videos of Yeshiva students escaping arrest through sewer gates. I think that's most of the factual context. You're welcome.  Wow! Uh, okay. Super super interesting.  Uh, if you wish to read more about these topics, here are some good books. The Philosophy of Shabbat by Rabbi Nisan Mindel, The Rebbe's Army by Sue Fishcough, and Rebbe by Josef Tolskien. Hmmm.  Very interesting.  Uh, the broad interest in this story on Twitter and beyond is largely antisemitic with filth like this, uh, is a dime a dozen. Looks like something was, uh, deleted there. Um, interesting. Okay. So this makes much more sense to me and I think was probably. important to actually get into the details on, uh, then, uh, then  long term human trafficking under the streets of New York. Uh, so we have come to a conclusion and that is I vote. Not human trafficking. That is my, that is my conclusion here. I have debunked this, uh, maybe not completely, but it seems much more likely that that was the case, is that there's a bunch of territorial, uh, Jew fights going on and they're fighting over territory and expanding their territory and the landlord called on them and they were digging into the basement and now we see what we have. A little weird that there was a high chair.  There, so there's your competing threads, I guess, and one thread being these, uh, this Jewish sect is creating underground tunnels for human trafficking, the other one being this is a territory war between very  somewhat poor, um, and,  uh,  emotionally charged organizations for territory. Um, so that, that seems to make a lot more sense to me guys than, than underground human trafficking. Jewish rabbis.  I don't know. Um, but there is some articles out there of, of, you know, just as you can find for Christians and Catholics of wrongdoings, which if that's the, the  ruler that you measure everybody's affiliations by, then you can basically say that everybody is running a human trafficking organization then, I guess.  All right, so let's move on.  The last thing that we're going to talk about, and we're going to talk about this somewhat briefly, is the fact that, uh, and let me go ahead and actually just pull this article up, because I haven't been, I haven't had time to read through this completely yet, because this just happened. So, this is breaking news, is the fact that the United States and the UK coalition conducted a strike  on Houthi rebels. A joint strike, and So, as this article loads, we'll learn more and more, but I guess the, the, uh, the concern around this is that the reason that,  the concern around this is obviously that the Houthi rebels are backed by Iran. Right? So, this is, this comes from Fox News, and it says, hold  this over a little bit.  Alright, this comes from Fox News, where it says,  as it loaded and unloaded on me, um,  That the U. S. and U. K. coalition strike  Iran backed Houthi targets in Yemen after spat of ship attacks in the Red Sea. So you've been hearing this back and forth, right?  The drone strikes, and the aircraft carriers shooting down the drones, and all of this has been going on with these rebel militants that are backed by Iran. And so what I think is interesting is it's always Iran backed militants.  Is, is, are Ukraine, in every article by Russia, U. S. backed?  Ukrainian militants?  Do they? I'm sure they understand the proxy war just as much there as we do here, right? So if we're calling that every single thing, it's not it's not a war with Houthi rebels. It's a war with Iran. And that's what they're preempting for us. And that's that's what the priming that we're seeing here is before they put Houthi, they put Iran backed and that's for a reason. So Yemen's Iran backed Houthi militants have stepped up attacks or commercial on commercial vessels in the Red Sea and  It says the United States and Britain carried out a series of strikes on military organizations and locations belonging to Iran backed  Houthis in Yemen early Friday in response to militant groups ongoing attacks on vessels traveling through the Red Sea. Fox News is told that there were attacks on more than a dozen Houthi targets by air, surface, and subsurface platforms. The attacks were carried out with support from Australia, Netherlands, Iran and Canada, a U. S. defense official says the U. K. contributed aircraft.  President Biden said he'd authorize strikes in direct response to unprecedented  Houthi attacks against the International Maritime Vessels in the Red Sea, including the use of anti ship ballistic missiles for the very first time in history. These Houthi attacks, Biden said, have endangered U. S. personnel and its allies and have threatened freedom of navigation.  These targeted strikes are a clear message that the United States and our partners will not tolerate attacks on our personnel or allow hostile actors to imperil freedom of navigation in one of the world's most critical commercial routes. I would love to hear President Biden say imperil freedom of navigation together. That would be impressive.  I will not hesitate. He said to direct further measurements to protect our people.  And the free flow of international commerce as necessary.  The strikes came shortly after the White House called a lid on President Biden's engagements for the evening as he was not expected to discuss the matter publicly. It follows news that the Defense Secretary Lloyd Austin had not notified the President or other officials of his whereabouts for several days. Okay. A joint statement from the government

durée : 00:20:16 - L'invité d'un jour dans le monde - Une exposition de Mark Rothko (1903-1970) est toujours un événement. On n'avait pas vu les œuvres du peintre américain à Paris depuis 25 ans. Visite guidée avec la commissaire Suzanne Pagé.

durée : 00:41:40 - Le 18/20 · Un jour dans le monde - Une exposition de Mark Rothko (1903-1970) est toujours un événement. Cela faisait 25 ans qu'une telle rétrospective du peintre américain n'avait pas eu lieu en France. Visite guidée avec la commissaire Suzanne Pagé et plongée dans les couleurs et les maux de Mark Rothko.

durée : 00:32:01 - Talmudiques - par : Marc-Alain Ouaknin - .

durée : 00:31:59 - Talmudiques - par : Marc-Alain Ouaknin - .

Join Jeffery and Bill on a walk down the National Mall in DC as they discuss the Dorthea Lange and Rothko shows at the National Gallery and cut to the quick on the meaning of life, this time, in person! French Vietnam War photographer Catherine Leroy is Photographer of the Week. Dorthea Lange at NGA Rothko on Paper at NGA Catherine Leroy thread on Threads

This week begins with sausages on parade and ends with a flight to the Roaring Twenties. In between, you can wander through a glowing jungle, take a mental health break, and decide the city's best burger. See Christopher Nolan, Balzac, and Rothko in a whole new light, and so much more. Tune in now for the best of what's happening in Paris this week!Join us on Patreon for an extended bonus newsletter version of this episode: patreon.com/parisundergroundradio Find Us Online Website: https://parisundergroundradio.com/dontmissthis Facebook: https://www.facebook.com/parisundergroundradio Instagram: https://www.instagram.com/parisundergroundradio/ Credits Host and Producer: Jennifer Geraghty. https://parisundergroundradio.com/jenniferfoxgeraghty @jennyphoria; Website: http://jennyphoria.comMusic Credits“The Inevitable” by Savfk, www.youtube.com/savfkmusic; www.facebook.com/savfkmusic About UsWe've all seen the Eiffel Tower, queued at the Louvre, and picnicked on the steps of Sacre Coeur. But a treasure hunt through the Marais? Drag queen bingo in Belleville? Graffiti art installations in abandoned warehouses in the 14th? Those are the unique Parisian experiences we don't want to let slip away. From art installations, to authors' talks, to tours, to culinary ateliers, and everything in between, each week Don't Miss This will fill you in on the best of what's going on in Paris. If you think you've got something going on that we should know about, please contact us at hello@parisundergroundradio.com. Happy exploring!

durée : 02:30:01 - Les Matins - par : Quentin Lafay - . - invités : Annie Cohen-Solal Professeure émérite, commissaire d'exposition.; Stéphane Lambert Écrivain; Marie du Bouchet Coordinatrice du Comité Nicolas de Staël

durée : 00:34:47 - France Culture va plus loin (l'Invité(e) des Matins) - par : Guillaume Erner - Mark Rothko et Nicolas de Staël sont actuellement à l'honneur à la Fondation Louis Vuitton et au Musée d'Art Moderne de Paris. Quels liens peut-on tisser entre les œuvres de ces deux peintres au cœur desquelles les formes et les couleurs s'articulent de manière singulière ? - invités : Annie Cohen-Solal Professeure émérite, commissaire d'exposition.; Stéphane Lambert Écrivain; Marie du Bouchet Coordinatrice du Comité Nicolas de Staël

"Music has the ability to transport you to a place and create a sort of internal landscape. And we all have life-changing things that happened to us. And I remember I made it as a way to kind of ease a busy mind. And perhaps I was missing home. I still call Orkney home, even though I'm not there every day. I'm a thousand miles away today, and I still call Orkney home. For example, when I hear the voice of the curlew, it transports me back to Orkney with such a jolt. In a heartbeat. And music can do that too. It's very transformative. Visual arts have the ability to do that too. And you could stare at a Rothko painting and cry and not quite know why. It can take days to figure out perhaps certain meanings from it. But music I think is quite instant. It can really do that."How has music transported you? Where do you find inspiration from the natural world? Where do you find moments of every day magic? Erland Cooper is a Scottish composer, producer, and multi-instrumentalist from Stromness, Orkney. He has released three acclaimed studio albums, four additional companion albums, and multiple EPs, including a trilogy of work inspired by his childhood home. His work combines field recordings with traditional orchestration and contemporary electronic elements. Through music words and cinematography, he explores landscape, memory, and identity. Cooper also works across mixed media projects, including installation, art, theater, and film. He is widely known for burying the only existing copy of the master tape of his first classical album in Scotland, deleting all digital files, and leaving only a treasure hunt of clues for fans and his record label alike to search for it. The tape has recently been found.www.erlandcooper.comwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastPhoto by Alex Kozobolis